Synopsis
Angela and Bob Brooks are an upper class couple. Bob is an unfaithful husband. Angela has a plan to win back his affections.
1930 Directed by Cecil B. DeMille
Angela and Bob Brooks are an upper class couple. Bob is an unfaithful husband. Angela has a plan to win back his affections.
Kay Johnson Reginald Denny Lillian Roth Roland Young Elsa Peterson Jack King Eddie Prinz Boyd Irwin Wallace MacDonald Tyler Brooke Ynez Seabury Theodore Kosloff Julanne Johnston Martha Sleeper Doris McMahon Vera Marshe Albert Conti Abe Lyman Mary Carlisle Cecil B. DeMille Katherine DeMille June Knight Allan Lane Nora Lane Ann Sothern Marie Valli Sethma Williams
"Who wants to go to hell with Madam Satan?" - Madam Satan, Madam Satan
"It's a metaphor." - Lincoln, Broad City
Wild, unpredictable precode romcom musical goes from screwball to gonzo (imagine costumes designed in a collaboration between Dalí and Liberace) to I-dunno-what all in the name of entertainment. Behind the "adult" innuendos and revealing outfits the movie is ultimately quite conservative at its core, which just makes the whole thing even weirder as a cultural artifact.
Esses cinéfilos, viu, tsc tsc tsc... Incorrigíveis, bando de bitolados, depravados, desvairados e despolitizados.
JEAN-CECIL-LUC, por Luc Moullet
Ainda bem que a nova ordem do pensamento, pelas ações da benigna consciência inquisitória que nos redimirá do passado de erros/dos erros do passado de toda a humanidade pré-contemporaneidade, a era em que a humanidade finalmente ascendeu à verdadeira consciência holística do que é bom e certo (vejam o mundo ao redor, nunca esteve melhor; e o debate político, nunca mais próspero), colocou-os no seu devido e merecido lugar: o opróbrio.
As often happens, I’m at a loss when the time comes to describe my love for #1. The following write-up will probably operate as groundwork for something I wish to eventually expand on.
Cecil B. DeMille also had a film on Top Ten By Year: 1925, the outrageously fun time-travel romance The Road to Yesterday. When DeMille isn’t overtaken by his preachy paradoxes, when he finds his brand of balance within the at-times absurd imbalance of his films, you get something that doesn’t exist anywhere else. In 1928, DeMille signed a three-picture deal with MGM. Madam Satan was the second of these films, with Dynamite and The Squaw Man coming before and after respectively. Unsurprisingly, Madam Satan was a major…
This film means a lot to me personally. I just love it with all of it’s beautiful craziness!
Let me tell you all a story. I remember when I saw Madam Satan (1930) for the first time, I really started checking out Reginald Denny. There is a shower scene, which is somewhat revealing (I did not know how fit he was!). There is his woodsman costume, which I was like woah. He was born to wear tights. Then he started singing and dancing and I was stunned. Even though his character Bob is quite an ass, there was still something warm and approachable about him (which is something Mr. Denny always possessed in my opinion).
I then remember a few days later thinking about him again and looked him up on the internet and I found this beautiful…
If not quite all the vampin' & dirigibliss I had hoped for, it's still altogether curious spectacle enough to admire, even despite the lulls where the farce could be sprightlier and not so sorrowful. Because the narrative subscribes to the adulterous husband's explanation that he's a shitty cad because his wife made him one, the latter-half masked shenanigans seem more than a little tragic amidst the otherwise lighthearted costume extravagances and airship disaster. As Madam Satan she seems too wonderfully arch for some louse. I wish she kept the mask forever.
All the show-off bits -- the deco sets, the bizarre costumes at the costume ball, the dirigible madness in general -- are in the second half, but I honestly liked the first hour better. It's funny, crisply paced and elegant, excellent comedy, occupying a tonal niche halfway between Lubitsch and The Front Page. I thought it was really good stuff.
By comparison, when they get up into the air, the dialogue gets stuffy and moralistic, with Madame S. making banal points about honesty and loyalty in the most pointed way. The preaching rubs me all wrong... though the spectacle is fun.
And of course "wild, outta-control party in a venue that could blow up at any second" is a metaphor for life in the late twenties. Before the stock market crash and stuff.
This early musical has been variously described by those who have seen it as a 'train wreck', 'hard to forget', 'loopy', 'crazy', and if you have to endure a fairly pedestrian first hour to get to the jaw-dropping bits, where everyone cavorts around with a large zeppelin, eye-popping costumes, and a large dollop of weirdness, then it is worth the wait.
It's a blast, and I have nothing much to add to the observations already made about this mess of a film. It's nominally a romantic comedy but it is far odder than that, and certainly the strangest film to involve either DeMille or MGM.
