Some Hazards of Being in the Movies

Let’s consider a hypothetical and unlikely situation. An up-and-coming actress is faced with a choice of two jobs. One is a stage play, and the other is a movie. Apart from the medium, everything is equal: the pay, the length of the initial engagement, the size of her part. In fact, the two roles are so similar that they both call for the actress to be the horizontal component of a spanking scene. So which job should she choose: cinema or live theater?

You might think that’s a no-brainer. In the theater, the actors must repeat their performances afresh for each new audience, sometimes with inevitable slight variations, whereas every movie audience sees exactly the same set of performances, which have been recorded and are repeated by means of mechanical reproduction rather than human labor. So it would seem that the choice facing our imaginary actress is between being spanked eight times a week, including matinees, for however long the play runs, or being spanked just once for the movie camera.

Actually, it’s not nearly so simple.

Most acting performances are the end product of a process of rehearsal: the actors and director run through the scenes over and over again, refining them and trying out different ways of doing things. So our actress will also be spanked in rehearsal, probably several times, before a theater audience or a movie camera first get a look at the scene. The difference is that, in the theater, rehearsals take place on a daily basis over a period of weeks before the show opens, whereas in the movies, the cast will rehearse a scene and then shoot it straight away. And that starts to even the score between the two media…

Instead of a hypothetical actress, let’s talk about a real one, Paulette Goddard. Here she is playing society beauty Loxi Claiborne in her 1942 film Reap the Wild Wind

01 Paulette Goddard

… in which she had this scene with Ray Milland:

02 Reap the Wild Wind

A visitor to the set that day described what happened. Naturally they started with a rehearsal. Milland turned Paulette over his knee, and her period hoop skirt tilted right up, presenting him with her lower half in long, frilly pantalettes, which he proceeded to spank – hard! Paulette wasn’t expecting that, and she responded to the full force of his performance with an almighty ‘Hey!’ The director, Cecil B. DeMille, intervened to point out that her line was actually ‘Stop it! How dare you? Stop it, I say!’, and that ‘Hey!’ was perhaps a little out of period. ‘Well, he doesn’t have to give me a real spanking in a mere rehearsal, does he?’ replied Paulette; ‘I wasn’t even prepared.’ And Milland apologised for getting carried away.

So what Paulette was expecting of the rehearsal was a simple run-through of the moves, with a more authentic performance reserved for when the camera was rolling.

Or so she said. But was that what usually happened? We might expect Paulette to know, because Reap the Wild Wind wasn’t her first experience of a movie spanking scene. Time for a change of costume, Paulette…

03 Paulette Goddard

Now she’s dressed up for her role as wild girl Louvette Corbeau in DeMille’s 1940 epic North West Mounted Police, in which she had this scene with Lynne Overman:

04 North West Mounted Police

For this one we don’t have an eye-witness report from the set, but we do have photographic evidence that the rehearsal of the spanking scene wasn’t entirely straightforward. Evidently Lynne Overman didn’t at first give DeMille what he wanted, because the director found it necessary to step in and show him what was required:

05 DeMille demonstrates

That picture tells us two things. Firstly, it means we can reasonably infer that Paulette Goddard was spanked a minimum of three times in that rehearsal: at least once, unsatisfactorily, by Overman, then once by DeMille for purposes of demonstration, and at least once by Overman again, presumably leaving DeMille happier by the time they were ready to shoot the scene. Whether Paulette was quite so happy is another matter…

Because the other thing the photo tells us is what the issue was. You will have noticed that the demonstration doesn’t match the actual movie scene. DeMille didn’t take the time to put Paulette across his knee: he just concentrated on the thing he wanted to demonstrate – and the motion blur on his right hand shows what that was. What he wanted from his actor was evidently a vigor of the kind that, in their next movie together, Paulette Goddard would disingenuously suggest was unnecessary in ‘a mere rehearsal’.

It wasn’t uncommon for a spanking scene to have more than one rehearsal before it was ready to go before the camera. After all, what are rehearsals for? Time to introduce another actress. This is Ellen Drew in the 1941 comedy Our Wife:

05a Ellen Drew

This is what happened to her on Columbia’s Stage 2 on Day 46 of shooting:

05b Our Wife

And by the time the cameras rolled for the first take, she had already been spanked nine times in rehearsal!

What’s more, Cecil B. DeMille wasn’t the only director who found it necessary to take an active hand. For our next example, allow me to introduce June Haver, seen here getting into costume for a scene in her 1949 movie Look For the Silver Lining, directed by David Butler:

06 June Haver

One of the highlights of the film, as you probably know, is her energetic performance in this scene with Gordon MacRae:

07 Look for the Silver Lining

Here they are rehearsing the scene:

But David Butler wasn’t satisfied with what he first saw. So he called them over to the side of the set and illustrated precisely how Gordon should hold June and where his spanking hand should fall:

So once again, the actress was spanked at least three consecutive times in rehearsal, before going on to be spanked on camera shortly afterwards.

