When in despair with the fortune of our country, I began reading High Noon: The Hollywood Blacklist and the Making of an American Classic, by Glenn Frankel. His thesis is that Carl Foreman, the screenwriter, created High Noon as a parable about how he was abandoned by friends and community when he stood up to the House Un-American Activities Committee for what he believed in—freedom of thought and speech.
I was surprised to learn that when the Blacklist arose in the late ‘40s and ‘50s, a Democrat, Harry Truman, was President, we had a democratic Congress, and a liberal majority on the Supreme Court. Yet people were being forced to sign loyalty oaths to keep their jobs, and friends were harassed and pressured by HUAC to turn against friends, naming them as former Communists and causing them to lose their ability to work.
Fear that Communists would take over the U.S. was so intense that many in government and the film business were willing to trounce on the liberties of others, often to save their own jobs.
The similarity to the present is obvious. As Frankel writes, “Conservatives who had resisted the growth of the federal government…(under FDR) joined forces with embittered working-class populists who felt excluded from their share of prosperity.” They believed, Frankel continues, that “usurpers—liberals, Jews, and Communists in those days; gays, Muslims, and undocumented immigrants today—had stolen their country, and…they were determined to claw it back.”