Vol. 22 No. 5 · 2 March 2000
pages 21-22 | 3497 words

That’s democracy
Theo Tait
- Johnny Got His Gun by Dalton Trumbo
Prion, 222 pp, £5.99, May 1999, ISBN 1 85375 324 6
In the mid-1940s, Dalton Trumbo was a screenwriter near the top of his lucrative but precarious line of work: fast, prolific and a consummate professional, he usually wrote at night, often in the bath, fuelled by large doses of Benzedrine. He was also a prominent and outspoken member of the Hollywood Communist Party. In 1947, the House Committee for Un-American Activities began their hearings into ‘Communist Infiltration of the Motion Picture Industry’. Trumbo, with nine others, pleaded the First Amendment, ended up with a citation for contempt of Congress and spent slightly less than a year in a Kentucky jail. When he got out, he and the other members of the Hollywood Ten were blacklisted and unable to work in the industry; hundreds more followed in a second wave of hearings. For 13 years Trumbo worked on the black market, uncredited, using various pseudonyms. He wrote the original story for Roman Holiday (1953) and, under the name Robert Rich, earned an Oscar in 1956 for his screenplay The Brave One. He passed on work and encouragement to other victims of the anti-Communist purge and began a vigorous media campaign to end the blacklist. In 1960, Kirk Douglas revealed that Trumbo had written the screenplay for Spartacus; President Kennedy crossed the thinning picket lines of Catholic War Veterans to watch the film in a cinema in Washington DC. The blacklist, at least in principle, was broken.
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Letters
Vol. 22 No. 6 · 16 March 2000
From Jim Cook
In his review of Johnny Got His Gun (LRB, 2 March), Theo Tait says that On the Waterfront uses 'messianic imagery to glorify Joe Doyle's decision to testify to the "Crime Commission"'. The messianic imagery is applied rather to his betrayer, Terry Molloy, who eventually decides to testify too – Joey dies before he can approach the Commission. All informers are sanctified: the film is only one of Kazan's wriggles around the fact that he betrayed his friends to save his career. The editors should also have noticed that the Hollywood Ten pleaded the Fifth Amendment, not the First.
Jim Cook
Stoke on Trent
Vol. 22 No. 7 · 30 March 2000
From Theo Tait
Jim Cook (Letters, 16 March) rightly pointed out a mistake in my review of Johnny Got His Gun. It is of course Terry Molloy's decision to testify to the Crime Commission which provides the climax to On the Waterfront, not Joey Doyle's. However, I think the film constitutes something worse than, as Cook puts it, one of Elia Kazan's 'wriggles around the fact that he betrayed his friends to save his career'. The implicit parallel between a brave longshoreman standing up to racket-ridden and violent union bosses and Kazan and his writer Budd Schulberg's decision to inform on their friends so they could continue to make films was a shameless attempt by the two men to glorify their own actions.
Theo Tait
London N16
From Editor, ‘London Review’
We introduced at least one error into each of the last two issues. We persuaded Jim Cook to claim in his letter that the Hollywood Ten pleaded the Fifth (rather than the First) Amendment. And we made a mess of a sentence in Terry Eagleton's review of The Trouble with Principle by Stanley Fish. The sentence should have read: 'And since you do not relate to your convictions as you relate to your socks, selecting a sombre or stylish brand as the fancy takes you, you are as lumbered with them as you are with the size of your feet.'
Editor, ‘London Review’