Nudity whether in glimpses, through clothes, in silhouette or in the distance was strictly banned by the 1930 Motion Picture Production Code. According to the code nudity in any form was “immoral” and should be completely avoided. Despite this, Pre-code films are full of it. Instead of straight “in fact” nudity, directors became sneaky but attempting to make the nudity tantalisingly quick or part of the plot. Several actresses, like Jean Harlow and Norma Shearer created screen legends based on what they or didn’t wear. Thankfully, this clever film making has been preserved and audiences today can view scenes that Joseph Breen and code makers would later ban from cinemas for over fifty years. Let’s take a look at the methods this generation of Hollywood directors, writers, cinematographers and actors used to bypass the code: 1. Taking a Bath Since silent films and the glorious Gloria Swanson, directors have been using swimming and bathing scenes as a source of decadence and undue exposure. Surprisingly, unlike other forms of Pre-code nudity, several male actors get into the act. What the code says: 3. Indecent or undue exposure is forbidden. Top Examples: 1) Tarzan and his Mate (1934) and Bird of Paradise (1933): Both these films include extensive nude swimming scenes with both Maureen O’Sullivan (or her body double) and Dolores del Rio taking the plunge with their male co-stars. Tarzan and his Mate 2) Night After Night (1932) and Search for Beauty (1934): A little look at male nudity with George Raft taking a revealing bath in Night After Night and Buster Crabbe showering in Search for Beauty (1934). George Raft in Night After Night 3) Sign of the Cross (1932): If the conservative Claudette Colbert knew what the camera was capturing at the time she would be shocked. The bathing scene pretty much shows all of poor Ms Colbert’s breasts. Claudette Colbert in Sign of the Cross 4) Barbarian (1933): Although apparently in a nude coloured body suit, Myrna Loy bares all in this nude bathing scene. Myrna Loy in Barbarian 5) Blonde Crazy (1932): Joan Blondell takes a bath with James Cagney in the room, its definitely Pre-code!! Joan Blondell in Blonde Crazy 6) Red Dust (1932): Jean Harlow cements her screen persona as a bombshell after she takes a bath in a barrel. Jean Harlow in Red Dust Honourable Mentions: Maltese Falcon (1931), Beauty and the Boss (1932) and King Kong (1933). Beauty and the Boss 2. Existent – but really non-existent – Clothes Wearing clothes doesn’t necessary limited the chance of nudity in Pre-code films. In many cases, certain actresses became notorious for wearing clothes that covered little or appearing to wear no visible undergarments. What the code says: 5. Transparent or translucent materials and silhouette are frequently more suggestive than actual exposure. Top Examples: 1) Hells Angels (1930): Jean Harlow wears a slinky, thin dress for much of the film leaving nothing to the imagination. Jean Harlow in Hells Angels 2) A Free Soul (1930): Norma Shearer in ‘that dress’. Norma Shearer in A Free Soul 3) Tarzan and his Mate (1934): Maureen O’ Sullivan wearing a ‘barely there’ brown costume. Maureen O'Sullivan in Tarzan and His Mate 4) Search for Beauty (1933): Chorus girls in thin white costumes. Search For Beauty 5) Smarty (1934): Joan Blondell teases her husband and ex-husband by strutting around in a very skimpy black dress and then has it ripped off. Joan Blondell in Smarty Honourable Mentions: Basically every other Jean Harlow film and shots from the deleted and unfortunately lost scenes of Greta Garbo in Mata Hari (1931). Greta Garbo in Mata Hari 3. In Musicals Pre-code musicals are a great source for unexpected nudity. Film-makers and performers, such as, Busby Berkley, Eddie Cantor and Wheeler and Woolsey often used provocative clothing and situations accompanied by dance and music to titillate audiences. What the code says: 4. Dancing or costumes intended to permit undue exposure or indecent movements in the dance are forbidden. Top Examples: 1) Gold Diggers of 1933 (1933): Often used as a classic example of Pre-code at its best by film historians, Gold Diggers includes the notorious musical number Petting in the Park which features chorus girls clearly undressing behind a thin screen. Gold Diggers of 1933 2) Murder at the Vanities (1934): A really confronting murder mystery/ musical film with a musical number titled Marijuana. It includes a number of scenes with barely clothed dancers