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The tale of three sailors on a three-day pass in New York, the film not only used reallocations - the Brooklyn Bridge, the Statue of Liberty and the Empire State Building- it made the city into a magical place where one could realise all one's dreams, especially those of love and success. Beginning with a long crane shot of a longshoreman on his way to work, singing 'I feel like I'm not out of bed yet', the film then cuts to its three sailors (Kelly, Sinatra and Jules Imunshin) coming off their ship ready to take on the world and New York.

Besides Force if Evil another film that dealt with some subtlety and insight into political and social themes was Billy Wilder's A Foreign Affair (1948). In this film Wilder displayed his talent for mordant, sharp comedy satirising the foolishness and naivety of an American congressional committee in THE FORTIES 35 post-war occupied Germany. Wilder is particularly nasty about American provincialism, ethnocentrism and selfrighteousness, and also shows how easily their moralising is subverted when confronted by European cynicism and sophistication (though the portrait of the Germans interested only in self-preservation is not a very sympathetic one).

As a result the forties in Hollywood were perhaps the last time that there would be sufficient self-assurance there to be able to construct its own insulated coherent world, which could unself-consciously endorse the American dream. Undoubtedly, for most Americans and for Hollywood the forties were truly 'The Best Years of Our Lives'. 3. The Fifties THOUGH the fifties began on a dark, ominous note with the US (as partofa nominally UN force) becoming involved in a war in Korea, and the repressive and paranoid investigations of Senator McCarthy and company in full throttle, the decade utlimately evolved into one permeated by a broad political and cultural consensus.

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A Pictorial History Of The Brown Water War In Vietnam by Riverine

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