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Book Says Hollywood
Appeased The Nazis
New York — In their book
Hollywood Goes to War,
Oberlin_College Prof. Clayton
Koppes and University of
Missouri history Prof.
Gregory Black explore a
little-known and dark
chapter in the history of the
American film industry:
Hollywood's appeasement of
Hitler and Mussolini and its
propaganda liaison with the
Roosevelt Administration.
Koppes and Black detail the
motion picture studios' un-
willingness to speak out
against anti-Semitism and
fascism in the 1930's, their ac-
cession to the damands of
Nazi Germany and fascist Ita-
ly, and their alliance with the
Roosevelt Administration's
propaganda agency, the Office
of War Information (OWI),
which succeeded in distorting
Hollywood portrayals of
American Blacks and the
Allied and Axis powers dur-
ing World War II.
Among the many revela-
tions in the book are the
following:
• In the mid-1930's, when
the Nazis demanded of the
American motion picture
studios that all "non-Aryan"
studio employes in Germany
be terminated, the studios,
almost all of them run by
Jewish executives in
Hollywood, complied and
fired Jewish workers on their
business staffs and offices in
Germany. The studios did this
even though Hitler's
Nuremberg Laws banned all
films with Jewish actors and
actresses, cutting the number
of American films shown in
Germany to just 20 per year.
• In an effort to appease
Mussolini, MGM changed the
locale of Robert Sherwood's
anti-war, anti-fascist Idiot's
Delight (1939) with Clark
Gable and Norma Shearer
from Italy to an unnamed
Esperanto-speaking Alpine
nation.
OWI, the Roosevelt Ad-
ministration's propaganda,
arm charged with furthering
the American war effort
through a liaison with the
Hollywood studios, had hoped
to work with black leaders in
order to improve Hollywood's
portrayal of people of color. By
war's end it became clear that
the government's objectives
and those of black leaders
were incompatible. The
government was intent on
depicting a unified America
without internal dissension;
the blacks wanted a realistic,
nonstereotyped portrayal of
themselves and their unequal
treatment at home. Of 100
Black appearances in war-
time films, 75 perpetuated old
stereotypes, 13 were neutral,
and only 12 were positive,
among them symbolic por-
trayals that were untrue: in
Bataan, for instance, Kenneth
Spencer is part of an in-
tegrated battle group, and
there were no integrated bat-
tle groups at this time.
"Repeatedly in the 1930's,
Hollywood altered the kind of
pictures it would .make
because of economic con-
siderations," Koppes says. "It
didn't make any explicitly
anti-Nazi pictures until 1939,
in large measure because it
didn't want to lose its
markets in Germany and
Italy.
Another disturbing bypro-
duct of the American film in-
dustry's involvement with
propaganda was "the way in
which images in movies
changed very abruptly,
depending on the political
needs of the administration
or on Hollywood's perception
of its audience and its
market," Koppes says. "There
were wild swings in the por-
trayal of certain subjects, even
though the reality of those
subjects hadn't changed at
all."
A prime example, according
to Koppes, was Hollywood's
treatment of the Soviet
Union. Before 1941,
American films were
uniformly negative in their
portrayal of the Soviets if they
were portrayed at all. From
1942 to 1945 almost all
movies concerning the Soviet
Union were "positive, glowing
accounts, the most notorious
being Mission to Moscow, in
which Stalin's version of the
purge trials are bought hook,
line, and sinker, and Stalin
emerges as an avuncular
figure who is one step from
being a democrat," Koppes
says. After the war,
Hollywood's treatment of the
Soviets was, as it was before
the war, almost uniformly
negative until well into the
1950's.
The government, Koppes
and Black conclude, allied
itself with an oligopoly and
reinforced that industry's con-
centration of power in
molding images for the
public, images that served the
short-term political goals of
an administration in war-
time, but not the long-term
goals of a nation facing a
changed world.