and women with strategically placed objects. Murder at the Vanities 4) Roman Scandals (1933): Eddie Cantor’s comedic nod to the ancient Roman civilisation Includes his usual frivolity, double entendres and women clothed only in their long blonde locks. Roman Scandals 5) Hips, Hips Hooray (1934): A film that I believe probably escalated the coming of the enforced code, Wheeler and Woosley almost take it too far in this film. Lots of girls in bath tubs, suggestive leather costumes and more double entendres then I could catch in one sitting. Hips Hips Hooray 6) Meet the Baron (1933): Pretty dull movie but includes a long musical number with chorus girls singing about having a shower while in the shower. Meet the Baron 4. In Silhouette (its art really) With MGM’s logo “art for art sake”, directors used this to the maximum with the use of artist’s models and sculpture to show sneaky glimpses of nudity. What the code says: 1. Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture; Top Examples: 1) Song of Songs (1933): Marlene Dietrich becomes an artist’s model with the artist using her physique to craft a full (and very lifelike) body sculpture. Song of Songs 2) The Common Law (1931): This time Constance Bennett plays the model to painter Joel McCrea who poses her nude and semi-nude. The Common Law 4) Sign of the Cross (1932): Although not art related, this film shows a poor Christian women tied to a pole, covered only in vines about to be attacked by a gorilla. Sign of the Cross 5) Scarlett Empress (1933): I haven’t seen this film in ages, but I am told there is distant shots of nude women in silhouette. Scarlett Empress (from Precode.com) 5. While Dressing It was difficult to narrow down a list of films for this category, its everywhere. Directors used this ploy in every film none of which were essential to the plot. What the code says: 2. Undressing scenes should be avoided, and never used save where essential to the plot. Top Examples: 1) Under 18 (1931): The beautiful Marion Marsh becomes a model with many outfit changes. Marion Marsh in Under 18 2) Footlight Parade (1933): Although a musical, this film includes lots of chorus girls in skimpy outfits as well as actresses doing quick costume changes between musical numbers. Footlight Parade 3) Dr Jekyll and Mr Hyde (1931): Miriam Hopkins spends an excessive amount of time undressing seductively for Fredric March and then hops into bed. Miriam Hopkins and Fredric March in Dr Jekyll and Mr Hyde 4) If I Had a Million (1932): Another excessive undressing scene featuring Wynne Gibson before bed time. Wynne Gibson in If I Had a Million Honourable Mention: Every gangster film, musical, romance, and drama – pretty much every film with a female in it. 6. Blatant Exploitation Some films shot during the Pre-code era were classified as part of the ‘exploitation’ genre. These, in many cases, used nudity to draw in audiences under the guise of educating people about topics like nudism and other cultures. Warning this films are shocking and blatantly exploit other cultures for financial gain. What the code says: 1. The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young and upon immature persons, has been honestly recognized by all lawmakers and moralists. 2. Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For, in addition to its beauty, the effect of the nude or semi-nude body on the normal individual must be taken into consideration. 3. Nudity or semi-nudity used simply to put a "punch" into a picture comes under the head of immoral actions. It is immoral in its effect on the average audience. Top Examples: 1) Elysia Valley of the Nude (1933): An ‘educational’ film about nudism and nudist societies; so, full of naked people. Eylsia Valley of the Nude 2) Tabu (1931) and Blonde Captive (1932): Both films where so-called documentary crews travel to distant, exotic locations to film and study “savages”. Very dull and very offensive. Tabu The Blonde Captive
Anything went for a brief period in Hollywood at the start of the sound era, when suggestions of sex, sin and sordidness were all waved through by the censors. Here are 10 films that pushed the envelope.
Anything went for a brief period in Hollywood at the start of the sound era, when suggestions of sex, sin and sordidness were all waved through by the censors. Here are 10 films that pushed the envelope.
These 11 pre-Code era films show us how far films have evolved in confronting social taboos and representation.
1. Princess Leia off-duty Carrie Fisher, 1983, found on Reddit 2. An Abandoned Car swallowed by Ivy found in Beijing, China In China, abandoned cars are known colloquially as “jiangshiche,” or “zombie cars.” Police tried to remove the vines, but they were so thick and thorny that it was decided the vehicle should…
It's classic Hollywood -- uncensored. Filled with rare images and untold stories from producers, censors, stars, exhibitors, and the movie-going public, Forbidden Hollywood is the ultimate guide to a gloriously entertaining and strikingly modern time in early American films: the Pre-Code era. "Pre-Code" -- a catchy misnomer for the days before a strict code of censorship purified the content of Hollywood films -- encompasses movies made from 1930 through 1934, when Hollywood censors were lax or absent. But there was already a Production Code in place, the result of a collaboration between Catholic bishops, Protestant politicians, and Jewish-American film producers with the aim of preventing federal censorship. The Code prohibited violent, vulgar, or sexual content in films. It was well intentioned, but no one abided by it, especially after the Great Depression began to keep filmgoers away from theaters. The easiest way to lure them back was with sex and violence. For the next four years -- before a grassroots movement caused the Code to be fully instated -- sinful cinema ruled the screen. Forbidden Hollywood is a history of Pre-Code like none other because it tells the story of the era by taking the reader there. Through the text you will eavesdrop on conferences between producers and writers, read nervous telegrams from executives to censors, and listen to conversations between censors and directors, where artistic decisions meant shifts in power -- and money -- when one third of a nation was desperate. You will see how these decisions were so artfully wrought as to fool some of the people just long enough to get films into theaters. You will read what theater managers thought of such craftiness. You will read letters from a variety of fans as they, depending on community standards, applauded creativity or condemned crassness. The book spotlights twenty-three films which author and film historian Mark A. Vieira identifies as the definitive list of movies that brought on strict enforcement of the Code in 1934, including a loincloth-clad Johnny Weissmuller in Tarzan and His Mate; Barbara Stanwyck climbing the corporate ladder on her own terms in Baby Face; a group of misfits out for revenge in Freaks; and Paul Muni leading the crime world in the original Scarface. More than 200 newly restored (and some never-before-published) photographs throughout illustrate pivotal moments in the careers of such stars as Clark Gable, Greta Garbo, Cary Grant, Joan Crawford, Bette Davis, Norma Shearer, Marlene Dietrich, and Jean Harlow, completing a definitive portrait of an unforgettable era in filmmaking. | Author: Mark A. Vieira | Publisher: Running Press Adult | Publication Date: April 02, 2019 | Number of Pages: 256 pages | Language: English | Binding: Hardcover | ISBN-10: 0762466774 | ISBN-13: 9780762466771
Claudette Colbert bathing in the Pre-Code film Sign of the Cross (1932) Image Source: Hollywood Dreamland
In 1930, at the height of Hollywood's Pre-Code era, Miriam Hopkins starred in her first film at Paramount studios. Resident costumer and one of the 20th Century's most creative designers, Travis Banton, dressed her in gowns of velvet, satin, sequins and lame. Whether she played the good girl or bad girl, Hopkins possessed an aura of upper class sophistication, making her a true Pre-Code paradox. Fast and Loose, 1930: Wealthy Marion Lenox of the Long Island Lenoxes, falls for handsome Henry Morgan, an auto mechanic, much to the chagrin of her parents. Who could resist her--in these pale, shimmery satins? Miriam Hopkins as Marion Lenox To add insult to injury, Marion's brother, Bertie, brings home a chorus girl--played by Carol Lombard, whose screen name was changed by an error in the credits to "Carole". With Henry Wadsworth, who plays "Bertie" Lenox Fluffy-haired Miriam in satin with wrap Miriam/Marion with Charles Starrett as 'Henry Morgan' The Smiling Lieutenant, 1931: As Princess Anna, Miriam Hopkins is treated to a 'lingerie makeover' (how Pre-Code), courtesy of Claudette Colbert--all for the romantic attentions of the Lieutenant, played by Maurice Chevalier. Softly pretty as Princess Anna "See, sweetie, that's how it's done." Captivating in lacy new lingerie Slinky new lingerie--side view The finished product: soft fur wrap over sequin beaded gown. Is the Lieutenant impressed? (See film title.) 