"I didn't leave the Democratic Party," he famously said. "The party left me."
-Ronald Reagan, 1962

In 1947 Brewer was appointed to the Motion Picture Industry Council. At this time the House of Un-American Activities Committee (HUAC), chaired by J. Parnell Thomas, began an investigation into the Hollywood Motion Picture Industry. The HUAC interviewed 41 people who were working in Hollywood. These people attended voluntarily and became known as "friendly witnesses". During their interviews they named nineteen people who they accused of holding left-wing views.
Brewer was interviewed in October, 1947, where claimed that he knew 13 writers, actors and directors he said were involved in communist activities. This included John Garfield and Dalton Trumbo, both of whom had volunteered to act as observers for the studio pickets in the CSU strike.

http://spartacus-educational.com/USAbrewerR.htm

The COMINTERN or Communist International had prioritized the film industry for insertion of a Marxist fifth column. This Soviet controlled institution of subversion had a very sophisticated multipronged plan for Hollywood.

One of their most powerful tactics was violent strikes organized by Union bosses like Herbert Sorrell.

Herbert Sorrell admitted to receiving money from the Soviet Union to fund his strike action.

In 1941 during the strike against Disney Herbert Sorrell used a tactic that most of us will be familiar with, he slandered Walt Disney as a Nazi!
This label has stuck and many people today still believe this.

The COMINTERN targeted writers and thought leaders enforcing orthodoxy throughout the film industry.

Hollywood black friday 1945

https://voicesoflabor.com/2017/10/05/today-labor-history-october-5th-5-2/

HIS 1-MAN FIGHT AGAINST HOLLYWOOD COMMUNISTS

Excerpt from Peter Schweizer book on former president's lifetime struggle

The studio strike Sorrell organized in 1946 was no ordinary labor action. It was ostensibly called because of worker concerns, but Sorrell saw it as an opportunity to gain control over all the major unions in Hollywood. As he bragged in the early days of the action, “When it ends up, there’ll be only one man running labor in Hollywood, and that man will be me!”

The stakes were high. If Sorrell succeeded, the Communists believed, they could run Hollywood. As the party newspaper the People’s Daily World put it candidly, “Hollywood is often called the land of Make-Believe, but there is nothing make-believe about the Battle of Hollywood being waged today. In the front lines of this battle, at the studio gates, stand the thousands of locked-out film workers; behind the studio gates sit the overlords of Hollywood, [who] refuse even to negotiate with the workers. … The prize will be the complete control of the greatest medium of communication in history.” To underscore the value of this victory, the paper quoted Lenin: “Of all the arts, the cinema is the most important.”

The Communist Party had been active in Hollywood since 1935, when a secret directive was issued by CPUSA (Communist Party of the U.S.A.) headquarters in New York calling for the infiltration of Hollywood’s labor unions. The party believed that by doing so they could influence the type of pictures being produced. The directive also instructed party members to take leadership positions in the so-called intellectual groups in Hollywood, which were composed of directors, writers and performers.

To carry out the plan, CPUSA sent party activist Stanley Lawrence, a tall, bespectacled ex-cabdriver. Quietly and methodically he began developing secret cells that included Hollywood performers, writers and technicians. His actions were handled with great sensitivity.

Read more at http://www.wnd.com/2002/10/15537/#bkg8vuz8AqkdKk7l.99

An interesting case is that of Albert Maltz a Marxist.

Albert saw his Communist movement changing from it's utopian democratic promises, like the early Worker's Soviets, into the authoritarian nightmare, like Stalinist Soviet Union.

Like the naive socialist that he was he thought that he just had to tell his comrades the error of their ways and they would see the light.

He sought to put an end to the authoritarian tendencies taking over his beloved socialism.

What happened came as a rude shock, he was denounced, shunned and blacklisted by the Marxists in Hollywood. They hounded him until he broke and published a written apology. That was not good enough for the monitors of Marxist purity. They paraded him at public events forcing him to deliver an apology and confession in front of jeering audiences.

Albert Maltz and his article "What Shall We Ask of Writers?"

On 12th February 1945, Albert Maltz wrote an article for the New Masses calling for more intellectual freedom in the Communist Party. "It has been my conclusion for some time that much of the left-wing artistic activity - both creative and critical - has been restricted, narrowed, tuned away from life, sometimes made sterile - because the atmosphere and thinking of the literary left-wing had been based upon a shallow approach... I have come to believe that the accepted understanding of art as a weapon is not a useful guide, but a straitjacket. I have felt this in my own works and viewed it in the works or others. In order to write at all, it has long since become necessary for me repudiate it and abandon it."

Maltz went on to argue that it was wrong to judge creative works primarily by their ideology. He used the example of how a communist journal in 1940 attacking a play by Lillian Hellman, because its anti-Nazi politics were anathema during the period of the Nazi-Soviet Pact.

Victor Jerome, the head of the Party's Cultural Commission, organized the attack on Maltz.

Victor Jerome forced Maltz to write a retraction of his first article. On 9th April, 1946, two months after his initial effort, Albert Maltz published a second article in the New Masses: "I consider now that my article - by what I have come to agree was a one-sided, non-dialectical treatment of complex issues - could not... contribute to the development of left-wing criticism and creative writing."

I. F. Stone later recalled he was appalled by the way Maltz was treated: "He (Jerome) is a hell of a nice guy personally but politically he has tried to ride hard on the intellectuals in a way most offensive to anyone who believes in intellectual and cultural freedom... often in most humiliating ways - as in the belly-crawl forced... on Albert Maltz... He (Jerome) has a dictatorial mentality."

http://spartacus-educational.com/USAmaltz.htm

Elia Kazan a Marxist who became sick of the hypocrisy of criticizing American society while covering up the horrors happening in the Soviet Union.

"Never let the communists get away with the pretense that they stand for the very things that they kill in their own countries" Elia Kazan

He had had enough with the regimentation of the Hollywood Commissars and when he was summoned before the HUAC committee and decided to testify against against the foreign funded agents of subversion.

For this he was blacklisted by the communists and never trusted by the anti-communists.

The funniest thing about communism (if you think being shot against a wall and your children starving to death is funny) is how terribly it treats loyal communists. Read Gulag Archipelago to get the full picture of cruelty meted out to the very people who brought the communists into power, often with the puzzled agreement of the victims whose indoctrination was so complete that they faulted themselves for not doing communism "right".

Marxism is extremely popular and has been for a long time. The only people who write songs more beautifully about their own destruction are heroin junkies.