Critic Reviews
80
Metascore
Generally Favorable
positive
11(92%)
mixed
1(8%)
negative
0(0%)
Showing 12 Critic Reviews
100
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.
100
The movie is full of endearing grace notes. [11 Oct 2009, p.24]
90
All through the picture there's charm, romance, gaiety and eclat.
88
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.
80
One of the best examples of Depression-era musicals.
80
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."
80
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.
75
First of the classic Fred and Ginger plots. [03 Nov 2006, p.C5]
70
Like the carefree team of Rogers and Astaire, The Gay Divorcee is gay in its mood and smart in its approach.
70
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.
