"EMMA:" "You're only a boy." "We don't want to hurt you." "The truth, son, that's all we want." "Just tell us she was one of you, Turkey, and you'll go free." "JOHN:" "You better talk, boy, you better talk." "(MALE NARRATOR READING)" "(WHIMPERS)" "What should I do?" "I don't want to die." "What do I do?" "Save yourself." "What'll you do to her?" "The law will take its course." "Was Vienna one of you?" "Well, was she?" "Yes." "(MALE NARRATOR READING)" "Thisisthehearingroom  oftheHouseof RepresentativesCommittee onUn-AmericanActivities." "Wethecitizensof theUnitedStatesofAmerica owethese,ourelected representatives,a greatdebt." "Undauntedbythevicious campaignofslander launchedagainstthem asa whole andasindividuals, theyhavestaunchlycontinued theirinvestigation, pursuingtheir statedbelief thatanyonewhocontinued tobeaCommunistafter1945 isguiltyof hightreason." "Are you now or have you ever been a member of the Communist Party?" "Inframingmy answer tothatquestion," "Imustemphasizethe points thatI haveraisedbefore." "Thequestionof communism isinno wayrelated tothisinquiry, whichisan attempt togetcontrol ofthescreenand to invadethebasicrights ofAmericancitizens inallfields." "MAN:" "Mr. Chairman, Mr. Chairman..." "Thequestionhererelates notonlyto thequestion ofmymembershipinany politicalorganization, butthiscommittee isattemptingto  establishtheright... (GAVEL BANGING) ...whichishistorically deniedtoanycommittee ofthissort," "toinvadetherights andprivileges andimmunities ofAmericancitizens, whethertheybe  Protestant,orMethodist, orJewish,or Catholic..." "MAN:" "Mr. Lawson..." "...whethertheybe  Republicans orDemocrats oranythingelse." "Now you refuse to answer that question?" "Is that correct?" "Ihavetoldyou that Iwilloffermybeliefs, myaffiliations, andeverythingelse MAN:" "Excuse the witness." "totheAmericanpublic, andtheywillknow whereI stand astheydo from whatI havewritten." "THOMAS:" "Stand away from the stand." "Ihavewritten Americanism formanyyears..." "THOMAS:" "Stand away from the stand!" "andI shallcontinue tofightfor theBillof Rights, whichyouaretrying todestroy." "THOMAS:" "Officers, take this man away from the stand." "NARRATOR:" "AmericanAnti-Communism wasa know-nothingcreed andsometimesproudofit." "JohnWayneandhis  right-wingHollywoodallies mightrailagainstCommies, recklesslyaccusing themoftreason." "Buttoprove theyhadsubverted themotionpictureindustry, theHouseCommittee hadtorecruitawitness whowas,in aliteralsense, un-American, arefugeefrom Communisttyranny." "Shetookas hertext avehicleforRobertTaylor, awartimehymnto America'sbraveSovietally." "(LAUGHTER)" "Can't get over it." "What?" "Well, everybody seems to be having such a good time." "Well, is that wrong?" "No, except that I always thought Russians were sad, melancholy people, you know, sitting around brooding about their souls." "This is such a surprise." "You're a surprise, too." "I am?" "Well, if I didn't know that I'd met you in Moscow, you might be an American girl." "FEMALE NARRATOR:" ""Communistpropaganda isanythingwhichgives" ""agoodimpression ofCommunism asa wayof life." ""Anythingthatsellspeople theideathatlife inRussiais good" ""andthatpeopleare free andhappywouldbe Communistpropaganda." ""AmI notcorrect?" ""Now,hereis thelife intheSovietvillage" ""aspresented inSongof Russia." ""Youseethehappypeasants." ""Youseethemanicured starletsdrivingtractors" ""andthehappywomen whocomefromworksinging." "(SINGING IN RUSSIAN)" ""Incidentally,I have neverseenso much smilinginmy life," ""exceptonthemurals oftheWorld'sFair pavilionoftheSoviet." ""Itisoneofthestock  propagandatricks oftheCommunists," ""toshowthesepeoplesmiling." ""Thatisalltheycanshow. "" "So here we are, uh, two years after the war ends, and, uh..." "And... (STAMMERS)...um..." "Louis B. Mayer is apologizing to the committee for having made it." "And Robert Taylor is apologizing to the committee for having starred in it." "And, uh..." "And Ayn Rand is saying it was a false picture from beginning to end because it showed Russians smiling and everybody knows that Russians don't smile." "Well, the fact is, it was not a totally honest picture, it was designed as war propaganda." "Uh, it did have a rosy view of the Russians, including a lot of expressions of how grateful they are to the United States for aid and for providing tractors." "And, uh, the tractor's the best tractor in the world because it comes from the United States." "I mean, there was a lot of fake pro-American stuff in the-the film too." "(CHUCKLES)" "It was a direct representation of what was going on at the time." "And it was meant to reinforce the notion that we have an ally, an ally that's, uh, uh... making enormous sacrifices in human life, and we're all in this together in the fight against fascism." "MALE NARRATOR:" "Although,hecouldn'tmake hiscasein 1947," "Jarricowon theargumentby default." "Everyoneknewthat Song of Russia wassimplyarelic fromanimprobable butnecessaryalliance, andRandfailed toconvincemostpeople thatCommunists hadsubvertedthemovies." "ButtherewereCommunists inHollywood, andthecommittee foundthefirstvictims fora blacklist." "Afterthe1947hearings, thestudiobossesmet  andmadetheirpeace withthecommittee." "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:" "Manywerecalled, 10werechosen." "Theybecameknown astheHollywoodTen , ortheUnfriendlyTen ." "Tosomeof their contemporaries,theTen andtheother blacklistvictims wereheroicmartyrs." "Toothers,theywere simplyridiculous intheirposturing asbravedefenders ofcivilliberties." "Buttheirsupporters anddetractors havecontinuedto agree thattheirinfluence onHollywoodfilms wasinsignificantat best." "Ithasbeenconvenient forbothsides toimaginethatthe absence ofRedsfromHollywood meantaslittle astheirpresence." "Lionel Stander ad libbed, uh..." "Um..." "TheInternationale, 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 NoTimeto 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 TheInternationale 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." "You can't make a picture about human life without social content." "And social content meant, in effect, the social content of these people." "How the world was divided up, how it worked economically, socially, morally, and so on." "You've got to show the rich are shitty and the poor are beautiful." "It's important that you've got to show that anybody who works is being exploited." "Those are general professional ideas that are current among the least educated among the radicals." "But there is the social content that comes from a general philosophical attitude towards the world, of society, that's what counts." "NARRATOR:" "Astheblacklistspread, claimingJarrico, Levitt,Polonsky, andhundredsof others, itbecameevident thatmorethantwo  ofitsvictimshad talent." "Buttalentis notenough, astheircritics wouldpointout." "Eventhemosttalented couldbefatally corruptedbyHollywood." "Inthe'30s, everyone'sfavoriteexample wasCliffordOdets, thebrightestandbravest oftheleftwingplaywrights." "Hejourneyedwest towriteromanticdialogue forGaryCooper andMadeleineCaroll." "I'm trying to say you're wonderful." "That makes me a sap, I know, but it doesn't make any difference one way or the other now." "You know I'm wonderful, too." "You are." "Judy Perrie, darling, we could've made wonderful music together." "We could've worked and made ourselves a circle of light and warmth." "O'Hara..." "I'm so lonely for you." "NARRATOR:" "Andthecriticsjeered," "Odets,whereis thysting?" "Yetevenin this apoliticalfilm," "Odetsmanagedto insert alittlelesson aboutclassoppression." "There they are, refugees from Ar Chen, or what used to be Ar Chen before General Yang rode through it." "(CHUCKLES)" "And who's General Yang?" "Why, he's the warlord of this province, and a swell guy to do business with." "But why does he want to destroy his own towns?" "Oh, because they refuse to pay their taxes." "(SCOFFS) Well, I think those people would learn how to obey the law rather than suffer this." "Ah, these people have no nerves, no feeling." "They're used to suffering." "But they can't get used to paying." "(BOTH LAUGH)" "Excuse me, madam..." "You got a match, Colonel?" "No, I don't smoke." "Colonel." "Refuse me a match, will ya?" "But I haven't a match!" "And those people didn't have the pennies to pay General Yang." "Think it over." "NARRATOR:" "ButTheGeneralDiedatDawn wasnotHollywood's firstdenunciation oftheactually existingfascism thatthreatened thepeaceof theworld." "Thatwouldcome twoyearslater, anditwouldbewritten bya Communist." "Air raid!" "(SIREN WAILING) What?" "The Spanish Civil War was the big cause for all of us on the left then." "We felt it was the only hope of defeating fascism, that if the democracies stood up to what was going on there and helped the Spanish government resist this invasion, that a Second World War could be averted." "And I still think it probably could've have been." "We knew that Franco had this Nazi and Italian fascist support." "As a matter of fact, that his whole revolt would've collapsed without German planes that were sent to carry troops over from Africa into Spain." "So I was partisan right away on that, even though I was not yet a member of the Communist Party." "NARRATOR:" "OnlytheSovietUnion andthepartiesaligned withtheCommunist International cametotheaid  oftheSpanishRepublic." "InHollywood, theRepublicancause broughtmanyinto theorbitof theparty." "Thereweremanycommittees andfundraisers, butjustthisone film." "Theopposingsides werenevernamed inBlockade, buttherecouldbe nodoubton whosebehalf" "HenryFondamadehis final, desperateappeal." "Peace?" "Where can you find it?" "Our country has been turned into a battlefield." "There's no safety for old people and children." "Women can't keep their families safe in their houses." "They can't be safe in their own fields." "Churches, schools, hospitals are targets." "It's not war." "War is between soldiers." "It's murder, murder