These were generally romantic romps in the vein of The Awful Truth (1937), Easy Living (1937), Forsaking all Others (1935), My Man Godfrey (1936) and It's a Wonderful World (1939). Throughout the 30's there was a coming of age for the sophisticated comedy. But other stars in the pre-code era were also pushing the boundaries of what was acceptable Jean Harlow for example in Platinum Blonde (1931) and Blonde Bombshell (1933). Her now classic suggestive double-entendres: "When I'm good, I'm very good, but when I'm bad, I'm better," and "Well, it's not the men in your life that counts, it's the life in your men," drew the ire of the soon to be enforced Motion Picture Production Code. Mae West epitomizes this sentiment with She Done Him Wrong (1933) and I'm No Angel (1933). There was no shortage of unbridled sexual innuendo and suggestive behavior with pre-code comedies. With any genre of film in the '30s, there was a bold delineation between "pre-code" - the films made before the enforcement of the (Hays Code) in mid-1934 - and those films made after. And comedies, whether slapstick, screwball, or romantic - fit the bill and garnered wide appeal.
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The world was dealing with the consequences of the Great Depression, the aftermath of WWI and the rise of fascism in Europe.Īgainst the backdrop of this era, movie audiences longed for any form of escapist fare.
The 1930s was a decade of geo-political and economic upheaval.
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