Greetings,
Many references are made to the "Breen Office" in our study of Universal Horrors.
As we know, in the "Pre-Code" days, many more liberties were allowed in terms of expression freedoms. However, after about 1935, producers were compelled to follow guidelines initiated under the auspice of Will Hayes appertaining to what sorts of human activities could, and could not, be portrayed. Beginning in the late 1930's, Joe Breen was the face of the "censors." While research reveals that Breen, philosophically was open to artistic expression, his compliance with the Code branded him as a blue-nosed Martinet.
I would be intrigued if colleagues would comment on instances in which Universal's producers, writers, directors, and actors successfully subverted the Breen office to the delight of viewers, critics, and scholars.
For instance, we know that themes portrayed in The Black Cat, Dracula's Daughter, and Bride of Frankenstein exploited the Code, and fooled the Breen Office's watchdogs. So too have our collaborators revealed Evelyn Ankers (Ghost of Frankenstein) and Illona Massey (Frankenstein Meets the Wolf Man) to have worn attire that did not exactly conceal their feminine attributes.
Here is your opportunity to point out where the Breen Office's dicta were successfully circumvented.
Have some fun with this topic; revelations should be delightful, insightful, and instructive.
With every best wish, (James Whales's closure to his own Breen letters)
Andy in Vancouver.
Many references are made to the "Breen Office" in our study of Universal Horrors.
As we know, in the "Pre-Code" days, many more liberties were allowed in terms of expression freedoms. However, after about 1935, producers were compelled to follow guidelines initiated under the auspice of Will Hayes appertaining to what sorts of human activities could, and could not, be portrayed. Beginning in the late 1930's, Joe Breen was the face of the "censors." While research reveals that Breen, philosophically was open to artistic expression, his compliance with the Code branded him as a blue-nosed Martinet.
I would be intrigued if colleagues would comment on instances in which Universal's producers, writers, directors, and actors successfully subverted the Breen office to the delight of viewers, critics, and scholars.
For instance, we know that themes portrayed in The Black Cat, Dracula's Daughter, and Bride of Frankenstein exploited the Code, and fooled the Breen Office's watchdogs. So too have our collaborators revealed Evelyn Ankers (Ghost of Frankenstein) and Illona Massey (Frankenstein Meets the Wolf Man) to have worn attire that did not exactly conceal their feminine attributes.
Here is your opportunity to point out where the Breen Office's dicta were successfully circumvented.
Have some fun with this topic; revelations should be delightful, insightful, and instructive.
With every best wish, (James Whales's closure to his own Breen letters)
Andy in Vancouver.
