“High Noon” the Making of a Classic and the Red Scare of the 1950’s Based on a book by Glenn Frankel March 10, 2023

In the immediate post war period, right after FDR’s death, the 1946, Mid-Term elections brought back Republican control of Congress for the first time since 1928. By the time the new Congress was formed in 1947, the reactionary, right wing was already on the warpath in its hunt for radicals, communists, liberals, former New Dealers, and anyone who wasn’t a pure American by their definition.

But, in the post war period, there were two realities: the old Hollywood system was fading quickly as court rulings effected their control over their employees, profits had dropped dramatically, they were forced to give up control of their theaters, and television was attracting millions of viewers  who used to go to the movies. The other factor was that the public demanded more realistic films, often dealing with the social issues of the day, like: Crossfire, Gentleman’s Agreement, Home of the Brave, The Men, The Best years of Our Lives, Sunset Boulevard, Northside 777, The Killers, Street Car Named Desire and Boomerang, just to name a few, which dealt with veterans, crime, bigotry, anti-Semitism and race.

This era would later be known as “Film Noir,” a genre of films that use the visual style and themes of classic film noir (French: “dark film”) but add a modern sensibility. They also usually contain more graphic depictions of violence and sexuality. Classic film noir thrived in the 1940s and ’50s. The genre was characterized by dark stylized cinematography and a pessimistic mood, perhaps reflecting the uncertainty of the postwar era. Plots typically featured troubled cynical  characters often involved in the underworld. One could say that the “father” of this new era was the film, The Maltese Falcon, with its cynical private eye, Sam Spade.

The postwar era was changing dramatically. In the case of United States v. Paramount Pictures, Inc.,(1948) (also known as the Hollywood Antitrust Case of 1948,) a landmark United States anti-trust case decided the fate of film studios owning their own theatres and holding exclusivity rights on which theatres would show their movies. It would also change the way Hollywood movies were produced, distributed and exhibited. The Supreme Court affirmed (a District Court’s ruling) in this case that the existing distribution scheme was in violation of the United States Sherman and Clayton anti-trust law, which prohibit certain exclusive dealing arrangements. In plain language, the studios were force to sell the theaters. Also in this era unions were flexing the muscles given to them by the New Deal and the Wagner Act. Also, without white-washing reality, there were many communists in the union movement, along with criminals.

The case is important both with U.S. antitrust law and film history. In the former, it remains a landmark decision in vertical integration cases; in the latter, it is responsible for putting an end to the old Hollywood studio system. Another earlier ruling, effectively altered the contractual system used universally in Hollywood. Industry lawyers in the 1920s, 1930s, and 1940s took the position that an exclusive personal services contract should be treated as suspended during the periods when the artist was not actually working. Since no artist could be working every single day (that is, including holidays and weekends), this interpretation meant that two, or later seven, years of actual service would be spread over a much longer calendar period, thus extending the time during which the studio system had complete control of a young artist’s career.

Hollywood was experiencing changes since the late 30’s especially with unionization and the creation of guilds, which gave the writers, the set designers, the film crews and the all the other lower- level employees new leverage and bargaining power.

As this new realism boiled over in the post war period the “The Motion Picture Alliance for the Preservation of American Ideals” (MPAPAI, also MPA), which had been created in 1944, became very active against both the writers and this new wave of artistic realism. This organization was made up of high-profile, politically conservative members of the Hollywood film industry. It had been formed for the stated purpose of defending the film industry, and the country as a whole, against what its founders claimed was communist and fascist infiltration.

The organization was described by its opponents as fascist sympathizing, isolationist, nativist, anti-union, mostly anti-Semitic, red-baiting and supporting of Jim Crow Laws. One Jewish member, the writer Morrie Ryskind denied these allegations of his fellow members. Prominent members of the Alliance included: Robert Arthur, Martin Berkeley, Ward Bond, Walter Brennan, Roy Brewer, Clarence Brown, Charles Coburn, Gary Cooper, Laraine Day, Cecil B. DeMille, Walt Disney, Irene Dunne, Victor Fleming, John Ford, Clark Gable, Cedric Gibbons, Hedda Hopper, Leo McCarey, James Kevin McGuinness, Adolph Menjou, Robert Montgomery, George Murphy, Fred Niblo, Dick Powell, Ayn Rand, Ronald Reagan, Ginger Rogers, Morrie Ryskind, Barbara Stanwyck, Norman Taurog, Robert Taylor, King Vidor, Hal B. Wallis, John Wayne, Frank Wead and Sam Wood. Of these actors, directors, executives and writers; Walt Disney, Adolph Menjou. Aside from these people generally accused of anti-Semitism; Walt Disney and Adolph Menjou, there were rabid right-wingers; John Wayne, Robert Taylor, and Cecil B. DeMille, who were quite vocal about their views.  In truth, most of the Hollywood moguls were conservative Republicans. Most, including Louis B. Mayer, the operational head of MGM hated FDR and the New Deal. Only one studio head, Jack Warner, of Warner Brothers, was a supporter of Roosevelt.

As for their philosophical head, it may have been the rabid, anti-communist, Ayn Rand, (born Alisa Z. Rosenbaum) who wrote in 1947 a pamphlet for the Alliance, entitled Screen Guide for Americans, based on her personal impressions of the American film industry. It read, in excerpt:

The purpose of the Communists in Hollywood is not the production of political movies openly advocating Communism. Their purpose is to corrupt our moral premises by corrupting non-political movies — by introducing small, casual bits of propaganda into innocent stories — thus making people absorb the basic principles of Collectivism by indirection and implication.

The principle of free speech requires that we do not use police force to forbid the Communists the expression of their ideas — which means that we do not pass laws forbidding them to speak. But the principle of free speech does not require that we furnish the Communists with the means to preach their ideas, and does not imply that we owe them jobs and support to advocate our own destruction at our own expense.

Rand cited examples of popular and critically acclaimed films that in her view contained hidden Communist or Collectivist messages that had not been recognized as such, even by conservatives. Examples included  The Best Years of Our Lives, (because it portrayed businessmen negatively, and suggested that bankers should give veterans collateral-free loans), and A Song to Remember (because it implied without historical evidence that Chopin sacrificed himself for a patriotic cause rather than devoting himself to his music). Rand advocated reason as the only means of acquiring knowledge; she rejected faith and religion. She supported rational

and ethical egoism as opposed to altruism. In politics, she condemned the initiation of force as immoral and opposed collectivism, statism, and anarchism. Instead, she supported laissez-faire capitalism, which she defined as the system based on recognizing individual rights, including private property rights.

Of course, in this climate and with the political changes in Congress, the House Committee on Un-American Activities (HUAC), was an investigative committee of the United States House of Representatives, which was created in 1938 to investigate alleged disloyalty and subversive activities on the part of private citizens, public employees, and those organizations suspected of having either fascist or communist ties. It became a standing (permanent) committee in 1945. In 1938, Hallie Flanagan, the head of the Federal Theatre Project, was subpoenaed to appear before the committee to answer the charge the project was overrun with communists. Flanagan was called to testify for only a part of one day, while an administrative clerk from the project was called in for two entire days. It was during this investigation that one of the committee members, Joe Starnes (D-Ala.), famously asked Flanagan whether the English Elizabethan era playwright Christopher Marlowe was a member of the Communist Party, and mused that ancient Greek tragedian “Mr. Euripides” preached class warfare. Of course, during the latter part of the New Deal, there were all sorts of attempts to discredit the administration of President Franklin D. Roosevelt.

In 1939, the committee investigated people involved with pro-Nazi organizations such as Oscar C. Pfaus and George Van Horn Moseley. Moseley testified before the committee for five hours about a “Jewish Communist conspiracy” to take control of the US government. Moseley was supported by Donald Shea of the American Gentile League, whose statement was deleted from the public record as the committee found it so objectionable.

 

In 1946, the committee considered opening investigations into the Ku Klux Klan, but decided against doing so, prompting white supremacist committee member John E. Rankin (D-Miss.) to remark, “After all, the KKK is an old American institution.” Instead of the Klan, HUAC concentrated on investigating the possibility that the American Communist Party had infiltrated the Works Progress Administration, including the Federal Theatre Project and the Federal Writers’ Project. Twenty years later, in 1965–1966, however, the committee did conduct an investigation into Klan activities under Chairman Edwin Willis (D-La.).

Of course, this sets the stage for the eventual making of the classic film, High Noon, and how it came about. This most interesting story is related by Glenn Frankel is his book on High Noon and the Blacklist, which almost destroyed its creator Carl Foreman and others who worked in this very dangerous period in our history.

Of course, in this post war climate, there was the rise of independent producers like Stanley Kramer. After the war, Kramer, who was born in the Bronx, and was Jewish, (he attended DeWitt Clinton HS and graduated at age 15, and graduated at 19 from NYU and eventually served in WWII) soon discovered that there were no available jobs in Hollywood in 1947, so he created an independent production company, Screen Plays Inc. He partnered with writer Herbie Baker, publicist George Glass and producer Carl Foreman, an army friend from the film unit. Foreman justified the production company by noting that the big studios had become “dinosaurs,” which, being shocked by the onrush of television, “jettisoned virtually everything to survive.” But they failed to develop cadres of younger creative talent in their wake.

Kramer’s new company was able to take advantage of unused production facilities by renting time, allowing him to create independent films for a fraction of the cost the larger studios had required, and he did so without studio control. Kramer also saw this as an opportunity to produce films dealing with subjects the studios previously avoided, especially those about controversial topics.

However, Kramer soon learned that financing such independent films was a major obstacle, as he was forced to approach banks or else take on private investors. He did both when necessary. But with studios no longer involved, rival independent companies were created which all competed for those limited funds. At that time, it was quoted that “there were no fewer than ninety-six” other companies in competition during that period, and included some of Hollywood’s biggest names: Frank Capra, John Ford, William Wyler, Howard Hawks, Leo McCarey, and George Stevens. Kramer explained how he tried to differentiate his new company from the others, explaining he was less interested in the money than having the ability to make a statement through his films.

His first real feature Champion (1949), another Lardner story, this one about an ambitious and unscrupulous boxer. Written by Foreman, it was tailored to the talents of Kirk Douglas, a former amateur wrestler who was now an actor. Filmed in only 23 days with a relatively small budget, it became an immense box-office success. It won an Academy Award for Best Editing, with four other nominations, including Douglas for best actor and Foreman as screenwriter.

Kramer next produced Home of the Brave (also 1949), again directed by Mark Robson, which became an even bigger success than Champion. The story was adapted from a play by Arthur Laurents, originally about anti-Semitism in the army, but revised and made into a film about the persecution of a black soldier. it was the “first sound film about anti-black racism.” The victim in the film was played by the Black Actor James Edwards, who was also featured in the original Manchurian Candidate, with Frank Sinatra, and as General George S. Patton’s valet in Patton.  The subject matter was so sensitive at the time, that Kramer shot the film in “total secrecy” to avoid protests by various organizations. Critics generally liked the film, which, notes Nora Sayre, “had a flavoring of courage.”

His renamed Stanley Kramer Company produced The Men (1950), which featured Marlon Brando‘s screen debut, in a drama about paraplegic war veterans. It was the first time Kramer and Foreman worked with director Fred Zinnemann, who had been directing for twenty years and had won an Oscar. The film was another success for Kramer, who took on a unique subject dealing with a world few knew about. Critic Bosley Crowther noted that its “striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word.”

In a parallel universe, in 1947, the HUAC committee held nine days of hearings into alleged communist propaganda and influence in the Hollywood motion picture industry. After conviction on contempt of Congress charges for refusal to answer some questions posed by committee members, “The Hollywood Ten” were blacklisted by the industry. Beginning with these ten screenwriters who were sent to prison for up to a year, because they refused to answer HUAC’s inquisition-like questions under the supposed protection of the First Amendment, the blacklist quickly took root in 1947. And after HUAC redoubled its efforts in 1951 to not so much fact-find but act as jury, judge, and executioner to any subpoenaed witness they deemed “unfriendly” (who wouldn’t name names), hundreds of careers were destroyed or sidelined for years and decades. In many cases forever. The studios had decided back in ’47 that anyone who HUAC deemed “unfriendly,” or was simply accused by a friendly witness, should never be hired again.

Eventually, more than 300 artists – including directors, radio commentators, actors, and particularly screenwriters – were boycotted by the studios. Some, like Charlie Chaplin, Orson Welles, Alan Lomax, Paul Robeson, and Yip Harburg, left the U.S or went underground to find work. Others like Dalton Trumbo wrote under pseudonyms or the names of colleagues. Only about ten percent succeeded in rebuilding careers within the entertainment industry.

In 1947, studio executives told the committee that wartime films—such as Mission to Moscow, The North Star, and Song of Russia—could be considered pro-Soviet propaganda, but claimed that the films were valuable in the context of the Allied war effort, and that they were made (in the case of Mission to Moscow) at the request of White House officials. In response to the House investigations, most studios produced a number of anti-communist and anti-Soviet propaganda films such as The Red Menace (August 1949), The Red Danube (October 1949), The Woman on Pier 13 (October 1949), Guilty of Treason (May 1950, about the ordeal and trial of Cardinal József Mindszenty), I Was a Communist for the FBI (May 1951, Academy Award nominated for best documentary 1951, also serialized for radio), Red Planet Mars (May 1952), and John Wayne‘s Big Jim McLain (August 1952). Universal-International Pictures was the only major studio that did not purposefully produce such a film.

In the wake of all the HUAC probes into Hollywood and its message, after the end of WWII and now during to the Korean Conflict, Kramer’s last independent production was High Noon (1952), a Western drama directed by Fred Zinnemann. The movie was well received, winning four Oscars, as well as three other nominations. Unfortunately, High Noon‘s production and release intersected with McCarthyism. Writer, producer and partner Carl Foreman was called before the House Un-American Activities Committee while he was writing the film. Foreman had been a member of the Communist Party ten years earlier, but declined to “name names” and was branded an “un-cooperative witness” by HUAC, and then blacklisted by the Hollywood companies, after which he sold his interest in the company. Kramer, a long-time friend and business partner of Carl Foreman removed Foreman’s name from the credits as co-producer.

High Noon, which starred an aging Gary Cooper, centers on a town marshal whose sense of duty is tested when he must decide to either face a gang of killers alone, or leave town with his new wife. Though mired in controversy at the time of its release due to its political themes, the film was nominated for seven Academy Awards and won four (Actor, Editing, Score and Song) as well as four Golden Globe Awards (Actor, Supporting Actress, Score, and Black and White Cinematography). The award-winning score was written by Russian-born composer Dimitri Tiomkin (he was also one who was looked at by the HUAC investigators.

Eventually, High Noon was selected by the Library of Congress as one of the first 25 films for preservation in the United States National Film Registry for being “culturally, historically, or aesthetically significant” in 1989, the NFR’s first year of existence. An iconic film whose story has been partly or completely repeated in later film productions, its ending in particular has inspired numerous later films, including but not just limited to westerns.

The film takes place in the fictional Hadleyville, a small town in New Mexico Territory, in 1898, Marshal Will Kane, newly married to Amy Fowler, a Quaker, played by the young and nervous Grace Kelly, prepares to retire. The happy couple will soon depart for a new life to raise a family and run a store in another town. However, word arrives that Frank Miller, a vicious outlaw whom Kane sent to prison, has been released and will arrive at the noon train. Miller’s gang—his younger brother Ben, Jack Colby, and Jim Pierce—await his arrival at the train station.

Of course, the townspeople really want no part of this fight and have a genuine fear for the life of Kane. His deputies and all the town’s leaders and elders eventually are no help to him. But, he is risking his life and limb to serve justice.

When faced with the threat of the Frank Miller Gang coming back to town, Kane feels that even though he’s already turned in his star (badge), he must face this challenge. And yet, no one will stand by his side. One by one, his friends, his co-workers in the form of Harvey Pell (Lloyd Bridges) lone deputy, turn their backs and shirk their responsibility to do the right thing. They tell him to run away. So in the end, Cooper’s (Will Kane) scared, but assured stands alone, save for his Quaker wife who must forsake her religion to stand by a man whose community has disowned him.

Shot in black-and-white and with an intended modesty that was counterintuitive to the most popular grand Old West epics of that decade, many of them starring Wayne, High Noon was a jolt to the system for audiences inundated with Westerns that had little to say. And, depending who you ask, High Noon had quite a bit on its mind regarding the era in which it was made.

Of course, the right-wing, fiction writers, and modern day witch hunters took one look at who had produced High Noon; Kramer, Zinnemann and Foreman, all Jews, and thought the story was a metaphor for collectivism and communist subversion.

Like Gary Cooper, who was born in Montana, a Republican and a conservative, John Wayne was an active and vocal member of the Motion Picture Alliance for the Preservation of American Ideals (MPA). Which was the sanitized way of saying, “Hollywood’s Conservative Redbaiters.” Founded in MGM executive James K. McGuinness’ Beverly Hills home—Gone with the Wind producer David O. Selznick would later describe McGuinness as “the biggest anti-Semite in Hollywood”—the Motion Picture Alliance had its first public meeting in February 1944 with Clark Gable, Barbara Stanwyck, Ginger Rogers, Cecil B. DeMille, and John Ford in attendance. Gary Cooper’s frequent director, Sam Woods, was elected president of the organization and Walt Disney vice president. (Wayne himself would become president of the organization in 1949, and was its leader during the height of the Hollywood blacklist and the release of High Noon.) Gary Cooper joined later that year.

As a conservative counterbalance to the perceived communist threat in Hollywood movies, particularly during the wartime years when Hollywood was eagerly making films sympathetic to Soviet Union in lieu of a united war effort, the Motion Picture Alliance publicly and proudly campaigned for the need to hunt down and fire any secret communists in the studio system. They also essentially invited Congress’ now notorious House Un-American Activities Committee (HUAC) to begin investigating their industry.

In Glenn Frankel’s nonfiction study of Hollywood’s Golden Age, it is as much about American history as it is the motion picture history. Like the title says, Frankel’s High Noon: The Hollywood Blacklist and the Making of an American Classic it is about how one of the most enduring Western to ever be put on celluloid came to be, as well as the story line became a political football, about communism versus Americanism, to be kicked around by John Wayne, a draft-dodger and a self-proclaimed super-patriot.  John Wayne, who time and again recurs in the High Noon mythology as an antagonist more successful than the picture’s onscreen and cowardly townspeople, who fail consistently in running Gary Cooper’s marshal out of town. By comparison, the real life Wayne boasted with pride in his part of sabotaging the career of High Noon’s screenwriter, Carl Foreman and (ultimately) uncredited associate producer.

Ironically, what made Cooper and Foreman’s friendship so remarkable, despite Cooper being a well-known Hollywood conservative who even testified as a friendly witness before HUAC in 1947—Cooper saw a creative partner in Foreman, who was indeed a former member of the Communist Party.

At least it wasn’t until screenwriter Martin Berkeley enthusiastically mentioned Foreman’s name to HUAC in ’51 while Foreman was on the set with Cooper and Zinnemann. But, were any of these people really communists? Hardly!

Quite like his protagonist Will Kane, Foreman had already long known his fate was to deal with the apocalyptic force that scared the hell out of his community. Prior to Berkeley’s namedropping of hundreds of supposed communists, including some like Foreman who actually were once members of that party, Foreman already received a subpoena to appear before the committee in September 1951, which was about the midway point of shooting High Noon.        In the lead-up to his big day, Foreman’s script,, during pre-production, became sharper and more pessimistic, with the writer later claiming he even lifted dialogue for the craven and betraying friends of Will Kane from the pressures being placed on him by Stanley Kramer and fellow business partners in their independent company, Sam Katz, George Glass, and Sam Zagon, to cooperate with HUAC. If true, this would further explain Kramer’s ambivalence for the film’s dailies, which allegedly had echoes of his own bending to HUAC’s power before Foreman even testified.

After Foreman was accused of being a communist and then testified before HUAC, where he went through verbal contortions to say he was not a communist in the last year but would not confirm or deny if he’d ever been one (a questionable “limited Fifth Amendment” legal strategy), his relationship with Stanley Kramer was over, and he was initially even barred from finishing his position as “associate producer” until Cooper and Zinnemann stuck up for the writer. As soon as the principal photography on High Noon concluded, however, so did Foreman’s association with Kramer. As part of his lucrative buyout, he agreed to have his “associate producer” credit expunged from High Noon. (He’s still credited as writer.)

John Wayne, then president of the Motion Picture Alliance, decides to get deeply involved in the battle over High Noon and its legacy! Historian Gary Wills later described John Wayne’s role in this era as “to emerge after the battle and to shoot the wounded.” While he could show more sympathy for former communists than many of his contemporaries, including famed columnist Hedda Hopper ( a notorious right-winger and red-baiter), so long as they cooperated with HUAC and essentially went along with the witch hunt, he had no mercy for anyone like Foreman who attempted to stand alone against an overwhelming force. He resented the Will Kanes of Hollywood and he took a special, personal aim at derailing Carl Foreman’s career.

Foreman was likely naïve or too furious to see the big picture, but he used his unprecedented buyout for a new member of the blacklist to attempt forming an independent production company—and he had a most unusual partner: Gary Cooper. Wayne’s conservative friend and fellow charter member of the Motion Picture Alliance enthusiastically backed Carl Foreman’s production company, insisting it was a good bet and requesting Foreman announce his part in the venture. A press release came via Daily Variety, reporting that Cooper, Robert L. Lippert, and PR man Henry Rogers were going into business with a screenwriter who just refused to answer before Congress whether he was ever a communist. By all accounts, Wayne went ballistic.

As per Frankel’s book, Gary Cooper received personal pressure from Wayne, with Maria Cooper Janis remembering her father saying, “Wayne’s bit was if you did this [with Foreman], you’ll never work in this town again.” To be fair, Foreman’s attempt to break the blacklist in 1951 was likely always doomed, and Cooper received just as much pressure from columnist and friend Hedda Hopper as well as Jack Warner, a liberal studio mogul, who was the first to name names to HUAC and threatened to tear up a middle-aged Cooper’s contract at Warner Brothers.

Nevertheless, it is the special touch of attention that Wayne gave to Foreman’s association with Cooper, even after Cooper eventually and reluctantly stepped out of the deal. Like Thomas Mitchell’s mayor in High Noon, he not only didn’t want to help Foreman/Kane, but he took a practical pleasure in dissuading other townspeople, or movie stars, from lifting a finger.

One of Foreman’s last days in Hollywood involved the would-be producer meeting with John Wayne in Beverly Hills. Even with Cooper gone, Wayne was now pushing Henry Rogers to also abandon Foreman. He hoped to reason with Wayne, but he’d have better luck knocking over a mountain. Wayne was apparently furious that Foreman had embarrassed Cooper by having him betray the Motion Picture Alliance, and Wayne in turn wanted Foreman to betray his principles by crawling back to HUAC, admit he was once a communist, and name names.

When Foreman said maybe he’d just find work in Europe, Wayne responded by asking what makes him think he’ll be able to leave the country? Foreman took that as a threat, and by all appearances, even in his old age, Wayne probably wouldn’t have minded the inference. Foreman eventually did leave America, essentially exiled to the United Kingdom in search of work. It was the end of his marriage and the destabilization of his career, which he was able to rebuild after some years in Britain (and after the State Department revoked his passport so he couldn’t travel beyond the UK).

The Conclusion:

The film was made and it was a great success. High Noon has been cited as a favorite by several U.S. presidents. Dwight Eisenhower screened the film at the White House and Bill Clinton hosted a record 17 White House screenings of it. “It’s no accident that politicians see themselves as Gary Cooper in High Noon,” Clinton said. “Not just politicians, but anyone who’s forced to go against the popular will. Any time you’re alone and you feel you’re not getting the support you need, Cooper’s Will Kane becomes the perfect metaphor. Ronald Reagan cited High Noon as his favorite film, due to the protagonist’s strong commitment to duty and the law. It was nominated for 7 Academy Awards, it won 4, Gary Cooper, Cooper for Best Actor, and Film Editing, Best Scoring of a Dramatic Picture and Best Song.

Yes, there were communists in Hollywood! There were also liberals, socialists, and pro-union workers. Were they marching to the order of Moscow or Stalin? Hardly! Did many of them join the Communist Party in the 30’s to seek and work for social and economic justice in a country where predator capitalism destroyed the economy with the Crash and the Depression? Yes. Thus, what did the witch hunt accomplish? Very little, but it did raise the ante on persecution in the name of Americanism.

  • Gary Cooper– (1901-1961) Cooper’s most important film during the postwar years was Fred Zinnemann‘s Western drama High Noon(1952) with Grace Kelly and Katy Jurado. During the filming, Cooper was in poor health and in considerable pain from stomach ulcers. His ravaged face and discomfort in some scenes “photographed as self-doubt”, according to biographer Hector Arce, and contributed to the effectiveness of his performance. Considered one of the first “adult” Westerns for its theme of moral courage, High Noon received enthusiastic reviews for its artistry, On April 14, 1960, Cooper underwent surgery at Massachusetts General Hospital in Boston for an aggressive form of prostate cancer that had metastasized to his colon. He fell ill again on May 31 and underwent further surgery at Lebanon Hospital in Los Angeles in early June to remove a malignant tumor from his large intestine. After recuperating over the summer, On December 27, his wife learned from their family doctor that Cooper’s cancer had spread to his lungs and bones and was inoperable. His family decided not to tell him immediately. On January 9, 1961,

Cooper attended a dinner given in his honor and hosted by Frank Sinatra and Dean Martin at the Friars Club The dinner was attended by many of his industry friends and concluded with a brief speech by Cooper, who said, “The only achievement I’m proud of is the friends I’ve made in this community.” In his last public statement on May 4, 1961, Cooper said, “I know that what is happening is God’s will. I am not afraid of the future.” He received the last rites on Friday, May 12, and died quietly the next day

  • Stanley Kramer-(1913-2001) Director Steven Spielberg described him as an “incredibly talented visionary” and “one of our great filmmakers, not just for the art and passion he put on screen, but for the impact he has made on the conscience of the world.” Kramer was recognized for his fierce independence as a producer-director, with author Victor Navasky writing that “among the independents…none seemed more vocal, more liberal, and more pugnacious than young Stanley Kramer.”

His friend Kevin Spacey, during his acceptance speech at the 2015 Golden Globes, honored Kramer’s work, calling him “one of the great filmmakers of all time. He died on February 19, 2001, in Woodland Hills, Los Angeles, aged 87, after contracting pneumonia. 

  • Carl Forman-(1914-1984) According to Darkness at High Noon: The Carl Foreman Documents—a 2002 documentary based in part on a lengthy 1952 letter from Foreman to film critic Bosley Crowther—Foreman’s role in the creation and production of High Noonhas been unfairly downplayed over the years in favor of Kramer’s. Foreman told Crowther that the film originated from a four-page plot outline he wrote that turned out to be very similar to a short story by John W. Cunningham called “The Tin Star.” Foreman purchased the film rights to Cunningham’s story and wrote the screenplay. By the time the documentary aired, most of the principals were dead, including Kramer, Foreman, Zinnemann, and Cooper. Victor Navasky, author of Naming Names, a definitive account of the Hollywood blacklist, told a reporter that, based on his interviews with Kramer’s widow and others, the documentary seemed “one-sided, and the problem is it makes a villain out of Stanley Kramer, when it was more complicated than that”.

Richard Fleischer later claimed he helped Carl Foreman develop the story of High Noon over the course of eight weeks while driving to and from the set of The Clay Pigeon (1949) which they were making together. Foreman went to Britain to live and work. He developed a successful career. In 1975, Foreman returned to the US, and signed a three-picture contract with Universal. He co-wrote and helped produce a sequel to Navarone, Force 10 from Navarone (1978). It did not match the success of its predecessor. Carl Foreman was back home in the United States when he died of a brain tumor in 1984 in Beverly Hills, California. The day before he died he was told he would receive the long overdue Oscar credit for writing Bridge on the River Kwai.

  • Fred Zinnemann (1907-1997) Austrian born Jewish immigrant, escaping Nazi persecution. He won four Academy Awardsfor directing and producing films in various genres, including thrillers, westerns, film noir and play He made 25 feature films during his 50-year career. Perhaps Zinnemann’s best-known work is High Noon (1952), one of the first 25 American films chosen in 1989 for the National Film Registry. With its psychological and moral examinations of its lawman hero Marshall Will Kane, played by Gary Cooper and its innovative chronology whereby screen time approximated the 80-minute countdown to the confrontational hour, the film broke the mold of the formulaic western. Working closely with cinematographer and longtime friend Floyd Crosby, he shot without filters, giving the landscape a harsh “newsreel” quality that clashed with the more painterly cinematography of John Ford’s westerns. During production he established a strong rapport with Gary Cooper, photographing the aging actor in many tight close-ups which showed him sweating, and at one point, even crying on screen..

Screenwriter Carl Foreman apparently intended High Noon to be an allegory of Senator Joseph McCarthy‘s vendetta against alleged Communists. However, Zinnemann disagreed, insisting, late in life, that the issues in the film, for him, were broader, and were more about conscience and independent, uncompromising fearlessness. He says, “High Noon is “not a Western, as far as I’m concerned; it just happens to be set in the Old West.” Zinnemann died of a heart attack in London, England on March 14, 1997. He was 89 years old.

  • John Wayne-(1907-1979) By contrast, John Wayne told an interviewer that he considered High Noon“the most un-American thing I’ve ever seen in my whole life,” and later teamed with director Howard Hawks to make Rio Bravo in response. “I made Rio Bravo because I didn’t like High Noon,” Hawks explained. “Neither did Duke [Wayne]. I didn’t think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn’t my idea of a good Western.”  John Wayne died of cancer, some said it was attributed to his starring in the 1965 film, The Conquerors. Of the 220 film crew members, 91 (comprising 41% of the crew) developed cancer during their lifetime, while 46 (or 21%) died from it. When this was learned, many suspected that filming in Utah and surrounding locations, near nuclear test sites, was to blame. Although the number of cancer cases among the cast and crew is in line with the average for adults in the US at the time, the perception of a link between the film’s location and subsequent illness remains, not least because many of those involved in the film developed cancer at a younger age than average.  Wayne, in particular, was a heavy smoker, and Wayne himself believed his stomach cancer to have been a result of his six-pack-a-day cigarette habit. How ironic that America’s self-anointed Super Hero, was a draft-dodger, who claimed draft-exemption, because of support of his family, after he left them, may have died from the results of the Atomic tests in Utah.
  • John Parnell Thomas(1895 -1970) As a S. Congressman, and Republican Chairman of HUAC in 1947. Thomas was a staunch conservative opponent of President Franklin D. Roosevelt and his New Deal, claiming the President’s legislative agenda had “sabotaged the capitalist system.” Thomas opposed government support for the Federal Theatre Project declaring that “practically every play presented under the auspices of the Project is sheer propaganda for Communism or the New Deal.” In 1949 Thomas called the U.S. Secretary of Defense, James Forrestal, “the most dangerous man in America” and claimed that if Forrestal were not removed from office he would “cause another world war. Rumors about corrupt practices on the part of Thomas were confirmed when his secretary, Helen Campbell, sent documents to Drew Pearson, which he used to expose Thomas’ corruption in an August 4, 1948, newspaper article. As a result, Thomas and Campbell were summoned to answer to charges of salary fraud before a grand jury.

Thomas refused to answer questions, citing his Fifth Amendment rights, the most common stance for which he had criticized accused Communists. Indicted, Thomas was tried and convicted of fraud, fined and given an 18-month prison sentence. He resigned from Congress on January 2, 1950. (A very recent, former president stated that by taking the 5th Amendment it was tantamount to guilt and that it was used by mobsters. He took it almost 450 times!)

In an ironic twist, he was imprisoned in Danbury Prison where Lester Cole and Ring Lardner Jr., both members of the “Hollywood Ten” were serving time because of Thomas’ inquiries into the film industry.

