Madame Satã

Here is a film which defies catagorizing. It is, at once, a bedroom farce, a musical, a comedy and a disaster film. The musical end of it is pretty good, with everyone using their own voices. Kay Johnson, in the name role, does a pretty good job as the good woman wronged by an oaf of a husband. The legendary Lillian Roth is super as Trixie. She hits just the right note as the tough-as-nails showgirl who has designs on Reginald Denny. The film really picks up when we get to the masquerade party aboard the Zepplin. This was reportedly filmed in two-color Technicolor, but released in black-and-white, presumably due to the fact that musical pictures had gone out of favor by late 1930, and MGM was trying to cut it's potential losses by not paying up to print the sequences in color. The Adrian costumes are positively jaw-dropping. The drag queens could get some great ideas by studying these. (The gorgeous creation worn by Kay Johnson is in the Museum of Modern Art in NY). In all, this is a film which, despite it's obvious flaws, makes for an unforgettable viewing experience. It is a unique film even by the standards of the great DeMille.