LeonLouisRicci Infamous Pre-Code Movie that is often Cited as one of those that brought the Hays Code as the Predeterminer of all Things out of Hollywood. It was Banned in Pennsylvania and Ohio, and once the Code Took Effect, the Do-Gooders made it Clear that this one was Never to be Re-Released in Any Form. Thanks a Bunch.Because of all the Hoopla this was a Rarely Seen, until recently, Film that was "Lost" for Decades. Then when it did Resurface in Bad Prints and were a Disappointment at Best and Impossible to Watch at Worst. But Recently, thanks to TCM and others, a New 35MM Print has been Restruck and Pre-Code Fans were Salivating to get a Glimpse at this Faulkner Story that was Considered Unfilmable. But Paramount did Film it and Release it with a Title Change, because the Book was as Infamous as the Movie would Become. The Book, "Sanctuary", was considered Lurid Trash. The Movie, "The Story of Temple Drake", was considered Lurid Trash. So Everyone Wins, so to speak.It is Quite a Ride with Miriam Hopkins Playing the Lead, a Late Teen Southern Belle with a Family History on Her Side and a Beau always at Her Side who were Always Invited but Never let into "The Temple". A Scrawl on the Bathroom Wall says it All..."Temple Drake is a Fake...She Wants to Eat and Have Her Cake".The Movie is Divided Distinctly in Two Parts. First are the Fancy Free and Gay Party Scenes where Temple Bounces from Boy to Frustrated Boy, comes in at Dawn and is Happy just to Dance and Drink the Night Away.Part Two is a Gothic Horror Story that Pulls Few Punches. The Fantasy Daydream has become a Nightmare when Temple Finds Herself Stranded in an Old Dark House with Hillbilly Horrors.There are Filthy, Sweaty Men Lusting after Her Disrobed, Pre-Code Female Form and this Climaxes with a Barnyard Rape and a Stockholm Syndrome Situation. Jack La Rue is the Bootlegger, Pimp, Murderer, Rapist, that has Temple Under His Spell and after Spending some Nights in a Brothel, the Final Act of Capitulation, the Courtroom Conclusion is brought about so Things can be Set Righteous. This is a Racy, Raunchy, Sordid Story of Sex, Murder, and Drunks. All Surrounding a Southern Family. Class Structured Elitism Exposed in the William Faulkner Way with a Heaping of Pre-Censorship, Expressionistic, Hollywood.Note...This is one of the most written about Pre-Code Films and there is much more information to be found elsewhere with in depth discussions about the Film's History.

SnoopyStyle Stephen Benbow (William Gargan) is an idealistic defense lawyer who is in love with Temple Drake (Miriam Hopkins). She is a southern belle wild child and a tease. Her granddad Judge wants her to go with Stephen but she can't seem to marry the straight laced Stephen. She leaves a party with the drunken Toddy who crashes the car. They're taken by bootleggers. Soon she's in fear of the lowlife criminals and the drunken Toddy is useless. She is raped by the well dressed killer Trigger (Jack La Rue). He kidnaps her as his kept woman. Stephen investigates Trigger for a murder and finds Temple. She pretends to be Trigger's woman to send Stephen off.The controversial salacious content is pre-code. There is some violence and a lot of suggested sexuality. It's actually effective as a noir style movie. The surprising thing is that it's still very watchable. The acting isn't always the best. William Gargan is a bit stiff. Miriam Hopkins is playing it very melodramatically as is usually the case of this era. It works in this melodrama. Jack La Rue is great as the quietly threatening villain.

jjnxn-1 Provocative and racy this hard to find film is loaded with infamy. If you started watching not knowing it was a pre-code it would only take a few minutes to realized it. Full of a wantonness and sense of depravity that wouldn't be seen in movies for decades after, this sin-fest features rape, murder and many other shocking events with a frank candor. Even the advertising for the film was lurid, just look at the poster to get an idea of how the film was sold. Many of the cast are rather ham handed in their portrayals, William Gargan in particular, but Miriam Hopkins lights up the screen with a vibrant sensuality and a compelling presence. A truly talented actress it's a shame that behind the scenes she was such a difficult and brazen up-stager that it irrevocably damaged her career and shortened her star period.

Larry41OnEbay-2 "Good god, I can't publish this. We'd both be in jail." Wrote William Faulkner's publisher in 1929 after reading an early version of his fifth novel, Sanctuary. The Hays Office forbade any reference to the novel in advertising for the film. (In the opening credits of The Story of Temple Drake it only says, "From a novel by William Faulkner.")The challenge then was how to present it in an engaging if not entertaining movie without gutting the inherit drama of the story. By blending what they could show with what the audience was left to imagine it becomes a near horror film. Joseph Breen, would say it was "the vilest books, but that the film was tame in comparison to the novel."This steamy melodrama triggered church boycotts and stricter enforcement of the Hays production code. After only a few screenings, the film was quickly shelved by the Production Code Administration, never to be seen again…until now.A few collectors' 16mm prints have surfaced over the years, but a 35mm print hasn't been seen since the 1930s. So why did it take until now? The Museum Of Modern Art (MoMA) was approached by Turner Classic Movies (TCM) to work on a collaboration. This long sought-after title came up, and fortunately the MoMA holds the original elements and in excellent condition! This print of Temple Drake that we are screening is only a single generation away from the original camera negative, making this a true rediscovery that is not to be missed!The pivotal role of Temple Drake was entrusted to Miriam Hopkins, best known for Lubitsch's Trouble in Paradise & Design for Living. But Hopkins seizes the opportunity to extend herself as a performer, arguably her finest performance. The role itself is much more complex than many of the parts offered to women in studio films today. George Raft was suspended by Paramount for his refusal to appear as "Trigger" in this film. Paramount head Adolph Zukor's reasoning that Raft turned down the part not because he objected to the material, but because he wanted more money.I first read about it in books on films of the 1930s, later I heard about it in documentaries on Pre-Code Hollywood. When I finally saw this forbidden film it was no gem. Like many of you I first saw Temple on VHS made from a worn 16mm collectors print years ago. It ranked as one of the worst transfers I had ever seen, almost unwatchable. But there was something there, to the story and the characters that drew me into the fuzzy darkness on the screen. The raising of ideas, situations and life mysteries that I found fascinating. Kind of like Dr. Jekyll wanting to know more about Hyde (another great Pre-Code Miriam Hopkins film.) But this screening is of the MoMA "To Save and Project" film preservation program and is a recently printed 35mm print made from the original negative that played to rave reviews at last years TCM Film Festival.One of the most daring Pre-Code films ever produced, this audacious film has been credited with being a catalyst for the creation of the Roman Catholic Church's National Legion of Decency. It was banned in Pennsylvania and Ohio, and Joe Breen ordered the film to never be re-released again once the Production Code came into effect in June of 1934. For many classic film fans, 1933's "The Story of Temple Drake" has long been something of a holy grail. Based on William Faulkner's novel, "Sanctuary", the story of a young Southern débutante with a wild side created a huge scandal upon its original release. The film was quickly pulled from release and went largely unseen for decades. Until now. Showing in a new 35mm print struck from the original camera negative!Georgia native Miriam Hopkins portrayed Temple Drake, (she made this film between Lubitsch's TROUBLE IN PARADISE (1932) and DESIGN FOR LIVING (1933)) The gangster is played by pop-eyed Jack LaRue in another of his great Pre-Code sleaze-bag performances.(This is only part 1 of 2, Continued…)