Over the past weekend I watched Trumbo, the story of the Marxist screenwriter blacklisted by Hollywood during the Red Scare back in the 1950s. To say that I watched it with a jaundiced eye would be a very big understatement, because I suspected (just from the trailer) that the movie would just be one big blowjob for both Dalton Trumbo and his merry little band of Commiesymps who infested Hollywood back then.
And it was. Needless to say, the movie made villains of the conservatives who opposed the Marxist infiltration: people like John Wayne and Hedda Hopper in particular, Wayne because Wayne, and Hopper because she had a son serving in the U.S. Navy during the Korean War. Of course Wayne was made out to be a bully and Hopper a vindictive bitch — and the Senators and Congressmen who haled the Commies in front of the Senate and House Un-American Committee (HUAC) were depicted as ideological purists who saw Communists behind every bush — even though, in the case of Hollywood, there were Commies behind every bush at the time.
Of course, much was made of the fact that being a Communist wasn’t actually illegal (then, and now), and Trumbo made a great show of this being a First Amendment issue — which it was — and how these Commies all wanted to improve America, but of course there were evil right-wingers like Wayne, Joe McCarthy and HUAC harassing them at every turn.
The execution of the traitors Julius and Ethel Rosenberg got a little puff piece in the movie, which didn’t — couldn’t — actually say they weren’t guilty of
treasonespionage, so it was brushed over with the throwaway that it was the first execution for espionage in peacetime, as though peacetime should give espionage a pass. And if that wasn’t enough, the Rosenberg children were paraded around as sympathy magnets — as they still are — because Communists have no problem using children to serve their own purposes.Kim du Toit, “Blacklists Matter”, Splendid Isolation, 2020-07-28.
November 1, 2020
QotD: Trumbo
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