Five Came Back: A Story of Hollywood and the Second World War - Hardcover

Harris, Mark

Hardcover

ISBN 10: 1847678556 ISBN 13: 9781847678553

Publisher: Cannongate, 2014

Synopsis

Now a Netflix original documentary series, also written by Mark Harris, premiering on March 31,2017: the extraordinary wartime experience of five of Hollywood's most important directors, all of whom put their stamp on World War II and were changed by it forever 

Here is the remarkable, untold story of how five major Hollywood directors—John Ford, George Stevens, John Huston, William Wyler, and Frank Capra—changed World War II, and how, in turn, the war changed them. In a move unheard of at the time, the U.S. government farmed out its war propaganda effort to Hollywood, allowing these directors the freedom to film in combat zones as never before. They were on the scene at almost every major moment of America’s war, shaping the public’s collective consciousness of what we’ve now come to call the good fight. The product of five years of scrupulous archival research, Five Came Back provides a revelatory new understanding of Hollywood’s role in the war through the life and work of these five men who chose to go, and who came back.


“Five Came Back . . . is one of the great works of film history of the decade.” --Slate

“A tough-minded, information-packed and irresistibly readable work of movie-minded cultural criticism. Like the best World War II films, it highlights marquee names in a familiar plot to explore some serious issues: the human cost of military service, the hypnotic power of cinema and the tension between artistic integrity and the exigencies of war.” --The New York Times

About this title

About the Author:

Mark Harris is the author of Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, which was a New York Times notable book of the year and was named one of the ten best nonfiction books of the decade by Salon. An editor at large at Entertainment Weekly, a columnist for Grantland, and a contributing editor at New York Magazine, he has written about pop culture and film history for many other publications, including The New York Times, The Washington Post, Time, and GQ. A graduate of Yale University, Harris lives in New York City with his husband, Tony Kushner.

Excerpt. © Reprinted by permission. All rights reserved.:

ONE

“The Only Way I Could Survive”

HOLLYWOOD, MARCH 1938–APRIL 1939

In the spring of 1938, Jack Warner hosted an industry dinner for the exiled novelist Thomas Mann. A Nobel laureate whose outspoken opposition to Hitler and his policies had led to the revocation of his German citizenship, Mann was then Germany’s leading anti-Nazi voice in the United States. His presence at a Hollywood event was, if not a call to arms, at least a call to wallets. It was also a political coming-out of sorts for Warner and his older brother Harry, who, just three weeks after the Anschluss, were ready to commit themselves—and, more significantly, the company they and their brothers Albert and Sam had founded in 1923—to the fight against the Nazis. The day before the dinner, the studio had shut down its offices in Austria. It had stopped working with Germany four years earlier.

The fact that Warner Bros. was at the time the only studio to take such a step suggests the extreme uneasiness that characterized the behavior of the men, almost all of them Jewish, who ran Hollywood’s biggest companies. Freewheeling and entrepreneurial within the confines of the industry they had helped to create, they approached politics only haltingly and after agonized deliberation. While bottom-line imperatives were unquestionably a part of their calculus, their trepidation also emanated from an accurate understanding of their fragile place in American culture; to confront any national or international issue that might turn the spotlight on their religion was to risk animosity and even censure. The motion-picture business was still just thirty years old; most of the people who had built it were first- or second-generation Americans who were still viewed warily by the large portion of the country’s political power structure—to say nothing of the press and public—that had in common a tacit and sometimes overt anti-Semitism. The moguls knew they were perceived as arrivistes and aliens whose loyalties might be divided between the adoptive nation that was making them wealthy and their roots in their old homelands.

As Hitler consolidated his power in the 1930s, studio chiefs tended to express their Jewish identity in personal, one-on-one appeals and in the quiet writing of checks to good causes, not in speeches or statements, and certainly not in the movies they oversaw. Mostly, they stayed quiet; the decorous country-club discretion of MGM’s Louis B. Mayer was much more the norm than the recent behavior of the Warners (real name: Wonskolaser), Jewish immigrants from Poland who didn’t tiptoe around their hatred of Fascism and of Hitler and were increasingly unafraid to go public and to use their position to influence others. The Warners were ardently pro-Roosevelt (unlike most of the other studio czars, who were business-minded antilabor Republicans), and Harry, who was the eldest and very much the voice of his studio, had recently urged all of his employees to join the Hollywood Anti-Nazi League for the Defense of American Democracy, the movie industry’s first and strongest anti-Hitler rallying and fund-raising organization.

About this edition

• Publisher: Cannongate
• Publication date: 2014
• ISBN 10: 1847678556
• ISBN 13: 9781847678553
• Binding: Hardcover