This site is devoted to the love of classic movies. What qualifies as a classic film or movie is somewhat subjective. There are certain films which endure because they strike an emotional chord long after their initial release. For example, a movie like "Casablanca" (1942) would qualify as a classic under that definition.
Pre-Code Essentials: Must See Cinema from Hollywood’s
Untamed Era 1930-1934 written by Kim Luperi and Danny Reid, serves as a
vibrant, rowdy tribute to the four-year window when Hollywood lost its
inhibitions before the Hays Code clamped down in mid-1934. This collection perfectly captures the
era’s frantic energy, highlighting films that feel surprisingly modern even
nearly a century later. By focusing on the gritty realism and social fluidity
of the early thirties, the authors bypass the polished Golden Age artifice in
favor of something far more visceral and honest.
The selection excels at showcasing the era’s “dangerous”
women and cynical heroes. From the unapologetic social climbing of Barbara
Stanwyck in Baby Face to the crackling, machine-gun dialogue of Cagney
and Robinson, the “Essentials” list reminds us that the pre-Code era was
defined by its lack of moral lecturing. These films didn’t just depict sin;
they often allowed it to go unpunished, reflecting a Great Depression-era
audience that was far more interested in survival and rebellion than in Sunday
school lessons.
Visually and tonally, the collection highlights the raw
transition from silent cinema to talkies. You can see the camera regaining its
mobility while the sound design experiments with the era’s new freedom. The “Untamed”
moniker is well-earned here; the films tackle heavy themes of addiction, sexual
autonomy, and systemic corruption with a frankness that disappeared from
screens for decades after. The inclusion of deep cuts alongside well-known
classics like Red-Headed Woman ensures that even seasoned cinephiles
will find a new essential to obsess over.
Ultimately, Pre-Code Essentials is a necessary
correction for anyone who thinks old movies are inherently “tame.” It
celebrates a time when the ink on the rulebook was still wet, and filmmakers
like William Wellman and Ernst Lubitsch were pushing the boundaries of what a
mass audience could handle. It’s a fast-paced, scandalous, and utterly
essential look at a brief moment in time when Hollywood was truly, gloriously
out of control.
One, Two, Three
(1961) is an American political comedy film directed by Billy Wilder and
starring James Cagney, Horst Buchholz, Lilo Pulver, Pamela Tiffin, and Arlene
Francis. The screenplay was written by Wilder and frequent partner I.A.L.
Diamond. The music is by Andre Previn and the cinematography is by Daniel L.
Fapp who won an Academy Award for West
Side Story (1961).
C.R. “Mac” MacNamara (Cagney) is an executive with the
Coca-a-Cola Company, based in West Berlin during the early days of the Cold War.
He was sent there after a business failure in the Middle East. Still bitter
over the demotion, Mac is determined to become head of the Western European
operations in London. While attempting to introduce Coke to the Soviet Union,
Mac’s boss asks him to look after his seventeen-year-old daughter Scarlett
(Tiffin) when she arrives in Berlin.
Looking for a “marvy” time in Berlin her trip to Europe wasn’t
any fun for her. Scarlett goes out every night, unbeknownst Mac and his wife
Phyllis (Francis). Every night, Scarlett would sneak over to East Berlin where
she met a Russian Communist named Otto (Buchholz). She falls in love with him
and they get married. Then, she declares she’s pregnant!
What will Mac do when Scarlett’s parents come to Berlin to
take her home to Georgia?
Billy Wilder (1906 - 2002) was an Austrian-born American film
director, screenwriter, and producer. He won six Academy Awards for his writing
and direction and was nominated twenty-one times over a career that spanned
five decades. Wilder started his career as a writer, penning the screenplays
for Ninotchka (1939), Ball of Fire (1942), Double Indemnity (1945), The Lost Weekend (1946), Sunset Boulevard (1951) Boulevard (1951), Sabrina (1955), Some Like it Hot (1960), and The Apartment (1961). As a director, he won Academy Awards for
directing The Lost Weekend (1946) and The Apartment (1961). Wilder directed fourteen different actors in
Oscar-nominated roles. He is considered one of the most versatile directors
from Hollywood’s Classical period.