One reason why this was necessary is that, like Lynne Overman and unlike Ray Milland, some actors in spanking scenes were at first reluctant to give their performances the authenticity the director wanted, and had to be coaxed in rehearsal. It has a lot to do with old-fashioned conceptions of gentlemanliness, as well as professional etiquette towards their female colleagues: one 1940s actress arrived at the studio on the day she was to shoot a spanking scene, and found in her dressing room a large bouquet of roses from her co-star and a note that read, ‘Let these remind you that I really hate to do today’s scenes – they’re going to hurt me a lot more than you.’

But others carried their gallantry further. Time to meet Claudette Colbert, who was due to have her bottom soundly spanked by Gary Cooper in Bluebeard’s Eighth Wife (1938). Here they are together in an earlier scene:

10 Claudette Colbert

But on the day of shooting, Cooper just couldn’t bring himself to strike a woman, and no amount of rational persuasion, by Claudette as well as director Ernst Lubitsch, could make him change his mind and play the scene. Then Claudette tried a different approach, and slapped his face hard. ‘Turnabout is fair play,’ she said. ‘Now maybe Gary will agree to give me that spanking.’ Whereupon Cooper withdrew his objections: ‘It will be a great pleasure,’ said he.

The irony is that, in giving half-hearted performances in rehearsal, these polite, reticent actors only prolonged things for the co-stars whose feelings they were instinctively trying to spare!

When, eventually, the director and actors knew what was required and how they were going to achieve it, it would be time to go for a take. For an example of this process in action, let’s return to the set of North West Mounted Police, where Lynne Overman is putting Paulette Goddard across his knee, watched by none other than Gary Cooper, owner of the brown boots on the right of the shot.

12 North West Mounted Police

He gives her a single smack, and then she’s saved by the intervention of a Mountie.

13 North West Mounted Police

That’s what they filmed, but it’s not what you see in the movie, in which the spanking weighs in at a more substantial, albeit still relatively slight, five smacks. The reason is that the scene is mostly made up of insert shots that were filmed separately. The spanking begins and ends with the ‘master’ shot showing the whole tableau, but then it cuts to a series of close-ups of the participants and the amused onlookers. We are shown the top half of Lynne Overman, spanking away, with Paulette Goddard nowhere in frame because, obviously, she wasn’t across his lap at the time. And we see a head-and-shoulders shot of the horizontal Paulette, reacting vocally to what’s supposed to be happening out of frame (but isn’t really):

14 North West Mounted Police

Just look at where her body is relative to his plaid breeches in that shot, and compare it with her position in the master shot: these are obviously completely different and somewhat discontinuous camera set-ups.

The big point I’m making here is that, in the movies, scenes aren’t played completely in real time, and this can be manipulated to the advantage of the actress who has to be spanked. The spanking in North West Mounted Police was created more in the editing room by film editor Anne Bauchens than it was by the actors on set, where Paulette Goddard only got the absolute minimum necessary to establish what was happening.

Before we move on, though, we’d better dispense with an urban legend. Some people have claimed that Paulette didn’t even get the one smack we see land – that the scene was done by a body double. This is an inference from the way that Paulette puts her hands to the back of her head so that you can’t see her face for much of the master shot. That’s just what a stunt double would do, to be sure, but you have to remember that this master shot was done as a single set-up and only split into two separate shots when the inserts were put in. We see Louvette going across the irascible Scotsman’s knee, and we can clearly see that it is Paulette Goddard:

15 North West Mounted Police

As you can see there, her hands are already behind her head, but the reason isn’t to obscure her face. On the contrary, she’s putting her arms out of the way so that when she has her close-up, you will be able to see her face!

16 North West Mounted Police

And, holding the same pose, she also made absolutely sure the stills photographer could see it was her:


So let’s forget this nonsense about a body double and simply register that the spanking is, mostly, a cleverly constructed fake.

Back now to the set of Reap the Wild Wind. The story so far… Paulette has already been soundly spanked once that day for the rehearsal, and she’s not happy about it. While she’s at the wardrobe department for some minor adjustments before the take, let’s think about a few ways in which this spanking scene is going to be different from what she experienced a few years earlier on North West Mounted Police.

