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Complicated Women: Sex and Power in Pre-Code Hollywood, by Mick LaSalle
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Between 1929 and 1934, women in American cinema were modern! For five short years women in American cinema were modern! They took lovers, had babies out of wedlock, got rid of cheating husbands, enjoyed their sexuality, led unapologetic careers and, in general, acted the way many think women only acted after 1968.
Before then, women on screen had come in two varieties - good or bad - sweet ingenue or vamp. Then two stars came along to blast away these common stereotypes. Garbo turned the femme fatale into a woman whose capacity for love and sacrifice made all other human emotions seem pale. Meanwhile, Norma Shearer succeeded in taking the ingenue to a place she'd never been: the bedroom. Garbo and Shearer took the stereotypes and made them complicated.
In the wake of these complicated women came others, a deluge of indelible stars - Constance Bennett, Ruth Chatterton, Mae Clarke, Claudette Colbert, Marlene Dietrich, Kay Francis, Ann Harding, Jean Harlow, Miriam Hopkins, Dorothy Mackaill, Barbara Stanywyck, Mae West and Loretta Young all came into their own during the pre-Code era. These women pushed the limits and shaped their images along modern lines.
Then, in July 1934, the draconian Production Code became the law in Hollywood and these modern women of the screen were banished, not to be seen again until the code was repealed three decades later.
Mick LaSalle, film critic for the San Francisco Chronicle, takes readers on a tour of pre-Code films and reveals how this was the true golden age of women's films and how the movies of the pre-Code are still worth watching. The bold, pioneering and complicated women of the pre-Code era are about to take their place in the pantheon of film history, and America is about to reclaim a rich legacy.
- Sales Rank: #150673 in Books
- Published on: 2000-09-28
- Original language: English
- Number of items: 1
- Dimensions: 1.07" h x 6.45" w x 9.57" l,
- Binding: Hardcover
- 304 pages
From Library Journal
Between 1929 and 1934, Hollywood was governed by a voluntary code of decency. During this period, women characters were often tough-talking, sexually aggressive, and independent. Under pressure from church and state decency groups, a code with enforcement powers was implemented in 1934. The effect of the 1934 code (which remained in effect until the late 1960s) has been hotly debated recently. LaSalle, film critic for the San Francisco Chronicle, makes it clear what he thinks, blasting the code as a measure "to prevent women from having fun. It was designed to put the genie back in the bottleDand the wife back in the kitchen." He calls the code, as enforced by Joseph Breen, "anti-art," antiwoman, and anti-Semitic. However, LaSalle's main purpose is to celebrate the short-lived era of "complicated women," as personified by the early films of Marlene Dietrich, Jean Harlow, Myrna Loy, and others. In particular, this book is an unabashed valentine to Greta Garbo and Norma Shearer. It features insights on significant scenes from precode films and evaluates some modern counterparts to the great ladies of the early 1930s. This book is more narrowly focused than other recent books on the subjectDsuch as Thomas Doherty's Pre-Code Hollywood (LJ 7/99) and Mark A. Viera's Sin in Soft Focus (LJ 11/1/99)Dand some may disagree with the author's conclusions, but it is recommended for large film and women's studies collections.DStephen Rees, Levittown Regional Lib., PA
Copyright 2000 Reed Business Information, Inc.
From Booklist
LaSalle mines the brief, rich period of Hollywood history between the talkies' advent and that of the industry's production code, under which not only didn't crime pay but adultery, divorce, extramarital sex, and even women working outside the home were punishable when not verboten. Typically, the schemes of an offending woman in an American movie led to a crushing denouement. LaSalle concentrates on Norma Shearer and Greta Garbo as representative stars of the period. Subsequently less celebrated. Shearer was a transcendent celebrity in the early '30s, who greatly impressed, among others, Clark Gable: "Damn, the dame doesn't wear any underwear. . . . Is she doing that in the interests of realism or what?" She and Garbo portrayed women as independent beings possessing thoughts, urges, and desires. Those last two the code sought to suppress. Excellent on Hollywood as it entered the era of studio dominance, the book may also reawaken interest in Shearer. Meanwhile, limned less lengthily in an epilogue are Bankhead, Loy, Harlow, Lombard, and others. Mike Tribby
Copyright © American Library Association. All rights reserved
From Kirkus Reviews
An overdue tribute to the myriad of strong and independent women film stars of pre-Code Hollywood (1929-34).LaSalle provides a detailed summary of an important five-year period in Hollywood history-the interval that preceded the strict censorship of films by the Production Code Administration under the leadership of Joseph Breen. Typically, the "Code" era is remembered in film histories as an age of production that was bound by the suppression of nudity and the proscription of obscene language. LaSalle argues cogently that the Code more dangerously demanded an adherence to conservative and rigid gender roles. Pre-Code films, he points out, were filled with self-reliant, intelligent, and sexually independent women. This was a period dominated by powerful female stars-Mae West, Greta Garbo, Norma Shearer, Joan Crawford, Bette Davis, Myrna Loy, Claudette Colbert, Jean Harlow-whose power and talent were undermined by a Code that made impossible all but the most chaste and wifely female roles. LaSalle, the regular film critic for the San Francisco Chronicle, provides reviews of the films from pre- and post-Code Hollywood with loving detail; photos accompany the reviews and there is a helpful index of film stars and a filmography of the period. LaSalle, however, fails to unite his excellent reviewing skills with a much-needed social analysis of the era. The Code that consigned women actors to the sidelines appears as if out of nowhere, and LaSalle accuses Breen of single-handedly knocking Hollywood to its knees. Also, LaSalle has a none-too-subtle preoccupation with Norma Shearer-a powerhouse from the pre-Code days who, unlike West or Garbo, has remained unappreciated in the film annals of today-and he risks, at times, slipping into unmitigated Shearer adoration.By no means a social or cultural history of the period, LaSalle nevertheless offers an engaging and often-affectionate account of the strong women who dominated the films of this pre-Code Hollywood -- Copyright © 2000 Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Dry
By A Customer
I don't usually not finish books. I guess non-fiction books like this, it's easier, since there's no plot, no climax, no resolution.
But this book reads more like a sociology textbook than what I was hoping for (I'm not ashamed to say I was looking for cheap thrills and gossip, and little-known stories about women I didn't know too much about in a period of time that I wanted to learn more of). But this was on the one hand, very dry. On the other other hand, the author finds yet more and more rapturous terms of accolades for these actresses and their movies. If I were to finish the book, it would only be to see what new heights of praise the author finds to sing of.
0 of 0 people found the following review helpful.
If you expect to read about Shearer and Garbo
By grammie25
Then this book is is for you. Granted, in writing this book, the author does set up Garbo and Shearer as the two women who paved the way in making sure that they were e new, modern woman. Women that chucked the double standard. However, there were only little bits and pieces about Stanwyck, Carol Lombard, Miriam Hopkins, Kay Francis, Harlow, Crawford, and more, whom all should be included as sane, sexy women in the Pre Code years.
I did give this book a 4 star rating, however, because it does shed some light on the women that were a big part of Pre Code era. I guess I can look up the women not really mentioned n the book on Wikipedia
0 of 0 people found the following review helpful.
well-documented and useful guides to finding the films
By PrinterX
I see Norma Shearer and her contemporaries in a whole new light with Mick LaSalle's analysis of these films. Well-written, well-documented and useful guides to finding the films.
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