The Affairs of Anatol

Plot

The Affairs of Anatol follows wealthy socialite Anatol Spencer, who grows bored with his seemingly perfect marriage to the virtuous Vivian. Convinced he needs to 'save' women from immoral situations, Anatol embarks on a series of misguided adventures, first attempting to rescue his former flame Emilie from a life of prostitution, only to discover she's content with her situation. He then tries to reform a suicidal artist named Satan Synne, becomes entangled with a faith healer's wife, and attempts to help a farm girl escape her abusive husband. Each episode reveals Anatol's hypocrisy and naivety as he projects his own desires onto these women, ultimately leading to his humiliation when he returns home to find his wife Vivian happily entertaining his best friend Max, forcing him to confront his own foolishness and the true nature of love and marriage.

Historical Background

Released in 1921, 'The Affairs of Anatol' emerged during a period of significant social change in America. The Jazz Age was beginning, and Victorian moral codes were being challenged across society. The film industry was transitioning from short films to feature-length productions, and Hollywood was establishing itself as the world's film capital. This period also saw the rise of the 'flapper' culture and changing attitudes toward sexuality and relationships. The film's exploration of marital dissatisfaction and the search for meaning beyond conventional morality resonated with audiences grappling with post-World War I disillusionment and the rapid social changes of the Roaring Twenties.

Making Of

The production was marked by tension between DeMille and his leading man Wallace Reid, who was struggling with drug addiction during filming. Reid's condition worsened throughout production, requiring multiple takes and causing delays. DeMille, known for his perfectionism, clashed with Reid over his performance but ultimately worked around the actor's difficulties. Gloria Swanson, meanwhile, was at the height of her powers and demanded extensive costume changes and elaborate sets. The film's episodic structure allowed DeMille to experiment with different visual styles for each segment, creating a visually diverse work that showcased his technical prowess. The production design was overseen by Paul Iribe, who created lavish Art Deco sets that reflected the decadent lifestyle of the characters.

Visual Style

The film featured innovative cinematography by Karl Brown and Alvin Wyckoff, utilizing multiple camera techniques and lighting effects to create distinct visual moods for each episode. The production employed extensive use of soft focus lighting for romantic scenes and dramatic high-contrast lighting for moments of moral crisis. The cinematographers experimented with subjective camera angles to represent Anatol's psychological state, including distorted perspectives during his moments of confusion. The film's visual style was enhanced by elaborate intertitles with decorative Art Nouveau typography that reflected the sophisticated urban setting.

Innovations

The film pioneered the use of color tinting to enhance emotional storytelling, with different hues applied to entire sequences based on their emotional content. The production utilized the then-new Technicolor process for select scenes, though most of the film was black and white. DeMille employed complex lighting setups to create depth in his elaborate sets, using multiple light sources to achieve a three-dimensional quality. The film's editing techniques, particularly its use of cross-cutting between parallel storylines, were considered advanced for the time and influenced later narrative films.

Music

As a silent film, 'The Affairs of Anatol' would have been accompanied by live musical performance in theaters. The original cue sheet suggested classical pieces including works by Chopin, Liszt, and Wagner to underscore the emotional moments. Paramount provided theaters with a detailed musical guide recommending specific compositions for each scene, with romantic themes for Anatol's encounters and dramatic music for moments of moral crisis. The musical accompaniment was designed to enhance the film's episodic structure, with distinct musical motifs for each of Anatol's 'affairs.'

Memorable Scenes

• The opening sequence where Anatol declares his boredom with married life to his wife Vivian in their lavishly decorated apartment
• The dramatic confrontation scene where Anatol discovers Emilie with another man, shattering his romantic illusions
• The artist's garret sequence where Anatol encounters Satan Synne, featuring expressionistic lighting and set design
• The final scene where Anatol returns home to find Vivian and Max together, forcing his moment of self-realization

What Critics Said

Contemporary critics praised the film's technical achievements and Swanson's performance, though some found the moral message confusing. The New York Times called it 'a fascinating study of human weakness' while Variety noted its 'unusual depth for a commercial picture.' Modern critics have reevaluated the film as an early example of DeMille's social critique, with some viewing it as a precursor to his later epics in its exploration of moral hypocrisy. The film is now recognized as an important transitional work between DeMille's early social dramas and his later spectacle films.

What Audiences Thought

The film was a commercial success, grossing over $800,000 domestically against its $175,000 budget. Audiences were drawn by the star power of Swanson and Reid and the film's scandalous themes. The movie's exploration of marital problems and infidelity resonated with urban audiences experiencing changing social mores. However, some conservative viewers found the film's moral ambiguity troubling, particularly its sympathetic portrayal of a 'fallen woman' in Emilie. Despite these controversies, the film's strong word-of-mouth and positive reviews helped it maintain a successful theatrical run throughout 1921 and into 1922.

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