• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Ransom Center Magazine

  • Articles
  • Sections
    • Art
    • Books + Manuscripts
    • Conservation
    • Exhibitions + Events
    • Film
    • Literature
    • Photography
    • Research + Teaching
    • Theatre + Performing Arts
  • Print Edition

censorship

#Franklymydear, we want your best line

September 12, 2014 - Alicia Dietrich

List of possible lines to substitute for, "Frankly. my dear, I don't give a damn" in "Gone With The Wind."

“Frankly, my dear, I don’t give a damn.”

 

The iconic last words of Rhett Butler in Gone With The Wind almost weren’t, because use of the word “damn” in films was expressly prohibited in the Production Code. Anticipating objections by the Hays Office (the entity that governed moral code in film), producer David O. Selznick asked his story editor, Val Lewton, to compile a list of uses of the word “damn” in print media and, if possible, cinema.

 

A list of alternate lines was also compiled, including such gems as:

 

“Frankly, my dear, nothing could interest me less.”

 

“Frankly, my dear, I don’t give a hoot!”

 

“Frankly, my dear, my indifference is boundless.”

 

“Frankly, my dear, the whole thing is a stench in my nostrils.”

 

Selznick knew that the Code would have to be changed for him to be able to keep Rhett Butler’s final line, a change that could only be approved by the board of directors. Leading up to a decisive October 27, 1939, meeting, Selznick and business partner Jock Whitney lobbied board members to change the Code. Although deliberations were described as “very stormy,” Selznick prevailed, and the Production Code was amended to make future use of the word “damn” discretionary.

 

Although Selznick promised to “put up a strong fight for the line,” he took Lewton’s precautionary advice to film the scene twice, once as written, and a second time substituting “Frankly, my dear, I don’t care.”

 

What would you have suggested as an alternate line? Give us your best family- and censor-friendly versions of the line via Facebook, Twitter, or Instagram using the hashtag #franklymydear.

Filed Under: Exhibitions + Events, Film Tagged With: #franklymydear, censorship, David O. Selznick, Gone with the Wind, Hays Office, Jock Whitney, Production Code, The Making of Gone With The Wind, Val Lewton

Tomorrow in the theater: “All Quiet on the Western Front”

May 14, 2014 - Jean Cannon

German soldiers enjoy a brief respite from trench duty in a film still from “All Quiet on the Western Front.”

Tomorrow, May 15, the Ransom Center will screen All Quiet on the Western Front (1930), the second film of the World War I Film Series, held in conjunction with the current exhibition, The World at War, 1914–1918. The film will be shown in the Ransom Center’s theater at 7 p.m.

 

All Quiet on the Western Front, an adaptation of Erich Maria Remarque’s 1929 bestselling novel, tells the story of Paul Baümer, a young German soldier who—under tremendous pressure from his war-enthused village—enlists in the German Army and serves on the battlefields of France and Belgium, where he suffers the demoralizing conditions of trench warfare and is wounded in battle. Remarque’s novel is often cited as a landmark in the history of post-WWI disillusionment; its success caused the book market to be flooded with war memoirs and novels written by veterans, many of whom expressed anger and resentment toward former military leaders and insensitive civilians. The 1930 film adaptation of the story was every bit as controversial as the book—which was censored and banned both for its “filth” and its anti-war sentiment. The production and reception history of the film quickly established it as one of the most far-reaching and provocative movies ever made about the experiences of men in battle.

 

Though the public controversy surrounding Remarque’s book certainly made for a precarious film adaptation project, the international success of the novel prompted Universal Pictures to buy the production rights on Armistice Day in 1929. Though many at Universal feared that Remarque’s bleak story of war and its horrors would not appeal to audiences a decade after the war’s end, Universal’s founder, Carl Laemmle, himself a committed pacifist, insisted on the creation of the film. After much in-house dithering, Universal selected Lewis Milestone, a Russian-born immigrant who had become a naturalized American citizen in 1919, to direct the film. Milestone had served in the U.S. Army Signal Corps during the First World War, where he had produced army film footage. The original screenplay was edited by a team that included Maxwell Anderson, the author of the WWI stage play What Price Glory?, which had been released as a silent film in 1924 and would later be remade under the direction of John Huston in 1952. Future famed director George Cukor, in his first Hollywood job, was the uncredited dialog director of All Quiet on the Western Front.

