Trumpeting Trumbo

truth3Just a few weeks ago, we discussed the new movie Truth, which turned the truth about the 2004 Rathergate scandal on its head. In real life, CBS anchorman Dan Rather and news producer Mary Mapes were so eager to damage George W. Bush’s re-election prospects with a damaging story about his National Guard service that they were prepared to use obviously fake documents to try to support their otherwise unsupported case; in the film, Rather (Robert Redford) and Mapes (Cate Blanchett) are presented as heroic truth-tellers brought down by craven CBS executives fearful of antagonizing the Bush White House.

trumboNow Tinseltown has brought us yet another mammoth distortion of history. Directed by Jay Roach from a script by John McNamara, and starring Breaking Bad‘s Bryan Cranston in the title role, Trumbo purports to tell the story of screenwriter Dalton Trumbo (1905-76), who in 1947 was named one of the “Hollywood Ten” – a group of directors and screenwriters who were cited for contempt of Congress for refusing to tell the House Un-American Activities Committee whether or not they were Communists. The Hollywood Ten were blacklisted – i.e., denied work in the film industry – as were dozens of their colleagues.

In recent decades, Hollywood has churned out innumerable films about the blacklist. The premise is always the same: the men and women of the blacklist were free-speech martyrs and victims of tyranny. There are several things that are rarely if ever mentioned in these films. For example, all of the Hollywood Ten were members of the American Communist Party. That party, in turn, was a willing, devoted instrument of the Communist Party in the Soviet Union. The man at the top of that Party was Josef Stalin, a totalitarian dictator who was responsible for even more deaths than Hitler.

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The real-life Dalton Trumbo

It shouldn’t be necessary to remind anyone who Stalin was and what he did. But the fact is that Dalton Trumbo and his fellow members of the Hollywood Ten were Stalin’s devoted acolytes. No matter what he did, they refused to criticize him. Whatever shifts in policy he made, they went along with him blindly. This hasn’t kept them from being lionized as champions of liberty.

Take Trumbo. The new Jay Roach movie is far from the first work to celebrate him. Trumbo’s son Christopher wrote a play, Trumbo: Red, White and Blacklisted, which was staged with such actors as Paul Newman, Alec Baldwin, and Steve Martin. Christopher Trumbo also directed a 2008 documentary, Trumbo, in which Michael Douglas, Kirk Douglas, Dustin Hoffman, and other Hollywood luminaries agreed that Trumbo was both a victim and a hero.

htThe facts tell otherwise. In an illuminating new book, Hollywood Traitors, Allan H. Ryskind spells them out. Far from being the fun, quirky “independent spirit” depicted by his apologists – and, we gather, by Roach’s movie – Trumbo was a slavish disciple of the tyrant in the Kremlin.

“[F]ew of the Hollywood writers served Stalin so faithfully,” says Ryskind, who, in addition to studying FBI and HUAC documents, has pored over Trumbo’s private papers. They reveal an unwavering pattern of absolute loyalty to Stalin and to Communism, and an utter indifference to the fate of his own country or of human freedom.

Details tomorrow.

The Nation: lies, lies, lies

We concluded our previous post on The Nation, the leftist weekly now celebrating its 150th anniversary, with a recent summing-up  by Daniel Greenfield. The Nation, he wrote, has “learned nothing from the past. Instead it repeats history as farce, stumbling from one tyranny to another in the hopes of finding progress somewhere among the corpses.” Having “aided the Soviet plan for world domination,” Greenfield noted, The Nation is now “doing the very same thing for the Islamists.”

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Katrina vanden Heuvel

Yep. And just as it manages to align itself, in all its preening, putatively progressive self-satisfaction, with the least progressive forces on earth, it consistently savages the one democracy in the Middle East – and then, when necessary, lies through its teeth about it. In a recent interview with the Jewish Daily Forward on the occasion of The Nation‘s big anniversary, Nation editor Katrina vanden Heuvel insisted that her magazine had a “great” pro-Israel record, and cited what she described as a 1940s Nation article by Ron Radosh “lobbying Truman, the UN, for the creation of the state of Israel.” But Radosh himself, after reading the interview, called vanden Heuvel’s attempt to claim his article as a part of The Nation‘s heritage an outrageous misrepresentation. “My wife and I,” he explained in a Facebook post, “wrote an article for World Affairs Journal about Freda Kirchwey and Israel, and NOT for The Nation. In fact, vanden Heuvel wrote a letter to the editor accusing us of being Likudniks. Now she tries to make it appear our pro-Israel article appeared in her magazine.”

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Harry Dexter White

But, of course, without lying – outright lying – a magazine like The Nation, which is still peddling ideas that have been totally shot down by history, wouldn’t be able to survive. Just as the USSR pursued a systematic policy of radically revising its own past – including the total removal from the public record of any trace of certain individuals who’d played major roles in government – so The Nation just keeps on amending its own annals. So deep-rooted at Ms. vanden Heuvel’s magazine is this longstanding impulse to dodge and distort, to prettify and prevaricate, that, as Jonathan Tobin has noted, it ran a review in 2013 that – with breathtaking audacity – sought to whitewash the late U.S. Treasury official Harry Dexter White by quite simply ignoring Soviet records proving that he’d been a KGB spy. Throughout the Cold War, observed Tobin, the folks at The Nation had pretended that “Soviet infiltration of Washington in the 1930s and 1940s was a figment of the imagination of demagogic right-wing anti-Communists”; but after the Cold War, when the facts were put before them, they continued to cling to their falsehoods.

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Michael Moore

As noted, The Nation‘s anniversary issue also contains some new material. There are testimonials to the magazine’s extraordinary value by Gloria Steinem and Alec Baldwin, among others. Michael Moore offers a long piece – which is apparently intended to be funny – about why he should be elected president. In another article, Kai Bird argues for total U.S. “disengagement” from the Middle East – in other words, leave Israel at the mercy of its neighbors. Bird presents this as a respectable retreat from imperialism –because, in the eyes of The Nation, absolutely everything is ultimately about U.S. imperialism. Also included is yet another attack on “Islamophobia” – which, of course, The Nation has been savaging for years. The anniversary issue’s overall message is summed up in a cartoon by the reliably execrable Tom Tomorrow; entitled “All the Right Enemies,” it expertly toes the party line, claiming that The Nation has always been on the right side of history.

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Art Spiegelman

(It should be mentioned that, in the entire issue, there’s one admirable exception to the rule of irresponsible inanity: cartoonist Art Spiegelman, author of Maus, pays tribute to his late colleagues at Charlie Hebdo, writing “I have NO interest in baiting psychopaths, but I must show respect to the foolhardy and brave Charlie Hebdo artists.”)

Fittingly, the issue concludes with a few brief contributions from young people who are presented as embodying the future of the magazine and its ideology. Here’s a sample, from a 22-year-old Harvard student: “I am 22 years old, and I have been a climate activist for ten years. My call is for a radical future now.” Plus ça change…

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Mikhail Gorbachev

Quite appropriately, one of the big names who have provided a blurb for The Nation‘s anniversary issue is Mikhail Gorbachev. “It is very important a magazine that stands for left-wing, progressive ideas has an audience in America,” writes Gorby. That The Nation, on the occasion of its 150th anniversary, can proudly flaunt the approval of the last unelected Communist ruler of the Soviet Union says pretty much all you need to know about what this rag is all about.