of innocent people." "There's no sense to it!" "The world can stop it." "Where's the conscience of the world?" "NARRATOR:" "Theconscience oftheworldwas stone, theSpanishRepublic wasdefeated." "EnglandandFrance madea dealwithHitler, andsotoodid Stalin." "What's the matter?" "This radiogram came a few minutes ago." ""Dear Mr. Ambassador, our worst fears are realized." ""This afternoon, a non-aggression pact" ""was signed between Germany and the Soviet Union."" "Then it's happened." "Hitler's closed his eastern door." "God help the rest of us." "It was a shock, and yet..." "We saw, I saw the reasoning behind it and almost the inevitability of it from the Russian point of view that even if they couldn't get together, with the West, the least they could do was have some protection themselves." "Why did Stalin make a deal with Hitler?" "Forself-protection." "Hewasleftstanding aloneagainstHitler, andhestalledbecause hisarmywasn'tready." "What did Russia ever do for us?" "Russiahasgivenustime ." "It was an abrupt switch of line." "It was stupid, as far as the American Party was concerned." "And there was a lot of resistance to it, even with people who did not quit the party at that point as many, many people did, because of the change in line." "It was really a  reductio ad absurdum of," ""What's good for Russia is good for us."" "Because it wasn't good for us." "Personally, I can remember that in the..." "The early part of 1941," "Michael Kanin and I were working on this original screenplay, WomanoftheYear, and when we finished the story version of it, we got..." "Katherine Hepburn became involved, having been committed to the picture, and having helped sell it to MGM." "So we had many discussions with her, and..." "She represented at that time a very strong partisan of..." "Of the war of Britain and France, and America's getting into the war, whereas I was still expressing reservations about America getting in the war, so many of our story discussions turned into political discussions between Kate and me." "NARRATOR:" "Thedebatecontinued intothefilmitself andLardnerwon, simplybycasting SpencerTracy ashisspokesman." "(INDISTINCT CHATTER)" "I'm sorry, I must, I thought... (STAMMERS)" "I'm looking for Miss Harding." "Well, come right in." "This is Miss Harding's?" "Yes." "Uh, may I have your hat?" "NARRATOR:" "Hepburn'sinternationalism lookedridiculous andpretentious againsthisplain-spoken chauvinism." "I'm so glad you came." "Thanks." "Who won?" "Who won?" "What?" "The game?" "Oh, the Yanks, in the 10th." "How nice, everyone in Philadelphia must be so happy." "A few people always come in after my broadcast." "Why do you broadcast?" "Why don't you just wait and tell them here?" "(SPEAKING FRENCH)" "(SPEAKING FRENCH)" "Excusez-moi." "(INDISTINCT CONVERSATIONS)" "Now let's see, I wonder who you'd get along with." "Uh..." "There's Madam Laruga sitting over there." "You probably don't speak Slovenian either." "No, just a little broken English." "(CHUCKLES)" "Hello!" "Sam, will you excuse me?" "He doesn't know anyone here." "Yes?" "Yes, yes, sit down." "I get kind of lost at these big parties, don't you?" "Yes." "Well, the situation's pretty warm over in your part of the world, isn't it?" "Yes." "Having fun?" "Yes." "By the way, I'm afraid we haven't met." "My name is Craig." "What's yours?" "(CHUCKLES) Yes." "You don't speak English, do you, Charley?" "Mmm." "Yes." "And what's more you're a pretty silly-looking little jerk sitting there with that towel wrapped around your head, you know that, don't you?" "Yes. (LAUGHS)" "That's all, brother." "Yes." "Mmm, yes." "NARRATOR:" "Asoftenhappens, left-wingisolationism cameuncomfortablyclose toright-wingisolationism, withallthetinges ofracismandsexismintact." "(CROWD CHANTING)" "ButLardner'sisolationism wasexceptional amongHollywoodCommunists." "DespitethePact, theycontinuedto create strongdenunciationsof  fascismateveryopportunity." "JoanBennettdiscovers themanshemarried isa Nazisympathizer, anda pre-wartrip tohishomeland turnsintoanightmarish politicaleducation." "(INDISTINCT CHATTER)" "Can't you make them get out of the way?" "It doesn't do to irritate storm troopers on the loose." "Well, what goes on?" "(WOMAN LAUGHING)" "(SOBBING)" "(SPEAKING GERMAN)" "I don't get it." "It's a brownshirt blitzkrieg against old people and kids" "Jews?" "No, in this instance they're Czechs." "There's quite a few of them who live down in this quarter." "Hey, you see that garbage truck?" "ERIC:" "The bully boys bring their own filth, dump it, and make the Czechs clean it up." "(WOMEN LAUGHING)" "A charming little pastime." "(LAUGHING)" "(CROWD LAUGHING)" "(SPEAKING GERMAN)" "(CURSING IN GERMAN)" "MAN IN MOVIE:" "Butyoudon'tunderstand..." "NARRATOR:" "Byearly1941,anumber ofHollywoodfilms hadalerted Americanmoviegoers tothethreat ofNaziGermany." "Itwasthesefilms, andespecially The Man I Married, thatfirstaroused thesuspicions ofCongressaboutHollywood." "WOMAN IN MOVIE:" "Everything." "(MOVIE SOUNDTRACK PLAYING)" "MAN:" "Speaking before acrowdedReichstag, ina desperateattempt toregainconfidence," "AdolfHitler..." "NARRATOR:" "Twocommitteestraveled toCaliforniato investigate warmongeringin themotion-pictureindustry." "ButHollywoodcouldclaim thatitspokefor anation thathadalready turnedirrevocably againstHitler'sGermany." "Thank you." "(MEN CHANTING ON SCREEN)" "(HISSES)" "(CHANTING CONTINUES)" "RADIO ANNOUNCER:" "Areporthasjust comeinthatthe Japanese havebombedPearlHarbor." "Jim, where is Pearl Harbor?" "Pearl Harbor?" "Oh, it's down the Jersey coast, near Atlantic City someplace." "Can't be, the Japs are bombing it." "I know where Pearl Harbor is." "We had it in Geography." "Oh, it's one of those men from Mars programs, the Japs just got through telling Roosevelt they love us." "RADIO ANNOUNCER:" "Weinterruptthisprogram withnewsof  graveimportance toeveryAmerican." "Look." "Warbrokewith lighteningsuddenness inthePacifictoday." "Withoutwarning..." "Doesn't it smell good?" "Shh!" "...wavesofJapaneseplanes attackedHawaiithismorning." "Bombersblasted atPearlHarbor, atthecityofHonolulu." "Theinitialattackscaused widespreaddamageanddeath." "Fullreports havenotyetcomein." "Butonething isalreadycertain, theUnitedStates isatwarwithJapan." "Standby." "Dinner's ready." "War, what do ya know?" "Are you going to war, Daddy?" "Are you going to be a soldier?" "Come on and sit down, the roast will get cold." "We're at war, honey, the United States is at war!" "Yes, dear, I know, but the roast will get cold." "Now come on and start carving." "(THUNDER RUMBLING)" "NARRATOR:" "WiththeUnitedStates andtheSovietUnion finallyalliedin thewar  againstNaziGermany," "AmericanCommunist culturefellintosync withthedominant popularculture." "Nobodycouldfind Communistpropaganda inwartimefilms, becauseCommunistideals andCommunistkitsch wereeverywhere, eveninMGMmusicals." "(SINGING)" "(MALE CHORUS SINGING)" "The beginning of the Cold War was there even before the hot war was over." "We were faced with a mythology that was embraced in America by all the media and by the government itself, the mythology that..." "That we were about to be attacked by the Soviet Union, and that the Communists or anybody sympathetic with them was..." "Were potential spies and traitors." "(THUDS)" "NARRATOR:" "AndHollywoodsoon tookuptheright-wingline  thatanotherwar wasinevitable." "Theironlogicof communismdemandedit ." "Kulin, you know more than I." "Do you think there's going to be another war?" "War is part of the process leading toward the general upheaval throughout the world, but will result in the establishment of world communism." "There mustn't be another war." "Never again." "(INHALES DEEPLY)" "Listen, Kulin, there must be another way." "Tell me the truth." "Truth?" "What's that?" "(INDISTINCT TALKING) Ah..." "NARRATOR:" "TheHollywoodleft couldstillrespond, butnolonger withconfidentspeeches andstirringanthems." "STOREOWNER:" "One can of pork and beans." "MARY:" "Did you see what Robert Wilson said in his column today?" "He says, unless we're prepared, there's just no way of avoiding it." "STOREOWNER:" "One can of pork and beans, Peter." "MARY:" "The scientists say we'll all be blown to bits in the next one." "I declare, I don't know what the world's coming to." "Seems like it's human nature to want to kill." "SOPHIE:" "Well, if it's human nature to kill, all the more reason we should be ready, just in case the other fellow wants to start something." "WOMAN:" "Well, Sophie, if that's human nature, we better change it, or there won't be anything human left to change." "MARY:" "Nobody wants war." "Anyway, whatever it is we have to face, we better be ready for it." "WOMAN:" "We better be ready in our thinking too, Mary, not just with our bombs." "I say we ought to stop thinking about fighting each other, and think some about understanding each other." "And that means all of us." "When everybody all over the world talks about nothing but war, what do you think we'll get?" "War!" "People say another war means the end of the world." "MARY:" "War will come, want it or not." "The only question is when." "WOMAN:" "Just in time to get more youngsters like Peter." "(WOMEN CHUCKLING)" "You know, it's very seldom that a film comes out really just the way you intended." "(CHUCKLES)" "Well, I think TheBoywithGreenHair  was close to that." "Um..." "And it was partly because..." "Um..." "The director uh, was stayed with us very closely." "I mean, we had a good rapport." "It was Joe Losey." "See, there are aspects of the picture, certainly, that were anti-war, they were intended to be." "But there was also..." "Aspects, certain relationships that were," "I felt were good." "NARRATOR:" "Communistscouldmake politicalstatements inHollywoodmovies whentheirviewers couldreadilyagree withtheirpositions, buttheyalsowrote anddirectedsmallmovies aboutordinarypeople andeverydaylife, filmsabout humanrelationships, andhereperhaps