Best Actress, Pre-Code Edition: An Alternative Oscar History

by Cláudio Alves

Helen Hayes' Oscar-winning turn in THE SIN OF MADELON CLAUDET is the quintessential Pre-Code Best Actress vehicle, detailing the story of a "fallen woman" with a kind of candor that would be forbidden by July, 1934.

Last time in this alternative Oscar history, we looked at the first three seasons of the Academy Awards through my dream Best Actress quintets. They coincided with the last few years when American silent cinema was still produced stateside by the big studios in town.

The rise of the talkies meant a lot of things for the industry, drastic, often destructive changes that have been fictionalized in such Hollywood self-reflections as Singin’ in the Rain and Babylon. In terms of pure cinematic form, this transition imposed limitations aplenty, generally making movies more static, more awkward and less visually expressive. Not all of them, but a concerning number. In terms of acting technique, the advent of synchronized sound recording ignited a change of the guard that left many a former star in the past and brought thespians of the New York stage to the Hollywood soundstage and Silver Screen immortality – the ones starring in movies that haven’t been lost, of course.

It was also the start of a short period we retroactively call Pre-Code Hollywood. Let’s consider my Best Actress ballot in those years…

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Pre-Code Diva Smackdown

by Cláudio Alves

Though postwar film noir is de rigueur for Noirvember, the Criterion Channel prepared a nifty bit of counterprogramming with a program dedicated to Pre-Code Divas. Going back before 1934, when the second coming of the Hays Code went into effect, one finds that time when sound was new and moral standards were, if not low, more libertine than they'd become. It was a time for sex comedies and sad stories about fallen women, moralist shockers and amoral delights, starring a cadre of starlets who became synonymous with the era. Some would go on to thrive within the Code, while others fell to obscurity when their vehicles dried up under new norms.

Since we all had so much fun with the last readers' poll, let's do another one. This time, you'll be voting on your favorite Pre-Code Diva. After the jump, discover our contenders and their Criterion-selected titles…

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Mae West on Criterion

by Cláudio Alves

When she's good, she's very good. When she's bad, she's better. 

Mae West was one of the great stars of the Pre-Code era, though her reign as one of Hollywood's most popular queens was short-lived and curtailed by the advent of the Hays Code. Like Orson Welles and Herman J. Mankiewicz after her, West was a target of William Randolph Hearst's ire. According to legend, the millionaire wanted revenge on West after she had made insulting remarks concerning the acting abilities of Marion Davies, his mistress. Such conspiracies are fun and it's easy to paint Hearst as Old Hollywood's perennial villain, but they're rarely 100% true. Mae West's fall from grace is more complicated than a vendetta from a mogul and a bunch of outraged Catholics. She was one of a kind, a symbol of licentiousness and indecency, a provocateur whose triumph was as amazing as it was temporary... 

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Showbiz History: Wild at Heart, Treasure Island, Superbad, Etc...

A dozen random things that happened on this day (Aug 17th) in showbiz history...

1920 Maureen O'Hara born on this day in Dublin. We've written about her frequently. We ♥️. 

1934 The first (of many) sound film adaptations of Treasure Island the novel opens in movie theaters starring Oscar winners Lionel Barrymore and Wallace Beery, along with child star Jackie Cooper, himself already an Oscar nominee...the youngest Best Actor nominee of all time in point of fact. Cooper and Berry had previously co-starred in the instant classic tearjerker The Champ (1931)  so the advertising pushed the reunion hard...

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Lange Gets Legendary

NY Magazine's "The Cut" has treated us with a marvelous photo collection of Jessica Lange as eight pioneering women. The Sandro shoot was likely inspired by Lange’s upcoming Joan Crawford role in Feud.  You’ll see Lange in top form (and significant makeup) as ladies like Frida Kahlo, Mae West, and Janis Joplin. The Cut article also includes side-by-side photo comparisons of the original photographs that inspired the portfolio, as well as a one-minute video piece of the shoot itself (which contains a few of Jessica’s patented, glorious hate glares).  

It all feels inspired and particularly timely, hot on the heels of the Womens’ March and tantalizingly close to the hopeful pleasures of watching Lange go toe-to-toe with Susan Sarandon as two other major figures of Hollywood.  It’s also a surprising and curious concept for a shoot, since Lange, while one of our best and certainly most live-wire actresses, isn’t known for transformation …so it has a particular kick. 

Which of the photos is your favorite?  Her Diana Vreeland more resembles Cherry Jones(!), and her Marlene Dietrich conjures good and bad memories from AHS: Freak Show.  But I love the I’m-smarter-than-all-of-you energy she captures in her Gloria Steinem, and her Georgia O’Keeffe captures the inherent intelligence of the original subject but seems to cross over to what is markedly Lange:  a deep well of sadness, fearlessly looking at the journey ahead.