The most important one, in terms of how the scene will end up in the finished movie, is that the spanking takes place in an entirely different context. Whereas Louvette is spanked in public, with a crowd looking on, the scene with Loxi is essentially private: to be sure, she’s on a balcony next to a ballroom, but the partygoers think the man with her is about to be announced as her fiancé, so they aren’t going to barge in and disturb her at this intimate moment. This has two consequences for the spanking. Firstly, since only the two participants are there, nobody will intervene to put a stop to it, so this is going to be a longer spanking than the interrupted one Paulette got in North West Mounted Police. And secondly, the cinematography will have to be different, because with no onlookers there are fewer options for relevant inserts to break up the master shot. A lot more of this spanking will be done in real time, and a lot less of it will be pieced together in the editing room by the redoubtable Anne Bauchens.

Let’s look at it in detail. Here’s the master shot, in which progressive layers of Loxi’s dress tumble down to reveal her elaborately frilly petticoats.

17 Reap the Wild Wind18 Reap the Wild Wind19 Reap the Wild Wind20 Reap the Wild Wind21 Reap the Wild Wind22 Reap the Wild Wind

The petticoats are as far as we are allowed to go: the angle of the shot was obviously chosen to avoid revealing the even more intimate apparel beneath. But that means there is only one possible insert shot. There’s no point in having a close-up of Loxi’s facial reaction, because that’s already taken care of in the master. So most of the spanking – seven smacks, to be precise – has to happen in this shot.

The insert accounts for the other two smacks of a nine-smack spanking, and is of course a close-up of Ray Milland as he spanks. But again, what was possible in North West Mounted Police was out of the question this time, thanks to Paulette’s costume.

23 Reap the Wild Wind

Because the crinoline is, in effect, a self-raising skirt, it will be in shot for Milland’s close-up. And because Paulette is still wearing the costume (ready for the next component shot), there’s no alternative: she must still be across Milland’s knee, even though all we can see of her is her skirt and petticoat!

And finally, the last part of the spanking to be filmed was the first part of it seen in the edited movie, the lead-up sequence that ends with Milland putting her across his knee:

24 Reap the Wild Wind

So this spanking scene was inherently a much more perilous prospect for Paulette Goddard than the desultory single smack she received over Lynne Overman’s knee. And let’s not forget, either, the differences in her costumes. As Louvette, she was equipped with a sturdy buckskin skirt, worn over regular modern panties, as you can just about see here:

For Reap the Wild Wind, in contrast, it might look as if she was well protected by the fripperies of Victorian high fashion…

26 Reap the Wild Wind

… but the reality was that she was going to get a spanking on her underwear. And she’d already had a taste of the likely intensity of that spanking in the ‘mere rehearsal’ at which Milland got carried away with his performance.

Hence her trip to wardrobe…

The take was approaching. DeMille asked the actors if they were ready. ‘Any time,’ said the seated Milland, as Paulette began to lay herself over his lap. Then she paused. ‘Oh, just a minute,’ she said, ‘I almost forgot. You’d better go easy this time for your own good. I’ve got a board in there.’

The camera couldn’t see the temporarily less than shapely seat of Paulette’s pantalettes, but it was obvious to everybody on the other side of the set that Milland carefully avoided any impact of his hand on her bottom! The sound of the smacks was put on the soundtrack later by the foley artist.

So the import of what we have seen so far is that the artificiality of the cinema medium gives movie makers a whole range of tricks that can save an actress from having to undergo the discomfort of being soundly spanked. In fact, variants of the technique used by DeMille in North West Mounted Police were used in some other movies, notably for the first spanking in Dos Pistolas Gemelas (1966).

A more complicated case is John Huston’s The Roots of Heaven (1958):


Huston didn’t include, or shoot, a master shot like that picture, which is understandable because, despite the way the lady’s decorously hanging onto the hem of her skirt there, in the film it’s raised. The implication is that the spanking is as described in the original 1956 novel by Romain Gary, which refers to the ‘quite unforgettable sight’ of ‘little Annette Challut wagging her naked bottom in the air under the patriarch’s blows’. Not that there’s anything little about the equivalent lady in the film…

By contrast, the master shot is all we get in The Guns of Fort Petticoat (1957), with a single smack landing and no cutaways:


The scene was considered important enough to be separately posed for capture by the stills photographer…


… but the movie was shot on a tight schedule, little more than a one-month turnaround, and they never got around to filming the close-up inserts of Audie Murphy spanking and Kathryn Grant screaming and struggling. And the inevitable result was a perfunctory scene that occupies a somewhat lowly place in the annals of cinema spanking:

But it helpfully illustrates the kind of thing that Paulette Goddard got in 1940, and was perhaps expecting, or hoping, to get once again in Reap the Wild Wind.

In fact, DeMille’s North West Mounted Police technique used to be taught to budding cinematographers as the standard way to shoot a spanking scene. The textbook, however, used an even more recent example by way of illustration:

Shot 1 establishes that the lady is about to be spanked.

