Prohibition one of the most improbable political achievements in U.S. history

Dell in 1961 was publishing a comic-book based on The Untouchables television show.

By Jim O’Neal

In 1959, Desilu Productions aired the first episode of The Untouchables, a TV series starring Robert Stack. The storyline was from a book of the same title that recounted the exploits of an elite group of Prohibition agents working for the Treasury Department. They were battling the mafia in Chicago during Prohibition (1920-1933). “Untouchables” was a nickname for a small group of lawmen who refused to take bribes from bootleggers.

There was a real-life Eliot Ness (1903-1957), who had a career battling booze and bootleggers, but the 119 episodes on TV were generally fictional accounts. The show had a decent run over four years (1959-63) and the format used famous newspaper/radio commentator Walter Winchell as a narrator to make it seem more realistic. Winchell (who was paid $25,000 per program) and Robert Stack were the only two actors to appear in all 119 shows.

In 1987, there was a movie version starring Kevin Costner as Ness and Robert De Niro as a fictionalized Al Capone. Sean Connery played a regular street policeman, and won an Oscar for Best Actor in a supporting role.

Prohibition was one of the most improbable political achievements in American history. The idea that a democratic nation with millions of voting-age drinkers, more than 300,000 taverns and saloons (all eager to slake their thirst), and the fifth-largest industry were unable to prevent this legislation was unthinkable. However, the battle had been raging for as far back as Colonial times. A temperance movement had been fighting alcohol consumption on the basis that it would destroy the moral fiber of the nation. The effort was joined by political forces with booming voices (e.g. William Jennings Bryan) who were convincingly vociferous about the evils of John Barleycornwith only limited success.

Pragmatic business leaders discouraged the use of alcohol, pointing out the negative effects on worker reliability, job-related injuries and, importantly, productivity and quality. But the problem was gradually becoming worse as the nation’s workforce refused to heed the warnings. Perhaps the loudest and most passionate opponents of alcohol were the wives and mothers left to contend with the impact on their families if the primary breadwinner was a drunk. Gradually, it seemed that the only people who were against prohibiting alcohol were the drinkers and all the people making money providing it.

Even the government seemed supportive of alcohol since one-third of federal revenues was derived from the tax on sales. However, in 1913, the 16th Amendment replaced alcohol taxes with a federal income tax, which generated significantly higher revenues. In the 1916 presidential election, neither President Woodrow Wilson nor his opponent Charles Evans Hughes even mentioned the issue. Both parties were leery of discussing it for fear of alienating either the “drys” or the “wets” in such a close race.

But the ratification of the 18th Amendment on Jan. 29, 1919, banned the manufacture, transportation and sale of liquor – introducing a period in America’s history we still call simply Prohibition. Of course, wealthy men and institutions stocked up before the legislation went into effect. Curiously, the Act did not prohibit consumption. President Wilson moved his extensive inventory into the White House as did his successor, Warren Harding. The Yale Club in New York procured a supply that would last 14 years! Cynics were quick to point out that the president could have his martini each evening, but the working man could no longer get a beer and free sandwich at his favorite saloon.

For the less affluent, 15,000 doctors and 57,000 pharmacies got a license to supply medicinal alcohol. Drugstores were discrete sources as evidenced by Walgreens, which grew from 22 stores to over 500 in short order. Another loophole was the exemption that allowed homemade “fruit juices” for consumption exclusively in the home. Wineries in California were supplanted by millions at home. If left untended, the alcohol content in grape juice could soar to 12 percent. Grape juice production exploded.

However, a more insidious source of the banned alcohol developed. As the suburban population migrated to big cities, nightlife became synonymous with “speakeasies.” All one had to do was “speak easy,” act discreet and there was a convenient door where even women were now welcomed. The battle over alcohol shifted to the supply and distribution and there was a massive increase in organized crime as they fought over territories. Law enforcement was badly outgunned or was paid to look the other way.

Welcome to the Roaring Twenties!

As the Great Depression deepened, President Franklin Roosevelt signed legislation on March 21, 1933, that legalized the consumption of 3.2 percent beer, saying, “I think this would be a good time for a beer.”

Amen.

