Metacritic reviews

The repartee is sharp, the plot is delightfully ridiculous, and the numbers — like ”Night and Day” and the epic Oscar winner ”The Continental” — are knockouts.

All through the picture there's charm, romance, gaiety and eclat.

By far the highlight is Astaire and Rogers’ impossibly fluid routine to Cole Porter’s “Night and Day,” in which even that formidable song knows its place and quiets down for a portion of their dance. The two are so elegantly in sync that the ill-fitting conventions of The Gay Divorcee simply melt away.

One of the best examples of Depression-era musicals.

Fred Astaire and Ginger Rogers were first teamed in Flying Down to Rio, but this 1934 feature was their first effort together as stars—and it worked beautifully, with great Cole Porter songs like "Night and Day," and Con Conrad and Herb Magidson's "The Continental."

The plot is trivial French farce (about mistaken identities), but the dances are among the wittiest and the most lyrical expressions of American romanticism on the screen.

Like the carefree team of Rogers and Astaire, The Gay Divorcee is gay in its mood and smart in its approach.

Having insured Fred's legs for the equivalent of £200,000, RKO producer Pandro S Berman launched the Astaire-Rogers musicals with this extensive revamp of Cole Porter's famous stage show.

It is the fancy, frenetic and ethereal footwork of Astaire and Rogers that propel this frothy romance. [22 Oct 2006, p.E14]

The second outing for Fred and Ginger which cemented their partnership can be irritating in it's romantic machinations but the Astaire flair is always winning.