Baby Face

The National Gallery of Art showed the long-thought lost original uncut version of this film on July 10, 2005. It restores vital scenes cut by censors upon its release. The character of the cobbler, a moral goody-goody individual in the original censored release of 1933 is here presented as a follower of the philosopher Nietsze and urges her to use men to claw her way to the top. Also, the corny ending of the original which I assume is in current VHS versions is eliminated and the ending is restored to its original form. A wonderful film of seduction and power. Hopefully, there will a reissue of this film on DVD for all to appreciate its great qualities. Look for it.

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.

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.

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.

There was censorship in US cinema. The Hays code which was enforced from 1934 just added another layer and stifled American cinema.

This is starkly displayed in Baby Face which was a pre code film and it is more frank in its use of sex as a means of getting what you want.

Lily Powers (Barbara Stanwyck) has been pimped out by her father since she was 14 year of age. Her father runs an illegal drinking den in Pittsburgh. Most of the patrons want to get an eyeful and feel of Lily.

When her father is killed, an elderly friend tells Lily to take a leaf out of the writings of Friedrich Nietzsche and go for greater things even if she has to use men. Lily and her afro american friend Chico (Theresa Haris) hop on a freight train for New York.

When they arrive in the big metropolis, Lily uses her feminine charms to get a job in a bank and go up the corporate ladder by sleeping her way to the top. This leads to tragedy when one of her suitors commits a murder and then kills himself.

The film with its frankness feels like a breath of fresh air. It actually looks modern. Stanwyck is alluring, there is a small early role for John Wayne, one of Lily's amorous victims. The film is unusual with Lily being close to a black character. Watching the restored version was like viewing a lost classic.

There have been written so many things about "Baby Face", being the probably MOST daring and explicitly sexual movie before the enforcement of the Hays Code - in fact, one of the main REASONS for its rigorous enforcement - that every fan of classic films, even if he hasn't actually seen it, knows pretty well what it's all about. A girl who's been 'working' in her father's dubious 'establishment', 'entertaining' men ever since she was 14, and after her father's death escaping to New York and REALLY climbing up the ladder; 'wrong by wrong', as the ads for the movie promised the scandal-hungry audience of the time...

Although this movie should be regarded exclusively in itself, there is ONE comparison that inevitably comes to mind - to the OTHER great pre-Code movie that had been released just two months before "Baby Face", and constituted the other half of the gravestone that Will Hays would soon put on this kind of 'unacceptably immoral' movies: Mae West's "I'm No Angel"... In fact, the philosophy of the two starring ladies is just about the same; only that Mae expressed it in her own, casual way of 'Find 'em, fool 'em, and forget 'em', while Barbara goes by the philosophical advice of none other than Nietzsche: 'Face life as you find it - defiantly and unafraid. Waste no energy yearning for the moon. Crush out all sentiment.' And so she does - she uses her female assets to make a VERY quick career at a big bank, making it to the 'executive suite' in literally no time; she uses the way that Mae West had suggested in words and humorous double-entendres, but VERY explicitly and unequivocally for the whole audience. And she gives a MAGNIFICENT performance (maybe the best one of her whole, great career) as the tough gal determined to do EVERYTHING in order to reach the 'top' - and yet, just when she thinks she's got everything she wanted (everything measurable in dollars, jewels and fur coats, that is), her sentiment, that she'd been trying so hard to crush, sets in, and her 'success story' becomes a drama...

And that's exactly the difference between "Baby Face" and "I'm No Angel": Mae West, as always, takes even her most spicy adventures with humor, always staying on top of things and getting what she wants; while Barbara Stanwyck is forced by the circumstances almost from the beginning of her life to become a 'bad girl' - and that was obviously a TOO much realistic view of things for the Hays Office: while "I'm No Angel" finally got its seal, "Baby Face" was withdrawn from release and edited until it was 'fit' for distribution. But it was still HIGHLY explosive stuff, and soon afterwards the final curtain came down on those daring, 'outrageous' pre-Code movies in the shape of Will Hays' 'Bible' called the Production Code, which would from now on be rigorously applied to EVERY movie before it would be granted a seal.

So enjoy "Baby Face" as one of the most audacious pre-Code films - and as one of the VERY best movies of classic Hollywood in general, featuring one of the GREATEST performances of one of the GREATEST actresses of all times!

Arriving by boxcar in New York City, the shrewd young woman with the BABY FACE begins to methodically canoodle her way to the top floors of power in a great bank.

Barbara Stanwyck is fascinating as the amoral heroine of this influential pre-Code drama. Without a shred of decency or regret, she coolly manipulates the removal or destruction of the men unlucky enough to find themselves in her way. A wonderful actress, Stanwyck has full opportunity here to display her ample talents.

Appearing quite late in the story, George Brent is a welcome addition as the one fellow possibly able to handle Stanwyck; his sophisticated style of acting makes a nice counterpoint to her icy demeanor. Douglas Dumbrille, Donald Cook & Henry Kolker portray a succession of her unfortunate victims.

John Wayne appears for just a few scant seconds as an unsuccessful suitor for Stanwyck's affections. This would be the only time these two performers appeared together on screen.

Movie mavens should recognize Nat Pendleton as a speakeasy customer, and Charles Sellon & Edward Van Sloan as bank executives - all unbilled.

The music heard on the soundtrack throughout the film, perfectly punctuating the plot, is ‘Baby Face' (1926) by Benny Davis & Harry Akst and ‘St. Louis Blues' (1914) by W.C. Handy.

BABY FACE is a prime example of pre-Code naughtiness. In its frank & unapologetic dealing with sex, it is precisely the kind of film which the implementation of the Production Code in 1934 was meant to eliminate.