Keeley

• “Keeley is no longer specifically Irish, and the various supporting characters in Keeley's band have bland, WASP-ish names like Harry and Bill Williams, rather than Kowalski, Liebowitz, O'Grady, or other "funny" ethnic names that appear on casualty lists.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “And below Keeley is a column of inset photos with accompanying taglines.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “However, even Keeley is not certain how or when the world became so complicated, and he reviews key turning points in the rise of fascism in search of the answer: Had it begun with Pearl Harbor?”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “Keeley is an "oracle" for Mitchell, offering both advice and a model on how to be a real man.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “In Crossfire, Keeley is tough through and through.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “As in The Brick Foxhole, Keeley is an oracle, not only for Mitchell but for all of "his" men.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “As in The Brick Foxhole, Keeley is a war hero: he — unlike Mitch — has killed men "where you get medals for it.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “The soldiers are playing poker in Keeley's room (which he shares with Mitchell) at the Stewart Hotel.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “Finlay does not need to win Keeley's consent through the story of his grandfather since both men clearly understand the nature of the enemy.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

• “Keeley is trying to save his buddy by pointing out Monty's untrustworthiness, but Finlay cuts him off: I'm not interested in philosophy.”

  Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood

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