Few events of American history divided the nation as did the war in Vietnam. During the war, few films were made about the events in Southeast Asia, at least during the 1960s. One of the earliest, made by John Wayne in 1968, was The Green Berets. The film presented an unabashedly pro-American involvement point of view. The film featured the techniques of the propaganda films produced during World War II as recruiting vehicles for the armed forces. Bombardier recruited men to operate Norden bombsights, Crash Drive enticed men into the submarine service. Wayne’s Green Berets featured the US Army Special Forces, at the forefront of American aid in South Vietnam. It presented most of the Vietnamese people as appreciative of American help, though incidents of treachery appear.
Good American soldiers battle not just the North Vietnamese and Viet Cong, but betrayal by leading South Vietnamese commanders and politicians. A cynical American press gradually comes to understand the “truth” of what was happening in the country, and why Americans needed to be there. Support for the North Vietnamese communists from the Soviet Union, China, Czechoslovakia, and other communist countries appeared early in the film. Not until America withdrew from Vietnam did films appear critical of US involvement and activities during the protracted war.
Films depict the evolution of women in American life over the decades. 1947’s Miracle on 34th Street,considered a Christmas film today, first appeared on theater screens in May. It was revolutionary for several reasons, one of which was the character portrayed by Maureen O’Hara. O’Hara played a divorced mother, raising a child on her own. The Catholic Legion of Decency rated the film “morally objectionable in part” due to the character’s marital status. Divorced women, especially those with young children, still bore a stigma in some quarters at the time. Through the ensuing decades the roles of women, and attitudes toward them in films began to change.
During the 1950s, the marriage rate reached an all-time high in the United States. The ages of women marrying dropped to an all-time low. Marriage and children – the nuclear family – was considered the primary aspiration for young women. Films and television programs of the fifties portrayed women as married, or trying to find a husband, as the norm. They were produced in response to the pressures from society on women to make having a husband and raising a family their goal. In the 1960s changes in public attitudes appeared in films and on television. Often when divorced women appeared in films, it was as a plot device leading to remarriage to her husband.
For four years following the end of World War II, the United States enjoyed a monopoly on the atomic bomb. On August 29, 1949, the Soviets successfully tested their first atomic weapon. The Cold War immediately grew colder. Motion pictures focused on the effects and possibility of the two superpowers destroying each other, and the human race, became popular. Some, like 1964’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb were black comedies. Others focused on the stark realities of the time, when children were taught to hide under school desks when alarms sounded, communities held civil defense drills, and families built and stocked bomb shelters.
The possibility of nuclear war triggered by mistake, explored in films such as 1964’s Fail-Safe, or by treachery, as in Seven Days in May, released the same year, indicates the level of concern over nuclear annihilation. Throughout the Cold War fears of nuclear war appeared in films and television programs. Many films set during the Cold War in the 1950s reflect two of the great obsessions of the conservatives in the United States of the day – communist infiltration of the government and the entertainment industry. I Was A Communist for the FBI (1951) was a depiction on film of the anti-communist hysteria which marked the McCarthy era and the House Un-American Activities Committee.
The old adage that lies repeated become truth is especially true when a subject about which little is known by the viewer is encountered on film. Films are powerful propaganda tools as a result, and have been used as such for as long as they have existed. In 2013 a psychology researcher at Duke University pointed out that people absorb accurate information from historical films, as well as inaccurate information, with about the same rate of retention for both. Scrupulous adherence to historical facts in films has never been the primary goal of the producers, directors, and casts.
In many films based on historical events, multiple participants in the historical record become molded into fictional composite characters. 1963’s The Great Escape stands as an example. It altered the timeline, the characters (the American Virgil Hilts played by Steve McQueen was entirely fictional), and the events before, during, and after the escape. Yet it still portrayed aspects of history as regards being a prisoner of war in a Luftwaffe Stalag accurately. Prisoners’ relationships with the guards, military discipline, preparation for the escape, and the importance of Red Cross Packages were correctly portrayed. The environment of the camp was also accurately depicted, as was the German issuance of gardening tools to the prisoners, after parole was given they would not be used for escape purposes.
Virtually any film depicting society in any era of the past includes within its pictures scenes within a watering hole where people congregate to eat and drink, but especially the latter. Westerns feature saloons, some elaborately decorated, others a plank across two barrels, at which patrons ordered whiskey or beer. In films of the Prohibition Era, bootleggers were depicted as heroes as often as they were seen as villains. Nightclubs, where gowned women and tuxedoed men gathered for drinks and dancing, were featured in many films of the 1930s and early 1940s. America’s longstanding love affair with alcohol is well-presented in film.
Although a few films made to address the dangers of alcoholism came from Hollywood during its Golden Age, such as The Lost Weekend in 1945, for the most part, Hollywood looked at drinking with a kindly eye. W.C. Fields built much of his film career out of schtick based on drunkenness. One reason for the tolerance was Hollywood being a hard-drinking town itself. That doesn’t explain the acceptance by audiences, the films reflected the behavior adopted by American citizens. Just as tobacco left a haze in the movies of the thirties, forties, and fifties, the tinkle of ice in glasses of liquor added to the soundtrack, and slapping the bar while ordering whiskey remains a cliché of the western hero and villain alike.
