The Catholic Creation of Hollywood's Golden Age, or How the Church Saved the Movies, Part Three

Part One is available here.

Part Two is available here.

The beginning of the American Catholic church's interest in cinema dates back to the beginning of the art form itself. However, the Catholic Church's leadership in America was fractured, divided between different dioceses. There was no national body to speak with a unified voice for the American Church until 1917, with the founding of the National War Council, the first national Catholic body in America. American bishops formed it to respond to the nation's request for chaplains needed for the Great War (World War I) and to preserve the faith and morality of Catholics in the military and those women living near bases. Pretty soon this organization became involved in the movies. This group's first exposure to film involved issues with hygiene films produced by the government for service personnel. After organizing opposition from within the Church, the National War Council was successful in pulling certain films it found objectionable from distribution. Following the war, the group changed its name to the National Catholic Welfare Council in 1919 and then the National Catholic Welfare Conference (NCWC) in 1922.

Following its success during World War I in preventing troops and the general public from viewing objectionable content, in 1919, the NCWC formed a specific committee to deal with the growing film industry: the Motion Picture Committee. While still focusing on hygiene films, it worked with film producers behind the scenes to fund pro-Catholic movies like the unsuccessful effort, “American Catholics in War and Reconstruction.” By 1923, led by Charles McMahon, it began issuing monthly lists of positive films in the NCWC Bulletin, believing that the best way to promote quality films was to educate the public about what were the quality films. At the same time emerged a similar program under the leadership of the Motion Picture Bureau of the International Federation of Catholic Alumnae, directed by Rita McGoldrick, a graduate of Rosary College in Illinois. While the NCWC could only evaluate 400 films a year, the International Federation of Catholic Alumnae (IFCA), which was staffed by volunteers who graduated from Catholic high schools and colleges), could review up to 11,000. The volunteers would rate the films either “good,” “very good,” or “excellent.”

While there were attempts by some dioceses to create “black lists” for immoral films, the NCWC and the IFCA, which supported the efforts of William Hays, stated it was not necessary, especially following the establishment of the Catholic-written Motion Picture Code in 1930 (as discussed in the last part of this series). However, while the Motion Picture Code was in effect, it was ineffective, with some commentators stating that the films produced during this period were less moral than the ones produced even prior to the institution of the code. As Father Daniel Lord wrote, “Crime, lust, the triangle situation, seductions, remained the normal plot of films. I could see not the slightest improvement.” Even Protestants felt betrayed by Hays and the moral code for motion pictures. Pete Harrison, editor of Harrison's Reports, wrote, “Hays made promises to the church people that he would allow no dirt in pictures and failed to keep his promises—and failed miserably.”

This era, extending from 1930 to 1934, is commonly referred to as the “pre-code era.” This is a misnomer. The Motion Picture Code was in effect. However, it just was not enforced.

Two film genres were prevalent during this period: the “gangster” and the “vamp” pictures. Films like Little Caesar, Scarface: the Shame of a Nation, and Public Enemy represent the gangster films of this time. Movies like Blonde Woman, My Sin, Tarnished Lady, Hot Stuff, Baby Face, Hot Stuff, She Done Him Wrong, and I'm No Angel fell into the category of “vamp” or “fallen women” films. (the last two starring the always provocative Mae West). Even noted crime expert, Al Capone, lamented the immorality of films during this period, saying “[T]hey are making a lot of kids want to be tough guys, and they don't serve any useful purpose.”

Trailer for the "Pre-Code" picture "Baby Face" starring Barbara Stanwyck

Social scientists also looked into the effects of motion pictures upon children. A group called the “Payne Fund” conducted an investigation into the influence of film upon children, publishing a twelve volume work stating, scientifically (with graphs and such), how the movies were impacting the nation's youth. A summary of the study, called “Our Movie Made Children,” by Henry James Forman, published in 1933, stated that if the industry continued to be unregulated it “is extremely likely to create a haphazard, promiscuous, and undesirable national conscience.”

