80
Metascore
12 reviews · Provided by Metacritic.com
- 100Entertainment WeeklyEntertainment WeeklyThe repartee is sharp, the plot is delightfully ridiculous, and the numbers — like ”Night and Day” and the epic Oscar winner ”The Continental” — are knockouts.
- 88LarsenOnFilmJosh LarsenLarsenOnFilmJosh LarsenBy 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.
- 80TV Guide MagazineTV Guide MagazineOne of the best examples of Depression-era musicals.
- 80Chicago ReaderChicago ReaderFred 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."
- 80The New YorkerPauline KaelThe New YorkerPauline KaelThe 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.
- Like the carefree team of Rogers and Astaire, The Gay Divorcee is gay in its mood and smart in its approach.
- 70Time OutTime OutHaving 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.
- 70Los Angeles TimesLos Angeles TimesIt is the fancy, frenetic and ethereal footwork of Astaire and Rogers that propel this frothy romance. [22 Oct 2006, p.E14]
- 60EmpireDavid ParkinsonEmpireDavid ParkinsonThe 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.