I’ve been getting into 1950s anti-communist movies recently. These movies have for years been dismissed by liberal film critics as paranoia movies. In fact they depict the activities, the methods and the mindset of communists pretty accurately. And at least a couple of these movies can be regarded as pretty good examples of film noir.
I’ve reviewed two these films recently on my classic movies blog – RKO’s 1949 production The Woman on Pier 13 (originally released as I Married a Communist) and Warner Brothers’ 1950 offering I Was a Communist for the FBI. The latter was based on a true story. Both movies deal with communist infiltration of labour unions, which was in fact one of the favoured methods of the Communist Party at that time, both in the United States and in other countries.
If these movies have a fault it’s perhaps that they let the unions off the hook too easily, but Hollywood has always been a union so it was unlikely that a movie critical of the union movement was ever going to get made. In fact given the large-scale real-life communist infiltration of Hollywood and the domination of Hollywood by liberals it’s surprising that these anti-communist movies got made. The only problem with the movie industry’s response to communist infiltration, the blacklist, is that it didn’t go far enough.
Both of these movies are worth a look, both for their historical interest and as worthy examples of the film noir of the period. They’re a reminder of a time when Americans were still willing to fight back against leftist tyranny.