All language subtitles for Scorsese Journey - Part 3

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These are the user uploaded subtitles that are being translated: 1 00:01:46,500 --> 00:01:49,696 I'm often asked by younger filmmakers, why do I need to look at old movies? 2 00:01:49,803 --> 00:01:51,827 I've made a number of pictures in the past 20 years. 3 00:01:51,937 --> 00:01:54,905 And the response I find that I have to give them is that I'm... 4 00:01:55,006 --> 00:01:57,167 I still consider myself a student. 5 00:01:57,275 --> 00:02:01,471 Um, the more pictures I made in the past 20 years, the more I realized I really don't know. 6 00:02:01,577 --> 00:02:04,101 And I'm always looking for something to... 7 00:02:04,212 --> 00:02:07,146 something or someone that I could, that I could learn from. 8 00:02:07,247 --> 00:02:10,045 I tell the younger, the younger filmmakers and the young students... 9 00:02:10,150 --> 00:02:13,948 that I do it like painters used to do, what painters do... 10 00:02:14,052 --> 00:02:18,954 study the old masters, enrich your palette, expand the canvas. 11 00:02:19,056 --> 00:02:21,080 There's always so much more to learn. 12 00:02:23,425 --> 00:02:26,518 Now, take this forgotten "B" film, Silver Lode. 13 00:02:26,627 --> 00:02:28,754 Now, this was directed by Allan Dwan, 14 00:02:28,863 --> 00:02:32,957 one of the unheralded film pioneers who made the first of his 400 films... 15 00:02:33,065 --> 00:02:35,659 back in 1911. 16 00:02:35,767 --> 00:02:39,725 At the end of his long career, he was sort of relegated to low-budget genre films. 17 00:02:39,837 --> 00:02:42,703 But low budget or not, watch the beautiful simplicity... 18 00:02:42,805 --> 00:02:46,672 of the sweeping tracking shots that are literally guiding the desperate John Payne... 19 00:02:46,775 --> 00:02:50,301 - toward his final sanctuary, the town church. 20 00:02:50,411 --> 00:02:52,605 Dwan's finest movies featured simple people, 21 00:02:52,712 --> 00:02:55,475 pastoral landscapes and the rural America of a bygone era. 22 00:02:55,581 --> 00:02:59,107 But behind the lyrical images of the Old West, 23 00:02:59,217 --> 00:03:03,676 Silver Lode suggests the fragility of our democratic institutions. 24 00:03:03,787 --> 00:03:07,585 On Independence Day, the day of his wedding, 25 00:03:07,689 --> 00:03:09,748 John Payne should be the happiest man in Silver Lode. 26 00:03:09,858 --> 00:03:12,792 There he is! Look! There! There he is! 27 00:03:12,893 --> 00:03:16,851 Instead, he has to fight for his life when he's unjustly accused of a murder... 28 00:03:16,963 --> 00:03:20,260 and suddenly ostracized by the community. 29 00:03:20,364 --> 00:03:24,561 Daringly, the fugitive's bride-to-be convinces the town that he's not guilty... 30 00:03:24,667 --> 00:03:27,157 by forging a telegram from a U.S. Marshal. 31 00:03:27,269 --> 00:03:31,500 "McCarty not what he represents himself to be. 32 00:03:31,606 --> 00:03:33,539 Wanted for murder and cattle rustling. " 33 00:03:33,640 --> 00:03:36,802 So, persecuted for the wrong reasons, Payne is pardoned for the wrong reasons. 34 00:03:36,909 --> 00:03:40,708 - Ya fixed it! - You have to remember that this was the era of the blacklists. 35 00:03:40,812 --> 00:03:43,371 Shoot 'em all! How many bullets ya got left? Two? Three? 36 00:03:43,480 --> 00:03:46,676 Political messages had to be smuggled in, cloaked in metaphors. 37 00:03:49,551 --> 00:03:52,383 Actually, the name of the villain, played by Dan Duryea, 38 00:03:52,486 --> 00:03:54,477 was "McCarty." 39 00:03:57,290 --> 00:04:00,725 And so a church bell and a fantastic lie saved the day. 40 00:04:00,826 --> 00:04:02,850 McCarty's dead. 41 00:04:04,761 --> 00:04:07,696 Dan, there isn't much that I can say. 42 00:04:07,797 --> 00:04:11,061 But I think I can speak for all of us... we're sorry. 43 00:04:11,166 --> 00:04:14,396 You're "sorry"? 44 00:04:14,501 --> 00:04:18,334 A moment ago you wanted to kill me. 45 00:04:18,438 --> 00:04:22,635 You forced me to kill, to defend myself, to save my own life. 46 00:04:22,741 --> 00:04:25,504 But you wouldn't believe what I said. 47 00:04:25,609 --> 00:04:28,600 A man's life can hang in the balance... 48 00:04:28,711 --> 00:04:30,803 on a piece of paper! 49 00:04:37,017 --> 00:04:39,417 And you're sorry. 50 00:04:39,518 --> 00:04:43,044 The '50s... The '50s for me is a fascinating era... 51 00:04:43,154 --> 00:04:46,645 when the subtext became as important as the apparent subject matter... 52 00:04:46,757 --> 00:04:48,691 or even more important. 53 00:04:48,792 --> 00:04:52,385 I mean, look at Douglas Sirk's film All That Heaven Allows, which he made in 1955, 54 00:04:52,494 --> 00:04:55,428 or Nicholas Ray's Bigger Than Life, made in 1956. 55 00:04:55,529 --> 00:04:57,656 Now, you have to understand these were not "B" movies. 56 00:04:57,765 --> 00:04:59,994 These were big-scale pictures with major studio stars. 57 00:05:00,100 --> 00:05:03,865 Furthermore, they were Americanas, 58 00:05:03,969 --> 00:05:06,528 the most wholesome genre of the period. 59 00:05:06,637 --> 00:05:10,128 Jane Wyman, the widow in Douglas Sirk's All That Heaven Allows, 60 00:05:10,240 --> 00:05:13,800 is not rejected by her community, she is immersed in it. 61 00:05:13,909 --> 00:05:17,036 Her world becomes unhinged when she falls in love with Rock Hudson, 62 00:05:17,145 --> 00:05:20,204 a much younger man who happens to be her gardener. 63 00:05:20,314 --> 00:05:25,807 A spiritual descendant of Thoreau, he represents a solid and serene individualism... 64 00:05:25,917 --> 00:05:30,012 that seems sadly out of place in the New England of the 1950s. 65 00:05:30,121 --> 00:05:33,987 What a beautiful view of the pond. Why, you can see for miles. 66 00:05:34,089 --> 00:05:37,148 Mm-hmm. The sun comes up right over that hill. 67 00:05:37,258 --> 00:05:39,919 - Oh! - Do you like it? 68 00:05:40,060 --> 00:05:41,994 Why, it's unbelievable. 69 00:05:42,062 --> 00:05:43,961 Let's take your boots off, huh? 70 00:05:44,063 --> 00:05:45,963 - Hello, Dan. - Hello, Cary. 71 00:05:46,065 --> 00:05:47,964 - Cary, you know Miss Frisbee, Mr. Allenby. Mr. Kirby. - Yes. 72 00:05:48,066 --> 00:05:52,195 - How do you do? - Oh, what's this I hear about your... Oh. 73 00:05:52,302 --> 00:05:54,769 Haven't I seen you somewhere before? 74 00:05:54,871 --> 00:05:57,703 Well, Mrs. Humphrey, probably in your garden. 75 00:05:57,806 --> 00:06:00,968 I've been pruning your trees for the last three years! 76 00:06:01,075 --> 00:06:04,202 Oh, yes, of course. 77 00:06:04,310 --> 00:06:09,143 - Uh, Sara, I really must be going. - Excuse me. I'll be right back. 78 00:06:09,247 --> 00:06:11,578 - Are you saying you don't want to marry me? - Oh, no, I'm not saying that. 79 00:06:11,681 --> 00:06:14,172 I'm... I'm just asking you to be patient. 80 00:06:14,284 --> 00:06:18,446 - It's only a question of time. - Only of time. 81 00:06:18,553 --> 00:06:21,282 Well, right now everybody's talking about us. 82 00:06:21,388 --> 00:06:23,788 We're a local sensation. 83 00:06:23,891 --> 00:06:27,189 And like Sara said, if... if the people get used to seeing us together, 84 00:06:27,293 --> 00:06:30,090 then maybe they'll accept us. 85 00:06:30,195 --> 00:06:35,631 You mean, uh, we'll be invited to all the cocktail parties. 86 00:06:35,732 --> 00:06:39,861 And, of course, Sara will see to it that I get into the country club. 87 00:06:39,968 --> 00:06:43,198 I can see that you don't want to listen to anybody's ideas but your own. 88 00:06:43,304 --> 00:06:46,238 And I can see that you're trying to make me choose between you and the children! 89 00:06:46,339 --> 00:06:50,398 No, Cary, you're the one that made it a question of choosing. 90 00:06:50,508 --> 00:06:52,442 So you're the one that'll have to choose. 91 00:06:56,179 --> 00:06:58,079 All right. 92 00:07:01,950 --> 00:07:03,849 It's all over. 93 00:07:06,119 --> 00:07:10,452 Once she surrenders to the community's pressure, Jane Wyman is trapped. 94 00:07:10,556 --> 00:07:12,523 Cary. 95 00:07:12,623 --> 00:07:15,750 She's left suffocating in their world of pretense and illusions... 96 00:07:15,859 --> 00:07:19,225 far from Hudson's Walden Pond. 97 00:07:19,328 --> 00:07:21,921 Home, family, social roles... 98 00:07:22,030 --> 00:07:24,725 can't fulfill the pursuit of happiness anymore. 99 00:07:24,831 --> 00:07:28,459 Somehow, they've become the instruments of repression. 100 00:07:28,568 --> 00:07:32,469 Beneath the surface of the seemingly ideal setting... 101 00:07:32,571 --> 00:07:36,062 lay a sharp indictment of American small-town life. 102 00:07:36,173 --> 00:07:38,072 ? And heaven and nature sing 103 00:07:38,174 --> 00:07:41,540 Both Douglas Sirk and Nicholas Ray stayed within the rules. 104 00:07:41,643 --> 00:07:43,872 Their films had the required happy ending. 105 00:07:43,978 --> 00:07:48,676 But they hinted at the dangers inherent in conforming to society's conventions. 106 00:07:48,782 --> 00:07:51,807 You see, anything indirect... 107 00:07:51,917 --> 00:07:54,009 is, uh, stronger, 108 00:07:54,152 --> 00:07:56,245 in many cases, at least, 109 00:07:56,321 --> 00:08:00,449 because you leave it or you hand it over to the imagination... 110 00:08:00,556 --> 00:08:02,547 of your audience, you know. 111 00:08:02,658 --> 00:08:06,148 And I've always been trusting... 112 00:08:06,260 --> 00:08:08,387 my audience to have imagination. 113 00:08:08,495 --> 00:08:11,861 Otherwise, they should stay out of the cinema. 114 00:08:11,965 --> 00:08:16,991 - You know, you have to leave something open. - Mm-hmm. 115 00:08:17,101 --> 00:08:20,729 The moment you start preach in the film... preaching in the film... 116 00:08:20,837 --> 00:08:25,465 the moment you want to teach your audience, 117 00:08:25,573 --> 00:08:27,905 you're making a bad film. 118 00:08:28,009 --> 00:08:30,670 If you can't have a life, settle for its imitation. 119 00:08:30,777 --> 00:08:32,801 There's your present now. 120 00:08:32,912 --> 00:08:36,108 This is what Jane Wyman receives from her children... 121 00:08:36,214 --> 00:08:39,205 - Oh, please, Kay... - as a substitute for her lost love. 122 00:08:39,316 --> 00:08:42,807 Mother! Merry Christmas. 123 00:08:42,919 --> 00:08:45,910 Merry Christmas, Mrs. Scott. 124 00:08:46,021 --> 00:08:49,387 Television, the movie's rival medium in the 1950s, 125 00:08:49,490 --> 00:08:51,753 was cast as the ultimate symbol of alienation. 126 00:08:51,858 --> 00:08:55,588 All you have to do is turn that dial, and you have all the company you want... 127 00:08:55,694 --> 00:08:58,093 right there on the screen. 128 00:08:58,196 --> 00:09:03,291 Drama, comedy, life's parade at your fingertips. 129 00:09:06,768 --> 00:09:09,395 Like Douglas Sirk, Nicholas Ray offers... 