[[caption-width-right:250: Thought ''all'' movies were squeaky clean and decent in the olden days? [[OlderThanTheyThink Think again!]]]]

The Pre-Code Era is ExactlyWhatItSaysOnTheTin. The period before the active, total enforcement of TheHaysCode. This period stretched from 1928 to 1933, though stragglers continued into 1934 and 1935. This brief, short period is unlike any later period in film history. Imagine seeing old classic films with actors like Clark Gable or Claudette Colbert and feeling that the roles they are playing are too conventional and too cute. You wish they played different roles, you wish that the films weren't so bound by censorship that almost all the roles and the entire plot register as a DullSurprise to the viewer since the conventions are so painfully enforced. Basically, you wish to see old-time actors operate with the same freedom as the NewHollywood. The good news is that you can, by seeing films from The Pre-Code Era.

Oh sure, you didn't have PrecisionFStrike and the language is still [[GoshDarnItToHeck (mostly) squeaky clean]], and there's not a whole lot of full nudity even if [[MsFanservice there is more skin]]. But everything is different. In these films, there's no coyness or euphemisms, visual or otherwise; characters if they like each other will get physical. Gangsters and bad guys tend to be more AffablyEvil without the CharacterDerailment in later films that makes them obvious bad guys as an AuthorsSavingThrow. There are more KarmaHoudini villains and a DownerEnding is not rare, though the films are fairly light on the whole.

This period coincided with the end of TheRoaringTwenties and the early years of TheGreatDepression and are incredible portrayals of the time. It shows the level of unrest and uncertainty brought out by mass unemployment, urban violence and the worker's movements and strikes in the same period. Male characters tended to be {{Working Class Hero}}es more often than not. Women are also shown at work, living alone and dating as per their wishes. Crime movies tend to have prostitutes not as cautionary tales but as genuinely conflicted, morally complex characters. There's more GrayAndGrayMorality here and RealityEnsues more often than not. Seen today, the contrast between the films made before the censorship and the period after goes a great deal to showing the impact censorship made on American cinema and the kind of films that [[WhatCouldHaveBeen could have been made]] had censorship not been active for the thirty years after the end of the era, dispelling the myth that American cinema were prudish by instinct rather than external factors, showing that they were in fact stifled by an obsolete system that they themselves never set store by.

Some directors who were especially frank and provocative suffered when censorship was enforced. A director like Josef von Sternberg, a favorite of JorgeLuisBorges and an influence on Creator/AlfredHitchcock and many others, made provocative works about sex and power in his films with Creator/MarleneDietrich. Censorship inevitably prevented him from dealing with the same kind of content, and Dietrich herself declined in stardom after the period, never truly playing roles of the same caliber. Frank Borzage, who was LighterAndSofter, but thought nothing of making films about couples who were openly sexual and who tended not to be married and whose films had a real anarchic working class spirit, never recovered fully either. It was also a prolific period of creative outpouring with a director like William A. Wellman making 20 films in a three year period for Warner Bros, a rate of productivity that he didn't repeat afterwards, even if he continued making good films. Several of the films made in this era disappeared from public view because TheHaysCode required older titles to be resubmitted for evaluation for general release in repertory theaters and later on television. Most of them, needless to say, didn't pass muster. They became prized object for [[KeepCirculatingTheTapes private collectors]], and archivists around the world. These films were often more widely seen abroad than in America in the same period, especially at the Cinematheque in Paris, whose audiences became the FrenchNewWave.

A good example is Creator/HowardHawks' original ''Film/{{Scarface|1932}}''. Despite being the TropeMaker for gangster films and a phenomenal influence on American cinema at the time to the point of PopCulturalOsmosis it was unseen in America till the late 70s where it once again attracted notice and attention, which in turn led to well-known [[Film/{{Scarface 1983}} remake]] with AlPacino. Other titles were ''Trouble In Paradise'' by Ernst Lubitsch as well as ''Design for Living'', an incredible OlderThanTheyThink portrayal of a OneTrueThreesome which anticipates the Free Love climate of TheSixties. The films were steadily rediscovered since then with TCM channel being a major supporter of these works. Several of them are released on DVD labels like ''Forbidden Hollywood'' with the hook being its OlderThanTheyThink value.

Films from this period also treated sexuality much more frankly. In ''Film/BabyFace'', Barbara Stanwyck sleeps her way to riches. In ''Film/{{Topaze}}'', Myrna Loy's character matter-of-factly admits that she is TheMistress of a CorruptCorporateExecutive. Brief nudity was occasionally seen, dating back to the silent film era, as well as scenes with women in states of undress, like Fay Wray in ''Film/KingKong'' after Kong peels off her clothing.

