The Gay Divorcee (1934) - Plot - IMDb

Contents:

• THE GAY DIVORCEE
• THE GAY DIVORCEE
• THE GAY DIVORCEE
• AFI CATALOG OF FEATURE FILMS THE FIRST 100 YEARS 1893–1993 MOVIE TLE MOVIE TLE SEARCH FOR PEOPLE MOVI BY DIRECTOR MOVI BY PRODUCER MOVI BY CAST MOVI BY RELEASE YEAR MOVI BY PRODUCTN COMPANY MOVI BY GENRE MOVI BY SUBJECT ALL $("")(); $(DOCUMENT)(FUNCTN () { // BUGGER; VAR EDBTN = $("#EDMOVIEBTN"); ("HREF", "/DATACAPTURE/SELECTPROJECT/7108"); VAR ANCHORS = DOCUMENT.QUERYSELECTORALL('A[HREF*="SEARCH"]'); (ANCHORS, FUNCTN (ELEMENT, X) { VAR HREF = ; = HREF.REPLACE(/, +$/, ''); = HREF.REPLACE('%20%26%20', ' %26AMP '); }); VAR RELEASEYEAR = 1934; = 'AFI|CATALOG - ' + $('')('THE GAY DIVORCEE')(); IF ( $(".VIEWIN IMG")("SRC") == "/CONTENT/IMAG/"){ $(".VIEWIN").ADDCLASS("RED-TOOLTIP"); $(".VIEWIN")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".VIEWIN").TOOLTIP({ TLE: 'THIS FILM WAS PARTIALLY VIEWED BY AFI FOR THE SYNOPSIS AND CREDS' }); } IF ( $(".VIEWIN IMG")("SRC") == "/CONTENT/IMAG/"){ $(".VIEWIN").ADDCLASS("RED-TOOLTIP"); $(".VIEWIN")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".VIEWIN").TOOLTIP({ TLE: 'VIEWED BY AFI: THIS FILM WAS VIEWED S ENTIRETY BY AFI FOR THE SYNOPSIS AND CREDS.' }); } //IN TOOLTIP JQUERY $(".ACHIEVEMENTAWARDIN")(''); $(".AWARDLLA")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".AWARDLLA")({ TLE: "LIFE ACHIEVEMENT AWARD: THIS FILMMAKER RECEIVED AN AFI LIFE ACHIEVEMENT AWARD." }); $(".OFFSCREENCREDIN")(''); $(".AWARDOF")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".AWARDOF")({ TLE: "OFFSCREEN CRED: THIS CRED DID NOT APPEAR ONSCREEN AND WAS RIVED OM NTEMPORARY SOURC." }); $(".PARTIALLYVIEWIN")(''); $(".AWARDPV")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".AWARDPV")({ TLE: "PARTIALLY VIEWED BY AFI: THIS FILM WAS PARTIALLY VIEWED BY AFI FOR THE SYNOPSIS AND CREDS." }); $(".NAMETLEIN")(''); $(".AWARDNA")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".AWARDNA")({ TLE: "NAME OCCURS BEFORE TLE: THIS FILMMAKER'S NAME WAS DISPLAYED BEFORE THE TLE ONSCREEN CREDS." }); $(".VIEWBYAFIIN")(''); $(".AWARDAFI")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".AWARDAFI")({ TLE: "VIEWED BY AFI: THIS FILM WAS VIEWED S ENTIRETY BY AFI FOR THE SYNOPSIS AND CREDS." }); VAR FULLVIEW; $(".FULLVIEWHEADGS")(); VAR ISPREMIUM = ($("#MOLISPREMIUM")() == "TE"); VAR ISSHOWPOSTER = ($("#MOLISSHOWPOSTER")() == "TE"); VAR ISSHOWVIO = ($("#MOLISSHOWVIO")() == "TE"); IF (ISPREMIUM == TE || ISSHOWPOSTER == TE) { //$(".BLOCKMOVI").ADDCLASS("L-MD-7"); //$(".BLOCKMOVI").REMOVECLASS("L-XS-12"); } ELSE { IF (RELEASEYEAR >= 1994) { $(".BLOCKMOVI").REMOVECLASS("L-LG-8 L-SM-8"); $(".BLOCKMOVI").ADDCLASS("L-LG-12 L-SM-12"); $("#MOVIEDETIALS")("CLASS","L-MD-12"); $("#SEARCH_HEAR").ADDCLASS("SEARCHHEARFULLWIDTH"); // $("#MOVIEDETIALS").ADDCLASS("L-LG-12"); // $(".BANNERIMG-NTAER")("DISPLAY","NONE"); } ELSE { $(".BLOCKMOVI").REMOVECLASS("L-MD-7"); $(".BLOCKMOVI").ADDCLASS("L-LG-12 L-SM-12"); $("#SEARCH_HEAR").ADDCLASS("SEARCHHEARFULLWIDTH"); $("").REMOVECLASS("IMAGEROW"); IF (($(WDOW)() = 1994) { $("")(); $(".SUBHEDAFI")(); $("#DIVMASTERPAGETOP").ADDCLASS("BGPOST93"); $(".PANELSEARCH")("TOP","17PX"); $("")("BACKGROUND-LOR","#263F66"); $("#HEARBACKGROUND").REMOVECLASS("HEARBG"); $("#HEARBACKGROUND").ADDCLASS("HEARBGPOST93"); $("")('ID','HEARBGPOST93'); $(".BLOCKMOVI")('ID','HEARBGPOST93'); $("")("MARG","0"); $(".TABTAIL ")('ID','TABPOST93'); $(", ").ADDCLASS("MOREPOST93"); $("")("RIGHT","33PX"); $("")("ID","ROWPOST93"); $(".BANNERIMG-NTAER")(); $("#MOVIEDETIALS").REMOVECLASS("RULTBG"); $("#MOVIEDETIALS").REMOVECLASS("L-MD-9"); $("#MOVIEDETIALS").ADDCLASS("L-MD-12"); $(".TOPSEARCH")("DISPLAY","NONE"); IF ("VERIFIED" == "STUB RECORD VERIFIED") { $(".FULLVIEW").TRIGGER("CLICK"); } IF (($(WDOW)() 991)) { //$(".BGPOST93")("DISPLAY", "BLOCK"); $(".PANELSEARCH")("TOP", "15PX"); //$("#MOBILSEARCH")({ // 'BACKGROUND': '#263F66', // 'BORR-TOP': '1PX SOLID RGBA(255, 255, 255, 0.41)', // 'BORR-BOTTOM': '1PX SOLID RGBA(255, 255, 255, 0.41)', //}); //$("")("BACKGROUND", "#5388DB"); //$(".CLOSESEARCH")("BACKGROUND", "RED"); //$("#MOBILEARCHIN").ADDCLASS("CP93"); //$(".SEARCHCONTAER").ADDCLASS("P93"); $("")("BORR", "2PX SOLID #FFF"); //$(".SEARCHCONTAER")("TOP", "10PX"); $(".HEADNTAER").REMOVECLASS("BGPOST93HED"); } }, 150); }); } $(DOCUMENT)(FUNCTN (){ VAR TOOLOPTNS2 VAR TOOLOPTNS; VAR ISOS = /IPAD|IPHONE|IPOD/(NAVIGATOR.PLATFORM); VAR ISANDROID = /(ANDROID)/(ERAGENT); ///////////////////////////////////////// IF OS IF (ISOS){ TOOLOPTNS = { ANIMATN: FALSE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; $('').TOOLTIP(TOOLOPTNS); $('')( 'CURSOR', 'POTER' ); $('BODY')("TOUCHSTART", FUNCTN(E){ $("")(FUNCTN () { // HI ANY OPEN TOOLTIPS WHEN THE ANYWHERE ELSE THE BODY IS CLICKED IF (!$(THIS)() && $(THIS)() === 0 && $('.TOOLTIP')() === 0) { $(THIS).TOOLTIP('HI'); }////END IF }); }); ///////////////////////////////////////// IF ANDROID } ELSE IF(ISANDROID){ TOOLOPTNS = { ANIMATN: FALSE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; TOOLOPTNS2 = { ANIMATN: FALSE, PLACEMENT:"LEFT", NTAER:"BODY" }; $('.C_TOOL1').TOOLTIP(TOOLOPTNS); $('.C_TOOL2').TOOLTIP(TOOLOPTNS); $('.C_TOOL3').TOOLTIP(TOOLOPTNS2); ///////////////////////////////////////// IF ANOTHER SYSTEM } ELSE { TOOLOPTNS = { ANIMATN: TE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; $('').TOOLTIP(TOOLOPTNS); }//END IF SYSTEM }); VAR DIVS = $(".LUMNDISPLAY > "); FOR (VAR I = 0; I "); } //IF (($(WDOW)() "); // FOR (VAR I = 0; I "); // VAR IAME = $(".TABVIO >IAME"); // IAME.ADDCLASS("VIOFRAME"); // $(" ")("MARG","0"); // } //} //BUGGER; $(WDOW)(FUNCTN() { IF($(WDOW)() > 414){ $(".WRAPPER > DIV").REMOVECLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").ADDCLASS("L-MD-12") $(".TOPSEARCH").REMOVECLASS("L-SM-12 L-XS-12"); } IF($(WDOW)() DIV").ADDCLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").REMOVECLASS("L-MD-12") $(".TOPSEARCH").ADDCLASS("L-SM-12 L-XS-12"); } }); IF($(WDOW)() > 414){ $(".WRAPPER > DIV").REMOVECLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").ADDCLASS("L-MD-12") $(".TOPSEARCH").REMOVECLASS("L-SM-12 L-XS-12"); } IF($(WDOW)() DIV").ADDCLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").REMOVECLASS("L-MD-12") $(".TOPSEARCH").ADDCLASS("L-SM-12 L-XS-12"); } //IF (($(WDOW)() DIV").REMOVECLASS("ROW ROW-EQ-HEIGHT"); // $(".WRAPPER > DIV").CHILDREN()(); // $("#TAB-MENU LI")(FUNCTN(){ // $('#TAB-MENU LI').TOOLTIP({ "DATA-PLACEMENT": 'TOP' }); // }); //} // $("#PREIMUMDETAILS ")('.LISTMOVI:NOT(:FIRST)')(); $(WDOW)(FUNCTN() { VAR WDOWWIDTH = $(THIS)(); IF (($(WDOW)() > 414)) { //$('.LISTMOVI:NTH-CHILD(2), .LISTMOVI:NTH-CHILD(3)')("DISPLAY","NONE"); $(".THUMBNAILS LI:FIRST-CHILD").ADDCLASS("L-XS-3").REMOVECLASS("L-XS-5"); $(".THUMBNAILS LI:NTH-CHILD(2)").ADDCLASS("L-XS-9").REMOVECLASS("L-XS-7"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(1)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(2)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6")("DISPLAY","BLOCK"); } IF (($(WDOW)() 414)) { //$('.LISTMOVI:NTH-CHILD(2), .LISTMOVI:NTH-CHILD(3)')("DISPLAY","NONE"); $(".THUMBNAILS LI:FIRST-CHILD").ADDCLASS("L-XS-3").REMOVECLASS("L-XS-5"); $(".THUMBNAILS LI:NTH-CHILD(2)").ADDCLASS("L-XS-9").REMOVECLASS("L-XS-7"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(1)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(2)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6")("DISPLAY","BLOCK"); } IF (($(WDOW)() = TOTALTABWIDTH - TABSVIEWPORT) { ('').ADDCLASS('IS-END'); } ELSE { ('').REMOVECLASS('IS-END'); } } $('#TAB-MENU #PRTNAV A')(FUNCTN (){ VAR HREF = $('#PRTNAV A')('HREF'); = HREF; //$(HREF)( 'TARGET', '_BLANK' ); }); }); THE GAY DIVORCEE (1934) 107 MS | MIL, ROMANTIC EDY | 19 OCTOBER 1934 CAST: FRED ASTAIRE, GGER ROGERS, ALICE BRADY [ MORE ] DIRECTOR: MARK SANDRICH WRERS: GEE MARN JR., DOROTHY YOST, EDWARD KFMAN CEMATOGRAPHER: DAVID ABEL EDOR: WILLIAM HATON PRODUCTN DIGNERS: VAN NT POLGLASE, CARROLL CLARK PRODUCTN COMPANY: RKO RAD PICTUR, INC. HISTORY DETAILS CREDITS SYNOPSIS GENRE PRT DETAILS FULL PAGE VIEW HISTORY THE MIL THE GAY DIVORCE WAS BASED ON THE UNPRODUCED PLAY AN ADORABLE ADVENTURE BY J. HARTLEY MANNERS. THE WORKG TLE OF THE FILM WAS THE GAY DIVORCE. ACRDG TO A JUL 1934 NYT ARTICLE, RKO CHANGED THE TLE TO AVOID CENSORSHIP PROBLEMS WH THE PCA. MORN SOURC NTEND, HOWEVER, THAT THE TLE CHANGE WAS STIGATED NOT BY THE HAYS OFFICE, BUT BY RKO SELF, WHICH OFFERED FIFTY DOLLARS TO ANY EMPLOYEE WHO ULD E UP WH A BETTER TLE. IN HIS TOBGRAPHY, FRED ASTAIRE CLAIMS THAT DIRECTOR MARK SANDRICH TOLD HIM THAT THE TLE THE GAY DIVORCEE WAS SELECTED BEE THE STUD "THOUGHT WAS A MORE ATTRACTIVE-SOUNDG TLE, CENTERED AROUND A GIRL." MORN SOURC CLAIM THAT STUD EXECUTIV CHANGED THE WORD "DIVORCE" TO "DIVORCEE" BEE, WHILE THEY BELIEVED THAT A DIVORCEE ULD BE GAY, A DIVORCE ULD NOT. THE ORIGAL STAGE TLE WAS RTORED FOR BRISH RELEASE PRTS.       