A to Z of Precode Gays & Lesbians

Despite any inference or inclusion of LGBT people or 'sex perversion' - as it was called - being a fundamental no-no in the 1930 Motion Picture Production Code, Precode films are full of references to gay, lesbian, bisexual and transsexual people both to increase dramatic tension and for comedic effect. Whether as a 'sissy' or the stereotypical 'butch woman', several actors made a living out of playing these roles. Below is my A to Z of the best and worst of Precode LGBT:

A - Arthur, Johnny

A pretty and over-the-top actor, Johnny Arthur, took a break from his long term stage career to feature in films. With the coming of sound, Arthur was developed into a supportive, comedic relief character playing mostly overt homosexuals, 'pansies' or ultra-posh salesmen. He appeared in 26 Precode era films including the infamous lost movie, Convention City (1933). His best Precode appearances include in The Desert Song (1929), She Couldn't Say No (1930) and Penrod and Sam (1931). Arthur's quality and quantity or films decreased at the beginning of the war and never fully recovered. His 'pansy' typecast also technically became banned post-1934 but Arthur succeeded into more 'wimpy', 'weak' characters. He passed away, aged 68 on December 31, 1958. Despite acting in film for almost 30-years, there was no money in Arthur's estate for a proper burial and he grave was left unmarked until November 2012. 

B - Boys will be boys

Wonder Bar (1934) is filled with bags of controversy. Between the black-face musical scenes, adultery, innuendo and countless double entendres, murder without getting caught and even the main character seeming cajoling a man to commit suicide so he could dump a dead body in his car, it is pretty shocking. Therefore, it is not surprising, the film caught the eye of production code administrators. Despite these elements, the film is mostly talked about today because of its illusion to homosexuals (a banned subject at the time) through an interesting dance scene. A handsome man asks a dancing couple if he could cut in. The female partner, expecting his attention, agrees, only to see him dance with her male partner. The main character, played by Al Jolson, then flaps his wrist and says, "Boys will be boys! Woo!"

C - Call her Savage

Clara Bow's 1932 film Call Her Savage is one of those shocking Precode movies which even modern audiences might find cringe worthy. Featuring countless 'forbidden' topics including rape, mixed race relationships, swearing, alcoholism, prostitution, adultery and not to mention the tragic death of a new born baby living in poverty, this film has everything. Slotted in between scenes of craziness is one including two clearly gay waiters dressed as French maids dancing and singing in what appears to be a gay bar. The two men appear to be having a great time singing about the pleasures of sailors in pajamas and so is the audience.

D - Dietrich

Marlene Dietrich's performance as Amy Jolly in Morocco (1930) proved that the fierce, blonde diva could get away with pretty much anything in the eyes of Precode audiences. I am referring to the scene where Dietrich performs "Quand l'amour Meurt" or "When Love Dies" at a nightclub. Dressed in a top hat and tails (see Vests, pants and ties below), she proceeds to sing the song before taking a flower from the hair of a woman in the audience then playfully kissing her on the mouth. No one appears to question her actions and she is even applauded. This scene is the only hint at Dietrich's bisexually in the film with the plot essentially a love story between Dietrich and Gary Cooper.

E - Effeminate

Effeminate is just one term used to describe the not-spoken-but-obvious homosexual character. Other terms included - pansy, sissy, fairy, nannie, fruit, queer and queen. They were clearly portrayed with everything from their costume to manner to the actors that played them pointing to their homosexuality. Richard Barrios book 'Screened Out' described the stereotype as:

"The fedora hat, the gestures that alternatively swept and minced, the little mustachio, the flower in the lapel - the pansy was as immediately recognisable on screen as he was in the urban sidestreets."

F - Frederici, Blanche

At age 42, Blanche Frederici, was older than most actresses who appeared on film for the first time. Frederici was known for playing mostly stern, masculine and uptight women in her Precode era films. She was often typecast as an older governess, nurse or unhappy wife. Frederici is mostly known for her role of a housekeeper in Night Nurse (1931), a chaperone in Flying Down to Rio (1933) and as a motel' owner's wife in her last film, It Happened One Night (1934). She died suddenly and unexpectedly, aged just 55, of a heart attack on December 23, 1933.