Billy Wilder (far left), Pamela Tiffin, James Cagney, and Horst Buchholz
James Cagney (1899 – 1986) was an American actor of stage and film. During the early
1930s, Cagney emerged as one of the biggest stars in Hollywood in films like The Public Enemy (1931), Angels with Dirty Faces (1938), Yankee Doodle Dandy (1942), and White Heat (1949). Cagney was nominated
for the Academy Award for Best Actor three times, winning for Yankee Doodle Dandy. His other Best
Actor nominations was for Angels with
Dirty Angels, and Love Me or Leave Me
with Doris Day. Cagney retired from acting in 1961 but came out of
retirement 20 years later for a role in the movie Ragtime (1981).
Horst Buchholz (1933 - 2003) was a German actor who was
once called “the German James Dean” was an international movie star and
voice artist. In America, he starred in The Magnificent Seven (1960), One, Two Three (1961). He starred opposite Leslie Caron in Fanny (1961) and Nine Hours to Rama (1963). He’s almost as famous for the roles that
got away. He was offered the roles of Tony in West Side Story (1961) and Sherif Ali in Lawrence of Arabia (1962) but scheduling conflicts prevented him from
starring in those films.
Pamela Tiffin (1942 – 2020) was an American film, stage, and television actress.
She was discovered by producer Hal Wallace while she was on a tour of Paramount
Studios. She was given a screen test and was cast in the film version of Summer and Smoke (1961). Her next film
was Billy Wilder’s One, Two, Three
(1961). Wilder caller her “the biggest find since Audrey Hepburn.” She was
nominated for a Golden Globe award for her first two roles. Other roles followed
in State Fair (1962), Come Fly with Me (1963), The Pleasure Seekers (1963). She made
two films with James Darren geared for the teen audience: For Those Who Think Young (1964) and The Lively Set (1964). In 1965 she co-starred with Burt Lancaster,
Lee Remick, and Jim Hutton in The
Hallelujah Trail. She also co-starred with Paul Newman in Harper (1966). In 1967, she won a
Theatre World Award for her performance in Dinner
at Eight on Broadway.
Arlene Francis (1907 – 2001) was an American stage, television,
and film actress. Her career spanned more than five decades. Francis also
gained fame as a radio personality in New York City. She made her film debut in
1932 in Murders in the Rue Morgue.
Sixteen years later, she appeared with Edward G. Robinson and Burt Lancaster in
the film version of All My Sons
(1948). Perhaps her greatest claim to fame was as a weekly panelist on the popular
game show What My Line (1950 – 1967).
Francis’s last film role was in Fedora
(1978) directed by Billy Wilder. She earlier worked for the director in One, Two, Three playing James Cagney’s
wife.
One, Two, Three trivia
The film lost money due to
folks thinking the Cold War wasn’t a good subject for comedy at that time.
Joan Crawford (then on the
board of Pepsi) didn’t like the Coke-Cola connection. At the end of the film,
Cagney buys four Cokes but the last one out of the machine was a Pepsi.
The building of the Berlin
Wall impacted filming with the crew moving to Munich, building the lower half
of the Brandenburg Gate.
James Cagney hated working
with Horst Buchholz. Cagney complained that he was uncooperative and was always
trying to steal scenes. It was so unpleasant for Cagney that he retired from
movies until he accepted a supporting role in Ragtime.
In 1985, the film was rereleased
in France and Germany and was a big hit.
There are many homages to
other Wilder and Cagney films. Can you name some?
Click HERE to join the
discussion on Zoom, April 1, 2024, 6:30 p.m. Once you RSVP, you will receive
and invitation with a link to join the discussion on Zoom.
Can you understand why the
film wasn’t well received when first released? Why do you think the film is now
considered a classic by many?
This was Cagney’s last film
before appearing Ragtime (1985). What
did you think of his performance?
Horst Buchholz was
reportedly a thorn in Cagney and Wilder’s side. What did you think of his
performance?
Wilder was really high on
Pamela Tiffin as Scarlett, comparing her to Audrey Hepburn. Some people might
declare “blasphemy” with this comparison. What do you think?
Is there anything that is
still relevant between the Capitalist and Communist systems?
The film is loaded with
great dialogue; did you have a favorite line or scene?
