See how Hollywood handled the gay subtext in the days of the
infamous "production code"

The Gay Divorcee is the quintessential Fred Astaire and Ginger Rogers movie. It virtually invented the chaste, frothy, big-screen musical that remains a symbol of the thirties even today. Lavishly fun dance numbers spring from a a never-never land where no one was unemployed, where everyone worried obsessively about scandal, but no one ever did anything that was wrong.. It was a world, in the words of the New York Times obituary for Ginger, "where all the telephones were white, all the butlers comic, and love the only concern."

Was Fred's on-screen competition for Ginger's affection chosen simply because, as one critic later claimed, "he was the only actor in Hollyood who could make Fred Astaire look butch?" And, just whose idea was it to have a featured dance number with 17 year old Betty Grable and 47-year Everet Horton both in white tank tops, but him sporting white socks and sandals?

Who knew that beneath all the tap dance and glitter are the roots of the risque silliness of "Will and Grace?" You will. When you come out to see this delightfully frothy flick.

Introduced by Ames Hall, author of the script for the Heartland Men's Chorus upcoming concert: "The Pink Carpet: Gays, Lesbians and Hollywood"

Co-Host: To be Announced

107 MINUTES — Not Rated