Orwell’s stooges

We here at Useful Stooges would not presume to compare ourselves with George Orwell, the great English man of letters and enemy of tyranny in all its forms, but we have at least one thing in common with him. Our website could be described as a catalogue of people – some past, most present – who, as we put it on our “About” page, are “pawns of tyrants in our own time” who “either admire despotism or have figured out ways…to profit from their cynical support for it.”

1EN-625-B1945 Orwell, George (eigentl. Eric Arthur Blair), engl. Schriftsteller, Motihari (Indien) 25.1.1903 - London 21.1.1950. Foto, um 1945.
George Orwell

Orwell made a list, too. In 1949, the year he published his classic novel 1984 and not long before he died, he provided the Information Research Department, a newly established propaganda unit of the British Foreign Office, with the names of “journalists and writers who in my opinion are crypto-communists, fellow travellers or inclined that way, and should not be trusted.” In other words: people who, if hired or used in any way by British intelligence, would be likely to become double agents.

In 1996, when the existence of Orwell’s list became widely known, and again in 2003, when the list itself became public, many of his fellow men of the left condemned him as a McCarthyite, a blacklister, a rogue. Communist historian Christopher Hill called him a traitor to his side. (It is worth noting that Hill also despised Animal Farm for attacking Communism.)

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Christopher Hill

But Orwell’s friend David Astor, the longtime editor of the Observer, had a clearer view of things: “Orwell wasn’t betraying the left – the pro-communists were betraying us.” For Britain’s misguided left, Orwell’s crime was simple: he recognized that totalitarianism in the name of Communism was no better than totalitarianism in the name of Nazism. In short, he hated Stalin every bit as much as he hated Hitler. And that was inexcusable.

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Christopher Hitchens

But Orwell requires no defense from us; anyone who wants one need only consult the splendid essay on the subject that was published in 2002 by the estimable Christopher Hitchens. (It appears in Hitchens’s Why Orwell Matters,  in his posthumous collection, And Yet…,  which appeared last year, and is also behind a firewall at the New York Review of Books website.)

To this day, Orwell’s list is worth perusing. Because he was right. The people he named – journalists, historians, scientists, professors, even a couple of actors, a Member of Parliament, and a noted clergymen – deserved their places on that list. Orwell knew them for what they were. The problem is that we don’t. Most of the names on his list mean nothing to most people in the English-speaking world nowadays. That’s a shame. Because their stories illustrate that, then as now, it’s far from uncommon to find fans of totalitarianism in positions of power and influence in free countries.

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Walter Duranty

One of the names on Orwell’s list is that of Walter Duranty, our archetypal useful stooge. Duranty was the New York Times‘s man in Moscow from 1922 to 1936; he won a Pulitzer Prize in 1932. At the time Orwell included Duranty’s name on his list, Duranty was still a highly respected journalist. Not until years later would his dispatches from Russia come under serious scrutiny. Robert Conquest, in his 1968 book The Great Terror, condemned Duranty for systematically whitewashing the evils of Stalinism and trying to cover up the Ukrainian famine. The publication in 1990 of Sally J. Taylor’s biography of Duranty, which was appropriately entitled Stalin’s Apologist, helped trigger a serious effort to have Duranty’s Pulitzer Prize revoked. In 2003, however, the head of the Pulitzer board declined to withdraw the prize. He still didn’t get it; Orwell had gotten it more than a half-century earlier.

Another useful stooge whose number Orwell had early on was a Daily Express editor named Peter Smollett, who years later would be identified as a Soviet spy. We’ll look at Smollett tomorrow.

Doublethink: Trumbo and the critics

Back in November, we took a good long look at the new movie Trumbo, which makes a hero and martyr out of blacklisted Stalinist screenwriter Dalton Trumbo. During the last couple of days we’ve been examining reviews of the picture by critics who’ve somehow failed to grasp that, while the Hollywood blacklist may well have been a bad thing, that doesn’t mean that Stalinism was anything other than evil. 

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Bryan Cranston in Trumbo

We’re not done, because (as it turns out) there are plenty more clueless critiques of this film to ponder. Take this bemusing sentence by Steven Rea in the Philadelphia Inquirer: “Set in the years after World War II, when fear of the ‘Red Menace’ – of creeping communism – spread across America, Trumbo details how fear and suspicion wormed their way into the movie biz, with actors and filmmakers branded as Stalinist sympathizers.”

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A protest to free the Hollywood Ten, with Trumbo third from left

But of course it wasn’t just “fear and suspicion” that “wormed their way into the movie biz”; Communism itself wormed its way into the film capital, as part of a highly calculated plan hatched within the walls of the Kremlin itself. And saying that Trumbo and his cohorts were “branded as Stalinist sympathizers” is like saying that Harry Truman was branded as a Democrat. Or a male. Or a Missourian. These guys were Stalinist sympathizers. They were Stalinist tools, Stalinist operatives – conscious and willing enemy soldiers in the war of ideas between the free world and the Soviet bloc. They were, quite simply, Stalinists  – full stop. Rea writes as if all this was invented by paranoid right-wingers, as if the “Red Menace” and “creeping communism” were nothing but feverish fantasies, as if Americans’ “fear and suspicion” of Communism were as unfounded as a fear of ghosts or vampires or werewolves.