ASTAIRE, ERIK RHOS AND ERIC BLORE APPEARED THE BROADWAY PRODUCTN AND RECREATED THEIR ROL FOR THE FILM. ONLY ONE SONG OM THE STAGE MIL, "NIGHT AND DAY," WAS ED THE FILM. ACRDG TO A MAR 1934 HR NEWS EM, RKO EXECUTIVE PRODUCER PANDRO BERMAN APPROACHED FOX'S ROY DEL RUTH TO DIRECT, BUT REFED TO PAY RUTH'S $40,000 A PICTURE SALARY. A HR NEWS EM ANNOUNCED THAT SANDRICH FILMED SHOTS FOR THE ENGLISH UNTRYSI SCEN CLEAR LAKE, CA, AND RKO PRODUCTN FIL DITE THAT ADDNAL EXTERRS WERE SHOT SANTA MONI AND SANTA BARBARA, CA. ACRDG TO A HR NEWS EM, BRANDON HURST WAS ST ... MORE LS THE MIL THE GAY DIVORCE WAS BASED ON THE UNPRODUCED PLAY AN ADORABLE ADVENTURE BY J. HARTLEY MANNERS. THE WORKG TLE OF THE FILM WAS THE GAY DIVORCE. ACRDG TO A JUL 1934 NYT ARTICLE, RKO CHANGED THE TLE TO AVOID CENSORSHIP PROBLEMS WH THE PCA. MORN SOURC NTEND, HOWEVER, THAT THE TLE CHANGE WAS STIGATED NOT BY THE HAYS OFFICE, BUT BY RKO SELF, WHICH OFFERED FIFTY DOLLARS TO ANY EMPLOYEE WHO ULD E UP WH A BETTER TLE. IN HIS TOBGRAPHY, FRED ASTAIRE CLAIMS THAT DIRECTOR MARK SANDRICH TOLD HIM THAT THE TLE THE GAY DIVORCEE WAS SELECTED BEE THE STUD "THOUGHT WAS A MORE ATTRACTIVE-SOUNDG TLE, CENTERED AROUND A GIRL." MORN SOURC CLAIM THAT STUD EXECUTIV CHANGED THE WORD "DIVORCE" TO "DIVORCEE" BEE, WHILE THEY BELIEVED THAT A DIVORCEE ULD BE GAY, A DIVORCE ULD NOT. THE ORIGAL STAGE TLE WAS RTORED FOR BRISH RELEASE PRTS.       ASTAIRE, ERIK RHOS AND ERIC BLORE APPEARED THE BROADWAY PRODUCTN AND RECREATED THEIR ROL FOR THE FILM. ONLY ONE SONG OM THE STAGE MIL, "NIGHT AND DAY," WAS ED THE FILM. ACRDG TO A MAR 1934 HR NEWS EM, RKO EXECUTIVE PRODUCER PANDRO BERMAN APPROACHED FOX'S ROY DEL RUTH TO DIRECT, BUT REFED TO PAY RUTH'S $40,000 A PICTURE SALARY. A HR NEWS EM ANNOUNCED THAT SANDRICH FILMED SHOTS FOR THE ENGLISH UNTRYSI SCEN CLEAR LAKE, CA, AND RKO PRODUCTN FIL DITE THAT ADDNAL EXTERRS WERE SHOT SANTA MONI AND SANTA BARBARA, CA. ACRDG TO A HR NEWS EM, BRANDON HURST WAS ST THE FILM, BUT HIS PARTICIPATN THE FAL FILM HAS NOT BEEN NFIRMED. ACRDG TO FIL NTAED THE MPAA/PCA FIL AT THE AMPAS LIBRARY, A 22 JUN 1934 LETTER, JAM WGATE, DIRECTOR OF THE STUD RELATNS OFFICE OF THE MPAA/PCA, WARNED BERMAN THAT "NSIRG THE LITE NATURE OF THE SUBJECT UPON WHICH THIS SCRIPT IS RE SHOULD BE TAKEN THE SCEN ALG WH MIMI'S LGERIE, AND... NO TIMATE ARTICLE SHOULD BE ED." WGATE ADD THAT THE WORD -RPONNT SHOULD BE REPLACED WH "SOMETHG LS POTED," AND SISTED THAT NONE OF THE ACTORS APPEAR PAJAMAS THE FILM. IN A 2 JUL 1934 LETTER, WGATE NOTED THAT THE SONG TLE "LET'S K-NOCK K-NE" HAD BEEN REJECTED BY HIS OFFICE AND SUGGTED THAT THE PHRASE ALSO BE LECTED OM THE LYRICS. (IT WASN'T). IN A STUD MEMORANDUM, MIC SOUNDMAN MURRAY SPIVACK ADVISED THE PRODUCERS THAT "DUE TO CENSORSHIP, WAS NECSARY TO CHANGE [THE] LYRICS TO 'LET'S K-NOCK K-NE,'" BUT ADD THAT BEE SONGWRERS MACK GORDON AND HARRY REVEL WERE BY WORKG ON A PRODUCTN AT PARAMOUNT, ANOTHER WRER WOULD HAVE TO BE HIRED TO DO THE REWR. THE INTY OF THE SONGWRER HAS NOT BEEN TERMED, BUT ACRDG TO A 4 AUG 1934 LETTER OM MPAA/PCA DIRECTOR JOSEPH I. BREEN, THE SEND CHOS OF "LET'S K-NOCK K-NE" WAS ALTERED AND APPROVED "OM THE STANDPOT OF THE PRODUCTN CO AND CENSORSHIP." BREEN UTNED A 31 JUL 1934 LETTER THAT "THE SCEN HAVG TO DO WH MIMI'S SKIRT BEG UGHT THE LOCKED TNK SHOULD ALL BE HANDLED WH GREAT RE TO AVOID ANY OBJECTNABLE EXPOSURE OF HER PERSON." CON CONRAD AND HERB MAGIDSON WON THE FIRST AMY AWARD FOR BT SONG FOR THEIR POSN "THE CONTENTAL." (THE SONG "THE CAR," WHICH WAS THE BIG ASTAIRE-ROGERS NUMBER OF RKO'S 1933 MIL FLYG DOWN TO R, WAS ALSO CLUD THE BALLOTG.) THE FILM WAS NOMATED AS BT PICTURE BUT LOST TO COLUMBIA'S IT HAPPENED ONE NIGHT. OTHER AMY AWARD NOMATNS CLUD BT ART DIRECTN (VAN NT POLGLASE AND CARROLL CLARK), BT SRE (MAX STEER) AND BT SOUND RERDG (CARL DREHER, HEAD OF RKO'S SOUND PARTMENT).       MORN SOURC ADD THE FOLLOWG RMATN ABOUT THE PRODUCTN: AFTER THE SUCCS OF FLYG DOWN TO R, THE FIRST RKO FILM TO TEAM ROGERS AND ASTAIRE, THE STUD PLANNED A FOLLOW-UP FILM, WHICH ROGERS AND ASTAIRE WOULD BE THE STARS, LLED RAD CY REVELS. WHEN RKO'S ACTG PRODUCTN HEAD, PANDRO BERMAN, SUGGTED THAT THE GAY DIVORCE, THEN A H PLAY ON BROADWAY, BE ED AS A FOLLOW-UP TO RAD CY REVELS, LOU BROCK, WHO HAD PRODUCED FLYG DOWN TO R AND WAS SLATED TO PRODUCE THE FOLLOW-UP PICTUR, RIDICULED THE IA. ALTHOUGH BROCK DISLIKED THE PLAY AND S LIBRETTO, WHICH HE THOUGHT WAS ANTEQUATED, BERMAN WENT AHEAD AND PURCHASED THE SCREEN RIGHTS FOR $20,000 AFTER SEEG THE PLAY LONDON. PLANS FOR RAD CY REVELS WERE EVENTUALLY DROPPED, AND BROCK WENT ON TO PRODUCE ANOTHER FILM, DOWN TO THEIR LAST YACHT, WHICH HAD BEEN NSIRED BRIEFLY AS A REPLACEMENT FOR RAD CY REVELS. (IN 1938, RKO MA A FILM LLED RAD CY REVELS, BUT THAT FILM HAD NO NNECTN TO THE ASTAIRE-ROGERS PROJECT.) AFTER BERMAN CHOSE TO PRODUCE THE GAY DIVORCE HIMSELF, HE ASKED COLE PORTER TO WRE NEW SONGS FOR THE FILM BUT WAS TURNED DOWN. BERMAN HIRED MARK SANDRICH AND THEN ASSIGNED ZN MYERS, SANDRICH'S , TO SUPERVISE THE PRODUCTN. BEFORE FLYG DOWN TO R HAD TABLISHED SELF AS A H, RKO NSIRED HIRG CLAIRE LUCE, ASTAIRE'S STAGE -STAR, TO APPEAR AS "MIMI" THE FILM. WHEN ASTAIRE BALKED AT THE IA OF STG ROGERS, WHO HE FELT WOULD NOT BE RIGHT PLAYG THE REFED ENGLISH WOMAN OF THE STAGE SHOW, BERMAN SUPPOSEDLY OFFERED HIM TEN PERCENT OF THE FILM'S PROFS AS CENTIVE TO NCE. THE STUD ORIGALLY WANTED HELEN BRORICK TO PLAY "HORTENSE," BUT THE ACTRS WAS UNAVAILABLE FOR THE PART.       ACRDG TO ASTAIRE'S TOBGRAPHY, THE ST "REHEARSED FOR ABOUT SIX WEEKS ON THE DANCE ROUT, THOSE TRICKY ON LIKE 'NIGHT AND DAY' AND THE TABLE DANCE I BROUGHT OM THE STAGE SHOW." (ASTAIRE AT ONE POT WANTED TO DROP THE "NIGHT AND DAY" NUMBER OM THE FILM BEE HE FELT THE SONG HAD BEEN OVEREXPOSED.) CHOREOGRAPHER HERM PAN ACTED AS A LIAISON BETWEEN ASTAIRE, WHO WAS ADAPTG HIS STAGE CHOREOGRAPHY, AND CREDED CHOREOGRAPHER DAVE GOULD. WHILE PAN PLANNED THE MAJORY OF THE GROUP CHOREOGRAPHY FOR THE FILM, GOULD WORKED ON THE CEMATIC ASPECTS OF THE DANCG, PLANNG MERA ANGL AND CREATG THE LOOK OF THE CHOREOGRAPHY. AS PART OF THE FILM'S PROMOTN, RKO ANIZED "CONTENTAL" MONSTRATNS AND PARTI AND ENURAGED DANCG STCTORS AND BALLROOMS TO TEACH AND HIGHLIGHT THE DANCE. ALTHOUGH THE FILM WAS A SUCCS, "THE CONTENTAL" FAILED TO TCH ON AS A POPULAR DANCE. HOWEVER, POLGLASE AND CLARK'S SET SIGN THE "CONTENTAL" SEQUENCE REPORTEDLY ED AN CREASE THE SAL OF VEIAN BLDS.       MORN SOURC CRED BEN HOLM AS DIALOGUE DIRECTOR, HAL BORNE AS ASTAIRE'S REHEARSAL PIANIST, MEL BERNS AS MAKP ARTIST AND ELIZABETH MCGAFFEY AS REARCHER. IN ADDN, MORN SOURC CRED ACTORS GEE DAVIS AND ALPHONSE MARTEL AS FRENCH WAERS. FOR MORE RMATN ABOUT THE ASTAIRE-ROGERS RKO FILMS, SEE ENTRY FOR TOP HAT. LS GEOGRAPHIC LOCATIONS LOCATION CLEAR LAKE CALIFORNIA UNED STAT SANTA MONI CALIFORNIA UNED STAT SANTA BARBARA CALIFORNIA UNED STAT PERSONAL & COMPANY INDEX CREDITS CREDIT PANDRO S. BERMAN HISTORY CREDITS CREDIT TYPE CREDIT GENERAL (MOD): DR. JAM WGATE JOSEPH I. BREEN HELEN BRORICK CLAIRE LUCE LOU BROCK ROY DEL RUTH BEN HOLM ELIZABETH MCGAFFEY MEL BERNS HAL BORNE GEE DAVIS ALPHONSE MARTEL LERARY NOTE CRED: J. HARTLEY MANNERS PERSONAL NOTE CRED: BRANDON HURST SOURCE CITATIONS SOURCE DATE PAGE DAILY VARIETY 29 JUN 1934 P. 7 DAILY VARIETY 14 AUG 1934 P. 6 FILM DAILY 3 OCT 1934 P. 10 HOLLYWOOD REPORTER 28 MAR 1934 P. 2 HOLLYWOOD REPORTER 28 JUN 1934 P. 3 HOLLYWOOD REPORTER 30 JUN 1934 P. 4 HOLLYWOOD REPORTER 5 JUL 1934 P. 1 HOLLYWOOD REPORTER 6 JUL 1934 P. 4 HOLLYWOOD REPORTER 10 JUL 1934 P. 7 HOLLYWOOD REPORTER 3 AUG 1934 P. 14 HOLLYWOOD REPORTER 9 AUG 1934 P. 7 HOLLYWOOD REPORTER 20 AUG 1934 P. 8 HOLLYWOOD REPORTER 4 SEP 1934 P. 2 HOLLYWOOD REPORTER 1 OCT 1934 P. 3 HOLLYWOOD REPORTER 2 OCT 1934 PP. 3-14 INTERNATNAL PHOTOGRAPHER 1 AUG 1934 P. 7 MOTN PICTURE DAILY 3 OCT 1934 P. 6 MOTN PICTURE HERALD 13 OCT 1934 PP. 60-64 NEW YORK TIM 15-JUL-34 --- NEW YORK TIM 16 NOV 1934 P. 27 VARIETY 20 NOV 1934 P. 15 CAST NAME CREDITED AS CREDIT FRED ASTAIRE GUY HOLN GGER ROGERS MIMI [GLOSSOP] ALICE BRADY [AUNT] HORTENSE EDWARD EVERETT HORTON EGBERT ["PKY" FZGERALD] ERIK