This period provided us the Gangster Film, TheMusical and the ScrewballComedy, in addition to some war films like ''Film/AllQuietOnTheWesternFront''. It was also the period of UniversalHorror films, titles like James Whale's ''Film/{{Frankenstein|1931}}'' with Boris Karloff and its sequel ''Film/BrideOfFrankenstein'', Tod Browning's ''Film/{{Dracula|1931}}'', ''Film/TheBlackCat'' as well as MGM's one attempt to cash in on the trend, Tod Browning's ''Film/{{Freaks}}'' which could not be made in any other period but this one. It was also a time of important innovations in special effects, with ''Film/KingKong'' released in 1933. All in all, this period of six years, which marked the end of silent cinema and the beginning of sound was a climate of freedom which was [[ShortLivedBigImpact all too brief]] but whose impact reverberated for years to come.

Actors who were major figures in this era include Creator/JamesCagney, Creator/MarleneDietrich, Barbara Stanwyck, Creator/SpencerTracy, Creator/GaryCooper, Miriam Hopkins, Kay Francis, Margaret Sullavan, George Raft, Wallace Beery, Creator/EdwardGRobinson, Creator/ClaudetteColbert, Constance Bennett, Paul Muni, Frederic March, Creator/MauriceChevalier and many others. In addition, actors like Creator/ClarkGable , Creator/HumphreyBogart and Creator/JohnWayne made [[YoungFutureFamousPeople early-bird appearances]] in films in this era.

Important Directors from this period are,

* William A. Wellmann - ''The Public Enemy''(which made James Cagney a star), ''Wild Boys on the Road, Heroes for Sale, The Purchase Price, Midnight Mary, The Conquerors, Other Men's Women''.
* Creator/JosefVonSternberg - ''Morocco, Blonde Venus, Shanghai Express, The Scarlet Empress, The Devil is a Woman''(all with Creator/MarleneDietrich), in the same period he also made the first adaptation of Theodore Dreiser's AnAmericanTragedy which resulted in ExecutiveMeddling.
* Frank Borzage - Incredibly prolific in this period. A major silent film director, he took to sound really quickly and made several films which were innovative in camera movement and bold content. ''Man's Castle'' with Spencer Tracy and Loretta Young is set in a Hooverville in New York is perhaps the boldest portrayal of the Depression from this period. His adaptation of ''A Farewell to Arms'' with Gary Cooper and Helen Hayes was disliked by ErnestHemingway but later audiences adored its swooning romanticism and frank eroticism.
* Creator/ErnstLubitsch : A major director before and after the code. He made some incredible musicals(which were closer to operetta) starring Maurice Chevalier and then switched to making sophisticated comedies like ''Trouble in Paradise, Design for Living'' and found time to make a WW1 drama like ''Broken Lullaby'' which was one of his favorites. He survived the end of the period better than other directors.
* Creator/KingVidor : A major pioneer in the silent era. When sound came in, he made the FairForItsDay all-black musical ''Hallelujah'' which recorded sound on location in 1929! He made ''The Champ, Street Scene, The Stranger's Return, Bird of Paradise'' and the 30s equivalent of the independent film with ''Our Daily Bread'' which dealt with the Depression and was cited by OrsonWelles as one of his ten favorite films.
* Creator/BusbyBerkeley : Pioneer of the Creator/BusbyBerkeleyNumber, directed musical numbers with gorgeous ladies in kaleidoscopic formations in such films as ''42nd Steet, Footlight Parade, Gold Diggers of 1933, Dames'' and others. He was himself a returning war veteran and used his knowledge of military drills to form his numbers and this inspired such bold numbers as ''[[ShellShockedVeteran Remember My Forgotten Man]]'' [[RippedFromTheHeadlines inspired by]] the 1932 Veterans March to Washington.
* Creator/HowardHawks : The director of the original ''Scarface'' and progenitor of the screwball comedy.
* RoubenMamoulian : Director of the famous sound version of DrJekyllAndMrHyde with Frederic March and Miriam Hopkins, foregrounding the sexual subtext of the original and innovative for its special effects. He directed the musical ''Love Me Tonight'' famous for the number, "Isn't It Romantic?" and provided Creator/GretaGarbo with a signature role in ''Film/QueenChristina''