Two films that are mirror images of the Blacklist-HUAC fifties, ON THE 
WATERFRONT and SALT OF THE EARTH, have complicated but nonetheless 
optimistic endings.  Given the sad fate of SALT OF THE EARTH itself, 
its optimism looks poignantly misplaced.

The fifties are also big on therapeutic narratives, such as that of 
I'LL CRY TOMORROW, in which Lillian Roth (Susan Hayward) is 
stage-mothered into the life of a performing robot, leading to 
alcoholism and absolute degradation, only to end up with Alcoholics 
Anonymous and a triumphant validation on "This Is Your Life."  With the 
enemy TV portrayed as an agent of personal reformation, this is a rare 
vision of redemption indeed.  MARTY, an envoy from the small screen, 
finds hope for the middle-aged, homely, ordinary person in a culture 
that favors youth and glamour.

As for musicals, try THE PAJAMA GAME, which finds romance and harmony 
in union-management.  I'm not sure if this is the film to look at 
during the current WGA strike or not.

--
Dennis Bingham
Associate Professor and Director of Film Studies
Dept. of English Indiana University School of Liberal Arts
IUPUI
501V Cavanaugh Hall
425 University Blvd.
Indianapolis, IN 46202
(317) 274-9825 (phone)
(317) 278-1287 (fax)



Quoting Adam Fish <[log in to unmask]>:

> Dear Screen-listers,
>
> I am looking for Fifties film examples of heroes, heroines, or whole
> groups of people that go through many travails but come out better in
> the end. Examples that come from epics and musicals would be
> excellent.
>
> Thank you,
>
> Adam Fish
> UCLA
>
> ----
> For past messages, visit the Screen-L Archives:
> http://bama.ua.edu/archives/screen-l.html
>

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