Abstract
Before the United States entered World War II, major Hollywood studios had been slow to produce films critical of the Nazi regime. In addition to fearing that such films would alienate the lucrative European market and run counter to the United States’ policy of neutrality, film industry executives were mindful, too, that anti-Nazi films could well worsen the situation of Jews in Germany and German-occupied territories. Attuned to anti-immigrant feelings in the United States, they also appeared reticent to depict the lot of refugees from Hitler. If the studios’ prime objective was to make the most profit while entertaining audiences, those running the studios might have viewed taking a stand on controversial issues as counterproductive. MGM's full-length film, Florian (1940), however, proved something of an exception. In this case, a light-entertainment film doubled as a palimpsest for commentary on some of the most critical events of the day.
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