THE SCREEN SPECTATOR - MAY 2023
Hey Guys! You sent in some fantastic questions over on the YouTube community page. Unfortunately, I couldn't cover all the Q and A in the latest video, so I dedicated this issue to answering some more of your questions.
Q: What are some movies made during the Hayes code that really pushed the boundaries?
(The Hayes Code, also known as the Motion Picture Production Code, was a set of guidelines established in 1930 by the Motion Picture Producers and Distributors of America (MPPDA) to regulate the content of movies. The code was intended to promote traditional moral values and ensure that films did not contain content deemed inappropriate or offensive. The Hayes Code was in effect until 1968, when it was replaced by the MPAA film rating system.)
A: Some films that cross genres and challenged the code include:
"Crossfire" (1947), directed by Edward Dmytryk and starring Robert Mitchum, Robert Ryan, and Robert Young, is a film that boldly challenged the Production Code on multiple fronts. This crime drama portrays the murder of a Jewish war veteran by an antisemitic soldier, bringing themes of racism and prejudice to the forefront during a time when such topics were considered taboo. The film's honest and unflinching portrayal of violence and bigotry sparked controversy among certain audiences and challenged the strict rules of the Production Code, which required a moralistic worldview and restricted depictions of violence.
Based on the book "The Brick Foxhole" by Richard Brooks, the original story dealt with the murder of a gay soldier. However, the Code prohibited any mention of homosexuality, as it was deemed a sexual perversion at the time. The studio adapted the book's theme of homophobia into one about racism and anti-Semitism.
What sets "Crossfire" apart is its departure from conventional storytelling and cinematic techniques of its time. It adopts a gritty, realistic style that complements its unflinching depiction of violence and prejudice. Despite the challenges posed by its non-conformist approach and controversial subject matter, "Crossfire" was released with only minor modifications to its script.
Released the same year as the more restrained "Gentleman's Agreement," "Crossfire" was also nominated for five Academy Awards, including Best Picture.
"Ball of Fire" (1941), directed by Howard Hawks and starring Barbara Stanwyck and Gary Cooper, is a romantic comedy that revolves around a group of professors who enlist the help of a nightclub singer (Stanwyck) for their encyclopedia research. Her liberated personality turns their isolated academic world upside down.
The film's portrayal of a sexually liberated female character was controversial due to the Code forbidding the explicit depictions of sexual behavior and its prescription of a conservative view of romantic relationships
Furthermore, the film's dialogue and humor (from a screenplay by Billy Wilder and Charles Brackett) challenged the boundaries of the Code's stringent rules about the use of profanity and innuendo. "Ball of Fire" employed clever wordplay and witty banter to suggest sexual tension and relationships between the characters. Despite the restrictions and revisions demanded by the Code, "Ball of Fire" remains one of the slickest and smartest comedies of the 1940s.
You can watch BALL OF FIRE here
"Rebel Without a Cause" (1955), directed by Nicholas Ray and starring James Dean, Natalie Wood, and Sal Mineo, is a drama that depicts the struggles of three teenagers dealing with societal and familial pressures in suburban America.
The film challenged the Production Code by addressing the taboo subject of teenage delinquency, offering a frank and unflinching portrayal of the emotional turmoil and angst experienced by its teenage characters. The film's depiction of violence and sexuality was seen as transgressive under the Code's guidelines.
The Code placed strict restrictions on representations of violence and sexual content, but "Rebel Without a Cause" explored issues of sexual identity, desire, and showed teenage characters engaging in risky behavior.
Q: Do you like any of the French crime dramas of the 1950s?
A: Yes.
Diabolique (1955), The Wages of Fear (1953), Bob Le Flambeur (1956) and Any Number Can Win (1963), I know it’s from 1963, but I just watched it for the first time recently and it is excellent.
Q: What's the best movie you've ever watched that you refuse to watch again?
A: The film Come and See (1985) was an extremely challenging viewing experience
"Come and See" is a Soviet war drama that portrays the brutal experiences of a young boy named Florya, who becomes a member of a partisan group fighting against Nazi forces in Belarus during World War II.
It took me multiple attempts over several weeks to finally finish it. The movie presents a harrowing and uncompromising depiction of war and atrocities, and its impact was so visceral that I don't think I could ever bring myself to watch it again. Despite the film's undeniable power and the importance of its message, I find it too disturbing to revisit, and one viewing was enough for me.
