Motion Picture Herald (Apr-Jun 1931)

10 MOTION PIC THE CODE or CENSORSHIP ABOUT a year ago all of the leading motion picture producing companies entered into a definite plan which was intended to attain and maintain a proper moral character in screen entertainment. This plan is commonly referred to as "The Production Code." At the time the Code was adopted considerable misunderstanding existed in various quarters in the trade as to the Code and the reasons for it. Unfortunately, much of this misunderstanding still exists. The plain fact is that unless the industry maintains scnne appropriate scheme of self-discipline with respect to the moral character of pictures there is certain to be imposed upon it from the outside some form of pre-publication censorship. Such a censorship would necessarily be political and would also, necessarily, share in the fortunes that inevitably attends such a matter as this when it is thrown in the political arena. In addition to the fact that political censorship would be a very bad thing for the motion picture business, it would also be a very bad thing for the motion picture, because with an army of political manipulators operating upon motion pictures after they have left the studios, the results upon the screen would be deplorable. Further, no one can — and no one should be permitted to attempt — to shoulder the producers' responsibility for the product turned out. The only proper and the only effective means of safeguarding the character of the screen is some plan of self -regulation in the studios. This, essentially, is the reason for the Production Code and the reason why it was adopted and entered into as a working agreement by all of the leading producers. Together with the misunderstanding that has existed with reference to the reasons for a Production Code, there has been some very unenlightened criticism of the Code itself. A considerable part of this criticism may immediately be put aside for the simple reason that the critics, as plainly indicated by the nature of the criticisms, have not taken the trouble to read the Code and consequently have only vague illusions and no real knowledge of what its provisions and directions are. There are others who have acquainted themselves with the Code and hold, in the several cases, a variety of opinions. Some insist that the Code is too strict; others insist that it is not strict enough. Still others claim that the code iself is all right but that it is something that was not intended to be taken seriously— that it was only meant to be a pious gesture of compromise entered into to appease the demands of the church people. As far as the merits of the Code itself are concerned it seems quite sufficient that it was accepted in good faith as a working agreement by the m^n actually responsible for something in the neighborhood of ninety-eight percent of the pictures produced in the United States, accepted as a plan which meant no unnecessary sacrifice of anything that may legitimately be considered a proper dramatic value in motion pictures. If the Code is acceptable to the men who know how to make motion pictures, just how it may be regarded by others who only think that they might be able to make pictures is not very important, especially if these URE HERALD April 4, 1931 by MARTIN QUIGLEY amateurs set up objections which are not regarded as valid objections by the men who actually make the pictures. An examination of the record leaves no doubt that the Code, at its adoption, was taken seriously and is still being taken seriously. The record very definitly proves that, during its first year, it has been enormously effective. Whether pictures during the past year have been more clean or less clean does not alone prove either the effectiveness or lack of effectiveness of the Code. The Code has been, and if properly supported will continue to be, the most effective means yet proposed to regulate the moral character of screen entertainment. Neither the Code nor any other arrangement can offer a positive corrective influence upon such a complex problem as motion picture entertainment. The ultimate result is bound to be influenced by various factors, including the spirit of the day and the moral values or lack of moral values which pervade the principal sources of story material which are popular novels and stage plays. But day by day the Code has exerted its influence upon production and its accomphshments to date have been both numerous and important. The greatest handicap the Code now labors under is the fact that only a small percentage of the vast personnel of the industry has yet become sufficiently familiar with it. With the traditional self-complacency of Hollywood, thousands there who are vitally concerned in production, because they have heard of it in a vague, indefinite way, think they know all they need to know and should know about it. In the distribution branch of the industry we have yet to note a single instance in which any serious effort has been made to acquaint exchangemen with the Code, what it is and the reasons for it. Yet distributors in the field are daily confronted with situations in which their best interests and the best interests of the industry at large require from them an explanation of the Code. Theatremen who have considered the Production Code a matter of interest and concern only to the production branch of the industry are distinctly in error. Theatremen are affected by every vital matter in motion picture affairs and this is one of the most vital. Here lies the theatreman's interest : Insurance of a right and generally acceptable moral character in pictures is several times more necessary than fire insurance on your building. A building may be re-built much easier than it would be to regain the good will of a public which had come to regard a theatre as a moral pest-house. The Code is the most effective means yet proposed to saf guard the public's good will toward pictures. Political censorship is expensive, troublesome, ineffective and dangerous. The Code is both a proper and an effective defense against censorship. The co-operation and support of churchmen, educators, parents and other community leaders is a valuable asset to every theatre. The Code, intelligently explained, is an unparalleled means of winning and holding this co-operation and support. NOTE: Motion Picture Herald, upon request, will supply to subscribers copies of the complete text of the Production Code.