CINEMA JUNKIE CHRISTMAS BONUS EPISODE: Pre-Code Hollywood Essentials
(Note: This transcript is auto-generated and may contain errors)
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BETH ACCOMANDO That’s right…Cinema Junkie is stepping into the untamed territory of Pre-Code Hollywood for this special Christmas shopping bonus edition.
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BETH ACCOMANDO Welcome back to listener supported KPBS Cinema Junkie, I'm Beth Accomando.
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BETH ACCOMANDO I have the perfect Christmas gift for any cinephile in your life: the latest TCM book, “Pre-Code Essentials: Must-See Cinema from Hollywood’s Untamed Era 1930-1934." Pre-code Hollywood was a time when movies operated in defiance of rules and regulations and served up some of the most audacious, delightful and provocative films ever to come out of Hollywood. And now 50 of those films have been collected in a book by Kim Luperi and Danny Reid. We’ll define what pre-code refers to, discuss some of the titles and explore why this period of films remains so relevant and fascinating (:38)
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BETH ACCOMANDO I need to take one quick break and then I will be back with Kim and Danny to talk about Pre-Code Hollywood naughtiness.
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BETH ACCOMANDO Welcome back to Cinema Junkie. I’m Beth Accomando. I'm so excited about this book because precode Hollywood is something I really enjoy. But for people who are not familiar with this time frame in Hollywood, let's start by explaining what the code actually is.
DANNY REID
All right. The Hollywood Motion Picture Production Code of 1930 was an effort by the movie studios at the time to try and create a set of guidelines for what could and be shown on movie screens. There's a lot of reasons it came about. It's essentially a philosophical document talking about trying to uplift the morals of the motion picture audience, which sounds very fancy and thoughtful, but in reality, it's just a way to apply pressure and keep stuff off the screen that certain groups, interest groups, were not interested in seeing on the screen. This was happening in 1930, shortly after the stock market crash. This is after a series of scandals throughout the 1920s, where Hollywood was really taking a beating from the Fattie Arbuckle case to the William Desmond Taylor murder. And the Motion Picture Production Code was ratified in April of 1930. They all the studios came together and said, Yes, we will follow this document. We are going to make clean motion pictures for the betterment of America, and that pretty much fell apart just a few weeks later as the realities of the situation with the stock market crash, with all of these studios being over leveraged on the arrival of sound technology, all these different factors, investors, all of this, meant that studios needed to get buts in seats. And so they would make these movies. And there was a Studio Relations Committee, which was a group of people who sat on the outside and made suggestions to the studios like, Hey, don't make fun of Italians as much, or, Hey, maybe don't say this curse word or do this gesture. And studios at this point were more or less free to ignore them. They thought that it would get another button to see if they get another laugh, it might get that movie another nickel. They were more than happy to push the envelope. And this escalated throughout the early 1930s. Until 1934, July of 1934, the studios were facing a massive boycott by the Legion of Decency. They were really getting threats of federal censorship with the federal government stepping in to stop them from making movies or make movies exactly how the federal government wanted. And so the Motion Picture Production Code stopped being a suggestion and became enforced. That's when the Production Code Administration came in under Joseph Breen, and he had personal say so over what movies were and what they could say and what they couldn't say. There's still some exceptions. There's a lot of funky rules, little niches. But movies really change after 1934. And then you get into the golden era of Hollywood in the World War II era. And it's a very different beast than precode Hollywood. And precode is very like... When I say precode, I'm talking about that 1930, 1934 era. Precode is very sexual. It is very honest. It is very raw. The Great Depression was happening, and you really see it on the screen. There's no hiding from it. And at the same time, you have studios with the talkies bringing these new stars out and just creating these amazing films. We can just say some that people will immediately know that are mentioned in our book, like Grand Hotel or King Kong. But at the same time, they're creating a lot of really interesting and niche films. They cover a lot of subjects that could be psychologically complex or weird or really delve into relationships in ways that movies wouldn't after 1934. So it's a very interesting era. It's a very shocking era to some people because for a lot of people of my generation, older generations, you grew up with the golden age of Hollywood as being like no one curses, there's never any blood. It's shocking when someone throws a punch. And then you watch precode movies and there are people getting gunned down. There are women undressing behind curtains that you can see through the curtains. Or sometimes you see some bare breasts just because the director is assuming you're looking one way when in reality, if you look over to the left, you'll see something. So there's a lot of really interesting stuff happening at the time, more than just bare breasts. But in terms of what Hollywood was doing, it's a really exciting era, and it's one that's continually relevant to America, in my opinion.