130 00:09:09,503 --> 00:09:12,835 both the American family in suburbia and the psychotic elements: 131 00:09:12,939 --> 00:09:16,339 The convention and the contradictions; the sugar and the poison. 132 00:09:20,111 --> 00:09:23,511 Look at Nicholas Ray's Bigger Than Life. 133 00:09:23,613 --> 00:09:26,979 James Mason portrays a frustrated schoolteacher... 134 00:09:27,082 --> 00:09:29,515 who undergoes personality changes when he becomes... 135 00:09:29,617 --> 00:09:32,050 hooked on cortisone, then an experimental drug. 136 00:09:32,152 --> 00:09:35,552 Just use your reason calmly. 137 00:09:35,655 --> 00:09:39,590 We'll have dinner the moment you've mastered this problem. 138 00:09:39,691 --> 00:09:43,626 Here he feels ten feet tall. 139 00:09:43,727 --> 00:09:47,423 - Ed, dinner's been waiting two hours. - I'm sorry. 140 00:09:47,529 --> 00:09:51,965 - Richie ought to eat. - I'm hungry too. 141 00:09:52,066 --> 00:09:54,898 Ed, Richie didn't even have lunch. 142 00:09:55,001 --> 00:09:57,161 The cortisone acts as a catalyst. 143 00:09:57,269 --> 00:10:00,999 It reveals a mental and spiritual dissatisfaction... 144 00:10:01,105 --> 00:10:03,902 and fuels Mason's growing desire to escape... 145 00:10:04,007 --> 00:10:07,066 from the dull existence that stifles his soul. 146 00:10:07,176 --> 00:10:10,667 Lou, it'll be better for all of us if you clearly understand one thing. 147 00:10:10,779 --> 00:10:13,542 I will not tolerate your attempts to undermine my program for Richard. 148 00:10:13,647 --> 00:10:15,547 Yes, darling. 149 00:10:15,649 --> 00:10:19,084 Be good enough not to speak to me in that hypocritical tone of voice. 150 00:10:19,185 --> 00:10:21,744 I see through you as clearly as I see through this glass pitcher! 151 00:10:21,853 --> 00:10:24,082 If you imagine I'm going to be fooled by all this sweetness and meekness... 152 00:10:24,188 --> 00:10:26,087 "Yes, darling, no, darling..." 153 00:10:26,189 --> 00:10:28,453 you're even a bigger idiot than I took you for. 154 00:10:28,558 --> 00:10:30,457 Let's clear this up once and for all! 155 00:10:30,559 --> 00:10:32,856 I'm staying in this house solely for the boy's sake! 156 00:10:32,960 --> 00:10:35,019 As for you personally, I'm completely finished with you. 157 00:10:35,128 --> 00:10:37,426 There's nothing left. Our marriage is over. 158 00:10:37,531 --> 00:10:39,430 In my mind I've divorced you. 159 00:10:39,532 --> 00:10:42,989 You're not my wife any longer, I'm not your husband any longer. 160 00:10:43,101 --> 00:10:46,297 Mason's family goes through hell as he starts questioning every tenet... 161 00:10:46,403 --> 00:10:49,132 of family life in the 1950s. 162 00:10:49,272 --> 00:10:52,604 "Momism," Sunday school, Little League sports... 163 00:10:52,674 --> 00:10:56,632 and even the egalitarian principles of American education. 164 00:11:12,788 --> 00:11:15,847 Lou! Lou! 165 00:11:17,324 --> 00:11:19,485 You'll be happy to know you've won. 166 00:11:19,592 --> 00:11:21,492 All of my efforts have been too late. 167 00:11:21,594 --> 00:11:24,653 In this house, our son has become a thief. 168 00:11:26,197 --> 00:11:30,257 My heroes are no more neurotic than the audience. 169 00:11:30,367 --> 00:11:33,597 Unless you can feel that... 170 00:11:33,702 --> 00:11:35,965 a hero is just as fucked up as you are... 171 00:11:36,070 --> 00:11:40,301 that you would make the same mistakes that he would make... 172 00:11:40,407 --> 00:11:44,740 uh, you can have no satisfaction... 173 00:11:44,844 --> 00:11:48,209 when he does commit a heroic act. 174 00:11:48,312 --> 00:11:53,112 Because then you can say, "Hell, I could have done that too." 175 00:11:53,216 --> 00:11:58,049 And that's the obligation of the filmmaker, of the theater worker... 176 00:11:58,152 --> 00:12:01,609 to give a heightened sense of experience to the... 177 00:12:01,721 --> 00:12:06,214 people who pay to come to see his work. 178 00:12:06,325 --> 00:12:09,054 "And they came to the place of which God had told him, 179 00:12:09,160 --> 00:12:13,595 and Abraham built an altar there and laid the wood in order and bound Isaac, his son, 180 00:12:13,696 --> 00:12:16,494 and laid him on the altar upon the wood. 181 00:12:16,599 --> 00:12:19,862 And Abraham stretched forth his hand... 182 00:12:19,967 --> 00:12:23,800 and took the knife to slay his son." 183 00:12:23,903 --> 00:12:27,565 But, Ed, you didn't read it all. God stopped Abraham. 184 00:12:27,672 --> 00:12:30,538 God was wrong. 185 00:12:31,909 --> 00:12:35,435 Ed! No! Ed! No! Ed! No! 186 00:12:35,545 --> 00:12:40,242 Richie! Run out the window! Richie! Richie! 187 00:12:40,348 --> 00:12:43,942 No! Richie! 188 00:13:24,044 --> 00:13:26,739 Samuel Fuller's characters were no intellectuals. 189 00:13:26,846 --> 00:13:29,337 His was a visceral cinema, 190 00:13:29,449 --> 00:13:31,678 excessive, explosive. 191 00:13:31,783 --> 00:13:35,343 He once defined film as a battlefield. 192 00:13:35,453 --> 00:13:40,218 Love, hate, action, death. In one word, emotion. 193 00:13:42,623 --> 00:13:45,148 Impact was his main concern. 194 00:13:45,259 --> 00:13:48,523 Whether he was dealing with the Old West or Cold War America, 195 00:13:48,628 --> 00:13:52,460 his images were bursting with violence and sexual energy. 196 00:13:56,900 --> 00:13:59,197 In Pickup on South Street, 197 00:13:59,302 --> 00:14:02,065 Richard Widmark is a pickpocket... 198 00:14:02,170 --> 00:14:04,229 and Jean Peters a prostitute. 199 00:14:11,677 --> 00:14:15,635 Here he inadvertently takes a microfilm... 200 00:14:15,746 --> 00:14:20,239 which Communist agents are trying to smuggle out of the country. 201 00:14:32,024 --> 00:14:34,651 How much is it worth to ya? 202 00:14:34,759 --> 00:14:36,726 What are you pushin' me for? 203 00:14:36,827 --> 00:14:38,761 You came here to buy, didn't you? 204 00:14:38,863 --> 00:14:42,695 America's fate is in the hands of two outcasts. 205 00:14:42,798 --> 00:14:45,665 She's just a runner who doesn't even know what side she's on, 206 00:14:45,767 --> 00:14:48,792 while he's a cynic, willing to do business with all sides. 207 00:14:48,903 --> 00:14:50,961 How much did ya bring? 208 00:14:51,071 --> 00:14:53,197 I don't wanna talk about it. 209 00:14:53,305 --> 00:14:56,171 - A former crime reporter, - How much? 210 00:14:56,274 --> 00:14:58,867 - Fuller cultivated the shocks and hyperbole... - Five hundred. 211 00:14:58,976 --> 00:15:00,910 That tabloids used in their headlines. 212 00:15:03,012 --> 00:15:07,209 You tell that Commie I want a big score for that film, and I want it in cash. 213 00:15:07,315 --> 00:15:09,214 - Tonight! - What are you talkin' about? 214 00:15:09,316 --> 00:15:11,909 You tell me. You people are supposed to have all the answers. 215 00:15:12,018 --> 00:15:15,748 - Tell ya what? - Come on! Drop the act. So you're a Red. 216 00:15:15,854 --> 00:15:19,050 Who cares? Your money's as good as anybody else's. 217 00:15:19,156 --> 00:15:22,886 Now get your stern up those stairs and tell your old lady what I want. 218 00:15:22,993 --> 00:15:25,722 I'll do business with a Red, but I don't have to believe one. 219 00:15:27,328 --> 00:15:31,730 Playing both ends against the middle, Widmark defied all "isms," 220 00:15:31,832 --> 00:15:34,265 - even patriotism. - Get outta here! 221 00:15:34,367 --> 00:15:36,891 Writer-director-producer Samuel Fuller's work... 222 00:15:37,002 --> 00:15:39,936 was a potent antidote to America's complacency during the Cold War. 223 00:15:40,037 --> 00:15:43,130 He was the most outspoken of the '50s smugglers. 224 00:15:43,239 --> 00:15:45,730 No ideology escaped his scathing irony. 225 00:15:45,842 --> 00:15:48,674 American hypocrisy was his constant target. 226 00:15:48,777 --> 00:15:51,176 Fuller's heroes were hard to distinguish from his villains. 227 00:15:51,279 --> 00:15:53,178 If you refuse to cooperate, 228 00:15:53,280 --> 00:15:55,713 you'll be as guilty as the traitors that gave Stalin the A-bomb. 229 00:15:55,814 --> 00:15:58,374 Are you wavin' the flag at me? 230 00:15:58,484 --> 00:16:00,974 I know something in our side you should get... 231 00:16:01,085 --> 00:16:06,350 Get this. I didn't grift that film, and you can't prove I did. 232 00:16:06,489 --> 00:16:08,615 - Do you know what treason means? - Who cares? 233 00:16:08,690 --> 00:16:12,591 - Answer the man! - Is there a law now I gotta listen to lectures? 234 00:16:12,693 --> 00:16:15,684 When he says, "Don't wave the goddamn flag at me," 235 00:16:15,795 --> 00:16:19,730 Hoover objected to that and verbally objected it... 236 00:16:19,831 --> 00:16:24,698 in my presence at Romanoff's table with Zanuck. 237 00:16:24,801 --> 00:16:29,464 He objects that an American would say during the heat, 238 00:16:29,572 --> 00:16:31,869 the hottest point of the Cold War with Russia, 239 00:16:31,973 --> 00:16:34,532 "Don't wave the goddamn flag at me." 240 00:16:34,641 --> 00:16:39,475 And Zanuck said, "He's right," to me. "He's right. We'll leave out 'goddamn.'" 241 00:16:39,579 --> 00:16:42,206 And Hoover got very angry. 242 00:16:42,314 --> 00:16:45,043 "You know damn well that's not what I mean." 243 00:16:45,149 --> 00:16:49,016 And Zanuck explained very simply, and he was a friend of his... I mean, he knew him... 244 00:16:49,118 --> 00:16:54,019 "This is his character talking, and that character doesn't give a goddamn about the flag. 245 00:16:54,121 --> 00:16:56,645 It means nothing to him. 246 00:16:56,756 --> 00:16:59,156 Any flag... You must be that character. 247 00:16:59,258 --> 00:17:01,385 Otherwise, we are making a propaganda film. 248 00:17:01,527 --> 00:17:03,551 And we don't make those kind of propaganda films." 249 00:17:04,963 --> 00:17:08,227 Fuller had found a niche in "B" films and genre pictures, 250 00:17:08,332 --> 00:17:10,299 but when the studio system collapsed, 251 00:17:10,399 --> 00:17:14,334 he was relegated to low-budget, independent productions. 252 00:17:14,436 --> 00:17:17,836 He had no money, no stars and only minimal sets. 253 00:17:17,938 --> 00:17:21,236 But out of these limitations emerged an outstanding film, 254 00:17:21,341 --> 00:17:24,866 Shock Corridor. 255 00:17:24,976 --> 00:17:29,503 A journalist pretends to be a madman in order to investigate a crime... 256 00:17:29,613 --> 00:17:32,172 that took place in a mental hospital. 257 00:17:32,281 --> 00:17:35,772 But instead of winning the Pulitzer Prize, he goes mad. 258 00:17:58,733 --> 00:18:02,168 Aaaah! 259 00:18:12,908 --> 00:18:16,172 Shock Corridor was full of front page material. 260 00:18:16,277 --> 00:18:20,042 The inmates were the product of Cold War paranoia and Southern racism. 261 00:18:20,147 --> 00:18:23,912 - Every form of American insanity was represented. - - Trent! 