Bosko the Doughboy (1931): Violence and Absurdity
Before the Hays Code was widely adopted around 1934, Hollywood produced a number of wild films that would be frowned upon even in today’s Quentin Tarantino environment. One of the wildest is a Bosko cartoon released by Warner Brothers in 1931 which shows the horrors of World War I in a graphic and yet insanely cheerful manner. Oddly, it was directed by Hugh Harman, whose Harman-Ising cartoon productions usually showed cute animals innocently singing and cavorting on farms and in the wilds.
In “Bosko the Doughboy,” one of the first shots is a brutal machine-gunner who turns his weapon to the camera and shoots the audience.
Machine-Gunning the Audience
I have seen numerous World War I films such as Stanley Kubrick’s Paths of Glory (1957) and the recent They Shall Not Grow Old (2018). Yet neither of these films can hold a candle to “Bosko the Doughboy,” whose experiences would shame the Good Soldier Schweik or Bertolt Brecht or Eugene Ionesco. This is a cartoon which remains on a manic and chirrupy plane even when many of its cute animal characters are shot to pieces by machine guns, cannon, or aerial bombardment. Nobody is sad, even when in articulo mortis.
You have to see this film to believe it. It’s only seven minutes long.
In the very last scene, a bomb explodes right by Bosko, turning him black. His response? He spreads his arms wide and shouts “Mammy!” a la Al Jolson.
Who Can Resist That Mug?
I must have seen the original King Kong (1933) over twenty times by now, and I never seem to grow tired of it. One of the reasons I love it is that it is Pre-Code. As such, it gets away with many scenes that a few scant years later would have received the kibosh from the censors at the Hays Office. In one of my favorites, Kong employs Fay Wray as a scratch-n-sniff toy, stripping away her outer garments as if they were onionskins and holding his fingers up to his nose. You can see the scene on YouTube here.
A few years before he died, I happened to meet the producer and co-director of the film, Merian C. Cooper. He spoke to a film class at UCLA for which I was the graduate teaching assistant. During that class, he gave his own interpretation of what Kong was really about. Now I don’t necessarily take his word for it, but he says that the ape was a symbol of the downtrodden black race which did not know its own power. Maybe, but there are too many vignettes of the giant gorilla munching on black natives or crushing them like insects under his feet for that reasoning to be altogether convincing.
While I liked the big gorilla, I went ape for Fay Wray. After seeing countless movies of the period with goldilocks-looking blondes wearing those stupid cloche hats, like cloth helmets, it was refreshing to see a healthy young woman who would be considered a knockout today—without having to squint your eyes. Oh, and she was also a pretty good screamer.
Fay Wray in the Notorious Scratch-N-Sniff Scene
There have been numrous remakes and near look-alikes, but I still think the only ones worth considering were done by Ernest B. Schoedsack with or without Merian C. Cooper. I am specifically referring to Son of Kong (1933) and Mighty Joe Young (1949). In the age of CGI, Kong just ceases to be interesting. The model work in the Schoedsack/Cooper films was nothing less than superb.