RHOS [RODOLFO] TOTI ERIC BLORE THE WAER WILLIAM AT CYRIL GLOSSOP CHARL COLEMAN THE VALET LILLIAN MIL GUT BETTY GRABLE GUT/ PERFORMER "LET'S K-NOCK K-NE" NUMBER + &M; NAME CREDITED AS CREDIT FRED ASTAIRE GUY HOLN GGER ROGERS MIMI [GLOSSOP] ALICE BRADY [AUNT] HORTENSE EDWARD EVERETT HORTON EGBERT ["PKY" FZGERALD] ERIK RHOS [RODOLFO] TOTI ERIC BLORE THE WAER WILLIAM AT CYRIL GLOSSOP CHARL COLEMAN THE VALET LILLIAN MIL GUT BETTY GRABLE GUT/ PERFORMER "LET'S K-NOCK K-NE" NUMBER CHARL DUNBAR WAER FRANK MILLS WAER WILLIAM WANGER WAER J. G. MACMAHON J. G. MCMAHON WAER JACK GRANT PORTER CY CLEGG PORTER CHARL HALL MSENGER E. E. CLIVE CHIEF SPECTOR CYRIL THORNTON SEND SPECTOR LLIE GOODWS L GOODWS BAGGAGE MAN RONNIE RONLL BCE WYNDHAM TED OLIVER ART JARRETT FIS BARTON SONNY RAY SYDNEY JARVIS SIDNEY JARVIS FLO WICKS NORMAN ASLEY JIMMY AUBREY + &M; PRODUCTION CREDITS NAME PARENT COMPANY PRODUCTION COMPANY RKO RAD PICTUR, INC. PRODUCTION TEXT A PANDRO S. BERMAN PRODUCTN DISTRIBUTION COMPANY RKO RAD PICTUR, INC. NAME CREDITED AS CREDIT DIRECTORS MARK SANDRICH DIR ARGYLE NELSON ASST DIR RAY LISSNER 2ND ASST DIR IVAN THOMAS 2ND ASST DIR PRODUCER ZN MYERS PROD ASSOC WRITERS GEE MARN JR. SCR DOROTHY YOST SCR EDWARD KFMAN SCR H. W. HANEMANN CONTR TO DIAL STANLEY RH CONTR TO DIAL ROBERT BENCHLEY CONTR TO DIAL PHOTOGRAPHY DAVID ABEL PHOTOG JOSEPH BIROC CAM OP WILLARD BARTH ASST M CLIFFORD STE ASST M BILL WILLIAMS COOPERATED ON PHOTOG VERNON L. WALKER VERNON WALKER SPEC EFF ART DIRECTORS VAN NT POLGLASE ART DIR CARROLL CLARK ART DIR FILM EDITOR WILLIAM HATON ED COSTUMES WALTER PLUNKETT COST CLAIRE CRAMER WARD MUSIC MAX STEER M DIR SOUND HUGH MCDOWELL JR. REC MURRAY SPIVACK M REC PHILIP FLKNER P. J. FLKNER JR. M REC DANCE HERM PAN DANCE DIR DAVE GOULD DANCE ENSEMBLE STAGED BY PRODUCTION MISC PETER CROFT TECH DIR J. R. CRONE PROD MGR TDY WELLMAN SCR CLERK JAM VIANNA ELEC JIM DAVIS GRIP THOMAS LTLE PROPS BILL HAMBERRY PROJECTNIST FRED HENDRICKSON STILL PHOTOG STAND INS HARRY CORNBLETH STAND- FOR FRED ASTAIRE MARIE OSBORNE STAND- FOR GGER ROGERS MALE WILSON STAND- FOR ALICE BRADY SOURCES LITERARY BASED ON THE MIL THE GAY DIVORCE , BOOK BY DWIGHT TAYLOR, MIL ADAPTATN BY KENH WEBB AND SAMUEL HOFFENSTE, MIC AND LYRICS BY COLE PORTER (NEW YORK, 29 NOV 1932). LITERARY SOURCE AUTHORS COLE PORTER DWIGHT TAYLOR KENH WEBB + &M; LITERARY SOURCE AUTHORS SAMUEL HOFFENSTE COLE PORTER DWIGHT TAYLOR KENH WEBB + &M; SONGS "NIGHT AND DAY," MIC AND LYRICS BY COLE PORTER; "DON'T LET IT BOTHER YOU" AND "LET'S K-NOCK K-NE," MIC AND LYRICS BY MACK GORDON AND HARRY REVEL; "A NEEDLE A HAYSTACK" AND "THE CONTENTAL," MIC AND LYRICS BY CON CONRAD AND HERB MAGIDSON. SONGWRITERS/COMPOSERS HERB MAGIDSON CON CONRAD HARRY REVEL + &M; SONGWRITERS/COMPOSERS CON CONRAD MACK GORDON HERB MAGIDSON COLE PORTER HARRY REVEL + &M; DETAILS RELEASE DATE: 19 OCTOBER 1934 PRODUCTN DATE: 28 JUN--13 AUG 1934; RETAK BEGAN 1 SEP 1934 COPYRIGHT INFO CLAIMANT DATE COPYRIGHT NUMBER RKO-RAD PICTUR, INC. 11 OCTOBER 1934 LP5063 PHYSIL PROPERTI: SOUND RCA VICTOR SYSTEM BLACK AND WHE DURATN( MS): 107 LENGTH( REELS): 13 COUNTRY: UNED STAT PCA NO: 282 SYNOPSIS AFTER PASSG THROUGH PARIS, POPULAR AMERIN DANCER GUY HOLN AND HIS BT IEND, ENGLISH LAWYER EGBERT "PKY" FZGERALD, LAND LONDON FOR THE FAL LEG OF THEIR VATN. WHILE WAG AT THE LONDON DOCKS, GUY SE PRETTY AMERIN MIMI GLOSSOP STGGLG WH HER DRS, WHICH IS SNAGGED ONE OF HER NT HORTENSE'S TNKS, AND OFFERS HIS HELP. IN HIS HASTE TO EE MIMI, GUY PULLS TOO HARD AND SPLS THE BACK OF THE DRS. ALTHOUGH FUR AT GUY, MIMI ACCEPTS HIS AT AND HIS LLG RD, THEN STORMS AWAY WHOUT REVEALG HER NAME OR ADDRS. SOON AFTER, MIMI RETURNS THE AT ANONYMOLY THROUGH A HOTEL BELLBOY, FURTHER TRATG GUY, WHO IS NOW MADLY LOVE WH HER. THE SPERATE GUY DRIV THE STREETS OF LONDON SEARCH OF MIMI AND BY CHANCE CRASH TO THE BACK OF HER R. MIMI TAK OFF, BUT GUY PURSU AND EVENTUALLY RNERS HER A PARK. AFTER HE PROPOS TO HER, MIMI TELLS GUY SHE NNOT SEE HIM AGA, BUT ACCEPTS HIS TELEPHONE NUMBER AND PROMIS TO LL. LATER, HORTENSE, WHO WAS ONCE ENGAGED TO EGBERT, BRGS THE UNHAPPILY MARRIED MIMI TO EGBERT'S LAW OFFIC TO DISCS DIVORCE PROCEEDGS. APPRISED THAT MIMI'S HBAND CYRIL, A NEGLECTFUL ENGLISH GEOLOGIST, HAS REFED TO GRANT MIMI A DIVORCE, EGBERT ADVIS THAT A PROFSNAL -RPONNT BE HIRED. UNAWARE THAT MIMI IS THE OBJECT OF GUY'S OBSSN, EGBERT THEN NVC HIS LOVICK IEND TO ACPANY HIM TO THE SEASI RORT, BRIGHTBOURNE, WHERE THE -RPONNT IS TO RENZVO WH MIMI. IN BRIGHTBOURNE, EGBERT MEETS RODOLFO TOTI, THE FOPPISH ITALIAN -RPONNT, AND TELLS HIM THAT HIS "PASSWORD" WH MIMI WILL ... MORE LS AFTER PASSG THROUGH PARIS, POPULAR AMERIN DANCER GUY HOLN AND HIS BT IEND, ENGLISH LAWYER EGBERT "PKY" FZGERALD, LAND LONDON FOR THE FAL LEG OF THEIR VATN. WHILE WAG AT THE LONDON DOCKS, GUY SE PRETTY AMERIN MIMI GLOSSOP STGGLG WH HER DRS, WHICH IS SNAGGED ONE OF HER NT HORTENSE'S TNKS, AND OFFERS HIS HELP. IN HIS HASTE TO EE MIMI, GUY PULLS TOO HARD AND SPLS THE BACK OF THE DRS. ALTHOUGH FUR AT GUY, MIMI ACCEPTS HIS AT AND HIS LLG RD, THEN STORMS AWAY WHOUT REVEALG HER NAME OR ADDRS. SOON AFTER, MIMI RETURNS THE AT ANONYMOLY THROUGH A HOTEL BELLBOY, FURTHER TRATG GUY, WHO IS NOW MADLY LOVE WH HER. THE SPERATE GUY DRIV THE STREETS OF LONDON SEARCH OF MIMI AND BY CHANCE CRASH TO THE BACK OF HER R. MIMI TAK OFF, BUT GUY PURSU AND EVENTUALLY RNERS HER A PARK. AFTER HE PROPOS TO HER, MIMI TELLS GUY SHE NNOT SEE HIM AGA, BUT ACCEPTS HIS TELEPHONE NUMBER AND PROMIS TO LL. LATER, HORTENSE, WHO WAS ONCE ENGAGED TO EGBERT, BRGS THE UNHAPPILY MARRIED MIMI TO EGBERT'S LAW OFFIC TO DISCS DIVORCE PROCEEDGS. APPRISED THAT MIMI'S HBAND CYRIL, A NEGLECTFUL ENGLISH GEOLOGIST, HAS REFED TO GRANT MIMI A DIVORCE, EGBERT ADVIS THAT A PROFSNAL -RPONNT BE HIRED. UNAWARE THAT MIMI IS THE OBJECT OF GUY'S OBSSN, EGBERT THEN NVC HIS LOVICK IEND TO ACPANY HIM TO THE SEASI RORT, BRIGHTBOURNE, WHERE THE -RPONNT IS TO RENZVO WH MIMI. IN BRIGHTBOURNE, EGBERT MEETS RODOLFO TOTI, THE FOPPISH ITALIAN -RPONNT, AND TELLS HIM THAT HIS "PASSWORD" WH MIMI WILL BE "CHANCE IS THE FOOL'S NAME FOR FATE," A LE SPOKEN EARLIER BY GUY. THAT NIGHT, WHILE TOTI SEARCH THE HOTEL FOR HIS LIAISON, WHOM HE HAS NEVER SEEN, GUY SPOTS MIMI THE HOTEL RTRANT AND IMMEDIATELY RUM HIS ROMANCG. HOWEVER, WHEN GUY THEN SUALLY UTTERS HIS LE ABOUT FATE, MIMI ASSUM THAT HE IS HER -RPONNT AND GROWS STANTLY LD TOWARD HIM. ALTHOUGH NFED BY MIMI'S SUDN HOSTILY, GUY AGRE TO E TO HER HOTEL ROOM AT MIDNIGHT AND THERE DO HIS BT TO FLIRT WH HER. EGBERT, MEANWHILE, FALLY NNECTS WH A BEMED TOTI AND DIRECTS HIM TO THE RRECT ROOM, WHILE HORTENSE PULLS MIMI ASI AND RMS HER THAT HER ASSSMENT OF GUY IS MISTAKEN. AFTER TOTI ENTERS HER ROOM, GUY MANDS AN EXPLANATN OM MIMI, WHO FALLY NFS HER MISSN. EGBERT AND HORTENSE THEN SH BACK TO LONDON TO SECURE THE NEED TECTIV, AND MIMI NVC GUY TO GO ALONG WH THE SCHEME AND ACCEPT TOTI'S PRENCE. DEFYG TOTI'S ORRS TO STAY THE ROOM, MIMI AND GUY SNEAK OFF, G THE SHADOWS OF PAPER DOLLS TO MAKE HIM BELIEVE THAT THEY ARE STILL THERE, AND PURSUE THEIR ROMANCE ON THE HOTEL DANCE FLOOR. THE NEXT MORNG, HORTENSE AND EGBERT, HAVG BEEN UNABLE TO FD TECTIV, BRG CYRIL TO THE HOTEL. ALTHOUGH AT FIRST FIANT AND UNYIELDG, CYRIL GIV TO MIMI'S DIVORCE MANDS WHEN A HOTEL WAER UNWTGLY REVEALS TO THE GROUP THAT HE HAD MET CYRIL UNR A DIFFERENT NAME AND WH A DIFFERENT "WIFE" TOW. WHILE MIMI AND GUY CELEBRATE HER IMPENDG EEDOM, HORTENSE AND EGBERT ANNOUNCE THAT THEY WERE MARRIED ON THE TRA OM LONDON. LS GENRE GENR: MIL, ROMANTIC EDY SUBJECT SUBJECT (MAJOR): AMERINS FOREIGN UNTRI CO-RPONNTS DANCERS DIVORCE ENGLAND ROMANCE SUBJECT (MOR): AUNTS AUTOMOBILE CHAS CLOTH DOCKS FOPS GEOLOGISTS HOTEL BELLMEN HOTELS ITALIANS LAWYERS LONDON (ENGLAND) MISTAKEN INTY PARIS (FRANCE) PROPOSALS (MARAL) RORTS RTRANTS VATNS WAERS FROM AFI'S 100 YEARS LISTS... SHALL WE DANCE (1937) TOP HAT (1935) HOLIDAY INN (1942) SHOW BOAT (1936) THE THIN MAN (1934) 42ND STREET (1933) CAPTAINS COURAGEOUS (1937) KING KONG (1933) MODERN TIMES (1936) THE BIG BROADCAST OF 1938 (1938) LEGEND VIEWED BY AFI PARTIALLY VIEWED OFFSCREEN CRED NAME OCCURS BEFORE TLE AFI LIFE ACHIEVEMENT AWARD DONATE AFI CATALOG.">TOP SEARCHES
• THE GAY DIVORCEE
• THE GAY DIVORCEE (1934) REVIEW, WH GGER ROGERS AND FRED ASTAIRE
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• THE GAY DIVORCEE (1934)
• ' THE GAY DIVORCEE,' WH FRED ASTAIRE AND GGER ROGERS, AT THE MIC HALL -- 'REDHEAD.'
• GAY DIVORCEE, THE (1934) - (MOVIE CLIP) THE CONTENTAL
• THEATRIL TRAILER - THE GAY DIVORCEE

