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Caught in the crossfire: Adrian Scott and the politics of Americanism in 1940s Hollywood
Jennifer E. Langdon
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Leaflet from 1930s Los Angeles, depicting Hollywood as a hotbed of Jews, Communists and moral degenerates Credit: Courtesy Jewish Federation Council of Greater Los Angeles Community Relations Committee Collection, Urban Archives Center, University Library, California State University-Northridge
Scott, attorney Bartley Crum, and Dmytryk in Washington for the HUAC hearings, October 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Gene Kern, Office of War Information, to William Gordon, July 5, 1945 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
“Farewell My Lovely,” Showmen’s Trade Review, December 9, 1944 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Cecilia Ager, “Movie Colony’s Free Speech Group Practices What It Preaches” PM Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
From left: Adrian Scott socializing with Norma Barzman, Jeannie Lees, Bobby Lees, and Anne Scott (seated on floor), c. 1946 Credit: Barzman, The Red and the Blacklist.
Notes on telephone conversation between Adrian Scott and Colonel Flournoy, U.S. Army Ground Forces, March 19, 1946 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Eileen Creelman, “A Hard-Boiled Thriller, Murder, My Sweet,” New York Sun, March 9, 1945 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Local censor board report on Murder, My Sweet, February 6, 1945 Credit: Courtesy Motion Picture Association of America and Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
This version of the FBI memo, from Dmytryk’s FBI file, redacts the entire “top ten” list, save Dmytryk. Credit: Courtesy Federal Bureau of Investigation
Cecelia Ager, “Crossfire Names Names, Packs Thrills, Wins Our Deep Gratitude” PM, July 23, 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
David Platt, “Crossfire Box Office Terrific, Says Variety” Daily Worker, August 1, 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Adrian Scott, “Europe Recognizes the Symptoms” Film Sense 1:3 [Fall 1949] Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
FBI memo of May 1947 documenting the secret cooperation between the FBI and HUAC’s investigation of Hollywood. This version, from Scott’s FBI file, reveals that Scott, as well as several German anti-fascist emigres, were on HUAC’s “top ten” list. One of the two redacted names is Edward Dmytryk. Credit: Courtesy Federal Bureau of Investigation
Mary Morris, “No Make-Believe in Hollywood’s Democratic Group,” PM, October 6, 1944 Credit: Courtesy Hollywood Democratic Committee Papers, Historical Society of Wisconsin, Image ID 47508
Adrian Scott discusses early plans for The Boy with Green Hair with director Joseph Losey, writers Al Leavitt and Ben Barzman, and actor Albert Sharpe, in the RKO Flash, September 6, 1947. Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
David Platt, “Crossfire, An Exciting Mystery with a Purpose,” Daily Worker, July 11, 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie
Robert Ryan, “My Role in Crossfire” The Worker-Southern Edition, July 20, 1947 Credit: Courtesy Adrian Scott Papers, American Heritage Center, University of Wyoming-Laramie