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IMDbPro

Madam Satan

  • 1930
  • Passed
  • 1h 56min
CALIFICACIÓN DE IMDb
6.3/10
1.4 k
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Madam Satan (1930)
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Screwball ComedyComedyDramaMusicalRomance

Angela y Bob Brooks son una pareja de clase alta. Desafortunadamente, Bob es un esposo infiel, pero Angela tiene un plan para recuperar el afecto de su esposo.Angela y Bob Brooks son una pareja de clase alta. Desafortunadamente, Bob es un esposo infiel, pero Angela tiene un plan para recuperar el afecto de su esposo.Angela y Bob Brooks son una pareja de clase alta. Desafortunadamente, Bob es un esposo infiel, pero Angela tiene un plan para recuperar el afecto de su esposo.

  • Dirección
    • Cecil B. DeMille
  • Guionistas
    • Jeanie Macpherson
    • Gladys Unger
    • Elsie Janis
  • Elenco
    • Kay Johnson
    • Reginald Denny
    • Lillian Roth
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.3/10
    1.4 k
    TU CALIFICACIÓN
    • Dirección
      • Cecil B. DeMille
    • Guionistas
      • Jeanie Macpherson
      • Gladys Unger
      • Elsie Janis
    • Elenco
      • Kay Johnson
      • Reginald Denny
      • Lillian Roth
    • 55Opiniones de los usuarios
    • 22Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 3 premios ganados en total

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    Madam Satan
    Clip 2:57
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    Elenco principal65

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    Kay Johnson
    Kay Johnson
    • Angela Brooks…
    Reginald Denny
    Reginald Denny
    • Bob Brooks
    Lillian Roth
    Lillian Roth
    • Trixie
    Roland Young
    Roland Young
    • Jimmy Wade
    Elsa Peterson
    Elsa Peterson
    • Martha - The Maid
    Jack King
    • Herman
    Eddie Prinz
    • Biff
    • (as Edward Prinz)
    Boyd Irwin
    • Zeppelin Captain
    Wallace MacDonald
    Wallace MacDonald
    • First Mate
    Tyler Brooke
    Tyler Brooke
    • Romeo
    Ynez Seabury
    Ynez Seabury
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    Theodore Kosloff
    Theodore Kosloff
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    Julanne Johnston
    Julanne Johnston
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    Martha Sleeper
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    Doris McMahon
    Doris McMahon
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    Vera Marshe
    Vera Marshe
    • Call of the Wild
    • (as Vera Marsh)
    Albert Conti
    Albert Conti
    • Empire Officer
    Earl Askam
    • Pirate
    • Dirección
      • Cecil B. DeMille
    • Guionistas
      • Jeanie Macpherson
      • Gladys Unger
      • Elsie Janis
    • Todo el elenco y el equipo
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    Opiniones de usuarios55

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    Opiniones destacadas

    6planktonrules

    Perhaps the weirdest Hollywood film of the 30s.

    The strangest thing in this film might be the morality of the plot. Folks today seem to think that films of the 30s were all stodgy and prudish. Well, this might be true of movies made AFTER mid-1934 when a toughened Production Code was adopted by the studios. But, before that, films were perhaps even wilder than they are today. Stuff like nudity, adultery, abortion, homosexuality, premarital sex and even bestiality were to be found in many of the Hollywood films. In fact, the films were becoming so family-unfriendly, that people stopped attending pictures and the studios started to worry about not surviving the Depression. So, in an effort spurred on far more by economics than morality, Hollywood adopted this very draconian code. Now, in the 'cleaned up Hollywood', you had wholesomeness and virtue...and it became just a bit boring at times. Now I LOVE films of the 1934-1950 era--but occasionally the morality in them seems silly--married couples weren't allowed to be in bed together at the same time, evil was ALWAYS punished by the end of the film (wow...wouldn't it be nice if real life was that way!) and women definitely did NOT enjoy sex...at least not decent women! And, as for the indecent women, as I said, in the end, evil is ALWAYS punished! But none of these Post-Code rules apply to films like "Madam Satan".

