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Reds and the Silver Screen AP Images Seven Hollywood Figures Arrive at Federal When a Group of Influential Communists in Hollywood Court in D HISTORHISTOR YY— PAST AND PERS PECTIVE Reds and the Silver Screen AP Images Seven Hollywood figures arrive at federal When a group of influential communists in Hollywood court in D. C. in 1950: They were there to face refused to testify in Congress about their efforts to charges of contempt of Congress for having refused to testify before the House Committee communize America, they were lauded by leftists. on Un-American Activities. From left to right are Samuel Ornitz, Ring Lardner, Albert Maltz, Alvah Bessie, Lester Cole, Herbert Biberman, by Steve Byas was “because they believed that the hear- and Edward Dmytryk. ings were unconstitutional.” he high-school American history This resulted in prison terms (for refus- textbook The Americans , in its cov- ing to testify to a congressional commit- a defense of the Hollywood Ten at the Mo- T erage of the communist infiltration tee) and the creation of a “blacklist,” or tion Picture Academy’s theater, entitled of the American motion-picture industry “a list of people whom they in effect con- “Hollywood Remembers the Blacklist.” in the 1930s and 1940s, had this to say demned for allegedly having a Communist Actress Marsha Hunt recalled that Amer- about the House Committee on Un-Amer- background,” which resulted in about 500 ica was “no longer the land of the free” ican Activities (HCUA)’s investigation actors, writers, producers, and directors during the time of the Blacklist. of that influence: “Hollywood did have a having their “careers ruined.” Academia regularly pictures the Holly- substantial number of Communists, for- This is typical of the way the history of wood Ten as heroes. In 2015, the University mer Communists, and socialists.” communists in Hollywood is presented. of Southern California even erected a sculp- But the textbook soft-pedaled the seri- They were only “alleged” to have been ture garden picturing them as victims of the ousness of it all. “Since the Soviet Union communists, and the only “pro-Soviet” hysteria unleashed during the Cold War. had been a U.S. ally during World War II, films produced were made during World Media also assumes that the “good Hollywood studios had produced pro-So- War II when Joe Stalin was our supposed guys” in this whole episode were the viet films. After 1945, when this wartime noble ally. And after all, they did not co- communists and their fellow travelers. alliance cooled, some argued that such operate, because, you know, communists When famed director Elia Kazan (perhaps films proved that subversives were spread- so highly revere the Constitution of the known best for his film On the Waterfront ) ing Soviet propaganda.” United States. died in 2003, the Philadelphia Inquirer When HCUA issued subpoenas to some And the motion-picture industry itself opined that his reputation was “tarnished of those suspected of planting pro-Soviet continues to perpetuate this mythical ver- by his betrayals.” Kazan had left the Com- propaganda into American movies, the sion of freedom-loving communists as munist Party, and attempted to mitigate its textbook claims that these men, “known as patriotic Americans, dedicated to civil influence in Hollywood. Yet, the Inquirer the Hollywood Ten, decided not to coop- liberties for all. In 1997, upon the 50th compared him to German director Leni erate.” Why did they refuse to cooperate? anniversary of the HCUA hearings, Billy Riefenstahl, who it said had glorified “the According to The Americans narrative, it Crystal and Kevin Spacey were featured in perverted ideals of Naziism.” It was Rief- Call 1-800-727-TRUE to subscribe today! 33 HISTORHISTOR YY— PAST AND PERS PECTIVE Why Communists Valued Movies Media also assumes that the “good guys” in this whole episode were Writing in the communist newspaper The Daily Worker in 1925, Will Muezenberg the communists and their fellow travelers. explained the importance of the silver screen to advancing the goal of a com- enstahl who masterminded the historic communists. Eventually, Redford’s char- munist world. Muezenberg was an agent film Triumph of the Will , which while it acter comes to realize that Streisand’s of the Comintern, created to spread com- is considered a great artistic achievement, character is the heroic person he wishes munist ideology and promote Soviet inter- was a paean of praise to the National So- he could have been, had he not been so ests around the world. Writing about the cialist movement of Adolf Hitler. caught up in greedily making money. motion-picture industry, Muezenberg said, In recent years, Hollywood has pro- Perhaps the most absurd myth about the “One of the most pressing tasks confronting duced multiple films with the general entire Hollywood Blacklist is the associa- the Communist Party in the field of