“We have the right to be wrong.”
Dalton Trumbo
The Red Scare – McCarthyism – was
not only a part of Vito Marcantonio's life and times. It ended his
political career.
This darkest of chapters in American
history has been brought to life with director Jay Roach's major
theatrical release, "Trumbo."
Roach told the University of California
Television show “Script to Screen,” that he was moved by
screenwriter and author Dalton Trumbo's letters from prison to
family, friends and enemies alike, and as a child, was taken with
“Spartacus,” which the blacklisted scribe scripted under a
pseudonym.
The director called it, “Possibly the most subversive commercial film ever made.”
The director called it, “Possibly the most subversive commercial film ever made.”
Screenwriter John McNamara absorbed,
first-hand stories of Trumbo sitting in a New
York University film class taught by Ian McClellan Hunter.
The latter agreed to put his name on the blacklisted Trumbo's “Roman Holiday,” and picked up an Oscar for his willingness to sit with those who plot and conspire.
The latter agreed to put his name on the blacklisted Trumbo's “Roman Holiday,” and picked up an Oscar for his willingness to sit with those who plot and conspire.
The other teachers to the class were
Walter Salt (“Midnight Cowboy; “Coming Home”), and Ring Lardner
Jr., like Trumbo, one of the “Hollywood Ten.”
When a friend suggested to McNamara
that Bruce Cook's biography “Trumbo” was good film fodder,
McNamara was dubious. “There's no sex, there's no action and it's
period and it's politics and I'm thinking, 'How is that a movie?'”
"Counterpunch" assigned Margot
Pepper to review “Trumbo,” figuring the fact she actually knew
the subject as a child would provide an interesting, in-close
perspective.
The reviewer laments the exclusion of
Trumbo's time of exile in Mexico City, registers distaste for the
fictional composite writer character, Arlen Hird, and is
nonplussed with the sympathetic treatment afforded Edward G.
Robinson, who “named names” during the witch hunt.
Dalton Trumbo Under Fire. |
Pepper says “Trumbo” is a yarn that
develops in a vacuum.
The review suggested that the film doesn't shy away from saying “communism,” and even deigns to suggest its kinship to kindness and sharing, but, she says, the film evades the why and wherefore of the blacklist in an old “Hollywood sleight of hand” left over from the same dark days.
The review suggested that the film doesn't shy away from saying “communism,” and even deigns to suggest its kinship to kindness and sharing, but, she says, the film evades the why and wherefore of the blacklist in an old “Hollywood sleight of hand” left over from the same dark days.
But in the end, Pepper concludes that
the the film is a good thing: “Just as Trumbo broke the blacklist by
signing his name to the screenplays for 'Spartacus' and 'Exodus,' it
is likely that Roach and McNamara have, with 'Trumbo,' broken the
blacklist against Hollywood movies sympathetic to the spirit of
communism.”
A First Amendment absolutist, Rep.
Vito Marcantonio defended the rights of communists to assemble,
fulminate, organize and publish throughout the McCarthy era. It did
not advance his career.
Marc was ensconced in Congress
as the Hollywood Ten issue rose (sunk?) to prominence in 1947. He came to
their defense in a most public way.
Roach, who has an uncommon director's
empathy for screen scripters, said the writers in Hollywood “were
the first ones thrown under the bus to make the studios look more
All-American.”
The writers, McNamara suggested, never
had a chance as “Washington was the hammer and Hollywood the
willing anvil. Each needed the other to extract maximum punishment.”
The House voted 240 to 15 when citing
Trumbo for contempt of Congress with like tallies ensuing for the other
scribes suspected of writing Marx and Lenin into the commercial
projections of the Hollywood Dream Machine.
A Nov. 25, 1947 “New York Times,”
article covering the contempt citation proceedings quotes Marcantonio
“American Laborite of New York” attacking the House UnAmerican
Activities Committee process as “unconstitutional.”
Along with those who felt Alva Bessie
should have been represented, or that a more forceful role needed to
be carved out for Sen. Joe McCarthy (R-Wis), we might ask Where's
Marc in film?
Staging a moment of support from a staunch congressional advocate might have spread another layer of nuance over the filmic tragedy.
Staging a moment of support from a staunch congressional advocate might have spread another layer of nuance over the filmic tragedy.
But McNamara was adapting a specific
book about Trumbo and his times, not the entire history of man
and era.
As such, McNamara has done the
adapter's job of distilling persons, currents, opposing views
relationships public and personal, in a superior fashion; opting for
the rule which says biopics are better when they avoid tackling an
entire life, and focus instead on one important chapter into which
swatches of the past or future can be pulled with a little expository
dialogue.
He had but 127 airy pages, or so, to work
with and, as in all adaptation projects, not everything "made the cut."
“Trumbo,” is a political movie and Roach/McNamara took a bold leap in getting a story about an
accused communist casted, financed, and filmed.
As reward they came in for no small
amount of criticism. Stories that recount crucial political history
are somewhat battlegrounds over content and direction, battlegrounds
over whose history gets told.
Those clashes are especially contentious when a good number of people from the era are still alive and walking about.
The director/writer team's triumph is
not that their final draft satisfied all viewpoints on the matter at
hand, but that they raised the subject at all, so that distinct
interpretations might inform new discussion on a recently
moribund topic.
"The Goodfather (A Novel): The Rising fall of the Marvelous Marcantonio," can be purchased here: MARC LIVES!
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