50 Days 50 Pre-Code Pictures:
Picture #8:
Madam Satan
______________________________________
"It's A Waste Of Time To Take A Married Man To Hell."
Pre-Code And Cecil B. DeMille Is All I Heard And I Was Hooked, I Was... I Wouldn't Say Disappointed... Just Overwhelmed, Cecil B. DeMille Was Such A Grandiose Filmmaker But Here Things Just Seem Stunted, Again This Is Really Good But I Expected A Masterpiece, Maybe It's My Own Fault, Maybe I Shouldn't Have Had Such High Expectations, I Give This One Thing, It's Better Than "The Greatest Show On Earth" A Picture By DeMille In Which I Loathe.
This Picture Is Absolutely Insane, It Belongs To So Many Genres All At Once It's A Comedy, It's A…
Madam Satan (1930) means a lot to me because it brought me to Reginald Denny!!!!!!!! 😍
Esses cinéfilos, viu, tsc tsc tsc... Incorrigíveis, bando de bitolados, depravados, desvairados e despolitizados.
JEAN-CECIL-LUC, por Luc Moullet
Ainda bem que a nova ordem do pensamento, pelas ações da benigna consciência inquisitória que nos redimirá do passado de erros/dos erros do passado de toda a humanidade pré-contemporaneidade, a era em que a humanidade finalmente ascendeu à verdadeira consciência holística do que é bom e certo (vejam o mundo ao redor, nunca esteve melhor; e o debate político, nunca mais próspero), colocou-os no seu devido e merecido lugar: o opróbrio.
Madam Satan (1930 dir. Cecil B. Demille) literally prefigured the Hindenburg disaster
She wanted to test her husband
She knew exactly what to do
A pseudonym to fool him
She couldn't have made a worse move
[...] She wanted to take it further
So she arranged a place to go
To see if he
Would fall for her incognito
Babooshka - Kate Bush
Apart from the awesome title, and the fabulous costume, there is nothing to see here. It has the depth of an episode of Friends.
A Pre-Code boudoir comedy which becomes a musical extravaganza which becomes a disaster movie. Even though the movie is pre- Hayes Code, Will H. Hays already held considerable censorious sway, as did a plethora of local censors who could demand cuts in movies screening in their towns and director Cecil B. DeMille worked with Colonel Jason S. Joy from Hays' Studio Relations Committee to preemptively remove or reduce objectionable elements. Thus, the amount of exposed flesh and imbibed liquor in the movie was substantially reduced from DeMille's original intent. It still left the picture rather lush in both, though.
The male romantic lead is a beefy lunk with little appeal but the apparent ingénue turns up the heat to win…
Whilst not the biggest masterpiece, Cecil B Demille still tries to deliver a fun and comedic experience with great camera work and a dazzling costume from Kay Johnson who also tries to give a solid performance. The only thing that threw off the duration was all the musical moments which should’ve been taken out.
50 Days 50 Pre-Code Pictures:
Picture #8:
Madam Satan
______________________________________
"It's A Waste Of Time To Take A Married Man To Hell."
Pre-Code And Cecil B. DeMille Is All I Heard And I Was Hooked, I Was... I Wouldn't Say Disappointed... Just Overwhelmed, Cecil B. DeMille Was Such A Grandiose Filmmaker But Here Things Just Seem Stunted, Again This Is Really Good But I Expected A Masterpiece, Maybe It's My Own Fault, Maybe I Shouldn't Have Had Such High Expectations, I Give This One Thing, It's Better Than "The Greatest Show On Earth" A Picture By DeMille In Which I Loathe.
This Picture Is Absolutely Insane, It Belongs To So Many Genres All At Once It's A Comedy, It's A…
The morale of the story is to think very carefully before going to a masquerade ball on a dirigible.
Titanic the in skies, absurd camp, wish more movies had ridiculously drastic tonal shifts.
i do really like this film and how over the top it is, even though it bombed back in the day and with fair enough reason.
DeMille throws everything—and i mean EVERYTHING—he’s got into this bizarre infernal zeppelin musical that to this day remains in a league of its own.
After 45 minutes of bland domestic scenes (the couple cute moments are nothing you haven’t seen in any other comedy of manners from the same era) this shit finally EXPLODES into a bloated mess of Busby Berkeley-gone-Fritz Lang sequences and ballrooms packed full with elaborate costumes. The sheer scale of the execution calls to mind Jodorowsky or Matthew Barney; even when the ideas may be lacking in depth (and let’s be real, some of the visual puns here are just atrocious), seeing a surrealist vision like this brought to life on this massive stage is a…
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