Motion Picture Herald (Oct-Dec 1956)

MOTION PICTURE HERALD MARTIN QUIGLEY , Editor-in-Chief and Publisher Vol. 205, No. 12 MARTIN QUIGLEY, JR., Editor December 22, 1956 THE CODE REVISION by MARTIN QUIGLEY THE approval last week of a revision of The Production Code by the directors of the Motion Picture Association of America constitutes in many significant respects an even more noteworthy development than the original acceptance of the Code by the organized industry in 1930. That this fact should have been so generally overlooked both in the industry press and in the general press would seem extraordinary but actually is not. Few persons except those directly concerned either inside or outside the industry have taken the trouble accurately to inform themselves as to what the Code is and how and why it works. And this despite the fact that the Code in the past twenty-seven years has been an unparalleled influence upon motion pictures and a highly important factor in the affairs of the industry at home and abroad. Eric Johnston, to whose generalship much credit is due for both the fact of the revision and also for the character of the revision, recently remarked that without the Code and its influence upon United States production our pictures could not have attained their present position of preeminence in the foreign market. The story of its effect at home is too evident to need comment. In 1930 the original draft of the Code was accepted in Hollywood and New York with uncertainty and apprehension. It was a radical experiment of a kind never previously attempted in the long history of theatrical entertainment. It involved mainly a flat-footed acceptance of the thesis that the producer is accountable for the moral influence of the entertainment which he puts before the public. Hardly had the Code been introduced than there developed both in Hollywood and New York a feeling that perhaps after all the industry had gotten hold of a tiger by the tail. This feeling led to an indifferent application of the Code principles and regulations in its early years. AS time went on the Code and its character and effect became better known and understood. Gradually it -won some ardent friends. It also encountered some bitter enemies. Interestingly enough from the latter group eventually came several of the staunchest supporters the Code now enjoys. The significance of last week’s action of the Association in revising the Code in the way it did is reflected in the fact that this action came after more than a quarter of a century of experience. The action taken was an eloquent and emphatic declaration of the authorities concerned that the Code is here to stay. And this despite the thundering against it that has incessantly been carried on in various segments of the press, even within the industry, and from spokesmen who want a world in which unbridled license prevails and the whole civilized tradition of morality, decency and accountability is erased. The importance of the Association’s action last week is by no means reflected in the simple fact that a Code was reaffirmed and set on its way for many years of future usefulness. The real significance is registered in what kind of a Code was reaffirmed and set on its way. The basic moral principles and provisions of the earlier Code have been preserved inviolate in the revised Code. And, very importantly, these basic moral principles and provisions have been better defined and have been set forth in a more logical order. In many instances a new clarity and exactness of language insures a better understanding and an over-all document that admits of more precise and thorough application to day-by-day production problems. Although times without number explanations have been made of the two distinct and different kinds of subject matter that are necessarily dealt with in the Code, much misunderstanding persists. This misunderstanding has been reflected widely in what has appeared in print relative to the latest Code revision. The permanent and essential part of the Code deals with principles and provisions governing the moral content of films. The second part deals with matters of policy. In the moral provisions in the revised Code there has been not only a clarification of language but several new and important provisions have been added. To the exclusion of what matters most there has been considerable press attention given to various policy amendments and additions. These have been interpreted to imply a relaxing or moderating of the Code. Its enemies are deluding themselves. It has been tightened and reinforced in all of its substantial and vital aspects. SINCE the Code was originally adopted there have been many changes in policy provisions. Doubtless there will be many more in the years ahead. The policy changes do not weaken but rather strengthen the Code because to continue — as unfortunately was done for far too long — policy provisions, some of which never should have been put in in the first place and others which had become obsolete, served only to give ammunition for attack and ridicule to the enemies of the Code. The Code document as it now stands in its revised form is not perfect. It is, however, a major improvement not only over the original document but even more so over the jumbled, disordered and cluttered script that grew up over the years. Whereas in this instance there are many persons and interests to be heard from, a precise unanimity of opinion as to every detail is not to be expected. But the document as revised is, on the whole, an excellent presentation of the original purposes and character intended in the Code plan which was introduced in Hollywood twenty-seven years ago next month. That the original purposes and character should have so well survived these many years is indeed a meaningful fact. The new revision for what it is and for what it bespeaks in the way of determination to carry on along right lines is an eloquent tribute to all in Hollywood and in New York who, despite the contrary tides of purpose and opinion that swirl about us, have so affirmatively taken a forthright position for decency in theatrical entertainment. The revision is a milestone of honorable accomplishment in the history of the industry.