THE GAY DIVORCEE

The superb Fred and Gger seri always end wh a big, big set piece where the two of them uld dance, and 'The Gay Divorce(e)' is no exceptn.

They're ably supported by Edward Everett Horton (as 'Aunt' Egbert), Alice Brady (the towerg matriach, Rogers' nt), Eric Blore (as an irratg waer who lik talkg about rocks and playg wh words), Erik Rhos (as a daft Italian), and Betty Grable (as a hotel gut who has a terrific number wh Horton, 'Let's K-knock K-kne') you might gus, the story revolv around a divorce, which might be a gay one ( the 1930s fn of the word, of urse), and, as so often this seri, mistaken inti. Ty rol go to William At (as Rogers' blterg geologist hubby), and Lilian Mil (an Alice Faye lookalike who gets to reprise 'The Contental' all to herself) is one of the better entri the seri, ably directed by Mark Sandrich, and featurg a mix of songs cludg Cole Porter's 'Night and Day', and the jnty 'Lookg for a Needle a Haystack' 20, 2004Contribute to this pageSuggt an ed or add missg ntentBy what name was The Gay Divorcee (1934) officially released India English? Based on the mil The Gay Divorce, book by Dwight Taylor, mil adaptatn by Kenh Webb and Samuel Hoffenste, mic and lyrics by Cole Porter (New York, 29 Nov 1932).

A classic pairg of one of the Hollywood mil's most famo upl, The Gay Divorcee (1934) was the send film team-up of Fred Astaire and Gger Rogers and follows the tratg efforts of Amerin dancer Guy Holn (Astaire) to woo an unhappily married woman, Mimi Glossop (Rogers), who's the procs of divorcg her adbeat hband.

THE GAY DIVORCEE

The batn of smashg mil numbers and loopy ic cint The Gay Divorcee is bt exemplified by the film's openg number ("Don't Let It Bother You") at a Paris nightclub floorshow, where a bevy of betiful dam on a rotatg stage make ty lady hand puppets dance chos le synchronizatn. Other dance numbers The Gay Divorcee prove more reprentative of the magic Astaire/Rogers touch. Meant to palize on their succs wh Flyg Down to R (1933), The Gay Divorcee was the first time the team's ne llaboratns that they received top billg after havg only sendary rol R.

THE GAY DIVORCEE

Oddly enough, the amount of time the uple spent actually dancg The Gay Divorcee totals a meager 10 mut. Director Mark Sandrich's film was actually based on a Broadway mil by Dwight Taylor and Cole Porter lled The Gay Divorce which Astaire, Erik Rhos and Eric Blore all appeared. Hollywood's censorship-prone Hays Admistratn sisted that the tle be changed to The Gay Divorcee wh the strange reasong that divorce uld not be a happy.