BETH ACCOMANDO
Now, both of you are obviously too young to have watched these films in the '30s. What was the attraction of this period of films? What is it about these movies that really drew you in? Kim, do you want to start?
KIM LUPERI
Sure. Yeah, I don't remember how I got interested in precodes specifically, but I know I think what kept me coming back was, I think, just how surprising they can be and how raw they can be. Jumping off what Danny just said about a lot of people getting into this era through the golden age. The way that I first was introduced was Pride and Prejudice 1940, which I say is about as far from the precode era as you can get. But the '40s were really the era that brought me in. And so when you look at precode to '40s, like Danny was saying, it's just complete difference. And I just love the '30s films, the precode films, specifically because I can still be surprised by what I see sometimes. And I love that. I love that I can see a movie that's almost 100 years old and still be like, whoa, how did they do that? How did they get away with it? So I think it's really that and also how relatable they also can be still almost a century later. Those are some things that really draw me to the period and keep me coming back.
DANNY REID
Yeah, the same thing. I mean, I first discovered precode right around 2009 after the housing crisis and the great recession. And of course, the precode era is around the Great Depression. So it was very interesting to see how things lined up in terms of national mood, how people felt disempowered, how banks were running rampant. You don't want to be a banker in the precode movies. They are not good people. And as time passed, as that fated away, there's other things that come up that they're still relevant. They talk about the role of women, the role of men. They talk about international relations, how you treat other people. And there's a lot of fascinating stuff with racial dynamics that would also change when the code became enforced. Sexual dynamics. Precode era has a lot of films where women are bosses or CEOs of companies, and they go through what it means for a man to interact with a in that situation. Sometimes it's a comedy, sometimes it's a tragedy. So there's always something relevant. Whenever the country has been close to war, I look at All Quiet on the Western front or that era of pacifist movies, which are fascinating. It started off with just this, I watched the divorce say, and I was shocked by the frankness of it.
CLIP
I'm glad I've discovered there's more than one man in the world while I'm young and they want me. Believe me, I'm not missing anything from now on. I don't doubt it. Once a woman throws down her fence I'll hit it on a motto and hang it where journalists can see it. Stop that. Loose women, great, but not in the home, they tell me. Cut it, do you hear? The looser they are, the more they get. The best in the world, no responsibility. Well, my dear, I'm going to find out how they do it. Look for me in the future where the prim roses grow and pack your man's pride with the rest. From now on, you're the only man in the world that my door is closed to.
DANNY REID
And that just led me down a path to discovering there's all these fascinating little gems and treasures hidden. And this era, this era from '30 to '34, this is American movies, 2000 or so films, because they were putting out three or four movies every week. There was five major, three minor studios. It was a time of great content. All it was, all America had was the radio and movies. It's a time of the highest cultural dominance of this art form. It's fascinating to go back and see what they were projecting and what they were interacting with.
BETH ACCOMANDO
Also, it was a period where Because of what was going on economically, people really wanted an escape. That's part of what drew them to some of these movies.
DANNY REID
Absolutely. A lot of these movies, in 1930, was a massive year for movie musicals after the success of the Jazz Singer. They weren't good. 1930, they didn't have the technology to make good musicals. But by 1932, '33, you get to 42nd Street, Footlight Parade, Gold Diggers. And these are fantastic films. They hold up today. So you do get a lot of that escapism. You get these airy traumas. You get more innocent, fair, like Little Women. But then you get some really risque sex comedies out of this as well, where they could be really delightful and really playful, really sophisticated, if you're talking about Lubich and Mimulian. So there's a real Beauty and Grace. If you watch an MGM film from this era, it's like nothing else. If you watch a universal movie from this era, you can tell it's a universal movie. It's just a very fascinating time along those lines.
BETH ACCOMANDO
Well, and you mentioned Gold Diggers, and I remember the first time I saw that, I was really surprised that mixed in with that really light, frothy musical comedy, you have that really dark song about forgotten men also. So the tonal shifts were interesting.
