Reviewed by: The Fifties: Transforming the Screen 1950-1959 Robert Fyne Peter Lev . The Fifties: Transforming the Screen 1950-1959 ( History of the American Cinema, Vol. 7). University of California Press, 2006. 382 pages; $27.50. Sweep Clean As the 1940s drew to a close, much had altered the American landscape. Five years earlier, in 1945, the Second World War ended, and millions of GIs returned home hoping, as the popular song encouraged, "To pick up the pieces" of a lifestyle that, by now, was fading. Everything was in flux; labor unions demanded recognition and better pay for their members, refrigerators replaced ice boxes in most kitchens, washing machines, not scrub boards, cleaned the family clothing, a commercial airline industry emerged providing faster means of travel especially from coast to coast, sleek automobiles with automatic transmissions and one-piece windshields dazzled consumers with their high-powered eight-cylinder engines, and, as the pièce de résistance, an innovative technology, called television, allowed large numbers of working people the opportunity to sit down in their front rooms, turn on a large size apparatus with a seven- or nine-inch screen, and—during the evening hours—enjoy some commercial entertainment provided by a handful of networks. Without question, this upcoming decade, the 1950s, like a new broom, would sweep clean. Why wouldn't it? For the 1950s' Hollywood motion picture industry, everything seemed topsy-turvy. A federal antitrust law broke up the hand-in-glove production company/theater network cutting into those huge profits, while the sale of black-and-white television sets kept soaring, keeping potential audiences away from their movie houses. Clearly, these Tinseltown moguls needed a cinematic blood transfusion if their businesses planned to continue. Adding to their problems, a political imbroglio, involving a handful of screenwriters and directors dubbed the Hollywood Ten, created more anxiety. What's next, the capitalists pondered? How can we bring viewers back to our fold? Of course the motion picture industry rallied and, for the next ten years, during this fifties decade, introduced various strategies to revitalize their shaky house and then continued to fine-tune their product well into the future. With their eyes on trends, fads, whimsical ideas, and crazes, Hollywood reinvented itself, creating new markets and cinematic technology to lure moviegoers back into their darkened theaters. How did this happen? Who were the people and companies responsible for this makeover? What moving pictures became the touchstones? These are some of the complex issues raised in a carefully researched study, The Fifties: Transforming the Screen, written by established scholar, Peter Lev. According to Lev, Hollywood moved quickly and, ever mindful of such censorial groups as the Motion Picture Production Code, the Catholic Legion of Decency, different veteran's organizations, and rightwing fringe groups, created an unusual format that made the small television seem inadequate. Manufactured under different trademarks—including Cinerama, CinemaScope, VistaVision, Todd-AO, and other tongue-twisting names—these innovations were elaborate anamorphic systems that projected a large, rectangular image on a special screen and used oversized, stereophonic speakers positioned throughout an auditorium, all of which gave the viewer a vicarious you-are-there feeling in such productions as The Ten Commandments (1956), Ben Hur (1959), or This is Cinerama (1952). To complement this pseudo-realism, another invention, the 3-D motion picture, allowed viewers—wearing inexpensive, cardboard, colored glasses—to experience a dimensional quality in a few screenplays. Beside these technological advances, Hollywood turned its attention to the strained relations with the Soviet Union. Motion pictures depicting the Korean Conflict appeared weeks after the thirty-eighth parallel crossing, showing American GIs routing their Oriental foes while, back in the states, communist agents, intent on stealing classified blueprints, were routinely rounded up by [End Page 67] fast-moving FBI agents. Another genre, the science fiction photodrama, became thinly disguised versions of Russian nuclear attacks or inland invasions as Brobdingnagian mutants, unexplained blobs, or defrosted dinosaurs ravaged American cities. Still other factors shaped the fifties. The Hollywood musical, long the staple of production companies, lost much of its allure and edged downward, while the Western, usually associated with the cowboy and Indian motif, turned reflective, suggesting there was more to...