Plot
Mimi Glossop (Ginger Rogers) arrives in England to seek a divorce from her geologist husband Cyril (William Austin), whom she hasn't seen for several years. Under the guidance of her domineering and much-married aunt Hortense (Alice Brady), she consults a bumbling and less-than-competent lawyer Egbert Fitzgerald (Edward Everett Horton), who happens to be one of Hortense's previous fiancés. He arranges for her to spend a night at a seaside hotel and to be caught in an adulterous relationship, for which purpose he hires a professional co-respondent, Rodolfo Tonetti (Erik Rhodes). But Egbert forgets to arrange for private detectives to "catch" the couple.
By coincidence, Guy Holden (Fred Astaire) an American dancer and friend of Egbert's, who briefly met Mimi on her arrival in England, and who is now besotted with her, also arrives at the hotel, only to be mistaken by Mimi for the co-respondent she has been waiting for. While they are in Mimi's bedroom, Tonetti arrives, revealing the truth, and holds them "prisoner" to suit the plan. They contrive to escape and dance the night away.
In the morning, after several mistakes with the waiter, Cyril Glossop (William Austin) arrives at the door, so Guy hides in the next room, while Mimi and Tonetti give a show of being lovers. When Cyril doesn't believe them, Guy comes out and embraces Mimi in an attempt to convince him that he is her lover, but to no avail. It is an unwitting waiter (Eric Blore) who finally clears the whole thing up by revealing that Cyril himself is an adulterer, thus clearing the way for Mimi to get a divorce and marry Guy.
Read more about this topic: The Gay Divorcee
Famous quotes containing the word plot:
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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—E.M. (Edward Morgan)