The Fearmakers

In the late 1950s, The Fearmakers was a late entry in the Red Scare cycle. By the late 1960s it would have looked like a bizarre and ancient relic. Now in the 21st century, the film looks almost prophetic--if you can overlook the fact that it's basically a pro-nuclear war film. What gives the film resonance for a contemporary audience is its accurate portrayal of 'public relations', polling and advertising, and their ability to sway public opinion. In the 1950s this thesis no doubt took a back seat to the usual Commie-bashing, but now--in the era of push polls, straw polls, and exit polls-- it looks frighteningly accurate. Dana Andrews is excellent as usual. Sadly he is paired up with Marilee Earle as his love interest, and Ms. Earle gives a wooden performance of truly Redwoodian proportions. This was the last film of her brief career.

Overlooked when first released among the mass of Red Scare pictures, in retrospect, it was ingenious (not to mention prescient) to treat this theme in the form of a corporate thriller. That said, Dick Foran's ruthless villain-in-a-suit is kind of weak (given the title), especially since he is flanked by such stereotypes as burly thug and fidgety geek (effectively played by crooner Mel Torme')!

On the other hand, Tourneur regular Dana Andrews (for whom he had just starred in the occult masterpiece NIGHT OF THE DEMON [1957]) is in good form as the distraught Korean War veteran met with betrayal and hostility when trying to return to his job as an honest pollster. Aiding him is an elderly statesman, a crusading journalist (who actually does very little to further his cause!) and Foran's sweet-natured secretary (who obviously feels, and then falls, for our hero). Though not exactly a noir, the pervading mood of this one is quite similar (in fact, it proved to be the director's last in that style) in view of the double-crosses, the investigation, the beatings and the seediness of some of its settings.

As a sop to the superiority of the American Way (and the integrity of decent folk), the climax takes place beside Washington's famed Lincoln memorial – with Andrews felling Foran via a series of karate chops (perhaps a nod to BAD DAY AT BLACK ROCK [1955]). This, however, rather suggests that the former ultimately benefited from his tenure as a P.O.W. in the hands of the Chinese (incidentally, the film came out a good four years before THE MANCHURIAN CANDIDATE [1962])! Ultimately, therefore, once one gets past the disappointment that this is not going to deliver on the promise of brainwashing episodes displayed in the opening credits, this emerges an above average thriller nevertheless.

This film is a condemnation of public relations at its worst. As one character says, "taking public opinion is useful; making public opinion is dangerous". This seems to call forth the idea of "engineering consent", an idea that Edward Bernays first published in 1947.

We also have the concepts of "pre-written law" and "fake front groups with high-sounding titles". With that, we see a strong parallel between Communist infiltration and modern-day political movements. And the groups could be left or right-leaning. There is much talk today (2013) of ALEC writing bills and groups like Americans For Prosperity that are little more than a tool of Charles and David Koch.

The film calls out the danger of misleading polls, and the difference between advertising and politics. What was seen as a danger in this film is now standard practice fifty years later. A candidate is "sold" to the American people and polls rarely get to the heart of any matter. Like the discussion in the film about "Jews" and "labor unions", the lobbyists and advertisers know how to target narrow segments of the population...

Jacques Tourneur biographer Chris Fujiwara says Tourneur's later films, including this one, "fall short of the standard of his prior work." He says Tourneur himself "thought the film was a failure". To say this is a challenge. From the point of view of directing and cinematography, this might not reach the level of "Cat People" or "Night of the Demon". But the message is so powerful that the direction almost becomes secondary.

Could this be a forgotten gem in need of a new release?

I happened on this film by accident one afternoon and was quietly surprised. I am a fan of film noir and thought this film would be along those lines. And it was a bit in that fashion.( "The Killers" starring Burt Lancaster is one of my favorite examples of the film noir genre).

But mostly this movie is centered on Washington D.C. in the late 1950's, and the beginnings of what today is considered lobbying. How the movie reflects our capitol today is almost eerie, with our poll takers and vested interests. Downright prophetic in its nature, I found the correlations between that era and today striking. Witness the beginnings of how you're votes are bought. Disturbing to say the least.

I gave the film a "7" rating, because although the movie is worth a look,it is a bit "dated" and does have some "cheese" in the acting.

Just watched this on TCM. A problem I've always had w/Dana Andrews is his self-righteousness, but this 'red scare' film does raise concerns that are far more appropriate today regarding how pollsters & PR firms manipulate/create news & opinion versus measuring it. However in this film, the media (Washington Post reporter) & an 'old school' senator (you know, the ones that used to have a conscience & scruples) are the good guys. Nowadays, that just isn't very realistic as the media, political parties, representatives & lobbiests are all part of the Washington propaganda machine, only interested in retaining & growing on their own power base. But I digress. Look for Mel Torme in ridiculous Coke-bottle glasses. Also, DC-philes will enjoy all of the familiar landmarks with far cooler cars surrounding the city. Overall, not a waste of time. I give it a '6'.