 

Milestone and his team had grave difficulty deciding on the cast; more than 200 screen tests were given to a wide variety of actors and actresses. Milestone had the most trouble choosing an actor to play Paul Baümer: should the lead be a known star or an unknown talent, presenting the “everyman” aspect of an infantry soldier? Milestone considered Douglas Fairbanks, Jr., Johnny Harron, and even Erich Maria Remarque himself before settling on the virtually unknown Lew Ayres, whom he came across while looking at screen tests Cukor had discarded.

 

The role of Paul Baümer would become definitive in Ayres’s life and career. While working on the film, Ayres became a dedicated pacifist; years later, when the draft was introduced for World War II, Ayres announced himself a conscientious objector.  His decision provoked the ire of Hollywood, and Ayres was blacklisted by many Hollywood producers during wartime.

 

Milestone was dedicated to creating realistic battle scenes for the film: Universal dramatically exceeded its budget on the movie—in all spending nearly $1.5 million on the film, four times more than its initial projection. Milestone created a large-scale reconstruction of a First World War battlefield in Balboa, California, complete with trenches, barbed wire, and a No Man’s Land. A special crane was imported for the camera, and authentic uniforms were imported from France and Germany. Ex-German Army officers were hired to drill the actors.

 

The elaborate sets and nuanced acting of the film brought wide acclaim in America and Britain when it was released in 1930: Variety called it a “harrowing, gruesome, morbid tale of war, so compelling in its realism, bigness and repulsiveness. . . .Nothing passed up for the niceties; nothing glossed over for the women.” The film won the year’s Academy Awards both for best film and best direction.

 

Such accolades did not extend across Europe, however, where many countries objected to the film for its blatant anti-militarist stance, its graphic nature, and its depiction of the former Central Powers. The film was banned in Italy, Hungary, Bulgaria, and Yugoslavia. It incited angry demonstrations in Austria. France did not ban the film but censored a scene in which German soldiers spend the night with French women of questionable morals.

 

As may be expected, the film received the most incendiary reactions in Germany. Though Universal prepared a specially dubbed version of the film, edited by Remarque himself (who cut many of the more overt depictions of German militarism), it caused riots in German theaters.  Joseph Goebbels publicly denounced the film, and the leading Nazi newspaper called it “a Jewish lie.” Five days after premiering in Berlin, All Quiet on the Western Front was suppressed by Germany’s Supreme Film Censorship Board. Reels of the film, as well as copies of the book, were publicly burned.

 

Only after several decades would All Quiet appear in full in Germany. In 1984, a dubbed reconstruction of the original cut of the film was broadcast on television in West Germany for the first time and to great success. Nearly 11 million viewers watched the film. The restoration of the film for public view embraced an irony appropriate for a story that criticizes bureaucracy and high command: one of the prints used for the restoration had come from the private collection of noted cinephile and censor Joseph Goebbels, who in the 1930s had burned as many reels of the film as he could, save for his own.

 

Please click on thumbnails below to view larger images.

The book jacket of the unexpurgated American edition of Erich Maria Remarque’s “All Quiet on the Western Front” (1930). The first American edition of Remarque’s novel was expurgated by publisher Little, Brown at the request of the Book-of-the-Month Club, which thought that the original text—which included a lengthy section dedicated to a battalion’s visit to a latrine—would repel the average reader. This first unexpurgated version is featured in the current Ransom Center exhibition, “The World at War, 1914–1918.”
The book jacket of the unexpurgated American edition of Erich Maria Remarque’s “All Quiet on the Western Front” (1930). The first American edition of Remarque’s novel was expurgated by publisher Little, Brown at the request of the Book-of-the-Month Club, which thought that the original text—which included a lengthy section dedicated to a battalion’s visit to a latrine—would repel the average reader. This first unexpurgated version is featured in the current Ransom Center exhibition, “The World at War, 1914–1918.”
Lew Ayres as German private Paul Baümer. Originally a supporter of the war effort, Baümer returns from the front lines to report that, “It’s dirty and painful to die for your country. When it comes to dying for your country, it’s better not to die at all.” The last scene of the film documents Baümer’s death on a parapet on the Western Front; he is shot while reaching his hand toward a butterfly.
Lew Ayres as German private Paul Baümer. Originally a supporter of the war effort, Baümer returns from the front lines to report that, “It’s dirty and painful to die for your country. When it comes to dying for your country, it’s better not to die at all.” The last scene of the film documents Baümer’s death on a parapet on the Western Front; he is shot while reaching his hand toward a butterfly.
German soldiers enjoy a brief respite from trench duty in a film still from “All Quiet on the Western Front.”
German soldiers enjoy a brief respite from trench duty in a film still from “All Quiet on the Western Front.”

