If you tried removing from Hollywood history any film that portrayed or otherwise depended on selling sex, there might not be a whole lot left. But the framing is all; it helps, when using sex for entertainment, to wrap a bit of critique around it. In my favorite Barbara Stanwyck vehicle, Baby Face (1933), which for 70 years after its initial release was accessible only in censored form, the protagonist, Lily Powers, pimped out by her father since her early teens to the patrons of his small-town speakeasy, follows the advice of an avuncular Nietzsche aficionado and starts taking charge of her own (inevitable) exploitation. After hopping a freight train to New York City with a friend, Lily m
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