Cardinal Francis Joseph Spellman
Cardinal Francis Joseph Spellman (1889-1967) was a prominent figure in the Roman Catholic Church, serving as the archbishop of New York from 1939 until his death. Elevated to the rank of cardinal by Pope Pius XII in 1946, Spellman was known for his significant influence within the Church and American society. Throughout his tenure, he was involved in various censorship controversies, particularly regarding the film industry. He condemned several films and theatrical productions that he believed compromised moral standards, starting with notable denunciations in the early 1940s.
Spellman's activism extended beyond the Church, as he leveraged his political connections to impact the arts, even seeking to restrict the showing of films such as "The Miracle." His actions, often supported by local law enforcement, sparked debates about the balance between moral advocacy and censorship. While his political influence was strong during his early years, by the mid-1950s, his power over the film industry began to wane, particularly after the U.S. Supreme Court ruled in favor of filmmakers against Church censorship. Spellman remains a complex figure, embodying the intersections of religion, morality, and cultural expression in mid-20th century America.
Subject Terms
Cardinal Francis Joseph Spellman
Identification: Roman Catholic cardinal and archbishop of New York
Significance: Spellman played a leading active role in advocating film censorship during the 1940’s and 1950’s
Spellman was the Roman Catholic archbishop of the New York diocese from 1939 until his death in 1967, and was elevated to cardinal by Pope Pius XII in 1946. Through these years he was embroiled in numerous censorship controversies in which he exerted his personal and religious influence. Although he supported the church’s condemnation of films and theater entertainment that threatened moral standards of decency, he opposed censorship that limited political and religious freedom.
In the early 1940’s Spellman began making fervent condemnations against the American film industry. His first noted attack was against the film Two Faced Woman, starring Greta Garbo, that happened to be produced by one of Spellman’s film industry friends, Louis B. Mayer. The film had been condemned by the Legion of Decency, a Catholic organization that rated the moral acceptability of films, because of its passionate love scenes and Garbo’s low-cut dresses.
Spellman’s political influence was significant and he used it to restrict the showing of several films and plays in his diocese. Immediately after the Italian film The Miracle opened in New York City in 1950, Spellman called on the city’s commissioner of licenses to halt its showing. The film’s producers fought the censure appealing their case to the U.S. Supreme Court, where they eventually won. Spellman’s political connections extended to the rank and file of the New York City police department. Predominately Irish Catholics, the city’s police were willing to do their cardinal’s bidding on request. When, for example, the Ambassador Theater opened the burlesque stage production of Wine, Women and Song, Spellman persuaded the police department to serve summonses on the theater’s production crew and manager. City leaders saw nothing wrong with the way the police handled the matter.
In 1956 Spellman lashed out against producer Joseph Levine’s controversial film Baby Doll, adapted from a Tennessee Williams play. Spellman’s outspoken criticism ended up doing more to entice interest in the film resulting in successful box office sales. By this time Spellman’s influence on the film industry was waning. After the U.S. Supreme Court affirmed the appeal of The Miracle producers, filmmakers in the United States ceased to be troubled by condemnations of the Roman Catholic church.