“Black Film” and the Bomb

In the prototypical ‘50s nuclear noir, the protagonist is an elite scientist—a nuclear physicist, to be precise—who’s either overtly opposed to or intimately aligned with the nation state and its institutional agencies. Although the FBI, as in the anticommunist noir, is the dominant investigative figure in these espionage films, it’s dramatically subordinated to other, more pressing issues and agencies such as treason, homosexuality, and the Atomic Energy Commission (AEC) (in The Thief), Native Americans, national security, and the nuclear family (in The Atomic City), and bombshells, bikinis, and “B” movies (in Shack Out on 101). While City of Fear is not an atomic espionage film—call it a nuclear-epidemiological noir--the film’s representation of the LAPD and metropolitan Los Angeles as well as the rhetoric of disease and contamination, contagion and radioactivity, renders it a quintessential late ‘50s “B” noir.

The special relationship? Ministers, atomic espionage and Anglo-American relations

Chapter Five studies Ministerial reactions to the spy scandals that threatened Anglo-American nuclear exchanges. Considering the cases of Alan Nunn May, Klaus Fuchs, Bruno Pontecorvo, Guy Burgess and Donald Maclean, it argues that Ministers were sensitive to claims from the United States that Britain was weak in the field of security. After the Fuchs and Pontecorvo scandals, Ministers reacted quickly to repair any damage to transatlantic relations by introducing new security procedures known as ‘Positive Vetting’. The chapter also uses newly released archival material to shed light on Ministerial reactions to the disapperance of the Foreign Office diplomats, Guy Burgess and Donald Maclean, in the spring of 1951. Their defection provoked widespread outrage and, once again, prompted a review of security in government, on this occasion the Foreign Office, on the instructions of the Foreign Secretary, Herbert Morrison, now Foreign Secretary, which is explored here for the first time.