1 00:01:42,918 --> 00:01:46,479 To tell a story, to implement his vision, the director has to be a technician... 2 00:01:46,588 --> 00:01:48,488 and even an illusionist. 3 00:01:48,590 --> 00:01:51,889 This means controlling and mastering the technical process. 4 00:01:51,993 --> 00:01:53,893 Our palette has expanded tremendously... 5 00:01:53,995 --> 00:01:56,520 through a century of constant experimentations. 6 00:01:56,631 --> 00:02:00,158 The movies grew from silent to sound; black and white to Technicolor; 7 00:02:00,268 --> 00:02:02,168 standard screen size to CinemaScope; 8 00:02:02,270 --> 00:02:04,830 35 millimeter to 70 millimeter. 9 00:02:04,940 --> 00:02:09,604 The American industry, it seems, never failed to embrace new technological developments. 10 00:02:09,711 --> 00:02:13,340 Somehow, it moved faster and more decisively than its foreign rivals. 11 00:02:16,952 --> 00:02:19,216 As King Vidor said, "The cinema... 12 00:02:19,321 --> 00:02:22,552 is the greatest means of expression ever invented, 13 00:02:22,657 --> 00:02:24,887 but it is an illusion more powerful than any other, 14 00:02:24,993 --> 00:02:28,258 and it should therefore be in the hands of the magicians and the wizards... 15 00:02:28,363 --> 00:02:30,354 who can bring it to life." 16 00:02:30,465 --> 00:02:33,559 Here, Buster Keaton, an aspiring cameraman, 17 00:02:33,668 --> 00:02:35,568 is showing his footage to MGM executives... 18 00:02:35,670 --> 00:02:37,797 in the hope of getting a job. 19 00:02:37,906 --> 00:02:42,468 Unfortunately he has double exposed the film, and the screening is a disaster. 20 00:02:42,577 --> 00:02:45,910 However, as every director will experience, 21 00:02:46,014 --> 00:02:49,450 accidents can be the source of extraordinary poetry... 22 00:02:49,551 --> 00:02:51,451 and beauty. 23 00:02:51,553 --> 00:02:55,319 What Keaton's cameraman needs is to learn and master the language of film. 24 00:02:57,459 --> 00:03:00,121 Interestingly, most of the early film pioneers, 25 00:03:00,228 --> 00:03:04,130 including D. W. Griffiith, had no formal education. 26 00:03:04,232 --> 00:03:07,258 They were self-taught and often shared the prevailing prejudice... 27 00:03:07,369 --> 00:03:11,965 that the cinema was a minor form of entertainment. 28 00:03:12,073 --> 00:03:16,669 The American film probably came of age in February, 1915, 29 00:03:16,778 --> 00:03:20,407 when D. W. Griffiith opened his first feature-length epic, 30 00:03:20,515 --> 00:03:22,608 The Birth Of A Nation. 31 00:03:22,717 --> 00:03:26,448 According to Raoul Walsh, who was one of Griffiith's assistants at the time... 32 00:03:26,554 --> 00:03:29,022 and who played the role ofJohn Wilkes Booth, 33 00:03:29,124 --> 00:03:32,355 it took The Birth Of A Nation to convince Americans... 34 00:03:32,460 --> 00:03:35,088 that films were an art in their own right... 35 00:03:35,196 --> 00:03:38,723 and not just the illegitimate offspring of the theater. 36 00:03:38,833 --> 00:03:41,825 How did Griffiith achieve this triumph? 37 00:03:41,936 --> 00:03:45,736 Essentially through his composition and orchestration of the shots. 38 00:03:45,840 --> 00:03:49,332 As Walsh put it, "The high and low angled shots... 39 00:03:49,444 --> 00:03:53,141 turned a good picture into a great one." 40 00:03:57,719 --> 00:04:00,620 One close-up was worth a thousand words. 41 00:04:02,357 --> 00:04:05,758 Erich von Stroheim, also one of Griffiith's assistants, 42 00:04:05,860 --> 00:04:09,057 said that he was the pioneer of filmdom, 43 00:04:09,164 --> 00:04:13,362 the first to put beauty and poetry into a cheap and tawdry sort of amusement. 44 00:04:22,077 --> 00:04:26,980 I've always felt that visual literacy is just as important as verbal literacy. 45 00:04:27,082 --> 00:04:31,644 And what the film pioneers were exploring was the medium's specifiic techniques. 46 00:04:31,753 --> 00:04:37,020 In the process, they invented a new language based on images rather than words. 47 00:04:37,125 --> 00:04:39,685 A visual grammar, you might say. 48 00:04:39,794 --> 00:04:43,230 Close-ups, : 49 00:04:46,034 --> 00:04:48,434 irises, : 50 00:05:01,149 --> 00:05:03,845 dissolves, : 51 00:05:09,357 --> 00:05:12,224 masking part of the screen for emphasis, : 52 00:05:21,803 --> 00:05:24,203 dolly shots, : 53 00:05:32,046 --> 00:05:34,446 tracking shots. 54 00:05:42,190 --> 00:05:45,591 Now these are the basic tools that directors have at their disposal... 55 00:05:45,693 --> 00:05:49,129 to create and heighten the illusion of reality. 56 00:05:50,799 --> 00:05:54,064 When Lillian Gish called D. W. Griffiith "the father of film," 57 00:05:54,169 --> 00:05:56,194 she used the same analogy. 58 00:05:56,304 --> 00:06:00,400 She said, "He gave us the grammar of filmmaking." 59 00:06:02,944 --> 00:06:07,005 He understood the psychic strength of the lens. 60 00:06:10,785 --> 00:06:14,721 Half a century later, Stanley Kubrick may have had Griffiith in mind... 61 00:06:14,823 --> 00:06:17,587 when he remarked that what is truly original in the art of filmmaking, 62 00:06:17,692 --> 00:06:20,923 what distinguishes it from all the other arts, 63 00:06:21,029 --> 00:06:23,361 may be the editing process. 64 00:06:23,464 --> 00:06:27,628 Watch how Griffiith developed, two years before The Birth Of A Nation, 65 00:06:27,735 --> 00:06:30,226 the technique of crosscutting. 66 00:06:30,338 --> 00:06:32,738 He shows you two events happening at the same time... 67 00:06:32,841 --> 00:06:35,503 and intercuts them to increase the tension of the suspense. 68 00:06:41,883 --> 00:06:45,842 Now, at that time, Griffiith had to fight his distributors, 69 00:06:45,954 --> 00:06:50,857 who feared that audiences would be confused by this innovation. 70 00:06:59,667 --> 00:07:01,828 It was in the great epics of the silent era... 71 00:07:01,936 --> 00:07:05,565 that the illusionists learned to use special effects and visual wizardry... 72 00:07:05,673 --> 00:07:09,074 to conjure up some of their most compelling visions. 73 00:07:09,177 --> 00:07:11,338 The American tradition of the great spectacle... 74 00:07:11,446 --> 00:07:13,607 was born around 1915... 75 00:07:13,715 --> 00:07:16,445 when D. W. Griffiith saw Cabiria, 76 00:07:16,551 --> 00:07:18,451 an Italian super-production. 77 00:07:18,553 --> 00:07:20,453 Watched it twice in one night. It inspired him. 78 00:07:20,555 --> 00:07:24,685 Gave him the audacity to create his masterpiece, Intolerance. 79 00:07:24,792 --> 00:07:27,784 Giovanni Pastrone's Cabiria had all the right ingredients: 80 00:07:27,896 --> 00:07:31,263 adventure, melodrama, pageantry, religion, 81 00:07:31,366 --> 00:07:33,459 extraordinary production design... 82 00:07:33,568 --> 00:07:36,332 and striking camera angles and lighting. 83 00:08:05,099 --> 00:08:07,624 To film this scene, they actually dragged... 84 00:08:07,735 --> 00:08:10,795 Hannibal's elephants up onto a mountaintop. 85 00:08:15,043 --> 00:08:16,943 Intolerance. 86 00:08:17,045 --> 00:08:20,537 Much has been made of its extravagant budget, 87 00:08:20,648 --> 00:08:24,880 real-size sets and thousands of extras. 88 00:08:24,986 --> 00:08:29,286 The achievement is all the more extraordinary because Griffiith worked without a script. 89 00:08:29,390 --> 00:08:32,484 It was all planned in his head, not on paper. 90 00:08:32,593 --> 00:08:36,859 But Griffiith went even further. 91 00:08:36,965 --> 00:08:41,299 Intolerance was a daring attempt at interweaving stories and characters... 92 00:08:41,402 --> 00:08:43,302 not from the same period, 93 00:08:43,404 --> 00:08:46,862 but from four different centuries. 94 00:08:56,884 --> 00:09:00,183 Freely crosscutting from one era to another, 95 00:09:00,288 --> 00:09:03,849 he blended them altogether in a grand symphony devoted to one idea: 96 00:09:05,693 --> 00:09:08,628 passionate plea for tolerance. 97 00:09:10,932 --> 00:09:13,765 Griffiith's passion for history was balanced by his passion... 98 00:09:13,868 --> 00:09:16,462 for simple people, the victims of history. 99 00:09:16,571 --> 00:09:21,167 In modern day America, a young woman is deemed an unfit mother... 