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ニューバランス 店舗 The way we really were
The way we really were
Don't Miss:Top cities for gay marriageBox officeSmartest citiesSailing: Mother of clichesSki Chile: Hot run in summertimeBauer: Fave dishesUniversal has come out with a sixmovie preCode set, and for those who care about this sort of thing, it's a very big deal. Actually, even if you're one of those people who don't care about this sort of thing, it's also a big deal, because you would care if you knew more about this. And that's what I'm here for.
When we're talking about "preCode," we're talking about a period roughly from the middle of 1929 until July 1, 1934, in which American movies were pretty much uncensored. If you think of old movies as corny, chances are you're thinking of the movies made after censorship took hold in the middle of 1934. Before then, movies were sexy. They were political. They were surprisingly feminist and they were adult.
I spent many years obsessed with these films. Their appeal is that, through them, you get to hear a longago era speak with its own voice, unimpeded by censorship. That voice is surprisingly modern. You come to realize how much of human nature remains consistent from one era to the next and also how all that phony virtue stuff, in the late '30s and '40s films, was nothing but propaganda. Human beings have always been more or less the same, and these movies are your proof.
In the early '30s, there were seven major studios cranking out product: MGM, Warner Bros., RKO, Paramount, Columbia, Universal and Fox. All of them have significance, but some are more essential than others. As far as preCodes go, Columbia is not too important. Fox was probably the lewdest of the studios, but it made the worst movies. Universal specialized in horror films. That leaves MGM, Warner Bros., RKO and Paramount.
MGM, contrary to its staid reputation (gained during the late 1930s and '40s), was one of the most risque studios, mainly because it specialized in female stars (, Norma Shearer, , , ), and actress vehicles of the day dealt mainly with sex and feminism.
Warner Bros., which didn't have many female stars, dealt mainly with politics, business, crime and current events. It was the most politically liberal of the studios and developed its own hardhitting, fastpaced style. As for RKO, it ニューバランス 店舗 was the least of the three, but it had and , and it turned out some fine movies (including "").
MGM, Warner Bros. and RKO films are owned by Warner Bros. They can be seen on Turner Classic Movies, and they've been the most readily available on home video for many years. But Paramount's preCodes, which are owned by Universal, have been missing in action. And Paramount was a huge studio, on a par with Warner Bros. and MGM.
How huge? Just look at its roster of stars. For either part or all of the preCode era, Paramount had Carole Lombard, , , , , , , , , Maurice Chevalier, , Fredric March and (in her "lingerie queen" years) under contract. They also had some of Hollywood's finest directors: , , and .
In recent years, Universal has gotten a little better at getting its preCode catalog out there, if only incidentally. It has released DVD sets エアジョーダン5 that contain some preCode films, and so these days you can find the ChevalierMacDonald musicals (nothing like the Nelson EddyMacDonald musicals, believe me). You can find some of the early Dietrich movies. And you can get "Design for Living," one of the most risque of preCodes, about a menage a trois (Hopkins, March and Cooper).
Still, "The PreCode Hollywood Collection" is the first time Universal has officially recognized its preCode treasure trove. Let's hope this is the beginning of a series.
New treasuresOne good sign: In their first goaround, they've chosen well. Of the six movies featured, five have never been on home video. One, "The Cheat," I'd never even seen until now, and I've written two books on preCode movies. I just couldn't find it. I've previously been able to see four of the movies only on smeary, homemade VHS ニューバランス 人気 tapes, several generations away from their original source. To see them here, beautifully remastered, is more than like finally コンバース スリッポン seeing them with your glasses on. It's like seeing them with cataracts removed.
Through these films, you can get a good idea of the appeal of this era and of the freedom it enjoyed. "Merrily We Go to Hell" stars March as a sensitive but tragically addicted alcoholic who marries a nice young woman () and proceeds to ニューバランス 996 wreck her life. They descend into nonstop partying and an open marriage. It's a wise examination of a man who's really in search of a mother figure, and both March and Sidney are brilliant in it.
"Torch Singer" stars Colbert in one of her alltime best vehicles, as a single mother who gives up http://www.newbalancesaleshop.net/ her baby and goes on to become a hardpartying torch singer. If you want to see good acting, check out the scene in which Colbert, doing a children's radio show as a goof, suddenly realizes that her own daughter might be listening to the broadcast.
And by the way, if you don't think nudity was on its way to movies エアジョーダン (before the imposition of the Production Code stopped it), check out the chorus girls in "Murder at the Vanities," who are nude to the waist and covering their nipples with their hands. (This is during a number celebrating the joys of marijuana. No kidding.)
Nudity, indiscretions Or watch "Search for Beauty," a very naughty and funloving picture エアジョーダン スニーカー about a health spa, which features men running around naked as seen, of course, from the back. Then there's "Hot Saturday," with starring opposite , who plays a smalltown girl who is falsely accused of having an overnight liaison with a suave playboy. Finding her reputation wrecked and with nothing to lose, she decides to make the rumor true.
The only lemon in the batch is, actually, "The Cheat," with Bankhead as a woman who decides to trade her virtue to get her gambling debts paid. The movie is slow and, aside from Bankhead, poorly acted. I mention this because it's the first film エアジョーダン10レトロ on the set, and I don't want you http://www.shougakukin.jp/bunya/newbalance.html to get the wrong impression of either the set or preCode cinema. Watch this one after you've seen the other five. At least you'll see the young Bankhead.
And after this . well, the world opens. I've said this before, but it's worth saying again. When you see preCode movies, you realize that this fiveyear period was no anomaly. The anomaly was the 34 years of censorship that followed it. This is how movies should always have been. These are the conversations movies should have been having with us, always. This is the past, without lies.
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