“Oh, ethics, ethics, ethics! That's all I've heard since I came into this business. Isn't there any humanity in it?”
-Barbara Stanwyck as Lora Hart in Night Nurse
In the same reformist spirit that gave us Prohibition, the set of principles known as the Production Code, adopted by the Motion Picture Producers and Distributors of America in 1930, sought to bring social uplift to mass entertainment by limiting the depiction of sex, crime, drunkenness, miscegenation, and anything else that might deform the morals of impressionable audiences. But during the Depression, Hollywood's box office receipts needed uplift too, and the Code was a gentlemen's agreement largely left open to interpretation by producers who knew that sex and sensation sell. So, during the so-called pre-Code era, between 1930 and the establishment of the Production Code Administration to actively enforce the Code in July 1934, images of vice rewarded were rampant on American screens. Rediscovered by cinephiles in recent decades, these movies (many of which were first introduced to PFA audiences by the great scholar-collector William K. Everson) have been celebrated for their lasciviousness, but they're also compelling in the way they confront realities too hot for later, more polite pictures to handle, talking about social injustice and the political economy of sex in a whip-smart American vernacular and with a candor that still startles. Pre-Code films make up a heady cocktail of genres and styles, from Lubitsch's champagne effervescence to melodramas as harsh as bathtub gin, all of them intoxicating.
Juliet Clark
Michael Mashon, curator in the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, will introduce a restored print of Baby Face along with three other pre-Code classics on July 23 and 24.