theycouldsaysomething" "thatspectators didn'talreadyknow, somethingthattoday weallknow buthaveforgotten." "Backinthe'30s, classsolidarity wasstillan ideal." "Thehomelesswere notyettheexcluded." "Riding in the truck all night is no picnic." "I told you it wasn't going to be any cinch." "I'm not complaining." "(BOTTLES CLINKING)" "Say, doesn't that give you a swell feeling to see milk in bottles instead of cows?" "(CHUCKLES) Wonderful." "Hey." "Now what's the market quotation on milk this morning?" "14 grade-A, 12 for B." "What's the difference between A and B?" "Well, they both came from the same cow, only grade B is where the cow started to lose interest." "Well, we'll take a bottle of B. Yes, ma'am." "Got to eat." "Broke, huh?" "Not broke, but not flush." "This is on the company." "Will it get you in trouble?" "So they'll pass a dividend." "Thanks, thanks very much." "Okay." "It's too bad they don't make donuts, too." "Yeah." "I'll take that up at the next board of directors meeting." "(ALL LAUGHING)" "He's a swell guy, isn't he?" "Anybody who has to get up this early in the morning usually is a swell guy." "No, gentlemen, expansion now is out of the question." "Production must be kept down to where it is if we are to keep our profits up." "Gentlemen, perhaps we should voluntarily open some of the factories we shut down before the government does it for us." "That's splendid, Gorman." "Splendid!" "Open the factories, flood the market, give our product away, and then call our firm National Charities Incorporated." "NARRATOR:" "Thelogicof  capitalistaccumulation hadsetitselfatodds  withhumanvalues, andthiscontradiction wasplainlyvisible duringtheDepression." "Inmostsocialproblem filmsofthe'30s, thesolutioncamefromabove, fromRoosevelt'sNewDeal, butNathanaelWest andLesterCole advocateddirectaction bytheproductive workersthemselves." "No use telling you folks about the banking business in this neck of the woods." "There just ain't none to talk about." "MAN:" "Well, what's the matter with the cannery?" "(CROWD CLAMORING)" "Well, there ain't much to tell about that, either." "If Congress had passed the Trades Reconstruction Bill," "1,500 of you men and women would've been earning a living again." "Since that bill was killed, our hands are tied." "What are we going to do?" "(CROWD CLAMORING)" "We simply got to wait." "AUDIENCE:" "Wait?" "(ANGRY MURMURS)" "REEVES:" "We can't wait any longer." "Get back there, Reeves." "That cannery's got to open." "If it don't, we men don't work." "And you farmers don't sell your produce." "Wait?" "Waiting ain't for the working man." "You can't wait when you're hungry." "(ALL MURMURING IN AGREEMENT)" "If that factory don't start up again," "Springvale will become a ghost town." "There's been a heap of living in Springvale, 160 years of it." "But if we got to give it up, let's die fighting, not just sitting back and hoping!" "(AUDIENCE CLAMORING)" "RED:" "What do you do with the dough that they give you for breaking your backs?" "You buy just enough bread to keep going on!" "NARRATOR:" "Ifa Hollywoodfilm couldoccasionally condemna strike bycapital, itwouldalwayscondemn astrikeby labor." "Wait a minute, just a minute!" "Kick those folks off the quay and our cause is lost." "Ah, shut up and get off of that barrel." "Where do you think you are, Russia?" "No, I wish I was!" "Well, swim over there and see how you like it." "(CROWD CLAMORING)" "(CROWD LAUGHING)" "Now listen, fellas..." "MAN:" "Who put you up there?" "CROWD: (AGREEING) Yeah." "Now wait a minute." "I'll tell you why I'm up here." "It's because you won't listen to brains." "But you ain't got the nerve not to listen to me." "When we was kids, we used to fight like wild cats, but if an outside gang came in we'd stuck together and throw them out." "(CROWD LAUGHING)" "You bet we'd run 'em out!" "Brains says that Nick wants us to strike." "Yeah." "Yeah." "You get that?" "He wants us to strike." "He thinks we're suckers, but we ain't." "We ain't gonna fight, and I'll sock the first guy in the puss that says we are." "NARRATOR:" "Duringthewar, strikeswereunthinkable, atleastin movies." "Communistlaborleaders supporteda no-strike pledgeinindustry, whileCommunist screenwritersworkedovertime tobringrecalcitrant individualistsintoline." "Look, we know what's what." "Guys like us killed on ships, the fish pecking at our eyes." "Who cares about us anyway?" "Everybody's nuts about the Army and Navy." "What are we supposed to be, skeletons in a closet or something?" "Oh, yes, and now they're going to give us medals." "Medals?" "But what good is a medal when you're washed up on a beach in a mess of seaweed, and nobody even knows what you died for?" "I want to bounce my kid on my knee." "I want to be with my wife." "Go on make a law against it, put me in a nut house for thinking things like this." "Well, why don't you say something?" "You all dumb because I spilled what you're all thinking?" "So you want a safe job, huh?" "Go ask the Czechs and the Poles and the Greeks, they were figuring on safe jobs." "They're lined up in front of guns, digging each other's graves." "The trouble with you, Pulaski, is you think America is just a place to eat and sleep in." "You don't know what side your future is buttered on." "NARRATOR:" "Pulaskiisconverted, hegoesbacktosea,  andhislibertyship makesitsafelytoMurmansk." "Communistsfelt comfortablespinningyarns wherethegroupcame beforetheindividual." "Especiallywhenthey couldpaytributeto proletarianinternationalism." "Hey, what does that mean, tovarisch?" "That means comrade." "That's good." "Oh, tov..." "Comrade, comrade!" "(INDISTINCT SHOUTING)" "(SPEAKING RUSSIAN)" "NARRATOR:" "This dream ofsolidaritydidn'tlast inthepostwarbacklash." "Nomorecomrades, abroadorat home." "Forsupportandsolace, workerscouldno longer looktotheirjob mates, onlytotheirkin ." "SUZY:" "Timmy!" "I couldn't sleep!" "SUZY:" "Now this is an outrage!" "I know it, but I got to talk to Uncle Bill about something." "Important?" "Yeah." "What is it, son?" "Well you see, Uncle Bill, if you need it, well, I can get your next meal for you." "What do you mean?" "Timmy, come on, let's go to bed, huh?" "Wait a minute, Suzy." "What do you mean, son?" "Well, I heard Mom telling Pop that you were canned from your job, and you didn't know where your next meal was coming from." "And so, I thought..." "Well, I thought I'd get it for you, Uncle Bill." "BILL:" "How?" "It's a cinch." "I do it for Papa all the time." "I just call up the butcher and tell him I want a bone for my dog." "Then I bring the bone home and Mom makes soup out of it." "And I can do it for you and Aunt Suzy tomorrow." "It's real easy, Uncle Bill." "Only big people can't do it." "It takes a kid." "Did the butcher ever get wise?" "No." "Anyway..." "BILL:" "Anyway what?" "He knows..." "BILL:" "He knows what?" "I ain't got a dog." "People who are sore as hell is what's going on..." "About..." "Radicalized their pictures even more." "Now, as time went on and, uh..." "And people felt they had just one more chance, or they're gonna get just one more movie..." "They might give way to..." "More explicitly to what they believed, and in that sense you might see a group of films appearing more explicitly so than formerly." "(KNOCKING ON DOOR)" "NARRATOR:" "There was anewradicalism inthefilms ofthelate'40s." "Communistfilmmakersdepicted workingclasslife witha newrealism, untemperedbytheredeeming optimismofthe'30s." "Thedegradationsof poverty werenolongerglossedover ." "I have your letter here." "Mrs. Anna Davis, is that right?" "Yes, I'm Anna Davis." "Now, just a form to make a proper check." "Race, white." "Religion, Jewish." "Nationality, American." "Is this your boy?" "I'm Charley Davis." "Are you unemployed?" "Why, you got a job for me?" "Have you tried?" "He tried." "All these questions must be answered, I'm sorry." "Have you tried to get a job, Mrs. Davis?" "Would I be asking for a loan from charity, if I could find work?" "It isn't personal, we're supposed to ask." "Have you any resources, any jewelry?" "She has her wedding ring." "We don't ask our clients to sell their wedding rings." "I wish you'd understand, I have to ask these questions." "Charley, please, go in the other room." "Is this furniture yours?" "Get out of here!" "Charley, I won't have you talking like this!" "Get out of here, get out of here!" "We have to ask questions if we're going to help." "We don't want any help." "Tell them we're dead!" "We don't want any help!" "I did it to buy myself fancy clothes?" "Fool, it's for you, to learn, to get an education, to make something of yourself!" "Shorty..." "Shorty, get me that fight from Quinn." "I want money, do you understand?" "Money, money!" "I forbid!" "Better you buy a gun and shoot yourself!" "You need money to buy a gun!" "NARRATOR:" "Already athleticprowessmightpromise anescapefrompoverty andthehidden injuriesofclass." "Alreadythepromise mightproveto be illusory." "A1951footballsaga exposedandcondemned whateveryonenow takesforgrantedabout big-timecollegesports." "It'sa business." "Excepttheworkers don'tgetpaid." "Fora poorkid withtalentandluck, it'sa wayoutofthemills , buttalentandspirit can'tkeepluckfrom turningbadon you." "Don't you want to play next week, Novak?" "I can't play." "The doctor didn't say that." "Okay, so the kid could cripple himself for life." "He said there was some risk involved." "There's risk involved every time you go out on the field." "Okay then, I don't want to play." "You're over-trained, Novak." "You're all tightened up." "I'll have my doctor look at you." "We'll get a special brace made for your shoulder." "You'll go in the next week and run wild." "We'll have reporters down from all over the East." "It's no use." "Your shoulder will probably stand up fine." "Next year, we'll have a schedule like we never had before." "You'll have a chance for All-American, a chance to be