262 00:18:24,017 --> 00:18:29,317 This baptizes a new organization, the Ku Klux. 263 00:18:29,420 --> 00:18:32,980 - Sounds good. - No. 264 00:18:34,090 --> 00:18:37,354 Ku Klux Klan. 265 00:18:37,459 --> 00:18:40,256 Sounds more mysterious, more menacing, more alliterative. 266 00:18:40,361 --> 00:18:43,386 - Ku Klux Klan. Say it. - Ku Klux Klan. 267 00:18:43,497 --> 00:18:45,396 - KKK. - KKK. 268 00:18:45,498 --> 00:18:49,058 It'll catch on quick. It'll drive those carpetbaggers back north. 269 00:18:49,167 --> 00:18:51,157 Scare the hell out of �em. Tar and feather them. 270 00:18:51,268 --> 00:18:53,168 Hang' em. Burn 'em. 271 00:18:55,605 --> 00:18:59,233 Listen to me, Americans. America for Americans! 272 00:18:59,341 --> 00:19:01,831 America for Americans! 273 00:19:01,942 --> 00:19:04,910 Keep our schools white! 274 00:19:05,011 --> 00:19:07,570 - Keep 'em white! - That's right! Keep 'em white! 275 00:19:07,680 --> 00:19:10,239 - I'm against Catholics! - Hallelujah, man! Hallelujah! 276 00:19:10,348 --> 00:19:13,407 - Against Jews! Jews! - Hallelujah! Hallelujah! 277 00:19:13,517 --> 00:19:16,041 - Against niggers! - Hallelujah! Hallelujah! 278 00:19:16,152 --> 00:19:19,177 - Against niggers! - Hallelujah! 279 00:19:19,287 --> 00:19:21,551 - Against niggers! - Hallelujah! 280 00:19:21,656 --> 00:19:24,089 There's one! 281 00:19:24,191 --> 00:19:26,818 Let's get that black boy before he marries my daughter! 282 00:19:26,926 --> 00:19:29,052 Hallelujah! Hallelujah! 283 00:19:31,163 --> 00:19:33,062 The metaphor was crystal clear. 284 00:19:33,164 --> 00:19:37,259 In Fuller's vision, America had become an insane asylum. 285 00:19:39,368 --> 00:19:44,770 Sadly, Fuller's later career was typical of the times. 286 00:19:44,871 --> 00:19:48,135 To finance his unorthodox projects, he had to move to Europe. 287 00:19:48,240 --> 00:19:52,141 And for a whole generation of smugglers, this was the end of the line. 288 00:19:54,244 --> 00:19:57,076 The pioneers and showmen were gone. 289 00:19:57,180 --> 00:20:00,307 The moguls were replaced by agents and executives. 290 00:20:00,415 --> 00:20:02,315 Actors and directors were starting their own companies. 291 00:20:02,417 --> 00:20:06,784 Start the wind machine. 292 00:20:06,886 --> 00:20:09,218 Runaway production was the name of the game. 293 00:20:09,322 --> 00:20:11,687 Turn on the paddle wheel. 294 00:20:11,790 --> 00:20:15,156 Roll 'em! 295 00:20:15,259 --> 00:20:18,159 - To make films you had to go to London, - Action! 296 00:20:18,261 --> 00:20:20,160 Paris, Madrid and Rome. 297 00:20:20,262 --> 00:20:24,061 A film like Two Weeks In Another Town captured the desperation of the times. 298 00:20:24,165 --> 00:20:27,565 I have an offer... leave. 299 00:20:32,571 --> 00:20:34,903 There's only one name for you. 300 00:20:35,006 --> 00:20:39,373 On the streets of my village they call them... 301 00:20:39,476 --> 00:20:41,602 - Welcome to Hollywood on the Tiber. - How dare you! 302 00:20:41,710 --> 00:20:45,941 - You are behind schedule. - I need two weeks to finish shooting this picture. 303 00:20:46,047 --> 00:20:50,244 You give me two extra weeks, and I'll give you a Maurice Kruger picture. 304 00:20:50,350 --> 00:20:53,910 - Don't you want the best movie you can get? - No. 305 00:20:54,019 --> 00:20:59,387 - Don't you have pride in what pictures you put your name on? - No. 306 00:20:59,490 --> 00:21:01,389 Turn that off and get out. I want to get some sleep. 307 00:21:01,491 --> 00:21:03,425 Tucino, you international peddler! 308 00:21:03,526 --> 00:21:07,893 Take a good look at a movie that was made just because we couldn't sleep until we made it. 309 00:21:07,995 --> 00:21:10,554 Ironically, Two Weeks In Another Town... 310 00:21:10,697 --> 00:21:12,927 - was the sequel to The Bad And The Beautiful. - Laugh the way he would have! 311 00:21:12,999 --> 00:21:17,457 That's not a god talking, Georgia. That's only a man. 312 00:21:17,568 --> 00:21:21,094 Both films were directed by Vincente Minnelli, produced by John Houseman... 313 00:21:21,204 --> 00:21:23,330 and starred Kirk Douglas. 314 00:21:23,439 --> 00:21:28,000 But in ten years, from 1952 to 1962, 315 00:21:28,109 --> 00:21:30,599 the industry had undergone tremendous changes, 316 00:21:30,711 --> 00:21:32,940 and Two Weeks In Another Town... 317 00:21:33,045 --> 00:21:36,138 was a startling mirror of Hollywood's decline. 318 00:21:36,248 --> 00:21:39,375 Did it with style. 319 00:21:39,483 --> 00:21:42,110 L-It's all right, Mrs. Curry. 320 00:21:42,218 --> 00:21:47,177 Kruger, you're great. 321 00:21:51,658 --> 00:21:53,751 I was great. 322 00:21:53,860 --> 00:21:55,759 The golden age was over. 323 00:21:55,861 --> 00:22:00,229 And for many a veteran director, this was a painful period of anguish and self-doubt. 324 00:22:00,331 --> 00:22:03,299 Who in his right mind would expect me to settle for you? 325 00:22:03,400 --> 00:22:07,801 A worn-out, dried-up, whining, meddling old hag! 326 00:22:07,903 --> 00:22:11,463 My lawful wedded nightmare. Frustrated and stupid. 327 00:22:11,572 --> 00:22:15,837 Sticking your fat nose into everything day and night! 328 00:22:15,942 --> 00:22:18,341 Clara? 329 00:22:19,444 --> 00:22:21,343 Clara? 330 00:22:27,783 --> 00:22:29,909 Clara. 331 00:22:30,018 --> 00:22:33,578 Don't swallow all those sleeping pills. 332 00:22:33,687 --> 00:22:38,521 The doctor will just have to come up and pump out your stomach again. 333 00:22:38,624 --> 00:22:42,786 You know how sick that makes me. 334 00:22:50,132 --> 00:22:54,261 Oh, Clara. Clara. 335 00:22:56,102 --> 00:23:01,333 L- I look at this film I'm shooting. I like it. 336 00:23:03,274 --> 00:23:05,298 What if I'm wrong... 337 00:23:05,409 --> 00:23:07,933 and it's another calamity? 338 00:23:09,178 --> 00:23:11,941 Where do I go from here? 339 00:23:13,682 --> 00:23:16,673 Took me two years to get this job, and that was a fluke. 340 00:23:18,451 --> 00:23:22,682 How can a man go wrong and not know why? 341 00:23:22,788 --> 00:23:25,381 What's happened to me? 342 00:23:27,390 --> 00:23:29,880 Is it ego? 343 00:23:30,993 --> 00:23:33,756 Self-indulgence? 344 00:23:35,363 --> 00:23:37,557 Or... 345 00:23:42,301 --> 00:23:44,996 am I just plain afraid? 346 00:23:45,103 --> 00:23:47,764 Oh, my poor... 347 00:23:47,872 --> 00:23:52,432 I've seen the film you're shooting, and it's beautiful. 348 00:24:06,918 --> 00:24:11,683 Whereas the smuggler works undercover and his subversion is not detected immediately, 349 00:24:11,821 --> 00:24:14,186 the iconoclast attacks conventions head-on... 350 00:24:14,256 --> 00:24:17,656 and his defiance sends shock waves through the industry. 351 00:24:17,758 --> 00:24:21,818 In Hollywood, the iconoclasts comprise the visionaries, the groundbreakers, 352 00:24:21,928 --> 00:24:25,454 the renegades who openly defied the system and expanded the art form. 353 00:24:25,564 --> 00:24:29,226 Often they were defeated. Sometimes they actually made the system work for them. 354 00:24:35,938 --> 00:24:39,236 Hollywood has always had a love/hate relationship with those who break its rules, 355 00:24:39,340 --> 00:24:42,467 extolling them one moment and burning them the next. 356 00:24:47,445 --> 00:24:53,006 The Hollywood establishment often confused entertainment with escapism, 357 00:24:53,116 --> 00:24:57,779 so borrowing from real life was deemed either boring or sometimes subversive, 358 00:24:57,886 --> 00:25:00,877 particularly if it meant plumbing the lower depths. 359 00:25:00,988 --> 00:25:03,717 But back in the silent era, a few filmmakers challenged... 360 00:25:03,857 --> 00:25:05,756 the ideals of glamour and wholesomeness by injecting... 361 00:25:05,858 --> 00:25:08,417 a dose of reality into their films, 362 00:25:08,493 --> 00:25:11,223 generally within the framework of the melodrama. 363 00:25:11,328 --> 00:25:13,694 D. W. Griffith, for instance, is often identified... 364 00:25:13,797 --> 00:25:17,288 with quaint romanticism and Victorian sensibility. 365 00:25:17,400 --> 00:25:22,199 But more than once, he went beyond the accepted melodrama of his time. 366 00:25:23,771 --> 00:25:26,898 In Broken Blossoms, he showed how a sordid reality... 367 00:25:27,006 --> 00:25:29,200 can destroy the purest dreams. 368 00:25:35,712 --> 00:25:38,339 This was the most delicate interracial romance. 369 00:25:38,447 --> 00:25:41,779 Physical and spiritual suffering is what unites Lillian Gish, 370 00:25:41,883 --> 00:25:44,976 the waif battered by her boxing father, 371 00:25:45,085 --> 00:25:48,713 and Richard Barthelmess, the young Buddhist who lost his religious fervor... 372 00:25:48,821 --> 00:25:51,846 in the slums of London. 373 00:25:51,957 --> 00:25:55,823 Their bodies, like their souls, are bent or stunted. 374 00:25:57,193 --> 00:25:59,660 Both are broken blossoms. 375 00:26:05,132 --> 00:26:09,430 Only when they find each other do they come alive. 376 00:26:11,036 --> 00:26:13,401 So, for a brief moment, 377 00:26:13,504 --> 00:26:16,802 they're allowed to dream before our eyes. 378 00:26:24,112 --> 00:26:28,069 But when the racist father discovers the situation, 379 00:26:28,181 --> 00:26:31,741 bigotry is exposed in its rawest form. 380 00:26:33,518 --> 00:26:38,476 Sweetness and compassion turn to fury and savagery. 381 00:26:54,065 --> 00:26:58,296 The young Chinese who didn't believe in violence... 382 00:26:58,402 --> 00:27:00,892 picks up a gun to save his beloved. 383 00:27:04,473 --> 00:27:06,463 He'll come too late. 384 00:27:12,044 --> 00:27:14,774 Her punishment is death. 385 00:27:21,118 --> 00:27:25,917 Erich von Stroheim was the most outrageous of the iconoclasts, and he fell the hardest. 386 00:27:26,021 --> 00:27:29,683 The Wedding March is a fairy tale, but a tragic one, 387 00:27:29,790 --> 00:27:34,555 with Fay Wray, a poor musician's daughter, as Cinderella, 388 00:27:34,659 --> 00:27:38,560 and Stroheim, the scion of an aristocratic family, as her Prince Charming. 389 00:27:55,708 --> 00:28:00,075 The setting was Vienna in the last days of the Hapsburg dynasty, 390 00:28:00,177 --> 00:28:05,011 a decadent world that both fascinated and repelled Stroheim. 391 00:28:09,483 --> 00:28:13,350 The city of waltzes and operettas was a pigsty. 392 00:28:21,459 --> 00:28:26,451 Behind the romantic exterior, Stroheim revealed an ugly, cruel society... 393 00:28:26,562 --> 00:28:28,961 ruled by greed. 394 00:28:39,538 --> 00:28:42,802 The apple blossoms offered a brief refuge, 395 00:28:42,907 --> 00:28:44,999 but they were an illusion. 396 00:28:45,108 --> 00:28:48,736 Innocence was doomed from the start. 397 00:28:48,844 --> 00:28:52,210 Stroheim's heroines were no Madonna�s. 398 00:28:52,313 --> 00:28:56,941 Like their male counterparts, they were always endowed with strong sexual desires. 399 00:28:57,049 --> 00:29:00,745 What Stroheim was after was a more honest depiction... 