Resources Brief Descriptions and Expanded Essays of National Film Registry Titles Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles.
If there was a switch in the Party line, he explained it. If there were any decisions to be made, they went to John Howard Lawson. If there was any conflict within the Communist Party, he was the one who settled it.
We had a third meeting at which Adrian Scott brought Albert Maltz, who was a more liberal Communist, to defend us. These meetings ended in a stalemate.
Albert Maltz had been concerned about the lack of freedom of thought in the Communist Party for some time, and this was the trigger for the article he wrote for the New Masses on freedom of thought which was so widely discussed.
So he wrote the article which he later had to repudiate or get out of the Party, and he chose to repudiate it. I knew that if it ever got down to a choice between the Party and our traditional democratic structure I would fight the Party and our traditional democratic structure I would fight the Party to the bitter end.
I have two boys, one thirteen months, one two weeks. Is this the kind of heritage that you would like to hand down to your children. We do not desire to prejudge their legal rights, but their actions have been a disservice to their employers and have impaired their usefulness to the industry.
We will forthwith discharge or suspend without compensation those in our employ and we will not re-employ any of the 10 until such time as he is acquitted or has purged himself of contempt and declares under oath that he is not a Communist. On the broader issues of alleged subversive and disloyal elements in Hollywood, our members are likewise prepared to take positive action.
We will not knowingly employ a Communist or a member of any party or group which advocates the overthrow of the government of the United States by force or by illegal or unconstitutional methods. In pursuing this policy, we are not going to be swayed by hysteria or intimidation from any source.
We are frank to recognize that such a policy involves dangers and risks. There is the danger of hurting innocent people. There is the risk of creating an atmosphere of fear. Creative work at its best cannot be carried on in an atmosphere of fear.
To this end we will invite the Hollywood talent guilds to work with us to eliminate any subversives, to protect the innocent, and to safeguard free speech and a free screen wherever threatened.
But my feeling was that I had been out of the Communist Party for a great many years and had a certain hostility toward the Soviet Union but certainly not toward the men whom I had been in with, because I understand them and I knew that in the main they were very well motivated. The blacklist was a time of evil, and that no one on either side who survived it came through untouched by evil.
Caught in a situation that had passed beyond the control of mere individuals, each person reacted as his nature, his needs, his convictions, and his particular circumstances compelled him to.
There was bad faith and good, honesty and dishonesty, courage and cowardice, selflessness and opportunism, wisdom and stupidity, good and bad on both sides.
When you who are in your forties or younger look back with curiosity on that dark time, as I think occasionally you should, it will do no good to search for villains or heroes or saints or devils because there were none; there were only victims.
Some suffered less than others, some grew and some diminished, but in the final tally we were all victims because almost without exception each of us felt compelled to say things he did not want to say, to do things that he did not want to do, to deliver and receive wounds he truly did not want to exchange.
That is why none of us - right, left, or centre - emerged from that long nightmare without sin. There is currently in vogue a thesis pronounced by Dalton Trumbo which declares that everyone during the years of blacklist was equally a victim.
This is factual nonsense and represents a bewildering moral position. To put the point sharply: If an informer in the French underground who sent a friend to the torture chambers of the Gestapo was equally a victim, then there can be no right or wrong in life that I understand.
Adrian Scott was the producer of the notable film Crossfire in and Edward Dmytryk was its director. Crossfire won wide critical acclaim, many awards and commercial success.
Both of these men refused to co-operate with the HCUA. Both were held in contempt of the HCUA and went to jail. When Dmytryk emerged from his prison term he did so with a new set of principles.
He suddenly saw the heavenly light, testified as a friend of the HCUA, praised its purposes and practices and denounced all who opposed it.
Dmytryk immediately found work as a director, and has worked all down the years since. Adrian Scott, who came out of prison with his principles intact, could not produce a film for a studio again until He was blacklisted for 21 years.
To assert that he and Dmytryk were equally victims is beyond my comprehension. There was not a blacklist in publishing.Hollywod since from the American film industry. The advent of a new strain of directors, all of which were film school graduates, such as Francis Ford Coppola, Bob Fosse, Robert Altman and Walter Hill also brought about stylistic changes that would never have developed if the aesthetic norms of the Classical 3/5(1).
Italy, Free elections, Hollywood-style “Those who do not believe in the ideology of the United States, shall not be allowed to stay in the United States,” declared the American Attorney General, Tom Clark, in January I am conducting a research on the “Influence of Hollywood films on the Moral Values of Youths”.
Please your candid answers are required to the questions in the questionnaire. Note that this exercise is purely for academic purpose only. Then, spontaneously and inexplicably, she falls in love with a man she barely knows – which is, again, a bit of Hollywood scriptwriting conformity.
The poignancy of her role is only evident in the symbolism of a bracelet passed between the characters, harking back to the opening moments.
Hollywod since from the American film industry. The advent of a new strain of directors, all of which were film school graduates, such as Francis Ford Coppola, Bob Fosse, Robert Altman and Walter Hill also brought about stylistic changes that would never have developed if 3/5(1).
Brief Descriptions and Expanded Essays of National Film Registry Titles " to Yuma" has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension.