466:, Jean Harlow plays a secretary determined to sleep her way into a more luxurious lifestyle. She seduces her boss and intentionally breaks up his marriage. During her seductions, he tries to resist and slaps her, at which point she looks at him deliriously and replies "Do it again, I like it! Do it again!" They eventually marry but Harlow seduces a wealthy aged industrialist who is in business with her husband so that she can move to New York. Although this plan succeeds, she is cast aside when she is discovered having an affair with her chauffeur, in essence cheating on her paramour. Harlow shoots the original boss, nearly killing him. When she is last seen in the film, she is in France in the back seat of a limousine with an elderly wealthy gentleman being driven along by the same chauffeur. The film was a boon to Harlow's career and has been described as a "trash masterpiece." Similarly, in
159:(1929, remade in 1938). These films, often made with minimal budgeting, spared no expense on gimmicks, including the use of lecturers and live models as well as carrying their "pink tickets" (special certificates from state censorship boards granted to films deemed unsuitable for a general audience) as a major selling point, not only advertising them as being for adults only, but also often arranged for "men only" or "women only" showings. In spite of these being routinely subjected to rejections by local censor boards and police raids (the latter countered by having "sizzle reels" alternating with "cold reels" as well as often presenting films under different names), these resulted a profitable business for their presenters, some of which took a "roadshow" approach for their product.
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393:(1933) a husband admits to serial adultery, only this time he repents and the marriage is saved. The films took aim at what was already a damaged institution. During the Great Depression, relations between spouses often deteriorated due to financial strain, marriages lessened, and husbands abandoned their families in increased numbers. Marriage rates continually declined in the early 1930s, finally rising in 1934 and although divorce rates lowered, this is likely because couples simply separated to save the cost of a divorce. Consequently, female characters in pictures such as
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309:". Soon, studios found their way around the restrictions and published more racy imagery. Ultimately this backfired in 1934 when a billboard in Philadelphia was placed outside Cardinal Thomas Dougherty's home. Severely offended, Dougherty helped launch the motion picture boycott that later facilitated the enforcement of the code. A commonly repeated theme by those supporting censorship, and one mentioned in the code itself, was the notion that film was a medium that greatly appealed to the masses and thus needed to be regulated.
180:, a bogus documentary that thanks to its massive advertising campaign, which prominently featured among other attractions the presence of naked women and "the sex lives of gorillas", became a rousing success in the United States and overseas, generally debuting in or near the top of the box-office tallies in spite of often being released in low-class theaters as the MPPDA forbade movie houses operated by member studios from showing the film owing to its allegations of fakery and indecency.
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381:(1931) a woman has an affair with a seedy character, and later falls in love with her brother-in-law. When her mother-in-law steps in at the end of the film it is to encourage her husband to grant her a divorce so she can marry the brother she is obviously in love with, proclaiming the message of the film: "This is the twentieth century. Go out into the world and get what happiness you can." In
441:, who was openly bisexual, wore men's clothes in public. In a society still markedly against homosexuality and crossdressing, this caused quite an uproar. In 1933 her studio, Paramount, signed a largely ineffectual document stating that they would not allow women in men's clothes to appear in their films to both quell the backlash and generate some publicity.
69:
65:, which recreated the first live kiss on the Broadway stage. Both films, made by the Edison studio under Stuart Blackton, proved highly controversial, leading to legal measures. In the 1900s, the earliest-recorded pornographic movies were produced, and by 1920, "stag reels" led to the creation of small but intensely active industries
551:, a female Christian slave is brought in front of a Roman prefect and seduced in dance by a statuesque lesbian dancer. Fox nearly became the first American studio to use the word "gay" in reference to homosexuality, but the SRC made the studio muffle the word in the soundtrack of all reels that reached theaters. Bisexual actress
539:. Although the topic was dealt much more openly than in the decades that followed, the characterizations of gay and lesbian characters were usually derogatory. Gay male characters were portrayed as possessing a high tone voice and a flighty personality. They existed merely as buffoonish supporting characters. In films like
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her and they commit murder, attempt suicide, and are ruined financially for associating with her before she mends her ways in the final reel. In another departure from post-code films, Stanwyck's sole companion for the duration of the picture is a black woman named Chico she took with her when she ran away from home.
