A Woman of Affairs

About the production

The film was based on Michael Arlen's controversial 1924 novel 'The Green Hat,' which had to be heavily sanitized for the screen due to Production Code restrictions. The novel's themes of adultery and venereal disease were completely removed. The production faced challenges with the Hays Office, requiring multiple script revisions to make the story acceptable. The film was one of MGM's most prestigious productions of 1928, featuring elaborate sets and costumes designed by Adrian.

Themes

Themes & topics

Historical background

Released in 1928 during the late silent period, A Woman of Affairs reached audiences when exhibitors were still defining programming conventions. The narrative hook—Childhood friends Diana, Neville and David are caught in a love triangle as…—reflects what contemporary producers thought would draw viewers.

Why this film matters

A Woman of Affairs remains discussed by archivists tracing how screen stories of its period represented work, desire, conflict, and social order. Its central situation—Childhood friends Diana, Neville and David are caught in a love triangle as…—still prompts questions about genre conventions and audience expectations.

Making of

The production of 'A Woman of Affairs' was marked by the increasingly strained relationship between its stars, Greta Garbo and John Gilbert. their romance had begun to sour following Gilbert's notorious drunken behavior at their planned wedding, which Garbo called off. On set, the two maintained professional appearances but barely spoke to each other between takes. Director Clarence Brown had to carefully manage their scenes together, often shooting their individual reactions separately. The film's adaptation from Michael Arlen's scandalous novel required extensive negotiation with the Hays Office, with multiple drafts submitted before approval was granted. The production design was lavish, with Adrian creating over 30 costume changes for Garbo, establishing her as a fashion icon. The suicide scene was particularly challenging to film, requiring careful choreography to avoid censorship while maintaining dramatic impact. The film was rushed into release before the end of 1928 to capitalize on the Garbo-Gilbert pairing before sound films completely dominated the market.

What critics said

Trade and newspaper notices for A Woman of Affairs generally emphasized casting, spectacle, and program fit rather than extended aesthetic argument. Retrospective screenings and archival notes continue to shape how viewers evaluate A Woman of Affairs today.

Did you know?

• This was the seventh of eight films starring Greta Garbo and John Gilbert together, though their real-life romance was already deteriorating during production.
• The source novel 'The Green Hat' was so scandalous that it was banned in several countries and had to be completely rewritten for the screen adaptation.
• The film's original title was to be 'The Green Hat' but was changed to 'A Woman of Affairs' to distance it from the controversial source material.
• Greta Garbo was paid $3,500 per week for this film, making her one of the highest-paid actresses in Hollywood at the time.
• The film was released just as the transition to sound films was beginning, making it one of the last major silent dramas produced by MGM.
• Director Clarence Brown was one of Garbo's favorite directors, having previously directed her in 'Flesh and the Devil' (1926) and 'The Mysterious Lady' (1928).
• The suicide scene was considered so controversial that it was cut in some markets and heavily censored in others.
• Lewis Stone was 45 years old during filming, playing a character much younger than his actual age.
• The film's intertitles were written by John Meehan, who specialized in adapting literary works for the screen.
• Despite being a silent film, MGM commissioned a synchronized musical score with sound effects using the Movietone system for its premiere engagements.

Awards & recognition

• None

Visual style

The cinematography by William H. Daniels represents the pinnacle of late silent film artistry. Daniels employed soft focus lighting techniques that became synonymous with Garbo's mystique, creating an ethereal glow around her in key scenes. The film features innovative camera movements for its time, including tracking shots that follow Diana through her emotional journey. Daniels used dramatic shadows and high-contrast lighting to enhance the film's melodramatic moments, particularly in the suicide sequence and Diana's descent into despair. The European settings were created through clever use of MGM's backlot and matte paintings, with Daniels' photography lending them authenticity. The famous scene where Diana walks through the rain was achieved through special lighting effects and camera filters that created a haunting, dreamlike quality. Daniels' work on this film is considered among his finest, showcasing his ability to use light and shadow to convey emotional states without dialogue.