24 Hours, 1931: Rosie Duggan (Hopkins) is a night club chanteuse having an affair with alcoholic married man, Jim Towner (Clive Brook). Rosie's ex, mobster Tony Bruzzi (Regis Toomey), is not thrilled and wants Rosie back. Miriam Hopkins has a tete a tete with Clive Brook Brook and Hopkins as Jim and Rosie Miriam Hopkins' two-toned sequined gown in the nightclub while a change for her, is a total knockout. Tony Bruzzi (Regis Toomey) puts the moves on Rosie Belting out a tune atop a truly 'grand' piano Sadly, complications and misunderstandings lead to Rosie's murder and Jim Towner is the main suspect. Above, Rosie before and after the murder. For the scene, Travis Banton designed a shawl-collared, satin wrap dressing gown. Two Kinds of Women, 1932: Emma Krull, the daughter of a southern Senator, travels to the Big Apple and falls in love with a married man, Jim Bishop, played by Phillips Holmes. Miriam with Phillips Holmes Jim Bishop and Emma enjoy the Manhattan night life Hopkins as Emma in bias cut satin by Travis Banton Dancers in the Dark, 1932: Gloria Bishop, a taxi dancer, is engaged to marry 'nice guy' Floyd Stevens. Bandleader Duke Taylor thinks she isn't good enough to marry his pal. Gloria's ex, gangland type Louie Brooks, complicates matters by trying to win her back and travel to Mexico with him. Miriam with Jack Oakie as Bandleader Duke Taxi-dancing with George Raft as old flame and mobster, Louie Nice guy, William Collier Jr., as fiance Floyd Miriam's Gloria Bishop dances in a stunning low-cut and backless dress with sequin detail and straps. The World and the Flesh, 1932: During the Russian Revolution, famous Ballerina Maria Vaskaya (Hopkins) is terrorized by the brutish Kylenko, played by George Bancroft. Maria Vaskaya dazzles in fur-trimmed paisley beaded velvet Off the shoulder velvet gown with jeweled straps Below, two classic Lobby Cards featuring George Bancroft and Miriam Hopkins--wearing the above velvet gown, beautifully accessorized with a glittery hairband--a Hopkins signature. Lobby Card #1 Lobby Card #2 Miriam as Maria Vaskaya-velvet gown with string of pearls Trouble in Paradise, 1932: Master thief Gaston Monesu (Herbert Marshall) meets and falls for beautiful pickpocket Lily (Miriam Hopkins). Together they high tail it to Paris, planning to liberate some wealthy folks from their riches--specifically famous Perfumer Madame Colet (Kay Francis). Lily dazzles in Travis Banton's cowl neck, bias-cut gown Chic hairband and brooch; Gaston approves... Early 1930s prerequisite: back detail to die for Better view of Lily's cowl neck, pleating and brooch Miriam as Lily in white satin with fur wrap Satin, lace trimmed peignoir with bell sleeves The Story of Temple Drake, 1932: Southern wild child Temple Drake falls in with some shady characters, specifically bootlegger and mobster, "Trigger" (Jack LaRue), rather than marry her intended, lawyer Stephen Benbow (William Gargan). This adaptation of William Faulkner's novel, Sanctuary, shocked America. Not only was it banned in some states but expedited the enforcement of the impending Hays Code. William Gargan, Miriam Hopkins, Jack LaRue Gargan and Hopkins with Lack LaRue in shadow Lobby Card showing Temple's strappy bodice Temple looking good in satin gown with fur trimmed wrap Design for Living, 1933: Gilda Farrell, a commercial artist, meets not one, but two available, attractive men, who just happen to be best friends. The three hit it off and decide to live together in Paris. Miriam Hopkins, Frederic March and Gary Cooper Portrait by Eugene Robert Richee Gilda's glittery gown: low-cut sweetheart neck; cap sleeves; bias cut Gilda's signature gown-bodice detail A portrait of Gilda in the garden Bonus--Eugene Robert Richee negatives: In 2010, these four original camera negatives of Miriam Hopkins, by photographer Eugene Robert Richee for Paramount Pictures, were sold at auction for US $1200.00. They are dated 1931-2. Portrait Satin gown with cascading ruffle-costume still, circa 1931-2 Above dress with jacquard cover-up Portrait Publicity photo circa 1932 Miriam Hopkins, while not the quintessential Pre-Code starlet, added glamour and sophistication to the genre. As he had done earlier for Evelyn Brent, Travis Banton gowned Miriam to elegant perfection. Eugene Robert Richee iced the already yummy cake with his exquisite photographs. The result was a delicious, simultaneously nice and naughty treat. Definitely Crème de la Crème! *************************
The following is a piece I did for a classic film community about six years ago. I figured I would re post it here and hopefully get the t...