DANNY REID
Yeah. Gold Diggers is my favorite movie, and I'll never get sick of talking about it because it is really a very interesting and earthy film that really goes into some fascinating, very dreamy places. I mean, it starts out with all these course girls getting laid off from their jobs because yet another play has fallen through. And you go through, you follow their lives where they're all living in the same apartment together, sleeping in the same bed. They have to share one outfit to go to auditions in. And then things turn around by a random chance and luck. And they have these beautiful silly numbers. They have the Moonlight Waltz, and then they have the Petten in the Park, which is a very silly, very sexy song. And then the movie goes through with its romantic comedy subplot. And then it's like, okay, we did all that, but let's take it back a notch and talk about the beginning of the movie, Getting Back to the Great Depression. And they go back and Busby Berklee, who's the choreographer for the film, was a World War One drill sergeant, and he had a real passion for the forgotten men. This is right around the time of the bonus army march. This is right around the time where all these veterans are poor, they're destitute. They've been promised these bonuses by the US government for their service. And they come back and the US government says, Well, we don't really feel like doing it right now, right after the Great Depression hits.
CLIP
Remember my forgotten man? You put a rifle in his hand. You sent him far away. You shouted, Hip hooray. But look at him today. Remember my forgotten man. You had him cultivate the land. He walked behind a cloud. The sweat fell from his brow. But look at him right now.
DANNY REID
So they end the film with the forgotten man number, which is definitely reminiscent and much different than a lot of the other Busby-Berkley movies, but it's very touching and very shocking in the ways that it confronts the realities that were facing World War I veterans at the time.
BETH ACCOMANDO
Kim, Danny mentioned that that's one of his favorites. Do you have some favorites from this era?
KIM LUPERI
Yeah, I definitely have several favorites. I mean, the one that I always start with is Babyface because that was the rabbit hole for me, I think, into the precode era, specifically research and censorship-wise.
CLIP
You haul your freight out of here. What's the matter? You got in particular? Maybe I am. Do you ever take a good look at yourself? Yeah, you're exclusive. You are the sweetheart of the night shift. Come on, you're wasting my time. Everybody knows about you. Yeah? Well, you ain't going to.
KIM LUPERI
I love that movie. I love Barbara Stanwick in general, and in that movie, I also love the dynamics between her and Theresa Harris in that film. And I also love that two versions exist today, and that's what I actually wrote my college thesis on. It was right after the uncensored version, the prerelease version was found at the Library of Congress. So I know more on that film than any other film, but I think it's super fascinating to be able to see both of those versions today because we really don't get many opportunities to do that. And I think it's just really fascinating to be able to see, I call it, censorship in action, because you can see the very little tweaks that were deemed okay in that time. And you're like, really? No nobody's going to believe that she's reformed at the end. But that's one of my favorites. And then just throwing another in that I adore, and it's super unique, and it is also in our book, is heat lightning.
CLIP
How many times I held that hand? How many times I- Everything between you and me has passed, forgotten. I left you in that whole rotten life. Came out here and I started fresh and clean. I worked pretty hard for what I've gotten. I'm not going to lose it now. Not for you, not for anybody.
KIM LUPERI
I think that it's a Warner Brothers film. You have the entire Warner Brothers stable. You have it stars Aaleen McMahon, and then you have Anne Vorack and Lyle Talbot, and then you have Glenda Farrell and Ruth Donnelly, and Frank McHew. You have everybody, but it just shifts tones a lot. It's comedy. It's tragic. It's proto-noir. It's got a lot of different elements and a very interesting, different atmosphere. And also, McMan plays a female auto mechanic. When are you going to see that? When have you seen that really since then? I mean, it's just so many elements to that are unique, and that's a film that I love sharing with people because they watch it and they're like, whoa, you're not expecting most of that from a film. And in 1934.
BETH ACCOMANDO
Now, you brought up the fact that there were two versions of Babyface. Talk about the challenge of putting this book together when some of these films were hard to find, some of these films were censored later after they had come out. So what were some of the challenges in researching this?
