Cast & Crew
In the small New England town of Kenport, widow Alicia Hull celebrates her twenty-fifth year as the town librarian with her assistant Martha Lockridge and good friend Judge Robert Ellerbe. Across town, George and Laura Slater quarrel over their ten-year old son Freddie's preoccupation with the stories he reads in books. When blue collar worker George insists that Freddie should spend more time involved in outdoor sports and Laura challenges him, the couple accidentally tear one of Freddie's library books in half. Freddie later takes the book to Alicia, who assures him that she can mend it, and encourages him to continue reading. That evening, George visits Alicia to pay for damaging the book, but admits he would rather Freddie play baseball than read. Alicia suggests that George allow Freddie to be himself. At the request of city council head Paul Duncan, Robert invites Alicia to the council's monthly luncheon. Alicia arrives at the lunch with the blueprints for the proposed children's wing addition to the library and is surprised when Mayor Levering and the other council members rapidly and unanimously approve the wing without debate. Then Paul informs Alicia that the council is concerned about a book in the library entitled The Communist Dream , and Levering adds that complaints have been filed about it. Alicia is taken aback when Paul and a few other council members advise her to remove the book from the library shelves. While Alicia agrees that the book could be viewed as political propaganda, she nevertheless recommends that the public be allowed access to it. When the council members insist, however, Alicia, who knows the library needs the new wing, reluctantly agrees to remove the book. That evening, Paul and Martha go out together, but Martha evades Paul's marriage proposal. Meanwhile, in the library, Alicia realizes that she cannot remove the book and replaces it back on the shelf. A little while later at the restaurant, a council member stops by Paul's table to inform him and Martha that Alicia has telephoned Levering and refused to remove the book from the library. The following day, Alicia meets with the council again and decries their attempt to bribe her with the children's wing and insists that she cannot remove a book simply because it contains unpopular ideas. Several council members explain that the complaints have come from many of their constituents and that the Women's Committee Against Subversion has threatened to take the issue to the local newspaper. Alicia responds that the library carried Adolf Hitler's Mein Kampf all during the pre-war years with no adverse effects and challenges the council. Paul points out that Alicia once belonged to several organizations that were later discovered to be Communist fronts. Alicia insists that she quit each association upon learning of their politics, then angrily objects to Paul's implication that her affiliation with those groups suggests Communist sympathies. When Paul replies that Communism spreads by preying on those easily fooled, Alicia alarms Robert by announcing her intention to quit the library if the council insists on the book's removal. Robert pleads with Alicia to reconsider, but she refuses and departs. Paul demands that the council fire Alicia, and despite the reluctance of three members, including Robert, they agree. The next day, Freddie reads the newspaper headlines about Alicia's firing and, distressed, visits her to learn why. Alicia is unable to clearly explain the situation, leaving Freddie upset. That evening, a sparse crowd of townspeople turn out for a meeting to support Alicia. In spite of the group's concern over Alicia's firing, however, most remain afraid to publicly support her for fear of losing their jobs. Alicia defuses the tension by thanking those attending, but declaring that she has no wish to cause any of them difficulty. At the Slaters' house, Freddie asks Laura to explain what it means to be a Communist, when George arrives home and expresses surprise that Laura is not packing for their planned vacation. Laura feels that because of Freddie's distress over Alicia's firing, they should postpone their trip, which angers George. Freddie overhears George berating Alicia for her intellectual biases and Laura repeats the newspaper's declaration of Alicia's harmful influence and sadly expresses her own disappointment in the librarian. A few days later, Alicia dines at a local café and notices hostility from several patrons. When Freddie walks by with some friends, Alicia goes outside to speak with him and is surprised when the boy ignores her. The boys with Freddie tease him about his friendship with the librarian, but when Freddie fabricates fantastic accusations against Alicia inspired by the stories he has read, they scoff and kick him out of their group. That night before closing the library, Martha is startled when she discovers Freddie destroying several books among the stacks, but he runs away. Martha seeks advice from Alicia, but she remains puzzled by the boy's behavior. That night at a country club party, Paul disturbs Martha when he reveals his plans to run for state legislature on the "Red menace" issue. Several women discuss their belief that Alicia held questionable influence over the towns