AFI CATALOG OF FEATURE FILMS THE FIRST 100 YEARS 1893–1993 MOVIE TLE MOVIE TLE SEARCH FOR PEOPLE MOVI BY DIRECTOR MOVI BY PRODUCER MOVI BY CAST MOVI BY RELEASE YEAR MOVI BY PRODUCTN COMPANY MOVI BY GENRE MOVI BY SUBJECT ALL $("")(); $(DOCUMENT)(FUNCTN () { // BUGGER; VAR EDBTN = $("#EDMOVIEBTN"); ("HREF", "/DATACAPTURE/SELECTPROJECT/7108"); VAR ANCHORS = DOCUMENT.QUERYSELECTORALL('A[HREF*="SEARCH"]'); (ANCHORS, FUNCTN (ELEMENT, X) { VAR HREF = ; = HREF.REPLACE(/, +$/, ''); = HREF.REPLACE('%20%26%20', ' %26AMP '); }); VAR RELEASEYEAR = 1934; = 'AFI|CATALOG - ' + $('')('THE GAY DIVORCEE')(); IF ( $(".VIEWIN IMG")("SRC") == "/CONTENT/IMAG/"){ $(".VIEWIN").ADDCLASS("RED-TOOLTIP"); $(".VIEWIN")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); $(".VIEWIN").TOOLTIP({ TLE: 'THIS FILM WAS PARTIALLY VIEWED BY AFI FOR THE SYNOPSIS AND CREDS' }); } IF ( $(".VIEWIN IMG")("SRC") == "/CONTENT/IMAG/"){ $(".VIEWIN").ADDCLASS("RED-TOOLTIP"); $(".VIEWIN")("DATA-TOGGLE","TOOLTIP")("DATA-PLACEMENT","BOTTOM"); 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$(".AWARDAFI")({ TLE: "VIEWED BY AFI: THIS FILM WAS VIEWED S ENTIRETY BY AFI FOR THE SYNOPSIS AND CREDS." }); VAR FULLVIEW; $(".FULLVIEWHEADGS")(); VAR ISPREMIUM = ($("#MOLISPREMIUM")() == "TE"); VAR ISSHOWPOSTER = ($("#MOLISSHOWPOSTER")() == "TE"); VAR ISSHOWVIO = ($("#MOLISSHOWVIO")() == "TE"); IF (ISPREMIUM == TE || ISSHOWPOSTER == TE) { //$(".BLOCKMOVI").ADDCLASS("L-MD-7"); //$(".BLOCKMOVI").REMOVECLASS("L-XS-12"); } ELSE { IF (RELEASEYEAR >= 1994) { $(".BLOCKMOVI").REMOVECLASS("L-LG-8 L-SM-8"); $(".BLOCKMOVI").ADDCLASS("L-LG-12 L-SM-12"); $("#MOVIEDETIALS")("CLASS","L-MD-12"); $("#SEARCH_HEAR").ADDCLASS("SEARCHHEARFULLWIDTH"); // $("#MOVIEDETIALS").ADDCLASS("L-LG-12"); // $(".BANNERIMG-NTAER")("DISPLAY","NONE"); } ELSE { $(".BLOCKMOVI").REMOVECLASS("L-MD-7"); $(".BLOCKMOVI").ADDCLASS("L-LG-12 L-SM-12"); $("#SEARCH_HEAR").ADDCLASS("SEARCHHEARFULLWIDTH"); $("").REMOVECLASS("IMAGEROW"); IF (($(WDOW)() = 1994) { $("")(); $(".SUBHEDAFI")(); $("#DIVMASTERPAGETOP").ADDCLASS("BGPOST93"); $(".PANELSEARCH")("TOP","17PX"); $("")("BACKGROUND-LOR","#263F66"); $("#HEARBACKGROUND").REMOVECLASS("HEARBG"); $("#HEARBACKGROUND").ADDCLASS("HEARBGPOST93"); $("")('ID','HEARBGPOST93'); $(".BLOCKMOVI")('ID','HEARBGPOST93'); $("")("MARG","0"); $(".TABTAIL ")('ID','TABPOST93'); $(", ").ADDCLASS("MOREPOST93"); $("")("RIGHT","33PX"); $("")("ID","ROWPOST93"); $(".BANNERIMG-NTAER")(); $("#MOVIEDETIALS").REMOVECLASS("RULTBG"); $("#MOVIEDETIALS").REMOVECLASS("L-MD-9"); $("#MOVIEDETIALS").ADDCLASS("L-MD-12"); $(".TOPSEARCH")("DISPLAY","NONE"); IF ("VERIFIED" == "STUB RECORD VERIFIED") { $(".FULLVIEW").TRIGGER("CLICK"); } IF (($(WDOW)() 991)) { //$(".BGPOST93")("DISPLAY", "BLOCK"); $(".PANELSEARCH")("TOP", "15PX"); //$("#MOBILSEARCH")({ // 'BACKGROUND': '#263F66', // 'BORR-TOP': '1PX SOLID RGBA(255, 255, 255, 0.41)', // 'BORR-BOTTOM': '1PX SOLID RGBA(255, 255, 255, 0.41)', //}); //$("")("BACKGROUND", "#5388DB"); //$(".CLOSESEARCH")("BACKGROUND", "RED"); //$("#MOBILEARCHIN").ADDCLASS("CP93"); //$(".SEARCHCONTAER").ADDCLASS("P93"); $("")("BORR", "2PX SOLID #FFF"); //$(".SEARCHCONTAER")("TOP", "10PX"); $(".HEADNTAER").REMOVECLASS("BGPOST93HED"); } }, 150); }); } $(DOCUMENT)(FUNCTN (){ VAR TOOLOPTNS2 VAR TOOLOPTNS; VAR ISOS = /IPAD|IPHONE|IPOD/(NAVIGATOR.PLATFORM); VAR ISANDROID = /(ANDROID)/(ERAGENT); ///////////////////////////////////////// IF OS IF (ISOS){ TOOLOPTNS = { ANIMATN: FALSE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; $('').TOOLTIP(TOOLOPTNS); $('')( 'CURSOR', 'POTER' ); $('BODY')("TOUCHSTART", FUNCTN(E){ $("")(FUNCTN () { // HI ANY OPEN TOOLTIPS WHEN THE ANYWHERE ELSE THE BODY IS CLICKED IF (!$(THIS)() && $(THIS)() === 0 && $('.TOOLTIP')() === 0) { $(THIS).TOOLTIP('HI'); }////END IF }); }); ///////////////////////////////////////// IF ANDROID } ELSE IF(ISANDROID){ TOOLOPTNS = { ANIMATN: FALSE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; TOOLOPTNS2 = { ANIMATN: FALSE, PLACEMENT:"LEFT", NTAER:"BODY" }; $('.C_TOOL1').TOOLTIP(TOOLOPTNS); $('.C_TOOL2').TOOLTIP(TOOLOPTNS); $('.C_TOOL3').TOOLTIP(TOOLOPTNS2); ///////////////////////////////////////// IF ANOTHER SYSTEM } ELSE { TOOLOPTNS = { ANIMATN: TE, PLACEMENT:"BOTTOM", NTAER:"BODY" }; $('').TOOLTIP(TOOLOPTNS); }//END IF SYSTEM }); VAR DIVS = $(".LUMNDISPLAY > "); FOR (VAR I = 0; I "); } //IF (($(WDOW)() "); // FOR (VAR I = 0; I "); // VAR IAME = $(".TABVIO >IAME"); // IAME.ADDCLASS("VIOFRAME"); // $(" ")("MARG","0"); // } //} //BUGGER; $(WDOW)(FUNCTN() { IF($(WDOW)() > 414){ $(".WRAPPER > DIV").REMOVECLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").ADDCLASS("L-MD-12") $(".TOPSEARCH").REMOVECLASS("L-SM-12 L-XS-12"); } IF($(WDOW)() DIV").ADDCLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").REMOVECLASS("L-MD-12") $(".TOPSEARCH").ADDCLASS("L-SM-12 L-XS-12"); } }); IF($(WDOW)() > 414){ $(".WRAPPER > DIV").REMOVECLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").ADDCLASS("L-MD-12") $(".TOPSEARCH").REMOVECLASS("L-SM-12 L-XS-12"); } IF($(WDOW)() DIV").ADDCLASS("TABVIO L-SM-4 "); $(".WRAPPER > DIV").REMOVECLASS("L-MD-12") $(".TOPSEARCH").ADDCLASS("L-SM-12 L-XS-12"); } //IF (($(WDOW)() DIV").REMOVECLASS("ROW ROW-EQ-HEIGHT"); // $(".WRAPPER > DIV").CHILDREN()(); // $("#TAB-MENU LI")(FUNCTN(){ // $('#TAB-MENU LI').TOOLTIP({ "DATA-PLACEMENT": 'TOP' }); // }); //} // $("#PREIMUMDETAILS ")('.LISTMOVI:NOT(:FIRST)')(); $(WDOW)(FUNCTN() { VAR WDOWWIDTH = $(THIS)(); IF (($(WDOW)() > 414)) { //$('.LISTMOVI:NTH-CHILD(2), .LISTMOVI:NTH-CHILD(3)')("DISPLAY","NONE"); $(".THUMBNAILS LI:FIRST-CHILD").ADDCLASS("L-XS-3").REMOVECLASS("L-XS-5"); $(".THUMBNAILS LI:NTH-CHILD(2)").ADDCLASS("L-XS-9").REMOVECLASS("L-XS-7"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(1)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(2)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6")("DISPLAY","BLOCK"); } IF (($(WDOW)() 414)) { //$('.LISTMOVI:NTH-CHILD(2), .LISTMOVI:NTH-CHILD(3)')("DISPLAY","NONE"); $(".THUMBNAILS LI:FIRST-CHILD").ADDCLASS("L-XS-3").REMOVECLASS("L-XS-5"); $(".THUMBNAILS LI:NTH-CHILD(2)").ADDCLASS("L-XS-9").REMOVECLASS("L-XS-7"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(1)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6"); $('#PREIMUMDETAILS .LISTMOVI:NTH-CHILD(2)').REMOVECLASS("L-XS-12").ADDCLASS("L-XS-6")("DISPLAY","BLOCK"); } IF (($(WDOW)() = TOTALTABWIDTH - TABSVIEWPORT) { ('').ADDCLASS('IS-END'); } ELSE { ('').REMOVECLASS('IS-END'); } } $('#TAB-MENU #PRTNAV A')(FUNCTN (){ VAR HREF = $('#PRTNAV A')('HREF'); = HREF; //$(HREF)( 'TARGET', '_BLANK' ); }); }); THE GAY DIVORCEE (1934) 107 MS | MIL, ROMANTIC EDY | 19 OCTOBER 1934 CAST: FRED ASTAIRE, GGER ROGERS, ALICE BRADY [ MORE ] DIRECTOR: MARK SANDRICH WRERS: GEE MARN JR., DOROTHY YOST, EDWARD KFMAN CEMATOGRAPHER: DAVID ABEL EDOR: WILLIAM HATON PRODUCTN DIGNERS: VAN NT POLGLASE, CARROLL CLARK PRODUCTN COMPANY: RKO RAD PICTUR, INC. HISTORY DETAILS CREDITS SYNOPSIS GENRE PRT DETAILS FULL PAGE VIEW HISTORY THE MIL THE GAY DIVORCE WAS BASED ON THE UNPRODUCED PLAY AN ADORABLE ADVENTURE BY J. HARTLEY MANNERS. THE WORKG TLE OF THE FILM WAS THE GAY DIVORCE. ACRDG TO A JUL 1934 NYT ARTICLE, RKO CHANGED THE TLE TO AVOID CENSORSHIP PROBLEMS WH THE PCA. MORN SOURC NTEND, HOWEVER, THAT THE TLE CHANGE WAS STIGATED NOT BY THE HAYS OFFICE, BUT BY RKO SELF, WHICH OFFERED FIFTY DOLLARS TO ANY EMPLOYEE WHO ULD E UP WH A BETTER TLE. IN HIS TOBGRAPHY, FRED ASTAIRE CLAIMS THAT DIRECTOR MARK SANDRICH TOLD HIM THAT THE TLE THE GAY DIVORCEE WAS SELECTED BEE THE STUD "THOUGHT WAS A MORE ATTRACTIVE-SOUNDG TLE, CENTERED AROUND A GIRL." MORN SOURC CLAIM THAT STUD EXECUTIV CHANGED THE WORD "DIVORCE" TO "DIVORCEE" BEE, WHILE THEY BELIEVED THAT A DIVORCEE ULD BE GAY, A DIVORCE ULD NOT. THE ORIGAL STAGE TLE WAS RTORED FOR BRISH RELEASE PRTS.       