Nudity whether in glimpses, through clothes, in silhouette or in the distance was strictly banned by the 1930 Motion Picture Production Code. According to the code nudity in any form was “immoral” and should be completely avoided. Despite this, Pre-code films are full of it. Instead of straight “in fact” nudity, directors became sneaky but attempting to make the nudity tantalisingly quick or part of the plot. Several actresses, like Jean Harlow and Norma Shearer created screen legends based on what they or didn’t wear. Thankfully, this clever film making has been preserved and audiences today can view scenes that Joseph Breen and code makers would later ban from cinemas for over fifty years. Let’s take a look at the methods this generation of Hollywood directors, writers, cinematographers and actors used to bypass the code: 1. Taking a Bath Since silent films and the glorious Gloria Swanson, directors have been using swimming and bathing scenes as a source of decadence and undue exposure. Surprisingly, unlike other forms of Pre-code nudity, several male actors get into the act. What the code says: 3. Indecent or undue exposure is forbidden. Top Examples: 1) Tarzan and his Mate (1934) and Bird of Paradise (1933): Both these films include extensive nude swimming scenes with both Maureen O’Sullivan (or her body double) and Dolores del Rio taking the plunge with their male co-stars. Tarzan and his Mate 2) Night After Night (1932) and Search for Beauty (1934): A little look at male nudity with George Raft taking a revealing bath in Night After Night and Buster Crabbe showering in Search for Beauty (1934). George Raft in Night After Night 3) Sign of the Cross (1932): If the conservative Claudette Colbert knew what the camera was capturing at the time she would be shocked. The bathing scene pretty much shows all of poor Ms Colbert’s breasts. Claudette Colbert in Sign of the Cross 4) Barbarian (1933): Although apparently in a nude coloured body suit, Myrna Loy bares all in this nude bathing scene. Myrna Loy in Barbarian 5) Blonde Crazy (1932): Joan Blondell takes a bath with James Cagney in the room, its definitely Pre-code!! Joan Blondell in Blonde Crazy 6) Red Dust (1932): Jean Harlow cements her screen persona as a bombshell after she takes a bath in a barrel. Jean Harlow in Red Dust Honourable Mentions: Maltese Falcon (1931), Beauty and the Boss (1932) and King Kong (1933). Beauty and the Boss 2. Existent – but really non-existent – Clothes Wearing clothes doesn’t necessary limited the chance of nudity in Pre-code films. In many cases, certain actresses became notorious for wearing clothes that covered little or appearing to wear no visible undergarments. What the code says: 5. Transparent or translucent materials and silhouette are frequently more suggestive than actual exposure. Top Examples: 1) Hells Angels (1930): Jean Harlow wears a slinky, thin dress for much of the film leaving nothing to the imagination. Jean Harlow in Hells Angels 2) A Free Soul (1930): Norma Shearer in ‘that dress’. Norma Shearer in A Free Soul 3) Tarzan and his Mate (1934): Maureen O’ Sullivan wearing a ‘barely there’ brown costume. Maureen O'Sullivan in Tarzan and His Mate 4) Search for Beauty (1933): Chorus girls in thin white costumes. Search For Beauty 5) Smarty (1934): Joan Blondell teases her husband and ex-husband by strutting around in a very skimpy black dress and then has it ripped off. Joan Blondell in Smarty Honourable Mentions: Basically every other Jean Harlow film and shots from the deleted and unfortunately lost scenes of Greta Garbo in Mata Hari (1931). Greta Garbo in Mata Hari 3. In Musicals Pre-code musicals are a great source for unexpected nudity. Film-makers and performers, such as, Busby Berkley, Eddie Cantor and Wheeler and Woolsey often used provocative clothing and situations accompanied by dance and music to titillate audiences. What the code says: 4. Dancing or costumes intended to permit undue exposure or indecent movements in the dance are forbidden. Top Examples: 1) Gold Diggers of 1933 (1933): Often used as a classic example of Pre-code at its best by film historians, Gold Diggers includes the notorious musical number Petting in the Park which features chorus girls clearly undressing behind a thin screen. Gold Diggers of 1933 2) Murder at the Vanities (1934): A