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Posted on 06/22/2005 9:28:36 PM PDT by CHARLITE
This article pretty much says it all. The enemy at the gate.
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There is another component to the enemy read on ---
RED STAR OVER HOLLYWOOD: THE FILM COLONY'S LONG ROMANCE WITH THE LEFT
By Ronald Radosh and Allis Radosh
Encounter, $25.95, 309 pages
REVIEWED BY T. L. PONNICK
Barbra Streisand. Jane Fonda. Susan Sarandon. Tim Robbins. Sean Penn. Warren Beatty. Richard Dreyfuss. Fed on a steady diet of tabloid gossip, countless movie-mad Americans regard megastars like these as Hollywood royalty, bigger than life and nearly as rich as Bill Gates. But these Tinseltown titans have something else in common besides their whopping bank accounts and lavish lifestyles. They're shameless apologists for and patrons of America's radical left, wealthy political activists indulging in a chic and hypocritical tradition stretching back in time to the advent of talking pictures.
Granted — La-La Land's obsession with revolutionary socialism is not exactly news these days. But in "Red Star Over Hollywood," the husband-and-wife team of Ronald and Allis Radosh exhaustively documents the infiltration and subversion of America's entertainment capital by determined Stalinist apparatchiks as far back as the 1930s. The apparatchik goal? To undermine American politics, culture, and morals as a prelude to the inevitable communist revolution. "Red Star" supplies the backstory lurking behind the contemporary film industry's seemingly inexplicable contempt for America's democratic traditions.
A former "red diaper" baby himself, Mr. Radosh was drummed out of the left in the 1980s after coauthoring "The Rosenberg File," a fact packed volume that proved conclusively the overwhelming guilt of these pro-Soviet spies. Defying his antagonists, Mr. Radosh boldly turned to the right — a conversion experience he described in painful detail in his autobiographical 2001 book "Commies: A Journey Through the Old Left, the New Left and the Leftover Left."
In "Red Star," the coauthors describe in detail how the Soviet Comintern infiltrated key operatives into America's fast-growing and popular film industry, recruiting new party members and fellow travelers from the ranks of Hollywood's impressionable film writers and easily hoodwinked stars. Their objectives were to dupe high profile Hollywood figures into raising funds for the Communist Party, to take control of Hollywood union activities, and to work with trusted screenwriters to slip communist propaganda into movie plotlines — most notably the film "Mission to Moscow," a blatant whitewash of Joseph Stalin's murderous purge trials.
One of the party's early Hollywood converts was the legendary Budd Schulberg, extensively interviewed by the Radoshes for the present volume. An idealistic young screenwriter in the 1930s, Mr. Schulberg was once, like Mr. Radosh, an enthusiastic communist in his younger days. But an eye-opening visit to the Soviet Union and his later shabby treatment by the party — which tried to force him to withdraw his most famous novel, "What Makes Sammy Run?" — caused Mr. Schulberg to turn against the communists rather than knuckle under to their crude attempts at censorship.
To a great extent, the party's subversive efforts in America were made easier by the Kremlin ordered shift to a "Popular Front" approach in 1935. Baffled by the failure of the American communists to stir up violent revolution even as the Great Depression worsened, the Soviets were forced to face the fact that democracy and respect for its institutions were more deeply ingrained in the American psyche than Stalin had imagined. In response, American communists were ordered to ease off on violent confrontation and adopt the subtler tactic of cozying up to trade unionists and New Dealers in Washington. By burrowing into key institutions while seeming to endorse them as anti-fascist allies, the party gained a measure some of respect in liberal circles even as it plotted a slow strangulation of American-style capitalism.
Ever alert to the propaganda potential of the arts, the party extended its Popular Front reach to American writers, musicians, and other artists, encouraging them to support the communist message in their work. Occasionally, the communists overplayed their collective hand. Their gradual transformation of the WPA-supported Federal Theatre Project into a party propaganda machine became so obvious that an outraged U. S. Congress promptly shut it down. Yet even after this setback and the explosion of outrage over the notorious Hitler-Stalin pact —which gave liberals in Hollywood and Washington reason to reconsider their ties to the left — the party's influence on the arts persisted.