children, but Hazel, the daughter of one council member, insists that Alicia was one of the best influences she had while growing up. That night Freddie has a nightmare and George takes him for a walk, ending with his declaration that Alicia has poisoned the library for years. Several weeks later, when Alicia is not at the new children's wing ground-breaking ceremony, Robert visits her and finds her packing to move to California. Robert insists that Alicia attend the ceremony, and they arrive just as Freddie finishes reading out the titles of the ten best books he has chosen. Despite unease in the crowd, Robert asks Alicia to officially break the new library ground, but when she asks Freddie to help her, the boy breaks down, repeatedly screaming that Alicia is a Communist, until she slaps him and he runs away. That evening, the Slaters worry about the missing Freddie, and Martha is angry over Paul's continued ambitions, which she feels have destroyed Alicia. At a council meeting, Robert insists Alicia receive an apology and reinstatement and accuses the group of behaving suspicious and distrustful, like Communists. Meanwhile, Freddie has hidden in the library and sets several books on fire in the stacks. In his haste to leave, Freddie falls and is knocked out as fire engulfs the building. As a crowd gathers outside and the town's firemen arrive, Martha disputes Paul's earlier allegation that he has done nothing to cause serious damage and breaks up with him. Laura frantically searches for Freddie, who is finally rescued by the firemen. Alicia joins the crowd to sadly watch the library's destruction. Reverend Wilson apologizes to Alicia and she admits that she should have fought the council harder. When several townspeople plead with Alicia to stay and help them rebuild their library, she agrees.
Dora Dee Stansauk
Lora Lee Stansauk
Tom De Graffenreid
Charles A. Kaufman
Diane J. Minney
Frederick F. Duey
Carter Dehaven Jr.
William A. Lyon
Frank [a.] Tuttle
Davis stars as Mrs. Hull, the beloved librarian of the small town of Kenport who is coaxed by the town council into removing a propaganda book from the library titled The Communist Dream. Mrs. Hull agrees at first because the council has warmed her heart with the promise of a children's wing for the library, something she has wanted for a long time. Later, after she thinks about the ramifications of book banning and book burning, she returns The Communist Dream to the shelves and tells the council she can't go through with it. She argues that keeping it on the shelf does not subvert America's ideals but actually affirms them because in Russia the Communists would never allow a book about democracy in their libraries. Councilman Paul Duncan, who hopes to exploit anti-Communist sentiment to boost a political career, disagrees and questions her about several organizations she belonged to in her youth that had Communist ties. Though she claims that she had quit those organizations as soon as she realized their affiliation, Duncan, played by Brian Keith, accuses her of poor judgment for joining them in the first place. When she refuses to remove the book, Duncan and the council fire her.
Word spreads around town about her "connection" to Communism, and her neighbors and friends begin to shun her. A few townsfolk, led by the local minister, protest her dismissal, but Mrs. Hull realizes that they are putting their own careers and businesses in jeopardy, so she tells them to let it go. One small boy, Freddie Slater, takes her removal from the library very hard and soon falls prey to his bigoted father's rants against Mrs. Hull, with disastrous consequences.
Storm Center was the first film to openly take on the witch-hunt mentality of the McCarthy era - a very risky undertaking at the time. Today, many know the history behind the Hollywood blacklist, Senator Joseph McCarthy, and the devastation caused by House on Un-American Activities Committee (HUAC), but it is difficult to measure the long-term effect of the unremitting paranoia that permeated the film industry because of those events. The story behind this film's production offers insight into what it was like to work in that atmosphere of fear and suspicion. Originally titled "This Time Tomorrow" and then "The Library," the script had been written earlier in the decade by Taradash and Elick Moll. Taradash was a respected screenwriter whose biggest critical success was the screenplay for From Here to Eternity. He and Moll were inspired to write the script by President Dwight Eisenhower's 1953 speech at Dartmouth College in which he warned an anxious America against book burning.
The script was first offered to Stanley Kramer, a producer acclaimed for his films with a social conscience, including Home of the Brave , High Noon , and The Defiant Ones . Kramer offered the role of Alicia Hull to Hollywood legend Mary Pickford, who was looking to make a comeback. However, Pickford was quickly talked out of doing the film by gossip columnist Hedda Hopper, an arch conservative and fervent anti-communist who warned Pickford that the film was pro-Red. Next, the part was offered to Irene Dunne, who also declined. Some claim that big-name stars Barbara Stanwyck and Loretta Young also turned it down because of the content.
