La divorciada

The Divorcée (1930)

The start of this is such a busy, overlapping party scene in a country house, you can't help but get swept up in it. And if some of the acting or a few of the quips are not perfect, the best moments are really fun and spirited. The naturalism is really refreshing, and pace fast, and the dialog real. Then it spins out of control--the events, not the movie--and before fifteen minutes are up, there's a brief terrible moment that has two or three of the actors exploring an hysteria that a method actor would be proud of. It's intense, great stuff. Get at least that far in.

The rest of the movie follows suit, through quiet and fast moments, and the drama turns to melodrama and back, all pinned together by the ever convincing Norma Shearer. The themes--fidelity and infidelity, love and friendship, the superficial versus the things that matter--give it all something to chew on or laugh at at ever turn.

It's unnecessary to say that this is just two years after the full advent of sound, and it's a very developed, mature element in the movies. In fact, the density of things going on would never have been possible with intertitles, and it must have been a revelation to audiences and movie makers equally. Fast dialog and overlapping events are a natural extension of the theater, of course, but with the ability to shift scenes and zip down wooded roads with the camera is the essence of cinema.

So, in all, for how it's made, for the acting (the best of it), and for the serious, important themes, this is gem, an amazing movie, whatever its hiccups and flaws here and there. I wouldn't miss it.

THE Divorcée was created in the first wave of "all talking pictures," an era in which directors, writers, and actors often struggled to find styles appropriate to the new technology. At the time, it was hailed as a masterpiece of realism; today, however, it is a film more often discussed than actually seen, for there is no escaping the fact that the film is stylistically dated. Even so, it remains a landmark of its era--and given its historical importance it should be seen by any one with a serious interest in the history of American cinema.

The film is "pre-code," which is to say that it was made during a handful of years in the early 1930s when Hollywood's self-censorship was more the subject of jokes than of reality, and THE Divorcée was among the first Hollywood talkies to openly address both female sexuality and the sexual double standard. The story finds Jerry (Norma Shearer) and Ted (Chester Morris) happily married--but on their third anniversary Jerry discovers that Ted has been unfaithful, something that Ted dismisses with the words "it doesn't mean a thing." Angry and hurt, Jerry responds by having a one night stand of her own--and then is astonished by Ted's hypocrisy when he declares that her infidelity "isn't the same thing." The same story has been told so often that today we take it for granted, but in 1930 it was extremely controversial, and the cast plays it out with considerable intensity. Most notable is star Norma Shearer; although changing styles have left her sadly neglected, in her own era she was considered among the finest actresses on the screen and noted for her unusual beauty, memorable speaking voice, and tremendous star quality. In THE Divorcée she gives it everything she has, and her power is such that most viewers will find she quickly transcends the stylistically dated aspects of both the film and her own performance.

Over the years I've seen the film several times--most impressively on the big screen, where the larger than life performances seem considerably less affected--and I've enjoyed it quite a bit every time. If you are interested in exploring early 1930s Hollywood films, you could do considerably worse than to begin with THE Divorcée, which was my own introduction to that film era. If you are already interested in early 1930s film and have never seen it... this one belongs on your shelf, and no excuses.

Gary F. Taylor, aka GFT

It had a plot that couldn't possibly have been made under the strict enforcement of the film production code beginning in mid-1934. During the so-called 'Pre-Code' era, however, MGM's April 1930 "The Divorcee" was not only produced and released nationwide, but it became an enormous hit with both the public and the film critics. Based on the controversial bestselling 1929 novel by Ursula Parrott, 'Ex-Wife,' "The Divorcee" focuses on a couple whose husband has a fling three years into their marriage. Once she finds out, the wife decides the settle the score by having an affair herself. That sends the pair's marriage down a rocky slope.

"The Divorcee" shows Ted's (Chester Morris) wife Jerry(Norma Shearer), enjoying her extra-marital frolicks with a number of men after she separates from her husband, starting with their pal Don (Robert Montgomery). Under the new Production Code after 1934, Jerry would be required to feel painfully remorseful from her enjoying her new 'boyfriends.' But here, she doesn't harbor any deep regrets from her numerous romps. There may be a shallowness in her feelings, but she suffers no repercussions. MGM, worried about the potential backlash if word got out the studio was adapting the 'Ex-Wife' novel into a feature film, gave the production the working title 'The High Road.' MGM avoided any mention of the book's title in the movie's credits, simply stating "Based on a novel by Ursula Parrott."

Actress Joan Crawford was MGM producer Irving Thalberg's pick to play the role of Jerry when the studio bought the rights to Parrott's novel. However, Norma Shearer, Thalberg's wife, was immensely interested in the part. She was looking for a juicy role to break the public perception she was just a goodie-two-shoes. Thalberg nixed her from even thinking about playing Jerry. Determined, Shearer arranged a photography session where she dressed in a sheer lingerie posing provocatively. When Thalberg saw the photos of his wife, after he put his eyeballs back into their sockets, he agreed she could convincingly carry the role of an adulteress. The press heard about the behind the scenes drama and asked Crawford for a statement on Thalberg's decision. "What do you expect?" she said. "She sleeps with the boss."

Typical of "The Divorce's" positive reviews was this from Photoplay: "As neat an essay on marital unfaithfulness as has been made in Hollywood. It sets Norma Shearer at the very top of the acting class. You won't forget this picture, and you'll undoubtedly go home and have a good long talk with your spouse." Shearer's role as the get-even spouse won her the Academy Awards' Best Actress. The movie's director, Robert Leonard, a veteran of helming pictures since 1913, was nominated for Best Director. "The Divorcee" was also nominated for Best Picture (Outstanding Production) and John Meehan for Best Writing.

The scene where Norma Shearer begs Chester Morris to stay together in their marriage is truly riveting and powerful . It is one of the most truly amazing performances on film. I remember being so genuinely blown away by the beauty and power of that performance that I jumped out of my chair to grab the rental box positive she must have won an Oscar, she had. Very sexy movie, Robert Montgomery is smooth as always. I see some people found it hokey or contrived, I did not, The emotions covered here are as relevant today as in 1930. Attractive, complex characters. For the romantic in all of us, where decency and honor will prevail.

A vivacious and happily married young woman discovers that her husband has been unfaithful. Embittered, she embarks on a brief affair of her own. Her marriage soon over, THE DIVORCEE quickly enters a downward spiral of escalating sexual promiscuity. How can she ever regain her husband & the happiness they once knew?

Norma Shearer won the Best Actress Oscar for her performance in this well-acted soap opera. Running the range of emotions, she is ably backed up by Chester Morris, Conrad Nagel & Robert Montgomery as the three very different men in her life. (Montgomery exhibits the sophisticated charm which quite shortly would make him one of the biggest stars at MGM.) Zelda Sears, a top writer at the Studio, has the role of Hannah the maid - and she gets some of the best lines.

The very elastic morality of the plot shows the pre-Production Code status of the film, while, oddly, the twin beds in the bedroom of Shearer & Morris point out that not all the restrictions of the initial Hays period had completely died away.

In 1930, talkies were still in their infancy in Hollywood & audio awkwardness was common in many studio's output. At MGM, Norma Shearer's brother Douglas was Recording Director and his department learned their new lessons quickly. Look at the opening scene in THE DIVORCEE, set in the large living room of a mountain lodge. Notice the action & dialogue going on at various levels - with the radio playing `Singing In The Rain' in the background - and it's easy to see that MGM had mastered the mysteries of the microphone.