 

 

 

 

 

 

Fred Astaire, a Life with Dance and His Partners -May 20, 2023

Fred Astaire was born Frederick Austerlitz on May 10, 1899, in Omaha, Nebraska the son of Johanna “Ann” (née Geilus; 1878–1975) and Friedrich “Fritz” Emanuel Austerlitz (1868–1923), known in the US as Frederic Austerlitz. Astaire’s mother was born in the US to Lutheran German immigrants. Astaire’s father was born in Austria, to Catholic parents who had converted from Judaism.

Astaire’s father, Fritz Austerlitz, arrived in New York City at the age of 25 on October 26, 1893, Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company. Astaire’s mother dreamed of escaping Omaha through her children’s talents. Astaire’s older sister, Adele, was an instinctive dancer and singer early in her childhood. Johanna planned a “brother and sister act”, common in vaudeville at the time, for her two children. Although Fred refused dance lessons at first, he easily mimicked his older sister’s steps and took up the piano and other instrument.

During his long lifetime in every venue of entertainment he received accolades, great revues and plaudits from his peers, the critics and the audiences. He is widely regarded as the “greatest popular-music dancer of all time”. He received an Honorary Academy Award three Primetime Emmy Awards, a BAFTA Award, two Golden Globes and a Grammy Award.  He was honored with the Film Society of Lincoln Center tribute in 1973, the Kennedy Center Honors in 1978 and the AFI Life Achievement Award in 1980. He was inducted into the Hollywood Walk of Fame, the American Theater Hall of Fame and the Television Hall of Fame.

His career in film, stage and television spanned 76 years. He starred in more than ten Broadway and West End (London) productions and thirty-one musical films. His great film performances included his long partnership with Ginger Rogers. Among his notable films are Top Hat, Swing Time, Shall We Dance, Holiday Inn, Easter Parade, The Band Wagon Funny Face and Silk Stockings. He was named the 5th greatest male star in the 100 years of Hollywood Cinema by the American Film Institute. But, all in all, he certainly was the greatest star of the 20th Century and no greater authority on the dance, Gene Kelly, said that in 100 years after his era, he will be the only one remembered.

His first partner was his sister Adele (born Adele Marie 1896-1981). They were taught dance, speaking, and singing in preparation for developing an act. Their first act was called Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. They took lessons at Claude Alveinne’s dancing school on 8th Avenue in NYC. Fred wore a top hat and tails in the first half and a lobster outfit in the second. In an interview, Astaire’s daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller. In November 1905, the comic act debuted in Keyport, New Jersey at a “tryout theater”. The local paper wrote, “The Astaires are the greatest child act in vaudeville.” One of the critics labeled them the greatest act in vaudeville.

As a result of their father’s salesmanship, Fred and Adele landed a major contract and played the Orpheum Circuit in the Midwest, Western and some Southern cities in the US. They were paid $150 per week and transportation. Soon Adele grew to at least three inches taller than Fred, and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble with the child labor laws of the time. The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire’s dancing was inspired by Bill “Bojangles” Robinson. (A hero he honored in a routine in “Swing Time”) and John “Bubbles” Sublett.

From the vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle Some sources that the Astaire siblings appeared in an early 1915 film titled Fanchon the Cricket. They both denied appearing in that film.

By age 14, Fred had taken on the musical responsibilities for their act. He first met the great George Gershwin, who was working as a song plugger for Remick’s Music publishing company, in 1916, located on 28th Street (Tin Pan Alley) in Manhattan. This would be three years before Gershwin’s great hit Swanee.  Gershwin joined Remick’s in 1914 and composed many songs, but he left the firm in 1917. Fred had already been hunting for new music and dance ideas. Their chance meeting was to affect the careers of both artists profoundly. Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. Gershwin always believed that Fred Astaire sang his songs the best.

The Astaires broke into Broadway in 1917 with Over the Top, a patriotic revue, and performed for U.S. and Allied troops at this time as well. The critic of the NY Globe wrote, “One of prettiest features of the show is the Dancing Astaires.”

They followed up with several more shows. Of their work in The Passing Show of 1918. Heywood Broun (father of TV personality and critic Heywood Hale Broun) wrote: “In an evening in which there was an abundance of good dancing, Fred Astaire stood out … he and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance.” During the production of The Passing Show, which ran for 125 performances at the Winter Garden Theater (made famous by Al Jolson), they sang songs by Sigmund Romberg and Jean Schwartz.

Adele’s sparkle and humor drew much of the attention, owing in part to Fred’s careful preparation and sharp supporting choreography. She still set the tone of their act. But by this time, Astaire’s dancing skill was beginning to outshine his sister’s.

During the 1920s, Fred and Adele appeared on Broadway and in the West End theater district in London.  They won popular acclaim with the theater crowd on both sides of the Atlantic in shows such as Jerome Kern’s The Punch and Judy (1922). Their first hit, For Goodness Sake was also in 1922. In London, they were embraced by the aristocracy and the royalty. They quickly came to epitomize the elegance and grace.

George and Ira Gershwin’s Lady Be Good (1924), and Funny Face (1927) and The Band Wagon (1931) were all hits for the Astaires. Funny Face (1957) would later be a successful film musical with Audrey Hepburn and Kay Thompson (1909-1998 born Katherine Fink, author of I am Eloise). The Band Wagon (1953) with Cyd Charisse, Oscar Levant and Nanette Fabrey also became a classic. They would introduce S’Wonderful and He Loves and She Loves. When Funny Face opened at the Alvin Theater, with the book by Fred Thompson and Robert Benchley they were a big draw.

Astaire’s tap dancing was recognized by then as among the best. For example, the great wit, humorist, movie personality and writer Robert Benchley (1889-1945, Chips off the Benchley) wrote in 1930, “I don’t think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world.” While in London, Fred studied piano at the Guildhall School of Music alongside his friend and colleague the great Noel Coward (1899-1973, Private Lives). In 1926, he was one of the judges at the Charleston Dance Championship of the World competition at the Royal Albert Hall, where Lew Grade (later impresario and movie producer) was declared the winner.

After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films. They split in 1932, when Adele married her first husband, Lord Charles Cavendish, the second son of the 9th Duke of Devonshire.

He adored his sister and had never really danced with anyone else. The end of the partnership was traumatic for Astaire, but stimulated him to expand his range, as he considered offers from Hollywood.

His next partner was Claire Luce, (1903-1989). Free of the brother-sister constraints of the former pairing and working with new partner, they danced together in Cole Porter’s The Gay Divorce. (Later made into the film with Ginger Rogers, The Gay Divorcee in 1934 with Edward Everett Horton and Alice Brady).  Fred created a romantic partnered dance to Porter’s haunting, Night and Day. He stated that she (Claire Luce) had to encourage him to take a more romantic approach: “Come on, Fred, I’m not your sister, you know.” The success of the stage play was credited to this number, and when recreated in The Gay Divorcee (1934), the film version of the play, it ushered in a new era in filmed dance.   Recently, film footage taken by Fred Stone of Astaire performing in Gay Divorce with Luce’s successor, Dorothy Stone, in New York, in 1933, was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire. As for the beautiful Claire Luce, during the show she tripped over a piece of furniture they were dancing over. She dragged him down also. They finished the scene, the show and the run, despite being in pain over her injured hip. From that fall her dance career ended. He once again flew off to Hollywood, on a 26 hour flight.

According to Hollywood folklore, a screen test report on Astaire for RKO Radio Pictures now lost along with the test, is reported to have read: “Can’t sing. Can’t act. Balding. Can dance a little.” The producer of the Astaire–Rogers pictures, Pandro S. Berman claimed he had never heard the story in the 1930s and that it only emerged years afterward.   Astaire later clarified, insisting that the report had read: “Can’t act. Slightly bald. Also dances.” In any case, the test was clearly disappointing, and David O. Selznick who had signed Astaire to RKO and commissioned the test, stated in a memo, “I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test.”

However, this did not affect RKO’s plans for Astaire. They lent him for a few days to MGM in 1933.Thus, his significant Hollywood debut, was in the successful musical film with Clark Gable, Dancing Lady. In the movie, he appeared as himself, dancing with Joan Crawford. On his return to RKO, he got fifth billing, after the fourth-billed Ginger Rogers, in the 1933 Dolores Del Rio and Gene Raymond vehicle Flying Down to Rio.  In a review, Variety magazine attributed its massive success to Astaire’s presence. In the film, he was only on screen for 4 minutes and 50 seconds. Originally Astaire expected to dance with Dorothy Jordan but she married producer Merian C. Cooper (King Kong, etc). RKO shipped in the young Ginger Rogers, who at 21 years old had already made 23 pictures. (Probably the best known was Stage Door, with Katherine Hepburn).

One critic wrote, “The main point of Flying Down to Rio is the screen promise of Fred Astaire … He’s assuredly a bet after this one, for he’s distinctly likable on the screen, the mike is kind to his voice and as a dancer, he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing.” Thus, by 1932, he had never really danced with another partner, except on occasion with Marilyn Miller and Tillie Tosch. During this period he met at the racetrack a pretty 23 year old socialite, who was recently divorced, name Phyllis Potter. He was always a lover of horses and the track. They date, he convinced her to see him perform at the New Amsterdam Theater and she married him in July of 1933.

Astaire stated, “Ginger had never danced with a partner before Flying Down to Rio. She faked it an awful lot. She couldn’t tap and she couldn’t do this and that … but Ginger had style and talent and improved as she went along.”

She got so that after a while everyone else who danced with me looked wrong.” In his book Ginger: Salute to a Star, author Dick Richards quotes Astaire saying to Raymond Rohauer, curator of the New York Gallery of Modern Art, “Ginger was brilliantly effective. She made everything work for her. Actually, she made things very fine for both of us and she deserves most of the credit for our success.” Of course, during much of the rehearsals, Astaire practiced with Hermes Pan, his sort of alter ego. They would work out all the innovations. They would work often from 10 am for 12 hours. They would then present it to Ginger and teach her the steps and the routine.

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, “I don’t mind making another picture with her (Rogers), but as for this ‘team’ idea, it’s ‘out!’ I’ve just managed to live down one partnership and I don’t want to be bothered with any more.”   However, he was persuaded by the apparent public appeal of the Astaire–Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan helped make dancing an important element of the Hollywood film musical.

Astaire and Rogers made nine films together at RKO: Flying Down to Rio  (1933), The Gay Divorcee  (1934), Roberta  (1935, in which Astaire also demonstrates his oft-overlooked piano skills with a spirited solo on I Won’t Dance), Top Hat  (1935), Follow the Fleet  (1936, also with Harriet Hilliard of Ozzie and Harriet and Randolph Scott), Swing Time  (1936), Shall We Dance  (1937), Carefree (1938), and The Story of Vernon and Irene Castle  (1939). Six out of the nine Astaire–Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katherine Hepburn reportedly said, “He gives her class and she gives him sex appeal Astaire received a percentage of the films’ profits, something scarce in actors’ contracts at that time. The film Carefree was to many a failure, but still brought in revenue. With The Story of Vernon and Irene Castle, Astaire had learned a lot from the Castle’s style in his early days dancing with his sister. Vernon Castle volunteered for the US AEF during WWI and was killed testing a plane. Of those six films, most critics rate Swing Time as the best!

Astaire was a perfectionist and every routine was an effort in endurance and the utmost concentration. In Top Hat, the classic Top Hat number was quite frustrating. He broke his cane 12 times and the number 13 was lucky, because after 40 takes and the 13th cane the scene was done. The Irving Berlin score was great, the set designs by Van Nest Polgase and Carroll Clark were terrific, but not cheap. The film opened at Radio City, in NYC, and it was the most lucrative in the history of the RKO Radio Pictures. In fact, it was the first time RKO had made a profit.

In the meantime, Astaire was quite happy, his wife had given birth to a son, Fred Astaire, Jr. He celebrated by doing a radio show. The next effort, Follow the Fleet, was not liked by the critics, but it made money. It involved a dual romance with Hilliard and Scott and Astaire and Rogers. They all worked hard on the movie, with many re-takes. The song and dance sequence, Let’s Face the Music and Dance took 14 separate takes.

The next film, which many believe was their best, was Swing Time (also with stage veterans, Victor Moore and Helen Broderick). They spent 350 hours rehearsing their numbers. After one very long rehearsal, there was blood on the stage from Roger’s broken foot blisters that had soaked through her shoes.

After Swing Time he headed for England with Phyllis. On the way, they stopped in NYC and he was able to do six 15 minute radio shows at $4,000 each. After their return from England he contracted to do 39 shows for the Packard Motorcar Show. Eventually, after his singing and dancing for radio started to wear on him, his wife felt he was spreading himself too thin. Also his efforts were starting to intrude on the rehearsals for his next film Shall We Dance.

This film (with top character actors, Edward Everett Horton and Eric Blore) received better reviews, but made less money. It seems the novelty of this great dance pair was wearing down. But, their next venture was still planned. As usual, perfection was the order of the day for Astaire. The roller-skating sequence in the park took four days to shoot and 150 takes for a 2 minute and 40 second routine.

The film Carefree suffered from a very confused script, with their typical social mix-ups. The cast included Jack Carson and Ralph Bellamy. The golf ball hitting, scene where Astaire, a psychiatrist, is attempting to impress his patient, one Ginger Rogers, used over 600 golf balls.

The end of their unique and very profitable run came in 1939 with another loss with the film, The Story of Vernon and Irene Castle.  Astaire had learned from the famous dance team of the Castles, who great success was in the years before WWI. The cast was bolstered by the great character actor, Walter Brennan and dealt with their rise to fame. Vernon Castle was enamored with flying and joined the British RAF during WWI. After serving with distinction as a pilot in the war, Vernon died in a plane crash on a flight training base near Fort Worth, Texas, in 1918. Irene continued to perform solo in Broadway, vaudeville and motion picture productions over the next decade.

In between his work with Ginger Rogers, he made a decent film, Damsel in Distress (1937) without his partner and with the non-dancing Joan Fontaine. RKO added George Burns and Gracie Allen to the picture and it was well received.

After the celebrated collaboration with Ginger Rogers, Astaire was listed as one of the richest men in America. As for the cost of his pictures in film alone, it was estimated that during the 1930s, over 125,000 feet of dancing film had been recorded, and only 25,000 feet had actually been used in their movies. It was also determined that the filming of the dance sequences had worked out to 500 hours per film.

Astaire left RKO in 1939 to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators. Unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers to innovate continually. He was also labeled “box office poison” after Carefree by the Independent Theatre Owners of America.

His first post-Ginger dance partner was the redoubtable Eleanor Powell, considered the most exceptional female tap-dancer of her generation. They starred in Broadway Melody of 1940, in which they performed a celebrated, extended dance routine to Cole Porter’s Begin the Beguine. In his autobiography, Steps in Time, Astaire remarked, “She ‘put ’em down’ like a man, no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself.” In the film, he and George Murphy (later a one-term US Senator from California) were cast as broken down hoofers. According, to the studio, she lacked personality and femininity. She refused any work on her face. She was a superb dancer, a so-so actor, and a long way from being a typical MGM glamour girl. The reviews were very good and the NY Times found the film superior to his earlier films and said “his numbers seemed even more fascinating than ever!”

In, 1940, he signed with Paramount, which was probably a mistake, to make a musical called, Second Chorus. If Broadway Melody had been a high in his career, Second Chorus was certainly a low point. Paulette Goddard was his dancing partner. She certainly was attractive, had long, thin legs, but she was no dancer. It co-starred Burgess Meredith in a similar role that Murphy had played. They were both unpleasant characters. The film was a mess. Bosley Crowther, the great and very well respected movie critic of the NY Times, said, “Astaire was badly in need of a new dancing partner, and judging by Second Chorus, he is desperately in need of a producer, a writer, and a director, who again offer something smart, slick and joyful for him to do.”

Astaire was at the lowest ebb of his career in 1940. His former partner, Ginger Rogers, won the Academy Award for her work in the forgettable tear-jerker film, Kitty Foyle! With all that in mind, he left Paramount and signed a new contract with Columbia Pictures to make a couple of films with the young actress Rita Hayworth. She was a trained dancer, from a dancing family, who had not been placed in a musical for years while under contract. Hayworth, years later at the San Francisco Film Festival remembered her two films with Astaire with great affection.

She said that when he came to Columbia, he asked for me. “Fred knew I was a dancer, not those dumb-dumbs at Columbia!”  She had always believed that it was Astaire who had wanted her in his films. Astaire had known her father, Eduardo Cansino from 30 years earlier in Vaudeville. This, of course, was totally inaccurate. As gruff and vulgar was Harry Cohn, the boss at Columbia, he was no fool, and he knew what. and who. he wanted to be partnered with Astaire. Rita was thrilled and terrified at the prospect of dancing with Astaire. She was so shy she couldn’t even say his name. Meanwhile, as she talked to Astaire, he said, “Let’s try these little steps.” So she did and tried to follow him and figure it out. He said to Hayworth, “How can you do that so fast?” The he said, “I know why it is because of your training with your father!” Of course, she had been dancing since age three or four. The reviews of You’ll Never get Rich, (1941) were very good,

This was the first of two films he made with Rita Hayworth, and the film catapulted her to stardom. In the movie, Astaire integrated for the third time Latin American dance idioms into his style (the first being with Ginger Rogers in “The Carioca” number from Flying Down to Rio (1933) and the second, again with Rogers, was the “Dengozo” dance from The Story of Vernon and Irene Castle (1939)).

His second film with Hayworth, You Were Never Lovelier (1942), was equally successful. It featured a duet to Kern’s I’m Old Fashioned which became the centerpiece of Jerome Robbins’s 1983 New York City Ballet tribute to Astaire. Rita Hayworth had one big advantage over Ginger Rogers, she actually looked like she was enjoying herself. Rogers, although she danced beautifully and smiled a lot during those numbers, sometimes gave the impression that the smile was a trifle fixed.

In between the two Hayworth films, he signed once again with Paramount and played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946). But, in spite of the enormous financial success of both, he was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is memorable for his virtuoso solo dance to Let’s Say it with Firecrackers. The film was a big success, the top grossing film of 1942, very nostalgic, and he had six dance numbers with Marjorie Reynolds and Virginia Dale. He was very happy with the Irving Berlin score, which featured the mega hit, White Christmas and he was reunited with his former director from the RKO days, Mark Sandrich (who unfortunately died at age 45 during the shooting).

The latter film featured Puttin on the Ritz an innovative song-and-dance routine indelibly associated with him. Always insecure and believing his career was beginning to falter, Astaire surprised his audiences by announcing his retirement during the production of his next film, Blue Skies (1946). After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.

Of course, before Blue Skies and after Holiday Inn he next appeared opposite the seventeen-year-old Joan Leslie in the wartime comedy, The Skies the Limit (1943). In it he introduced Harold Arlen and Johnny Mercer’s One For My Baby while dancing on a bar counter in a dark and troubled routine. Astaire choreographed this film alone and achieved modest box office success. It represented a notable departure for Astaire from his usual charming, happy-go-lucky screen persona, and confused contemporary critics.

His next partner, Lucille Bremer was featured in two lavish vehicles, both directed by Vincente Minnelli, the fantasy, Yolanda and the Thief 1945) which featured an avant-garde surrealistic ballet. In the musical revue Ziegfeld Follies (1945), Astaire danced with Gene Kelly to the Gershwin song The Babbit and the Bromide, a song Astaire had introduced with his sister Adele back in 1927. While the over-blown, extravaganza, Follies was a hit, Yolanda bombed at the box office.

Meanwhile, Astaire’s retirement did not last long. He returned to the big screen to replace an injured Gene Kelly in Easter Parade. (1948) opposite Judy Garland and Ann Miller. Easter Parade was a movie of great charm, but true to form that the story had little consequence. Irving Berlin wrote the score. Of course, for MGM, it was a big story, Astaire’s comeback. The picture received most of MGM’s publicity budget, obviously more than any other picture being “shot” on the MGM lot. Judy Garland was his co-star, but she was in a fragile emotional state, after a reported suicide attempt. Irving Berlin’s choice of the song, Let’s Take an Old-Fashioned Walk was rebuffed, so he came up with A Couple of Swells, which the critics and the public loved. The film returned a very healthy profit to MGM.

The next film scheduled with Judy Garland was first entitled, You Made Me Love You, (maybe a reference to the great Al Jolson hit, which Garland turned into her own hit.”)  But, after three weeks Garland broke down emotionally. The film was renamed The Barkley’s of Broadway (1949) and Garland was replaced with Ginger Rogers. This final reunion with Rogers meant a number of the songs had to be changed. Astaire was not thrilled with Rogers. No one really knew the reason. Some speculated it was her height or her fame. Basically the picture didn’t have the pace or success of Easter Parade. They reprised They Can’t Take that Away from Me, from Shall We Dance, which was done twelve years earlier. But the big hit was Astaire’s solo, Shoes With Wings! Bosley Crowther of the NY Times loved the fil. It was a marginally successful, but a disappointment for MGM. Thus, another film with Ginger Rogers was not considered.

Both of these films revived Astaire’s popularity. In 1950, he starred in two musicals, Three Little Words with Vera-Ellen and Red Skelton for MGM. Let’s Dance with Betty Hutton who was on loan-out to Paramount. While Three Little Words did quite well at the box office, Let’s Dance was a financial disappointment. To a degree, both films were mediocre and forgetful.  Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful. Astaire and producer Arthur Freed came up with Powell as his third choice. June Allyson, the first choice, was pregnant and Judy Garland broke down again. Her contract with MGM was terminated on June 19, 1950.

As for the next film, The Belle of New York (1952) with Vera-Ellen, it was a critical and box-office disaster. The Band Wagon (1953) received rave reviews from critics and drew huge crowds. Astaire loved the Band Wagon and was quite happy to dance with Cyd Charisse. Their number, Dancing in the Dark (from Howard Dietz and Arthur Schwartz -1931) was a sensation and was well received. Director Vincente Minelli (Garland’s husband) was back with Astaire, but he had immense problems with Oscar Levant, eventually they were ironed out. Archer Winston of the NY Post (then owned by the liberal Dorothy Schiff) thought the film was better than An American in Paris. Bosley Crowther thought it was one of the best musicals ever. Up to that time, the consensus was that it was one of the Big Three, along with Singing in the Rain and An American in Paris. Unfortunately, after its original release, it did not make money. Later on, it would do very well for MGM.

Soon after, Astaire, like the other remaining stars at MGM, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox. Then, his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his pocket. However, Johnny Mercer, the film’s composer, and Fox studio executives convinced him that work would be the best thing for him. Daddy Long Legs did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson.  Despite the sumptuousness of the production and the good reviews from critics, it failed to make back its cost. ( it was thought that Astaire’s role as a photographer was based on Richard Avedon.)

Astaire’s next project – his final musical at MGM, was Silk Stockings. (1957), in which he co-starred with Cyd Charisse. It was taken from the Broadway hit, which was adapted from the great Greta Garbo smash film, Ninotchka,. The score was embellished with the new song The Ritz Roll and Rock, a parody of then-emerging rock and roll. The number ends with Astaire symbolically smashing his top hat, considered one of his trademarks, signaling his retirement from movie musicals, which he announced following the film’s release, also lost money at the box office.

Afterward, Astaire announced that he was retiring from dancing in films. His legacy at this point was 30 musical films in 25 years. Astaire did not retire from dancing altogether. He made a series of four highly rated Emmy Award-winning musical specials for television in 1958, 1959, 1960, and 1968. Each featured with Barrie Chase whom Astaire enjoyed a renewed period of dance creativity. The first of these programs, 1958’s, An Evening with Fred Astaire won nine Emmy Awards, including “Best Single Performance by an Actor” and “Most Outstanding Single Program of the Year”. It was also noteworthy for being the first major broadcast to be prerecorded on color videotape. Astaire won the Emmy for Best Single Performance by an Actor. The choice had a controversial backlash because many believed his dancing in the special was not the type of “acting” for which the award was designed. At one point, Astaire offered to return the award, but the Television Academy refused to consider it. A restoration of the program won a technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein. They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.

Astaire revolutionized dance on film by having complete autonomy over its presentation. He is credited with two important innovations in early film musicals. First, he insisted that a closely tracking dolly camera film a dance routine in as few shots as possible, typically with just four to eight cuts, while holding the dancers in full view at all times. This gave the illusion of an almost stationary camera filming an entire dance in a single shot. Astaire famously quipped: “Either the camera will dance, or I will.”   Astaire maintained this policy from The Gay Divorcee in 1934 until his last film musical, Finian’s Rainbow in 1968, when director Francis Ford Coppola overruled him.

Astaire’s last major musical film was Finian’s Rainbow (1968), and he shed his white tie and tails to play an Irish rogue who believes that if he buries a crock of gold in the shadows of Fort Knox the gold will multiply. Astaire’s dance partner was Petula Clark, who played his character’s skeptical daughter. He described himself as nervous about singing with her, while she said she was worried about dancing with him. The film was a modest success both at the box office and among critics.

Astaire’s style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety. This style differed strikingly from those in the Busby Berkeley musicals. Those musical sequences were filled with extravagant aerial shots, dozens of cuts for quick takes, and zooms on areas of the body such as a chorus row of arms or legs.

Astaire’s second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film. Instead of using dance as a spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances.

One would be a solo performance by Astaire, which he termed his “sock solo”. Another would be a partnered comedy dance routine. Finally, he would include a partnered romantic dance routine.

Dance commentators Arlene Croce,  Hannah Hyam,  and John Mueller consider Rogers to have been Astaire’s greatest dance partner, a view shared by Hermes Pan and Stanley Donen  Film critic  Pauline Kael adopts a more neutral stance, while Time Magazine film critic Richard Schickel writes “The nostalgia surrounding Rogers–Astaire tends to bleach out other partners.”

Mueller sums up Rogers’s abilities as follows: Rogers was outstanding among Astaire’s partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began … the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable.

In 1976, British talk-show host. Sir Michael Parkinson asked Astaire who his favorite dancing partner was on his show.  At first, Astaire refused to answer. But, ultimately, he said “Excuse me, I must say Ginger was certainly, [uh, uh,] the one. You know, the most effective partner I ever had. Everyone knows.”

Ginger Rogers described Astaire’s uncompromising standards extending to the whole production: “Sometimes he’ll think of a new line of dialogue or a new angle for the story … they never know what time of night he’ll call up and start ranting enthusiastically about a fresh idea … No loafing on the job on an Astaire picture, and no cutting corners.”

Hermes Pan met Fred Astaire on the set of Flying Down to Rio (1933), in which he worked as an assistant to dance director Dave Gould. While Astaire was trying to work out a series of steps for “The Carioca”, someone told him that Pan had a few ideas, and the dancer was invited over. Pan demonstrated a brief break he had picked up from his street days in New York.

From then on the two began a lifelong professional collaboration and friendship. Pan worked on all the RKO Astaire pictures. He was nominated for Academy Awards for the Top Hat and The Piccolino numbers from Top Hat (1935) and for the Bojangles of Harlem number from Swing Time (1936). In 1937, he received the Academy for Best Dance Direction for A Damsel in Distress (1937), in which Joan Fontaine starred with Astaire.

Reviews: His tension between movie magic and an ugly reality was echoed in the gap between Astaire’s public facade and private self. After Astaire’s death in June 1987, John Mueller wrote in a tribute for Dance Magazine that he was “not only one of the greatest choreographers of all time, but also one of history’s master illusionists. Astaire’s screen persona convincingly suggested that he was carefree, easygoing, unruffled, resourceful, effortlessly successful, and supremely confident.

“In reality, Astaire was consumed by doubt and insecurity…. he often flew into violent rages in a quest for perfection that was relentless, obsessive, and, by his standards, futile: At the end of his musical career, he complained, ‘I’ve never yet got anything one hundred percent right.’… Because his performances are often so contagiously joyous, Astaire also generated the illusion that he enjoyed what he was doing. But it is not clear he ever really liked performing…. For him, an advantage of film work is that it had so little sense of theater—it’s more like rehearsing than performing, he observed, and ‘you don’t have to go to your own opening night.’…

Look at the final moment of their number “Isn’t It a Lovely Day?” in Top Hat (1935). It begins with her mocking him, following him around a bandstand with her hands in her pockets. It escalates into a passionately physical dance in counterpoint to thunder and lightning, and then slows down into a sequence where they imitate each other’s styles and moves. Finally, satisfied, they plop down on the edge of the bandstand and shake hands.

Sammy Cahn, the great song writer, when asked who he thought was the most incredible “song salesman” g\he had met. Everyone thought the answer would be Sinatra, but, he said it was Astaire. It was because of his enunciation, with him the word stands in front of the note.

John O’Hara, the well-known writer and novelist said that he “the living symbol of all that is best in show business.”

Astaire’s Dance Partners:

Adele Astaire- 1896-1981

Adele Astaire Douglass (born Adele Marie Austerlitz, later known as Lady Charles Cavendish; was an American dancer, stage actress, and singer. After beginning work as a dancer and vaudeville performer at the age of nine, Astaire built a successful performance career with her younger brother, Fred Astaire who she teamed up with for 27 years and many hit shows.

Claire Luce 1903-1989

Luce starred in many Broadway plays from 1923 until 1952, including costarring with Astaire in the original musical Gay Divorce  (1932). Astaire tried to get Luce for the film version of Gay Divorce, but was overruled by the studio, RKO Radio Pictures, which preferred to use their contract player, Ginger Rogers.

Ginger Rogers (born Virginia McMath) 1911-1995

She was an American actress, dancer and singer during the Golden Age of Hollywood. She won an Academy Award  for Best Actress  for her starring role in Kitty Foyle  (1940), and performed during the 1930s in RKO’s musical films with Fred Astaire Her career continued on stage, radio and television throughout much of the 20th century.

Flying Down to Rio (1933)

Gay Divorcee (1934)

Roberta (1935)

Top Hat (1935)

Swing Time (1936)

Shall We Dance (1937)

Carefree (1938)

The Story of Vernon and Irene Castle (1939)

The Barkleys of Broadway (1949)

Eleanor Powell 1912-1982

Was an American dancer and actress. Best remembered for her tap dance numbers in musical films in the 1930s and 1940s, she was one of MGMs top dancing stars during the Golden Age of Hollywood. Powell appeared in vaudeville, on Broadway, and most prominently, in a series of movie musical vehicles tailored especially to showcase her dance talents, Recognized as the greatest woman dancer in the 20th Century.

Broadway Melody of 1940 (1940)

George Murphy 1902-1992

He was an American dancer, actor, and politician. Murphy was a song-and-dance leading man in many big-budget Hollywood musicals from 1930 to 1952. He was the president of the Screen Actors Guild from 1944 to 1946, and was awarded an honorary Oscar in 1951. He was a one term US Senator from California.

Broadway Melody of 1940 (1940)

Paulette Goddard (born Marion Levy) 1910-1990

She was an American actress during the Golden Age of Hollywood. Goddard initially began her career as a child fashion model and performer in several Broadway productions as a Ziegfeld Girl In the early 1930s, she moved to Hollywood and gained notice as the romantic partner of actor of Charlie Chaplin. Best known for Modern Times.

Second Chorus (1940)

 Rita Hayworth (born Margarita Cansino) 1918-1987

She was an American actress, dancer and producer. She achieved fame during the 1940s as one of the era’s top stars, appearing in 61 films over 37 years. The press coined the term “The Love Goddess” to describe Hayworth after she had become the most glamorous screen idol of the 1940s. She was the top pin up girl for GIs in WWII.

You’ll Never Get Rich (1941)

You Were Never Lovelier (1942)

Joan Leslie (Born Joan Agnes Brodel) 1925—2015

She was an American actress and vaudevillian  who during the Hollywood Golden Age  appeared in such films as  High Sierra( 1941), Sergeant York  (1941), and Yankee Doodle Dandy (1942).She starred in a number of the top films of the 20th Century!

Sky’s The Limit (1943)

Lucille Bremer 1917-1996

She was an American film actress and dancer.

Ziegfeld Follies (1945)

Yolanda and the Thief (1945)

Gene Kelly 1912-1996

He was an American dancer, actor, singer, director, and choreographer. He was known for his energetic and athletic dancing style and sought to create a new form of American dance accessible to the general public, which he called “dance for the common man” .He starred in, choreographed, and co-directed with Stanley Donen some of the most well-regarded  musical films of the 1940s and 1950s. He is considered one of the greatest dancers in entertainment history.

