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    Baby Face (1933, Uncut)

    Posted By: Someonelse
    Date: 21 Apr 2011 13:01:24
    Baby Face (1933, Uncut)

    Baby Face (1933, Restored pre-release version)
    DVD5 (VIDEO_TS) | NTSC 4:3 (720 x 480) | MPEG2 @ 5247 Kbps | 01:15:49 | 3,36 Gb
    Audio: English AC3 1.0 @ 192 Kbps, Russian AC3 2.0 @ 192 Kbps | Subtitles: English, French, Spanish, Russian
    Genre: Drama, Classics | 1 win | USA

    Lily Powers (Barbara Stanwyck) works as a barmaid in her father's factory-town saloon where she learns to deal with the unwanted advances of male customers. When her father dies, she moves to New York City with her maid, Chico (Theresa Harris), to become a ruthless gold digger. First she meets office boy Jimmy McCoy (a young John Wayne in an uncharacteristically clean-cut role) who helps her get a job at the Gotham Trust Company. From there, she seduces and discards various men (George Brent, Donald Cook, Henry Kolker) as she LITERALLY sleeps her way to the top of the company. Jealously between the men causes a murder scene, so Lily takes her furs and jewels and moves to Paris with Chico…

    IMDB

    Early, Racier, pre-release Version of Stanwyck’s Baby Face Discovered - Article.

    For decades, "Baby Face" – the 1933 film starring Barbara Stanwyck – has been pre-Code 101. If you want to turn someone onto pre-censorship movies at their most fun, sleazy and outrageous, just take them to "Baby Face," and from there they'll be inspired to explore the whole era.

    But last year, miraculously, "Baby Face" got even better. An archivist at the Library of Congress discovered a print of the original version of the film, before it was trimmed and slightly re-shot to get it past the New York state censor board in 1933. Make no mistake: In its familiar incarnation, "Baby Face" was already risque enough to qualify as one of the most notorious of pre-Code films, something that could never have been released in any form following the coming of the Production Code in 1934. But in its original version, it turns out to be even more fun and outrageous – and a deeper and more complete experience, as well.

    Baby Face (1933, Uncut)

    The original "Baby Face" opens for a one-week run at the Balboa, sharing the bill with "Night Nurse," a 1931 Stanwyck film that's just as amusing as "Baby Face" and, if anything, more perverse. ("Night Nurse" stars Stanwyck and Joan Blondell as a pair of nurses who stumble across a scheme to murder two children, as part of an insurance scam.) "Baby Face" tells the story of a woman from a sorry background – her father was her pimp – who goes to the big city, intent on becoming rich by enslaving men sexually.

    The differences between the original and the release versions of "Baby Face" are small, and yet combined they spell the difference between a good three-star movie and a delightful four-star movie. In the original, Lily (Stanwyck) goes to the city, not just with the vague intention of sleeping her way to the top (as was the case in the released version), but with the decided intention to act according to Nietzschean principles. Thus, everything she does becomes part of a philosophical proposition. We know where she's coming from and how she's thinking, in a way that we didn't before.

    Baby Face (1933, Uncut)

    The rawness goes beyond shock effects. It grounds the audience in a specific world. In this version, we discover, for example, that Lily's father has been pimping her out since she was 14. We also see how she makes it to New York. In a grim seduction scene that, unlike some that follow, isn't at all played for laughs, she has to have sex with a railroad worker in an empty freighter, in order to get a ride for herself and a friend.

    If you've never seen Stanwyck in a pre-Code film, you've never really seen Stanwyck. Never in her later career, including "Double Indemnity," was she ever as hard-boiled as she was in the early 1930s. She had a wonderful quality of being both incredibly cool and yet blazingly passionate. Her cynicism was profound, and then, without warning, she would explode into shrieking, sobbing, saliva-spraying hurt and rage. What an indelible, one-of-a-kind talent.

    Baby Face (1933, Uncut)

    If you do see "Baby Face," don't miss "Night Nurse." Over the years, I've taught classes in pre-Code movies, and I've routinely chosen "Night Nurse" over "Baby Face" as the best example of Stanwyck in this period. Now that "Baby Face" has been restored, choosing between the two will be more difficult. But with both on the same bill, that's a choice you don't have to make.
    Baby Face (1933, Uncut)

    Finally, the uncut version of "Baby Face" surfaces and from what source? The Library of Congress. The restored four minutes, snippets here and there, make for a much better film. We now know that Baby Face was pimped by her old man from the time she was at least fourteen years of age. Another reason d'tat for her behavior and cold, calculating exterior.

    Barbara Stanwyck is indeed amazing in the role of Lily Powers (notice the moniker), a part that called for just the right amount of sexuality coated with power, cunning, and revenge, yet tinged with virginal pretense when called for, a very difficult portrayal to make convincing. Barbara Stanwyck conveys the necessary nuances to show that though she sleeps her way to the top (literally), she still has good in her heart–note the way she treats those few who have been kind to her such as Chico (the marvelous actress Theresa Harris) and the old philosopher. And though she exploits her sexuality to make mush of men who are rich and powerful, those same men are attempting to exploit her for their carnal desires with no intention of permanent ties until they fall in love with her.

    Baby Face (1933, Uncut)

    Lily Powers fails to understand, at first, that emotions are difficult to ride, that it's easy to lose control. One possible result is death. Hitching a wagon to a star of course materialism can take one to a destination where nothing else exists but the ephemeral, and it's a cold lonely location.

    A word should be said about the philosophy of Friedrich Nietzsche whose will to power is stressed in "Baby Face" by the elderly philosopher who befriends Lilly when she is still turning tricks for her old man. "Baby Face" was released the same year Adolf Hitler came to power in Germany. Though it's highly unlikely that the semi-literate Hitler understood much about Nietzsche, he considered himself a Nietzschean to the nth degree and touted it along side his other rantings. "Baby Face" serves as an indictment of the popular interpretation of Nietzsche's will to power concept, especially in the final scenes.

    Baby Face (1933, Uncut)

    Although "You've got the cutest little baby face." is apropos as a theme for "Baby Face," an even more telling and applicable melody is W. C. Handy's "St. Louis Blues" played throughout the film, especially at times when the camera has to drift away from what would otherwise be sexually explicit scenes. "St. Louis Blues" is also used wisely toward the end as Lily begins to see beyond materialism to eternal values. Chico is singing a raw, salacious version of "St. Louis Blues" when Lily, now disagreeing with the lyrics, orders her to stop.

    The restored version of "Baby Face" makes the film more modern in its approach and attitude toward sex as power than many a new Hollywood release. By all means watch this gem from the distant past and enjoy.
    IMDB Reviewer,
    26 of 28 people found this review helpful
    Baby Face (1933, Uncut)

    Baby Face (1933, Uncut)

    Baby Face (1933, Uncut)

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