27 McLintock

But by cutting to close-up when the man’s arm is halfway down, the actual moment of contact is avoided. With the lady out of harm’s way, the spanking action can now continue in Shot 2.

28 McLintock

A cut to another close-up, showing the victim’s anguished reaction (Shot 3), adds to the effect while allowing the audience to imagine that the action is still going on outside the frame area.

29 McLintock

Finally the illusion is completed by cutting back to a re-establishing shot (Shot 4) of the whole scene when the man’s arm is traveling up.

30 McLintock

Now, you may rightly point out that this bears absolutely no relation to the way the spanking scene in McLintock! is actually presented in the film.

31 McLintock

Yes, there are some cutaway shots, but the director and star do not seem to have given a very high priority to sparing Maureen O’Hara from the need to suffer for her art.

32 McLintock

A good six smacks are seen to land on target, and Maureen later remarked, ‘He really spanked me! You can’t cheat on a scene like that. My bottom was black and blue for weeks!’

33 McLintock

So what this really tells us is that you can’t generalize. Some productions certainly were organized with a modicum of concern for the spanked actress’s comfort. Others seem to have treated such scenes as just one of the less agreeable parts of her regular professional responsibilities. And from time to time, things may have been a little more personal.

So rather than generalizing, let’s particularize. Here’s Susanna Foster:

34 Susanna Foster

At the time she made There’s Magic in Music in 1941, she was still in her mid-teens, not very experienced on movie sets and, it seems, perhaps a little lacking in the professional discipline that her co-stars took for granted. At least, when Allan Jones was doing scenes dressed in a snug devil’s outfit, she took delight in pinging him in the rear with a rubber band. Jones solemnly reminded her about an upcoming scene in which…

22 1941 There's Magic in Music

Came the day, began the rehearsal. And the first rehearsal ended after just one smack. ‘I can’t play the scene this way,’ insisted Jones. ‘It isn’t realistic: Miss Foster is padded.’ She had indeed taken such precautions, and work on the scene resumed after the removal of the extraneous excelsior – whereupon Allan Jones got his revenge!

And it does seem to have been widely agreed that, whatever tricks might be pulled by the film editor afterwards, actual onscreen spanking action needed to be authentic. After filming this scene in The Female Animal (1958)…


… Jane Powell told a reporter that her tears were real, ‘and I won’t be able to sit down for a week’. That, of course, is why full-on performances sometimes needed to be coaxed out of reluctant actors. Even Paulette Goddard seems at first to have accepted that she was going to get ‘a real spanking’ when it came to a take, at least until Ray Milland used up the professional goodwill on that ‘mere rehearsal’.

So when a director decides a spanking scene needs to consist of more than one shot, it’s not necessarily good news for the actress, because the additional shots aren’t necessarily going to be the kind of crowd reaction shots or close-ups that extend the scene without extending her ordeal.

To illustrate that, we’ll go back to the set of Look for the Silver Lining, in which the future Broadway star Marilyn Miller, as played by June Haver, is offered the title role in Florenz Ziegfeld’s musical Sally, but makes a snap decision to turn it down. When her husband Frank tries to convince her otherwise, she slaps his face, and he responds with a more forceful kind of persuasion:

36 Look for the Silver Lininglook-for-the-silver-lining-variant37 Look for the Silver Lining38 Look for the Silver Lining39 Look for the Silver Lining

This isn’t an unimportant moment in the overall story of the film. Being stuck in a biopic of her own life and unable to predict the future, Marilyn doesn’t know that Sally is the show that is going to make her name. But the audience can see that she is about to turn her back on success, so the spanking that changes her mind is a moment of historic destiny. It is, in fact, the reason why there can even be a biopic of the life of Marilyn Miller! That begins to explain why it’s a sequence that needed to be carry some weight, why it’s not only an exciting spanking scene but also, by Hollywood standards, a relatively long one amounting to eleven smacks – which is nearly double the onscreen hit rate for McLintock!

And it’s not only quite a long scene but also a complex one, in that the focus changes halfway though – which means it has to be presented across two different shots. For the first five smacks, our attention is exclusively on the husband and wife and the climax of their marital spat:

40 Look for the Silver Lining41 Look for the Silver Lining42 Look for the Silver Lining

The remaining six smacks are seen from a new angle that widens the focus to take in the door behind them, through which the maid enters bearing Ziegfeld’s renewed offer for Sally:

43 Look for the Silver Lining44 Look for the Silver Lining45 Look for the Silver Lining

And that interruption saves both Marilyn’s bottom and her career: Frank has to stop spanking her so that the maid can deliver the message, but she’s still over his knee and he makes it very clear that she’ll be getting some more if she doesn’t send back the right answer. And so she sobs, ‘I’m going to do Sally,’ and her future is assured.

