A Notorious Affair

About the production

The film was adapted from the 1929 stage play 'Fame' by Audrey and Waverly Carter. During production, the project went through several working titles, including 'Faithful' and 'Fame,' before the studio settled on 'A Notorious Affair' to capitalize on the 'vamp' marketing trend. Basil Rathbone was borrowed from MGM and Kay Francis was borrowed from Paramount specifically for this production, highlighting the studio loan system of the early talkie era. Director Lloyd Bacon, known for his efficiency, completed the film quickly, though critics noted the transition-era 'creakiness' typical of early 1930 sound films.

Themes

Themes & topics

Historical background

Contemporary records classify A Notorious Affair (1930) as 1930 film by lloyd bacon, placing it within the studio-system peak and early sound decades.

Why this film matters

A Notorious Affair (1930) helps trace genre evolution, performer careers, and the material conditions of sound exhibition.

Making of

The production of 'A Notorious Affair' serves as a snapshot of the chaotic transition from silent films to 'talkies.' While Billie Dove was a massive star of the silent era, her career began to wane with the advent of sound, partly because her 'saintly' persona struggled to compete with the more modern, aggressive 'vamp' characters like the one played by Kay Francis. Director Lloyd Bacon reportedly favored Francis during shooting, giving her more dramatic close-ups and shimmering lighting than the lead actress. The film also showcases the early use of 'blimps' for cameras, which allowed for slightly more movement than the static soundproof booths used just a year prior, though the blocking remains somewhat stage-bound due to the limitations of early microphone technology.

What critics said

Trade and revival screenings have kept A Notorious Affair (1930) on the map for collectors and scholars rather than mass first-run promotion.

Did you know?

• Kay Francis's performance as the 'man-eating' Countess Olga Balakireff was so striking that critics claimed she 'stole' the film from the nominal star, Billie Dove.
• Basil Rathbone, a classically trained actor, was criticized by contemporary reviewers for his 'ridiculous' and inconsistent Italian accent in the film.
• The film features a very young Bill Elliott (later a major B-Western star) in an uncredited role as a party guest.
• During the filming, lead actress Billie Dove was involved in a high-profile real-life romance with billionaire Howard Hughes.
• One critic at the Los Angeles Evening Herald described Kay Francis's performance as 'Hollywood's most disturbing portrayal since Hell's Angels.'
• The film is a 'Pre-Code' drama, allowing for more explicit depictions of infidelity and sexual predatory behavior than would be permitted a few years later.
• The 'illness' Paul suffers in the film—a sudden stroke or collapse that prevents him from playing the violin—is often cited by film historians as a classic example of the 'improbable movie malady' common in early melodramas.

Visual style

Photographed by the Ernest Haller (who would later win an Oscar for 'Gone with the Wind'), the film utilizes the 'soft focus' style popular in the late 1920s to enhance Billie Dove's ethereal beauty. However, Haller also experimented with high-contrast, 'vulpine' lighting for Kay Francis, using shadows to emphasize her character's predatory nature. The visual style is a bridge between the pictorialism of late silents and the sharp, high-key glamour of 1930s Warner Bros. productions.

Innovations

The film is a notable example of early sound-on-film technology from First National/Warner Bros. It successfully integrated musical performances (the violin solos) with dialogue-heavy scenes, a technical challenge in 1930 when sound mixing was in its infancy. The use of Anton Grot's set designs also showcased the studio's ability to create lavish European aristocratic environments on a Hollywood backlot.

Music

The music was composed by Cecil Copping. As the plot centers on a violinist, the soundtrack features several prominent violin solos intended to represent Paul Gherardi's genius. However, the 'syncing' of Basil Rathbone's movements to the music was noted by some as being technically unconvincing, a common issue in early musical dramas.

Famous quotes

Countess Olga: 'Oh, how awful!' (Upon hearing Paul is merely a violinist)

Countess Olga: 'I hope to see you again... very soon.'

Paul Gherardi: 'I think I'm going home.' / Countess Olga: 'Wouldn't that be a novelty.'

Patricia: 'I think I deserve a medal or something. Downtrodden wife sticks to poor violinist through thick and thin!'

Memorable scenes

• The introduction of Countess Olga: She returns from a fox hunt in a top hat and mannish attire, wielding a riding crop and eyeing a stable hand with predatory intent.
• The Party Debut: Paul Gherardi makes his social debut with his new wife, only to be immediately targeted by the shimmering, cigarette-smoking Countess Olga.
• The Collapse: Paul suffers a dramatic nervous breakdown and physical collapse at the Countess's home, a scene played with high-melodramatic intensity by Rathbone.

What audiences thought

1930 audiences responded well to the film's high-society glamour and the scandalous nature of the central affair. While Billie Dove remained a favorite for her beauty, it was Kay Francis who left the most lasting impression on the public, leading to her becoming one of the highest-paid actresses of the decade shortly thereafter. The film's short runtime and fast-paced melodrama made it a successful 'Strand Theatre' programmer.

Film connections

Influenced by

• The 'vamp' films of Theda Bara
• Frederick Lonsdale's comedies of manners
• The 1929 play 'Fame' by Audrey and Waverly Carter

This film influenced

• Mandalay (1934)
• In Name Only (1939)
• The Great Lie (1941)

Film restoration

The film is well-preserved. An intact print is held by the Library of Congress and the Turner Entertainment Library. It has been digitally restored and released as part of the Warner Archive Collection.

Where to watch

• Warner Archive DVD
• Turner Classic Movies (TCM)
• Amazon (Digital Rental/Purchase via Warner Archive)