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Is there anything left to say other than….

Matt, you’re doing it wrong.

The film with Joel McCrea and what finally became known of as The Dead End Kids?

Saw it … in its entirety … for the first time, two nights ago.

The authors, of course, Sidney Kingsley and Lillian Hellman had been, at the time of writing and production at any rate (mid 1930’s), the early radical Leftists of Hollywood. John Steinbeck’s successful but highly controversial Grapes of Wrath was yet to come.

Dead End (1937)

It dawned on me how Dead End might be the best starting point for a history of Hollywood film that eventually ended up producing an unashamed love song to American Communists in Warren Beatty’s Reds.

If you haven’t seen Dead End or don’t recall the story instantly, it’s a tribute to the Marxist theory that what creates crime is poverty.

The Latin American drug cartels and the Mafia … they are not comprised of poor people.

In addition, what income level created these Harvard-educated denizens of the White House who have magically translated suicidal economics and down-right theft as a “redistribution of wealth”?

“Michael, it’s Robin Hood!! You remember what a good guy the Communist Robin Hood was, don’tcha?”

Even the successfully hardened criminal of Dead End, played by Humphrey Bogart, a thug in white-collar costume, “gotta raw deal” as a boy … and in the very same neighborhood.

The one lucky product of what appears to be Manhattan’s Lower East Side, Brooklyn Bridge and all, is Joe McCrea whose good stroke of fortune was to have rather miraculously received an architectural degree and Midwestern accent … yet whose love of his own roots makes him choose a woman from “his own kind” – flash forward to a latter day version in Radically Chic Leonard Bernstein’s West Side Story. In short, McCrae chooses the Socialist Realism of a Dead End Peer … or is it Pier … instead of some spoiled brat of wealth.

Mother and Son:  Marjorie Main and Humphrey Bogart

Obviously Stephen Sondheim and Leonard Bernstein were Progressively Red with West Side Story, cutting across the racial barriers in their profoundly successful version of Romeo and Juliet … but doing so with an obvious look back in Marxist anger at the Kingsley/Hellman Dead End.

The rich people in Dead End, who, in a miraculous quirk of fate, happen to live on the same block as the poor people, are not very nice. They are cold and distant. They’re the real villains, because … well … they’re rich!

Obviously the real Dead End is Capitalism and capitalist America.

Where and when did all this far left indoctrination of America begin?

Regarding the arts and education, I would say, with little hesitation, that the formal indoctrination began with New York’s New School for Social Research, founded in 1919 … and, appropriately enough, still a far-left bastion that draws young intellects easily swayed by the appropriately titled Progressive Jazz.

Obviously the Progressive in that phrase has many more meanings than merely musical ones.

This is not the jazz of Louis Armstrong.

It’s the cutting edge sounds of The Modern Jazz Quartet, Herbie Hancock, the super cool arrangements of Gil Evans, culminating in the quintessentially French version of the “American Racial Tragedy”, Bertrand Tavernier’s film, Round Midnight. Bertrand Tavernier was recently a signatory on the petition to free Roman Polanski. It’s all part of the Red Special Favors Club that now has the Polish director “jailed” in a Swiss ski resort.

I have written about the lasting effects of the French Revolution upon third millennium America in my series, America’s French Revolution at enterstageright.com.

World Communism without the French Revolution and American Communism without the Far Left artists of New York and Hollywood are fantasies as incomplete as the Lone Ranger without Tonto … or Stalin without Lenin.

Let me extend my dating back a bit further, to 1911. In that year a cartoon by Robert Minor appeared. In it Capitalists and Karl Marx himself are “buddying-up” on Wall Street. This pre-Soviet, Communist/Capitalist merger in America evolved into what we now know of as the Progressive Movement, which, in turn, became the Progressive Power Years of the Bush/Clinton/Bush/Obama White Houses.

A deal has been struck between the World Marxists and an amazingly small oligarchy of American capitalists across party lines. They comprise the inner circle of Progressivism … and George Soros particularly “pulled the money strings” to get Barack Obama elected.

Their objective?

A “Collective” run by the Progressive Oligarchy.

An Animal Farm.

Hmmm … sound appealing?

At least it’s a magnet for lower-classes, right? Those who are still taught in the increasingly Marxist public school system that this Oligarchy out of the Ivy League is going to “redistribute the wealth” … right?

Well … the motivations for the lower-classes to climb up were, and still are, the privileges achieved within the free-market, capitalist system – all of which, under Marxism, will be gone, except for the chosen elite handpicked by the Oligarchy!

The promised “Change” of the Obama Nation is a bait and switch, shell game; and the established artists of today will find their own liberties curtailed … and, much like Orwell, come to abhor Communism.

However by then, it will be too late.

Reds (1981)

From The New School for Social Research to the famed but highly politicized Group Theater of Harold Clurman, Lee Strasberg and Cheryl Crawford, out of which came Dead End’s author, Sidney Kingsley, we have the evil flower blossoming nicely.

Now we have become captives to an American disillusionment portrayed in the films and theater of our own Far-Left American millionaires such as Oliver Stone, Francis Ford Coppola, Warren Beatty and Spike Lee.

The Group Theater’s tribute to Soviet dreams has inspired the American arts, particularly in Hollywood; and it is mirrored in the assassination attempt upon that old school, American conservative, President Ronald Reagan, an insanity partly provoked by the anti-heroic fantasies in Martin Scorsese’s film, The Taxi Driver.