The point I’m making is that there are often good artistic and technical reasons to change the shot while the spanking is going on, but they have nothing to do with the comfort and convenience of the actress. Quite the opposite, in fact. Because each time there’s a new shot, the camera has to be set up again in its new position, and the set has to be relit accordingly. There’s bound to be a delay – and then, maybe half an hour later, the actors start again. So when a spanking is done across two shots, from the actress’s point of view it’s more like getting two spankings, one on top of the other. And that’s not counting the rehearsals!

And there’s another factor we haven’t considered yet. When Ellen Drew started work on Our Wife, a reporter got wind that she was going to be spanked in the final scene, and remembered that the movie’s director, John M. Stahl, had the reputation of being a perfectionist. Such a perfectionist, in fact, that if he wasn’t satisfied with a scene, he’d go on shooting even if it took until Take 75.

In the event, it didn’t go anywhere near that far. The nine rehearsals of the spanking scene were followed by four takes, meaning that Ellen was spanked, and spanked hard, a total of thirteen times in the course of an hour and a half.

10 1941 our wife 2

According to an eye witness, she had tears in her eyes by the end. ‘Honestly,’ whispered Melvyn Douglas to her, ‘this hurt me more than it did you.’ She obviously looked rather tired, so Stahl told her to go and sit down. ‘If you don’t mind,’ she replied, ‘I believe I’d rather stand.’

Ellen’s experience was far from unique. According to a report from the set of Look for the Silver Lining:

‘MacRae held Miss Haver across his manly lap for nearly three solid hours, while he tried to spank her to the artistic satisfaction of director David Butler.’

Here’s the second of the two shots being filmed – and a close look at the clapperboard shows it’s already Take 4!

And there are more instances – lots more. Here’s Ann Sheridan, who plays the title role in The Footloose Heiress (1937):

47 Ann Sheridan

She had to do several takes of this scene,

48 The Footloose Heiress

and, according to the press, ‘The fair Miss Sheridan did not forget it for a week.’

Now meet Rita Gam.

49 Rita Gam

The newspapers reported that she got ‘an eight-hour spanking’ in Sign of the Pagan (1954). Unfortunately that’s not really a shining example of accurate journalism: yes, the scene took eight hours to shoot, but no, it wasn’t a spanking in the strictest sense of the word. It’s actually a fight scene with Jeff Chandler, in which she gets periodically whacked on the bottom with the flat of his sword, then thrown over his shoulders and carried away with her legs aflutter.

50 Sign of the Pagan50a Sign of the Pagan

Even though it’s not a proper spanking scene, it’s enjoyable to watch. But it was a grueling day’s work for Rita: she told an interviewer that she could only sleep that night after taking two hot baths, and was black and blue for days. Just watching the scene made her feel the sting in her derriere all over again!

Someone who really did spend an entire day being spanked was Martha O’Driscoll.

51 Martha O'Driscoll

It happened when she was making this scene in the 1945 comedy-thriller Shady Lady:

And as take followed take, Martha got sorer and sorer, until it became necessary to fix her up with an ice-bag bustle to wear between shots.

Jenny Maxwell could possibly count herself just a little more fortunate than Martha. Here she is meeting the star of Blue Hawaii (1961), lucky girl:

53 Jenny Maxwell

She stayed relatively lucky in the fact that this scene didn’t take all day.

54 Blue Hawaii

In fact, it was all over in four takes. But even so, four takes meant four spankings, which Jenny didn’t think was all that lucky:

‘He had to make it look good, but my skimpy costume was wet and there wasn’t much between Elvis and what he was spanking, and it just stung like anything.’

She couldn’t sit down afterwards. And that’s where her luck really ran out. If it had taken a whole day of spanking, she wouldn’t have been required to go straight on to the next scene on the shooting schedule… and spend the next three hours riding on horseback!

But that pales in comparison to what happened, also in four takes, to an otherwise unknown blonde actress using the name Tanya Zhivago – which is obviously a pseudonym compiled from two of the major characters in the 1965 David Lean film Doctor Zhivago. Her only screen credit is for a 1968 movie that is almost as obscure as she is, entitled We a Family.

55 We a Family

Tanya played the part of Betty, who is spanked by the butler, a role credited to one Steve Goodwyn but actually played by veteran Irish actor Keith McConnell. Why all these pseudonyms? Well, just possibly because of the type of film it was…

The 1960s saw the decline of the spanking scene in mainstream American cinema, but also the rise of the low-budget exploitation film, of which We a Family was an example. Now, I haven’t seen this film and to be honest I don’t particularly want to: the spankings in this genre are usually pointless and tawdry. They are also usually on the bare bottom, and this is what lends a certain piquant interest to the fact that the director only called ‘print’ after the fourth take… by which time, we are told, Tanya Zhivago had a very red bottom indeed!

