America Girls Women 1930 Tits

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Rare trailer (albeit incomplete) for the notoriously awful "Devil Monster" (1946) with stock film of topless South Seas native girls. A Mexican-American co-production released originally in 1935 as "The Sea Fiend" and "The Great Manta". Eleven years later it was re-edited with more nude scenes and reissued as "Devil Monster", most likely for use on the adults-only roadshow circuit.

After that are clips from "Maniac" (1934) with perhaps the earliest use of nudity in an exploitation film. An astonishingly bizarre and lurid horror movie with terrible over-acting, nude scenes, and an obvious rape-in-progress sequence (too dark for my mpeg converter) that amazingly escaped censorship. Plus a totally gratuitous scene of floozies in skimpy lingerie that has nothing to do with the story. The last bit shows a nice fantasy transition special effect and superimposed scenes from the 1922 silent film "Witchcraft Through the Ages" to illustrate the mad scientists insanity.

The inclusion of numerous title cards with clinical descriptions of mental illnesses gave this film a pseudo-scientific documentary appearance. Thus, the pretense of being an educational film made it possible to screen it, with all its outrageous scenes intact, on the exploitation circuit.

Director Dwain Esper was pretty much the Ed Wood of the '30s. He gave the world the exploitation classics "Narcotic" (1933), "Marihuana" (1936), and "Sex Madness" (1938) -- the latter two also have nude scenes and are available in this archive along with the complete "Maniac" and "Devil Monster".
Addeddate
2010-10-18 16:04:50
Color
color
Ia_orig__runtime
4 minutes 42 seconds
Identifier
1930sExploitationNudityDevilMonsterTrailerManiacClips
Run time
4:42
Sound
sound
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Uploaded by stingrayfilms on October 18, 2010