By 1932, individuals in the Catholic Church such as Father Lord and Martin Quigley were fed up with the non-enforcement of the Code. Father Lord began looking into films produced since the code went into effect and wrote a pamphlet called “The Motion Pictures Betray America.” In it, he wrote, “It is no longer a matter of single scenes being bad, of occasional 'hells' and 'damns,' or girls in scantly costumes,” but “a whole philosophy of evil... depicted with an explicitness that [has] excited the curriosity of children and the emulation of morons and criminals.” After this pamphlet's publication, Hays threatened Lord with a defamation suit, but it came to naught. Lord continued speaking up against the growing sinfulness of film, with this issue coming to a head when Father Lord spoke in front of five thousand young people in Buffalo. As he states in his autobiography:

“...I threw the outline for my speech away.... I reminded them what they were seeing when they went to the theater, and what effect it was bound to have upon adolescents like themselves.

Then I think my tone rose slightly for I was, without preparation, on the verge of a challenge:

'Nobody else seems to be willing to tackle this job,” I said. “How would you like to clean up the movies?'

There was a moment of surprised silence, then somebody cried out, 'Yes!' then the place thundered with applause, and then we worked out our plan.”

The plan was to create a black list of films to be published in Lord's own “The Queen's Work,” a paper that went out to nearly all the Catholic high schools and colleges in the nation in addition to thousands of other Catholic groups. The list would be published every month, with two or three of the worst offenders, demanding protests and boycotts.

“Stay away from the ones we list,' said Lord. “Write indigent letters of protest to the companies responsible. Make it so hot for the offenders that they'll stop in sheer self-defense.”

Martin Quigley did not approve of these new, more aggressive actions by Father Lord. He felt that the Catholics would have more success maintaining a close working relationship with Hollywood, continuing the white lists of approved motion pictures produced by the NCWC and the IFCA. However, some individuals, like Cardinal Mundelein and Bishop Bernard J. Sheil, saw that Lord's work was proving effective. They saw how successful Father Lord was with the nation's youth and decided a national group of Catholics from all age groups (and Protestants and Jews) organized to protect film morality would be even more effective. Thus, the Catholic (soon to be National) Legion of Decency was formed in Fall 1933. As spoken by Archbishop Amleto Giovanni Cicognani, “Catholics are called by God, the Pope, the bishops, and the priests to a united front and vigorous campaign for the purification of the cinema, which has become a deadly menace to morals.”

The Legion, with the power of the Catholic press and network of organizations, soon became the most feared institution for film producers in America. Variety claimed that fully half of the nation's 20,000,000 Catholics enlisted in the Legion within a few months. Vowing to not attend immoral films (or even the movie houses in general) Hollywood lost a tremendous amount of revenue. As stated in Chicago's “New World,” “Worn out by promises, tricked by pledges, deceived by codes, and dismayed by filth, the Church has finally decided to take action in the one way left for it-- boycott.”

The Legion of Decency raises its sword against the tentacles of the Hollywood octopus in an editorial cartoon from the Chicago's New World, September 28, 1934.

Scientific studies and the Legion of Decency were not the only pressures upon the motion picture industry in 1933. There was also a new presidential administration in Washington, and one without ties to the former Republican cabinet member, William Hays. President Franklin Delano Roosevelt was establishing an alphabet soup of new regulatory agencies to deal with the Great Depression. The administration proposed that the entertainment industry should be regulated by the National Industrial Recovery Act (NIRA). Film industry representatives began negotiating with the Roosevelt administration, but there seemed to be little hope to avoid the federal regulation the industry had feared for over a decade. The President apparently felt that the motion picture industry needed the “eagle eye” of federal regulation. There was talk of codifying into statute the Motion Picture Code, thus having the force of law behind what was formally an agreement between the studios. Hays and the motion picture industry, surrounded by the government, social scientists, and the Church, needed a solution. He decided to work with the Church, hoping that the other sides would be placated if the Catholics settled down.

Hays turned to one man, Joseph Ignatius Breen, to help him make amends with American Catholics. Joseph I. Breen was not only a Catholic, but he was also from Chicago with close ties to the diocese, In 1925, he was the publicity director for the 28^th International Eucharistic Congress. There he worked closely with Quigley and Cardinal Mundelein (as his personal public relations man). In 1929, he attended the meeting with Quigley and Father Dinnen where the Motion Picture Code was first proposed. By 1931, he was working for the MPPDA as Mr. Hays's assistant and Hollywood's ambassador to the Catholic Church. Trusted by both the Catholic Church and by William Hays, he worked at placating both.