I don’t know whether we can be said to be moving on to more wholesome fare now, given that our next example is the deep-dyed conservatism of Public Deb No. 1, which mainly comes across as an embarrassment several generations later. But at least it’s a film with a spanking scene so prominent and extensive that publicists treated it as the main selling point:

56 Public Deb ad

‘The world’s richest girl Gets Spanked!

Playing the world’s richest girl is Brenda Joyce, though I suspect that may not be why she’s jumping for joy here:

57 Brenda Joyce

Her character is a soup heiress who is flirting with communist ideas, and George Murphy plays a waiter in an expensive Russian restaurant she visits. She engages him in a political debate, thinking he’s bound to be left-leaning, and doesn’t like it when she discovers that actually he’s a believer in capitalism and American democracy. She likes it even less when he tells her that she needs a spanking, so she calls the manager and gets him fired – whereupon he gives her that spanking, at very great length, in front of the other diners, to the raucous tune of Tararaboomdiay. The manager, scenting publicity, calls in the photographers:

58 Public Deb

The studio commissioned a caricature painting of the scene for use in publicity.

59 Public Deb

And versions of it appeared in various permutations on posters and advertisements. For example:

60 Public Deb newspaper ad

‘Is her face red?’ Yes, and so are her political opinions. And so, probably, is something else. Because it required seven takes to get the spanking scene right.

12 Public Deb

This was another case where the problem lay in an incompatibility between director Gregory Ratoff’s desire for realism and gentleman George Murphy’s instinct not to hurt his co-star too much. Brenda Joyce told what is by now a familiar story:

‘George Murphy did the spanking, but he couldn’t seem to get it right. So Gregory Ratoff, the director, demonstrated. Between spankings and demonstrations, I sort of took it.’

By the final take, reported one newspaper, ‘Brenda didn’t have to do much acting to suggest a thoroughly spanked young woman.’ Another named her as ‘the most spanked player in Hollywood’.

But she didn’t keep that title for long. The following year, Susanna Foster, after being deprived of her foam-rubber bustle, had to play her There’s Magic in Music spanking scene for a staggering 21 takes before director Andrew L. Stone was satisfied!

One of the dumber things that tends to be said about this kind of situation, generally by spanking enthusiasts whose interest in the subject outstrips their common sense, is that the leading actor must have arranged for these retakes to be necessary in order to maximize a spanking opportunity. It’s an idea that might have some currency in the world of 1950s risqué cartoons, full of uncommonly lascivious men and unrealistically naive girls:

62 Bill Wenzel

It has nothing at all to do with the real world of professional movie-making, where the actors doing the spanking were often, as we have seen, more reluctant than eager. The fact is that every retake cost the production money, measured not just in wasted film stock but in everybody’s time and the knock-on effect on the rest of the picture. To get an idea of the impact on a budget, here’s the quoted cost of the seven takes of the spanking scene in Public Deb No. 1:

63 Public Deb

If you were to gratify yourself by deliberately doing your job badly, and consequently cost your employer more than a quarter of a million dollars (the modern equivalent of $16,000 in 1940), then you would deserve to be called unprofessional. In reality, the need for a large number of spanking retakes doesn’t show that the cast or crew particularly enjoyed doing them. What it shows is just how difficult it was to get a spanking scene right.

But on occasion the financial factor worked in the actress’s favor. Time now to meet the British movie star Jean Kent.


In 1949, she starred in the Anglo-Italian gangster comedy Her Favourite Husband, playing Dorothy Pellegrini, whose husband Antonio, a timid bank clerk, happens to have an exact double who is a mobster planning to rob the bank. Both Antonio and his doppelganger are played by Canadian actor Robert Beatty. In the course of the movie Dorothy finds that Antonio has undergone a radical change of personality, the cause of which is best described as spouse substitution skulduggery. And one thing she gets from her new, tough-guy Antonio is…

65 Her Favourite Husband66 Her Favourite Husband67 Her Favourite Husband68 Her Favourite Husband

Unlike in Public Deb No. 1 or Look for the Silver Liming, the spanking isn’t a crucial part of the plot, but it was considered to be an important scene. It’s represented in the film’s opening titles:

69 Her Favourite Husband

And it also featured in the publicity:

72 Her Favorite Husbandher-favourite-husband-poster71 Her Favorite Husband70 Her Favorite Husband

So it was a blow when the British Board of Film Censors decreed that the ‘undignified and unbecoming’ spanking scene couldn’t be allowed as it stood. A planned screening for the trade, scheduled for November 8, was canceled while the producers had a rethink. The obvious solution was to recall the actors and reshoot the scene. Reports of the estimated cost of this ranged from a bare minimum of £400 up to £2000 (in modern terms, £13,000 to £64,000). The higher figure is much the likelier, because the film was made in Italy: the actors would have to be flown out for the reshoot, or (if it was done in England) a set would need to be designed and built to match the existing footage. And £2000 represented a not insignificant chunk of the film’s overall budget of £18,000.

