I've got to say, it took me a while to work up the courage to borrow 'The Gay Divorcée (1934)' from the university library. Fortunately, I balanced things out by also renting the steamy neo-noir 'Body Heat (1981)!' Needless to say, my ill-ease was not necessary. The 1930s was a carefree and innocent time for American cinema, and here I can assure the reader that the divorcée indicated by the title is merely happy. The film (my ninth from Astaire and Rogers) was the pair's second collaboration, and the first in which they were the stars. The story, adapted from the musical play "Gay Divorce," pretty much forms the template for their next half-dozen outings, a throwaway love-story fraught with screwball misunderstandings and elaborate art deco hotel- rooms. Ginger Rogers requires a divorce from her neglectful husband, and so tries to fake a love-affair (as you do) with a pompous Italian called Tonetti (Erik Rhodes). Fred Astaire comes along, falls in love with Ginger, but she mistakes him for the guy with whom she's supposed to be faking a love-affair.
'The Gay Divorcée' has an excellent cast. Fred Astaire, of course, exudes the same classiness and boyish charm that made him the stand-out in 'Flying Down to Rio (1933)' -- and just check out how gracefully he is able to dance and get dressed at the same time. Ginger Rogers, ever the gifted comedienne, shows wonderful composure, effortlessly making the conversion from apathy towards her male co-star to adoration. Edward Everett Horton, whose constant huffiness bounces amusingly off the carefree Astaire, is unfortunate enough to be given a dance number (opposite Betty Grable), through which he awkwardly and hilariously stumbles. Erik Rhodes, who was the highlight of 'Top Hat (1935),' again manages to steal the show, his pompous Italian "womaniser" a constant source of amusement. There's also Eric Blore, doing that butler thing he does best. Musical highlights include "Night and Day" and the Oscar- winning "Continental," which briefly abandons the long-takes you'd usually find in an Astaire film, instead lapsing into a rapid-fire Eisensteinian montage.
'The Gay Divorcée' has an excellent cast. Fred Astaire, of course, exudes the same classiness and boyish charm that made him the stand-out in 'Flying Down to Rio (1933)' -- and just check out how gracefully he is able to dance and get dressed at the same time. Ginger Rogers, ever the gifted comedienne, shows wonderful composure, effortlessly making the conversion from apathy towards her male co-star to adoration. Edward Everett Horton, whose constant huffiness bounces amusingly off the carefree Astaire, is unfortunate enough to be given a dance number (opposite Betty Grable), through which he awkwardly and hilariously stumbles. Erik Rhodes, who was the highlight of 'Top Hat (1935),' again manages to steal the show, his pompous Italian "womaniser" a constant source of amusement. There's also Eric Blore, doing that butler thing he does best. Musical highlights include "Night and Day" and the Oscar- winning "Continental," which briefly abandons the long-takes you'd usually find in an Astaire film, instead lapsing into a rapid-fire Eisensteinian montage.