Right, Tony: As I think we have discussed before, THE MASTER RACE, released late in 1944, starring old Mercury Theater member, George Coulouris, dealt with the possibility of "stay behind" Nazi units attempting to sabotage the Postwar recovery in a Belgian town. The more extraordinary NONE SHALL ESCAPE, directed by Andre De Toth, starring Alexander Knox and Marsha Hunt, and released in early February 1944 (meaning that it was shot in 1943), uses a flashback pattern from a prescient "UN Tribunal" after the War to show the evolution of a German schoolmaster, embittered by Germany's experience in World War I, into a Nazi officer exacting vengeance for his real and imagined grievances on the Polish town where he had worked. The film covers major events in the rise of Nazi power, including toward the end sequences of Jews being put on cattle cars bound for death camps (and a rebellion led by Rabbi in the climax). Originally a Hungarian film maker, De Toth had been a cameraman during the German invasion of Poland before his escape to England, late in 1939, and so he knew the background of what he presented.
Orson Welles extended the above theme in THE STRANGER. Thought farfetched at the time of its release in 1946, the film suggested what was actually going on in a series of eight U.S. Displaced Persons Acts placed into law between 1945 and 1950. Ostensibly designed to help a few thousand victims of Nazi and Fascist oppression, the Acts eventually accommodated hundreds of thousands of refugees, and our Intelligence agencies used the promise of these Acts for the possible granting of American Citizenship, ironically, to retain and reward large numbers of Nazis officers, soldiers, and agents in the fight against Communism in Germany, Italy, and Eastern Europe.
And so, Welles was showing in a dramatic theatrical context, perhaps beyond his direct knowledge, the entry into America of many Nazis, some of whom, like the individuals and groups who proved embarrassing to the Richard Nixon, Ronald Reagan, and George H.W. Bush administrations, attained positions of considerable power and influence. The career of Senator Prescott Bush suggests that our whole drift to the Right in the last fifty years may have been presaged by THE STRANGER, despite Welles' hope that the American public would awaken to the threat which has now created "The Project for a New American Century," "The New World Order," and "The American Empire."
I sometimes reflect sadly that we have learned virtually nothing about geopolitical power during my entire lifetime.