Welcome to Pre-Code Decode, a recurring column where we go back and look at pre-Hays Code Hollywood to see how they handled the issues of their day!

by Rosalie Kicks, Editor in Chief and Old Sport

I love Pre-Code films.

If you are new to these parts, Pre-Code motion pictures were made in Tinseltown during 1927-1934 as the industry was in transition to the adoption of sound. In 1930 the Motion Picture Association of America (MPAA) created the code, which became known as The Hays Code. The code was meant to provide guidelines to production studios to apply self-censorship to their films. However, adamant enforcement did not begin until 1934 and would continue to be imposed until the late 1950s. As Television pushed boundaries the code started to weaken and eventually was replaced with the MPAA rating system.

Prior to 1934, Hollywood was freewheeling as supervision was minimal, directives from the code were rarely imposed, and consequences for not adhering were naught. Inevitably audiences were gifted with films that were romantic, filled with sexual innuendos between blacks and whites, queer love, infidelity, drug use, profanity, and violence. Often, nefarious characters would see no fallout or repercussion from their actions. Women were portrayed as strong and independent, utilizing their brains with a side of sexuality to get what they wanted. There’s a reason these films are cherished by the classic film community: it was a time when motion pictures were truly uncensored.

Films made during this era eventually were seen as problematic and thought to be leading to the downfall of society. Today they are revered as ahead of their time. For me, the depiction of females in Pre-Code pictures is something to behold. It makes me imagine the force that women would have been if they were shown examples such as the ones in these films. There was more to life than love, baby carriages, and dinners on the table at five. After 1934, film stories would begin to change and with that so would their representations of love. Here are some of my favorite, sizzling Pre-Code romances that showcase sassy ladies, thrilling flings and stories with moxie.

Blonde Crazy (dir. Roy Del Ruth, 1931)

“Honeyyy…”

James Cagney and Joan Blondell were such an incredible duo. In Blonde Crazy, they don’t just shine they sparkle.

Jim plays a hotshot overly confident bellboy Bert Harris, who is always scheming. When he meets Anne Roberts (Joan Blondell) he is absolutely smitten and helps her land a job as a housekeeper. From there, it is only a matter of time before he lets her in on his hotel rackets and tomfoolery. Of corpse, one con leads to grander escapades, all the while Anne is falling for this huckster. Unfortunately, before Bert realizes her affections, Anne has moved on to Joe Reynolds (Ray Milland) whom appears to be on the straight and narrow. After she is sorely mistaken, there is still a chance for Bert and Anne yet.

When I first caught this film, I had no idea Ray Milland would show up. When he graces the screen in typical Milland fashion it is all peachy keen until the moment one just wants him to leave. He plays such a great heel (ie Dial M for Murder, So Evil My Love, Frogs). I will watch any motion picture set in a hotel at least once and with Blonde Crazy I’ll be checking in again.

Watch Blonde Crazy here, compliments of Archive.org.

Love Me Tonight (dir. Rouben Mamoulian, 1932)

“A tailor!”

Parisian tailor Maurice Courtelin (Maurice Chevalier) has a run-in with upper-crusters after one of the family members refuses to pay their overdue bills. Chaos ensues when, at the behest of debtor, Vicomte Gilbert de Varèze (Charles Ruggles), Maurice poses as a nobleman. Vicomte does not want his family, in particular his uncle, to know of his liabilities. While impersonating someone of prestige and wealth, Maurice falls for Princess Jeanette (Jeanette MacDonald) whom becomes quite aghast when she learns that she came close to giving her heart to a mere tailor!

In watching this film for the first time, I went in totally blind. Therefore, I had no idea what sweet surprises awaited such as the appearances of Charles Ruggles (a recent character corpse on my podcast, Cinematic Crypt… listen here), Myrna Loy or that this was a musical. This is such a silly and fun romp. I found the plot quite ridiculous as who would not want a suitor that is also a tailor? Imagine the future wardrobe possibilities!

Love Me Tonight is available on Blu-ray from Kino Lorber here.

