Daily Variety editor-in-chief Peter Bart has come up with a novel idea to end the six-week-old writers’ strike – bring in the Chicago mafia to whack a few leaders of the striking Writers Guild.
In a column that ran in Daily Variety on Dec.10 under the headline “
A way to settle so it’s all in the ‘family’” – with the word ‘family’ in quotes to make sure we all know he’s talking about the Mafia – Bart writes: “OK. I’ll admit it: I was once on reasonably friendly terms with Sidney Korshak” – the Chicago mafia’s man in Hollywood for more than 50 years.
Korshak
, who was the go-to guy for the late-Universal Studios mogul Lew Wasserman when contract talks stalled, was a master of “the trade-off,” according to Bart, although in fact, Korshak was even more the master of a quite different art – the art of the implied death threat.
“Korshak died 11 years ago,” Bart writes, “but had he been alive today, he would have been dismayed by the state of disarray in Hollywood. The writers and show-runners don’t seem to appreciate what management has done for them, he would have declared. And the companies similarly seem to have lost their talent at hard bargaining.
“Korshak surely would have enhanced the proposed compensation for digital downloads (one of the sticking points in the contract talks), and had his offer not been embraced, a few individuals might have been downloaded as well. Peace would prevail.”
Here, by ‘downloaded,’ Bart apparently means whacked; and by “a few individuals,” he assumedly means union leaders, since they are the ones to whom contract offers are generally made.
“Does he know what century we’re in?” asked an astonished member of the WGA’s hierarchy. “Next he’ll be calling on Pinkerton agents to fire into our picket lines.”
Of course, Bart, who is a longtime member of the Writers Guild, may be just joking around – showing off the tough-guy image he has of himself, which is something he’s known to do on occasion. But a reasonable reader might ask: Is this anything for the editor of a newspaper to joke about during an increasingly tense strike?
Joking or not, whacking troublesome Hollywood union leaders is something that Korshak’s friends in the Chicago syndicate were known to do once in a while. One famous case was the murder of Willie Bioff, the #2 guy in the one of Hollywood most powerful unions, who in 1943 publicly identified Sid Korshak as the mob’s man in Hollywood.
Korshak’s ties to the Chicago mob go all the way back to the 1930s and the days of Al Capone. In 1943, his name came up during the sensational trial of some of Chicago’s top mobsters on charges that they’d extorted more than $1 million dollars from Hollywood’s movie studios. Unlike today, however, back then Daily Variety had an editor named Arthur Unger who wasn’t so cozy with the mafia, and who bravely crusaded against the mob, writing editorials in which he called on Hollywood to run the gangsters out of town.
The scandal began in the late 1930s when the Chicago mob seized control of one of Hollywood’s most powerful unions - the International Alliance of Theatrical Stage Employees, which represents most of the behind-the-scenes workers in show business.
Frank Nitti, who was running the outfit while Capone was serving time for income tax evasion, controlled the union’s bosses, including Willie Bioff, who was finally indicted on charges of extorting money from the studios in exchange for labor peace.
During the trial, Korshak’s name came up when Bioff testified that he had been introduced to Korshak by one of the mob defendants, who had said: “Willie, meet Sidney Korshak. He is our man. . . . Any messages he might deliver to you is a message from us.”
Nitti had killed himself shortly after being indicted, and a lot of top mob guys went to jail, including Johnnie Roselli and Paul “The Waiter” Ricca. And in 1955, a decade after he was released from prison, Bioff was blown to pieces by a car bomb, which in those days was a signature mob hit.
Korshak, who was once described as “the toughest lawyer in America,” was never charged with any crime, and moved easily between gangsters and movie moguls. Though not licensed to practice law in California, where he lived for many years, Korshak served as an adviser to many of the top Hollywood studios. And at the same time, authorities said, he was also an adviser to such mob figures as Tony “Big Tuna” Accardo, Sam Giancana, Lucky Luciano, Meyer Lansky and Gus Alex.
In 1978, the California attorney general’s Organized Crime Control Commission issued a report that called Korshak “the key link between organized crime and big business,” noting that he was a “senior adviser” to organized crime groups in California, Chicago, Las Vegas and New York. In a rare interview, Korshak denied the allegations. “I’ve never been cited, let alone indicted, for anything,” Korshak told the Los Angeles Herald Examiner in 1978.
In Hollywood, Korshak helped broker numerous deals for some of the top studios. In 1973, he mediated in the negotiations that led to the sale of MGM’s theaters and properties in its overseas markets to Cinema International Corp., a joint venture between MCA and Paramount. MCA chairman Lew Wasserman and Charles Bluhdorn, whose Gulf & Western owned Paramount, personally negotiated the deal with MGM owner Kirk Kerkorian - with Korshak as mediator.
Bart knew Korshak back in those days, too – back when Bart was second-in-command at Paramount Studios in the 1970s – back when Korshak was the mentor of Bart’s mentor – Robert Evans, who was head of production at Paramount.
“Sidney (Korshak) was in my office every day for 10 years,” Evans said in an interview for my L.A. Weekly cover story about Bart in 1994. “There’s not a day that went by when I was in Los Angeles that Sidney wasn’t there…Sidney and Peter and I spent a lot of time together. They never broke bread. But, you know, Peter was my right-hand guy and Sid was my consigliere, so naturally they met.”
In his book, “
The Kid Stays in the Picture: A Notorious Life,” Evans wrote that Korshak “was not only my consigliere, but my godfather and closest friend . . . my lifelong protector.”
Bart
, whose coverage of the strike has been criticized for toadying up to management, was a newspaperman in the 1960s before he joined Evans and Korshak in running Paramount Studios. In 1990, Bart actually boasted in an article for Gentlemen’s Quarterly that he carried a gun while covering riots in Los Angeles for The New York Times in the mid-1960s. “I carried a gun in my last days at The Times,” he said, claiming that he had twice been shot at while covering a race riot. “My philosophy was: If a man’s going to shoot at me, he’s going to get it right fucking back. I was a good shot. But it was not Times policy.” (Nor is it the policy of any newspaper in the country.)
And he says he wasn’t joking about having shot people during the Watts Riots. When asked about this in 1994, he told LA Weekly that the gun he used was taken from him “by an L.A. cop who was chasing somebody that ran past. He said, ‘Hey, Pete, do you have a gun? And I said, ‘Yes.’ And he said, ‘Hand it to me.’ That’s the last I saw of that goddamn gun.”
So maybe he’s kidding about killing union leaders, and maybe he’s exaggerating about shooting black people during the Watts riot. But either way, maybe the Writers Guild should ask: Why is this guy still a member of this union? Isn’t there some bylaw against members advocating the murder of Writers Guild leaders – especially during a strike?
Thanks to
David Robb
