Let's remember the dangers of fascism. Forgetting is a very threatening thing. And, Leo Hurwitz’s The Museum and The Fury 1956 shows us why. Yet we do forget when we don’t want to see what exists on our own soil. Leo’s other film Strange Victory (1948) details the seeds for fascism in America: racism, antisemitism, and White Supremacy. When we can’t call it what it is, history repeats itself. The Museum and The Fury 1956 offers the best reason for not forgetting: “History is the echo of an angry scream.” That echo is now, in 2020. We must stop it....

Memories and fantasies originating in childhood influence the course of a life as it unfolds. So do childhood experiences. If someone has a strong creative spirit, as Leo Hurwitz did, these impressionable early times find powerful forms of expression in their creative work. This is certainly true for Leo. Leo’s films speak for those abandoned by the societies they live in and for those who have no voice. We already know Leo’s family of origin had a strong social conscience. Yet, what are some of the personal, early, even unconscious sources leading to Leo’s passion? Thanks to direct quotes from family...

Leo Hurwitz (1909-1991) is responsible for developing the social documentary form in the early 1930’s with a small group of other documentary filmmakers. This creative work initially came out of his involvement with the Workers Film and Photo League in New York City. As a socially conscious documentary filmmaker, devoted to human rights and exposing the fascist forces that undermine basic human freedoms, Leo’s early films (Heart of Spain, Native Land, and Strange Victory) particularly addressed these concerns. The House Un-American Activities Committee blacklisted Leo during the McCarthy era for his affiliation with the Communist party and, although his filmmaking...