- Introduction: this will consist of my statement/ title 'Immoral Hollywood: The Pre-Code Era' as well as my aims, which are to discuss what the 'hays code' is and the types of films that were created during the brief window called the 'pre-code' era which lasted between 1930-1933. Another of my aims is to discuss the themes and attitudes to sex and immorality in general within the films.
- What is Pre-code: this slide will define what is meant by pre-code and what the hays code is.
- Focus Film 1: Why i chose Baby Face
- Focus Film 2: why i chose Red-headed Woman
- Focus Film 3: Party Girl
- Themes explored: the themes and attitudes in which the films share
- Lead females: Barbara Stanwyck as Lily Powers, Jean Harlow as 'Lil' and Judith Barrie as Leeda Cather
- Supporting females: the wives, fiancees, the absence of a mother figure?
- Male Representations- the adulterers, husbands, fathers and business men- how they are passive, the reception of this in a patriarchal society?
- Studios: Which studios made them, was this kind of film a trademark for them?
- Box Office: How were they received, some reviews etc.
- Audience: Social context, what was going on- The Great Depression
- The introduction of the Hays code/ production code_ what did they change and what was the impact
- Impact: example of supporting film- The Big Sleep (what did this mean for the roles women could play?)
- Impact: example of supporting film- The Wicked Lady
- Conclusion- Did pre-code films produce a corrupt society and encourage immorality?
Friday, 19 September 2014
Illustrative Slides Analysis
Wednesday, 17 September 2014
The Wicked Lady
The Wicked Woman is a 1945 film starring Margaret Lockwood, created by the studio Gainsborough Pictures. This film is not in the pre-code era, however adopts many of the same themes, such as the liberation of women's sexuality. Themes such as these explored in the film are particularly obscene as it is set in the 17th century.
The synopsis is as follows:
17th-century beauty Barbara Worth starts her career of crime by stealing her best friend's bridegroom. Her next exploit is to recover gambling losses by donning mask and cloak and taking to the roads as a highwayman! The thrill of these ventures proves addictive...especially when she meets a male highwayman who becomes her lover. Together, the two desperados lead a gay secret life, pursued by the local magistrate Sir Ralph Skelton...Barbara's husband! To what further crimes will the wicked Lady Skelton descend?
This film was extremely popular, although not with critics, whom thought it was just another full-blown melodrama, yet one review said:
"The Wicked Lady has an undeniable sweep and a vigorous dash that carries the audience right along. It may be too excitingly plotted for some, but it always looks so terribly authentic, it is hard not to be drawn into the machinations of villainess Lockwood or sympathize with the careless, carefree vigor of James Mason's full-blooded Captain Jackson. A welcome cast of deservedly popular support artists help round out the movie's terrific production values. Aside from some obvious process screen effects, no expense has been spared. In fact, this Wicked Lady is lavish to a fault". IMDb
This film may be classed in some terms a 'melodrama' however due to the departure of the pre-code era, women were drawn to such a genre, it was thought of at the time as the only female-led genre going. Unfortunately the gangster movies, westerns and thrillers of the time all cast women as the 'damsels in distress' or the ones to get the beating. The production code put a stop to any other liberating female role; therefore women were left to such roles as these; however this still pushed the production code laws, even after 12 years of its enforcement.
The synopsis is as follows:
17th-century beauty Barbara Worth starts her career of crime by stealing her best friend's bridegroom. Her next exploit is to recover gambling losses by donning mask and cloak and taking to the roads as a highwayman! The thrill of these ventures proves addictive...especially when she meets a male highwayman who becomes her lover. Together, the two desperados lead a gay secret life, pursued by the local magistrate Sir Ralph Skelton...Barbara's husband! To what further crimes will the wicked Lady Skelton descend?