Filed Under: Books + Manuscripts, Exhibitions + Events, Film Tagged With: All Quiet on the Western Front, censorship, Erich Maria Remarque, Film, George Cukor, Joseph Goebbels, Lew Ayres, Maxwell Anderson, Paul Baümer, The World at War 1914-1918, World War I Film Series

Decades later, current headlines echo controversies addressed in Morris Ernst collection

April 12, 2012 - Nicole Davis

Morris L. Ernst (left, holding book) was one of the most active attorneys for the anti-censorship cause during the interwar years. In this 1935 photograph, from the "New York Journal American" collection, Ernst defends the Gustavo Flaubert's "November."

Through a generous grant from the National Endowment for the Humanities, a team of archivists and student interns has been working to organize and catalog the papers of attorney Morris Leopold Ernst since September 2009. The collection is now open for research, and a finding aid is available online.

Morris Leopold Ernst (1888–1976), who earned his law degree 100 years ago, may not yet be a household name, but his legal career has had a lasting impact on American society. Ernst dealt primarily with civil liberties cases in a variety of areas, including censorship, obscenity, and first amendment rights. In addition to his busy legal career, he was a prolific writer, authoring more than 30 books and hundreds of articles, essays, and short works on legal topics and other social issues like big business and divorce.

Ernst is probably best known for his work in literary censorship cases. His influential fights include the defense of Radclyffe Hall’s The Well of Loneliness, Arthur Schnitzler’s Casanova’s Homecoming, and most famously, James Joyce’s Ulysses.

[Read more…] about Decades later, current headlines echo controversies addressed in Morris Ernst collection

Filed Under: Cataloging, Research + Teaching Tagged With: archives, Arthur Schnitzler, birth control, Casanova’s Homecoming, censorship, et al. v. Committee for Industrial Organization et al., Frank Hague, Hague, James Joyce, Josh Levitas, labor unions, Mayor, Morris Ernst, Radclyffe Hall, Rob Berry, The Well of Loneliness, too big to fail, Ulysses, United States v. One Book Entitled Ulysses by James Joyce, United States v. One Package of Japanese Pessaries

Primary Sidebar

https://www.youtube.com/watch?v=C4_kazYMjNM

Recent Posts

  • The Knickerbocker Theatre Collapse
  • On the Record: Black Creators and the Jazz Age
  • Ransom Center experience leads to new challenge for Monte Monreal
  • Films represented in the Drawing the Motion Picture exhibition
  • Celebrate with us in 2023

Tags

acquisition Alice's Adventures in Wonderland archive archives Art Books Cataloging Conservation Council on Library and Information Resources David Foster Wallace David O. Selznick digitization exhibition Exhibitions Fellows Find Fellowships Film Frank Reaugh Frank Reaugh: Landscapes of Texas and the American West Gabriel Garcia Marquez Gabriel Garcia Marquez archive Gone with the Wind I have seen the Future: Norman Bel Geddes Designs America Lewis Carroll literature Magnum Photos Manuscripts Meet the Staff Nobel Prize Norman Bel Geddes Norman Mailer Performing Arts Photography poetry preservation Publishing Research Robert De Niro Shakespeare theater The King James Bible: Its History and Influence The Making of Gone With The Wind Undergraduate What is Research? World War I

Archives

Before Footer

Sign up for eNews

Our monthly newsletter highlights news, exhibitions, and programs.

Connect With Us

  • Facebook
  • Instagram
  • Twitter
  • YouTube

About

Ransom Center Magazine is an online and print publication sharing stories and news about the Harry Ransom Center, its collections, and the creative community surrounding it.

Copyright © 2023 Harry Ransom Center

Web Accessibility · Web Privacy