Cinema Quarterly (1934 - 1935)

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cism of the capitalist system as such to that of particular aspects of that system, such as banking, market speculation, etc. N.R.A., the great campaign embodying this policy, achieved its initial popularity through the wide measure of apparent social criticism which it contained. Having succeeded in its primary aim of converting mass opposition into support for the new administration and its head, the Roosevelt campaign gradually changed its character in subsequent years. As ever larger numbers of workers were disillusioned, as an unprecedented strike wave began to sweep the country, the demagogic mask ceased to serve its purpose, and the true class character of the regime appeared undisguised. I shall attempt to show that this basic reality is reflected with astonishing clarity in the American film of the last few years. It appears very doubtful whether the changes that have occurred in the character of these films can be explained otherwise than by reference to this reality. The first thing to note is the sudden and most surprising intrusion of the social problem into the fantastic realm of the Hollywood film that occurred shortly after Roosevelt was elected to the presidency. This intrusion was not confined to the sphere of one or two highbrow films, but, on the contrary, was most pronounced just in those films that were destined to appeal to the masses. I shall select a few examples at random to illustrate this point. The "Wild Western" was, almost from the inception of the film, one of its most popular subjects. In the Massacre this well-worn cliche suddenly assumed a startling new form. The Indians of this film are no longer the romantic warriors of the schoolboy adventure story, but the wretched, universally exploited survivors of a once vital race found in the Indian reservation areas of the United States of to-day. The hero is no longer the scalp-hunting chief, but a young Indian earning his livelihood as a trick rider at the Chicago World Fair. This hero returns to his native home, and the astonished spectator is, from that moment, presented with a hair-raising series of actions showing the most callous, brutal, and hypocritical exploitation of the Indians by the government administrator who cheats them of their property rights, the doctor who utterly neglects them, and the undertaker who forges their wills and rapes their daughters, while the priest conducts a farcical burial ceremony for their fathers. Needless to say, the bravery and valour of the hero is now displayed in fighting this racket. In the course of this struggle he assaults the undertaker, who has raped his sister, and is placed under arrest by the government official. He contrives, however, to escape with the help of the heroine, who, of course, is a beautiful Indian 198