There was a time in Hollywood when they were undergoing a decided crisis and it was stage themed films that would come to the rescue, reasserting with utmost vim and vigor, it's originality and seniority. Stanislavsky and his merry band of method acting men stepped in to save the day even if Hollywood had a way of modifying their techniques just a tad. The unambiguous radical ambitions of the defunct Group Theater vanished. The Actors Studio clearly on the ascendant, dropped any such pretensions to social realism and buried itself into a crude but politically safe psychoanalysis Hollywood proceeded to condemn the youthful rebelliousness, violence and amorality of its new heroes and themes while profiting handsomely from a string of films that portrayed them.
1953's The Wild One, On The Waterfront (1954), East of Eden, Rebel Without A Cause (all 1955), Baby Doll (1956) and a number of the filmed versions of Tennessee Williams' plays all followed Streetcar into the auspices of moral uncertainty, sexual promiscuity and brutal violence. These film were clearly influenced by neo-realism and the performances invariably resonated against their settings and time period. But the authenticity for which the Method had striven now articulated only a subjective mood rather than a social realness.