By 1955, Kramer was no longer associated with the project, and Taradash had teamed with producer Juilan Blaustein in an independent production company called Phoenix. Taradash had decided to direct Storm Center himself, making it his first and only film as a director. Columbia agreed to at least partially finance and distribute the film, but the studio kept stalling the project, obviously fearful of stirring up controversy. Finally, the production forged ahead after Taradash and Blaustein offered to take either small salaries or no salaries up front, opting for a percentage of the profits on the back end. Likewise, Davis, a Democrat with liberal leanings, agreed to work for a small salary after accepting the role of Mrs. Hull. The film was completed in the fall of 1955, but Columbia, who were still hesitant, did not release it until the following July.
HUAC's last round of hearings involving Hollywood occurred in 1952, and Senator Joseph McCarthy was censured by the U.S. Senate and then silenced in 1954, but the blacklisting of Hollywood personnel continued and the finger-pointing by gossip columnists and anti-communist groups was still detrimental to careers. No one was safe from accusations by those private political groups who published lists of Hollywood celebrities "engaged in controversial activity." Communist affiliations were no longer necessary to be ostracized by such zealots as Myron C. Fagan whose publications Reds on the Run and Documentation of the Red Stars in Hollywood smeared everyone from Danny Kaye to Darryl F. Zanuck.
The studios had reacted to HUAC's threats and accusations by making simplistic anti-communist dramas such as I Married a Communist (1949), The Red Menace (1949), and My Son John (1952) to prove their patriotism. Between 1948 and 1951, a dozen of these films were released, with production increasing after the second wave of HUAC hearings in 1951-1952. A peak was reached in 1952, when 12 of these films were released, followed by 5 in 1953. The number of anti-communist films decreased the following year, but a handful still popped up here and there. Within this context, the making of Storm Center-the first film to criticize McCarthyism directly - amounted to a bold and courageous stand by Blaustein, Taradash, and Davis.
When Hedda Hopper discovered that Davis was starring in Storm Center, she publicly criticized the respected actress, insisting that she had recklessly endangered her career by accepting this role. During the shooting of the film in Santa Rosa, California, local women's groups harassed Davis with letters warning her of the film's dangerously subversive content. And, Martin Quigley, publisher of the Motion Picture Herald and coauthor of the Motion Picture Production Code, demanded that Blaustein and Taradash make changes in the script to insure that the film could not be misinterpreted as pro-Communist. When the film was finally released, the Motion Picture Association of America (MPAA) issued a special brochure in a bid to prevent any backlash. The brochure reassured exhibitors and audiences by acknowledging the controversial viewpoint but emphasizing the film's entertainment value: "You may not agree with its conclusions but you can't afford to miss this intriguing and entertaining photoplay."
Whether Storm Center hurt the careers of Blaustein, Taradash, and Davis is impossible to determine. If the actress thought the film affected her career, she did not bring it up in her autobiography. However, Lawrence Quirk, author of Fasten Your Seatbelts: The Passionate Life of Bette Davis suggests otherwise, noting that after Storm Center she was not offered any "decent feature" roles until Pocketful of Miracles in 1961. While this could be attributed to her struggle to redefine her career as she aged, Quirk does claim that Hollywood rumors maintained that Hedda Hopper and her ilk held a long-standing grudge against Davis for this film and that even a congressman once asked him if Bette Davis was a communist.
Unfortunately, Storm Center was not well received by either critics or viewers, which Davis believed to be the fault of the film, not the subject matter. She did not agree with the casting of little Kevin Coughlin as Freddie, complaining that Taradash did not direct him well. According to Davis, this resulted in a lack of emotional rapport between her and Coughlin, making it difficult to believe the extent of the little boy's feelings of betrayal. Not all of this can be attributed to Taradash's direction, however. Both Davis and Taradash were shocked at Coughlin's mother, who prepared the little boy for his crying scenes by pinching him till it hurt.
While Davis found the subject matter to be important, Taradash and Blaustein had difficulties getting that subject across clearly. Almost every night during shooting, the two revised and rewrote the next day's scenes. The outcome was often poorly written sequences in which the points were murky and the dialogue didactic. As Bosley Crowther, the veteran reviewer for The New York Times, wrote, "The crisis seems less a real-life issue than a hypothetical case put in a tract." But social dramas in which important issues take center stage often have problems with heavy-handed dialogue and stories that serve the message rather than the other way around. In this regard, Storm Center can be compared to the moralistic anti-communist films on the other side of the political fence.
