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1
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I'm often asked by younger filmmakers,
why do I need to look at old movies?
2
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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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