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The Hollywood Ten in History and Memory Review By: Arthur Eckstein Film History, Vol

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The Hollywood Ten in History and Memory Review By: Arthur Eckstein Film History, Vol The Hollywood Ten in History and Memory Review by: Arthur Eckstein Film History, Vol. 16, No. 4, Politics and Film (2004), pp. 424-436 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/3815610 . Accessed: 29/08/2013 11:57 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org This content downloaded from 192.80.65.116 on Thu, 29 Aug 2013 11:57:27 AM All use subject to JSTOR Terms and Conditions FilmHistory, Volume 16, pp. 424-436, 2004. CopyrightC John LibbeyPublishing ISSN:0892-2160. Printedin UnitedStates of America The HollywoodTen in history and memory ArthurEckstein Starting in 1947 the House Committee on WardBond.3 And 'fronts'came intoexistence, too- UnamericanActivities (HUAC)pursued a series people who offeredstudios scriptswritten by black- of officialinquiries into the penetrationof the listedscreenwriters but presentedas theirown work, film industryin Hollywoodby the Communist in exchange for official credit for the script plus Partyof the United States of America.There were (often)a cut of the payment;a famous example of majorpublic hearings in 1947 and 1951, and smaller such a 'front'was PhilipYordan, himself a quite hearingsthroughout the mid-1950s.In the course of famous screenwriter.4 these inquiriesdozens of 'friendly'Hollywood wit- As a resultof the blacklistsystem some film nesses denounced hundreds of people as secret careers were totallydestroyed: for instance, that of members of the CommunistParty, while dozens of MickeyKnox, 'the nextJohn Garfield',a risingstar of 'unfriendly'witnesses refused to discuss theirpoli- the late 1940s - as one can see in his performance tics with the Committee. Those who were either in the great gangster filmWhite Heat (1949)-and if publiclyor privatelydenounced as members of the you have never heard of MickeyKnox, that is the AmericanCommunist Party (CPUSA) found it almost point.Many other careers sufferedsevere setbacks: impossibleat least for a decade to get employment for instance, that of the actor HowardDa Silva.5 in the motion-pictureindustry. The most famous Actors and directors suffered more severely than victimsof the resultingblacklist were the 'Unfriendly screenwritersbecause they could not act or direct Ten' or 'HollywoodTen', the originalgroup of 'un- under assumed names, whereas screenwriters friendly'witnesses - mostlyscreenwriters - who re- could use the 'front'system, whichallowed the most fused to give politicalinformation about themselves talentedof them to continueto writescripts. Butthe before HUACin October1947.1 CPUSAhad made its largest inroads in Hollywood The blacklistfunctioned in part officially,as among screenwriters,and many screenwriters'ca- shown by the jointpublic announcement of the mo- reers sufferedgreatly or ended. tion picturefirms in November1947 that henceforth Itis usuallynot a good idea to attackprofes- no studio would knowinglyemploy any member of sional writers.They tend to write,and to writewell - the CommunistParty, or the members of any other to get in the last word. Thathas certainlybeen the group which advocated the overthrowof the United case withthe blacklist.None of the HUACcommittee States governmentby revolution.The blacklistalso or staff (which originallyincluded Congressman occurred unofficially,through instrumentssuch as RichardM. Nixon) has writtenmemorably on the the irresponsiblered-baiting newsletter Red Chan- events of 1947 and 1951, let alone on the later, nels, which named whole swathes of people as smallerinvestigations. A few of those who appeared subversives;this led, for example, to the ruinof the career of the left-wingbut non-Communistactress MarshaHunt.2 The blacklistoften functionedin se- .ArthurEckstein is a Professor of Historyat the Uni- cret:jobs justdried up. Meanwhile,'fixers' came into versityof Maryland.His books and scholarlyarticles existence, who deal withthe ancientworld but he has also writtenon got people unofficially'pardoned' by he was anti-Communist and the film Americanfilm and popularculture. Recently, organizations industry co-editorwith Peter Lehmanof TheSearchers: Essays managers, and thereforeemployable again; one fa- and Reflections on John Ford's Classic Western mous 'fixer'was the fiercelyanti-Communist actor (WayneState UniversityPress, 2004). This content downloaded from 192.80.65.116 on Thu, 29 Aug 2013 11:57:27 AM All use subject to JSTOR Terms and