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Pre-code female audiences liked to delight in the carnal lifestyles of mistresses and adulteresses as well as being gratified by their usually inevitable downfall in the closing scenes of the picture. And while gangster pictures were claimed to corrupt the morals of young boys, vice films were blamed
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summarized that "over 80% of the world's chief picture output was ... flavored with bedroom essence." Attempts to create films for adults only (dubbed "pinking") only served to bring larger audiences of all ages to theaters. Posters and publicity photos often were tantalizing. Women appeared in poses
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era, roughly encompassed between either the introduction of sound in the late 1920s or
February 1930 (with the publication of the Production Code) and December 1934 (with the full enforcement of the Code, which had begun in July of that year). This period was marked by an increase of sensationalistic
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that contained a set of twelve prohibitions. The first seven addressed imagery and prohibited women in undergarments, women raising their skirts, suggestive poses, kissing, necking, and other suggestive material. The last five concerned advertising copy and prohibited misrepresentation of the film's
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Reprinted in Jacobs. p.10: "Most arts appeal to the mature. This art appeals at once to every class, mature, immature, developed, underdeveloped, law abiding, criminal. Music has its grades for different classes; so has literature and drama. This art of the motion picture, combining as its does the
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is an abused runaway determined to use sex to advance herself financially and sleeps her way to the top of Gotham Trust. Her progress is illustrated in a recurring visual metaphor of the movie camera panning ever upward along the front of Gotham Trust's skyscraper. Men are driven mad with lust over
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plays an aviator who becomes pregnant from an affair with a married man. She commits suicide by flying her plane directly upwards until she breaks the world altitude record, at which point she takes off her oxygen mask and plummets to Earth. Strong female characters often ended films as "reformed"
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As a result, several independent producers, including some of those who made "sex hygiene" films contributed to the emergence of a new type of motion picture, featuring highly melodramatic stories that included nudity, drug use, violence and even thinly-veiled sexual intercourse under the guise of
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became controversial for its erotic imagery. After the war, young people began to rebel against the prudish
Victorian mores of their parents, especially regarding moral issues, and the recently established Hollywood studios soon released a slew of films that featured such moral dilemmas front and
51:. Pre-Code sex films explored women's issues and challenged the concept of marriage, and aggressive sexuality was the norm. The sexual subject matter of the uncensored period was found within many movie genres, most especially in dramas, crime films, exotic-adventure films, comedies and musicals.
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Cinema classified as "fallen woman" films was often inspired by real-life hardships women endured in the early
Depression era workplace. The men in power in these pictures frequently sexually harassed the women working for them. Remaining employed often became a question of a woman's virtue. In
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in a tuxedo complete with top hat and cane. The backlash against homosexual characters appearing in films was rapid. In 1933 Hays declared that all gay male characters would be removed from pictures, and
Paramount took advantage of the negative publicity Dietrich generated by signing a largely
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flooded movie screens beginning in the fall of 1930, but waned by the 1931–32 season as public outcry over the portrayal of criminals increased. Desperate for quick money, studios began taking note of the increasing success of "sex" pictures and increasingly turned to films featuring prurient
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films typically tacked on endings where the most sin-filled characters were either punished or redeemed. Films explored code-defying subjects in an unapologetic manner with the premise that an end-reel moment could redeem all that had gone before. The concept of marriage was often tested. In
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Women are responsible for the ever-increasing public taste in sensationalism and sexy stuff. Women who make up the bulk of the picture audiences are also the majority reader of the tabloids, scandal sheets, flashy magazines, and erotic books ... the mind of the average man seems wholesome in
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On the other hand, major studios were losing money as a result of the economic crisis (with movie-going figures plummeting from 100 million per week in 1929 to 40 million in 1933) aside from having just paid expensive conversions to sound in 1928–29. A brief vogue of
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were rejected. Some companies even went so far as to come up with in-house contests for thinking up provocative titles for screenplays. Commonly labeled "sex films" by the censors, these pictures offended taste in more categories than just sexuality. According to a
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In pre-code
Hollywood, the sex film became synonymous with women's pictures—Zanuck once told Wingate that he was ordered by Warner Brothers New York corporate office to reserve 20% of the studio's output for "women's pictures, which inevitably means sex pictures."