Ziegfeld Follies (1945)

That’s Entertainment (1976)

Hermes Pan (born Hermes Panagiotopoulos) 1909-1990

He was an American dancer and choreographer, principally remembered as Fred Astaire’s choreographic collaborator on the famous 1930s movie musicals starring Astaire and Ginger Rogers. He worked on nearly two dozen films and TV shows with Astaire. He won both an Oscar and an Emmy for his dance direction.

Olga San Juan 1927-2009

She was an American actress and comedian. Born in Brooklyn, she began her brief film career with Paramount after being scouted at the Copacabana. She performed in several Hollywood musicals in the 1940s and on Broadway in Paint Your Wagon (1951).

Blue Skies (1946)

Marjorie Reynolds (born Marjorie Goodspeed) 1917-1997)

She was an American film/television actress and dancer, who appeared in more than 50 films, including the 1942 musical Holiday Inn in which she and Bing Crosby introduced the song “White Christmas” in a duet, albeit with her singing dubbed.

Holiday Inn (1942)

Virginia Dale (born Virginia Paxton) 1917-1994

She appeared in a number of movies in the late 1930s and 1940s, including Holiday Inn (1942), in which she dances and sings with Fred Astaire and Bing Crosby, and she became particularly associated with musicals. Holiday Inn (1942)

Ann Miller (born Johnnie Lucille Collier) 1923-2004

She was an American actress, dancer and singer. She is remembered for her work in the Classical Hollywood cinema musicals of the 1940s and 1950s. Her early work included roles in Frank Capra’s You Can’t Take It with You (1938) and the Marx Bros. film Room Service 1938). She later starred in the movie musical classics Easter Parade (1948), Stanley Donen’s On the Town (1949) and Kiss Me Kate (1953). Drive (2001).

Easter Parade (1948)

Judy Garland (born Frances Gumm) 1922-1969

She was an American actress and singer. While critically acclaimed for many different roles throughout her career, she is widely known for playing the part of Dorothy Gale in The Wizard of Oz  (1939) She attained international stardom as an actress in both musical and dramatic roles, as a recording artist and on the concert stage. Renowned for her versatility, she received an Academy Juvenile Award, a Golden Globe Award  and a Special Tony Award . Garland was the first woman to win the Grammy Award for Album of the Year, which she won for her 1961 live recording titled Judy at Carnegie Hall. She is considered one of the greatest performers of the 20th Century/

Easter Parade (1948)

Vera-Ellen (Born Vera-Ellen Rohe) 1921-1981

She was an American dancer and actress. She is remembered for her solo performances as well as her work with partners Fred Astaire, Gene Kelly, Danny Kaye, and Donald O’Connor. She is best known for her starring roles in On the Town (1949) with Gene Kelly and White Christmas (1954) with Danny Kaye.

Three Little Words (1950)

The Belle of New York (1952)

Betty Hutton (born Elizabeth June Thornburg) 1921-2007

She was an American stage, film, and television actress, comedian, dancer, and singer. She rose to fame in the 1940s as a contract player for Paramount Pictures, appearing primarily in musicals, and became one of the studio’s most valuable stars of that decade. She was noted for her energetic and sometimes manic performance style

Let’s Dance (1950)

Jane Powell (born Suzanne Lorraine Bruce) 1929-2021

She was an American actress, singer, and dancer who first appeared in Metro-Goldwyn-Mayer musicals in the 1940s and 50s. With her soprano voice and girl-next-door image, Powell appeared in films, television and on the stage.

Royal Wedding (1951)

Cyd Charisse (born Tuka Finlea) 1922-2008

She was an actress and a dancer in films in the 1940s. Her roles usually featured her abilities as a dancer, and she was paired with Fred Astaire and Gene Kelly; her films include Singin’ in the Rain (1952), The Band Wagon  (1953), Brigadoon with Gene Kelly  and Van Johnson  (1954) and Silk Stockings (1957)

The Band Wagon (1953)

Silk Stockings (1957)

Nanette Fabray (born Ruby Theresa Faberes) 1920-2018

She was an American actress, singer, and dancer. She began her career performing in vaudeville as a child and became a musical-theatre actress during the 1940s and 1950s, acclaimed for her role in High Button Shoes (1947) and winning a Tony Award in 1949 for her performance in Love Life, In the mid-1950s she served as Sid Caesar’s comedic partner on Caesar’s Hour for which she won three Emmy Awards.

The Band Wagon (1953)

Leslie Caron 1931-

She is a French and American actress and dancer. She is the recipient of a Golden Globe Award, two BAFTA Awards and a Primetime Emmy Award, in addition to nominations for two Academy Awards. She is one of the last surviving stars from the Golden Age of Hollywood cinema. Caron began her career as a ballerina. She made her film debut in the musical An American in Paris (1951)

Daddy Long Legs (1955)

Audrey Hepburn (born Audrey Kathleen Ruston) 1929-1993

She was a British actress and humanitarian. Recognized as a film and fashion icon, she was ranked by the American Film Institute as the third-greatest female screen legend from the Classical Hollywood cinema and was inducted into the International Best Dressed List Hall of Fame.

Funny Face (1957)

 Janis Paige (born Donna Mae Tjaden) 1922-

Is an American retired actress and singer. She began singing in local amateur shows at the age of five. After high school, she moved to Los Angeles, where she became a singer at the Hollywood Canteen  during WWII, as well as posing as a pin up model.

Silk Stockings (1957)

Barrie Chase 1933-

She was a dancer on live television programs such as The Colgate Comedy Hour and The Chrysler Shower of Stars. While working as Jack Cole’s assistant choreographer at Metro-Goldwyn-Mayer, she was asked by Fred Astaire to be his dancing partner on An Evening with Fred Astaire She made four appearances as Astaire’s partner in his television specials between 1958 and 1968. The two danced on Hollywood Palace in 1966.

An Evening with Fred Astaire (1958,9,60) (TV)

Hollywood Palace (1966)

Fred Astaire Show (1968)

Barbara Hancock 1949-

Is an American actress and dancer. While she was a dancer with the Harkness Ballet, she appeared as a dancing character in five productions in television and film. She was nominated for the 1968 Golden Globe Award for Best Supporting Actress in a Motion Picture for her role as Susan the Silent in Finian’s Rainbow.

Finian’s Rainbow (1968)

Bing Crosby (born Harry Lillis Crosby) 1903-1977

Was an American singer and actor. The first multimedia star, he was one of the most popular and influential musical artists of the 20th century worldwide He was a leader in record sales, radio ratings, and motion picture grosses from 1926 to 1977. He was one of the first global cultural icons. He made over 70 feature films and recorded more than 1,600 songs.

Blue Skies (1946)

Holiday Inn (1942

Selected Great Songs from the Astaire films:

A Foggy Day– 1937- The Gershwins

A Coupe of Swells-1948-Irving Berlin

A Fine Romance– 1936- Jerome Kern and Dorothy Fields

Cheek to Cheek– 1935- Irving Berlin

Fascinating Rhythm– 1924- The Gershwins

Funny Face-1927- The Gershwins

I’ll Build a Staircase to Heaven -1922- The Gershwins and Buiddy DeSylva

I’ve Got Beginner’s Luck-1937- The Gershwins

Let’s Call the Whole Thing Off-1937- The Gershwins

Let’s Kiss and Make Up – 1927- The Gershwins

My One and Only– 1927- The Gershwins

Nice Work If You Can Get It– 1937- The Gershwins

No Strings– 1935-Irving Berlin

One For My Baby-1943- Harold Arlen and Johnny Mercer

The Way You Look Tonight-1936- Jerome Kern –Dorothy Fields

They Can’t Take That Away From Me-1937- The Gershwins

Top Hat, White Tie and Tails- 1935- Irving Berlin

You Were Never Lovelier-1942- Jerome Kern and Johnny Mercer

 

 

 

Humphrey Bogart, A life in Films and the Stage – May 2, 2023

Humphrey DeForest Bogart was born on Christmas Day 1899 in New York City, the eldest child of Dr. Belmont DeForest Bogart and Maud Humphrey. Hollywood changed his birthdate in their “studio” bios to January 1900. They thought anyone born on Christmas could not be seen as a “bad guy!”

Belmont was the only child of the unhappy marriage of Adam Welty Bogart) and Julia Augusta Stiles, a wealthy heiress. The name “Bogart” derives from the Dutch surname, “Bogaert” Belmont and Maud married in June 1898. He was a Presbyterian, of English and Dutch descent, and a descendant of Sarah Rapelje (the first female European Christian child born in New Netherland). Maud was an Episcopalian of English heritage, and a descendant of Mayflower passenger John Howland. Humphrey was raised Episcopalian, but was non-practicing for most of his adult life.

Belmont, Bogart’s father, was a heart specialist and surgeon. Maud was a commercial illustrator who received her art training in New York and France, including study with James Whistler. She later became art director of the fashion magazine and was a militant supporter of suffrage, the right for women to vote. Maud used a drawing of baby Humphrey in an advertising campaign for Mellins Baby Food. She earned over $50,000 a year at the peak of her career – a very large sum of money at the time, (in 1915 dollars, approximately $1.5 million.) and considerably more than her husband’s $20,000. The Bogarts lived in an Upper West Side, Manhattan apartment, and had a cottage on a 55-acre estate on in upstate New York. When he was young, Bogart’s group of friends at the lake would put on plays.

He had two younger sisters: Frances and Catherine Elizabeth Bogart’s parents were busy in their careers, and often were quite contentious. Very formal, they showed little emotion towards their children. Maud told her offspring to call her “Maud” instead of “Mother”, and showed little, if any, physical affection for them. When she was pleased, she “[c]lapped you on the shoulder, almost the way a man does”, Bogart recalled. I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn’t glug over my two sisters and me.

Bogart attended the private Delancey School until the fifth grade and then attended the prestigious Trinity School. He was an indifferent, sullen student who showed no interest in after-school activities. Bogart later attended Phillips Academy, a boarding school to which he was admitted based on family connections. Founded in 1778, and is located on the Main Street in Andover, MA. It is one of the oldest incorporated secondary schools in the United States. It has educated a long list of notable alumni through its history, including American presidents George H. W. Bush and George W. Bush, foreign heads of state, numerous members of Congress, five Nobel laureates and six Medal of Honor recipients. It has been referred to by many contemporary sources as the most elite boarding school in America. It has a remarkable art collection open to the public. By the way, several figures from the revolutionary period are associated with the school. Our first president George Washington visited the school during his presidency in 1789 and Washington’s nephews later attended the school. John Hancock signed the school’s articles of incorporation and the great seal of the school was designed by Paul Revere.

Although his parents hoped that he would go on to Yale University, Bogart left Phillips in 1918 after one semester (although the Phillips Academy website claims he was in the graduating class of 1920) He failed four out of six classes. Several reasons have been given; according to one, he was expelled for throwing the headmaster (or a groundskeeper) into Rabbit Pond on campus. Another cited smoking, drinking, poor academic performance, and (possibly) inappropriate comments made to the staff. In a third scenario, Bogart was withdrawn by his father for failing to improve his grades. His parents were deeply disappointed in their failed plans for his future.

With no viable career options, Bogart enlisted in the United States Navy in the spring of 1918 (during World War I), and served as a coxswain. He recalled later, “At eighteen, war was great stuff. Paris! Sexy French girls! Hot damn!” Bogart was recorded as a model sailor, who spent most of his sea time after the armistice ferrying troops back from Europe. Bogart left the service on June 18, 1919 at the rank of boatswain’s mate third class. During the Second World War, Bogart attempted to re-enlist in the Navy but was rejected due to his age. He then volunteered for the Coast Guard Temporary Reserve in 1944, patrolling the California coastline in his yacht, the Santana.

He may have received his trademark scar and developed his characteristic lisp during his naval stint. There are several conflicting stories. In one, his lip was cut by shrapnel when his ship (the USS Leviathan) was shelled. The ship was never shelled, however, and Bogart may not have been at sea before the armistice. Another story, held by longtime friend Nathaniel Benchley (son of the famed Robert Benchley, author, wit and important member of the Algonquin Round Table group of literary and theater giant) was that Bogart was injured while taking a prisoner to Portsmouth Naval Prison in Kittery, Maine. While changing trains in Boston, the handcuffed prisoner reportedly asked Bogart for a cigarette. When Bogart looked for a match, the prisoner smashed him across the mouth with the cuffs (cutting Bogart’s lip) and fled before being recaptured and imprisoned. In an alternative version, Bogart was struck in the mouth by a handcuff loosened while freeing his charge; the other handcuff was still around the prisoner’s wrist.

When actress Louise Brooks (1906-1985), an icon of the Jazz Age) met Bogart in 1924, he had scar tissue on his upper lip which Brooks said Bogart may have had partially repaired before entering the film industry in 1930. Brooks said that his “lip wound gave him no speech impediment, either before or after it was mended.

Bogart returned home to find his father in poor health, his medical practice faltering, and much of the family’s wealth lost in bad timber investments. It was always rumored that his father became addicted to opium which was readily available through his practice. .His character and values developed separately from his family during his navy days, and he began to rebel. Bogart became a liberal who disliked pretension, phonies and snobs, sometimes defying conventional behavior and authority; he was also well-mannered, articulate, punctual, self-effacing and stand-offish. After his naval service, he worked as a shipper and a bond salesman, joining the Coast Guard Reserve.

Bogart “dove headfirst into the Jazz Age lifestyle, always up for late night revels… When his meager wages were exhausted, he’d play chess against all comers in arcades for a dollar a match (he was a brilliant player) to fund his outings.” Bogart resumed his friendship with Bill Brady Jr. (whose father had show-business connections), and obtained an office job with the new World Films company. Although he wanted to try his hand at screenwriting, directing, and production, he excelled at none. Bogart was stage manager for Brady’s daughter Alice’s play A Ruined Lady. He made his stage debut a few months later as a Japanese butler in Alice’s 1921 play Drifting (nervously delivering one line of dialogue), and appeared in several of her subsequent plays

Although Bogart had been raised to believe that acting was a lowly profession, he liked the late hours actors kept and the attention they received: “I was born to be indolent and this was the softest of rackets.” He spent much of his free time in speakeasies, drinking heavily. A bar-room brawl at this time was also a purported cause of Bogart’s lip damage, dovetailing with Louise Brooks’ account.

Preferring to learn by doing, he never took acting lessons. Bogart was persistent and worked steadily at his craft, appearing in at least 18 Broadway productions between 1922 and 1935, 11 of which were comedies. He played juveniles or romantic supporting roles in drawing-room comedies and is reportedly the first actor to say, “Tennis, anyone?” on stage According to Alexander Woollcott, another famous critic, wit, and the rotund titular leader of the Algonquin Round Table, later immortalized in the George S. Kauffman play and later movie, The Man Who Came to Dinner. Heywood Broun, another legendary NYC member of the literati, wrote reviewing the play Nerves, “Humphrey Bogart gives the most effective performance … both dry and fresh, if that be possible”. He played a juvenile lead (reporter Gregory Brown) in the comedy Meet the Wife, which had a successful 232-performance run at the Klaw Theater (built in 1921, renamed the Avon in 1929, and turned into a parking lot in 1953) from November 1923 through July 1924. Bogart disliked his trivial, effeminate early-career parts, calling them “White Pants Willie” roles.

While playing a double role in Drifting at the Playhouse Theatre in 1922, he met actress Helen Menken (1901-1966); they were married on May 20, 1926, at the Gramercy Park Hotel in New York City. Divorced on November 18, 1927, they remained friends. Menken said in her divorce filing that Bogart valued his career more than marriage, citing neglect and abuse. She later married Dr. Henry T. Smith on July 12, 1932, and divorced him in 1947, then in October 1948 she married George N. Richard, who survived her. She had no children from these marriages.

He married actress Mary Philips (1901-1975) on April 3, 1928, at her mother’s apartment in Hartford, Connecticut; Bogart and Philips had worked together in the play Nerves during its brief run at the Comedy Theatre in 1924. This was Philips’ first marriage and Bogart’s second. He was then a little-known stage actor, and she was an established actress in the New York theatre. When Bogart began to gain film roles in Hollywood, Philips declined to move with him to California, as her stage career was firmly established in New York. Philips and Bogart divorced in 1938 after ten years. The couple had no children, but remained on good terms. Philips and her second husband attended Bogart’s memorial in California following his death in 1957.

Bogart’s second career began almost by accident. Theatrical production dropped off sharply after the Wall Street Crash of 1929 and many of the more-photogenic actors headed for Hollywood. Bogart debuted on film with the legendary actress Helen Hayes Helen Hayes in the 1928 two-realer, The Dancing Town, a complete copy of which has not been found. He also appeared with Joan Blondell (who would be a mainstay of pre-code musicals and gangster films)  and Ruth Etting (the great singer) in a Vitaphone short, Broadway’s Like That (1930), which was rediscovered in 1963.

Bogart signed a contract with the Fox Film Corporation for $750 a week. There he met Spencer Tracy, a Broadway actor whom Bogart liked and admired, and the two men became close friends and drinking companions. In 1930, Tracy first called him “Bogie”. Tracy made his feature film debut in his only movie with Bogart, John Ford’s very early sound film, Up the River, (1930), in which their leading roles were as inmates. Tracy received top billing, but Bogart’s picture appeared on the film’s posters. He was billed behind Tracy, Claire Luce (1903-1989), but his role was almost as large as Tracy’s and much larger than Luce’s. As for the career of Luce, she starred in many Broadway plays from 1923 until 1952, including costarring with Fred Astaire in the original musical Gay Divorce (1932). Astaire tried to get Luce for the film version of Gay Divorce, The Gay Divorcee (1934) but was overruled by the studio, RKO Radio Pictures, which preferred to use their contract player, Ginger Rogers. Luce was a marvelous dancer who worried about Astaire’s insecurity and need for constant practices and rehearsals. A quarter of a century later, Bogart and Tracy planned to make The Desperate Hours together. Both insisted upon top billing, however; Tracy dropped out, and was replaced by Fredric March.

Bogart then had a supporting role in Bad Sister (1931) with Bette Davis. Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, out of work for long periods. His parents had separated; his father died in 1934 in debt, which Bogart eventually paid off. He inherited his father’s gold ring, which he wore in many of his films. At his father’s deathbed, Bogart finally told him how much he loved him. Bogart’s second marriage was rocky; dissatisfied with his acting career, depressed and irritable, he drank heavily.

It was on Broadway, after his Hollywood career seemed at its low ebb that Bogart rebounded remarkably and started his 2nd or 3rd phase of his acting life. In 1934, Bogart starred in the Broadway play Invitation to a Murder at the Theatre Masque (renamed the John Golden Theatre in 1937). Its producer, Arthur Hopkins, heard the play from offstage; he sent for Bogart and offered him the role of escaped murderer Duke Mantee in Robert E. Sherwood‘s forthcoming play, The Petrified Forest. Hopkins later recalled:

“When I saw the actor I was somewhat taken aback, for [I realized] he was the one I never much admired. He was an antiquated juvenile who spent most of his stage life in white pants swinging a tennis racquet. He seemed as far from a cold-blooded killer as one could get, but the voice persisted, and the voice was Mantee’s.”

The play had 197 performances at the Broadhurst Theatre in New York in 1935. Although Leslie Howard was the star, The New York Times critic Brooks Atkinson said that the play was “a peach … a roaring Western melodrama … Humphrey Bogart does the best work of his career as an actor.” Bogart said that the play “marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallow-tailed ‘smoothies’ to which I seemed condemned to life.” However, he still felt insecure. Warner Bros. bought the screen rights to The Petrified Forest in 1935. The play seemed ideal for the studio, which was known for its socially-realistic pictures for a public entranced by real-life criminals such as John Dillinger and Dutch Schultz. Bette Davis and Leslie Howard were cast. Howard, who held the production rights, made it clear that he wanted Bogart to star with him. Also, Dick Foran was in the cast and he was interested in Davis, and quite jealous of her interest in stranger Howard.

The studio tested several Hollywood veterans for the Duke Mantee role and chose Edward G. Robinson, who had star appeal and was due to make a film to fulfill his contract. Bogart cabled news of this development to Howard in Scotland, who replied: “Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.”. When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart. Jack Warner wanted Bogart to use a stage name but Bogart declined, having built a reputation with his name in Broadway Theater. The film version of The Petrified Forest was released in 1936. According to Variety, “Bogart’s menace leaves nothing wanting”. Frank S. Nugent wrote for The New York Times that the actor “can be a psychopathic gangster more like Dillinger than the outlaw himself.”  The film was successful at the box office, earning $500,000 in rentals, and made Bogart a star. He never forgot Howard’s favor and named his only daughter, Leslie Howard Bogart, after him in 1952.

This great success in both the legitimate theater and Hollywood would lead to the 3rd Bogart Era, the one where he was type-cast as basically a gangster, the antagonist, and the 2nd lead behind Warner Brother stalwarts like Edward G. Robinson (1893-1973), George Raft and James Cagney. All four were New Yorkers. Robinson, (born Menashe Goldenberg) unlike the other three, was born in Romania. Robinson arrived in New York City on February 21, 1904. “At Ellis Island I was born again,” he wrote. “Life for me began when I was 10 years old.”  He grew up on the Lower East Side, and had his Bar Mitzvah at First Romanian-American Congregation. He attended Townsend Harris High School and then the City College of New York, planning to become a criminal attorney. An interest in acting and performing in front of people led to him winning an American Academy of Dramatic Arts scholarship, after which he changed his name to Edward G. Robinson (the G. standing for his original surname). He served in the United States Navy during World War I, but was never sent overseas.

Bogart would make fivefilms with Robinson: Bullets or Ballots (1936), Kid Galahad (1937) with Bette Davis, The Amazing Dr. Clitterhouse (1938), Brother Orchid (1940) and the last, Key Largo (1948) with Lauren Bacall, Claire Trevor and Lionel Barrymore. All were quite entertaining and can be revisited often. As for Cagney, he and Humphrey Bogart starred in three films together: Angels with Dirty Faces (1938), directed by Michael Curtiz, The Oklahoma Kid (1939), directed by Lloyd Bacon, Roaring Twenties (1939), directed by Raoul Walsh. Angels with Dirty Faces, would also star Pat O’Brien, the Warner Brothers regular Ann Sheridan and introduced, the Dead End Kids, or as they were later known the Bowery Boys. He would also make another Western film, Virginia City (1940) starring Errol Flynn and Randolph Scott. The film is very entertaining, Bogart’s role is secondary. He’s just another “bad guy!”                                                                                   

The Roaring Twenties, was quite entertaining and one of the leads was Gladys George, who would have a bit role in The Maltese Falcon, as Iva Archer, the widow of Bogart/Sam Spade’s partner, Miles Archer. In the film, she and Bogart/Spade supposedly had a love affair. As for The Oklahoma Kid, it is best forgotten. Bogart made two films with Raft, Invisible Stripes (1939) directed by Lloyd Bacon and They Drive by Night (1940), directed by Raoul Walsh, also with Ann Sheridan and Ida Lupino. It is actually a well-done film and the passive Bogart would hardly be recognized.. Raft turned down many roles, didn’t get along with Bogart and said about himself, “I can’t act… I’m afraid to look, because I am probably awful. I am afraid I must be myself, do things that seem natural to me.” Raft was basically a dancer, hung out with gangsters and was a buddy of Owny Madden, an associate of Dutch Schultz. Madden was probably best known for owning the famous Cotton Club in Harlem, a mecca for New York City nightlife in the 1930s. The club originally belonged to famed black prizefighter Jack Johnson, but Madden forced Johnson to sell him the club and then instituted a strict “whites only” policy (all blacks, whether employees or performers, were forbidden to enter by the front door, and no blacks whatsoever were allowed into the club as patrons.)

George Raft turned down so many film roles that ended up going to Humphrey Bogart, who catapulted to stardom from these roles? It seems that Raft had to have been one of the least savvy actors in Hollywood! It was in Invisible Stripes, where Bogart met William Holden. They did not get along and “bad blood” would last for years. When they starred in Sabrina, (1954), directed by Billy Wilder, they actually got in a fist fight. Bogart was unhappy with how close Holden was with Audrey Hepburn. During production of the film, Hepburn and Holden entered into a brief but passionate and much-publicized love affair. Bogart had originally wanted his wife Lauren Bacall to be cast as Sabrina. He complained that Hepburn required too many takes to get her dialogue right and pointed out her inexperience.

Bogart was unhappy during the filming, convinced that he was totally wrong for this kind of film, mad at not being Wilder’s first choice, and not liking Holden or Wilder. But Wilder’s offbeat casting produced a performance that critics generally considered successful. Bogart later apologized to Wilder for his behavior on set, citing problems in his personal life. By the way, the film was reviewed quite enthusiastically, especially by Bosley Crowther of the NY Times and holds up today.

In spite of his success, Warner Bros. had no interest in raising Bogart’s profile. His roles were repetitive and physically demanding; studios were not yet air-conditioned and his tightly scheduled job at Warner’s was anything but the indolent and “peachy” actor’s life he hoped for. Although Bogart disliked the roles chosen for him, he worked steadily.          “In the first 34 pictures” for Warner’s, “I was shot in 12, electrocuted or hanged in 8, and was a jailbird in 9.” He averaged a film every two months between 1936 and 1940, sometimes working on two films at the same time. Bogart used these years to begin developing his film persona: a wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a code of honor.

Amenities at Warner’s were few, compared to the prestigious Metro-Goldwyn-Mayer. Bogart thought that the Warner’s wardrobe department was cheap, and often wore his own suits in his films. He chose his own dog named Zero, to play Pard (his character’s dog) in High Sierra. His disputes with Warner Bros. over roles and money were similar to those waged by the studio with more established and less malleable stars such as Bette Davis and James Cagney. In between High Sierra and The Maltese Falcon was Wagons Roll at Night (1941) a forgettable circus story, with the fetching Sylvia Sidney (who was also in Dead End with Bogart. She was born in the Bronx, and was a friend of my father’s a number of years before he was married in 1935) the WWII hero, Eddie Albert, who had a run in with the HUAC witch hunters and the young, and the 16 year old Joan Leslie, better known for Sgt. York, Yankee Doodle Dandy and Rhapsody in Blue.. She was also in High Sierra.

Most of the studio’s better scripts went to them or others, leaving Bogart with what was left: films like San Quentin (1937), Racket Busters (1938), and You Can’t Get Away with Murder (1939). His only leading role during this period was in Dead End (1937) also with the Dead End Kids aka the Bowery Boys., on loan to Samuel Goldwyn, as a gangster modeled after Baby Face Nelson.

Bogart played violent roles so often that in Nevil Shute’s 1939 novel, What Happened to the Corbetts, the protagonist replies “I’ve seen Humphrey Bogart with one often enough” when asked if he knows how to operate an automatic weapon. Although he played a variety of supporting roles in films such as Angels with Dirty Faces (1938), Bogart’s roles were either rivals of characters played by Cagney and Robinson or a secondary member of their gang. In Black Legion (1937), a movie Graham Greene described as “intelligent and exciting, if rather earnest”, he played a good man who was caught up with (and destroyed by) a racist organization. The studio cast Bogart as a wrestling promoter in Swing Your Lady (1938), a “hillbilly musical” which he reportedly considered his worst film performance. He played a rejuvenated, formerly-dead scientist in The Return of Doctor X (1939), his only horror film: “If it’d been Jack Warner’s blood … I wouldn’t have minded so much. The trouble was they were drinking mine and I was making this stinking movie.” His wife, Mary Phillips, had a stage hit in A Touch of Brimstone and refused to abandon her Broadway career for Hollywood. After the play closed, Mary relented; but, she insisted on continuing her career, however, and they divorced in 1937.

After his divorce, he married his 3rd wife, the volatile and alcoholic actress Mayo Methot (1904-1951). She was an extremely unstable and jealous partner. Bogart would be in for trouble over the next number of years fraught with drinking and very public fights with Methot.

His big breakthrough came in 1941, almost by accident. High Sierra (1941, directed by Raoul Walsh) featured a screenplay written by John Huston, Bogart’s friend and drinking partner, adapted from a novel by W. R. Burnett, author of the novel on which Little Caesar was based. Paul Muni, George Raft, Cagney and Robinson turned down the lead role, giving Bogart the opportunity to play a character with some depth. Walsh initially opposed Bogart’s casting, preferring Raft for the part. It was Bogart’s last major film as a gangster; a supporting role followed in The Big Shot, released in 1942. He worked well with Ida Lupino, sparking jealousy from Mayo Methot.

The film cemented a strong personal and professional connection between Bogart and Huston. Bogart admired (and somewhat envied) Huston for his skill as a writer; a poor student, Bogart was a lifelong reader. He could quote Plato, Alexander Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare, and subscribed to the Harvard Law Review. Bogart admired writers; some of his best friends were screenwriters, including, Louis Bromfield, Nathaniel Benchley, and Nunnally Johnson.  Now regarded as a classic film noir, The Maltese Falcon (1941) was John Huston’s directorial debut. Based on the Dashiell Hammett novel, it was first serialized in the pulp magazine Black Mask in 1929 and was the basis of two earlier film versions; the second was Satan Met a Lady (1936), starring Bette Davis. Producer Hal B. Wallis initially offered to cast George Raft as leading man, but Raft (then better known than Bogart) had a contract stipulating he was not required to appear in remakes. Fearing that it would be nothing more than a sanitized version of the pre-Production Code The Maltese Falcon (1931), Raft turned down the role to make Manpower with director Raoul Walsh, with whom he had worked on The Bowery in 1933. Huston then eagerly accepted Bogart as “his” Sam Spade.

Complementing Bogart were co-stars: Sydney Greenstreet, Peter Lorre, Elisha Cook Jr., and Mary Astor as the treacherous female foil. Bogart’s sharp timing and facial expressions were praised by the cast and director as vital to the film’s quick action and rapid-fire dialogue. It was a commercial hit, and a major triumph for Huston. Bogart was unusually happy with the film: “It is practically a masterpiece. I don’t have many things I’m proud of … but that’s one.”                                                  

As a follow up to the success The Maltese Falcon, Warner’s put together Across the Pacific  a 1942 American spy thriller set on the eve of the entry of the United States into World War II. It was directed first by John Huston, then by Vincent Sherman after Huston joined the United States Army Signal Corps. It featured Humphrey Bogart as the lead, with some of the cast from the Maltese Falcon Mary Astor along with Sydney Greenstreet. Despite the title, the action never progresses across the Pacific, concluding in Panama. The original script portrayed an attempt to avert a Japanese plan to invade Pearl Harbor. When the real-life attack on Pearl Harbor occurred, production was shut down for three months, resuming on March 2, 1942 with a revised script changing the target to Panama. It is a very entertaining film and it reunites Bogart with the great pre-code and controversial, beauty Mary Astor.                                                                                                                                                                                                        

Bogart played his first romantic lead in Casablanca (1942): Rick Blaine, an expatriate nightclub owner hiding from a suspicious past and negotiating a fine line among Nazis, the French underground, the Vichy prefect and unresolved feelings for his ex-girlfriend. Bosley Crowther wrote in his November 1942 New York Times review that Bogart’s character was used “to inject a cold point of tough resistance to evil forces afoot in Europe today” The film, directed by Michael Curtiz and produced by Hal Wallis, featured Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson. As everyone knows today, almost every line is famous. Again, Bogart was cast as the anti-hero and defined by Claude Rains, the Chief of Police. Captain Louie Renault. Renault, asked Rick (Bogart) why he came to Casablanca. He answered, “I came for the waters!” Renault/Rains responded, “But we are in the desert!” Without batting an eye, Rick/Bogart responds, “I was misinformed!” There are so many memorable lines, that some critics in the early years after its original success accused it of being filled with clichés. –“The Germans wore gray, you wore blue!”  “What I’ve got to do, you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” Rick/Bogart to Reanualt/ Rains, “How can you close me up? On what grounds? “I’m shocked! Shocked to find that gambling is going on in here.” Of course the scene ends with the classic, “Your winnings, sir.” Major Strasser /Conrad Veidt “What is your nationality? Rock/ Bogart “I’m a drunkard.” Renault/Rains, “That makes Rick a citizen of the world.” Rock/ Bogart to Ilsa, “And you never will. But, I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t be any part of, Ilsa. I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” Rick/Bogart, “Of all the gin joints, in all the towns, in all the world, she walks into mine.”  Renault/Rains, “Rick, Major Strasser is one of the reasons the 3rd Reich enjoys the reputation it has today!”