KIM LUPERI
That's a good question. I think most of the films, actually, luckily now, I mean, when a lot of precode books were written about 20 years So it was a different story about access, and a lot of them were harder to find. Luckily now, with the way that streaming has gone, and not even streaming, but just more things being released on home video, I guess I'll call it still, DVDs. I think there's only two, and Danny can correct me if I'm wrong, I feel like there's only two that are not released on DVD or Blu-ray. The rest are luckily able to be found, whether it's on DVD, Blu-ray, other places, YouTube, Internet Archive, other sites that I won't name here. But they, luckily, can be found and enjoyed. And we looked at the versions that were available to us now. Some of those were censored later, and then the scenes were restored. Some of those were censored, like Love Me Tonight, for instance, which is our cover, Myrna Loy and Love Me Tonight. For instance, that scene from the cover, I love this fact, is not in the movie today. It exists in still, but it was edited, I think, in 1949. Over 15 years later, it was removed and it was lost. So we're looking at these films and we're talking about them as they survive today. And Babyface is just one example. I think it might be the only one in our book where there are two versions, two full versions, at least, that you can see. But I don't think we ran into too many challenges there. I feel like it's just there's so much research that you can do on these. We We did research on the films themselves and the people involved, directors, cast, anybody else in production land. And then we also did research sensor-wise. So I am in LA, and I am very privileged to live very close to the Margaret Harick, where they have the production code files. So I did a lot of research there. I think a challenge was probably just cutting it all down. I know that was a challenge, actually, because when we had our first draft, it a lot longer. And of course, books are always... They want fewer words than you have. That's always how it works. I think, at least, I like the editing process. I feel like it gets you to really the best you can be, but it's always a challenge for sure, trying to just Narrow it all down because there's so much more you want to include but can't.
BETH ACCOMANDO
Tell people what to expect from the book. How is it organized and what information did you try to pack into it?
DANNY REID
It's 50 essential films from the precode era. It's organized chronologically. We decided that if you follow the entries in the book, you can follow the story of precode Hollywood. It's not like there's a grand narrative. We don't follow Joseph Breen day to day or anything. But we wanted to take people through from Madame Satan, which is a wild, over-the-top musical from 1930. But you can tell technically, they're still struggling with it, to Gold Diggers, which is very sophisticated, very beautiful, a lot of great stuff in to murder at the Vanities in 1934, where it takes what Gold Diggers did and goes over the top. And that's just the musical genre. So we do that with different genres as well. We do Frankenstein, the original James Whale film, and then we end the book right around Black Cat with Bella Lagosi and Boris Karloff. So we're working through different genres, different studios. It's very complicated. I don't know if we pulled it off perfectly, but the idea really is to try and give you this snapshot through through these 50 films, where it's not just, Hey, here's 50 fun films, but here is the process of what this looked like, and these movies go out to America, and here's what the reactions were. When Mae West came to town, how was that treated?
CLIP
When I'm good, I'm very good. But when I'm bad, I'm better.
DANNY REID
We picked a lot of movies that were very big at the box office. We picked some movies that were just very weird outliers. A lot of the films we put together, we organized in a way that we wanted to tell a story of the precode era, but also something you could pick up and just open to a chapter and read. Each chapter will go into the production history, the reaction to it, the censorship history. The overall goal of the book is to get people to watch more movies, which I think is the most noble goal of all, perhaps. But it's something we put together with a lot of thought and a lot of care, and hopefully people will enjoy it.
KIM LUPERI
There hadn't been a precode book since the early 2000s, and And Marc Biera came out with the Forbidden Hollywood, which was the update of sit and soft focus with some more information in there. And then there was a precode cocktail book. So in the last 10 years, there's been two, well, three, counting us, which is great. I mean, it shows how much interest there is in the period and how popular it's been getting, for sure. The idea of doing an essentials book and an overview of the era through different essays, that remained intact. And TCM did want us to add some information about how these films are still relevant and timely today. And we even had to update one or two chapters, literally within the last year or two, because they had become more relevant, politically, mostly, from things that were happening. But we had worked on it and then started working with Running Press and TCM, and it all happened, and it all came out, I think, close to what we originally envisioned, I feel like, or at least me, with a lot of awesome images as well.
DANNY REID
Yeah, Kim did a great job. She selected all the pictures, and she even went through. One thing we were trying to make sure was that if you already own Forbidden Hollywood or even the cocktails book, you're not going to pick up our book and be like, Oh, this is the same images from gold diggers I've already seen, or This is the exact same thing as Forbidden Hollywood. So all the images, almost all of them are completely different. It's all new content, so it's not stuff from my website. It's not stuff Kim had written before. And then Kim did a ton of research going through the production code files. I have many emails from her, just the day she spent digging through Scarface alone. It was a very long process, and it was never a guarantee, but it was something that we both always believed in. And when it happened, it's still genuinely shocking on some level. It's great. I'm really happy with what the final product is. The only issue I have now is that people be like, Oh, I liked when you said this in this chapter. I'm like, I wrote that six, seven years ago at this point. I don't know what I wrote. I hope it's good.