100 00:09:21,275 --> 00:09:24,108 because her husband is in jail. 101 00:09:24,212 --> 00:09:27,909 Oppression is represented by society matrons, 102 00:09:28,016 --> 00:09:32,578 Puritan reformers who want to place her baby in an orphanage. 103 00:09:53,274 --> 00:09:57,574 Griffiith's distressed heroines carried with them... 104 00:09:57,678 --> 00:10:00,476 the heart and soul of the picture. 105 00:10:00,581 --> 00:10:05,484 For them, he composed his most eloquent close-ups. 106 00:10:07,121 --> 00:10:12,218 Like Griffiith, Cecil B. DeMille liked to paint on a big canvas. 107 00:10:12,326 --> 00:10:15,762 His ambition was to tell an absorbing personal story... 108 00:10:15,863 --> 00:10:18,559 against a background of great historical events. 109 00:10:18,666 --> 00:10:22,397 His first Biblical epic was inspired by one simple belief. 110 00:10:22,503 --> 00:10:27,406 You cannot break the Ten Commandments, : they will break you. 111 00:10:33,014 --> 00:10:37,508 Watch DeMille's masterful staging of the exodus from Egypt: 112 00:10:37,618 --> 00:10:41,247 the visual contrasts between the pharaoh's war machine... 113 00:10:41,355 --> 00:10:44,290 and the simple caravan of the Israelites, : 114 00:10:44,392 --> 00:10:46,553 his sense of wonder, : 115 00:10:48,629 --> 00:10:53,089 his attention to details, even in big crowd scenes. 116 00:10:53,201 --> 00:10:56,967 His miniatures were as powerful as his frescoes. 117 00:10:57,071 --> 00:11:00,973 DeMille even used an early two-strip Technicolor process here. 118 00:11:01,075 --> 00:11:06,513 However, the grandiose set pieces were always subordinate to the story. 119 00:11:06,614 --> 00:11:11,278 DeMille knew that spectacle alone would never make a great picture. 120 00:11:11,385 --> 00:11:14,548 He spent much more time working on dramatic construction... 121 00:11:14,655 --> 00:11:17,283 than on planning photographic effects. 122 00:11:17,391 --> 00:11:22,260 "The audience,"he said, "is interested in individuals whom they can love or hate." 123 00:11:24,398 --> 00:11:29,961 DeMille believed that he could translate the words of the Bible in the medium of film literally. 124 00:11:30,071 --> 00:11:33,598 To achieve this, he devised extraordinary technical effects, 125 00:11:33,708 --> 00:11:36,802 such as the parting of the Red Sea. 126 00:11:36,911 --> 00:11:41,644 DeMille insisted that every detail be seen with equal clarity. 127 00:11:41,749 --> 00:11:45,116 Here, for instance, notice the rocks and seaweed... 128 00:11:45,219 --> 00:11:49,349 scattered on the sand to make the beach look like the bottom of the sea. 129 00:11:49,457 --> 00:11:51,857 It was a last-minute inspiration on the part of DeMille, 130 00:11:51,959 --> 00:11:54,257 who led his army of extras into the surf... 131 00:11:54,362 --> 00:11:57,195 and showed them how to gather the kelp. 132 00:12:05,473 --> 00:12:09,603 Of course, I never saw DeMille's silent films when I was a boy. 133 00:12:09,710 --> 00:12:13,305 His later epics are the ones that made an indelible impression on me. 134 00:12:13,414 --> 00:12:15,314 Before the dawn of history, 135 00:12:15,416 --> 00:12:19,045 ever since the first man discovered his soul, 136 00:12:19,153 --> 00:12:23,817 he has struggled against the forces that sought to enslave him. 137 00:12:23,925 --> 00:12:27,884 He saw the awful power of nature parade against him, 138 00:12:27,995 --> 00:12:30,327 the evil eye of the lightning, 139 00:12:30,431 --> 00:12:33,662 the terrifying voice of the thunder, 140 00:12:33,768 --> 00:12:36,430 the shrieking, wind-filled darkness, 141 00:12:36,537 --> 00:12:40,098 enslaving his mind with shackles of fear. 142 00:12:40,208 --> 00:12:42,108 Fear bred superstition... 143 00:12:42,210 --> 00:12:44,906 And then there was DeMille's own remake of The Ten Commandments, 144 00:12:45,012 --> 00:12:47,003 which I have seen countless times. 145 00:12:47,114 --> 00:12:49,412 - Look! - Look! There! 146 00:12:49,517 --> 00:12:53,078 - Where he struck the river, it bleeds. - The water turns to blood. 147 00:12:53,187 --> 00:12:57,817 DeMille presented such a sumptuous fantasy that if you saw his movies as a child, 148 00:12:57,925 --> 00:13:01,258 they stuck with you for life. 149 00:13:01,362 --> 00:13:04,559 The marvelous superseded the sacred. 150 00:13:09,203 --> 00:13:13,071 What I remember most vividly are the tableau vivant, 151 00:13:15,476 --> 00:13:18,036 the colors, 152 00:13:22,516 --> 00:13:26,885 the dreamlike quality of the imagery... 153 00:13:26,988 --> 00:13:29,786 and, of course, the special effects. 154 00:13:29,890 --> 00:13:32,654 God is a unique flame, 155 00:13:32,760 --> 00:13:36,821 but the flame is a different color to different people. 156 00:13:39,700 --> 00:13:44,603 These were the words of Rama Krishna which DeMille quoted to define his own faith. 157 00:14:20,875 --> 00:14:26,108 Sokar, great lord of the lower world... 158 00:14:32,019 --> 00:14:35,216 The great illusionists of the past, Cecil B. DeMille, 159 00:14:35,323 --> 00:14:40,818 D. W. Griffiith, Frank Borzage, King Vidor, 160 00:14:40,928 --> 00:14:43,089 were conductors. 161 00:14:43,197 --> 00:14:45,961 They orchestrated visual symphonies... 162 00:14:48,135 --> 00:14:51,468 what Vidor called "silent music." 163 00:14:51,572 --> 00:14:54,405 It would fade away as Hollywood embraced sound. 164 00:14:54,508 --> 00:14:57,375 But the legacy of the silent era was remarkable. 165 00:14:57,478 --> 00:14:59,946 American movies had matured into a sophisticated art form... 166 00:15:00,047 --> 00:15:02,174 with elaborate camera moves, long takes, 167 00:15:02,283 --> 00:15:05,650 deep focus, expressive lighting, miniatures, et cetera. 168 00:15:05,753 --> 00:15:08,221 I mean, in the late '20s, the most exciting experiments... 169 00:15:08,322 --> 00:15:10,790 were taking place at the Fox Studios, 170 00:15:10,891 --> 00:15:12,791 where the German master, Frederick Murnau, 171 00:15:12,893 --> 00:15:16,158 was given carte blanche on the strength of his European triumphs. 172 00:15:18,299 --> 00:15:21,928 His film, Sunrise, became the most expensive art film... 173 00:15:22,036 --> 00:15:23,936 made in Hollywood. 174 00:15:28,809 --> 00:15:32,711 Rather than a plot, Murnau offered visions, 175 00:15:32,813 --> 00:15:34,747 a landscape of the mind. 176 00:15:34,849 --> 00:15:37,613 His ambition was to paint his characters"desires... 177 00:15:37,718 --> 00:15:40,084 with lights and shadows. 178 00:15:40,187 --> 00:15:44,123 This is how the frenzied city girl tempts the young farmer: 179 00:15:44,225 --> 00:15:47,251 with a kaleidoscope of images. 180 00:15:47,361 --> 00:15:49,522 She wants him to leave everything behind: 181 00:15:49,630 --> 00:15:52,224 his land, his wife, his child, 182 00:15:52,333 --> 00:15:55,393 the peace and innocence of the country life. 183 00:16:01,609 --> 00:16:07,047 The vamp has planted a deadly thought in the young husband's mind. 184 00:16:07,148 --> 00:16:11,812 Murnau calls Sunrise "a story of two humans." 185 00:16:11,919 --> 00:16:15,047 This song of the man and his wife is of no place. 186 00:16:15,156 --> 00:16:18,785 You might hear it anywhere at anytime. 187 00:16:18,893 --> 00:16:21,453 They don"t have a name, 188 00:16:21,562 --> 00:16:26,465 but you experience every idea, every emotion that visits them. 189 00:16:26,567 --> 00:16:30,731 He had George O"Brien's shoes weighted with 20 pounds of lead... 190 00:16:30,838 --> 00:16:33,102 to give the actor a more threatening presence. 191 00:16:57,865 --> 00:17:01,130 Murnau was called "a cerebral director" by his Hollywood peers... 192 00:17:01,235 --> 00:17:03,931 because he demanded that his actors fully understand... 193 00:17:04,038 --> 00:17:06,006 the mind of their character. 194 00:17:06,106 --> 00:17:09,041 He said, "I talked to an actor of what he should be thinking... 195 00:17:09,143 --> 00:17:11,873 rather than what he should be doing." 196 00:17:36,437 --> 00:17:41,306 "The camera,"said Murnau, "is the director's sketching pencil. 197 00:17:41,408 --> 00:17:44,605 It should be as mobile as possible 198 00:17:44,778 --> 00:17:46,177 to catch every fleeting mood. 199 00:17:46,280 --> 00:17:51,149 It must whirl and peep and move from place to place as swiftly as thought itself." 200 00:18:00,127 --> 00:18:03,290 Later in theirjourney, the broken couple is reunited. 