    This Cecil B. DeMille* film begins with a lovely wife, Angela (Kay Johnson) waiting and waiting for her no-good husband, Bob (Reginald Denny) to return home. However, the guy has been out whooping it up with his friend--drinking (this is during Prohibition, by the way) and chasing other women. Surprisingly, Angela is rather good-natured about it--and seems to accept the age-old notion that 'boys will be boys'. However, Bob is a real jerk. Not only isn't he apologetic but blames Angela for being too boring. In fact, he later announces that he's leaving, as his mistress is much more of a woman than Angela will ever be! At this point you'd assume Angela would be ready to kill or divorce this worm--this WOULD be the case in the Post-Code world. Instead, after getting over her initial hurt and shock, she's decided to cook up a plan to get him back! After all, in this era, men must be excused their little...peccadilloes (a nice word used at the time to cover a multitude of sins...but mostly adultery).

    What exactly is the plan? Well, it all unfolds during an insane society costume party--the most bizarre party EVER thrown on this planet--and not just because of its locale but because of the costumes and song and dance numbers! A bunch of rich philanderers rent out a zeppelin (you know, one of those massive airships like the Hindenburg) and invite all their mistresses for a rip-roaring good time. Naturally Bob and his floozy are there. However, just before this woman is crowned the Belle of the Ball, in steps Madam Satan--a very mysterious masked woman of the world. And Madam Satan is NOT there to make new friends or go for a zeppelin ride...nope. She's there to screw Bob...and she's not very subtle about it! Using her thick foreign accent, she vamps Bob and announces 'who wants to go to Hell with Madam Satan?'. Well, obviously Bob does, and he pursues this mystery woman like a dog chasing after a pork chop! Eventually, Bob discovers who this mystery woman is that he so wants to....um...get to know better. But, before he can deal with this, the zeppelin breaks loose from its mooring mast and goes careening through the clouds! Then, the costumed party-goers and crew jump from the airship and parachute to the ground...with a few comical (and one mildly racist) scenes as the folks land.

    Does this sound completely crazy? Of course. But the craziest part are the costumes and sets. It must have cost a fortune to make the film and this was at the worst part of the Depression!! Just think of the millions of folks out of work and a film about Madam Satan vamping a rich no-goodnick like Bob! Crazy...but almost impossible to stop watching! If you want to see it, you can get a copy from Amazon, Turner Classic Movies' website or perhaps they'll show it again on TCM. You DEFINITELY ain't seen nothing' yet with this one!!

    *If you are an old film nut, you'll probably recognize DeMille as the guy who brought us a long series of overblown religious epics like "The Ten Commandments".
    dizozza

    Jaw dropping. Noel Coward Meets the Ten Commandments. Closet Drama opens into Zeppelin Spectacle

    Difficult times for affluent married couple when wife interrupts her organ playing to put drunk husband to bed with his chum for the afternoon. To condemn their wasteful leisure time may lead viewers to consider the waste of our own, until suddenly the invitation to a masked ball on a zeppelin transpires into a black and white hallucination. No, it doesn't explode at its launch tower, but the zeppelin does break loose in a storm and crash, and before doing so, instructs us how to parachute out. The movie is unforgettable. Sorry for the obscure reference, but the Kate Bush "Babooshka" song summarizes the Noel Coward-like script. The wife's costume, her singing at the drop of the hat, her performance, and her general display of dignity alert me to the possibility of enjoying other deMille films. I used to consider his flat direction of dialogue scenes stultifying (like watching skulls dry) while falling off the chair at the sight of his special effects. No, the entire film is mystical and I'm interested in seeing more. 1930!
    6lugonian

    Mad Masquerade Party

    MADAM Satan (MGM, 1930), directed by Cecil B. DeMille, marked the famed director's second of three features under the MGM banner, and one of his most unusual, or in the most common terms, bizarre. In spite of it not becoming a box office success in its initial release, MADAM Satan needs to be seen a few times in order to get the full concept of the continuity. Once getting through some dull stretches taking place during its initial 50 minutes, the movie delivers during its final portion to this 115 minute production with its one of the most oddest costume parties and inane production numbers ever captured on film.

