The Gay Divorcee 1934 RKO Studios

The Gay Divorcee

RKO 1934

This is a rhyming title, as in “The GAY Dee-vor-SAY” which means, the happy and carefree divorced woman.  In 1934, the word “gay” didn't yet mean homosexual.  This movie was adapted from a 1932 Cole Porter Broadway play called “The Gay Divorce” which also starred Fred Astaire.  This was a rather shocking topic in 1934.  Divorce was not as common as it is these days.  It also wasn’t “no fault” yet.  A divorce was only granted to someone who had serious grounds to dissolve the marriage, such as infidelity committed by the spouse.

This is the basis of the story.  In order for a person to divorce, there must be evidence that the person’s spouse was unfaithful or unfit.  Sometimes, if someone wanted a divorce, they would stage the outward appearance of an affair publicly with a hired “correspondent” and make sure it was discovered.  This would give the person’s spouse grounds for divorce.  This protected the spouse’s reputation and future, while still getting the person who desired the divorce a way out of the marriage.

In this movie, there is a woman named Mimi Glossop (GR) who wants a divorce.  She hires an attorney and a correspondent to meet her at an English seaside resort.  She will be seen and hopefully photographed with this guy, and this evidence will anger her husband.  He will divorce her and she will get what she wants. 

There is a man named Guy Holden (FA) who plays the part of a different man at the same resort.  Awkward situations occur, and comedy ensues.  There are songs and dances and romance and love.  It’s a fun movie. 

Here are a couple of women to watch for:  Lucille Ball (as a blonde) has a small role as a young woman working in a flower shop.  Betty Grable, who became a huge star during WWII, sings a silly, embarrassing and mildly provocative song called “Let’s Knock Knees.”

Watch for three men:  Edward Everett Horton plays the attorney.  Eric Blore plays a waiter.  Erik Rhodes plays the correspondent.  These three will appear in other Astaire/Rogers films.  They become like a little stock troupe with great comic timing that they play off each other.

English seaside resorts probably didn’t look anything like this one.  This is a fantasy Art Deco wonderland built in a Hollywood soundstage, larger than life.  The silver screen!  It’s magnificent and begins the trend in several of these Astaire/Rogers films.

If you are a 21^st century baby, you might not recognize a record player’s turntable, which performs a function in the story.  In the 1930’s, such a phonograph (record player) was a luxury item.  This one is also a grand piece of furniture.  This would not be common in regular homes during The Great Depression.

Guy (FA) does a wonderful solo tap dance in the early minutes of the film.  He also has another solo later in the film.  He’s just a dance genius, that’s all.  He also had behind-the-scenes choreography help from a brilliant guy named (I’m not making this up), Hermes Pan.  For years they worked together on choreography with a pianist and Ginger.  Each of these solo dances serves to move the plotline of the story forward and helps develop both Guy’s character, and the story.

Two fabulous and glorious Astaire/Rogers dance numbers in this film also move the plot along.  The first one is danced to Cole Porter’s haunting song “Night and Day.” “Night and Day” was written for the original New York musical "The Gay Divorce", and written specifically for Fred's voice.  Cole Porter did not write the other songs used in the film, just this one. 

Listen to the way Mr. Astaire gamely launches right in to this song.  You may come to love his voice.  Observe how beautifully the dance tells the story.  Check out the innovative camera angles through the blinds or under the table.  I love this scene.

My favorite moment:  In “Night and Day” there’s a bit of a “No Means No” vibe about Ginger’s part in the dance language.  In the 21^st century, this is very interesting.  Keep in mind that this is part of the plot, and the dance moves the story forward.  Also, in the 1930s, the offer of a cigarette was considered not only polite, but quite personal.  (The public didn't yet accept that smoking was unhealthy.)  At the end of the dance, the offer of a cigarette signals that the relationship is different than it was at the beginning.

The other big deal dance is “The Continental.”  It takes a dang 20 minutes!  Mimi (GR) sings it for Guy (FA) and it’s obvious that he thinks she is the greatest woman he has ever encountered.  She actually sings it better than the soloist who takes over later.  That soloist sounds dated now, but Ginger?  Never!

There are dancers galore, singers, spectacle, scarves, pageantry.  And even dance ripples!  It’s written by Con Conrad and Herb Madigson.  It’s got some wonderful Fred and Ginger moments.  It’s clear that Ginger has increased in her dancing skill, beauty and fitness since their previous movie. 

My favorite moment:  During “The Continental” (which combines tap and ballroom dance genres about as brilliantly as it’s ever been done), A&R do a spin-in to an embrace that perfectly matches the music.  Did I say perfectly?  Oh yes!

As usual, watch each dance scene twice, once for the dance and once for their faces.

Spoiler Alert!  Do not read this if you want the shocking surprise at the end. 

At the end of the movie, there is a dance scene of Guy flipping coins to the bellboys.  He’s tipping them.  That means he’s a guest at the hotel and this is his room.  As you can see, it’s the same room that has been Mimi's room.  He’s wearing wool "traveling clothes" and so is Mimi, and there are suitcases in the room.  This means that they are now married and honeymooning together.  Sorry to hit you over the head with this, but it might not be obvious to 21^st century audiences.

My favorite moment:  As A&R dance over the table, look at Ginger’s feet.