Oscar Oddities, Part 2

Not all Oscar nominations are for big budget, prestigious studio pictures like Ben-Hur (1959), The Best Years of Our Lives (1946) and Gone With the Wind (1939), and we’re here to offer further proof, as we did in Oscar Oddities, Part 1 (which covered 1999 -1960), that sometimes flukes and unexpected surprises can and do occur. If a poverty row studio like PRC (Producers Releasing Corporation) can break into the honored inner circle with Academy Award nominations for a tough little no-budget crime drama like Why Girls Leave Home (1945), anything can happen. 

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The Family Mole

If you are a post-WW2 baby boomer, you are probably familiar with the term ‘the Red Scare,’ which refers to a time in the late forties-early fifties when anti-communist sentiment in the U.S. was at its height (The “red” refers to the color of the Soviet flag). This Cold War era paranoia was not just reflected in American politics and daily news stories but he popular culture as well, especially movies. Some of the more famous examples are the Howard Hughes’ produced noir I Married a Communist (1949 aka The Woman on Pier 13), the 1951 tabloid-style expose I Was a Communist for the F.B.I. and John Wayne as an undercover commie hunter in Big Jim McLain (1952). Yet, of all the cinematic depictions of Communist infiltration in America, few are as blatant or as infamous as My Son John (1952), which was released when the House Committee on Un-American Activities (HUAC) was at the height of its power and Senator Joseph McCarthy was still fanning the flames of a political witch hunt that had already taken its toll on the entertainment industry.

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