|
Ann Coulter, in her bold and brilliant book, Treason,
notes that the fact of Americans betraying America to communism is not news.
It is well known, but politically incorrect, truth. The trials that
convicted Alger Hiss, the Rosenbergs and other traitors were more than fair
to the defendants. Indeed, the elites of America strongly supported
these traitors.
Alger Hiss, after his conviction of perjury which was tantamount to conviction
of treason, was made the President of the Carnegie Endowment for Peace.
Hiss ultimately had his license to practice law restored, while Roy Cohn,
the homosexual Jewish right-hand man of Senator McCarthy, who was dying of
cancer at the time, had his license to practice law revoked.
When Allan Weinstein began his book, Perjury, which was intended to
exonerate Hiss (Weinstein, as a liberal Democrat, had reflexively believed
was innocent), the author gave to the surprising conclusion that Alger Hiss,
darling of every Leftist cause for the prior three decades, was guilty.
My gosh! Really?
Evidence of the obvious and grand treason by communists within the American
government grew over time. When Andrei Sakharov, the leading physicist
in the Soviet Union and the Father of the Soviet H-Bomb, became a leading
dissident, he stated publicly that the Soviet Union did not build the first
fusion bomb without much help from spies in America.
This, in fact, is even more damning than the Rosenbergs’ treason because
their betrayal involved, among other things, data on the fission bomb --
the Atomic bomb -- and not the vastly more powerful Hydrogen bomb. And if
anyone knew what the value of this espionage was, it was Sakharov, who won
the Lenin Award for building the fusion bomb.
Still the Left in America yawned. After the fall of the Soviet Union,
historians and scholars had access to the direct files of the KGB, GRU and
Communist Party of the Soviet Union. And, of course, a year or two
earlier the files of the intelligence services of East Germany and Czechoslovakia,
as well as the other Warsaw Pact nations, were made available to the world.
Everything reinforced the case for massive treason in America. Still
the Left yawned, and still history books talked about “McCarthyism” as the
worst crime in American history and pretended that Alger Hiss and Harry Dexter
White were simply misunderstood progressives.
Then came the revelations of Venona. Now we knew almost everything.
People who we did not even know had been spies, including members of the
Congress of the United States, were exposed as traitors -- ideological, or
I suggest, often simply pragmatic traitors.
But this treason by government officials is only half of the story.
The other betrayal of America to communism was even more damaging.
Indeed, this treason is still with us. The Soviet Union did not just
seek to infiltrate American government, but American society. This
effort was not intended to aid the Soviet Union through espionage or the
influencing of foreign policy, but to savage the American Dream.
The primary
focus of this campaign was Hollywood and entertainment. Today, Venona
and Soviet archives reveal how deeply communists burrowed into American society.
John Webber, who was the head of the literary department of the William Morris
Agency, was a communist agent. He reviewed screenplays for films, and
through this pivotal position, Webber promoted films that demoralized and
demonized America, while suppressing films with anticommunist themes.
Dalton Trumbo, who directed the film Kitty Foyle, was a communist.
Trumbo, during the two years when communists were enthusiast supporters of
Nazi Germany and Adolf Hitler, even wrote a book, The Remarkable Andrew,
which celebrated the Nazi-Soviet Nonaggression Pact. He was only one of several
Hollywood directors who were actual, not putative, communists.
Writers like Lillian Hellman, who supported Stalinism until her death late
in the twentieth century, was not only a communist but has been the subject
of dreamy and sweet films and documentaries produced by Hollywood.
The Screen Writers Guild was dominated by communists, typically actual agents
of the Soviet Union.
How deeply did communists penetrate Hollywood? When George Murphy was
elected to the board of the Screen Actors Guild, Murphy began receiving copies
of The Daily Worker, the official newspaper of the Communist Party
USA, simply because the editors of that periodical assumed that any
member of the board of that organization was automatically a communist.
