the chumps of the day thought they had.
HISTORY, for some reason, has two takes on all this:On October 20, 1947, the notorious Red Scare kicks into high gear in Washington, as a Congressional committee begins investigating Communist influence in one of the world’s richest and most glamorous communities: Hollywood.
After World War II, the Cold War began to heat up between the world’s two superpowers—the United States and the communist-controlled Soviet Union. In Washington, conservative watchdogs worked to out communists in government before setting their sights on alleged “Reds” in the famously liberal movie industry. In an investigation that began in October 1947, the House Un-American Activities Committee (HUAC) grilled a number of prominent witnesses, asking bluntly “Are you or have you ever been a member of the Communist Party?” Whether out of patriotism or fear, some witnesses—including director Elia Kazan, actors Gary Cooper and Robert Taylor and studio honchos Walt Disney and Jack Warner—gave the committee names of colleagues they suspected of being communists.
A small group known as the “Hollywood Ten” resisted, complaining that the hearings were illegal and violated their First Amendment rights. They were all convicted of obstructing the investigation and served jail terms. Pressured by Congress, the Hollywood establishment started a blacklist policy, banning the work of about 325 screenwriters, actors and directors who had not been cleared by the committee. Those blacklisted included composer Aaron Copland, writers Dashiell Hammett, Lillian Hellman and Dorothy Parker, playwright Arthur Miller and actor and filmmaker Orson Welles.
Some of the blacklisted writers used pseudonyms to continue working, while others wrote scripts that were credited to other writer friends. Starting in the early 1960s, after the downfall of Senator Joseph McCarthy, the most public face of anti-communism, the ban began to lift slowly. In 1997, the Writers’ Guild of America unanimously voted to change the writing credits of 23 films made during the blacklist period, reversing—but not erasing—some of the damage done during the Red Scare.
The House Un-American Activities Committee (HUAC) of the U.S. Congress opens its investigation into communist infiltration of the American movie industry on October 20, 1947. Chaired by Congressman Parnell Thomas, the subsequent hearings focused on identifying political subversives among Hollywood actors and actresses, writers, and directors. Although initially opposed by a group of Hollywood heavyweights such as Humphrey Bogart, Lauren Bacall, and Gene Kelly, the hearings proceeded. A number of witnesses, including studio owners Walt Disney and Jack Warner, and movie stars Robert Taylor and Gary Cooper, gave statements decrying the communist influence in the film industry; some specifically named colleagues whom they suspected of communist affiliations or sympathies. Another group of witnesses, including writers Dalton Trumbo and Ring Lardner Jr., were less forthcoming, and loudly complained that the hearings were illegal, and that questions about their political loyalties were inappropriate.
Eventually, the “Hollywood Ten,” as these protesting witnesses came to be known, were found in contempt of Congress and went on to serve jail terms.The fate of the Hollywood Ten terrified many in the film industry, and when new HUAC hearings started in 1951, Hollywood quickly buckled to the committee’s demands. Hundreds of performers, directors, writers, and others associated with the movies were placed on a “blacklist,” effectively banned from employment. Actors such as Zero Mostel and John Garfield saw their careers in film during the 1940s and 1950s destroyed for refusing to cooperate with HUAC. Hollywood also responded by turning out a bevy of films with anticommunist themes, such as I Was a Communist for the FBI (1951), Big Jim McClain (1952), and My Son John (1952).
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