G - Girl Crazy (1932) ect.

I am using the letter 'G' to refer to the crazy collection of Precode Wheeler and Woosley films. You can't refer to just one when talking about references to the LGBT community because all of their films seem to question the true on-screen sexuality of the pair whilst intermingling them with a seemingly endless supply of barely clothed (sometimes actually naked) women. The duo made 21 pictures together with Peach O'Reno (1931), Diplomaniacs (1934), and Hips Hips Hooray (1934) and Girl Crazy (1932) their best films. Unfortunately I don't have enough room to mention all the suspect scenes in W & W's films, but believe me they included everything from the 'sissy' roles to sleeping in the same bed (Diplomaniacs) to double entendres and male to female cross-dressing (Peach-O-Reno). W & W were a strange combination, sometimes appearing as the homosexual for laughs but always getting a girl before the closing credits. Still, despite the happy 'straight' ending the pair never parted company to start separate lives. W & W also can't seem to go through a film without kissing each other. For example in Hip Hips Hooray the duo have a smooch with Wheeler commenting that Woolsey taste like "“lavender and old lace!". But don't take my word for it, some of W & W films are unbelievable, check them out.   

The Dark Side: Drugs in Precode

Like sex, nudity and violence, the Hays code tried to prevent film makers from showing obvious depictions of drug taking and selling and, as before, the warnings were ignored. There are several blatant examples where characters exploit or sell drugs in Precode films. Although, the subject was generally shown solemnly and as a means of destruction, some pictures exist where narcotics are positioned positively. It is interesting to note that while drugs were being discussed on screen, the substance was rife in the film community, claiming the lives of Mabel Normand, Wallace Reid, Jeanne Eagels and Chester Morris as well as many others.

Douglas Fairbanks: The Light-hearted Addict

The most interesting use of drugs in film is the 1916 film 'The Mystery of the Leaping Fish' staring the famous Douglas Fairbanks. The comedy picture shows Douglas as a Sherlock Holmes like detective solving crimes while being addicted to cocaine. In the pictures below it is obvious to see the product cocaine and the use of syringes.

Dancing, Singing, Drugs

Another example of positive drug taking is the odd mystery/ musical film 'Murder at the Vanities' (1934). In a musical number that was later banned when the code was enforced, Gertrude Michael sings about the pleasures of marijuana. The film also includes a number of nearly-nude women, making it truly Precode.


Gertrude Michael singing 'Mariguana'


Another picture from the infamous musical number



Eve without Adam

Drugs for Drama

More often narcotic taking was used as a source or drama and to show the person's downward spiral into sin. Three on a Match (1932) is an example of this with Ann Dvorak's character experimenting not only with drugs but alcohol, sex and excessive partying.

Or the drug-addicted Luis Alberni's character in Mad Genius (1931)

          














Drug dealing, in Mad Genius (1931)

And finally, the inclusion of a drug-addicted doctor (played by Conrad Nagel) in the depraved, shocking film Kongo (1932). In addition to narcotics, the film included images of sadism, violence, adultery, voodooism, alcoholism, rape and murder.

        

Conrad Nagel as the addicted doctor

    

Kongo (1932) madness

And the lovely Lupe Verez...

Gay and Lesbian in Precode: Clip 1#

A short clip from the documentary, 'Celluiod Closet' discussing the depictions of gay and lesbian characters in Precode and silent films.

Gay and Lesbian in Precode

As the 1930's rolled on, film makers became more progressive when it came to subject matter, dialogue and characters. As, the use of nudity and profanities became almost common place, directors and producers had no issue including depictions of gay and lesbian characters in movies. However, the code makers retorted with this inclusion:

II. Sex
The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not infer that low forms of sex relationship are the accepted or common thing…

4. Sex perversion or any inference to it is forbidden.

The silent era experimented with a few examples of homosexual or inferences of played for humour or something more sinister:

One of the earliest films 'Dickson Experimental Sound Film' from 1895 which is a short clip of two men dancing while Dickson plays 'Song of a Cabin Boy'.

