One day during the post-production of Crossfire (1947), Edward Dmytryk's penetrating cinematic indictment of anti-Semitism, a rough cut of the flim was screened for the sound and music department. One young editor, an Argentine, expressed his ambivalence for the film: "It's such a fine suspense story," he remarked, "but why did you have to bring in that stuff about anti-Semitism?" "That was our chief reason for making the film," Dmytryk replied. "But there is no anti-Semitism in the United States," the cutter protested. "If there were, why is all the money in America controlled by Jewish bankers?" Dmytryk fixed the man with an incredulous gaze before replying: "That's why we made the film."
Sources
Edward Dmytryk, It`s a Hell of a Life, but Not a Bad Living, p. 92
