Rousseff: a flashback

Yesterday we started looking into the administration of Brazil’s current president, Dilma Rousseff, who – in the wake of a remarkable rise toward prosperity under her predecessor, Luiz Inácio Lula da Silva (2003-10) – has presided over a precipitous economic decline, accompanied by profound corruption and incompetence.

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Dilma Rousseff

Rousseff is a socialist, but she’s the kind of socialist upon whom the Western news media tend to look with sympathy – which is to say that she isn’t constantly denouncing capitalism and the U.S. and that she occasionally even says sensible-sounding things about free markets, free trade, and such. Yet she is what she is.  Vladimir Tismaneanu put it this way last March:“Dilma and her crowd may not be Marxists in a traditional, strictly ideological sense…but, when all is said and done, they still share, subliminally, the Marxist anti-capitalist and ‘anti-imperialist’ revolutionary delusions, expectations, and fever,” which explains “their enduring affinities with the continental far left, including Hugo Chavez’s heir, Nicolas Maduro in Venezuela.”

How, you may wonder, did this woman end up being president of one of the world’s largest countries? Here’s a flashback.

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Régis Debray

Born in Belo Horizonte in 1947, Rousseff is the daughter of a Communist lawyer who fled Bulgaria for France in 1929 and who later moved on to Brazil, where he became a successful businessman. Her upbringing was very privileged – house servants, a fancy boarding school. As a girl, she wanted to be a ballerina. But in 1967, after reading the work of French writer and Castroite Régis Debray, she joined a socialist organization, POLOP (Política Operária, or Workers’ Politics), and became active in COLINA (Comando de Libertação Nacional, or National Liberation Command), a militant Marxist-Leninist faction, in which she met her first husband, Cláudio Galeno de Magalhães Linhares.

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As a defendant in a military court, 1970

In 1969 COLINA, which specialized in bank robberies and bombings, killed two police officers, obliging Rousseff and Galena to lay low. While underground, they were sheltered by Carlos Franklin Paixão de Araújo, head of a gang of Communist guerrillas that soon merged with COLINA and other groups to form the VAR Palmares (Vanguarda Armada Revolucionária Palmares, or Revolutionary Armed Vanguard Palmares) – of which Rousseff, after dumping Galeno and hooking up with Araújo, was put in charge.

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A mug shot

As head of VAR Palmares, Rousseff reportedly organized strikes, ordered bank robberies, masterminded the theft of a politician’s safe (which contained $2.5 million), planned a kidnapping (which the would-be culprits were never able to pull off), and sequestered weapons. She became known to both supporters and the authorities as the revolutionary movement’s “Joan of Arc.”

After being arrested in 1970, Rousseff was imprisoned and tortured. While she’s repeatedly sought to minimize the importance of her role in VAR Palmares, her description of the extent of her torture has been dismissed by parties familiar with the situation as highly exaggerated. Released from jail in 1972, Rousseff returned to college to study economics. Although her official biography lists master’s and doctoral degrees, she never actually earned either.

And then she went into politics.

We’ll get around to that tomorrow.

Warren Beatty and Lenin’s “fight for freedom”

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.”

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Alexander Kerensky

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.  

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Dorchester Hotel, London

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. 

redsposterCertainly the irony seems lost on Peter Biskind, author of an in-depth Vanity Fair article about the making of Reds. Biskind makes it clear that he finds the “idealism” of the film’s hero, John Reed, praiseworthy, and he expresses regret that this “idealism…seems even more alien today than it did in 1981, given the current cynicism about politics.” He actually writes the following about Reed (played by Beatty) and his girlfriend and fellow Communist, Louise Bryant (Diane Keaton): “More than just lovers, more than just revolutionaries, they have made political lives, lived their politics, and Reds is above all a tribute to that.” At least the late Roger Ebert picked up on the irony, noticing in his review that the copyright statement at the end of this film about a man who hated millionaires reads “Copyright MCMLXXXI Barclays Mercantile Industrial Finance Limited.” Beatty, for his part, appeared, by the time he won the Oscar for Best Director, to have recognized the contradictions at the heart of his own project, giving a nod in his acceptance speech to the bigwigs at Paramount and its then parent company, Gulf + Western, for their “decision, taken in the great capitalistic tower of Gulf + Western, to finance a three-and-a-half hour romance which attempts to reveal for the first time just something of the beginnings of American socialism and American communism.”

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Film rights, anyone?

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? 