BETH ACCOMANDO
You actually include the production code in the book, and there's also some other documents that you reprint. I remember reading through some of the production code and being amused by some of it. I don't know if you have any favorite parts of it in terms of things that they were forbid or focusing on that you just go like, really? That's what you were most concerned about?
KIM LUPERI
Oh, yeah. I mean, for me, the specific files, I just... I'm obsessed with, I say that. But yeah, I love that you can read, click into any digital file and you'll see something that is unintentionally hilarious today. And it just makes you stop and pause and think, yeah, like what you just said, they really were concerned over this. We have two items from Red Headed Woman in the book that are two of my favorites because there is a Mrs. R. Is how she signs off. Her name was Mrs. Richardson. I think she was from the City of Atlanta Review Board, and she did not like Red Headed Woman, and she has some great quotable moments in her letter that is in the book that I just... It's one of my favorite parts of the file, parts of any file. And I was like, We have to get this in here. But I just love, again, how surprising some of these things are. You'll read stuff and just be like, This is what the focus was on, or this is how people reacted to something like this. Scarface, that file is over 350 pages. It's absolutely insane. Somebody should write a book on that. But yeah, just Howard Hughes trying to get away with everything that he could get away with.
CLIP
I'm going to write my name all over this town with an A big letter. Hey, stop him, somebody. Get out of my way, Johnny. I'm going to spit.
KIM LUPERI
I love the look that they give into this era because you don't really see that. And that's why I was really wanting to share some images from those files in the book, because no other precode book really has images from the files. They have the code sometimes. And even finding the code was a little bit hard because it was published in so many different ways, and we couldn't really even find the definitive one. But we did take a copy from the Motion Picture Herald in 1930. So that was one that was published, and that's what we took. But yeah, I love that we were able to include those in there because I feel like people are asking me about them often on Instagram because I share stuff from them, and it's something that a lot of classic film fans don't see. And so I think that also sets us apart that we included some of that.
BETH ACCOMANDO
And one of the things that people might be surprised by from this era, if they're not familiar with the films and the times, is really the amount of women that were stars at the box office and the amount of agency these women had. In going over these films, were you ever thinking I wonder what would have happened if the code hadn't been enforced? How might Hollywood have been different? Because it does feel like a very different era from what followed.
DANNY REID
The early 1930s, there's a lot more freedom. You have to remember at this time, the majority of moviegoers were women because they're the ones who had the free time they went during the day. And this is a time where I think one out of six Americans went to the movies every week. So everybody is going to see a movie. And so a lot of these movies are very much aimed at the woman audience. You have stuff like Grand Hotel and Anna Christie, a lot of motion picture stars, Norma Sheer, Greta Garbo, Marlene Dietrich. Their whole career is focused on these pictures made for women, where a lot of the time it's these women doing daring exciting things, Ruth Chatterton being as a auto executive and female. And so that gets shut down pretty hard in I've been asked this question many times. I personally think that if Joseph Breed hadn't lied things the way he did in 1934, I do think eventually it would have come down to federal censorship just because at the time, there was no assumption of free speech in terms of motion pictures. Their world is not free speech in 1911. So there really was this ability among the States and the counties to censor as freely as they wanted, which is a big issue. And just the tenor of the movies. By 1934, and this is how we start the book, it really does feel like things are going off the rails. There's a desperation, there's a need to shock and titulate that is just very blatant. We start off the book talking about Tarzan and his maid. There's a sequence- Swim. Wait, Tarzan. Where they go swimming together, and depending on where you are, either Tarzan rips off her clothes and she's just in her underwear, or he rips off her clothes and she's just in her bombs, or he just completely rips off her clothes and they swim around. And if your movie studio in 1934 is making basically full frontal nudity swimming sequences, if in This is obviously a much more conservative time. Where else is there to go? There's certainly places, but I don't think that they would have let them go there. One movie in our book, that was my addition, I always take the fall for this because Kim definitely it wasn't her idea, is Smarty from 1934, which is a very bad film. The book isn't 50 essential good movies of the precode era. There's a couple of stinkers in there.