On the fifth of February, 1934, Hays appointed Breen to head the Studio Relations Committee, the committee which had the duty to make sure motion pictures conformed with the Code. Still Breen encountered the ineffectiveness of the existing enforcement program when two motion pictures he denied approval of were successful when appealed to an appeals board made up of Hollywood producers. However, as federal pressure kept up and boycotts led by the National Legion of Decency continued, the MPAA finally decided to take action.

Joseph I. Breen

On June 13, 1934, the Board of Directors of the MPAA met in New York and approved the creation of the Production Code Administration. All films would have to approved by this new administration, under the direction of Breen. All films would be required to obtain a “Certificate of Approval,” a kind of imprimatur for motion pictures. Any production company that did not go through the PCA would be fined $25,000.00 which was soon reorganized as the Production Code Administration. The new PCA would have no appeal board made up of fellow producers. A decision made by the PCA could only be appealed to the MPPDA Board of Directors (located in New York, not in Hollywood). In addition, instead of only reviewing films after production had wrapped, there would be review prior to commencement of production, with the PCA flagging anything in proposed scripts violating the code.

Hays gave Breen and Quigley direction to gain the approval of the Catholic bishops (who were to meet on the 21^st of June) of this new system. Hays told them that “the Catholic authorities can have anything they want.” After reviewing the framework for this new administration and making sure Breen would be in charge of enforcement, the bishops issued a letter stating, in part, that they were victorious as “the producer's jury in Hollywood, a part of the original machinery for enforcement of the Production Code... has been abandoned and that additional local authority (Breen) has been assigned to the Code administration.” On July 11, 1934, the PCA and its authority over motion pictures were formally approved by the major production companies.

Production Code Seal

And so, a two-tiered system to regulate the content of the movies was established. A production company would submit a film to the PCA (the Breen Office) and it would be reviewed for compliance with the Code. The film would be reviewed once more by the Breen office after it was completed, where it would receive a Seal of Approval. At the same time, the production companies would submit a copy of the film to the Legion of Decency where it would receive a rating of A(Morally unobjectionable), B (Morally objectionable in part), or C (Condemned by the Legion of Decency). If approved by the Breen Office, a film would normally receive at most a “B.”

The Marx Brothers, in the Pre-Code "Horse Feathers" ask "Where's the seal?"

Pope Pius XI even came out in favor of this system in the Encyclical, Vigilanti Cura . As he wrote:

Although in certain quarters it was predicted that the artistic values of the motion picture would be seriously impaired by the reform insisted upon by the "Legion of Decency," it appears that quite the contrary has happened and that the "Legion of Decency" has given no little impetus to the efforts to advance the cinema on the road to noble artistic significance by directing it towards the production of classic masterpieces as well as of original creations of uncommon worth.

The establishment of this system in 1934 ushered in the “Golden Age” of Hollywood. In the next segment of this series, I will look at specific case studies showing how this Catholic system in regulating the content of motion pictures helped create America's movie classics.

~TNT

“The stage is set for a magnificent piece of worthwhile Catholic action and achievement.”

Joseph I. Breen

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Black, Gregory D., Hollywood Censored: Morality Codes, Catholics, and the Movies, (Cambridge University Press 1994).

Doherty, Thomas, Hollywood's Censor: Joseph I. Breen and the Production Code Administration, (Columbia University Press 2007).

Lord, Daniel A., Played By Ear: The Autobiography of Daniel A. Lord, S.J., (Loyola University 1956).

Skinner, James, The Cross and the Cinema: The Legion of Decency and the National Catholic Office for Motion Pictures, 1933-1970, (Praeger Publishers 1993).

Walsh, Frank, Sin and Censorship: The Catholic Church and the Motion Picture Industry, (Yale University Press 1996).

The Catholic Creation of Hollywood's Golden Age, or How the Church Saved the Movies, Part Two

Part One is available here.

Part Three is available here.

