The McCarthy blacklisting era was a most peculiar time in America. On the one hand you had conservatives who felt fully justified in defending the rights and freedoms of Americans by supporting an ad hoc system that stripped some Americans of their rights and freedoms without any sort of due process or legal avenues. On the other hand, you had liberals who defended the rights and freedoms of those who advocated a political system that by its nature would strip Americans of their rights and freedoms. And there were quite a few people who were trapped in between, forced to choose either their freedom to think for themselves or their right to live their lives in peace.
The only people not greatly effected it seems were the source of the confrontation, the communists. Though few in number and largely ineffectual as a group (at least, in America), they no doubt sat back and amused themselves as the country was being forced into two bitter camps. Had they had any real power within the United States, all the hub-bub about the communist influence might have served a purpose. But in reality it was hysteria over a non-existent threat, or a barely existent one. In hindsight, the panic over the Red Menace seems like the premise for a comic farce.
THE FRONT isn't such a farce. Though it does star Woody Allen during his "early, funny" years and it is structured like a comedy, THE FRONT is a drama. It uses the talents of many who were blacklisted –- director Martin Ritt, screenwriter Walter Bernstein, and actors Zero Mostel, Herschel Bernardi, Joshua Shelley and Lloyd Gough -- and it tries to focus on those in the middle who lost their livelihoods and reputations because they were considered "pink," ordinary citizens whose paths crossed those of others who may or may not have been communists. Guilt, or at least proof of it, was irrelevant; the mere suspicion of being a communist sympathizer was enough to deny individuals the right to work in their chosen field, the cost being their careers, their families and even their lives. In the view of the House Un-American Activities Committee, you were either on their side or a threat to the very fiber of the American being. It was mostly played out in the political arena, but as with most politics it seeped into the pop culture. Perhaps because the government had relied so much on the media for propaganda purposes during WWII, the fear of its power was strong.
In THE FRONT, Allen plays Howard Prince a part time bookie. When a friend of his, a writer for a network TV show, gets blacklisted, the friend persuades Howard to act as his proxy. The writer will create the scripts for the show, but Howard will submit them under his name, for a cut of the commission. The scam works so well that soon Howard is fronting for several other writers as well –- and Howard's reputation as a prolific and versatile author starts to grow. The complications come when Howard is expected to do on-the-spot rewrites of the material, and when he is suspected of red ties due to his friendship with the real liberal writers. As he sees first hand the dangers of the blacklisting, he also grows a conscience. Not a bad premise for a movie, even a comedy.
One would think, with the involvement of those who were scarred by the blacklisting playing such a prominent role in the film, that THE FRONT would pulsate with a certain degree of rage. But it doesn't; the film isn't so much angry as it is wistful. It is not a question of the honesty of the material so much as the quiet feeling of hopelessness that pervades the story. The story unfolds in a slow, deliberate fashion, occasionally sticking in a joke or two, but mostly just reliving the past in a sad monotone. Perhaps it is supposed to be a reflection of the era the film is about, the 1950s, an era of passivity. Or maybe it is a reflection of the era in which the film was made, the 1970s -- after the chaos of the 1960s, maybe McCarthyism had just lost its power to scare. Either way, neither Ritt nor Bernstein inject much passion into the tale. Likewise, the characters lack depth; the bad guys who support the blacklisting are cold and mechanical (heaven forbid they might be acting out of genuine patriotism), while the good guys are either pure and passionate in their left-wing leanings or guileless innocents bewildered by it all. Thoughtful and low-key, THE FRONT is certainly sincere, but it isn't insightful and doesn't carry much of a punch.
Even the big finale lacks power; after playing an ineffectual verbal game of cat and mouse with a HUAC subcommittee, Howard drops the "F-bomb" in a moment that is supposed to be shocking. Though it is jarring, it is because it is so pointless as a gesture. Did Ritt and Bernstein really think that uttering the F-word would jolt audiences in 1976? Even now, are we suppose to see such a foolish gesture as an act of courage on Howard's part? It is a key moment in the story and comes off as being just, well, stupid. In the end, Howard ends up going to jail, presumably on contempt of court charges; but is Howard's childish act of defiance really an heroic action? He takes a stand, but doesn't make much of a point. And neither does the movie.
