Hollywood and Communism
By Bruce Walker
The initial Sony decision to not offend Communist North Korea by showing The Interview reflects the cravenness of the entertainment industry but it also connects with the other big story in late December, Obama's recognition of Communist Cuba: Hollywood has utterly ignored the vast evil which is Communism.
The impact of this attitude means that Communist regime, which have been every bit as evil as Hitler's Nazi Germany, are not viewed by Americans with the same natural (and proper) revulsion that we feel towards Nazism. What makes this more offensive is that there are so many vital and moving stories which Americans need to see in film which have never been told, while Hollywood and the entertainment industry has pounced on every notion of anti-Communism as bigoted ignorance.
Why did this happen? The entertainment industry, like the education industry, has always been a special area of interest for Communists and despite our "victory" in the Cold War, despite the fact that the Venona decryptions, access to Soviet intelligence sources granted by Yeltsin to Western scholars, despite even the open admission of Soviet agents who we never suspected of working for the Kremlin, the indestructible myth remains that any examination of the role of Communism in America is "McCarthyism."
Although espionage and agents of influence have gotten the most attention, it was the corrupting effect of Communism in Hollywood and Academia which has so debilitated our ability to respond to evil in our world today. Reagan, who won the Cold War, decades before as President of the Screen Actors Guild saw firsthand just how deeply Communism had infested the film industry. Nearly everyone on the board of that organization was a Communist. (George Murphy noted that he automatically began receiving a copy of the Daily Worker when he joined that board because it was assumed he was a Communist, like almost every other board member.)
This influence never let Hollywood and over time, in fact, grew – although not by some grand conspiracy but rather through an Orwellian groupthink which did not allow any ideas contrary to Communist mythology to exist. The consequences of this enslavement of minds in Hollywood produced a truly stunning pattern, when we stop and think about it.
How many Americans, for example, know about the Holodomor, the calculated and horrific extermination of 14 million Ukrainians in the decade before the Holocaust? The Gulag, the vast system of Soviet slave labor camps, processed about 100 million souls and yet, like the Holodomor, Hollywood has never seen fit to make a dramatic film about either of these monstrous crimes.
Mao Tse Tung may have murdered, in ways every bit as inhuman as the Holocaust, 50 million people. He also engaged in idiotic and sadistic campaigns against animals and nature. As one example, perhaps 100 million dogs were caged together, left without food, left without water, and allowed to die of starvation (although the bigger dogs ate the smaller dogs) or dehydration.
Hollywood has done countless films about the nightmare of Nazism and the crimes of that dozen year reign of terror and so no one in Germany would dream of putting Hitler's face on German currency. Yet Hollywood has utterly ignored the crimes of Mao, and his face is on Chinese currency today.
The Communist record in North Korea equals any crimes of any nation in modern history. Had Hollywood ever showed the world in cinema how this vile regime destroys the lives of women and children, then the passion of all decent people would be more than to resist this vile reign but to end.
The Castro regime in Cuba, almost as bad as North Korea, has never moved the straitjacketed minds of Hollywood to show the world in film the torture, the depravity, and the hatefulness of Communism in Cuba. Instead totalitarian sycophants like Michael Moore have presented rosy pictures of Castro's healthcare system in his nauseating film, Sicko.
There are, if anyone in Hollywood cared, many thousands of Cuban refugees with personal heartbreaking and hair-raising stories about the brutality this regime, but Hollywood does not care. So when Obama elects to recognize this regime, we do not view as a moral abomination but as prudent (or imprudent) statecraft. It is as if an American president, facing a Nazi regime which was growing increasing isolated and weak, decided to reach out to the successor of Hitler with the hand of friendship.
Hollywood – this same vain gaggle of self-important nabobs with an imagined social conscience - has failed us utterly in confronting the greatest evil of our time, Communism.
Bruce Walker is the author of book Poor Lenin's Almanac: Perverse Leftists Proverbs for Modern Life and a contributing editor to Enter Stage Right.