Produced at the height of the cold war, the gladiator film Spartacus (1960) is recognized as an answer to HUAC’s redbaiting members of the Hollywood film community. Unexplored, however, has been the hypothesis that the film is a production expressing cultural aspects of Jewish identity and memory. Considering the multiple authorship of Howard Fast, Dalton Trumbo, Kirk Douglas, and Stanley Kubrick, this paper examines aspects of the film that suggest not only a response to oppression on American soil, but also a recognition of broader forms of imperialism or fascism, such as the Nazi genocide of Jews in the Holocaust.