Old Movies / Canceled TV Shows Archive Thread

Since it came up in The Children’s Hour, I though a post on the “Haye’s Code” is in a order.

###Motion Picture Production Code

In the 1920’s, a series of scandals rocked Hollywood and led to 37 states introducing their own legislature censoring films. Wanting to improve their image, several studio heads approached Presbyterian elder Will H. Hays about setting up a code of standards to which all films will comply. He was paid what was then considered a “lavish” sum of $100,000 a year to do so. The thinking was that it would be easier to the studios to follow one standard set of rules, then to have to edit every film for each individual state.

Freedom of speech issue you may think, however, in 1915 the Supreme Court ruled that “Freedom Of Speech” did not extend to motion pictures. That ruling would stand until 1952, nearly 40 years, before the Supreme Court would revisit and overrule it.

A sample of the production code:

  1. Pointed profanity – by either title or lip – this includes the words “God,” “Lord,” “Jesus,” “Christ” (unless they be used reverently in connection with proper religious ceremonies), “hell,” “damn,” “Gawd,” and every other profane and vulgar expression however it may be spelled;

  2. Any licentious or suggestive nudity-in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture;

  3. The illegal traffic in drugs;

  4. Any inference of sex perversion;

  5. White slavery;

  6. Miscegenation (sex relationships between the white and black races);

  7. Sex hygiene and venereal diseases;

  8. Scenes of actual childbirth – in fact or in silhouette;

  9. Children’s sex organs;

  10. Ridicule of the clergy;

  11. Willful offense to any nation, race or creed;

Initially, the Production Code was fairly vague and the people overseeing lacked both the authority and manpower to enforce it. One man would review cuts of films, while another was responsible for reviewing scripts. Two people were hardly enough to keep up with demand, when you had six Hollywood studios each producing 50-60 films a year, and dozens of independents also making movies. Not to mention, the language of the code was vague and up to personal interpretation.

However, in 1934, an amendment was made to the code establishing the Production Code Authority. The Authority would have two offices, one in LA, and the other in New York (where many films were produced and most Hollywood studios had their corporate offices.) With added manpower and money, the Authority expanded the Production Code and began enforcing it strongly. Ridiculous rules were added, such as the rule that any character that commits a murder must later be killed in the film. For an example of this, see the 1956 film The Bad Seed.

The Production Code would stay in full force, until the early 1950’s. Surprisingly it was television that would help deliver to a death blow to the Code. TV delivered entertainment to the homes of millions of Americans and was slowly stealing away the audiences for feature films. Faced with new competition, the studios began delivering more explicit content that TV could not show, as it operated under an even more strict form of censorship. The Motion Picture Association of American was also granted the ability to override PCA rulings and allowed films to be released against objections.

As the 1950’s closed, more and more foreign films were being brought to the US, which were not subject to the PCA rules. The end of the 50’s also saw the end of the classic Hollywood studio system, when all films studios were forced to sell off their theater chains, following the anti-trust lawsuit of the United States v. Paramount Pictures, Inc. - Wikipedia. With less revenue, and even more competition for screens, studios fought back more against the Production Code.

By the 1960’s, the PCA had little ability to enforce it’s rules and much of the production code was outdated. With people less likely to boycott explicit films, and even with boycotted films unlikely to suffer much damage, the PCA was disbanded. The MPAA would then establish a ratings system for all motion pictures released in the US.

[quote=“PretearHimeno” post=117753]

what is this I don’t even[/quote]

It’s on my list, and in my Netflix Instant Queue. However, I sort of want to watch it with someone for the first time. Does that make me a bad person? :huh:

[quote=“dragonrider_cody” post=117759]

what is this I don’t even

It’s on my list, and in my Netflix Instant Queue. However, I sort of want to watch it with someone for the first time. Does that make me a bad person? :huh:[/quote]

No, just one who hasn’t had the pleasure of making the acquaintance of Holly Golightly yet.

Two of the Hollywood studios turn 100 this year. I will be making some posts with info on their histories, but until then, here are their anniversary logos.

[size=5]Paramount[/size]

[size=5]Universal[/size]

What’s interesting, is that while Paramount and Universal were both founded in 1912, Universal didn’t release their first film until 1915. That’s why Universal originally celebrated their 75th anniversary in 1990. Also of note, Universal was originally not considered one of the major studios. It wasn’t until the Feds stripped the studios of their theater chains that Universal was finally able to compete with Paramount, Warner, and MGM.

I can’t believe that they are 100!! That is a pretty interesting fact about Universal too. I never knew that, but I do know they have the best classic horror films such as Dracula and Frankenstein, among others.

