The Truth About Hollywood’s Perverse Rating Code

Participants in a recent study on gun violence in movies were shown clips from six films, among them “Skyfall,” the James Bond film from 2012 .
SEPTEMBER 28, 2022 

NY Times:
 Does Hollywood Need a PG-15 Rating?

Ever notice that whenever the Left talks about making the Hollywood letter-rating system stricter, it is always about and only their concern over “gun violence,” and NEVER about the soul-corrupting hyper-sexual — and increasingly homosexual / pedo-sexual — content?

From the article:

“Studies have long shown that gun violence in PG-13 movies has been rising, sometimes exceeding what is shown in popular R-rated films. Now there is research suggesting that some parents think 13 is too young to see intense shooting, even when it appears justified.”

Guns: bad — unlimited sexual content: OK. Fits “the agenda” perfectly, doesn’t it?

About that ratings system — During the 1970’s, Dr. Aaron Stern was the director of the then recently-established Classification and Rating Administration of the Motion Picture Association of America. The new system replaced what the Left referred to as the “rigidly moralistic” nearly-40-year-old Production Code administered by Will H. Hays, a former national Republican Party chairman. The new ratings board graded films by letter (G, PG, R and X (now NC-17) to let moviegoers know how much violence, sexuality and “four letter words” to expect on the screen.

The game played by Stern, a psychiatrist, and the Moguls of Holly-weird was to give the public the illusion of moral self-policing while, in reality, killing-off the previous “moralistic” code and thus making films raunchier, bloodier and more Marxist by the year. The “PG” (Parental Guidance suggested), “R” (restricted) and “X” (sexually explicit) ratings actually made it easier to flood the market with filth. “Hey. We’re giving ample warning of the content. Don’t blame us.”

In later years, sleazy Stern himself stated:

Social growth should make the rating system more and more obsolete.”

“Social growth,” in this case, is “Frankfurt School” psychobabble for the acceptance of all manner of depravity, subversion and sadistic violence on the Big Screen.

1. Will H. Hays was the Chairman of the Motion Picture Producers and Distributors of America from 1922-1945. Prior to that he ran the 1920 “America First” campaign of Warren G. Harding, who became President of the United States. Hays’s production code forced the Jews of Hollywood to keep things clean. // 2. The letter ratings system, later enforced by Stern and other Tribesmen, loosened up the “moral rigidity” of films produced in the 1970’s. // 3. Today, anything goes, as long as the film gives a letter “warning.”

The struggle between the moral leaders of the “Goy” and the Jewish Kings of Holly-weird dates back to the silent film era. By the 1920’s, some of the stuff that had already made it to the Big Screen was so shocking (especially by the standards of the day) that the moral backlash, inspired mainly by Catholic leaders, led to the self-policing “Production Code” which Hays — much to the disappointment of the Big Jews — embraced and enforced.

The Production Code established three “General Principles”:

  1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
  2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
  3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

Specific restrictions were listed as “Particular Applications” of the three principles:

  • Nudity and suggestive dances were prohibited.
  • The ridicule of religion was forbidden, and ministers of religion were not to be represented as comic characters or villains.
  • The depiction of illegal drug use was forbidden, as well as the use of liquor, “when not required by the plot or for proper characterization.”
  • Methods of crime (e.g. safe-cracking, arson, smuggling) were not to be explicitly presented.
  • References to sex perversions such as homosexuality and venereal disease were forbidden, as were depictions of childbirth.
  • The language section banned various words and phrases that were considered to be offensive.
  • Murder scenes had to be filmed in a way that would discourage imitations in real life, and brutal killings could not be shown in detail.
  • The sanctity of marriage and the home had to be upheld.
  • “Pictures shall not infer that low forms of sex relationship are the accepted or common thing.”
  • Adultery and illicit sex, although recognized as sometimes necessary to the plot, could not be explicit or justified and were not supposed to be presented as an attractive option.
  • Portrayals of miscegenation were forbidden.
  • “Scenes of Passion” were not to be introduced when not essential to the plot.
  • “Excessive and lustful kissing” was to be avoided, along with any other treatment that might “stimulate the lower and baser element.”
  • The flag of the United States was to be treated respectfully, and the people and history of other nations were to be presented “fairly.”
  • “Vulgarity”, defined as “low, disgusting, unpleasant, though not necessarily evil, subjects” must be “subject to the dictates of good taste.”
  • Capital punishment, “third-degree methods,” cruelty to children and animals, prostitution and surgical operations were to be handled with similar sensitivity.

My oh my how America has since “socially grown,” out of that “rigidly moralistic” code, eh? Well played, Dr. Stern, well played.


1. Barbara Stanwyck lustfully 

eyes-up bare chested man in Baby Face (1931) // 2. Dorothy Mackaill plays a secretary-turned-prostitute in Safe in Hell (1930), by Warner Brothers // 3. The Public Enemy (1931) sympathetically featured James Cagney as a criminal, anti-hero protagonist.

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