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Odd Man Out: A Memoir of the Holllywood Ten, by Edward Dmytryk
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In 1947, the House Un-American Activities Committee rudely interrupted the successful career and life of Edward Dmytryk, citing him with contempt of Congress. As a result, Dmytryk was fired by RKO and spent three years in England before returning to the United States to serve a six-month jail sentence and undergo a second round of hearings, during which he recanted and provided evidence against several of his former colleagues.
In this personal and perceptive book, Dmytryk sharply chronicles the history of a particularly turbulent era in American political life while examining his own life before and after the events universally called the witch hunts. He details his brief membership in the Communist Party of America, explaining his initial commitment to what he perceived as communist ideals of civil liberties, economic justice, and antifacism, followed by his eventual disillusionment with the party as it betrayed those ideals. He goes on to provide a fair assessment of what then happened to him and the effect it had on the rest of his life.
Dmytryk describes the activities, prejudices, and personal behaviors of all the parties enmeshed in the congressional hearings on communism in Hollywood. His reactions to other members of the Hollywood Ten and his recollection of conversations with them lend his book an immediacy that is not only informative but also absorbing. Most importantly, he does not uphold an ideology but rather presents the events as he perceived them, understood them, and responded to them. Dmytryk’s account is characterized by an openness born of a mature awareness of personal trial as history.
- Sales Rank: #1189597 in Books
- Brand: Brand: Southern Illinois University Press
- Published on: 1996-03-20
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, .80 pounds
- Binding: Paperback
- 224 pages
- Used Book in Good Condition
Review
"This is a book written from the inside of a political hurricane made up of compromises and deceit in which the author, despite his idealistic impulses, managed to find himself. Dmytryk's effort to fight his way out of blacklisting and back to active participation in the world of film-making is dramatically but appropriately presented."--Michael Bliss, author of "What Goes Around Comes Around: The Films of Jonathan Demme "and "Justified Lives: Morality and Narrative in the Films of Sam Peckinpah"
Most helpful customer reviews
5 of 7 people found the following review helpful.
Spotlights HUAC's Absurdity
By Russ Burgos
It's hard to evaluate whether or not Dmytryk has written an "honest" memoir of his experiences during the Red Scare, because very few memoirists put pen to paper in order to show the world how bad they were. Nevertheless, Odd Man Out is a useful corrective to the conventional narratives about the Hollywood Ten, from the Left and the Right. The Hollywood Ten were not, strictly speaking, purely innocent; many, like Dmytryk, had in fact been members of the Communist Party -- though many, like Dmytryk, for quite short periods of time. Now that doesn't exonerate HUAC or the industry for its persecution of the Hollywood Ten. Thankfully, there's no law that says one cannot be a Communist. Likewise, the Hollywood Ten, and other industry Socialists and Communists, were never remotely a "threat" to the so-called "American Way of Life." Dmytryk's sardonic assessments of both HUAC itself and his fellow "conspirators" shines a bright light on the kabuki theater that was the Red Scare of the early 1950s. The most important contributions the book makes, from my point of view, are in its impact on the way one thinks about the perennial bugbear of politics in Hollywood itself and its ability to highlight the absurdity of some in the USA who see "threats" lurking around every corner. Hollywood exists to produce profit, so there's no small amount of irony in the presence of Communists and Socialists in a profit-making system, as Dmytryk himself often points out. But because Hollywood exists to make a profit, it's not going to be producing "propaganda." That, of course, was the fear of HUAC and the right-wing in Hollywood, who tried to pin their case for "subversion" on will-o'-the-wisps like the phrase in "Tender Comrade" that one should "share and share alike." Then, as now, the basis for ideological witch-hunts in the name of "protecting" the so-called "American Way" is, paradoxically, a profound fear that the American Way is too weak, too vulnerable, to stand up against a myriad of threats from alien Others. Sure, we have over 230 years of Constitutional governance, but woe betide the man or woman who scores a film with something from Russia -- the very foundations of the Republic might crumble. Dmytryk's memoir doesn't do much to allay anger that he named names, but it does do much to showcase just how preposterous was the investigation that ultimately compelled him to do so.
27 of 38 people found the following review helpful.
The Only Honest Memoir You'll Ever Find About The Ten
By ep993185@oak.cats.ohiou.edu
This book is a much needed contribution to the historical record, to undo all the mindless junk that's been said for years about what the Hollywood Ten was all about. Dmytryk's memoir is candid, honest and gets to what the heart of the matter was all about. And because he was the only one of the Ten who recognized that, he is treated now as a pariah by those who seem to think that fealty to the American Communist Party is more noble than "naming names", even when in Dmytryk's case it forced him into prison in the name of beliefs he no longer held.
Probably the best memoir of one man's break from American communism since Whittaker Chambers's masterpiece "Witness."
22 of 30 people found the following review helpful.
Odd Man Out
By Steven Hellerstedt
In 1947 Edward Dmytryk, a rising young director of such films as "Murder, My Sweet" and "Crossfire," along with 11 other Hollywood writers and executives, was called to testify before the House Un-American Activities Committee, known to history as HUAC. HUAC's stated purpose for calling these 12 men was to expose the corrupting presence of communists in the entertainment industry and, it hoped, bar them from further employment in Hollywood. Ten, the famous Hollywood Ten, did indeed testify, were found in contempt of congress for their unwillingness to fully cooperate with the House committee and were duly punished for their intransigence. Subsequent to his appearance before congress in 1947, Dmytryk was sentenced to spend six months in a minimum security federal facility.
"Odd Man Out" is Dmytryk's story of that time. It is a unique story. Most if not all of the people who were banned by the HUAC influenced Hollywood blacklists were indeed communists, or had joined the party at some point in the past. As Dmytryk writes, naming names was the ultimate sin. And, although "HUAC was out to expose a movement rather than nail a tiny group of individuals, and in that, however illegal, unethical, and un-American it was, they obviously succeeded," the blacklisted individuals were supposed to maintain a united front. After prison and a couple of years in the wilderness, though, Dmytryk had a change of heart. Never a True Believer, it seems, it became obvious to him "the Ten had been sacrificed to the Party's purpose as a pipeline for the Comintern's propaganda... and ... if I were going to be a martyr, I wanted the privilege of choosing my martyrdom, and making my family suffer to protect the American representatives of a foreign agency would certainly not be it." And so, as a condition for reinstatement, in 1951 Dmytryk testified again for HUAC, this time as a friendly witness.
Time has exposed the communist witchhunt as a dark blemish on America's record, and those who were blacklisted have become noble martyrs. Dmytryk started out a hero but became the turncoat villain in this story. His second testimony in 1951, even though he named no new names, was never completely forgiven. Towards the end of the book Dmytryk recounts an encounter with another blacklisted director, Jules Dassin, who refused to share a stage with him and yet felt free to excoriate him during a round-table discussion of the blacklist era. Dassin's reaction wasn't untypical, and even today the blacklisted individuals are revered without quarter. Save for the turncoat Dmytryk, who, unfortunately, was forced to deal with the devil and testify against his former friends and denounce his past involvement in the communist party in America. "Odd Man Out" convinced me that he did the right thing, and reminded me that history is rarely a clear-cut matter of Right and Wrong. If you're interested in a different perspective on this difficult time I strongly recommend this book.
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