201 00:18:03,397 --> 00:18:08,061 Fear and guilt fade away. They become invulnerable. 202 00:18:08,168 --> 00:18:12,628 Nothing can harm them anymore, not even the city's hustle and bustle. 203 00:18:17,912 --> 00:18:22,975 Magically, subjective perceptions take on an objective reality. 204 00:18:23,083 --> 00:18:26,484 A superimposition could serve as an inner vision... 205 00:18:26,587 --> 00:18:28,782 or an inner monologue. 206 00:18:30,257 --> 00:18:32,748 What Murnau is projecting onto the environment... 207 00:18:32,860 --> 00:18:36,057 is their dream, their common dream. 208 00:18:39,733 --> 00:18:42,702 At least for a brief moment. 209 00:18:48,008 --> 00:18:52,809 In Sunrise, love and death are intertwined like day and night. 210 00:18:54,415 --> 00:18:59,250 But in Seventh Heaven, love negated death itself. 211 00:18:59,353 --> 00:19:02,618 Both films starredJanet Gaynor, 212 00:19:02,723 --> 00:19:04,691 who commuted between the two sets, 213 00:19:04,792 --> 00:19:08,125 working with Murnau during the day and with Borzage at night. 214 00:19:17,771 --> 00:19:19,671 She is a street angel. 215 00:19:22,376 --> 00:19:26,574 She's saved by Charles Farrell, a street sweeper. 216 00:19:29,550 --> 00:19:34,419 Reluctantly, he takes her to his lofty garret above the city. 217 00:19:34,521 --> 00:19:40,391 He works in the sewers of Paris but insists that he lives near the stars. 218 00:19:40,494 --> 00:19:43,019 Borzage was not a highly educated man, 219 00:19:43,130 --> 00:19:45,621 let alone an art historian like Murnau. 220 00:19:45,733 --> 00:19:48,861 His approach to the medium was more instinctive. 221 00:19:48,969 --> 00:19:52,632 He was a maestro of the pantomime. 222 00:19:52,740 --> 00:19:56,198 What inspired him was the sheer power of emotions. 223 00:19:56,310 --> 00:19:58,972 This was the great mystery that elevated his melodramas... 224 00:19:59,079 --> 00:20:01,877 into pure songs of love. 225 00:20:03,717 --> 00:20:07,175 Directed by Borzage, Janet Gaynor and Charles Farrell... 226 00:20:07,287 --> 00:20:09,482 formed a unique couple, 227 00:20:09,590 --> 00:20:12,081 at once vibrant with sexual passion... 228 00:20:12,192 --> 00:20:15,423 and wrapped in a mystical aura. 229 00:20:15,529 --> 00:20:19,431 Their romance would lift them from the physical to the spiritual. 230 00:20:39,186 --> 00:20:41,916 War rips them apart. 231 00:20:56,537 --> 00:21:01,975 But as Borzage once stated, "Souls are made great through love and adversity." 232 00:21:05,279 --> 00:21:07,679 Even when he's blinded in the trenches, 233 00:21:07,781 --> 00:21:11,342 the lovers remain in daily telepathic communication. 234 00:21:54,995 --> 00:21:58,362 Borzage deeply believed in the transcendent power of love. 235 00:22:05,639 --> 00:22:09,871 Time and space can be surmounted and abolished. 236 00:22:12,246 --> 00:22:15,374 Because Diane refuses to accept Chico's death... 237 00:22:15,482 --> 00:22:17,541 she's able to bring him back from the dead. 238 00:23:10,037 --> 00:23:14,531 For the lovers, reality itself is immaterial. 239 00:23:19,346 --> 00:23:22,440 The art of the pantomime had reached its zenith. 240 00:23:22,549 --> 00:23:24,779 But the era of sound had arrived. 241 00:23:24,885 --> 00:23:29,345 And for the silent film directors, this was a time of painful transition. 242 00:23:29,456 --> 00:23:32,425 Even a script conference called for new skills. 243 00:23:32,526 --> 00:23:38,294 We were so imbued and so living in, in pantomime... 244 00:23:38,398 --> 00:23:43,165 that a fellow would come in and tell a story to, uh, 245 00:23:43,270 --> 00:23:45,670 say, to Thalberg at MGM... 246 00:23:45,772 --> 00:23:49,469 a comedy story, particularly... or, say, Mack Sennett... 247 00:23:49,576 --> 00:23:51,635 He"d tell the whole damn story in pantomime. 248 00:23:51,745 --> 00:23:55,977 He comes in and... Aah! And then, sock! 249 00:23:56,083 --> 00:23:58,643 And, you know, everything was like that. 250 00:23:58,752 --> 00:24:01,414 It looked like cartoon strips. 251 00:24:01,521 --> 00:24:04,820 So all of a sudden we"re dealing with dialogue. 252 00:24:04,925 --> 00:24:09,692 So, I had, from the time I was... 253 00:24:09,796 --> 00:24:12,264 12 or 14 or something, 254 00:24:12,366 --> 00:24:16,496 thought entirely in terms of images and pictures and movement. 255 00:24:16,603 --> 00:24:19,936 Movement. I very much... What's an interesting movement? 256 00:24:20,040 --> 00:24:22,031 So here we are with words. 257 00:24:22,142 --> 00:24:25,373 The studios bowed to the tyranny of sound experts... 258 00:24:25,479 --> 00:24:27,743 who knew little about filmmaking. 259 00:24:27,848 --> 00:24:31,147 At first, they had the cameras enclosed in a soundproof booth... 260 00:24:31,251 --> 00:24:33,811 or ensconced in a blimp. 261 00:24:33,921 --> 00:24:37,049 As William Wellman put it, "Creaking floors received more attention... 262 00:24:37,157 --> 00:24:39,284 than creaking stories." 263 00:24:39,393 --> 00:24:42,760 Actors were kept anchored within the range of microphones. 264 00:24:42,863 --> 00:24:45,354 Now, these had to be hidden sometimes in rather obvious props... 265 00:24:45,465 --> 00:24:47,365 like this lantern in Anna Christie. 266 00:24:47,467 --> 00:24:51,233 - Pretty, eh? - Gives you the creeps, though. 267 00:24:51,338 --> 00:24:54,603 Film historians insisted that at that time movies stopped moving. 268 00:24:54,708 --> 00:24:58,041 But the myth of the static camera has been dispelled... 269 00:24:58,145 --> 00:25:01,603 now that so many films of the period have been rediscovered. 270 00:25:01,715 --> 00:25:04,843 There were directors who refused to be shackled or paralyzed. 271 00:25:04,952 --> 00:25:07,978 Directors such as Rouben Mamoulian, Frank Capra, 272 00:25:08,088 --> 00:25:10,818 William Wellman, Tay Garnett, 273 00:25:10,924 --> 00:25:15,122 all of whom can be credited with getting the camera moving again. 274 00:25:15,228 --> 00:25:17,822 Most Tay Garnett pictures of the early '30s... 275 00:25:17,931 --> 00:25:21,492 feature fluid camera moves and even very long takes. 276 00:25:21,601 --> 00:25:24,092 Two gins for Frankie. 277 00:25:24,204 --> 00:25:28,163 Watch how skillfully the camera follows the tray across the dance floor. 278 00:25:33,413 --> 00:25:36,075 The choreography looks effortless. 279 00:25:36,183 --> 00:25:40,347 But believe me, this shot must have been very hard to achieve. 280 00:25:45,892 --> 00:25:49,555 The dreamlike world of the silent film was no more. 281 00:25:49,663 --> 00:25:53,497 With the talkies a more naturalistic approach seemed to prevail. 282 00:25:53,600 --> 00:25:58,264 But in fact, sound encouraged the illusionists to heighten reality. 283 00:26:01,408 --> 00:26:04,935 Here, in The Big House, the sound effects alone suggest... 284 00:26:05,045 --> 00:26:09,209 that the convicts are anonymous robots. 285 00:26:09,316 --> 00:26:12,911 "Our Father, Who art in heaven, 286 00:26:13,020 --> 00:26:15,011 hallowed be Thy name. 287 00:26:15,122 --> 00:26:18,489 Thy kingdom come. Thy will be done..." 288 00:26:18,592 --> 00:26:22,653 But in the chapel, as soon as you hear their voices, they come alive. 289 00:26:22,763 --> 00:26:24,924 "Give us this day our daily bread. 290 00:26:25,032 --> 00:26:27,398 And forgive us our trespasses... 291 00:26:27,501 --> 00:26:31,437 as we forgive those who trespass against us. 292 00:26:31,538 --> 00:26:33,904 And lead us not into temptation, 293 00:26:34,007 --> 00:26:35,907 but deliver us from evil." 294 00:26:36,009 --> 00:26:38,603 They are given an identity and a purpose... 295 00:26:38,712 --> 00:26:41,374 when their actions contradict the chorus of prayer. 296 00:26:41,481 --> 00:26:43,381 "...forever and ever. Amen." 297 00:26:43,483 --> 00:26:46,418 A most effective counterpoint. 298 00:26:50,791 --> 00:26:55,091 - Sound can enhance the drama tremendously, - Not bad, huh? 299 00:26:55,195 --> 00:26:57,686 Particularly when it depicts an event that you"re not shown. 300 00:27:02,069 --> 00:27:05,596 Just watch this one. 301 00:27:05,705 --> 00:27:10,108 In Scarface, Howard Hawks demonstrated that sound and visual effects... 