This film was extremely popular, although not with critics, whom thought it was just another full-blown melodrama, yet one review said:
"The Wicked Lady has an undeniable sweep and a vigorous dash that carries the audience right along. It may be too excitingly plotted for some, but it always looks so terribly authentic, it is hard not to be drawn into the machinations of villainess Lockwood or sympathize with the careless, carefree vigor of James Mason's full-blooded Captain Jackson. A welcome cast of deservedly popular support artists help round out the movie's terrific production values. Aside from some obvious process screen effects, no expense has been spared. In fact, this Wicked Lady is lavish to a fault". IMDb
This film may be classed in some terms a 'melodrama' however due to the departure of the pre-code era, women were drawn to such a genre, it was thought of at the time as the only female-led genre going. Unfortunately the gangster movies, westerns and thrillers of the time all cast women as the 'damsels in distress' or the ones to get the beating. The production code put a stop to any other liberating female role; therefore women were left to such roles as these; however this still pushed the production code laws, even after 12 years of its enforcement.
Friday, 12 September 2014
The Big Sleep
The Big Sleep will be one of my supporting films. It is a film noir from 1946 and is therefore not apart of the pre-code era which is my focus. However I read, when doing research about censorship about how the production code in America asked for many cuts and changes to be made to this film, in order for it to fit with their requirements and thus be shown in Cinema.
It is a Bogart and Bacall movie (Humphrey Bogart and Lauren Bacall, husband and wife) whom were known to do a collection of films together, probably most renowned for To Have and Have Not, along with many others. The film was directed by Howard Hawks, and much like most pre-code or 'Golden Age' films was adapted from a book, in this occasion, of the same name.
The synopsis is as follows:
Summoned by the dying General Sternwood, Philip Marlowe is asked to deal with several problems that are troubling his family. Marlowe finds that each problem centers about the disappearance of Sternwood's favoured employee who has left with a mobster's wife. Each of the problems becomes a cover for something else as Marlowe probes.
In the 40s the Production Code (or PCA) was laying down the law, so to speak, on all Hollywood big named films, so that they were eligible for mass public viewing. However the guidelines in the PCA then stated that the Warner Bros. studio could not in any of their pictures reference many things, some of which were: "illegal drug traffic" "sex perversion" or "complete nudity" which were written about in the original book, The Big Sleep. Therefore Carmen's drug taking, Gieger's homosexuality and his pornographic book racket, which were never in detail mentioned in the film, were written out of the script in the early stages of production.
As The Big Sleep's forty-two day shooting schedule (1944) was about to go underway the final scene was rejected by the PCA. This scene depicts Marlowe having been responsible for Carmen's death; therefore not keeping in suite with the typical 'hero figure'. The script was looked at and altered further so that Carmen does not die. However more complications arouse and various shots had to be re-shot. In the summer of 1945 the film was premiered, released and found, both too bleak and too complex and disfigured to follow; due to this the PCA then advised more romance to be portrayed between Marlowe and Vivian, so that the story was one of love, more than of crime and murder; this meant more re-writes and further shooting and therefore a re-release with additional scenes and retakes to give Bacall a bigger part, finally came out in August 1946.
Some reviews:
"The Big Sleep is one of those pictures in which so many cryptic things occur amid so much involved and devious plotting that the mind becomes utterly confused. And, to make it more aggravating, the brilliant detective in the case is continuously making shrewd deductions which he stubbornly keeps to himself. What with two interlocking mysteries and a great many characters involved, the complex of blackmail and murder soon becomes a web of utter bafflement. Unfortunately, the cunning script-writers have done little to clear it at the end"-Bosley Crowther
"The plot's crazily mystifying, nightmare blur is an asset, and only one of many"-Time
"This classic of American cinema, actually made during the war and released in 1946, got a whole nation of young men affecting Bogey mannerisms, raising their eyebrows or showing their teeth while grimacing, and especially pulling on their earlobes while deep in thought, a smoking cigarette dangling between their lips. It was the genius of Howard Hawks, who directed, to do everything possible to make Humphrey Bogart a matinée idol, including having Lauren Bacall slump down in the car seat so as not to tower over him. With this movie a new kind of cinematic hero was created, the existential PI, a seemingly ordinary looking guy gifted with street smarts and easy courage, admired by men, and adored by women"- IMDb
"Perfect on every sense. Great cast, with terrific Bogart and Bacall. Complex and interesting plot and smart dialogues. Only "funny" thing, if we want to say something, is the "perception" of the women roles in the movie. They are strangely all sexy and attracted to and tempting Philip Marlow"-Movie Database
Box Office:
rentals: $3,000,000
Budget wise its hard too find out, due to the many re-shoots and re-writes as well as the two different realises.