By Caroline Howe For Dailymail.com 19:23 BST 26 Apr 2019 , updated 06:48 BST 27 Apr 2019
A progressive era in Hollywood film-making in the early 1930's and a lax code of censorship allowed sin to rule the movies.
Violence, actresses with dresses open (and no panties), two men kissing, blood sucking scenes that made women lust after the monster, even an elephant crushing a man's skull were de rigueur, writes author Mark Vieira in his fascinating new book  Forbidden Hollywood, The Pre-Code Era (1930-1934), When Sin Ruled the Movies, published by Running Press.
Very little was off limits if film studios had their way in the four-year period from 1930 until 1934, now called the pre-code era, when film studios ramped up violence, sex and sin to draw in audiences in this post silent movie era.
Movie trailers promised orgies, sexual perversion, violence, and profanity – and they delivered.
After objections from a consortium of churchmen and politicians criticizing the movie industry, a Production Code was created in 1934 and signed by every studio to self-regulate.
'This Production Code should have kept forbidden elements off the screen, but the Great Depression arrived, emptying theaters. To lure patrons back, producers began to violate the agreement,' writes author Vieira, whose book will go on sale in the UK on May 30.
Actresses flaunted their charms and flouted the Code. 
'Sin and succeed!' wrote Variety in one review'.
'Though some of these films were exploitative, many of them were legitimate works of art,' writes the author, recognized then and years later.
One example: Howard Hughes' 1930 classic Hell's Angels.
'In a city of egotistical models, he was different. He was not Jewish, self-made, or sociable. He was twenty-four, had millions of dollars and nobody was going to tell him how to spend it', writes Vieira.
In the film, the star, Jean Harlow appeared in what was viewed as 'deliberately obscene' costumes and set out to seduce one of the aviators in a candid manner that began with the line, 'Would you be shocked if I put on something more comfortable?'
Hughes ignored criticism by the censor boards that viewed the film as 'stupid, rotten, sordid and cheap', with British soldiers and French barmaids open-mouth kissing that seemingly tried to swallow each other, and the girls squealing when the soldiers kissed their ears.
The film made Hughes a studio head and Jean Harlow a celebrity.
When German film star Marlene Dietrich arrived in Hollywood from Berlin, she was billed as 'The woman all women want to see'.
So it was a shock to filmgoers when director Josef von Sternberg dressed her as a man in the film, Morocco. She was a box office success dressed in a man's tuxedo and top hat.
Dietrich, Greta Garbo, Tallulah Bankhead and Joan Crawford played shady dames and took glamorous and mysterious to new heights playing heartless creatures and villainesses.
The bad woman – the shady dame is today's heroine', writes the author. 'She has a man's viewpoint, and a man's ability to deal with brutal situations'.
The genre of gangster movies appealed to women.
Edgar G. Robinson showed up at the producer's office at Warner Brothers wearing a homburg, heavy black overcoat, a white evening scarf, and cigar clenched between his teeth – eager to play the title role of the megalomaniac Little Caesar, the story based on Chicago's Al Capone who had been responsible for the St. Valentine's Day Massacre.
At the film's opening in New York, over three thousand people showed up and pressed against the glass doors of the Strand Theatre at Broadway and 47th Street shattering them.
Head of the Motion Picture Division of the State of New York Education Department, Dr. James Wingate, railed against the film and demanded cuts. He believed that 'Children see a gangster riding around in a Rolls-Royce and living in luxury, the child unconsciously forms the idea that he will be smarter and will get away with it'.
The studio fought back arguing: 'The more ghastly and the more ruthless the criminal acts are, the stronger will be the audience reaction against men of this kind and organized criminal in general'.
But Wingate won the argument and cut Little Caesar to shreds.
When James Cagney played a gangster in The Public Enemy and seduced women with his glamorous looks and charm, the film broke attendance records despite complaints from groups like the Daughters of the American Revolution and Veterans of Foreign Wars who viewed the film as 'destructive to the morality of our country'.
Studios went through cycles and segued from gangster movies to what was called the 'dirt phase' – women aggressively seducing men, slinging one leg over the arm of a chair – being sexually assertive.
'Women love dirt. Nothing shocks 'em. They want to know about bad women. The badder the better', Variety wrote.
So the studios released films with the fallen woman, the possessed woman, the kept woman – all selling the immorality of women.
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Paramount came out with horror film, Dr. Jekyll and Mr. Hyde that was viewed as 'raw, brutal and relentlessly sexual' with love scenes between actors Frederic March and Miriam Hopkins smacking of bestiality.
Even movie columnist Louella Parsons liked the film and wrote, 'It's by long odds the best picture Paramount has made since Skippy' – a children's film.
The Jungle cycle produced Tarzan, the Ape Man starring Johnny Weissmuller who takes on wild beasts and kills natives.
Jane, Tarzan's one true love, wore a brief loincloth at best and the film stayed in circulation for five years.
MGM turned its back lot into a jungle to make movies with wild beasts, whipping natives and torturing explorers – pursuing a rash of tropical films that still had plenty of sex.
The film, the Freaks, showed a circus sideshow complete with the bearded lady, a human skeleton, a hermaphrodite, pinheads, and an armless man.
It sent some running to the exit when previewed in LA.
Twenty-five minutes were cut discarding the ending that showed freaks castrating the strong man and mutilating the acrobat.
The film broke house records in San Diego and did well in Boston, Cincinnati and Omaha
While some movies got past censors, they didn't necessarily get past exhibitors.
In Cecil B. DeMille's epic, The Sign of the Cross, an arena scene shows an elephant lifting one leg and resting it on a man and crushing him.
Censors didn't edit it out but exhibitors did after witnessing viewers put their hands across their eyes and some even fainting.
The scene of an almost nude Christian virgin lashed to a post to await the onslaught by a giant ape and a herd of hungry crocodiles waddling to an arena feast of edible white-flesh Christian girls, disappeared from the film after early runs but a reviewer of the film wrote, 'They will shudder, they will gasp, they will cry and they will love it'!
RKO released the film, King Kong, the story of simian love for a young girl.
By the spring of 1934, a grassroots movement in the Midwest targeted 'immoral' movies and demanded, 'Purify Hollywood or Destroy Hollywood.'
The Code remained effective until July 1968.
Many of the films that had been cut by the Code – with scenes replaced later – were declared works of art.
Archive ariel footage shows Hollywoodland sign in 1930
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Nothing was off limits during Hollywood's 1930s pre-censorship era when sin ruled the movies
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