302 00:27:10,210 --> 00:27:13,907 can blend into a deadly metaphor. 303 00:27:20,720 --> 00:27:22,881 Sound can tell the whole story, 304 00:27:22,989 --> 00:27:26,447 as Wild Bill Wellman proved repeatedly. 305 00:27:28,995 --> 00:27:32,453 Apoet of stark images and brutal understatements, 306 00:27:32,566 --> 00:27:36,434 he loved to jolt, deceive and even frustrate his audience... 307 00:27:36,536 --> 00:27:39,061 by depriving them of a spectacular scene. 308 00:27:53,620 --> 00:27:55,645 Here, in The Public Enemy, 309 00:27:58,658 --> 00:28:03,391 he dared to stage the film's climax and the hero's comeuppance offscreen. 310 00:28:08,235 --> 00:28:11,033 Three-strip Technicolor. 311 00:28:11,138 --> 00:28:13,868 In the mid-'30s this dramatically improved process... 312 00:28:13,974 --> 00:28:16,499 was a wonderful gift bestowed on the illusionists. 313 00:28:16,610 --> 00:28:20,706 - How's that for an entrance? - Perfect. 314 00:28:20,814 --> 00:28:22,748 What's happened to you? 315 00:28:22,849 --> 00:28:24,874 You"re deliberating whipping yourself into a fiit of hysterics. 316 00:28:24,985 --> 00:28:27,010 Oh, no, I mustn"t do that. 317 00:28:27,120 --> 00:28:29,452 It might disturb Mother and Ruth or wake up Danny. 318 00:28:29,556 --> 00:28:31,717 In the old two-strip Technicolor, the one DeMille used... 319 00:28:31,825 --> 00:28:33,759 in the silent Ten Commandments, 320 00:28:33,860 --> 00:28:36,954 the color blue couldn"t be reproduced. 321 00:28:37,063 --> 00:28:41,090 But now the three-strip process covered the entire spectrum. 322 00:28:41,201 --> 00:28:45,160 Extra-wide cameras could expose three negatives simultaneously, 323 00:28:45,272 --> 00:28:48,002 each recording one of the primary colors. 324 00:28:52,646 --> 00:28:57,640 This is Gene Tierney, an angel face with the darkest of hearts. 325 00:28:59,686 --> 00:29:04,453 Leave Her To Heaven was a fascinating hybrid, a film noir in color, 326 00:29:04,558 --> 00:29:06,924 with the neurotically possessive woman... 327 00:29:07,027 --> 00:29:10,485 destroying anybody who might come between her and her husband, 328 00:29:10,597 --> 00:29:12,827 even the unwanted child she's carrying. 329 00:29:20,307 --> 00:29:22,434 We wouldn"t be separated for long. 330 00:29:22,542 --> 00:29:25,602 - Just a few weeks. - No, I "d... l"d rather wait. 331 00:29:25,712 --> 00:29:30,877 Her husband's younger brother, a paraplegic boy, was in her way too. 332 00:29:33,887 --> 00:29:38,586 Now you have to remember that color was rarely used for contemporary drama then. 333 00:29:38,692 --> 00:29:41,923 - Think you can make it, Danny? - Aw, it's a cinch. 334 00:29:42,028 --> 00:29:44,656 It was more associated with period pieces and musicals. 335 00:29:44,764 --> 00:29:49,497 John Stahl's direction and Leon Shamroy's cinematography... 336 00:29:49,603 --> 00:29:52,367 conjured up an unsettling superrealist vision. 337 00:29:52,472 --> 00:29:55,498 Don"t worry about your direction. I'll keep you on your course. 338 00:29:55,609 --> 00:29:57,702 - Okay! - This was a lost paradise. 339 00:29:57,811 --> 00:30:01,338 Its beauty ravished by the heroine's perversity. 340 00:30:01,448 --> 00:30:03,780 I... I think I'm gettin' tired. 341 00:30:03,883 --> 00:30:09,048 Take it easy. You don"t want to give up when you"ve come so far. 342 00:30:09,155 --> 00:30:13,615 Okay. I'll get my second wind in a minute. 343 00:30:13,727 --> 00:30:18,027 Oh! 344 00:30:18,131 --> 00:30:20,622 The wa... water's cold. 345 00:30:20,734 --> 00:30:23,168 Colder than I thought. 346 00:30:23,270 --> 00:30:26,762 Oh! I ate too much lunch. 347 00:30:26,873 --> 00:30:29,467 I got a stomachache. Ellen! 348 00:30:29,576 --> 00:30:33,012 It's... It's a cramp. 349 00:30:33,113 --> 00:30:35,411 Ellen! It's... It's a cramp! 350 00:30:41,588 --> 00:30:43,886 Ellen, it's... Ellen, it's... 351 00:30:45,425 --> 00:30:47,757 Help me! 352 00:31:08,348 --> 00:31:10,782 Danny! 353 00:31:10,884 --> 00:31:13,011 Danny! 354 00:31:16,356 --> 00:31:18,290 Danny! 355 00:31:18,391 --> 00:31:23,294 Rather than encourage realism, the Technicolor palette went even further... 356 00:31:23,396 --> 00:31:26,422 and added flamboyance to the melodrama. 357 00:31:30,403 --> 00:31:34,066 The illusionist always knew that color itself... 358 00:31:34,174 --> 00:31:36,369 can actually play a dramatic role. 359 00:31:36,476 --> 00:31:39,001 This is what Nicholas Ray attempted in Johnny Guitar. 360 00:31:41,648 --> 00:31:45,550 - Joan Crawford was Vienna, - Are you satisfiied they"re not here? 361 00:31:45,652 --> 00:31:47,882 - No! - the outsider, 362 00:31:47,987 --> 00:31:50,012 persecuted by the so-called respectable citizens... 363 00:31:50,123 --> 00:31:52,523 because of her ties to a band of renegades. 364 00:31:52,625 --> 00:31:54,525 In this truly offbeat western, 365 00:31:54,627 --> 00:31:58,063 Nicholas Ray reversed the genre's traditional iconography. 366 00:31:58,164 --> 00:32:01,793 Black was the color of Mercedes McCambridge and the vigilantes, 367 00:32:01,901 --> 00:32:06,201 while the outcasts were endowed with rich colors or even pure white. 368 00:32:06,306 --> 00:32:08,206 We came for the kid and his bunch. 369 00:32:08,308 --> 00:32:11,106 I'm sitting here in my own house, minding my own business, 370 00:32:11,211 --> 00:32:13,736 playing my own piano. 371 00:32:13,847 --> 00:32:16,338 I don"t think you can make a crime out of that. 372 00:32:24,958 --> 00:32:28,553 You"re only a boy! We don"t want to hurt you! 373 00:32:28,661 --> 00:32:32,825 Just tell us she was one of ya, Turkey, and you'll go free! 374 00:32:32,932 --> 00:32:38,370 Come on, Turkey. Tell us. I'll give ya my word ya won"t hang. 375 00:32:38,471 --> 00:32:44,000 What should I do? I don"t wanna die! What do I do? 376 00:32:45,645 --> 00:32:47,545 Save yourself. 377 00:32:49,382 --> 00:32:51,282 Well, was she? 378 00:32:54,654 --> 00:32:57,350 You can mirror emotions with color. 379 00:32:59,826 --> 00:33:04,593 Vienna's gambling house was designed and adorned like the set of a baroque opera. 380 00:33:04,697 --> 00:33:07,962 Colors were deliberately distorted or thrown off balance. 381 00:33:08,067 --> 00:33:12,561 Blue was toned down in favor of deep, saturated colors. 382 00:33:12,672 --> 00:33:17,405 When an insane jealousy compels McCambridge to destroy Joan Crawford's palace, 383 00:33:17,510 --> 00:33:21,412 the palette alone suggests a fury from hell. 384 00:33:23,283 --> 00:33:27,447 Now, the size of the screen itself needed to grow. It couldn"t be contained. 385 00:33:27,554 --> 00:33:31,490 In the mid-'50s it spilled over its boundaries into something much grander. 386 00:33:31,591 --> 00:33:33,889 And I still remember one of the great experiences I had... 387 00:33:33,993 --> 00:33:36,894 in, in fiilm-going back in 1953. 388 00:33:36,996 --> 00:33:39,988 I was ten or eleven years old when I went to the Roxy Theater, 389 00:33:40,099 --> 00:33:44,297 and the curtain began to open and continued to open and open... 390 00:33:44,404 --> 00:33:46,531 on the biggest screen I"d ever seen. 391 00:33:46,639 --> 00:33:48,698 It was the fiilm The Robe. 392 00:33:48,808 --> 00:33:51,606 It was the first CinemaScope picture, shot in 1953. 393 00:33:57,183 --> 00:33:59,674 Rome, master of the earth. 394 00:33:59,786 --> 00:34:03,916 Originally, the new aspect ratio was a commercial gimmick... 395 00:34:04,023 --> 00:34:07,186 designed to give the film industry an edge over its rival, television. 396 00:34:07,293 --> 00:34:09,693 From the foggy coasts of the northern sea... 397 00:34:09,796 --> 00:34:12,663 Yet many filmmakers resisted the innovation. 398 00:34:12,765 --> 00:34:15,996 "It's only good for funerals and snakes, "pronounced Fritz Lang. 399 00:34:20,507 --> 00:34:23,635 It was a new canvas, and directors were put to the test... 400 00:34:23,743 --> 00:34:25,734 as they learned to master the new proportions. 401 00:34:31,050 --> 00:34:34,542 At first, Elia Kazan disliked them. 402 00:34:34,654 --> 00:34:39,114 But East Of Eden showed that CinemaScope could suit an intimate family drama... 403 00:34:39,225 --> 00:34:41,420 as well as vast frescoes. 404 00:34:41,528 --> 00:34:44,929 You were not limited to landscapes or processions, 405 00:34:45,031 --> 00:34:48,000 horizontal lines or diagonal movements. 