400 00:29:00,852 --> 00:29:03,718 of human relationships. 401 00:29:18,465 --> 00:29:20,398 Both lovers were victims. 402 00:29:20,499 --> 00:29:23,023 The young girl who surrendered her soul... 403 00:29:23,134 --> 00:29:28,036 and the prince who had not yet been corrupted by the hypocrisy of his milieu. 404 00:29:32,273 --> 00:29:35,571 Stroheim's images could certainly be brutal, 405 00:29:35,676 --> 00:29:38,769 and they inevitably got him into trouble with the censors. 406 00:29:38,878 --> 00:29:41,311 But at heart, he was a romantic... 407 00:29:41,413 --> 00:29:45,473 who was haunted by the loss and the corruption of love. 408 00:29:46,884 --> 00:29:50,512 Rather than indulge in the splendors of imperial Vienna, 409 00:29:50,619 --> 00:29:52,883 he exposed its moral squalor. 410 00:29:54,956 --> 00:29:58,721 The young prince's father, a ruined aristocrat, 411 00:29:58,825 --> 00:30:03,453 strikes a deal with a rich merchant, who's desperate to marry off his crippled daughter. 412 00:30:14,736 --> 00:30:17,898 Stroheim paid a high price for his transgressions... 413 00:30:18,005 --> 00:30:22,065 and his perceived intransigence. 414 00:30:22,175 --> 00:30:26,769 The very qualities that made him a great artist undid him. 415 00:30:26,878 --> 00:30:31,973 He was dubbed a megalomaniac and ended up losing control over most of his projects. 416 00:30:32,081 --> 00:30:36,540 They would all be eventually truncated or disfigured. 417 00:30:36,651 --> 00:30:40,450 All fragments of a broken vision. 418 00:30:49,727 --> 00:30:51,626 In the '30s a few topical films... 419 00:30:51,728 --> 00:30:54,389 allowed the grim reality of the Depression to seep into the movies, 420 00:30:54,496 --> 00:30:56,487 particularly at Warner Brothers. 421 00:30:56,598 --> 00:30:58,827 Young Darryl Zanuck, then head of production, 422 00:30:58,933 --> 00:31:02,493 ordered his writers to draw their subjects from newspaper headlines. 423 00:31:02,602 --> 00:31:05,331 I Am A Fugitive From A Chain Gang was probably the most famous... 424 00:31:05,437 --> 00:31:07,461 of these hard-hitting exposes. 425 00:31:07,572 --> 00:31:11,735 It even led to the reformation of the penal system in the South. 426 00:31:11,842 --> 00:31:14,071 However, David Selznick at RKO... 427 00:31:14,177 --> 00:31:17,805 jumped the gun on Zanuck by releasing his own indictment of the chain gang system... 428 00:31:17,913 --> 00:31:20,073 several months earlier. 429 00:31:23,016 --> 00:31:25,041 The film was called Hell's Highway. 430 00:31:25,151 --> 00:31:28,313 Well, young fella, ya won't catch cold in that sweatbox. 431 00:31:28,420 --> 00:31:31,411 It was one of the three films directed by Rowland Brown, 432 00:31:31,522 --> 00:31:34,854 a forgotten figure whose meteoric career reputedly ended... 433 00:31:34,958 --> 00:31:37,425 when he punched one of Hollywood's top executives. 434 00:31:46,899 --> 00:31:49,423 Carter's dead. Strangled to death in the sweatbox. 435 00:31:49,534 --> 00:31:53,799 The contractor says the boy committed suicide. 436 00:31:53,904 --> 00:31:56,929 - Carter's dead. - Carter's dead. 437 00:31:57,040 --> 00:31:59,098 - Carter's dead. - Carter's dead. 438 00:31:59,208 --> 00:32:01,767 Somehow, Rowland Brown's audacity epitomized the pre-Code era. 439 00:32:01,876 --> 00:32:04,810 Those are the tumultuous years before rigid censorship rules, 440 00:32:04,911 --> 00:32:07,310 known as the Production Code, came into effect. 441 00:32:07,413 --> 00:32:11,109 - Where's Carter? - Yeah! Where is Carter? 442 00:32:11,216 --> 00:32:16,118 Where's Carter? 443 00:32:16,220 --> 00:32:18,915 Quiet there! 444 00:32:19,021 --> 00:32:23,649 A convicted bank robber, Richard Dix is one of the forgotten men of the Depression. 445 00:32:23,757 --> 00:32:28,659 His rebellious behavior is justified by the appalling conditions at the prison camp. 446 00:32:31,597 --> 00:32:35,929 His desperation reflects that of the country. 447 00:32:36,032 --> 00:32:40,263 Well, why don't you start? 448 00:32:40,369 --> 00:32:44,771 The World War One veteran was once an all-American hero. 449 00:32:48,874 --> 00:32:52,536 Social consciousness sparked Warner Brother�s stark dramas. 450 00:32:52,644 --> 00:32:56,841 Films like William Wellman's Wild Boys Of The Road and Heroes For Sale. 451 00:32:56,947 --> 00:32:59,437 I have to get to my aunt's in Chicago someway. 452 00:32:59,549 --> 00:33:02,745 - This is the only way I can do it. - Well, don't your folks mind? 453 00:33:02,851 --> 00:33:05,512 My mother's dead. 454 00:33:06,954 --> 00:33:08,921 And we got a big family. 455 00:33:09,022 --> 00:33:12,013 With me gone, it means just one less mouth to feed. 456 00:33:12,124 --> 00:33:14,591 That's why they were kind of glad to see me go. 457 00:33:17,361 --> 00:33:20,955 Wild Boys Of The Road was about teenagers who had been forced to leave home... 458 00:33:21,063 --> 00:33:24,828 to find work because their parents lost their jobs in the Depression. 459 00:33:24,933 --> 00:33:28,595 Railroad dicks constantly harassed and abused them. 460 00:33:28,702 --> 00:33:30,828 Cheese it! Railroad dicks! 461 00:33:30,937 --> 00:33:35,032 The social and political context was painted in rather broad strokes, 462 00:33:35,140 --> 00:33:39,132 but the dramas were contemporary, urgent, gripping. 463 00:33:39,242 --> 00:33:43,200 Wild Bill Wellman had a natural feeling for the vagabond life, 464 00:33:43,312 --> 00:33:46,576 for the homeless youngsters and their battles with authority. 465 00:33:46,681 --> 00:33:50,207 His sympathy lay with the outcasts and with the rebels. 466 00:34:23,273 --> 00:34:25,900 Tommy! 467 00:34:30,811 --> 00:34:32,870 Now, at the opposite end of the spectrum... 468 00:34:32,980 --> 00:34:35,345 you find a different breed of iconoclast, 469 00:34:35,448 --> 00:34:38,314 Baroque stylists such as Josef von Sternberg. 470 00:34:41,152 --> 00:34:43,745 Like Stroheim, Sternberg demanded total control... 471 00:34:43,853 --> 00:34:46,446 over all aspects of his productions. 472 00:34:46,555 --> 00:34:51,218 But his was a voluptuous, dreamlike, supremely artificial world, 473 00:34:51,326 --> 00:34:55,125 lovingly composed on the Paramount soundstages. 474 00:34:56,595 --> 00:34:59,586 Sternberg's radical stylization proved as provocative... 475 00:34:59,698 --> 00:35:02,894 as Stroheim's extreme realism. 476 00:35:03,000 --> 00:35:06,662 Each film became a ceremonial with the director orchestrating... 477 00:35:06,769 --> 00:35:09,794 the most elaborate, erotic rituals around his star, 478 00:35:09,905 --> 00:35:12,532 Marlene Dietrich. 479 00:35:12,640 --> 00:35:15,039 Of the seven films Sternberg made with Dietrich, 480 00:35:15,141 --> 00:35:18,632 The Scarlet Empress was the most baroque and the boldest... 481 00:35:18,744 --> 00:35:21,007 in its depiction of erotic manipulation... 482 00:35:21,112 --> 00:35:24,638 as it traced the transformation of an innocent Prussian princess... 483 00:35:24,748 --> 00:35:28,979 into Catherine the Great, the empress of Russia. 484 00:35:29,085 --> 00:35:32,713 The woman you adore is quite close to you, isn't she? 485 00:35:32,821 --> 00:35:35,846 Catherine, I love you, worship you. 486 00:35:39,158 --> 00:35:44,059 As the heroine quickly discovered, political power and sexual power were inseparable. 487 00:35:48,198 --> 00:35:50,757 Her battles were waged in the bedroom... 488 00:35:50,866 --> 00:35:54,232 as she learned the art of choosing and changing lovers at the right time. 489 00:35:58,538 --> 00:36:00,596 Catherine showed such considerable skills... 490 00:36:00,706 --> 00:36:03,697 that she even challenged traditional sexual roles. 491 00:36:03,808 --> 00:36:07,436 Behind the mirror, as you know, there's a flight of stairs. 492 00:36:07,544 --> 00:36:11,001 Down below someone is waiting to come up. 493 00:36:11,114 --> 00:36:15,014 Will His Excellency be kind enough to open the door for him carefully... 494 00:36:15,116 --> 00:36:17,016 so that he can sneak in? 495 00:36:24,756 --> 00:36:28,589 Nothing escaped Sternberg's artistic control. 496 00:36:28,692 --> 00:36:31,785 He wrote the script, conceived the lighting, 497 00:36:31,894 --> 00:36:33,861 composed some of the music, 498 00:36:33,962 --> 00:36:36,226 directed the Los Angeles Symphonic Orchestra, 499 00:36:36,331 --> 00:36:38,230 helped design the sets and sculptures, 500 00:36:38,332 --> 00:36:41,391 Why did you send my mother away? What wrong had she done? 501 00:36:41,501 --> 00:36:44,128 And probably selected every icon himself. 502 00:36:47,171 --> 00:36:50,469 He even claimed that Marlene was just another tool. 503 00:36:53,075 --> 00:36:57,704 He said, "Remember that Marlene is not Marlene... I'm Marlene. 504 00:36:57,812 --> 00:36:59,711 She knows that better than anyone. " 505 00:37:00,814 --> 00:37:02,644 That must be Peter. 506 00:37:02,748 --> 00:37:05,648 Go and see if it is and tell him to come here at once. 507 00:37:07,385 --> 00:37:11,286 Your Imperial Highness, Her Majesty wishes to see you at once. 508 00:37:11,388 --> 00:37:14,015 "To the artist," insisted Sternberg, 509 00:37:14,123 --> 00:37:17,387 "the subject is incidental, and only his vision matters. " 510 00:37:17,492 --> 00:37:20,790 He said, " The camera is a diabolical instrument... 511 00:37:20,895 --> 00:37:23,829 that conveys ideas with lightning speed. 512 00:37:23,930 --> 00:37:27,330 Each picture transliterates a thousand words. " 513 00:37:29,434 --> 00:37:33,028 Perhaps the greatest iconoclast of them all was also the youngest... 514 00:37:33,136 --> 00:37:35,035 Orson Welles. 515 00:37:35,137 --> 00:37:39,698 The downright villainy of Boss Jim W. Gettys' political machine, 516 00:37:39,808 --> 00:37:41,866 now in complete control... 517 00:37:41,975 --> 00:37:44,875 He was 25 when he landed in Hollywood. 518 00:37:44,977 --> 00:37:48,605 I made no campaign promises... 519 00:37:48,713 --> 00:37:51,704 because, until a few weeks ago, 520 00:37:51,816 --> 00:37:54,716 I had no hope of being elected. 521 00:37:54,818 --> 00:37:58,753 Now, however, I have something more than a hope. 522 00:38:00,855 --> 00:38:02,754 And Jim Gettys... 523 00:38:02,856 --> 00:38:06,052 Jim Gettys has something less than a chance. 524 00:38:06,158 --> 00:38:08,956 In the wake of his radio show War of the Worlds, 525 00:38:09,060 --> 00:38:12,790 the young prodigy was given unprecedented latitude by RKO, 526 00:38:12,896 --> 00:38:14,796 including what's known today as... 527 00:38:14,898 --> 00:38:17,627 the right to final cut. 528 00:38:17,733 --> 00:38:20,166 At the time only screen legend Charlie Chaplin... 529 00:38:20,268 --> 00:38:23,395 enjoyed such creative control over his productions. 530 00:38:23,504 --> 00:38:26,597 For his first film Welles set out to explore the many facets... 