By Jennifer Langdon
In the summertime of 1947, Crossfire, a arguable mystery exposing American anti-Semitism, was once a severe and box-office hit, and RKO manufacturer Adrian Scott used to be on the top of his occupation. inside of numerous months, despite the fact that, Scott turned notorious as a member of the Hollywood Ten, blacklisted for his refusal to cooperate with the home Un-American actions Committee. stuck within the Crossfire: Adrian Scott and the Politics of Americanism in Forties Hollywood reconstructs the construction and reception of Scott's significant movies, exploring the political and artistic demanding situations confronted through Hollywood radicals in the studio procedure and reassessing the connection between movie noir, antifascism, anticommunism, and the politics of Americanism. (6/24/09)
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Additional info for Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Gutenberg-e)
Note 69: Paxton, of course, did not receive screen credit for his work with McCreery, though he did attend the preview screening of The Lady is Willing, giving McCreery "conniptions" by lurking in the lobby to eavesdrop. Paxton, taped interview, 1977; see also Marshall, "The Greeks Had Another Word" [interview with Paxton], 260–261. Note 70: Paxton, taped interview, 1977; Dick, Radical Innocence, 124. Norma Barzman remembers that Adrian had a habit of removing his shoes as soon as he sat down—anywhere.
But it is false to think that you couldn't take those people seriously and that they were doing it for show. . "58 The interplay of politics and culture was a heady mix for Hollywood progressives during this period, and despite the constraints of working within the studio system, the amalgam of sociability, politics, and creativity made Hollywood an exciting, challenging place to work during this period. "59 This was certainly the case for Scott and Paxton, who were drawn together initially by a shared love of the theater and a desire to translate the seriousness and integrity of theater to film.
Note 27: Lester Friedman, Hollywood's Image of the Jew (New York: Frederick Ungar, 1982), 57–64. For an exhaustive discussion of this issue see Steven Carr, Hollywood and Anti-Semitism: A Cultural History up to World War II (New York: Cambridge University Press, 2001). Note 28: John Wexley, interview with McGilligan and Ken Mate, in McGilligan and Buhle, Tender Comrades, 715–716. Note 29: Schatz, Genius of the System, 12. Note 30: Leo C. , 1940), 136, quoted in Ceplair and Englund, Inquisition in Hollywood, 21.
Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Gutenberg-e) by Jennifer Langdon