Religion and religious figures have long been important in films about American life. Spencer Tracy, Edmond O’Brien, Bing Crosby, and Karl Malden all played priests as heroes in more than one film. Priests were displayed as hard-working, dedicated to their church and its role in the community. Tracy portrayed Father Flanagan and the creation of Boy’s Town. Malden played a priest determined to end the corruption on the docks in the Marlon Brando vehicle, On the Waterfront. The significance of the parish in the lifeblood of the neighborhood was a theme in many films. Ministers from other denominations appeared frequently in movies during all eras as well.
Also appearing in films were ministers and self-professed holy men of less than savory character. Elmer Gantry featured Burt Lancaster as a con artist bilking American small towns as part of a traveling revival. Robert Mitchum portrayed a serial killer disguised as a minister preying on women along the Ohio River in the 1930s, a character based on serial killer Harry Powers. Movies about religion and religious life in the United States are often controversial, as few subjects are held as sacred – no pun intended – as are religious views in America, particularly among fundamentalists.
22. The televised situation comedy and American life
In the 1950s television developed a new form of entertainment, based on radio programming which used a similar format. The thirty-minute situation comedy, which remains a major portion of commercial programming in the 21st century emerged. In 1952 I Love Lucy became America’s favorite sitcom. It was joined near the top of the ratings by The Honeymooners. In the 1960s The Andy Griffith Show and the fictional town of Mayberry became wildly popular, as did many other programs, including one featuring a talking horse, Mr. Ed. Yet even these shows carry in their backgrounds and set elements of history. Lucy was the stereotypical housewife of the era, always wanting to join her husband’s show, while he wanted her at home.
Mayberry was and remains the ideal small town of its day, in part because it was representative of countless American small towns. The Honeymooners, with the scheming Ralph and the obtuse Norton, depicted the life of the working class in New York, including the men’s preferred entertainments (bowling, pool, their lodge, and poker) and their wives’ difficulties in managing the home on small budgets. Even Mr. Ed, the ridiculous concept of a talking horse with something to say, presents a window into history. Most of the vehicles which appeared on the show were Studebakers, since the company sponsored the show from 1961 to 1964. Ford took over in the final season, 1965, when Studebaker ceased auto production.
In the 1920s and even the 1930s American cities and towns were still very much dependent on the use of horses for carriages, delivery wagons, fire departments, and streetcars. Films of the eras demonstrate that dependence. Often observed in background scenes as the camera recorded them while following the action, they are proof that changes to America’s urban scenes were gradual over many, many years. City services and businesses appear in billboard advertising, street signs, and door fronts. From old movies we have pictures of what cities looked like at night, before and after gaudy neon lighting took hold in most urban areas.
We also have records of urban roads at a time before Interstate Highways, and the automobiles which negotiated them. Visual records of markets, long before the advent of self-service, are found in films. In westerns, the general store is nearly as large a feature of towns as the saloon, the sheriff’s office, and the train platform. Well into the 1940s most Americans purchased their groceries from small shops, rather than the supermarkets which evolved in the suburbs. Shop owners knew their customers and their needs and regular purchases long before the emergence of customer reward systems, which are really customer tracking systems.
The evolution of medicine and medical care in the United States are trackable through their appearances in films, both those purporting to depict historical events and in contemporaneous settings. For decades, doctors went to their patients rather than the other way around. In cities and larger towns, doctors did both, examining and consulting with patients in their offices, and following up with them in their homes. A doctor’s black satchel made him recognizable to all as he went about his rounds. Surgeons often performed operations in their own surgeries, rather than in hospital operating rooms and theaters, which were used for training.
When automobile ambulances emerged, they were little more than a car equipped with a stretcher and a siren. Life-saving equipment beyond simple bandages weren’t available. Not until the 1960s did corporate medical care, driven by the health insurance industry and specialization by physicians, come to dominate health care in the United States. Ambulances became trauma care units, supported by connection to physicians in emergency rooms. Americans once visited their doctor, paid for his services, and presumably followed his advice, as seen in hundreds of films from the past. Those days vanished near the end of the 20th century.
Two types of politicians appear in films of the past, honest and good, or dishonest and bad. Often the two are juxtaposed against each other. Some films of the past attempted to rehabilitate the reputation of real-life American politicians, such as Bob Hope’s portrayal of New York Mayor Jimmy Walker in Beau James (1957). Other films present American politicians entirely in fiction, such as All the King’s Men in 1949. Mr. Smith Goes to Washington was entirely fictional, though the corrupt influence of political machines displayed in the film were a large part of American history.
Films about real political events often became as controversial as the events themselves. All the President’s Men, a story mostly about journalism, earned condemnation from conservatives who believed it falsely portrayed the Nixon Administration. Like American politics themselves, political films going back to the 1930s polarized audiences, depending on the point of view of the protagonist in comparison to their own. America has always been a contentious, squabbling, nation when it comes to politics, and films offer a glimpse into how past generations managed to resolve their differences and keep the nation growing.
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