somebody, write your own ticket." "What kind of a sucker do you take him for, McCabe?" "Who wanted to see him in the big time?" "Who had the big dream for Novak, the local boy?" "Okay, so now I'm awake and the dream was cockeyed, a dumb sportswriter's dream, because I left out everything that really mattered to the kid." "That's why now he's going to play, not for old Jackson or any of that swill, not for T.C. McCabe, he's going to play for himself, because there's nothing else he can do." "What are you without football?" "For two years we fixed your marks so you could coast by." "You can't meet the competition of men who really worked at their books." "You won't be able to get a job through pull, either, because in another year, nobody will remember you." "You're not that important yet." "You're only beginning." "You'll be just another poor slob that used to play football." "Get out of here," "You'll play." "There's nothing else you can do." "NARRATOR:" "Perhaps today thisoldfilmcan ask us whywetakeclass injusticeforgranted." "Lay off for a few days, Novak." "Get yourself some sleep." "It will do you good." "NARRATOR:" "The dawn of capitalism'sgoldenagewas  subjectivelya darktime." "ForHollywood's Communists,disillusionment turnedtodesperation astheblacklistdescended." "Releasedfromtheobligatory optimismofwartimepropaganda andsensingthatthey wouldsoonbe silenced, theyfiercely castigatedthemostsacred institutionsofAmericanlife, fromfootballto marriage." "Hello, hello." "Do you do the marrying?" "That's my business." "I have a $30 wedding which gives a complete recording of the ceremony on records." "I have $20 wedding..." "Will you just marry us?" "Well, that'll be $20." "(WOMAN BEGINS PLAYING ORGAN)" "(PLAYING STOPS)" "By virtue of the power vested in me," "I hereby perform this wedding ceremony." "Do you, Catherine, take this man Arthur as your lawful wedding husband, to love, honor, and cherish, henceforth?" "I do." "Do you Arthur take this woman, Catherine, as your lawful wedding wife, to love, honor and cherish, henceforth?" "I do." "Well, put the ring on her finger." "Now, by virtue of the power vested in me," "I now pronounce you husband and wife." "You don't think much of my way of marrying people, do you?" "I sure don't." "Me neither." "But I'm giving folks what they want." "My way of thinking, folks ought to have what they want." "So long as they can pay for it." "NARRATOR:" "Hollywood movies of theearly'30sdidn'thide the materialsideof seduction, andfolksusually gotwhattheypaidfor." "FutureCommunistJohnHoward Lawsonmadetheconnections betweensexandclass particularlyclear whenheadapted hisplaySuccessStory tothescreen." "Oh..." "I thought I smelled perfume." "What's your job here?" "Well, I'm sort of a combination office boy, statistician and bootblack." "Why, you want a shine?" "(CHUCKLING)" "You're very amusing." "Same to you." "Anyway I'm glad of a chance to have had a good whiff of that stuff." "So you like me?" "I don't know, ain't had time to dislike you." "But that lavender water sure gets my nanny." "Take a good whiff." "What do you call it?" "Fièvred 'amour." "Do you use it all over you?" "Well, not exactly, I..." "I use other things." "(CHUCKLING)" "I can just see you in a hot bath of this  amour stuff." "That's indecent." "Yeah, I heard worse." "Tell me worse." "I've been sitting up here trying to think up catchwords for the luxury trade." "Trying to sell cream to dolls that rub it on themselves." "Suddenly, I look up and you're standing there..." "I mean, glamor," "This beauty they get up for 14 bucks a pot." "You're a part of that, see?" "It's the stuff that makes poets go cuckoo." "(LAUGHING) Go on, you're cuckoo yourself." "Aw, you don't know what I'm talking about." "You're..." "You're not so much..." "But you look like you stepped out of a little pot of gold." "And when I seen you, I seen the whole game." "Aw, you're too dumb to get the idea." "Oh, I'm dumb, am I?" "Yeah." "You're just a pink piece of fluff for the luxury trade." "You know, I could use you." "What for?" "Oh, just to crack the whip over you." "Because you're so wild, because you want to punch people and call them names and walk over them." "I could teach you a few things." "And if I wanted to," "I could make you jump through hoops." "You wanna try?" "(CHUCKLING) I'm joking." "Give me my handkerchief." "No." "I want it." "I need it." "If I had a million dollars..." "I'd buy you." "You wouldn't get me." "Want to bet?" "I had a good laugh today." "What?" "I just got an inside tip that" "Wellburn and Hayes are going into receivership." "Who are they?" "Well, a year ago they were our biggest competitors, now, they're sunk." "(LAUGHING) What a scream." "NARRATOR:" "In most films of the' 30s,womenwereprizes, trophies,astheysay today." "MAN:" "Good morning." "NARRATOR:" "But in one film,womenbecame subjectsinthefullsense." "RobertRossen's communityofbargirlsknow  thattheyareexploited bytheirgangsterboss." "Buttheyhavefew illusions aboutthealternativesthey faceinDepressionAmerica." "I don't really look old, do I?" "What does he expect a girl to look like at six in the morning after dragging a lot of heavy-weight shoe salesmen around the dance floor all night, like a debutante?" "I bet if he saw me when I just come to work and my make-up was fresh..." "Oh, let's skip it, Estelle, and go to bed." "We're all fagged out." "Well..." "Let him fire me, what do I care?" "I don't want any part of his clip joints anyway." "And if you do, you're crazy." "Might as well put a gun in our hands and send us out on stick-ups." "Well, what are you going to do?" "You heard what he said, it's Vanning or nothing." "Well, this isn't the only way to make a living." "Do you know a better one?" "Well, of course, I can always go back into vaudeville." "Oh, stop kidding yourself, Estelle." "Your dancing days are over." "You'd have to have counterweights to keep your arches from falling." "Well, then, I'll get a job in a factory, behind a counter, any place." "At twelve and a half a week?" "That's enough for me." "For cigarettes?" "Mmm-mmm." "We've all tried this twelve and a half a week stuff, it's no good!" "Living in furnished rooms, walking to work, going hungry a couple of days a week so you can have some clothes to put on your back." "I've had enough of that for the rest of my life, and so have you." "Goodbye, Graham..." "I'll be seeing you." "NARRATOR:" "The class barriers thatseparateaworkinggirl  fromanupwardly mobileprosecutor donotmeltina finalclinch." "Insteadthereis  atacitreassertion ofgroupidentity, anaffirmation ofclasssolidarity andsisterhoodwhichisalmost uniqueinHollywoodcinema." "(MEN CHATTERING IN BACKGROUND)" "(DOOR SHUTS)" "Well, welcome to Chickpease Manor." "My name is Dorothy Spencer, call me Dotty." "I'm Alice Fisher." "I see we're going to be roommates." "I hope I don't crowd you." "Oh, you won't." "They stack us end to end in this boarding house until we can stand up practically nowhere." "I just know I'm going to love it here." "Well, take a good look because I have a feeling you won't be with us very long." "Why do you say that?" "Sorority." "Are you a sorority girl?" "Me?" "No, I haven't got it or a million dollars." "So what does a sorority want with little Dorothy Spencer?" "They probably won't be rushing me off my feet either." "Well if they don't, they're slug-nutty!" "You're a date getter or I'll eat my hat." "A date getter?" "Sure, every sorority has to have a few, you know, to sort of drag the men in." "Look you take the top drawer with me." "Thanks." "Of course, you can be ugly if your father or grandfather stole a million dollars and kept it." "You know that still gets you in any sorority on the hill." "So, do re mi is the first, last, and perpetual consideration." "You don't seem to like sororities." "No, for me it's all hooey." "(KNOCKING AT DOOR)" "Do you, Janie, take this man to love, honor and live happily ever after, and no fair getting a divorce?" "I do." "Do you, Tom, take this woman to love, honor and sell a million cars so long as you both shall live?" "I do." "I now pronounce you a lovely couple!" "Boy!" "(BABBLING)" "Janie!" "What do you think?" "I was promoted!" "I'm the junior, junior, executive, executive sales manager, assistant!" "I gotta sell a million, gotta sell a million..." "Yay, Pop!" "Janie, what do you think?" "I've got great news for you," "I'm bringing the boss home to dinner!" "Yeah!" "Hello?" "No!" "Okay, okay, I'll take care of it." "(CHILDREN BABBLING)" "Now, stop it." "Janie!" "What do you think?" "I've been promoted again!" "I'm the assistant, assistant president!" "I gotta sell a million of 'em, I gotta sell a million of 'em," "I gotta sell a million of 'em, I gotta sell a million of 'em!" "CHILDREN:" "Yay, Pops!" "Won't you have another cup of tea, Mrs. Burton?" "My husband works for your husband, Mrs. Burton, so I'm terribly anxious to make a good impression, Mrs. Burton." "Don't you think I'm charming, Mrs. Burton?" "If I can influence my husband in any way," "I shall influence my husband in any way." "Oh, thank you, Mrs. Burton." "You're so sweet, Mrs. Burton." "Janie!" "What do you think?" "I got promoted again!" "Now I'm the president!" "Yes, I know, you told me!" "No, I mean I'm the President of the United States!" "Miss White?" "Will you come in the office?" "Yes, sir." "Come in, come in." "Miss White, William tells me you've been married." "You know Rule Four of this company, because of the current economic conditions, the Accountex Corporation does not employ married women." "Well, yes, but I..." "It's a rule I can't violate." "I should like to in your case, but a rule broken ceases to be a rule." "But what's wrong about getting married?" "Nothing, my dear." "Marriage is a splendid thing for young people." "However, I feel strongly that when a man enters marriage he should be in a position to support his wife, and William seems