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 > ---- To sign off Screen-L, e-mail [log in to unmask] and put SIGNOFF Screen-L in the message. Problems? Contact [log in to unmask]