Strictly Unconventional
"A daring drama of a woman who defied the 'Circle' of convention!"
Plot
Set within the rigid confines of the British aristocracy, Elizabeth Champion-Cheney finds herself trapped in a passionless and stifling marriage to her husband Arnold, a man obsessed with his social standing and antique collection. Her life takes a dramatic turn when she falls deeply in love with Edward Luton, a spirited Canadian planter who offers her a life of adventure and genuine emotion far from the stuffy drawing rooms of England. The situation reaches a boiling point when Elizabeth's mother-in-law, Lady Catherine, returns after thirty years of exile with her lover, Lord Porteous, providing a living warning of the social ruin that follows elopement. Despite the calculated efforts of her father-in-law, Clive, to manipulate her into staying by feigning a change of heart, Elizabeth must decide whether to repeat the scandalous history of the family or remain in her gilded cage. Ultimately, the film explores the cyclical nature of human passion and the high cost of defying societal conventions in the early 20th century.
About the Production
The film was a sound remake of MGM's own 1925 silent film 'The Circle'. It was produced during the industry's rapid transition to 'talkies,' which influenced its heavy reliance on dialogue-driven scenes and theatrical blocking. The working title during production remained 'The Circle' until shortly before its release when it was changed to the more sensational 'Strictly Unconventional'.
Historical Background
Released in 1930, the film sits at the dawn of the Pre-Code era in Hollywood, a time when the film industry was testing the boundaries of what could be shown on screen before the strict enforcement of the Hays Code in 1934. It also reflects the 'Maugham-mania' of the late 1920s and early 30s, where Hollywood studios scrambled to adapt the works of W. Somerset Maugham due to his reputation for 'adult' and 'urbane' storytelling. Historically, the film captures the post-WWI shift in social morals, contrasting the Victorian-era scandals of the older generation with the modern desires of the younger characters.
Why This Film Matters
While not a major box office hit, the film is significant as a bridge between the silent era's visual storytelling and the sound era's obsession with 'canned theater.' It serves as a primary example of how early talkies utilized established stage hits to ensure commercial viability during the Great Depression. It also highlights the recurring cultural fascination with the British class system and the 'fallen woman' trope that was prevalent in early 20th-century literature and cinema.
Making Of
The production of 'Strictly Unconventional' faced the typical challenges of early sound cinema, including the 'icebox' housing for cameras to dampen mechanical noise, which restricted movement. David Burton, transitioning from Broadway, focused heavily on the delivery of Maugham's sophisticated dialogue, often requiring long takes that exhausted the cast. The casting of Catherine Dale Owen was a specific choice by MGM to promote her as a new 'sophisticated' star, though her career in sound films would be relatively brief. Production records indicate that the script was finalized in late December 1929, with filming taking place in early 1930 to meet a May release schedule.
Visual Style
The cinematography by Oliver T. Marsh is characterized by the static, high-key lighting typical of early MGM sound productions. Because of the limitations of early sound recording, the camera remains largely stationary, focusing on medium shots of the actors to capture their dialogue clearly. There are occasional attempts at visual depth in the lavishly decorated English manor sets, intended to convey the 'gilded cage' atmosphere.
Innovations
The film utilized the Western Electric Movietone sound-on-film process, which was the industry standard at MGM during the transition. It is a technical example of 'theatrical' sound recording, where the emphasis was placed on vocal clarity over environmental ambiance.
Music
The film features a minimal musical score, as was common in 1930 when 'background music' was often avoided unless there was a visible source (diegetic sound). The primary 'soundtrack' is the crisp, theatrical delivery of the dialogue, recorded using the Western Electric Sound System.
Famous Quotes
Clive: 'London society is insincere.' Elizabeth: 'Yes, but sincerity in society would be like an iron girder in a house of cards.'
Lady Catherine: 'I was young and foolish once, Elizabeth. Now I am just... old.'
Edward: 'There is a world outside these stone walls, a world where people actually live and breathe!'
Memorable Scenes
- The arrival of Lady Catherine and Lord Porteous: A tense and awkward dinner scene where the young Elizabeth sees the physical and social toll that thirty years of 'living in sin' has taken on the older couple.
- The 'Circle' Speech: Clive Champion-Cheney explains his cynical theory that family history repeats itself in circles, attempting to manipulate Elizabeth's emotions.
- The Final Decision: Elizabeth and Edward's quiet but intense conversation in the garden where she finally chooses to leave her husband, despite the warnings of her elders.
Did You Know?
- The film is an adaptation of W. Somerset Maugham's 1921 play 'The Circle', which was considered scandalous in its time for its cynical view of marriage.
- Director David Burton was primarily known for his work in the theater, which is reflected in the film's stage-like presentation.
- This was one of the early sound films for Lewis Stone, who would later become famous as Judge Hardy in the Andy Hardy series.
- The 1925 silent version of this story featured Eleanor Boardman, while this 1930 version cast Catherine Dale Owen in the lead role.
- MGM changed the title from 'The Circle' to 'Strictly Unconventional' to appeal to the Pre-Code audience's interest in 'daring' or 'spicy' subject matter.
- The film's runtime is notably short at 55 minutes, a common trait for early sound adaptations of plays that focused strictly on the core dialogue.
- Somerset Maugham himself reportedly preferred the play's original title and felt the film adaptations often softened the play's biting irony.
- The cinematographer, Oliver T. Marsh, was a favorite at MGM and later filmed several Jeanette MacDonald and Nelson Eddy musicals.
What Critics Said
At the time of its release, critics were divided; some praised the 'brilliant' Maugham dialogue, while others found the direction static and 'too much like a photographed play.' Variety noted that while the acting was competent, the film lacked the cinematic flair of the earlier 1925 silent version. Modern critics view it primarily as a curiosity of the early sound era, noting its historical value as a Maugham adaptation but criticizing its stilted pacing.
What Audiences Thought
Audiences in 1930 were still enamored with the novelty of 'talking' pictures, and the film performed respectably in metropolitan areas where Maugham's plays were well-known. However, its sophisticated, cynical tone was less popular in rural markets compared to more action-oriented or musical fare of the period.
Film Connections
Influenced By
- The 1921 play 'The Circle' by W. Somerset Maugham
- The 1925 silent film 'The Circle'
This Film Influenced
- The 1948 British TV movie 'The Circle'
- Later 'sophisticated' MGM dramas of the 1930s
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Film Restoration
The film is preserved and exists in the Turner Entertainment Co. library. It has been broadcast on Turner Classic Movies (TCM) on rare occasions, though it has not received a widespread digital restoration or Blu-ray release.