There is no doubt that identities grow and are strengthened by oppression, and that is what occurred in the nineteenth and early twentieth centuries in American Catholic communities. Out of these communities came men and women knowledgeable and proud in their faith, especially in the city of Chicago, home of 1,086,209 Catholics by 1936 (the largest diocese in America). Chicago, with the settlement of large numbers of Catholic immigrants from Southern and Eastern Europe, became known as the City of Catholics. This seat of Catholic strength in America made it an obvious choice to hold the 28th International Eucharistic Congress, from June 20 to 24, 1926, the first Eucharistic Congress in the United States. Fox Film Corporation (run at the time by Winifred “Winnie” Sheehan, an Irish Catholic) filmed this noteworthy event, producing an eight reel, ninety-six minute production entitled, “His Eminence George Cardinal Mundelein Archbishop of Chicago Presents the Pictorial Record of the XXVII International Eucharistic Congress Produced for him by Fox Film Corporation.” All copyright and profits of the production went to the Church. This connection of the Chicago Archdiocese with Hollywood, which began in 1926, to Catholics from the city becoming more familiar with the film industry. Catholic Chicagoans, including Martin J. Quigley, began to leave their mark upon cinema.

(Film of 28th International Eucharistic Congress, courtesy of Chicago History Museum)

Martin Quigley (1890-1964), a graduate of Niagara and Catholic Universities, was the publisher of "Moving Picture World" and "Exhibitor's Harold" (later combined as the the "Motion Picture Harold" in 1931). He was a man of two worlds: the film industry and the Catholic Church, especially the Archdiocese of Chicago. He believed that film and filmmakers should only provide “decent wholesome material.” Such entertainment should be family-friendly and reflect the virtues and values taught by the Catholic Church. These beliefs were recognized in his publications, some of the largest trade rags in the nation. He became familiar with William Hays and others in the industry through his publications and his work producing the film of the 28th International Eucharistic Congress. While Quigley supported morality being reflected in the film industry, he was also an opponent of state censorship to further this goal. By 1929, however, he clearly saw that the local censorship boards were too entrenched to be disbanded. There needed to be another system, not one relying on state censorship, to insure moral cinema.

At the same time, the film industry was having its own troubles. William Hays's "Don'ts and Be Carefuls" system was not working.

(Martin Quigley, Cecil B. DeMille, and Paramount president Barney Balaban, Courtesy of Georgetown University Library)

Senator Smith W. Brookhart of Iowa introduced a bill into Congress in March of 1928 to have the FTC regulate the motion picture industry. There was also a fear that the federal government would ban the practice of “block booking” by which production companies sold a slate of their upcoming attractions, sight unseen, to theaters.

Being involved with the motion picture industry, Martin Quigley knew of the fears of the industry in addition to business woes created by declining profits and film attendance resulting from the Great Depression. The time was ripe, Quigley felt, for him introduce a morals code for the motion picture industry, specifically a Catholic code. Quigley consulted with Father FitzGeorge Dineen, adviser to the Chicago censorship board, who recommended Father Daniel A. Lord, S.J. to help compose this proposed code.

Father Lord grew up with entertainment, and, from an early age, was impressed with movie houses. Throughout his time in the seminary, he followed the new medium, accompanying silent films by playing the piano in the theater with his fellow seminarians. One film left a profound impact upon him. In 1915, he viewed what one can consider the first blockbuster, "The Birth of a Nation" This vile and hate-filled film, based on the novel, The Clansman by Thomas Dixon and directed by D.W. Griffith, is the story of the rise of the first version of the Ku Klux Klan and left such an impact upon its viewers that a second version of the Ku Klux Klan became extremely active in the 1920s.

(Father Daniel A. Lord, S.J., 1944, Courtesy of Georgetown University Library)

As Father Lord states in his autobiography, Played By Ear:

"The deep hatred that Dixon had written into 'The Clansman' had been blown high and hot in the film. Griffith, whether he meant to or not, made many persons hate Negros and dread any emancipation given them. And I knew I was in the presence of a medium so powerful that it might change our whole attitude towards life, civilization, and established customs.... No doubt about it, the horrible bigotry of the KKK which sprang at the throat of the Catholic Church and American liberties not a decade later rode to its brief and ugly triumphs largely on a road down which had dashed Griffith's clansman."

