Debauchery on a dirigible with Greta Garbo as Catwoman

An over the top comedy, musical and disaster film!

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

Joan Crawford and Marie Prevost in Paid (1930)

Wallace Beery and Marie Dressler in Min and Bill (1930)

Ricardo Cortez and Bebe Daniels in The Maltese Falcon (1931)

Barbara Stanwyck and Ben Lyon in Night Nurse (1931)

Douglas Fairbanks Jr., Edward J. Nugent, and Loretta Young in Loose Ankles (1930)

Barbara Stanwyck and James Rennie in Illicit (1931)

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

"Madam Satan" Kay Johnson, director Cecil B. DeMille 1930 MGM

Marie Deauville as Miss Top Hat in "Madam Satan", 1930

Reginald Denny and Kay Johnson in Madam Satan (1930)

Kay Johnson

Reginald Denny

Lillian Roth

Jeanie Macpherson

Gladys Unger

Elsie Janis

Angela and Bob Brooks are an upper-class couple. Unfortunately, Bob is an unfaithful husband, but Angela has a plan to win back her husband&apos;s affections.

Cecil B. DeMille

Madam Satan

Cecil B. DeMille&apos;s strangest film

When I first saw &quot;Madam Satan,&quot; on Turner Classic Movies, Robert Osborne said it might be the strangest movie ever made by the great director Cecil B. DeMille. I tend to agree with him. This was one of three films he had made at MGM, during the only time he was away from Paramount. None of the three films were apparently very good. Not only was DeMille frustrated by studio chief Louis B. Mayer was disappointed and infuriated; little wonder that DeMille and Mayer soon parted company.

In any case, &quot;Madam Satan&quot; is rather slow-moving, clumsy, and awkward, much as is the case with early sound films. It never makes up its mind either as it delves into melodrama, comedy, music, and even a little horror. Nevertheless, it has some garish, spectacular moments. The mechanical ballet on the moored dirigible is rather fascinating and certainly quite peculiar. It is the height of Hollywood kitsch. The best sequence is when the dirigible is struck by lightning during a ferocious thunderstorm and everyone on the airship must parachute to safety.

We will always wonder what DeMille had in mind when he made the film. It was certainly risqué and daring for its time, but it actually didn&apos;t do very well at the box office and the critics were puzzled by it. It remains today as a curiosity at best.

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When I first saw "Madam Satan," on Turner Classic Movies, Robert Osborne said it might be the strangest movie ever made by the great director Cecil B. DeMille. I tend to agree with him. This was one of three films he had made at MGM, during the only time he was away from Paramount. None of the three films were apparently very good. Not only was DeMille frustrated by studio chief Louis B. Mayer was disappointed and infuriated; little wonder that DeMille and Mayer soon parted company.

In any case, "Madam Satan" is rather slow-moving, clumsy, and awkward, much as is the case with early sound films. It never makes up its mind either as it delves into melodrama, comedy, music, and even a little horror. Nevertheless, it has some garish, spectacular moments. The mechanical ballet on the moored dirigible is rather fascinating and certainly quite peculiar. It is the height of Hollywood kitsch. The best sequence is when the dirigible is struck by lightning during a ferocious thunderstorm and everyone on the airship must parachute to safety.

We will always wonder what DeMille had in mind when he made the film. It was certainly risqué and daring for its time, but it actually didn't do very well at the box office and the critics were puzzled by it. It remains today as a curiosity at best.

Angela and Bob Brooks are an upper-class couple. Unfortunately, Bob is an unfaithful husband, but Angela has a plan to win back her husband's affections.

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Madam Satan

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