Astaire, Rogers, And Hayes: 3 Pre-Code Elements in Flying Down To Rio and The Gay Divorcee
The countdown to the launch of the podcast Astaire: Footnotes in a Legacy begins today! Over the next 3 days, we'll explore 3 hidden treasures from Fred Astaire's first two films with Ginger Rogers that showcase the daring and creativity of the Pre-Hays Code era, 2 standout melodies from these films that competed at the Academy Awards for Best Original Song, and the 1 story of Hollywood royalty: the legendary partnership between Fred Astaire and Ginger Rogers. Don’t miss the launch on August 2, where we’ll celebrate with a double episode release: a detailed exploration of Flying Down to Rio and The Gay Divorcee.
The pre-Code era of Hollywood, spanning from the early 1930s until the enforcement of the Motion Picture Production Code in 1934, was a unique period characterized by a notable lack of censorship. Films from this era often featured content that pushed societal boundaries, explored taboo subjects, and presented a more liberated portrayal of sexuality, behavior, and social norms. That is until the Hays Code.
The Hays Code, formally known as the Motion Picture Production Code, was a set of moral guidelines imposed on the film industry in the United States beginning in 1930, with enforcement starting in 1934. It was introduced by Will H. Hays, the president of the Motion Picture Producers and Distributors of America, in response to increasing concerns about the perceived immorality and explicit content in Hollywood films. Before the Hays Code, films often depicted more risqué and controversial subjects, including violence, sexual content, and illicit behavior, reflecting the more liberal social attitudes of the 1920s and the influence of pre-Code Hollywood's creative freedom. Movies from this period, known as the Pre-Code era, often featured themes and scenes that would later be considered inappropriate under the Code's stricter moral standards. The Code aimed to curb this by setting strict limits on the depiction of controversial subjects, ensuring films adhered to a set of moral and ethical norms deemed acceptable by society.
Made just before Hays Code enforcement, two films that epitomize the pre-Code spirit are Flying Down to Rio (1933) and The Gay Divorcee (1934). Both of these musicals, featuring Fred Astaire and Ginger Rogers, provide a fascinating glimpse into the more provocative side of early Hollywood.
Suggestive Themes and Sexual Innuendos
One of the most prominent characteristics of pre-Code films was their bold approach to sexual content and innuendo. Flying Down to Rio and The Gay Divorcee are no exceptions.
In Flying Down to Rio, the film features several suggestive elements that were emblematic of the pre-Code era. One notable instance is the film’s depiction of the "Rio Carnival" scene. The scene is filled with scantily clad dancers and risqué choreography, which was quite daring for its time. The film also includes a subplot involving a romantic triangle, which involves elements of infidelity and sexual tension. The aerial ballet in the number “Flying Down to Rio” was not only shocking due to the special effects of Linwood Dunn, but of the sheer costumes worn by the women dancing on top of the planes. The relaxed censorship rules of the pre-Code era allowed filmmakers to explore these themes more freely, giving audiences a more provocative and adult-oriented experience.
Similarly, The Gay Divorcee employs playful and suggestive humor that was characteristic of the pre-Code era. The film’s title itself hints at a more liberated approach to divorce and relationships. The plot revolves around a woman seeking a divorce while engaging in a series of flirtations and romantic entanglements. One of the standout scenes features Fred Astaire and Ginger Rogers performing a suggestive dance routine, “The Continental,” which includes intimate and flirtatious interactions between the dancers. The choreography and dialogue push boundaries in terms of sexual innuendo, something that would have been heavily scrutinized under the stricter Code enforcement.
Unconventional Depictions of Relationships and Divorce
Another hallmark of the pre-Code era was its portrayal of unconventional relationships and attitudes towards divorce. Both Flying Down to Rio and The Gay Divorcee showcase these themes in ways that challenge traditional norms.
In Flying Down to Rio, the storyline includes a subplot about an unconventional romantic relationship. The film follows a love triangle involving a wealthy man, a chorus girl, and a pilot. The interactions between the characters are marked by a level of sophistication and moral ambiguity that was typical of pre-Code films. The characters’ attitudes towards romance and commitment are portrayed with a sense of casualness that reflects the era’s more relaxed approach to social norms.
The Gay Divorcee takes this exploration of unconventional relationships even further. The film presents a comedic take on the concept of divorce, portraying it as a lighthearted and almost glamorous affair. The character of Mimi, played by Ginger Rogers, is seeking a divorce for reasons that are more about personal freedom than serious marital discord. Her lawyer, played by Eric Blore, hires an Italian gigolo, played by Erik Rhodes, to help her obtain a divorce through morally ambiguous ends. The film’s depiction of divorce as a social adventure, complete with romantic escapades and humorous misunderstandings, reflects the pre-Code era’s more permissive attitude towards such topics.
Openness to Depicting Ambiguous Morality
The pre-Code era was marked by a willingness to explore morally ambiguous situations and characters. This openness allowed films to present a more nuanced view of morality, which is evident in both Flying Down to Rio and The Gay Divorcee.
In Flying Down to Rio, the characters navigate a world where the lines between right and wrong are often blurred. The film’s setting—a glamorous carnival in Rio—serves as a backdrop for a series of morally ambiguous situations. The characters engage in schemes and deceptions that are portrayed with a sense of playfulness rather than moral condemnation.
The Gay Divorcee similarly embraces a sense of moral ambiguity, particularly in its depiction of relationships and social behavior. The film’s comedic approach to divorce and romance highlights the era’s inclination to present characters who are more concerned with personal pleasure and social status than with adhering to conventional moral standards. The characters’ actions and motivations are often driven by a desire for excitement and personal gratification, rather than by traditional notions of right and wrong.
Astaires and Rogers Pre Code
Flying Down to Rio and The Gay Divorcee are quintessential examples of pre-Code Hollywood’s daring approach to film content. Through suggestive themes, unconventional portrayals of relationships, and a willingness to explore moral ambiguity, these films pushed the boundaries of what was acceptable on screen. The pre-Code era, with its more relaxed censorship rules, allowed filmmakers to present a more liberated and provocative vision of society, which is evident in the playful and sophisticated storytelling of these early musicals.
As we look back at these films, we can appreciate the ways in which they challenged societal norms and paved the way for future cinematic explorations. The bold and innovative spirit of the pre-Code era continues to captivate audiences and remains a testament to the power of cinema to reflect and influence cultural attitudes.
