McCarthyism in Films of the 50s at Film Streams

March 5th, 2026

“Have you no sense of decency, sir, at long last?”

With those words, spoken during the 1954 Army-McCarthy hearings, attorney Joseph Welch publicly challenged Senator Joseph McCarthy’s campaign of anti-communist accusations. The moment marked a turning point in a years-long era defined by suspicion, blacklists, and fear. But the cultural aftershocks of McCarthyism did not end when McCarthy’s influence waned.

This month, Film Streams presents a four-week series titled Have You No Sense of Decency, Sir? McCarthyism in Films of the 1950s, examining how Hollywood responded to the political pressures of the time. The series traces how filmmakers either confronted, resisted, or subtly encoded the anxieties of the era into genre films that continue to resonate.

The series opens with Johnny Guitar, directed by Nicholas Ray. An unconventional western, the film centers on Vienna, played by Joan Crawford, a saloon owner falsely accused of violent crimes. With its focus on a strong female lead and its pointed depiction of mob mentality, the film has long been interpreted as a critique of “witch hunt” politics. At the time of its release, its themes were daring. Today, it stands as a bold and singular entry in the western canon.

Closing the series is Rio Bravo, directed by Howard Hawks and starring John Wayne. The film was crafted in part as a rebuttal to other westerns perceived as sympathetic to liberal anxieties. Where some films suggested moral compromise or collective panic, Rio Bravo reinforces a vision of rugged individualism and traditional American values. Paired with Johnny Guitar, the two films serve as ideological bookends within the studio system.

In between, the series includes On the Waterfront, directed by Elia Kazan. Kazan had famously testified before the House Un-American Activities Committee, naming former colleagues. Many critics view the film as a reflection, or even a justification, of that decision. Regardless of interpretation, it remains a powerful drama about conscience, loyalty, and corruption.

Rounding out the lineup is Invasion of the Body Snatchers, directed by Don Siegel. Often cited as one of the most politically ambiguous science fiction films of the era, it tells the story of a community quietly overtaken by alien doubles. While some of its creators denied explicit political intent, the film has frequently been read as an allegory for conformity, totalitarianism, or Cold War paranoia. Its enduring legacy lies in that very ambiguity.

The series also draws connections between the 1950s and contemporary cinema. Today’s filmmakers continue to respond to political and social tensions, embedding commentary within genre storytelling. Whether through satire, horror, or historical drama, films remain shaped by the cultural moments that produce them.

“McCarthyism in Films of the 50s” screens at 6:30 p.m. every Thursday this month at Film Streams’ Ruth Sokolof Theater. For tickets and more information, visit filmstreams.org.

For Arts Today, Elijah Hoefer.