ASTAIRE, ERIK RHOS AND ERIC BLORE APPEARED THE BROADWAY PRODUCTN AND RECREATED THEIR ROL FOR THE FILM. ONLY ONE SONG OM THE STAGE MIL, "NIGHT AND DAY," WAS ED THE FILM. ACRDG TO A MAR 1934 HR NEWS EM, RKO EXECUTIVE PRODUCER PANDRO BERMAN APPROACHED FOX'S ROY DEL RUTH TO DIRECT, BUT REFED TO PAY RUTH'S $40,000 A PICTURE SALARY. A HR NEWS EM ANNOUNCED THAT SANDRICH FILMED SHOTS FOR THE ENGLISH UNTRYSI SCEN CLEAR LAKE, CA, AND RKO PRODUCTN FIL DITE THAT ADDNAL EXTERRS WERE SHOT SANTA MONI AND SANTA BARBARA, CA. ACRDG TO A HR NEWS EM, BRANDON HURST WAS ST ... MORE LS THE MIL THE GAY DIVORCE WAS BASED ON THE UNPRODUCED PLAY AN ADORABLE ADVENTURE BY J. HARTLEY MANNERS. THE WORKG TLE OF THE FILM WAS THE GAY DIVORCE. ACRDG TO A JUL 1934 NYT ARTICLE, RKO CHANGED THE TLE TO AVOID CENSORSHIP PROBLEMS WH THE PCA. MORN SOURC NTEND, HOWEVER, THAT THE TLE CHANGE WAS STIGATED NOT BY THE HAYS OFFICE, BUT BY RKO SELF, WHICH OFFERED FIFTY DOLLARS TO ANY EMPLOYEE WHO ULD E UP WH A BETTER TLE. IN HIS TOBGRAPHY, FRED ASTAIRE CLAIMS THAT DIRECTOR MARK SANDRICH TOLD HIM THAT THE TLE THE GAY DIVORCEE WAS SELECTED BEE THE STUD "THOUGHT WAS A MORE ATTRACTIVE-SOUNDG TLE, CENTERED AROUND A GIRL." MORN SOURC CLAIM THAT STUD EXECUTIV CHANGED THE WORD "DIVORCE" TO "DIVORCEE" BEE, WHILE THEY BELIEVED THAT A DIVORCEE ULD BE GAY, A DIVORCE ULD NOT. THE ORIGAL STAGE TLE WAS RTORED FOR BRISH RELEASE PRTS.       ASTAIRE, ERIK RHOS AND ERIC BLORE APPEARED THE BROADWAY PRODUCTN AND RECREATED THEIR ROL FOR THE FILM. ONLY ONE SONG OM THE STAGE MIL, "NIGHT AND DAY," WAS ED THE FILM. ACRDG TO A MAR 1934 HR NEWS EM, RKO EXECUTIVE PRODUCER PANDRO BERMAN APPROACHED FOX'S ROY DEL RUTH TO DIRECT, BUT REFED TO PAY RUTH'S $40,000 A PICTURE SALARY. A HR NEWS EM ANNOUNCED THAT SANDRICH FILMED SHOTS FOR THE ENGLISH UNTRYSI SCEN CLEAR LAKE, CA, AND RKO PRODUCTN FIL DITE THAT ADDNAL EXTERRS WERE SHOT SANTA MONI AND SANTA BARBARA, CA. ACRDG TO A HR NEWS EM, BRANDON HURST WAS ST THE FILM, BUT HIS PARTICIPATN THE FAL FILM HAS NOT BEEN NFIRMED. ACRDG TO FIL NTAED THE MPAA/PCA FIL AT THE AMPAS LIBRARY, A 22 JUN 1934 LETTER, JAM WGATE, DIRECTOR OF THE STUD RELATNS OFFICE OF THE MPAA/PCA, WARNED BERMAN THAT "NSIRG THE LITE NATURE OF THE SUBJECT UPON WHICH THIS SCRIPT IS RE SHOULD BE TAKEN THE SCEN ALG WH MIMI'S LGERIE, AND... NO TIMATE ARTICLE SHOULD BE ED." WGATE ADD THAT THE WORD -RPONNT SHOULD BE REPLACED WH "SOMETHG LS POTED," AND SISTED THAT NONE OF THE ACTORS APPEAR PAJAMAS THE FILM. IN A 2 JUL 1934 LETTER, WGATE NOTED THAT THE SONG TLE "LET'S K-NOCK K-NE" HAD BEEN REJECTED BY HIS OFFICE AND SUGGTED THAT THE PHRASE ALSO BE LECTED OM THE LYRICS. (IT WASN'T). IN A STUD MEMORANDUM, MIC SOUNDMAN MURRAY SPIVACK ADVISED THE PRODUCERS THAT "DUE TO CENSORSHIP, WAS NECSARY TO CHANGE [THE] LYRICS TO 'LET'S K-NOCK K-NE,'" BUT ADD THAT BEE SONGWRERS MACK GORDON AND HARRY REVEL WERE BY WORKG ON A PRODUCTN AT PARAMOUNT, ANOTHER WRER WOULD HAVE TO BE HIRED TO DO THE REWR. THE INTY OF THE SONGWRER HAS NOT BEEN TERMED, BUT ACRDG TO A 4 AUG 1934 LETTER OM MPAA/PCA DIRECTOR JOSEPH I. BREEN, THE SEND CHOS OF "LET'S K-NOCK K-NE" WAS ALTERED AND APPROVED "OM THE STANDPOT OF THE PRODUCTN CO AND CENSORSHIP." BREEN UTNED A 31 JUL 1934 LETTER THAT "THE SCEN HAVG TO DO WH MIMI'S SKIRT BEG UGHT THE LOCKED TNK SHOULD ALL BE HANDLED WH GREAT RE TO AVOID ANY OBJECTNABLE EXPOSURE OF HER PERSON." CON CONRAD AND HERB MAGIDSON WON THE FIRST AMY AWARD FOR BT SONG FOR THEIR POSN "THE CONTENTAL." (THE SONG "THE CAR," WHICH WAS THE BIG ASTAIRE-ROGERS NUMBER OF RKO'S 1933 MIL FLYG DOWN TO R, WAS ALSO CLUD THE BALLOTG.) THE FILM WAS NOMATED AS BT PICTURE BUT LOST TO COLUMBIA'S IT HAPPENED ONE NIGHT. OTHER AMY AWARD NOMATNS CLUD BT ART DIRECTN (VAN NT POLGLASE AND CARROLL CLARK), BT SRE (MAX STEER) AND BT SOUND RERDG (CARL DREHER, HEAD OF RKO'S SOUND PARTMENT).       MORN SOURC ADD THE FOLLOWG RMATN ABOUT THE PRODUCTN: AFTER THE SUCCS OF FLYG DOWN TO R, THE FIRST RKO FILM TO TEAM ROGERS AND ASTAIRE, THE STUD PLANNED A FOLLOW-UP FILM, WHICH ROGERS AND ASTAIRE WOULD BE THE STARS, LLED RAD CY REVELS. WHEN RKO'S ACTG PRODUCTN HEAD, PANDRO BERMAN, SUGGTED THAT THE GAY DIVORCE, THEN A H PLAY ON BROADWAY, BE ED AS A FOLLOW-UP TO RAD CY REVELS, LOU BROCK, WHO HAD PRODUCED FLYG DOWN TO R AND WAS SLATED TO PRODUCE THE FOLLOW-UP PICTUR, RIDICULED THE IA. ALTHOUGH BROCK DISLIKED THE PLAY AND S LIBRETTO, WHICH HE THOUGHT WAS ANTEQUATED, BERMAN WENT AHEAD AND PURCHASED THE SCREEN RIGHTS FOR $20,000 AFTER SEEG THE PLAY LONDON. PLANS FOR RAD CY REVELS WERE EVENTUALLY DROPPED, AND BROCK WENT ON TO PRODUCE ANOTHER FILM, DOWN TO THEIR LAST YACHT, WHICH HAD BEEN NSIRED BRIEFLY AS A REPLACEMENT FOR RAD CY REVELS. (IN 1938, RKO MA A FILM LLED RAD CY REVELS, BUT THAT FILM HAD NO NNECTN TO THE ASTAIRE-ROGERS PROJECT.) AFTER BERMAN CHOSE TO PRODUCE THE GAY DIVORCE HIMSELF, HE ASKED COLE PORTER TO WRE NEW SONGS FOR THE FILM BUT WAS TURNED DOWN. BERMAN HIRED MARK SANDRICH AND THEN ASSIGNED ZN MYERS, SANDRICH'S , TO SUPERVISE THE PRODUCTN. BEFORE FLYG DOWN TO R HAD TABLISHED SELF AS A H, RKO NSIRED HIRG CLAIRE LUCE, ASTAIRE'S STAGE -STAR, TO APPEAR AS "MIMI" THE FILM. WHEN ASTAIRE BALKED AT THE IA OF STG ROGERS, WHO HE FELT WOULD NOT BE RIGHT PLAYG THE REFED ENGLISH WOMAN OF THE STAGE SHOW, BERMAN SUPPOSEDLY OFFERED HIM TEN PERCENT OF THE FILM'S PROFS AS CENTIVE TO NCE. THE STUD ORIGALLY WANTED HELEN BRORICK TO PLAY "HORTENSE," BUT THE ACTRS WAS UNAVAILABLE FOR THE PART.       ACRDG TO ASTAIRE'S TOBGRAPHY, THE ST "REHEARSED FOR ABOUT SIX WEEKS ON THE DANCE ROUT, THOSE TRICKY ON LIKE 'NIGHT AND DAY' AND THE TABLE DANCE I BROUGHT OM THE STAGE SHOW." (ASTAIRE AT ONE POT WANTED TO DROP THE "NIGHT AND DAY" NUMBER OM THE FILM BEE HE FELT THE SONG HAD BEEN OVEREXPOSED.) CHOREOGRAPHER HERM PAN ACTED AS A LIAISON BETWEEN ASTAIRE, WHO WAS ADAPTG HIS STAGE CHOREOGRAPHY, AND CREDED CHOREOGRAPHER DAVE GOULD. WHILE PAN PLANNED THE MAJORY OF THE GROUP CHOREOGRAPHY FOR THE FILM, GOULD WORKED ON THE CEMATIC ASPECTS OF THE DANCG, PLANNG MERA ANGL AND CREATG THE LOOK OF THE CHOREOGRAPHY. AS PART OF THE FILM'S PROMOTN, RKO ANIZED "CONTENTAL" MONSTRATNS AND PARTI AND ENURAGED DANCG STCTORS AND BALLROOMS TO TEACH AND HIGHLIGHT THE DANCE. ALTHOUGH THE FILM WAS A SUCCS, "THE CONTENTAL" FAILED TO TCH ON AS A POPULAR DANCE. HOWEVER, POLGLASE AND CLARK'S SET SIGN THE "CONTENTAL" SEQUENCE REPORTEDLY ED AN CREASE THE SAL OF VEIAN BLDS.       MORN SOURC CRED BEN HOLM AS DIALOGUE DIRECTOR, HAL BORNE AS ASTAIRE'S REHEARSAL PIANIST, MEL BERNS AS MAKP ARTIST AND ELIZABETH MCGAFFEY AS REARCHER. IN ADDN, MORN SOURC CRED ACTORS GEE DAVIS AND ALPHONSE MARTEL AS FRENCH WAERS. FOR MORE RMATN ABOUT THE ASTAIRE-ROGERS RKO FILMS, SEE ENTRY FOR TOP HAT. LS GEOGRAPHIC LOCATIONS LOCATION CLEAR LAKE CALIFORNIA UNED STAT SANTA MONI CALIFORNIA UNED STAT SANTA BARBARA CALIFORNIA UNED STAT PERSONAL & COMPANY INDEX CREDITS CREDIT PANDRO S. BERMAN HISTORY CREDITS CREDIT TYPE CREDIT GENERAL (MOD): DR. JAM WGATE JOSEPH I. BREEN HELEN BRORICK CLAIRE LUCE LOU BROCK ROY DEL RUTH BEN HOLM ELIZABETH MCGAFFEY MEL BERNS HAL BORNE GEE DAVIS ALPHONSE MARTEL LERARY NOTE CRED: J. HARTLEY MANNERS PERSONAL NOTE CRED: BRANDON HURST SOURCE CITATIONS SOURCE DATE PAGE DAILY VARIETY 29 JUN 1934 P. 7 DAILY VARIETY 14 AUG 1934 P. 6 FILM DAILY 3 OCT 1934 P. 10 HOLLYWOOD REPORTER 28 MAR 1934 P. 2 HOLLYWOOD REPORTER 28 JUN 1934 P. 3 HOLLYWOOD REPORTER 30 JUN 1934 P. 4 HOLLYWOOD REPORTER 5 JUL 1934 P. 1 HOLLYWOOD REPORTER 6 JUL 1934 P. 4 HOLLYWOOD REPORTER 10 JUL 1934 P. 7 HOLLYWOOD REPORTER 3 AUG 1934 P. 14 HOLLYWOOD REPORTER 9 AUG 1934 P. 7 HOLLYWOOD REPORTER 20 AUG 1934 P. 8 HOLLYWOOD REPORTER 4 SEP 1934 P. 2 HOLLYWOOD REPORTER 1 OCT 1934 P. 3 HOLLYWOOD REPORTER 2 OCT 1934 PP. 3-14 INTERNATNAL PHOTOGRAPHER 1 AUG 1934 P. 7 MOTN PICTURE DAILY 3 OCT 1934 P. 6 MOTN PICTURE HERALD 13 OCT 1934 PP. 60-64 NEW YORK TIM 15-JUL-34 --- NEW YORK TIM 16 NOV 1934 P. 27 VARIETY 20 NOV 1934 P. 15 CAST NAME CREDITED AS CREDIT FRED ASTAIRE GUY HOLN GGER ROGERS MIMI [GLOSSOP] ALICE BRADY [AUNT] HORTENSE EDWARD EVERETT HORTON EGBERT ["PKY" FZGERALD] ERIK RHOS [RODOLFO] TOTI ERIC BLORE THE WAER WILLIAM AT CYRIL GLOSSOP CHARL COLEMAN THE VALET LILLIAN MIL GUT BETTY GRABLE GUT/ PERFORMER "LET'S K-NOCK K-NE" NUMBER + &M; NAME CREDITED AS CREDIT FRED ASTAIRE GUY HOLN GGER ROGERS MIMI [GLOSSOP] ALICE BRADY [AUNT] HORTENSE EDWARD EVERETT HORTON EGBERT ["PKY" FZGERALD] ERIK RHOS [RODOLFO] TOTI ERIC BLORE THE WAER WILLIAM AT CYRIL GLOSSOP CHARL COLEMAN THE VALET LILLIAN MIL GUT BETTY GRABLE GUT/ PERFORMER "LET'S K-NOCK K-NE" NUMBER CHARL DUNBAR WAER FRANK MILLS WAER WILLIAM WANGER WAER J. G. MACMAHON J. G. MCMAHON WAER JACK GRANT PORTER CY CLEGG PORTER CHARL HALL MSENGER E. E. CLIVE CHIEF SPECTOR CYRIL THORNTON SEND SPECTOR LLIE GOODWS L GOODWS BAGGAGE MAN RONNIE RONLL BCE WYNDHAM TED OLIVER ART JARRETT FIS BARTON SONNY RAY SYDNEY JARVIS SIDNEY JARVIS FLO WICKS NORMAN ASLEY JIMMY AUBREY + &M; PRODUCTION CREDITS NAME PARENT COMPANY PRODUCTION COMPANY RKO RAD PICTUR, INC. PRODUCTION TEXT A PANDRO S. BERMAN PRODUCTN DISTRIBUTION COMPANY RKO RAD PICTUR, INC. NAME CREDITED AS CREDIT DIRECTORS MARK SANDRICH DIR ARGYLE NELSON ASST DIR RAY LISSNER 2ND ASST DIR IVAN THOMAS 2ND ASST DIR PRODUCER ZN MYERS PROD ASSOC WRITERS GEE MARN JR. SCR DOROTHY YOST SCR EDWARD KFMAN SCR H. W. HANEMANN CONTR TO DIAL STANLEY RH CONTR TO DIAL ROBERT BENCHLEY CONTR TO DIAL PHOTOGRAPHY DAVID ABEL PHOTOG JOSEPH BIROC CAM OP WILLARD BARTH ASST M CLIFFORD STE ASST M BILL WILLIAMS COOPERATED ON PHOTOG VERNON L. WALKER VERNON WALKER SPEC EFF ART DIRECTORS VAN NT POLGLASE ART DIR CARROLL CLARK ART DIR FILM EDITOR WILLIAM HATON ED COSTUMES WALTER PLUNKETT COST CLAIRE CRAMER WARD MUSIC MAX STEER M DIR SOUND HUGH MCDOWELL JR. REC MURRAY SPIVACK M REC PHILIP FLKNER P. J. FLKNER JR. M REC DANCE HERM PAN DANCE DIR DAVE GOULD DANCE ENSEMBLE STAGED BY PRODUCTION MISC PETER CROFT TECH DIR J. R. CRONE PROD MGR TDY WELLMAN SCR CLERK JAM VIANNA ELEC JIM DAVIS GRIP THOMAS LTLE PROPS BILL HAMBERRY PROJECTNIST FRED HENDRICKSON STILL PHOTOG STAND INS HARRY CORNBLETH STAND- FOR FRED ASTAIRE MARIE OSBORNE STAND- FOR GGER ROGERS MALE WILSON STAND- FOR ALICE BRADY SOURCES LITERARY BASED ON THE MIL THE GAY DIVORCE , BOOK BY DWIGHT TAYLOR, MIL ADAPTATN BY KENH WEBB AND SAMUEL HOFFENSTE, MIC AND LYRICS BY COLE PORTER (NEW YORK, 29 NOV 1932). LITERARY SOURCE AUTHORS COLE PORTER DWIGHT TAYLOR KENH WEBB + &M; LITERARY SOURCE AUTHORS SAMUEL HOFFENSTE COLE PORTER DWIGHT TAYLOR KENH WEBB + &M; SONGS "NIGHT AND DAY," MIC AND LYRICS BY COLE PORTER; "DON'T LET IT BOTHER YOU" AND "LET'S K-NOCK K-NE," MIC AND LYRICS BY MACK GORDON AND HARRY REVEL; "A NEEDLE A HAYSTACK" AND "THE CONTENTAL," MIC AND LYRICS BY CON CONRAD AND HERB MAGIDSON. SONGWRITERS/COMPOSERS HERB MAGIDSON CON CONRAD HARRY REVEL + &M; SONGWRITERS/COMPOSERS CON CONRAD MACK GORDON HERB MAGIDSON COLE PORTER HARRY REVEL + &M; DETAILS RELEASE DATE: 19 OCTOBER 1934 PRODUCTN DATE: 28 JUN--13 AUG 1934; RETAK BEGAN 1 SEP 1934 COPYRIGHT INFO CLAIMANT DATE COPYRIGHT NUMBER RKO-RAD PICTUR, INC. 11 OCTOBER 1934 LP5063 PHYSIL PROPERTI: SOUND RCA VICTOR SYSTEM BLACK AND WHE DURATN( MS): 107 LENGTH( REELS): 13 COUNTRY: UNED STAT PCA NO: 282 SYNOPSIS AFTER PASSG THROUGH PARIS, POPULAR AMERIN DANCER GUY HOLN AND HIS BT IEND, ENGLISH LAWYER EGBERT "PKY" FZGERALD, LAND LONDON FOR THE FAL LEG OF THEIR VATN. WHILE WAG AT THE LONDON DOCKS, GUY SE PRETTY AMERIN MIMI GLOSSOP STGGLG WH HER DRS, WHICH IS SNAGGED ONE OF HER NT HORTENSE'S TNKS, AND OFFERS HIS HELP. IN HIS HASTE TO EE MIMI, GUY PULLS TOO HARD AND SPLS THE BACK OF THE DRS. ALTHOUGH FUR AT GUY, MIMI ACCEPTS HIS AT AND HIS LLG RD, THEN STORMS AWAY WHOUT REVEALG HER NAME OR ADDRS. SOON AFTER, MIMI RETURNS THE AT ANONYMOLY THROUGH A HOTEL BELLBOY, FURTHER TRATG GUY, WHO IS NOW MADLY LOVE WH HER. THE SPERATE GUY DRIV THE STREETS OF LONDON SEARCH OF MIMI AND BY CHANCE CRASH TO THE BACK OF HER R. MIMI TAK OFF, BUT GUY PURSU AND EVENTUALLY RNERS HER A PARK. AFTER HE PROPOS TO HER, MIMI TELLS GUY SHE NNOT SEE HIM AGA, BUT ACCEPTS HIS TELEPHONE NUMBER AND PROMIS TO LL. LATER, HORTENSE, WHO WAS ONCE ENGAGED TO EGBERT, BRGS THE UNHAPPILY MARRIED MIMI TO EGBERT'S LAW OFFIC TO DISCS DIVORCE PROCEEDGS. APPRISED THAT MIMI'S HBAND CYRIL, A NEGLECTFUL ENGLISH GEOLOGIST, HAS REFED TO GRANT MIMI A DIVORCE, EGBERT ADVIS THAT A PROFSNAL -RPONNT BE HIRED. UNAWARE THAT MIMI IS THE OBJECT OF GUY'S OBSSN, EGBERT THEN NVC HIS LOVICK IEND TO ACPANY HIM TO THE SEASI RORT, BRIGHTBOURNE, WHERE THE -RPONNT IS TO RENZVO WH MIMI. IN BRIGHTBOURNE, EGBERT MEETS RODOLFO TOTI, THE FOPPISH ITALIAN -RPONNT, AND TELLS HIM THAT HIS "PASSWORD" WH MIMI WILL ... MORE LS AFTER PASSG THROUGH PARIS, POPULAR AMERIN DANCER GUY HOLN AND HIS BT IEND, ENGLISH LAWYER EGBERT "PKY" FZGERALD, LAND LONDON FOR THE FAL LEG OF THEIR VATN. WHILE WAG AT THE LONDON DOCKS, GUY SE PRETTY AMERIN MIMI GLOSSOP STGGLG WH HER DRS, WHICH IS SNAGGED ONE OF HER NT HORTENSE'S TNKS, AND OFFERS HIS HELP. IN HIS HASTE TO EE MIMI, GUY PULLS TOO HARD AND SPLS THE BACK OF THE DRS. ALTHOUGH FUR AT GUY, MIMI ACCEPTS HIS AT AND HIS LLG RD, THEN STORMS AWAY WHOUT REVEALG HER NAME OR ADDRS. SOON AFTER, MIMI RETURNS THE AT ANONYMOLY THROUGH A HOTEL BELLBOY, FURTHER TRATG GUY, WHO IS NOW MADLY LOVE WH HER. THE SPERATE GUY DRIV THE STREETS OF LONDON SEARCH OF MIMI AND BY CHANCE CRASH TO THE BACK OF HER R. MIMI TAK OFF, BUT GUY PURSU AND EVENTUALLY RNERS HER A PARK. AFTER HE PROPOS TO HER, MIMI TELLS GUY SHE NNOT SEE HIM AGA, BUT ACCEPTS HIS TELEPHONE NUMBER AND PROMIS TO LL. LATER, HORTENSE, WHO WAS ONCE ENGAGED TO EGBERT, BRGS THE UNHAPPILY MARRIED MIMI TO EGBERT'S LAW OFFIC TO DISCS DIVORCE PROCEEDGS. APPRISED THAT MIMI'S HBAND CYRIL, A NEGLECTFUL ENGLISH GEOLOGIST, HAS REFED TO GRANT MIMI A DIVORCE, EGBERT ADVIS THAT A PROFSNAL -RPONNT BE HIRED. UNAWARE THAT MIMI IS THE OBJECT OF GUY'S OBSSN, EGBERT THEN NVC HIS LOVICK IEND TO ACPANY HIM TO THE SEASI RORT, BRIGHTBOURNE, WHERE THE -RPONNT IS TO RENZVO WH MIMI. IN BRIGHTBOURNE, EGBERT MEETS RODOLFO TOTI, THE FOPPISH ITALIAN -RPONNT, AND TELLS HIM THAT HIS "PASSWORD" WH MIMI WILL BE "CHANCE IS THE FOOL'S NAME FOR FATE," A LE SPOKEN EARLIER BY GUY. THAT NIGHT, WHILE TOTI SEARCH THE HOTEL FOR HIS LIAISON, WHOM HE HAS NEVER SEEN, GUY SPOTS MIMI THE HOTEL RTRANT AND IMMEDIATELY RUM HIS ROMANCG. HOWEVER, WHEN GUY THEN SUALLY UTTERS HIS LE ABOUT FATE, MIMI ASSUM THAT HE IS HER -RPONNT AND GROWS STANTLY LD TOWARD HIM. ALTHOUGH NFED BY MIMI'S SUDN HOSTILY, GUY AGRE TO E TO HER HOTEL ROOM AT MIDNIGHT AND THERE DO HIS BT TO FLIRT WH HER. EGBERT, MEANWHILE, FALLY NNECTS WH A BEMED TOTI AND DIRECTS HIM TO THE RRECT ROOM, WHILE HORTENSE PULLS MIMI ASI AND RMS HER THAT HER ASSSMENT OF GUY IS MISTAKEN. AFTER TOTI ENTERS HER ROOM, GUY MANDS AN EXPLANATN OM MIMI, WHO FALLY NFS HER MISSN. EGBERT AND HORTENSE THEN SH BACK TO LONDON TO SECURE THE NEED TECTIV, AND MIMI NVC GUY TO GO ALONG WH THE SCHEME AND ACCEPT TOTI'S PRENCE. DEFYG TOTI'S ORRS TO STAY THE ROOM, MIMI AND GUY SNEAK OFF, G THE SHADOWS OF PAPER DOLLS TO MAKE HIM BELIEVE THAT THEY ARE STILL THERE, AND PURSUE THEIR ROMANCE ON THE HOTEL DANCE FLOOR. THE NEXT MORNG, HORTENSE AND EGBERT, HAVG BEEN UNABLE TO FD TECTIV, BRG CYRIL TO THE HOTEL. ALTHOUGH AT FIRST FIANT AND UNYIELDG, CYRIL GIV TO MIMI'S DIVORCE MANDS WHEN A HOTEL WAER UNWTGLY REVEALS TO THE GROUP THAT HE HAD MET CYRIL UNR A DIFFERENT NAME AND WH A DIFFERENT "WIFE" TOW. WHILE MIMI AND GUY CELEBRATE HER IMPENDG EEDOM, HORTENSE AND EGBERT ANNOUNCE THAT THEY WERE MARRIED ON THE TRA OM LONDON. LS GENRE GENR: MIL, ROMANTIC EDY SUBJECT SUBJECT (MAJOR): AMERINS FOREIGN UNTRI CO-RPONNTS DANCERS DIVORCE ENGLAND ROMANCE SUBJECT (MOR): AUNTS AUTOMOBILE CHAS CLOTH DOCKS FOPS GEOLOGISTS HOTEL BELLMEN HOTELS ITALIANS LAWYERS LONDON (ENGLAND) MISTAKEN INTY PARIS (FRANCE) PROPOSALS (MARAL) RORTS RTRANTS VATNS WAERS FROM AFI'S 100 YEARS LISTS... SHALL WE DANCE (1937) TOP HAT (1935) HOLIDAY INN (1942) SHOW BOAT (1936) THE THIN MAN (1934) 42ND STREET (1933) CAPTAINS COURAGEOUS (1937) KING KONG (1933) MODERN TIMES (1936) THE BIG BROADCAST OF 1938 (1938) LEGEND VIEWED BY AFI PARTIALLY VIEWED OFFSCREEN CRED NAME OCCURS BEFORE TLE AFI LIFE ACHIEVEMENT AWARD DONATE AFI CATALOG.">TOP SEARCHES