Intelligent Collector blogger JIM O’NEAL is an avid collector and history buff. He is president and CEO of Frito-Lay International [retired] and earlier served as chair and CEO of PepsiCo Restaurants International [KFC Pizza Hut and Taco Bell].

Hollywood Westerns Embody Essential History of the United States

This original movie poster for 1953’s Shane sold for $5,676.25 at a November 2008 Heritage auction.

By Jim O’Neal

Inexplicably, there was a 60-year gap between the first Western to win an Academy Award for Best Picture and the next one. Cimarron (1931), starring Richard Dix and Irene Dunne, was based on the 1929 novel by Edna Ferber that told the tales of the Oklahoma land rushes of 1889 and 1893. The next winner was Dances With Wolves, the 1990 Kevin Costner film that won seven Oscars, including Best Picture and Best Director.

This was despite the fact that there were a number of notable Western films in the intervening decades: High Noon (1952), Shane (1953), and Butch Cassidy and the Sundance Kid (1969), to name a few. My favorite remains Red River (1948), directed by Howard Hawks and introducing Montgomery Clift, the brilliant actor who was Elizabeth Taylor’s close friend and who died too young after a car accident led him to too many pain-killers (that did as advertised).

These were laconic men with a code to live by: Don’t run, stand up and don’t rely on anyone but yourself. Men who liked simple stories that seemed almost incidental to the action. In 1966, Hawks called Robert Mitchum for a role in El Dorado.

“You available, Bob?”

“Sure, Howard. Uh, what’s the story?”

“Oh, you know, Bob. There’s no story.”

Peter Bogdanovich, the director and writer, has six personal favorites and all were directed by either John Ford or Howard Hawks. His nucleus of favorites underscores the Western’s focus: clarity between right and wrong. “Certainly,” Bogdanovich wrote, “the Western is one of the most pervasive icons of Americana; a symbol of frontiers challenged and tamed; a series of morality tales of good and evil that contain within them the essential history of the United States.”

Director John Ford was reputedly prickly and fearless. From his early efforts until his last Western, The Man Who Shot Liberty Valance (1962), his films helped hype the myth of the West and the men and women who belonged there. “When the legend becomes fact, sir, print the legend,” a young reporter tells Jimmy Stewart, playing a U.S. Senator in Liberty Valance. That is advice Ford gave and followed.

The mythic Western theme is pervasive, thanks in part to the movies and television. It was how the rest of the world saw us for a long time. We’re all cowboys, gunslingers operating under some unwritten rules way out in the open spaces. Ford’s stories were simply about the individual as the last line of defense. A man takes a stand, no matter what the price, refusing to ask for help. (He had no regard for High Noon, because “No real Western sheriff would ever ask for help.”)

Then it almost seems like television was made for the Western and in the 1950s, we had plenty to choose from on every network. Even popular radio Westerns found it easy to make the transition. The best example may be Gunsmoke, which had established itself as a Saturday night special on radio with William Conrad in the venerable role of Marshal Matt Dillon. The rotund Conrad didn’t fit the visual image, so CBS tried to lure an ex-Glendale High School football star who had lost his USC scholarship due to a surfing accident. His name was Marion Morrison.

We know him as John Wayne, who Ford had molded into a superstar in Western movies. Wayne declined the offer, but agreed to introduce the first episode in 1955 with James Arness (the elder brother of Peter Graves) in the Matt Dillon role. Not surprisingly, it became the longest-running American prime-time TV drama – 639 episodes from 1955 to 1975 and still running in syndication today, a mere 63 years later!

Personally, I’m quite happy that Wayne kept making movies, because in my opinion, he was the Western. But why? Maybe no one summed it up better than director Raoul Walsh when he said, “Dammit, the son of a bitch looked like a man.” Perhaps that’s it. He did look and act like a man, and we never read or heard anything to make us doubt it. Journalist and writer Joan Didion in a profile spoke for a lot of us when she said, “When John Wayne rode through my childhood, he determined forever the shape of certain of our dreams.”

I miss John Wayne and all the things he stood for.

Intelligent Collector blogger JIM O’NEAL is an avid collector and history buff. He is president and CEO of Frito-Lay International [retired] and earlier served as chair and CEO of PepsiCo Restaurants International [KFC Pizza Hut and Taco Bell].