Breen's tenure carried a darker cultural freight than mere prudery. In the early 1930s he penned antisemitic letters — once describing a segment of Hollywood as ‘‘probably, the scum of the scum of the earth’’ — and he maintained occasional contact with Georg Gyssling, the official Nazi representative in Hollywood. Those sympathies and contacts translated into concrete editorial pressure: Breen warned studios that anti‑Hitler or overtly Jewish‑led efforts risked alienating a ‘‘strong pro‑German and antisemitic feeling’’ in America and repeatedly lobbied to neuter or kill projects. Metro‑Goldwyn‑Mayer was forced to accept some 60 edits on its planned adaptation of Sinclair Lewis's It Can't Happen Here, and in 1938 Breen urged MGM to change the villain in Three Comrades to avoid the ‘‘suggestion that we are dealing with Nazi violence or terrorism.’’ Extremists such as William Dudley Pelley applauded Breen for exerting a censor's sway over an industry they believed was run by Jews. Although Breen issued a public statement against antisemitism only in July 1939 — after Pope Pius XI's denunciations and the formation of a Committee of Catholics to Fight Anti‑Semitism — the record of his early letters and his enforced edits left an undeniable imprint on which stories Hollywood would tell about Europe and fascism during a critical prewar moment.
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