Another example of gay inferences used for humour is the conversial Roscoe 'Fatty' Arbuckle actor who appeared dressed in female clothing in several films. Here are pictures from the 1917 film 'The Butcher Boy':

 

Lesbian characters in silent films were less readily shown. They were normally depicted as comedic crossdressers or strange older women that were generally killed at the end of the picture. Alternatively, Alice Roberts character in the 1929 German film 'Pandora's Box' starring Louise Brooks is projected as a companion or friend to Brook's character with her deeper feelings infered rather than plainly stated.

Talking pictures depicted similar versions of homosexual characters as the silent era with several surprising variations sneaking into some Precode films. Gay men were, akin to the Arbuckle years, used for humour and a diversion from the major, more serious plot.
Such as,

Diplomaniacs (1933)

Public Enemy (1931)

Call her Savage (1932)




And the most overt use of homosexuality for humour this clip from 'Wonderbar' (1934). In it a man breaks up a couple dancing and asks whether he can dance with on of the couple. The women assumes he means her, but the man grabs the other man and they start dancing. The clip pans to an onlooker who comments, "boys will be boys, whooo."

Lesbian characters are treated more solemnly, with less obvious examples available.
Such as,

The masculine inmate in 'Ladies They Talk About' (1933)

Or, strangely the lesbian dance scene in Cecil B. Demille's 'Sign of the Cross' (1932)

The great Marlene in Morocco (1930)



And, the most fabulous bisexual character of the Precode era, Greta Garbo in 'Queen Christina'  (1933). Garbo plays Christina, a historically known bisexual, who kisses her main lady in waiting on the lips and discussed taking her to the country, alone, for a few days.



Blink and you will miss it :)

Nudity in Precode: Clip 2#

Probably the most provocative musical clip of the entire Precode era, "Pettin in the Park" begins as a perfectly innocent Ruby Keeler, Dick Powell number and ends shockingly. You will have to watch a few minutes of Busby Berkley's odd but brilliant use of women as patterns; however, when the screen rolls down the camera does not act to cover the dancers charms. It is from the 1933 film 'Gold Diggers of 1933' with Warren Willam, Joan Blondell, Ruby Keeler and Dick Powell.

Nudity in Precode: Clip 1#

This is Dolores del Rio and Joel McCrea in Bird of Paradise (1932) and that sexy water
scene and kiss....

Nudity in Precode

Although, the code blatantly stated no nudity in any form there is a number of delicious examples where you can see more than you should be.

The code said:

VI. Costume
1. Complete nudity is never permitted. This includes nudity in fact or in silhouette, or any lecherous or licentious notice thereof by other characters in the picture.

2. Undressing scenes should be avoided, and never used save where essential to the plot.

3. Indecent or undue exposure is forbidden.

4. Dancing or costumes intended to permit undue exposure or indecent movements in the dance are

forbidden.

But this was clearly not followed....

Even before the talkies, major stars were baring all for big roles and big money. The most notable was Clara Bow in the first Academy Award winning film, Wings (1927). In it, Clara showed a scandalous glimpse of her breasts.

 But this wasn't the only one, famous directors often used nudity as a ploy to gain viewers and publicity. For example, the pioneer director D.W. Griffiths 'Intolerence' (1916), included a number of scenes of barely clad beauties. The film was later censored for redistribution in 1934 after the new code was introduced.

But, as sound technology became a reality directors and producers weren't pressured into changing their ways, so they didn't...

There is several popular examples of nudity in Precode talkies, normally shown as bohemian or foreign, nudity is depicted as free and exotic. Tarzan and his Mate (1934) is a popular example with Jane, played by Maureen O' Sullivan, taking a refreshing swim.

Or similarly, Dolores del Rio in 'Bird of Paradise' an exotic adventure movie with a delicious swimming scene.