406 00:34:49,402 --> 00:34:53,168 Watch how Kazan plays with the configuration of his set, 407 00:34:53,273 --> 00:34:57,801 whenJames Dean dares to enter his long-lost mother's bordello for the first time. 408 00:35:01,948 --> 00:35:04,781 Will ya let me talk to ya? 409 00:35:04,884 --> 00:35:09,344 Please. I gotta talk to ya. 410 00:35:14,561 --> 00:35:16,825 Joe! Joe! 411 00:35:16,930 --> 00:35:21,526 Get out of here. Joe! Tex! 412 00:35:21,634 --> 00:35:26,867 Actually, Kazan combined the old and the new proportions in his composition, 413 00:35:26,973 --> 00:35:31,933 introducing narrower frames, such as doorways and corridors... 414 00:35:32,045 --> 00:35:35,879 within the wide format itself. 415 00:35:35,982 --> 00:35:38,507 I wanna talk to ya! I wanna talk to ya! 416 00:35:38,618 --> 00:35:41,519 I wanna talk to ya! 417 00:35:41,621 --> 00:35:45,785 Talk to me! Talk to me! Please! Mother! 418 00:35:47,727 --> 00:35:50,218 Few were as skilled as Vincente Minnelli... 419 00:35:50,330 --> 00:35:52,696 in using CinemaScope for dramatic effect. 420 00:35:52,799 --> 00:35:56,735 Here in the tragic finale of Some Came Running, 421 00:35:56,836 --> 00:35:59,100 the actors seem to blend into their surroundings. 422 00:35:59,205 --> 00:36:01,969 They have a lot of souvenirs and a lot of free prizes for ya. 423 00:36:02,075 --> 00:36:05,636 I got one of them, uh, them grammar books from the library. 424 00:36:05,745 --> 00:36:08,737 I got it from that teacher who... 425 00:36:08,848 --> 00:36:13,376 whom... whom is the objective... 426 00:36:13,486 --> 00:36:15,454 - Whom says so? - Hmm? 427 00:36:15,555 --> 00:36:17,989 The suspense actually derives from their integration... 428 00:36:18,091 --> 00:36:20,025 into the environment. 429 00:36:20,126 --> 00:36:23,857 You don"t know if and when the killer and his unsuspecting prey... 430 00:36:23,963 --> 00:36:27,057 will come together in the same space. 431 00:36:27,166 --> 00:36:31,068 CinemaScope allows Minnelli to deploy a more complex, 432 00:36:31,170 --> 00:36:33,968 and therefore more threatening image. 433 00:36:34,073 --> 00:36:36,633 The more open the frame, the greater the impression of depth... 434 00:36:36,743 --> 00:36:39,712 and the more striking the illusion of reality. 435 00:36:39,812 --> 00:36:44,112 We"re presented with a vibrant, chaotic canvas... 436 00:36:44,217 --> 00:36:47,209 and it's up to us to explore and interpret it. 437 00:37:03,936 --> 00:37:07,064 The impact of the wide screen was particularly signifiicant... 438 00:37:07,173 --> 00:37:11,269 on such genres as the western and the epic. 439 00:37:13,312 --> 00:37:16,042 When he started Land OfThe Pharaohs, 440 00:37:16,149 --> 00:37:18,549 Howard Hawks was nervous about the new format. 441 00:37:18,651 --> 00:37:22,587 He complained, "It's good only for showing great masses and movement. 442 00:37:22,689 --> 00:37:27,353 It's hard to focus attention, and it's very diffiicult to edit." 443 00:37:27,460 --> 00:37:29,985 However, his approach proved masterful. 444 00:37:30,096 --> 00:37:32,564 Three million of such stones would be needed... 445 00:37:32,665 --> 00:37:35,225 before the work was done. 446 00:37:35,334 --> 00:37:39,703 Three million stones of an average weight of 5,000 pounds. 447 00:37:39,806 --> 00:37:45,108 Every stone cut precisely to fit into its destined place... 448 00:37:45,211 --> 00:37:47,111 in the great pyramid. 449 00:37:49,048 --> 00:37:51,642 It was the composition of the shots that helped us appreciate... 450 00:37:51,751 --> 00:37:53,651 the human efforts and technical feats... 451 00:37:53,753 --> 00:37:56,347 that the filmmakers attributed to the pyramid builders. 452 00:37:56,456 --> 00:37:58,947 What is that stone, Father? 453 00:37:59,058 --> 00:38:01,549 That's the sarcophagus of the Pharaoh, 454 00:38:01,661 --> 00:38:03,652 the stone that will hold his body after death. 455 00:38:03,763 --> 00:38:06,027 Where does it go to? 456 00:38:06,132 --> 00:38:09,829 Into a great chamber in the pyramid, but where that is, you must not know. 457 00:38:15,541 --> 00:38:20,205 This was like a documentary made on location 2,800 years B.C. 458 00:38:20,313 --> 00:38:23,305 The wide screen gave the sense we were really there. 459 00:38:24,717 --> 00:38:27,049 This is the way people lived and worked. 460 00:38:27,153 --> 00:38:30,486 This is what they believed, endured and achieved. 461 00:38:31,791 --> 00:38:34,726 I just shot it the way you see a thing. 462 00:38:34,827 --> 00:38:37,227 I shoot straightforward, too. 463 00:38:37,330 --> 00:38:41,699 I don"t use any camera tricks or anything. 464 00:38:41,801 --> 00:38:46,704 Camera usually is at eye height. 465 00:38:46,806 --> 00:38:49,331 And the audience sees just what we see. 466 00:38:57,083 --> 00:39:02,385 Today, a film like The Fall OfThe Roman Empire... 467 00:39:02,488 --> 00:39:05,389 has the poignant beauty of a lost art, 468 00:39:07,126 --> 00:39:10,357 for this was the autumn of the great American epics. 469 00:39:10,463 --> 00:39:12,488 They simply became too expensive to make. 470 00:39:15,935 --> 00:39:20,201 Like Howard Hawks, Anthony Mann had been a master of the western. 471 00:39:20,306 --> 00:39:23,537 The Fall OfThe Roman Empire offered a multilayered drama... 472 00:39:23,643 --> 00:39:27,636 which was as intense as any of the director's westerns. 473 00:39:27,747 --> 00:39:32,275 His sense of space and dramatic composition has never been more evident. 474 00:39:34,854 --> 00:39:39,848 Throughout the film, you could hear the gods laugh in the background, 475 00:39:39,959 --> 00:39:43,656 a cruel laugh that spelled the doom of all the protagonists... 476 00:39:43,763 --> 00:39:45,663 and of the Roman Empire. 477 00:39:51,804 --> 00:39:56,832 So, is the grand old tradition started by Cabiria and Intolerance obsolete? 478 00:39:56,943 --> 00:39:59,935 Well, it would seem so. I mean, today there's no need to drag... 479 00:40:00,046 --> 00:40:02,344 Hannibal's elephants up the Alps anymore. 480 00:40:02,448 --> 00:40:04,939 They... They can be generated by the computer. 481 00:40:05,051 --> 00:40:08,111 So is this the end of epic cinema or the dawn of a new art form? 482 00:40:08,221 --> 00:40:12,453 Nobody can afford to buy 3,000 or 4,000 extras. 483 00:40:12,558 --> 00:40:15,083 It's just not economically feasible anymore, 484 00:40:15,194 --> 00:40:18,425 "cause you have to costume them, you have to transport them, 485 00:40:18,531 --> 00:40:20,431 you have to feed them. 486 00:40:20,533 --> 00:40:23,366 Uh, and it... You move very slowly... 487 00:40:23,469 --> 00:40:26,768 when you"re trying to direct a large group of people like that. 488 00:40:26,873 --> 00:40:31,037 So doing that today is, is next to impossible. 489 00:40:31,143 --> 00:40:34,635 But doing it digitally, which is, you get a small group of people, 490 00:40:34,747 --> 00:40:38,274 say, 100 people, and you replicate them, you move them around. 491 00:40:38,384 --> 00:40:41,285 You can have exactly the same effect for a tenth of the cost. 492 00:40:45,224 --> 00:40:49,957 We"ve changed the medium in a way that is profound. 493 00:40:51,330 --> 00:40:53,628 It is no longer a photographic medium. 494 00:40:53,733 --> 00:40:56,759 It's now a painterly medium, and it's very fluid, 495 00:40:56,869 --> 00:40:59,269 so that things that are in the frame you can take out, 496 00:40:59,372 --> 00:41:01,567 move, put them over here. 497 00:41:01,674 --> 00:41:04,302 And so, it's almost like going from two dimension to three dimension... 498 00:41:04,410 --> 00:41:07,402 in the dynamic that's been created at this point. 499 00:41:10,716 --> 00:41:15,813 There is a misconception that we are surrendering something of art... 500 00:41:15,922 --> 00:41:17,913 to a technology that will do it for us. 501 00:41:18,024 --> 00:41:20,288 That... That is never the case. 502 00:41:20,393 --> 00:41:22,691 But cinema itself is technology. 503 00:41:22,795 --> 00:41:26,788 And to say that, oh, well, it can"t be an art... 504 00:41:26,899 --> 00:41:30,391 because it's a mechanical device rushing celluloid through it... 505 00:41:30,503 --> 00:41:33,597 is as naive as to say, well, you can"t create... 