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In the early 1950s, 20th Century Fox, like all the Hollywood studios, began facing massive declines in theatre attendance. The advent of television provided Americans with a cheaper and more convenient form of entertainment at home, where families could watch a wide variety of programmes at little additional cost. Desperate to lure potential moviegoers away from their television sets, studio chiefs began exploiting the two obvious advantages that film enjoyed over the new medium: the size of its images and, at a time when television broadcasting was in black-and-white, the ability to produce photographic colour. The introduction of Kodak's Eastmancolor film stock in 1950 made movie production more affordable and efficient, since it could be used with conventional cameras, unlike the previous and more cumbersome Technicolor system. Within four years, over 50 percent of all Hollywood features were being produced in colour.   LEFT: A typical 1950s American family gathered around a te...

After World War II, the world was divided into two competing ideological and military blocs: the West, led by the capitalist United States, and the East, which operated within the Soviet Union's communist sphere. Under the authoritarian rule of Mao Zedong, China initially aligned with the USSR, securing much-needed economic and industrial aid, as well as military support to counter American influence in East Asia. In the late 1950s, however, border disputes and ideological disagreements led China to break the alliance with the Eastern Bloc and become an independent power, challenging both Soviet and American policies. As a result of the Sino-Soviet split and the trade restrictions imposed by the United States after the Korean War, China experienced a significant period of economic and cultural isolation that ended only in the early 1970s. In the midst of the political tensions of the Cold War, Chinese-born Eurasian physician and author Han Suyin emerged as a key figure in bridging...

Directed by David Lean, The Bridge on the River Kwai (1957) begins as a group of British World War II prisoners, including Lieutenant Colonel Nicholson (Alec Guinness) and Major Clipton (James Donald), arrive at a Japanese POW camp in Burma. The commandant, Colonel Saito (Sessue Hayakawa), informs them that all prisoners, regardless of rank, are to work on the construction of a railway bridge over the River Kwai, which will be a vital link for the Japanese in the war. Citing the Geneva Conventions, Nicholson defies Saito and orders his officers to remain behind while the enlisted men go to work. As punishment, Saito leaves the officers standing all day in the intense tropical heat and locks Nicholson in an iron box.   Alec Guinness as Nicholson, Sessue Hayakawa as Saito and William Holden as Shears.   At one point, three prisoners — among them United States Navy Commander Shears (William Holden) — attempt to escape. Two are shot dead, but Shears manages to get away, although ...

Directed by Michael Gordon, Pillow Talk (1959) tells the story of Jan Morrow (Doris Day), a successful and self-sufficient interior decorator who, much to her annoyance, shares a party line on her home phone with a philandering Broadway composer named Brad Allen (Rock Hudson). Even though they have never actually met face to face, they soon develop a feud over the use of the party line: Brad is constantly using the phone to chat with one woman after the other, while Jan needs to use it for business. One of Jan's clients is millionaire Jonathan Forbes (Tony Randall), who repeatedly throws himself at her to no avail. Unbeknownst to Jan, Jonathan is actually Brad's old college buddy and current Broadway benefactor. Rock Hudson and Doris Day as Brad Allen and Jan Morrow in Pillow Talk . One evening in a nightclub, Brad finally sees Jan and learns who she is. Attracted to her, he decides to fake a Southern accent and invent a new persona: Rex Stetson, a wealthy Texas rancher. He su...