Hollywood Goes to War: How Politics, Profits and Propaganda Shaped World War II Movies

by Gregory D. Black and Clayton R. Koppes

Book Overview

Conflicting interests and conflicting attitudes toward the war characterized the uneasy relationship between Washington and Hollywood during World War II. There was deep disagreement within the film-making community as to the stance towards the war that should be taken by one of America's most lucrative industries. Hollywood Goes to War reveals the powerful role played by President Franklin D. Roosevelt's Office of War Information-staffed by...

• Format: Paperback
• Language: English
• ISBN: 0520071611
• ISBN13: 9780520071612
• Release Date: August 1990
• Publisher: University of California Press
• Length: 384 Pages
• Weight: 1.22 lbs.
• Dimensions: 1.0" x 6.0" x 9.0"

Customer Reviews

Politics, Profits and Propaganda

`Hollywood Goes to War" is the biography of a federal government agency, the Office of War Information (1942-45.) The OWI - not to be confused with the OSS, OGR, OCD or any other agency in that alphabet-soup happy era - was a creation of the Roosevelt Administration whose purpose was to control the message contained in American movies during the duration. In other words, it was a propaganda agency which, as authors Koppes and Black explain in the preface, issued instruction manuals to the studios, sat in on story conferences, reviewed screenplays, pressured studios to change scripts and even scrap pictures, and sometimes even wrote dialogue for key speeches. Politicians, even in a democracy that prides itself on its tolerance of free speech, aren't above trying to spin a message now and then. Spinning is usually done as covertly as possible. World War II was seen as a `total' war, though, and controlling the content of Hollywood movies (employing , as they put it, a `strategy of truth') was seen as a necessity. One of the chapter titles phrase the problem succinctly enough; Will this movie help us win the war? OWI was created to arbitrate and answer that question. Of course, the demands of propaganda are different than those of mass entertainment, and HGtW offers a few surprising battles. None more so, perhaps, than OWI's strong reaction against Preston Sturges' frothy screwball masterpiece, 1942's Palm Beach Story, a movie HGtW quotes an OWI reviewer characterizing as "a fine example of what should not be made in the way of escape pictures." Palm Beach Story's transgression seems to have been that it didn't take the war quite seriously enough. The idle rich spent money with frivolous abandon, distressed lovers ignored the war and its issues. It seems reasonable enough that OWI would squash movies verging too close to such socially realistic topics as gangsterism, draft dodging, labor unrest, racial conflict, and any number of other ills. It's the inoffensive domestic movies that OWI objected to that make HGtW so fascinating. Still, there was a war to be won and movies were a great medium for getting The Message out. That the heavy, heavy hand of a governmental agency might kill whatever value the messenger had seemed to have been ignored now and then. Another area of burning interest to OWI was the depiction of our allies. Not surprisingly OWI loved the movie `Mission to Moscow' ("...the most notorious example of propaganda in the guise of entertainment ever produced by Hollywood ") and Keys to the Kingdom, a movie which, as Koppes and Black put it, "reflected the Roosevelt administration's propaganda needs, which in turns were based on a blend of ignorance, apathy, and optimism about the real situation." The critics hated them, too. Besides movies about our allies, the home front and combat war movies, OWI worried over the depiction of the enemy. In this case the Germans and the Japanese. With an eye to the post-war world