Q: Better decade for post-Code films: 1970s, or 1990s?
A: The thematic and stylistic approaches to filmmaking in the 1970s and 1990s share many similarities (independent and experimental filmmaking, films that addressed social/political issues) Also, each decade saw the emergence of a new generation of filmmakers who would become strong artistic pillars of the industry. Both the 1970s (Don’t Look Now, Shampoo, California Split) and the 1990s (One False Move, Party Girl, The English Patient) include many films I enjoy but. . . . If I had to choose, (and I do to answer this question) I would say for me it’s the 1970s.
Q: Can you separate the art from the artist or do you find it more interesting to consider the artists’ personal life?
A: After much consideration, I have found my thoughts and feelings on this matter to be rather complex. While people may have differing views, I, for the most part, am able to separate the art from the artist when it comes to filmmaking, as it is a collaborative effort that involves many individuals, not just one. This especially applies to the studio era films where everyone from the production code office to the studio head to the producer and director all had a hand in shaping the final work.
(For a nuanced look at the complicated emotions involved in the art vs. artist debate in the 21st century, I recommend this article from the Atlantic: It’s Okay to Like Good Art by Bad People )
Q: In your opinion, what sets Classic Cinema apart from modern filmmaking? And what years do you define as "Classic Hollywood?"
A: I would put the classic era around 1930 through the mid-1960s. I think that is the consensus on the time period.
I think what sets Classic Hollywood apart is that is was a factory system. Films were typically produced with substantial budgets, extravagant sets, costume and hair designers, and featured iconic stars who were developed (within is a well planned system) over time to became household names. The primary goal then was to entertain, rather than challenge, audiences with films that basically followed the traditional three-act structure and had a happy ending.
On the other hand, modern filmmaking often prioritizes experimentation in narrative structure(like non linear storytelling), visual style and has more of an equal playing field for independent filmmakers/studios and is more open to diverse perspectives and subject matter. Unlike classic Hollywood films that aimed to cater to a broad audience and were subject to censorship, modern films can delve into complex and controversial themes with unhappy or ambiguous endings being more common.
Q: Does your interest in film noir extend to other areas of interest? For example, do you also enjoy 1940s jazz or have an affinity for retro glamour such as pinup revival?
A: I grew up in a household that loved jazz music. My father had a massive music library and friends who were jazz musicians, so listening to jazz has always been a part of my life. While I’m not so much into 1940s big band music, I enjoy listening to be bop, hard bop, cool and soul jazz, and bossa nova. My love of jazz has always existed alongside my love of classic films.
Although I’m not heavy into retro glamor, my personal style incorporates elements from various eras. I draw style inspiration from the fashions of the late 1950s to the early 1970s.
There were a lot of questions asking me to pick favorites, such as films, actors, or studios, but I just cannot choose. I really tried and it is just too hard. I don't have consistent favorites. It all depends on my mood, what I have recently watched or read, what I have discussed, what I remember, and what I have forgotten. . .
Speaking of things forgotten. . . I can't believe I forgot to include this on my list of film themes. Silly me!
Upcoming DVD/BLURAY Releases
The Anna May Wong Collection
(KINO LORBER) MAY 1, 2023
This is a new collection of three classic Hollywood movies from the 1930s featuring the renowned actress Anna May Wong.
"Dangerous to Know,"(1938) is a romantic crime drama about a racketeer who falls in love with a socialite and turns his back on his loyal mistress.
"Island of Lost Men,"(1939) is a remake of a 1933 pre code film where Anna May Wong plays a cabaret singer in search of her missing father.
"King of Chinatown,"(1939) is a gripping crime yarn where Wong portrays a respected surgeon facing a moral dilemma when she falls for a gangster.
Special Features
Brand New 4K and 2K Masters
NEW Audio Commentary for DANGEROUS TO KNOW by Film Historian Samm Deighan
NEW Audio Commentary for ISLAND OF LOST MEN by Entertainment Journalist/Author Bryan Reesman and Max Evry
NEW Audio Commentary for KING OF CHINATOWN by Film Historian David Del Valle and Archivist/Film Historian Stan Shaffer
King of Chinatown Theatrical Trailer (Nitrate Restoration in 4K)
CLASH BY NIGHT Blu-Ray
(Warner Archive May 2, 2023)
Clash by Night
(Warner Archive Collection) May 2, 2023
Set against the backdrop of a small fishing village in Monterey, California, “Clash By Night” directed by Fritz Lang and starring Barbara Stanwyck, Paul Douglas, Robert Ryan, and Marilyn Monroe tells the story of Mae Doyle, a woman who returns to her hometown and finds security in marriage to a fisherman and passion with his best friend.
