I can’t
believe I waited so long to create a list of essential Precodes. Looking at the
most grounding breaking and entertaining of the era’s movies are something I
think all people interested in Precode should do. I have done my best to try
and condense all the films I have watched and enjoyed over the years into one
list. I found, in creating the list, that several early 1930’s films I loved
and could watch over and over, were probably not worthy of the name ‘essential’
despite my level of personal enjoyment. I first decided a list of 25 would be
sufficient but could not decide on the films that should make up the limited number.
As a compromise, I will make a list of 50 Essential Precodes. This is my first
batch with the next one coming next week. The next half of the list is not
finalised so any suggestions would be very welcome. Check out part 1 of my
Essential Precodes:
1) Anna Christie (1930)
The much
anticipated first speaking role for Greta Garbo, Anna Christie (1930) is an interesting drama about a young women
haunted by her dishonourable past. It shows Anna (Garbo) trying to repent her
sins and find a stable life for herself. This film is all about Garbo, her
famous first lines and continued allure despite her perfect facial expressions
being corrupted by speech.
2) Divorcee (1930)
A breakout film for Norma Shearer, who despite
being a famous actor since the silent days, was typecasted in pure, ingénue
roles before starring as the sexually liberated Jerry Martin. The film
highlighted a double standard in society (which still exists today) which makes
it acceptable for the husband to philander but not for his wife. Shearer
appears as wife who discovers her husband (Chester Morris) is having an affair.
After confronting her husband who proclaims that the relationship didn't
"mean a thing", Jerry responds in-kind by sleeping with mutual friend
Don (Robert Montgomery). Instead of behaving flippantly about Jerry's
indiscretion, her husband demands a divorce. Outraged by the hypocrisy, Jerry
responds by bedding as many men as she can get her hands on. A shocking film
for its time and surprisingly relevant today, Divorcee (1930) is one of Precode's best.
3) Public Enemy (1931)
My favourite of the Precode gangster films, Public Enemy (1931), is a 360 degree
view of Depression Era gangs who peddled liquor during prohibition. The movie
shows the main character Tom (James Cagney) as sympathetic and human, featuring
scenes of his hopeless childhood and close relationship to his mother. I
couldn't help but like him, except of course for the famous grapefruit scene.
It's easy to see why the censors hated this film. Tom is a criminal but
likeable, dependable, relatable, skilled, the typical anti-hero.
4) Dracula (1931)
The first speaking version of Bram Stoker's
novel, Dracula, depicting the
bloodsucking vampire has become understandably a cult classic. The well-known
story of Count Dracula and his attempts to turn Mina (Helen Chandler) into a
vampire while avoiding the suspicion of Prof. Van Helsing. While the movie has
little special effects, Bela Lugosi, doesn't need assistance with his creepy
facial expressions and close-ups enough to scare most audience members. This
film, like others, has been put on a pedestal and people generally watch it
pretty high expectations. Just remember, filmmakers didn't have the technology
they do now, I think they did a great job despite it.
5) A Free Soul (1931)
Another strikingly modern film starring the
radiant Norma Shearer who seemed to rule the Pre-code era. Instead of
portraying an extramarital affair, A Free
Soul (1931) shows Shearer in a pre-marital sexual relationship with bad boy,
gangster Clark Gable. The pair have no intension of tying the knot and Shearer
has no qualms showing up unannounced and seducing Gable's character in - I must
say - a dress that hides barely anything. The film is a testament to the
changing societal attitudes and the power of Shearer. As well as being a great
multidimensional plot and wonderful casting - including the performances of
Lionel Barrymore and a young Leslie Howard, A
Free Soul (1931) is surprisingly relevant and relatable today.
6) Trouble in Paradise (1932)
A sophisticated film, Trouble in Paradise (1932), is mostly known today due to the
enduring reputation of director, Ernest Lubitsch. It is an entertaining, adult
romantic comedy about a love triangle situation between Miriam Hopkins, Kay
Francis and Herbert Marshall. Hopkins and Marshall are thieves who fall in love
and decide to join forces to rob a beautiful perfume company owner (Francis).