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Trumbo wrote in the bathtub

One of the signal attributes of the totalitarian society depicted in George Orwell’s dystopian novel 1984 was something he called “Doublethink” – the “power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them.” That’s what going on in many of these reviews: even while the critic accepts the fact that Dalton Trumbo was a Communist (how could he not?), he ridicules the “Communist witch hunt” as a paranoid, hysterical effort to unearth enemies of freedom where none at all existed.

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Cranston as Trumbo, writing in the tub

Then there’s Salon‘s Andrew O’Hehir, who knows very well what Stalinism was (and is), and who doesn’t try to disguise his fondness for it. “I cannot pretend to any objectivity when it comes to this subject,” he admits. “My mother and her first husband (who many years later was also her third husband) were both members of the Communist Party. My stepdad knew Dalton Trumbo, and worked on the defense committees for both the Hollywood 10 (a group of movie people, including Trumbo, who went to federal prison for refusing to answer questions before Congress) and for Julius and Ethel Rosenberg, American Communists who were executed as Soviet spies.”

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The Rosenbergs

These are, it must be said, rather curious formulations: of course, the Hollywood Ten weren’t just “a group of movie people” but a group of dedicated members of the Communist Party, all of whom were dedicated to the overthrow of democracy in the United States; and the Rosenbergs weren’t just “executed as Soviet spies,” they were Soviet spies, who passed the atom-bomb secrets on to the Kremlin. (Ethel Rosenberg even lied to her two sons, assuring them in a goodbye letter that she and their father were innocent – a claim proven false many years later by declassified KGB documents.)

Yes, there have been a couple of intelligent, well-informed reviews of Trumbo. We’ll get to them tomorrow.  

 

 

Rex Reed, Trumbo fan

trumboAs we saw yesterday, several prominent reviewers have filed notices about Trumbo – the recent biopic about blacklisted Stalinist screenwriter Dalton Trumbo – that are so utterly uninformed by even the slightest historical awareness that we can’t help wondering: where were these idiots educated? How did such ignorant people get top-flight movie-reviewing gigs? How old are they? Could it be that they’re just too young to understand just what an evil phenomenon, and what a real threat, Soviet Communism was?  

That last question, to be sure, doesn’t arise in the case of Rex Reed, the septuagenarian gossip columnist, movie reviewer, and (back in the day) frequent talk-show guest.

NEW YORK, NY - OCTOBER 27: Rex Reed attends the "Preston Bailey Flowers" book release party at the 21 Club on October 27, 2011 in New York City. (Photo by Mark Von Holden/Getty Images)
Rex Reed

Reed, one of Trumbo‘s most enthusiastic champions, gushes over its portrayal of what he calls – and please read this carefully – “a postwar decade when America was nervous about finding a Communist under every bed, deceived and misinformed by alarmists like then-Senator Richard Nixon, who mistakenly preached the ignorant message that Communism was the enemy of democracy.”

Now, let’s take this nonsense in sequence. First, about “alarmists”: surely one of the lessons (however unintentional) that any alert viewer takes away from Trumbo is that it wasn’t “alarmist” at all for anyone to worry about Communist influence in Hollywood. No, there may not have been a Communist under every bed (and nobody seriously thought that there was), but there were, as it turned out, a hell of a lot of convinced Stalinists writing movies that would be seen by millions of people around the world. Radical leftists insisted passionately, repeatedly, that the Hollywood Ten were innocent; in the end, it turned out that every last one of them was, indeed, a card-carrying member of the Communist Party. (And that’s not just an expression: each of them had a card testifying to his membership in the CPUSA.) 

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Reed in the 1970 movie Myra Breckenridge

As for Reed’s statement that it was “ignorant” for Nixon, or anyone, to suggest that “Communism was the enemy of democracy”: how to reply to such a breathtaking claim? How could Reed –who, born in 1938, was alive during most of the history of the Soviet Union – actually put such a sentence to paper? Granted, Reed has never been known for his brilliance; on the contrary, he’s always been something of a preposterous nitwit, preoccupying himself with the accumulation and dissemination of inane celebrity scuttlebutt.

But for heaven’s sake, the guy is pushing 80. Has he really learning nothing all these decades? Has he been so busy attending screenings and going to glitzy showbiz parties and interviewing vapid actresses that he’s managed to miss out entirely on even the most significant world events of the day? Is his whitewashing of Communism an example of staggering foolishness? Of staggering dishonesty? Of some unfortunate mental debility?

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The real Trumbo with his wife, Cleo

Or could it be that Reed – who, like Yoko Ono and the late Lauren Bacall, lives at the sumptuous Dakota on Central Park West – is himself, like Trumbo, a limousine Commie? (Though we’ve never paid much attention to Reed, we’ve always thought of him as a bubble-headed lightweight whose mind never actually entertained a political idea of any stripe; but we’ll have to take a closer look at his oeuvre one of these days to see if we’ve been missing something.)

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Cranston, with Diane Lane as Cleo

By the way, here’s what Reed says at the end of his review: “Hopefully, Trumbo will broaden the knowledge of young audiences today that remain ignorant about Hollywood’s darkest past.” The tragedy of Trumbo, alas, is that will fill the heads of untold numbers of improperly educated young people, both today and in the future, with dangerous falsehoods about Stalinism and its adherents.

Then there’s Steven Rea. We’ll get around to him tomorrow.