Mademoiselle Midnight

Plot

In 1924's 'Mademoiselle Midnight,' Renée (Mae Murray) is the beautiful heiress to a sprawling Mexican hacienda, burdened by her family's scandalous legacy. Her grandmother, the original 'Mademoiselle Midnight,' was a notorious Parisian socialite banished to Mexico by Napoleon III at Empress Eugenie's insistence for her wild nocturnal escapades. Fearing history will repeat itself, Renée's overprotective father keeps her locked in the hacienda each night, determined to prevent her from following in her grandmother's wayward footsteps. When handsome American visitor David Waring (Monte Blue) arrives at the ranch, Renée falls deeply in love, but their romance is complicated by the persistent advances of the villainous outlaw Manuel Corrales. The film culminates in dramatic confrontations where Renée must choose between love and duty, ultimately proving she can honor her heritage without repeating its mistakes.

Historical Background

The year 1924 was a pivotal time in Hollywood history, marking the peak of the silent film era just before the transition to sound. The film industry was consolidating under major studios like MGM, which had been formed only months earlier in April 1924. America was in the midst of the Roaring Twenties, a period of economic prosperity and cultural rebellion that made stories about breaking social conventions particularly resonant. The film's Mexican setting reflected America's fascination with exotic locales during this period of isolationism. The character of the grandmother being banished by Napoleon III connected to contemporary interest in European aristocracy and history. This was also the year that the Hays Code (though not strictly enforced until 1934) was beginning to influence Hollywood content, making the film's themes of female independence and nocturnal freedom somewhat daring for the time.

Making Of

The production of 'Mademoiselle Midnight' was marked by the typical glamour and tension of a major MGM production in the mid-1920s. Mae Murray, known for her perfectionism and difficult temperament, clashed frequently with director Robert Z. Leonard over her characterization and dance sequences. Leonard, who was married to Murray at the time (they were married from 1918-1925), struggled to balance his professional duties with their personal relationship during filming. The elaborate Mexican hacienda set took weeks to construct and was so impressive that it was reused in several subsequent MGM productions. Murray insisted on having final approval of all her costumes, leading to multiple redesigns and budget overruns. The night scenes presented particular technical challenges, as the cinematography team had to develop new lighting techniques to create the romantic, mysterious atmosphere while still capturing the actors' expressions clearly for the silent medium. Monte Blue, though a seasoned actor, was reportedly intimidated by Murray's star power and requested additional rehearsals for their romantic scenes.

Visual Style

The cinematography by Charles Rosher employed the sophisticated techniques typical of MGM productions in the mid-1920s. The film featured extensive use of artificial lighting to create atmospheric night scenes, utilizing newly developed incandescent lamps that allowed for more nuanced lighting than earlier arc lights. The Mexican exteriors were shot with filters to enhance the exotic feel, while the Parisian flashback sequences employed softer, more romantic lighting to contrast with the harsher Mexican sunlight. Rosher made effective use of close-ups to capture Murray's expressive face, particularly during dance sequences where movement and emotion needed to be conveyed without dialogue. The film also incorporated innovative tracking shots during romantic scenes, adding dynamism to otherwise static compositions. The cinematography balanced the glamorous star shots with expansive establishing shots of the hacienda and Mexican landscapes, creating a sense of scale appropriate for an MGM prestige production.

Innovations

While 'Mademoiselle Midnight' did not introduce revolutionary technical innovations, it showcased MGM's mastery of existing film technology and production techniques. The film featured some of the most sophisticated night photography of its era, utilizing newly developed panchromatic film stock that captured more detail in low-light conditions. The production employed innovative matte painting techniques to extend the hacienda set and create the illusion of expansive Mexican landscapes. The costume department developed new dye processes for Murray's elaborate gowns, ensuring they photographed well in the limited color palette of black and white film. The dance sequences used multiple cameras to capture Murray's movements from different angles, a technique that was still relatively rare in 1924. The film's special effects, while modest by modern standards, included seamless transitions between the present-day Mexican scenes and the Parisian flashbacks, achieved through careful editing and lighting techniques.

Music

As a silent film, 'Mademoiselle Midnight' was accompanied by live musical performances during its theatrical run. The original score was composed by William Axt (credited as William Axt) and arranged for theater orchestras of varying sizes depending on the venue. The music featured Spanish-influenced melodies for the Mexican scenes, waltzes for the romantic moments, and lively jazz-age rhythms for Murray's dance sequence. Major theaters like the Capitol Theatre in New York would have presented the film with full orchestra accompaniment, while smaller venues used piano or organ. The score emphasized leitmotifs for different characters, with a sweeping romantic theme for Renée and more ominous music for the villain Corrales. The film's intertitles were presented with decorative frames that matched the visual style of each scene, and their appearance was often timed to musical cues for maximum impact.

Memorable Scenes

• The opening sequence in Napoleon III's court where the original Mademoiselle Midnight is dramatically banished to Mexico, featuring elaborate period costumes and formal court settings
• Mae Murray's extended dance sequence in the moonlit courtyard, where she performs a passionate solo dance expressing her character's longing for freedom
• The first meeting between Renée and David Waring at the hacienda, where their immediate attraction is conveyed through subtle gestures and meaningful glances
• The climactic confrontation scene where Renée must choose between her father's restrictions and her own desires, set against a dramatic sunset backdrop
• The comic relief sequence with Johnny Arthur's character attempting to court one of the local women, providing levity amid the romantic drama

What Critics Said

Contemporary critics praised 'Mademoiselle Midnight' for its visual splendor and Mae Murray's performance, though some found the plot formulaic. The New York Times noted Murray's 'irresistible charm' and the film's 'handsome production values,' while Variety called it 'a typical Murray vehicle that delivers what her fans expect.' Modern critics and film historians view the film as a representative example of mid-1920s melodrama, appreciating its art direction and Murray's star presence while acknowledging its conventional narrative. The film is often cited in discussions of Murray's career trajectory, marking one of her final major successes before her difficult transition to sound films. Some contemporary feminist film scholars have reexamined the film for its complex portrayal of female agency within the constraints of the melodrama genre.

What Audiences Thought

Audiences in 1924 responded enthusiastically to 'Mademoiselle Midnight,' particularly Mae Murray's fans who came to see her trademark dancing and glamorous persona. The film performed well in major urban markets where Murray was most popular, though its reception was more modest in rural areas. Contemporary accounts describe packed theaters during the film's opening weeks, with audience members particularly responding to the romantic scenes and Murray's dance sequence. The film's exotic Mexican setting and costumes were also major draws for audiences seeking escapism. However, some audience members found the plot predictable, a common criticism of formulaic star vehicles of the era. The film's success helped cement Murray's status as one of the era's top box office draws, though her popularity would begin to wane in subsequent years as audience tastes evolved and the transition to sound cinema approached.

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