Franchot Targeted in the Blacklist: Franchot & Politics

I think all classic film enthusiasts have some knowledge about the powerful and predatory House Un-American Activities Committee that used public threats and scare tactics to terrorize the film industry. It would be denounced by former President Truman in the late 50's and lose its control in the 60's. But by the end of McCarthy era, the damage had already been done. Due to the spiteful insinuations of the committee's public witch hunt, many in the film industry were never able to work again. Although Franchot cleared his name in front of the Dies Committee as early as 1940, an interrogation of anti-communist leader Vincent Hartnett would reveal that Franchot Tone continued to feel the pressure of the blacklist throughout his television career of the 1950's and 60's.

Franchot preferred to work in plays with messages about the human condition and state of the world. He was always most proud of his early association with the Group Theatre, a group of idealistic and educated thespians, playwrights, and directors who valued scripts with artistic integrity, realism, and truth. Like Franchot, many Group Theatre veterans (most famously and tragically, John Garfield) were investigated in some capacity by the House Un-American Activities Committee for their liberal views by the 1950's.

In 1938, conservative congressman Martin Dies relocated to Los Angeles to sniff out communists hiding in the entertainment industry. By 1940, Communist Party organizer John Leech had provided a list of actors he associated with leftist ideas. Among others, the list included: Humphrey Bogart, Fredric March, Franchot Tone, James Cagney, Luise Rainer, Francis Lederer, and Jean Muir. Dies vowed that all named actors would be cleared if they would appear at a hearing before the Dies Committee. If the named actors did not agree to a meeting, Dies announced he would find them guilty of anti-American activity.

Source: Spokane Daily Chronicle. August 28, 1940.

The above photo appeared in newspapers across the county in August 1940. The caption that accompanied it read, "Movie actor Franchot Tone (right) is shown being sworn in by Representative Martin Dies (Dem., Texas) (left) at special hearing before house committee investigating un-American activities at the Waldorf-Astoria hotel in New York. Tone was exonerated at the hearing, which was held yesterday." Further investigation reveals that actress Luise Rainer and actor Francis Lederer were also cleared with Franchot of being communist sympathizers. Martin Dies, the committee representative, noted that although the three actors had allowed their "names to be used or have contributed money" to what the committee deemed communist-led organizations, no evidence existed that their "cooperation was for any purpose except humanitarian." When questioned about his support of needy causes, Franchot was reported to have defended himself by saying, "You see, when you have so much money thrown in your lap, your conscience is aroused."

Source: Motion Picture Herald headline. August 24, 1940.

Still, in 1949, Franchot was listed as one of "Stalin's Stars" in the Red Treason in Hollywood published by Myron C. Fagan. Also accused were Franchot's past costars Bette Davis, Melvyn Douglas, Katharine Hepburn, Gene Kelly, and Sylvia Sidney. In his 1963 book Fear on Trial, author John Henry Faulk includes a transcript of attorney Louis Nizer's interrogation of Vincent Hartnett. Faulk was a humorist who was publicly accused of communist activity by Hartnett after he staunchly opposed Hartnett's right-wing organization AWARE, Inc. Hartnett's organization specialized in blacklisting entertainers and was successful in the blacklisting of Faulk from 1957 to 1962.  As early as 1956, Faulk took legal action against Hartnett's libel. The trial did not begin until 1962, at which time Faulk was vindicated and awarded damages. In the court testimony provided by Faulk, I learned that Franchot was being quietly, but actively blacklisted throughout the 1950's. During the trial, attorney Nizer asked Hartnett if he had written to Laurence Johnson (AWARE, Inc. cofounder) about Franchot. Here's the revealing exchange:

Nizer: What were you writing to Mr. Laurence Johnson with respect to Mr. Franchot Tone? Will you reconstruct that for us?

Hartnett: As best I recall, he had probably asked me for a report on Franchot Tone, which I furnished him; and I believe I had made inquiry to see if Franchot Tone had offset his past record, and had been told he had not done so, at least my source of information. Yet, as best I recall, I expressed an opinion that Franchot Tone should do more than—

Nizer: Before he could appear on television?

Bolan: I object.

Nizer: He should do more before he could appear—he should appear or be allowed to appear on television? Isn't that the substance of it?

Hartnett: Before he was allowed to appear on television?