531 00:38:26,706 --> 00:38:29,606 of media baron William Randolph Hearst, 532 00:38:29,708 --> 00:38:33,803 whose abuse of wealth and power defied America's democratic traditions. 533 00:38:35,579 --> 00:38:37,479 Some in Hollywood were so incensed... 534 00:38:37,580 --> 00:38:41,481 that they put pressure on RKO to destroy the negative. 535 00:38:41,583 --> 00:38:43,982 Fortunately, they didn't succeed. 536 00:38:49,722 --> 00:38:53,622 Welles was like a young magician enchanted by his own magic. 537 00:38:53,724 --> 00:38:56,624 In fact, the most revolutionary aspect of Citizen Kane... 538 00:38:56,726 --> 00:38:58,626 was its self-consciousness. 539 00:38:58,728 --> 00:39:01,287 The style drew attention to itself. 540 00:39:03,130 --> 00:39:04,825 Rosebud. 541 00:39:09,969 --> 00:39:11,869 Now, this contradicted the classical ideal... 542 00:39:11,971 --> 00:39:14,461 of the invisible camera and seamless cuts. 543 00:39:14,572 --> 00:39:17,540 Welles used every narrative technique and filmic device... 544 00:39:17,641 --> 00:39:20,541 deep focus, high and low angles, wide-angle lenses. 545 00:39:20,643 --> 00:39:23,042 "I want to use the motion picture camera... 546 00:39:23,144 --> 00:39:25,169 as an instrument of poetry, " he said. 547 00:39:25,279 --> 00:39:28,180 And somehow Welles� passion for the medium... 548 00:39:28,282 --> 00:39:30,909 became the great excitement of the piece itself. 549 00:39:32,885 --> 00:39:38,014 Now, you see, I had the best contract that anybody's ever had for Kane. 550 00:39:38,121 --> 00:39:42,147 Nobody comes on the set; nobody gets to look at the rushes; nothing. 551 00:39:42,258 --> 00:39:45,158 You just make the picture and that's it. 552 00:39:45,260 --> 00:39:48,160 If I hadn't had that contract, they've would've stopped me at the beginning, 553 00:39:48,262 --> 00:39:50,162 just by the nature of the script. 554 00:39:50,264 --> 00:39:54,164 But it was such conditions... I've never had anything remotely equal... 555 00:39:54,266 --> 00:39:56,166 to that contract since. 556 00:39:56,268 --> 00:39:58,667 So it isn't just the success. 557 00:39:58,769 --> 00:40:02,727 What spoiled me is having had the joy of that kind of liberty... 558 00:40:02,839 --> 00:40:04,738 once in my life... 559 00:40:04,840 --> 00:40:09,173 and never having been able to enjoy it again. 560 00:40:09,277 --> 00:40:12,507 George Amberson Minafer walked homeward slowly... 561 00:40:12,612 --> 00:40:17,013 through what seemed to be the strange streets of a strange city. 562 00:40:17,115 --> 00:40:20,914 For the town was growing and changing. 563 00:40:21,018 --> 00:40:24,612 It was heaving up in the middle incredibly. 564 00:40:24,720 --> 00:40:27,119 It was spreading incredibly. 565 00:40:27,222 --> 00:40:31,521 And as it heaved and spread, it befouled itself... 566 00:40:31,625 --> 00:40:33,524 and darkened its sky. 567 00:40:35,127 --> 00:40:38,028 Orson Welles inspired more would-be directors... 568 00:40:38,130 --> 00:40:41,030 than any other filmmaker since D. W. Griffith. 569 00:40:41,132 --> 00:40:44,032 Yet Welles didn't change the status of the Hollywood director. 570 00:40:44,134 --> 00:40:47,034 He actually lost all his privileges a year later... 571 00:40:47,136 --> 00:40:49,262 on The Magnificent Ambersons, 572 00:40:49,370 --> 00:40:53,772 which was chopped down and partially reshot in his absence. 573 00:40:55,541 --> 00:40:58,941 Do you know that I always liked Hollywood very much. 574 00:40:59,044 --> 00:41:01,876 It just wasn't reciprocated. 575 00:41:03,980 --> 00:41:07,881 Throughout his career, Welles pushed the creative envelope in so many ways. 576 00:41:07,983 --> 00:41:11,213 To trace Kane's political ambitions, for instance, 577 00:41:11,319 --> 00:41:13,183 he created fake newsreel footage. 578 00:41:13,286 --> 00:41:15,186 To give it the appropriate look, 579 00:41:15,288 --> 00:41:18,950 he had editor Robert Wise drag the film across a concrete floor. 580 00:41:19,058 --> 00:41:21,423 Here was an opportunity for Welles to recall... 581 00:41:21,526 --> 00:41:23,550 William Randolph Hearst's fondness for dictators. 582 00:41:23,660 --> 00:41:27,561 You saw Kane posing with Hitler for the photographers. 583 00:41:27,663 --> 00:41:30,563 Now, at the same time, in his first talking picture, 584 00:41:30,665 --> 00:41:33,997 Chaplin dared to aim at the Fascist powers directly. 585 00:41:34,101 --> 00:41:37,001 At the risk of infuriating America's isolationist forces, 586 00:41:37,103 --> 00:41:39,002 Chaplin took on the dictator singlehandedly. 587 00:41:39,104 --> 00:41:41,004 Und now, der Juden. 588 00:41:43,107 --> 00:41:45,006 Der Juden! 589 00:42:07,423 --> 00:42:09,152 Der Juden. 590 00:42:09,258 --> 00:42:12,624 Ohhhh, der Juden. 591 00:42:12,728 --> 00:42:16,753 His Excellency has just referred to the Jewish people. 592 00:42:16,863 --> 00:42:19,388 A comedy drawing on such topical horrors... 593 00:42:19,499 --> 00:42:22,467 as racial persecutions and concentration camps, 594 00:42:22,568 --> 00:42:25,968 The Great Dictator presented Chaplin with another major challenge: 595 00:42:26,070 --> 00:42:27,969 He gave himself a double role, 596 00:42:28,071 --> 00:42:29,970 that of the monster dictator Hynkel... 597 00:42:30,072 --> 00:42:33,472 and the victim, the Jewish barber. 598 00:42:39,078 --> 00:42:43,480 Of course, even the renegades like Chaplin and Welles had to work around the censors. 599 00:42:43,582 --> 00:42:45,549 Attention! 600 00:42:45,650 --> 00:42:49,551 The content of American films was still strictly controlled. 601 00:42:49,653 --> 00:42:53,053 Adult themes and images were too often curtailed or suppressed. 602 00:42:55,390 --> 00:42:57,290 But after World War Two, 603 00:42:57,392 --> 00:43:00,292 audiences wanted pictures to be truer to life. 604 00:43:00,394 --> 00:43:03,226 A few of our filmmakers started challenging the rules. 605 00:43:03,329 --> 00:43:05,489 Hey, Stella! 606 00:43:05,597 --> 00:43:08,497 You quit that howling' down there and go to bed! 607 00:43:08,599 --> 00:43:11,499 - Joyce, I want my girl down here! - You shut up! 608 00:43:11,601 --> 00:43:14,501 Elia Kazan led the assault. 609 00:43:15,904 --> 00:43:19,395 Hey, Stella! 610 00:43:21,341 --> 00:43:23,740 Hey, Stella! 611 00:43:28,846 --> 00:43:33,747 His Streetcar Named Desire caused the first major breach in Hollywood's Production Code. 612 00:43:33,849 --> 00:43:35,749 I wouldn't mix in this. 613 00:43:45,124 --> 00:43:48,456 Kazan fought tooth and nail, frame by frame, 614 00:43:48,560 --> 00:43:52,961 to preserve the integrity of Tennessee Williams� drama when he adapted it to the screen. 615 00:43:55,564 --> 00:43:58,464 This meant exposing the overtly carnal desires... 616 00:43:58,566 --> 00:44:03,229 of Stanley and his battered, pregnant wife Stella. 617 00:44:03,336 --> 00:44:07,237 Now, these close shots of Kim Hunter were not in the film... 618 00:44:07,339 --> 00:44:09,238 as it was originally released... 619 00:44:09,340 --> 00:44:13,742 because the Legion of Decency objected to their sensuality. 620 00:44:18,513 --> 00:44:20,639 The studio decided to cut them... 621 00:44:20,748 --> 00:44:23,648 and replace the jazz score with more conventional music. 622 00:44:38,194 --> 00:44:40,753 Don't ever leave me, baby. 623 00:44:42,363 --> 00:44:46,730 The camera is more than a recorder...it's a microscope. 624 00:44:46,833 --> 00:44:49,665 It penetrates. It goes into people. 625 00:44:49,768 --> 00:44:53,669 You see their most private and concealed thoughts. 626 00:44:53,771 --> 00:44:56,671 I'm able... I have been able to do that with actors. 627 00:44:56,773 --> 00:45:00,503 I mean, I've revealed things that actors didn't know they were revealing about themselves. 628 00:45:00,609 --> 00:45:03,441 You know, I seen you a lot of times before. 629 00:45:03,544 --> 00:45:06,444 Remember parochial school out on Paluski Street? 630 00:45:06,546 --> 00:45:09,514 Seven, eight years ago. Your hair... Had your hair, uh... 631 00:45:09,615 --> 00:45:11,605 Braids. That's right. 632 00:45:11,716 --> 00:45:13,616 Looked like a hunk of rope. 633 00:45:13,718 --> 00:45:17,812 You had wires on your teeth and glasses, everything. 634 00:45:17,920 --> 00:45:19,820 You was really a mess. 635 00:45:19,922 --> 00:45:22,947 I was 12 years old when I saw On The Waterfront. 636 00:45:23,058 --> 00:45:24,957 It was a breakthrough for me. 637 00:45:25,059 --> 00:45:27,458 Don't get sore. I'm just kidding you. 638 00:45:27,560 --> 00:45:30,960 I just mean to tell you that you... grew up very nice. 639 00:45:31,063 --> 00:45:33,530 Kazan was forging a new acting style. 640 00:45:35,633 --> 00:45:37,532 Edie? 641 00:45:40,136 --> 00:45:42,036 Edie? 642 00:45:42,138 --> 00:45:44,037 It had the appearance of realism, 643 00:45:44,139 --> 00:45:47,039 but actually it revealed the natural behavior of people... 644 00:45:47,141 --> 00:45:51,304 and the truth in that behavior that I'd never seen before on the screen. 645 00:45:51,410 --> 00:45:53,309 Stay away from me! 646 00:45:53,411 --> 00:45:57,608 "Brando, " Kazan said, "was the only actor I could describe as a genius. 647 00:45:57,715 --> 00:46:01,172 He had that ambivalence that I believe is essential in depicting humanity..." 648 00:46:01,284 --> 00:46:03,478 Come on! Open the door, please! 649 00:46:03,585 --> 00:46:05,484 - "both strength... - Stop it! 650 00:46:05,586 --> 00:46:07,486 And sensibility. " 651 00:46:09,022 --> 00:46:10,751 I want you to stay away from me. 652 00:46:10,857 --> 00:46:13,984 I know what you want me to do, but I ain't gonna do it, so forget it! 653 00:46:14,093 --> 00:46:18,460 I don't want you to do anything. You let your conscience tell you what to do. 654 00:46:18,562 --> 00:46:21,587 Shut up about that conscience. That's all I been hearin'. 655 00:46:21,731 --> 00:46:25,222 I never mentioned the word before. You just stay away from me! 656 00:46:25,300 --> 00:46:28,200 Edie, you love me. I want you to... 657 00:46:28,302 --> 00:46:31,702 I didn't say I didn't love you. I said stay away from me! 658 00:46:31,805 --> 00:46:34,705 - I want you to say it to me. - Stay away from me! 659 00:46:49,883 --> 00:46:54,216 Elia Kazan paved the way for the iconoclasts of the '50s and '60s. 660 00:46:54,320 --> 00:46:56,719 They were writer-directors and writer-producers, 661 00:46:56,822 --> 00:47:00,780 men like Robert Aldrich, Richard Brooks, 662 00:47:00,891 --> 00:47:04,382 Robert Rossen, Billy Wilder, 663 00:47:04,494 --> 00:47:06,393 and among the younger generation... 664 00:47:06,495 --> 00:47:08,894 Arthur Penn and Sam Peckinpah. 665 00:47:08,996 --> 00:47:11,896 They all defied the guardians of public morality... 