Despite its shortcomings, Storm Center has much to offer. Shot on location in Santa Rosa, where Hitchcock filmed Shadow of a Doubt , the film takes advantage of its small-town settings. Two key scenes involving Mrs. Hull, which are meant to be compared and contrasted, take place on the town's quaint-looking main street. Early in the film, she dashes down the street to attend a meeting with the town council about her library's new wing. Two young boys race to catch up with her to sell her a raffle ticket for school. The scene offers a warm-hearted glimpse of friendly small-town life. Later, after she has been dismissed and branded "red," Mrs. Hull chases after the boys, hoping to reconnect with them. But, they shun her, revealing the dark side of tight-knit communities in which simple virtues and limited experiences can result in shallow conformity and narrow minds.
While Taradash and Moll may have had some problems with the script, their use of metaphors and symbolism does add a few nice touches. Mrs. Hull gives little Freddie a book about myths, and he is particularly intrigued by the three-headed Chimera. As he describes the relentless monster that storms across the country destroying everyone in its path, it becomes clear that the Chimera is a metaphor for McCarthyism. The most provocative part of Storm Center may be Saul Bass's opening credit sequence in which a close-up of a child's anxious eyes is superimposed over a shot of a burning book-an image that makes a powerful statement in a matter of minutes.
Though the plot of Storm Center is directly related to the socio-political issues of the 1950s, its themes of book banning and censorship are still relevant. Periodically, schools and libraries are threatened by groups who wish to pull books from the shelves or to prevent the public from making their own choices regarding reading material. The film's point that it is future generations who suffer the most from narrow-minded attitudes makes Storm Center thoughtful viewing for the ages.
Producer: Julian Blaustein
Director: Daniel Taradash
Screenplay: Daniel Taradash and Elick Moll
Cinematography: Burnett Guffey
Editor: William A. Lyon
Art Director: Cary Odell
Musical Score: George Dunning
Cast: Alicia Hull (Bette Davis), (Brian Keith), Martha Lockridge (Kim Hunter), Judge Robert Ellerbe (Paul Kelly), Freddie Slater (Kevin Coughlin), George Slater (Joe Mantell), Laura Slater (Sallie Brophy), Mayor Levering (Howard Wierum), Rev. Wilson (Edward Platt).
by Susan Doll
TCM Remembers - Kim Hunter
KIM HUNTER, 1922-2002
Kim Hunter, the versatile, distinguished actress who won the Supporting Actress Academy Award for her portrayal as the long-suffering Stella in A Streetcar Named Desire (1951) and appeared as Dr. Zira in three Planet of the Apes movies, died in her Greenwich Village apartment from an apparent heart attack on September 11, 2002. She was 79.
Born Janet Cole in Detroit on November 12, 1922, where her mother was a concert pianist, she made her professional debut at 17 with a small theatre company in Miami. She gained notice immediately with her strong voice and alluring presence, and eventually studied at the Actors' Studio in New York.
She made a striking film debut in an eerie, low-budget RKO horror film, The Seventh Victim (1943), produced by Val Lewton. She played a similar ingenue role in another stylish cult flick, When Strangers Meet (1944) - a film directed by William Castle and notable for featuring Robert Mitchum in one of his first starring roles. Hunter's big break came two years later when Michael Powell and Emeric Pressburger cast her in their splendid romantic fantasy, Stairway to Heaven (1946).
Despite her growing popularity as a screen actress, Hunter returned to the stage to make her Broadway debut as Stella in Tennessee Williams'A Streetcar Named Desire (1951). When Elia Kazan adapted the production for the silver screen, she continued her role as Stella opposite Marlon Brando, and won an Oscar as best supporting actress. A few more film roles followed, but sadly her screen career entered a lull in the late 1950s, after Hunter, a liberal Democrat, was listed as a communist sympathizer by Red Channels, a red-hunting booklet that influenced hiring by studios and the Television networks. Kim was blacklisted from both mediums despite never having been labeled a Communist, yet as a strong believer in civil rights she signed a lot of petitions and was a sponsor of a 1949 World Peace Conference in New York. She was widely praised in the industry for her testimony to the New York Supreme Court in 1962 against the publishers of Red Channels, and helped pave the way for clearance of many performers unjustly accused of Communist associations.