propa- theme that the Hollywood Ten were not tion of Senator Joseph McCarthy (R-Wis.) ganda is the conquest of this supremely im- communists, or alternatively, even if they with it. The way it is usually cast is that portant propaganda unit, until now the mo- were, they were fighting for the Consti- McCarthy, from his position as chairman nopoly of the ruling class. We must wrest it tution and liberty, and were victims of of the House Committee on Un-American from them and turn it against them.” a “Red Scare” perpetrated by Ameri- Activities, created the Hollywood Black- Vladimir Lenin himself, the dictator of cans who were sympathetic to fascism, list. First of all, since McCarthy was a the Union of Soviet Socialist Republics if not actual fascists. Among the many U.S. senator, it should be obvious to a (USSR), said “the motion picture” was films that promote some version of this moderately educated person that he was the most important art form for spreading thesis include The Majestic , Guilty by not going to be a member of any commit- communism to other countries. And his Suspicion , The Front , Marathon Man , tee in the House of Representatives, much successor, the murderous dictator Joseph The House on Carroll Street , Out of the less its chairman. McCarthy took no role Stalin, is reported to have predicted he Hollywood Ten , Fellow Traveler , and The in ferreting out communists in motion could convert the whole world to com- Way We Were . pictures, or any other private industry, but munism if he were given control of the In the 1973 movie The Way We Were , was rather concerned about Soviet spies American movie industry. the character played by Barbra Streisand inside the U.S. government. In 1935, the cultural commissioner of is a Young Communist League member, But regardless of these myths about the Communist Party USA (CPUSA), V.J. heckled in college by some non-commu- McCarthy, there are some legitimate ques- Jerome, planted a branch of the party in nist students, including a character played tions about the issue of communist infil- Hollywood, and went to work to use the by Robert Redford. Of course, when the tration of the movie industry, such as why industry to advance the cause. The CPUSA two wind up in Hollywood, the Redford it matters, how it happened, and what was was a totally controlled subsidiary of the character is a successful screenwriter, but the true story about the Blacklist. Communist Party of the Soviet Union, but his communist wife, played by Streisand, And why would communists be so in- Hollywood Reds used a variety of “front becomes a victim of the hysteria against terested in the content of motion pictures? groups,” often in alliance with socialists and New Deal liberals. Some were fellow travelers who differed from card-carrying members of the Communist Party mainly by not actually paying dues, while others were what Lenin termed “useful idiots.” Within three years of its founding, the Hollywood party had 300 members. Benjamin Gitlow, who was the candidate of the Communist Party for vice president of the United States in 1924 and 1928, later confirmed in his 1940 book, I Confess , the slavish devotion of the CPUSA to the So- viet Union: “We were volunteer members of a militarized colonial service, pledged to carry out the decisions of our supreme rulers resident at Moscow.” Why did communism influence so many in the motion-picture world? Perhaps the example of Joseph Losey offers some ex- AP Images The right “ Left” words: Paul Jarrico testified before the House Committee on Un-American planation. Losey’s efforts as a director in Activities. Jarrico was a prominent screenwriter who was among those placed on the “Hollywood the early 1930s were largely failures. Seek- Blacklist” by studio management, and not hired because of his association with the Communist Party. ing some meaning to his life, he traveled to 34 THE NEW AMERICAN • Nov EM bER 21, 2016 the Soviet Union and was “terribly disil- lusioned” at first. “I couldn’t see any evi- dence of anything much working,” Losey said, contradicting Lincoln Steffens’ infa- mous 1919 comment about his own trip to the Soviet Union, when Steffens opined, “I have been over to the future and it works.” Losey, on the other hand, said, “I saw extreme poverty, dirt and discomfort.” But the Soviet government sponsored both theater and film, and those profes- sionals such as Losey were honored by the communist regime. Losey asked Politburo member Otto Kussinen if he could stay in the Soviet Union, and work in “lumber- ing” for the Soviets. Kussinen demurred, instead encouraging Losey to return to America and put his theater skills to work for the communist cause in the growing AP Images American movie industry, which he did. Temporary left turn: Benjamin Gitlow (left) once led the American Communist Party, and is The Great Depression and its down- shown here with Joseph Zack Kornfedder.
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