Six Damn Fine Degrees #117: Jewel Robbery

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

To Kay Francis, 1932 was just another long year. She had made The False Madonna, Strangers in Love, Man Wanted, Street of Women, Jewel Robbery, One way Passage, Trouble in Paradise and Cynara (yes, all of those in ’32).

Of these, One Way Passage was Kay’s favorite and Trouble in Paradise was her best. But before these two, one of her most charming pictures released that year was Jewel Robbery. In what can be considered almost a preface to Trouble in Paradise, she plays a cheefully jaded Baroness who becomes the enthralled victim of a very unorthodox and very polite robbery, subsequently falls hopelessly in lust with the suave gentleman robber, and vice versa.

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A Damn Fine Cup of Culture Podcast #42: The Complicated Women of Pre-Code Cinema

… or how the Code Ruined Everything. Welcome listeners! For our March episode we will look into the cinema of the 1930s, before the Motion Picture Production Code was enforced in 1934. Just after the roaring ’20s and through the Great Depression, there was a space for stories and characters which would ultimately be lost to Hollywood. A space where there was an opportunity for a different kind of part – especially for women. Where rather than just virgin or vixen, there was room for something in between: something more interesting, more human, and so much more fun! Tune in as Alan and Julie explore what makes pre-code films, and the characters who inhabit them, so special!

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The Rear-View Mirror: Trouble in Paradise (1932)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

Trouble in Paradise might be, in the words of film historian and podcaster Karina Longworth, the “pre-codiest of pre-code movies”. Before the Hays code came in to effect, filmmakers took full advantage of the lack of regulation surrounding topics of sex and morality in American movies. In the case of Trouble in Paradise, a film by the much beloved Ernst Lubitsch, it results in a surprisingly adult movie about, well, sex. But not in the way we, modern audiences, are used to. No soft-focus from-the-hips-up shots of people doing the actual deed. But the implications? They’re spicier than that.

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