Martin Scorsese and his star, Robert De Niro, created their very own version of an American anti-hero in the films Mean Streets and Taxi Driver.

Having learned that the “good guy” in Mean Streets, played by Harvey Keitel, was relatively boring when compared to the mean-street-insanities of the De Niro character, both Scorsese and De Niro obviously arrived at the creation of Travis Bickel in Taxi Driver, a truly French, grand guignol, film noir leap into the very hellish bottom of anti-heroism.

Beatty’s Bonnie and Clyde come off as a George and Gracie when compared to Taxi Driver.

Why can’t I lump the creators of Taxi Driver in with other American Marxists?

Their apparent love/hate relationship with Christ and Catholicism … not to mention the courage of their presence as presenters in the Academy Awards ceremony during which Elia Kazan, “copped a Gold”, a lifetime achievement award.

Natural Born Killers (1994)

There is so much ground to cover within American Marxist Artists but I will possibly venture next into the seductive power of Marxist, film noir anti-heroes such as Natural Born Killers, Bonnie and Clyde, and that admittedly unashamed love song to American Communists, Warren Beatty’s Reds.

Do I condemn them, many of which are indisputable geniuses?

How can I … having been almost as blind to the Communist Lie as they are?

They remind me of the terrible predicament a sports genius named Tiger Woods now finds himself in.

Unlike Mr. Woods, unfortunately, the American Reds are not apologizing.

Basking in the “Change” promised by President Barack Obama, the Progressive Radicals are singing, “Don’t Rain On Our Parade!!”

Oh, well, to oblige my political enemies, I’m singing I Guess I’ll Hang My Tears Out To Dry … for now at any rate.

Oh, dear commenters of Big Hollywood! Thank you for your wonderfully warm welcome. I look forward to all of your future feedback.

The big topics of the week were Mahmoud Ahmadinejad and the presidential fly killing:

The election of Mahmoud was compared by the talk show hosts alternately to the 2000 Presidential and the 2008 Minnesota Senate elections. Fallon claimed that now that his opponent lost, he’ll go on to make a documentary about Global Warming.  David Letterman actually did a joke almost every single night, changing the punchline from Florida voting machines, to Pat Buchanan, Al Gore, Al Franken and Jeb Bush.  Bill Maher used Norm Coleman then criticized his audience for not knowing who he was talking about. The funniest line was Ferguson’s who claimed that Iranian politics have finally gotten as corrupt as Chicago.

Ferguson and Conan get the Writers Over Shoulders Award for making a joke about the fly being eaten like a lizard.  Ferguson speculated that it would be done by Cheney, while Conan put a computer animated tongue in the president’s mouth, snapping the fly off his wrist. Kimmel gets an honorable mention for putting a sound effect of flatulence behind the video so it looked like the President was trying to fan the odor away.

The Most Overused Person as a Punchline goes to Thomas Prusik Parkin, the man who dressed up like his dead mother to collect her social security check. David Letterman accused both Elton John and Barry Manilow of dressing like their mothers on alternate nights. The funniest line he said was that he was so good at dressing up like an old woman that Ashton Kutcher wanted to date him. (He told a similar joke the following night, saying if he wanted to look like an old woman he should have dressed up like Madonna.)

John McCain buying a hybrid was another big story of the week getting attention from Conan, Fallon and Letterman who used it for ageist jokes. Letterman claimed that a Hybrid to McCain would be a horse and buggy while Conan claimed that to McCain, hybrid meant an AM/FM radio. Fallon claimed that seven months ago he couldn’t use a computer, but now he’ll have a hybrid and a twitter account; perhaps he’s the new Benjamin Button.

Jimmy Fallon reached all the way back to an administration that predated his talk show career to deliver the Lamest Attempt at an Obama Joke, claiming that George Bush tried to one-up the new President by killing a fly himself, but it took 20 minutes of clumsy two handed swatting. There were also a couple Bill Clinton as a predator jokes during the week. But the Oldest Presidential Reference goes to Stephen Colbert, who ran Richard Nixon’s quote about Bohemian Grove being “faggy.”

Most of the week’s Obama material centered on the fly. One exception was Jon Stewart who derided the President for trying to fix Health Care in the middle of a war on two fronts and trying to keep the nation from looking like it did in the Grapes of Wrath. But the Funniest Obama Line goes to Conan who claimed that while President Obama was on the phone talking to Phil Jackson and Dan Bylsma, Joe Biden got to talk to Tito Jackson and a real penguin.

The Most Interesting Interview of the week was Governor Mike Huckabee on the Jon Stewart Show. Governor Huckabee very clearly laid out the constitutional pro-life position for the Daily Show audience. Stewart, was defenseless against a rational case for the rights of the unborn, especially since Huckabee’s position was not based in religion, zealotry or misogyny–the straw men Stewart usually attacks. His audience also appeared stunned, as they were not able to perform their trademark trained seal-clap more than a couple times during Stewart’s humiliation.

The Angriest White Man is still Bill Maher, who after a brief flirtation with moderateness, struck back at those of us who congratulated his criticism of Obama. In a remarkably unfunny rant, Maher warned Republicans:

And as far as you folks on the right, who think that we’re now somehow in league: we’re not in league. I was criticizing Obama for not being hard enough on the corporate douchebags you live to defend.  I don’t want to be on your team, pick another kid.

Gee, all we did was compliment him for being fair.

Besides Letterman, perhaps there might have been another threat issued down to a host last week. It seems David wasn’t the only one, who had to apologize to his “sponsors.”