Some Material May Be Inappropriate: The PG-13
Forty years ago this summer, the PG-13 rating came into existence and changed American cinema for the worse. Steven Spielberg was indirectly responsible, although he didn’t intend to be. It’s astonishing to realize how much the movie business changed as a result of this one summer and how this one decision certified and even codified a Puritan-about-everything-but-violence tendency that had always existed in the United States and that was very briefly challenged for an approximately 15-year window late in the twentieth century. The PG-13 set off a chain of cultural dominoes that has continued to fall right up through the present, leaving only a few still standing.
Nineteen eighty-four was the summer that Spielberg’s “Indiana Jones and the Temple of Doom,” his unexpectedly dark and twice-as-bloody followup to “Raiders of the Lost Ark,” premiered in theaters. If the original was an old-time cliffhanger serial crossed with a James Bond movie, the second was an old-time cliffhanger serial crossed with a 1970s exploitation horror movie. Probably Italian. It had child slaves being whipped and beaten, people eating brains out of monkey skulls, and a human sacrifice getting his heart ripped out before being lowered, still alive, into a pit of magma.
Spielberg also executive produced another summer-of-1984 hit, Joe Dante’s “Gremlins,” wherein hordes of scaly creatures did battle with the citizens of a small town, and many of them died shockingly albeit cartoony deaths (one gets splattered in a microwave, another pureed in a blender). Newspaper articles were saying Spielberg, who just two years earlier had released the lovely “E.T.,” had betrayed his fans and that his two 1984 films were a form of child abuse that stretched the limits of the PG rating to its breaking point.
At the time, the Motion Picture Association of America, a film industry trade group, self-regulated by affixing labels to new releases: G, PG, R, and X. If the group rated a film with a G, it meant the material was suitable for General Audiences, aka everyone including very young children, who could presumably attend without adults present and be confident that they would not be traumatized or scandalized by anything they were about to see. (Anybody who’d had the bejeezus scared out of them by a G-rated Disney animated picture would beg to differ, but that’s a piece for another day.) PG meant that “Parental Guidance” was not legally required but advocated, as there might be objectionable elements (this rating was previously called M, then GP). After PG came the R rating (nobody under 17 admitted without parent or guardian) and the X (nobody under 17, period).
The one-two punch of “Temple of Doom '' and “Gremlins” sparked the introduction of the intermediate PG-13 rating, which was put into action that same summer. The PG-13 meant that a film contained elements the MPAA believed were unsuitable for children under 13. The first two films to receive it were John Milius’s brutal right-wing action fantasy “Red Dawn,' about Soviets invading the U.S., and the science fiction horror movie “Dreamscape.” (Coincidentally and strangely, both “Temple of Doom” and “Dreamscape” had scenes where a man’s heart was torn from his chest.)
There still were no real restrictions on attendance—in theory, a group of eight-year-olds could buy tickets to a PG-13-rated film by themselves if no theater employee objected. But the new rating did retroactively make the older PG rating seem “soft” by the standards of a young teenager looking for something edgy enough that their little sister or brother would have to stay home.
Still, it was weird (yet very American) how things shook out concerning the practical applications of the PG-13. As a moviegoer who was a kid during the pre- and post-PG-13 eras, I didn’t see much practical difference in the level of violence in the new PG-13 category and plain-old PG. If anything, I think the PG rating probably had too much latitude. The net it cast over content was wide enough to encompass a movie with a little bit of implied violence, like Walt Disney's "The Black Hole" or "Star Trek: The Motion Picture." Also, movies so corrosively upsetting in tone as well as imagery that they probably have been rated R today, such as “The Mechanic,” “The Outlaw Josey Wales,” “The Killer Elite,” “The Legend of Hell House,” "Time After Time" (which includes the gory aftermath of a dismemberment) and “Sorcerer.” Some other 1970s/early '80s PG movies, such as Spielberg’s “Jaws” and “Close Encounters” (for profanity and probably emotional intensity in family fight scenes) and “1941,” and possibly the first three George Lucas “Star Wars” films, might’ve gotten PG-13 for some gruesome or disturbing elements. (“Return of the Jedi,” released one year before the creation of the PG-13 rating, was PG but carried a special warning on posters and in newspaper ads that some elements “may be too intense for very young children.")
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