"Red Star's" primary focus, however, is on the shallow, glitzy world of Hollywood, where support for the hard left was, then as now, as much social fashion as it was a political cause. The authors have drawn upon extensive material from the papers of screenwriters like Dalton Trumbo, Albert Maltz, Ring Lardner, Jr., and others to portray a film industry run by old-school tycoons but significantly populated by radical writers, actors, and directors bent on undermining authority and sneaking propaganda into as many films as possible. The authors pay particular attention to the notorious film "Mission to Moscow," a shameless apologia for Stalin's murderous purge trials.
The Radoshes also expose the shallow mythology behind the deification of the "Hollywood 10" — one director and nine screenwriters, including Trumbo, Maltz, and Lardner — whose party-dictated defiance of the U. S. House Un-American Activities Committee (HUAC) resulted in jail terms and eventual blacklisting by the movie studios. Persistently portrayed by the media as innocent, patriotic martyrs, they were, in fact, anything but — although some eventually had second thoughts about their subversive activities.
The infiltration and dominance of artistic communities by the radical left is a vast and ongoing saga whose final chapter has yet to be written. In "Red Star," the Radoshes supply a missing link, investigating the key, intersecting orbits of Hollywood's Communist Party hacks, their friends, enemies and fellow travelers. Additionally, the book's concluding chapter helps connect the dots to contemporary Hollywood's reflexive Marxist revisionism, exemplified by stars like Tim Robbins and fringe players like documentary propagandist Michael Moore, who promote themselves as patriots while undermining American support for the War on Terror.
Factual and dispassionate, "Red Star" will be read eagerly by those in search of the truth behind one of America's most misunderstood political epochs. But expect the book to be denounced or ignored by everyone else, particularly in the mainstream media.
Example? "Ah come on man, Turbin apologized, what more do you want."
They continue to commit ted sedition and acts of treason and goet away with it. Furthermore, their acts of betrayal caused untold numbers of American military casualties...
And the beat goes on.............
Brilliant! And perfectly right!
"If the end is important enough, the means by which it is attained are unimportant" -- V.I. Lenin
BUMP TO THE TOP
Or better yet, how about Aaron Brown sneering, "You would think now this story would go away, and it probably will in your lifetime."
The dishonestly in the mainstream media is a huge part of our problem.
HELLO????? Is there anybody out there????
Let's do it this way:
Democratic Socialists of America (70+ members in Congress)
Belong to the Socialist Internationale (Tony Blair, President)
They ALL belong to the Communist Party...GOT IT?
Don't tell me Tony Blair is our "FRIEND".
The Left is out to destroy America from within!
Savege was right about them. Liberalism is a mental disorder and they are the enemy within.
Liberals are patriotic -- just like Alger Hiss.
Okay..I have heard of the DSA, and even reacll way back when, when the list of embers was pulled from their webpage (if I'm thinking of the same org)..But Tony Blair? Can ya source that?
CNN - right? I do not/will not watch the lamestream media!
The dishonestly in the mainstream media is a huge part of our problem.
Agreed ... but keep your eye on the commies in Congress. They are the other huge part of our problem.
For starters if we quit being so PC and calling the leftists, progressives, marxists, liberals, and start calling them what they are - communists it might help.
But then again, we would be called McCarthyites. Which IMO isn't so bad considering he was right.
Why did GLSEN distribute an obscenely pornographic booklet called "The Little Black Book - Queer in the 21st Century" to Brookline, Massachusetts middle and high school students this past April? This booklet is beyond obscene.Hey GLSEN, why does this book address only male queers? What happened to inclusiveness? What happened to diversity? How come there's not a "Little Black Book" for budding lesbos?
Link to the "Little Black Book:"
http://www.article8.org/docs/news_events/glsen_043005/black_book/black_book_inside.htm
CAUTION: extremely gross and disgusting.
That's the most "in your face" article I've ever seen.
The liberals are not going to like it one bit.
Lindy Kimball is a gutsy gal!! HooRah!
Excellent post charlite.
Oh I love reading a piece that I wish I could have written as well. So true, these people are Marxists, and determined to bring this country down. I am astounded that Joe Public can't see this!
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