Hunter spent the next few years on the stage and didn't make a strong impression again in films until she was cast as Dr. Zira in the Planet of the Apes (1968), as a simian psychiatrist in the classic science fiction film. The success of that film encouraged her to continue playing the same character in two back-to-back sequels - Beneath the Planet of the Apes (1970) and Escape from the Planet of the Apes (1971). Hunter spent the remainder of her career on the stage and television, but she a terrific cameo role in Clint Eastwood's Midnight In The Garden Of Good And Evil (1997), one of her last films. She is survived by her daughter Kathryn, from her first marriage to William Baldwin, and her son Sean, from her marriage to actor and producer Robert Emmett.
By Michael T. Toole
TCM REMEMBERS J. LEE THOMPSON, 1914 - 2002
Oscar-nominated director J. Lee Thompson died August 30th at the age of 88. Though he worked in several genres, Thompson was best-known for his action films. Thompson was born in Bristol England on August 1, 1914. After graduating from college he became a playwright and it was the appearance of one of his plays on London's famous West End that got him noticed by the British film studio, Elstree. His first filmed script was The Pride of Folly in 1937 and others appeared sporadically until his career was side-tracked during the war when Thompson served in the RAF as a B-29 tail gunner. (He also reportedly worked as a dialogue coach on Hitchcock's Jamaica Inn, 1939.) Thompson's directorial debut came in 1950 when he adapted his own play Double Error to the screen as Murder Without Crime. Throughout the decade he directed a variety of dramas and comedies until hitting it big in 1958 with Ice Cold in Alex (released in the US minus 50 minutes under the title Desert Attack). It was nominated for three BAFTAs and was enough of a commercial success that Thompson landed the film that made his career: The Guns of Navarone (1961). This enormous international hit snagged Thompson an Oscar nomination for Best Director. He immediately followed that with the original Cape Fear (1962) and his reputation was set. Though Thompson remained active almost three more decades he didn't reach that level again. He worked on Westerns (Mackenna's Gold, 1969), horror films (Eye of the Devil, 1967), literary adaptations (Huckleberry Finn, 1974) and others. During this time, Thompson directed two Planet of the Apes sequels but was kept most busy working with Charles Bronson, for whom he directed nine films. Thompson's last film was in 1989.
KATRIN CARTLIDGE, 1961 - 2002
The news of actress Katrin Cartlidge's death at the age of 41 has come as a shock. It's not just the age but the thought that even though Cartlidge was already a major actress--despite a slender filmography--she held out the promise of even greater work, a promise that so few artists of any type can make. "Fearless" is perhaps the word most often used to describe Cartlidge but emotions are never enough for an actor; much more is required. Director Mike Leigh said she had "the objective eye of an artist" while remarking on her "her deep-seated suspicion of all forms of woolly thinking and received ideas."
Cartlidge was born in London on May 15, 1961. Her first acting work was on the stage, in tiny independent theatres before she was selected by Peter Gill for the National Theatre. Cartlidge also worked as a dresser at the Royal Court where she later made one of her final stage appearances. She began appearing in the popular British TV series Brookside before making her first film in 1985, Sacred Hearts. A small role in the Robbie Coltrane-Rik Mayall vehicle Eat the Rich (1987) followed before Cartlidge had her first leading role in Mike Leigh's scathing Naked (1993).
Cartlidge never took a safe approach in her films. She told The Guardian that "I try to work with film-makers who I feel will produce something original, revealing and provoking. If something provokes a reaction, it's well worth doing." You can see this in her choice of projects. Before the Rain (1994) dramatized violence in Macedonia in the wake of the Yugoslavian break-up and made Cartlidge something of a star in the area. She appeared in Lars Von Trier's controversial look at redemption, Breaking the Waves (1996), Leigh's sharply detailed story of aging friends Career Girls (1997), as one of Jack the Ripper's victims in From Hell (2001), as a call girl trying to leave the business in Clair Dolan (1998) and in the Oscar-winning film about Bosnia-Herzegovina, No Man's Land (2001). Her last work included a BBC adaptation of Crime and Punishment (2002), playing Salvador Dali's wife Gala in the BBC comedy-drama Surrealissimo (2002) and an appearance in Rosanna Arquette's directorial debut, Searching for Debra Winger (also 2002), a documentary about women in the film industry.
Cartlidge died September 7th from septicaemia brought on by pneumonia.
