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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

An intelligent, adult comedy-drama about men, women, marriage, double standards, and forgiveness. Thanks to the writing (often sophisticated), the direction (quite accomplished for a 1930 movie) and a first-rate cast, these characters, their feelings, their problems remain contemporary and relatable nearly 90 years later. *** out of 4.

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.

In the years following The Divorcée, Norma Shearer was nominated for Best Actress for A Free Soul, The Barretts of Wimpole Street, Romeo and Juliet and Marie Antoinette. Personally I think all of those films were better than The Divorcée. Still this is the one she took home the gold for.

The Divorcée is a rather dated drama about an upper crust set of men and women who basically wife swap. The leader of this social set is Norma Shearer who gets around to all the available men in the cast and some not available. Not that her husband Chester Morris is letting the grass grow under his feet either. The film's action starts during the age of the high living Roaring Twenties with all that implies.

The three men in Norma's life are Morris, Robert Montgomery, and Conrad Nagel and there are hints of others being there as well after Norma divorces Morris. Florence Eldridge in one of her few films without her husband Fredric March plays her best friend and Helen Johnson plays the tragic wife of Conrad Nagel who only marries her after she's disfigured in a DWI that Nagel had after Shearer jilts him early on in the film.

All of them are quite good, but the film is really Norma's show. She runs through quite the gamut of emotions and the technical virtuosity of her performance is what got her the Oscar. That and the fact she was married to one of the most powerful moguls in Hollywood certainly helped.

There's a quite good performance by Tyler Brooke as the perpetually inebriated hanger on with their set. For a slice of life from The Roaring Twenties I'd look at The Divorcée.

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.

Have liked a fair share of Norma Shearer's performances, a big example being 'Smilin Through' which she is magnificent in. She was my main reason in wanting to see 'The Divorcee' and to see what the fuss was about with her Oscar win for her performance (whether she deserved it or not). The subject matter was interesting and quite racy to explore in film back when talkies were in their early days, with themes and such that are hardly irrelevant now.

'The Divorcee' to me has its flaws and part of me was expecting more considering that it won one Oscar and nominated for another three. It is still a very interesting and well executed film though, with a lot of admirable qualities. Shearer's win was not undeserving in my view, but do think that she gave better performances in her career (her not even being nominated for 'Smilin Through' was a big oversight). The script was also a worthy nominee for how it handles the film's difficult subject, though there were better films overall released that year (i.e. 'All Quiet on the Western Front', the two films are not in the same league).

Will get the flaws out of the way. The pace is a bit creaky at times.

Chester Morris is wooden with not much screen presence and personally did fail to see the attraction. The ending was not easy to swallow, with what happens being unrealistic and not making sense in real life. After having such racy content on the whole, the film just ends on a safe and too tidy note.

It is a very handsomely produced film though, the photography is remarkably slick and elegant and there is not too much of a too fussy feel to the costumes and sets. 'The Divorcee' is on the most part skillfully directed and not with too much of a heavy hand and Shearer brings sophistication and appealing spunk to the lead role. Robert Montgomery is the other cast standout in a very smooth and charming turn.

One of 'The Divorcee's' biggest stars is the script, which is sophisticated and sharp-witted, with some surprising boldness that didn't come over to me as too tame now, while treating a serious subject with respect without being too morose or anything. The story occasionally creaks and the ending doesn't convince, but much of it is compelling and one can see clearly, with its ahead of the time execution in its frankness, that the subject and the themes were daring back then. Also don't think they have dated, the topic is still a very much relevant one now and the themes are also still relatable and true to real life.

Summing up, could have been more but interesting and well done. 7/10

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.

Of course you have to make concessions to 1930 movies. The story of "The Divorcee" is openly ridiculous, and must have been ridiculous at the time. The leading character was supposed to be a rebel, but if you look closely she is the most conventional woman you can imagine, and her reaction to her husband's infidelity, perfectly naïve and teenagerish. Norma Shearer won an Oscar for one of the most incompetent pieces of acting that I have seen. Only Chester Morris gave a worse performance. The only actor who was really acting was the youthful Robert Montgomery, who created a real, living playboy and gave early proof of the notable actor he would become in pictures like Night Must Fall, The Earl of Chicago and Rage in Heaven to name but a few. Not all 1930 movies were so weak. I recently saw and commented The Big House. What a picture!

The Divorcée has much more to offer than the melodramatic plot may insinuate. Sparkling performances aside (including Norma Shearer's Oscar-winning turn), the film is full of witty dialogue, risqué subject matter, and a serious, adult look at divorce, not seen again for decades. The film not only showcases the largely-forgotten Shearer beautifully, an actress who continually pushed subject matter and fought for strong roles, but proves itself as a pivotal 1930's Hollywood product. The Divorcée is appreciable as a pre-code, and worth seeing for its unusually bold themes alone, but its surprising and often heartbreaking plot makes it an unusual gem.

