Red Hollywood Page #2

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But there were Communists

in Hollywood,

and the committee

found the first victims

for a blacklist.

After the 1947 hearings,

the studio bosses met

and made their peace

with the committee.

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.

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 any illegal

or unconstitutional methods.

Nothing subversive

or un-American

has appeared on the screen.

NARRATOR:

Many were called,

10 were chosen.

They became known

as the Hollywood Ten,

or the Unfriendly Ten.

To some of their

contemporaries, the Ten

and the other

blacklist victims

were heroic martyrs.

To others, they were

simply ridiculous

in their posturing

as brave defenders

of civil liberties.

But their supporters

and detractors

have continued to agree

that their influence

on Hollywood films

was insignificant at best.

It has been convenient

for both sides

to imagine that the absence

of Reds from Hollywood

meant as little

as their presence.

Lionel Stander

ad libbed, uh...

Um...

The Internationale,

not the words but the song.

(VOCALIZING)

And, uh, it was just

a throwaway ad lib,

uh, but... (CHUCKLES)

About a year later,

I met the vice-president

in charge of international

distribution for Columbia,

and he said, uh...

"Oh, you wrote

No Time to Marry.

He said, "Can you tell me

what was wrong

with that picture?"

And I said, "Wrong?"

And he said,

"Well, it was banned

in Argentina,

banned in Brazil,

"banned in Bolivia,

banned here, banned there."

He said, "I've run

that picture a dozen times,

"I cannot find why

they're banning it."

(CHUCKLES)

Well, the story about

Stander humming or whistling

The Internationale

entered into a kind of myth

about how Hollywood Reds

tried to

insert

Red propaganda

into pictures.

When there was a concept

and there was...

There was some values that

you felt were good in it,

you just felt better

about working on it.

But I never

was interested

in the idea of

slipping something

past the producer,

you know,

that kind of thing.

There were people

who would brag about

how they were able to slip

something past a producer

or head of the studio without

them realizing

what it really was,

you know.

There was no plot

to put social content

into pictures.

The plot was intellectual.

Social content is what

pictures are about.

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