Take a look at his 1942 New Year’s Resolution and see if it doesn’t bring a smile to your face, with cute cartoons and common sense goals. Seems to me that almost all his goals are really things that seem almost – dare I say it? – conservative in today’s world.

Keep clean. Save money. Work hard. Take care of your kids. Love your parents. Help the country win the war.

It’s really the opposite of how the Occupy movement thinks and acts, isn’t it?

h/t Boing Boing

Big Peace: Professor Kengor, Hollywood is celebrating its Academy Awards, a look back at great actors and actresses and films.

Kengor: For me, it’s a moment to look back at Hollywood’s worst communists, communist sympathizers, Stalinists, and duped liberals and progressives—as well as the good guys (and gals) that fit none of those categories.

Big Peace: Fair enough. This should be fun. Let’s start with communists.

Charlie Chaplin comment, “Thank God for
communism!” will make you see (him) red.

Kengor: How about the Hollywood screenwriters who liberals still insist were innocent lambs? Dalton Trumbo, Communist Party code “Dalt T;” Albert Maltz, party no. 47196; Alvah Bessie, no. 46836; John Howard Lawson, no. 47275. Or, if you turn to page 191 of my book—if you don’t have a copy yet, shame on you—you can view Arthur Miller’s party application. Miller wrote The Crucible, about how Joe McCarthy pursued “liberals” unfairly suspected of being communists—“liberals” like Miller, Trumbo, Maltz, Bessie, Lawson.

Big Peace: As you say in Dupes, Hollywood produced “quite a cast.” Let’s narrow the focus to the Academy Awards.

Kengor: Among films that have canonized communists, Julia (1977) celebrated the scowling Lillian Hellman and her mystery lover/writer, Dashiell Hammett, who we now know was a CPUSA member. Hellman wrote a bitter play called Scoundrel Time, about Joe McCarthy. In Hellman’s universe, it was Joe McCarthy, not Joe Stalin, who was evil. Winning Oscars for Julia were Jason Robards and Vanessa Redgrave. Fittingly, Lillian Hellman was played by Jane Fonda, recently retired from her real-life role as Vietcong go-go girl. “If you would understand what communism was,” Fonda pleaded with a student audience, “you would pray on your knees that we would someday be communist.”

Big Peace: Another film from that period that celebrated American communists was Warren Beatty’s Reds (1981).

Kengor: That film lionized American Bolshevik John Reed. Reed today is buried in the wall of the Kremlin, a structure responsible for upwards of 60-70 million deaths. Maureen Stapleton won an Oscar for her role in that film as “Red” Emma Goldman, a woman so radical that Woodrow Wilson’s Justice Department deported her to Russia.

Big Peace: Which Academy Award winner made the worst statement about communism?

Kengor: I would roll out the red carpet for Charlie Chaplin. “Thank God for communism!” said the silent film star. “They say communism may spread all over the world. I say, so what?” The Daily Worker thrust that comment onto its front page. Communism, of course, did spread around the world, killing 100-140 million. How’s that for a “so what?”

Big Peace: You have several Oscar winners in Dupes whose names were raised as potential communists by a party organizer in Los Angeles who testified under oath to a grand jury and to Congress.

Kengor: The party organizer was John Leech. Most of those he named turned out to be proven party members. Among those who denied Leech’s charges were Jimmy Cagney, who won an Oscar for Yankee Doodle Dandy, Fredric March, who won it twice, and Humphrey Bogart, who won for The African Queen. I think Cagney was at least momentarily interested in the Communist Party.

Big Peace: We talked previously about your fascinating material on Humphrey Bogart, profiled in a feature by Big Hollywood (click here).

Kengor: In the Soviet Comintern Archives on CPUSA, I found a “Bogart” at the Workers School in New York in 1934. With great care, and with all the declassified documents, I consider whether this was Humphrey Bogart. I found no smoking gun, but it’s extremely intriguing.

Big Peace: We do know that Bogart was a dupe.

Kengor: He was a self-admitted dupe, ashamed at how the communist screenwriters lied to him and other celebrities that formed a group called the Committee for the First Amendment. They flew all the way to Washington to defend their “progressive” friends, only to learn that the screenwriters were closet Stalinists. Bogart was enraged, snapping, “You [expletives] sold me out!” Yes, they did. The Reds had no concern for the reputations of these actors.

Other duped liberals who threw their support behind these communists, and won Academy Awards, were Henry Fonda, Gregory Peck, and Judy Garland.

Big Peace: Perhaps the biggest Oscar winner is also one of your biggest dupes: Katharine Hepburn.

Kengor: Yes. One of the sorriest episodes in Hepburn’s illustrious career came when she delivered, in flame red dress, a speech at a May 1947 Progressive Party Rally. The speech was unerringly close to the Soviet line. Why wouldn’t it be? It was written by one of those “liberal” screenwriters: Dalton Trumbo. People’s Daily World reprinted the entire text. Hepburn hit a home-run for the comrades.

Big Peace: Burl Ives won an Oscar for The Big Country (1958). Tell us about Ives.