Bogart and Bergman’s on-screen relationship was based on professionalism rather than actual rapport, although Mayo Methot assumed otherwise. Off the set, the co-stars hardly spoke. Bergman (who had a reputation for affairs with her leading men) later said about Bogart, “I kissed him but I never knew him.”  Because she was tall, Bogart had 3” blocks on his shoes.                                                                                                              

                                                                                                                                                                                                                             Bogart is reported to have been responsible for the notion that Rick Blaine should be portrayed              as a chess player, a metaphor for the relationships he maintained with friends, enemies, and allies. He played tournament-level chess (one division below master) in real life, often enjoying games with crew members and cast but finding his better in Paul Henreid.  He also made the excellent and very realistic war film, Action in the North Atlantic (1942) with Raymond Massey and many other regulars from the Warner’s lot, including; Alan Hale Jr., Sam Levine and the up and coming Dane Clark, who the studio was grooming to be an eventual replacement for Bogart.

Meanwhile, Casablanca won the Academy Award, for Best Picture, at the 16th Academy Awards for 1943. Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine. The film vaulted Bogart from fourth place to first in the studio’s roster, however, finally over-taking James Cagney. He more than doubled his annual salary to over $460,000 by 1946, making him the world’s highest-paid actor. Bogart would make two more films with Greenstreet, Passage to Marseille, (1944) and Conflict (1945). Bogart would also make a few films with Peter Lorre, aside from the Maltese Falcon, Casablanca and Passage to Marseille he made the spy/comedy,  All Through the Night (1942) playing a NYC character named “Gloves” Donahue and Beat the Devil (1953), a clever little film about swindlers and uranium mines.                                                                                                                                               

                   Bogart went on United Service Organizations (USO) and War Bond tours with Methot in 1943 and 1944, making arduous trips to Italy and North Africa (including Casablanca). He was still required to perform in films with weak scripts, leading to conflicts with the front office. He starred in Conflict (1945) again with Greenstreet), but turned down God is My Co-Pilot that year.

                                                                                                                                                                           Howard Hawks introduced Bogart and Lauren Bacall (1924–2014, born Betty Perske and known to her friends as Betty) while Bogart was filming Passage to Marseille (1944). The three subsequently collaborated on To Have and Have Not (1944), a loose adaptation of the Ernest Hemingway novel, and Bacall’s film debut. It has several similarities to Casablanca: the same kind of hero and enemies, and a piano player (portrayed this time by Hoagy Carmichael) as a supporting character. When they met, Bacall was 19 and Bogart 44; he nicknamed her “Baby.” A model since age 16, she had appeared in two failed plays. Bogart was attracted by Bacall’s high cheekbones, green eyes, tawny blond hair, lean body, maturity, poise and earthy, outspoken honesty; he reportedly said, “I just saw your test. We’ll have a lot of fun together”

                                                                                                                                                                      However, Hawks began to disapprove of the relationship. He considered himself Bacall’s protector and mentor, and Bogart was usurping that role. Not usually drawn to his starlets, the married director also fell for Bacall; he told her that she meant nothing to Bogart and threatened to send her to the poverty-row studio Monogram Pictures. Bogart calmed her down, and then went after Hawks; Jack Warner settled the dispute, and filming resumed. Hawks said about Bacall, “Bogie fell in love wth the character she played, so she had to keep playing it the rest of her life.”

                                                                                                                                                            Months after wrapping up To Have and Have Not, Bogart and Bacall were reunited for an encore: the film noir The Big Sleep (1946), based on the novel by Raymond Chandler with script help from William Faulkner. This film was always quite confusing, and over the years even the author couldn’t explain all the parts. Frankly, it was a big success and has been shown constantly on television.

The dialogue, especially in the added scenes supplied by Hawks, was full of sexual innuendo. The film was successful, although some critics found its plot confusing and overly complicated. According to Chandler, Hawks and Bogart argued about who killed the chauffeur; when Chandler received an inquiry by telegram, he could not provide an answer.

                                                                                                                                                                Bogart filed for divorce from Mayo Methot in February 1945. Her drinking, jealousy and public spectacles had worn out her welcome. He and Bacall married in a small ceremony at the country home of Bogart’s close friend, Pulitzer Prize-winning author Louis Bromfield, at Malabar Farm (near Lucas, Ohio) on May 21, 1945. They moved into a $160,000 ($2,410,000 in 2021) white brick mansion in an exclusive neighborhood of Los Angeles’ Holmby Hills. Bogart and Bacall both had affairs but they never stopped loving each other; a fact Bacall mentions throughout her memoir “By Myself,” Bacall, in a 1997 Parade Magazine cover story told reporter Dotson Rader that Bogart said ‘If you want a career more than anything, I will do everything I can to help you, and I will send you on your way, but I will not marry you.” As Bogart said, “I’ve been through it and I know it doesn’t                                                                     work.” He was right. “He loved me and wanted me with him. I made the deal, and I stuck to it, and I’m damn glad that I did.”

                                                                                                                                                        Bogart bought the Santana, a 55-foot sailing yacht, from actor Dick Powell in 1945. He found the sea a sanctuary and spent about thirty weekends a year on the water, with a particular fondness for sailing around Catalina Island: “An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be.” Bogart joined the Coast Guard Temporary Reserve (a forerunner of the modern Coast Guard Auxiliary), offering the Coast Guard use of the Santana. He reportedly attempted to enlist, but was turned down due to his age.

The suspenseful Dark Passage (1947) was Bogart and Bacall’s next collaboration. Vincent Parry/Bogart is intent on finding the real murderer for a crime of which he was convicted and sentenced to prison. According to Bogart’s biographer, Stefan Kanfer, it was “a production line film noir with no particular distinction.” I thought the film set in San Francisco, centered on and around famed Lombard Street was quite intriguing and entertaining. There were some suppositions that tested credulity, but that’s Hollywood. Two other interesting films of 1947, were Dead Reckoning and The Two Mrs. Carrolls, with Lizabeth Scott in the former and the latter with Barbara Stanwyck and Alexis Smith, two very skilled and veteran Hollywood stars.

                                                                                                                                                                              Bogart and Bacall’s last pairing in a film was in Key Largo (1948). Directed by John Huston, Edward G. Robinson was billed second (behind Bogart) as gangster Johnny Rocco: a seething, older synthesis of many of his early bad-guy roles. The billing question was hard-fought and at the end of at least one of the trailers, Robinson is listed above Bogart in a list of the actors’ names in the last frame; and in the film itself, Robinson’s name, appearing between Bogart’s and Bacall’s, is pictured slightly higher onscreen than the other two. Robinson had top billing over Bogart in their four previous films together. By the way, veteran actress, Clair Trevor received an Academy Award for her supporting role.

                                                                                                                                                               Riding high in 1947, with a new contract which provided limited script refusal and the right to form his own production company, Bogart rejoined with John Huston for The Treasure of the Sierra Madre: a stark tale of greed among three gold prospectors in Mexico. Lacking a love interest or a happy ending, it was considered a risky project. Bogart later said about co-star (and John Huston’s father) Walter Huston, “He’s probably the only performer in Hollywood to whom I’d gladly lose a scene.” Walter Huston was the father of directed John Huston and he had a small role in The Maltese Falcon, as Captain Jacoby, the master of the La Poloma. Though shot with bullets, he carries the Falcon to Sam Spade’s office.

                                                                                                                                                             The film was shot in the heat of summer for greater realism and atmosphere and was grueling to make. James Agee wrote, “Bogart does a wonderful job with this character … miles ahead of the very good work he has done before.” Although John Huston won the Academy Award for Best Director and screenplay and his father won the Best Supporting Actor award, the film had mediocre box-office results. Bogart complained, “An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it.” Bruce Bennet, who was a former Olympic Silver Medalist for the shot put, (1928) whose name was Herman Brix, was also in the excellent cast. Bennett, who was a husband of the character of Mildred Piece/Joan Crawford, in the film of the same name, was also in another terrific Bogart film of the 1940’s, Sahara (1943). This American action war film directed by Zoltán Korda and starred Humphrey Bogart as an American tank commander in Libya who, along with a handful of Allied soldiers, tries to defend an isolated well with a limited supply of water from a German Afrika Korps battalion during the Western Desert campaign of World War II. It took place around the time of the great British victory at the 2nd Battle of El Alamein. It had a fantastic international cast, and reflected the Allied armies make up. Critics praised the film for its blend of action, suspense and poignancy. J. Carrol Naish earned an Oscar nomination Best Supporting Actor for his role as an Italian prisoner; Rudolph Maté was nominated for Best Cinematography (Black-and-White); and John Livadary was nominated for Best Sound. Bogart created his film company, Santana Productions (named after his yacht and the cabin cruiser in Key Largo), in 1948. The right to create his own company had left Jack Warner furious, fearful that other stars would do the same and further erode the major studios’ power. In addition to pressure from freelancing actors such as Bogart, James Stewart, and Henry Fonda, they were beginning to buckle from the impact of television and the enforcement of antitrust laws which broke up theater chains. Bogart appeared in his final films for Warner’s, Chain Lightning (1950) and The Enforcer (1951). He would make In A Lonely Place (1950), Beat the Devil (1953), Knock on Any Door (1949), Sirocco (1951), Tokyo Joe (1949). Although most lost money at the box office (ultimately forcing Santana’s sale), at least two retain a reputation; In a Lonely Place is considered a film-noir high point. Bogart plays Dixon Steele, an embittered writer with a violent reputation who is the primary suspect in the murder of a young woman and falls in love with failed actress Laurel (Gloria Graham.)

                                                                                                                                                           After these lower budge films, two outstanding ones would follow; The African Queen (1951) with Katherine Hepburn, also directed by John Houston and The Caine Mutiny (1954).directed by Edward Dmytryk. He won the Academy Award, for The African Queen after three nominations! His performance as cantankerous skipper Charlie Allnutt he considered it the best of his film career. Promising friends that if he won his speech would break the convention of thanking everyone in sight, Bogart advised Claire Trevor when she was nominated for Key Largo to “just say you did it all yourself and don’t thank anyone”. When Bogart won, however, he said: “It’s a long way from the Belgian Congo to the stage of this theatre. It’s nicer to be here. Thank you very much … No one does it alone!”

                                                                                                                                                             Bogart dropped his asking price to obtain the role of Captain Queeg in Edward Dmytryk’s drama, The Caine Mutiny (1954). Though he retained some of his old bitterness about having to do so, he delivered a strong performance in the lead; he received his final Oscar nomination and was the subject of a June 7, 1954 Time Magazine cover story. Despite his success, Bogart was still melancholy; he grumbled to (and feuded with) the studio, while his health began to deteriorate. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart’s Queeg is a paranoid, self-pitying character whose small-mindedness eventually destroys him. Henry Fonda played a different role in the Broadway version of The Caine Mutiny, generating publicity for the film.

                                                                                                                                                           Later films would include the aforementioned Sabrina, The Barefoot Contessa (1954) directed by Joseph Mankiewicz, The Harder They Fall (1956), Were No Angels, and The Left Hand of God.

After signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. In 1955, however, his health was failing. In the wake of Santana, Bogart had formed a new company and had plans for a film (Melville Goodwin, U.S.A.) in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore, though, and he dropped the project.

                                                                                                                                                                A heavy smoker and drinker, Bogart had developed esophageal cancer. He did not talk about his health and visited a doctor in January 1956 after considerable persuasion from Bacall. The disease worsened and several weeks later, on March 1, Bogart had surgery to remove his esophagus, two lymph nodes and a rib. The surgery was unsuccessful, and chemotherapy followed. He had additional surgery in November 1956, when the cancer had metastasized. Although he became too weak to walk up and down stairs, he joked despite the pain: “Put me in the dumbwaiter and I’ll ride down to the first floor in style.” It was then altered to accommodate his wheelchair. Frank Sinatra, Katharine Hepburn, and Spencer Tracy visited him on January 13, 1957. In an interview, Hepburn said: Spence patted him on the shoulder and said, “Goodnight, Bogie.” Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence’s hand with his own and said, “Goodbye, Spence.” Spence’s heart stood still. He understood.

                                                                                                                                                          Bogart lapsed into a coma and died the following day, 20 days after his 57th birthday; at the time of his death he weighed only 80 A simple funeral was held at All Saints Episcopal Church, with music by Bogart’s favorite composers, Bach and Debussy.

 

 

 

 

 

 

 

 

 

 

The Golden Age of Hollywood, What and Who Will be Remembered! June, 2023

From 1920 through 1940 was probably considered Hollywood’s Golden Age. In the early part of this era, Hollywood had come of age with the change from dominance of the Director, to that of the Star. The early films were dominated by directors from DW Griffith to stage directors from the theater to foreigners, like Erich von Stroheim (in actuality, his name was Erich Oswald Stroheim, and he was Jewish and not a Junker), who’s masterpiece was Greed and others as Joseph von Sternberg to the great comic directors Max Sennett and Charlie Chaplin.

The Hollywood Moguls, who ran the major studios: MGM, Paramount, Columbia, and Warner Brothers, went through a consolidation period and by the mid to late 20’s their ownership was securely in place. People like Louis B. Mayer, Jack Warner, Adolph Zuckor, and Harry Cohn, became household names. Other competitors would come into the business like United Artists, as stars Mary Pickford, Douglas Fairbanks, the lighting personnel and all the others. Of course, beyond Chaplin, Pickford and Fairbanks there was the concerted effort to import Europeans to Hollywood, The greatest of those, Charlie Chaplin, along with film producer and director, DW Griffith decided to make their own movies. Smaller firms would eventually emerge like RKO, Universal, International along with independent producers; the most notable being Samuel Goldwyn and Louis B. Mayer’s son in law, David O. Selznick of “Gone With the Wind” fame. Eventually the last big player to emerge was 20th Century-Fox.

Thus, the Golden Age went from the dominance of the Director to the rise of the Hollywood Star. The studios decided to make stars of actors, sign them to long-term contracts and use them as they wished. In this way, they had much greater control of their industry. The Director became a hired hand, just like the writers, and all the other components of making films, from the camera operators, to the film editors,  was Rudolf Valentino, and others like Vilma Banky, and Ramon Navarro. In the same vein, other American stars of that era were Buster Keaton, John Barrymore, Lon Chaney, and Lilian Gish. Eventually, one star would preempt and eclipse all the others, foreign and native born, Greta Garbo. She would be a major star in both eras of the Golden Age.

As the Silent Era basically ended in 1927 with The Jazz Singer, and its dynamic star Al Jolson. The Sound Era, of Talking Pictures would kill off almost all the great stars of the silent era, including the Gish sisters, Mary Pickford, Fairbanks, Navarro (Valentino had died in 1926 at age 31), John Gilbert, Lon Chaney and many, many others, who were unable to have the proper speaking voice, unable to read lines, or had heavy foreign accents. The ones who remained were mostly stage actors, with great voices like Ronald Colman, John Barrymore, Leslie Howard, and others who were able to speak well and deliver their lines, like Claudette Colbert, Myrna Loy, Mary Astor, Gary Cooper, Clark Gable, Joan Crawford, Carol Lombard, William Powell, and Boris Karloff.

Thus, the Golden Era of twenty years could be divided into two distinct eras; 1920 to 1929 and 1930 to 1940, when WWII started to change the whole dynamic of Hollywood. In the latter era scores of Jewish and other European refugees flocked to both America and Hollywood.

The beginning of the New Age and thus the eventual decline of Hollywood and the studio system would probably have begun with Casablanca which featured mostly foreign actors, aside from the main star, Humphrey Bogart, which included; Ingrid Bergman, Paul Henreid, Sidney Greenstreet, Conrad Veidt, Peter Lorre, Claude Rains, and European refugees: most notably, Madeleine Lebeau, Leonid Kinsley, Curt Bois, SZ Sakall, Marcel Dalio, Ludwig Stossel, Wolfgang Zilzer and their Director, Michael Curtiz ( a Hungarian Jew, born Mano Kaminer).

Historically, the most profitable era of Hollywood’s Golden Age expanded exponentially as the talking movies emerged in the period from 1928 through 1930. The Hollywood studios also began to build and buy up the existing inventory of movie theaters. This allowed hundreds, if not thousands, of “in-house” outlets for immediate distribution of films. But, in the postwar era that would change dramatically. Eventually United States v. Paramount Pictures, Inc.,(1948) (also known as the Hollywood Antitrust Case of 1948,) a landmark United States Supreme Court antitrust case decided the fate of film studios owning their own theatres and holding exclusivity rights on which theatres would show their movies. It would also change the way Hollywood movies were produced, distributed, and exhibited. The Supreme Court affirmed (a District Court’s ruling) in this case that the existing distribution scheme was in violation of the United States antitrust law, which prohibit certain exclusive dealing arrangements. In plain language, the studios were force to sell the theaters.

The case is important both in U.S. antitrust law and film history. In the former, it remains a landmark decision in vertical integration cases; in the latter, it is responsible for putting an end to the old Hollywood studio system. Another earlier ruling, emerged from the contractual system used universally in Hollywood. Industry lawyers in the 1920s, 1930s, and 1940s took the position that an exclusive personal services contract should be treated as suspended during the periods when the artist was not actually working. Since no artist could be working every single day (that is, including holidays and weekends), this interpretation meant that two, or later seven, years of actual service would be spread over a much longer calendar period, thus extending the time during which the studio system had complete control of a young artist’s career.

In response, actress Olivia de Havilland filed a lawsuit on August 23, 1943 against Warner Bros. which was backed by the Screen Actors Guild. The lawsuit resulted in a landmark decision of the California Court of Appeal for the Second District in De Havilland’s favor on December 8, 1944. In a unanimous opinion signed by Justice Clement Lawrence Shinn, the three-justice panel adopted the common sense view that seven years from the commencement of service means seven calendar years. Since De Havilland had started performance under her Warner annual contract on May 5, 1936 (which had been renewed six times pursuant to its terms since then), and seven calendar years had elapsed from that date, the contract was no longer enforceable and she was free to seek projects with other studios.

Another earlier case served to erode the almighty power of the studios. Bette Davis, a major star under contract to Warner Brothers, was unhappy with the type of pictures she was forced to make by the studio. She also felt that to advance in her career meant being offered good scripts with talented directors. However, in the studio era of Hollywood, actors had very little control about what films they were offered. In 1936, she left in protest and went to England on a two film deal. The studio, however, procured an injunction against her for having left the States to do films in England. She fought back by taking them to court. Unfortunately, she lost the battle — yet, all the more remarkably, rather than being blackballed by the studio, from then on she started getting the kind of parts she felt she deserved. The power of the studios wasn’t broken, but the ability of major stars to balk at what they were assigned, go into voluntary retirement, for a time, or create adverse headlines, started the erosion of studio power.

As this Golden Age continues to fade into the past, movies made before WWII are now over 80 years old. The original audiences for those films are mostly gone, and the generation of their children is aging quickly. Most of the Baby Boomers who were born right after WWII and grew up with those movies and the star system, are in their 70s. Their grandchildren will mature almost 100 years after the start of WWII. With that in mind, will this generation care about these movies?

What then will be the memorable films that this new generation watches? Will they ignore almost all the black and white films? Will they reject the films that showed American Blacks, Italians and other ethnics in deprecating roles? What will their feelings be about the films which ignored the reality of the rise of fascism in Europe? Almost all the studios ignored the rise of the Nazi regime in Germany and the abuse of their Jewish population, except Warner Brothers. Even the mere mention of Jews being victims in Germany were removed from films like, Mr Skeffington. Great films like, Gone With the Wind along with others about the antebellum era like, Jezebel, The Little Foxes, The Little Rebel, Young Abe Lincoln, Showboat seem to have denigrated the incredible abuse and brutality of slavery. In fact, it basically ignored one of the greatest crimes in history. Almost all the roles in Hollywood offered to Black Americans were in subservient roles, as: maids, servants, street cleaners, porters, etc. In truth, those were the jobs that most Blacks were allowed to have. They weren’t the only groups who were stereotyped.

Of course, there were many great films in that era, which culminated in their most memorable year, 1939, with pictures like the afore mentioned Gone With the Wind, The Wizard of Oz, The Hunchback of Notre Dame, Mr. Smith Goes to Washington, Dark Victory, Gunga Din, Ninotchka, and Goodbye Mr. Chips. Many of these same films are still quite enjoyable, certainly well made, and to a degree, relevant.  As for Mr. Smith Goes to Washington, it was an enjoyable film that was hardly realistic, but it certainly sent a message. Let us not forget that in 1938, and other years there were some wonderful films, but are they really relevant to audiences 80 to100 years distant, in the 21st Century? Are they mostly a stylized, unrealistic, and romantic view of life in America, which distorted the world as it really existed?  As WWII changed the reality of thinking around the world, one very stark, and realistic Hollywood film, The Grapes of Wrath, released in in 1940, comes to mind.  No other film of that period so graphically illustrated the desperation of the Great Depression and the Dust Bowl that devastated Oklahoma and the heartland of America.

There have been countless books on that era and the major films from the beginning of the modern era of movies until our entry into WWII.  Of course, not long after this Era started to wane, two films came forward that are widely accepted as the best of the best, Citizen Kane (1941) and Casablanca (1942). Both films were quite different from each other. One, Citizen Kane, came from a complete upstart and newcomer to Hollywood, the Boy Genius, Orson Welles. The other, Casablanca, was a pure creature of the studio system from Warner Brothers. No two films of that Era could be so completely different. As for Casablanca, it was dominated by stars with a remarkable cast, bolstered by scores of European refugees. It created a character in Humphrey Bogart, which had been evolving from the Maltese Falcon and High Sierra, both released in 1941. He became the prototype of an anti-hero, the cynical, tough, vulnerable, world-weary, character whose honesty and personal motives were ones to be questioned. After Casablanca, and with over twenty years’ experience as an actor, he would become, at age forty-three, the most enduring star of the postwar era and the 2nd half of the 20th Century. As for the Citizen Kane, its creator and major star, Orson Welles, at age 25, was truly a wunderkind. But, no matter how interesting and brilliant he was, he would never reach that same level of artistic and dramatic achievement and notoriety. By the way, Citizen Kane was made outside the major studios on the lots of RKO Pictures.

As for the stars of the 2nd half of the Golden Era, the ones who come to mind, who I think will be remembered are; Charlie Chaplin, Greta Garbo, Bette Davis, Clark Gable, Humphrey Bogart and Fred Astaire. There are some other marvelous stars, which include, Paul Muni, Frederic March, Ronald Colman, Leslie Howard, Gary Cooper, Katherine Hepburn, Spencer Tracy, William Powell, Carol Lombard, Claudette Colbert, Gary Grant, Jimmy Cagney, Edward G. Robinson, Olivia De Havilland, Joan Crawford, and John Barrymore. Interestingly, a star of the later 1940s and the 1950’s, Gene Kelly, has stated, that in the future, only Fred Astaire will be remembered. He may have a point.

 Hitchcock, “The Dark Side of Genius,” by Donald Ploto

A Perspective By

Richard J. Garfunkel

1-25-2015/update 5-15-20

I just re-read, after a period of many, many years, Donald Spoto’s excellent and unprecedented biography of Alfred Hitchcock, one of the greatest film directors of the 20th Century.

I had always been interested in Hitchcock, and from my young days, in the middle 1950s my parents took me to the movies and I saw many of Hitchcock’s films as they came to the big screen. They were avid fans of his works, and we all watched weekly his television series. He didn’t have much to do with its creativity, but, the themes of each show were always inspired by his vision and droll sense of irony. The special treats were his introductory remarks and his moralistic concluding statement on what had happened. Most of the time, they were the highlight of the production.

As I grew a bit older, I caught up with all of his early works from the Lodger to WWII and then on to Strangers on a Train, which spanned a period from the early 30s to the early 1950s. Hitchcock had a flair for suspense and in his visit to the Center of Advanced Studies at the American Film Institute in Beverly Hills, CA, he discussed at length the difference between the classic “whodunit,” or the difference between mystery and suspense.

I took this direct quotation from one of the last chapters of Spoto’s biography.

There is a great confusion between the words, “mystery” and “suspense.” The two things are absolutely miles apart. Mystery is an intellectual process, like in a “whodunit.” But suspense is essentially an emotional process. You can only get the suspense element going by giving the audience information. I daresay you have seen many films which have mysterious goings-on. You don’t know what is going on, why the man is doing this or that. You are about a third of the way through the film before your realize what it is all about. To me that is absolutely wasted footage, because there is no emotion to it…There is no emotion from the audience… the mystery form has no particular appeal to me, because it is merely a fact of mystifying an audience, which I don’t think is enough.

Hitchcock, unlike other directors, was able to eventually control his “product” and “process” with great originality and uniqueness. This talent and ingenuity harked back to the early days of cinema, when silent film producers and creators like DW Griffith, Charlie Chaplin and a few others were able to control every aspect of their work, from selecting the material, finding the players, writing and re-writing the script, finding the money, of course, and directing the film in the direction and with the message they wanted. As the studio system evolved in the middle to late 1920s, much of this was controlled by the studio heads (Louis B. Mayer, Harry Cohn, Adolph Zukor, and the Warner Brothers) who had actors, writers and technicians under contract, or could borrow or rent contract players from others, buy material, assign producers to guide the business end of the process and hire, and also fire, directors, if they were dissatisfied by the work in progress. As one can learn by this thorough biography, Hitchcock was able to grow dramatically in power and influence when he left London in 1939, for his future career in Hollywood. He was able to sell his name and talent to various producers starting with David O. Selznick, and his success foreshadowed the decline of the Hollywood studios and the rise of the independent producer/director.

 

Of course, time becomes the great judge and determinate of what lasts. The faddish tastes of the moment often whither as more retrospective is given to any subject or work of art.  What thrilled audiences 75 years ago may have zero impact today?

All one has to do is look at the three makings of King Kong or the two versions of Ben Hur, Mutiny on the Bounty, The Manchurian Candidate or even Psycho and see the advances in technology, the short cuts or the differences in casting, style editing and direction.

Interestingly, Hitchcock, like many others, did change. But that change was well within his early notions of the average man/woman caught in often an intractable bind. That bind often was one caused by the legal system, the government, or others who were trying to achieve some goal with the innocent victim in the way.

Aside from the struggle of the average man against injustice, Hitchcock liked to put people in awkward circumstances. Two of the films that come to mind, was his highly rated picture Vertigo and his more controversial WWII film, Lifeboat. In both cases, which are incredibly different individuals have to deal with. In Vertigo, Jimmy Stewart aka Scottie Ferguson has his fear and physical problems with high places exploited. This exploitation leads to murder and retribution. In Lifeboat, a number of survivors of a U-Boat attack are forced to cope with being at sea in a drifting lifeboat, without adequate provisions, and with the prospect of being lost. Hitchcock loved to create suspense with stress.  The survivors must learn how to deal we each other and with the reality that their future depends on a Nazi within their midst.

In Rebecca, Notorious and Suspicion individual relationships are at the heart of ongoing stress, fear, and hyper-anxiety. These films, which take place in the mid-1940s and all create difficulties for the women with their lovers/husbands. In both Rebecca and Suspicion the audience is never sure until the end of the film what will happen to the suffering wife. In both films, Hitchcock is forced to compromise the original author’s intent, and soften the conclusions. In Notorious, we are led into a tangled web of love, marriage, alienation, spying and international politics. In this treatment, the heroine, Ingrid Bergman/Alicia Huberman is basically forced to marry and spy on a man she does not love. Her safety and well-being becomes almost immediately compromised and her real lover, Cary Grant/TR Devlin must decide where his loyalties lie, with her or her mission.

Of course, Hitchcock liked to deal with intrigue and The 39 Steps, The Lady Vanishes, Foreign Correspondent, North by Northwest, The Saboteur and Sabotage all deal with intrigue, spies, espionage and intrigue. In each one, other than Sabotage, the victim is a man or a women, who must convince their casual acquaintance of their sanity and innocence. In each situation, not only is their mental well-being questioned but, their “strange” tale must also be eventually accepted. Aside from that problem, there is always greater threat to life and limb which has to be confronted and eliminated.

Hitchcock, who is married to Alma Reville, a woman he met in his early days as a film maker, has long indulged in fantasy world revolving around many of his leading ladies from; Madeline Carroll, Ingrid Bergman, Joan Fontaine, Doris Day, Kim Novak, Janet Leigh, Vera Miles, to Tippi Hedren. This so-called obsession, seen as a pseudo-sexual longing, often strained their long marriage and working relationship. How profound it really was, is never really understood or even articulated. For sure, Hitchcock himself always seem to believe that eating and often gluttony, was a wonderful counter balance to the lack of sexual activity and experimentation.

After a long, unique and incredible career, Hitchcock, who goes through many psychological changes, reaches his peak of success with Psycho, the suspense thriller dealing with split-personality and misogynist violence. This film, which was released in 1960, seemed to mark a strong artistic and financial rebound for Hitchcock.

Ironically two of his films from 1958 to 1960, became highly rated by the critics. Vertigo, with Jimmy Stewart and Kim Novak, and North by Northwest. In 2012, the British Film Institute’s Sight and Sound magazine polled 846 critics and distributors, and their conclusion was that by 34 votes it was the greatest film of all-time, edging Citizen Kane.  Ten years earlier it trailed Citizen Kane by five votes. My sense is that with both votes, their conclusions were a mighty stretch and a bridge to far. Personally I find their collective opinions either patently ridiculous or inane. Of course, Hitchcock was British and there was a bit of home town and nationalistic pride in their choice.  But, there is no doubt that Vertigo is a good picture, filled with suspense, which over the years grew on many people. Of course, the premise that Kim Novak didn’t know what he was doing was and is farcical. What was she was thinking? In the 1998 American Film Institute’s Top Hundred films of All-Time it was ranked #61. In their next and last published ranking it moved up to #9. Obviously the British, as of 2012,, liked it best!

 

As for the North by Northwest, it was ranked in 1998 as #40 and by, 2007 it slipped to #55. Both films were considered very entertaining, but at least Vertigo had a somewhat believable plot.  As for North by Northwest, which seems, by all ratings, to a very popular and entertaining film, there is nothing believable about any part of it. In fact, every premise from the house (where he has liquor poured down his throat) in Long Island which, was stripped of everything in no time, the stabbing scene in the UN, to the crop duster scene, and its finale on Mount Rushmore, borders on being ludicrous. Cary Grant and Eva Marie Saint are beautiful, James Mason and Martin Landau are evil, and the plot is beyond moronic. At the unbelievable conclusion, they are slipping all over Mount Rushmore while the Feds (whoever they are, they are never identified) in the body of Leo G. Carroll (Topper on TV) are standing around with their thumbs up their rear ends, to put it mildly. In fact, I saw the film today, and it is laughable. Cary Grant aka Roger Thornhill, becomes the typical Hitchcock foil or fool, the man who gets sucked into the vortex of miss-identification,  not unlike the main characters in Saboteur, Strangers on a Train, or The Wrong Man.

 

But, over the last twenty years of his life, he would fail to reach the success of Psycho, no less his earlier work.  The Birds, Torn Curtain, Marnie, Frenzy, Topaz and others, never were able to resonate strongly with more modern audiences, but to the end of his life, Hitchcock was always seeking that new blockbuster. In the movie bio-pic, with Anthony Hopkins, one gets the impression that Hitchcock risked all for the making of Psycho, but in reality he was quite rich from his decades of successful work, and despite his luxurious tastes, his investments were incredibly successful. At his death, in 1980, he left a considerable fortune of over $20 millions.