The only people not greatly effected it seems were the source of the confrontation, the communists. Though few in number and largely ineffectual as a group (at least, in America), they no doubt sat back and amused themselves as the country was being forced into two bitter camps. Had they had any real power within the United States, all the hub-bub about the communist influence might have served a purpose. But in reality it was hysteria over a non-existent threat, or a barely existent one. In hindsight, the panic over the Red Menace seems like the premise for a comic farce.
THE FRONT isn't such a farce. Though it does star Woody Allen during his "early, funny" years and it is structured like a comedy, THE FRONT is a drama. It uses the talents of many who were blacklisted –- director Martin Ritt, screenwriter Walter Bernstein, and actors Zero Mostel, Herschel Bernardi, Joshua Shelley and Lloyd Gough -- and it tries to focus on those in the middle who lost their livelihoods and reputations because they were considered "pink," ordinary citizens whose paths crossed those of others who may or may not have been communists. Guilt, or at least proof of it, was irrelevant; the mere suspicion of being a communist sympathizer was enough to deny individuals the right to work in their chosen field, the cost being their careers, their families and even their lives. In the view of the House Un-American Activities Committee, you were either on their side or a threat to the very fiber of the American being. It was mostly played out in the political arena, but as with most politics it seeped into the pop culture. Perhaps because the government had relied so much on the media for propaganda purposes during WWII, the fear of its power was strong.
In THE FRONT, Allen plays Howard Prince a part time bookie. When a friend of his, a writer for a network TV show, gets blacklisted, the friend persuades Howard to act as his proxy. The writer will create the scripts for the show, but Howard will submit them under his name, for a cut of the commission. The scam works so well that soon Howard is fronting for several other writers as well –- and Howard's reputation as a prolific and versatile author starts to grow. The complications come when Howard is expected to do on-the-spot rewrites of the material, and when he is suspected of red ties due to his friendship with the real liberal writers. As he sees first hand the dangers of the blacklisting, he also grows a conscience. Not a bad premise for a movie, even a comedy.
One would think, with the involvement of those who were scarred by the blacklisting playing such a prominent role in the film, that THE FRONT would pulsate with a certain degree of rage. But it doesn't; the film isn't so much angry as it is wistful. It is not a question of the honesty of the material so much as the quiet feeling of hopelessness that pervades the story. The story unfolds in a slow, deliberate fashion, occasionally sticking in a joke or two, but mostly just reliving the past in a sad monotone. Perhaps it is supposed to be a reflection of the era the film is about, the 1950s, an era of passivity. Or maybe it is a reflection of the era in which the film was made, the 1970s -- after the chaos of the 1960s, maybe McCarthyism had just lost its power to scare. Either way, neither Ritt nor Bernstein inject much passion into the tale. Likewise, the characters lack depth; the bad guys who support the blacklisting are cold and mechanical (heaven forbid they might be acting out of genuine patriotism), while the good guys are either pure and passionate in their left-wing leanings or guileless innocents bewildered by it all. Thoughtful and low-key, THE FRONT is certainly sincere, but it isn't insightful and doesn't carry much of a punch.
Even the big finale lacks power; after playing an ineffectual verbal game of cat and mouse with a HUAC subcommittee, Howard drops the "F-bomb" in a moment that is supposed to be shocking. Though it is jarring, it is because it is so pointless as a gesture. Did Ritt and Bernstein really think that uttering the F-word would jolt audiences in 1976? Even now, are we suppose to see such a foolish gesture as an act of courage on Howard's part? It is a key moment in the story and comes off as being just, well, stupid. In the end, Howard ends up going to jail, presumably on contempt of court charges; but is Howard's childish act of defiance really an heroic action? He takes a stand, but doesn't make much of a point. And neither does the movie.