Ebook Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, by Peter Biskind
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Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, by Peter Biskind
Ebook Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, by Peter Biskind
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- Published on: 2000-09-26
- Binding: Paperback
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A Different Look at Movies from the '50's
By A. M. Sulkin
Peter Biskind uses "Seeeing is Believing" to look back at films from the 1950's from a socio-political perspective. Using terms such as corporate liberals to define characters in films, and classifying films as either right-wing or left-wing biased, Biskind dissects several well-known films, and more than a few not well-known, from the early Cold War era based on uncommon film criticsm methods. The book is not for the typical movie fan, but for readers with more intellectual pursuits in mind.
Biskind often reads too much into the films he analyzes to substantiate his points, and will quote dialogue out of context from a film under discussion, or from other films of the time. It is doubtful that the producer, director, or writer of a science fiction film like "Them" imagined their science fiction action adventure about giant ants taking over the world to be as complex as Biskind makes it out to be. It is rare that giant ant films are analyzed in the same book as such 1950's classics as "On The Waterfront" and "Rebel Without a Cause." Knowing the Hollywood studio assembly line structure of time, and the large number of contract employees who provided input into any one film, it is difficult to believe that the large number of disparate films analyzed in the book would follow the same general set of character and plot rules as Biskind imagines.
The reading may not be light and easygoing, but "Seeing is Believing" gives the reader new food for thought the next time one of the films discussed in the book pops up on cable television.
0 of 0 people found the following review helpful.
Thoughtful and entertaining analyses of 1950s movies
By K. Bunker
I thoroughly enjoyed this book. In it, Peter Biskind examines a host of films from the fifties (and a few from surrounding years), putting them onto the sociological equivalent of an analyst's couch, so to speak. Through the aperture of these movies, all the conflicting social forces that were vying with one another in the U.S. during 1950s can be seen at work: Liberalism versus conservatism, individualism and personal freedom versus community and conformism, expanding opportunities for women versus reactionary antifeminist backlash, and lots more.
For the most part Biskind presents a convincing case that the movies he looks at stake out this or that position on this or that spectrum of conflicting social opinions and trends, but I'm certainly not saying that I agreed with all of his points. A thinking, critical reader is always unlikely to agree with everything they find in an opinion-packed, interpretation-packed book like this one. In particular, I was profoundly unconvinced by Biskind's argument that the 1954 giant-ant movie Them! carried an anti-feminist subtext. But disagreements like this were the exception rather than the rule for me, and in any case I always found his discussions and analyses to be interesting, engaging, and entertaining.
As an example, here's a passage I particularly enjoyed from a section on the James Dean vehicle Rebel Without a Cause (1955): "With its trilogy of sick families, Rebel touches all the bases. Parents are criticized for being too strong and too weak, too authoritarian and too permissive, for being absent when the kids need them and smothering them with affection when they don’t. If it’s bad to treat teen-agers like children, it’s also bad to treat them like adults. In Rebel, parents can’t do anything right."
Quite a bit of the book is devoted to examining gender roles -- how views about these roles were changing during the 50s, and how a range of movies portrayed and commented, either positively or negatively, on this change. The book's evisceration of the savagely anti-feminist Mildred Pierce (1945) was a particular delight for me in the text.
So again, this is a deeply interesting, engaging, and entertaining book!
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