The producers’ deliberations were reported in a somewhat confused article in the Daily Mirror:

73 Her Favourite Husband

The picture, described as a frame from the original spanking footage that was due to be replaced, ought to be a rarity. But now look at this frame from the film as it was finally issued in September 1950:

74 Her Favourite Husband

The two images are identical. So the scene was not reshot after all: the producers saved £2000 (or £400, take your pick), and Jean Kent was spared a second spanking. Further discussion with the censors established that the main objection was not to the visuals but the explosive sound of the six smacks landing on Dorothy’s bottom. So the sound men found a way of dampening down the soundtrack to the Board’s satisfaction – thankfully without overlaying the honking sound of a motor horn mooted in the Daily Mirror article!

We started out with a hypothetical actress having to choose between spanking scenes on stage and on screen. The theatrical option was always straightforward: she’d be spanked every time the play was performed. But what we’ve discovered is that the cinematic option is much more of a gamble. She might get away with being spanked just twice, once for rehearsal and once for a take – with the chance that her fellow actor might go easy for a ‘mere rehearsal’. She might even be allowed to install some protection for her nether regions. But equally, she might end up doing repeated, realistic rehearsals, with the further risk of having to do retakes. And if John M. Stahl was directing, and things didn’t go according to plan, she might even wind up getting spanked 75 times, all on the same day!

One actor well equipped to make the comparison between the two media was Owen Davis Jr, who made a few films in 1929-30, most notably All Quiet on the Western Front, but then returned to Broadway for five years. In 1936, he was wooed back to the movies to play the title role in Bunker Bean, the film version of a 1916 stage comedy about a man with an inferiority complex who discovers that he was Napoleon in a former life. His leading lady was Louise Latimer.

75 Louise Latimer in Bunker Bean

And making the picture, reported the fan magazine Modern Screen, ‘Everybody had a lovely time; that is, everybody but Louise Latimer.’ That was because of one particular scene that’s not in the original play, but was added for the movie. And it was because that scene tied the two actors up in retakes for the best part of a day. What they were doing, over and over again, was…

76 Bunker Bean

And that just happened to be the day when an interviewer asked Davis how the movies compared with the theater. His reply:

‘Hollywood is a little hard on the hand.’

But perhaps not quite as hard as it was on a different part of Louise Latimer.

17 thoughts on “Some Hazards of Being in the Movies

  1. jimc says:

    What a great article. I loved all the film references and esp. all of the spanking scenes you showed. I really had no idea that so much time went into a scene that spankos decry for their brevity and that it is not a true spanking, but you have now told us that they were indeed real spankings and the actress really did suffer for her art. I also love the scenes that you showed quite a lot of the different angles as well as different spankers. I would think though in a way that some of the spankers and spankees would also know how to get it done better as some of them were spankers or spankees in more than one instance. Paulette had not only several spankings in cinema, but also in several photo shoots for publicity stills that were not even in the movies (SUDDENLY LAST SPRING and THE FOREST RANGERS ) come to mind and didn’t June Haver get a publicity spanking in (I WONDER WHO’S KISSING HER NOW) and as far as the spankers go Melvin Douglas and others like Tim Holt did seem to appear in a lot of mainstream spanking movies or plays. (lucky guys) that they would know how to spank as I do think it had to be a little of all three director, actress and actor to make the scenes last longer. Which brings up new topics WHICH ACTOR GAVE THE MOST SPANKINGS; WHICH ACTRESS GOT THE MOST SPANKINGS; WHICH WRITER WROTE THE MOST SPANKING SCENES IN MOVIES AND WHICH DIRECTOR DIRECTED THE MOST SPANKING MOVIES?
    Thanks again for all your time and resources in these articles.
    Have a great day.

    Liked by 1 person

  2. spankingdadhusband says:

    Maureen O’Hara must have got quite a few spankings in films. How about cover the theatre angle for balance for how the spankings were rehearsed and performed.


    • Harry says:

      Maureen O’Hara has her own article here.

      As for theater, there are two problems, one empirical and the other theoretical. The empirical one is a relative lack of relevant specific information: there just aren’t very many backstage stories told about doing spanking scenes, and those that I know are covered in the regular Sunday series describing individual plays. (A lot of them seem to be about My Dear Children for some reason, and of course there are a few dotted around the Kiss Me Kate articles.)

