Anyone catch "Baby Face" on TCM last night?

I didn’t announce it here beforehand, because I’d assumed that if it was the restored, pre-censored version–the movie that woke the Catholic Church to the dangers of Hollywoodland–TCM would have promoted it to that effect. Which they didn’t; it was simply on the schedule like another showing of Baby Face, which they probably show once or twice a year.

Brief summary: *Baby Face *is the story of woman (Miss Barbara Stanwyck at her no-nonsense best) whose father’s sudden and violent death frees her from his pimping her out to the drunken louts who frequent his drinking establishment. Her maid[sup]1[/sup] in tow, she makes her way to the big city and sleeps her way to a penthouse view. Baby Face was considered uncensorable by the Hays office; it was just too vile, and no cuts could be made that would make it suitable for human consumption. So it was simply shelved when Joseph Breen came into power and the Code grew teeth. Eventually, however, it was rereleased in a censored version. This is the version that’s always been available.

Risque as that version is, needless to say it’s nothing like the version that was shelved as uncensorable.[sup]2[/sup] That version, long thought lost, turned up in a Library of Congress vault a couple years ago. It made the rounds in theatrical release–I saw it with a few people, including another Doper, a the Seattle Film Forum.

Anyway, TCM has finally updated its library to include the original version of Baby Face. I TiFaux’ed it, even though I already have a copy of the censored version, just in case. Imagine my delight[sup]3[/sup] when I discovered, upon digging through my TiFaux like a crab trap this morning to see what it had dragged in. I also recorded the original, and never before available Waterloo Bridge, and Red Headed Woman, Jean Harlow’s raciest role.

(A little amazon fu reveals that last’s night pre-code threefer on TCM follows the programming of a newly release box set called Forbidden Hollywood, Volume 1. I urge you all to buy this forthwith. I’m gonna order it through work, at cost. :cool: )

[ol]
[li]Theresa Harris as Chico, a nearly unique portrayal–this side of Judge Priest–of a sympathetic black character who, while unequal in social stature, is the protagonist’s equal as a friend and confidante.[/li][li]And no, as I told a guy I work with when we were talking about this, it doesn’t show actual vadge. But it does make it clear that the protagonist’s manipulation of men for personal gain is a choice she makes, while the censored version portrays her more as a victim.[/li][*]Go on, imagine it.[/ol]

Yes, and I was happy to see poor James Murray’s scene reinstated! And I love Theresa Harris, she steals every movie she’s in.

Did you see the '31 Waterloo Bridge? I teared up at that scene between Mae Clarke and Enid Bennett.

Yes, Theresa Harris is on my shortlist of favorite “character” actors. (Something about that distinction always struck me as vaguely insulting, but whatever.)

I have not yet watched Waterloo Bridge. I’ve been trying to track down a copy of this movie ever since I first read Molly Haskell’s From Reverence to Rape, so I have to process the emotional impact of the abrupt end of years of anticipation. I’m almost afraid to watch it.

Actually, as soon as the coffee’s brewed I’ma gather my knitting and my afghan and install myself in the comfy chair with my remotes at hand and let er rip. I’ll be DVDRing it to add to my growing (400+!) collection of movies dubbed off of TCM.

I wasn’t expecting much, as I’m actually not a huge fan of either Mae Clarke or Douglass Montgomery. But it was quite good, if stagy. But I liked the staginess; I felt like I was in the Fulton Theater in 1930 watching the Broadway play!

Vadges? <b>Vadges?</b> We don’t need no steenkin’ vadges!

:smiley:

Turns out that that new boxed set linked above includes BOTH versions of Baby Face; the one with the tacked-on ending, where the bank board has a special meeting just to spout exposition to the effect that everyone has learned their lesson and is living happily ever after, and the restored one, in which the immigrant Cobbler who’s served as Stanwyck’s character’s mentor of a sort, exhorts her to learn to *use *men, rather than let them use her.

Well phooey! I saw that Baby Face was on last night, but I watched it back when TCM was doing the Race in Movies series, and I didn’t know there were two versions.

I did watch the Complicated Women documentary last night, which was excellent, and enlightening to people like me, who didn’t know about “uncensored” movies from the 20’s and early 30’s.

Dopers (mainly lissener, thank you) are responsible for opening my eyes to what movies were like before the Hays Code was enforced. I thank you.

A good independent video store will have it for rental; mine will (I just ordered it), and Scarecrow does I’m sure. Netfux appears to have it as well.

Yeah, that was a really well done feature. Make sure to read Molly Haskell’s *From Reverence to Rape *if your interest in the subject remains piqued.

Why, you’re welcome. Movies’ relationship to reality is one of my favorite things to wax philosophical about, so censorship, race, feminism, etc., are some of my favorite subjects of discussion when it comes to movies.

It was great to see Barbara Stanwyck being such a bad, bad little hottie. And the frank way it was made clear that her father was pimping her out as an attraction at his speakeasy.