By Lang Thompson
TCM Remembers - Kim Hunter
The Legion of Decency did not like the film because of its pro-Communist leanings. But instead of condemning the film, they used a "separate classification" for the film. That had previously been used on 1938's "Blockade" (a Spanish Civil War film which had the sympathy for the anti-Catholic and pro-Communist Loyalists) and 1953's "Martin Luther" (becuase the film portrayed the life of the man who split Christianity and was full of many inaccurate presentations of Church teachings).
Mary Pickford was originally slated to make her comeback with this film but later dropped out of the project.
Working titles of the film were The Library, This Time Tomorrow and Circle of Fire. According to a New York Times article, co-screenwriter and director Daniel Taradash and co-writer Elick Moll began writing the script in October 1950. A November 1951 Daily Variety news item notes that Stanley Kramer would produce the film and that silent film legend Mary Pickford would come out of retirement to play the lead role of "Alicia Hull." Pickford had last appeared onscreen in the 1933 production Secrets (see AFI Catalog of Feature Films, 1931-40). In an October 1956 New York Times article written by Taradash, he indicated that Kramer had selected Irving Reis to direct the film, which was then scheduled to begin filming in the summer of 1952. A brief postponement caused the production date to be moved to fall of 1952 after Pickford had made tests and costume fittings.
According to a September 1952 Daily Variety report, after one day of rehearsal, Pickford withdrew from The Library upon discovering that it would be shot in black and white. The item quotes Pickford as saying "I do feel that after my long absence from the screen my return should be in Technicolor." In a modern oral history at the AMPAS Library, Taradash states his belief that Pickford was pressured to withdraw from the film by right wing associates in the film industry, including well-known conservative journalist, Hedda Hopper. Pickford never returned to the screen.
According to a September 1952 Hollywood Reporter item, within days of Pickford's announcement, Kramer signed Barbara Stanwyck for the lead role, but scheduling conflicts, due to Stanwyck's previous commitment to Twentieth Century-Fox's Titanic (see below), delayed the start of filming. In November 1952, Daily Variety reported that Kramer would postpone production of the film due to continued scheduling conflicts with Stanwyck. In the New York Times article, Taradash indicated that Kramer withdrew from the project after continued disagreements with Columbia, forcing another delay in production. The death of Reis in 1953 placed the film on indefinite hold. Taradash related in the New York Times piece that after the success of From Here To Eternity, for which he wrote the screenplay, he hoped to revive interest in The Storm Center and offered to direct the film himself. In 1955, Taradash and producer Julian Blaustein formed Phoenix Productions and when Blaustein secured Bette Davis in the starring role, Columbia production head Harry Cohn approved Storm Center's production. A July 1955 Daily Variety article reports that Taradash and Moll were requested to turn their original script for The Library into a novel by publishing house J. B. Lippincott, but there is no indication that a deal was ever agreed upon. As noted in an October 1956 New York Times news item, the film was shot on location in Santa Rosa, CA.
According to a July 1956 Daily Variety news item, upon the release of Storm Center, for only the second time in its twenty-year history, the Legion of Decency "separately classified" a film. The Legion stated that the "propaganda film offers a warped, over simplified emotional solution to the complex problems of civil liberties in American life." The Hollywood Reporter review similarly commented on the film's "over simplification" of Communism and noted the inability of the script to bring together the various plotlines in a more effective manner. A July 1956 Daily Variety column by Joe Schoenfeld debated the Legion's classification of the film, insisting that "it's almost impossible to over-dramatize human liberty whether it's a depiction of Patrick Henry... or a librarian sacrificing her reputation rather than her democratic principles."
According to a letter in the file on the film in the MPAA/PCA Collection at the AMPAS Library, the Motion Picture Association designed a brochure on the film offered to theater owners which included an open letter from Community Relations Department representative Arthur H. DeBra describing Storm Center as a "provocative, intriguing and controversial motion picture" about book burning. The brochure, which was endorsed by the American Library Association, reproduced several questions and answers from a news conference with President Dwight D. Eisenhower after his speech against book burning given at Dartmouth in June 1955.
In Taradash's oral history, he indicated that his inexperience as a director affected the outcome of the film, including his inability to properly handle young child actor Kevin Coughlin. In her autobiography, Davis states that Storm Center was "an exciting project to me and a subject I felt important to make a film about. The film was not a success at the box office and not in my opinion, because of the subject matter. I never felt it turned out to be a good picture." Storm Center was the only film directed by Taradash.
Released in United States Fall September 1956
Released in United States Fall September 1956