It is a Bogart and Bacall movie (Humphrey Bogart and Lauren Bacall, husband and wife) whom were known to do a collection of films together, probably most renowned for To Have and Have Not, along with many others. The film was directed by Howard Hawks, and much like most pre-code or 'Golden Age' films was adapted from a book, in this occasion, of the same name.
The synopsis is as follows:
Summoned by the dying General Sternwood, Philip Marlowe is asked to deal with several problems that are troubling his family. Marlowe finds that each problem centers about the disappearance of Sternwood's favoured employee who has left with a mobster's wife. Each of the problems becomes a cover for something else as Marlowe probes.
In the 40s the Production Code (or PCA) was laying down the law, so to speak, on all Hollywood big named films, so that they were eligible for mass public viewing. However the guidelines in the PCA then stated that the Warner Bros. studio could not in any of their pictures reference many things, some of which were: "illegal drug traffic" "sex perversion" or "complete nudity" which were written about in the original book, The Big Sleep. Therefore Carmen's drug taking, Gieger's homosexuality and his pornographic book racket, which were never in detail mentioned in the film, were written out of the script in the early stages of production.
As The Big Sleep's forty-two day shooting schedule (1944) was about to go underway the final scene was rejected by the PCA. This scene depicts Marlowe having been responsible for Carmen's death; therefore not keeping in suite with the typical 'hero figure'. The script was looked at and altered further so that Carmen does not die. However more complications arouse and various shots had to be re-shot. In the summer of 1945 the film was premiered, released and found, both too bleak and too complex and disfigured to follow; due to this the PCA then advised more romance to be portrayed between Marlowe and Vivian, so that the story was one of love, more than of crime and murder; this meant more re-writes and further shooting and therefore a re-release with additional scenes and retakes to give Bacall a bigger part, finally came out in August 1946.
Some reviews:
"The Big Sleep is one of those pictures in which so many cryptic things occur amid so much involved and devious plotting that the mind becomes utterly confused. And, to make it more aggravating, the brilliant detective in the case is continuously making shrewd deductions which he stubbornly keeps to himself. What with two interlocking mysteries and a great many characters involved, the complex of blackmail and murder soon becomes a web of utter bafflement. Unfortunately, the cunning script-writers have done little to clear it at the end"-Bosley Crowther
"The plot's crazily mystifying, nightmare blur is an asset, and only one of many"-Time
"This classic of American cinema, actually made during the war and released in 1946, got a whole nation of young men affecting Bogey mannerisms, raising their eyebrows or showing their teeth while grimacing, and especially pulling on their earlobes while deep in thought, a smoking cigarette dangling between their lips. It was the genius of Howard Hawks, who directed, to do everything possible to make Humphrey Bogart a matinée idol, including having Lauren Bacall slump down in the car seat so as not to tower over him. With this movie a new kind of cinematic hero was created, the existential PI, a seemingly ordinary looking guy gifted with street smarts and easy courage, admired by men, and adored by women"- IMDb
"Perfect on every sense. Great cast, with terrific Bogart and Bacall. Complex and interesting plot and smart dialogues. Only "funny" thing, if we want to say something, is the "perception" of the women roles in the movie. They are strangely all sexy and attracted to and tempting Philip Marlow"-Movie Database
Box Office:
rentals: $3,000,000
Budget wise its hard too find out, due to the many re-shoots and re-writes as well as the two different realises.
Party Girl
This is one of many immoral pre-code films in which graced the 'late night screening' at theaters. It is not considered the best of the pre-code era, due to being one of the earliest (along with The Divorcee) and therefore having some sound difficulties, as the 'talkies' were still a recent milestone. It also was produced by Poverty Row studio, an almost unheard of company from the 'Golden Age' of cinema.
This film was banned in the UK until 2003, even though it was first made in 1930.
