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Pre- Code Hollywood - Wikipedia. Films made in the pre- Code era frequently presented people in sexually suggestive or provocative situations, and did not hesitate to display women in scanty attire. In this publicity photo, Dorothy Mackaill plays a secretary- turned- prostitute in Safe in Hell, a 1.
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Warner Bros. film directed by William Wellman. Gangster films, such as The Public Enemy, starring James Cagney (pictured here) and Little Caesar, starring Edward G. Robinson, were a mainstay of the pre- Code releases of the Hollywood studios. The anti- hero characters could transgress society's rules in a way that the audience could not, but always paid for their crimes at the end of the film. Pre- Code musicals took advantage of their backstage stories to show women in states of dress – in skimpy rehearsal clothes, changing in dressing rooms, or onstage in tight or revealing costumes – which were beyond those considered decent for women in ordinary life.
This shot is from the trailer for Warner Bros.' 4. Street, in which auditioning women show their legs for the director. Pre- Code Hollywood refers to the brief era in the American film industry between the introduction of sound pictures in 1.
Motion Picture Production Code censorship guidelines, popularly known as the "Hays Code", in mid- 1. Although the Code was adopted in 1. July 1, 1. 93. 4, with the establishment of the Production Code Administration (PCA).
Before that date, movie content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion, than strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers. As a result, films in the late 1. Strong female characters were ubiquitous in such pre- Code films as Female, Baby Face, and Red- Headed Woman. Gangsters in films like The Public Enemy, Little Caesar, and Scarface were seen by many as heroic rather than evil. Along with featuring stronger female characters, films examined female subject matters that would not be revisited until decades later in US films.
Nefarious characters were seen to profit from their deeds, in some cases without significant repercussions, and drug use was a topic of several films. Many of Hollywood's biggest stars such as Clark Gable, Barbara Stanwyck, Joan Blondell and Edward G. Robinson got their start in the era. Other stars who excelled during this period, however, like Ruth Chatterton (who decamped to England) and Warren William (the so- called "king of Pre- Code", who died in 1. Beginning in late 1. American Roman Catholics launched a campaign against what they deemed the immorality of American cinema.
This, plus a potential government takeover of film censorship and social research seeming to indicate that movies which were seen to be immoral could promote bad behavior, was enough pressure to force the studios to capitulate to greater oversight. Origins of the Code (1. Earliest attempts for the Code[edit]In 1. Hollywood stars, the studios enlisted Presbyterian elder. William H. "Will" Hays, a figure of unblemished rectitude, to rehabilitate Hollywood's image. Hays, later nicknamed the motion picture "Czar", was paid the then- lavish sum of $1. Hays, Postmaster General under Warren G.
Harding and former head of the Republican National Committee,[3] served for 2. Motion Picture Producers and Distributors of America (MPPDA), where he "defended the industry from attacks, recited soothing nostrums, and negotiated treaties to cease hostilities."[7] Hollywood mimicked the decision Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about the integrity of baseball in wake of the 1. World Series gambling scandal; The New York Times called Hays the "screen Landis".[4]Hays introduced a set of recommendations dubbed "The Formula" in 1. The Supreme Court had already decided unanimously in 1. Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures,[9] and while there had been token attempts to clean up the movies before, such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1. Creation of the Code and its contents[edit]In 1.
American Roman Catholic layman Martin Quigley, editor of the prominent trade paper Motion Picture Herald, and Father Daniel A. Lord, a Jesuit priest, created a code of standards (which Hays liked immensely[1.
Lord's concerns centered on the effects sound film had on children, whom he considered especially susceptible to their allure.[1. Several studio heads, including Irving Thalberg of Metro- Goldwyn- Mayer (MGM), met with Lord and Quigley in February 1. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention.[1.
It was the responsibility of the Studio Relations Committee, headed by Colonel Jason S. Joy, to supervise film production and advise the studios when changes or cuts were required.[1. The Code was divided into two parts. The first was a set of "general principles" which mostly concerned morality. The second was a set of "particular applications" which was an exacting list of items that could not be depicted.
Some restrictions, such as the ban on homosexuality or the use of specific curse words, were never directly mentioned but were assumed to be understood without clear demarcation. Miscegenation, the mixing of the races, was forbidden. It stated that the notion of an "adults- only policy" would be a dubious, ineffective strategy that would be difficult to enforce.[1.
However, it did allow that "maturer minds may easily understand and accept without harm subject matter in plots which does younger people positive harm." If children were supervised and the events implied elliptically, the code allowed what Brandeis University cultural historian Thomas Doherty called "the possibility of a cinematically inspired thought crime".[1. The Code sought not only to determine what could be portrayed on screen, but also to promote traditional values.[1. Sexual relations outside of marriage could not be portrayed as attractive and beautiful, presented in a way that might arouse passion, nor be made to seem right and permissible.[1.
All criminal action had to be punished, and neither the crime nor the criminal could elicit sympathy from the audience.[4] Authority figures had to be treated respectfully, and the clergy could not be portrayed as comic characters or villains. Under some circumstances, politicians, police officers and judges could be villains, as long as it was clear that they were the exception to the rule.[1. The entire document contained Catholic undertones and stated that art must be handled carefully because it could be "morally evil in its effects" and because its "deep moral significance" was unquestionable.[1. The Catholic influence on the Code was initially kept secret.[why?][1. A recurring theme was "throughout, the audience feels sure that evil is wrong and good is right."[4] The Code contained an addendum commonly referred to as the Advertising Code, which regulated film advertising copy and imagery.[2.
Enforcement[edit]On February 1. Variety published the entire contents of the Code and predicted that state film censorship boards would soon become obsolete.[2. However, the men obligated to enforce the code — Jason Joy, who was the head of the Committee until 1. Dr. James Wingate — were seen as generally ineffective.[1. The very first film the office reviewed, The Blue Angel, which was passed by Joy without revision, was considered indecent by a California censor.[2.
Although there were several instances where Joy negotiated cuts from films, and there were indeed definite—albeit loose—constraints, a significant amount of lurid material made it to the screen.[2. Joy had to review 5.