Baby Face (1933): Sexual Norms Then & Now

The relationship between what we see on screen and how we love in real life shapes our lives in profound ways. Today, I'm diving into one of the most fascinating periods of cinema history: Pre-Code Hollywood, with a focus on the 1933 film "Baby Face" starring Barbara Stanwyck - perhaps one of the most sexually irreverent films ever made.

Understanding Pre-Code Hollywood

The "Pre-Code era" refers to the period between 1929 and 1934, before Hollywood strictly enforced the Motion Picture Production Code (also known as the Hays Code). During this brief window, Hollywood films could be surprisingly frank about sexuality, crime, and social issues in ways that would be censored for decades afterward.

While the Production Code existed on paper since 1930, it was largely ignored until 1934 when the Catholic Legion of Decency threatened nationwide boycotts of "immoral" films in major Catholic-run cities like Chicago and Philadelphia, and entire states like Ohio and Virginia.

Joseph Breen, a devout Catholic and journalist, became the chief enforcer of the code from 1934 to 1954. His strict Catholic morality shaped American cinema for decades, as no film could be released without his office's seal of approval. Studios capitulated primarily for financial reasons, resulting in sanitized cinema that presented sexuality, crime, and morality through a lens aligned with conservative Catholic values for over two decades.

Why Pre-Code Films Matter

Pre-Code films reveal that conversations about sexual politics weren't invented in the 1960s or with modern feminism—they were actively explored, then deliberately suppressed. The enforcement of the Production Code effectively erased nuanced portrayals from popular culture, creating a sanitized version of sexuality that influenced generations.

"Baby Face" was so controversial that it was one of the films that pushed the industry to finally enforce the Production Code. Two versions exist—the original and a censored version with several minutes cut. We've only had access to the original uncut version since 2004, when it was rediscovered.

The Plot of "Baby Face"

The film follows Lily Powers (Barbara Stanwyck), a young woman who works at her father's speakeasy during Prohibition. Her father has been prostituting her to his customers since she was 14 years old.

After her father dies in a still explosion, Lily decides to use her sexuality to climb the corporate ladder at a big bank in New York City. The film literally shows her ascending a rather phallic building floor by floor, sleeping with increasingly powerful men to advance her career—starting with a personnel clerk to get hired, moving on to the mortgage department, then to the vice president, and eventually to the grandson heir to the bank's founder.

The Censored vs. Original Ending

One of the most telling aspects of "Baby Face" is how its ending was changed to satisfy censors:

Original ending: Lily ends up wealthy and independent, though despondent after finding her husband dead from suicide. Generally speaking, she is unburdened by any social consequences of her actions.
Censored ending: Additional scenes show Lily losing her money and returning to her humble origins, suggesting she's learned the error of her ways. This "moral punishment" ending reflects the Production Code's requirement that films not show characters profiting from "immoral" behavior.

This trope remains persistent in media today. How often do sexually liberated female characters still face punishment or "redemption" by the end of a film or series?

Revolutionary Themes in "Baby Face"

1. Female Sexual Agency

Lily's character is portrayed with complete agency. While she uses sex transactionally, she isn't ashamed of her sexuality—she weaponizes it. The film presents her as calculating and in control, not as a victim, despite her traumatic background.

This challenges the madonna/whore dichotomy that dominated films then (and often still does). Lily is neither virtuous nor punished for her sexuality through most of the film. She's pragmatic.

Even today, we claim to celebrate female sexual empowerment, yet women who openly use their sexuality strategically are often still judged harshly.

2. Transactional Sex & Power Dynamics

The film is shockingly direct about sex as currency. There's a scene where Lily is advised by a cobbler who quotes Nietzsche to use men "as they have used you," and to "climb to the top over their bodies."

This explicit acknowledgment of sex as power was radical for 1933 and remains provocative today. In our current conversations about sexuality, we're finally addressing these power dynamics more openly and acknowledging the inherent power imbalance between men and women in society and in the workplace.