Continuing on with my theme of “sticky” movies-ones that, even though I am looking for something else, I *must *stop and watch-the nest one on my list is one of the finest movies to come out of the Sherwood Forest:

Errol Flynn, Olivia de Havilland, Basil Rathbone and Claude Raines-it doesn’t get better than this, folks! The project began in 1935, with Jimmy Cagney as Robin Hood-but he walked off the set and put production on hold for three years. Hal B. Wallace, the producer, brought Errol Flynn in as Robin, a move that Warner Bros. was against. The director was changed after the dailies coming in from on location were lacking in vigor and excitement. The composer for the film initially refused to do the score and only accepted because the Nazis had invaded his native Austria and he needed work. The film went over budget, ballooning from $1.6 million to over $2.0 million-the most expensive Warner Bros. film of its time.

However, preview audiences loved the film so much the studio did not change anything for its release and the movie went on the become Warner Bros. most successful film of 1939.  The score won an Oscar for composer Eric Korngold.  Errol Flynn became the indelible face of Robin Hood, usurping Douglas Fairbanks, Jr.  Finally, Maid Marion's horse, Golden Cloud, caught the eye of an up and coming singing cowboy, who bought the horse and changed his name to Trigger at the suggestion of his then-sidekick Smiley Burnette sine he was "quick on the trigger.  Roy Rogers and Trigger went on to be one of the most famous duos in the history of the Western film.

If you're looking for a historically accurate story, don't bother-there are even historical inaccuracies in the title sequence!  If you're looking for 102 minutes of fun, fantasy and adventure, you can't do better than this one.

The theatrical trailer:

The opening titles:

A scene from The Adventures of Robin Hood

From IMBD:

The Black Cat (1941)
70 min - Comedy | Horror | Mystery - 2 May 1941 (USA)

Elderly Henrietta Winslow lives in an isolated mansion with her housekeeper and beloved cats. As her health fails, her greedy relatives gather in anticipation of her death.

Director: Albert S. Rogell
Writers: Edgar Allan Poe (story), Robert Lees, and 3 more credits »
Stars:Basil Rathbone, Hugh Herbert and Broderick Crawford


I cannot recommend this movie enough. As a matter of fact I have recommended it to anyone here on TAN who has ever gotten into a conversation about old movies with me. Not only is it a great mystery based on an Edgar Allen Poe story but the comedy is completely perfect without detracting from the darker aspects of the movie. Basil Rathbone was always my favorite Sherlock and he is an excellent villian. Plus if you love cats, you gotta love a movie plot were the cat gets all the money, helps solve the mystery, and saves the heroine(Well sorta. I would explain but that would give away too much).

[quote=“The Coffee God”]
I’ll jump in, since I’ve been thinking about these a lot lately.
I’ll start off with my all-time favorite movie series and the only way I will ever see Sherlock Holmes & Dr. Watson until the day I die.[/quote]

Basil Rathbone’s films have their charm, but having read the books they’ll never do for me. I can’t say that I understand your imposed restriction on Holmes, seeing as Basil’s Holmes was portrayed in varying time periods across the movies, even being used to fight the Nazis in at least one WW2 propaganda film. On a slight tangent, the name of the pending (“zomg wtf” awful) American reimagining of Sherlock Holmes, CBS’ Elementary, is potentially ironic. (Ironic potential as that “Elementary, my dear Watson” phrase was made up for the Rathbone films).

In The Hound of the Baskervilles, Basil Rathbone looks disturbingly like Data (Brent Spiner) from Star Trek, or vice versa since it makes more sense that way :wink:

BTW, I take it you’ve not seen The Big Bang Theory or House? B)

Say, where are the classic action movies in this thread? I see comedies and “artsy” films aplenty, but where’s the pulse-pounding, Y-chromosome-approved stuff?

Where are the cheesy action films like Death Race 2000? Where are the deeper, more shocking action series like The Mechanic and A Boy and his Dog? Where are the war classics like Patton? Shoot, there are enough Hollywood WW2 films to show that John Wayne single-handedly beat back the Japanese in the Pacific Campaign lol. Which reminds me, where’s True Grit, the movie that was worlds above the abominable 2010 remake? :cheer:

As I said, this thread is open to all movies. If you want to add a classic action flick, go for it! There are no horror films here either yet, but I’m sure there will be soon.

[quote=“celestial_being” post=119044]

[quote=“The Coffee God”]
I’ll jump in, since I’ve been thinking about these a lot lately.
I’ll start off with my all-time favorite movie series and the only way I will ever see Sherlock Holmes & Dr. Watson until the day I die.[/quote]

Basil Rathbone’s films have their charm, but having read the books they’ll never do for me. I can’t say that I understand your imposed restriction on Holmes, seeing as Basil’s Holmes was portrayed in varying time periods across the movies, even being used to fight the Nazis in at least one WW2 propaganda film. On a slight tangent, the name of the pending (“zomg wtf” awful) American reimagining of Sherlock Holmes, CBS’ Elementary, is potentially ironic. (Ironic potential as that “Elementary, my dear Watson” phrase was made up for the Rathbone films).