Kengor: Burl Ives also sang some wonderful Christmas tunes. He was in a folk group called “The Almanacs,” which alternately included Pete Seeger, Woody Guthrie, and (among others) Will Geer—“Grandpa Walton” on The Waltons, a wild left-winger, and Columbia University grad, naturally. Some of these guys joined the party. “The Almanacs” were exploited by the seditious communist front-group, American Peace Mobilization, which appeased Hitler because Hitler signed a non-aggression pact with Stalin. They were the musical entertainment for the mobilization’s signature event in New York in April 1941. Go to pages 142-157 of Dupes, which presents materials from that rally—including Soviet orders to sucker “social justice” pastors, which occurred with tremendous success.

Big Peace: On the plus side, you highlight duped liberals who learned and changed, including in Hollywood. Sticking to Oscar winners, give some examples.

Kengor: If I were giving awards for best converted dupes, male and female—who also won Oscars—they would go to Melvyn Douglas and Olivia de Havilland. Douglas warned his fellow liberals about being duped. Ditto for de Havilland, who we discussed previously (click here). Unlike Katharine Hepburn, de Havilland, who played “Melanie” in Gone With the Wind, refused a pro-Soviet speech written by Trumbo.

Big Peace: Also on the plus side, list some Oscar winners who remained committed anti-communists throughout their career.

Kengor: Top billing goes to John Wayne, of course, who won for True Grit, and declared that Hollywood needed a good communist “de-lousing.” Others: Charlton Heston, Red Buttons, Frank Sinatra, Donna Reed, Loretta Young, Bing Crosby, Ginger Rogers, Jimmy Stewart, Shirley Temple. William Holden, who, with Ronald Reagan (click here), crashed a meeting of Hollywood communists in 1946. Gary Cooper, who won two Oscars, testified before Congress as a friendly witness on communist infiltration in Hollywood. Clark Gable and Claudette Colbert both won awards for It Happened One Night (1934).

Finally, I tip my hat to Haing Ngor, real-life survivor of Pol Pot’s Cambodian holocaust. Ngor won an Oscar for playing “Dith Pran” in The Killing Fields (1984). After all that, he was murdered in California in 1996.

Big Peace: Most of those we’ve noted are deceased. Give us some names of dupes or potential dupes among recent Oscar winners.

Kengor: George Clooney won for Syriana (2005). Mercifully, he didn’t win for Good Night, and Good Luck, another film where anti-communists are the demons. Barbra Streisand won for Funny Girl (1968). Of course, Sean Penn won in 2003 and 2008. Penn fits the theme of my book well, as he’s somewhat of a bridge from Cold War dupes to War on Terror dupes.

Among the non-dupes who won recent Oscars, there’s Jon Voight (Coming Home, 1978). His role in a major film on Pope John Paul II was wonderful, and would never garner modern Hollywood’s approval.

Big Peace: Professor Kengor, thanks for a unique take on the Academy Awards.

Kengor: My pleasure.

A look at Carradine’s resume is a look at an actor who loved to work, relentlessly searched out paychecks, or both. My guess is that genetics might have played a part. His old man, John Carradine, has a list of credits longer than the end titles of a Michael Bay movie.

There are stories about David Carradine. Plenty of them. And if today’s reports prove true — if he indeed did hang himself in some Bangkok hotel room, well, obviously there was some bad news, personal demons, or a toxic mixture of both. Whatever it was, I’m not interested in hearing the story or passing it along. Unless it’s in self-defense, demystifying movie stars borders on the profane in this house.

Whatever it was, I hope he’s found peace.

And I hope that in life he found some peace in knowing he had achieved artistic immortality playing Woody Guthrie in Hal Ashby’s 1976 “Bound for Glory,” one of the finest bio-pics ever produced, thanks mainly to Carradine’s Oscar-worthy performance. (He did win a Golden Globe.)

At 147 minutes, “Bound for Glory” must’ve looked awfully difficult to pull off on paper. Essentially, it’s a character study covering just a few years in the life of a complicated, difficult, and frequently unlikable man. Thanks to Ashby’s direction, the best of his career, and Haskell Wexler’s Oscar-winning cinematography, “Glory” hits in all the places an actor can’t, but this is also the kind of film where the central performance can make or break, and Carradine makes it, and then some.

Thanks to a real screen presence and a quiet, understated performance, Carradine carries the film all on his own thin, angular frame. He inhabits most every scene and quickly makes you forget all that “Grasshopper” stuff. His Woody Guthrie is mostly silent but always fascinating; conflicted by ambitions and a loathing for what it takes to fulfill them, he’s willing to risk death in order to rouse the working man to stand up for himself, but can’t summon the everyday decency to remain faithful to his own wife. And that’s Carradine singing the songs and playing the guitar, but not one note is impersonation, just pure performance.

–

Though nominated for Best Picture, “Bound for Glory” got a little lost when released, probably because it was made about five years too late. This is a 1971 film, not 1976 — the year of “Rocky” — the year before everything would change with “Star Wars.” But thanks to DVD and some love on Turner Classic Movies, “Glory” has enjoyed a bit of revival these past few years, an appreciation I think will continue to grow until the film receives a wider recognition for the timeless classic it is.

Certainly it helps that Wexler’s photography created one of the five most beautiful color films of the last thirty-five years, but having first seen it only last year, I can tell you it’s Carradine’s work that lingers long after the fade. After decades of seeing him as the guy who made an odd television show in the seventies, this one performance changed my perception entirely.

David Carradine was a great actor capable of great art and an integral part of something that will be appreciated and enjoyed long after TMZ and the like have had their fun.