This is a product of fine piece of work done by Brandies University professor Tom Doherty investigating into the history of Hollywood at the height of Great Depression when much of the nation was reeling under economic turmoil. Hollywood was stressed out not only by the depression and lack of demand for their products and services, but also by the production code requirement of American motion pictures. The studios had no choice but to fight codes in order to make the movies attractive to as many viewers as possible so that folks of the depression have something they can see, enjoy and forget about their financial and domestic problems. During this time, the censorship was weak and Hollywood made movies about anything that looked controversial; sexual liaison, adultery, corruption of mind by wealth, sexism, racism, social inequality, poverty and reckless behavior. This was essentially a reflection of Hollywood, which was the epicenter of all forms of excesses that were of daily occurrences in the bars, salons, restaurants, hotels and other celebrity hangouts in tinsel town.
The author presents most movies of this time systematically and discusses them to illustrate his point. For example, in the movie “Tarzan and his mate” (1934), the underwater swimming scene featuring Johnny Weismueller and the Olympic swimmer Josephine McKim (doubling for the lead actress Maureen O’Sullivan) is a fine piece of artistry. In this synchronized swimming, you can see fantastic underwater aerobics; McKim is also totally nude which may be found on YouTube in fully restored version. This is not only erotic but also a spectacular show, and a bold move on the part of the studio. MGM faced minimal objections from the censor board. The pre-code era is known to be from 1930 to 1934; the code was officially adopted in 1930, but never enforced until the beginning of July 1934. The production code administration was widely referred to as “Hays office” that regulated the Hollywood productions and its perimeters with the full involvement of the clergy and the politicians. In MGM’s “Faithless,” starring Tallulah Bankhead and Robert Montgomery, the pressure of the depression drives a married woman to the “oldest profession” when her husband is incapable of working. Ironically this role was given to Bankhead who was highly controversial with her notorious, well publicized, out-of-control behavior. In “Blonde Venus” (1932), Marlene Dietrich begins her decent by trading her virtue for feeding her child and herself. Released weeks after FDR’s inauguration, Roy Del Ruth’s “Employee’s Entrance” (1933), shows Warren William at his worst. The film tracks the machinations of a ruthless business executive of a department store. A workaholic with no home-life roams the store after hours, and finds an unemployed young woman (Loretta Young) whom he invites for dinner and in the next scene we see them together in his apartment. Next thing you know she is hired for the store. In Walter Wagner’s production of “Gabriel over the White House,” directed by Gregory Lava, supported by media mogul William Randolph Hearst shows how acute the malady was in president Hoover’s last year. The movie makes you believe that you can have a tyrant president than a passive one. Hays office required many changes but still the final version was allowed to have the president (played by Walter Huston) to have mistress who would roam in the White House. This is certainly the wrong movie for the troubled time. He declares martial law, assumes dictatorial power in order to bring order in America during the Great Depression.
Numerous examples are given in the book that includes; James Cagney’s gunplay, wordplay of temptress Mae West, and many more. This book is a well researched by a respected academic.
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