Hollywood Was Always a Communist
Hotbed
The de facto
Communist takeover of the USA is manifested by the fact that 1940's
anti-Communism is
portrayed today as a "witch-hunt" and "red
scare."
Hollywood is
still pumping out movies like Trumbo (2015)
which portray Hollywood traitors as champions of freedom.
Although
Communism is fundamentally Cabalist Judaism, some Jews have sacrificed their
careers to fight it. One is producer and writer Myron Fagan
(1887-1972) who wrote two dozen books exposing the true satanic nature of
Communism. One is Moscow Over Hollywood (1948), from which an excerpt appears
here.
The most
successful Communist ruse is that it champions "the underprivileged."
Equality is the pretext the Masonic Jewish bankers use to seize the
property and birthright of the goyim. But, since actors are not very smart,
there were no shortage of dupes who fell for this ploy. (They sensed this
was the way to get ahead.) As this excerpt shows, Hollywood was always a
tool designed to enslave the masses to their basest instincts, and their minds
to the totalitarian state. It was never intended to be art in the sense of
unveiling the universal and uplifting society. The whole point of the NWO is to
infantilize us, not show positive role models or a positive vision of life.
Luckily there
are some exceptions.
Moscow
Over Hollywood (1948) Chapter Six
RED
REGIMENTATION OF SCREEN WRITERS
By Myron
Fagan
(Excerpt
by henrymakow.com)
The
famous California banker, A. H. Gianinni, who financed many of the pioneer movie enterprises,
declared when the film industry was just getting started, "They who
control the cinema can control the thought of the world."
Apparently,
the Communists were the first to act upon this recognition and move boldly to
establish "world thought-control through monopolistic movie control.' Back
in 1919, when both the cinema and the Comintern (World Communist Organization)
were in their infancy, Bolshevik Dictator Lenin declared, in a conversation
with his commissar of education, Lunacharski, "You must always consider
that of all the arts, the motion picture is for its the most important."
It was
Lunacharski who formulated the Soviet system of education on this basis,
"Away with Christianity and the Gospel of love. We must teach Soviet
children to hate. We must have hatred and still more hatred. Only by hating can
we destroy our enemies and conquer the world."
In 1925,
Willi Muenzenberg, General Secretary of the so-called International Workers
Relief, which was a transparent "front" for the Moscow-controlled
worldwide Communist propaganda bureau of the Comintern, reported that Communist
agents throughout the world had been instructed to "concern themselves
more than formerly in turning this weapon (the movies) to their service.'
To utilize
the silver screen as a "weapon' in advancing world revolution, Moscow Reds
founded the so-called "cinema bureau' of the International union of the
Revolutionary Theater. This was in 1925, the same year that Comrade Willi
Muenzenberg issued this "call to action' in the Communist Daily
Worker published in New York City: "We must develop the tremendous
cultural possibilities of the motion picture in a revolutionary sense. One of
the most pressing tasks confronting Communist parties in the field of agitation
and propaganda is the conquest of this supremely important propaganda weapon,
until now the monopoly of the ruling class. We must wrest it from them and turn
it against them.'
In 1934,
what is described as "a considerable sum of money' was sent from the
Soviet high command for propaganda in Moscow to a Communist in Hollywood.
"This sum was to be used for the purpose of creating an entering wedge
into the motion picture industry," according to the report of the Joint
Fact-Finding Committee to the 55th California Legislature, 1943.
To gain
control of the movie industry, the international Communist conspirators
enlisted "revolutionary' writers throughout the world to write for the
film studios. One of the radical writers to be brought into alignment with
Communist designs was "John
Howard Lawson."
Lawson is listed 50 times in the
records of the House Committee Investigating Un-American Activities, for
affiliation with Red-front organizations. The Joint Fact-Finding Committee of
the California legislature termed him "one of the most important Marxist
strategists in Southern California."
John Leech, former Communist Party
official in Los Angeles County, told a county grand jury that John Howard
Lawson had been sent from New York City to Hollywood by the Central Committee
of the Communist Party.
According to Mr. Hughes, "The
California legislative investigating committee reported that V. J. Jerome
"brought John Howard Lawson to Hollywood. He helped organize study clubs
and coordinated Communist Party work between Hollywood groups and downtown Los
Angeles sections. He was a member of the Central Committee of the Communist
Party of the United States, as well as being chairman of the cultural
commission of the Communist Party in the United States'."
The Committee described Jerome,
whose true name is Isaac Romaine, as "the American Communist bellwether of
the fellow traveling cultural clique' which acknowledges Lawson as an
outstanding leader.
With characteristic Communist
intolerance, Lawson lays down the rule that no movie personality has a
"right" to call himself "an artist' unless he is thoroughly
committed to serving the Communist cause on and off the screen.
Thunders Lawson, "Unless you
portray any role given you in a manner to further the revolution and the class
case, you have no right to call yourself an actor. You must do this regardless
of what the script says or what the director tells you. Even if you are nothing
more than an extra you can portray a society woman in a manner to make her
appear a villainess and a snob. And you can portray a working girl in such a
way so as to make her seem a sympathetic victim of the capitalist
system."
