In the late 1940s and early 1950s, as anti-communist sentiment gained ground in the United States, paranoia and persecution swept through Hollywood. The House Un-American Activities (HUAC) began interrogating filmmakers and actors, accusing them of being communists or communist sympathizers. The president, Congress, the courts and the press all played a part.
Many who appeared before the HUAC were put on a blacklist that made it impossible for them to work in show business. Among the blacklisted was screenwriter Carl Foreman, whose 1952 classic western ‘High Noon’ is seen as a parable about the toxic political climate of the time.
Glenn Frankel revisits the film — and Foreman’s experiences testifying on Capitol Hill — in his new book, also called ‘High Noon’. “The blacklist movement stems out of a backlash by people who felt they want to get their country back,” Frankel says. “In those days it was [from] communists, and Jews and liberals. Today you might say it’s Islamic terrorists and undocumented immigrants.”
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