The Gay Divorcee (1934)

I like the storyline of this show,it attract me so much

i know i wasted 90 mins of my life.

Watch something else. There are very few redeeming qualities to this film.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

There are movies that are meant to make you think, and movies meant to shock and keep you in suspense. Forget that. This is pure entertainment. Wonderfully cast, beautiful sets and art direction...and then, the dance. The magnificent Night and Day is meant to be absorbed and cherished as that one moment when everything was perfect. Just enjoy. Nothing recent comes close.

The pairing of Fred Astaire and Ginger Rogers in "Flying Down to Rio" was so successful the studio wanted another pairing. Fred had appeared in the Broadway production of "The Gay Divorce", so when RKO purchased the film rights, things fell into place, despite Fred's fear of becoming defined as half of a dance partnership (as he had been with his sister, Adele).The title was changed to "The Gay Divorcée", because it was unwholesome by the day's standards to suggest that divorce could be a happy state of affairs, but individual people can be happy despite divorce.The story is very simple: a woman (Ginger) wants a divorce, but her leech of a husband won't cooperate, so her attorney stages an assignation with an actor so that her husband will be goaded into granting the divorce.All other aspects of this film are superior. The sets, the photography, the singing, the dancing, the choreography, the wardrobe, and especially the music by Cole Porter. Eric Blore (as a waiter) adds levity. Erik Rhodes (as tenor and gigolo Rodolfo Tonetti) gives a strong, but nuanced performance.Watch for the complex production of "The Continental", which won the first Oscar for Best Original Song.

There's a lot to love in this lavish musical comedy loosely based upon Cole Porter's 1932 show, the only movie in which Fred Astaire got to repeat his Broadway role. Only one song ("Night and Day") remains, and he has a new leading lady (Ginger Rogers replacing Claire Luce), so for their second pairing and first leads, Fred and Ginger entered film immortality. There's plenty of silliness to be had, a few lavish production numbers, and yet all results in a romantic film that has gone on to movie immortality.The basic storyline has American attorney Fred Astaire chasing the girl (Rogers), not realizing that his partner (Edward Everett Horton) is the attorney in her divorce case. She's at first annoyed by them (he catches her in a precarious predicament), and he actually stalks her for a bit, but once they break the ice (with "Night and Day"), she begins to warm up to him. But when she mistakingly believes that he's the hired correspondent paid to help her get the divorce, more confusion ensues until the correct one (the hysterical Erik Rhodes) shows up with his concertina.Alice Brady has some of the funniest dumb lines in movie history, her malapropisms filled with innuendo. Droll Eric Blore adds more amusement as the hotel waiter with Betty Grable coming on for a delightful song and dance number ("Let's K-Nock K-Nees") with Horton. It's clear that there's a future star in this delightful peppy youngster, yet it took 6 years before she would find success in lavish color musicals over at 20th Century Fox.As for "The Continental", it is set up nicely, although I laughed more at the fact that Astaire had a pair of paper scissors on him and could take a page out of a magazine and make it stand up on a record player to provide a shadow for him and Rogers while they went out and danced without Rhodes' knowledge. The production number goes on forever, but is so delightful that it really doesn't matter, seeming more like a music video with its brunette dancers in black dresses and blonde dancers in white dresses.

Guy Holden (Fred Astaire) meets Mimi (Ginger Rogers) and pursues her for marriage. However, unknown to him, she is already married and is planning a set-up involving a hired co-respondent to facilitate her divorce. She mistakes Guy for the hired gigolo which makes for an amusing scene in her bedroom. However, events work out so that everyone is happy at the end.As with all the Fred and Ginger films, there are great songs and dances. They have 3 dances together, 2 of them with the songs "Night And Day" and "The Continental", and a routine at the end of the film. The other songs are "Needle In A Haystack" sung by Fred, and "Don't Let It Bother You" sung by a chorus of showgirls at the beginning of the film. The film also has Betty Grable singing and dancing in "Let's K-nock K-nees" alongside Edward Everett Horton and you just can't help but wonder how she and Fred Astaire may have done as a dance team. Not that Ginger Rogers is bad.The supporting cast are all good, especially Erik Rhodes as "Rodolfo Tonetti" - "Your wife is safe with Tonetti......he prefer spaghetti". It's a story of misunderstandings and it has genuine funny moments and funny lines delivered by the whole cast. Watch it and enjoy the magic of the 1930's - great sets and some black-and-white escapism. The story is ripped-off with pretty much the same cast in a film that they did the following year - "Top Hat" - but that film isn't as amusing or as good as this one.