Madam Satan

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!

I found Madam Satan a rather strange hybrid of melodrama and musical, with elements of sex farce thrown in for good measure. It is divided into two distinct halves: the first takes place at the home of Bob and Angela, and at Trixie's flat. Then, it's aboard a moored Zeppelin for the second half for the party and the bulk of the musical numbers. A few witty ripostes here and there, some occasionally charming musical numbers, but overall a rather tepid affair. I just don't think Reginald Denny and Kay Johnson have the onscreen charisma to do this story justice. Roland Young is always amusing with his befuddled manner, in a sort of warm up to his Topper movies, but with Denny and Johnson to play against, he becomes the most interesting character by default.

But the film is interesting in its moralizing about straying husbands and a wife's duty to spice up the marriage, considering DeMille's own unsatisfactory marriage and philandering ways. Setting the second half aboard a Zeppelin with its sinking ship analogies probably seemed very modern at the time, and it is interesting to note that even six years before the Hindenburg disaster, a Hollywood movie exploits the inherent danger to such a mode of transportation. Perhaps with a really sparkling script by a master screenwriter such as Robert Riskin, and more luminous leads, this could have been a major delight instead of a trifle.

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.

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".

"Madame Satan" is one of those movies that is not sure what it is but is having a grand time trying to figure it out. Part bedroom farce (where in pre code days couples sleep in the same bed), romantic comedy, musical and at its climax a disaster film. Its basic plot follows the misadventures of a married couple as they try to relight the spark in their marriage. The climax is a costume ball aboard a zeppelin (the musical production numbers here are pretty spectacular) that eventually ends in the zeppelin's crash in a storm. The effects are all done with miniatures and they really are quite impressive. The cast , especially Roland Young, are quite good though at times hesitant. You get the impression that in this early talkie the actors are not yet comfortable with sound but that is a minor quibble. All in all it is a fun over the top film that rarely has a dull moment.