100 Books Like Hollywood Exiles in Europe

I always like books that trace the origins of a political movement, because they almost always go farther back than we think.

This one follows the suppression of radical activity in Hollywood from the beginning of the Great Depression of the 1930s, a time that also saw the founding of the Writers’ Guild, a union that gave writers some actual power in an industry that ran on power and often regarded writers as disposable. But even the Writers Guild couldn’t defend those accused of communist sympathies by their government.

It is significant in our current era that no Hollywood Communist, even the real ones, was ever linked to espionage or sabotage, and that evidence of the supposed subversive indoctrination planted in films was nonexistent. 

An editor of my book, Brian Neve has written extensively on the Hollywood Left, with many books, articles, and chapters devoted to filmmakers such as Cy Endfield, Elia Kazan, Robert Rossen, and Joseph Losey, or more broadly to politics and American cinema. A useful complement to the Ceplair & Englund volume, this astute, engaging, and empirically-grounded study explores how a generational cohort of radical and liberal creative practitioners—including Kazan, Losey, Rossen, Abraham Polonsky, Jules Dassin, John Huston, and Orson Welles—were energized by the political culture of the Depression era and sought, in different ways, to navigate the industrial and commercial constraints of Hollywood to produce socially-engaged films. This project was brutally stifled by the blacklist, with many filmmakers forced to choose between exile or collaboration. 

Many victims of the blacklist have written memoirs of their experiences, including Lester Cole, Ring Lardner, Jr., Bernard Gordon, and Walter Bernstein. But we are also fortunate to have excellent books from two articulate and talented women writers—Norma Barzman and Jean Rouverol (Refugees from Hollywood: A Journal of the Blacklist Years, 2000)—who offer emotionally nuanced accounts of the personal and professional consequences of political persecution and exile. As wives and mothers, their reminiscences inevitably have a very different centre of gravity than those of male blacklistees. Barzman is unrepentant about the progressive causes embraced by the American Communist Party while also critiquing the misogyny of many male comrades. This is a witty and insightful book by an engaging, clear-sighted, and forward-thinking survivor.

Oral histories and first-hand accounts bring a past era alive for me in a way that even the best historical narrative can’t.

This book contains the voices of thirty-six victims of the Hollywood Blacklist, including two of the famous/notorious Hollywood Ten, who went to jail for refusing to discuss their personal politics or name their friends before the House Un-American Activities Committee.

We hear from directors, stars, less famous actors, and screenwriters like those jailed by HUAC. We watch their lives unravel, their careers dissolve. Some go to Europe to work, some stick it out in the US, writing anonymously, denied screen credit and decent pay, and some migrate to academia. All provide a chilling account of government persecution for political belief.

If this beautifully illustrated collection of Hollywood tragedies were only kink, only lurid scandal like so many cheap TV potshots, it wouldn’t be the iconic masterpiece it has become. Kenneth Anger’s take on the faded and fallen Hollywood differs because he loves the place and its people with all his heart.

A child starling and renegade director in his own right (Scorpio Rising, Kustom Kar Kommandoes), he oozes child-like wonder and horror on every page. As he puts it in the book’s equally stark sequel, Hollywood Babylon II, the movies “promise immortality, but don’t really deliver.”   

Anything to do with Jim Carrey, I’m in. In fact, when teachers would ask me what I wanted to be when I grew up, I’d reply “Be Jim Carrey.” As a longtime fan, I was excited to learn that he would finally be charting his life in an autobiography. As it turns out, the book was mostly wild fiction. What’s so engaging about this book is how he blends real-life occurrences like his body of film work and relationship with Renee Zellweger with completely off-the-wall fantasy like mentor Rodney Dangerfield returning as a Rhino, Kelsey Grammar leading a cult, and Carrey struggling with his career as his entire essence goes virtual. It’s extremely experimental, but the inclusion of celebrities will leave you grinning.     

Wasson and Basinger are two other authors where you simply want to read everything they’ve written.

The reason I picked Hollywood: The Oral History for this list is that you have several hundred pages of Hollywood players telling their own stories. What could be better?? We get the scoop from stars, grips, screenwriters, carpenters, producers, directors, publicists, and everything in between.

What was it like to work in Hollywood in 1949? This book has your answer. What was the transition from Old Hollywood to New Hollywood like, this book has the goods. 

Nothing is accidental. Every word that you think is throwaway is part of the character build. Nothing is told. You have to link it. You have diverse characters without commentary. You have an understanding of motivation. You have illicit love. You have a challenging protagonist. What you think is true may not be true. You may glimpse real people, but you cannot say for sure. Unspoken truths. Secrets. Sex. Glamor.

Written from alternative viewpoints, it rounds out the real-life aspect that there is no truth because everyone’s truth is colored by their own bias. Again, it's unexpected and a fast read–and just like with my last recommendation–you don’t like her, then you do.

This novel is a blend of fact and fiction and informed speculation, centered on the relationship between two mammoth film stars of Hollywood’s Golden Age: Loretta Young and Clark Gable. While the deeper truths of their relationship during the filming of Call of the Wild might be disputed, what is certain is that they produced a daughter whose identity was kept secret—even from her father. Loretta is sympathetically portrayed, often from the perspective of an Italian nun (the author’s creation). A whole galaxy of film celebrities passes through the pages of this book, which for fans of 20th century cinema, is a plus. One touching and poignant aspect of the story, for me, is the danger Loretta’s beloved child poses to her reputation and career.

Barbra Streisand reads her autobiography out loud for the audiobook. It takes 48 hours and covers her early years, her films, her albums, her politics, and her love life, and when it finished, I was bereft. What a woman! She was prolific and clever and often underestimated or put down, particularly in her early years, because she was a woman.

I said aloud, “Yes, Barbra!” when she triumphed over adversity (or sexism). She’s a phenomenal woman. However, she hates giving presentations and speeches and ties herself in knots at the thought. It’s reassuring that even a global superstar like Barbra has the same fear of presenting as so many of us. But she did something about it–she practiced and got better. And so can we.