Lawson delivered himself of these
remarks before a class of student actors in Hollywood. This goes far to explain
why many young actors and actresses, who obviously do not have "Marxian
convictions,' pose as "dyed-in-the-wool Reds." They have been sold on
the idea that this is the way to get ahead in Hollywood.
SCREENWRITERS
Even more important than the stars, so
far as the Red purpose of using the movies to establish "thought control'
over the people of the world is concerned, are the scenario writers. The actors
may be able to insinuate a few Communist, "class-conscious' touches and
flourishes into their acting, but the stronger elements of Soviet propaganda
must be subtly inserted by the screen writers.
"Writing for the movies' is a
highly profitable business-much more so than any other kind of writing in
America today. Top screen writers received $5,000 a week-which amounts to more
than a quarter of a million dollars a year. The average is, perhaps, around
$3,000 a week. The minimum a scenario scribbler may receive is $187.50 per
week, plus a bonus of from $1,500 to $2,250 for each picture upon which he
works.
This amounts to well over a thousand
dollars a month, on the average, but, in Hollywood, this is a mere
"pittance."
We have already seen how the scheme
of the Moscow conspirators was to "plant' their so-called
"revolutionary writers' in the film colony-to spread Stalinist propaganda.
However, the lure of $5,000 a week attracted to Hollywood the masters of
English prose from the four corners of the English-speaking world. After all,
the Reds have never been able to stake out a monopolistic claim on either
brains or literary ability. A great many of the world's greatest writers are
strongly anti-Communist; some are single-taxers, vegetarians, spiritualists,
Republicans, Christian Scientists, and-for that matter-isolationists and
advocates of "white supremacy.'
Consequently, the problem of the
Reds was not just to get their own literary shining lights established in
Hollywood, but to banish from the film industry all talented writers who refused
to conform to the Communist propaganda line.
The veteran left-wing crusader, John
Howard Lawson, had a leading part in contriving a clever scheme for making
screen writing a virtual Communist-controlled monopoly. Together with less than
a dozen other fellow-travelers of Sovietism, Lawson succeeded in setting up,
and establishing control over, a tightly organized scenario writers'
"Brain Trust' which goes under the name of the Screen Writers' Guild.
In order to operate on a
"closed shop' basis (closed against writers unfriendly to Sovietism), it
represents itself as a legitimate labor union-claiming all rights and
immunities under the Wagner Act and other pro-union statutes. Of course, this
is the sheerest of shams. Individuals getting thousands of dollars a week in
salary are really top-bracket capitalists. In reality, the studios deal with
them as individuals--some scenario writers are paid $5,000 a week, others
receive the minimum of $187.50 a week, according to their individual abilities.
In such a profession, "collective bargaining" is a myth and a
fraud. But probably no one understands this better than the architects of the
Screen Writers' Guild.
The Guild's purpose in enforcing a
rigidly-controlled "closed shop' is not to facilitate dealings with the
film companies, but rather to keep the door securely closed in the face of all
non-Communist writers who might entertain ambitions of "crashing' the
gates of Hollywood to fame and fortune.
"The Screen Writers' Guild is
completely Communist dominated," declares Rupert Hughes, world-famed
author who was established in Hollywood as a famous screen writer, before the
fellow-travelLers were able to set up the machinery for the creation of a Red-run
monopoly.
Mr. Hughes gives examples of how the
Screen Writers' Guild has refused to permit production to go forward on
pictures which failed to conform to Soviet "ideological' standards.
Members of the Guild, he avers, lose their "literary rights' if they fail
to read the things they are told to read, as well as write what they are told
to write.
Herbert
Biberman and Sam Ornitz, two Communist screenwriters on the Blacklist
He states, "Of course they put
Communist propaganda in the movies ! "They paint a rich man as a fiend.
They make every rich man in a play look like the fat boy in a museum, and every
poor boy is made out as a skeleton. Actually, the only millionaires I've known
were skinny dyspeptics-look at Rockefeller.'
Labor leaders, in the movies, are
always portrayed as lean, muscled, bronzed athletic types-such as John
Garfield. While the movies claim to portray "life' truthfully and
realistically, the fact remains that the best-known labor leader in America is
one of the soggiest, most bloated fat men in the national limelight-John L.
Lewis. Ernest Bevin, Britain's most famous labor organizer, is of similar
proportions. He and Lewis together would tip the beams at well in excess of a
quarter of a ton-which is approximately twice the weight of Henry Ford, America's
first billionaire....
Actual membership in the Communist
Party, of course, is a much more serious charge than mere
"fellow-traveling' with Reds. Since the alleged fellow-travellers
"answered' the charges, the silence of the accused Communist Party members
can only mean that they are either unable or unwilling to deny that they are
Reds. The probable truth of the matter is that they are proud of it!
On the basis of the evidence, it
would appear that the Screen Writers' Guild is one of the most completely
Communist-controlled "unions' in the nation. As one of the editors of the
Hollywood Reporter has put it, "If you have 11 out of 12 men who direct a
union lined up with the Communists, and can prove it, it's pretty to say that
union is Communist dominated, isn't it???
Even if we were to accept the rather
lame disavowals of the alleged "fellow-travellers," it still leaves
the Guild's 12 directing posts in the possession of a controlling 9 who offer
no denial of the published statement that they are registered members of the
Communist Party.
Communism= Jewish