The synopsis is as follows:
Jay Rountree, son of a wealthy manufacturer and young, rising businessman, gets caught up in a web involving an escort service or 'party girls.' While eluding the wily Diana Holster, the self-proclaimed Queen of the Party Girls, he manages to get trapped in a web spun by Leeda Cather and her supposed mother and, much to his consternation and to the surprise of his fiancée, Jay soon finds himself an unhappily married man. And, as events would show, Diana isn't all that happy, herself.
This film even though being immoral to the core, and making little attempt to hide the fact that these 'party girls' are in fact prostitutes, had a warning prologue advising those of how such themes explored in the movie are of a corrupt nature and make innocent girls bad. The warning ends with a foreboding statement that the next innocent girl gone bad, could be your daughter!
Some reviews for this film include:
" The acting is unbelievably bad, with Fairbanks jnr being particularly atrocious. And the dialogue is cringe-inducing. In spite of this (or possibly because of this), Party Girl is wonderfully entertaining. The Art Deco interiors and the gorgeous women’s costumes certainly help. This is very much a Jazz Age movie. If your idea of a good time is lots of bathtub gin, wild parties and loose women, this is a movie for you"- Classic Movie Ramblings
"It’s very much in the style of the classic American exploitation movie, ostensibly condemning some deadly threat to public morals but actually being very much on the side of wickedness. These party girls are not just shamelessly debauched, they’re enjoying every minute of it"- Classic Movie Ramblings
"...this is a pleasant diversion that pushes the envelope even for pre-Code Hollywood.." - IMDb
I originally chose this as one of my focus films, however, found that The Divorcee was better suited for many reasons; such as how it was one of the kick-started of pre-code films of this kind. Therefore Party Girl will be one of my supporting items, as it still pushes the boundaries of pre-code cinema and epitomizes obscenity and corruption within the liberation of woman and sex and hiw they are represented in Hollywood film in the early 30s.
This film was banned in the UK until 2003, even though it was first made in 1930.
The synopsis is as follows:
Jay Rountree, son of a wealthy manufacturer and young, rising businessman, gets caught up in a web involving an escort service or 'party girls.' While eluding the wily Diana Holster, the self-proclaimed Queen of the Party Girls, he manages to get trapped in a web spun by Leeda Cather and her supposed mother and, much to his consternation and to the surprise of his fiancée, Jay soon finds himself an unhappily married man. And, as events would show, Diana isn't all that happy, herself.
This film even though being immoral to the core, and making little attempt to hide the fact that these 'party girls' are in fact prostitutes, had a warning prologue advising those of how such themes explored in the movie are of a corrupt nature and make innocent girls bad. The warning ends with a foreboding statement that the next innocent girl gone bad, could be your daughter!
Some reviews for this film include:
" The acting is unbelievably bad, with Fairbanks jnr being particularly atrocious. And the dialogue is cringe-inducing. In spite of this (or possibly because of this), Party Girl is wonderfully entertaining. The Art Deco interiors and the gorgeous women’s costumes certainly help. This is very much a Jazz Age movie. If your idea of a good time is lots of bathtub gin, wild parties and loose women, this is a movie for you"- Classic Movie Ramblings
"It’s very much in the style of the classic American exploitation movie, ostensibly condemning some deadly threat to public morals but actually being very much on the side of wickedness. These party girls are not just shamelessly debauched, they’re enjoying every minute of it"- Classic Movie Ramblings
"...this is a pleasant diversion that pushes the envelope even for pre-Code Hollywood.." - IMDb
I originally chose this as one of my focus films, however, found that The Divorcee was better suited for many reasons; such as how it was one of the kick-started of pre-code films of this kind. Therefore Party Girl will be one of my supporting items, as it still pushes the boundaries of pre-code cinema and epitomizes obscenity and corruption within the liberation of woman and sex and hiw they are represented in Hollywood film in the early 30s.
Thursday, 11 September 2014
The Divorcee
The Divorcee is considered as one of the first real pre-code film, certainly the first to be a commercial success and rouse controversy and interest nationally. This film lead to many others of its kind and shaped the pre-code era we know today.
