#precode films

[bygone-hollywood]

Anna May Wong and Sessue Hayakawa in a scene from "Daughter of the Dragon” (1931)

[filmista]

Film History: Pre-code films

The pre-code era represented a radical change in the role of women in cinema. Undoubtedly, the new female protagonism was not attributable to a sudden interest in the figure of women in society, nor by the search for equality, not even by a current of socio-cultural thought that sought renewal, in this regard , of the American arts. 

The studios simply used women to find enough sensationalism, morbidity and scandal to bring more audiences to theaters. It is evident that, despite the fact that economic gain was sought more than artistic quality, the end result was that many actresses became real movie stars, gaining a prominence, in many cases, greater than that given to male roles , and even, as we will see later, an actress even saved a major studio from bankruptcy.

There were many films that directly or indirectly addressed issues related to adultery, although perhaps it was the Metro Goldwyn Mayer film "The Divorcee" from 1930, the first to address the issue directly, creating a stir among the most popular  conservative sector of American society. 

The protagonist (Norma Shearer), deceived by her husband, decides to take revenge by sleeping with her best friend. Her performance earned her an Oscar. Curiously, this film was produced by Irving Thalberg, promoter of the first code and one of the most interesting characters in Hollywood of those years.

Returning to what the film's premiere meant at that time, there were two details that triggered the outrage of the "conservative sector"; firstly, that it was precisely one of the authors of the code who produced a film that openly violated it and, secondly, that the attitude adopted by the character of Shearer was certainly shameless and seemed to convey the following message: "if a man can be unfaithful  why shouldn’t a woman flirt with whoever she wants.” Of course, after being divorced and conquering man after man, she regretted that behavior and returned to her husband, whom she had never stopped loving.

Norma Shearer herself, again produced by her husband, would soon release "A free soul", 1931. This film tells how the daughter of an important lawyer begins an intense sexual relationship with a gangster played by Clark Gable (in which what would be his first major role). Another twist on what, according to the code, should not be shown in the movies.

Also in 1931 would be released "Night Nurse", a classic film of the pre-code era, with gangsters, and a  sexuality that floods the entire film with numerous scenes in which nurses appear in underwear.

But the most relevant thing about "Night Nurse", apart from serving as an example of a pre-code film, is that it was one of the first leading roles of the great Barbara Stanwick. Actress full of strength, talent and charisma, she was undoubtedly the most important Hollywood star of those early 30's. Before “Night Nurse” she had already shot “Illicit” 1931 (Illicit) and “Ladies of Leisure” 1930 (Light Women ) her first film with Frank Capra, with whom she would be very prolific during the 1930s and 1940s. Her enormous versatility led her to appear in genres as diverse as comedy, western, melodrama or film noir.

Apart from Capra, she worked for the best directors of the time; Howard Hawks, Cecil B. de Mille or Fritz Lang were lucky to have her in some of their casts. In 1933 she would participate in "Baby face" (Angel's Face) undoubtedly one of the most extravagant and lascivious films of the pre-code era. In it we are introduced to a licentious, sordid Barbara Stanwyck full of strength and determination. 

The film shows us how a woman uses her sexuality to achieve a higher social status by cajoling increasingly important men. The message she conveyed left no room for doubt: women can manipulate men with sex and be successful in life. Although it is also true that the ending serves as redemption for the character, she has to choose between money and love and she already knows what truly makes her happy ...

One of the actresses who stood out especially in the pre-code era for her sensuality and daringness was Mae West, considered the first sex symbol and fatal woman in the history of cinema. In 1932, she appeared in the film "Night after Night", by Archie L. Mayo. After this film Mae West became a comedian with a very characteristic humor that gave her the rank of star thanks to an adaptation of her theatrical hit "Diamond Lil" entitled "Lady Lou" (1933).

She enjoyed enormous decision-making power in the films in which she participated; She was a set designer, a screenwriter, and she also chose her co-stars. Provocative, confident of herself and her showmanship, she was surely the most influential actress in Hollywood in a long time. It was she who avoided the bankruptcy of Paramount, discovered a very young Cary Grant and also, charging for all this more than any of the actresses of that time, was the highest paid actress. In 1933 she premiered "I'm no Angel (I'm not an angel), along with Cary Grant and directed by Wesley Ruggles. Endowed with an undeniable gift for comedy and, especially, for double entendres she was the author of phrases that are already part of the history of cinema such as:

"Do you have a gun in your pocket or are you glad to see me?" "I believe in censorship, after all, I have made a fortune at its expense." "When I have to choose between two temptations I always choose the one that I have never tried." "When I am good, I am very good, but when I am bad, I am better."

[saturdaynightmovie]

Betty Grable and Jane Darwell in

Child of Manhattan (1933) Director: Edward Buzzell

[ultraozzie3000]

Rise of the Gangster Film

Rise of the Gangster Film

During the early years of the Depression and before censorship guidelines were imposed by the Hays Code, Hollywood cranked out a slew of “Pre-Code” films filled with sex and violence, including 1931’s Little Caesar, the first “talkie” gangster film that defined the genre for decades to come.

Jan. 17, 1931 cover by Peter Arno.

It also propelled the career of Edward G. Robinson(1893-1973), who…

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[bygone-hollywood]

EDWARD G. ROBINSON and JAMES CAGNEY in Smart Money (1931), dir. Alfred E. Green

[ehgood-enough]

Wow the ladies they talk about had mentions of prostitution, lesbians, and women wanting men plus crime. Most is the movie takes places in the women’s jail which doesn’t seem all that bad a place to be. As with most of the old movies there is some romance.

I continue to be blown away by the subjects touched upon in these precode movies. They short so nothing is too in depth but it’s just amazing to me that some of these things are even just mentioned in passing

[ehgood-enough]

Lawyer man was the worst so far out of the precode films. Just way too much subplots for a one hour film. Too much willam Powell not enough Joan blondell

Part of it is the breach of promise case just doesn’t carry over well to 2023. Crazy all the other 1930-1932 movies feel reasonably relatable. But this one breach of promise yeah ok that’s more the stuff I’m expecting from old movies. The lawyer was bouncing all over in his career that didn’t make any sense. Someone who wasn’t raised on watching law and order it might have worked. I wonder how it would have felt watching from a 1932 perspective

[ehgood-enough]

Jewel thief was nothing like I expected. It was fun and sexy and exciting.

I am really loving Kay Francis. She’s really charismatic. The roles I’ve seen her in have all been great