A teenage rape of a convent student holds the key to her disappearance as a respectable married woman. Maddalena was left with a dual personality, which leads her to forsake her husband and daughter and flee her Florentine home in the house of the Seven Moons as the mistress of a gypsy jewel thief.[6]
Film rights to the 1931 Margery Lawrence novel[7] were bought by Gaumont British in 1938, which wanted to turn it into a vehicle for Renée Saint-Cyr[8][9] as part of an ambitious slate for Gainsborough in 1939.[10] However the advent of World War II disrupted these and plans, and Madonna was put on the backburner.
The project was re-activated in 1944 following the box office successes of The Man in Grey and Fanny by Gaslight.[11]Vernon Sewell said he was going to direct A Place of One's Own but was told to do Madonna of the Seven Moons instead and refused.[12] The movie wound up being the first film directed by Arthur Crabtree. He had spent many years previously working for Gainsborough as a cinematographer. Phyllis Calvert later recalled:
Arthur was a very good cinematographer, but there weren't enough directors, and so people who were scriptwriters or were behind the camera were suddenly made directors. It wasn't that Crabtree was an unsatisfactory director, just that we found ourselves very satisfactory – we did it ourselves. But the fact that he had been a lighting cameraman was wonderful for us, because he knew exactly how to photograph us.[13]
Academic Sue Harper later wrote an analysis of the film, where she attributed producer R.J. Minney as being the main creative force behind it.[14] The story, which is supposed to be based on a real case history, begins with a rather explicit suggestion of rape of a devout, convent-educated young woman that causes her to develop split personalities. Calvert, who played Patricia Roc’s mother, was only four months her senior in real life.
Filmink dubbed Jean Kent the "back up Margaret Lockwood".[15]
The movie was very popular at the British box office, being one of the most seen films of its year.[16][17][18][19] In 1946 readers of the Daily Mail voted the film their third most popular British movie from 1939 to 1945.[20]
It was the only British film among the ten most popular films of 1946 in Australia.[21]
British films had not traditionally performed well in the US but screenings to US soldiers in Britain led J Arthur Rank to feel that Madonna of the Seven Moonswould do well there.[clarify][24] It became the first of a series of Rank films distributed in the US by Universal.[25]
^ abKinematograph Weekly. 19 April 1945. {{cite magazine}}: Missing or empty |title= (help)
^"No title". Western Mail. Vol. 61, no. 3, 207. Western Australia. 14 February 1946. p. 26. Retrieved 9 September 2017 – via National Library of Australia.
^"NOVELS REVIEWED". The Chronicle. Adelaide. 10 December 1931. p. 84. Retrieved 13 June 2015 – via National Library of Australia.
^"SCREEN NEWS HERE AND IN HOLLYWOOD: Miriam Hopkins Will Star in 'Trailer Romance'--James Ellinson Also in Cast PRISON BREAK' AT RIALTO Lloyd Confirms Reports That He Plans to Sponsor Films Starring W. C. Fields Of Local Origin Special to THE NEW YORK TIMES.". New York Times. 12 July 1938. p. 15.
^"BRITISH FILMS OF 1939". Western Mail. Vol. 59, no. 2, 742. Western Australia. 15 September 1938. p. 30. Retrieved 9 September 2017 – via National Library of Australia.
^C. A. LEJEUNE (16 July 1944). "LONDON'S MOVIE NEWS: Newsreels Prove Strongest Draw -- 'The Way Ahead' an Apt War Film". New York Times. p. X3.
^Fowler, Roy (8 July 1994). "Vernon Sewell". British Entertainment History Project.
^Brian MacFarlane, An Autobiography of British Cinema, Methuen 1997 p 110
^Madonna of the Seven Moons
Harper, SueAuthor InformationView Profile. History Today; London45.8 (Aug 1995): 47.
^Lant, Antonia (1991). Blackout : reinventing women for wartime British cinema. Princeton University Press. p. 232. [According to Kinematograph Weekly] the 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with 'runners up' being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British 'runners up' were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
^Brian MacFarlane, An Autobiography of British Cinema, Methuen 1997 p 230
^"Several Major British Films Ready for U.S. Audiences, Says Rank: Producer Says His Organization Has Tested Its Pictures on American Soldiers in England". Wall Street Journal. New York. 5 June 1945. p. 3.
^"IRENE DUNNE SET TO PORTRAY ANNA: Reconsiders Declining of Role in 'King of Slam' Picture-- Two Films Here Today Of Local Origin Universal, Rank Extend Deal, Special to THE NEW YORK TIMES". New York Times. 1 November 1945. p. 21.
