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The Motion Picture Production Code was the set of industry censorship guidelines which governed the production of the vast majority of United States motion pictures released by major studios from 1930 to 1968. It was originally popularly known as the Hays Code , after its creator, Will H. Hays.

The Motion Pictures Producers and Distributors Association (MPPDA), which later became the Motion Picture Association of America (MPAA), adopted the code in 1930, began effectively enforcing it in 1934, and abandoned it in 1968 in favor of the subsequent MPAA film rating system. The Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States.

The office enforcing it was originally popularly called the Breen Office, named after its first administrator, Joseph I. Breen.

Provisions of the Code

The Production Code enumerated three "General Principles" as follows:

  1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
  2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
  3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

Specific restrictions were spelled out as "Particular Applications" of these principles:

  • Nakedness and suggestive dances were prohibited.
  • The ridicule of religion was forbidden, and ministers of religion were not to be represented as comic characters or villains.
  • The depiction of illegal drug use was forbidden, as well as the use of liquor, "when not required by the plot or for proper characterization".
  • Methods of crime (e.g. safe-cracking, arson, smuggling) were not to be explicitly presented.
  • References to alleged sex perversion (such as homosexuality) and venereal disease were forbidden, as were depictions of childbirth.
  • The language section banned various words and phrases that were considered to be offensive.
  • Murder scenes had to be filmed in a way that would discourage imitations in real life, and brutal killings could not be shown in detail. "Revenge in modern times" was not to be justified.
  • The sanctity of marriage and the home had to be upheld. "Pictures shall not imply that low forms of sex relationship are the accepted or common thing". Adultery and illicit sex, although recognized as sometimes necessary to the plot, could not be explicit or justified and were not supposed to be presented as an attractive option.
  • Portrayals of miscegenation (inter-racial marriage and procreation) were forbidden.
  • "Scenes of Passion" were not to be introduced when not essential to the plot. "Excessive and lustful kissing" was to be avoided, along with any other treatment that might "stimulate the lower and baser element".
  • The flag of the United States was to be treated respectfully, and the people and history of other nations were to be presented "fairly".
  • The treatment of "Vulgarity", defined as "low, disgusting, unpleasant, though not necessarily evil, subjects" must be "subject to the dictates of good taste". Capital punishment, "third-degree methods", cruelty to children, animals, prostitution and surgical operations were to be handled with similar sensitivity.

History

Before the Production Code

City and state censorship ordinances are as old as the movies themselves. However, after the United States Supreme Court ruled in 1915 ( Mutual Film Corporation v. Industrial Commission of Ohio ) that motion pictures were merely a business and not an art form, and thus not covered by the First Amendment, such ordinances banning the public exhibition of "immoral" films proliferated. The movie studios feared that federal regulations were not far off.

In the early 1920s, three major scandals rocked Hollywood: the manslaughter trials of comedy star Roscoe "Fatty" Arbuckle, who was charged with being responsible for the death of actress Virginia Rappe at a wild party in San Francisco during Labor Day weekend of 1921; the murder of director William Desmond Taylor in February 1922 and the revelations regarding his bisexuality; and the drug-related death of popular actor Wallace Reid in January 1923.

Other allegedly drug-related deaths of stars Olive Thomas, Barbara La Marr, Jeanne Eagels, and Alma Rubens resulted in persistent calls for censorship and "cleaning up" of Hollywood through the 1920s. These stories were sensationalized in the press and grabbed headlines across the country. They appeared to confirm a widespread perception that many Americans had of Hollywood — that it was "Sin City".

Public outcry over perceived immorality in Hollywood and the movies, as well as the growing number of city and state censorship boards, led to the creation in 1922 of the Motion Pictures Producers and Distributors Association (which became the Motion Picture Association of America in 1945), an industry trade and lobby organization. The association was headed by Will H. Hays, a well-connected Republican lawyer who had previously been United States Postmaster General and the 1920 campaign manager for President Warren G. Harding. Hays immediately banned Fatty Arbuckle from the movies and instituted a morality clause to apply to anyone working in films. He also derailed attempts to institute federal censorship over the movies.

In 1927 Hays compiled a list of subjects, culled from his experience with the various U.S. censorship boards, which he felt Hollywood studios would be wise to avoid. He called this list "the formula" but it was popularly known as the "don'ts and be carefuls" list around town. In 1930 Hays created the Studio Relations Committee (SRC) to implement his censorship code, but the SRC lacked any real enforcement capability.

1930 to 1934

The advent of talking pictures in 1927 led to a perceived need for further enforcement. Martin Quigley, the publisher of a Chicago-based motion picture trade newspaper, began lobbying for a more extensive code that not only listed material that was inappropriate for the movies, but also contained a moral system that the movies could help to promote — specifically a system based on Catholic theology. He recruited Father Daniel Lord, a Jesuit priest and instructor at Saint Louis University, to write such a code and on March 31, 1930 the board of directors of the Motion Picture Producers and Distributors Association adopted it formally. This original version became popularly known as the Hays Code, but both it and its subsequent revisions are now generally referred to as the Production Code.

However, Depression economics and changing social mores resulted in the studios producing racier fare that the Code, lacking an aggressive enforcement body, was unable to redress. This era is known as Pre-Code Hollywood.

Enforcement

In response to such movies as Warner Brothers' Baby Face (starring Barbara Stanwyck) and Paramount Pictures' I'm No Angel (starring and written by Mae West), Quigley and Joseph I. Breen, Will Hays's Los Angeles-based assistant, enlisted the Catholic Church to exert pressure on the Hollywood studios. They helped spearhead the creation of the Catholic Legion of Decency as well as boycotts and blacklists of the movies throughout the country.

An amendment to the Code, adopted on June 13, 1934, established the Production Code Administration (PCA), and required all films released on or after July 1 1934 to obtain a certificate of approval before being released. The first film to receive an MPPDA seal of approval was The World Moves On . For more than thirty years following, virtually all motion pictures produced in the United States adhered to the code. The Production Code was not created or enforced by federal, state, or city government. In fact, the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation.

The enforcement of the Production Code led to the dissolution of many local censorship boards. Meanwhile, the U.S. Customs Department prohibited the importation of the Czech film Ecstasy (1933), starring an actress soon to be known as Hedy Lamarr, an action which was upheld on appeal.

In 1934, Joseph I. Breen (1888-1965) was appointed head of the new Production Code Administration (PCA). Under Breen's leadership of the PCA, which lasted until his retirement in 1954, enforcement of the Production Code became rigid and notorious. Breen's power to change scripts and scenes angered many writers, directors, and Hollywood moguls. The PCA had two offices, one in Hollywood, and the other in New York City. Films approved by the New York PCA office were issued certificate numbers that began with a zero.

Breen influenced the production of Casablanca , objecting to any explicit reference to Rick and Ilsa having slept together in Paris, and to mentioning that Captain Renault extorted sexual favors from his supplicants. However, both remained strongly implied in the finished version. Adherence to the code also ruled out in advance any possibility of the film ending with Rick and Ilsa consummating their adul

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