666 00:47:11,998 --> 00:47:15,160 by daring to tackle controversial issues like racism, 667 00:47:15,267 --> 00:47:18,758 inner-city violence, juvenile delinquency, 668 00:47:18,870 --> 00:47:21,997 homosexuality, war atrocities, 669 00:47:22,105 --> 00:47:24,005 the death penalty. 670 00:47:24,107 --> 00:47:26,336 A new reality was hitting the screens. 671 00:47:26,442 --> 00:47:29,342 I think producer-director Otto Preminger did more than anyone else... 672 00:47:29,444 --> 00:47:32,344 to bring about the demise of the Production Code. 673 00:47:32,446 --> 00:47:35,346 His crusade against censorship led him from The Moon Is Blue, 674 00:47:35,448 --> 00:47:37,972 a comedy about professional virgins, 675 00:47:38,083 --> 00:47:39,983 to Advise & Consent, 676 00:47:40,085 --> 00:47:41,984 which exposed political corruption in Washington... 677 00:47:42,086 --> 00:47:43,985 and even showed gay bars. 678 00:47:44,087 --> 00:47:47,681 He was among the first to challenge the blacklists by hiring Dalton Trumbo, 679 00:47:47,790 --> 00:47:49,690 one of the "Hollywood Ten," 680 00:47:49,792 --> 00:47:51,691 to write Exodus. 681 00:47:51,793 --> 00:47:54,192 One of Preminger's most important victories was scored... 682 00:47:54,294 --> 00:47:57,194 when he made the film The Man With the Golden Arm, 683 00:47:57,296 --> 00:48:00,196 probably the first honest depiction of drug addiction... 684 00:48:00,298 --> 00:48:02,129 on American screens. 685 00:48:02,234 --> 00:48:05,634 Here's Frank Sinatra, in one of his most memorable performances, 686 00:48:05,736 --> 00:48:08,636 as a heroin addict going through withdrawal. 687 00:48:26,083 --> 00:48:27,983 Let me out! 688 00:48:30,920 --> 00:48:32,819 Ohh! 689 00:48:36,724 --> 00:48:38,623 Out! 690 00:48:38,725 --> 00:48:41,124 Come on! Let me out! 691 00:48:42,461 --> 00:48:44,360 Ohh! 692 00:48:46,364 --> 00:48:48,558 Ohh! 693 00:48:52,601 --> 00:48:56,001 And don't try to come back, or I'll throw you out again! 694 00:48:56,104 --> 00:48:59,266 Alexander Mackendrick's Sweet Smell of Success... 695 00:48:59,373 --> 00:49:01,772 exposed a different kind of addiction... 696 00:49:01,874 --> 00:49:03,773 the addiction to power. 697 00:49:03,875 --> 00:49:05,775 I love this dirty town. 698 00:49:05,877 --> 00:49:09,777 The arena was Broadway, with Burt Lancaster portraying J.J. Hunsecker, 699 00:49:09,879 --> 00:49:11,779 the master manipulator. 700 00:49:13,115 --> 00:49:15,345 In Clifford Odets and Ernest Lehman's screenplay, 701 00:49:15,450 --> 00:49:19,384 the formidable newspaper and radio columnist was to show business... 702 00:49:19,486 --> 00:49:22,477 what Senator McCarthy was to Cold War politics. 703 00:49:22,588 --> 00:49:24,886 His fear and intimidation tactics... 704 00:49:24,990 --> 00:49:27,219 made him a national institution, 705 00:49:27,325 --> 00:49:31,317 but his ruthless world flickered in a moral twilight. 706 00:49:39,867 --> 00:49:43,165 Manny, tell me, what exactly are the... 707 00:49:43,269 --> 00:49:47,170 unseen gifts of this lovely young thing that you manage? 708 00:49:48,439 --> 00:49:50,339 Well, she sings a little. 709 00:49:50,441 --> 00:49:52,340 You know, she sings... 710 00:49:52,442 --> 00:49:55,842 Manny's faith in me is simply awe-inspiring, Mr. Hunsecker. 711 00:49:55,945 --> 00:49:58,378 - Actually, I'm still studying. - What subject? 712 00:49:58,479 --> 00:50:00,378 Singing, of course. 713 00:50:00,480 --> 00:50:02,448 Straight concert and... 714 00:50:02,549 --> 00:50:05,642 Why, of course. You might, for instance, be studying politics. 715 00:50:05,751 --> 00:50:07,650 Uh... me? 716 00:50:07,752 --> 00:50:09,651 - Well, you see, J.J... - I mean, I? 717 00:50:09,753 --> 00:50:11,653 Y-You must be kidding, Mr. Hunsecker. 718 00:50:11,755 --> 00:50:14,154 Me, with my Jersey City brains? 719 00:50:14,257 --> 00:50:17,657 I know. That wonder boy of yours opens at the Latin Quarter next week. 720 00:50:17,759 --> 00:50:19,658 - J.J., uh... - Say good-bye, Lester. 721 00:50:19,760 --> 00:50:23,217 J.J. 's power is based on a network of informers and sycophants. 722 00:50:23,330 --> 00:50:27,231 That's the only reason the poor slobs pay you... to see their names in my column. 723 00:50:27,333 --> 00:50:30,233 - Now I make it out you're doing me a favor? - I didn't say tha... 724 00:50:30,335 --> 00:50:33,235 The day I can't get along without a press agent's handouts, 725 00:50:33,337 --> 00:50:35,861 I'll close up and move to Alaska. 726 00:50:35,972 --> 00:50:38,031 Sweep out my igloo. Here I come. 727 00:50:38,140 --> 00:50:41,437 Manny, you rode in here on the senator's shirttails, so shut your mouth. 728 00:50:41,542 --> 00:50:44,375 Now, come, J.J. That's a little too harsh. 729 00:50:44,478 --> 00:50:47,378 Anyone seems fair game for you tonight. 730 00:50:47,480 --> 00:50:52,677 This man is not for you, Harvey, and you shouldn't be seen in public with him. 731 00:50:52,783 --> 00:50:55,683 Because that's another part of a press agent's life. 732 00:50:55,785 --> 00:50:58,685 They dig up scandal about prominent people and shovel it thin... 733 00:50:58,787 --> 00:51:00,686 among columnists who give them space. 734 00:51:00,788 --> 00:51:04,621 There seems to be some allusion here that escapes me. 735 00:51:04,725 --> 00:51:06,625 We're friends, Harvey. 736 00:51:06,727 --> 00:51:10,217 We go as far back as when you were a fresh kid congressman, don't we? 737 00:51:10,328 --> 00:51:13,455 Why is it that everything you say sounds like a threat? 738 00:51:13,564 --> 00:51:16,589 Maybe it's a mannerism, because I don't threaten friends. 739 00:51:16,699 --> 00:51:19,599 But why furnish your enemies with ammunition? 740 00:51:19,701 --> 00:51:24,000 You're a family man, Harvey, and someday, God willing, you may want to be president. 741 00:51:24,105 --> 00:51:27,005 And here you are, out in the open, 742 00:51:27,107 --> 00:51:32,372 where any hep person knows that this one is toting that one around for you. 743 00:51:36,413 --> 00:51:38,505 Are we kids, or what? 744 00:51:39,949 --> 00:51:42,849 Next time you come up you might join me on my TV show. 745 00:51:42,951 --> 00:51:46,852 Thanks, J.J., for what I consider sound advice. 746 00:51:46,954 --> 00:51:48,978 Go now, and sin no more. 747 00:51:51,690 --> 00:51:53,590 Nein! Nein! 748 00:51:56,193 --> 00:52:00,094 Let's not forget that comedies can be just as iconoclastic as dramas. 749 00:52:00,196 --> 00:52:03,028 Billy Wilder's work, first as a writer in the 1930s, 750 00:52:03,132 --> 00:52:07,033 then as a writer-director from the '40s on, is a perfect example. 751 00:52:07,134 --> 00:52:11,035 Over the years Wilder's wit only grew more abrasive. 752 00:52:11,137 --> 00:52:14,037 Instead of sweetening his brews, he kept adding more acid. 753 00:52:14,139 --> 00:52:16,039 - Sind Sie ein Amerikanischer Spion? - Nein! 754 00:52:16,141 --> 00:52:19,041 You won't find a more iconoclastic film in the Kennedy years... 755 00:52:19,143 --> 00:52:21,042 than his film One, Two, Three, 756 00:52:23,645 --> 00:52:27,774 a savage political farce that dared ridicule all ideologies at the height of the Cold War. 757 00:52:30,383 --> 00:52:32,782 - Hey! - MacNamara! 758 00:52:32,885 --> 00:52:36,285 If it isn't my old friends Hart, Schaffner and Karl Marx. 759 00:52:36,387 --> 00:52:39,787 - I see you bring blonde lady with you. - Ring-a-ding-ding! 760 00:52:39,890 --> 00:52:42,790 James Cagney plays a Coca-Cola executive who has enrolled his secretary... 761 00:52:42,892 --> 00:52:45,291 to hoodwink the Soviet commissars in East Berlin. 762 00:52:45,393 --> 00:52:47,793 To what do we owe this unexpected pleasure? 763 00:52:47,896 --> 00:52:50,796 - You're a trade commission. I thought we might trade. - Coca-Cola? 764 00:52:50,898 --> 00:52:53,798 No. But I hear you boys would like Fraulein Ingeborg to go to work for you. 765 00:52:53,900 --> 00:52:55,799 - You wanna trade your secretary? - Right. 766 00:52:55,901 --> 00:52:57,801 - For Russian secretary? - Wrong. 767 00:52:57,902 --> 00:53:00,803 I do not blame you. Ours is built like bowlegged samovar. 768 00:53:05,407 --> 00:53:08,807 We find proposition very interesting. Now, what can we offer you? 769 00:53:08,910 --> 00:53:10,809 All I want from you is a small favor. 770 00:53:10,911 --> 00:53:12,811 Small favor, big favor. Anything. 771 00:53:12,913 --> 00:53:15,972 There's a guy named Otto Ludwig Piffl being held by the East German police. 772 00:53:16,082 --> 00:53:18,481 - For what reason? - Son of a gun stole my cuckoo clock. 773 00:53:18,583 --> 00:53:20,482 - You want cuckoo clock back? - Wrong. 774 00:53:20,584 --> 00:53:22,484 - You want Piffl back. - Right. 775 00:53:22,586 --> 00:53:25,486 Impossible, my friend. We cannot interfere with internal affairs... 776 00:53:25,588 --> 00:53:27,487 of sovereign republic of East Germany. 777 00:53:27,589 --> 00:53:30,489 - No Piffl, no deal. Let's go, Ingeborg. - Wait! What is the hurry? 778 00:53:30,591 --> 00:53:32,491 You're not giving us a chance. 779 00:53:32,593 --> 00:53:35,992 Is old Russian proverb: You cannot milk cow with hands in pockets. 780 00:53:36,095 --> 00:53:39,495 Herr Ober! Vodka! Caviar! 781 00:53:39,597 --> 00:53:42,497 Herr Kapellmeister, more rock and roll! 782 00:53:48,937 --> 00:53:51,837 Wilder's transgressions of political correctness... 783 00:53:51,939 --> 00:53:54,339 matched his transgressions of good taste. 784 00:53:54,441 --> 00:53:58,432 To Wilder, good taste was another name for censorship. 785 00:53:58,543 --> 00:54:01,375 "I'm accused of being vulgar," he would say. 786 00:54:01,479 --> 00:54:04,380 "So much the better, that proves I'm closer to life. " 787 00:54:04,482 --> 00:54:07,109 The picture was hit by a change in attitude. 788 00:54:07,217 --> 00:54:12,346 The wall was built, nobody could get through East Berlin to West Berlin and vice versa. 789 00:54:12,453 --> 00:54:15,853 The desire of the audience to laugh was strong. 790 00:54:17,289 --> 00:54:19,189 About 25 years later, 791 00:54:19,291 --> 00:54:21,690 it became a smash hit in Germany. 792 00:54:21,793 --> 00:54:23,885 Everybody went to see it because... 793 00:54:23,994 --> 00:54:28,896 the wall was gone and, uh... 794 00:54:28,998 --> 00:54:32,831 it was not gone yet, but it had eased, you know, that whole thing. 795 00:54:32,934 --> 00:54:36,333 And it became... it became, uh... 796 00:54:36,436 --> 00:54:41,896 it became a kind of a historic vignette... 797 00:54:42,007 --> 00:54:44,907 of the silliness of the Russians... 798 00:54:45,009 --> 00:54:47,306 and the stupidity of the Americans. 799 00:54:47,410 --> 00:54:49,604 Come on, everything. Get it up here. 800 00:54:49,712 --> 00:54:54,410 By the late 1960s the Production Code was almost defunct. 