Communism is responsible for more deaths in the 20th Century than both world wars, yet liberals have defended it for decades. A new book by Grove City College professor and top Reagan scholar Paul Kengor – Dupes – documents this, showing how Communists used liberals to further their efforts in the U.S. This book masterfully documents dupes in the U.S. from the Hill to (my focus here) Hollywood.

Kengor’s strength is research (the book’s introduction alone lists 35 citations), and Dupes authoritatively identifies both dupes and true Communists in Hollywood, documenting them down to their Communist Party USA registration card numbers and how many times they wrote for Communist publications.

Take playwright extraordinaire Arthur Miller, for example. It is widely accepted that “The Crucible” is about McCarthyism. Beyond that, today’s educators have allowed what Senator Joe McCarthy and his “witch hunts” found to blend with the work of the House Committee on Un-American Activities. In reality, they were entirely separate.

Kengor points out that the falsely titled “HUAC,” (a recent New Yorker article, which gives a good review of former Communist Elia Kazan, used the “HUAC” abbreviation too) which suggests the committee was the actual un-American organization, was chaired by Democrats for much of its existence, and it was attacked for its work by Communists regardless of who was in charge. (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…)

Time Magazine of 1961 had its own, surprisingly spiritual commentary and conclusions to make about some hefty Old Testament offerings on Broadway: Archibald MacLeish’s J.B. and Paddy Chayefsky’s Gideon.

Two of the world’s greatest theater directors, Sir Tyrone Guthrie and Elia Kazan, seemed almost simultaneously drawn to the Bible in their own personal and/or artistic quests for some meaning to late 1950’s, early 1960’s Man.

Both productions were compared to one another in Time not in the Arts Section but the U.S. Section … hmmm … and with no name attached to it.

Therefore not merely a review but a Time Magazine pronouncement!

The anonymous editor had this to say in conclusion:

“This flawed ending (of Chayefsky’s Gideon) echoes the flawed conclusion in Broadway’s (and MacLeish’s) J.B. of three years ago; both Playwrights MacLeish and Chayefsky assume that man has somehow outgrown God and must evolve a higher morality. They deny that the end of man is to glorify God and seem to agree that man must express, sanction, and glorify himself.” (more…)

“Roman Polanski is a French citizen, a renowned international artist now facing extradition. This extradition, if it takes place, will be heavy in consequences and will take away his freedom. Filmmakers, actors, producers and technicians – everyone involved in international filmmaking – want him to know that he has their support and friendship.” – From the petition to free director Roman Polanski.

Jafar Panahi

“Every possible way has been used for breaking his spirit. He is deprived of his basic and legal rights. Can all of this be called anything but torture? Does a regime have the right to treat one of its artistic elite so shamefully and inhumanely on the basis of a film that has not yet been made?”  -  Taherah Saeedi, wife of renowned Iranian New Wave filmmaker Jafar Panahi, on her husband’s arrest and imprisonment in Tehran.

On September 27, 2009, famed Hollywood film director Roman Polanski was arrested on arrival at Zurich Airport by Swiss authorities on a 31-year-old L.A. warrant for the 1977 drugging and raping of 13-year-old Samantha Geimer, now 45. A huge swath of the liberal leftist Hollywood establishment wasted no time in leaping into action over the Swiss authorities’ dismaying breach of social justice and inhuman treatment vis-a-vis director/child rapist Polanski. Over 100 well-known filmmakers and A-list celebrities signed a petition of outrage demanding Mr. Polanski’s immediate release. (more…)

EXCERPT FROM Burt Prelutsky’s: Liberals: America’s Termites or It’s a Shame That Liberals, Unlike Hamsters, Never Eat Their Young

These days, there is another blacklist taking place, but they’re calling it a graylist because the victims are scriptwriters who made the stupid career decision of allowing themselves to become gray-haired or, in some distinguished cases, even bald. 

