Hide in Plain Sight: The Hollywood Blacklistees in Film and by Paul Buhle

By Paul Buhle

Hidden in simple Sight completes Buhle and Wagner's trilogy at the Hollywood blacklist. while the blacklistees have been hounded out of Hollywood, a few left for tv the place many labored on kid's exhibits like "Rocky and Bullwinkle." a bunch wrote grownup sitcoms resembling The Donna Reed Show, and M*A*S*H whereas a few of them eventually lower back to Hollywood and made nice movies similar to Norma Rae, and Midnight Cowboy. this can be a considerate examine the aftermath of the horror that used to be the McCarthy interval from professional historians of the blacklist period.

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After the war and a phase of acting and studying with the Neighborhood Playhouse, he helped organize the Actors’ Workshop, a cooperative troupe working backwards from modern drama to Shakespeare and the Greeks. 27 Still in his mid-twenties when at the helm of Danger, Lumet later recalled that he acquired there the skills needed to become a film director—camera, lighting, shot selection and set design—and gained as well the experience of working with some of the best actors around. In 1952, Cue magazine called Danger “the finest dramatic half-hour in television” and invited the director (along with its sympathetic producer, Charles Russell) to discuss the making of the show.

The (Method) character’s need to make a choice—and the actor participating somehow in the choice—has supplanted the fixed fate of Oedipus and Antigone. The Brechtian influence could not be so direct, but has been lasting in other ways. Piscator, leaving the Soviet Union in 1941, organized the Dramatic Workshop in New York, where he taught many of Strasberg’s students, including Brando, Rod Steiger and Eli Wallach, but significantly also Harry Belafonte, Elaine Strich, Martin Balsam, Walter Matthau and a handful of actors who would later have a major impact on television, including Maude’s Bea Arthur, Tony Randall, Tony Franciosa and even the avant-gardist future “Spock,” Leonard Nimoy.

Considerably more lower-middle-class than the Yiddish radical milieu, less avowedly radical and more professional, the Group adopted the dramaturgical theories of both Meyerhold and Stanislavsky and remade American drama in its own uncertain image. It managed to raise the intentionality of the thinking actor into what was, at its best, superb theater, if also often little more than melodrama expressed as proletarian uplift. ” It was a good question for materialistic America, even in the midst of the Depression, and a perfect one for Clifford Odets, whose “golden boy” from the hit play of the same title learns that the violinist’s fingers can earn more as a boxer’s fist.

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