801 00:54:54,516 --> 00:54:57,951 - Bonnie and Clyde put the nail in the coffin. - Clyde, where's the car? 802 00:54:58,085 --> 00:55:01,019 What did he do? Where's the car? 803 00:55:01,087 --> 00:55:03,486 Where did he go? 804 00:55:03,588 --> 00:55:06,613 Here! 805 00:55:06,724 --> 00:55:09,521 The old studio system... 806 00:55:09,626 --> 00:55:11,525 was so hypocritical. 807 00:55:11,627 --> 00:55:16,029 They were constantly fearful of being accused of instilling in youth... 808 00:55:16,130 --> 00:55:18,461 the glory of the outlaw. 809 00:55:18,565 --> 00:55:21,829 So they had these rules, for instance, 810 00:55:21,934 --> 00:55:26,131 that you couldn't even fire a gun in the same frame with somebody getting hit. 811 00:55:26,237 --> 00:55:30,138 You had to have, literally, a film cut in between. 812 00:55:36,710 --> 00:55:39,872 So I thought, if we're gonna show this, we should show it. 813 00:55:39,979 --> 00:55:43,937 We should show what it looks like when somebody gets shot, 814 00:55:44,049 --> 00:55:47,506 that shooting somebody is not a sanitized event. 815 00:55:47,618 --> 00:55:50,017 It's not immaculate. 816 00:55:50,120 --> 00:55:52,020 There's an enormous amount of blood. 817 00:55:52,122 --> 00:55:56,716 There's an enormous amount of... of horror of change... 818 00:55:56,824 --> 00:55:58,814 that takes place when that occurs. 819 00:56:00,227 --> 00:56:03,195 We were in the middle of the Vietnamese war. 820 00:56:03,296 --> 00:56:07,254 What you saw on television was every bit...perhaps even more bloody... 821 00:56:07,365 --> 00:56:10,424 than what we were showing on film. 822 00:56:14,237 --> 00:56:15,897 Hey... 823 00:56:56,799 --> 00:56:59,198 The Production Code didn't survive the late '60s. 824 00:56:59,300 --> 00:57:02,133 Bonnie and Clyde and The Wild Bunch disposed of it. 825 00:57:02,237 --> 00:57:05,137 Today the violence in films is certainly more graphic. 826 00:57:05,239 --> 00:57:07,433 The last frontier may be sexuality, 827 00:57:07,540 --> 00:57:11,407 and beyond sexuality the complexity of the human psyche. 828 00:57:11,509 --> 00:57:14,875 This is the territory that Stanley Kubrick has been mining in his films. 829 00:57:14,979 --> 00:57:19,744 Like Kazan, Kubrick was a New York maverick who grew into an iconoclast. 830 00:57:19,848 --> 00:57:22,748 He emerged from independent production and film noir... 831 00:57:22,850 --> 00:57:24,976 to create his own unique, visionary worlds. 832 00:57:25,085 --> 00:57:26,985 His association with Kirk Douglas... 833 00:57:27,087 --> 00:57:28,986 on Paths of Glory and Spartacus... 834 00:57:29,088 --> 00:57:30,987 established him as a major player, 835 00:57:31,089 --> 00:57:33,990 but he couldn't stand being an employee on studio projects... 836 00:57:34,091 --> 00:57:36,992 and moved to London to make Lolita. 837 00:57:37,094 --> 00:57:40,324 He stayed there and hasn't worked in Hollywood since. 838 00:57:40,428 --> 00:57:42,328 He's one of the rare iconoclasts... 839 00:57:42,430 --> 00:57:45,830 who's enjoyed the luxury of operating completely on his own terms. 840 00:57:46,966 --> 00:57:48,866 Back here we have the kitchen. 841 00:57:48,968 --> 00:57:51,868 - That's where we have our informal meals. - Perhaps if you'd... 842 00:57:51,970 --> 00:57:53,869 My pastries win prizes around here. 843 00:57:53,971 --> 00:57:57,371 If you'd let me have your phone number, that would give me a chance to think it over. 844 00:57:57,474 --> 00:58:00,567 Here's James Mason as a European intellectual discovering the trappings... 845 00:58:00,676 --> 00:58:02,507 of small-town America. 846 00:58:02,611 --> 00:58:04,908 Oh, you must see the garden before you go. 847 00:58:05,013 --> 00:58:08,140 My flowers win prizes around here. 848 00:58:08,248 --> 00:58:10,147 They're the talk of the neighborhood. 849 00:58:10,249 --> 00:58:12,216 Voil�! 850 00:58:12,317 --> 00:58:14,717 My yellow roses. 851 00:58:14,819 --> 00:58:17,378 My... Uh... Oh. My daughter. 852 00:58:17,488 --> 00:58:20,388 Uh, darling, turn that down, please. 853 00:58:20,490 --> 00:58:23,390 I could offer you a comfortable home... 854 00:58:23,492 --> 00:58:26,824 With a sunny garden, a congenial atmosphere, my cherry pie. 855 00:58:26,927 --> 00:58:28,826 When Kubrick made Lolita, 856 00:58:28,928 --> 00:58:32,488 the subject of a middle-aged man infatuated with a sexually precocious minor... 857 00:58:32,598 --> 00:58:34,497 was still completely taboo. 858 00:58:34,599 --> 00:58:36,499 We haven't discussed, uh, how much. 859 00:58:36,601 --> 00:58:38,500 Oh, uh, something nominal. Let's say... 860 00:58:38,602 --> 00:58:41,502 - This was not the contraband of a smuggler, - 200 a month? 861 00:58:41,604 --> 00:58:43,969 But open defiance. 862 00:58:44,072 --> 00:58:47,438 Including meals and late snacks, et cetera. 863 00:58:47,541 --> 00:58:51,704 - You're a very persuasive salesman, Mrs. Haze. - Thank you. Uh... 864 00:58:51,811 --> 00:58:54,973 What was the decisive factor? Uh, my garden? 865 00:58:57,081 --> 00:58:59,413 I think it was your... cherry pies. 866 00:58:59,517 --> 00:59:01,916 Ohh! 867 00:59:05,187 --> 00:59:09,884 Why were you so late coming home from school yesterday afternoon? 868 00:59:09,990 --> 00:59:12,151 Yesterday. Yesterday. What was yesterday? 869 00:59:12,259 --> 00:59:14,158 Yesterday was Thursday. 870 00:59:14,260 --> 00:59:16,159 That's right. That's right. 871 00:59:16,261 --> 00:59:19,855 Michelle and I, um, stayed to watch football practice. 872 00:59:19,963 --> 00:59:24,023 - In the Frigid Queen? - What do you mean, "In the Frigid Queen"? 873 00:59:24,133 --> 00:59:29,034 I was driving around and I thought I saw you through the window. 874 00:59:29,136 --> 00:59:32,832 Oh. Yeah. Well, we stopped there for a malt afterwards. 875 00:59:32,939 --> 00:59:34,838 What difference does it make? 876 00:59:34,940 --> 00:59:38,272 You were sitting at a table with two boys. 877 00:59:38,376 --> 00:59:40,276 I told you, no dates. 878 00:59:40,378 --> 00:59:42,902 - It wasn't a date. - It was a date. 879 00:59:43,013 --> 00:59:45,139 - It wasn't a date. - It was a date, Lolita. 880 00:59:45,281 --> 00:59:47,181 - It was not a date. - It was a date! 881 00:59:47,283 --> 00:59:49,273 It wasn't a date. 882 00:59:49,351 --> 00:59:53,116 Whatever it was that you had yesterday afternoon, I don't want you to have it again. 883 00:59:53,220 --> 00:59:57,211 And while we're on the subject, how did you come to be so late on Saturday afternoon? 884 00:59:57,322 --> 01:00:00,222 Professor Humbert's fall befits his transgression. 885 01:00:00,324 --> 01:00:03,225 - Where have you put her? - Get your hands off her! 886 01:00:03,326 --> 01:00:05,226 - Where is she? - Obsessed with Lolita, 887 01:00:05,328 --> 01:00:07,227 who's now run away from him, 888 01:00:07,329 --> 01:00:09,229 he undergoes a mental breakdown. 889 01:00:09,331 --> 01:00:11,230 - Hold it now! - Don't let go! 890 01:00:11,332 --> 01:00:14,232 The satirical comedy turns into a bizarre tragedy. 891 01:00:14,334 --> 01:00:16,563 Let's get this business straight. 892 01:00:16,669 --> 01:00:19,865 This girl was officially discharged earlier tonight in the care of her uncle. 893 01:00:19,971 --> 01:00:21,871 If you say so. 894 01:00:21,973 --> 01:00:24,873 Well, has she or hasn't she an uncle? 895 01:00:24,975 --> 01:00:29,103 - All right, let's say she has an uncle. - What do you mean, "let's say"? 896 01:00:29,211 --> 01:00:31,111 Uh, all right. She has an uncle. 897 01:00:31,213 --> 01:00:34,113 Uncle Gus. Uh, yes, I remember now. 898 01:00:34,215 --> 01:00:37,411 He was going t-to pick her up here at the hospital. 899 01:00:37,517 --> 01:00:39,916 - L-I forgot that. - Forgot? 900 01:00:40,018 --> 01:00:42,918 - Yes, I forgot. - All right, let him up. 901 01:00:48,257 --> 01:00:50,316 Uh, she didn't, by any chance, 902 01:00:50,426 --> 01:00:53,326 leave any... message for me? 903 01:00:54,461 --> 01:00:56,361 No, I suppose not. 904 01:01:09,205 --> 01:01:11,764 Five years in the army... 905 01:01:11,874 --> 01:01:14,933 and some considerable experience of the world... 906 01:01:15,042 --> 01:01:19,943 had by now dispelled any of those romantic notions regarding love... 907 01:01:20,045 --> 01:01:21,945 with which Barry commenced life, 908 01:01:22,047 --> 01:01:24,947 and he began to have it in mind, 909 01:01:25,049 --> 01:01:27,949 as so many gentlemen had done before him, 910 01:01:28,051 --> 01:01:31,781 to marry a woman of fortune and condition. 911 01:01:31,888 --> 01:01:34,788 And, as such things so often happen, 912 01:01:34,890 --> 01:01:36,982 these thoughts closely coincided... 913 01:01:37,091 --> 01:01:41,958 with his setting first sight upon a lady who will henceforth play a considerable part... 914 01:01:42,060 --> 01:01:44,620 in the drama of his life... 915 01:01:44,730 --> 01:01:47,562 the Countess of Lyndon, 916 01:01:47,665 --> 01:01:49,996 Viscountess Bullingdon of England, 917 01:01:50,100 --> 01:01:53,500 Baroness Castle Lyndon of the kingdom of Ireland. 918 01:01:53,602 --> 01:01:56,900 A woman of vast wealth and great beauty. 919 01:01:59,006 --> 01:02:01,405 Kubrick's boldest project... 920 01:02:01,507 --> 01:02:04,805 was a period piece set in 18th-century Europe... 921 01:02:04,910 --> 01:02:06,810 Barry Lyndon. 922 01:02:19,086 --> 01:02:20,985 He broke new technical ground, 923 01:02:21,087 --> 01:02:22,986 having special lenses manufactured... 924 01:02:23,088 --> 01:02:27,786 to capture the glow of the candlelit mansions of the aristocracy. 925 01:02:30,394 --> 01:02:32,328 Instead of a picaresque tale, 926 01:02:32,429 --> 01:02:36,056 Kubrick offered another grim journey of self-destruction... 927 01:02:36,164 --> 01:02:39,064 the rise and fall of an opportunist. 928 01:02:46,438 --> 01:02:48,337 On the surface... 929 01:02:48,439 --> 01:02:52,340 the approach was cool and distant, deceptive. 930 01:02:52,442 --> 01:02:56,844 But I found this to be one of the most profoundly emotional films I've ever seen. 931 01:02:56,946 --> 01:02:59,846 Samuel, I'm going outside for a breath of air. 932 01:02:59,948 --> 01:03:01,847 Yes, milady. Of course. 933 01:03:04,151 --> 01:03:07,051 Kubrick's style was strangely unsettling. 934 01:03:07,153 --> 01:03:10,053 His audacity was to insist on slowness... 935 01:03:10,155 --> 01:03:12,816 in order to recreate the pace of life... 936 01:03:12,923 --> 01:03:15,823 and the ritualized behavior of the time. 937 01:03:19,428 --> 01:03:22,362 A good example is this seduction scene, 938 01:03:22,430 --> 01:03:24,795 which he stretches... 939 01:03:24,898 --> 01:03:27,798 until it settles into a sort of trance. 940 01:03:30,134 --> 01:03:34,035 What has always struck me is the ballet of the emotions in the film. 941 01:03:38,608 --> 01:03:42,202 Watch the tension between the camera's movements... 