506 00:41:33,706 --> 00:41:36,368 because now it's a computer rushing numbers through it. 507 00:41:36,475 --> 00:41:39,774 The technology is always an element of creativity. 508 00:41:39,879 --> 00:41:42,575 But it never is the source of the creativity. 509 00:41:42,682 --> 00:41:47,585 And, so, my attitude is to embrace technology as it comes... 510 00:41:53,926 --> 00:41:56,793 In any kind of art form you"re creating an illusion... 511 00:41:56,896 --> 00:42:01,128 for the audience to look at reality through your special eye. 512 00:42:01,233 --> 00:42:03,167 The camera lies all the time. 513 00:42:03,269 --> 00:42:06,670 It lies 24 times a second. 514 00:42:20,519 --> 00:42:23,647 In other words, we"re all the children of D. W. Griffiith... 515 00:42:23,756 --> 00:42:25,781 and Stanley Kubrick. 516 00:42:29,528 --> 00:42:33,589 Take 2001, the first film to link the camera and the computer... 517 00:42:33,699 --> 00:42:38,796 in the creation of special effects for the spaceship's journey into the unknown. 518 00:42:40,139 --> 00:42:42,232 This was a breakthrough in technical wizardry. 519 00:42:44,176 --> 00:42:47,373 Every frame of 2001 made you aware... 520 00:42:47,480 --> 00:42:51,678 that the possibilities for cinematic manipulations are indeed infinite. 521 00:42:53,619 --> 00:42:58,955 Like Griffiith's Intolerance, like Murnau's Sunrise, 522 00:42:59,058 --> 00:43:01,219 it was at once a super-production, 523 00:43:01,327 --> 00:43:05,320 an experimental film and a visionary poem. 524 00:43:25,384 --> 00:43:40,061 ** 525 00:43:40,166 --> 00:43:53,978 ** 526 00:43:54,080 --> 00:44:07,926 ** 527 00:44:08,027 --> 00:44:20,929 ** 528 00:44:21,040 --> 00:44:34,943 ** 529 00:44:35,054 --> 00:44:40,856 ** 530 00:44:44,096 --> 00:44:46,394 Whether the illusion is created through high-tech... 531 00:44:46,499 --> 00:44:49,366 or low-tech wizardry doesn"t really matter. 532 00:44:49,468 --> 00:44:54,599 The magic will only be effective if it is carried by a strong vision. 533 00:44:56,775 --> 00:44:58,868 And it can be achieved in so many ways. 534 00:44:58,978 --> 00:45:02,675 Fifty years ago when he was assigned to a small "B" film called Cat People, 535 00:45:02,781 --> 00:45:06,114 directorJacques Tourneur had practically no budget... 536 00:45:06,218 --> 00:45:10,120 and, of course, none of today's new technologies. 537 00:45:10,222 --> 00:45:14,556 But he knew that the dark had a life of its own. 538 00:45:14,660 --> 00:45:17,288 He decided not to show the creature threatening his protagonist. 539 00:45:19,899 --> 00:45:24,893 He"d only suggest a presence. 540 00:45:29,575 --> 00:45:33,705 And to do that, he simply conjured up an ominous shadow play. 541 00:45:53,599 --> 00:45:55,499 Help! 542 00:45:58,103 --> 00:46:00,697 Help! 543 00:46:00,806 --> 00:46:03,673 Help! 544 00:46:03,776 --> 00:46:06,506 It was a sleight of hand that an early film magician... 545 00:46:06,612 --> 00:46:08,580 could have performed at the turn of the century. 546 00:46:08,681 --> 00:46:10,581 What is the matter, Alice? 547 00:46:22,561 --> 00:46:24,461 Sorry to have disturbed you, Alice. 548 00:46:24,563 --> 00:46:27,828 I missed you and Oliver, and I thought you might know where he is. 549 00:46:27,933 --> 00:46:32,336 We waited for you at the muzeum. You'll probably fiind him at home. 550 00:46:32,438 --> 00:46:35,271 If you don"t mind then, I'll run on. 551 00:46:35,374 --> 00:46:37,274 Could I have my robe, please? 552 00:46:37,376 --> 00:46:39,207 Sure. 553 00:46:40,846 --> 00:46:43,508 Gee whiz, honey, it's torn to ribbons. 554 00:46:43,616 --> 00:46:47,848 Now, we talked about the rules, about the narrative codes, about the technical tools, 555 00:46:47,953 --> 00:46:51,286 and we"ve seen how Hollywood filmmakers adjusted to these limitations. 556 00:46:52,691 --> 00:46:54,591 They even played with them. 557 00:46:54,693 --> 00:46:58,561 Now's the time to look at the cracks in the system. 558 00:46:58,664 --> 00:47:02,156 And what slipped through these cracks has always fascinated me. 559 00:47:02,268 --> 00:47:04,168 I mean, there were opportunities, there were projects... 560 00:47:04,270 --> 00:47:07,103 that allowed for the expression of different sensibilities, 561 00:47:07,206 --> 00:47:09,800 offbeat themes or even radical political views, 562 00:47:09,908 --> 00:47:13,400 particularly when the fiinancial stakes were minimal. 563 00:47:13,512 --> 00:47:17,107 Less money, more freedom. I mean, the world of "B" fiilms was... 564 00:47:17,216 --> 00:47:20,583 often freer and more conducive to experimenting and innovating. 565 00:47:20,686 --> 00:47:24,747 The '40s directors found that they could exercise more control on a small-budget movie... 566 00:47:24,857 --> 00:47:26,757 than on a prestigious "A" picture. 567 00:47:26,859 --> 00:47:29,157 Also, they"d have less executives looking over their shoulder. 568 00:47:29,261 --> 00:47:32,230 They could introduce unusual touches, weave unexpected motifs... 569 00:47:32,331 --> 00:47:36,859 and even transform routine material into a much more personal expression. 570 00:47:36,969 --> 00:47:40,268 So in a sense, they became, um, they became smugglers. 571 00:47:40,372 --> 00:47:42,932 They cheated and somehow got away with it. 572 00:47:45,444 --> 00:47:47,344 Style was crucial. 573 00:47:47,446 --> 00:47:50,813 The first master of esoterica was Jacques Tourneur, 574 00:47:50,916 --> 00:47:55,080 who began making his mark in low-budget, supernatural thrillers. 575 00:47:55,187 --> 00:47:58,918 On Cat People he had a good reason not to show the creature. 576 00:47:59,024 --> 00:48:02,084 He said, "The less you see, the more you believe. 577 00:48:02,194 --> 00:48:05,391 You must never try to impose your views on the viewer. 578 00:48:05,497 --> 00:48:08,933 But rather, you must try to let it seep in little by little." 579 00:48:10,636 --> 00:48:16,438 This oblique approach perfectly defines the smuggler's strategy. 580 00:48:26,085 --> 00:48:29,384 Climb on, sister. Are you ridin "with me or ain"t ya? 581 00:48:31,957 --> 00:48:34,482 You look as if you"d seen a ghost. 582 00:48:34,593 --> 00:48:36,493 Did you see it? 583 00:48:43,869 --> 00:48:47,771 The son of pioneer Maurice Tourneur, Jacques Tourneur had the good fortune to find... 584 00:48:47,873 --> 00:48:50,671 an extraordinary oasis of creative subversion... 585 00:48:50,776 --> 00:48:54,337 in producer Val Lewton's unit at RKO. 586 00:48:54,446 --> 00:48:58,075 Lewton, a former story editor for Selznick, was once described... 587 00:48:58,183 --> 00:49:00,879 as "a benevolent David Selznick." 588 00:49:00,986 --> 00:49:04,217 Lewton worked extensively on all of the scripts that he produced. 589 00:49:04,323 --> 00:49:07,781 But he never set foot on the set and left the director to his own devices. 590 00:49:07,893 --> 00:49:11,090 Look at that woman. Isn"t she something? 591 00:49:11,196 --> 00:49:13,824 A "B" film like Cat People only cost $ 134,000. 592 00:49:13,932 --> 00:49:16,332 Looks like a cat. 593 00:49:16,435 --> 00:49:18,767 But it touched a chord in America... 594 00:49:18,871 --> 00:49:22,773 by exploring a young bride's fear of her own sexuality. 595 00:49:22,875 --> 00:49:26,038 Moia cectra? 596 00:49:30,549 --> 00:49:32,449 Moia cectra? 597 00:49:36,789 --> 00:49:39,383 Now wait a minute. It can"t be that serious. 598 00:49:39,491 --> 00:49:43,427 - Just one single word. - She greeted me. 599 00:49:43,529 --> 00:49:46,396 She called me sister. 600 00:49:46,498 --> 00:49:50,525 When her deepest feelings for her husband are aroused, 601 00:49:50,636 --> 00:49:54,868 the heroine is overwhelmed by shame and guilt. 602 00:49:58,076 --> 00:50:01,239 She seems to be consumed by a malevolent spirit. 603 00:50:05,784 --> 00:50:08,776 Or if you will, by her inner demons. 604 00:50:09,955 --> 00:50:12,924 You were saying, "The cats..." 605 00:50:13,025 --> 00:50:15,687 They torment me. 606 00:50:15,794 --> 00:50:18,058 I awake in the night, 607 00:50:18,163 --> 00:50:22,964 and the tread of their feet whispers in my brain. 