Behind Office Doors

Plot

Mary Linden is the highly competent and efficient secretary to publishing executive James Duneen, who relies on her completely but fails to recognize her true value to his success. When Duneen's rival, Ronald Wales, recognizes Mary's intelligence and capabilities, he attempts to lure her away with promises of appreciation and advancement. The situation forces Duneen to confront his dependence on Mary and his growing romantic feelings for her, while Mary must decide between the man who takes her for granted and the one who offers her the recognition she deserves. The film explores the complex dynamics of office romance, professional ambition, and the changing roles of women in the workplace during the early 1930s. As tensions rise and business deals hang in the balance, Mary must navigate her professional responsibilities while confronting her personal desires and the limitations placed on women in corporate America.

Historical Background

Behind Office Doors was released in 1931, during the Great Depression's early years when unemployment was soaring and economic uncertainty dominated American life. The film's focus on corporate success and office politics resonated with audiences concerned about job security and advancement opportunities. This was also the pre-Code era in Hollywood, before the strict enforcement of the Motion Picture Production Code in 1934, allowing filmmakers to explore more adult themes including workplace romance, gender dynamics, and moral ambiguity. The film reflected the changing role of women in society, as more women were entering the workforce during the Depression out of economic necessity. The early 1930s also saw the transition from silent films to talkies complete, and this film represents the sophistication that sound cinema had achieved in just a few years.

Making Of

Behind Office Doors was filmed during a transitional period in Hollywood when the industry was fully embracing sound technology. The production faced challenges typical of early talkies, including the need for stationary cameras and microphones that limited movement. Mary Astor, who had a pleasant speaking voice, adapted well to the new medium. Director Melville W. Brown, more comfortable with comedies, had to adjust his directing style for the dramatic material. The film's office setting required careful sound design to create an authentic business atmosphere while maintaining clear dialogue. The chemistry between Astor and Ames was developed through rehearsals, as both actors were accustomed to the faster-paced silent film era. The production team worked closely with RKO's art department to create realistic office interiors that reflected the modern corporate environment of the time.

Visual Style

The cinematography of Behind Office Doors was handled by Jack MacKenzie, who employed techniques typical of early sound films while creating a visual style appropriate for the office setting. The film uses medium shots and close-ups effectively to capture the intimate dynamics between characters in the confined office space. The lighting design emphasizes the contrast between the professional brightness of the daytime office scenes and the more romantic, shadowy evening sequences. MacKenzie's camera work, while somewhat constrained by early sound recording equipment, manages to convey the hierarchical structure of the corporate environment through strategic positioning and framing. The office sets are photographed to appear both impressive and realistic, reflecting the power dynamics of the business world. The film's visual style successfully transitions between the professional world of the office and the more personal moments between characters.

Innovations

Behind Office Doors utilized the sound technology available in 1931 to create a realistic office environment with ambient sounds and clear dialogue. The film's production team employed early microphone techniques that allowed for more natural-sounding conversations while maintaining the necessary audio quality. The set design incorporated sound-absorbing materials to reduce echo and improve audio clarity, a significant concern in early sound films. The film's editing successfully balanced dialogue scenes with visual storytelling, demonstrating the growing sophistication of film language in the sound era. The lighting techniques used were adapted to work with the sensitive film stocks required for sound recording, creating a visual style that complemented both the dramatic and romantic elements of the story. The technical crew managed to create believable office environments while working within the constraints of early sound recording equipment.

Music

The musical score for Behind Office Doors was composed by Max Steiner, who was one of RKO's prominent composers during this period. Steiner's score complemented the film's dramatic and romantic elements without overwhelming the dialogue, which was crucial in early sound films. The music helped establish the professional atmosphere of the office scenes with subtle, business-like themes, while providing more romantic melodies for the personal moments between characters. As was common in early talkies, the film also included some diegetic music - music that exists within the world of the story - particularly in scenes set in restaurants or social venues. The sound design was carefully managed to create an authentic office environment with typewriters, telephones, and other office sounds that added realism to the production. The soundtrack represents the sophisticated approach to film music that was developing during this transitional period in Hollywood.

Memorable Scenes

• The climactic scene where Mary finally confronts James about taking her for granted, leading to his emotional realization of her true importance to both his professional success and personal happiness.
• The tense boardroom meeting where Mary subtly guides James through a crucial business deal, demonstrating her intelligence and expertise while remaining in the background.
• The romantic dinner scene where Ronald Wales attempts to woo Mary away from James, forcing her to evaluate her feelings and professional loyalty.

What Critics Said

Upon its release, Behind Office Doors received generally positive reviews from critics, who particularly praised Mary Astor's performance as the capable secretary. The New York Times noted that Astor 'brings depth and intelligence to a role that could have been merely stereotypical.' Critics appreciated the film's realistic portrayal of office life and its mature approach to romantic entanglements in the workplace. Variety praised the film's 'snappy dialogue and believable situations.' However, some reviewers felt the plot was somewhat predictable and followed familiar romantic comedy conventions. Modern critics and film historians have revisited the film as an important example of pre-Code cinema that offered a more nuanced portrayal of women's professional lives. The film is now recognized for its ahead-of-its-time treatment of workplace gender dynamics and its role in Mary Astor's transition from silent films to talkies.

What Audiences Thought

Contemporary audiences responded positively to Behind Office Doors, particularly to Mary Astor's relatable portrayal of an overlooked but capable professional woman. The film resonated with Depression-era audiences who were concerned about job security and workplace advancement. Many viewers, especially women, appreciated seeing a female character who was competent and valued for her professional abilities rather than just her beauty. The romantic elements of the story also appealed to audiences looking for escapist entertainment during difficult economic times. The film performed moderately well at the box office, though it was not a major blockbuster. In retrospect, audiences and film enthusiasts have come to appreciate the film as an early example of workplace-centered drama and as a showcase for Mary Astor's talents during the transition to sound cinema.

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