The con falters when Marshall and Francis start to get too cosy. This film is a
great example of the Precode era's propensity for creating truly adult and
sophisticated content. Its subtle humour is also amazing.
7) Red Headed Woman (1932)
The Precode platinum blonde, Jean Harlow, made
a style change to star as the title character in the shocking and emotional, Red Headed Woman (1932). Like the main
character in Baby Face, Harlow stars as Lil, a woman who will do anything to be
rich and become a part of high society. Of course, being Precode, 'anything'
means using her body and unquestionable sexuality. This includes desperately
seducing a variety of rich men, breaking up marriages and even murder. Plus, in
open defiance to Will Hays, Harlow's character is never punished for her
actions. Note: a warning to some viewers, there is a kind of disturbing
domestic violence scene which at the same time is pretty 'Fifty Shades of
Grey'.
8) I am a Fugitive from a Chain Gang (1932)
A crime/ drama film starring Paul Muni as a
wrongfully convicted prisoner who becomes part of a brutal Southern chain gang.
He quickly escapes to Chicago and attempts to make a success of himself but
finds his past never leaves him. Based on the true story of convict Robert
Elliott Burn who was himself a chain gang member before escaping and becoming a
fugitive. The film is a must watch simply for its impact on Depression Era
America. Shocked by the use of chain gangs and the abuses and ill treatment of
criminals which, despite being largely fictional in the movie, were a staple of
many state’s judicial systems, society rallied against the behaviour.
9) Scarface (1932)
A shocking early gangster film starring
prolific and somewhat forgotten actor, Paul Muni, as crime boss, Tony, a thinly
veiled characterisation of Al Capone. Scarface
(1932) moves through Tony's journey from Italian immigrant to a leading member
of a mafia gang to the head of a crime gang. The film is surprisingly violent
especially as Tony sparks an all-in gang war filled with gun fights and
massacres. Muni is commanding and brilliant.
10) Freaks (1932)
Despite the film’s title, Freaks (1932) is surprisingly sympathetic and positive to the
'freaks' it forefronts. The movie follows a range of characters who work as
carnival sideshow performers. Most had never performed in feature films before
and do a great job. Interestingly it is the 'normal' characters who are
portrayed as villains; with the main plot of the film describing trapeze
artists Cleopatra's (Olga Baclanova) scheme to seduce and marry little person,
Hans (Harry Earles) just for his money. All the characters support Hans and fight
against Cleopatra. As well as this story, other subplots show the 'freaks' as
living ordinary lives by falling in love and having children. Due to the film’s
title I waited years to watch it, but found it heart-warming and unbelievably
modern despite the themes.
11) Call Her Savage (1932)
Clara Bow feature, Call Her Savage (1932), is full of elements which would have be
staunchly banned just two years later. The film revolves around Nasa (Bow), a
wild society woman who owes her rebellious and feisty nature to the fact that
she is half white, half Native American Indian. Of course, her heritage is a
dark secret with her mother cheating on Nasa's father with an Indian man
resulting in her birth. Nasa rebels against her family, partying hard and
marrying an abusive playboy. Despite learning the error of her ways, filmmakers
ensure audiences get a long and shocking view of Nasa's debauched life from her
party lifestyle and alcoholism to rape, pregnancy without marriage and
prostitution. I don't care what anyone says, Precode Clara Bow is simply
radiant.
12) Safe in Hell (1932)
Safe in
Hell
(1932) is an often overlooked Precode due to its lack of an enduring 'star'.
The forgotten and very talented, Dorothy Mackaill, leads as the easy-going,
nonchalant prostitute, Gilda, who fleas to a Caribbean island after she is
accused of murdering her former pimp. While the audience is in no doubt of
Gilda's profession, her boyfriend Carl (Donald Cook) doesn't seem to care and, not
only helps her escape, but marries her on the island. Carl leaves the
vulnerable Gilda on the island filled with criminals and all around dodgy
dealers. Another look at the realistic consequences of the Great Depression,
the film doesn't judge Gilda but is more sympathetic to her. Mackaill portrays
her as basically a 'good woman' who faces impossible situations. A staple
character in Precode.
