The Gay Divorcee (1934) 1080p YIFY Movie

The Gay Divorcee (1934) 1080p

The Gay Divorcee is a movie starring Fred Astaire, Ginger Rogers, and Alice Brady. An American woman travels to England to seek a divorce from her absentee husband, where she meets - and falls for - a dashing performer.

IMDB: 7.63 Likes

  • Genre: Comedy | Musical
  • Quality: 1080p
  • Size: 2.01G
  • Resolution: / fps
  • Language: English
  • Run Time: 107
  • IMDB Rating: 7.6/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 1

The Synopsis for The Gay Divorcee (1934) 1080p

Mimi Glossop wants a divorce so her Aunt Hortense hires a professional to play the correspondent in apparent infidelity. American dancer Guy Holden meets Mimi while visiting Brightbourne (Brighton) and she thinks he is the correspondent. The plot is really an excuse for song and dance. The movie won three Academy nominations and the first Oscar for Best Song: "The Continental", a twenty-two minute production number.

The Director and Players for The Gay Divorcee (1934) 1080p

[Director]Mark Sandrich
[Role:]Fred Astaire
[Role:]Edward Everett Horton
[Role:]Alice Brady
[Role:]Ginger Rogers

The Reviews for The Gay Divorcee (1934) 1080p

"You know, you're beginning to fascinate me, and I resent that in any man"Reviewed byackstasisVote: 7/10

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.

Fred and Ginger in their second musical delightReviewed byPetey-10Vote: 9/10

Mimi Glossop wants a divorce.Dancer Guy Holden's lawyer friend assists her in that.The dancer falls for Mimi.The Gay Divorcée (1934)Mark Sandrich and produced by Pandro S. Berman.The music is by Max Steiner. is directed by Fred Astaire and Ginger Rogers really hit it off.This is the second of their musicals, and the first one to feature the duo as the main attraction.The rest of the cast is great, too.Alice Brady is Aunt Hortense, who has been married to Egbert Fitzgerald, played by Edward Everett Horton.Erik Rhodes is Rodolfo Tonetti.Eric Blore is The Waiter.Betty Grable portrays Guest.Lillian Miles is Singer, Continental Number.William Austin plays Cyril Glossop.I really enjoyed the "Knock Your Feet" bit.Also "The Continental" was most amusing.That song won an Oscar.A really enjoyable musical delight.

"Tell of your love while you dance"Reviewed bySteffi_PVote: 7/10

The movie musical had been a Hollywood staple since the dawn of the talkies, but after a few years the novelty of the all-singing picture was wearing off and the studios had to refresh the genre with new tricks and, most crucially, popular stars. Old hand Al Jolson had reinvented his image, Bing Crosby was a fresh-faced newcomer, but most successful of all was the duo of Fred Astaire and Ginger Rogers. This was their second appearance together, and the first where they were the lead players and main attraction.

The two of them were rather different in background. Astaire had already been an established star on the stage and having worked with Ziegfeld was very much in touch with that passing generation of theatrical extravaganza, but he was a newcomer to cinema. Rogers on the other hand already had two-dozen movie credits to her name, and had gained a reputation in small roles, often as a catty, antagonistic chorine. But despite their differences they have in common an approach to dancing that, despite professional precision, brings out a lot of personality. And both can act. Ginger would later prove herself to be an excellent dramatic actress, and is steady enough here. Fred just has an easygoing charm that seems as effortless as his dancing. In a non-musical, these two would seem an odd pairing – it's when they dance we see them click. But these were early days yet, and in The Gay Divorcée they lack that sense of familiarity around each other that would make their later romances seem so right.

This was also the first time Astaire and Rogers were put before director Mark Sandrich, the man who helmed their most successful features together. Sandrich keeps a sort of gentle rhythm going throughout the picture with some delicate camera moves, such as the opening sweep through the restaurant onto Astaire's dancing fingers. His approach to the musical numbers was always oblique yet effective. For "Needle in a Haystack", the song is born out of a dialogue scene, with the camera still in its place, the sofa in the foreground separating us from Astaire, who (very unusually) is framed in profile. After one verse, the angle changes to place us in front of him. The camera then follows him as he gets up and selects a tie from a valet, and the dance just segues out of that movement. Sandrich's ability to make the songs flow seamlessly in and out of the non-music scenes was a key part in the ongoing revolution in how musicals were made.

One thing that makes a musical like The Gay Divorcée seem somewhat archaic is its plot. It's a comedy of errors that might have been quite good had it been fully developed as one, but the way the narrative twists to fit a song it becomes obviously artificial. It also suffers from an unpleasant quality of many romances of the era, in that the "romance" basically consists of the man stalking and harassing the woman until, against all probability, she falls for him (and not even the suave Mister Astaire can stop this from appearing creepy). The only thing that saves this from being a handful of noteworthy song-and-dance routines strung together with a limp story is the often witty dialogue and the way it is delivered by a wonderful supporting cast. Just as Fred and Ginger established their screen persona, so too did Edward Everett Horton become the fussy, mother-hen sidekick, Eric Blore the chirpy, intrusive butler and Erik Rhodes the bungling would-be Latin lover. These three are all excellent and, with the romantic interplay between Astaire and Rogers not quite as fizzing as it should be, dare I say they even overshadow the two leads? (Yes, I do dare say).

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