Romance & Social Norms

The Silberman article makes a strong case for Kautner's use of an emotionally weak female as a symbol for the clash between individual happiness and social norms. Throughout the film Madeleine is pushed from one male to the next and each time there is something missing from the relationship. With Michael she lacks stability, with her husband she lives without love, with Victor she retains little honor, this presents her with few chances for her own happiness. Society dictates that she should either remain with her husband or leave him legally and marry Michael, yet this does not happen. The plot of the film begins with Madeleine's seemingly anti-social norms acceptance of Michael's advances. She acts against fascist teachings and talks to the well-spoken composer. Silberman rightfully notes that she acts outside the bounds of traditional fascist female roles through her stimulation of male desire and male fantasies of domination and this seems to give her some power. The social norms of female meekness appear to be broken by her actions; however, upon closer inspection she, and the film, actually reinforces fascist male dominance. Although Madeleine has the power to say "no" to Michael and Victor and to leave her husband she chooses to follow the wills of all her lovers. The film portrays her as the true fascist dream of "yes-men" citizens, devoted Nazis who will always agree with figures of authority. Kautner creates three male characters whom exert natural authority in the face of Madeleine. Michael and Victor are wealthy and her husband is knowledgeable about accounting which is corroborated by his firms trust in his ability to uncover the accounting scheme. The film teaches that a woman cannot say "no" to figures of authority and that this is her undoing. The fascist state creates citizens who act as drones carrying out the will of those above them, vocationally or romantically.