CLIP
Now get this. Any more cracks out of you? If you dare to, if you so much If you don't watch your step, I swear I'll hit you so hard. Show me.
DANNY REID
But Smarty is a very important film because it's this era. It's 1934. It's a sex comedy where a woman is really into rough sex and BDS SM.
CLIP
Tony dear, hit me again.
DANNY REID
They can't talk about it all. They don't have the language. They don't have the cultural capital. And so instead, they make it all about spousal abuse, and it's not funny at all. And they're trying to play as a sex comedy, and it makes no sense. But it's just awful. And they don't have the tools or the language. If you made that movie in the 1970s, they're going to be like, okay, I get it. It's bad, but we get it. In 1930s, they didn't have that dialog around sex to make movies like that. And so you end making these movies with bad taste or that they're just making to try and see if it works or not. Not in the book, but like Madame Dubéry from 1934, Dolores Del Rio is also along those lines, where they're trying to seduce impotent kings and stuff like that, where they just can't really... They don't have the language to articulate what they want cinematically. And I'm not faulting them for this. It's just that at the time, they're trying to do very complex things, and they just can't really do it with the audiences they have. And it ends up creating these movies that are just really disgusting on some level. The Smarty, famously, they had a standup that Warner Brothers would ship to theaters where I think you could have Warren William he would pull his arm back and he would slap Joan Blondell's stand up. It's just like, what on earth are you thinking? So I personally, I don't think that the pre-code times were destined to last forever. It would be nice if some aspects of it lasted longer. And this is something I've talked about before. I do personally believe that even after the production code fell apart in the 1960s and you move on to the movie rating systems with the MPAA, there are still parts of the production code that still feel very enforced. You still have these lingering effects from that 20 years under the production code, which is why the precode era feels so shocking, because you can make movies like All Quiet on the Western Front or all this era of very anti-war films that are much different than the anti-war films of the '60s and '70s, or you can make these frothy sex comedies where even when you have Ken Russell making The Boyfriend in the '70s, very different, like trying to ape it very clearly, but just the morality of how you make movies, of how you produce movies is just different. So I think the precode era is extremely special, and I think that's why it's great for people to check out and see, because you will see things that you didn't know you didn't know about movies, like just how made and how they can talk about the world. But I don't think the good times would have lasted.
KIM LUPERI
Yeah, I definitely agree because the industry was forced into a corner, really, and they had to enforce the code because they saw very very quickly what the effects of boycott. Even just through the tiny few that actually happened, they saw what that could mean for them. And it was not good, obviously. So I think it would not have lasted much longer. And I I mean, one of the unintentional, I guess, good things, I don't know if good is the right word about the code, is that you do get some of these movies, especially comedies, after the code, that just had to be smarter. So you do get stuff, Preston Sturge's, even some Lubich, too, and other films that had to get what they wanted across just in really smart ways. And that was one effect of the code, is that they couldn't be more outright as they would have in the pre code era. Not that you could be super outright with some of these things, obviously, but it did force some people, and I feel like comedies, especially, it forced them to be a little bit smarter, maybe, than they were before. But, yeah, otherwise, obviously, not a It was a great thing that the code happened. But like Danny said, I think we were going in that direction anyway. It was federal censorship or this. So this was what happened, and probably better than federal censorship because you don't want that happening.
BETH ACCOMANDO
All right. Well, I want to thank you both very much for talking about precode Hollywood and providing a perfect Christmas gift for a lot of us. Yeah.
KIM LUPERI
Thank you very much.
DANNY REID
Yeah. Thank you. You get some Marlene Dietrich and Myrna Loy under the tree. Always good.
BETH ACCOMANDO
Yes. And May West And Mae West doesn't hurt.
BETH ACCOMANDO
That was Danny Reid and Kim Luperi, authors of “Pre-Code Essentials: Must-See Cinema from Hollywood’s Untamed Era 1930-1934." Available now for holiday gift giving.
That wraps up another edition of KPBS listener supported Cinema Junkie. If you enjoy the podcast, then please share it with a friend because your recommendation is the best way to build an addicted audience. You can also help by leaving a review.Till our next film fix, I’m Beth Accomando your resident Cinema Junkie.
