Starring Fred Astaire, Ginger Rogers, Alice Brady, and Edward Everett Horton
Directed by Mark Sandrich
Music and Lyrics by various
Astaire and Rogers were such a sensation in Flying Down to Rio, they were rushed into an adaptation of a stage hit Astaire also starred in...and this time, they were the leads. It was called Gay Divorce on Broadway in 1932, but by the time this was in production, stricter censorship standards were already coming into effect. A divorce could never be light and carefree...but a divorcee could. (Nowadays, I don't think either title would work.) Under any title, how does this light-as-air confection look today? Let's begin in at a nightclub in London and find out...
The Story: Dancer Guy Bolton (Astaire) first encounters Mimi Glossop (Rogers) at a hotel in Brighton, England. Mimi's looking for a divorce from her rarely-seen husband Cyril (William Austin), an archeologist. Guy's best friend Egbert (Horton) happens to the the lawyer for her and her Aunt Hortense (Brady). He hires co-correspondent Rodolfo Tonetti (Erik Rhodes), or someone who aids in a legal proceeding, to make it look like he's having an affair with Mimi and have photos taken by private detectives.
Not only do the detectives never arrive, but Mimi thinks Guy is the co-correspondent. When Tonetti turns up, he holds them in the room, but they escape. Even after that, there's still trouble...until the waiter at the nightclub under their room (Eric Blore) reveals that Cyril isn't as blameless as previously suspected.
The Song and Dance: And with a plot that lightweight, "song and dance" are the operative words here. Astaire and Rogers are a delight in their first starring showcase together. This comes a lot closer to their later movies than Flying Down to Rio, with a sparkling supporting cast, impressive Art Deco sets (check out the huge multi-level nightclub!), and terrific dance numbers. I also appreciate that they kept most of the original plot of the Broadway show (which Astaire also starred in), changing Guy's career from writer of smutty novels to dancer.
Favorite Number: We open with the very strange "Don't Let It Bother You" at the nightclub. Chorus girls in stockings, garter bows, and not a lot else make little finger dolls in tutus "dance." Astaire and Horton try it next. Astaire can get it; Horton has more trouble. Astaire finishes the number with a quick tap routine for the audience. A very young Betty Grable insists to Horton "Let's Knock Knees" at the resort's restaurant. Soon, they have the whole dining room knocking knees - and occasionally, into each other. Astaire's other big solo in his room when he's looking for Mimi is "Needle In a Haystack."
The big one - in every sense of the word - is "The Continental." At almost 18 minutes, the number is the longest in film history until Gene Kelly's ballet in American In Paris. Dancers in black and white whirl over those long staircases and across curving balconies, until they come down in black and white gowns. Among all this are singer Lillian Miles, who takes the song over from Erik Rhodes, and Fred and Ginger, who start things off with a great comic tap routine and do a quick one to end it.
But the one most associated with Fred and Ginger nowadays is also the only Cole Porter song retained from the original show. Fred sweeps Ginger into "Night and Day" when she still thinks he's a co-correspondent. By the end of the song, she's thoroughly enchanted and in love...and so are we, thanks to their fine footwork and off-the charts chemistry.
Trivia: Ginger Rogers drives her own 1929 Duesenberg during the chase scene. It still exists and has turned up in car shows.
Gay Divorce first appeared on Broadway in 1932. It went over equally well in London, with most of the original cast, including Astaire. Like many older shows, it's only New York runs since then has been in off-Broadway concerts.
"The Continental" won the first Academy Award for best song. It was nominated for Best Picture, Sound, and Art Direction.
What I Don't Like: Too bad the story is so annoying. The whole co-correspondent thing is more than a little confusing. Not mention, divorce and adultery tend to be taken a lot less lightly nowadays. And why on Earth didn't they keep Cole Porter's original score, which also includes the standard "After You, Who?" The other songs by Harry Revel and Mack Gordon are ok, but certainly not at the level of "Night and Day."
The Big Finale: As the first Astaire-Rogers film to really show their later style, this is a must for fans of them, Grable, or the big musicals of the 1930's.
Home Media: DVD and streaming in the US. It's on HBO Max with a subscription.
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