Nizer: Yes.

Hartnett: Could be. I am not sure of that.

Nizer: Could be. Did you ever write to him, 'if he refused to take a public stand, then we can take the necessary measures?' Did you ever write that to Laurence Johnson?

Hartnett: Yes, that sounds right.

Nizer: 'We' in that case is you and Laurence Johnson, right?

Hartnett: It would seem so...

Nizer: So you asked groups, various individuals to write protests to try to get people off the air that in your opinion had pro-communist affiliation; right?

Hartnett: Yes, I did.

As you can read, Hartnett admits to a directed attack of Franchot and his career in the 1950's. As early as 1934, Franchot's political ties were publicly questioned when columnist Walter Winchell reported that Franchot Tone was the only major film actor who had refused to contribute money to the Republican campaign fund, despite strong demands and pressure to do so.

Several of Franchot's ancestors were prominent Republican politicians and his mother was an outspoken member of women's liberal groups, so Franchot was well-versed in both the conservative and liberal views. (Next week's post will be on the impressive political careers of Franchot's maternal family.) In an interview with Andre Soares on Alt Film Guide, Tone researcher Lisa Burks commented on Franchot's belief in the democratic process, his eagerness to help families in need, and his family background. You can read that full interview here.

During the blacklist, Franchot felt compelled to help other professionals in need. Anonymously, Franchot supported blacklisted screenwriters who were no longer able to gain employment. Screenwriter Ring Lardner, Jr. worked under a pseudonym when Franchot hired him "out of conviction." Lardner, Jr. recalled, in Tender Comrades and Dark History of Hollywood:

I had to go into a bank in Beverly Hills where Franchot Tone withdrew $10,000 in cash and gave it to me.

Knowing now just how targeted Franchot was by Hartnett, I realize how fortunate Franchot was to survive the blacklist.  I can't imagine having those classic Twilight Zone, Bonanza, Alfred Hitchcock Presents, and Ben Casey episodes without Franchot's unique and memorable performances in them. It is clear, through the Faulk case testimony, that Franchot was denied many other opportunities in the 1950's.

With a heart for humanity and the wealth to support others in need, Franchot defended himself in front of the Dies Committee and, years later, the FBI. In the process, he never sacrificed his colleagues and never abandoned his convictions.

If you'd like to read more about the Hollywood blacklist, please see my sources below. For other posts in the Franchot & Politics series, click here. Stay tuned for next Friday's entry into the series!

Sources:

• Ceplair, Larry, and Steven Englund. The Inquisition in Hollywood: Politics in the Film Community, 1930-1960. Garden City, NY: Anchor/Doubleday, 1980. Print.
• Connolly, Kieron. Dark History of Hollywood: A Century of Greed, Corruption, and Scandal behind the Movies. London: Amber, 2014. Print.
• Faulk, John Henry. Fear on Trial. New York: Simon and Schuster, 1964. Print. 
• "It Seems to Me." Pittsburgh Press. October 29, 1934.
• McGilligan, Patrick, and Paul Buhle. Tender Comrades: A Backstory of the Hollywood Blacklist. New York: St. Martin's, 1997. 
• Morgan, Ted. Reds: McCarthyism in Twentieth-century America. New York: Random House, 2004. Print.Print. 
• Radosh, Ronald, and Allis Radosh. Red Star over Hollywood: The Film Colony's Long Romance with the Left. San Francisco: Encounter, 2005. Print. 
• "Screen Players Freed of Charge." Evening Independent. August 28, 1940.
• Slide, Anthony. Actors on Red Alert: Career Interviews with Five Actors and Actresses Affected by the Blacklist. Lanham, MD: Scarecrow, 1999. Print. 
• Smith, Wendy. Real Life Drama: The Group Theatre and America, 1931-1940; New York: Knopf, 1990.
• "Wirephoto: Dies Committee Clears Actor Franchot Tone of Red Charges." Spokane Daily Chronicle. August 28, 1940.
• Slate:http://www.slate.com/articles/podcasts/you_must_remember_this/2016/02/the_origins_of_the_hollywood_blacklist.html
• University of Texas: https://www.lib.utexas.edu/taro/utcah/01497/cah-01497.html
• Alt Film Guide: http://www.altfg.com/film/franchot-tone-lisa-burks/