A Flourish of Trumpets for Trumbo

Though today, The Hollywood Ten sounds like a modern take on a superhero movie, for those who know the film history, it has a much darker meaning. Referencing the ten filmmakers who were subpoenaed for being possible Communist dissidents, thought to be subverting the hearts and minds of the American people, they refused to answer questions directly. Focussing on one of the ten, 2015’s Trumbo follows the famed screenwriter through the trials and tribulations of this tumultuous time in American history.

Directed by Jay Roach (Austin Powers trilogy; Meet the Parents/Meet the Fockers), Dalton Trumbo (Bryan Cranston) is a highly intelligent yet cantankerous writer, one of the best in the film industry, circa 1947. An ardent Communist who believes in better working rights and pay for those in Hollywood (as well as many other things), he is married to Cleo (Diane Lane), who, despite her soft spoken nature, is in many ways the strong backbone of the family. They have three children.

Though Trumbo is filmed in colour, in many ways it would best be suited as a black and white picture – not for stylistic qualities or to mirror the era it was set in, but to symbolize the good versus evil, hero versus villain perspective that crops up during wartime. With The Cold War (1947-1991) and Korean War (1950-1953) just getting started, the grey milieu erodes, leaving only space for the utterly American perspective, ostracizing all those who do not seemingly fit into that prim and proper imaginary box. Yet, we know that things are not that simple, and Trumbo is a prime example of this. Though he does not deny that he is a Communist, he is also a very American Capitalist, living in a lavish home with a small lake on the property. Enjoying the finer things in life, it is actually something that his more fervent Communist friends, one example being Arlen Hird (Louis C.K.), disagree with, showing the varied examples that fall into this grey area. Another even more intriguing example finds Trumbo meeting John Wayne (David James Elliott) at an anti-Communist dinner – one of the creators and eventual President of The Motion Picture Alliance for the Preservation of American Ideals, who references World War 2 more than once during the course of his speech and again upon meeting with the screenwriter after the event. It is Trumbo who reminds him that he and his left leaning friends served and fought for the U.S. during the hostilities, while he spent his time “stationed on a film set, shooting blanks, [and] wearing makeup. . .”.

With hatred bubbling to the surface, famed gossip columnist Hedda Hopper (Helen Mirren), along with others like Wayne, turn their sights on the Communist-leaning filmmakers in Hollywood. Affecting their lives, it is not long before the 10 are summoned to Washington to answer some questions about their influences in the business. Leaning on the fact that the Supreme Court is made up of a five to four liberal majority, they refuse to answer the questions in acceptable fashion. In a twist of fate, death rears its ugly head and in an instant, the majority flips to minority. . . and they find themselves in jail.

When finally released, Trumbo is a pariah, carrying a plague that keeps people away. Friends he once had are no more. Edward G. Robinson (Michael Stuhlbarg), who often held meetings for his Communist friends and helped spearhead the raising of funds for their defence, was put on stand while they were in jail and named names, outing Trumbo and others to avoid trouble. It reinvigorated his status, allowing him to once again work in the industry – though burdens his soul and places a major divide between him and his former friends.

Doing the only thing he knows, Trumbo scribes what would become known as Roman Holiday, giving the credit to his good friend Ian McLellan Hunter (Alan Tudyk), who releases it under his name (as he has not been outed yet). It wins Trumbo his first Oscar. . . which he cannot take credit for.

Eventually finding work with the King Brothers (John Goodman and Stephen Root), Trumbo is able to bring in his Blacklisted friends, writing scripts for the B-movie gurus. It works for the studio as they are getting quality scripts for their regular fees (the writers make a measly fifteen hundred per screenplay), and it gives Trumbo a way to subvert the fear-driven system.

At its heart, freedom of speech and fighting for what you believe in are the motivating factors here; it is fitting that the film that broke the Blacklist is Spartacus, written by Trumbo. With the help of Kirk Douglas (Dean O’Gorman), who stood by the man’s side when nearly no one else would, he decided to put Trumbo’s name on the screen – giving him credit. The story of one slave who led an uprising that shook an empire to its core, in many ways echoes the struggles the screenwriter himself had to deal with, targeted by the masses for wanting to make changes and be himself. Otto Preminger (Christian Berkel) also plays a part in Trumbo’s triumphant return, he too standing behind the screenwriter’s script Exodus.

Also about family and the burden we place on those we love, a perfect example is Trumbo’s wife, as well as his eldest daughter Nikola (Elle Fanning). Very much like her progressive father, his iron fisted rule and ludicrous regulations (while he is working) infuriate the young woman and his wife, pushing them away as he puts his idealistic mind towards defeating the unjust system that is burdening so many good people.

Demonstrating the lunacy of the entire witch-hunt and the perseverance it took to overcome it (though not without much loss, heartache and pain – people committed suicide, families were broken, careers ruined), Trumbo is an engaging story (fusing drama with some much needed comedy) that looks at one of the more trying times in Hollywood history. Much like any film such as this, there will also be talk about accuracy and artistic license, though, despite this, it is a moving story about human beings – and the fear that often drives them to shun and target those who are different (despite the fact that it goes against what most would say they stand for). When reflecting on the tumultuous time, Trumbo elegantly reminds the audience that, “it will do you no good to search for heroes or villains – there weren’t any. . . there were only victims. Victims, because each of us felt compelled to say or do things that we otherwise would not, to deliver or receive wounds which we truly did not wish to exchange. . . So, what I say here tonight is not intended to, to be hurtful to anyone, it is intended to heal hurt, to repair the wounds which for years have been inflicted on each other, and most egregiously, upon ourselves”. Wonderfully said, it is this message of reflection, healing and forgiveness that puts the period in perspective. Not only inflicting wounds on others, but also unto yourself, it is itself another message reminding us not to make the same mistakes like those found in our collective past.

The winner of two Academy Awards while Blacklisted, Dalton Trumbo is a supreme example of carrying on with your passions, despite the obstacles in your way. Leading the charge is Bryan Cranston, who perfectly captures the complicated, ‘very human’ real life character (he earned an Oscar nomination for Lead Actor), though he is matched by the superlative supporting cast, who each bring something special to their respective role. Though a touch one dimensional, Trumbo is an excellent place for someone to start if they are looking for an introduction into this fascinating time in history. So, don’t blacklist this quality motion picture, learn about The Brave One who stood up for what is right so that he, in turn, could write.