I too was amazed at the silliness of not showing the pregnant wife without her holding a big coat in front of her, or a huge top swinging.... Who was it who would be so offended by the concept of a baby being nurtured in their mother's belly?
I wasn't amazed, since I know it was the practice back then -- just annoyed and a bit amused.
And I think you're right that people wouldn't have been the least bit offended by the sight of an obviously pregnant woman in a film at the time. I would imagine most people in 1944 saw that, as they did in real life, as a normal, happy state for a married woman.
In fact, especially at that time, the desire to return to normalcy and family life might have made pregnancy an especially joyous sight.
It really undercut the whole point of that segment. The idea that both husband and wife were nervous about seeing one another because their bodies had changed, and how they looked right past that when they got together, was such a sweet part of the story.
The visual of him being different, vulnerable -- missing a leg, scarred, in a bathrobe, in a wheelchair, forgetting it all in his excitement at seeing her, tumbling over when he tried to stand up -- was all there.
But she wasn't allowed to actually look pregnant, so we could see that his not caring about physical changes was just as real as hers. It really almost ruins the visual impact of the scene.
They tried to cover it in the dialogue and staging -- their obvious joy, hugging and kissing, his refusing to let her help him up for fear of hurting the baby, their reciting their usual bit about being cute and good-looking. But, if he'd been looking at a clearly pregnant woman when he told her she was so cute, I think it would have been even more moving.
Oddly, I see nothing in the Code about not showing a pregnant woman, per se:
http://www.artsreformation.com/a001/hays-code.html. So I'm not sure where this practice came from. I know that Hays and those trying to please the office sometimes over-interpreted the Code, though.
Perhaps part of it was the old-fashioned idea of "confinement," that the sight of an obviously-pregnant woman was somehow indecent (although I don't think that was still prevalent in 1944, IRL), or actresses and/or their managers/agents/studios not wanting them to look imperfect.
Sometimes the practices of the time made writers and directors more clever, finding ways to work around them and still make a film appropriate for adults. But, in this case, I think it was a loss, not a gain.
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