Social drama Movies or "message films" communicated amazing exercises, for example, the brutal states of Southern jail frameworks in Hell's Highway (1932) and I Am a Fugitive From a Chain Gang (1932), the situation of meandering gatherings of young men on cargo vehicles amid the Depression in William Wellman's Wild Boys of the Road (1933), or the disorder of chaos in Fritz Lang's Fury (1936), or the cleverness of lifer detainee and fowl master Robert Stroud (Burt Lancaster) in John Frankenheimer's Birdman of Alcatraz (1961), or the story of a surrounded, unreasonably detained writer (James Cagney) in Each Dawn I Die (1939). In Yield to the Night (1956), Diana Dors remembered her life and wrongdoing as she anticipated her execution. An extreme, solid take a gander at New York waterfront defilement was found in the great American movie, chief Elia Kazan's On the Waterfront (1954) with Marlon Brando as a longshoreman who vouched for the Waterfront Crimes Commission. The film drew analysis with the allegation that it seemed to legitimize Kazan's witness job before the HUAC.
Issues of poor people and seized have frequently been the subjects of the extraordinary movies, including The Good Earth (1937) with Chinese laborers confronting starvation, tempests, and grasshoppers, and John Ford's The Grapes of Wrath (1940) about a dauntless, Depression-Era Okie family - the Joads - who endure a grievous voyage from Oklahoma to California. Martin Scorsese's aggravating and fierce Taxi Driver (1976) recounted the miserable existence of a solitary New York taxi driver in the midst of evening urban spread. Issues and clashes inside a rural family were displayed in chief Sam Mendes' Best Picture-winning American Beauty (1999), as were issues with compulsion in Steven Soderbergh's Traffic (2000).