to agree with me." "Don't you William?" "Well, yes, of course, but..." "Beyond that is the fact that with millions of men out of work, it isn't right for married women to take their jobs." "But I'm not taking anything..." "Please let me finish." "You both know that I disapprove strongly of employees going out together after business hours." "Aside from that, I cannot allow this office to be disrupted by a married couple working here." "But Mr. Beamis, if you'd only stop to consider..." "I should like to make an exception in your case, but as I said before, a rule broken ceases to be a rule." "These rules are made by the corporation, they affect me as much as they do you." "Make out a final check for one week for Miss White." "Miss Margery White." "Let's think of it as a little wedding gift." "And now that the disagreeable part is over," "I want to wish both of you every success in your marriage." "NARRATOR:" "During the war, both singlewomenandmarriedwomen werewelcomed intotheworkforce." "Nowmiddle-class womencouldwork togetherandlivetogether." "Yetin1947," "DaltonTrumbo'sespousal ofcommunallivingwas  heldupas an example ofCommunistsubversion." "Nobody's got a room big enough to hold four people without using a shoe horn," "Maybe we could have it at my new place." "That is, I'm hunting for a new one." "How much are you planning to pay?" "Well, I'm paying 20 now," "I thought maybe for 35 I could get something that'd be nice." "For 35 you'll still have a rabbit hutch." "You know, all of us together, we put out a lot of money each month for rent." "What do you pay, Helen?" "Twenty-two fifty." "I pay 18." "What about you, Barbara?" "Thirty-two fifty." "You see, I like gaudy things." "Zero, five, ten, one to carry eight, nine, 11, 13, three, one to carry, four, five, seven, nine..." "Ninety-three bucks!" "How do you like that?" "Ninety-three bucks for a bunch of rat holes." "Why, for that kind of dough we can have a real house, with a dining room and a kitchen and a living room, and a bedroom a piece, and furnished." "Furnished how?" "Well, just as well as you have now." "And maybe with a fireplace." "Oh, I'm so sick of warming my feet in front of a gas jet, I could almost bawl every time I see one of the darned things." "What do you think of the idea, Helen?" "It might work, but it's only fair to point out that we're all different people, and there might be..." "A clash of personalities occasionally." "We'd have to find some way of adjusting any disputes that might come up." "Well, that ought to be simple." "We could take a vote." "We could run the joint like a democracy." "And if anything comes up, we'll just call a meeting." "Oh, gee, kids that'd be wonderful!" "Oh, for instance, now the four of us have two cars, two sets of tires wearing out." "We could sell one car and use the other on a share and share alike basis." "And we could, oh, we could just do lots of things." "How about it, kids, let's take a vote on it right now, okay?" "Everybody in favor, say aye!" "ALL BUT BARBARA:" "Aye!" "What about you, Barbara?" "Hmm?" "Well, say aye!" "Aye." "The motion is carried unanimously." "(SIREN BLARING)" "Look, We'll all get together right after work this afternoon and start hunting, huh?" "NARRATOR:" "After the war, theproblem wasreversedagain, howtogetwomenoutof thefactoriesandoffices andbackintothe home." "Good morning, darling." "How do you like your civilian husband?" "Oh, you're beautiful." "I'll bet you tell that to all the boys." "Now you go back to sleep, it's only 7:00." "Seven o'clock?" "I'll be ready in five minutes!" "Ready for what?" "For work!" "Oh, no, you don't." "Your working days are over." "Oh, no they're not." "We haven't landed that Townley account yet." "(LAUGHS) I'll handle the Townley account." "I'll handle the Townley account!" "Now, look, I don't want my wife..." "My campaign will be conducted during business hours only." "And my business hours are from nine to five!" "Yeah, but now listen to me..." "I hope you didn't use all the hot water!" "NARRATOR:" "Most movie heroines offeredonlytokenresistance." "Oh, Steve, aren't you going to..." "Oh, darling, I'm so tired of being a businesswoman." "I've been thinking, about staying home for a little while." "For 50 years to be exact!" "Oh, baby!" "Have you got my ring?" "Yeah, but..." "I promise never to take it off again!" "With this ring..." "BOTH:" "I thee wed!" "¶I missthatfeeling" "¶Ofyourhandinmine¶" "NARRATOR:" "In the years that followedthewar, corporateAmerica launcheda nationwidecampaign todiscouragemiddle-class womenfromworking, correctlyassumingthat idlehousewiveswould makemoreactiveconsumers." "InSmashUp ,two Communist screenwriterssubverted amajorHollywoodgenre, theweepie, toexposethepsychictoll  takenbythiscovert socialengineering." "Steve." "Hey, Ken's here." "Where?" "Outside." "The band folded, Angel." "I grabbed the first bus out of Scranton." "Oh, Ken..." "Ken, how do you feel?" "I feel fine, now." "We have so much to talk about, we're going home right this minute!" "What about your job?" "You're my job at the moment, darling." "I just hate to see a really promising career interfered with, that's all." "Mike, girls do get married." "What did you say?" "Married, Ken and I." "(HUMMING) Angie, Angie," "I've got a job." "Station WNET, 15 minutes at 6:00." "Six o'clock?" "That's a wonderful time!" "Yeah, I forgot to tell you, it's 6:00 in the morning." "Oh, well, that's wonderful too." "Well, it means you can quit working." "¶Closeyoureyes mylittledarling" "¶' Causeit's timetodriftaway¶" "This is the best there is." "I know it." "Insidious, isn't it Angie?" "What, Mike?" "All this leisure, so much of it makes you realize what work really meant." "Isn't that so?" "You mean I can miss singing my lungs out in those gin mills?" "Tell me about that heavenly young man." "What's his new program to be called?" "It's called, AnAmericanSings." "I'm so glad you like him." "Well, thanks." "As you all know, this party was to have you meet Ken Conway." "Now, I'd like to introduce you to the one and only person responsible for his success, his charming and talented wife, Angelica Conway!" "WOMAN:" "I'llhaveanotherdrink." "Iwon'tbe  frightenedforsure." "WOMAN 2:" "Oh, she is anicelittlething,really." "Butyouknow,radio, fullofbigstarslike Ken andthewomenthey happentomarrybefore theyweresuccessful." "WOMAN:" "Would you like toseemy baby?" "MAN:" "You think you canholdhimjust becauseyouhaveababy ?" "WOMAN:" "Oh, Ken, Iwastryingsohard ." "IfI canjustget  someself-confidence." "Steve, was the trip to California fun?" "Not for me, too much work." "How about Ken, and Martha?" "They seemed to enjoy themselves, didn't they?" "Angie, don't." "You're imagining things." "I seem to have a talent for it, Steve." "(CHUCKLING)" "Oh, I'd love to see you all mussed up!" "Steady, Angie." "Everything in this house belongs to you, doesn't it?" "You picked it all out." "Even this pendant!" "Well I don't want it." "Take it!" "Mrs. Conway!" "Then why don't you get out?" "Why just keep whining around about how you've had enough?" "I've had enough, too!" "Get out and let me alone!" "Is that what you want?" "Listen to you." "You can't even say it yourself!" "You make me say it!" "A divorce!" "A divorce!" "I'm not afraid to say it!" "Okay, Angie." "(DOOR SHUTS)" "NARRATOR:" "Susan Hayward becameanicon ofHollywoodfeminism." "InSmash-Up,she suffered." "InI CanGetItfor You Wholesale, shefoughtback." "Why don't you go home?" "You don't have to do this to get orders!" "Do what, Teddy darling?" "Spoon-feed this drunk." "Now just a minute, Sherman." "You can't talk like this in front of a lady." "Don't you take your buyers out, wine them, dine them, and amuse them?" "That's different." "How?" "Because I'm a man, and you're supposed to be a lady, that's why." "It's different!" "How?" "I'll write you a letter." "In the meantime, let's go!" "Now, look here, Sherman, this lady is in my company..." "I don't want you pawed and all the rest in front of the whole world." "This place is full of my friends." "Now, let's go!" "Just a minute..." "Why you..." "Forget it." "All we lost was an order." "You lost more than an order." "You lost me." "That just shows you how much I like you." "Who asked you to show me?" "Taxi!" "I couldn't help myself." "You know how I feel about you." "Sure, I'm part of the Teddy Sherman circus!" "Do you think I got in this business with you and Cooper just for money?" "You've been on my mind ever since that first night we went out." "And I've begun to like it." "And the more I like it, the less I like to see you selling yourself to a buyer like a prize that comes in a box of Cracker Jacks." "You mean like you sell yourself to those lady buyers from the Southern Circuit?" "What kind of talk is that?" "You're the kind of girl I could marry!" "Didn't you hear me?" "I'm proposing to you." "What do you expect me to do, throw my arms around you?" "When you marry someone, it'll be to rope her off, while you go on playing the field." "Can't you get it through your head I love you?" "You love me?" "You mean you want to own me." "I worked and schemed to get a business started just so I could be free of men like you, so I could belong to myself." "Listen, Harriet..." "You love me so much, that for the sake of that crummy male ego of yours, you're ready to take something I've worked for and dreamed about all my life and kick it under a barroom table." "That's how much you love me!" "All right, I'll carry you back in there and dump you in Savage's lap, but that finishes it, I want out!" "Get yourself another partner!" "Oh no, I've got a partner." "You!" "The best in the business, and you're going to help me get rich." "The contract is signed, sealed, delivered." "Unbreakable." "And you won't get out, never." "So make up your mind to like it." "Taxi!" "There are no villains in that." "The villain is the system that's causing