942 01:03:42,309 --> 01:03:44,277 and the character's body language, 943 01:03:44,378 --> 01:03:47,278 orchestrated by the music in this scene. 944 01:04:58,962 --> 01:05:00,793 With John Cassavetes' characters, 945 01:05:00,897 --> 01:05:02,887 the emotion was always up front. 946 01:05:02,998 --> 01:05:04,897 That's great. 947 01:05:04,999 --> 01:05:09,094 It was at once their cross and their salvation. 948 01:05:09,202 --> 01:05:12,295 John's approach was warm, embracing, focused on people. 949 01:05:12,405 --> 01:05:15,805 - Aah! No. No. No, no, no, no. - Yes. Yes. 950 01:05:15,907 --> 01:05:18,306 Relationships were all he was interested in. 951 01:05:18,409 --> 01:05:21,309 The laughter and the games, the tears and the guilt, 952 01:05:21,411 --> 01:05:23,311 the whole roller coaster of love. 953 01:05:27,049 --> 01:05:30,949 A middle-class housewife, in despair over the failure of her marriage, 954 01:05:31,051 --> 01:05:33,450 has been picked up by a young man. 955 01:05:33,552 --> 01:05:35,952 She takes him home for the night. 956 01:05:38,156 --> 01:05:41,056 The next morning he finds her comatose. 957 01:05:44,994 --> 01:05:46,893 Operator? 958 01:05:46,995 --> 01:05:50,327 I want the emergency rescue squad. 959 01:05:50,431 --> 01:05:52,660 My number? 960 01:05:52,765 --> 01:05:54,665 My number is... 961 01:05:59,637 --> 01:06:03,367 Come on, now. Drink this, damn it! 962 01:06:03,473 --> 01:06:06,100 Goddamn bitch. Drink this! 963 01:06:07,643 --> 01:06:09,542 Come on, now. Don't go back out. 964 01:06:09,644 --> 01:06:12,544 Cassavetes embodied the emergence of a new school... 965 01:06:12,646 --> 01:06:15,045 of guerilla filmmaking in New York. 966 01:06:15,147 --> 01:06:18,047 His films were literally made on the credit plan. 967 01:06:18,149 --> 01:06:22,380 John was fearless, a true renegade setting up one psychodrama after another... 968 01:06:22,486 --> 01:06:25,818 with the complicity of a whole close group of actor friends. 969 01:06:25,922 --> 01:06:28,822 He insisted on having fun when making films... 970 01:06:28,924 --> 01:06:31,653 while looking for some kind of truth. 971 01:06:31,759 --> 01:06:34,192 Maybe even a revelation. 972 01:06:38,130 --> 01:06:41,030 No. You gotta stay awake. Please. 973 01:06:42,767 --> 01:06:46,395 I don't want you to die. 974 01:06:48,070 --> 01:06:49,969 No. 975 01:06:54,108 --> 01:06:56,007 Please, lady. 976 01:06:59,711 --> 01:07:01,542 You gotta stay awake. 977 01:07:01,647 --> 01:07:03,477 You gotta stay awake. 978 01:07:05,116 --> 01:07:08,448 To have a philosophy is to know how to love... 979 01:07:08,585 --> 01:07:11,314 - You gotta stay awake. - and to know where to put it. 980 01:07:11,387 --> 01:07:13,684 But you can't put it everywhere. 981 01:07:13,788 --> 01:07:18,450 You've gotta be a priest saying, " Yes, my son, yes, my daughter, bless you. " 982 01:07:18,591 --> 01:07:20,491 But people don't live that way. 983 01:07:20,593 --> 01:07:23,755 They live with anger and hostility and problems... 984 01:07:23,828 --> 01:07:27,558 and lack of money, lack of... 985 01:07:27,665 --> 01:07:31,690 You know, tremendous disappointments in their life. They're... 986 01:07:31,800 --> 01:07:34,700 So, what they need is a philosophy. 987 01:07:34,802 --> 01:07:37,702 I think what everybody needs is a way to say... 988 01:07:37,804 --> 01:07:40,772 "Where and how can I love, can I be in love... 989 01:07:40,873 --> 01:07:44,774 so that I can live with some degree of peace?" 990 01:07:44,876 --> 01:07:48,367 And so that's why I have a need for the characters... 991 01:07:48,478 --> 01:07:51,935 to really analyze love, discuss it, kill it, 992 01:07:52,048 --> 01:07:55,141 destroy it, hurt each other, do all that stuff... 993 01:07:55,250 --> 01:07:57,149 in that war, 994 01:07:57,251 --> 01:08:02,085 in that word polemic and picture polemic of what life is. 995 01:08:02,188 --> 01:08:05,088 The rest of the stuff really doesn't interest me. 996 01:08:05,190 --> 01:08:08,090 It may interest other people, but I have a one-track mind. 997 01:08:08,192 --> 01:08:10,887 All I'm interested in is love. 998 01:08:18,932 --> 01:08:20,866 That's it! Hoo-hoo! 999 01:08:20,967 --> 01:08:23,457 You're gonna cry! Ohh, geez! Come on! 1000 01:08:23,569 --> 01:08:28,129 Come on. I didn't want to hit you, but don't go to sleep on me. 1001 01:08:28,238 --> 01:08:31,604 Ohh! Come on, now! Cry! That's it! That's life, honey! 1002 01:08:32,842 --> 01:08:35,605 Tears of happiness, man. Just do it! 1003 01:08:35,711 --> 01:08:37,940 Come on, now. Ohh. 1004 01:08:38,045 --> 01:08:40,036 All of Cassavetes' films, 1005 01:08:40,147 --> 01:08:43,047 they were all epics of the human soul. 1006 01:08:43,149 --> 01:08:46,549 Watching them brings to mind a comment made by John Ford to a collaborator... 1007 01:08:46,652 --> 01:08:49,552 who was complaining about the miserable weather conditions in the desert... 1008 01:08:49,654 --> 01:08:51,553 when they were trying to shoot a picture. 1009 01:08:51,655 --> 01:08:54,555 The guy said, " Look, Mr. Ford, what can we shoot out here?" 1010 01:08:54,657 --> 01:08:57,557 And Ford replied, "What can we shoot? 1011 01:08:57,659 --> 01:09:01,321 The most interesting and exciting thing in the whole world... a human face." 1012 01:09:05,765 --> 01:09:08,062 You want some coffee? 1013 01:09:08,166 --> 01:09:11,396 - Can I trust you? Huh? Huh? - Yeah. 1014 01:09:11,502 --> 01:09:13,901 Okay. I don't trust you anyway. 1015 01:09:14,003 --> 01:09:15,902 I don't... 1016 01:09:16,004 --> 01:09:18,336 Uh-huh. You little sneaky, you. 1017 01:09:18,440 --> 01:09:20,339 I'm gonna get you some coffee! 1018 01:09:20,441 --> 01:09:22,340 So, we're gonna have to stop... 1019 01:09:22,442 --> 01:09:24,569 because I can't go on any further. 1020 01:09:24,678 --> 01:09:27,077 Number one, we just don't have the time. 1021 01:09:27,179 --> 01:09:29,078 Number two, we've reached a different era. 1022 01:09:29,180 --> 01:09:33,582 It's the era of the late '60s, the years that I started making movies myself, 1023 01:09:33,684 --> 01:09:36,083 and, uh, it puts me in a different perspective. 1024 01:09:36,185 --> 01:09:39,085 We've reached a whole new chapter altogether and I really... 1025 01:09:39,187 --> 01:09:42,587 I could not really do justice to my friends who are making films... 1026 01:09:42,690 --> 01:09:46,591 and companions and, uh, my generation of filmmakers from the inside. 1027 01:09:46,693 --> 01:09:48,592 I can't... I can't do it. 1028 01:09:48,694 --> 01:09:51,594 Um, so the story really has no end, 1029 01:09:51,696 --> 01:09:53,596 and we haven't even started discussing... 1030 01:09:53,698 --> 01:09:56,131 such incredibly major figures as... 1031 01:09:56,233 --> 01:09:58,860 Ernst Lubitsch, Preston Sturges, 1032 01:09:58,968 --> 01:10:01,026 Joseph Mankiewicz, John Huston, 1033 01:10:01,136 --> 01:10:03,467 George Stevens, Sam Peckinpah, 1034 01:10:03,570 --> 01:10:06,061 William Wyler or, of course, Alfred Hitchcock. 1035 01:10:06,173 --> 01:10:09,073 But fortunately they've been celebrated in so many ways, 1036 01:10:09,175 --> 01:10:13,234 in so many books and articles and in some, actually, wonderful shows. 1037 01:10:13,344 --> 01:10:16,244 Documentaries about film are becoming a genre unto themselves... 1038 01:10:16,346 --> 01:10:19,246 thanks to Kevin Brownlow and David Gill's invaluable 13-hour series... 1039 01:10:19,348 --> 01:10:21,248 about Hollywood in its silent era... 1040 01:10:21,350 --> 01:10:23,249 just the silent film alone, 13 hours; 1041 01:10:23,351 --> 01:10:25,750 Peter Bogdanovich's film Directed by John Ford, 1042 01:10:25,852 --> 01:10:28,752 Richard Schickel's series The Men Who Made The Movies, 1043 01:10:28,854 --> 01:10:32,186 and so many British and French portraits of filmmakers. 1044 01:10:32,290 --> 01:10:36,726 So many directors have inspired me over the years, 1045 01:10:36,827 --> 01:10:42,354 I wouldn't know how to stop mentioning their names, we're indebted to them. 1046 01:10:42,464 --> 01:10:46,092 As we are to any original filmmaker who managed to survive... 1047 01:10:46,200 --> 01:10:49,828 and impose his or her vision in a very competitive profession. 1048 01:10:55,740 --> 01:10:58,207 When we talk about personal expression, 1049 01:10:58,308 --> 01:11:01,242 I'm often reminded of Kazan's film America, America, 1050 01:11:01,343 --> 01:11:06,245 the story of his uncle's journey from Anatolia to America... 1051 01:11:06,347 --> 01:11:10,839 the story of so many immigrants who came to this country from a very, very foreign land. 1052 01:11:10,950 --> 01:11:13,679 You're blockin' traffic! Come on! Move it along! 1053 01:11:13,785 --> 01:11:17,220 I kind of identified with it and was very moved by it. 1054 01:11:17,321 --> 01:11:21,984 Actually, I later saw myself making this same journey, but not from Anatolia. 1055 01:11:22,091 --> 01:11:24,991 Rather, from my own neighborhood in New York, 1056 01:11:25,093 --> 01:11:27,993 which was, in a sense, a very foreign land. 1057 01:11:28,095 --> 01:11:30,995 I made that journey from that land to moviemaking, 1058 01:11:31,097 --> 01:11:32,996 which was something unimaginable. 1059 01:11:33,098 --> 01:11:36,498 Actually, when I was a little younger there was another journey I wanted to make. 1060 01:11:36,601 --> 01:11:39,501 It was a religious one... I wanted to be a priest. 1061 01:11:39,603 --> 01:11:42,503 However I soon realized that my real vocation, my real calling, 1062 01:11:42,605 --> 01:11:44,505 was the movies. 1063 01:11:44,607 --> 01:11:48,507 I don't really see a conflict between the Church and movies... the sacred and the profane. 1064 01:11:48,609 --> 01:11:50,509 Obviously there are major differences, 1065 01:11:50,611 --> 01:11:53,204 but I could also see great similarities... 1066 01:11:53,313 --> 01:11:55,974 between a church and a movie house. 1067 01:11:56,081 --> 01:11:59,607 Both are places for people to come together and share a common experience, 1068 01:11:59,717 --> 01:12:02,549 and I believe there's a spirituality in films, 1069 01:12:02,652 --> 01:12:05,552 even if it's not one which can supplant faith. 1070 01:12:05,654 --> 01:12:10,056 I find that over the years many films address themselves to the spiritual side of man's nature... 1071 01:12:10,158 --> 01:12:13,058 from Griffith's film Intolerance to John Ford's The Grapes of Wrath, 1072 01:12:13,160 --> 01:12:15,059 to Hitchcock's Vertigo, 1073 01:12:15,161 --> 01:12:17,560 to Kubrick's 2001 and so many more. 1074 01:12:17,662 --> 01:12:21,392 It's as if movies answer an ancient quest for the common unconscious. 1075 01:12:21,498 --> 01:12:24,398 They fulfill a spiritual need that people have... 1076 01:12:24,500 --> 01:12:26,399 to share a common memory. 92453

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