The Gay Divorcee
RKO Radio Pictures | Release Date: October 12, 1934 CRITIC SCORE DISTRIBUTION
80
METASCORE
Generally favorable reviews based on 12 Critic Reviews
Positive:
11
Mixed:
1
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
88
LarsenOnFilmJosh Larsen
By far the highlight is Astaire and Rogers’ impossibly fluid routine to Cole Porter’s “Night and Day,” in which even that formidable song knows its place and quiets down for a portion of their dance. The two are so elegantly in sync that the ill-fitting conventions of The Gay Divorcee simply melt away. Read full review
70
The New York TimesAndre Sennwald
Like the carefree team of Rogers and Astaire, The Gay Divorcee is gay in its mood and smart in its approach. Read full review
70
Time OutStaff (Not Credited)
Having insured Fred's legs for the equivalent of £200,000, RKO producer Pandro S Berman launched the Astaire-Rogers musicals with this extensive revamp of Cole Porter's famous stage show. Read full review
80
TV Guide MagazineStaff (Not Credited)
One of the best examples of Depression-era musicals. Read full review
90
VarietyStaff (Not Credited)
All through the picture there's charm, romance, gaiety and eclat. Read full review
80
Chicago ReaderDon Druker
Fred Astaire and Ginger Rogers were first teamed in Flying Down to Rio, but this 1934 feature was their first effort together as stars—and it worked beautifully, with great Cole Porter songs like "Night and Day," and Con Conrad and Herb Magidson's "The Continental." Read full review
60
EmpireDavid Parkinson
The second outing for Fred and Ginger which cemented their partnership can be irritating in it's romantic machinations but the Astaire flair is always winning. Read full review
100
Entertainment WeeklyGregory Kirschling
The repartee is sharp, the plot is delightfully ridiculous, and the numbers — like ”Night and Day” and the epic Oscar winner ”The Continental” — are knockouts. Read full review
80
The New YorkerPauline Kael
The plot is trivial French farce (about mistaken identities), but the dances are among the wittiest and the most lyrical expressions of American romanticism on the screen.
70
Los Angeles TimesSusan King
It is the fancy, frenetic and ethereal footwork of Astaire and Rogers that propel this frothy romance. [22 Oct 2006, p.E14]
100
Washington PostGary Arnold
The movie is full of endearing grace notes. [11 Oct 2009, p.24]
75
Chicago TribuneMichael Wilmington
First of the classic Fred and Ginger plots. [03 Nov 2006, p.C5]
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