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said that " wouldn't want to take out too much, so you would give them five things to take out to satisfy the Hays Office—and you would get away with murder with what they left in." In 1932 Warner
Brothers' policy was that "two out of five stories should be hot".
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Hays became outraged at the steamy pictures circulating in newspapers around the country. The original Hays Code contained an often ignored note about advertising imagery, but he wrote an entirely new set of advertising rules in the style of the
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was marketed with the tag line "See what out of work girls are up against these days." Joy complained in 1932 of another genre, the "kept woman" film, which presented adultery as an alternative to the tedium of an unhappy marriage.
129:, termed as such for their lurid themes outrageous approach to promotion, were the racy descendants of the "morality plays" of the 19th century, featuring titles that ranged from the suggestive to the provocative, such as
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Female protagonists in aggressively sexual vice films were usually of two general kinds: the bad girl or the fallen woman. In so-called "bad girl" pictures, female characters profit from promiscuity and immoral behavior.
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cultivated a cross-gender fan base and started a trend when she began wearing men's suits, a style well ahead of its time in the 1930s. She caused a commotion when she appeared at the premiere of the 1930 pre-code film
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By the spring of 1930, exploitation films, until then mostly ignored by the industry (to the point trade publications plainly omitted the box-office takings of "sex" pictures) gained unexpected prominence with
450:, an actress who was by all reports a lighthearted, kind person off the screen, frequently played bad girl characters and dubbed them "sex vultures". Two of the most prominent examples of bad girl films were
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center. However, these movies generated a furious reaction from civic leaders, especially outside major cities, and the accompanying scandals that engulfed the nascent industry led to the creation of the
792:] every class of society. it is difficult to produce films intended for only certain classes of people. ... Films, unlike books and music, can with difficulty be confined to certain selected groups"
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analysis of 440 pictures produced in the 1932–33 season, 352 had "some sex slant", with 145 possessing "questionable sequences", and 44 being "critically sexual"." The
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and garb not even glimpsed in the films themselves. In some cases, actresses with small parts in films, or in the case of
Dolores Murray in her publicity still for
94:, filmed in the first movie studio in the United States, which drew the general outrage of movie goers, civic leaders, and religious leaders, as utterly shocking,
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Sex has been related to motion pictures from almost their beginning: one of the earliest kinetoscopes featuring a woman was a belly dance, while another one was
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were commissioned, aimed at soldiers who were warned about the dangerous consequences of engaging on sexual activity while overseas, while films like 1917's
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elements, often putting in extra suggestive material which they knew would never reach theaters as bargaining chips to the Hays Office. MGM screenwriter
387:(1930) adultery is explicitly condoned and is a sign for a wife that she needs to act in a more enticing way to maintain her husband's interest. And in
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121:, the MPPDA's charter had its members refrain from producing movies that treaded on morality and other subjects considered offensive.
420:. According to Thomas Doherty, the film implies that the deeds done to her are in recompense for her immorality. And in the RKO film
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and major debates on morality, often containing sexual references and images that were contrary to the yet to be enforced
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Despite the obvious attempts to appeal to red-blooded
American males, most of the patrons of sex pictures were female.
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Studios marketed their films, sometimes dishonestly, by coming up with suggestive taglines and lurid titles such as
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presenting "documents" on moral and social issues that major studios were tacitly forbidden to touch directly.
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484:, a struggling department store offers dates with its female stenographers as an incentive to customers. And
291:(1933). Movies in the pre-code era were frequently portrayed as lurid during their marketing campaigns. In
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as "the reigning sex symbol of the 1930s." Harlow was propelled to stardom in pre-code films such as
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two fundamental appeals of looking at a picture and listening to a story, at once reached [
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One of the most prominent examples of punishment for immoral transgressions in a vice film was
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feminists, after experiencing situations in which their progressive outlook proved faulty.
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Hollywood V. Hard Core: How the
Struggle Over Censorship Created the Modern Film Industry
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Pre-Code
Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930-1934
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meaningless agreement stating that they would not portray women in male attire.