Back in 1999, a class action suit was initiated by about 150 of us.  Today, there are over 600 of us who are plaintiffs suing the various studios, networks and major talent agencies, for conspiring to blacklist WGA members on no other basis than their age. 

Some people might find it ironic that Hollywood’s liberals, who are still inflamed over a blacklist that took place 60 years ago, not only condone it in their hometown, but practice it every day of their lives.  (more…)

Our President’s favorite movie is The Godfather.

“You disrespected me …” says Don Corleone to a favor-seeker.

That’s one of President Obama’s favorite phrases from Marlon Brando’s Godfather.

The, by now very boring, Judeo-Christian civilization has raised us to “disrespect” criminals, bullies who rule the world by force and force alone and cold-blooded killers such as the Islamic Jihad.

Somehow our President is willing to give a pass to Don Corleone because … well … “The Don” is performed by the same actor who portrayed John McCain’s favorite movie hero, Emiliano Zapata.

Marlon Brando. (more…)

Last week, I stirred some folks up with my Top Ten Most Overrated Directors of All Time.  To recap, they were: Ridley Scott, Michael Mann, David Lean, Darren Aronofsky, Mike Nichols, David Lynch, Quentin Tarantino, Woody Allen, Martin Scorsese, and Alfred Hitchcock.  And by “stirred some folks up,” I mean faced down a virtual lynch mob.  Who knew that Aronofsky supporters were fans of the film Fury? 

A few quick items in response to that piece.  First, it was not about “bad directors” (although some were plain bad, including Aronofsky), but about overrated directors.  Alfred Hitchcock is nowhere near the worst director ever (I was probably too harsh to label him “slightly better than mediocre”), but it is a travesty to label him the greatest director of all time, as so many have.  The same holds true for David Lean (I appreciate Great Expectations, Brief Encounter, and swaths of Bridge Over the River Kwai, I just think he doesn’t deserve to make the top 20 list). Second, I neglected three directors who clearly should have made the list: Roman Polanski (somebody stop the Chinatown cult!), Spike Lee (how can he make race relations this dull?), and Tim Burton (damn you for ruining Sweeney Todd).  Third, two corrections: (more…)

To begin with, writing this first editorial for Big Hollywood feels as threatening as the moment I entered California to do my first big film-role in Glory Boy, originally and more comprehensively titled, My Old Man’s Place.

“Do I really want that face I see in the rushes  … the one that looks an awful lot like me … do I want it running around the movie houses of the world?”

By then, of course, it was too late. I’d already signed a contract.

Director Elia Kazan accepts an honorary Oscar (1999)

I’ve already said yes to Andrew Breitbart … and though I’ve been writing editorials on enterstageright.com for more than a few years … this actual return to Hollywood … uh … Big Hollywood, no less … is as disturbing as those memories of My Old Man’s Place.

What does Big Hollywood mean?

Is it a tribute or in-house sarcasm? (more…)

Some are under the mistaken impression that Hollywood’s rallying behind behind Polanski because he’s a a fellow artist. That has nothing to do with it. Polanski made a few classic films but his resume pales in comparison to the great Elia Kazan — a man who, until his death in 2003, remained something of a pariah in Hollywood even though sixty years had passed since he named names before the House Un-American Activities Committee.

In Hollywood there’s something worse than being a communist (or a child rapist) and that’s being an anti-communist. Kazan, a former member of the Communist Party of America, died a die-hard liberal but once he came to understand the crimes against humanity committed under Stalin he left the communist party and eventually went before HUAC where he named Stalinists, not innocent liberals. He also never apologized: (more…)

Actor Karl Malden, who died at age 97, was a fine performer who stood for good principles and conveyed a sense of moral responsibility in his performances.

Malden was instrumental in pushing the Motion Picture Academy to give a lifetime achievement award to writer-director Elia Kazan, who directed Malden in perhaps his best and most memorable role, that of Father Berry in “On the Waterfront.”

