This is a first for this website as a review and commentary about a movie. The main characters of the movie are Josh Brolin (the “Hollywood Fixer”) and George Clooney as Baird Whitlock (the intellectually-shallow movie star). (Clooney does an excellent job of portraying an actor who speaks lines with passion while not really understanding what the lines might mean.) Other characters in the Joel and Ethan Coen production include Channing Tatum and Scarlet Johnansson. The movie is mostly a spoof of 1950s Hollywood productions, including one that mimics an Ester Williams movie titled Million Dollar Mermaid. Another is a song and dance movie that has strong homosexual innuendo featuring Tatum as one of several sailors. All of that was moderately interesting, but my main interest was in the theme that many Hollywood writers were Communists.
The main story of the movie is that Whitlock, who is playing Caesar, is kidnapped by Hollywood writers who call themselves a “Study Group” and “The Future.” The script of the movie explains that Whitlock is allowed to mingle with his kidnappers. There is a bit of foreshadowing when one of the kidnappers calls his dog Engels (Friedrick Engels collaborated with Karl Marx). As Whitlock is being served finger sandwiches and photographed for the group’s newsletter he has to listen to a character spouting difficult to understand economic theory. A spokesperson then explains to Whitlock that the movie studio “. . .is a pure instrument of Capitalism.” “And so Baird Whitlock found himself in the hands of Communists.” Whitlock is told, “. . .until quite recently our study group had a narrow focus. We concentrated on getting Communist content into motion pictures.” There is a scene where someone is sorting what must have been Party membership cards signed by Gus Hall, a leader of the Communist Party USA (CPUSA).
The House Un-American Activities Committee (which included Representative Richard Nixon) held highly publicized hearings searching for Communists in Hollywood in the late 1940s. A frequent assessment by the entertainment industry and news media in the years to follow charged that many actors and writers had their reputations unfairly smeared and their work blackballed because of accusations that they were Communists. The movie suggests the Coen brothers believe the accusations had a factual basis. The movie even includes a night scene where Tatum is rowed by his comrades to a rendezvous with a Soviet submarine. Tatum jumps aboard the sub as one of his mates calls out, “Comrade, We salute you! You are going to Moscow to become a Soviet Man and help forge the future. We stay behind, continuing in our disguise as capitalist handmaidens.”
My wife and I watched the movie on cable and agreed that we were pleased we hadn’t paid to see it when it was in theatres. Watching the movie was less entertaining than reading the script and thinking about what I wanted to write.