Few films evoke the spooky paranoid atmosphere of the Cold War more than John Frankenheimer’s The Manchurian Candidate (1962). So many elements work together, from the quiet unfolding, black&white stark composition of scenes to the sweaty hothouse garden party dream sequences. But it could just be the presence of one of the all-time great villains hiding in plain sight that gives this film its lasting visceral gut punch. Imagine this, at the height of the Cold War and not too long after the McCarthy era’s Red Scare and the Korean War, The Manchurian Candidate is released to the world, placing a silver-screen mirror up to American society. The reflection ain’t pretty. The villains in this Cold War fever dream are not out there, not in Russia, and not the Orientalized Other. No, the villain is in in your own government; it’s in your platoon; it might even be in your own family. The enemy is as American as apple pie. Angela Lansbury, an accomplished artist with a career spanning decades and is included in the …