Consired one of the bt Deprsn-era mils, The Gay Divorcee was nomated for a slew of Amy Awards and won the first Bt Song Osr® for that tchy tune, "The Contental. A publicy stunt for The Gay Divorcee which RKO anized "Contental" monstratns and parti never really helped the dance tch on, but one thg that extravagant number did start a fad.

THE GAY DIVORCEE

mil play The Gay Divorce by Dwight Taylor and Cole Porter.

The Gay Divorcee - The Gay Divorcee. The origal movie on which this mil was based was lled "The Gay Divorce", but bee of problems arisg om the sensor, was renamed "The Gay Divorcee" (one 'e' add) for the silver screen. The mil The Gay Divorce was based on the unproduced play An Adorable Adventure by J.

THE GAY DIVORCEE (1934) REVIEW, WH GGER ROGERS AND FRED ASTAIRE

The workg tle of the film was The Gay Divorce. In his tobgraphy, Fred Astaire claims that director Mark Sandrich told him that the tle The Gay Divorcee was selected bee the stud "thought was a more attractive-soundg tle, centered around a girl.

" Morn sourc claim that stud executiv changed the word "divorce" to "divorcee" bee, while they believed that a divorcee uld be gay, a divorce uld not.

When RKO's actg productn head, Pandro Berman, suggted that The Gay Divorce, then a h play on Broadway, be ed as a follow-up to Rad Cy Revels, Lou Brock, who had produced Flyg Down to R and was slated to produce the follow-up pictur, ridiculed the ia. ) After Berman chose to produce The Gay Divorce himself, he asked Cole Porter to wre new songs for the film but was turned down. (mil play "Gay Divorce") (uncreded).

THE GAY DIVORCEE

The Gay Divorcee Photos. The Gay Divorcee (1934).

News & Interviews for The Gay Divorcee. Cric Reviews for The Gay Divorcee. Audience Reviews for The Gay Divorcee.

"The Gay Divorcee" left a se on my face which few pictur today do.

GAY DIVORCEE, THE (1934) - (MOVIE CLIP) NIGHT AND DAY

Somehow, "The Gay Divorcée" is one of their bt llaboratn.

After their h dancg of the "Car" "Flyg Down the R, " RKO gave the teamg of Fred Astaire and Gger Rogers a star role "The Gay Divorcée" 1934. "The Gay Divorcée" was based on a Broadway mil (of which the only number retaed is "Night and Day") and appears that a few of s plot vic were adopted later Astaire-Rogers films as well.

The Gay Divorcée is the answer to the trivia qutn of which of Fred Astaire's and Gger Rogers's is one that Fred Astaire had prevly done on Broadway.

THE GAY DIVORCEE (1934)

When Astaire did on Broadway, the Cole Porter mil had been entled The Gay Divorce. Only The Gay Divorcée was he asked to repeat a stage basic plot is still the same, the ual Astaire-Rogers se of mistaken inty. It's what The Gay Divorcée is remembered for today.

It's a rather long, between ten and fifteen mut of screen time, but as magil as everThe Gay Divorce ran for 248 performanc on Broadway durg the 1932- 1933 season. Even before The Co was place, seemed that the powers that be emed that his work was way too sophistited and nghty to be seen and heard as wh the film beg othy romance stead of social mentary, The Gay Divorcée is still great entertament. Hartley Manners' play 'The Gay Divorce'.

' THE GAY DIVORCEE,' WH FRED ASTAIRE AND GGER ROGERS, AT THE MIC HALL -- 'REDHEAD.'

The Hays Office sisted on shovg an 'e' on the end, for how uld a divorce be so triflg as to be gay? Keepg jt one song om Cole Porter's origal sre, the timels 'Night and Day', and addg only four others, The Gay Divorcée is more a edy wh songs than is a mil edy. The Gay Divorce.

GAY DIVORCEE, THE (1934) - (MOVIE CLIP) THE CONTENTAL

That is the se wh The Gay Divorcée and Fred and Gger's other films too, if you want great pism they provi that. In regard to Fred and Gger's films, The Gay Divorcée is one of their bt, personal rankg would be third place behd Top Hat and Swg Time(wh Top Hat gettg the edge, Follow the Fleet and Shall We Dance are extremely good too).

The Gay Divorcée, if not que so much as Swg Time, is a betiful-lookg film, the sets are genly lightful wh the standout beg the Brighton and the photography shows great technil skill and sensivy. Lookg at THE GAY DIVORCEE through the lens of 85 years, I n see flaws wh .

THEATRIL TRAILER - THE GAY DIVORCEE

There's the basic stcture of Astaire urtg Miss Rogers through a set of danc, while between there are jok and pulled fac and Edward Everett Horton dog several hundred double tak per mute as everyone's straight 's based on Astaire's stage succs The Gay Divorce. "The Gay Divorcée" (RKO Rad, 1934), directed by Mark Sandrich, rn the supportg young uple who supplied the "edy relief" and very ltle dancg to the prev year's succs of FLYING DOWN TO RIO (RKO, 1933).

While sentially a filmed staged play, "The Gay Dibvorcee" do break away om drawg room settgs wh a r chase and brief street scenery.