608 00:50:23,068 --> 00:50:25,628 I have no peace, 609 00:50:25,737 --> 00:50:28,035 for they are in me. 610 00:50:28,140 --> 00:50:31,473 Tourneur's films undermined a key principle of classical fiiction: 611 00:50:31,577 --> 00:50:35,274 "In me"? "In me"? 612 00:50:35,380 --> 00:50:39,282 The notion that people are in control of themselves. 613 00:50:39,384 --> 00:50:43,514 Tourneur's characters were moved by forces they didn"t even understand. 614 00:50:43,622 --> 00:50:46,819 Their curse was not fate in the Greek sense. 615 00:50:46,925 --> 00:50:48,825 It was not an external force. 616 00:50:48,927 --> 00:50:52,090 It dwelled within their own psyche. 617 00:50:52,197 --> 00:50:56,566 So in its own way, Cat People was as important as Citizen Kane... 618 00:50:56,668 --> 00:51:00,263 in the development of a more mature American cinema. 619 00:51:05,010 --> 00:51:08,070 In Tourneur's second film with producer Val Lewton, 620 00:51:08,180 --> 00:51:10,239 I Walked With A Zombie, 621 00:51:10,349 --> 00:51:14,843 the heroine is a nurse assigned to a catatonic woman in the West Indies. 622 00:51:14,953 --> 00:51:17,319 She's drawn into a parallel world... 623 00:51:17,422 --> 00:51:21,756 when she seeks the help of sorcerers to cure her patient. 624 00:51:24,596 --> 00:51:27,429 Jacques Tourneur was a modest craftsman. 625 00:51:27,533 --> 00:51:31,128 He compared his work to that of a carpenter who simply carves a chair or table... 626 00:51:31,236 --> 00:51:34,069 that he's been hired to build. 627 00:51:34,172 --> 00:51:36,834 But years later, at the end of his career, 628 00:51:36,942 --> 00:51:42,209 Tourneur confessed that he had always been passionately interested in the supernatural. 629 00:51:42,314 --> 00:51:46,250 A bit of a psychic himself, he made films about the supernatural... 630 00:51:46,351 --> 00:51:48,751 because he believed in it... 631 00:51:48,854 --> 00:51:51,914 and had even experienced it firsthand. 632 00:51:54,660 --> 00:51:56,719 How did he smuggle this contraband? 633 00:51:56,828 --> 00:51:59,490 Tourneur relied on the imagination of the audience. 634 00:51:59,598 --> 00:52:02,795 He said, "When spectators are sitting in a darkened theater... 635 00:52:02,901 --> 00:52:07,361 and recognize their own insecurity and that of the protagonist on the screen, 636 00:52:07,472 --> 00:52:10,066 then they will accept the most unbelievable situations... 637 00:52:10,175 --> 00:52:13,872 and follow the director wherever he wants to take them." 638 00:52:22,988 --> 00:52:26,424 Tourneur's twilight zone was a labyrinth. 639 00:52:26,525 --> 00:52:28,789 His were perilous journeys into the unknown... 640 00:52:28,894 --> 00:52:31,727 and sometimes the occult. 641 00:52:31,830 --> 00:52:36,733 Reality remained opaque and rarely were people what they appeared to be. 642 00:52:36,835 --> 00:52:40,100 They stood at the frontier of a hidden world, 643 00:52:40,205 --> 00:52:44,164 a shimmering canvas of distant murmurs and deep shadows. 644 00:52:49,281 --> 00:52:51,909 - She doesn"t bleed. - Zombie. 645 00:52:52,017 --> 00:52:56,750 Common to all of Tourneur's films was a muted disenchantment, 646 00:52:56,855 --> 00:52:58,755 a strange melancholy, 647 00:52:58,857 --> 00:53:01,655 the eerie feeling of having embarked on an adventure... 648 00:53:01,760 --> 00:53:03,660 from which there was no return. 649 00:53:03,762 --> 00:53:07,198 It seemed only a few days before I met Mr. Holland in Antigua. 650 00:53:07,299 --> 00:53:09,199 We boarded the boat for St. Sebastian. 651 00:53:09,301 --> 00:53:12,270 It was all just as I had imagined it. 652 00:53:12,371 --> 00:53:17,172 I looked at those great, glowing stars. I felt the warm wind on my cheek. 653 00:53:17,275 --> 00:53:22,372 I breathed deep, and every bit of me inside myself said, 654 00:53:22,481 --> 00:53:25,882 - "How beautiful." - It's not beautiful. 655 00:53:25,984 --> 00:53:30,182 You read my thoughts, Mr. Holland. 656 00:53:30,288 --> 00:53:32,756 It's easy enough to read the thoughts of a newcomer. 657 00:53:32,858 --> 00:53:35,986 Everything seems beautiful because you don"t understand. 658 00:53:36,094 --> 00:53:38,927 Those flying fiish, they"re not leaping for joy. 659 00:53:39,031 --> 00:53:43,559 They"re jumping in terror. Bigger fiish want to eat them. 660 00:53:43,669 --> 00:53:48,834 That luminous water, it takes its gleam from millions of tiny dead bodies, 661 00:53:48,940 --> 00:53:52,808 the glitter of putrescence. 662 00:53:52,911 --> 00:53:57,075 There's no beauty here, only death and decay. 663 00:53:57,182 --> 00:54:01,278 You can"t really believe that. 664 00:54:01,386 --> 00:54:05,254 Everything good dies here, even the stars. 665 00:54:08,026 --> 00:54:11,393 After Tourneur opened Pandora's box, things were never the same. 666 00:54:11,496 --> 00:54:14,693 It may have gone unnoticed at fiirst, but a strange darkness crept into American fiilms, 667 00:54:14,800 --> 00:54:18,201 a feeling of insecurity, disorientation and foreboding, 668 00:54:18,303 --> 00:54:21,431 as though the ground could suddenly give way under your feet. 669 00:54:21,540 --> 00:54:23,633 When my father was alive, we traveled a lot. 670 00:54:23,742 --> 00:54:27,200 We went nearly everywhere. We had wonderful times. 671 00:54:27,312 --> 00:54:29,212 I didn"t know you traveled so much. 672 00:54:29,314 --> 00:54:32,340 - Oh, yes. - Perhaps we"ve been to some of the same places. 673 00:54:32,451 --> 00:54:34,715 No, I don"t think so. 674 00:54:34,820 --> 00:54:39,450 - We"re in Venice. - Yes, we"ve arrived. Now, where would you like to go next? 675 00:54:39,558 --> 00:54:41,549 - France? England? Russia? - Switzerland. 676 00:54:41,660 --> 00:54:45,994 Switzerland. Excuse me one moment while I talk with the engineer. 677 00:54:46,098 --> 00:54:49,363 Again, appearances were as deceptive as they were beautiful... 678 00:54:49,468 --> 00:54:51,368 in Max Ophuls's elegies. 679 00:54:51,470 --> 00:54:53,995 - You and the lady, are you enjoying the trip? - Very much. 680 00:54:54,106 --> 00:54:57,337 - We"ve decided on Switzerland. - The romantic decor was a trap. 681 00:54:57,442 --> 00:55:00,741 - There you are. Thank you. - Oh, thank you! 682 00:55:00,846 --> 00:55:02,609 Switzerland! 683 00:55:02,714 --> 00:55:05,046 Switzerland! 684 00:55:05,150 --> 00:55:07,618 This was a carnival of illusions, 685 00:55:07,719 --> 00:55:11,348 an imaginary journey for an imaginary romance. 686 00:55:11,456 --> 00:55:14,050 Ophuls was an angel in exile in Hollywood. 687 00:55:14,159 --> 00:55:16,627 The Viennese maestro suffered years of unemployment... 688 00:55:16,728 --> 00:55:19,492 until producerJohn Houseman gave him a chance... 689 00:55:19,598 --> 00:55:23,500 to adapt Stefan Zweig's novella, Letter From An Unknown Woman. 690 00:55:25,704 --> 00:55:29,003 Now, you know far too much about me already, and I know almost nothing about you, huh? 691 00:55:29,107 --> 00:55:32,440 - It was his valentine to Vienna, - Except that you"ve traveled a great deal. 692 00:55:32,544 --> 00:55:35,741 And a farewell to the culture of his youth. 693 00:55:35,847 --> 00:55:39,544 Ophuls's camera and his heroine moved in unison. 694 00:55:39,651 --> 00:55:42,484 The fluid visual choreography allowed you to experience... 695 00:55:42,587 --> 00:55:45,181 Joan Fontaine's every heartbeat. 696 00:55:45,290 --> 00:55:47,349 - Stefan, the train is leaving. - Just a minute. 697 00:55:47,459 --> 00:55:49,927 For a brief moment, happiness appeared within reach. 698 00:55:50,028 --> 00:55:51,928 How long have you been standing here? 699 00:55:52,030 --> 00:55:54,294 But Stefan will always remain unattainable. 700 00:55:54,399 --> 00:55:58,028 I don"t want to go. Do you believe that? 701 00:55:58,136 --> 00:56:00,696 I'll be here when you get back. 702 00:56:00,806 --> 00:56:05,243 Say "Stefan" the way you said it last night. 703 00:56:05,343 --> 00:56:07,743 Stefan. 704 00:56:07,846 --> 00:56:09,746 It's as though you"ve said it all your life. 705 00:56:09,848 --> 00:56:13,079 - Better hurry, sir. - Yes! Good-bye. 706 00:56:13,185 --> 00:56:17,087 - Stefan! - Yes! Good-bye. 707 00:56:17,189 --> 00:56:20,955 Cold reality sets in at the train station. 708 00:56:21,059 --> 00:56:23,084 Won"t be long. I'll be back in, in two weeks. 