 

 

 

 

 

 

 

The Rise of the Windsor Dynasty Richard J. Garfunkel September 10, 2022

Windsor Castle was originally built by William the Conqueror in the decade after the Norman Conquest of 1066. William established a defensive ring of motte and bailey castles around London; each was a day’s march – about 20 miles– from the City and from the next castle, allowing for easy reinforcements in a crisis. Windsor Castle, one of this ring of fortifications, was strategically important because of its proximity to both the River Thames, a key medieval route into London, and Windsor Forest, a royal hunting preserve previously used by the Saxon kings

Windsor is one of the many names that the Normans brought with them when they conquered England in 1066. The Windsor family lived in Berkshire, at Windsor Castle. Interestingly, “The Stanwell family claim descent from Walter Fitz-Other (fl. 1087), who held that manor at the time of Domesday Book and was warder of Windsor Castle, whence he derived the name Windsor This was not the only time a family would assume the name of the castle as in 1917, the present Royal family would do the same.

How Did the Royal Family Become the Windsor’s?

The Hanoverians ruled Britain from 1714 through basically through 1837. After the end of the Commonwealth, which ceased in 1659, with the death of Oliver Cromwell’s son Richard, there was a restoration of the Stuart Kings: Charles II and James II. The Stuart Dynasty ended badly in 1688 after the Glorious Revolution. William of Orange had invaded Britain over the continuing conflict, regarding not only succession, but the religious politics regarding the attempted restoration of Catholicism. The attempt to restore the Catholic Church to religious primacy was actuated by the arrest and trial of the Archbishop of Canterbury and six of his Bishops. When they were acquitted, James II attempted to flee Britain, was captured and forced off the throne. He later died in 1701.

His removal brought on the era of the Dutch Reign with the dual monarchy of William and Mary (1689-94) and eventually that of their unmarried daughter Anne (1702-1714). In between, there was the short reign of Mary II another Stuart. With her death brought on the end of the Stuart Line and the three Georges from Hanover, Germany.

The sons of George III were, according to the Duke of Wellington, were “millstones around the neck of any government that can be imagined.” George III lived to age 81 and died blind and deaf on January 29, 1820. Before his death, he had been rumored to be delusional or insane. His eldest son, George Augustus Frederick, was known of the “Prince of Pleasure,” and became the Regent while his father, George III was incapacitated.

His title was conferred by the Regency Act on February 5, 1811. Subject to certain limitations for a period, the prince regent was able to exercise the full powers of the King. The precedent of the Regency Crisis of 1788 (from which George III recovered before it was necessary to appoint a regent) was followed. The Prince of Wales continued as regent until his father’s death in 1820, when he became George IV. This period would be later known as “The Regency,” a period of style, clothing, architecture, excessive spending, and debt. The Regent never deprived himself anything. He fell in love in 1784 with a Roman Catholic widow, Maria Fitzherbert and married her.

Though the ceremony was illegal, and the Prince disclaimed it, the affair shocked the public and infuriated his father George III. Eventually, he was forced to marry Princess Caroline of Brunswick and his private life went from bad to worse. Their relationship was impossible and in fact, he despised her. Eventually, after two weeks she left him for Italy. When the King George III finally died in 1820, she returned to claim her rights as Queen. After divorce proceedings and the efforts of Parliament to deprive her of any claims, the Privy Council decreed that she had no rights to her title. Amazingly, she died two weeks later, and the problem was resolved. George IV never remarried, had no children, but a number of mistresses. Over the next years, his health deteriorated along with his grotesque bulk. In 1830, he suffered a number of strokes and died. Most of his subjects would have agreed with Horace Walpole’s (The youngest son of the first British Prime Minister, Sir Robert Walpole, 1st Earl of Oxford,) view was that “he was a bad son, a bad husband, a bad father, a bad subject, a bad monarch and a bad friend.”

George IV’s only legitimate child Charlotte, died in childbirth in 1817, thirteen years before his death in 1830. There were no younger Hanoverians left in direct line to the throne. His second brother, William, Duke of Clarence, abandoned his mistress of twenty years and the mother of his ten children. After several rebuffs he was accepted by Amelia Adelaide of Saxe-Meiningen, a minor German principality. Though there was rapid births, two daughters died in infancy and there were still born twins, there were never any heirs. The third brother, Edward, Duke of Kent, gave up his French mistress of 25 years and married Victoria of Leiningen. In 1819 they had a daughter, the future Queen Victoria, The fourth brother was Ernest, Duke of Cumberland, was an unpleasant, sexual pervert, already married to a German princess, who was rumored to have murdered her two previous husbands. With all the other siblings, there was no other available heir. Thus, with the death of George IV and the succession of his 75 year old brother, William, the reputation of the monarchy was at a low ebb, and he did little to revive it. There were many struggles with Parliament, the question of a Reform Bill and the problems in Ireland. He dismissed the Prime Minister Lord Melbourne, the last time a monarch was able to do that act, and Robert Peel, became Prime Minister. Peel found he couldn’t govern without a coalition, and William was reluctantly forced reappoint Melbourne. Aside from his gruff and blunt manner, he was regarded with a certain amount of affection, though combined, at times, with a lack of respect, bordering on contempt. He died in 1837 after a bout of pneumonia. The British crown went to his niece Victoria, and the crown of Hanover, barred to women by Salic Law, went to his brother, Ernest Duke of Cumberland.

As Victoria succeeded to the throne, which had been occupied by the three German Kings, known in the words of Sir Sidney Lea, “An imbecile, a profligate, and a buffoon!” Meanwhile, she had been brought up in a cloistered atmosphere by her controlling mother, the Duchess of Kent, who was under total influence of Sir John Conroy, the Comptroller of the Household. Her mother assumed that she would serve as Regent for her young daughter, who she saw as a pliant tool in their hands. Victoria had a strong sense of what she wanted, and was able to break away from her mother’s control and domination. After a period of leaning on dominant men, she met and married, at age 20, Prince Albert of Saxe-Coburg-Gotha, another German. He was bright, innovative, and he guided her skillfully until his death from typhoid in 1861. She entered a prolonged period of mourning as she retreated to her homes in Balmoral. Windsor and Osborn. She would remain out of sight for years, until her Prime Minister, Benjamin Disraeli was able to convince Parliament, against great opposition, to make her Empress of India in 1876. Eventually, in 1887, she celebrated her Golden Jubilee, regained a great deal of popularity and that popularity grew until her Diamond Jubilee in 1897.

She had become a great symbol for Britain, and had rescued the monarchy from the disasters of the Hanoverians and her own retreat from the face of her people. When she died in old age in 1901, there was a definite sense of loss and the end of an era. Her daughter lamented of an England without the Queen’s presence.

It was in 1901, the line of the House of Saxe-Coburg and Gotha (itself a cadet branch of the House of Wettin) succeeded the House of Hanover to the British monarchy, with the accession of King Edward VII, son of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha. In 1917, the name of the British royal house was changed from the German Saxe-Coburg and Gotha to the English Windsor because of anti-German sentiment in the United Kingdom during the First World War.

Victoria’s son, who would become Edward VII, was born Albert Edward. As the Prince of Wales and the Duke of Cornwall, among his numerous titles, was known as Bertie to his family. He was trained by tutors from the age of three to be intellectually disciplined. He married Princess Alexandra of Denmark at age of 22. Victoria never expected much of her son, and she may have been correct. He lived a profligate life and was cited often in divorce proceedings. He was helped by his wife’s “blind” eye to his numerous dalliances. In fact, he had an insatiable appetite for wine, women, song, gluttony and gambling. When he became King, in 1901, after a very long wait until the age 60, he had been given few royal responsibilities .As King, his conduct didn’t improve, it may have worsened. But, he actually was quite popular, and after the austere period of the Victorian Age, his lifestyle and the wealth of Britain opened up a new era, called the Edwardian Age, He had high marks for his ability to influence foreign diplomacy. But his lifestyle caught up with him and after a series of heart attacks, he died on May 6, 1910, only nine years into his reign.

George V was the second son of Edward VII. His older brother Albert was groomed for the crown, but died of pneumonia in 1892. George not only took his older brother’s place, but his fiancée, May of Teck, known later as Queen Mary. After he had become king, following the death of his father Edward VII, the country was in the midst of a dual crisis regarding the limiting of the power of the House of Lords, and a very critical Home Rule Bill. After the war with Germany broke out in 1914, he became a great symbol of patriotism with his visits to the front and his curtailing of royal expenses. Generally, for a quiet and unassuming man, he remained popular, and highly admired. He certainly was not an intellect or terribly educated. His reign was plagued with post WWI problems, a general strike in 1926, and the onset of the Great Depression. During World War, George V declared the following:

Now, therefore, We, out of Our Royal Will and Authority, do hereby declare and announce that as from the date of this Our Royal Proclamation Our House and Family shall be styled and known as the House and Family of Windsor, and that all the descendants in the male line of Our said Grandmother Queen Victoria who are subjects of these Realms, other than female descendants who may marry or may have married, shall bear the said Name of Windsor….

The name had a long association with monarchy in Britain, through the town of Windsor, Berkshire, and Windsor Castle; the link is alluded to in the Round Tower of Windsor Castle being the basis of the badge of the House of Windsor. It was suggested by Arthur Bigge, 1st Baron Stamfordham. Upon hearing that his cousin had changed the name of the British royal house to Windsor and in reference to Shakespeare’s The Merry Wives of Windsor, German Emperor Wilhelm II remarked jokingly that he planned to see “The Merry Wives of Saxe-Coburg-Gotha”.

He had four children, was a stern, unfeeling, distracted and uninvolved parent, as was his wife, Queen Mary. His eldest son, who become Edward VIII, had his own problems. George V was so concerned about his conduct and his shirking of responsibilities that he confessed to a friend, “After I am gone, the boy will ruin himself in twelve months.” But, by 1935, the economy seemed to be improving, he celebrated 25 years on the throne, but his health started to deteriorate from chronic bronchitis. He passed away in January of 1936.

As the monarchy passed to his son Edward, it seemed that his father’s prediction had come true. Edward VIII was a 41 year old bachelor and had been a restless soul, mostly interested in a very fast set and married women. His social proclivities were not covered in the press and he was quite handsome and popular. But, beneath the outward glamour, he was seen, by people who knew him, as lonely and insecure. He had met many women in his years as Prince of Wales, but nothing came close to a suitable marriage. Eventually, he came in contact with the married, and once-divorced American, Wallis Warfield Simpson. Eventually after her 2nd divorce, in October of 1936, he wanted to marry her. A constitutional crisis arose, and since he was head of the Church of England, a marriage to a divorced woman was basically illegal. Thus, the conflict could not be resolved in his favor. He abdicated in 1936 for his brother, George, who was hardly prepared for the role, could not speak well at all, had a horrible speech impediment, but at least had very smart and strong wife. Edward VIII, lived out his life as an exile, spent the war in Bermuda, visited the United States often, and died in 1972. Over the years his reputation has taken a mighty hit, especially regarding his fascist leanings, his visits to the 3rd Reich before the war, and the theories that if Britain was forced to make peace on Nazi Germany’s terms, he would be placed back on the throne.

George VI was a very reluctant king, shy, introspective and the father of two young daughters. In a sense, his eldest daughter Elizabeth was the heir presumptive, assuming Edward VIII had remained king and never had children or her father never had a third child, who was a son. As a young boy he was never strong, had an uneasy relationship with his father and was highly strung. As a child he had developed a stammer. With the help and guidance of his wife, Elizabeth Bowes-Lyon and a speech therapist Lionel Logue, he eventually mastered his stammer. He had been active in WWI, served in the Navy and the Air Force, and became the first member of the Royal family to obtain a pilot’s license. His reign was dominated with the tensions that led to WWII, the war itself, and the difficult recovery Britain suffered through in post war period. He and his wife Elizabeth tirelessly toured the bombed out areas of London and made a narrow escape when Buckingham Palace was bombed. He announced that he was prepared to die there fighting. The King and Queen became incredibly popular, as with his two daughters.

He certainly was worn down by the war, but the worry didn’t kill him, but, for sure, his incessant smoking led to his lung cancer and death in 1952. Of course, that would lead to his daughter Elizabeth ascending the throne, and the rest is history.

As for the Windsor Dynasty- There have been five British monarchs of the House of Windsor since 1917: George V, Edward VIII, George VI, Elizabeth II, and Charles III.

 

 

 

Love? Love is Bullsh*t, Business and Business: A Lesson from Long Ago! Richard J. Garfunkel October 24, 2022

Long ago, and faraway, back in 1964, in another city and state, I was looking for a summer job. For some reason, and I have no clue why, my cousin, Adrienne Wolman’s husband, Buddy (who passed away a number of years ago at age 95) got me a job working for a construction company, Hughes and Hughes, which was located in Scarsdale, NY. It seems that Buddy had a construction supply company, which leased gas-powered, mobile compressors that supplied power for jack hammers, which bore holes in rock. Thus, I wound up at their key location, Murdock Woods, right off Griffin Road at the border of Scarsdale and Mamaroneck. Murdock Woods is situated right in the middle of the confluence of three very nice golf courses, the world famous Winged Foot, where I caddied in the US Open, in 1959, Bonnie Briar and Quaker Ridge.  By the time I got there, about 50% of the lots had been completed. The houses sold in those long ago days for between $50 and $75,000. The houses have been expanded since that day, it seems, and I just looked up the prices on Zillow and they range from $2.5 to $3 million!

But, be that as it may, that is a story for another day. My boss was a fellow named Lee Hall, who must have been around 36 years old. He was a wiry and ruggedly handsome fellow and from Day One, we got along quite well. My basic job was to be a “gofer” for Lee. In other words, if Lee needed something, I would go get it. Often I would drive to places like Mahwah, NJ or Bensonhurst, (Brooklyn), NY to deposit money. They were always transferring money here and there.  I would also pick up plumbing supplies. Sometimes it would be a needed hydrant to connect to the water main or parts for a sink. I would get in my 1957 Chevy and drive into Port Chester, where there was a plumbing supply outlet, next to the old Lifesaver Building, which was on North Main Street and had been built in 1920. (By the way it is still there and is now the home to condos.) Every time I drove down that street, I could smell the Lifesavers.

Life Savers Building is a historic commercial and industrial building located on North Main Street between Horton and Wilkins Avenues at Port Chester, Westchester County, New York. It was built in 1920 and expanded in 1948–1949. It served as a manufacturing facility and headquarters of the Life Savers Candy Company until 1984. It is five stories high and constructed of reinforced concrete, brick, and terra cotta. It features larger-than-life replicas of Life Savers rolls at the foundation line.[2] During its peak period of production in the 1960s, as many as 616 million rolls of Life Savers candy were produced each year in the facility. It was converted into a condominium complex in 1989. It was added to the National Register of Historic Places in 1985.

When I wasn’t running errands, I was working with the roofers, the carpenters, the masons and the demolition folks. I never helped the plumbers or the electricians. These guys were all old, experienced and weather-beaten. They didn’t suffer fools gladly. I just helped where I could, and kept my mouth shut. They sort of left me alone, maybe because I reported to Lee Hall. One thing sticks out glaringly in my mine was carrying up roofing tiles that weighed 67 pounds (each package) apiece on both shoulders. That was exceedingly dumb. Most of the time it was one package. I had quickly learned the folly of my ways.

Speaking of Buddy’s compressors, I actually worked with one of those jack hammers. They weighed at least 100 pounds, and the men who worked them, all had huge frames and big stomachs, and would add “bits” to the end of the main drill as the hole got deeper. Sometimes the extension on the jack hammer drill-bit would reach down 5 or more feet. There was a lot of glacial rock in Westchester that had to be blasted. After the hole was deep enough, the demolition experts would step in and take a stick of dynamite, divide it into quarter pieces, wire each piece, and lower the charges into the drilled hole. Once the charges were set, a back hoe would lift and lower a large, incredibly heavy, iron mesh, blanket on top of the area to contain the blast. It did. But the blast would lift the mesh up a few feet. One never should ever look directly at the blast, for often pebbles do escape and they can be deadly. Once in while one would fly out and break a window 1000 feet away.

Meanwhile, while I was sitting in the office, I picked up the ringing phone. It was a woman who lived in one of the newly occupied houses and wanted to speak to Lee. She was complaining that he had promised for weeks, or maybe months, to fix her driveway. Interestingly, Lee had a way with women, and he called her back and sweet talked her for 10 minutes or so. He said he would get up there as soon as possible. I listened to this interchange and wondered whether he was actually sincere. Right after he got off the phone, he said I’ll tell you a story!

He started to tell me that he had volunteered for the Merchant Marine, during WWII when he was 16, and found his way to Paris after it was liberated in late August of 1944. Sometime later, while in Paris, with tens of thousands of other Allied soldiers and personnel, he went into one of their large bars, which were populated with countless “working” women. Lee happened to sit down next to a very attractive young woman, and within a short time, he was quite enamored with her (on shipboard there are no women) and started to profess his love! Not long after he expressed his emotional interest. She answered, and I quote, “Love is bullsh*t, business is business.” Thus, each time an issue came up with Lee, he said to me, “Remember Paris, Love is bullsh*t, business is business.” I never forgot those sage words.

 

Problems in America, Debt, the Roots of Poverty, and Some Solutions! Richard J. Garfunkel 12-5-2022

Meanwhile, the greatest threats to our Democracy is the concentration of the wealth in the hands of the few, the growing gap between the upper and lower middle class, the ignorance, know-nothing thinking, greed and the venality of Trump and his legion of haters, bigots, and flat-earthers!.  The increase in poverty is related to many factors. The first factor has been the decline of the middle class as our economic society has changed from diamond shape with a large middle class and small levels of the very poor and the very rich and the top and bottoms of the diamond to an hourglass with a small middle class at the pinch of the hourglass along with a large lower middle class and poor on the bottom and with a growing number of upper middle class and rich at the top.

Since Reagan resources have been flowing to the rich through fiscal policies regarding taxation and spending. In 1980, there were 12 billionaires, today there are over 735. The wealth of America has flowed from the large middle class to 735 families which control over $4.7 trillion of America’s wealth, and the 3-4% (12-5 million) who control another $5-2 trillion. The six Walmart heirs, who control $150 billion, have more wealth than the bottom 40% of the American population. This trend was accelerated in the four years of the Trump Administration. In 2016, there were 525 Billionaires and by December of 2022, that number grew to 735 and increase of 40%. Currently Elon Musk’s net worth is estimated to be $219 billion. (who knows now?)

Under Nixon and other presidents there was revenue-sharing to the states, but that has declined. This revenue funded infrastructure projects which created domestic jobs. Under Republican Administrations there has been a trend towards corporate conglomeration, the rise of giant box stores and marginalization of labor. As the influence of trade unions has declined, real wages have not kept up with inflation. Corporate compensation for high paid executives accelerated dramatically from 1970 through 2000, with a 3500% increase in Fortune 500 CEO pay as their wages went from a ratio of 37 to one over their average employee to over 1000 to one. In the same vein they received a tax cut from the Kennedy top bracket of 70% to Reagan’s 28%. The average worker in these companies saw his real wages go up, after discounting inflation, less than 10%. In 2017, US Corporations paid a smaller percentage into the Federal Treasury than at any time since the Federal Income Tax (FIT) was established in 1916.

In 2019, the Federal Reserve published its 40 year (since 1980) evaluation of Asset Allocation. In those 40 years, $21 trillion went to the 1% and $900 billion was lost by the bottom 50%! If one added $4 trillion that was also transferred to the next 3-4% of the top earners, the total transference would be about $25 trillion. As anyone can see, $25 trillion is a lot of money! It basically reflects the Republican incurred deficits (Recessions and recoveries) since the end of Bill Clinton’s 2nd term, when the National Debt stood at $5 trillion. It is now about $30 trillion,

Many on the right complain about the National Debt and its threat to our economic stability, but few are being realistic about what can be done. The Debt cannot be balanced on the backs of people who least can afford to pay or afford to lose vital services. That is a formula for social upheaval and revolution. Again, the National Debt on September 30, 2017, the end of the fiscal year, was $20.4 trillion. On September 30, 2021 the National Debt was $30 trillion. Obama added $6.9 trillion to the Debt in eight years following the Great Recession, the worst economic period we endured since the Great Depression.

In four years, from the end of the Fiscal Year in 2017 until September 30, 2021 the Debt increased $9.6 trillion in just four years. At the end of the Fiscal Year, the National Debt was at $30.9 trillion. If one counts the increase in Debt from January 20, 2017 to January 20, 2021, the debt increased from $19.9 trillion to $27.8 trillion, or $7.9 trillion. Of course, this includes the huge deficits caused by Trump Administration, reflective of tax cuts, an economy that never grew above 3% for the first 18 months of the Trump and ministration and was under 2% for the 15 months before the last quarter of 2019. It also includes the expensive rollout of vaccines, the cost of the recovery, not unlike what faced the Obama Administration from 2009 through 2011.

How to reduce the National Debt:

1. Bring back the Kennedy Era top tax bracket of 70% of incomes over $2 million.
2. Have a minimum tax on all income above $15,000, even with deductions
3. Eliminate the mortgage deduction over $750K
4. Eliminate all generation skipping trusts
5. Cap yearly contributions for the wealthy into IRAs or 401ks
6. Eliminate all overseas tax shelters
7. Raise the Corporation tax back to Clinton Era 39%
8. Eliminate all corporate stock options for executive pay
9. Tax corporate Golden Parachutes at their full value as soon as they are given.
10. Tax corporate health insurance as income for anyone making over $1 million per year
11. Force repatriation of all overseas sheltered income
12. Cut and cap the sale tax in every state to 5% and add a 1% Federal sale tax
13. Cap the property tax, in every state, to 3% with a Homestead rule, limiting any yearly increase.
14. Raise the state income tax to make up the loss on property taxes and fund the public schools statewide.
15. Reinstate the draft for the Army and maintain as a volunteer force the Air Force, Navy and Marines
16. Cut farm subsidies, currently $5 billion, the annual cost for all farm support is between $15 and $35 billion annually.

Causes for poverty

1, Generational poverty, passed from parent to child
2. Failure to take advantage of education, bad parenting
3. Single parent homes and illegitimacy
4. Ignorance resulting from a lack of an education
5. Lack of vocational schools, inability to hold a job
6. Not teaching financial fundamentals to children
7. Poor savings habits, most Americans do not save
8. Excessive credit card debt, inability to manage a personal budget
9. Conspicuous consumption, buying what is not needed
10. The excessive cost of higher education,
11. Endemic regional unemployment, the rise of the Big Box store
12. Lack of Federal revenue-sharing to low income areas
13. The high cost of housing, the lack of federally subsidized housing
14. Lack of workforce housing
15. Healthcare needs, and the lack of insurance
16. Too low of a minimum wage

Illegitimacy has become endemic and it is one of the leading causes of poverty:

By the way, no matter what one’s social proclivity is: illegitimacy is over 50% in America. Today the overwhelming majority of black children are raised in single female-headed families. As early as the 1880s, three-quarters of black families were two-parent. In 1925 New York City, 85 percent of black families were two-parent. One study of 19th-century slave families found that in up to three-fourths of the families, all the children had the same mother and father.

Today’s black illegitimacy rate of nearly 75 percent is also entirely new. In 1940, black illegitimacy stood at 14 percent. It had risen to 25 percent by 1965, when Daniel Patrick Moynihan wrote “The Negro Family: The Case for National Action” and was widely condemned as a racist. By 1980, the black illegitimacy rate had more than doubled, to 56 percent, and it has been growing since. Both during slavery and as late as 1920, a teenage girl raising a child without a man present was rare among blacks. In 2012 29.1% of Hispanic children were born out of wedlock. In that same year, non-Hispanic white illegitimacy was 17.2%. Has it changed in ten years for all groups? Yes, it has gotten worse.

Have Illegitimate Births Reached Crisis Levels?

  • The median age for a woman to become a mother: 25.7 years.
  • Living the Middle Class lifestyle means needing more education than ever before, which is causing couples to put off getting married more often.
  • Cohabiting couples are less likely to have job prospects or economic stability.
  • Only 38% of American women will be married by the time they reach the median age of motherhood.
  • For women who have a high school diploma and some college, 58% of the births to this group are considered illegitimate children.
  • If a couple is living together when they have a child, but not married, then there is a 39% chance of the family unit disintegrating. It’s just 13% for a married couple.

 

 

 

 

The Finding of Tutankhamun and the Myth of the Curse of the Pharaohs Richard J, Garfunkel March 12, 2023

On October 28, 1922 Howard Carter announced to the foreman of his Egyptian excavation crew that he wanted to continue work immediately in his search for the tomb of King Tutankhamun in the Valley of the Kings.

Archeologists only worked a short season in the valley, because by early spring it turned that desolate area into a virtual furnace until late October. Also the tourists would start to arrive in droves in mid-December to visit the burial sites of the pharaohs. Another problem existed, because their current dig blocked the entrance of the tomb of Ramesses VI, which was one of the most popular attractions in the Valley of the Kings. Carter was very concerned after this short season of 1922, that it would be his last effort in the valley. He had just returned from a meeting in England with the Earl of Carnarvon, who had been bear the cost of this excavation for the past 15 years.

Carter was looking for a big prize, the tomb of the young King Tutankhamun, whose short reign had ended around 3200 years earlier. For centuries, few people wandered into this section that was rife with bandits and marauding gangs. It was so dangerous that only in the 19th Century did archeologists venture there.

The Valley of the Kings, the royal burial grounds had been part of the ancient Thebes – the capital of the Egyptian Empire. The valley itself was only a few miles from the West Bank of the Nile – not far from Karnak and Luxor and more than 400 miles south of modern Cairo.

By that time, at least 33 royal tombs had been found on the site’s bedrock, but everyone had been pillaged long before by professional thieves. When something was found by European excavators, it was basically worthless. There were some beautiful objects, but they hardly justified the effort. With all that effort in mind, local experts believed that there was little left to find. But for Carter, who had been exploring that region for 30 years, there were some interesting clues, including a cup with King Tut’s name on it. There was also a cache of jars, with the King’s seal on them with contained some ancient linen wrappings that were used for mummification. The original finder of these artifacts was Theodore M. Davis, a rich, elderly American. He had claimed that King Tut’s tomb could be found, reflected of the evidence of the linen and jars. He was so derided for this thoughts, that he felt chastised and he set aside his discoveries as mostly a failure and worthless. Others, including HE Winlock, director of the Metropolitan Museum, thought otherwise and told Howard Carter his conclusions.

Meanwhile, to avoid conflicts over the rights to excavate, the Egyptian government granted exclusive concessions each year. Davis relinquished his concession in 1914 and Carter persuaded Lord Carnarvon to take it over. Carter devised a theory of where he thought the tomb could be located. His research indicated that only a small area had not been crisscrossed with excavation trenches into the bedrock. There was a small areas bounded by the tombs of Ramesses VI, Merneptah and Ramesses II. One reason this area had been ignored was that it was piled high with rubble, rocks, and sand form the excavation of the tomb of Rameses the VI, who had lived 200 years after Tutankhamun. It had been postulated that King Tut had ascended the throne in 1334 BCE, during the 18th Dynasty, at the age of around nine years. It was also understood that he had reigned for only nine years. During that period it was an era of prosperity, but some religious confusion and fervor.

At this juncture, Carter had returned to England to confer with Carnarvon. Carter, who was a bachelor, had been in Egypt since 1890. He started as a draughtsman and eventually became an inspector for the Egyptian government’s Department of Antiquities. Upon his return, the digging continued as a trench was created. After a few days flint chips were uncovered. This was a mildly encouraging discovery, because rocks like these had been discovered blocking other graves. The next morning, Carter returned, and he noticed a solemn silence all around, which was caused by the stoppage of work, In Carter’s word, “I guessed that something usual had occurred!”: His foreman (a reis) was most excited and said, confidentially that he felt that a beginning of a staircase had been located. Working under Carter’s watchful eye, the workers began the arduous job of clearing the stairs. The top of a doorway came into sight and on the plaster covering that sealed the door were affixed the royal seals of a necropolis – the jackal god, Arubis, above nine defeated foes. It was a thrilling moment for Carter in that valley of deafening silence. Carter was in awe as after decades of work he could be on the very brink of a major discovery. He ordered the stairway filled in again, posted guards around the site and hurried to Luxor to send a cable to Lord Carnarvon. It read, “At last have made wonderful discovery in Valley: a magnificent tomb – with seals intact. Re-covered same for your arrival: congratulations!”

Carnarvon replied that he would arrive in Alexandria with his daughter Lady Evelyn Herbert on November 20th. In those days one took a ferry across the channel to France, a train southward to Marseilles and by ship to Alexandria. From there it was a train ride to Luxor. By the 26th of November, Carnarvon and his daughter were there when more tunnels were found, opened and another sealed door twenty five feet from the first was located. With Carnarvon, his daughter and his assistant AR Callender, he drilled a small hole in the upper left hand corner. They widened the hole a bit. Carter later wrote, “I inserted a candle and peered in! At first I could see nothing as the hot air escaping from the chamber caused the flame to flicker. But, presently as my eyes got accustomed to the light, the details of the room emerged. Slowly from the midst, strange animals, statues and gold everywhere. Everywhere was the glint of gold!”

After their remarkable discovery the grave was blocked by two heavy wooden doors that had been earlier prepared. The next day a portable electric lighting system was set up. The room was packed to the ceiling with countless items. It was filled with items Tutankhamun would need on his journey through infinity. By Christmas, seven weeks later, all the items had been removed to an empty nearby tombs that was set up as storage area and a laboratory.

In the midst of the excavation process inspired speculation that the tomb was cursed. One of the reasons for this myth was the untimely death of Carter’s patron, Lord Carnarvon. He had died of the result of a mosquito bite that had been nicked by a shaving blade of a barber. His health was never robust, the bite became infected and he developed pneumonia and died. Therefore from th day of the discovery of the tomb, gossip abounded that there was a curse on anyone who violated the tomb. (by the way, Carter lived until age 66 in 1939, after a life filled with honors and fame. Arthur Roberts Callender, Carter’s assistant died in 1936 at age 61. Lady Evelyn Herbert, who was born in in 1901 lived to 1980. Lady Evelyn attended the opening of the Tutankhamun 50th anniversary celebrations in 1972, including the Treasures of Tutankhamun exhibition at the British Museum, London, where she was presented to the Queen who was there to open the exhibition.)

Meanwhile, the discovery produced only limited evidence about the history of Tutankhamun’s reign and the Amarna Period that preceded it, but it provided insight into the material culture of wealthy ancient Egyptians as well as patterns of ancient tomb robbery. Tutankhamun became one of the best-known pharaohs, and some artefacts from his tomb, such as his golden funerary mask, are among the best-known artworks from ancient Egypt. Most of the tomb’s goods were sent to the Egyptian Museum in Cairo and are now in the Grand Egyptian Museum in Giza, although Tutankhamun’s mummy and sarcophagus are still on display in the tomb. Flooding and heavy tourist traffic have inflicted damage on the tomb since its discovery, and a replica of the burial chamber has been constructed nearby to reduce tourist pressure on the original tomb.

Carter’s discovery of Tutankhamun’s tomb revived popular interest in Ancient Egypt – ‘Egyptomania‘ – and created “Tutmania”, which influenced popular song and fashion. Carter used this heightened interest to promote his books on the discovery and his lecture tours in Britain, America and Europe. While interest had waned by the mid-1930s,[67] from the early 1970s touring exhibitions of the tomb’s artefacts led to a sustained rise in popularity. This has been reflected in TV dramas, films and books, with Carter’s quest and discovery of the tomb portrayed with varying levels of accuracy. One common element in popular representations of the excavation is the idea of a ‘curse‘. Carter consistently dismissed the suggestion as ‘tommy-rot’, commenting that “the sentiment of the Egyptologist … is not one of fear, but of respect and awe … entirely opposed to foolish superstitions”

The excavations carried out under Davis’s sponsorship are among the most important ever undertaken in the Valley of the Kings: in the course of 12 years about 30 tombs were discovered and/or cleared in his name, the best known among them are KV46 (tomb of Yuya and Tjuyu), KV55 (the Amarna cache), KV57 (tomb of Horemheb) and KV54 (Tutankhamun embalming cache). Most of the objects discovered went to Cairo Museum, where they were displayed in a gallery named ‘Salle Theodore Davis’, with further items presented to the Metropolitan Museum of Art and other American museums. He also published seven volumes laying out his finds.

