ohrobbybaby:

Fred Astaire in “The Gay Divorcee” (1934)

astairical:

Fred Astaire in The Gay Divorcee (1934).

haroldlloyds:

Songs Introduced by Fred Astaire

Night And Day (1932) - Cole Porter 

Written for the musical play The Gay Divorce, the song was first introduced by Astaire on stage in 1932, and his recording went to number one on the chart. Here he performs it in the 1934 film version retitled The Gay Divorcee, his first starring picture with Ginger Rogers. It became one of Astaire’s signature songs and is arguably Cole Porter’s most popular contribution to The Great American Songbook. The song has been re-recorded by numerous artists since it’s release. 

"The best way to hear a song is to hear Fred Astaire sing it." - Liza Minnelli

astairical:

The Gay Divorcee (1934).

astairical:

Fred Astaire and Ginger Rogers, 1930’s. (x)

The Gay Divorcee + Aunt Hortense

(Source: beckettscully)

mistermadam:

Ginger & Fred in “The Gay Divorcee”

astairical:

Fred Astaire gives Ginger Rogers a kiss on the hand in The Gay Divorcee (1934).

(Source: astairical)

msmildred:

Fred Astaire and Ginger Rogers in “The Gay Divorcee”, 1934.

thomasdestry:

Movies Watched in 2011 | The gay Divorcee (1934)

Night and day, you are the one. Only you beneath the moon or under the sun.

(Source: beckettscully)

haroldlloyds:

Songs Introduced by Fred Astaire

A Needle in a Haystack  (1934) - Herb Magidson & Con Conrad

Not originally in the stage production of The Gay Divorce, A Needle in a Haystack was written specifically for the film adaptation (retitled The Gay Divorcee). Most of the original songs from the stage production were left out of the film, with the exception of Cole Porter’s Night and Day. The number provided Fred with an opportunity to show off his unique talent and charm in his first starring feature. 

astairical:

Headcanons // The Gay Divorcee (1934) & On the Beach (1959).

After Guy and Mimi’s happy marriage, they return to America, dancing together on Broadway. Egbert and Hortnese choose to remain in England, and the former finally takes over his father’s law firm. Life is swell for the two couples - Guy and Mimi are madly in love with each other, and there is no denying it. But their world comes crashing down on them upon the declaration of war in 1939. Guy hastily abandons his dancing career in order to serve in the Royal Air Force, despite being an American citizen, since his parents were both British and he feels a sense of duty towards England as well. Mimi is powerless to stop him, but he comforts her and assures her the war will be over like that. “We’ll lick ‘em within two months. Just you watch - and then we’ll be back to Broadway and hoofing and everything that you love." Guy reassures his wife with a smile. Mimi decides to move to London so that she’ll be closer to him, Egbert and Hortnese.

He cannot be more wrong. The war draws on for years, and with every bomb that drops in England, he is determined to drop two in Germany. The mindless killing starts to distort’s Guy’s personality - he’s not the sweet (if a bit sassy at times) hoofer that he used to be. He is concerned only with pounding the enemy; practically bombing their cities flat. Guy’s vengeful behavior finally comes back to hit him, through a bombing raid one night in 1942. Mimi, who is at the post office, sending a telegram to him, is caught in it. No one knows if she died instantaneously or if she was trapped under the debris for days, but to Guy, it doesn’t really matter. She was his beloved, his everything, essentially, his reason for living.

He continues on with the bombing missions, even more spitefully than before. When Guy returns for a two-day leave, Egbert and Hortnese notice how much he has changed. He’s bitter, cynical, and lost in his thoughts about Mimi. He wants the war to be over, but then again, he doesn’t know what he is going to do after the fighting stops. Guy finally gets his wish and the Allies win, but at another heavy price - Egbert and Hortnese die in another bombing raid shortly before the war’s end in 1945.

Guy decides to give up performing as well, since it reminds him too much of Mimi. With that, he drops his stage name and goes back to the name he was given, Julian. Life is dull, until he hears about a nuclear weapons project. He moves to Australia and starts developing nuclear weapons with the other scientists. For the next fifteen years, he tries his best to forget about Mimi - that’s why he romances Moira, but it is to no avail. Her death leaves a void within Julian that can never be filled. Then, the Third World War breaks out. He wastes no time in getting with the nuclear weapons, trying to defend Australia.

That is what makes Julian’s monologue later on even more poignant and terrifying - he realizes that he was partially responsible for the death of humankind. He helps develop those weapons, and also to detonate some of them. It finally hits him when Peter talks about how much he cares for Mary. Sure, Peter’s spot is tough, but it also reminds Julian of Mimi. All the people he ever cared for are gone, and soon, he’s going to join them, too. He buys the Ferrari and decides to race the car only because it reminds him of his second meeting with Mimi - the way he had chased her in his car. Focusing on the car also helps Julian ignore another mortifying thought that haunts him through his last days. He realizes that he was bitter all his life over what happened to the people he cared for - but then again, he had done the same to other people living in Germany. Those bombs that Julian dropped undoubtedly separated families, torn lovers apart, and wrecked homes. Not to mention the nuclear weapons that he built. All because he blindly thought he was taking revenge for his wife.

It is no surprise, then, that Julian’s last thoughts are of Mimi. The Ferrari is a representation of her - something that he can connect with his past. As his fingers run across the surface of the car for one last time, he recalls the way he shamelessly flirted with her on that country road in England all those years ago. His life could have been so much more - he could’ve had all of Broadway and West End at his and Mimi’s feet, but the war ruined everything. Every prospect he ever had. The irony lies in the fact that Julian wanted to join the war of his own accord.

But he tries not to think of those thoughts as he climbs into the car. Not of what could have been, but what might be. He smiles, hoping that he’ll finally be reunited with Mimi again.

astairical:

Fred Astaire gives Ginger Rogers a kiss on the hand in The Gay Divorcee (1934).

(Source: astairical)

Fred Astaire & Ginger Rogers in The Gay Divorcee (1933)

(Source: haroldlloyds)