Dmytryk

Note 53: Memo/report — Los Angeles SAC to Director, FBI, March 10, 1951, in Dmytryk FBI File. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

Note 52: Hoover to SAC, Los Angeles, March 1, 1951, in Dmytryk FBI File. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

This shiny façade masks the much darker world of fascist intrigue, and here Dmytryk is at his best.

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

Note 51: SAC to Director, FBI, February 13, 1951, in Dmytryk FBI File. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

Acquiescing to the studio's demands for substantial revisions, Scott turned next to his friend John Paxton — in Dmytryk's words, "reliable, nonpolitical John Paxton."

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

The second meeting, held in Dmytryk's apartment, proved inconclusive.

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

On the copy in Dmytryk's file, all names are redacted except for Dmytryk's. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

Make-up Man Charles Dudley had a relatively easy time of it during the shooting of Crossfire, for Director Dmytryk is a realist who insists that his male stars use no make-up.

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

And yet, in Dmytryk's mind, everything had changed.

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007

Note 50: L.A. Office to Director, FBI, February 7, 1951, in Dmytryk FBI File. back

Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood 2007