In The Hound of the Baskervilles, Basil Rathbone looks disturbingly like Data (Brent Spiner) from Star Trek, or vice versa since it makes more sense that way :wink:

BTW, I take it you’ve not seen The Big Bang Theory or House? B)

Say, where are the classic action movies in this thread? I see comedies and “artsy” films aplenty, but where’s the pulse-pounding, Y-chromosome-approved stuff?

Where are the cheesy action films like Death Race 2000? Where are the deeper, more shocking action series like The Mechanic and A Boy and his Dog? Where are the war classics like Patton? Shoot, there are enough Hollywood WW2 films to show that John Wayne single-handedly beat back the Japanese in the Pacific Campaign lol. Which reminds me, where’s True Grit, the movie that was worlds above the abominable 2010 remake? :cheer:[/quote]

Since you brought up A Boy and his Dog (MOST AWESOME ENDING EVER!) I have to chime in with Blade Runner and Videodrome. And as embarrassing as this is, Bloodsport. I think the only other martial arts movie I saw before that was Karate Kid so it blew me away just with the sheer volume of nifty violence.

Cody may have said 1989 and earlier but to me a classic will always kinda mean “black and white”. But the 80’s hold a lot of movies that I consider great just because that’s when I was growing up.

I couldn’t just limit it to Black and White, as that would also disqualify some amazing films from the 50’s and 60’s that I would consider definite classics.


Yeah, that would rule out Anne of the Thousand Days
And I’d be rather sad if I couldn’t have included that classic.

It would also rule out Rosemary’s Baby which is one of the all time horror classics. I cannot allow this! Grrrrr…

But you know Cody my true reason for not wanting to count 80’s movies as classics is that it makes me feel so old that the movies I grew up with are now classics.

Hey, it’s not the age, it’s the quality. :wink: I just put a limit of 1989 up, because I didn’t want some of the younger posters popping up and listing movies like Happy Gilmore or Chronicles of Riddick.

http://upload.wikimedia.org/wikipedia/en/b/b1/Run_Silent_Run_Deep_1958_Poster.jpg

One of my favorite war movies and one of the best submarine movies ever made.

Black and White only? There goes Gone With the Wind and The Wizard of Oz-both films from the 30s!!! :ohmy:

Shawn, I’ll see your Run Silent, Run Deep and raise you The Enemy Below-one of the best destroyer movies out there!.

From http://en.wikipedia.org/wiki/The_Enemy_Below:

[quote]The Enemy Below is a 1957 war film which tells the story of the battle between the captain of an American destroyer escort and the commander of a German U-boat during World War II. It stars Robert Mitchum, Curt Jürgens, David Hedison and Theodore Bikel. The movie was directed and produced by Dick Powell. The film was based on a novel by Denys Rayner, a British naval officer involved in anti-submarine warfare throughout the Battle of the Atlantic.

Walter Rossi received the 1958 Academy Award for best special effects.[/quote]

This film also is notable for being the film debut of Doug McClure and an uncredited Clint Eastwood role (as a seaman.)

One of my all-time favorite war movies.

I will see your The Enemy Below and raise with Midway a great aircraft carrier movie and my favorite WWII movie. :slight_smile:

Today is the 70th Anniversary of Casablanca!

[size=16]Casablanca (1942)[/size]

*Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and based on the unpublished stage play Everybody Comes to Rick’s by Murray Burnett and Joan Alison. The film stars Humphrey Bogart, Ingrid Bergman and Paul Henreid, and features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Dooley Wilson. Set during World War II, it focuses on a man torn between, in the words of one character, love and virtue. He must choose between his love for a woman and helping her Czech Resistance leader husband escape from the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis.

Story editor Irene Diamond convinced producer Hal Wallis to purchase the film rights of the play in January 1942. Brothers Julius J. and Philip G. Epstein were initially assigned to write the script. However, the Epsteins left the project after the attack on Pearl Harbor. Howard Koch was assigned to continue writing the screenplay until the Epsteins returned to work on Casablanca. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Filming began on May 25, 1942 and ended on August 3, and was shot entirely in the studio and Van Nuys Airport.

Although Casablanca was an A-list film, with established stars and first-rate writers—the Epsteins and Koch received credit for the screenplay—no one involved with its production expected the film to be anything out of the ordinary; it was just one of 100s of pictures produced by Hollywood every year. Casablanca had its world premiere on November 26, 1942 in New York City, and was released on January 23, 1943 in the United States. The film was a solid, if unspectacular, success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. Despite a changing assortment of screenwriters frantically adapting an unstaged play and barely keeping ahead of production, and Bogart attempting his first romantic leading role, Casablanca won three Academy Awards, including Best Picture. Its characters, dialogue, and music have become iconic, and the film has grown to the point that it now consistently ranks near the top of lists of the greatest films of all time. (via Wiki)*

70th Anniversary News & Reviews

http://kdvr.com/2012/03/23/review-casablanca-70th-anniversary-edition-blu-ray/