A Woman of Affairs

Plot

Diana Merrick and Neville 'Nev' Clive have been inseparable since childhood, sharing a deep romantic connection that blossoms into passionate love. However, Diana's father, Sir Morton, vehemently opposes their relationship due to Neville's reputation as a playboy and his lack of financial stability. Heartbroken but obedient, Diana agrees to marry her childhood friend David Furness, a kind but less passionate suitor who has long admired her. On their wedding night, David discovers a compromising letter that reveals Diana's continued love for Neville, leading him to take his own life in despair. Consumed by guilt and grief, Diana spirals into a life of reckless behavior and casual affairs, becoming notorious in society. Years later, Neville returns from abroad, having matured and achieved success, and attempts to rescue Diana from her self-destructive path, ultimately leading to a poignant and tragic conclusion.

Historical Background

Made in 1928, 'A Woman of Affairs' emerged during the tumultuous transition period from silent to sound cinema in Hollywood. The Jazz Age was in full swing, with society grappling with changing sexual mores and women's evolving roles. The film's source material, 'The Green Hat,' reflected the post-World War I disillusionment and the era's fascination with scandalous behavior among the upper classes. The stock market crash of 1929 would occur just months after the film's release, marking the end of the Roaring Twenties and the carefree lifestyle depicted in the film. This was also the year that saw the release of 'The Jazz Singer,' which had already revolutionized the industry, making silent films increasingly obsolete. MGM was one of the last major studios to fully embrace sound, allowing them to produce high-quality silent dramas like this one into 1928.

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 legendary 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.

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.

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 Critics Said

Contemporary critics praised 'A Woman of Affairs' as a triumph of silent cinema, with particular acclaim for Garbo's performance. The New York Times called it 'a picture of rare beauty and emotional power,' while Variety noted that 'Garbo has never been more luminous or moving.' Critics appreciated the film's sophisticated handling of adult themes and its refusal to talk down to its audience. The cinematography by William H. Daniels was widely praised for its artistic composition and lighting techniques that enhanced Garbo's legendary beauty. Modern critics have reevaluated the film as a masterpiece of late silent cinema, with the British Film Institute including it in their list of essential silent films. The film is now recognized as one of the most successful adaptations of controversial source material during the Pre-Code era, managing to retain the spirit of the original while satisfying censorship requirements.

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 one of the most bankable stars in Hollywood history.

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