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


"Chance is the fool's name for fate"Reviewed byAAdaSCVote: 8/10

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.

Beautiful Music, Dangerous RhythmReviewed bybkoganbingVote: 8/10

The Gay Divorcée is the answer to the trivia question of which of Fred Astaire's and Ginger Rogers's is one that Fred Astaire had previously done on Broadway. When Astaire did it on Broadway, the Cole Porter musical had been entitled The Gay Divorce. But that extra 'e' was added on lest anyone get the idea that divorce itself was something frivolous. Imagine anticipating Britney Spears by about 70 years.

Actually Fred had also done Funny Face and The Bandwagon on stage as well. But on stage The Bandwagon was a revue and Funny Face had an entirely different plot than the musical made by Astaire in the Fifties. Only in The Gay Divorcée was he asked to repeat a stage role.

The basic plot is still the same, the usual Astaire-Rogers case of mistaken identity. Ginger is the budding divorcée going to London to get a divorce as Aunt Alice Brady hired a professional co-respondent. Ginger mistakes Fred for that co-respondent and it takes a while for Fred to warm her up.

Fred's an American musical comedy star visiting London with his manager Edward Everett Horton who also happens to know Brady. This gives the excuse for the musical numbers.

Cole Porter's score was cut completely from the screen other than the immortal Night and Day. In it's place came four songs, three written by Harry Revel&Mack Gordon and one written by Con Conrad&Herb Magdison. Fred and Ginger dance divinely to Night and Day.

Fred does a solo dance to A Needle in a Haystack and Don't Let It Bother You. Betty Grable got her first notice from the movie going public, singing and dancing in Let's Knock Knees all of which were contributed by Revel&Gordon.

But it was The Continental number by Con Conrad and Herbert Magdison that got the first Academy Award ever given out for Best Original Song in a motion picture. It's what The Gay Divorcée is remembered for today. It's a rather long, between ten and fifteen minutes of screen time, but as magical as ever

The Gay Divorce ran for 248 performances on Broadway during the 1932- 1933 season. Sacrificed for romance are Porter's witty lyrics in the rest of the score containing their usual commentary on the social scene. Of all the American musical giants of the era, I would say that Cole Porter wins hands down as the man that Hollywood butchered the most in bringing his work to the screen. Even before The Code was in place, it seemed that the powers that be deemed that his work was way too sophisticated and naughty to be seen and heard as is.

Still with the film being frothy romance instead of social commentary, The Gay Divorcée is still great entertainment. Also repeating their roles from Broadway are supercilious waiter Eric Blore and the real co-respondent Tonetti who prefers spaghetti, Erik Rhodes.

Wit for romance, you decide if it was a fair exchange.

High point of Astaire and RogersReviewed byCalystaVote: 7/10

Fred and Ginger, two perfect partners, two of the best dancers in history. In 1934, the toast of RKO. What a great pair the studio that would become defunct in a matter of years had on their hands!

In 1933, the pair had proven themselves as second leads in "Flying Down to Rio", a musical heavily relying on special effects and little else. They stole the show, proven with "The Carioca", the erotically charged dance number which started an American craze of pressing foreheads and even got the Best Song Oscar nod over the supposed show stopping title song. Before, Ginger had "42nd Street" to her name, while Fred had the famous screen test analysis of "Can't sing. Can't act. Can dance a little."

"The Gay Divorcee" is the establishing musical of Astaire and Rogers. Silly, dated, slight, even stupid to a certain degree is the entire story. Without a doubt, high comedy and immense creativity make up for it. The mistaken identity plot was recycled for "Top Hat" the following year, but it hardly matters. It is littered entirely with hilarity! Writing was never the strongest point of these musicals anyway. The performances were not Oscar calibre but they were publicly loved, and it's obviously Astaire and Roger's singing, acting and most of all, dancing, that makes the movie what it is.

A top wealth of talent was assembled for the movie. Erik Rhodes is absolutely side splitting as the Italian guy Tonetti, wielding the fabulous line, "Your wife is safe with Tonetti, he prefers spaghetti!". Alice Brady is there as Aunt Hortense, but Edward Everett Horton is another stand out performer as the lawyer. His fumbling voice provides a character of clumsiness and two seem to go hand in hand. He was definitely one of the best supporting comedians of the 1930s and 1940s, in other Astaire and Rogers musicals, and movies like "Lost Horizon", "Holiday", "Here Comes Mr Jordan" and "Arsenic and Old Lace".

Only one song was retained for the filmic version of "The Gay Divorcee". The censors even crashed down on the stage's original title "The Gay Divorce". Fred performs a great rendition of the immortal Cole Porter song "Night and Day". "The Continental", the Best Song of 1934 is thrown there in the mix too. Other great numbers in there include "Looking for a needle in a haystack", "Don't Let it Bother You" and "Let's K-nock- K-nees". The latter is performed by a young Betty Grable. This is notable for the only time Edward Everett Horton sings and dances on screen. We can see from the results there's an obvious reason.

The stylish period of courtship and even set decoration and costumes evoke great memories of eras gone by. RKO hasn't helped preservation of these technical elements by throwing what always appears to be mediocre sets, but it doesn't matter anyway. The whole thing is irresistible, spectacular and unforgettable. This is one of the forgotten musicals of the time which has it all.

Rating: 8/10

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