really confronting murder mystery/ musical film with a musical number titled Marijuana. It includes a number of scenes with barely clothed dancers and women with strategically placed objects. Murder at the Vanities 4) Roman Scandals (1933): Eddie Cantor’s comedic nod to the ancient Roman civilisation Includes his usual frivolity, double entendres and women clothed only in their long blonde locks. Roman Scandals 5) Hips, Hips Hooray (1934): A film that I believe probably escalated the coming of the enforced code, Wheeler and Woosley almost take it too far in this film. Lots of girls in bath tubs, suggestive leather costumes and more double entendres then I could catch in one sitting. Hips Hips Hooray 6) Meet the Baron (1933): Pretty dull movie but includes a long musical number with chorus girls singing about having a shower while in the shower. Meet the Baron 4. In Silhouette (its art really) With MGM’s logo “art for art sake”, directors used this to the maximum with the use of artist’s models and sculpture to show sneaky glimpses of nudity. What the code says: 1. Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture; Top Examples: 1) Song of Songs (1933): Marlene Dietrich becomes an artist’s model with the artist using her physique to craft a full (and very lifelike) body sculpture. Song of Songs 2) The Common Law (1931): This time Constance Bennett plays the model to painter Joel McCrea who poses her nude and semi-nude. The Common Law 4) Sign of the Cross (1932): Although not art related, this film shows a poor Christian women tied to a pole, covered only in vines about to be attacked by a gorilla. Sign of the Cross 5) Scarlett Empress (1933): I haven’t seen this film in ages, but I am told there is distant shots of nude women in silhouette. Scarlett Empress (from Precode.com) 5. While Dressing It was difficult to narrow down a list of films for this category, its everywhere. Directors used this ploy in every film none of which were essential to the plot. What the code says: 2. Undressing scenes should be avoided, and never used save where essential to the plot. Top Examples: 1) Under 18 (1931): The beautiful Marion Marsh becomes a model with many outfit changes. Marion Marsh in Under 18 2) Footlight Parade (1933): Although a musical, this film includes lots of chorus girls in skimpy outfits as well as actresses doing quick costume changes between musical numbers. Footlight Parade 3) Dr Jekyll and Mr Hyde (1931): Miriam Hopkins spends an excessive amount of time undressing seductively for Fredric March and then hops into bed. Miriam Hopkins and Fredric March in Dr Jekyll and Mr Hyde 4) If I Had a Million (1932): Another excessive undressing scene featuring Wynne Gibson before bed time. Wynne Gibson in If I Had a Million Honourable Mention: Every gangster film, musical, romance, and drama – pretty much every film with a female in it. 6. Blatant Exploitation Some films shot during the Pre-code era were classified as part of the ‘exploitation’ genre. These, in many cases, used nudity to draw in audiences under the guise of educating people about topics like nudism and other cultures. Warning this films are shocking and blatantly exploit other cultures for financial gain. What the code says: 1. The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young and upon immature persons, has been honestly recognized by all lawmakers and moralists. 2. Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For, in addition to its beauty, the effect of the nude or semi-nude body on the normal individual must be taken into consideration. 3. Nudity or semi-nudity used simply to put a "punch" into a picture comes under the head of immoral actions. It is immoral in its effect on the average audience. Top Examples: 1) Elysia Valley of the Nude (1933): An ‘educational’ film about nudism and nudist societies; so, full of naked people. Eylsia Valley of the Nude 2) Tabu (1931) and Blonde Captive (1932): Both films where so-called documentary crews travel to distant, exotic locations to film and study “savages”. Very dull and very offensive. Tabu The Blonde Captive
Between the arrival of sound and the imposition of the Motion Picture Production Code on July 1, 1934; Hollywood was essentially free to talk about plentifu
Cleansing the doors of cinematic perception for a better yesterday.