In the years that followed, Father Lord got involved in different activities, focusing upon the theater. He became a theologian and playwright, in addition to being a Professor of English and Drama at St. Louis University, However, that changed when he was called upon to be the Catholic adviser on Cecil B. DeMille's "The King of Kings" in 1926. Joined by Jewish and Protestant advisers (both of whom left a few days into filming), Father Lord gave DeMille suggestions to make this movie about the life of the Christ theologically sound. For example, DeMille originally felt that a love story needed to be added into the film to attract a larger audience, namely a love story between Mary Magdalene and Judas. This romantic relationship between the two would culminate in the betrayal of Christ by Judas.

Father Lord suggested that this was not an appropriate manner to relate the life of Christ, and one evening, while watching the dailies with Father Lord, DeMille stated “He is great, isn't He?” DeMille was not speaking of the actor portraying Christ, but of Christ Himself. DeMille cut over 1,500 feet of film from the Mary Magdalene scenes, and the love story aspect of the plot was dropped from the finished film save for a bit in the opening minutes, posted below. Father Lord's Hollywood adventure being over, he returned to teaching at St. Louis University, until he was contacted by Martin Quigley about the creation of a Catholic morals code for cinema.

(Trailer for King of Kings, 1927)

(First Part of King of Kings, 1927 in early color)

Together Quigley and Fathers Dinnen and Lord discussed the drafting of such a code. It was decided to not make it explicitly Catholic, but in a way “that the follower of any religion, or any man of decent feeling and conviction, would read it and instantly agree. It must make morally attractive, and the sense of responsibility of the movies to its public and unmistakable.” Hays, to whom Quigley proposed the idea, was receptive to this solution.

Hays and Quigley carried the idea to the member companies of the MPPDA which received the idea of a more effective morals code by which the industry could self-regulate the movies, and, thus, avoid state censorship with enthusiasm. However, this was not Quigley's only selling point. There was also a desire for the producers to appeal to the Catholic audience. While those who owned the production companies were mainly of Jewish decent and the majority of moviegoers were Protestant, there was a desire by the film industry to specifically appeal to Catholics for several reasons:

1. They were the single largest single religious group in the United States;
2. There was a clear hierarchy and institutional structure to the Church; and
3. The strong loyalty the lay people had to the Church and its teachings.

Quigley and Lord began work on this code, with Lord making sure A.M.D.G. and B.V.M.H. were the first letters placed at the top of the page. As Lord later wrote:

"Here was a chance to tie the Ten Commandments in with the newest and most widespread form of entertainment. Here was an opportunity to read morality into mass recreation. Here was an industry that might be persuaded to avoid the police by a sane and honorable policy."

The Motion Picture Production Code drafted by Quigley and Father Lord began with three general principles:

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.

“Particular Applications,” which was composed of an update of the “Don'ts and Be Carefuls” more carefully arranged by subject, followed this first section. Father Lord added a section entitled “Reasons Supporting the Preamble of the Code,” based upon Scholasticism and Catholic thought, justifying the purpose of upholding the morality of art in general and film in particular. The differences between the limited appeal and reach of other arts compared to film were emphasized. General principles of morality followed with their bearing upon entertainment.

As stated by Joseph I. Breen, future head of the Production Code Administration:

"The more I thought about it, the more it seemed to me to be an inspired document that fitted into the then current situation, having to do with motion picture entertainment, like a sharply cut picture puzzle. The code was essentially a moral treatise whose rules and regulations stemmed from the ancient moral law which has been accepted by mankind almost since the dawn of creation. These principles do not arise from timely or geographic considerations. Such principles do not become outmoded."

An additional issue must be addressed about the code. If one explores it, one sees some distinctly un-Catholic parts to it, namely the clause (Particular Applications, II, 6) against miscegenation (sexual relations between the races). This was inserted in the third draft of the code by William Hays himself. Lord and Quigley were very much against this addition. One person familiar with the situation described Quigley as “absolutely infuriated all the time that I knew him with the original Code where it said we could not treat a picture dealing with miscegenation. He thought it was outrageous and un-Christian.” However, Hays included it as a matter of economics. The racial reality of the American South in this period made it necessary to ban this subject matter, at least according to William Hays. Later, in 1942, Hays reconsidered this decision, and Mortimer Adler, Aristotelian and neo-Thomist philosopher, author, and one of the founders of the "Great Books" program (and subsequent Catholic convert), looked into the issue for him. Adler suggested that it be moved from a list of banned subjects to subjects that needed to be carefully dealt with by producers. This was done.