      The other problem is that there isn’t a single standard procedure for rehearsing stage plays: some will go on after only a week’s rehearsals, whereas with the big companies the director and actors might be working together for months before an audience gets to see their work. So it’s usually impossible to identify a practice and then reason out particular circumstances from that. I guess the one thing that might be sufficiently commonplace is that, because theater entails multiple performances and performers might occasionally be indisposed, all but the poorest companies have understudies in the cast who can take over a part if the main actor gets sick. The understudy also has to rehearse, which is why I try to identify the understudies in spanking scenes where possible, because she too was spanked in rehearsal even though she probably never got to give the performance in public.

      Liked by 1 person

      • ogang2446 says:

        It comes as no surprise to me that Andrew “Andy” L. Stone shot 21 takes of a spanking scene in There’s Magic in Music. He was a friend but he was a kind of sadist in real life.


      • Harry says:

        I’ve said before (see here and here) that, on principle, we should avoid ascribing private and ulterior sexual motives to the actions of creative people who were doing their jobs. It’s a bad spanko habit that needs to be discouraged, and it also sets up the creatives in question for retroactive (and often posthumous) criticism and censure by modern people who want to judge the past by the standards of the present, which are assumed to be universal, and who therefore are unable to understand or acknowledge that they are looking back at a culture of the recent past that took a very different attitude to spanking from the one that generally prevails today (see here).

        That is not to say that such things never happened (nor that, when they did, they must have been abusive); and anyway what you are saying is different in that you describe Andrew L. Stone as a friend, so that you are drawing a connection with an aspect of his personality as you knew it, rather than merely inferred or deduced on the basis of nothing more than a doubtful postulate. (Since he died in 1999 at the age of 96, I suppose the friendship was during his old age, many years after he made the movie in 1941.) But it still doesn’t necessarily mean the 21 takes were a case of self-indulgent self-gratification, and it might also be noted that in all his 45 years in Hollywood he never wrote, produced or directed another film with a spanking scene.

        I don’t mean this to come across as either a lecture or a skeptical dismissal – I just want to emphasize that there are limits to what we can know of what goes on in other people’s heads, so we ought to think round all the possibilities rather than merely fix on the one that most pleases us!


    • Harry says:

      Goodness, there is nothing at all to apologise for. I just don’t want anyone (or their memory) to be misrepresented or misunderstood and thereby exposed to the risk of illiberal censure.


    • Harry says:

      Of course I do! (No offense taken, but I don’t just make things up here, you know.) A reporter was present when the scene was filmed, and wrote up the incident in a story that was syndicated in the US press; the example I have on file is in the Miami News, dated April 23, 1942, and headlined ‘Goddard Gets Spanked in Reap the Wild Wind‘. The choicest quote describes ‘Paulette draped across [Milland’s] lap, her position flinging the back of her stiff hoopskirt high in the air, so that her crinoline pantalettes were exposed to receive the spanking’. Anyone interested in visualizing that more precisely may like to see what she was wearing under her skirt in another scene:

      That’s bloomers rather than pantalettes, so either the reporter’s terminology was slightly off or the underwear arrangements varied from scene to scene…


      • Inflattt says:

        Thanks for the info and quick response. I would assume the reporter likely just used the two terms interchangeably. I do find it interesting that would give reporters on the set a view behind her risen hoopskirt when they didn’t do so for the actual scene.

        Also, was the bit about her using the board from the same article?


      • Harry says:

        I’m glad you liked my write-up of this and I assume you’re responsible for the appearance of my paragraphs on the ‘girls wearing bloomers’ Reddit board, under a heading that attributes them to the Miami News article that was the source of my information. It was not the source of the actual words: except for those directly quoted and attributed to the people who said them, I wrote the words myself.

        I do believe in giving credit where due, and suppose that ought to apply to my own work as well, but what particularly bothers me is the misattribution to a newspaper article from 81 years ago, which is at best misleading. Journalists in 1942 did not write prose in the same way that I did in 2016.

        I recognize that this was an inadvertent error with no ill intent, but, even so, could you please arrange for it to be corrected? Specifically, the item should not say that the paragraphs are ‘from’ the Miami News, because they aren’t.


  3. Inflattt says:

    Found this bit that might interest you.

    From The Pittsburgh Press (Aug 7, 1941) on page 11 under the Filmland by Hedda Hopper section:

    “Natalie Visart, costume designer on Reap the Wild Wind, had a problem. There’s a scene where Paulette Goddard, in voluminous hoopskirt, has to be spanked. On cue, the skirt flies up in the air. Well, it wouldn’t fly. So Natalie took her problem to the machine shop and what do you think they’ve rigged up inside the skirt? A mouse- trap. And on cue, it lets go!”



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