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Never Coming to a Theater Near You: A Celebration of a Certain Kind of Movie
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content in pictures made by the major studios in a climate marked by the
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The Dame in the Kimono: Hollywood, Censorship, and the Production Code
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9 Outrageous and Uncensored Pre-code Horror Films You Should See Now
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Stanwyck sleeps her way up the corporate ladder of a New York bank.
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During the American intervention in World War I (1917–18), several
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Children, Cinema and Censorship: From Dracula to the Dead End Kids
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Controlling Hollywood: Censorship and Regulation in the Studio Era
1477:. No. v13 #6. Hollywood, CA: Inside Facts Publishing Company
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The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942
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Circumventing censorship with alternate footage in pre-Code films
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Hollywood Censored: Morality Codes, Catholics, and the Movies
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Crime Wave: The Filmgoers' Guide to the Great Crime Movies
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squarely blamed women for the increase in vice pictures:
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Hollywood Beyond the Screen: Design and Material Culture
1440:- Covering All of Pre-Code Hollywood Cinema, 1930-1934
1246:
Complicated Women: Sex and Power in Pre-Code Hollywood
1027:'Baby Face' now better (and racier) than ever before
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115:
Motion Picture Producers and Distributors of America
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Pre-Code Hollywood Movies Which Shocked the Censors
1307:
Encyclopedia of The Great Depression Volume 2 (L-Z)
1289:
Encyclopedia of The Great Depression Volume 1 (A-K)
321:
comparison ... Women love dirt, nothing shocks 'em.
497:were portrayed in several Pre-Code films such as
257:(1931), no part at all, appeared barely clothed.
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1040:Uncut version of 'Baby Face' is naughty but nice
996:, November 20, 2007, accessed October, 11, 2010.
326:for threatening the purity of adolescent women.
1427:Let's Misbehave: A Tribute to Precode Hollywood
1217:. Madison: University of Wisconsin Press 1997
1029:, February 3, 2006, accessed October 11, 2010.
27:was later banned under the then unenforceable
1016:, January 2, 2007, accessed October 11, 2010.
1469:"PARENT-TEACHERS PLAN DRIVE ON SEX PICTURES"
1189:. New York: Columbia University Press 1999.
1520:Film genres particular to the United States
1367:The World According to Hollywood, 1918-1939
1065:, June 24, 1933, accessed October 11, 2010.
1048:, April 7, 2006, accessed October 11, 2010.
86:(1896) was the first kiss on film from the
1403:The Motion Picture Production Code of 1930
1227:Jeff, Leonard L, & Simmons, Jerold L.
914:, timeout.com, accessed November 11, 2010.
305:contents, "salacious copy", and the word "
54:
1423:at the UCLA Film & Television Archive
176:prior to renovations) and the release of
172:reaching a "de luxe" Broadway house (the
1384:. New York: Harry N. Abrams, Inc. 1999.
1233:. The University Press of Kentucky 2001
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1305:McElvaine, Robert S. (editor in chief)
1287:McElvaine, Robert S. (editor in chief)
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268:in a publicity still for the 1932 film
16:Film genre popular before The Hays Code
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1382:Sin in Soft Focus: Pre-Code Hollywood
1370:. University of Wisconsin Press 1997
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117:trade association in 1922. Headed by
1326:. 2nd edition Checkmark Books 2004.
1249:. New York: St. Martin's Press 2000
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1059:Baby Face (1933) - A Woman's Wiles.
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1175:. Cambridge University Press 1996
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14:
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1474:Inside Facts of Stage and Screen
1159:. Rutgers University Press 1999
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1411:from Bright Lights Film Journal
1309:. Macmillan Reference USA 2004
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801:Doherty. pp.106-7; Massey. p.71
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23:This 1932 promotional photo of
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271:The Greeks Had a Word for Them
29:Motion Picture Production Code
1:
1324:The Encyclopedia of Hollywood
890:McElvaine (Vol 1). pgs. 310–1
632:
38:refers to movies made in the
1131:Siegel & Siegel. pg. 124
264:Publicity photos like this (
7:
1450:History of sex in Hollywood
881:McElvaine (Vol 2). pg. 1055
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10:
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842:Siegel & Siegel. p.379
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1322:, & Siegel, Barbara.
