The Hollywood Three
When The Majestic was about to be released--it's the movie, you will recall, in which Jim Carrey plays a blacklisted screenwriter who suffers from amnesia--someone asked me to tote up the other films that touch on the Hollywood inquisition. I eliminated the allegories, such as Johnny Guitar, and the pictures that deal with other branches of show business (the music industry in Sweet Smell of Success, television in A King in New York and The Front) and calculated that all of two features--The Way We Were and Guilty by Suspicion--pay attention to the blacklist.
The number is also two with The Majestic included.
Talk about suffering from amnesia! Of course the movie industry feigned ignorance when the witch hunt was on--among its other unmentionable traits, the blacklist was illegal--and you can see how a certain forgetfulness was convenient afterward. But as Hollywood moved into the 1970s and '80s, with new corporate masters taking over the studios and old decision-makers dying off, the subject of the blacklist might have seemed ripe for exploiting. The industry has always loved to dramatize itself; and here, lying unexplored, was an episode that had convulsed all of Hollywood, and much of America with it.
Two films--if you feel generous toward Carrey, three. But now the count has risen significantly with One of the Hollywood Ten, the most honest movie of its very small group and arguably the best. It is not, however, an American picture. To our shame, it has taken a Welsh writer-director, Karl Francis, and producers based in Britain and Spain to film the true story of a blacklisted couple, Herbert Biberman and Gale Sondergaard, and their making of that remarkable movie, Salt of the Earth.
Since even Nation readers might be unaware of these events--and since truthfulness is a large part of Francis's merit--here's a quick synopsis:
Biberman was called before HUAC in 1947, among the committee's first group of unfriendly witnesses. Until that time his work as a writer and director had been so sparse, and so lackluster, that no one could have rationally accused him of transmitting ideology through the movies. That he had an ideology was unquestionable; Biberman was a committed Communist. But his greatest distinction was his marriage to Sondergaard, a hard-working, Oscar-winning actress.
Citing his First Amendment rights, Biberman refused to testify before HUAC, whereupon he was charged with contempt of Congress and sent to prison. When Sondergaard insisted on standing by him, she too was blacklisted. She found herself, upon his release, running a household of the dual unemployed.