Norma Shearer (as Jerry Martin) tests the freedom acceptable for men, but not permissible for women - the sexual "Double Standard". As the film opens, Ms. Shearer is an happily married woman. However, husband Chester Morris (as Ted Martin) gets "plastered", and succumbs to the advances of a sexually aggressive woman… at least, that's what is discernible from the after-the-fact behavior of the adulterous duo, as Shearer catches them in a light embrace. Disillusioned, Shearer turns the tables by having a "one night stand" of her own - with one of the soon-to-be divorced couple's pals.

In a film themed like Greta Garbo's recent "The Single Standard" (1929), MGM takes another shot at the sexual "Double Standard". The results are similar, but not the same. Shearer's winning performance is bold, fascinating, and fun to watch; she elevates the character far above the material. The film's problem is that it pulls its punches with a disappointing ending, extinguishing a truly interesting story. Yet, somehow, Shearer makes the character ring true. It's a strong performance, which manages to rise above the film's abandonment of its thesis.

Director Robert Z. Leonard, writer John Meehan, and a fine supporting cast are a great help. Robert Montgomery's performance (as Don) is a standout. And, Conrad Nagel (as Paul) is another Shearer castoff, who has a potable problem; he has a harrowing car crash near the film's opening. A lot of alcohol is consumed in this movie! "The Divorcée" is a flawed, but worthwhile film.

******* The Divorcée (4/19/30) Robert Z. Leonard ~ Norma Shearer, Chester Morris, Robert Montgomery, Conrad Nagel

Norma Shearer and Chester Morris are wed. For three years they are blissfully happy, until Miss Shearer discovers he has strayed. So she strays too, "balancing the accounts". So he divorces her.

It's clear to me that Miss Shearer's Oscar win for Best Actress in this role was at least partially political. She was, after all, married to Irving Thalberg Don't mistake me: I think she's good, very good, but with the still poor sound system at MGM -- supervised by her brother -- she struggles to make her sides in anything less than a declamatory manner. She does look great and is a fine movie actress. However, I would have given the award to Ruth Chatterton for SARAH AND SON.

In any case, this is certainly a well produced movie for 1929, with a fine cast, and Robert Z. Leonard, one of my favorite unregarded directors in charge of the shoot. It addresses seriously, if not in great depth, issues of marriage and how seriously people take their marriage vows. Does it still have something to say to a modern viewer. I think so.

Along with Garbo, Norma Shearer was fast becoming MGM's prestige star in 1930 thanks to some degree to her marriage to the mythic studio head Irving Thalberg. However, she was also uniquely talented as proved by the diversity of her films. Although she is remembered today more for her later roles in the title role of 1938's "Marie Antoinette" and as the virtuous center of 1939's "The Women", Shearer plays Jerry Martin, the blazing center of "The Divorcée" in which she plays a carefree young wife who cheats on her husband after he carelessly cheats on her. Instead of treating her in "Scarlet Letter" fashion, the film takes a refreshing look at the double standards between men and women when it comes to adultery. Naturally, they eventually regret their behavior but not before a lot of alcohol-fueled hell-raising with their fair-weather friends.

The dramas of the early sound era were often awkward, phoney-looking things. A lot of this has to do with the acting. Most actors were of course experienced in silent cinema, but a lot of players with stage experience had also been brought in as was deemed appropriate for "talkies". Silent screen acting tended to be over-the-top so that meaning could be expressed without words, and stage acting also tended to be over-the-top so that meaning could be expressed to people sitting in the back row. But this excessive style didn't really work in the more authentic setting of sound cinema. Of course, movie people weren't stupid; they were aware of what did and didn't work and the industry adapted quicker than is sometimes thought.

And of course, there were some actors and actresses who simply seemed to get the hang of it straight away. Norma Shearer was among a small number who survived the transition from silents to talkies with her career completely intact. One thing Shearer had was a remarkable presence – she's able to project herself with just a simple gesture or pose, and in The Divorcée she's often standing with her shoulders slightly forward in understated aggression. And within this context she is able to give a restrained performance, conveying a great deal but with a degree of credibility that makes the drama seem more believable. Shearer deservedly won the Academy Award for her work here. Compare her to previous year's winner Mary Pickford in Coquette, a slice of ham from a bygone era, and you can see how much things have changed.

Let's also take a look at the director Robert Z. Leonard. He's not too well remembered these days because he isn't deemed an auteur, but at the time he was among the forefront of Hollywood professionals. Two things in particular are worth noting about his style in The Divorcée. First is that he uses a lot of camera movement to really engage us in a scene (who says early sound films were static?), often using a noteworthy pan as a character appears. Secondly, he gives us an awful lot of the interplay between characters in simple wordless glances between them, for example the jealous look of Conrad Nagel when Shearer and Chester Morris announce their betrothal, or later a silent, spiteful exchange between Shearer and Mary Doran. There was a temptation for talkie directors to shoot things before the assembled actors as if for a stage play, but here Leonard is making subtle close-ups that cut across the action, and in so doing giving depth to the story outside of the dialogue.

This picture is now often classified as a "pre-code" movie for its depiction of Shearer's promiscuity after she becomes the titular divorcée, although even by the standards of the day it's pretty tame. However, thanks to its fluid direction and naturalistic acting, it is nevertheless a movie that seems a few steps ahead of its time, and points towards the increasingly sophisticated sound cinema of the 1930s.