The code was approved by the industry on 31 March 1930, with Hays's name attached, making sure the public, which still looked upon the Catholic Church with distrust, did not know a Catholic priest and layman were the primary authors of this moral code for motion pictures. The Production Code, or what was commonly referred to as the Hays Code, went into effect. Lord and Quigley's role in its creation was not known until 1934.

The problem with this code was that there still was no enforcement mechanism. There was no system to approve scripts prior to filming. This led to the possibility of violations only being discovered after filming was completed, requiring costly reshoots. Second, if a decision regarding the immorality of a film was appealed from the Hays Office, it was appealed to a court made up of fellow producers, which would cost more for their fellow producers. The producers could say they would follow its regulations, but since it was unprofitable for them to do so, they would not. This time period, 1930 to 1934, is what is known by the misnomer, the “Pre-Code era of Hollywood. So-called “gangster” and “vamp” (or “fallen woman”) pictures were extremely popular, glorifying evil and sexual vice. They were also very profitable.

As the age of Republican dominance of the White House came to a close in 1933, the era of the New Deal began. It was not unexpected for a national film regulation board to be included among the alphabet soup of new federal agencies, especially since the industry was not doing the self-regulation it promised in 1930. Father Lord, Martin Quigley, who still had enormous influence through his “Motion Picture Harold,” and the greater Catholic community were also fed up with this lackadaisical enforcement system. Father Lord wrote, “Crime, lust, the triangle situation, seductions, remained the normal plot of the films.... The signatures solemnly affixed by the heads of the companies to the code seemed to bind no one.” Out of these circumstances emerged the Catholic Legion of Decency and the Production Code Administration, the subjects of the next installment of this series.

~TNT

"In my long and pleasant life the films and Hollywood have been just an incident.... But you asked about it, and here is the record. Some time you may want to check it all in my complete files."

Father Daniel A. Lord, S.J., from Played By Ear.


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Black, Gregory D., Hollywood Censored: Morality Codes, Catholics, and the Movies, (Cambridge University Press 1994).

Doherty, Thomas, Hollywood's Censor: Joseph I. Breen and the Production Code Administration, (Columbia University Press 2007).

Lord, Daniel A., Played By Ear: The Autobiography of Daniel A. Lord, S.J., (Loyola University 1956).

Skinner, James, The Cross and the Cinema: The Legion of Decency and the National Catholic Office for Motion Pictures, 1933-1970, (Praeger Publishers 1993).

Walsh, Frank, Sin and Censorship: The Catholic Church and the Motion Picture Industry, (Yale University Press 1996).

The Catholic Creation of Hollywood's Golden Age, or How the Church Saved the Movies, Part One

Those with a general understanding of the motion picture industry and its history will already know that Catholics have been extremely influential as directors and actors. A variety of directors like Alfred Hitchcock (Vertigo and North by Northwest), John Ford (Stagecoach and The Searchers), Frank Capra (It's a Wonderful Life and Meet John Doe), Leo McCarey (Duck Soup and The Bells of St. Mary's), Martin Scorsese (Raging Bull and The Departed), and Francis Ford Coppola (The Godfather and The Conversation) represent the broad range of the Catholic experience in America, representing those Catholics of Irish, Italian, and English ancestry. Their films cover all the great genres of cinema, from horror and Western to romantic comedy and melodrama. Many commentators have explored the Catholic themes in these men's films, with Catholic understandings of family and community, struggle and redemption, and moral liberty and free will painted on celluloid.

