The Tales Are Phantasms, But the Victims Are Real: The Trumpian Crucible in Springfield, Ohio
Our guest author is Leo Casey, Special Assistant to the President of the AFT, and Executive Director Emeritus of the Albert Shanker Institute.
In January 1952, the House Un-American Activities Committee (HUAC) subpoenaed the well-known American stage and film director Elia Kazan to testify behind closed doors. There he told the Committee about his own participation in the Communist Party, but declined to name others. In April, he was called back for public hearings. Caving in to threats from HUAC and pressure from the Hollywood studios, Kazan named eight individuals who, with him, had been part of a Communist Party cell in the Group Theatre during the1930s.
Lives were shattered by Kazan’s testimony. The eight named individuals were themselves called before HUAC. The actor J. Edward Bromberg defiantly refused the committee’s demand to name names, but the stress of the ordeal took a terrible toll: he would die young of a heart attack in a matter of months. Others of the eight who resisted HUAC, such as Morris Carnovsky and Phoebe Brand, would never work in film again. Only those who would join Kazan in naming names, such as Clifford Odets and Lewis Leverett, would be able to avoid the Hollywood blacklist and save their film careers.
Angered in equal measures by HUAC’s star chamber and by Kazan informing on one-time friends and comrades, the distinguished American playwright Arthur Miller decided that it was time to mount a forceful public critique of the McCarthyism that lay behind the HUAC hearings. But rather than comment directly on the events of his day, Miller would take the unusual approach of using the late 17th century witch trials in Salem, Massachusetts as his subject matter.