Kazan had been an outcast in Hollywood for several decades before the 1999 award, because of his opposition to communism. Malden’s support of him carried a great risk of ostracism by Hollywood’s political correctness police.

A measure of Malden’s integrity is that he was married to the same woman for seventy years and was surrounded by family members when he died. (more…)

Some of you might remember the 1999 Academy Awards, the year the great Elia Kazan was finally given an honorary Oscar. The decision to honor Kazan was met with controversy and anger, especially among those who pride themselves on their tolerance, open-mindedness, charity and forgiveness. You see, before Kazan knew better he flirted with Communism, but being a true liberal with an open mind, after learning of the horrors of Stalin’s regime he turned against it and then committed a Hollywood sin worse than furthering an ideology responsible for hundreds of millions of deaths, he named names.

Knowing full well what it would mean, it was Karl Malden, a former Academy President, who proposed and publicly pushed for Kazan to receive this long overdue tribute. And that, along with a 70-year marriage, says an awful lot about the man.

The actor was just as impressive. The simple way to describe him would be as a beefy everyman, but that too easily dismisses a natural and very real screen presence that made him one of the most recognizable faces in the country. Malden worked with some of the most powerful actors of the last fifty years, Brando, McQueen, George C. Scott, Burt Lancaster, and yet he never got lost in the scene. He knew how to watch another actor, he knew how to listen and this kept our eye on him as we waited for what he’d do next. (more…)

9am PST - Boomerang (1947) – A prosecutor fights to prove the defendant in a scandalous murder case is innocent. Cast: Dana Andrews, Jane Wyatt, Lee J. Cobb, Cara Williams Dir: Elia Kazan BW-88 mins, TV-PG

Here’s a treat for you. Elia Kazan directs this tough, little tightly-paced (88 mins!) hickory knot of a docu-drama starring The Mighty Dana Andrews and just as Mighty Arthur Kennedy. No time is wasted in getting to it. The story opens in broad daylight on a busy street and before you can say, “What a lovely little town,” a Priest has his brains blown out and the manhunt is on. Kennedy, at his sneering, contemptuous best, confesses and is prosecuted by State’s Attorney Henry Harvey (Andrews), but something’s amiss and soon, all instincts for what’s good for him to the contrary, Harvey finds himself in the awkward position of having to prove the man’s innocence. (more…)

5pm PST – Tree Grows in Brooklyn, A (1945) – A girl in the slums tries to find her way with the help of her devoted mother and alcoholic father. Cast: Dorothy McGuire, Joan Blondell, James Dunn, Lloyd Nolan Dir: Elia Kazan BW-129 mins, TV-G

Watch in awe as you realize this lyrical, timeless family drama was Elia Kazan’s feature film directorial debut. There was nothing this extraordinary explorer of the human condition couldn’t do and his work will survive as long as there’s a civilization, and much longer than anything made by those who refused to stand when the 89 year-old was awarded an honorary Oscar in 1999. Of course, that’s me being generous and assuming we haven’t already forgotten the classic canon of Nick Nolte and Amy Madigan. (more…)

This recent attempt at a SAG Awards’ boycott of eight actors by some Hollywood members of the Screen Actors Guild got me thinking about an Oscar night from almost ten years ago when the Academy was honoring Elia Kazan with a lifetime achievement award.

I remember being on sets or in casting-session waiting rooms and getting into heated “discussions” with actors about The Red Scare Blacklist, and how we should “never forgive anyone who named names to save their own skin.” 

But Kazan only ever admitted to doing what he thought was right. But my actor friends, most of whom were born long after the period in question, and whose knowledge of The House Unamerican Activities Committee was usually limited to lectures from their favorite college professor, wouldn’t buy it. “Phooey,” they said. There was only one explanation: anyone who cooperated with HUAC was a coward motivated by ruthless career ambition. Anyone who refused to testify, however, did so only out of a high minded commitment to principles.

(more…)