By Candlelight (dir. James Whale, 1933)

“I could die in the arms of a coat like this…”

This is a story of mistaken identity at its finest.

While riding a train a young woman, Marie (Elissa Landi) falls under the guise that Josef (Paul Lukas) is a Prince. When the two initially meet it is a rocky start, but after she spots his grip she believes she is in the midst of royalty and her tune quickly becomes sweet. Little does Josef know he may not be the only one committing deception in this relationship.

There was a lot to love about this romantic romp such as the carnival scene in which many outlandish masks were shown. Additionally, it was lovely to see a different type of James Whale production since, prior to this, I had only watched his horror flicks (yes, this includes Waterloo Bridge). I would like to go on record that I don’t think we talk enough about the missed opportunity of having Paul Lukas and Bela Lugosi play brothers on screen. They have strikingly similar mannerisms and presence on screen.

By Candlelight is available on Blu-ray from Kino Lorber here.

Death Takes Holiday (dir. Mitchell Leisen, 1934)

"Can you conceive how lonely I am - when there is nothing that doesn't shrink from me?"

Everybody needs a vacation… even Death.

In this motion picture, Death is in the form of Fredric March who decides to take a break from reaping and live it up for a while amongst the living. Surprisingly his main objective is not rest and relaxation, instead he is on the quest to find out why people fear him. He takes the form of Prince Sirki and bunks with Duke Lambert (Guy Standing). While on this rendezvous, Death falls for the captivating Grazia (Evelyn Venable) and he finds himself at a crossroads as his departure back to the shadows nears.

The overall concept of this story is extremely up my sidewalk. It should, of corpse, come as no surprise that I much preferred Frederic March in the shape of Death rather than the Prince. As Death is pure class being in a sophisticated cloak while the Prince is a baby with a monocle. This Pre-Code is such a great example of the time aged phrase, “They don’t make romantic dramas like they used to.”.

Death Takes a Holiday is available on Blu-ray from Kino Lorber here.

Jewel Robbery (dir. William Dieterle, 1932)

“The last place anybody would think of looking for me is in your bedroom.”

In conducting a bit of research for this article, I was reminded that Jewel Robbery was directed by William Dieterle. William, called the shots on one of of my favorite Joseph Cotten and Jennifer Jones pictures, Portrait of Jennie. If you have not seen or heard of this romance fantasy flick, I can’t recommend it enough. I’m very much looking forward to the Kino Lorber release of his film, Love Letters later this year (another Cotten and Jones team up).

With all of that said, Jewel Robbery is quite the diamond in the rough and I feel so fortunate that I was able to see it on the big screen in 35mm last year during the Turner Classic Film Festival (TCMFF). Kay Francis stars as a Viennese Baronness Teri von Horhenfels and plays opposite William Powell. Powell, is a smooth, sophisticated and cordial bandit who has a run-in with the Baroness at a high-end jewelry shop and ends up stealing more than just her ring.

This plot is absolutely wild. There’s infidelity, marijuana-laced cigarettes and an outlaw that manages to not only win the baroness’s heart, but the adoration of the audience. This is another Pre-Code motion picture that is responsible for leading me down a rabbit hole of cinematic wonder.

Watch Jewel Robbery on the Forbidden Hollywood Collection, Vol. 4 available from Oldies.com here.

Cocktail Hour (dir. Victor Schertzinger, 1933)

“I didn’t work for success. I worked for freedom. And I got it! You’re jealous of it. You want me to surrender it just because I’m a woman.”

This was another gem I watched at TCMFF last year and it has stuck with me since.

In Cocktail Hour, one witnesses Cynthia Warren (Bebe Daniels) rebel against the social norms when she decides she has every right as a man to play the field. Bebe Daniels was a powerhouse and is definitely someone I would like to spend some more time with. The picture also boasts a great performance from Randolph Scott as Randolph Morgan, one of Cynthia’s love interests.

Cocktail Hour does not seem to be available for purchase at this time.