it." "Now whether that system will be used to destroy her or not is what it's about." "She's struggling to be recognized as a person in the picture for what she is, against all the general attitudes against her." "So that's the woman question, right?" "And since that was the way they referred to it in the old left-wing days, that's what they called it." "NARRATOR:" "There was, andthereremains, anotherwomanquestion." "Communistsrecognized thatworking-class womenhadotherproblems, thatpoor,single mothersfacedhardchoices." "All yours." "Five minutes." "(BABY CRYING)" "What are we going to do?" "Tell me, you're a smart little fellow." "What do you think?" "You see, they tell me" "I have to decide whether you and I stick together, or whether we both go our own ways." "Tell me, couldn't we try it?" "You and I in a cold water flat, with no one to take care of you while I'm at work." "Couldn't you take care of yourself?" "Sure you could." "Wash your own diapers, feed yourself, fix your own bottle." "What's the matter?" "It'll be all right." "What's there to be sad about?" "NARRATOR:" "But only after theblacklisthadforcedthem  outsidethestudiosystem couldHollywoodCommunists makea filmin which working-classwomenstoodup anddemandedequality." "(MAN SPEAKING SPANISH)" "Brother chairman, if you read the court injunction carefully, you will see that they only prohibit striking miners from picketing." "We women are not striking miners." "We will take over your picket line." "(MEN LAUGHING)" "Don't laugh." "We have a solution, you have none." "Brother King said it right when he said, "We'll lose 50 years of gains" ""if we lose this strike."" "Your wives and children, too." "But this we promise, if women take your places on the picket line, the strike will not be broken and no scabs will take your jobs." "(WHISTLING)" "Hey girls, wait a minute, don't you want to see my pistol?" "Shut up." "What's so amusing?" "(LAUGHING)" "They're flaunting a court order," "Oh, I'm not so sure about that, Mr. Alexander." "Letter of the law, you know." "All that injunction says is there's no picketing by miners." "Whose side are you on anyway?" "Aw, don't get excited, they'll scatter like quail." "MAN:" "Well, let's get at it, before another 100 dames shows up." "All right boys." "What about these?" "Forget it, they'll scatter like quail." "(CROWD SCREAMING)" "NARRATOR:" "No Hollywood film hadevershownastrikefrom theworkers'pointofview ." "NoHollywoodfilm hadeverportrayed astrikeas justand rational." "NoHollywoodfilm hadevergivenChicanos theleadingparts andputAnglos insubordinateroles." "NoHollywood filmhadevershown womencourageously andeffectivelytaking overtheworkofmen." "Salt of the Earth  broke allthesetaboos, butitneverreached itsintendedpublic." "¶Weshall notbemoved" "¶TheUnionisourleader Weshallnotbemoved¶" "¶Justlikeatree  that'sstandingby thewater" "¶Weshall notbemoved¶" "After the opening in New York where the picture was well-received, not only by an audience who packed the theater for nine weeks, I think, or 10, but by good reviews in the NewYorkTimes,andTime magazine, and other journals," "and a number of exhibitors said they wanted to play the picture, and then one by one they were pressured by the majors," ""You play that picture and you'll never get another RKO picture."" ""You play that picture, you'll never get another MGM picture."" "And one by one, they backed out." "The original intent when we formed the company was to make a number of films using the talents of blacklisted people." "But we lost our shirts on SaltoftheEarthandthatwas the end of that noble experiment." "In a way, it's the grandfather of independent filmmaking in the United States." "I mean, there've been a lot of independent films since, but we didn't make them." "NARRATOR:" "During the war, onlyoneHollywoodfilm alludedtotheHolocaust." "Communistscreenwriter LesterCole couldonlyguessatwhat was happeningtothePolishJews  andhowthey mighthaveresponded." "Send them over there." "Hey, you again?" "He's going to quiet them." "Let him speak." "This is our last journey." "It doesn't matter if it's long or short." "For centuries we have sought only peace." "We have submitted to many degradations believing that we would achieve justice through reason." "We have tried to take our place honestly, decently alongside all mankind, to help make a better world, a world in which all men would live as free neighbors." "We have hoped, and prayed, but now we see that hope was not enough!" "What good has it done to submit?" "We have submitted too long!" "If we want equality and justice, we must take our place alongside all other oppressed peoples." "We haven't much time left." "By our actions we will be remembered." "This is our last free choice, our moment in history." "And I say to you, let us choose to fight." "Here!" "Now!" "Drag them in!" "(GUN FIRING)" "(PEOPLE SCREAMING)" "NARRATOR:" "Even ordinary anti-Semitismwas analmosttaboosubject." "In1945,thisdidacticshort filmcouldpassascourageous." "Somebody in for a licking?" "BOY:" "You bet, we're going to smear him!" "Yeah, but 10 against one?" "That's not very fair." "(CHILDREN SCREAMING) Hold on!" "What's it all about?" "BOY:" "None of your business." "Scared to tell me?" "No, I'm not a-scared." "I'll fight you, even." "(CHUCKLES) Not if I can help it." "I just want to know why the gang war?" "BOY:" "We don't like him." "We don't want him in our neighborhood or going to our school." "I've been living here as long as you!" "What's he got?" "Small pox or something?" "We don't like his religion." "His religion?" "Look mister, he's a dirty..." "Now hold on!" "FRANK SINATRA:" "Come here." "(FOOTSTEPS HEARD)" "SINATRA:" "Now you allstandhere." "Andnohissingallowed." "¶Whatis Americatome?" "¶A name" "¶A mapor aflagIsee" "¶A certainword" "¶Democracy" "¶Whatis Americatome?" "¶ThehouseIlive in" "¶A plotof Earth,astreet" "¶Thegrocer andthebutcher" "¶Andthepeoplethat Imeet" "¶Thechildren intheplayground" "¶ThefacesthatIsee" "¶Allracesand religions" "¶That'sAmericatome¶" "NARRATOR:" "It was time toacknowledgethatAmerica hada raceproblem, andHollywoodCommunists wouldtakethelead." "Yeah, when I get back to El Centro" "I'll probably find some Mexican's got my job." "Quiet!" "Sorry, Juan." "You're a Mexican, but..." "But you're different." "You're one of the guys in B-Company." "No, I'm not different, Joe." "I'm just a Mexican, like a lot of other Mexicans who fought." "NARRATOR:" "However, in Home of the Brave," "CarlForemanreformulatedthe  socialproblemof racism asa neurotic conditionthattouched whitesandblacksequally, apsychologicalmalady thatcouldbe cured bypersonaltherapy." "You see the whole point of this, Peter?" "You've been thinking that you had some special kind of guilt." "But you've got to realize something." "You're the same as anybody else." "You're no different, Peter." "No different at all." "I'm colored." "There, that sensitivity!" "That's the disease you've got." "It was there before anything happened on that island." "It started way back." "It's not your fault, you didn't ask for it." "It's a legacy." "A hundred and fifty years of slavery, of second-class citizenship, of being different." "You had that feeling of difference pounded into you when you were a child, and being a child you turned it into a feeling of guilt." "You always had that guilt inside you." "That's why it was so easy for you to feel guilty about Finch." "You understand?" "I think so." "Now get this straight." "The very same people who make the cracks, who try to make you feel different, do it because down deep, underneath, they feel insecure and unhappy, too." "They need a scapegoat, somebody they can despise so they can feel strong." "Believe me, they need help as much as you do." "Maybe more." "Gee, Doc." "That's why you've got to be cured." "That's why!" "So when people make cracks, try to make you feel different, you've a right to be angry, but you have no right to be ashamed." "Do you hear me?" "NARRATOR:" "Today the Negro filmsofthelate'40s  seemwellmeaning,but naive." "In1950,Communistcritic V.J.Jeromeclaimed thatthesefilmsworked todenytheveryexistence ofa Negroproblem." "Hedidnotspare theworkof Communistwriters." "BenMaddow'sadaptation ofIntruderIn TheDust wasaspernicious asFaulkner'snovel." "Knock it off again, Sheriff." "Take off his head next time." "All right, Lucas, come on." "NARRATOR:" "Lucas Beauchamp, aproudaristocrat amongblacks, livinga secludedlife onhisownland, hasbeenfalselyaccused ofkillingawhiteman." "Hewillbe rescuedfrom atypicallyrednecklynchmob bya braveyoungboy  andhislawyeruncle." "AccordingtoJerome, thisstorydeniesthe reality oflynching." "Whilethelynchmobs maybecomposed ofpoorwhites, theyareorganized andprotected bythearistocrats whocontrollocal politicsintheSouth." "You, young man." "Tell your uncle I wants to see him." "Want to see who?" "Lawyer Stevens, John Stevens." "Wants to see a lawyer!" "A lawyer?" "He ain't even going to need an undertaker." "They're running away." "It's more than that." "No, that's all." "There's nothing left for them to do but admit they're wrong." "So they're running away." "It's worse than that." "CHICK:" "Well, they're running." "JOHN:" "They're running away from themselves." "You see, we were in trouble, not Lucas Beauchamp." "It's all right, Chick." "Is it?" "It will be all right, so long as some of us, or even so long as one of us, some one of us doesn't run away." "NARRATOR:" "In other words, Jeromeconcluded, lynchingsaretheproblem ofa fewright-thinking, educated,better-classwhites." "NottheNegroes' problematall." "Theyjustgetlynched." "I thought he was all wet then." "I still think he is all wet." "I think they are just cheap shots at Hollywood." "I mean..." "And..." "And no recognition at all that in terms of all the films that had proceeded it..." "Where was there a proud black?" "In the time and place of the story, I wouldn't expect