3. Sexual Trauma & Its Effects

The film implies that Lily's father sexually trafficked her from age 14. This childhood sexual trauma informs her later approach to sex—as something to be controlled and leveraged rather than enjoyed.

There's a powerful scene where Lily reacts with disgust to a man's touch—showing that despite her calculated use of sex, she doesn't find pleasure in these encounters. One of the most heart-wrenching lines comes when Lily says: "Don't you understand? I was a young girl once, full of dreams and sentiment, but that was beaten out of me long ago." She continues, "I've battled my way up from the gutter. What I've got, I've got because I've fought for it with everything I had. Nobody's going to take it away from me - not for you, not for anybody. I'm not going back to the gutter - not ever!"

4. The Double Standard Between Sex and Violence

The censors were outraged by the sexual innuendo in "Baby Face" and demanded cuts to dialogue highlighting the overtly transactional nature of Lily's relationships. However, the murder-suicide of two of Lily's paramours and the subsequent attempted suicide of her husband were left in the film without question.

The men who sleep with Lily face few social consequences until they have the audacity to fall in love with her. Then they are immediately met with tragic ends. Lily is widely blamed for the murder-suicide of two men at the bank and shipped off to Europe. Even marriage doesn't save Lily—after Cortland marries her, the bank goes under and he's indicted. The message is clear: "Once you're marked as a dangerous woman, nothing can redeem you, even the sacrament of marriage."

Connections to Modern Sexuality

"Baby Face" informs our understanding of sexuality today in several ways:

Sexual politics aren't linear: In some ways, this 1933 film was more direct about female sexual agency and power than many modern films, certainly those from the 80s, 90s, and 2000s.
Certain attitudes persist: We still struggle with the commodification of sexuality, power imbalances in sexual relationships, judgments of women who strategically use their sexuality, and the lingering effects of sexual trauma.
Honest media portrayals matter: The enforcement of the Hays Code pushed these conversations underground for decades. Today, we have more freedom to discuss sexuality openly, but we still have blind spots and taboos.

Conclusion

"Baby Face" offers a fascinating window into the sexual politics of the early 1930s while holding up a mirror to our current attitudes. The film reminds us that our sexual norms aren't fixed—they evolve, sometimes progress, sometimes regress, and are always shaped by broader social forces.

Watch this remarkable time capsule that feels surprisingly relevant today, and start questioning everything you consume. Pay attention to your own reactions. What makes you uncomfortable? What makes you empathize? Those responses might tell you something about yourself.

For Further Education about Pre-Code:

Books

"Sin in Soft Focus: Pre-Code Hollywood" by Mark A. Vieira A comprehensive look at Pre-Code films with beautiful photography and detailed analysis of the era's most controversial films, including "Baby Face."
"Complicated Women: Sex and Power in Pre-Code Hollywood" by Mick LaSalle Examines how actresses like Barbara Stanwyck portrayed complex, sexually independent women before censorship took hold.
"Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934" by Thomas Doherty A scholarly examination of how Pre-Code films reflected and challenged American values during the Depression.
"Dangerous Men and Adventurous Women: Romance Writers on the Appeal of the Romance" edited by Jayne Ann Krentz Includes discussion of how Pre-Code films like "Baby Face" influenced representations of female desire.

Articles and Essays

"Baby Face: Rediscovered and Reconsidered" by Imogen Sara Smith, Library of Congress Details the discovery of the original uncensored version and compares it to the theatrical release.
"The Production Code of 1930: Attempt at Movie Censorship" by Stephen Vaughn, Journal of American History Examines the Catholic influence on Pre-Code censorship efforts.
"Barbara Stanwyck: The Miracle Woman" by Dan Callahan Explores Stanwyck's career with significant attention to her Pre-Code performances.

Online Resources

TCM's Pre-Code Collection Turner Classic Movies has extensive resources on Pre-Code cinema, including articles on "Baby Face."
The Library of Congress National Film Registry "Baby Face" was added to the National Film Registry in 2005; their site includes historical context.
Pre-Code.com A website dedicated to reviewing and analyzing Pre-Code films with detailed information on "Baby Face."