In the film, Hitchcock uses these architectural details intentionally: The lead character Roger Thornhill spies on the films villains from outside of the floor-to-ceiling windows, hanging from the cantilevered edges, then once inside the reflection in the TV and the open floor plan are crucial to the subsequent events. This entire sequence skillfully deploys these architectural attributes for narrative purposesit would have been entirely different had the events taken place in a home of a different architectural style.Though not all of the films buildings are midcentury modern; others do appear, including 430 Park Avenue, which was converted to a modern-style building in the mid-50s and memorably appears in the opening credits. The United Nations General Assembly Building, which was completed in 1952, also appears in the film.Hairspray (2007)John Travolta as Edna Turnblad in HairsprayPhoto: New Line Cinema/Courtesy Everett CollectionCaptured with the giddiness that only a musical can offer, the sets of Hairspray employ color and midcentury design motifs to match the energy of the romance and strife of the 60s-set narrative. The sequence for Welcome to the 60s, led by the characters Tracy Turnblad (Nikki Blonsky) and her mother Edna Turnblad (John Travolta), who hasnt left this house since 1951, emphasize the aesthetic and temperamental difference between the beginning and middle of the midcentury-modern era. The primacy of the space race, and its impact on the visual culture of the time, is acknowledged in the final number, You Cant Stop the Beat, when Tracy descends in a floating rocketship platform onto the stage, above which Sputnik chandeliers hang.The Marvelous Mrs. Maisel (20172023)Caroline Aaron as Shirley Maisel, Marin Hinkle as Rose Weissman, Rachel Brosnahan as Miriam Maisel, and Justine Lupe as Astrid Weissman in The Marvelous Mrs. MaiselPhoto: Philippe AntonelloAmazon/Courtesy Everett Collection