With Carter’s discovery of KV62, Tutankhamun’s tomb, in 1922, Davis’s opinion that the “valley had been exhausted” was proved wrong. Burton later recalled that when Davis terminated his last excavation in the valley, out of fear of undercutting nearby tombs and pathways, he was only two metres away from discovering the entrance to KV62.

In Luxor, fellow Rhode Islander Charles Wilbour introduced Davis to antiquities dealer Muhammad Mohassib on their first trip up the Nile in 1890. Wilbour had bought from Mohassib for years, and he became a trusted dealer for Davis. Many people bought a number of important pieces from him over the years.

He was an English peer and aristocrat best known as the financial backer of the search for and excavation of Tutankhamun’s tomb in the Valley of the Kings.

In 1907, Lord Carnarvon undertook to sponsor the excavation of nobles’ tombs in Deir el-Bahri, near Thebes. He employed Howard Carter to undertake the work, on the recommendation of Gaston Maspero, director of the Egyptian Antiquities Department. In 1912, Carnarvon published Five Years’ Exploration at Thebes, co-written with Carter, describing their excavations.

In 1914, Lord Carnarvon received the concession to dig in the Valley of the Kings, replacing Theodore Davis who had resigned. Carter again led the work, undertaking a systematic search of the Valley for any tombs missed by previous expeditions, in particular that of the Pharaoh Tutankhamun. Excavations were interrupted during the First World War, but resumed in late 1917.] By 1922, little of significance had been found and Lord Carnarvon decided this would be the final year he would fund the work.

His country house, Highclere Castle, serves as the exterior and upstairs filming location of the ITV/PBS television series Downton Abbey. The below-stairs scenes were filmed on a set in London, as Highclere’s basement is the home of Carnarvon’s Egyptian collection. Highclere is owned by the present earl.

He was British archaeologist and Egyptologist who discovered the intact tomb of the 18th Dynasty Pharaoh Tutankhamun in November 1922, the best-preserved pharaonic tomb ever found in the Valley of the Kings.

Howard Carter was born in Kensington on 9 May 1874, the youngest child (of eleven) of artist and illustrator Samuel John Carter and Martha Joyce Carter (née Sands). His father helped train and develop his artistic talents.

Carter spent much of his childhood with relatives in the Norfolk market town of Swaffham, the birthplace of both his parents. Receiving only limited formal education at Swaffham, he showed talent as an artist. The nearby mansion of the Amherst family, Didlington Hall, contained a sizable collection of Egyptian antiques, which sparked Carter’s interest in that subject. Lady Amherst was impressed by his artistic skills, and in 1891 she prompted the Egypt Exploration Fund (EEF) to send Carter to assist an Amherst family friend, Percy Newberry, in the excavation and recording of Middle Kingdom tombs at Beni Hasan.

Although only 17, Carter was innovative in improving the methods of copying tomb decoration. In 1892, he worked under the tutelage of Flinders Petrie for one season at Amarna, the capital founded by the pharaoh Akhenaten. From 1894 to 1899, he worked with Édouard Naville at Deir el-Bahari, where he recorded the wall reliefs in the temple of Hatshepsut.

 

FDR, Assimilation and Revisionist Thinking and the Holocaust. February 13, 2023 Richard J. Garfunkel

Let me make this clear, it was the Nazis who killed 6 million Jews and caused the death of maybe another 20 million people, directly or indirectly. The American people were against going to war or fighting to save Europe. The American Jewish Community was severely divided about immigration, especially with regards to Eastern European Jews, who had no direct access of escape from the ravages of WWII. The American movie industry, except for Warner Brothers, which was dominated by Jewish interests, refused to discuss Jewish problems in Germany or confront the Nazi treatment of the Jews. Winston Churchill did not save the Western World. The leadership of Franklin D. Roosevelt, his creation of the Arsenal of Democracy, millions of American forces and Russian blood on the Eastern front saved the world from the Nazi Hordes.

Over time, and even now, there have been a series of unfounded accusations, from a number of sources that accuse Franklin Delano Roosevelt of being anti-Semitic and not doing enough for the Jews of Europe, who became victims of the Nazi-inspired and initiated Holocaust. In truth, those accusations are, on their face, a blood libel, hysterical, simplistic, unfounded, historically flawed, and basically ridiculous. Every once in a while, some divisive, provocateur, like Rafael Medoff, publishes another screed trying to prove that FDR was a closet, or an overt anti-Semite.

Over the decades, I have answered his attacks, but basically, hardly anyone really reads Medoff, except people who have had this idea already planted in their minds. Medoff reflects the need of many Jews to explain the Holocaust with the idea that everyone was complicit. Of course, he ignores the fact that many American Jews opposed unlimited or even some Jewish immigration into the United States for a number of reasons: fear of more anti-Semitism, the desire for Jews to go to Palestine to eventually create a Jewish State, or even the idea that they didn’t want any more Eastern European Jews. Yes, there were many American Jews who wanted an “open door” policy on immigration. But, then as today, immigration has always been the 3rd rail of American politics. Since the early 1920s, there were very strict immigration laws passed in conservative Republican Administrations that restricted Eastern Europeans, especially Jews, Catholics from the Mediterranean Basin, Asians and people from the Middle East. In fact, those laws were on the books until the Kennedy Administration. They were based on the Census of 1890, which basically created quotas reflective of the American demographics that existed before the massive immigration that came to America before 1890. The 1921 Immigration Act created the Quota System and the 1924 National Origins Act made it permanent. Therefore, no president was able to change that policy, no matter what trauma existed with regards to international conditions especially any that involved Jews.

Over the decades, many people have asked me about these charges, and I have answered them in detail. But, in fact, what does it really matter? FDR is a hero to countless millions here and abroad. His record of remarkable accomplishments is quite secure.

In the hurly-burly world of politics, one could cite his failed plan for court re-organization, known as “Court Packing” or even his inability to rid the Democratic Party of its right-wing troglodytes in the Midterm elections of 1938, known as the “Purge!” One author, Warren Kimball, in his book, “The Juggler,” has written about FDR’s skills as a wartime statesman. Others have termed him the Sphinx. No matter how he was characterized, FDR was certainly the most guarded and secretive person ever to hold high office in American history. But, let us not forget, that after 1938, the New Deal was dead, and it was buried by the coalition of Southern Democratic reactionaries and northern Republics opposed to any expansion of the rights of minorities, the Labor movement, or the continuance of regulation on big business or the markets. These same people were the core of isolationism in America.

When FDR made his famous Quarantine Speech in October of 1937, he never mentioned Hitler or Mussolini or any other dictator by name, but talked of isolating these countries. He hoped that the storm isolationists created would fade away and allow the general public to become educated and even active in international policy. However, this was not the response that grew over time. In fact, it ended up intensifying isolationism views in more Americans. Roosevelt even mentioned in two personal letters written on October 16, 1937, that “he was ‘fighting against a public psychology which comes very close to saying “peace at any price.” In fact, hundreds of newspapers, especially ones owned by the Hearst and McCormick syndicates, editorialized calling for his impeachment.

Over the years, as we have become more sensitive to minorities in the United States, Japanese Internment, and its justification, have been questioned by many. There were many arguments then, and later, over that action. At the time, supporters of the Internment cited Japanese barbarism in China, which eventually, with almost unprecedented brutality, including germ warfare and poison gas, would cause the death of 20 million Chinese. No one could discount the Japanese surprise attacks on Russia in 1904 and at Pearl Harbor in 1941. In reality, there was acute racism in California towards Japanese, exacerbated by their cultural and social isolation from the mainstream of American life in both California and Hawaii. There was also the legitimate concern among many fair-minded Californians about the fear for the lives of many of these Japanese citizens and resident aliens. But, be that as it may, only one Japanese internee died in the internment camps, but more than 65 million died during WWII, which was caused by German aggression in Europe and Japanese bellicosity in the Pacific. Isn’t that really the bigger story?

Over the decades, we had strict immigration laws in America prohibiting the immigration of the Chinese and Japanese from 1882 and 1907. There was the rise of anti-Semitism in America with the Depression, and therefore, endemic opposition to the immigration of Jews, and other Eastern Europeans, or non-Western European peoples. But, with all that in mind, over 150,000 Jews were able to get into America between 1933 and the beginning of the war, more than the entire world combined. This occurred despite a State Department dominated by conservative Republicans and southern Democrats. The people hardly wanted any immigration into America, no less Jews. One Gallup Poll in 1937 reflected that 77% of the public did not want one more German Jew to come into the country. Of course, the other failed efforts to enlarge the Immigration Quotas, or even to consider the bill to bring in refugee (Jewish) children was certainly not the fault of the Roosevelt Administration, whose allies in Congress proposed these efforts (Senator Robert F. Wagner, Sr, of NY, and Reps Emanuel Cellar, NY and Adolph Sabath of Illinois.). In fact, when it came to enlarging the German Quota of 27,000 immigrants, the Southern element of the Members of Congress, who were Democrats, were opposed 223 to 0. But, when it came to the controversial Lend Lease Program to aid beleaguered Britain, these same Members of Congress were in favor of it  223-0. Even after the merger of Austria into Germany, there were efforts were made to expand the quota, reflective of the added Austrians to the German Reich, but it was tabled, and thus disapproved.

Years ago, the public started to hear and read about FDR and the Holocaust, along with the specious claims that he was anti-Semitic. Many started to wonder why, that decades after the war this issue arose. Books from Arthur Morse, “While Six Million Died,” (1967) and David Wyman, “The Abandonment of the Jews,” (1984), questioned the motives of our State Department and explored the source and rationale of American anti-Semitism, which included voices like; Father Coughlin, Henry Ford, Charles Lindbergh and countless others. But, why at this moment in the mid-1980s, did this issue begin to take hold? Was it because of new information, which previously hadn’t been available? Was it because Jews were more prosperous and felt freer to voice their bottled up angst over the anti-Semitism which dominated America in the Depression and pre-WWII years? Or was it over the idea of assimilation and their understanding that it was a great threat to the future of the Jewish people in America? In 1960, only 4% of the Jews intermarried in America. By 1984, when Wyman’s book came out, intermarriage had reached 50%. From many pulpits in America, conservative Rabbis railed against social and political liberalism, which seemed to justify intermarriage between Jews and non-Jews. Their target in 1984, was the greatest social liberal in our political history. Is it any surprise that it was Franklin Delano Roosevelt, who led us out of the Depression and our potential social collapse? Thus, Franklin Roosevelt became the target of Jewish revisionism, as social liberalism and inclusiveness grew in modern day America. Let us also remember, that in 1930, Jews made up about 3% of the American population, and today the percentage has shrunk. In fact, regarding best estimates, Jews today account for about 1.6% of the general population. Maybe the people who warned of the threat to the Jewish people, regarding assimilation, were right. Therefore, why not attack the great symbol of liberalism?

In “A Life in the 20th Century, (1917-1950) by Arthur Schlesinger, Jr, (written in 2000), this quote is on page 307. “In the Eighties and Nineties, a furious controversy erupted over the supposed failure of the American and British governments to do more to save the Jews of Europe. Again, one wonders why this controversy suddenly exploded so many years after the fact. The word ‘holocaust’ was not even applied to Hitler’s extermination of the Jews until the Sixties; it did not acquire a capital letter until the Seventies.”

Schlesinger continues, “Very likely, as the historian Peter Novick suggests in, ‘The Holocaust in American Life,’ it was because of the decline of anti-Semitism and the rise of intermarriage in the United States came to be seen in some Jewish circles as a threat to the very survival of an American-Jewish community. Those seeking to repel the menace of assimilation seized on the Holocaust as the last bond holding Jews together and the vital means of restoring a sense of Jewishness. The Holocaust became, in Novick’s words, ‘virtually the only common denominator of American Jewish identity in the late 20th century.’ ”

Frankly, many were saying this long before Peter Novick (1934-2012) expressed these thoughts in his book written in 1999. Years before, when he expressed these same thoughts, he was excoriated for those views. In fact, he was called a self-hating Jew!

In truth, the Holocaust and its implications were not even perceived in 1939. Schlesinger writes, “Yet the American and British governments had intimations of the Final Solution as early as August 1942.” That November, after confirmation of dread reports by Undersecretary of State Sumner Welles, Rabbi Stephen Wise went public in a dramatic press conference. WISE SAYS HITLER HAS ORDERED 4 MILLION JEWS SLAIN IN 1942, was the headline in the “New York Herald Tribune.” As a result, in December, both Roosevelt and Churchill issued a joint statement condemning, “the bestial policy of cold-blooded extermination!” Interestingly, to these same revisionists, Rabbi Stephen Wise is now an excoriated co-conspirator with FDR in the effort to keep Jews out of America. Nothing could be further from the truth! How come this story wasn’t on the front page of the “NY Times,” but buried deep inside a paper owned by Jews?

But, how often did I hear the specious, “Fake News” that FDR never had a Jew to the White House or that he never said anything about the killing of Jews. These baseless attacks, from my perspective, were an effort by a consortium of conservative Jews, anti-assimilationists and other Roosevelt haters to promote the idea that the Roosevelt Administration kept all Jews out of the United States. They cited the case of the “Saint Louis” as proof, as if that issue was almost as large as the Holocaust. In the same way, the Japanese Internment, to some, dwarfed the totality of WWII and the war crimes of the Japanese, which easily equaled Germany’s and had started years earlier.

The German ship, “Saint Louis” was one of three ships that brought passengers, including Jews, to Cuba at that time. Cuba, in 1939, because of the influence of local Nazis, was putting onerous restrictions on Jewish immigration. Already 6,000 Jewish immigrants were living in Cuba, most without legal documentation. Also a house-to-house check was being made to locate all German refugees, and there was great fear from the Joint Distribution Committee in the United States that a pogrom was being planned if more Jews were granted asylum. When a $500 cash bond was put up for each passenger, amounting to $500,000, the Cubans refused. There were definitive conflicts between Batista and Manuel Benitez, who was receiving bribes for each illegal alien allowed into Cuba. Strongman Colonel Fulgencio Bastista wanted his “cut” or would end the practice. Two other ships had already just arrived, the British ship “Orduna” and the French ship, “Flanders.”  Within a twenty-four hour period more than 1200 refugees had arrived from three European ports. The Cubans had just passed a law limiting the number of immigrants to 1500 who could be yearly allowed to land. Eventually, after a collapse in negotiations, the ship left port and while off Florida, on June 4, the figurehead President Bru relented and said that they could land for $650 per head. The Joint Committee (Jewish Agency) refused to pay the extra $150 per person. They thought there would be more ships and the price would continue to escalate. The “Saint Louis,” amidst the negotiation with Cuban and the American officials, who were trying to get around our strict immigration laws, turned towards Europe. The JDC was besieged with criticism from the American Jewish community and its friends, but felt they were being blackmailed by the Cubans. It has been erroneously reported that the passengers were “returned to Germany and certain death for all abroad.”  Of the 936 Jews on board who had left Hamburg, 29 disembarked in Havana, 907 sailed back to Europe; 288 disembarked in England and lived through the Holocaust. The remaining 619 went to France, Belgium and Holland. The 392 of 619 who had disembarked at Antwerp, survived the war. The remaining 227 were murdered by the Nazis. The US Holocaust Museum estimates more than two-thirds of the passengers survived the war. Also, in June of 1939, it certainly was not yet the Holocaust. War had not been declared.   Over 75% of the Jews living in Germany, at the time of Hitler’s ascendancy to power, had either voluntarily emigrated from Germany or had been forced out. German policy was “Judenrein” not extermination.

Again, to reiterate, up until Kristalnacht, under 1000 Jews had been killed in Germany from 1933 until late 1938. Even up until the war, which started on September 3, 1939, a relatively small percentage of the remaining Jews from the 1930 population of 500,000 had been killed. In June of 1939, few in Europe really believed there would be a “real” war, no less a World War. Few Jews, outside of Germany, thought their lives were imminently at risk, and the Low Countries and France were not invaded until the spring of 1940. Most Jews believed that Germany only was interested in ridding itself of Jews. But, it is true, that many Jews wished fervently to get out of Europe. These are incontrovertible facts reported in numerous histories of that era. This intense climate of persecution started to cause voluntary and forced Jewish emigration out of Germany. By the start of World War II almost 75% of all German Jews had left the country.

In truth, as it is part of the public record, most Americans opposed being involved in both world wars. In the last Gallup Poll of November, 1941, not long before the Pearl Harbor attack, about 90% of the responders to the pollsters stated that they did not want to go to war to save Great Britain.

Again, Jews made up 3% of the population in the 1930’s. The New Deal, called the “Jew Deal” by anti-Semites, who often referred to FDR as that Jew “Rosenfelt.”  After all, Jews made up 15% of his administration. (FDR was elected with approximately 70% of the Jewish vote in 1932, and by 1944 he received over 93% of that vote.) FDR appointed, cumulatively, more Jews to office than all the previous 31 administrations and all that followed until the Clinton Administration!

With regards to foreign policy, as it related to Jews, Roosevelt quite often leaned upon his personal relationship with Rabbi Stephen Wise. Wise brought up the subject of Jewish immigration with FDR as early as 1933 and the unfilled immigration quotas. But, why was the German quota virtually unfilled in 1933 and 1934? Basically, Germans weren’t coming to the US in those years. They were very happy with Hitler. As for Jews in Germany, most believed before the horrid Nuremberg Laws of 1935, that the anti-Semitism of Hitler’s rhetoric would be ameliorated or even disappear. Many Jews thought they were too important to the economy and the social and cultural structure and fabric of Germany. They felt they weathered other terrible storms. As Hitler consolidated his power in Germany, more and more anti-Semitic legislation (the aforementioned Nuremberg Laws) was drafted and passed in their Reichstag (the so-called German parliament).

Let us understand that in 1930, Americans of German descent were the largest group in the United States (some estimates that 30% of the American population had German roots). In 1940, over 1.2 million Americans had been born in Germany and even today the largest European ethnic group in America is German, with over 17% of the population or 56 million people. Many Germans in America were enthusiastic over the recovery of Germany from the ravages of the Versailles Treaty, they believed that the Jews were the cause of all their post war problems and the failure of the Weimar Government. They were highly influenced by the large trade with the “new” Germany and a great many Germans who traveled to America to visit their relatives talked of the success and order brought to Germany by Hitler and the Nazis. In the period of the middle to late 1930s, we saw the rise of the German-American Bund.

Therefore, with all that in mind, is it not hard to imagine that there was tremendous pressure in the United States, crossing all ethnic and political differences, including the American Labor movement that opposed more immigration, especially of Jews. There was still significant unemployment, anti-Semitism had risen during the Depression, and it was aided and abetted by German-Americans, happy with Hitler.

Thus the issue of Jewish immigrations was not solely in the hands of President Roosevelt or his administration. Even among his “Kitchen Cabinet” of Jewish advisers: Morgenthau, Rosenman, Rabbi Wise, Benjamin V. Cohen and a number of others there was no definitive consensus on what action could be taken. Even former Supreme Court Justice Arthur Goldberg, who headed a 1984 commission on this subject, came to the conclusion that American Jewish groups did not do enough. Though there was controversy over the harshness of the report, the final report, approved by the commission and written by Professor Seymour Finger, Head of International Studies at CCNY 1972-81, former diplomat, a Senior Fellow at the Ralph Bunche Institute, and the author of “American Jewry in the Holocaust,” concluded that the failure of Jewish organizations was a result of disunity, under-financing, and lack of political influence. Moreover, their leaders were afraid of stirring up anti-Semitism in the United States and impeding the Allied war effort. Ambassador Goldberg said, “That the failure to act forcefully hurt most in the years between Hitler’s ascent to power and America’s entry into WWII.” Again this was a consequence that resulted from a “divided” Jewish community.

In conclusion, there is no doubt that if FDR had not been re-elected in 1940, and aid was not extended to Britain, a peace party would have emerged in that country to compromise with Germany. If that peace was actuated, one could conclude that the continued resistance by the Soviet Union could have easily ended with a defeat or a brokered peace. Obviously, with Germany ruling Europe and an entente cordiale with Britain and the British Empire, the future of the world would have been different, and the survival of Jews in America would have been in doubt. Why would their future be in doubt? The pressure from German-Americans, other traditional anti-Semites, isolation from the rest of the world, trade embargoes, Nazi propaganda flooding the country’s non-Jewish media, would have caused a severe reaction against Jewish owned business, Jewish cultural interests, the media (Hollywood, the theater) which they were deeply involved and with the businesses that they excelled in and led.

 

 

 

 

 

FDR and Churchill Their Political and Military Legacy An Update By Richard J. Garfunkel September 21, 2022

With regards to Winston Churchill, the political role of the American system is much different then Britain. Churchill never had to really stand for election as leader and was never really trusted with “domestic” responsibilities. He was much more of a “loose cannon” and never really felt comfortable working with others. He was certainly a remarkable talent, but had too many inner doubts to be completely confident with himself. His “black” moods and depression limited his ability to have the confidence to “rule.” He had too many opinions that limited his ability to make political alliances. He was a man of action and not a calculating “planner.” He never understood the need to build organizations of political support. He was basically a talented loner. His forte was more foreign policy and the Empire. He had cabinet level domestic responsibilities early in his career, but his name and fortune was linked with the British Navy when he was First Lord of the Admiralty. Of course, because Britain was primarily a naval power since the time of Drake and through Nelson, therefore, with vast overseas interests, it had to dominate the seas. Thus, the post of First Lord of the Admiralty had great cachet for Churchill. With all that in mind, the Churchill, who is known and revered today, is a result of his leadership in the days after the collapse of the Chamberlain government, which was seen as a failure. Chamberlain had become the symbol of appeasement, specifically with ill-fated Munich Agreement, which surrendered the Sudetenland (the industrial part of Czechoslovakia) to Nazi Germany, his failure to take action against Germany when they invaded Poland, and finally with the collapse of Norway on April. Let us not forget that at the same time Churchill was named Prime Minister, May 10, 1940, the Low Countries were successfully invaded, quickly conquered and the Battle of France would commence. The disastrous, forced evacuation of British Forces along with some of the allied troops at Dunkerque, and the eventual collapse and surrender of France, on June 25, 1940, would happen while Churchill was Prime Minister and Minister of Defense.

But, with regard to pre-WWII British preparedness, let us not forget some other realities; the coastline radar stations were created, built, and installed by the Chamberlain government, as were the designs and production of the Hurricanes and Spitfires that won the Battle of Britain, along with the British heavy bombers, the Lancasters and Wellingtons which brought the war to Germany. Churchill was not part of the government in those days, but had warned of the threat of Nazi Germany, especially with regards to their military buildup and strength.

Churchill was not willing to sublimate himself to the will of others, and never could pose, or participate as a team player. Later on, after the WWII victory, he wasn’t prepared for the 1945 elections that swamped him and his government. The Conservatives suffered their greatest parliamentary loss since 1806. His campaign was terrible and he did not have a “clue” what the public was thinking about, or its needs. On one hand, he was still a captive of the upper classes that dominated British life. He seemed unaware and unconcerned, regarding how the MacDonald-Baldwin-Chamberlain governments ignored the working classes that suffered throughout the Depression. Of course, British politics were divided between the “plutocrats” and the “aristocrats” and Churchill never seemed to know where he fit. He was not keen on real reform that would have worked to restructure the critically unbalanced British economic and social landscape along with its aging infrastructure.  He never understood the moribund future of colonialism, and his attitude towards India was foolish and archaic. His political philosophy was inconstant and vacillating. Both sides of the British ideological divide constantly mistrusted him.

He was not able to dominate either party, and was perceived by the public as a political outsider with no place to “hang his hat.” His strategy as First Lord of the Admiralty, in the First World War, was badly criticized after the disaster of Gallipoli. His “snafu” was actuated more by logistical insanity then strategic miscalculation. All in all, it was a costly failure in blood and material, and therefore his career suffered terribly. As a so-called military “genius,” let us also not forget his very controversial role in the WWI defense of Antwerp, Belgium and the rightwing, revisionist attempt to exculpate him from the collapse of that city to the German army.

With regards to WW II his strategy was basically no better than Chamberlain’s. Under his watch the British experienced disasters with the navy in Norway, the 8th Army in North Africa and its collapse at Tobruk, the insane and huge defeat and disaster in Singapore, (the worst and most costly British defeat in history), the disaster at Dunkerque, the catastrophic losses of the HMS Repulse and Prince of Wales off Hainan Island, near the Chinese mainland, the abandonment of Greece and Crete, the ill-fated attack at Dieppe, the alienation of the French and the subsequent defection of the French fleet, causing the need for it to be crippled by British naval action along with many others. He and Britain were fortunate that the Nazis re-directed the Luftwaffe to bomb British cities and not go after their radar early warning stations, their aerodromes, and the British fighter defense. A smartly delivered strategy against these targets would have reduced the British to a position where their air cover became hopeless.

Under his watch, the British Navy allowed the German battlecruisers, Scharnhorst and Gneisenau to steam through the Channel to the Atlantic where they sunk 22 ships amounting to 116,000 tons. Eventually, those two ships and the Prince Eugen were docked at the occupied French port of Brest. Later, they made their historic dash back across the English Channel. The Channel Dash had cost the Germans 17 aircraft shot down, while the Luftwaffe lost 11 men and the Kriegsmarine two. Additionally, two torpedo boats were damaged, and the two battlecruisers had suffered damage below the waterline.

But the Nazis were quick to take advantage of the remarkable victory, their propaganda machine going into overdrive. Hitler basked in the glory of being proved right. Admiral Ciliax and Kapitan Hoffmann each received the Knights Cross. In Britain, there was a national outcry at the perceived incompetence. The Times lambasted the inept performance of the armed forces, saying that Admiral Ciliax had “succeeded where the Duke of Medina-Sidonia failed.” The Duke had commanded the Spanish Armada in 1588. “Nothing more mortifying to the pride of our sea power had happened since the seventeenth century.”

This embarrassment was quickly followed on February 15 when Singapore fell and Prime Minister Winston Churchill and his government came under scathing attack from all sides. Against his better judgment, Churchill ordered an inquiry into what became known as The Battle of the Narrow Seas, which he considered of “minor importance.” The findings of the inquiry were handed into the prime minister in early March, but for security reasons they were not published until after the war. Of course, in the context of WWII, this is a minor episode, but Churchill was also the Minister of Defense!

Basically US Lend-Lease, the US Navy and the convoy system, the undeclared US naval war in the North Atlantic against the Nazi submarine wolf packs, and the attacks by Germany on Yugoslavia and Greece, culminating with the postponed late spring, early summer invasion of Russia helped Britain survive. Churchill’s strong vocal leadership rallied Britain and the free world, but without Roosevelt and the power that he formulated by creating the “Arsenal of Democracy,” Britain would have eventually been beaten despite the flawed Hitlerian strategy. If the US had not helped Britain with our fleet, the fifty-destroyer exchange and Lend-Lease for Russia, (10% of their logistical needs were provided by America, along with over 400,000 trucks) the Soviets probably would have been neutralized and the further European resistance would have ceased. Greece and Yugoslavia were basically beaten, and the rest of the Eastern Europe, Hungary, Bulgaria and Romania were German allies. Turkey was in Germany’s camp and would have remained an associated “player” looking to reclaim their former Ottoman Empire.

Churchill did have many successes aside from American help. Their combined naval/air victory at Taranto that devastated the Italian fleet, the sinking of the Graf Spee, the hunting down of the Bismarck, the destruction of the 10 German destroyers off Norway, his policy supporting Orde Wingate and the Chindits in Burma, his mobilizing massive bombing raids over Germany, the destruction of the French dry docks at Saint Nazaire, and his selection of Montgomery to head the British 8th along with his subsequent victory at El Alemain were strong plusses. But, even with the entrance of America into the war, the later British strategy with Churchill’s blessing and interference, led to the huge loses in Holland with the ill-fated Market-Garden assault on the Dutch bridges. Montgomery, Churchill’s greatest choice for leadership squandered his opportunity to cross the Rhine with his constant demands for more men and material, was one upped by the American capture of the Ludendorf Bridge at Remagen. That single event, reflective of intrepid opportunism by American forces, dealt a huge blow to German resistance on the Western front. While Montgomery was accumulating landing craft, the US Army was surging over the Rhine with men and armor, creating an unassailable bridgehead, and trapping German forces on the wrong side of the River.

FDR, on the other hand, mobilized the American economy in an unprecedented way, fought an effective two ocean war, selected and appointed excellent overall leadership with his Joint Chiefs lead by Admiral William D. Leahy, who coordinated the activities of Generals Marshall and Arnold along with Admiral King. FDR’s selections, in all of the theaters of his responsibility, of MacArthur,

Nimitz, Eisenhower, reflected excellent carefully thought out judgment. Their choices of subordinates that included Bedell-Smith, Clark, Bradley, Patton, Hodges, Simpson, Eaker, Doolittle, Stillwell, Halsey, Spruance, Vandergrift, Smith, Lemay and many others spelled eventual success. His speeches, and cool leadership gave the people confidence after Pearl Harbor and the loss of the Philippines. FDR’s leadership of the wartime conferences at Argentia Bay, Quebec, Casablanca, Teheran and Yalta were the driving force behind victory and the post-war dominance of the West. His sponsoring of the Bretton Woods Conference had the most lasting effect on the future world’s economies vis-à-vis monetary stability. All in all FDR’s domestic leadership before and during the war were unprecedented. The late President, the architect of victory, won a hard earned election in 1944, with excellent majorities in Congress, even with his health suffering from advance heart disease and arterial sclerosis. He was able to maintain his majorities in Congress all through his tenure in office, and even though the Democrats narrowly lost Congress in 1946, they quickly recovered their majorities until the Eisenhower landslide of 1952. But from 1954 until the 1980’s the FDR-New Deal coalition of Democrats maintained Congressional hegemony.

Churchill, as a man, was bold, talented and basically remarkable. He was a brilliant speaker, a marvelous writer, a brave soldier, a reporter, a painter, a magnificent Parliamentarian, a cabinet official, a Prime Minister, and most importantly a beloved wartime leader. He embodied what was great about Britain. But he was a failure as a politician, lacked excellent judgment went it came to strategy and suffered from great insecurities. His terrible childhood and education plagued him with self-doubts, depression and lack of direction. Churchill spent a lifetime comparing himself to his father Randolph who had a meteoric political career but eventually became a miserable failure. Churchill, like Roosevelt, became much more a product of his mother. Overall he was able to overcome all of those limitations. Churchill was still, at heart, part of the “ruling class” that dominated Britain. He was still part of the Imperialist mindset, and he was still sadly lacking, with regards, to what the average “Brit” needed. He never built a political base, and when the post-war choices were made he was cast aside with little regret from the British people. His return to office in 1951 was no great success and he was too, too old to be a major factor in re-shaping Britain after years of war and social reform.

FDR was not the writer that Churchill was, but as an orator he was certainly quite capable, but few were in Churchill’s league. He was determined and self-confident. His childhood was one of nurtured success and happiness. He was beloved by his adoring parents.  He was self-educated to age fourteen and went on to the best schools where he achieved moderate success. In a dissimilar way, FDR’s father, whom he adored and respected, died when he was eighteen while he was a freshman at Harvard. Unlike Churchill’s father who was much younger, James Roosevelt was intimately interested in his second son. His first son, a product of his earlier marriage to Rebecca Howland, who died, was 29 years older and his contact with him was not well known. But even with his loss, FDR had looked up to his father and respected his judgment and memory. James Roosevelt was not a politician like Randolph Churchill, and with his death FDR was able to transform his need for a psychological mentor to his 5th cousin Theodore Roosevelt.

Unlike Churchill, FDR was the single greatest elected politician in modern history and was able to overcome the devastating physical challenge of Polio. He was a vigorous man who overcame a lifetime of sickness. He had wonderful mentors, Theodore Roosevelt, Al Smith, and Woodrow Wilson. He took something from all of them, and was smart enough to avoid the problems they all experienced. He shaped his own destiny, built the new Democratic Party, reversed the effects of the Great Depression, rallied the public, instilled great respect from the world at large, inspired great enemies and opposition, took on the Fascists when America wanted no part of that fight, built the “Arsenal of Democracy” and through his actions at the Atlantic Conference in Argentia Bay, put forth his vision of the world based on the “Four Freedoms.” Eventually, in the midst of the war he coined the name United Nations and would work to establish that body at the Yalta Conference, where he received the agreement of Churchill and Stalin.