It stars Norma Shearer, who won an Oscar for best actress for her role. Shearer, much like Miriam Hopkins, was the poster-girl for the 20s and 30s and certainly pre-code films. She played strong, sexually liberated women and by doing so, was granted the title of a 'sex-symbol'. Shearer was the wife of MGM production head Irving Thalberg, whom brought the rights to the book Ex-Wife in which the film was then based on. He originally wished for Joan Crawford to play the role, as he did not believe Shearer had enough sex-appeal. Yet Shearer arranged a photo session with photographer George Hurrell and convinced Thalberg that she could indeed play the role. It also stars Chester Morris, who was also the leading male in Red-Headed Woman. The film was directed by Robert Z. Leonard; this earned him an Academy Award nomination for best director.
This film was originally created to counter-act and reflect the hard times of The Great Depression. It was an attempt to get the American public back into cinemas at a very hard time.
The synopsis is as follows:
Jerry and Ted are young, in love, and part of the New York 'in-crowd'. Jerry's decision to marry Ted crushes a yearning Paul. Distraught Paul gets drunk and wrecks his car, disfiguring young Dorothy's face in the process. Out of pity, Paul marries Dorothy. Years later, the apparent perfect marriage of Ted and Jerry falls apart from infidelity on both sides. Inwardly unhappy, popular Jerry lives a party life while Ted sinks into a life of alcoholism. Jerry then runs into Paul, who still loves her. After spending time together with Jerry, Paul plans to divorce Dorothy. When Jerry sees Dorothy again, she has second thoughts about where her life is heading.
I chose this film, as I have previously mentioned, due to the fact that it acted as the initiation of pre-code films. It confronts, boldly, the issues of divorce and adultery- which, before, had hardly been touched on in such in film; and caused controversy as a result. Much like Red-Headed Woman it was produced by Metro-Goldwyn-Mayer. However due to not being able to purchase it, or get a hold of a copy in any other way, I cannot use it as one of my focus films; therefore I will place it under the 'not used' section of my catalogue.
Some reviews:
"Surpisingly strong, effective early talkie from usually tepid MGM"- Rotten Tomatoes
"It's doubtful that this melodrama, in which Norma Shearer challenges society's double standards about sexual mores by flirting with several men, could have been made after 1934 due to strictures of the Production Code"- Rotten Tomatoes
"[Shearer] certainly deserved her Oscar for this one"-Rotten Tomatoes
Box office:
The budget for this film was estimated at $340,691
Rentals reached $1,218,000 (Worldwide)
It stars Norma Shearer, who won an Oscar for best actress for her role. Shearer, much like Miriam Hopkins, was the poster-girl for the 20s and 30s and certainly pre-code films. She played strong, sexually liberated women and by doing so, was granted the title of a 'sex-symbol'. Shearer was the wife of MGM production head Irving Thalberg, whom brought the rights to the book Ex-Wife in which the film was then based on. He originally wished for Joan Crawford to play the role, as he did not believe Shearer had enough sex-appeal. Yet Shearer arranged a photo session with photographer George Hurrell and convinced Thalberg that she could indeed play the role. It also stars Chester Morris, who was also the leading male in Red-Headed Woman. The film was directed by Robert Z. Leonard; this earned him an Academy Award nomination for best director.
This film was originally created to counter-act and reflect the hard times of The Great Depression. It was an attempt to get the American public back into cinemas at a very hard time.
The synopsis is as follows:
Jerry and Ted are young, in love, and part of the New York 'in-crowd'. Jerry's decision to marry Ted crushes a yearning Paul. Distraught Paul gets drunk and wrecks his car, disfiguring young Dorothy's face in the process. Out of pity, Paul marries Dorothy. Years later, the apparent perfect marriage of Ted and Jerry falls apart from infidelity on both sides. Inwardly unhappy, popular Jerry lives a party life while Ted sinks into a life of alcoholism. Jerry then runs into Paul, who still loves her. After spending time together with Jerry, Paul plans to divorce Dorothy. When Jerry sees Dorothy again, she has second thoughts about where her life is heading.
