Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema; 1930-1934 (Paperback)

by Professor Thomas Doherty (Author) "On or about July 1934 American cinema changed..." (more)
Key Phrases: expeditionary film, expeditionary genre, exculpatory preface, Great Depression, Production Code, New York (more...)

Editorial Reviews

Amazon.com Review
Who says the world of classic Hollywood moviemaking was never risqué? We tend to think of black-and-white movies as representing a sanitized world, where crime never paid, ladies of the evening had hearts of gold, and married couples slept in separate beds. But in fact, censorship in American cinema didn't begin in earnest until 1934, when Will Hays and Joseph Breen began enforcing the legendary Hollywood production code. In this revelatory book, Thomas Doherty looks at sound movies of 1930-34--what is now known as the "pre-code" era.

This was a Hollywood of loose dames, hot whoopee, and coked-up killers who'd do anything for a pot of jack. It was a world that was often amoral and anarchic--an industry that allowed James Cagney and Paul Muni wild orgies of violence, openly flaunted the sexuality of Marlene Dietrich and Mae West, gave King Kong permission to crush cars and eat people, and allowed Tod Browning to make Freaks, one of the ghastliest, most sensationalistic, and greatest American movies.

Doherty's book captures this mad universe beautifully, describing films in such delightful detail that you may find yourself tossing it on your couch and racing to the video store. He also documents the downfall of the period, the outrage that was leveled against early sound films, and the emerging code that repressed American movies for almost 30 years. Film fans reveling in the debauchery of Hollywood's naughtiest era will also want to see Mark A. Vieira's Sin in Soft Focus. --Raphael Shargel

From Publishers Weekly
In early 1930s America, weighed down by the Depression, a vice-ridden, wise-cracking, anarchic antiauthoritarianism ruled Hollywood. Doherty's exhaustive cultural history of the films produced in the last years before the enactment of the Motion Picture Production Code reveals how the ascendancy of sound and a plummeting economy led to four years of wildly edgy films (1930-1934), radically different from the spic-and-span products of classic Hollywood. Most of the films chronicled hereAsporting titles like Eight Girls in a Boat, Call Her Savage and Merrily We Go to HellAhave been both forgotten by film historians and unavailable to generations of late-night TV viewers. Doherty begins with the misery and discontent gripping the U.S. in the 1930s, explaining how these forces shaped a motion picture industry just learning how to use the power of sound. He organizes the later chapters around a colorful, trashy array of genres: anarchic comedies; horror, gangster and vice films; over-the-top newsreels; and expeditionary films set in dangerous territory. Doherty's plot summaries at times grow tiresome, but he rarely fails to enliven them with gossip, quips or anecdotes. Ultimately , he shows how the fun came to a crashing halt when the National Legion of Decency and the Production Code Administration, spearheaded by Joseph Breen, launched a massive and astonishingly successful crusade to clean up "the pest hole that infects the entire country with its obscene and lascivious moving pictures." Given the politics swirling around Hollywood's edgier fare in the wake of the shootings in Littleton, Colo., this lurid and all too short-lived chapter of Hollywood history has never seemed more germane. (Sept.) FYI: A series at New York's Film Forum, The Joy of Pre-Code, running from August 20 to September 14, 1999, will feature more than 40 precode films, including many discussed by Doherty.
Copyright 1999 Reed Business Information, Inc.

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Product Details

• Paperback: 400 pages
• Publisher: Columbia University Press (August 15, 1999)
• Language: English
• ISBN-10: 0231110952
• ISBN-13: 978-0231110952
• Product Dimensions: 8.9 x 6 x 1 inches
• Shipping Weight: 1.1 pounds (View shipping rates and policies)
• Average Customer Review: 3.8 out of 5 stars See all reviews (8 customer reviews)
• Amazon.com Sales Rank: #174,006 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

22 of 24 people found the following review helpful:

3.0 out of 5 stars Exciting subject matter, dull reading, June 9, 2001

By	wrbtu (Long Island Motor Parkway) - See all my reviews

This is a good book, but it doesn't capture the excitement of its subject matter. All kinds of wild & crazy things were happening in pre-code (1930-1934) Hollywood movies (extramarital affairs, prostitution, robbery, violence, etc.), & they happened for the most part without moral judgment on the parts of the movie makers. But this book presents this exciting period in a rather dry, humorless way. It contains lots of useful information about the era & its surrounding politics, but also leaves out a lot of things that should be mentioned. On the plus side, it contains a complete version of the Motion Picture Production Code of 1930 (which is referred to in so many books, but hard to find a copy of). The photos are great, but small in size & printed on the same porous paper used for the text (which results in less sharpness than if printed on glossy paper). The biggest negative, in my opinion, is that a number of important pre-code movies are not even mentioned in this book (for example, Norma Shearer's "The Divorcee"). And why the author spends 4+ pages analyzing "Congorilla" (a 1932 African documentary that was made during the pre-code era but has little to do with Production Code censorship) is beyond me; it's a good analysis but perhaps belongs in a different book!

18 of 22 people found the following review helpful:

3.0 out of 5 stars OK, but there's better out there, June 30, 2002

By A Customer

I love this era, and I love reading about this era, but even so, I gave up reading this book about halfway through. There are better books about pre-Code, at least two or three. Geoffrey Blake has a great book about how the Code came to be, and Mick LaSalle and Mark Vierra also have excellent books about the artistry and the gossip and the history. This one is OK, but I'd recommend it only to people like me who just can't get enough. And even then, I found out, I can.

13 of 16 people found the following review helpful:

3.0 out of 5 stars Better Ones Out There, August 1, 2001

By	Melanie Daniel (Armonk, NY) - See all my reviews

This is a very respectable but uninspired treatment of the pre-Code era. Its virtues come mainly in the beginning, with an interesting introduction. Its weakness stems from the fact that the author seems more fascinated by the politics of the era than with the movies -- and that he fails to connect the politics with the movies in a way that ultimately illuminates THE FILMS, on an artistic level. I don't think he has a feel for the ART of the era at all, and as a result the best chapters are about Franklin Roosevelt and the newsreels of the day. A decent treatment, but better books are out there.