The Divorcee (1930) : Brief Review -

Could have been a sensational take on "cheating in marriage," but alas.. People and cinema both weren't ready. Robert Z. Leonard's The Divorcee had almost won me over, but the conclusion.. just didn't happen. I'll try to discuss more about what I liked about it and what went wrong than other cinematic aspects in this brief note. The Divorcee is about two Lovers, Ted and Jerry, who get married and live as a happy couple. On their third wedding anniversary, Jerry learns about Ted's Platonic affair (please note that we just have it verbally and not visually). Ted tries to convince Jerry that "it didn't mean a thing" and that he "can't live without her". A little shocked and highly upset, Jerry asks for a time as Ted leaves for a week. In the meantime, Jerry tries to forget the whole thing but instead makes the same mistake as Ted did. She sleep with one of Ted's friends and is now feeling guilty. Upon comforting it before Ted, both part ways. While Ted is living an unhappy but honest life, Jerry puts herself on display for men. After that, the same old reconciliation, which I was literally begging not to happen. An important and sensitive topic like one mistake/cheating in marriage could have been explored much better. The Divorcee does get the base and some floors right, but collapses while finishing the tower. If men get all the liberties of platonic affairs, then why not women? The question remains unanswered. But I ask, were people ready for it in 1930, or are we ready for it even today, in 2023? The answer must be no in real life, but I think reel life could have answered it with some brainstorming among writers on papers. The chance was missed once, and maybe for ever. Leonard tried and almost got it, but maybe he was aware that people weren't ready, or, who knows, he wasn't ready for it either. Let's leave it to the couples, who have their own ways of dealing with it.

RATING - 6.5/10*

By - #samthebestest.

Couldn't Irving Thalberg have married...oh, I dunno... A PRETTY gal?? Surely, they are aplenty in the background of his nepo-wife's films! With a face like that and hair non-existent like hers... whatever possessed him?? It's like Shearer was the Lauren Sanchez of her time... except a lot (I think) younger and a tad better dressed and less scary looking!

So I am seeing the moving images, but it is very hard for me to concentrate on the movie because that woman throws me out of "movie magic" every single time!!! UGH!

The truth of the matter is Norma Shearer couldn't act. She was just another floozie whom Irving Thalberg plucked out of a dark alley and proposed to her cos he needed a beard. (If you don't believe me, look up Norma's quote about playing Rhett Butler herself: she was happy to be his beard, cos she was of the Calamity Jane persuasion herself!) Now, it all makes sense.

For as much as I love losing myself inside a 1930s film, she ruins it for me. I find her repulsive and as untalented as she truly was. Look, I know there a lot female viewers who are no oil painting themselves, who probably weigh upwards of 300 lbs who are going to be outraged here: look, it's about HER and her only, capisce?! So quit taking things so personal and open wide eyes! A glorified street walker who usurped all the parts that should have gone to Barbara Stanwyck, Katherine Hepburn or Joan Crawford.

I really wish the fans of all other actresses would have shunned her films en masse and sent a message to the studios: ENOUGH! We don't want to see her, we want Greta Garbo, Hedy Lamarr, Jean Arthur or Carole Lombard. Or whomever was waiting for parts. Anybody but HER!

I rarely tune into TCM lately, but it never fails: no matter what time of day or day of the week I tune in to catch a B&W film, she's ALWAYS in it! WHY OH WHY do you insist on ruining my 1930s film enjoyment, TCM?!?! I can not give any more than the 1/10 here. For her crossed eyes, her buzz cut (which is even worse than Mary Astor's in that Bogie film where she looks like a firecracker landed on her head and she couldn't find a comb to save her look) and for all-around being a nepo-opportunist who should have NEVER EVER existed to begin with. Or at least, not in Hollywood films.

1/10 and get this phony off my TV, STAT!

Not only did Norma Shearer win an Academy Award for her performance, but the film itself was nominated for best picture of that year. Not "politically correct" by today's standards, Shearer still is defiant when she learns that her husband has been untrue and fights the "double standard" of morality codes between men and women.

Norma Shearer makes a strong impression playing against type as a married woman who takes revenge in kind when she discovers her husband (Chester Morris) has cheated on her. It's pre-code, which means it's a lot more candid about the implications surrounding infidelity, and the screenplay is intelligent and wry, but the way in which things are resolved doesn't really send out a positive message.

It also seems Prehistoric.

It's an early talking picture. We read about the disdain for movies that East Coast writers had and I think they may have been thinking of this sort of thing. After all, there were some brilliant films in the first few years of the talkies. One has to look only at "Scarface," which still shocks today. Jean Harlow, Loretta Young, Barbara Stanwyck, Constance Bennett ... There were many great, saucy stars. (And of course, there was Mae Wrest, too!) Please don't misunderstand me: I like Norma Shearer in many movies. She's superb in "The Women," for example. But it seems that her idea of being racy, as shown here, was to giggle a lot -- and maybe not to wear a bra.

The movie presents itself as the latest in adult views. However, it is essentially very conventional.

The dialog is so stilted, one expects someone to burst onto the scene at any moment asking "Tennis, anyone?"