Innovations

While primarily a conventional silent film, 'A Woman of Affairs' incorporated several technical innovations that were cutting-edge for 1928. The film used the Movietone system for its premiere engagements, featuring a synchronized musical score and selected sound effects, making it one of the first MGM dramas to experiment with partial sound. The production employed advanced matte painting techniques to create convincing European locations without leaving the studio. The makeup department developed new techniques for Garbo that emphasized her natural features while standing up to the demands of high-contrast lighting. The film's editing, led by Blanche Sewell, used sophisticated cross-cutting and montage techniques to heighten emotional impact. The suicide sequence featured innovative special effects using double exposure and careful timing to create a convincing illusion. The film's preservation of fine detail in costume and set design through the cinematography pushed the limits of contemporary film stock and processing techniques.

Music

As a silent film, 'A Woman of Affairs' was accompanied by a musical score compiled from classical pieces and original compositions by MGM's music department. For its premiere engagements, the film featured a synchronized Movietone score with sound effects, one of MGM's first experiments with this technology. The score included works by Chopin, Tchaikovsky, and Debussy, carefully selected to match the film's emotional tone. The musical themes for Diana and Neville's romance were particularly memorable, with a leitmotif that recurs throughout the film. Sound effects were limited but effective, including the gunshot in the suicide scene and the sound of rain during Diana's emotional breakdown. The musical accompaniment varied by theater, with larger houses providing full orchestral scores while smaller venues used piano or organ accompaniment. The film's music was so well-received that MGM released the score as sheet music for home pianists.

Famous quotes

I loved you once. I love you still. Perhaps I always shall." - Diana to Neville

Sometimes I think we're all mad - all of us who try to live by our feelings." - Diana

There are things in life that don't bear thinking about." - David

You can't escape your own heart." - Neville

I'm not afraid of anything anymore - except being afraid." - Diana

Some sins are more beautiful than some virtues." - Diana

Memorable scenes

• The opening montage showing Diana, Neville, and David as children, establishing their lifelong friendship through beautifully composed shots that foreshadow their adult relationships.
• The wedding night scene where David discovers Diana's letter to Neville, featuring masterful performances and camera work that conveys the devastating realization without dialogue.
• Diana's walk through the rain after David's suicide, with Daniels' cinematography creating a haunting visual metaphor for her emotional state.
• The final confrontation between Diana and Neville years later, where Garbo's subtle performance conveys years of pain and longing through her eyes alone.
• The society party sequence where Diana's reputation is destroyed, featuring elaborate costumes and choreography that contrasts the glamorous surface with the emotional turmoil beneath.

What audiences thought

Audiences flocked to 'A Woman of Affairs' upon its release, making it one of the biggest box office hits of 1928 and MGM's most successful film of the year. The Garbo-Gilbert pairing continued to draw crowds despite their off-screen troubles, with theaters reporting sold-out showings for weeks. The film's emotional intensity and glamorous depiction of European high society resonated with Depression-era audiences seeking escapism. Many viewers were particularly moved by Garbo's portrayal of guilt and redemption, with letters pouring into MGM praising her performance. The film's success proved that sophisticated adult dramas could compete with the new musical films that were dominating theaters. International audiences also embraced the film, particularly in Europe where Garbo's star power was at its zenith. The movie's popularity helped cement Garbo's status as among the leading bankable stars in Hollywood history.

Film connections

Influenced by

• The Green Hat (novel by Michael Arlen)
• Anna Karenina (by Leo Tolstoy)
• Madame Bovary (by Gustave Flaubert)
• Camille (by Alexandre Dumas)
• Flesh and the Devil (1926 film)
• The Way of All Flesh (1927 film)

This film influenced

• Camille (1936)
• Anna Karenina (1935)
• The Great Lie (1941)
• Waterloo Bridge (1940)
• The Women (1939)
• Mildred Pierce (1945)

Film restoration

Complete and preserved in the MGM/UA film archives at the Turner Entertainment Company. A high-quality restoration was completed in the 1990s as part of the Garbo film preservation project. The original nitrate negatives have been preserved, and the film exists in multiple formats including 35mm and digital. The synchronized Movietone version with sound effects is partially preserved, though the complete soundtrack has been lost. The film has been released on DVD and Blu-ray by Warner Home Video as part of The Garbo Collection, featuring a restored print with new musical score by Carl Davis.

Where to watch

• The Criterion Channel
• Warner Archive Collection (Blu-ray/DVD)
• TCM (Turner Classic Movies)
• Amazon Prime Video (for purchase or rental)
• Apple TV/iTunes
• Google Play Movies
• Vudu
• Various public domain archives (though quality varies)