I chose this film, as I have previously mentioned, due to the fact that it acted as the initiation of pre-code films. It confronts, boldly, the issues of divorce and adultery- which, before, had hardly been touched on in such in film; and caused controversy as a result. Much like Red-Headed Woman it was produced by Metro-Goldwyn-Mayer. However due to not being able to purchase it, or get a hold of a copy in any other way, I cannot use it as one of my focus films; therefore I will place it under the 'not used' section of my catalogue.
Some reviews:
"Surpisingly strong, effective early talkie from usually tepid MGM"- Rotten Tomatoes
"It's doubtful that this melodrama, in which Norma Shearer challenges society's double standards about sexual mores by flirting with several men, could have been made after 1934 due to strictures of the Production Code"- Rotten Tomatoes
"[Shearer] certainly deserved her Oscar for this one"-Rotten Tomatoes
Box office:
The budget for this film was estimated at $340,691
Rentals reached $1,218,000 (Worldwide)
Wednesday, 10 September 2014
Red-Headed Woman Reviews
Red-Headed Woman was much like any other controversial and overtly sexual film of the time, (which all started in 1929, because of the success of the film The Divorcee which was an attempt at luring the American public back into cinemas at the time of The Great Depression).
This caused a five-year run of films all centering around controversial and taboo themes.
Some reviews from the film include:
"...All of the women contained are either shallow, stupid, or so manipulative, while all the men are helpless bores. And while there’s a lot to be said for nobility, where the Pre-Code films shine is in the arena of tantalizing and vivacious debauchery, usual with a nice tidy moral to send the audience home with. But, hell, Red Headed Woman doesn’t even have that!...." -Pre-Code.com
They also add reasons why it is so very much part of the pre-code Hollywood film family:
Another qoute from veritefilmmag.com concerns a particular scene (in which I am using as part of my textual analysis) where Jean Harlow's breast is seen in a half-second shot, which has been referred to time and time again as an example of typical pre-code obscenity and questionable censorship.
The scene and quote is as follows:
"...Harlow and Merkel are at their wicked best in Red-Headed Woman, at each other’s throats and throwing insults at a rapid fire pace. Despite their seeming animosity towards each other, these gals have been best friends their whole lives and theirs is a relationship filled with heart – so much so, Sally even tries to share the same pair of silk pajamas between them. Be sure to watch out for a quick flash of Harlow’s naked chest in this scene. It’s quite unbelievable that the shot made it into the final film print..."
This caused a five-year run of films all centering around controversial and taboo themes.
Some reviews from the film include:
"...All of the women contained are either shallow, stupid, or so manipulative, while all the men are helpless bores. And while there’s a lot to be said for nobility, where the Pre-Code films shine is in the arena of tantalizing and vivacious debauchery, usual with a nice tidy moral to send the audience home with. But, hell, Red Headed Woman doesn’t even have that!...." -Pre-Code.com
They also add reasons why it is so very much part of the pre-code Hollywood film family:
- The sequence in which Bill beats Lillian silly… probably would be a no-go after the code.
- Gold digging is always a big theme during the Pre-Code era, and this has it in earnest.
- And the ease in which different characters are divorced and the obviousness of these characters sex lives are indulged in makes it especially scandalous.
"...The comedy allows the film a rather nastier edge
than if it had been straight melodrama with some scenes still disturbing (a
frustrated Bill knocks Lil around the room with his fists while she screams “I
like it!, Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s happening in
the room)..."- monstersandcritics.com
"Jean Harlow and Una Merkel are at each other’s throats and at their wicked best"-veritefilmmag.com
"Jean Harlow and Una Merkel are at each other’s throats and at their wicked best"-veritefilmmag.com
Another qoute from veritefilmmag.com concerns a particular scene (in which I am using as part of my textual analysis) where Jean Harlow's breast is seen in a half-second shot, which has been referred to time and time again as an example of typical pre-code obscenity and questionable censorship.
The scene and quote is as follows:
"...Harlow and Merkel are at their wicked best in Red-Headed Woman, at each other’s throats and throwing insults at a rapid fire pace. Despite their seeming animosity towards each other, these gals have been best friends their whole lives and theirs is a relationship filled with heart – so much so, Sally even tries to share the same pair of silk pajamas between them. Be sure to watch out for a quick flash of Harlow’s naked chest in this scene. It’s quite unbelievable that the shot made it into the final film print..."