    The plot, which could very well be THE GUARDSMAN (1931, with Alfred Lunt and Lynne Fontanne) or THE CHOCOLATE SOLDIER (1941, with Nelson Eddy and Rise Stevens, which in turn is based on "The Guardsman") in reverse, focuses on Angela (Kay Johnson), a boring but cultured New York City society woman married to the prominent but fun loving Bob Brooks (Reginald Denny). Her casual evening at home stirs some excitement after reading in a newspaper that she, along with Bob and his best friend, Jim Wade (Roland Young) were taken to night court for speeding. Wanting to learn more about what her husband has been doing, and who the woman masquerading as her husband's wife is, Angela's suspicions are soon realized when she finds a calling card in Bob's pocket signed by a Trixie. Feeling her marriage dissolved because of Bob's lack of interest in her, Angela decides to follow the advice of Martha, her maid (Elsa Peterson) to go out and recapture her own husband by fascinating him. During Jim Wade's elaborate costume party, which takes place in a gigantic airship, Angela enters the social scene disguised as the masked woman who calls herself "Madam Satan."

    Categorized as a musical, the production numbers set during the masquerade party are of more interest than the songs that accompany them. With the music and lyrics credited to Clifford Grey, Herbert Stothart, Elsie Janis and Jack Grey, the songs featured include: "Live and Love Today" (sung by Elsa Peterson); "Low Down" (sung by Lillian Roth); "We're Going Somewhere" (sung by party guests as they enter dirigible); "The Cat Walk" (performed by guests); "Ballet Electrique" (performed by Theodore Kosloff as Electricity, surrounded by costumed dancers in an electrical ballet stimulating everything from spark plugs to lightning bolts); "What Am I Bid?/Auction Number" (recited by Roland Young); "Madame" (sung by Kay Johnson); "All I Know is You Are in My Arms" (sung and danced by Reginald Denny and Kay Johnson); "Low Down" (reprise by Lillian Roth, later sung by Kay Johnson); and "Madame" (reprise by Kay Johnson).

    Not the usual Cecil B. DeMillion dollar spectacle for which he is most famous, but like his better known Biblical epics, this modern-day story has enough costumes to go around, especially the ones worn at the masquerade party. After repeated viewing, MADAM Satan comes across like a typical Norma Shearer and Robert Montgomery drawing room comedy or something directed by George Cukor. At other times it leaves to the imagination of an Ernst Lubitsch sex comedy, but nearly fails on all counts. What saves this from becoming a total disaster is the oddball costume party. Without seeing his name on the credits, it would be hard to imagine MADAM Satan directed by DeMille, best known for religious epics, but it should be known that DeMille did specialized in this sort of comedy in the silent era with those starring Gloria Swanson, some years before director Ernst Lubitsch set the standard.

    MADAM Satan might have succeeded had the story been shortened and vocalizing dubbed for Kay Johnson. Because Johnson at times resembles or plays like a slightly mature Irene Dunne, a movie like MADAM SATIN would have called for the likeness of Dunne, both actress and singer, then under contract to RKO Radio. Lillian Roth's performance as the fun-loving other woman does spark some life into her character, which is no different from the roles she performed at her home lot of Paramount at the time. On the whole, the one who comes off best and memorably in MADAM Satan is Roland Young as Jim, who assumes some of the film's witty one liners (Tyler Brooke: "I've never repented a sin," Young: "I've never repeated one,") and funnier actions. First to try to pass off Trixie (Roth) as his wife to Angela, who knows her husband's friend is only making the pretense to cover up for her husband's infidelity. The pretense reaches an amusing climax when Jim has to undress and get in bed with "his wife," with Angela's constant intrusions. Following the airship disaster where all the party guests must parachute from the dirigible, all landing around Central Park ranging from inside a convertible with another couple smooching in the front seat to the reservoir. As for Young's character, he lands on a tree branch inside a lion's cage in the zoo. Below he watches the lions roaring up at him. He then observes a sign that reads when the next feeding time is for the lions will be. He then slowly looks at his watch. Regardless of slow pacing, the redeeming quality goes to Young, who even has the final closing rather than the leading players.

