Editor’s Note: Thanks to Big Peace and Dr. Paul Kengor, we have this very informative interview covering Communism in Hollywood.

This is the most recent installment of exclusive interviews with Dr. Paul Kengor, professor of political science at Grove City College in Grove City, Pennsylvania, as he continues to share snippets from his latest book revealing how communists, from Moscow to New York to Chicago, have long manipulated America’s liberals/progressives. Dupes: How America’s Adversaries Have Manipulated Progressives for a Century is a veritable buffet of never-before-published morsels on the American left. Fred Barnes calls Dupes “an enormously important book.” Big Peace’s own Peter Schweizer calls it the “21^st century equivalent” to Whittaker Chambers’ classic Witness.

Bogart was duped

Big Peace: Professor Kengor, last week you shared examples of how American communists, from the very start of their party’s founding in Chicago in 1919, exploited the language of the American Founding to advance their goals and philosophy in the United States. They also did so in order to dupe American liberals/progressives. Among others, you gave the stunning example of Clarence Darrow, the famous lawyer from the Scopes Monkey Trials. This week you have more examples.

Kengor: I have examples from Hollywood in its golden age and also from Obama’s mentor, Frank Marshall Davis.

Big Peace: Let’s start with Hollywood. Tell us about the Committee for the First Amendment, a major focus of your book.

Kengor: That was the biggest group of duped liberals/progressives ever to appear in Hollywood, so much so that the Committee for the First Amendment would later be officially classified as a communist front-group—that’s how badly the liberals in this group were suckered by the Reds. Here’s what happened:

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Nothing so reinforces the essential integrity of the American character than another viewing of the American Classic, “From Here To Eternity.” Seen through contemporary eyes, it looks like an extended examination of Lt. Col Allen West’s entire experience with the Third Millennium American military.

The American rebels with a cause in “From Here To Eternity,” the heroes of that 1941, Pearl Harbor drama, are all, in some sense, a replica of Lt. Col. West. The Colonel’s individual freedom and individual integrity, his truth to himself and responsibility to his enlisted men were fulfilled in the clearest and most unswerving manner.

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In my opinion, he saved the lives of American servicemen and drew a line in the sand before the likes of Mahmoud Ahmadinejad, homicidal bully of Iran.

In the eyes of Col. West’s military superiors, he was considered the villain in “From Here To Eternity.”

To the contrary, he belongs with the characters played by Burt Lancaster, Montgomery Clift, and Frank Sinatra. Three distinctively American integrities.

Why was the Colonel singled out for an enforced “resignation”?

The collective bargaining and cronyism of the Third Millennium, American Army-at-War was seen spitting on its own best soldiers because of the New World Order’s increasingly Marxist agenda. (more…)

One of George Stevens’ filmmaking maxims was: “The camera is not the instrument. People are always the instrument.” Nowhere in his oeuvre is this more evident than in Shane, perhaps the most peculiarly cast A-grade Western in Hollywood history.

It all started with a memo from Paramount Studios, where the director was currently under contract: “Herewith story and treatment entitled Shane, which we would like you to consider for one of your two remaining pictures. . . This property is now being supervised by one of our studio producers, but no serious problem would be involved in re-assigning it to you, and we are prepared to do so if you like it. . .” Stevens did like it, and soon began reading both the novel and existing script, marking them up with marginal notes that contained the seeds of dialogue and shots that would go on to become immortal.

As packaged, the movie was set to star Alan Ladd, Paramount’s most popular star — only John Wayne eclipsed Ladd’s popularity in moviegoer polls during those heady years. But Stevens initially considered other options. Many of his jotted notes about the character of Shane referenced “Monty,” showing that Stevens was thinking of using Montgomery Clift, the young, tight-jawed brooder then appearing in the director’s tragic love story A Place in the Sun (1951). Gregory Peck was also in the running. Meanwhile, author Jack Schaefer wanted “a dark, deadly person” — someone more like tough-guy gangster actor George Raft — to portray his hero. For the part of Joe Starrett, the homesteader and father of the young boy, names like Broderick Crawford, Burt Lancaster, and William Holden were bandied about. (more…)

Mary Pickford's rich and lustrous hair was the paradigm of female beauty in early Hollywood.

I’ve been looking at portraits of Hollywood stars from the 50’s, a time when the studio system was finally collapsing, and I noticed a few things.

The quality of studio portrait photography was dismal.

The images are, for the most part, bland, with little creative inspiration. Everyone seems bored—the photographers and the stars. Hollywood once employed geniuses like George Hurrell and C.S. Bull, whose iconic photography helped mold the G-d-like images of Hollywood’s golden age.

But as the studios were shrinking in power, they drastically cut back on their still departments. And because actors were no longer under long-term contract to the studios, the technocrat executives who replaced the original passionate moguls had no stake or ability to carefully shape and control the images of their most promising thespians.

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7am PST - Elmer Gantry (1960) – A young drifter finds success as a traveling preacher until his past catches up with him. Cast: Burt Lancaster, Jean Simmons, Arthur Kennedy, Dean Jagger Dir: Richard Brooks C-147 mins, TV-PG

Smart, sophisticated and complex look at religion and those who spread it. Honest, but never cynical, critical, but never unfair, “Elmer Gantry” is as satisfying a look at faith, the faithful and their shortcomings as has ever been depicted on the big screen. (more…)

Match me, Sidney.

8pm PST - Sweet Smell Of Success (1957) – A crooked press agent stoops to new depths to help an egotistical columnist break up his sister’s romance. Cast: Burt Lancaster, Tony Curtis, Susan Harrison, Marty Milner Dir: Alexander Mackendrick BW-96 mins, TV-PG

You could fill pages about the complete greatness of this film, but when all is said and done what impresses most is how so much character and so many plot turns all fit into 96 minutes. As Burt Prelutsky points out in this essay, the all important art of pacing has pretty much vanished in Big Hollywood. When raunchy sex comedies start clocking in at 126 minutes, the canary in the coalmine to warn you something’s gone horribly wrong is long, long dead. (more…)