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It's the 1950's, and Senator Joseph McCarthy has whipped America and especially Hollywood into an anti-communitst frenzy. Anyone who ever had ties to the left wing is persecuted and denied employment. Which means a big opportunity for Woody Allen (acting only, he didn't write or direct) to make a few bucks selling scripts written by blacklisted writers, being the "Front" of the title. Little does he know what he's getting into. Woody's masquerade starts as a favor to a pal in trouble and a chance for easy money, but it quickly snowballs into serious involvement with some very ugly things.

Great script and excellent performances by Allen and Andrea Marcovicci, but the film is lifted to terrifying heights by the magnificent Zero Mostel as a blacklisted comic. Every indignity and loss he faces is reflected in his wonderful face with a terrible sweet-natured dignity, you can see the weariness and hopelessness growing in his eyes scene by scene. His tragedy changes the lives of all the other characters, and makes the film the fine thing that it is.

There's a lot of wit and black humor in this film, but overall it's a very affecting tragedy, one with a fine, strong, yet hopeful ending.

The screen time may belong to Woody Allen, but the movie belongs to Zero Mostel. Few actors are more improbable than the artfully bulky Mostel, whose round head, tiny snub nose and large expressive eyes resemble a cartoon more than an actual person. Yet his range is phenomenal. Watch the breadth as he slyly tries to work around head witch-hunter Francis Hennesee, or comically greets the diminutive Allen, or explodes in eye-popping rage at the Borscht-belt proprietor who cheats him. His metaphorical loss in the film mirrors the very real loss film-goers suffered during his years of blacklist. And it's to Allen's credit that he generously showcases this prodigious talent in what would be Mostel's last film.

The movie itself handles the blacklist of the 1950's with a congenial light touch. Allen is perfect as the nebbish who fronts for his screenwriter pals, and it's fun to watch him puff up and fluff out as the spotlight shifts abruptly his way. As expected, there are many amusing Allen bits scattered throughout. Even the romantic angle with Marcovicci works nicely into Allen's character as he evolves through the story-line, ending in a perceptive example of the old "worm turns" plot twist. All in all, this 1976, Martin Ritt film amounts to an amusing look at a dark period in American civil liberties, made unusually memorable by the sublime presence of the unforgettable Zero Mostel.

In the 50's, in New York City, the screenplay writer Alfred Miller (Michael Murphy) meets his apolitical friend, the cashier of restaurant and smalltime bookmaker Howard Prince (Woody Allen) and tells him that he can not work anymore since he is blacklisted. Prince offers to sell his scripts to the producer of a TV station using his own name and Alfred offers a 10% commission to Prince.

Prince uses the money to pay his debts and improve his life and soon he offers his name to two other blacklisted writers. Meanwhile he dates the TV screenplay editor Florence Barrett (Andrea Marcovicci). When the veteran actor Hecky Brown (Zero Mostel) is blacklisted and fired by the producer Phil Sussman (Herschel Bernardi), the idealistic Florence quits her job. But when Hecky Brown commits suicide, Prince takes a stand against the unjust system.

Today I have just watched "The Front" on VHS maybe for the third or fourth time (last time was on 31 May 2002). This fairytale about the dark period of the North America history known as McCarthyism is wrongly categorized as "comedy" and is actually one of the most important and a serious movie by Woody Allen that perfectly works with the situation of a figurehead that realizes the damage caused by the Powers that Be to the careers and lives of his compatriots and decides to react against them.

Another attraction is that the director Martin Ritt; the writer Walter Bernstein and the stars Zero Mostel, Herschel Bernardi and Lloyd Gough had been blacklisted in the 50's. My vote is eight.

Title (Brazil): "Testa de Ferro por Acaso" ("Figurehead by Chance")

Fictionalized look about the 1950s blacklist. Woody Allen (in a rare dramatic role) plays a man who sells the scripts of blacklisted writers under his name. He splits the proceeds with the writers. He's apolitical--he's just doing it to help friends. Then he starts to see how horrible the blacklist is and how it's destroying people and careers. He wants to take a stand--but how can he?

This is often mentioned as being a comedy. In that respect, it fails. There was nothing funny about the blacklist. But, as a drama with light moments, it works. It moves quickly, is well written (by a former blacklisted writer), well-directed (by another blacklisted man) and stars two blacklisted actors! Basically these people know what happened so that actually helps. Allen is surprisingly good in a dramatic role--who knew he had it in him? He tones down all his mannerisms and delivers a very controlled, nicely done job. Andrea Marcovicci (whatever happened to her?) is also good playing his girlfriend. And Michael Murphy is excellent as one of the blacklisted writers. And Zero Mostel is just superb as a blacklisted actor. The pain and confusion shows plainly on his face. This was also one of his last films---he died 2 years later of a heart attack. Also look for Danny Aiello in a small role. The 1950s era is captured beautifully, the film looks great and they have Frank Sinatra singing (ironically) "Young at Heart" at the beginning and end of the film. Great final line too.

But I'm only giving this a 9. The script is good but a little too simplistic and painted in very broad strokes. The bad guys are evil to the core and all the blacklisted people are shown as being victims. That's NOT how it was. They were probably writing down to appeal to a mainstream audience but went too far.

This bombed badly back in 1976--it's easy to see why. The subject matter is too strong for most audiences and the movie company (I heard) was completely at a loss on how to deal with this. Just a year before an entire blacklisting sequence was cut from "The Way We Were". Sadly Hollywood was STILL touchy about this subject in the 1970s.

This should be seen by more people--it really deserves to be discovered. A lot of people don't even KNOW about the blacklist. Well worth seeing.

Woody Allen is "The Front" for blacklisted television writers in the 1950s in a film also starring Zero Mostel, Herschel Bernardi, Andrea Marcovicci, and Michael Murphy. Several of the film's participants - director Ritt, writer Bernstein, actors Bernardi and Mostel, were themselves blacklisted.

Woody's character, Howard Prince, has moments of humor, but "The Front" is a drama, and a very good one. Prince agrees to front for a writer-friend and later takes on other blacklisted writers for money. Then comes the day that Prince himself is subpoenaed by the committee, and he has to make a decision about where he stands.

Along the way, Howard falls in love with a principled woman, Marcovicci, who becomes disgusted with the blacklist and quits her television job, and a pathetic comedian, Zero Mostel, who claims to have marched in a May Day parade and subscribed to a communist newspaper because he had a crush on a girl. Then he watches his career shrivel up.

I grew up in the '50s and remember the Red Scare very well, as in school we were always told that the Communists were coming. In Hollywood and Washington, it was believed that the Communists were here infiltrating our government, films, and television. Whether it was true or not is a separate issue from the persecution and hysteria that took place. Actress Lee Grant, for instance, was blacklisted because she went to a funeral of someone who had been accused of being a Communist. John Garfield, Kim Hunter, Gale Sondergaard, Mady Christians, Larry Parks - just a few of the actors blacklisted. There are many examples of people whose careers and lives were ruined because they had once attended a meeting to see what this political ideology was all about, or had a friend who was a Communist. Land of the free indeed.