    MADAM Satan was distributed on video cassette in the 1990s, and can be seen occasionally during the late night hours on Turner Classic Movies. Movies dealing with wives putting their unsuspecting husbands to the test are usually fun to see, but while MADAM Satan might be categorized as one of the weakest of the lot, it does propose some redeeming qualities that make this one of the most unusual production by either or both DeMille and MGM. (**)
    7Igenlode Wordsmith

    Has to be seen to be believed

    This is a totally bizarre amalgam of at least three different films: a wisecracking sex-comedy, an unsuccessful operetta, and a bedroom-hopping farce. Add into that mix 'disaster movie' and 'fashion parade', and you get a film that's worth seeing just for its jaw-dropping novelty value alone.

    It's actually pretty good: most of the humour is intentional, and some of the rest of it may well be. (I'm not sure quite how seriously the film takes itself: I got the impression that the heroine is pretty much in the know about what is going on, for example, and is simply playing innocent when it suits her... either to get the information she's after, or merely in order to watch her misbehaving husband squirm.) Farce isn't my thing, but those scenes are pretty slickly done, while a lot of the risqué dialogue sparkles.

    Sadly the film suffers from primitive sound recording techniques, to the extent that most of the lyrics of the musical sections are incomprehensible -- not too much of a problem for the stand-alone numbers, but a big issue for the ensemble songs that are supposed to drive the later part of the plot. A lot of the verbal punchlines to the visual jokes at the masquerade disappeared into the background fuzz, as well: for example, I still don't know what on earth Bob's costume was supposed to be, because I missed the announcement as he entered.

    As a musical "Madam Satan" is not very successful: it's a story of missed opportunities (Cole Porter, Rudolf Friml, Oscar Hammerstein II, Sigmund Romberg and even Albert Ketelbey of "In a Monastery Garden" fame were all considered to write the musical numbers at one time or another, as were Jeanette MacDonald and Gloria Swanson for the lead). The operetta numbers are unmemorable -- the 'popular' numbers from Jack King and Elsie Janis have worn better in performance style, although you still won't find yourself whistling them as you leave.

    There are lengthy ballet/costume sequences in the second half of the film that appear to be basically the equivalent of the gratuitous fashion parade colour reels that crop up in various 1930s films -- simply inserted into the story as an excuse to show off the spectacle. They are staggeringly extravagant, but to my taste the display dragged a bit after a while. (Watching all the revellers subsequently attempt to don parachute harnesses on top of these costumes, however, tends to confirm me in my suspicion that the film really doesn't take itself seriously!) And we learn, to my amazement at least, that on a dirigible the parachutes are not actually packed on the wearer's back but attached to casings in the hull itself -- no wonder the harnesses look weirdly skeletal. You can't simply jump free wearing a parachute: you have to be clipped on first...

    The parachute sequence is another piece of disaster-comedy that has to be seen to be believed. On the whole I'd say that the film is at least 60% successful: MGM might have done better if they had ditched the musical elements altogether, since this is probably the weakest strand and the box office was saturated by musicals at this point, and gone flat out for shock value. It's certainly worth seeing for sheer bizarreness.
    8Steffi_P

    "She will ensnare you"

    There are some directors who failed and faltered in the sound revolution. There are others who made a success of the new form and were even revitalised by it. Cecil B. DeMille is perhaps in a league of his own, who with Madam Satan created a work suffering from all the awkwardness of the worst early talkies, and yet one gloriously weird and wonderful in a way that only his pictures could be.

