◆ SpookStack

A . C i -@ 4 _~- a on nop ett a8 Fie a ; 4 oe wet ee bee a spt te CR ee ee m_Fron 13-86 i fol -@e my m or g. Fil t gg -3 39S iSO _accnemeii EY #269, Ba Ca g Nn} ey B OWS to \ ww There’s more to the story. The Cagneys are tough— ' tough in the wrong sense of the word—and don’t give, .-- up easily. They made the Kilroy version but they made a f the Molotov version too: Kilroy for Europe and England ae § Ous e Un -A m er | cans -~Molotov—if they can get away with it~for America. : ~On top of that they deleted the line “I haven’t the By David Platt > ” * .. ‘ wae : . ight on the heart to be a heel so I’m a worker” which appears in the Some additional tnformation has come to Tight James Saroyan play. When Draper asked the producers about Movie © a hee brother are producing in’ Hollywood. The: this, he was assured that the House Un-Americans would Whole stony pieced together P regard with suspicion any Hollywood film in’ which the from letters that we have word worker appears: . . received from the coast is as follows: At the recenDRPCA, ‘thought-control’ conference in Los Angeles, Paulo per, the dancer, charged that the Cagneys had wil- fully distorted the meaning of one line in the play and had deleted another line “because of the Thomas- ankin Committee investi- tion.” . ss Draper, who has a part “-2% im the picture, said he was = ordered to substitute the . | This is the road back—the road to disaster. At the end of it is-a rigidly Mere art-controlled, as Adin Slt, produce of/€fossfire, observes in the cur- rent issue 6f/Screen Writer, by “committees which in pre- tending to defend, actually subvert our democratic way.” The alternative which Scott recommends to his fellow | producers is to give the American people what they have always wanted and today more than ever want. And that is, “pictures which touch their Jives, illuminate them, bring | understanding.” ; a, Scott warns the picture-makers: “If we retreat now, because of our own doubts, not only do we do a great dis- service to the American audience, but we do a most pros found disservice to ourselves. For this Fear we’ve be- come accustomed to—this adjustment we have made to i name Stalin for Hitler in a taboos — are the allies of the Thomas Committee, the qe: line reading “who is Hitler - Tenney Committee, and their stooges within and ae ~~ —he can’t push me around.” .~ IAMES CAGNEY ‘ the industry.” | ae When the dancer objected, it was suggéstefl as a He adds: “While this marriage of reaction is goings = compromise, that Molotov’s name be substituted. On, we've got to speak now—or we'll be forced to forever ° Rold our peace.” * * * rf Several days later, however, Draper ran into Sidney. ln - : *Bernstein, the British film executive associated with J. PE: | WAZ — -“"} Arthur Rank’s enterprises. Bernstein informed him that ; : =U his organization would refuse to handle a film which had i Apt a line in it offensive to the Soviet Union. He said further pen that if The’Time_Of_Your Life was released with either | / fia the name of Stalin or Molotov in it, it would do practically | br no business anywhere in Europe. is Tera Draper reported the conversation to the Cagneys. A second compromise was the result. The line was ordered _ changed to read: “Who is Kilroy—he can’t push me Lor = » one tie Page //__\ of the DAILY WORKER around.” This was a retreat into pure and simple non- Date f é 5 . oF “sense. “A proper substitute,” my informant writes, Clipped at t 1 ea ' “woult have been a contemporary reactionary or fascist, Government, - ig. as was intended in the original Saroyan version written Loi when Hitler was still in power.” . | / — ~~ ane nn A RET TSP sen ot eng em, Se eS LT LON I A EAS MO Te ng TT EI ce FE EE IO TENT FN IE IY PR COREY I ETT ro , +