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
Tuesday, 9 September 2014
Red-Headed Woman
Red-Headed Woman is a 1932 pre-hays code film in which stars Jean Harlow as a amoral 'man-eater'. In the film synopsis it states that her character 'Lil' intends to "sleep her way to the top of The Great Depression"- conveying from the off-set the explicit, sexually-driven themes usually tackled in 1930s Hollywood films. Scenes in this film range from suggested nudity, adultery, divorce and crime. Therefore this film epitomizes 'pre-code' Hollywood, and would, if been made just one year later, have been strictly cut and re-vamped in order to stick within the means of censorship rules and Hays-code guidelines.
The films full synopsis is as follows:
Lilian 'Lil' Andrews (Harlow wearing a red wig) is a young woman who will do anything to improve herself. She seduces her wealthy boss William 'Bill' Legendre Jr. and cleverly breaks up his marriage with his loving wife Irene. Irene reconsiders and tries to reconcile with Bill, only to find he has married Lil the previous day.
However, Lil finds herself shunned by high society, including Bill's father, Will Legendre Sr., because of her lower class origins and homewrecking. When Charles B. Gaerste, a nationally known coal tycoon and the main customer of the Legendres' company, visits the city, Lil thinks she has found a way to force her way into the highest social circles. She seduces him, then blackmails him into throwing a party at her mansion, knowing that no one would dare offend him by not showing up. It seems like a social coup for Lil, until her hairdresser friend and confidante Sally points out that all the guests have left early to attend a surprise party for Irene (who lives across the street).
Humiliated, she decides to move to New York City, even if it means a temporary separation from her husband. Will finds Lil's handkerchief at Gaerste's place and correctly guesses what Lil has done. He shows his evidence to his son, who hires detectives to watch Lil. They find that she is conducting not one, but two affairs, with Charles and his handsome French chauffeur Albert. Bill shows Charles damning photographs.
When Lil learns that Charles has found out about her, she returns to Bill, only to find him with Irene. Furious, she shoots him, but he survives and refuses to have her charged with attempted murder. However, he does divorce her and remarry Irene. Two years later, he sees her again, at a racetrack in Paris, in the company of an aged Frenchman. He discreetly hides Irene's binoculars. In the final scene, Lil and her elderly companion get into a limousine ... driven by Albert.
I chose this film as it is listed as one of the 'Forbidden Hollywood' movies that I have previously mentioned. It not only stars a renowned leading female- which was very common-place at the time, but also contains many themes in which were severally counter-acted once the hays-code was enforced, and for a number of reasons.
This film, though not unlike many others of its time and topic, was controversial for many reasons, all concerning the lack of morality and virtue of the era. Divorce, is one theme explored in this film, it is not only touched upon, but is a main focus- Harlow's character forces her boss/ lover to divorce so that he can marry her, then later divorcing him. In the 30s it would be rare, if not unheard of for couples to get divorced if they were not Hollywood celebrities or elopers; this is even portrayed in the film by Bill's upper-class friends, whom shun Lil for being a "homewrecker". This attitude of the upper-class is so reflected the time and views of society and was one of the reasons these sorts of films were (from 1933 onwards) banned, changed as well as stopped altogether.
Prior to Red-Headed Woman, the producer- Irving Thalberg worked with the Will Hays Office to ensure it would receive approval for general release. The production code at the time stated that "...a criminal could not be seen to profit from the crime, or to go unpunished, and sin must be punished..." this along with Jean Harlow's character being portrayed as overtly sexual and confident in several scenes where she was partially undressed, or making obvious sexual advances, very difficult to be accepted by censorship laws.
Although the Hays Office could not ban a film as such, a refusal to issue approval for a particular film could lead exhibitors to refuse to screen it. Thalberg agreed to seventeen cuts to enable it to screen in the United States; however upon release, it still received a large number of complaints from affronted cinema patrons. The original release in 1932 was banned in cinemas in the United Kingdom and was only reconsidered in 1965. The controversy surrounding its release generated considerable publicity, and the film was a box-office success.
