As a result, some films in the late 1920s and early 1930s depicted or implied sexual innuendo, romantic and sexual relationships between white and black people, mild profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence, and homosexuality. Nefarious characters were seen to profit from their deeds, in some cases without significant repercussions. For example, gangsters in films such as The Public Enemy, Little Caesar, and Scarface were seen by many as heroic rather than evil. Strong female characters were ubiquitous in such pre-Code films as Female, Baby Face, and Red-Headed Woman. Along with featuring stronger female characters, movies examined female subject matters that would not be revisited until decades later in US films.[2][3] Many of Hollywood's biggest stars, such as Clark Gable, Bette Davis, 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 1948), would wind up essentially forgotten by the general public within a generation.[4]
Beginning in late 1933 and escalating throughout the first half of 1934, American 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.
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In 1924, Hays introduced a set of recommendations dubbed "The Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of films they were planning.[10] The Supreme Court had already decided unanimously in 1915 in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures,[11] 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 1916, little had come of the efforts.[12]
According to the Encyclopedia of Hollywood entry on Underworld, "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist." Gangster films such as Thunderbolt (1929) and Doorway to Hell (1930) were released to capitalize on Underworld's popularity,[103] with Thunderbolt being described as "a virtual remake" of Underworld.[107] Other late-1920s crime films investigated the connection between mobsters and Broadway productions in movies such as Lights of New York (1928), Tenderloin (1928) and Broadway (1929).[108]
The arrival of sound film created a new job market for writers of screen dialogue. Many newspaper journalists moved to California and became studio-employed screenwriters. This resulted in a series of fast-talking comedy movies featuring newsmen.[222] The Front Page, later re-made as the much less cynical and more sentimental post-Code His Girl Friday (1940), was adapted from the Broadway play by Chicago newsmen, and Hollywood screenwriters, Ben Hecht and Charles MacArthur. It was based on Hecht's experiences working as a reporter for the Chicago Daily Journal.[223]
Unlike silent-era sex and crime films, silent horror movies, despite being produced in the hundreds, were never a major concern for censors or civic leaders. When sound horror films were released however, they quickly caused controversy. Sound provided "atmospheric music and sound effects, creepy-voiced macabre dialogue and a liberal dose of blood-curdling screams" which intensified its effects on audiences, and consequently on moral crusaders.[228][229] The Hays Code did not mention gruesomeness, and filmmakers took advantage of this oversight. However, state boards usually had no set guidelines and could object to any material they found indecent.[230] Although films such as Frankenstein and Freaks caused controversy when they were released, they had already been re-cut to comply with censors.[231]
Comprising the nascent motion picture genres of horror and science fiction, the "nightmare picture" provoked individual psychological terror in its horror incarnations, while embodying group sociological terror in its science fiction manifestations. The two main types of pre-Code horror movies were the single monster movie, and films where masses of hideous beasts rose up and attacked their putative betters. Frankenstein and Freaks exemplified both genres.[234]
Paramount's Dr. Jekyll and Mr. Hyde (1931) played to the Freudian theories popular with the audience of its time. Fredric March played the split-personality title character. Jekyll represented the composed super-ego, and Hyde the lecherous id. Miriam Hopkins's coquettish bar singer, Ivy Pierson, sexually teases Jekyll early in the film by displaying parts of her legs and bosom.[238] Joy felt the scene had been "dragged in simply to titillate the audience."[237] Hyde coerces her with the threat of violence into becoming his paramour and beats her when she attempts to stop seeing him. She is contrasted with his wholesome fiance Muriel (Rose Hobart), whose chaste nature dissatisfies March's baser alter ego.[239] The film is considered the "most honored of the Pre-Code horror films."[240] Many of the graphic scenes between Hyde and Ivy were cut by local censors because of their suggestiveness.[241] Sex was intimately tied to horror in many pre-Code horror movies. In Murders in the Rue Morgue, an adaptation of Edgar Allan Poe's classic tale which has little in common with the source material, Bela Lugosi plays a mad scientist who tortures and kills women, trying to mix human blood with ape blood during his experiments. His prized experiment, an intelligent ape named Erik, breaks into a woman's second-floor apartment window and rapes her.[242]
Pre-Code films contained a continual, recurring theme of white racism.[254] In the early 1930s, the studios made a series of films that aimed to provide viewers a sense of the exotic, an exploration of the unknown and the forbidden. These films often imbued themselves with the allure of interracial sex according to pre-Code historian Thomas Doherty. "At the psychic core of the genre is the shiver of sexual attraction, the threat and promise of miscegenation."[254] Films such as Africa Speaks were directly marketed by referencing interracial sex; moviegoers received small packets labeled "Secrets" which contained pictures of naked black women.[255] As portrayals of historic conditions, these movies are of little educational value, but as artifacts that show Hollywood's attitude towards race and foreign cultures, they are enlightening.[254] The lack of black characters in films highlights their status in Jim Crow America.[256]
Filmmakers also made feature-length documentaries that covered the dark recesses of the globe, including the Amazon rainforest, Native American settlements, the Pacific Islands, and everywhere in between. Taking advantage of audiences' voyeuristic impulses, aided by the allowance of nudity in tribal documentaries, the filming of lands untouched by modernity, and the presentation of locales never before filmed, these movies placated Depression era American audiences by showing them lifestyles more difficult than their own.[299] Also captured were polar expeditions in films such as 90 South and With Byrd at the South Pole, and sub-Saharan Africa in the safari films of Martin and Osa Johnson, among others.[300]
Following the July 1, 1934, decision by the studios to put the power over film censorship in Breen's hands, he appeared in a series of newsreel clips promoting the new order of business, assuring Americans that the motion-picture industry would be cleansed of "the vulgar, the cheap, and the tawdry" and that movies would be made "vital and wholesome entertainment".[344] All scripts now went through PCA,[338] and several films playing in theaters were ordered withdrawn.[324][345]
Some pre-Code movies suffered irreparable damage from censorship after 1934. When studios attempted to re-issue films from the 1920s and early 1930s, they were forced to make extensive cuts. Films such as Mata Hari (1931), Arrowsmith (1931), Shopworn (1932), Love Me Tonight (1932), Dr. Monica (1934) and Horse Feathers (1932) exist only in their censored versions. Many other films survived intact because they were too controversial to be re-released, such as The Maltese Falcon (1931), which was remade a decade later with the same name, and thus never had their master negatives edited.[356] In the case of Convention City (1933), which Breen would not allow to be re-released in any form, the entire film remains missing. Although it has been rumored that all prints and negatives were ordered destroyed by Jack Warner in the late 1930s,[357] further research shows the negative was in the vaults as late as 1948 when it was junked due to nitrate decomposition.[358]
Catalina Island truly could be transformed. In watching many of the movies filmed on Catalina Island, it takes a keen eye to recognize the locations and pinpoint exactly where a scene was shot as movies have been filmed all over the Island. Avalon, Little Harbor and the Isthmus (Two Harbors) were the most common locations used for many of the films. In fact, so many movies were filmed at the Isthmus that it came to be known as the Isthmus Movie Colony. One can stroll around Two Harbors today and imagine tall ships at battle in Catalina Harbor or the Tahitian Village constructed for the filming of Mutiny on the Bounty. In fact, the film production companies planted many of the non-native palm trees found at the Isthmus today. be457b7860
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