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pressure, continued to hold. The memory of the Civil War had come to be one of unity,consensus and harmony, honouring the dead of both sides for their heroism and faith intheir beliefs, and not division and disunity.Hollywood had a number of options. A pro-South film would mean a return to theplantation with loyal slaves and the Lost Cause myth - something that Rau-Ru in Band ofAngels had shown was a fiction. However, such films would also have to stand against thecurrent portrayal of the 'decadent South' as Hollywood transferred Tennessee Williams tothe screen. In his plays men and women are far removed from the aristocratic planter andthe beautiful and supportive Southern belle: the Old South myths were no longer relevant,they had lost their southernness. 60 A pro-North film could either concentrate on the conflictand avoid the slavery issue, which would have drawn protests from African Americans andliberals, or it could take a more realistic view of slavery and would probably have beenboycotted in the South.A third way was exemplified by the film The Horse Soldiers (1959), which presented amore balanced approach. Both sides were seen to be firm in their ideals, to act honourablyand heroically; the slaves were treated with southern paternalism and northern compassion;and the film ended with reconciliation and future unity. 61 The Commission welcomed thefilm as one that fitted its national programme to pay 'tribute to the memories of ourforefathers who took part in the bitter conflict to determine the exact path our nationalgovernment should follow' and would 'provide Americans with a new understanding ofthe way in which we built from sacrifice and suffering an enduring nation and a lastingpeace.' 62 Reviewers also liked the film. 'It is in the centennial mood,' wrote BosleyCrowther, it is 'reflective of the curious gallantry of that tragic war.' Variety agreed. Thisis the kind of Civil War that audiences imagine' capturing the 'senseless slaughter' and the'tragedy of the fratricidal conflict between the states.' 63 This could have been the wayforward but the film failed to satisfy the public despite its 'bending backwards to do justiceto both sides.' 64Balance in a film may be less appealing than the usual single perspective of events thatHollywood and genre normally provide. The treatment of the African Americans in TheHorse Soldiers ranges from the Lost Cause myth, that if they are treated fairly whilst stillin their slave/servant status, they will support the South's cause, to the symbol of a multi-101