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A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left
 
 
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A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left [Hardcover]

Paul Buhle (Author), Dave Wagner (Author)
3.0 out of 5 stars  See all reviews (1 customer review)

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Book Description

0520223837 978-0520223837 June 5, 2001 1
When he was summoned before the House Committee on Un-American Activities in 1951, Abraham Lincoln Polonsky (1911-1999) was labeled "a very dangerous citizen" by Harold Velde, a congressman from Illinois. Lawyer, educator, novelist, labor organizer, radio and television scriptwriter, film director and screenwriter, wartime intelligence operative, and full-time radical romantic, Polonsky was blacklisted in Hollywood for refusing to be an informer. The New York Times called his blacklisting the single greatest loss to American film during the McCarthy era, and his expressed admirers include Steven Spielberg, Martin Scorsese, Sidney Lumet, Warren Beatty, and Harry Belafonte. In this first critical and cultural biography of Abraham Polonsky, Paul Buhle and Dave Wagner present both an accomplished consideration of a remarkable survivor of America's cultural cold war and a superb study of the Hollywood left.
The Bronx-born son of immigrant parents, Polonsky--in the few years after the end of World War II and just before the blacklist--had one of the most distinguished careers in Hollywood. He wrote two films that established John Garfield's postwar persona, Body and Soul (1947), still the standard for boxing films and the model for such movies as Raging Bull and Pulp Fiction; and Force of Evil (1948), the great noir drama that he also directed. Once blacklisted, Polonsky quit working under his own name, yet he proved to be one of television's most talented writers. Later in life he became the most acerbic critic of the Hollywood blacklist's legacy while writing and directing films such as Tell Them Willie Boy Is Here (1970).
A Very Dangerous Citizen goes beyond biography to help us understand the relationship between art and politics in American culture and to uncover the effects of U.S. anticommunism and anti-Semitism. Rich in anecdote and in analysis, it provides an informative and entertaining portrait of one of the most intriguing personalities of twentieth-century American culture.

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Editorial Reviews

From Publishers Weekly

Called before the House Committee on Un-American Activities (HUAC) in 1951, Polonsky was called a "very dangerous citizen" by Illinois congressman Harold Velde. Blacklisted in Hollywood for refusing to inform on his political associates, this brilliant screenwriter lived a life that offers a unique window on the Cold War in Hollywood. Buhle (Tender Comrades: A Backstory of the Hollywood Blacklist) and Wagner have produced a fine biography of Polonsky (who wrote such classics as Body and Soul and Force of Evil) that is also a visceral and engaging study of the Hollywood blacklist and its broader context: the 1950s right-wing backlash against progressive politics. Buhle and Wagner carefully detail Polonsky's actual leftist political activities (as opposed to the innuendo and misinformation that circulated in the HUAC) and map out the permutations of Polonsky's artistic career from working with Gertrude Berg on The Goldbergs to later work such as the 1969 Tell Them Willie Boy Is Here. Sympathetic the book is dedicated "To the Memory of the Blacklisted Generation" without being hagiographic or dishonest about their subject's political ideas, Buhle and Wagner have written an exceedingly well-researched, nuanced and highly informative biography and social history. It's a welcome addition not only to film literature but to the political history of the 1950s. 18 b&w photos.

Copyright 2001 Cahners Business Information, Inc.

From Booklist

Was Polonsky dangerous? He was certainly active. He wrote modernist and realistic fiction and film as well as radio and television scripts and directed the noir classics Body and Soul and Force of Evil before the blacklist brought his Hollywood career to an end. After writing under pseudonyms in the 1950s, Polonsky directed several post-blacklist films, notably Tell Them Willie Boy Is Here and Romance of a Horsethief, but was sidelined in the 1970s by health problems. He continued to write and teach film classes and lived long enough--until 1999--to witness a rebirth of interest in his work (thanks to Martin Scorsese's sponsorship). Was Polonsky a Communist? Yes, though more of a Marxist than a party tool and, perhaps, more of an existentialist than a Marxist. Raised by immigrant parents in the New York City of the 1910s and 1920s and educated at City College of New York in the 1930s, Polonsky was a committed radical. His films had messages, to be sure, but only 1950s blacklisters would judge those messages threatening to American values. Mary Carroll
Copyright © American Library Association. All rights reserved

