Saturday Night At The Movies

Arise, Commie Pinko Hollywood Lefties

By Dennis Hartley

Every time I see our illustrious VP’s mug on the tube or hear mention of Halliburton, I always flash on my favorite scene in Warren Beatty’s Reds. Early in the film, we are first introduced to the story’s protagonist, journalist/activist/Communist John Reed (Beatty), as he attends a meeting of the Liberal Club, where the discussion has turned to America’s involvement in the current war (WWI). Reed, who has just returned from reporting on the European Front, is asked what he thinks the conflict is “about”. Reed stands up, faces the group, mumbles one word, then sits back down. The word is: “Profits”. The crystalline brevity of that answer really blew my (then) twenty-something mind back in 1981.

Indeed, it is a testament to Beatty’s sense of conviction and legendary powers of persuasion (or, as Tom Hanks put it so succinctly at the recent Golden Globe Awards, “Balls”) that he was able to convince a major Hollywood studio to back a 3 ½ hour epic about a relatively obscure American Communist (who is buried in the Kremlin!).

As we know now, of course, the film turned out to be a critical success, and garnered a dozen Oscar noms (it won three, including Best Director). Almost unbelievably, it was not released on DVD until late 2006. If you haven’t seen it in a while or (gasp!) have never seen it-you owe yourself a screening (particularly if you are a history buff).

Diane Keaton turns in one of her best performances as Reed’s lover, writer and feminist Louise Bryant. Maureen Stapleton (who we sadly lost last year) certainly earned her Best Supporting Actress trophy with a memorable portrayal of activist Emma Goldman. Jack Nicholson’s take on the complex, mercurial playwright, Eugene O’Neill is a wonder to behold. And Beatty deserves special kudos for assembling an amazing group of surviving real-life participants, whose anecdotal recollections are seamlessly interwoven throughout, like a Greek Chorus of living history. No one makes ‘em like this anymore.

If you really want to make a night of it, a certain rousing anthem that figures prominently in the “Reds” soundtrack is the sole spotlight of another recent DVD release. Blending archival footage with thoughtful commentary, The Internationale takes a look at the origins and continuing historical impact of its namesake, from its 19th century roots in the French Commune movement to Tiananmen Square and beyond, packed into a breezy 30 minutes. Arguably one of the most idealized (and frequently misinterpreted) rallying songs ever composed (just the melody alone gives me goose bumps), the tune has been embraced by Socialists, Marxists, anarchists, anti-Fascists, workers and labor activists alike over the years, transcending nationalist and language barriers. The most interesting aspect the film examines concerns the bad rap the song received after it was “officially” adapted by the oppressive, post-revolutionary Soviet regime. Pete Seeger (a perfect choice, no?) emcees the proceedings, with support from historians, musicologists, and multi-national participants (veteran and current) in some of the aforementioned movements. British punk agitprop troubadour extraordinaire Billy Bragg also makes a brief appearance. C’mon everybody (You know the words!)



Marx brothers: October (Ten Days That Shook the World), Battleship Potemkin, Kino-Eye/ Three Songs Of Lenin, Anastasia (1956), Nicholas and Alexandra, Doctor Zhivago ,Bound for Glory,Land and Freedom, The Motorcycle Diaries, I Am Cuba. And on the lighter side: Good Bye, Lenin!, Children of the Revolution, Bananas.


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