Norma Shearer in Riptide (1934) If Norma Shearer doesn't ring a bell like other legendary names of the silver screen might, then you too, have fallen victim to the Hays Code. Before we even knew it as “Hollywood”, the American film industry was producing a surreal amount of extraordinarily libera
We consulted 27 “Best Film History Books” listicles and came away with over 450 unique titles. Of those, 47 appeared on multiple lists and can
Nudity whether in glimpses, through clothes, in silhouette or in the distance was strictly banned by the 1930 Motion Picture Production Code. According to the code nudity in any form was “immoral” and should be completely avoided. Despite this, Pre-code films are full of it. Instead of straight “in fact” nudity, directors became sneaky but attempting to make the nudity tantalisingly quick or part of the plot. Several actresses, like Jean Harlow and Norma Shearer created screen legends based on what they or didn’t wear. Thankfully, this clever film making has been preserved and audiences today can view scenes that Joseph Breen and code makers would later ban from cinemas for over fifty years. Let’s take a look at the methods this generation of Hollywood directors, writers, cinematographers and actors used to bypass the code: 1. Taking a Bath Since silent films and the glorious Gloria Swanson, directors have been using swimming and bathing scenes as a source of decadence and undue exposure. Surprisingly, unlike other forms of Pre-code nudity, several male actors get into the act. What the code says: 3. Indecent or undue exposure is forbidden. Top Examples: 1) Tarzan and his Mate (1934) and Bird of Paradise (1933): Both these films include extensive nude swimming scenes with both Maureen O’Sullivan (or her body double) and Dolores del Rio taking the plunge with their male co-stars. Tarzan and his Mate 2) Night After Night (1932) and Search for Beauty (1934): A little look at male nudity with George Raft taking a revealing bath in Night After Night and Buster Crabbe showering in Search for Beauty (1934). George Raft in Night After Night 3) Sign of the Cross (1932): If the conservative Claudette Colbert knew what the camera was capturing at the time she would be shocked. The bathing scene pretty much shows all of poor Ms Colbert’s breasts. Claudette Colbert in Sign of the Cross 4) Barbarian (1933): Although apparently in a nude coloured body suit, Myrna Loy bares all in this nude bathing scene. Myrna Loy in Barbarian 5) Blonde Crazy (1932): Joan Blondell takes a bath with James Cagney in the room, its definitely Pre-code!! Joan Blondell in Blonde Crazy 6) Red Dust (1932): Jean Harlow cements her screen persona as a bombshell after she takes a bath in a barrel. Jean Harlow in Red Dust Honourable Mentions: Maltese Falcon (1931), Beauty and the Boss (1932) and King Kong (1933). Beauty and the Boss 2. Existent – but really non-existent – Clothes Wearing clothes doesn’t necessary limited the chance of nudity in Pre-code films. In many cases, certain actresses became notorious for wearing clothes that covered little or appearing to wear no visible undergarments. What the code says: 5. Transparent or translucent materials and silhouette are frequently more suggestive than actual exposure. Top Examples: 1) Hells Angels (1930): Jean Harlow wears a slinky, thin dress for much of the film leaving nothing to the imagination. Jean Harlow in Hells Angels 2) A Free Soul (1930): Norma Shearer in ‘that dress’. Norma Shearer in A Free Soul 3) Tarzan and his Mate (1934): Maureen O’ Sullivan wearing a ‘barely there’ brown costume. Maureen O'Sullivan in Tarzan and His Mate 4) Search for Beauty (1933): Chorus girls in thin white costumes. Search For Beauty 5) Smarty (1934): Joan Blondell teases her husband and ex-husband by strutting around in a very skimpy black dress and then has it ripped off. Joan Blondell in Smarty Honourable Mentions: Basically every other Jean Harlow film and shots from the deleted and unfortunately lost scenes of Greta Garbo in Mata Hari (1931). Greta Garbo in Mata Hari 3. In Musicals Pre-code musicals are a great source for unexpected nudity. Film-makers and performers, such as, Busby Berkley, Eddie Cantor and Wheeler and Woolsey often used provocative clothing and situations accompanied by dance and music to titillate audiences. What the code says: 4. Dancing or costumes intended to permit undue exposure or indecent movements in the dance are forbidden. Top Examples: 1) Gold Diggers of 1933 (1933): Often used as a classic example of Pre-code at its best by film historians, Gold Diggers includes the notorious musical number Petting in the Park which features chorus girls