Cinema spends the decade fighting television’s living-room glow by stretching every frame wider, louder, and deeper—then, almost by accident, invents modern world art-house along the way.


* Big-Screen Spectacle vs. Tiny-Screen Threat – Hollywood rolls out CinemaScope (The Robe, 1953), VistaVision (Rear Window, 1954), and 70 mm blowouts like Ben-Hur (1959). Biblical epics (The Ten Commandments), Rodgers-and-Hammerstein cascades (The King and I), and Cinerama roller-coasters turn moviegoing into a cathedral event.



* Method Acting & Moral Static – Brando smolders in A Streetcar Named Desire (1951) and detonates On the Waterfront (1954); James Dean’s raw-nerve Rebel Without a Cause (1955) baptizes teenage angst; Montgomery Clift, Liz Taylor, and Marilyn refine the vulnerable close-up.



* Noir Goes Technicolor & Bleeds into Thriller – Sunset Boulevard (1950) writes the last word on studio self-loathing; Touch of Evil (1958) and Hitchcock’s Vertigo (1958) twist shadow-play into baroque psychology; Carol Reed’s The Third Man hangover morphs into British pulse-pounders like The Ladykillers (1955).



* Atomic Jitters & Creature Features – Cold-War paranoia seeds sci-fi classics: The Day the Earth Stood Still (1951), Invasion of the Body Snatchers (1956), Forbidden Planet (1956), while Japan’s Godzilla (1954) roars nuclear allegory across the Pacific.



* Global Golden Ages Blossom – Japan: Kurosawa’s Rashomon (1950) and Seven Samurai (1954); Ozu’s elegiac Tokyo Story (1953); Mizoguchi’s ghostly Ugetsu (1953). Italy pivots from neorealism to Fellini’s dream-circus in La Strada (1954) and Nights of Cabiria (1957). India’s parallel golden dawn births Satyajit Ray’s Pather Panchali (1955). Sweden’s Bergman wrestles faith in The Seventh Seal (1957).



* Seeds of the New Waves – France warms up with Bresson’s Pickpocket (1959), Franju’s Blood of the Beasts (1959), then erupts as Truffaut’s Les 400 Coups and Resnais’ Hiroshima mon amour (both 1959) kick the door open for the Sixties avant-run.


By 1959, movies have doubled their screen width, cracked open performance style, and mapped a truly planetary art form. The projector throws wider beams now, but the shadows it casts are deeper than ever.

Screenprints on My Mind – The Widescreen Fifties (1950-1959)

Top Directors and All of their Movies Part II

All Macedonian movies ever made. Сите македонски филмови. 

Macedonian movies (македонски филмови)

Wenn nicht anders angegeben ist der Film auf Deutsch

Olivia de Havilland, Errol Flynn, Basil Rathbone, and Eugene Pallette in The Adventures of Robin Hood (1938)

The list contains all Macedonian feature films, released in the period from 1945. (Listata gi sodrzuva site makedonski igrani filmovi snimeni od 1945. godina)

List of all Macedonian feature films (Lista na site makedonski igrani filmovi)

Movies with Actors, of Russian Descent (pre-1991-12)

Ethel Barrymore, Lionel Barrymore, Tad Alexander, and Ralph Morgan in Rasputin and the Empress (1932)

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