On Friday we harked back to 1981 and the movie Reds, Warren Beatty‘s nostalgic look at the beginnings of Soviet Communism.
A trailer for the film makes it clear exactly how Beatty viewed it and how he wanted potential audiences to view it. “There is a movie,” reads the on-screen copy, “that challenges conservative politics[,] that shines a spotlight on the issues of our day.” It’s about “a nation’s right to freedom…about the fight for freedom.”
Let’s break this down: this trailer is actually suggesting that the Bolsheviks’ October Revolution of 1917 – which overthrew the democratic government under Alexander Kerensky that had been installed after the February Revolution of 1917 and replaced it with a totalitarian regime – was a step forward for freedom. Yes, the Bolshevik Revolution, which led to decades of oppression, terror, forced collectivization, show trials, political murders, genocide in the Ukraine, the Gulag, and much else. Furthermore, the trailer equates the Kerensky government with American conservatives circa 1981 (the year, of course, that Ronald Reagan became president), and implies that both are enemies of freedom; meanwhile it likens the Bolsheviks to the American Democratic Party of 1981, and suggests that both are heroes of freedom.
Beatty began writing Reds in 1976 with Marxist playwright Trevor Griffiths. They worked together on their screenplay celebrating Communism during months-long stints at the luxurious Carlyle Hotel in New York, the Dorchester in London (described by Wikipedia as “one of the world’s most prestigious and expensive hotels”), and the glamorous Plaza Athénée in Paris. Sometimes, while working in Paris, they were helped out on the script by Elaine May, who flew in and out of New York on the Concorde. There’s no record that any of them saw the irony in any of this.
Don’t get us wrong. Reds is a terrific piece of filmmaking – excellently acted and directed, with splendid production design, stirring set pieces, a lucidly told and fast-paced story about memorable characters. That’s precisely the problem. Beatty made a hero out of America’s most prominent early enthusiast for the Russian Revolution, and did a remarkably effective job of making that useful stooge’s blind devotion to a cruel and monstrous tyranny look praiseworthy, exciting, and supremely romantic. One can only be sorry that Beatty was moved to make a film about an ardent fan of Boshevism rather than about any one of its millions of victims. When, one wonders, will Tinseltown release a movie on the scale of Reds about the Gulag?