His vision is the vision of the modern world; the vision of the world community pulling together for the common good. Not unlike Churchill, who was one of the lone voices protesting against “appeasement,” FDR had withstood an “America First” isolationism that cut across almost all social and political barriers and demographics. FDR had to use his unequalled mastery of the America political landscape to on one hand re-arm America and on the other hand battle the limitations of our Neutrality Laws and the passion of people like Charles Lindbergh, who were his most vocal critics. He was also strongly elected to office an unprecedented four times. Churchill was never elected to national leadership in 1940. He was appointed by the King after the forced resignation of Chamberlain. After five years in the leadership of Great Britain, hi ruling Conservatives Party suffered its greatest defeat since 1806, when the national vote was finally counted in 1945, while he was attending the Potsdam Conference in July.

Churchill mishandled the election campaign by resorting to party politics and trying to denigrate Labour. On 4 June 4th, he committed a serious political gaffe by saying in a radio broadcast that a Labour government would require “some form of Gestapo” to enforce its agenda. It backfired badly and Attlee made political capital by saying in his reply broadcast next day: “The voice we heard last night was that of Mr Churchill, but the mind was that of Lord Beaverbrook”. Churchill was not prepared politically to run a national campaign and the results bore that out historically. Many reasons have been given for Churchill’s defeat, key among them being that a desire for post-war reform was widespread amongst the population and that the man who had led Britain in war was not seen as the man to lead the nation in peace. He was forced to leave the conference to his successor, the new Prime Minister Clement Attlee.

When he was again appointed Prime Minister again in 1951 by King George VI, after the new election in 1951, his party had actually received less votes than the losing Labor Party, with only a 17 seat majority. In fact, he served a lack-luster 3.5 years until April of 1955 when he was finally forced by health issues to resign. Churchill was nearly 77 when he took office and was not in good health following several minor strokes. By December, 1951, George VI had become concerned about Churchill’s decline and intended asking him to stand down in favor of Eden, but the King had his own serious health issues and died on February 6, 1952, without making the request. Churchill developed a close friendship with Elizabeth II. It was widely expected that he would retire after her Coronation in May 1953 but, after Eden became seriously ill, Churchill increased his own responsibilities by taking over at the Foreign Office. Eden was incapacitated until the end of the year and was never completely well again.

On the evening of 23 June 1953, Churchill suffered a serious stroke and became partially paralyzed down one side. Had Eden been well, Churchill’s premiership would most likely have been over. The matter was kept secret and Churchill went home to Chartwell to recuperate. He had fully recovered by November. He retired as Prime Minister in April 1955 and was succeeded by Eden.

One of the most tragic issues before WWII in Europe was the Nazi treatment of the Jews of Germany. During and after the war the evidence of their atrocities towards the Jews and other minorities was fully exposed. As for the punishment of Nazi Germany, regarding their conduct during the war, Churchill initialed the Morgenthau Plan proposed by US Secretary of Treasury, Henry J. Morgenthau Jr.) for post-war Germany, which called for the breakup of Germany and its de-industrialization. When the news of the Quebec Conference reached Germany, Propaganda Minister Goebbels claimed, “Roosevelt and Churchill agreed to the Jewish murder plan.” German radio announced that Roosevelt’s “bosom” friend Henry Morgenthau, the “spokesman of world Judaism” was singing the same song as the Jews in the Kremlin,”- dismember Germany, destroy its industry and “exterminate forty-three million Germans.” Interestingly, across the Atlantic, another democratic leader seems to have concurred with the blame-the-Jews theory. Also, let us not forget that Churchill signed on to many agreements that came out of WWII meetings, and later either ignored, denied or opposed these same agreements.

With regards to Churchill’s real feelings, an unpublished article by Winston Churchill, written in 1937 and discovered in the Churchill archives by Cambridge University historian Richard Toye in 2007, claimed that Jews were “partly responsible” for the mistreatment that they suffered. Churchill denounced the “cruel and relentless” persecution of the Jews but then criticized German Jewish refugees in England for their willingness to work for less pay than non-Jewish laborers, which — he claimed — caused antisemitism. Some of Churchill’s earlier statements about Jews and communism indulged in anti-Semitic stereotypes, such as referring to the Russian Bolshevik leadership as “Semitic conspirators” and “Jew Commissars.” Of course, anti-Semitism was rife through Europe, especially Eastern Europe and in Russia, before and after the Russian Revolution which eventually saw the triumph of the Bolsheviks and the rise of the Soviet Union. As for Britain, Jews were expelled in 1290 and only by 1655 were a small group of Sephardic Jews were allowed to stay. Over the next two hundred years Jews existed in Britain with a number of restrictions. True emancipation for them as a religious group came somewhat between 1829 or 1858. Before WWII over 500,000 European Jews sought asylum in Britain, only 70,000 were allowed to stay.

In the United States, though there was discrimination against Jews, Catholics, Asians, Blacks and Latinos, Jews were never restricted from immigration. Even with the very restrictive immigration laws of 1921 and 1924, which was based on National Origin demographics in 1890, which limited basically Jews and Catholics from the Mediterranean and Eastern Europe with quotas, Jews always immigrated to the United States. From 1933 through the beginning of WWII, despite obstacles from the American Department of State, mostly dominated by Republican appointees from the previous twelve years of Republican Administrations and Southern Democrats, over 150,000 Jews were allowed into the States. During the Depression and the immediate pre-war period, there was the rise of more virulent anti-Semitism in the United States. Most of that rise was surely fomented and encouraged by the large and significant German-American minority who bought into the rise of German nationalism. The rise of the German-American Bund was paid for and strongly supported by the Nazi Party in Germany.

As with of emergence of the Roosevelt Administration in 1933, FDR called upon Felix Frankfurter, of the Harvard Law School to start sending young lawyers down to Washington to staff the emerging New Deal. The Roosevelt administration employed many young Jewish lawyers, labor leaders and intellectuals to help rescue our society from the social and economic ravages of the Great Depression. FDR also leaned on his strong relationship with Jews throughout his whole political life: Bernard Baruch, Henry Morgenthau, his Secretary of Treasury, David Niles, Anna Rosenberg, Herbert Lehman, Governor of New York, later US Senator, along with the aforementioned Frankfurter, Ben Cohen, and his lawyer and chief writer, Judge Rosenman. With regards to his associations with Jews, they were novel and advanced for the period. Again, he had an “open” friendship with Henry Morgenthau who served in his cabinet for 12 years. Eleanor Roosevelt was also quite close to Elinor Morgenthau, the Secretary of Treasury’s wife.

FDR appointed many, many Jews to high office, and had a comfortable, but distant relationship with most of his contemporaries.

Jews made up 3% of the American population in the 1930’s but the New Deal, called the “Jew Deal” by anti-Semites, who often referred to FDR as that Jew “Rosenfelt,” but made up 15% of his administration. FDR was elected with approximately 70% of the Jewish vote in 1932, and by 1944 he received over 93% of that vote. FDR appointed, cumulatively, more Jews to office than all the previous 31 administrations and all that followed until the Clinton Administration!

In retrospect Churchill really left no governmental legacy. He really never governed. FDR’s legacy was one of not only unprecedented leadership, but of government innovation, reform and restructuring.

History has favored Winston Churchill for many reasons, which include his lonely pre-war opposition to the rise of Hitler and the threat of Nazism. He battled against both the appeasers and the pro-fascist elements in Britain. He also stood head and shoulders above his rivals, like Lord Halifax, who wanted to succeed the failed Neville Chamberlain. Let us not forget, that Roosevelt also warned of the threat of rise of the dictators with his “Quarantine Speech” which was universally excoriated by the conservatives and isolationists, who refused to see the worldwide threat of the Nazis and Fascists.

Churchill was always given exceptionally high marks as an inspiring and eloquent orator before the war and during it. His ability to lead a beleaguered nation in its darkest hours can never be underrated. With that in mind, he has been awarded high marks for standing alone during the Blitz (German air attacks) and keeping up British morale despite the nightly bombings, the massive destruction and the battlefield reversals. He certainly deserved criticism for his endless micro-managing policy, interference with his generals, reversals in strategy and poor choice in military appointments.

He even was very critical of his “star” appointment of General Montgomery. The victor at Alamein. Ironically, Montgomery wasn’t his first choice to command the 8th Army in Egypt.

His first selection was Lt. General William Gott, who killed in a plane crash. According to many of the veterans of that campaign, who were familiar with both men, they felt that Gott certainly would have lost the battle for control of Egypt, the Suez Canal and the oilfields of the Middle East. Churchill certainly opposed Operation Torch and wanted American men and material supporting Montgomery, was against Operation Anvil-Dragoon, the August, 1944 invasion of Southern France, in the days after the Normandy Invasion and the breakout into France.

On the other hand, Churchill and the British leadership understood FDR’s problems and political skills. FDR’s promises on the mobilization of American’s war industry were incredibly exceeded and he for sure delivered on America being the “Arsenal of Democracy.” FDR’s strategic vision reached much farther and more accurately than Churchill’s FDR understood the emergence of Russia and China as world powers, and he pressed for the Unconditional Surrender, to avoid the postwar disaster that followed the end of WWI. He also knew that the Allies had to secure the peace, and that was why he worked so hard to create the United Nations. Churchill vision was most often limited to the sustaining of the British Empire.

Also, let us not forget many of the leaders of the Western Alliance during WWII and their generals were no raving successes, As for The United States, out of the fifty-six Lt. Generals, who were appointed during the war from December 1941 through March of 1945, about 45 of those served overseas, seven were recalled for incompetence or other reasons. As for the top leadership, Secretary of State Hull was not well and often ignored completely and had little to do with any decision regarding the prosecution of the war. Secretary of War Henry L. Stimson, a great patriot, a Republican and a former Secretary of War and State was consistently wrong. Even the sainted Chief of Staff of the Army George C. Marshall was also wrong regarding North Africa and the call for a cross Channel invasion of France in both 1942 and 1943, as was the head of the Naval Admiral Ernest King.

As for General MacArthur, his failures in the Philippines were outrageous and many called for his removal and to be court marshalled. Admiral Robert L. Ghormley who was in charge of the naval operations around Guadalcanal and Tulagi was replaced by Admiral William F. Halsey because of lack-luster performance and incompetence. As for the heroic Halsey, his “Bull’s Run” and indecision around the Leyte Gulf Invasion almost created a disaster for American landing force. Also, his command in the following days after Typhoon Cobra bordered on incompetence and criminal conduct. Following the typhoon a Navy court of inquiry was convened on board USS Cascade in the naval base at Ulithi. Admiral Nimitz, CINCPAC, was in attendance at the court, Vice Admiral John H. Hoover presided the Court with admirals George D. Murray and Glenn B. Davis as associate judges. Forty-three-year-old Captain Herbert K. Gates was the Judge Advocate. The inquiry found that though Halsey had committed an error of judgement in sailing the Third Fleet into the heart of the typhoon, it stopped short of unambiguously recommending sanction. The events surrounding Typhoon Cobra were similar to those the Japanese navy had faced some nine years earlier in what they termed “The Fourth Fleet Incident.”

General Joseph Stillwell, the veteran of the China-Burma-India Theater and the military liaison to Generalissimo Chiang Kai-Shek had to be removed because of insubordination and downright idiocy. In Sicily, Lt. General Patton had to be relieved of his command for foolish incidents regarding the slapping of two “wounded” soldiers. He was regarded as a racist, a bigot, and an anti-Semite among his other attributes. General Mark Clark, the leader of the 5th Army in Italy had many detractors.

But both he and Patton, who despised him because his mother was Jewish were liked by FDR.  They both succeeded, despite intense criticism during and after the war.

As for French; the only two Generals who were not coopted by the Germans and dragooned into the Vichy Government were Henry Giraud, a total incompetent and Charles De Gaulle, a vain pompous ass. This famous quote was attributed to Churchill- “The hardest cross I have to bear is the Cross of Lorraine.” This remark referring to Charles de Gaulle was actually made by General Louis Spears, Churchill’s envoy to France. Film producer Alexander Korda asked Churchill in 1948 if he had made the remark, he replied, “No, I didn’t say it; but I’m sorry I didn’t, because it was quite witty … and so true!”

As for the British, aside from Churchill, they had really no leadership after Chamberlain, but another appeaser, Lord Halifax, who actually disliked America and Americans and was ironically made Britain’s Ambassador to the United States. Others like Beaverbrook were for sure not up to the task. With regards for the British Imperial Staff, no one would regard Field Marshall Alan Brooke as a far-ranging thinker.

FDR and Churchill and WWII Strategy!

Churchill attempted to direct and control President Roosevelt with regards to the direction of their joint effort. As Christmas approached, the United States was facing the unpleasant reality that the Philippines and MacArthur’s American and Filipino Forces on Bataan and Corregidor, were doomed to destruction as were the British possessions of Hong Kong, Malaya and their Singapore fortress. The Americans, with their Filipino allies, fought a delaying action in the Philippines, while a mixed American, British, Dutch, and Australian (ABDA) naval structure was set up to operate from Java in an attempt to hold the Japanese at the Malay Barrier. Given command of ABDA naval forces, Admiral Thomas Hart directed part of this defense into mid-February 1942.Eventually it had become quite evident that despite the brave ABDA sailors, the Japanese were not to be denied. The Japanese Navy was able to literally destroy the remaining Allied naval assets in, and around, the Java Sea and the India Ocean.

Therefore, as India was being threatened by massive Japanese naval assets in the Indian Ocean, two realities emerged. There were not enough Allied ships to counter their strength and India soldiers had almost no enthusiasm to defend India and their colonial status from the potential of a Japanese invasion. In fact, the British were seeing more and more evidence that their colonial armies were not willing to fight for the British Empire.  FDR, a confirmed anti-colonialist understood this reality, despite Churchill’s inability to face the reality of the deteriorating situation in both the Middle and the Far East. FDR urged Churchill to promise India eventual self-rule or even the commonwealth status of Canada, Australia, and New Zealand. Churchill hated this option, danced around it, and delayed making a decision, until he almost was backed into a corner. He certainly was opposed to giving up any sovereignty in India, as he claimed that the subcontinent was not really a country, but a collection of princely states and contentious religions bodies: Hindus, Moslems and Sikhs among hundreds of others sects, who spoke many hundreds of dialects.

With that in mind, along with the existential threat to India, the British were apoplectic and were trying to insist that American intervene in the Indian Ocean. Of course, Americans did not have the assets to counter the Japanese. But, FDR initiated a bold plan that would eventually produce a remarkable chain of events. He wanted to strike back at the Japanese and change the whole defeatist attitude that was threatening to become pervasive in the post-Pearl Harbor America, and with our British allies. Roosevelt authorized the famed Doolittle Raid on Tokyo. The raid was planned, led by and named after Lieutenant Colonel James Doolittle of the United States Army Air Forces. FDR was able to turn the corner of defeat with one bold stroke.

It was also the first time, in more than a thousand years, that the Japanese home islands were attacked. It demonstrated that the Japanese mainland was vulnerable to American air attack, served as retaliation for the attack on Pearl Harbor, and provided an important boost to American morale. Even though the results were almost miniscule, the political and strategic fallout was immense. The Japanese had never been attacked on their home islands, and with the knowledge that their air defenses were almost non-existent, they therefore, in an almost panic withdrew much of their naval assets from the Indian Ocean, to protect the Home Islands. The next consequence of this action was to assemble a massive fleet to strike back at America. Their aim was Midway Island. If they destroyed the American assets and presence on Midway, and occupied the island as a base, both the West Coast of America and Hawaii would be threatened. The Japanese never knew that American cryptographers had broken their naval and diplomatic codes (the Purple Codes) years before. When the speculation that Midway was confirmed as the target (the famous water desalination plant ruse) of this large Japanese force, of which some headed north to the Aleutian Islands, an American naval trap northeast of Midway was set. Of course, the rest is history.

With regards to WW II, Churchill’s strategy was basically no better than Chamberlain’s. Under his watch the British experienced disasters with the navy in Norway, the 8th Army in North Africa and its collapse at Tobruk, the insane and huge defeat and disaster in Singapore, (the worst and most costly British defeat in history), the disaster at Dunkerque, the catastrophic losses of the HMS Repulse and Prince of Wales off Hainan Island, near the Chinese mainland, the abandonment of Greece and Crete, the ill-fated attack at Dieppe, the alienation of the French and the subsequent defection of the French fleet, causing the need for it to be crippled by British naval action along with many others. He was lucky that the Nazis re-directed the Luftwaffe to bomb British cities and not go after their radar early warning stations, their aerodromes, and the British fighter defense. A smartly delivered strategy against these targets would have reduced the British to a position where their air cover became hopeless. One could say that Churchill’s greatest failure was his ego, his idea that he was a military expert, and his ability to choose the right people, for the right task.

 

With historical concern regarding Egypt and the Middle Eastern Command, Generals Claude Auchinleck and Archibald Wavell (both later appointed Field Marshalls) both failed miserably in North Africa, as did Wavell, who subsequently failed in Burma. General Bernard Law Montgomery (also later appointed a a Field Marshall) and the victor in the 2nd Battle of El Alamain, did not earn high marks for the slowness of his march up the Eastern side of Sicily, along with his command of British forces on the Adriatic side of Italy. Again, his failure at Market-Garden has been well-documented. His later inability to cross the Rhine River was exposed as a fruitless effort when the American Army took the Ludendorff Bridge at Remagen and crossed the Rhine.

Let us not forget Lord Louis Mountbatten planned disaster at Dieppe, which cause the Canadians thousands of casualties. Also let us not forget the folly of British Lt. General Neil Ritchie, “Tobruk ist gafallen!” The surrender of the British outpost, with 30,000 men, of Tobruk in Libya with nary a shot fired. Also in 1942 the surrender of the large garrison in Singapore by Lt. General Arthur Percival to a Japanese force less than one-half the size of his 80,000 man force. This was the largest surrender of British-led forces in history.

In retrospect, as the war would move on to its successful conclusion, Churchill did have some tactical and strategic successes aside from direct American help. Their victory at Taranto that devastated the Italian fleet, the sinking of the Graf Spee, the hunting down of the Bismarck, the destruction of ten German destroyers off Norway, his later policy supporting Orde Wingate and the Chindits in Burma, his mobilizing massive bombing raids over Germany, the destruction of the French dry docks at Saint Nazaire, and his selection of Montgomery to head the British 8th along with his subsequent victory at El Alamain were strong plusses. But even with the entrance of America into the war, later British strategy with Churchill’s blessing and interference led to the huge loses in Holland with the ill-fated Market-Garden assault on the Dutch bridges. Montgomery, Churchill’s greatest choice for leadership squandered his opportunity to cross the Rhine and was trumped by the American capture of the Ludendorff Bridge at Remagen.

That single event of intrepid work by American forces dealt a huge blow to German resistance on the Western front. While Montgomery was accumulating landing craft, the US Army was surging over the Rhine with men and armor, creating an unassailable bridgehead, and trapping German forces on the wrong side of the River.

Churchill was always given exceptionally high marks as an inspiring and eloquent orator before the war and during it. His ability to lead a beleaguered nation in its darkest hours can never be underrated. With that in mind, he has been awarded high marks for standing alone during the Blitz (German air attacks) and keeping up British morale despite the nightly bombings, the massive destruction and the battlefield reversals. He certainly deserved criticism for his endless micro-managing policy, interference with his generals, reversals in strategy and poor choice in military appointments. He even was very critical of his “star” appointment of General Montgomery. The victor at Alamein. Ironically, Montgomery wasn’t his first choice to command the 8th Army in Egypt.

His first selection was Lt. General Richard Gott, who killed in a plane crash. According to many of the veterans of that campaign, who were familiar with both men, they felt that Gott certainly would have lost the battle for control of Egypt, the Suez Canal and the oilfields of the Middle East. Churchill certainly opposed Operation Torch and wanted American men and material supporting Montgomery, was against Operation Anvil-Dragoon, the August, 1944 invasion of Southern France, in the days after the Normandy Invasion and the breakout into France.

 

The Prime Minister began to recognize the criticality and enormity of this undertaking, (the invasion of France) with regards to a complete recasting of the Allied war strategy, barely six months before the agreed launch date of Overlord. What a dilemma for Churchill and the whole Allied effort – months earlier, before the Quebec Conference (Quadrant)  – the British were talking about the invasion of Northern France sometime in 1945 or even 1946! Even though the date for the invasion was tentatively established for May 1, 1944, in Churchill’s mind it was just a “scrap of paper.” He saw, if possible, the task of the Soviets would be of defeating the Nazis, without much contribution of the Western Allies. Where that would leave Europe seems to be an unanswerable question. But, of course, Churchill imagined the Allies would go north from the Aegean into Eastern Europe and defeat the Germans in Romania, Bulgaria and Hungary, before the Soviets even reached Poland.  The realism of this incredible, fantasied, gambit was never in American consideration. Again, in Churchill’s mind, right up to Tehran, the agreement was nothing more than a piece of “lawyer’s paper” – as he put it, “a contract which Britain could simply decline to observe, or keep asking to defer, each moment, until the bill came due!” This was the existential problem that FDR and the American Joint Chiefs faced as their ship advanced on North Africa. But, in fact, they had no real clue to Churchill’s obstructionism, as they had no idea what was on his mind. Why liberate the Allies of Nazi Germany?

Of course, if FDR accepted Churchill’s “option” and the Soviets felt betrayed about a “real” Second Front, and worked out a separate peace, an entente-cordial, with Hitler, as opposed to more countless casualties, the US military was between a rock and a hard place –  with no obvious way of breaking the deadlock.

This is what would face FDR and his advisors as they approached the landing at Oran and his flights to Cairo and Tehran. On the HMS Renown, Churchill bounced his theories, disappointments, and angst off the very receptive Harold MacMillan (a future British Prime Minister), who was serving as the British political advisor to General Eisenhower. Churchill complained that no one listened to him and that his “military genius” was restrained by the Americans, almost like a “man whose hands were tied behind his back” Of course, as many historians have reported, his own Imperial War Staff, led by General (later Field Marshall) Alan Brooke, had grave doubts about his judgment and were constantly offended, and put out with his interference on matters of tactics. His judgement regarding commanders was also questionable. In fact, up to this time he had made numerous mistakes in personnel, dividing his forces, and not judging the strength of the enemy opposition in| the Far East, Burma and the Indian border, the Indian Ocean, ate Aegean, Dieppe, etc.

The British considered the Mediterranean as their sea, in the words of Mussolini and the old Roman adage, “Mere Nostrum!” thus as the HMS Renown safely reached Malta, where Churchill had a meeting with Lt. General Bedell Smith, Eisenhower’s Chief of Staff, one could readily see that he had no real clue what he wanted to do, and General Alan Brooke, the head of the Imperial War Staff disagreed with almost all of his decisions, his blurred vision, and his mixed messages to Anthony Eden, his Foreign Minister, to Marshall Stalin and to the Americans.

Churchill was, on the surface, quite confidant in the upcoming preliminary meeting in Cairo – codenamed Sextant, which would include Generalissimo Chiang Kai-Shek. Roosevelt, after making a dangerous and heroic trip across the Atlantic, was able to land safely in Dakar and eventually fly to Tunis and then to Cairo. He met with Chiang Kai-Shek, made commitments to help China so they could fight the Japanese who controlled the whole East coast of China, cooperate with our American general Joseph Stillwell, and have the huge Chinese army trained and better armed. The British objected to this meeting. They assumed when the Japanese were beaten, the French would go right back to ruling their Indochinese colonies. Churchill never wanted the precedent of de-colonization to start with removal of the decadent French, who after 100 years of rule, left that forlorn part of the world, worse than when they occupied it. He saw the eventual loss of Hong Kong, Malaya, and India as a disaster that he would do all to prevent. Well it eventually happened and will the British ever fight for Hong King? Never!

This meeting would eventually accomplish very little, Churchill was very bitter at the scheduling of the meeting with the Chinese leader, because he felt China had nothing to do with the defeat of Germany. In fact, all the promises that Churchill grudgingly made with Roosevelt would eventually be reversed by Churchill. This duplicity promulgated by the British, would later reverberate with disastrous consequences. With the ultimate failure of Sextant and Churchill’s continual disappointment with the American position on OVERLORD.

Churchill had been vacillating over OVERLORD for months, as he found excuses to pursue his unsupported adventures in the Aegean.  As for Churchill’s hopes for a quick advance to Rome, Pisa and the Tuscan Mountains they were running into tough opposition. Eventually as the Allies bogged down on the road to Rome, he grudgingly admitted things were not going his way, and he took no responsibility nor any shame at ignoring the difficulties of fighting in the mountainous eastern Mediterranean, where island by island German forces were methodically liquidating the surviving meager British forces that landed in the Aegean. It was the disastrous Battle of Crete, which the British had ignominiously lost in 1941, all over again. It seemed the Prime Minister never could re-learn the same lesson. He continued was pressuring President Roosevelt and his staff, including Eisenhower to postpone OVERLORD, and its timetable would hamstring the war in the Mediterranean and deprive the Allies of “great prizes!”

What great prizes? What and how could more adventures in the Eastern Mediterranean be sustained? Where were the supplies to come from?  In fact, barely six months from the invasion of Northern France, the whole OVERLORD concept was a theoretical undertaking in Churchill’s vision, while the Mediterranean Theater was real. He warned the President to put all of the Allied eggs in the Italian basket, not the cross-Channel gambit. One can understand without too much more explanation the angst the Field Marshall Brooke felt. He even wanted all the landing craft currently being moved to Britain for OVERLORD to be transferred to southern Italy. Aside from the Americans being astounded and alarmed, so was the British High Command.

Eventually, FDR finally was able to get his meeting with Stalin scheduled in Tehran the capital of Iran. Franklin D. Roosevelt finally gets the meeting he wants with Churchill and Stalin- the Big Three. He starts his incredible secret journey aboard the USS Iowa, our newest “super” battleship, captained by his former naval aid, Captain John McCrea. It will be a dangerous voyage in the South Atlantic crossing to Africa with all the members of the president’s top military staff, including General Marshall, the US Army Chief of Staff, Admiral Ernest King, Chief of Naval Operations, his own head of the Joint Chiefs, Admiral William Leahy, General Henry Arnold, head of the US Army Air Force and many others.

Of course, as it has been noted numerous times, the voyage was dangerous. There was always the threat regarding secrecy and security, regarding news leaks, the threat of land-based German long-range planes, new U-Boats which much more sophisticated weaponry, which had been updated by greater underwater staying power (the snorkel) and their highly secret new “smart” torpedoes. Ironically, during a ocean training session, a torpedo from an American vessel was launched by accident and headed dangerously close to the USS Iowa, where FDR and the American chiefs were traveling to the Mediterranean.

But, in reality what was really happening, was that after three days at sea, and in the “wake” of the missed torpedo, launched by an American escort, there was still the strategic crisis over the British attempt to insist on a long-delay of the proposed cross-channel (OVERLORD) invasion of Northern France. It seemed it was always about Churchill’s desire to redress his WWI failure at Gallipoli, which was an immense military disaster and cost him his job as First Lord of the Admiralty and his reputation for almost two decades, aside from his well-known failures as battlefield commander on the Western Front.

So, where was the world in November of 1943? FDR, finally, after one year of trying, was able to establish the critical meeting with Stalin, who before would never leave the Soviet Union for a number of reasons. He claimed, as the chief of their armed forces, he could never leave his direct command, he was extremely paranoid, possibly about assassination, had severe fear of flying any distance, among other personal excuses directed back to the president. The Allies were incredibly fearful about a separate German-Soviet peace. The British wanted to preserve their overseas empire, with American assistance (which was opposed by a vast majority of the American public and its leadership.) They certainly wanted to maintain their Mediterranean hegemony from Gibraltar in the West to Crete and Palestine in the East, Egypt in North Africa, with the Suez Canal, with its critical passageway to India, and their political influence over Greece and the Aegean.

As the Iowa headed for Oran, in North Africa, Churchill and his staff are heading from Britain on the HMS Renown, a World War I dreadnaught, to a similar port of call at Malta. The Prime Minister began to recognize the criticality and enormity of this undertaking, with regards to a complete recasting of the Allied war strategy, barely six months before the agreed launch date of OVERLORD. What a dilemma for Churchill and the whole Allied effort – months earlier, before the Quebec Conference (Quadrant)  – the British were talking about the invasion of Northern France sometime in 1945 or even 1946! Even though the date for the invasion was tentatively established for May 1, 1944, in Churchill’s mind it was just a “scrap of paper.” He saw, if possible, the task of the Soviets would be of defeating the Nazis, without much contribution of the Western Allies. Where that would leave Europe seems to be an unanswerable question. But, of course, Churchill imagined the Allies would go north from the Aegean into Eastern Europe and defeat the Germans in Romania, Bulgaria and Hungary, before the Soviets even reached Poland.  The realism of this incredible, fantasied, gambit was never in American consideration. Again in Churchill’s mind, right up to Tehran, the agreement was nothing more than a piece of “lawyer’s paper” – as he put it, “a contract which Britain could simply decline to observe, or keep asking to defer, each moment, until the bill came due!” This was the existential problem that FDR and the American Joint Chiefs faced as their ship advanced on North Africa. But, in fact, they had no real clue to Churchill’s obstructionism, as they had no idea what was on his mind.

In fact, what was on Churchill’s mind was his secret attempt to sabotage the whole cross Channel operation, known as OVERLORD, which was planned for May 1, 1944. He was plotting with his chiefs of staffs to subvert the agreements made two months earlier in Quebec. He later would totally omit this from six volume history of the war. Distinguished Cambridge historian, David Reynolds said that this was “one of the most blatant pieces of distortion in his six volume memoirs.” He constantly talked about invading the Dodecanese Islands, bringing Turkey into the war, dominating the Aegean Islands, and being then able to enter the Black Sea with the British Fleet and the aid of the Russians in all their recovery of the northern coast, the Crimea, etc. Of course, this was farcical on its face, and very close to re-living the disaster at Gallipoli in 1915.Of course, when he wasn’t getting his own way with his own staff, he threatened to resign on October 29, 1943.General Alan Brook noted in his diary, “had he gone mad!”

The question that FDR put to his advisors on November 15, 1943, – “aware that at the end of the day, there was no way to enforce the Quebec Agreement, if Churchill resigned (as he threatened to do before) or withdrew the British commitment to the military partnership for the May, of 1944 cross channel endeavor, the war against Hitler would be effectively lost. Of course, if FDR accepted Churchill’s “option” and the Soviets felt betrayed about a “real” Second Front, and worked out a separate peace, an entente-cordial, with Hitler, as opposed to more countless casualties, the US military was between a rock and a hard place –  with no obvious way of breaking the deadlock. This is what would face FDR and his advisors as they approached the landing at Oran and his flights to Cairo and Tehran. On the HMS Renown, Churchill bounced his theories, disappointments, and angst off the very receptive Harold MacMillan (a future British Prime Minister), who was serving as the British political advisor to General Eisenhower.

Churchill complained that no one listened to him and that his “military genius” was restrained by the Americans, almost like a “man whose hands were tied behind his back” Of course, as many historians have reported, his own Imperial War Staff, led by General (later Field Marshall) Alan Brooke, had grave doubts about his judgment and were constantly offended, and put out with his interference on matters of tactics. His judgement regarding commanders was also questionable. In fact, up to this time he had made numerous mistakes in personnel, dividing his forces, and not judging the strength of the enemy opposition in| the Far East, Burma and the Indian border, the Indian Ocean, ate Aegean, Dieppe, etc.

