A friend sent me a library discard chiefly because she thought I would be interested in its cover of Clark Gable, for Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man, and the Birth of the Modern Man, by Mick LasSalle. The book was published in 2002, and is available now only on Kindle, although there are probably numerous scores of hard copies and paperbacks of it that can be had for a song from various Amazon associated vendors.
The cover is definitely interesting. The non-mustachioed Gable could very well be cast as Cyrus Skeen, the hero of my private detective series set in San Francisco between 1928 and 1930. The only thing missing from Gable’s arresting and commanding gaze is the lock of hair that often falls over Skeen’s brow and which his wife, Dilys, is forever flicking away. Skeen’s ears, however, would be a mite smaller.
One of the most memorable contrasts LaSalle marks is the on-screen rivalry between Gable and Leslie Howard, who both appeared in “Gone With the Wind” and “A Free Soul” (1931). Howard is steamrolled by Gable over a woman. But Gable “had a way of making any man in the vicinity look like he should be wearing a dress.” (p.65) One look at Gable, and you know he’s not “transgender” material. He’d more likely clean your clock if you ever questioned his virility or his identity as a man.
LaSalle’s book is also interesting in that it paints a picture of the changing status and character of male characters in Hollywood between 1929 and 1934, the Pre-Code era, after which the Hays Office of “voluntary” censorship put the kibosh on “immorality.” Will Hays and his mostly Catholic and Presbyterian allies put visual and vocal fig leaves on men and woman. There is a political stance in LaSalle’s book but it is difficult to nail down; he implicitly endorses from the right, from the left, and from the middle, and he applauds every position imaginable, as well as the stances taken by the stars he discusses.