the hero to be rescued by the Black Panthers." "Uh, if he wasn't going to be rescued by some uh, self-respecting whites with a conscience, then who was going to rescue him?" "Please, Mr. Morse, all I want is to quit." "That's all, nothing else." "They won't let me quit and I want to quit." "I'll die if I don't quit." "I'm a man with heart trouble." "I die almost every day myself." "That's the way I live." "Silly habit." "You know, sometimes you feel as though you're dying here and here," "here." "You're dying while you're breathing." "Freddy, what have you done?" "Freddy, what have you done to me?" "Take it easy, Pop." "You're coming with us, Pop." "Come on!" "Come on!" "You can't take all night." "Stand up and walk!" "Stop him, stop him, he knows me." "Kill him, kill him, he knows me!" "(GUNSHOT)" "(DRUNK MAN SINGING INDISTINCTLY)" "(SINGING CONTINUES)" "All right, reach, reach!" "C'mon, I'm not kidding you, let's go!" "Alright, c'mon, in the back, down on the floor, hurry up!" "(SCREAMS)" "This is where we hit the jackpot!" "Jerry, wait, Jerry!" "Jerry, what are you going to do?" "Jerry, don't!" "You do that again and I'll break you in half!" "What's the matter with you, anyhow?" "You his brother or something?" "Jerry, Jerry, you never said you were going to kill him." "Why do you have to kill him?" "You want him to give our description to the cops?" "What'll they do when they get the chance?" "I've got more brains than any of 'em." "You hear me?" "I've got more brains than any of ya!" "Jerry, don't!" "You can't do it, not just like that!" "Hey, Pop, Mom promised me a quarter for the baseball game." "Howard!" "And now she won't give it to me." "I didn't hear you come in." "How are you, darling?" "Fine." "Can I have a quarter, Pop?" "You look tired." "I didn't get much sleep last night." "My whole club is going to the baseball, and it costs a quarter." "All the other kids are going!" "Oh, they are?" "Here!" "Will this do it?" "Fifty cents!" "(LAUGHS) Howard..." "You got a job!" "You go to that ballgame, buy yourself a couple of hot dogs." "Gee, Pop, thanks a lot." "Bye, Mom, I'm late." "Howard, tell me what happened?" "Did you go to the doctor?" "Oh, never mind about that." "Tell me about the job." "Oh, Judy, honey, you promised me." "They've got good doctors at that clinic." "They're the best in town." "Oh, I don't really need a doctor yet." "Anyhow, I knew you'd get a job, and then we could pay for my own doctor." "Oh, tell me what happened." "Tell me about the job!" "There isn't any job." "But you just gave Tommy a half a dollar." "What did you do that for?" "'Cause I wanted to!" "You wanted to?" "Yes, I wanted to!" "My kid can go to a baseball game, can't he?" "Not when we owe money for groceries." "Last night I needed 50 cents more to buy eggs." "Then we'll do without them." "Judy, honey, don't pick on me now." "I'm tired." "I've been up all night." "Begging for groceries, begging for doctors, is that what we came to California for?" "You know what we came to California for." "You wanted to come just as much as I did." "Can I help it if a million other guys had the same idea?" "Well, I wish we were back home." "At least we weren't beggars." "Oh Judy, don't cry." "Please don't cry." "What can I do?" "What do you want me to do?" "NARRATOR:" "A film industry notyetpurged ofitsleftists mightstillvoicecertain simpletruthsaboutcrime thathavebecome almostunthinkabletoday." "Thatcriminalsarenot  alwaysmonsters beyondthekin ofhumanunderstanding orsympathy, butsometimes, ordinarypeople withordinaryneeds." "Thatcrimehassocialcauses, thehumiliations ofunemployment,forexample, orjustplainenvy." "(CAR HONKS)" "Ina society basedonclassdivisions wheremoneyis themeasure ofallthings anda mercantileapproach tohumanrelations determineseven thelanguagewe speak." "Taxi, lady?" "Where's your meter?" "I'll figure out the fare as we go along." "You might overcharge me." "I might at that." "Hop in, honey." "Where'd you like to go?" "Uh, let's go downtown." "Window shopping." "(GROANS)" "How dull can you get?" "Well, that's what I want to do." "We can, uh..." "We can do something else later." "You have a deal, honey." "(ENGINE STRUGGLING)" "(ENGINE STARTS)" "(SIGHS)" "It's still here." "Nice lookin' coat." "I bet they'd sock you at least 1,000 bucks for a coat like that." "Are you kidding?" "Why, that's mink!" "It's a bargain at 2,000!" "Isn't that the most beautiful thing you've ever seen in your life?" "Well, it's not bad." "Are you thinking I'm buying it?" "I want that coat and I'm going to get it." "For $2,000?" "For whatever it takes!" "NARRATOR:" "To satisfy false needsorrealneeds, crimemightseem theonlyway." "I know another guy that averages four or five hundred a week." "Sometimes more." "He'd be willing to split with the right partner." "He's the guy I was thinking about for you." "For me?" "All you have to do is drive his car." "Think you'd be interested?" "What makes you think he'd want me for a partner?" "My personal recommendation." "All you gotta do is drive his car." "He does all the work." "What kind of work?" "Well, you know, knock over a gas station, maybe a hamburger joint, a liquor store." "Nothing risky." "Oh, no, no." "Oh, wait a minute." "Jerry, I didn't know that you were talking about that kind of work." "Why, is something wrong?" "Well, I've done a lot of things in my time, but..." "Suit yourself." "Just trying to get you a break." "You asked me, didn't you?" "Well, yes, I asked you, but I..." "But what?" "Anybody else make you any better offer lately?" "You guys kill me." "They kick you in the teeth, the more they kick you the better you like it." "What are you looking for?" "Handouts?" "Here, there's 10 bucks!" "Live!" "Don't get sore, Jerry, I..." "Who's sore?" "I feel sorry for you!" "Go tell your troubles to the First National Bank." "They'll listen to you." "They've got a special tough luck department." "Go on, take the 10 bucks and get out of here." "Jerry?" "Yeah?" "Who's your friend?" "Who do you think?" "NARRATOR:" "The crime movie hadoftenbeen aprivilegedgenre forsocialcommentary, frombothleftand right." "Therightportrayedcrime asa symptom ofsocialdisintegration." "Theleftpresentedit asa formof  capitalistaccumulation." "(CHATTER ON POLICE RADIO)" "Bythelate'40s, theHollywoodleft haddeveloped asophisticatedcritique ofcriminaleconomy andtheclassrelations itproduced." "Onthebottom weretheunskilledworkers, thedesperateonesfor whom evencrimewouldnot  bea wayout." "Togetahead,the proletarian criminalhadto develop askill andhehad tosellhimself." "What boxes have you opened?" "Cannon vault, double door, even a few fire chests." "All of 'em." "Can you open a vault with a time lock and relocking device?" "Sure." "What do you use?" "Lock or seam?" "Seam." "Ever taken one?" "Remember the Shafter job?" "Yes, I heard about it, behind the walls." "It was a good score." "Who supplies your soup?" "I thrash it myself." "How are you as a pick lock?" "I can open anything in four minutes." "He'll do." "You're in." "Not so fast." "What's the cut?" "No cut." "You get a flat guarantee." "I want 30,000." "Thirty thousand?" "Now, now, Louie..." "Twenty-five is what we figured." "All right, 15 down." "Ten down." "Fifteen is satisfactory, I think." "There's your paymaster." "What are you sweating for?" "Money, it makes me sweat." "That's all." "It's the way I am." "It's going to take a lot to blow this baby." "Here goes." "NARRATOR:" "A crime thriller mightshowhowasafe  iscracked, butnothowitisfilled." "Thatrequiredamove fromtheworkplace tothebackrooms wherethefinanciers andthetakeoverartists didtheirwork." "What corporation, Tucker?" "(KNOCKING ON DOOR)" "Come in." "I've got the tickets for the winners, Mr. Morse." "And what does this corporation expect from me, brother Joe?" "In return for the organization..." "I have no secrets from Doris." "If you want to talk, talk." "If not, go." "In return for the organization's service, in return for taking you into the combination, the corporation gets two-thirds of the profits and you get one third." "But on the other hand..." "Two thirds for Tucker, brother Joe, and one third for me, for my own business?" "Do you know what this is, Joe?" "Blackmail!" "That's what it is." "Blackmail!" "My own brother blackmailing me!" "You're crazy, you're absolutely crazy, mad!" "You're not listening to me!" "I don't want it." "You know why you don't want it?" "I'll tell you why." "Because you're a small man." "Because if it is a small thing, you're a tiger." "You're a tiger!" "But if it's a big thing, you shout and yell and call me names!" "Oh, no, a million dollars for Leo!" "Oh, no, must be the wrong address." "It must be somebody next door!" "The answer is no." "You understand your no won't stop the merging of these banks." "Yours included." "Leo, Leo, this is your chance." "The one I got for you." "You take your chance, Joe, and get out of here." "I'm an honest man here, not a gangster with that gangster Tucker!" "Are you telling me, a corporation lawyer, that you're running a legitimate business here?" "What do you call this?" "Payoffs for gambling, an illegal lottery policy?" "Violation 974, the penal code, policy!" "The numbers racket!" "I do my business honest and respectable." "Honest?" "Respectable?" "Don't you take the nickels and dimes and pennies from people who bet just like every other crook big or little in this racket?" "They call this racket policy because people bet their nickels on numbers instead of paying their weekly insurance premium." "That's why." "Policy!" "That's what it is and that's what it's called." "And Tucker wants to make millions and you want to make thousands and you, you do it for $35 a week." "But it's all the same, all policy!" "He tries to make his brother rich, he kills him." "He tries to make the young lady happy, he makes her unhappy." "Whatever he tries to do is wrong, because it has to be