clearly undressing behind a thin screen. Gold Diggers of 1933 2) Murder at the Vanities (1934): A really confronting murder mystery/ musical film with a musical number titled Marijuana. It includes a number of scenes with barely clothed dancers and women with strategically placed objects. Murder at the Vanities 4) Roman Scandals (1933): Eddie Cantor’s comedic nod to the ancient Roman civilisation Includes his usual frivolity, double entendres and women clothed only in their long blonde locks. Roman Scandals 5) Hips, Hips Hooray (1934): A film that I believe probably escalated the coming of the enforced code, Wheeler and Woosley almost take it too far in this film. Lots of girls in bath tubs, suggestive leather costumes and more double entendres then I could catch in one sitting. Hips Hips Hooray 6) Meet the Baron (1933): Pretty dull movie but includes a long musical number with chorus girls singing about having a shower while in the shower. Meet the Baron 4. In Silhouette (its art really) With MGM’s logo “art for art sake”, directors used this to the maximum with the use of artist’s models and sculpture to show sneaky glimpses of nudity. What the code says: 1. Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture; Top Examples: 1) Song of Songs (1933): Marlene Dietrich becomes an artist’s model with the artist using her physique to craft a full (and very lifelike) body sculpture. Song of Songs 2) The Common Law (1931): This time Constance Bennett plays the model to painter Joel McCrea who poses her nude and semi-nude. The Common Law 4) Sign of the Cross (1932): Although not art related, this film shows a poor Christian women tied to a pole, covered only in vines about to be attacked by a gorilla. Sign of the Cross 5) Scarlett Empress (1933): I haven’t seen this film in ages, but I am told there is distant shots of nude women in silhouette. Scarlett Empress (from Precode.com) 5. While Dressing It was difficult to narrow down a list of films for this category, its everywhere. Directors used this ploy in every film none of which were essential to the plot. What the code says: 2. Undressing scenes should be avoided, and never used save where essential to the plot. Top Examples: 1) Under 18 (1931): The beautiful Marion Marsh becomes a model with many outfit changes. Marion Marsh in Under 18 2) Footlight Parade (1933): Although a musical, this film includes lots of chorus girls in skimpy outfits as well as actresses doing quick costume changes between musical numbers. Footlight Parade 3) Dr Jekyll and Mr Hyde (1931): Miriam Hopkins spends an excessive amount of time undressing seductively for Fredric March and then hops into bed. Miriam Hopkins and Fredric March in Dr Jekyll and Mr Hyde 4) If I Had a Million (1932): Another excessive undressing scene featuring Wynne Gibson before bed time. Wynne Gibson in If I Had a Million Honourable Mention: Every gangster film, musical, romance, and drama – pretty much every film with a female in it. 6. Blatant Exploitation Some films shot during the Pre-code era were classified as part of the ‘exploitation’ genre. These, in many cases, used nudity to draw in audiences under the guise of educating people about topics like nudism and other cultures. Warning this films are shocking and blatantly exploit other cultures for financial gain. What the code says: 1. The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young and upon immature persons, has been honestly recognized by all lawmakers and moralists. 2. Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For, in addition to its beauty, the effect of the nude or semi-nude body on the normal individual must be taken into consideration. 3. Nudity or semi-nudity used simply to put a "punch" into a picture comes under the head of immoral actions. It is immoral in its effect on the average audience. Top Examples: 1) Elysia Valley of the Nude (1933): An ‘educational’ film about nudism and nudist societies; so, full of naked people. Eylsia Valley of the Nude 2) Tabu (1931) and Blonde Captive (1932): Both films where so-called documentary crews travel to distant, exotic locations to film and study “savages”. Very dull and very offensive. Tabu The Blonde Captive
Das neue düstere Disco-Album von Jonathan Bree ist bisher sein aufregendstes und poppigstes Werk, bei dem der legendäre Nile Rodgers zwei Songs produziert und Gitarre ...
Here's some nice pre-code horror comics. Lawbreakers Suspense Stories #11, March 1953. Monster Crime #1, October 1952. Worlds Beyond #1, November 1951. Diary of Horror #1, December 1952. The Dead Who Walk nn, 1952. Chamber of Chills #19, September 1953. Cover by Lee Elias. Amazing Mysteries #32, May 1949.