Product Details

  • Hardcover: 285 pages
  • Publisher: University of California Press; 1 edition (June 5, 2001)
  • Language: English
  • ISBN-10: 0520223837
  • ISBN-13: 978-0520223837
  • Product Dimensions: 9.4 x 6.4 x 1.2 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,730,973 in Books (See Top 100 in Books)

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7 of 8 people found the following review helpful:
3.0 out of 5 stars Interesting but meandering, April 9, 2004
This review is from: A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left (Hardcover)
Arguably the Renaissance man of the Leftist movement, Abe Polonsky made his mark in the worlds of education, radio, film and television. A Very Dangerous Citizen documents in detail Polonsky's participation in socialist causes -- as well as his other public activities -- that ultimately led to his head-on collision with the U.S. government during the Red Scare of the late 1940s and 1950s. The list of Americans who have been labeled "a very dangerous citizen" on the floor of the United States Congress is a short one, and Polonsky earned that label due to his membership in the Office of Strategic Services during World War II.

Authors Paul Buhle and Dave Wagner have studied the blacklist extensively -- Buhle as the co-author of Tender Comrades: A Backstory of the Hollywood Blacklist and Wagner as the political reporter for the Arizona Republic. Together they have produced a thorough if somewhat clinical study of the American Communist movement through the life of one of its staunchest advocates.

The book begins slowly, as the authors devote several chapters to setting the stage for Polonsky's great triumphs in Hollywood by examining his past and the shaping influences in his life. While good biographic work, these scene-setting passages slow down the overall narrative to the point of distraction until the narrative arrives at Polonsky's best-known works, Body and Soul and Force of Evil.

These films, produced in 1947 and 1948, respectively, are the primary reason Polonsky is remembered today. Here, the parallels between his work and his politics are clearly defined. Body and Soul, considered the standard bearer for later boxing films such as Raging Bull, establishes the postwar persona of John Garfield (also a later blacklistee) and presents a full-blown condemnation of the system that compromises an individual's morality. Force of Evil, also with John Garfield, is a noir classic that takes the next step in exposing how American society breeds those who would operate beneath the law. In each case, Garfield's character embodies values that Americans of the period would find both reprehensible and admirable. Buhle and Wagner dissect the scripts and the production value of these films in their attempt to get into Polonsky's head, and are extremely competent in their analysis.

Once Polonsky is blacklisted, there isn't too much left to tell. His acerbic condemnation of those who perpetrated the blacklist as well as the popularity of his films overseas served to keep him active, but his later films were mere curiosities, known more for their creator than their content. This is not to say that Buhle and Wagner don't have fodder to continue their thesis. Indeed, they follow Polonsky through the '50s and his later return to Hollywood to work with newer stars like Robert Redford. Unfortunately, beyond his two great masterworks, Polonsky was no longer regarded as a pioneering voice in cinema, but rather as a historical curiosity.

To those who don't possess at least a moderate interest in the history of American cinema and Hollywood, A Very Dangerous Citizen can read like a doctoral thesis. In the end it is interesting purely for the fact that its chosen subject matter was a man who led a mythic, almost clichéd, struggle for his art and beliefs. Polonsky himself tried to tell his story with the original screenplay for the film Guilty By Suspicion. Surprisingly, or perhaps not so, Buhle and Wagner demonstrate how Guilty By Suspicion in its final form is nothing like Polonsky's vision. Given his radical activities, they make a convincing argument that even a mainstream Hollywood exposition on the blacklist could not measure up with Polonsky's real story, though Buhle and Wagner have done so successfully.

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Inside This Book (learn more)
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First Sentence:
ABRAHAM POLONSKY LIKED TO DATE his artistic perceptions and the beginnings of his political life to his childhood in the 1910s. Read the first page
Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Force of Evil, Willie Boy, Communist Party, Los Angeles, New Deal, Popular Front, Abraham Polonsky, City College, The World Above, John Garfield, Zenia's Way, Hollywood Quarterly, New Masses, Second World War, Ring Lardner, Toc Toc, First World War, Jules Dassin, Martin Ritt, Soviet Union, The Discoverers, Walter Bernstein, Dalton Trumbo, New Left
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