Film, Radio and TV - 4 |
Scandals,
The Hollywood Scandals Along with the huge profits during the boom years of Hollywood came many excesses. Tabloid newspapers tried to outdo each other in reporting--and to some degree making up--stories about the extravagant lifestyles and decadent lives of producers, directors, and actors. In the minds of many, Hollywood was "sin city." This image seemed to be confirmed in the 1920s, when Hollywood confronted two major scandals. One involved a marathon party in San Francisco hosted by comedian "Fatty" Arbuckle. As the party was ending, model Virginia Rappe was rushed to the hospital with stomach pains. She subsequently died, and Arbuckle was initially charged with murder. The cause of death was then determined to be peritonitis resulting form a ruptured bladder. The charge against Arbuckle was then reduced to manslaughter. What led up to the death was in dispute, and after three trials--two ending with hung juries--Arbuckle was acquitted. Then film director William Taylor was found murdered in his home. Mabel Norman, an associate of Arbuckle's, was apparently the last person to see Taylor alive. Although Norman was cleared of the crime, rumors surfaced that he was involved with drugs. The tabloid papers had a field day. The Catholic Legion of Decency announced a boycott of films.
Fearing further public backlash against their product and the possibility of some form of government censorship, the movie moguls decided that they should act quickly to adopt some form of self-regulation. In 1922, Will Hayes, an ex-postmaster general and former Republican Party Chairman, was appointed to head the newly formed Motion Picture Producers and Distributors Association (MPPA). Hayes' conservative views were well known, and this was seen as insurance against a conservative backlash. One of the first things Hayes did was ban all of Arbuckle's films--notwithstanding the fact that Arbuckle had not been found guilty of any crime. Hayes felt his job included not only determining what was proper film content, but overseeing the private lives of stars. His MPPA Production Code (also called "the Hayes Code") of do's and don'ts was issued in 1930. To be acceptable, films had to show the group's Production Code Administration (PCA) seal of approval. The code was so strict that many of today's G-rated movies would have been rejected. Hayes and his assistant issued more than 28,000 rulings covering what was and was not acceptable in films. Lists of scores of forbidden words were issued. Screen kisses were reduced from a maximum of four seconds to no more than one and one-half seconds. The Hays Commission (PCA Code) even went to far as to ban scenes showing such things as the milking of cows. During the 1930s, only films that displayed the PCA Seal of Approval were deemed acceptable for viewing--even for adults. |
During the 1930s, Although this was partly due to the stock market crash of 1929, the problem was intensified by the fact that the studios had overextended themselves financially. Even so, during that era, Hollywood was spared the major financial damage that many industries suffered. Among other things, the arrival of sound helped boost the popularity of films. Moviegoers, anxious to escape the gloom of the depression, regularly sought refuge in the fantasy life of their favorite stars. To bring in patrons during these times, many theaters started showing double features and even drastically cutting admission prices. Some theaters even featured bingo games. Even so, something more was needed.
To maintain profits and keep the studios afloat during these difficult times, studios started pursuing more risqué story lines. When it came down to a contest between money and morals, money won out, and so much of the Hayes Code was Although few like to admit it, without the added revenues that decidedly more risqué content brought in, Hollywood wouldn't have survived the depression years. It would not be an exaggeration to say "sex saved Hollywood." One of the more outspoken actresses of the day was the Rubenesque Mae West (who few would classify as a sex symbol by today's standards!). One of her most provocative lines--"Why don't you come up and see me sometime"--was spoken to Cary Grant. Hayes and conservative audience members were aghast that such a suggestion (?) would be uttered in a film. As soon as the film industry was on more solid financial footing--due in no small measure to her efforts--Mae West was banned from movies. So much for gratitude. Some research studies related to the Media and Sex are summarized During the difficult era, Walt Disney started the only successful new studio. In 1928, Disney released Steamboat Willie, the first animated sound cartoon. Disney, who was only 26 years old, had to sell his car to finance the sound track. In 1932, color film technology arrived. Although artists had been creating color effects for some time by hand painting individual film frames, a Disney short film, called Flowers and Trees, was the first film to be in "real color." A few years later, Disney produced Snow White and the Seven Dwarfs, the first feature-length animated film, at a cost of $2.25 million--more than the cost of most extravaganzas of that period. This film not only established the Disney company (now one of the largest media conglomerates in the world), but also introduced the animated film genre.
With the arrival of sound, Hollywood soon became "the film capital of the world." The Hollywood model of moviemaking established during this era consists of four elements that are still used to define films.
By 1930, 95% of Hollywood films were "talkies," and audiences had all but stopped going to see silent films. Many popular silent stars were forgotten, and many new names were appearing on theater marquees; people like Clark Gable, James Cagney, Gary Cooper, Katharine Hepburn, John Wayne, Bette Davis, Cary Grant, and Humphrey Bogart. It took a few years, but producers and directors adjusted to the demands of sound (and, just as importantly, sound technology adjusted to their needs) and films regained the level of production sophistication that they had exhibited during the silent era. At this point, a new genre of film was born, the musical, and a previous popular type, slapstick, physical comedy, almost vanished.
Attesting to the ageless appeal of this classic film is the fact that more than 50 years later CBS would pay $25 million for broadcast rights. Gone With the Wind has an amazing range of success elements expertly packed into one film, and it is a the exception to the notion that old films have a hard time holding the interest of modern audiences.
However, the film was not a box office success. Although it introduced innovations that went on to influence filmmaking for decades, it was ahead of its time. Audiences simply weren't ready.
No discussion of film history would be complete if it did not mention how Clark Gable managed to virtually destroy the undershirt industry in the United States with one simple action. In the 1934 film, It Happened One Night, Gable took off his shirt revealing that he wasn't wearing an undershirt! (You have to realize that wearing undershirts at that time was simply "a given" for men.) Overnight, it seems that men in the country decided that undershirts were not necessary after all--and that was the end of that little accessory. Now if we could just get rid of neckties that easily! |
the bottom fell out of financial markets in the United States and movie revenues sunk.
ignored.
During the 1930s, romantic comedy and gangster films became popular. In 1938, the boundaries of suspense and mystery took a major step forward with the work of Alfred Hitchcock, the British director, best known for the original version of the film Psycho. You've probably seen or heard about the famous shower scene where your imagination takes over. His other classics include 39 Steps, The Lady Vanishes,Suspicion, North By Northwest, and Vertigo (photo above).
This brings us to 1939, when one of the biggest hits of all time was produced by David O. Selznick, Gone With the Wind. This civil war epic marked the first time the color process was lavishly and expertly used.
In terms of content and innovations, however, Citizen Kane,
produced two years later by Orson Welles, is considered the most notable U.S. film every made. 
