Some artworks are so revolutionary or ahead of their time that they fade into obscurity as a result of being suppressed or through efforts to distract the public from taking note of these works, for fear that they could be radicalised into believing what is being shown on screen – or worse, realising that they are entirely truthful in what they intend to convey. Cinema has had a storied history when it comes to censorship and standards, and it was never more potent than in the 1950s, since not only was the Motion Picture Production Code in full-effect, created in an effort to force mainstream cinema to adhere to the conservative, Christian standards that were supposedly the ideal version of American entertainment, but the growing threat of Communism, and the government’s efforts to combat what they saw to be a destructive political force, gradually infiltrated a substantial amount of Hollywood productions over the years. Many careers were essentially ended as a result of the notorious Blacklist, in which several prominent names were cited as being either sympathetic to political ideology or fully-fledged members (which was rarely true in any case), and were not allowed to participate in the industry that they aided in constructing. McCarthyism was almost as negative a force as the system they were seeking to eradicate through these tacky, controversial witch hunts, and it didn’t take long for the entire principle to be dismantled once its true purpose was revealed. There have been several works produced over the years that directly addressed this issue, but the most compelling of them are those produced alongside the peak of the system, with a few filmmakers daring to take the risk of going head-to-head with the House of Un-American Activities, not directly but rather in the form of subversive and complex films that offered scathing critiques of this draconian system. You would be forgiven for not being aware of the existence of Storm Center, the only film directed by celebrated screenwriter Daniel Taradash, which uses the example of a small-town library and its open-minded librarian as an allegory for the Red Scare and how censorship is as negative a force as the political viewpoint it was intent on suppressing. Bold and daring, and often bordering on controversial, there are clear reasons why this film has not been widely seen until years later, which is immediately a sign of a truly promising work.

One of the most important principles of looking at cinema, or any form of creative expression, is the realisation that all art is inherently political, a sentiment that has often been discussed in times when the onus is put on artists to help guide the narrative for those who may not entirely understand current affairs at that particular point. There is such a fine line between bold artistry and propaganda, and it ultimately has to do with the extent to which the artists want to promote a system while criticising another. It is hardly surprising that a film like Storm Center started with an entirely different creative team when it was first envisioned – this is a film that treads a very narrow tightrope, being made at a time when such subjects were beyond taboo, and entire careers could be destroyed as a result of the story being told, as well as the underlying perspective that guided the narrative. Yet, the responsibility fell to Taradash in his sole directorial outing, likely a decision made based on no one else being willing (at least openly) to helm such a potentially controversial film. Produced in the mid-1950s, at the peak of McCarthyism and its laissez-faire approach to blacklisting anyone whom it even vaguely suspected held any views considered even slightly deviant, this was not a film that necessarily lent itself to the most casual viewing experience. Instead, it’s a radical, forward-thinking drama that addresses the topics directly and without any sense of trying to conceal what it was really trying to convey. It may even be appropriate to call Storm Center a political message long before we can consider it a film, since the story is essentially nothing more than a well-crafted public service announcement that aims to counteract the vile, dangerous discourse being disseminated into the public consciousness by the government, who used similarly radical techniques of indoctrination to make the average American believe that any view that falls outside the repulsively patriotic, borderline jingoistic category of pure conservatism – even to the point where anyone expressing a view not even directly related to Communism but rather leaning towards left-wing politics – was a traitor and enemy of the state. This film’s courage, above everything else, warrants our respect, especially since it was made at a time when artists were not given the liberties that they are today.