Featuring strong female characters who challenge traditional gender roles and expectations, as well as a story that focuses on complex relationships, emotional conflicts, and harsh realities of working-class life, “Clash By Night” is a perfect blend of film noir and post-war social realism.
Special Features
4K Scan from Original Camera Negative
Commentary by Peter Bogdanovich (featuring archival interview excerpts from director Fritz Lang)
Original Theatrical Trailer
THE BEST OF APRIL: Some of the best of what I watched, read and listened to last month. . .
FILM
Ladies in Retirement (1941)
Starring Ida Lupino, Louis Hayward, Elsa Lanchester and Edith Barrett
Starring Ida Lupino, Elsa Lanchester, and Edith Barrett (known for her role as Ivy in "Strangers in the Night"), this film was brought to my attention during a conversation in the comments section of the "Strangers in the Night" video. Upon rewatching it after many, many years, I was blown away by the exceptional performances of the entire cast.
Directed by Charles Vidor and based on a popular Broadway play by Reginald Denham and Edward Percy, the film is set in the Victorian era and follows the story of Ellen Creed (played by Lupino), a young woman working as a paid companion/secretary to a retired actress named Leonora Fiske in the English countryside. Ellen's slightly mad sisters (Barrett and Lanchester) come to visit her at Leonora's residence, but their presence soon leads to escalating tensions and ultimately, a murder.
Lupino, who was only twenty-three at the time of filming, impressively portrays a woman in her early forties. However, the scene-stealers of the film are undoubtedly Elsa Lanchester and Edith Barrett (the spectacular Ivy from “Strangers in the Night”), who brilliantly portray Ellen's wildly eccentric sisters that bring chaos and disaster to Leonora Fiske's home.
You can watch the film here: LADIES IN RETIREMENT
ARTICLE
Good-Night Oscar
FROM: ESQUIRE MAGAZINE, OCTOBER 1973
Back in 1973, Candace Bergen conducted an interview with Oscar Levant, the hugely talented musician, writer, comedian, actor (Humoresque, An American in Paris), and preeminent interpreter of the works of George Gershwin.
The interview, which appeared in the October issue of Esquire Magazine, is particularly poignant as it paints a portrait of Levant at the very the end of his life.
Read the article here: GOODNIGHT OSCAR LEVANT
Jean Arthur, the Nonconformist
FROM: CRITERION MAY 4, 2020
“Writer Kim Morgan takes a look at the down-to-earth goddess of screwball, this Hollywood legend exuded a disarming mix of toughness and vulnerability, and made her mark as one of the most fiercely independent stars of her era.”
Read the article here: JEAN ARTHUR, THE NON CONFORMIST
The Speed of Sound
It's Warner Bros.' 100th anniversary, and my friend Miriam from the channel Miriam's Vintage Classics has an excellent video on the pioneering role Warner Bros. studio played in the sound revolution. If you're a fan of classic Hollywood, I highly recommend you check out Miriam's channel!
Oh Nuts. . .
During the 1930s and 1940s, the Warner Brothers studio and the Warner Club hosted a yearly gala where they showcased their latest productions. A highlight of the evening was the screening of the annual "Breakdowns" or "Blow-Ups," which were exclusively created for the event.
These short films consisted of a montage of bloopers from the Warner Brothers' productions of the year. Since they were meant exclusively for the in-house studio audience, the films were not censored, making them a treat for those in attendance and a chance for us to see our favorites in a new light.
and finally. . .
🎵Like the music featured in the videos on the channel?
you can find a playlist with the music I've used here: CINEMA CITIES PLAYLIST
(And, if you sign up to Epidemic Sound through the playlist link, you'll get 1 month for free!)
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Email: CinemaCities1978@gmail.com
Thank you so much for the shoutout, Sydney! I love being in one featuring Jean Arthur and so much great content. I appreciate all the effort and care you put into these Newsletters. Love reading them.