Yet Catholic thought reached the American public beyond these men and their movies, especially during the time period known today as the “Golden Age of Hollywood," a period from roughly 1935 to 1960. The Catholic Church nurtured cinema as an art when it was only considered an industry by the American Government. The Catholic Church helped guide the creation of some of the greatest movies ever made, using subtlety instead of directness; symbols rather than graphic imagery. Lastly, the Catholic Church used the motion picture industry to help integrate Catholics into mainstream American society, going from the Papist "other" to the next-door neighbor. Sadly, apart from several (largely negative) works written over the past two decades, the Church's role nurturing the creation of motion picture industry has been largely forgotten. Over the next few weeks, I will make a series of posts exploring these points and related topics so one can gather a greater understanding and appreciation of the Catholic heritage of American film, why the Church's role should be viewed as a positive influence in the creation of this art form, and the power cinema had and continues to have on our society as a whole.

The Catholic Church has always known the power of art. As Pope Pius XI wrote, "The essential purpose of art... is to assist in the perfection of the moral personality, which is man, and for this reason it must itself be moral." Additionally, nos. 2500 and 2501 of the Catechism state, "The practice of goodness is accompanied by spontaneous joy and moral beauty... To the extent that it is inspired by truth and love of beings, art bears a certain likeness to God's activity in which he has created. Like any other human activity, art is not an absolute end in itself, but is ordered to and ennobled by the ultimate end of man."

Typically though, art has become almost an archaic term, especially in talking about movies. The term "art" instantly conjures up thoughts of museums, classrooms, and, in absence of a more appropriate term, Rastafarian relics of the 1960s. Instead, many people today consider film "entertainment," immediately creating a picture of escape and abandonment. This distinction in modern society leads to a lesser understanding of the power of film as an art form, a truth the Church has known since the advent of moving pictures. Even though the Catholic Church considers film as a form of art, the American government has not always been so enlightened.


(Directors, from top left clockwise, Alfred Hitchcock, Leo McCarey, Frank Capra, Francis Ford Coppola, John Ford, and Martin Scorsese)

Beginning in the first decade of the twentieth century, local censorship boards sprouted up across America, especially in the mid-west, cutting and splicing scenes from the new "moving pictures" in order to protect public morals and decency on the assumption cinema was not covered by the free speech guarantees of the American Bill of Rights. These boards were typically branches of the local police department, made up of individuals with little to no training in art. There was no philosophical underpinning to the methods of these local boards, leading to differing standards in different communities. Moviegoers in New York, Philadelphia, and Chicago could see three different versions of the same film, all of different lengths, depending upon how much the local censorship board objected to in the film. It was a very slow, ineffective, and confusing system.

The film industry fought back. Going all the way to the United States Supreme Court, motion picture producers stated their product was protected as a form of free speech. In this case, Mutual Film Corporation v. Industrial Commission of Ohio, 236 U.S. 230 (1915), the Supreme Court disagreed. As the Court stated in its unanimous decision, "…the exhibition of moving pictures is a business, pure and simple, originated and conducted for profit… not to be regarded, nor intended to be regarded by the Ohio Constitution [and, thus, the United States Constitution], we think, as part of the press of the country, or as organs of public opinion."

This decision led to more state censorship boards being established and the threat of the Federal government censoring movies for public consumption. The film industry tried to deal with this new reality in creating the Motion Picture Producers and Distributors of America (MPPDA), made up of the nation's largest studios. William Hays, a Presbyterian and Postmaster General under President Warren G. Harding, was placed in charge, with the hope that his contacts in the federal government would help relieve its threats of censorship. To help achieve this goal, several codes of self-regulation, the most famous of which was the "don'ts and be carefuls," a random list of what things were and what things were not allowed in the motion pictures, were agreed to by the major studios.

However, while they were agreed to, there was no enforcement mechanism in the studio system to make sure they were following these regulations. The situation only got more pressing with the advent of talking pictures in the late 1920s. At this point, federal regulatory agencies were proposed to deal with immorality in film, similar to how the FDA regulates the quality of meat. The film industry had to do something, and that is when the Catholics were called in, leading to the salvation of the film industry.

In my next post, I will write of three influential Catholics who shaped the film industry in America for two decades: Father Daniel A. Lord, S.J., Joseph I. Breen, and Martin J. Quigley and the creation of the Motion Picture Production Code.

~TNT

Film is one of the three universal languages, the other two: mathematics and music.
Frank Capra

Part two is available here.

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