wrong," "'cause the situation is such that whatever you do is wrong." "All films about crime are about capitalism." "'Cause capitalism is about crime." "Uh, I mean, quote un-quote, morally speaking." "At least that's what I used to think." "Now I'm convinced." "(CHUCKLES)" "NARRATOR:" "The American Communistmovement mayhavebeen outoftuneand out oftouch inthelate'40s." "ButnooneinHollywood felttheneedtowork out aseriouscritique." "Thesimplestaccusations wereenough." "InternationalCommunism demandedwar." "War is part of the process leading toward the general upheaval throughout the world that will result in the establishment of world Communism." "NARRATOR:" "Domestic Communists betrayedtheworkerstoserve theirownobscurepurposes." "Those are the orders I received tonight to be carried out without fail." "The waterfront is to be shut down from May the 18th for at least 60 days." "Therefore, no new contract is to be signed between the union and the owners." "But Collins and Travis can close a deal on their own right now." "I'll take care of Collins." "Travis is your assignment." "But the union's solid behind them!" "Of course it is." "If it wasn't, I wouldn't need you." "Have your key cells make demands that are bound to be refused." "Start a whispering campaign." "Accuse the owners of bad faith." "Accuse Jim Travis of being a company stooge." "You know the techniques." "Use 'em." "NARRATOR:" "Communists adopted themethodsof themeanest B-moviegangsters." "(KNOCKING ON DOOR)" "I don't care what you were told, Mr. Vanning..." "Collins." "It's not true!" "Someone made a mistake when they told you." "The mistake was yours, in being seen coming out of the FBI office." "I told ya, I don't even know where the office is!" "I may have just passed there when I was in the neighborhood." "Then how do you account for Drobny's being picked up the next day?" "You were his only contact." "Maybe they trailed him from Los Angeles." "Yeah, maybe." "Maybe he got drunk and talked too much." "I don't know." "Yes..." "I tell ya, I don't know anything about..." "Strange, isn't it?" "How a man will try to turn against his friends and believe he can get away with it?" "Take him out." "Mr. Vanning, I tell you, this is a mistake." "I've always been absolutely loyal." "If you'd only give me a chance to explain this thing to ya." "This is all a misunderstanding, like I told him." "Let me talk to you." "Please, let me talk to you." "Don't, oh, God." "Don't." "Please don't." "Okay." "Don't!" "Don't!" "No!" "No!" "No!" "No!" "(GASPING FOR AIR)" "NARRATOR:" "Behind all these themeslayafear ofindependentwomen forwhichthetermmisogyny iswoefullyinadequate." "Therewasno questionwho held thedoorto theIronCurtain." "Listen, and try to understand." "I hate everything about you, from your double-breasted suits to your smooth, arrogant faces." "You're nothing but a bunch of pussy-footing, well-paid gangsters!" "Mrs. Welbome, who is the leader of your section?" "I am!" "There is only one kind of truth." "That is the Communist Party truth as seen by Marx, Lenin and Stalin." "But they wanna..." "They want to overthrow all governments." "Even the American government." "By force and violence." "Then we'll overthrow it by force and violence." "We'll have our way if it means bloodshed and terror!" "If we have to liquidate a million milksops like you!" "(CROWD DISCUSSES)" "NARRATOR:" "If woman wasthenewenemy, theinformer wasthenewhero." "EliaKazanandBuddShulberg, bothfriendlywitnesses, triedtoreversethe dilemma ofHollywood'sleftists." "Onthewaterfront, itwaseasytokeep silent." "Ittookcourage tonamenames." "Now listen, you know who the pistols are." "Are you going to keep still until they cut you down one by one?" "Are you?" "Hey, Dugan, Dugan, how about you?" "One thing you've got to understand, Father, on the dock we've always been "D and D."" ""D and D," what's that?" "Deaf and dumb." "No matter how much we hate the torpedoes, we don't rat." "Rat?" "Boys, get smart." "I know you're getting pushed around, but there's one thing we've got in this country and that's ways of fighting back." "Now, getting the facts to the public, testifying for what you know is right against what you know is wrong." "Now, what's ratting to them is telling the truth for you." "Now can't you see that?" "Can't you see that?" "Huh?" "I think there were people who really believed that what they were doing was right." "Not many of them, but I think there were one of two who really believed that." "I knew several who, afterward, said to me," ""This is the worst thing I've ever done," ""I..." ""I am filled with guilt," ""I regret it,"" "and things of that nature, have said that to me." "The thing that is hard to do is how you measure fear and someone who had terrible fear, and there were..." "There were people who felt, not only they would never work again, that they might be in concentration camps." "There actually were such people." "And I never believed that I would be in a concentration camp." "I thought I would have a lot of trouble working." "You know, if you're going to be sentenced to death, that's something else." "NARRATOR:" "The American CommunistPartywasdealt adeathblowby theorchestratedhysteria ofthe'40sand '50s." "Toallintents andpurposesoutlawed, itfounditself increasinglyestranged fromordinaryworkers." "What's the old lady and kid do, spend the whole day in church?" "NARRATOR:" "One of the last filmstoemerge fromRedHollywoodevokes thishistoricdefeat." "Well, where are they?" "Usually they'd be home by now." "Today, I don't believe they'll be in such a hurry." "MAN ON RADIO:" "At this time, wepresentReverend CharlesCollins..." "NARRATOR:" "A criminal on theruntakesrefuge witha workingclassfamily." "Butthesolidarity, oncetakenforgranted betweenguyswho getupearly, wasdeadandburiednow." "What's that church stuff do for you anyway?" "What's it get you?" "Well, for one thing it makes a man understand the nature of love." "Yeah?" "Yeah." "The faith that there's someone else that's more important to you than yourself." "What's a holy joe like you get out of life?" "What do you want out of life?" "To be left alone, to work, to be left alone." "NARRATOR:" "The blacklist wasa literaldeathfor some." "Liketheblackactor, CanadaLee, whoplayedthenoble,doomed, ex-champBenin Bodyand Soul." "I'm telling you, start running!" "You don't tell me how to live!" "No, but I'll tell you how to die." "You..." "Get this crazy punch-drunk fool out of here!" "Take it easy, Charley." "Come on, I don't scare anymore." "I'm the champ!" "(THUDS)" "NARRATOR:" "By May 1952, CanadaLeewasalone andpenniless." "Hediedof aheartattack atage45 ." "Still thinking about Ben, Charley?" "Everybody dies." "Ben, Shorty, even you." "What's the point?" "No point." "That's life." "Everything is addition or subtraction." "The rest is conversation." "NARRATOR:" "John Garfield wasanaxiom ofleft-wingfilms fromthelate'30sto1951,  bothasan actor andasaproducer." "He Ran All the Way wouldserveas hisepitaph." "Inreallife,hewasjust asdesperateas thecharacter heplayedin thefilm." "No, please." "Give me a break!" "(GUN FIRES)" "(GRUNTS)" "(GLASS SHATTERS)" "NARRATOR:" "Forced to testify beforetheHouseCommittee onUn-AmericanActivities, hetriedto savehis career withoutsacrificinghishonor." "Theinquisitors didn'tbelievehistestimony andtheydemanded anothercrackat him." "Someofhisfriends saidhewasready tonamenames." "Buthisheart wouldn'tlethim." "Itstoppedfirst." "Hediedof aheartattack onMay21st,1952, justa fewweeks afterthedeathofCanadaLee." "Hewas39 ." "He was very brave." "Any man who says to that committee," ""I've never met a Communist in my life,"" "who was a member of the group theater and his wife was a member of the party, although he wasn't." "I had met at least one Communist in his life, right?" "And..." "And so..." "But that was very brave of him." "And I thought it was extremely courageous that he took the position he took." "Other than he condemned Communism, why not?" "Uh, and things like that." "But he wasn't a Communist." "So, why shouldn't he condemn Communism, uh, which was condemnable in many respects." "But he..." "But he took the street position." "You never snitch and you don't talk." "And he didn't." "And it caused his ruin." ""I've been to prison for a little while." ""Indians don't last in prison." ""They weren't born for it like the whites." ""What did I do that I should die in a white man's prison?"" "Oh, the press hated that." "They thought it was too philosophical for an Indian to say." "I'm telling you." ""Are you going to kill them?" "If I have to."" ""What do you mean, 'If I have to?" "'"" ""I mean, if they keep coming."" ""But they're white, Willie, they'll chase you forever!"" ""How long is that?" "Less than you think."" ""It's crazy, Willie." "You can't beat them, never."" ""Maybe, but they'll know I was here."" "I've been to prison for a little while." "I got drunk in San Bernardino." "They put me in a cell for 30 days." "A little place no bigger than a coyote cave." "My number was 273 on the picture they took." "I don't want you to go to jail, Willie." "They fed me out of a pan, like a house dog." "Day and night, I thought of these mountains here, and you." "Indians don't last in prison." "They weren't born for it like the whites." "What did I do that I should die in a white man's prison?" "You tell me!" "What did any of us do?" "What was wrong with us?" "Nothing." "Nothing." "Just the color." "Willie, are you going to kill them?" "If I have to." "What do you mean, if you have to?" "I mean, if they keep coming." "But they're white, Willie, they'll chase you forever!" "How long is that?" "Less than you think." "It's crazy, Willie." "You can't win." "You can't beat them." "Never!" "Maybe..." "Maybe..." "Oh!" "But they'll know I was here." "After all, politics is justified only by success." "Although the only battles worth fighting are the ones for lost causes."