Macmillan was a perfect sounding board for Churchill, he was classically educated, a bon vivant and an English social and intellectual snob, with his Eton and Oxford education. He by nature looked down his nose at the Americans and had seemingly forgotten the many failures the British had endured, and “began to feel not gratitude for the way the US had helped save Britain in 1942 for mounting Torch (the invasion of North Africa),” but instead a discernible resentment at the growing American economy and military might in the Mediterranean.  Of course, the British considered the Mediterranean as their sea, in the words of Mussolini and the old Roman adage, “Mere Nostrum!” thus as the HMS Renown safely reached Malta, where Churchill had a meeting with Lt. General Bedell Smith, Eisenhower’s Chief of Staff, one could readily see that he had no real clue what he wanted to do, and General Alan Brooke, the head of the Imperial War Staff disagreed with almost all of his decisions, his blurred vision, and his mixed messages to Anthony Eden, his Foreign Minister, to Marshall Stalin and to the Americans.

Churchill was, on the surface, quite confidant in the upcoming preliminary meeting in Cairo – codenamed Sextant, which would include Generalissimo Chiang Kai-Shek. Roosevelt, after making a dangerous and heroic trip across the Atlantic, was able to land safely in Dakar and eventually fly to Tunis and then to Cairo. He met with Chiang Kai-Shek, made commitments to help China so they could fight the Japanese who controlled the whole East coast of China, cooperate with our American general Joseph Stillwell, and have the huge Chinese army trained and better armed. The British objected to this meeting. They assumed when the Japanese were beaten, the French would go right back to ruling their Indochinese colonies. Churchill never wanted the precedent of de-colonization to start with removal of the decadent French, who after 100 years of rule, left that forlorn part of the world, worse than when they occupied it. He saw the eventual loss of Hong Kong, Malaya, and India as a disaster that he would do all to prevent. Well it eventually happened and would the British ever fight for Hong King? Never!

This meeting would eventually accomplish very little. In fact, Churchill was very bitter at the scheduling of the meeting with the Chinese leader, because he felt China had nothing to do with the defeat of Germany. Realistically, all the promises that Churchill grudgingly made with Roosevelt would eventually be reversed by Churchill. This duplicity promulgated by the British, would later reverberate with disastrous consequences. With the ultimate failure of Sextant and Churchill’s continual disappointment with the American position on OVERLORD.

Here in Tehran, the capital Iran, the most important conference of the 2nd World War, certainly of the first half of the 20th Century and possibly, the whole 20th Century, until our time, the fate of Europe and the world was decided by the Big Three. Led by Franklin Delano Roosevelt, who initiated this meeting and who led each session, Marshal Joseph Stalin, leader of the Soviet Union and commander of their armies and Winston Churchill, the Prime Minister of Great Britain and their Minister of Defense, would decide the strategy that would either win the war, prolong it, or even be forced to “broker” a peace.

In this meeting, Churchill, who objected to American command of Europe even though we were supplying two thirds to three quarters of the men and material to the Western effort! Though we were also supporting the Soviet armies with 10 to 15% of their trucks (400,000), planes, ammunition, guns, and equipment via Lend Lease through a land route using Iran as a marshalling base and the deadly North Sea route to Murmansk and Archangel, Churchill still had to be convinced that the correct path to victory over Nazi Germany was through Northern France.

 

Churchill seemed to have no interest in that effort, may have actually believed that the Soviets and the Nazis would bleed each other to death, wanted to preserve the British Empire at all costs, and continued to have operations in the Aegean Sea, the Dodecanese Islands, Rhodes, and points east to actuate an invasion of the Dardanelles, with the dream of enticing Turkey into the war on the Allied side. This was almost dissolution, bordering on irrational. He never abandoned the pipe dream of an effort to surge northward to liberate Romania, Hungary and Bulgaria from whom, I ask? They were allies of Germany!

They needed liberation? What about the western democracies under the thumb of four years of Nazi occupation, featuring; looting, slave labor, tyranny and murder?

What was his purpose to fight in the mountainous terrain of Yugoslavia, and divert attention away from Overlord, the invasion of France? He even opposed the invasion of Southern France, planned under the code name Anvil. Later, when he was convinced of the need for the invasion of Southern France, at Marseilles, he had the code name changed to Anvil-Dragoon, because he was “dragooned” into the controversial, but most successful operation. Later, after D-Day, in August of 1944, naval operation and its subsequent landings would move the American armies up through the Rhone River Valley, under the overall command of Admiral Kent Hewitt and General Jacob Devers. The US Army’s VI Corps, led by Major General Lucian Truscott, would carry out the initial landing and be followed by the French Army B under command of Général Jean de Lattre de Tassigny. Accompanying the operation was a fully mobilized separate detachment called “Task Force Butler”, consisting of the bulk of the Allied tanks, tank destroyers, and mechanized infantry. Regarding the immensely successful invasion of Southern France and despite Hitler’s personal order that vital coastal enclaves were to be defended to the last man, reason started to penetrate into the minds of the German defenders. The main ground force for the operation was the US Seventh Army commanded by Lt. General Alexander Patch. At that critical juncture in the Southern France Campaign (Anvil), the German High Command began to re-evaluate its entire position in the west. By August 16, with many of their divisions in danger of annihilation, the German leaders elected to order a general withdrawal from France. German General Johannes Blaskowitz was to leave strong garrisons at Toulon, Marseille, and several key Atlantic ports. Those actions only served incrementally to delay the Allied advance.. Marseille fell in less than a week. This mission of the VII Corps, strongly aided and abetted by Free French resistant forces, started to move northward. Though their supply lines were being stretched thin, all Allied Anvil commanders nevertheless agreed that keeping the initiative was paramount. Allied forces, under General Jacob Dever’s 6th Army, part of the VII Corps continued to surge northward on the heels of the retreating Germans. Eventually they would link up with Eisenhower’s forces that were sweeping south in a wide arc to encircle German forces in the Falaise Gap — the hammer striking the anvil — to finally drive the Germans out of France. Despite Churchill’s  fears, opposition and fruitless demands, the Anvil Forces overwhelmed the light German forces in what had been Vichy France, as it was then able to liberate most of Southern France.

This was another case of superior American strategy over Churchill’s continued expression of his self-importance regarding overall theories of the conduct of the war.

With regards to more of Churchill’s mistakes and his obsession with the Balkans, eventually, the Germans were driven out of Yugoslavia, with the help of the Allies, Tito and his Red-Star hatted Communists. They were triumphant as the (pro-American) Chetniks were defeated and their leader, Draz Mihailovich became a hunted man, with a price on his head.  The Allies soon recognized their colossal error, with regards to Tito, but the main burden for that failed policy fell into the laps of the British and Churchill, who later admitted it was his greatest mistake. Frankly, he made many mistakes. The Soviets through their spies in Britain, later known as the Cambridge Five, were able to convince the Brits that the Chetniks were really pro- German and that Tito and his partisans were the force to completely support. After the war, eventually after 18 months or so, on the run, Draza Mihailovich was captured. He had many opportunities to escape, but seemed to be resigned to his fate. Maybe he felt that as long as he remained at-large in Yugoslavia, there was resistance to the Communists. He was captured, indicted and tried for treason and eventually executed.

Sunny Italy turns into Bloody Italy as the Churchillian Gambit turns sour!

 Let all of us understand that the Italian Theater of combat came about for various reasons. One was that the Allies, assuredly America was not prepared for a cross-channel attack in 1942 or 1943, envisioned by American planners, like General Albert Wedemeyer, and foolishly agreed upon by Secretary of War Henry L. Stimson, Chief of Staff of the Army, General George C. Marshall, and head of the Navy Admiral Ernest King. Not only was America not logistically prepared, but its armies were not battle tested and they wouldn’t be until the hard fought campaign in North Africa, from the landings during Operation Torch through the defeat at the Kasserine Pass by the Afrika Korps to the final victory in Tunisia. The 2nd reason was that after the successful liberation of North Africa by the combined forces of Britain’s 8th Army, under the command of General Bernard Law Montgomery, which drove from Egypt and America’s VII Corps, commanded by General Eisenhower and spearheaded by Lt. General George C. Patton which drove from Morocco and Algiers eastward into Tunisia, there was no other choice that was sensible. Therefore, the next logical target was Sicily and the combined forces under Patton and Montgomery quickly secured the island after their successful landings, beachheads, and thrusts northward. Prime Minister Churchill, acting also as Britain’s Defense Minister even wanted invasions of Corsica and Sardinia, which were totally unnecessary. The British, with Churchill at the lead, never wanted a cross-Channel invasion and as I have demonstrated would rather have ventured further east into Rhodes and Greece. Generally speaking, it was finally agreed upon to invade Italy from the south with Montgomery crossing the straits of Messina and the American 5th Army, under Lt. General Mark Clark invading at Salerno, not far from Naples. Thus, this satisfied Churchill’s quest to attack the soft-belly of the Axis somewhere. Unfortunately, from then on almost all went wrong. The soft-belly of Italy was not soft, and British gambits in the Eastern Mediterranean were a disaster.

This set the stage for another Churchill gambit. He desperately wanted to concentrate on capturing Rome and to surge northward with an idea that he could circumvent the Alps to invade Germany, which no one in history was ever to accomplish. Did he care about the hundreds of thousands of allied causalities in the mountainous territory of Italy? Were his arguments ever sincere? That is the question. Of course, he wrote the history (a six volume set, winning himself the Nobel Prize for literature in 1953) and said he “would bury his mistakes,’ which were legion! In fact, his history was forced by law to omit the reality of ULTRA, the breaking of the German Code, and his omissions of critical issues were historically insincere and frankly terribly inaccurate.

But, what of that gambit? In truth, the disaster of Italy could be summed up in one word, “Anzio, – Operation “Shingle.” It proved as General Eisenhower and Secretary Stimson had predicted and feared, a calamity. The 43,000 Allied casualties on the beaches of Anzio and the surrounding hills, over the next 4.5 months, included over 7000 who died there would be a terrible indictment of General Brooke’s support of the latest Churchill flawed strategy, but most of all his impetuosity and shallowness. In reality, Churchill’s autocratic and often wild behavior seemed to General Brooke to be substantially worse than ever in November, 1943, when Brooke had despaired of having to work with such an impossible Commander in Chief. As of mid-January, 1944, Brooke wrote in his diary that he could not “stand more of it, ”After 4 hours of meetings with Churchill.. “In all his plans he lives hand to mouth, he can never grasp a whole plan, either in its width or its depth.” He added, “His method is entirely opportunistic, gathering one flower her another there! My God how tired I am of working with him.”

The campaign in Italy went from bad to worse- no less than three bloody battle were fought at the foothills of Monte Cassino, with little or no results as the stranded forces at Anzio could not linkup with General Clark’s forces. Italy was, as Admiral William Leahy, FDR’s person Chief of Staff had predicted, a disaster. This was the “soft under-belly of the Axis?” Anzio was, in short, a mess, a catastrophe as Rome was still as far away as ever. This caused the shaken Prime Minister to plead for an emergency meeting with the President and the American chiefs of staff in the United States of the Bahamas. Because Roosevelt’s lingering bronchitis, it would never happen.

More problems would ensue between Churchill and the British chiefs of staff. In fact it would get much worse. By March of 1944, the entire British Chiefs were on the point of resignation! To Brooke, Churchill “has lost all balance and is in a very dangerous mood!”

Aside from the immediate problems caused by Churchill and the British command of the Mediterranean Theater, President Roosevelt, who received tremendous support from Marshall Stalin, felt that Stalin knew for sure more about military strategy than Churchill. FDR pointed out all the pitfalls regarding Turkey, the Aegean and the so-called worthlessness of attacking the so-called “soft under belly” of the Axis. For sure again, Italy was no “soft belly!” Why was the attack and occupation of Rhodes so important to Churchill? Where would that lead? In fact, the British were just thrown out of that region by strong German defenses and counter attacks. He seemed to have forgotten the British failures in Crete, Greece including 1940 and the later ones in 1943, in the Peloponnese, the Dodecanese region, along with the islands of Leros and Rhodes. And the question remains, what was Churchill’s ideas and was he even sincere about invading France even in 1945 or 1946?

Roosevelt was insisting on the American command of the cross channel invasion of France. He intimated that it would be the well-respected General George C, Marshall, the current US Chief of Staff. This was approved by Stalin and Churchill, but the British Prime Minister, who wanted British command of all of Europe, insisted that if the Americans commanded the Overlord Operation the British would command the Mediterranean. Of course, this would be his chance to divert forces back to the Aegean. This compromise, would lead to the backtracking of aid to China, a cancelling of Operation Buccaneer, the invasion of Andaman Islands, which caused the Chinese leadership to lose faith in American and allied support. The Nationalist Chinese thus focused their forces on the communists and Mao Zedong, who controlled northwest China. This turned out to be long-term disaster for China, Indochina, and the immediate postwar future of Southern Asia.

In the end, it was not Marshall who would command SHAEF and OVERLORD. It would be Eisenhower. The conventional wisdom was that Marshall would go to London and Eisenhower to the Pentagon as the new Chief of Staff. Of course, for many reasons this was never going to happen. FDR never really wanted Marshall out of Washington and the United States. Harry Hopkins, as FDR’s emissary, asked Marshall which he wanted, to remain Chief of Staff or the Supreme Commander of the Allied Expeditionary Force?

Marshall answered that he would serve the President in any role, with cheerful enthusiasm that the President wished. This was typical of Marshal and FDR saw that he would not make a “personal” commitment!” No one knows what was on FDR’s mind about Marshall’s future role. But, this enabled him to choose Eisenhower. He finessed Britain with the specter of Marshall as the Supreme Commander and he finally choose the most experienced officer in the field, General Eisenhower, who commanded American troops in North Africa and Sicily! In fact, FDR had consulted the aged General John J. Pershing, who knew and respected Marshall, but warned against his appointment.

Churchill, in the continued wake of his disappointments after the conferences at Casablanca, Quebec, etc., continued to fester over the thwarting of his desires to attack, up and through, the Aegean area all the way to the Dardanelles. He never seemed to come to the realization that these adventures were to never happen, no less succeed. In the meantime, the campaign in Italy had slowed down dramatically, the difficult terrain benefitted the defending German army, and the casualties were mounting at an alarming rate. The American command, and especially, FDR never saw the conquest of Italy as a strategic lynch pin for success. They were happy to have German divisions diverted from the Eastern Front with the Soviets and, thus have their manpower and supplies drained. For sure, the liberation of Rome was not a strategic objective, needed at all costs. Almost immediately, as Eisenhower relinquished command of the Mediterranean sector to the British, Churchill pushed for another invasion, up the boot of Italy at Anzio, which turned out to be another military quagmire, with the great loss of both American and British lives.

As Eisenhower was later to recall, “It was difficult to escape the feeling that Mr. Churchill’s views were colored” by considerations “outside the scope of the immediate military problem,” that the Prime Minister was all too, interested in personal objectives, and happy to disregard the military challenges involved, when it suited him. It seemed to Eisenhower that Churchill preferred to focus on British political needs, even personal prizes of low-hanging “fruits” dangling before him in his capacious mind. When “fired up about a strategic project, logistics (maybe reality) did not exist for him. Eisenhower reflected, about Churchill that “Combat troops just floated forward and around obstacles – nothing was difficult.”

Once again, Churchill’s interference with the goals of Tehran proved costly to allied efforts with regards to blood and treasure. Eventually, with the August invasion of Marseilles, in the Anvil-Dragoon Operation, Churchill was proven quite incorrect. He, even in one of his more lucid moments, admitted it was his greatest mistakes. Unfortunately, throughout the war, there were many, “greatest mistakes” from Norway, to Singapore, to Tobruk, to Anzio, and his operation to the southern invasion of France.

The most remarkable consequence of his actions was that General Brooke, Chief of the Imperial Army and his staff didn’t resign en masse regarding Churchill’s interference, inconstancies, casting of blame, and ranting diatribes, In fact, after the war all of their diaries supported their concerns about Churchill’s stability. Did this ever happen with Roosevelt, his staff, his war cabinet or anyone around him? No!

The End Game, OVERLORD and the Long Sought and Anticipated Invasion of Northern France!

Of course, on D-Day, June 6, 1944, all the arguments ended, the hand-wringing and doubts were superfluous. The beachhead was secured, eventually there was the anticipated Breakout and the earlier mentioned invasion of Southern France, Operation Anvil-Dragoon, proved a brilliant success. Roosevelt and the American planners were right. The VII Corps and the 6th and 7th US Armies moved up the Loire Valley, cut through Vichy, France and eventually linked up with General Patton’s 3rd Army as the Germans were in a general retreat from France.

The question over Churchill’s competence echoed through the British Imperial War Staff. Churchill was not immune to the stress and ravages of age and his consumption of copious amounts of alcohol. After Tehran, Churchill had collapsed in Tunis and reports had surfaced that he had died. Of course, the reports were unfounded, but he was seriously ill. But, with that reality in mind, many were speculating whether he could continue to serve as Prime Minister.

Churchill had suffered other health setbacks, including mild heart attacks and bout with the flu and pneumonia, including in the days after his late December, 1941, visit to the White House. In the midst of FDR’s latest health crisis, Churchill rapidly recovered from pneumonia and atrial fibrillation.

Therefore, by September of 1944, another meeting between FDR and Churchill had become superfluous and redundant. There was no way that the ailing President Roosevelt was going to meet Churchill in Scotland or almost anywhere else, except in North America, especially in the midst of the presidential campaign.  As the time for the next Quebec Conference approached, both western leaders were seriously ill. On the voyage west to meet with their American colleagues on the Combined Chiefs of Staff committee, at the Chateau de Frontenac, Churchill was quite impossible to argue with. Field Marshall Brooke later recalled, “It was a ghastly time which I carried away the bitterest of memories!” Churchill felt the same about his top two commanders, Brooke and Admiral Andrew Cunningham.

Thus, to sum up the Quebec Conference with regards to Churchill’s speech to the gathered fourteen chiefs and their staffs, his objectives regarding Vienna and Singapore were totally dismissed out of hand, as FDR punctured all of his trial balloons. FDR doubted that the Germans or the Japanese were about to fold.

The Japanese were beyond fanatical and suicidal on Saipan and the Germans eventually would retreat behind the wide Rhine River. He also predicted that there would be another huge German offensive in the West. Eventually he was proven right as the Germans attacked in the Ardennes, known historically as the Battle of the Bulge. As for fortress Singapore, FDR for sure didn’t want to attack fortified positions with the high resultant casualties, unless the position had strategic importance. Singapore had no strategic importance and he recommended that it be isolated from the north with an effort in the Malay Peninsula.

Churchill still wanted to reach Vienna from the Adriatic and he was coming to Quebec, with hat in hand, to solely obtain 20 landing ships to carry out an operation against Istria (a peninsular in the Adriatic) to seize Trieste. No matter what the British Staff reacted up against Churchill’s futile protestations, their objections went to “dead and deaf” ears! “Was Churchill then mad,” Brooke wondered or “perhaps ill?”

The next day of the voyage, Churchill’s fever increased and he became increasingly worse. Field Marshal Brooke recorded in his diary. “He knows no details, has only half the picture in his mind, talks absurdities and makes my blood boil to listen to his nonsense!”

 

Brooke also wrote, “I find it hard to remain civil,” and he continued, “The wonderful thing is that three-quarters of the population of the world imagines that Winston Churchill is one of the great strategists of history, a second Marlborough and the other one-quarter have no conception what a public menace he is and has been throughout the war!” Of course, FDR, in the midst of the presidential campaign, was a shadow of his former self, who was trying to end the war without more unnecessary, further bloodshed. He wasn’t looking for more “side shows” or gambits to satiate more imperial desires of Churchill. His objective was to defeat Germany, get the United Nations concept in place, and secure the peace.

Therefore, the critical Big Three meeting, known as the Yalta Conference was scheduled for the Crimea. The USS Quincy, a heavy cruiser, and a sister ship to the USS Baltimore, carried FDR on his last overseas odyssey to Yalta. He was accompanied by his daughter Anna, and a small entourage on board, which included his Chief of Staff Admiral Leahy, his Director of War Mobilization, former US Supreme Court Justice James (Jimmy) F. Byrnes, his Press Secretary Steve Early, his political advisor Ed Flynn, from the Bronx, his naval and military aides, his two doctors and three officers from the White House map room.

On January 31, 1945 as they passed into the Mediterranean through the Straits of Gibraltar, they celebrated FDR’s 63rd birthday, one day earlier. On February 2nd they entered into the Grand Harbor at Valletta, Malta and disembarked. All of bomb ravaged Malta was out to greet him along with Ambassador Harriman, Harry Hopkins, his personal assistant, and Anthony Eden. Ed Flynn remarked, “It was quite an emotional moment!” One could just imagine how this small island, which endured 1000 air raids welcomed this great leader of the United Nations and the Western Allies.

After their stay in Malta, he and his intimate team, bordered a newly furbished C-54, the latest, newly equipped version of his plane, the “Sacred Cow.” (An early version of Air Force One). The plane was screened by six fighter planes and escorted to Russia.

Churchill, from his perspective, according to Harry Hopkins, dreaded the conference and despised the location. But, since Churchill had flown to meet personally with Stalin in Moscow, he wasn’t going to be left out of this conference. As damaged as Yalta was by the Nazis invaders and looters, who even took out the piping in most of the buildings, including the summer residence of the former Tsar of Russia, Nicholas II. The Livadia Palace, was meticulously restored and rehabilitated by the Russians. Frankly, it was in excellent condition.

In the last few months of his life FDR struggled to balance the interests of the West, the special relationship with Great Britain, and the criticality of building trust with the Soviet Union and their leader Josef Stalin. He understood the anxiety of the Russians; their fear of the rise of German militarism in the future, and he also knew that the Soviets feared a united Western Alliance, bent on their destruction. He envisioned a Big Four, comprised of the United States, the Soviet Union, Great Britain and the emerging China, which would keep the peace, work for decolonization, and build understanding between competing economic and social systems. He understood the dynamic of nationalism and he also understood clearly that the Soviet Union was in control of Eastern Europe and that they would not easily give up their hard earned, with blood and treasure, buffer. He certainly didn’t believe it was in America’s interest to fight a 3rd World War over Poland’s sovereignty. Despite the opinion of his conservative critics, FDR was quite aware of what he was doing at Yalta. He tried to build confidence in Stalin, by showing him that the West was not in monolithic lockstep. He did annoy Churchill, who couldn’t understand his tactic, and it was basically the British who criticized his health and attentiveness. Almost all the others did not see FDR as the “weak sister” of the conference. He was for sure the leader of the Big Three and he also understood the reality of “Russian boots on the ground.” During his later address to a Joint Session of Congress he addressed that reality. There were few who could disagree with his evaluation.

But, in truth, it was only FDR who could have handled the post-war dilemma regarding peace or potential Cold War. As for Yalta, FDR comported himself quite well, and all the revisionist right-wing fiction can’t change the facts.

We could not have won the war without Stalin or the Soviet Red Army. They had 10+ million soldiers on the Eastern Front, they distrusted the Western Allies’ sincerity, especially Churchill, who had little clue how to lead a peace-time nation. The Soviets feared a resurrected Germany, and its partition was well justified. Unfortunately, because of the ensuing Cold War, Germany escaped greater and more deserved draconian punishment. At least in the Soviet Zone they suffered more deservedly then in the three Western Occupation Zones.

The great reason for the failed peace was the death of FDR, because he was the only one with the skills and prestige to lead the West and insure the peace. Truman did as best as he could, considering his inexperience and poor advice. As to the West, its fear of communism obfuscated the crimes of the Fascists, Nazis and the other Eastern European strongmen, who brutalized Germany, Italy and all the countries east of the Oder-Neisse. The dictators of Bulgaria, Hungary, and Romania were not democratically inclined and Poland was run by a military junta. FDR was not going to commit the US to go to war over Poland and he had stated that the Russians and Poles had hated each other for centuries and they both had blood on their hands. Poland was the “trip wire” with regards to Britain and France. They had no special allegiance to Poland and their treaties were signed to draw the line, with regards to German aggression. As for the Soviet Union, they were making geo political deals to survive no differently than the West. With Stalin, he was just another in a long line of oligarchs who had run Russia forever. The crimes of the Romanov’s, which had lasted 400 years, were not much different than the Bourbons of France and the other royal dynasties that disappeared in Austria and Spain. As Napoleon sagely said, “The victors write the history.” In the same sense, that the Soviets and the Russian people, after hundreds of years of oppression, turned to another system and, for better or worse, supported it. Was Churchill more aware of the threat of the Soviet Union than Roosevelt, or was a healthy FDR much more capable of handling Stalin, the Soviet Union, and encouraging their trust in the West? That is the eternal question.

For sure, Churchill’s vast mistakes in strategy were mostly a consequence of an inflated ego and a self-belief that he was an unequalled military genius, a mid-2th Century Carl von Clausewitz.

Churchill was a great man, with unparalleled oratorical skills, a polished writer, a wonderful artist, but understandably was most interested in preserving the British Empire. He stated it! Long-time, Canadian Prime Minister MacKenzie King, when comparing President Roosevelt and the Prime Minister of Great Britain, he wrote in his dairy, “Churchill has been raised up to meet the need of the day in the realm of war, to fight, with the power of the sword, the brute beasts that would devour their fellow men in the lust for power.” He also added, “Roosevelt might not be a greater man as an orator, or military ‘genius’; nevertheless he was a greater man!”

 

 

Of course, Prime Minister King was a dear friend of FDR, and he stated, “The President has overtaxed his strengths in other ways (than Churchill’s drinking). His fight for the people has made him many and bitter enemies!” As a consequence of his long political leadership from being the Governor of New York during the early days of the Great Depression, along with his long social, economic and political leadership of America from 1933 through the attack on Pearl Harbor, “he has been sincere in his determination to better the conditions of the masses, he is more human than Churchill!”

FDR never anticipated his own death and no matter how much he would have brought Vice-President Truman into the councils of his own thoughts and strategy, he could not guide Truman’s hand from the grave. Truman, with all of his limitations, turned out to be a strong and resolute chief executive. Of course, Averill Harriman and the other “Cold Warrior” hardliners won the day, but ironically both he and George Kennan reversed their thinking on reengaging with the Moscow.

In the words of Professor Frank Costigliola, author of FDR and the Lost Alliances, “It was Harriman, who had worked most tirelessly to distort and undo Roosevelt’s vision, who later paid the most poignant testimony to his wartime boss.  Harriman later stated, “FDR was basically right in thinking he could make progress by personal relations with Stalin… The Russians were utterly convinced that the change came as result of the shift from Roosevelt to Truman.”  Harriman added, “If Roosevelt had lived with full vigor, it’s very hard to say what could have happened because – Roosevelt could lead the world.”

Of course FDR’s death, like Lincoln’s almost exactly eighty years earlier had proven to be a disaster for America. Great leadership is not easy to develop. Truman, though an excellent president, who history has treated quite kindly, could not fill the Seven League boots of his great predecessor.

Palestine Postscript:

FDR Report to Congress

In his report to Congress on March 1, 1945, Roosevelt declared that he had learned “more about the “Moslem problem, the Jewish problem, by talking with Ibn Sa’ud for five minutes” than he had ever known before. This statement and its meaning have been debated for generations and many have shaped their own interpretation. FDR, who was fighting exhaustion along with his hypertension, arteriosclerosis, and advanced heart disease, was not in any condition to over-explain the meaning of his words. But, according to many interpreters of his remarks, what he basically said; was that he learned that the Saudis were adamantly against any Jewish State, they would never make a deal, and any compromise that the Zionists assumed could happen, was not to be accomplished. Therefore, what he was responding to was, that all the “dreams” of a Zionist State would not happen with Arab consent, and they were not going to consent. Of course, in the last few months of his life, FDR did assure both the Zionists in America of his continued support and the British and the Arabs that he would not unilaterally force a Zionist state on them without their consent. This dualism is not easily answered. In a sense FDR was continuing his balancing act with his British Allies. He understood their deep reliance on both India, with their large Muslim population and their long relationship with the Arabs. Certainly he did want not to threaten their unity with extraneous issues not related to winning the war in both Europe and Japan. He was unaware that the Atomic Bomb would be successfully tested in the coming months, and therefore he looked forward to a long bitter and bloody struggle to subdue and conquer Japan. Again, Roosevelt was also exhausted by his 12,000+ mile trip back and forth to Yalta.

Geoffrey Wheatcroft excoriates Churchill, in “Churchill’s Shadow.”

In his historiography at the end, Geoffrey Wheatcroft gives Andrew Roberts, author of “Walking with Destiny,” the long, well researched, and received, one-volume history of Winston Churchill, credit for writing such a splendid book. But he dismisses it as not only hagiography at its finest, but part of the whole unsettling problem of not being honest about this iconic man and the price we have paid for this dishonesty. Wheatcroft has a point … in fact, many points. A truly well-regarded journalist, a direct and deeply informed contrarian, Wheatcroft succeeded in returning Churchill to the position he had devolved to in the years after his second try as Prime Minister. Churchill, of course, wrote his very well-received and Nobel Prize winning (1953) History of World War II, which seemed to reflect the words of Napoleon, “The victors write the history!” He wrote the history according to his own ego and seemed to ignore the myriad of mistakes and misjudgments that were rife with his leadership.

Meanwhile, aside from the war, Wheatcroft excoriates Churchill from the Boer War onward regarding many aspects of his life, including; his spending, debt, drinking and writing. He criticizes his use of a large staff to write his books, the use of ghost writers for many of his columns, and his taking of official documents for his own use. Unfortunately, truth be known, most of the books were written by a committee of researchers and writers, who often plagiarized other works, including large tracts about the Pacific War, especially from Samuel Eliot Morrison’s 15 volume, history of the US Navy operations during World War II. In fact, Churchill, who made his living writing struggled with publishers over the various rights he agreed to over the years. Often there were competing claims, that if it had been anyone else, there would have been embarrassing litigation.

He criticizes his attitude on race and empire. He criticizes him on his flip-flops on all sorts of issues, regarding the bombing of Germany, especially Dresden, (I personally couldn’t have cared less if they destroyed every German city), Stalin, Mussolini, Turkey, the Middle East, etc. He is very critical of his relationships with Beaverbrook, Bracken and a number of others who he considers brigands and exploiters. He certainly does not ignore his drinking and his tax problems, nor his abject failure with his children, especially his loutish son, Randolph. Wheatcroft is a conservative, Tory and he certainly goes after him on his leadership of the party in the post war period.

In 1945, the British public hardly rewarded their hero. In the general election of that year, his party was given its worse defeat since 1806. Churchill had failed often in his roles in domestic, British governance before WWI. For these failures, aside from his disastrous role in the WWI catastrophe at Gallipoli, he was out of the Tory leadership for years.

After his lack-luster, health-hindered, second try as Prime Minister, Churchill’s reputation withered in the decade before his death in 1965, and declined even more in the years that followed. Churchill’s reputation was rekindled by Margaret Thatcher and Ronald Reagan, who both needed a “conservative” hero. In fact, he was more popular here than in Britain. But, of recent date, British historian Nigel Hamilton, brutalized Churchill’s role in WWII as one of ineptitude, failure and interference in his monumental trilogy, “FDR at War.” No doubt he rallied the British people in their “Darkest Hour,” in 1940, but he went severely downhill from there with mistakes and misjudgment after mistake.

By the way, Wheatcroft comes from impeccable Tory credentials, so this is not a partisan or ideological fight. Rather, he is quite literally trying to set the record straight and if those stupid blurbs on Amazon are any indication, he has upset a lot of people. In truth, Churchill, even according to Andrew Roberts, who I greatly respect, and who I interviewed twice on my radio show, The Advocates, conceded that Churchill was always great “theater” and entertainment in Parliament, but with hardly any followers. The basic reason was that few trusted him, and his actions in WWII made even his intimates and his Imperial Military Staff wary of his judgment. Even FDR, who had fabulous patience was frustrated by his great western ally and partner.

All in all, revisionism is a fact of life, and though out the ages all the notables have been reviewed, at one time or another, often with pointed criticism. Some of it sticks, most of it doesn’t. Remember, no biographer knows the whole truth (except maybe Robert Caro) and no autobiographer tells the whole truth (even if they did, no one would really believe it). As for his literary contribution, Churchill’s greatest vulnerability, to me, is his six volume “History of the 2nd World War.” Most modern day critics, disagree with a great deal of his telling of his role.