A good work of art can be enjoyed across generations, but a truly important one is able to speak to the people of any era and convey a direct and clear message that leaves an impression. There has never been a more appropriate time to experience Storm Center than the present moment, since there are qualities to this film, which was produced over sixty years ago, that are genuinely resonant and perhaps even outright terrifying, and not only in terms of the United States but also the global stage, where similar matters are constantly stirring discord and unease amongst populations. Considering we are still witnessing the act of book banning over subject matter, as well as the constant attempts to divide the public based on issues of identity, political affiliation and background, this film presents quite a stark message, one that is delivered directly and without even the vaguest of attempts to conceal its true meaning. The terminology is direct and unambiguous, and the underlying message is made quite clear. Understandably, this was quite a daring decision at a time when social dramas about such controversial material often needed to rely on allegory more than directly proclaiming its intentions, but it’s one of the many aspects of Storm Center that earns our absolute admiration from beginning to end. It is this quality that makes the film so profoundly resonant, as well as deeply disturbing – we live in an era where we often believe that progress has been made, and that the draconian, cruel policies of the past are no longer applicable. The fact that this film, set in the 1950s in a small New England town, still resembles issues faced by people in all communities in the present day is a disturbing realisation that very little has actually changed. Credit has to go to Taradash and all of his collaborators, since they took a very bold risk in crafting this film, which is a genuinely unsettling portrait of the past, as told through a seemingly simple story that carries immense weight leads us down an increasingly disturbing but still profoundly moving path that reveals much more about society than many of the other half-baked social dramas produced during this same era.

As fascinating as it may be to delve into the subject matter and the importance of telling such stories, a film like Storm Center is only going to be successful if it manages to be as compelling as it is insightful, since a strong theoretical foundation means nothing without the right directorial approach. Taradash was an industry veteran as a writer, but as his only directorial effort, he had a lot of work to do. However, you would struggle to realise that this is a relatively untrained director, since his work is fluid and captivating, and through keeping everything simple, he manages to craft a truly extraordinary narrative that functions as a rapid-fire, complex social and political drama. Yet, it’s in the performances that we find the most meaning, since this story would only leave an impression if the actors were up to the challenge, and more than willing to brave the challenges presented to them through their participation in a potentially controversial film – anyone even slightly suspected to be sympathetic to causes that contravene the conservative values of the United States government was immediately investigated. Several actors turned down the chance to star in this film, or left very early in the production phase, which actually proved to be a blessing to this film, since it eventually meant that the part was given to arguably one of the greatest performers in the English language, the exceptional Bette Davis, who delivers an extraordinary portrayal of the liberary who goes to war with her local government over the presence of a particularly incendiary book, which leads to her eventual dismissal and the central conflict that drives most of the film. Davis, who was certainly not a stranger to political causes, brings an abundance of gravity to this part, which is a layered, complex character who goes from a cornerstone of her community to persona non grata, solely because she prioritises knowledge over political propaganda, and refuses to be complicit in the misuse of the truth. Davis’ presence also gave the film a shield, since her credibility and status within the industry meant that it was far less likely that they would go against her or attempt to put her on the blacklist, considering her connections. As a result, her presence here represents both a great performance and a strong political statement, a subtle but brilliant choice that contributes to the film’s overall intentions.

The act of calling a film produced over half a century ago cutting-edge and revolutionary, especially once centring on political matters, is not all that common and tends to be a very rare achievement reserved for those who are not only daring, but defined by a bravery that consolidates them into the public consciousness and lends them a degree of historical importance. Storm Center seems like a minor film, a small-scale melodrama consisting of trite preachings about something seemingly inconsequential. Yet, it doesn’t take long for us to realise that this is not necessarily accurate, and that what we are witnessing is a film that dared to go against the system and was promptly suppressed in a way where it was never forced into obscurity, but not celebrated as a major achievement. This one is vitally important to the world in which we live – its message is particularly strong in terms of addressing the seemingly never-ending crusade against the truth that the political elite have continued to put forward, waging a war against anything vaguely challenging to their often one-sided, myopic points of view. This film touches a raw nerve, and it can become increasingly uncomfortable (further credit must go to Taradash for refusing to allow the film to descend into the realm of unhinged, heavy-handed melodrama), especially since there comes a point where there is nowhere for the filmmakers to hide the true meaning of this film. Storm Center is a harsh, unnerving drama that veers towards the overwrought in a few brief moments, but mostly acts as a complex character study that explores the trials and tribulations of someone committed to allowing information to exist without any restriction, which goes against the political system driven by those who believe in suppressing anything that is not explicitly in support of their own ideologies. A film radically ahead of its time to the point where it still resonates strongly, Storm Center is a vitally important work of art, and one that feels genuinely impactful, even in the present moment, and should be considered essential viewing, particularly for its willingness to make the viewer uncomfortable to the point where it is simply impossible to avoid the reality nestled right at the core.