There are dozens of other films including nudity in silhouette, such as, Gold Diggers of 1933 (1933):

Or in fact, such as, Claudette Colbert in Sign of the Cross:

Don't blink or you'll miss it :)

Swearing in Precode

            Above is the ending clip from the hilarious 'Design for Living' (1932) with Miriam
            Hopkins, Gary Cooper and Fredric March. This is a great example of swearing in
            Precode. Listen for when Miriam is confronting her husband. What she call
            Mr Eagleborough?

Actress of the Month: Ruth Chatterton

This is the begining of my 'Actress of the Month' segment discussing the most famous women of the Precode era. The first, for whats left of the month of April, is Ruth Chatterton who I consider to be the Queen of the Precodes. Below is a short bio of her life and, sadly, her too short acting career.

A strong, modern woman onscreen and off, Ruth Chatterton made her portrayals of feisty, elegant and always articulate society women popular in the Precode Era. At age 14, Ruth followed her passion for acting to a successful stage career staring in such works as, Daddy Long Legs (1914) and The Magnolia Lady (1924). With the coming of sound in 1927, Ruth was brought to Hollywood not predominately for her looks or acting talent but her eloquent speech in a period where sound technology was young and most of the top actors of the period had heavy European accents.  Her most memorable Precode portrayals include as the bold, capable business owner in Female (1933) and the struggling mother, turned brothel Madame during the San Francisco earthquake in Frisco Jenny (1993).  After her acting career slowly died down, Ruth began a successful stint as a novelist and later, broke the gender stereotype, by learning to flying and often navigating around the USA solo. Ruth died age 68 from a cerebral haemorrhage in 1961. 

       

Ruth Cool Quote:  As Alison Drake in Female (1933)

“I know for some women, men are a household necessity; myself, I'd rather have a canary.”

In the Beginning....

Perhaps you have seen a few early 1930’s films or a couple of Marlene Dietrich or Jean Harlow pictures; but what are Precode films and what made them so provocative? Well, contrary to its name, Precode is not actually before (pre) the code; the code being a list of guidelines for directors and producers to follow when making films. The Motion Picture Production Code, known as the Hays Code was created in 1930 to stop the explicit scenes and themes shown in some films of the silent era. Just watch some of the famous Cecil B. Demille ‘orgies’ in Manslaughter and Madam Satan or the provocative Eric von Strohiem films and you will understand.

                                               The famous Manslaughter (1922) 'orgy'

This was also impacted by rumours of sex, drugs and heavy partying that plagued Hollywood’s image. Most notably the trial of Roscoe ‘Fatty’ Arbuckle, accused of murdering a struggling starlet at a boozing late night party. Also the suspicious death of William Desmond Taylor that seemed fuelled with a cocktail of drugs, alcohol and two famous actresses. 

As a result, film moguls became increasing pressured by religious and social groups to curb the scandals rife in the film community both on screen and in reality. The conflict became an ultimatum – self-censor or be censored. So the moguls chose the easiest route: to formulate a list of guidelines and the promise that it will be fully enforced. At the public helm the moguls installed, Will H. Hays, a Presbyterian elder and the perfect man to present an image of virtue and conservatism. This seemed reputable, but their was one problem; Hays and his employees worked and financially benefited from the film studios – for that period a whopping $100,000 a year. He became an agent answering only to the film corporations. Instead of enforcing the code, Hays job was simply to give the appearance he was enforcing it.

                                                                William H. Hays

The main ways he did this was by appealing to the churches through the retribution avenue, ie. a female character could murder, steal, bed-hop and drink as much as she liked as long as she paid for it in the end. If you look at a film called, Frisco Jenny (1933), Ruth Chatterton plays an unwed mother during the San Francisco Earthquake. After the death of her lover, she becomes a prostitute out of financial necessity. She soon becomes a successful madam but must give up her son for his protection. Although she reunites with him in the end, Chatterton does not admit that she is his birth mother and, thus, loses her child because of her sin.

                                                      Ruth Chatterton Frisco Jenny (1933)

Even though, the code seemed implacable to people outside Hollywood, inside the city of dreams it was the most ignored policy since Prohibition. For the next four years sex, drugs, violence and sin dominated pictures creating the most provocative and frank era of film history.