This is just the sort of movie that points out the way the Code just killed a lot of good stuff that was going on in Hollywood in those days.

[QUOTE=lissener]
I didn’t announce it here beforehand, because I’d assumed that if it was the restored, pre-censored version–the movie that woke the Catholic Church to the dangers of Hollywoodland–TCM would have promoted it to that effect. Which they didn’t; it was simply on the schedule like another showing of Baby Face, which they probably show once or twice a year.

Brief summary: *Baby Face *is the story of woman (Miss Barbara Stanwyck at her no-nonsense best) whose father’s sudden and violent death frees her from his pimping her out to the drunken louts who frequent his drinking establishment. Her maid[sup]1[/sup] in tow, she makes her way to the big city and sleeps her way to a penthouse view. Baby Face was considered uncensorable by the Hays office; it was just too vile, and no cuts could be made that would make it suitable for human consumption. So it was simply shelved when Joseph Breen came into power and the Code grew teeth. Eventually, however, it was rereleased in a censored version. This is the version that’s always been available.

Risque as that version is, needless to say it’s nothing like the version that was shelved as uncensorable.[sup]2[/sup] That version, long thought lost, turned up in a Library of Congress vault a couple years ago. It made the rounds in theatrical release–I saw it with a few people, including another Doper, a the Seattle Film Forum.

Anyway, TCM has finally updated its library to include the original version of Baby Face. I TiFaux’ed it, even though I already have a copy of the censored version, just in case. Imagine my delight[sup]3[/sup] when I discovered, upon digging through my TiFaux like a crab trap this morning to see what it had dragged in. I also recorded the original, and never before available Waterloo Bridge, and Red Headed Woman, Jean Harlow’s raciest role.

(A little amazon fu reveals that last’s night pre-code threefer on TCM follows the programming of a newly release box set called Forbidden Hollywood, Volume 1. I urge you all to buy this forthwith. I’m gonna order it through work, at cost. :cool: )

[ol]
[li]Theresa Harris as Chico, a nearly unique portrayal–this side of Judge Priest–of a sympathetic black character who, while unequal in social stature, is the protagonist’s equal as a friend and confidante.[/li][li]And no, as I told a guy I work with when we were talking about this, it doesn’t show actual vadge. But it does make it clear that the protagonist’s manipulation of men for personal gain is a choice she makes, while the censored version portrays her more as a victim.[/li][li]Go on, imagine it.[/ol][/li][/QUOTE]

(adding to my list of reasons why I hate Comcast of NW NJ). These doofuses will let you watch TCM movies “On Demand” occasionally (It Happened One Night being a recent offering) but will not friggin’ carry the station.

My hate knows no bounds. :mad:

VCNJ~

We TiVoed just about everything TCM showed Monday night (haven’t watched them yet), but we weren’t able to get Baby Face. I’m hoping they’ll rerun it soon to further pimp their new box set, which looks awesome.

Jsut imagine what movies would have been like, sans Code- Cagney not having to die or go to jail at the end of every film, maybe even seeing Barbara Payton nude- I’m sure she would have been up for it.

Aww…I’m torn between feeling really sorry for Barbara Payton and wondering WTF she was thinking half the time.

Sad, sad story either way.

VCNJ~

Aww…I’m torn between feeling really sorry for Barbara Payton and wondering WTF she was thinking half the time.

Sad, sad story either way.

VCNJ~

The Pre-Code enforcement Cagney didn’t always do so well, either. Edward G. Robinson accidentally shoots him to death during an argument in Smart Money (1931), he is famously killed by a rival gang and dumped off at his mother’s home in Public Enemy (1931), and ends up in prison in Blonde Crazy (1932). That’s 3 in 18 movies (17%).

In his Post-Code enforcement films, he goes to prison or dies for his crimes in Angels With Dirty Faces (1938), The Roaring Twenties (1939), Each Dawn I Die (1939), The Strawberry Blonde (1941), White Heat (1949), A Lion Is in the Streets (1953), Love Me or Leave Me (1955), Never Steal Anything Small (1959), and Shake Hands with the Devil (1959). That’s 9 in 43 movies (20%).

Not much difference.

I forgot that Cagney was killed by rival gangsters in He Was Her Man (1934), a movie placed on the Catholic Church’s “condemned” list. So make that 4 in 18 movies (22%).

Dude, I don’t know what your statistics are supposed to be disproving: no one has ever said that in the “pre-code” era the bad guy always got away with his crimes. The point is that before the Hays code was enforced, it was an artistic choice to end his life tragically. After, it was mandatory policy.

That argument would be more convincing if there were Pre-Code films in which Cagney gets away with crime. But there aren’t.

Remember, there was a Code, “pre-Code,” it was just not enforced as strictly before the summer of 1934. That it was enforced to some degree is seen in the cuts to Baby Face made in 1933.

What argument?