It was produced and directed by Cecil B. DeMille and starred Kay Johnson, Reginald Denny, Lillian Roth, and Roland Young.

[2] Thematically, this marked an attempt by DeMille to return to the boudoir comedies genre that had brought him financial success about 10 years earlier.

Angela tells Jimmy that she has left home and will spend the night at the apartment he shares with his supposed wife Trixie.

The scene becomes more farcical when Bob arrives as well, while Trixie is hiding; Jimmy conceals Angela under a blanket and says she is his girlfriend, a married woman whose name he will not reveal.

To win back her husband's affections, Angela decides to attend the soiree as a mysterious devil woman with a French accent, "Madam Satan", to "vamp" him.

Now hidden behind her mask and wrapped in an alluring gown that reveals more than it covers, Angela finds her errant husband and begins teaching him a lesson.

To Trixie's dismay, Bob is indeed bewitched by Angela in her devil woman persona, nothing like the demure spouse he left at home.

When Bob returns, he gives Angela his, and she parachutes safely into the open jump seat of a convertible car in which a couple are making out.

Trixie parachutes through the roof of a Turkish bath full of toweled men who immediately scramble to cover themselves.

[6] Cecil B. DeMille voices an uncredited Radio Newscaster Songs Soundtrack Abe Lyman, who can be seen in Madam Satan, was hired to play the music.

Regal label in Australia also released a version of "Live And Love To-Day" by the Rhythmic Troubadours, record number G20999, in 1930.

Learning that Parker was living in France, and that this would make collaboration too difficult, DeMille then sought vaudeville writer Elsie Janis.

[14] In his review for The New York Times, film critic Mordaunt Hall described Madam Satan as "an inept story with touches of comedy that are more tedious than laughable."

It begins with the flash of a bird bath and closes with the parachuting of passengers from a giant dirigible that is struck by lightning.

"[17] A similar review by Edwin Schallert in the Los Angeles Times noted: "The general impression of the DeMille picture is that it is too much in one key.

[19] The paper in its October 5 issue summarizes the film in all-capital letters as a "TYPICAL DE MILLE ORGY OF SPECTACULAR SETTINGS AND COSTUMES WITH 'HOT' LINES THAT KILL IT FOR FAMILY TRADE.