1185:Doherty, Thomas Patrick.
416:is raped and forced into
409:The Story of Temple Drake
347:Encyclopedia of Hollywood
1525:1930s in American cinema
1510:1920s in American cinema
1446:- Turner Classic Movies
1340:. Wiley-Blackwell 2005
1293:Macmillan Reference USA
1277:. Berg Publishers 2000
968:LaSalle (1999). pg. 130
959:LaSalle (1999). pg. 127
227:and, most ludicrously,
98:and completely immoral.
55:Sexuality in early film
1405:at artsreformation.com
1354:. Public Affairs 2004
758:Doherty. pp.107, 110–2
627:List of pre-Code films
609:Human sexuality portal
542:Ladies They Talk About
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368:
323:
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104:"sex hygiene" pictures
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32:
1467:(February 14, 1931).
548:The Sign of the Cross
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345:was described in the
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235:Virgins in Cellophane
224:Merrily We Go to Hell
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22:
1415:Sexual Classic Films
1203:. I. B. Tauris 2006
1155:Bernstein, Matthew.
595:United States portal
206:The Devil Is Driving
191:Donald Ogden Stewart
174:Earl Carroll Theatre
1491:(Newspaper article)
1444:Forbidden Hollywood
925:Doherty. pgs. 124–5
899:Doherty. pgs. 117-8
644:LaSalle (2002). p.1
487:Employees' Entrance
1169:Black, Gregory D.
1092:Vieira. pgs. 132–3
1063:The New York Times
1012:2010-11-26 at the
1005:Schwartz, Dennis.
912:Christopher Strong
699:Doherty. pp.107-10
622:Pre-Code Hollywood
481:She Had to Say Yes
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423:Christopher Strong
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297:
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163:Hollywood goes hot
127:Exploitation films
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40:Pre-Code Hollywood
36:Pre-Code sex films
33:
1263:. NYU Press 2002
1128:Doherty. pg. 123
908:Doherty. pg. 128
860:Doherty. pp.113-4
776:Doherty. pp.112–3
767:Doherty. pp.111-2
720:Doherty. pp.110-1
428:Katharine Hepburn
414:promiscuous woman
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1350:Turan, Kenneth.
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512:Footlight Parade
471:Barbara Stanwyck
464:Red-Headed Woman
453:Red-Headed Woman
439:Marlene Dietrich
412:(1933), where a
364:Red-Headed Woman
302:Ten Commandments
283:Barbara Stanwyck
200:Laughing Sinners
149:Her Unborn Child
140:The Road to Ruin
92:Thomas A. Edison
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45:Great Depression
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131:By Natural Law
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1515:Erotic films
1485:– via
1479:. Retrieved
1472:
1454:filmsite.org
1438:Pre-Code.Com
1381:
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1487:archive.org
711:Smith. p.56
653:Vasey p.114
581:Film portal
530:Sunny Skies
506:Our Betters
495:Homosexuals
462:(1933). In
456:(1932) and
448:Jean Harlow
384:Madam Satan
343:Jean Harlow
248:trade paper
186:crime films
157:Sex Madness
155:(1929) and
1499:Categories
1038:Burr, Ty.
633:References
266:Ina Claire
536:Cavalcade
468:Baby Face
459:Baby Face
307:courtesan
293:Baby Face
288:Baby Face
212:Free Love
119:Will Hays
109:Cleopatra
49:Hays Code
1010:Archived
567:See also
358:Red Dust
151:(1929),
83:The Kiss
62:The Kiss
1481:21 July
1149:Sources
559:Morocco
390:Secrets
334:Content
314:Variety
244:Variety
143:(1928,
96:obscene
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400:Female
397:'s in
178:Ingagi
1295:2004
1483:2023
1386:ISBN
1372:ISBN
1356:ISBN
1342:ISBN
1328:ISBN
1311:ISBN
1297:ISBN
1279:ISBN
1265:ISBN
1251:ISBN
1235:ISBN
1219:ISBN
1205:ISBN
1191:ISBN
1177:ISBN
1161:ISBN
730:IMDb
372:Vice
361:and
237:and
1452:at
789:sic
285:in
90:of
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31:.
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