Our History

The 1930's to the early 1960's are fondly remembered as "Hollywood's Golden Years." In the last year of the Motion Picture Code (1966) weekly movie attendance was 44 million, compared to 17 million three years later in 1969. More than 90% of the population attended the movies regularly, with the studios making exceptional profits.

Films were a family affair, with classics like IT'S A WONDERFUL LIFE to epic films like BEN HUR and THE TEN COMMANDMENTS.

Hollywood's mature films were provocative in theme, but spared the graphic visuals. Masterpieces like ON THE WATER FRONT, FROM HERE TO ETERNITY and war films and westerns like HIGH NOON set a standard which today's Hollywood could never copy.

The credit for these great films -- and hundreds more -- goes to great, morally responsible filmmakers, writers, directors and studio executives who produced films proven to stand the test of time.

Organizations played an important role in the industry back then, especially in distributing these films to the movie houses nationwide. These major power players were not CAA and ICM, but the Roman Catholic Legion of Decency and Protestant Film Office.

Between 1933 and 1966, representatives from these two religious groups read every script from every major studio to assure it conformed to the Motion Picture Code. The Code, essentially, adapted the Ten Commandments to the motion picture industry and discouraged senseless violence, sexual immorality and anti-religious values. If a film passed the Code, it received the Motion Picture Code Seal and was distributed. If it didn't, theaters would not screen it.

Several directors and writers remember this time as one where creativity was essential to express liberal views within the Code's standards. The code did not violate the First Amendment. It did not censor topic matter. It only set a standard deemed appropriate by executives and theater owners alike.

Hollywood made money.

Today, these groups have resurfaced, only with new names, new leaders and vitality never before experienced. One such group is the Christian Film and Television Commission, an organization backed by over 1.5 million people who have signed petitions to clean up movies and TV programs, including studio executives, directors and most importantly, the ticket-paying general public.

Why, after 25 years, have these groups re-emerged and how much power do they really have? To understand their power today, it's important to find out what happened to Hollywood after their predecessors left.

Dr. Ted Baehr, CEO of The Christian Film and Television Commission, has completed over fifteen years of research as to the impact of films and television on children, teens and adults, as well as the effectiveness of the religious film offices of yester-year. This information is documented by more than 3,000 sources, and has served as background for such lobbying groups as Child Help USA, The Children's Defense Fund, and the National Coalition on Television Violence (NCTV).

"In 1966, the film offices voluntarily closed, with the formation of the Motion Picture Association of America's rating system," says Baehr. "Within two years, the rules changed, as the new rating system did not specifically address moral issues, but specific violations. This left loopholes as to what was deemed 'acceptable.' Suddenly, films like ROSEMARY'S BABY, Midnight Cowboy, and The Wild Bunch appeared, and teenagers flocked to the theaters to experience a 'shock' never before seen, while their parents stayed home."

However, as violence and sex dominated the screen, Hollywood created an avalanche, requiring more shock to maintain the impact. "Films became targeted to diversified audiences, and no longer brought in the masses of their predecessors, which were appropriate and appealing to all," adds Baehr. "The audience became numb and began looking at the actions of these films as justifiable behavior."

Research shows that over the next 20 years, studio profits fell, relying on the few and far between major "hits" to maintain profits. Demographics and marketing became key to a film's survival, as budgets soared beyond anyone's expectation.

In the mid-1980's, something happened. "The generation of baby boomers, who grew up seeing 'R' rated films by the time they were twelve, rediscovered the classics, and discovered that they can still make money," explains Baehr. "Movies like E.T. and HOME ALONE became the most profitable, and encore performances of GONE WITH THE WIND became the highest rated movies on television."

Therefore, Dr. Baehr, Andre Pieterse, Ken Wales, and Bruce W. Grimes formed the Christian Film & Television Commission, a non-profit advisory and lobbying organization whose mission is to educate the industry and public of the impact of these films on today's society. The organization is working with numerous leaders in the entertainment industry, providing council and support to those wanting to produce entertainment that will bring families back to the theater.

Is it working? "The number of movies with pro-Christian or redemptive themes, characters or elements increased dramatically from 27 in 1991, to 40 in 1992. These films proved to perform better in the box office. In fact, 56% (14) of the top 25 films in 1992 met this criteria," says Baehr.

    "Our publication, MOVIEGUIDE, a family guide to entertainment, has doubled its subscriptions, as more and more families and leaders look for a source of information to advise them of what's available for their children. Adults are numb to senseless violence and sex, and it's being reflected in box office grosses."

    Since 1986, the Commission has endeavored to interest the entertainment industry in refocusing its production energies on family films.

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Copyright © 1999 The Christian Film and Television Commission
Last modified: October 27, 1999