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Miercoles, Febrero 3rd, 2010
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THE Elated DIVORCE had been perhaps the most valuable stage musical of Fred Astaire’s Broadway career. Though out the 1920s, he had been the lesser half of the most eminent dance team in American entertainment: Adele and Fred Astaire. Fred’s sister, an enormously gifted droll dancer, had been the center of the act throughout their career, but when she retired to marry English royalty, Fred was placed in the status of needing to reinvent himself and catch his career. Somewhat unexpectedly, Fred’s spacious success in THE Contented DIVORCE established him not fair as a funny dancer, but as a romantic one as well. An offer by Hollywood to advance and remake the stage success as a film was celebrated.
Fred arrived in Hollywood, but his studio, RKO cast him in FLYING TO RIO before beginning THE Gratified DIVORCE. Although he was fifth billed and the third billed male, his dance numbers with a contract dancer RKO had impartial obtained from Warner Brothers, Ginger Rogers, were the hit of the film. Against his wishes, RKO suggested casting Rogers in THE Pleased DIVORCE because of their success as a team in FLYING TO RIO. That was what Fred was alarmed of: a team. He had objective managed to crash free from being notion of as the lesser half of Adele and Fred, and he was hesitant about a recent partner. But RKO won out and, as they say, history was made.
THE Delighted DIVORCE was fast redubbed THE Blissful DIVORCEE (the Hays office objecting that divorces could not be joyful but were instead always sorrowful affairs, although a divorcee could be) . Fred was given nearly complete artistic control of his dance numbers, and instead of the highly choreographed numbers popularized by Busby Berkeley at Warner Brothers, Fred argued for filming his scenes with cameras unprejudiced barely above ground level, and as conclude to one shot as was possible. The result was an emphasis not on visual pyrotechnics, but on the intimacy and emotions in the dance.
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The results were resplendent. Although most of the songs from the stage musical were jettisoned, the greatest was kept, and in many ways it remains one of the mythic numbers in the history of musical cinema: Cole Porter’s “Night and Day.” The number defined for all time what Fred and Ginger were all about. Until this moment in the film, Fred had been futilely chasing Ginger, only to be rebuffed time and again. But once he begins to enlighten “Night and Day” she begins to have a twinge of interest. And once he grabs her arm and begins to dance with her, we manage to study one of the tremendous seduction scenes in the movies. At the beginning of the song, she mild has no interest in him; at the waste of the dance, they are in worship. Although Ginger was never Fred’s equal as a dancer, she was fantastic in the manner in which she could retort emotionally to him in their dancing. Their dancing is so very nearly like love-making that we are not at all surprised that as the dance ends, and Fred’s gently spins and lowers Ginger onto a couch, he rocks wait on on his heels, reaches into his jacket, and pulls out his cigarette and offers one to her. It is as perfect a moment as exists in film.
THE Jubilant DIVORCEE succeeds primarily because of Fred and Ginger’s astounding magic together, but it is also a delight because of the incredible comedic cast. Erik Rhodes, a native of Tulsa, Oklahoma, had only two valuable roles, both times as an Italian in two classic Astaire-Rogers films. In this film and in TOP HAT, he manages to choose nearly every scene he is in. Edward Everett Horton and Eric Blore both were so perfect in their roles that they reappeared in several other Astaire-Rogers films. Alice Brady brings her classic insanity to the film.
The film, of course, achieved Fred Astaire’s worst fears, and gave him a unusual partner. But given the amazing success of Astaire and Rogers, I don’t deem anyone believes that this was in any sense an depressed turn of events.
Fred Astaire plays a dnacer returning to England from a slip abroad. In the Customs shed he meets Ginger Rogers in an embarassing jam. He tries to fetch out who she is, but she refuses to allege him, and he spends ages searching London for her until he finally tracks her down and begins to awaken her interest. Ginger goes down to Brighton with her friend dithery much-married Alice Brady, and Astaire and his dithery lawyer friend Edward Everett Horton go in pursuit. Ginger has gone to Brighton to try and salvage a divorce, she intends to utilize the night with a professional co-respondent. Somthing Astaire says makes her consider he is the co-respondent, which puts her just off him. Fortunately the proper co-respondent, a small Italian, turns up (”your wife is capable with Tonetti,he hold spaghetti”) and the mystery is sorted out. But what will happen when Ginger’s husband arrives the next morning? will she regain her divorce. This is a unbelievable film, with a laughable but extremley amusing position, and some astounding dialogue, particularly between Horton and Brady, who somehow manage to kill up married to each other, worthy to their surprise. An absolutely delectable film.
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