“Journalist spies,” then and now

Declassified Soviet documents have long since proven otherwise, but the myth persists that concerns, during the decade or so after World War II, about Kremlin operatives in Hollywood, Washington, and the New York media were the product of “McCarthyite hysteria.” It’s always useful, then, to be reminded just how real that phenomenon was – and just how important it is for free people always to be on guard against the infiltration of their societies by the servants of tyranny.

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Walter Duranty

Today, it’s well known, at least in some circles, that Walter Duranty (1884-1957), the New York Times correspondent who won a Pulitzer Prize for his reporting from Russia, was in fact a tool of Stalin who routinely printed outrageous lies – and who actively sought to discredit colleagues who strove to get out the truth. But Duranty wasn’t alone. On July 1 of this year, Matthew Vadum reported on new research in the Journal of Slavic Military Studies establishing that the number of American reporters of that era who can fairly be described as “journalist spies” turns out to be considerably higher than was previously thought.

In the article referenced by Vadum – entitled “Spies in the News: Soviet Espionage in the American Media During World War II and the Beginning of the Cold War” – University of Ohio scholar Alexander G. Lovelace reports that as of June 1941, no fewer than 22 American journalists were active, full-fledged members of the USSR’s spy network in the U.S., and that after 1941 that number grew. As Vadim reminds us, “the relationship between the U.S. government and the press was different in those days.” What he means is that there was an atmosphere of trust; government officials took it for granted that American journalists were, first and foremost, loyal Americans; consequently, as Lovelace notes (his article, unfortunately, is behind a paywall), they “were routinely trusted with secret information to be used as ‘background’ for stories.”

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Diane Keaton as Louise Bryant and Warren Beatty as John Reed in Reds

Who were these “journalist spies”? Some of their stories have already been told. The 1981 Warren Beatty movie Reds made heroes out of two of the earliest such turncoats – John Reed and Louise Bryant, both of whom, in the wake of the October Revolution, filed disinformation-packed “news reports” that glamorized the fledgling USSR and its Communist system.

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Whittaker Chambers

Nor is it any secret that Whittaker Chambers, an editor at Time magazine from 1939 to 1948, was a Soviet spy. Chambers, of course, eventually recognized the error of his ways, turned in State Department official Alger Hiss and other Communists, and told the story of his own journey into and out of the Party in the classic memoir Witness.

But Chambers wasn’t the only staffer at that supremely influential newsmagazine who was secretly working for the Kremlin. Others included John Scott, Stephen Laird, and Richard Lauterbach. The last-named did Stalin a great service when he reported that the Katyn massacre, in which the Soviets killed more than 20,000 Polish military officers in cold blood, had been committed by the Germans.

29 Jun 1955, Washington, DC, USA --- Original caption: Washington, D.C.: CBS News correspondent Winston Burdett testifies before the Senate Internal Security Subcommittee here today. Burdett admitted being a Communist from 1937 to 1942 and under questioning by Eastland, he said that he had engaged in espionage abroad for the Communists. --- Image by © Bettmann/CORBIS
Winston Burdett testifying in 1955 before a Senate subcommittee, to which he confessed to having been a Soviet spy

Other KGB men included Peter Rhodes of the New York Herald-Tribune and Winston Burdett of the Brooklyn Daily Eagle and CBS News. (Burdett, who for a time had regular personal contact with both FDR and J. Edgar Hoover, eventually admitted his history of espionage in testimony before a Senate subcommittee.) Then there was Walter Lippmann, in his time the dean of American political commentators. Lippmann himself was not a Soviet spy, but – as it turns out – his secretary was. Therefore Lippmann, in whom many leading politicians confided, unknowingly helped transmit vital top-secret information to the KGB.

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Dustin Hoffman as Carl Bernstein and Robert Redford as Bob Woodward in All the President’s Men

In the immediate post-Watergate era, many young Americans’ image of journalists was shaped largely by the 1976 movie All the President’s Men, which depicted Washington Post reporters Bob Woodward and Carl Bernstein as stirring heroes of American freedom. Some of those Americans took a long time to recognize that many journalists are, in fact, less devoted to objective truth than to partisan agendas, in the service of which they are more than willing to distort or suppress the facts. Some Americans, alas, have yet to wake up to this reality. Alexander G. Lovelace deserves our thanks for a timely reminder that even the most trusted, respected, and highly placed members of the fourth estate may secretly owe their allegiance to the most morally abominable of masters. There is no reason to believe this is any less true now than it was in the early days of the Cold War.