Make Mine Freedom

Make Mine Freedom is an American animated propaganda cartoon created by John Sutherland Productions for the Extension Department of Harding College (now Harding University). Financed with a grant from the Alfred P. Sloan Foundation, the cartoon was the first in a series of pro-free enterprise films produced by Sutherland for Harding. The cartoon depicts a satire of perceived life under collectivist ideology.

Make Mine Freedom
Directed by
Produced byFred Quimby
Starring
Music by
  • Scott Bradley
  • Paul J. Smith
Production
company
John Sutherland Productions
Distributed byMetro-Goldwyn-Mayer
Release date
February 25, 1948 (1948-02-25)
Running time
9 min. 27 sec.
CountryUnited States
LanguageEnglish

Production background

Around 1947, the Sloan Foundation provided a grant of between $300,000 and $600,000 to Harding College to produce cartoons that promoted the American way and uplifted American business philosophy.[1] Staff at Harding originally approached Walt Disney Productions, but were referred to John Sutherland, who left the company in 1940, shortly before a crippling strike.[2] According to the film's original copyright entry, its original title was The Secret of American Prosperity, but this was later changed to Make Mine Freedom for the film's February 1948 release.[3] The film debuted on February 25, 1948, and Harding president George S. Benson played the film at his inaugural Freedom Forum, a gathering of pro-business speakers, the following year.[4]

Plot

The film opens with a paean to American values, noting how America means different things to different people. The central conflict in the film concerns four composite characters, a worker, capitalist, politician, and farmer, who all find themselves at odds with each other. A slick salesman approaches the men, offering them a solution to all their problems in the form of a magic tonic known as ISM, which he claims will "cure any ailment of the body politic." He offers the tonic to the men for free, but provides them a contract that requires them to–quite literally–sign away the freedom of themselves, their children, and their grandchildren. Upon hearing this, a sleeping man on a bench wakes up and approaches the group, announcing that he is John Q. Public. He demands to see the contract, examines it, and is astonished that the men would so readily sign away their freedoms. Public then regales the men with a tale of Joe Doakes (another generic American name), a lowly inventor who became wealthy with the help of his family and friends. Public explains that Doakes' success is due to the American system of free enterprise, and that being a capitalist is nothing to be ashamed of. He also notes that America enjoyed a standard of living after World War II unparalleled by any other country. He then invites the men to try ISM and see what its collectivist vision would allegedly bring. The worker finds himself shackled to a machine and branded a state union member, the capitalist removed from his factory, the farmer stripped of his power, and the politician turned into a propaganda speaker. Disgusted with the ISM, the men turn on the salesman and chase him out of town. The film ends with patriotic music backing up the now-united marchers, claiming that an ever-increasing abundance for all is the secret to American prosperity.

Reception

The film found widespread adoration in Cold War America, but recent historians have criticized its propagandist nature and its subtle suggestion that communists should face mob violence.

Journalist George Sokolsky wrote favorably of the film shortly after its debut, praising the film in his syndicated column These Days.[5] Sokolsky said that the film “explains why the United States is an excellent place in which to live—in fact a better place than those proletarian heavens that are so widely advertised by the speakers of utopias.”[6] Sokolsky believed that the film needed to be shown in every American theatre and declared that the film “is propaganda that parents should take their children to see, because our children need to know beyond doubt [sic] that just being an American is a blessing.”[6]

Historian Chase Winstead wrote in Invasion USA: Essays on Anti-Communist Movies of the 1950s and 1960s that "Make Mine Freedom has a serious point of view, and worse still, it's determined to make that point of view our point of view. Nicely animated (though not as fully as the MGM unit's other theatrical cartoons), it skates by on craft, while assuming that American audiences are a bunch of dummies to be gulled with visual and textual cliches that pass as wit."[1]

In his book Paul Robeson and the Cold War Performance Complex, Tony Perucci notes that in Make Mine Freedom, "mob violence against Communist instigators is celebrated as patriotic. . .[w]ith Looney Tunes-style music, the raging mob attacks the Communist, running him out of town, as his screams fade into a patriotic fife and drum.[7]

gollark: https://onelook.com/?w=*mals&ssbp=1
gollark: Mammals are some of my favourite things ending in -mals.
gollark: I thought it was so they were attractive to birds or something.
gollark: Don't?
gollark: We should unironically ban [DATA EXPUNGED].

References
  1. Hogan, David J. (September 19, 2017). Invasion USA: Essays on Anti-Communist Movies of the 1950s and 1960s. McFarland. ISBN 978-1-4766-3010-6.
  2. Tom Heintjes and Mark Arnold, “Animating Ideas: The John Sutherland Story”, Hogan’s Alley: The Magazine of the Cartoon Arts, May 14, 2012.
  3. Catalogue of Copyright Entries, Library of Congress Copyright Office, 1948 (Washington: Government Printing Office, 1948), 32.
  4. "Freedom Forums To Be Held Here, Leaders of Nation's Industries Invited". Harding College Bison. January 25, 1949.
  5. Ash, Evan R. "Forgotten Toons: Hanna-Barbera, Anticommunism, and "Make Mine Freedom" (1948)". Vault of Culture at the University of Illinois. Retrieved December 13, 2019.
  6. George Sokolsky, “These Days,” syndicated column in Pottsville Republican (Pottsville, PA), May 8, 1948.
  7. Perucci, Tony (April 18, 2012). Paul Robeson and the Cold War Performance Complex: Race, Madness, Activism. University of Michigan Press. ISBN 978-0-472-05168-7.
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