00:00Well, Tara, I absolutely adore that film. It's one of my favorites from the entire decade.
00:05And it's so much steamier than you think it's going to be. You can feel the sexual tension.
00:11You really can. And I'm very happy that Rian Johnson, the great contemporary filmmaker,
00:15chose this movie to present with Ben Mankiewicz for his two-for-one series recently. I think a
00:20very, very smart choice. But it did raise some eyebrows back in the early 1930s. What kind of
00:26changes had to be made to it? Yeah. So the Hayes office made some recommendations after it was
00:31all done and they got their initial reactions from censors. So they said, you know, the do not
00:36disturb sign that might say a little too much. I would say the clock's ticking also gave you that
00:42indication. But in particular, the scene in the bedroom was definitely the most controversial.
00:47People wanted different things cut out. But what everyone wanted cut out was that line
00:51where Kay Francis asks him, when a lady takes her jewels off in a gentleman's room,
00:57where does she put them? On the, on the night table. But I don't want to be a lady.
01:06And she delivered those lines so great and she wore the clothes so great.
01:09Yeah, absolutely. My understanding is that Joe Breen said this movie could not be reissued or remade.
01:16Right. So Postcode, you know, these films would run for a long time and they wanted to recirculate
01:22them and get their money's worth out of them. And, you know, they didn't release movies like they did
01:26today. So they asked for a recertification and Joseph Breen says no. And then in 1943, Paramount
01:31comes back and says, hey, we want to do a musical remake. And Joseph Breen says absolutely not.
01:38And the reasons are it contains definite indications of illicit sex relationship. And also your two
01:43sympathetic leads are thieves whose crimes are made to seem acceptable and go unpunished in the
01:49end. You will readily understand that this is in violation of the rules of the code. Guilty as
01:54charged. Exactly. But that's what makes it fun to watch. I know. And from this film, the term the
01:59Lubitsch touch was coined. Well, it makes sense. It's such a terrific film. Thanks so much, Tara,
02:04for being here with me to talk about it. Absolutely. All right. Stick around because another fantastic
02:08director, this time Preston Sturgis takes on a con artist film, but after the production code was in
02:14full effect from 1941, starring Barbara Stanwyck.
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