    It's true; Madam Satan is incredibly stilted and static in its construction. I'm not referring to the anchored camera – DeMille didn't really rely on camera movement anyway. But like many early talkies it places too much importance on dialogue, and is structured like a stage play with very long and very wordy scenes. The sound recording is appalling and sometimes we can hear dialogue when characters are in long shot, which seems very unnatural. Like most early musicals the numbers are spoiled by indecipherable operatic vocals.

    But never fear! Madam Satan was scripted by the delightfully barmy Jeanie Macpherson. What's more we find DeMille, ever with his finger to the wind, putting his own grandiose and unashamedly smutty spin on the bedroom-comedy musical genre that was making such a splash at his old stomping ground, Paramount. The result is one of the most unintentionally surreal pictures I have ever seen. We begin with some Lubitsch-esque bed-hopping comedy scenes, sprinkled with a few songs. We then decamp to a fancy-dress party on board a Zeppelin (why not?) for an extended musical sequence, which looks like the result of Fritz Lang hiring Busby Berkeley to direct a scene in Metropolis. Just as the characters' passions start to run away with them, it suddenly turns into a disaster movie – a bit of a DeMille-Macpherson trademark, that.

    Madam Satan is also special in that it is perhaps the only DeMille comedy which is actually rather funny. The occasionally witty dialogue was probably Gladys Unger's contribution to the screenplay, but what really makes it work is the excellent comic timing and rapport of Reginald Denny, Lillian Roth and Roland Young. In comparison to these three very satisfying cast members, leading lady Kay Johnson seems rather bland, and has "poor-man's Jeanette MacDonald" written all over her.

    Most of the songs are by Herbert Stothart, who would soon rise to become MGM's in-house composer. Musically they are fairly forgettable, although it's interesting how they are used to define character and drive the plot forward in a way that later became standard but was by no means a given in the very earliest musicals. DeMille, always a very rhythmic director, shoots some great dance numbers, and shows great musical sensitivity for the "All I Know Is You're in My Arms" number, tracking along with the silhouetted dancers, and putting in a wonderful slow tilt when they are still, corresponding to the swell in the music. It's a shame this was his only musical.

    Madam Satan has got to be one of the weirdest film experiences I have ever had, and after my first viewing I wasn't quite sure if perhaps I dreamt it. It was (sniff) the last significant contribution to a DeMille picture by Jeanie Macpherson, and while all his work after this was filled with adventure and spectacle, they were missing a certain something that only she could bring. Madam Satan is however an appropriately daffy swansong – a boozy, art-deco, all-talking, all-dancing concotion that is worth watching for its sheer oddness.

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    • Trivia
      As things begin to go awry on board, one of the crew comments "Remember the Shenandoah." This refers to the tragic crash in a sudden thunderstorm of the USS Shenandoah airship on September 3, 1925 in southeastern Ohio, which would have been a widely known event.
    • Errores
      Even though the dirigible was caught up in a fierce storm just a few hundred feet off the ground, there was no sign of a storm on the ground where the parachuting party guests landed.
    • Citas

      Romeo: I never repented a sin.

      Jimmy Wade: I never repeated one.

      Bob Brooks: Well, I've never been able to believe that anything I did - was a sin.

    • Créditos curiosos
      Opening credits are shown with smoke rising in the background, a reference to "satan", as mentioned in the title.
    • Conexiones
      Edited into Hollywood: The Dream Factory (1972)
    • Bandas sonoras
      The Cat Walk
      (1930) (uncredited)

      Music by Herbert Stothart

      Lyrics by Clifford Grey

      Sung and danced by party guests boarding the zeppelin

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    Detalles

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    • Fecha de lanzamiento
      • 20 de septiembre de 1930 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Sitio oficial
      • Full movie
    • Idiomas
      • Inglés
      • Francés
    • También se conoce como
      • Madame Satan
    • Locaciones de filmación
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Estados Unidos(Studio)
    • Productora
      • Metro-Goldwyn-Mayer (MGM)
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      • USD 980,000 (estimado)
    • Total a nivel mundial
      • USD 1,005
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    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 56 minutos
    • Color
      • Black and White
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