With rentals worldwide, the box office hit: $761,000
This makes it relatively successful, having made profit.
The films full synopsis is as follows:
Lilian 'Lil' Andrews (Harlow wearing a red wig) is a young woman who will do anything to improve herself. She seduces her wealthy boss William 'Bill' Legendre Jr. and cleverly breaks up his marriage with his loving wife Irene. Irene reconsiders and tries to reconcile with Bill, only to find he has married Lil the previous day.
However, Lil finds herself shunned by high society, including Bill's father, Will Legendre Sr., because of her lower class origins and homewrecking. When Charles B. Gaerste, a nationally known coal tycoon and the main customer of the Legendres' company, visits the city, Lil thinks she has found a way to force her way into the highest social circles. She seduces him, then blackmails him into throwing a party at her mansion, knowing that no one would dare offend him by not showing up. It seems like a social coup for Lil, until her hairdresser friend and confidante Sally points out that all the guests have left early to attend a surprise party for Irene (who lives across the street).
Humiliated, she decides to move to New York City, even if it means a temporary separation from her husband. Will finds Lil's handkerchief at Gaerste's place and correctly guesses what Lil has done. He shows his evidence to his son, who hires detectives to watch Lil. They find that she is conducting not one, but two affairs, with Charles and his handsome French chauffeur Albert. Bill shows Charles damning photographs.
When Lil learns that Charles has found out about her, she returns to Bill, only to find him with Irene. Furious, she shoots him, but he survives and refuses to have her charged with attempted murder. However, he does divorce her and remarry Irene. Two years later, he sees her again, at a racetrack in Paris, in the company of an aged Frenchman. He discreetly hides Irene's binoculars. In the final scene, Lil and her elderly companion get into a limousine ... driven by Albert.
I chose this film as it is listed as one of the 'Forbidden Hollywood' movies that I have previously mentioned. It not only stars a renowned leading female- which was very common-place at the time, but also contains many themes in which were severally counter-acted once the hays-code was enforced, and for a number of reasons.
This film, though not unlike many others of its time and topic, was controversial for many reasons, all concerning the lack of morality and virtue of the era. Divorce, is one theme explored in this film, it is not only touched upon, but is a main focus- Harlow's character forces her boss/ lover to divorce so that he can marry her, then later divorcing him. In the 30s it would be rare, if not unheard of for couples to get divorced if they were not Hollywood celebrities or elopers; this is even portrayed in the film by Bill's upper-class friends, whom shun Lil for being a "homewrecker". This attitude of the upper-class is so reflected the time and views of society and was one of the reasons these sorts of films were (from 1933 onwards) banned, changed as well as stopped altogether.
Prior to Red-Headed Woman, the producer- Irving Thalberg worked with the Will Hays Office to ensure it would receive approval for general release. The production code at the time stated that "...a criminal could not be seen to profit from the crime, or to go unpunished, and sin must be punished..." this along with Jean Harlow's character being portrayed as overtly sexual and confident in several scenes where she was partially undressed, or making obvious sexual advances, very difficult to be accepted by censorship laws.
Although the Hays Office could not ban a film as such, a refusal to issue approval for a particular film could lead exhibitors to refuse to screen it. Thalberg agreed to seventeen cuts to enable it to screen in the United States; however upon release, it still received a large number of complaints from affronted cinema patrons. The original release in 1932 was banned in cinemas in the United Kingdom and was only reconsidered in 1965. The controversy surrounding its release generated considerable publicity, and the film was a box-office success.
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
The budget for this film was: $401,000 (estimated).With rentals worldwide, the box office hit: $761,000
This makes it relatively successful, having made profit.
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
The
comedy allows the film a rather nastier edge than if it had been
straight melodrama with some scenes still disturbing (a frustrated Bill
knocks Lil around the room with his fists while she screams “I like it!,
Hit me again!”, with the comedy coming in the form of her roommate
listening at the door getting an entirely different idea of what’s
happening in the room). - See more at:
http://www.monstersandcritics.com/dvd/reviews/article_1231810.php/DVD_Review_TCM_Archives_-_Forbidden_Hollywood_Collection_Vol._1#sthash.uLliY4QB.dpuf
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