Conditions The Hollywood Ten in history and memory 425 as 'friendlywitnesses' before HUAChave written lawyersonthe Ten's defense team who were not importantmemoirs, often defending theirconduct, themselves members of the Party.Bosworth says sometimes expressing self-doubt:for instance, the that her fathervigorously defended people as long directorsEdward Dmytryk and EliaKazan, and the as he possiblycould affordit financially,because of actor SterlingHayden.6 But such figuresare farout- his deep allegience to the principlesof the First numberedby the self-justifyingand bittermemoirs Amendment.But the experiencealso made himvery of those who were denounced: for instance, Norma wary of the AmericanCommunists, because they Barzman;Walter Bernstein; Alvah Bessie; Herbert were not in fact independent individualsbut were Biberman;Conrad Bromberg;Lester Cole; Lillian men understern Partyintellectual discipline; and he Hellman;Howard Koch; Ring Lardner, Jr. (and now found them continuallydeceptive as to their inten- his daughterKate); Donald Ogden Stewart;Dalton tions and motives. Crumwas repelledby the Com- Trumbo;Ella Winter.7 munists' 'rude, plodding dogmatism, their habit of As a resultof the publicationof these works, secrecy'- and thatincluded the behaviorof the Party but morefundamentally because of the culturalshift lawyersassigned to workwith him on the case. Itis in Hollywoodto dominationby a bien pensant Left BartleyCrum's conundrum which summarizesthe that started around 1960 and accelerated in the issue addressed in this paper.9 1970s, the UnfriendlyTen are now lionizedas Ameri- HUACand its staff were 'very bad people, can 'rebels'and martyred'non-conformists'. Mean- doing very bad things ... The closest thing to Nazis': while,the angerwithin the currentfilmmaking elite at that'sthe whole story,according to WalterBernstein those who originally'named names' inthe 1940s and in his interviewwith Paul Buhle in 1997; Bernstein 1950s has been unremitting.A particularview of what therebyalso condemns as utterlyevil anyone who occurredthen is now unalterablein Hollywood,held cooperated against the Communists.10The place- by people who have littleknowledge of what it actu- ment of primarypolitical and moralblame on HUAC ally meant in the 1940s to be a Communist- that is, for what happened to people duringthe blacklistis a Stalinist.Two examples demonstratethe current obviouslycorrect. The lawyersdefending the original politicalsituation. On October27, 1997, on the fiftieth HollywoodTen had an excellent pointthat the First anniversaryof the originalHUAC hearings, there was Amendment'sguarantee of freedom of association a gala celebrationof the Ten, witha huge audience meant that Congress had no right to investigate of the Hollywoodcreative elite, and withmajor stars CommunistParty membership unless it firstpassed appearingas membersof the Ten in a re-enactment legislationoutlawing the Party.Yet despite the ap- of parts of the HUAChearing. The evening was parent unconstitutionalityof the procedure, the capped by an appearance of some of the surviving House of Representativesfound the UnfriendlyTen Ten themselves - to thunderousapplause. Then in guiltyof contempt of Congress for their refusalto 1999 the Academy of MotionPicture Arts and Sci- answer questions about theirpolitical associations ences decided to award a lifetimeOscar to Elia and beliefs; and the contempt citationwas upheld Kazan.Kazan was the directorof outstandingfilms by the courts. The result was that the Ten were such as A StreetcarNamed Desire, VivaZapata, On sentenced to from six months to a year in Federal the Waterfront,and East of Eden ('he taught Marlon prison for failureto answer HUAC'squestions. It Brando how to act') - but he had also 'named seems quite outrageous now - and of course this names'. There was an enormous controversyover was only the officialpunishment; the unofficialpun- the award,which was ferociouslyopposed by survi- ishment, the blacklisting,lasted far longer and in- vors and supportersof the Ten; in the end, Kazan's volved far more people. appearance at the 1999 Academy Awards- even A furtherdark element in the story is that J. thoughhe was escorted to the podiumby RobertDe ParnellThomas (R - New Jersey),the Congressman Niro and MartinScorsese - was greeted by many who ranthe 1947 hearings,was a ruthlessbully who members of the Academywith stony silence.8 refused 'hostile' witnesses the right even to give A morebalanced view from a participantin the statements concerning the Constitutionalgrounds terribleevents that began in October 1947 comes
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