How deeply did this treason affect American films? There has never
been a single dramatic film or television program about the Gulag. Hollywood,
quite rightly, has made many films about the Holocaust and the persecution
of Jews in Nazi Germany, but Hollywood has never made a film about the other
holocaust, the extermination of tens of millions of innocent people in the
Soviet Union.
Perhaps the most contemptible act in modern history was the Soviet-Nazi Nonaggression
Pact. These two monstrous nations divided up Europe and engaged in
democide on a scale unprecedented in human history. Why is this ghastly
deed not the proper subject for a film?
Consider that the oceans of evidence since 1991 has compelled the whole history
of the Cold War to be rewritten: treason within the American government was
actually worse than anyone thought. Has Hollywood considered the worst
betrayal of America in our nation’s history the proper subject for a film
or television series? Hollywood has made dozens of films about “innocently”
persecuted victims of “McCarthyism,” like The Way We Were and The Front, but nothing at all about the history that we now know is true.
The television series M*A*S*H mocked patriotism and anti-communism.
Yet anyone with the slightest sense can today see that the Republic of Korea
-- the nation which the oafish members of the M*A*S*H defended -- is vastly
better than the hellish regime in North Korea, perhaps the worst place on
Earth. Why has there never been a television series about Korea or
Vietnam which accurately portrays Americans as defending freedom from bloodthirsty
and totalitarian regimes?
It is instructive that the very few films about communism like The Green Beret and Inchon
were independently produced. Why? The utter moral and practical
failure of Marxism is, in many ways, the story of the twentieth century,
yet the entertainment industry utterly ignores this grandest crime against
humanity.
During the 1960s and 1970s, rock music viciously attacked the American military,
the Vietnam War, and every single real or imagined vice of American society.
But why did it not produce a single song, with the exception of Sergeant
Barry Sadler’s The Green Beret, which attacked the horrible evil of the Soviet Union or stood up for the men who were defending our freedom?
What is starkly clear in American establishment entertainment is not criticism
of America -- done fairly and reasonably, that is a legitimate function of
entertainment -- but silence regarding Marxism and the one hundred million
souls who died in communist torture chambers, cattle cars and concentration
camps. No evil in America remotely approaches the harm which communists
have caused to mankind. Yet no one in the establishment entertainment
industry seems to care.
Why does this bias continue? Marxists did not just infiltrate the entertainment
industry, but any movement or cause which it could corrupt from a righteous
movement into anti-American poison. Feminism, for example, was once
an honorable cause. The vast majority of feminists were Republicans,
which championed the cause of suffrage and equal rights.
Betty Friedan changed that. Friedan lied about her life -- maids did
her housework and she spent little time as a wife or a mother, according
to her ex-husband. She was also a Stalinist communist. The noble
movement of Feminism began the ugly jihad of today precisely because Friedan
and other Marxists lied, pushed and maneuvered it into reflexive Leftism.
Rosa Parks was a member of the Communist Party USA, and along with a few
other black Marxists, she helped transform the civil rights movement into
the absurdly and surreal stew of hate and bitterness which exists today.
The rights of black people were long championed by conservative Republicans,
who for the last 150 years have consistently supported civil rights for blacks
(pointedly, when it gave Republicans no political advantage at all.)
Academia, however, has probably been the most effective source of genuine
Marxist strength. Phil and Moe Foner, the uncles of Eric Foner, President
of the American Historical Association, were famous communists who were purged
by Leftist, but patriotic, Walter Reuther, longtime head of the United Auto
Workers.
The Orwellian hatred of America is now well known by almost every thoughtful
American. Why do so many academics loathe the very nation that supports
them in affluence and grants them so much influence and honor?
Because the entire culture of the establishment in America was consciously
transformed by communists -- sometimes by Soviet agents and sometimes by
Marxist sympathizers -- so that the very freedoms which America grants to
writers, instructors, artists and composers would be turned like a dagger
against America. This betrayal is the Other Treason.
Bruce Walker's articles can be found at the Conservative Truth.
Email Bruce Walker
Send
this Article to a Friend
|