709 00:56:23,195 --> 00:56:25,789 The real one. Lisa will never travel with Stefan, 710 00:56:25,897 --> 00:56:29,492 the frivolous pianist on whom she has projected her passions. 711 00:56:29,601 --> 00:56:35,005 She's left behind, pregnant with a child conceived that magical night. 712 00:56:37,576 --> 00:56:40,568 Ophuls was just one of the European expatriates... 713 00:56:40,679 --> 00:56:42,874 most of them refuges from Fascism... 714 00:56:42,981 --> 00:56:47,884 who were largely responsible for the exploration of these new darker territories. 715 00:56:47,986 --> 00:56:51,114 The others were well-known directors such as Fritz Lang, 716 00:56:51,223 --> 00:56:55,319 Alfred Hitchcock, Otto Preminger, Billy Wilder. 717 00:56:55,427 --> 00:56:59,591 But also lesser known names such as Douglas Sirk, Robert Siodmak, 718 00:56:59,698 --> 00:57:02,599 Edgar Ulmer, Andre De Toth. 719 00:57:02,701 --> 00:57:06,068 To them, crime was a source of fascination. 720 00:57:06,171 --> 00:57:08,731 It allowed them to probe the nature of evil. 721 00:57:08,840 --> 00:57:11,400 Monstrosity was something banal, almost natural. 722 00:57:11,509 --> 00:57:14,342 The criminal world cannot be conveniently isolated or circumscribed... 723 00:57:14,446 --> 00:57:17,574 within the urban underworld as in the old gangster film. 724 00:57:17,682 --> 00:57:21,174 Hello, Adele. I dropped over to the butcher shop like you told me to. 725 00:57:21,286 --> 00:57:23,186 I got a nice piece of liver. 726 00:57:23,288 --> 00:57:25,688 It was everywhere, lurking under the surface. 727 00:57:25,790 --> 00:57:28,190 Every man was a potential criminal. 728 00:57:28,293 --> 00:57:31,387 How long have you known Katherine March? 729 00:57:31,496 --> 00:57:33,691 Answer me! 730 00:57:36,868 --> 00:57:39,132 I don "t know what you" re talking about. 731 00:57:39,237 --> 00:57:41,467 How long have you known her? 732 00:57:41,573 --> 00:57:43,598 Don"t get excited. Let me help you off with your coat. 733 00:57:43,708 --> 00:57:45,608 You"re the one that's excited. 734 00:57:45,710 --> 00:57:49,237 Get away with that knife. Do you want to cut my throat? 735 00:57:49,347 --> 00:57:52,680 The common man falling in a trap... 736 00:57:53,919 --> 00:57:55,819 Why"d you come here? 737 00:57:55,921 --> 00:57:57,821 As he succumbs first to vice, then to murder. 738 00:57:57,923 --> 00:57:59,823 - To ask you to marry me. - What about your wife? 739 00:57:59,925 --> 00:58:01,825 I haven"t any wife. That's fiinished. 740 00:58:01,927 --> 00:58:03,827 - For cat's sake... - Her husband turned up. I'm free. 741 00:58:03,929 --> 00:58:06,762 This was Fritz Lang's favorite plot: reality turning into a nightmare. 742 00:58:06,865 --> 00:58:08,765 I don"t care what's happened. 743 00:58:08,867 --> 00:58:10,767 L-I can marry you now. 744 00:58:10,869 --> 00:58:12,769 L-I want you to be my wife. 745 00:58:12,871 --> 00:58:14,771 We... We'll go away together. 746 00:58:14,873 --> 00:58:17,774 Way far off so you can forget this other man. 747 00:58:17,876 --> 00:58:21,175 Don "t cry, Kitty. Please don"t cry. 748 00:58:21,279 --> 00:58:25,375 I'm not crying, you fool. I'm laughing. 749 00:58:25,483 --> 00:58:27,178 Kitty. 750 00:58:27,285 --> 00:58:30,516 Oh, you idiot. How can a man be so dumb? 751 00:58:30,622 --> 00:58:32,522 Kitty. 752 00:58:37,062 --> 00:58:40,327 L"ve wanted to laugh in your face ever since I first met you. 753 00:58:40,432 --> 00:58:43,492 You"re old and ugly, and I'm sick of you. Sick, sick, sick! 754 00:58:43,601 --> 00:58:47,093 - Kitty, for heaven's sake. - You killJohnny? I"d like to see you try. 755 00:58:47,205 --> 00:58:50,231 Why, he"d break every bone in your body. He's a man. 756 00:58:50,342 --> 00:58:52,242 You wanna marry me? You? 757 00:58:52,344 --> 00:58:54,744 Get out of here! Get out! 758 00:58:54,846 --> 00:58:56,746 Get away from me! Chris! Chris! 759 00:58:56,848 --> 00:58:58,679 Get away from me! Chris! 760 00:58:58,783 --> 00:59:00,683 Chris! 761 00:59:03,655 --> 00:59:05,885 Violence has become, in my opinion, 762 00:59:05,991 --> 00:59:09,722 a defiinite, uh, point, in a script. 763 00:59:09,828 --> 00:59:13,992 It has a dramaturgical reason to be there. 764 00:59:14,099 --> 00:59:17,432 You see, I don"t think that people believe in the devil... 765 00:59:17,535 --> 00:59:20,663 with the horns and the forked tail. 766 00:59:20,772 --> 00:59:24,367 And therefore, they don"t believe in punishment after... 767 00:59:25,977 --> 00:59:28,878 they are dead. 768 00:59:28,980 --> 00:59:32,245 So, my question was for me, 769 00:59:32,350 --> 00:59:34,250 what are people... 770 00:59:34,352 --> 00:59:38,379 In what belief people... Or, what are people fearing is better. 771 00:59:38,490 --> 00:59:40,390 And that is physical pain. 772 00:59:40,492 --> 00:59:43,393 And physical pain comes from violence. 773 00:59:43,495 --> 00:59:46,896 And that, I think, is today the only, 774 00:59:46,998 --> 00:59:50,434 uh, uh, uh, fact which people really fear, 775 00:59:50,535 --> 00:59:56,269 and therefore it has become a-a defiinite part of life... 776 00:59:56,374 --> 00:59:59,207 and naturally also of scripts. 777 01:00:02,213 --> 01:00:05,614 The phrase "film noir" was coined by the French in 1946... 778 01:00:05,717 --> 01:00:09,118 when they discovered the Hollywood productions they had missed... 779 01:00:09,220 --> 01:00:11,620 during the German occupation. 780 01:00:11,723 --> 01:00:14,715 Did you ever want to cut away a piece of your memory... 781 01:00:14,826 --> 01:00:16,726 or blot it out? 782 01:00:16,828 --> 01:00:19,456 You can"t, you know. No matter how hard you try. 783 01:00:19,564 --> 01:00:22,965 You can change the scenery, but sooner or later... 784 01:00:23,068 --> 01:00:24,968 you'll get a whiff of perfume... 785 01:00:25,070 --> 01:00:26,970 or somebody will say a certain phrase or maybe hum something, 786 01:00:27,072 --> 01:00:28,972 then you"re licked again. 787 01:00:31,676 --> 01:00:34,577 This was not a specifiic genre like the gangster film, 788 01:00:34,679 --> 01:00:39,776 but a mood which was best described by this line from Ulmer's Detour. 789 01:00:39,884 --> 01:00:42,284 - Mr. Haskell. - "Whichever way you turn... 790 01:00:42,387 --> 01:00:44,287 Mr. Haskell. 791 01:00:44,389 --> 01:00:46,789 Fate sticks out its foot to trip you." 792 01:00:46,891 --> 01:00:49,155 Mr. Haskell, wake up. It's raining. 793 01:00:49,260 --> 01:00:51,922 Don"t you think we oughta stop and put up the top? 794 01:00:52,030 --> 01:00:54,123 In Detour, down-and-out pianist Tom Neal... 795 01:00:54,232 --> 01:00:57,929 hitchhikes his way west to join his fianc�e. 796 01:00:58,036 --> 01:01:02,735 His life starts unraveling when the man who has given him a lift falls asleep. 797 01:01:02,841 --> 01:01:05,605 Until then I"d done things my way, 798 01:01:05,710 --> 01:01:07,610 but from then on something else stepped in... 799 01:01:07,712 --> 01:01:09,612 and shunted me off to a different destination... 800 01:01:09,714 --> 01:01:11,614 than the one I had picked for myself. 801 01:01:11,716 --> 01:01:13,980 But when I pulled open that door... 802 01:01:17,889 --> 01:01:20,653 Mr. Haskell, what's the matter? Are you hurt? 803 01:01:20,758 --> 01:01:23,158 Are you hurt, Mr. Haskell? 804 01:01:23,261 --> 01:01:27,288 Doom was written on Tom Neal's face. 805 01:01:27,398 --> 01:01:31,266 He was bewildered and afraid to go to the police. 806 01:01:31,369 --> 01:01:34,896 Keeping the dead man's car and cash was definitely a mistake, 807 01:01:35,006 --> 01:01:39,375 but an even bigger mistake was picking up a female hitchhiker. 808 01:01:39,477 --> 01:01:42,310 A few hours more, and we"d be in Hollywood. 809 01:01:42,413 --> 01:01:45,143 L"d forget where I parked the car and look up Sue. 810 01:01:45,250 --> 01:01:47,650 This nightmare of being a dead man would be over. 811 01:01:47,752 --> 01:01:50,050 Where did you leave his body? 812 01:01:50,155 --> 01:01:52,055 Where did you leave the owner of this car? 813 01:01:52,157 --> 01:01:54,057 You"re not foolin' anyone. 814 01:01:54,159 --> 01:01:57,390 This buggy belongs to a guy named Haskell. That's not you, mister. 815 01:01:57,495 --> 01:02:00,464 It just so happens I rode with Charlie Haskell... 816 01:02:00,565 --> 01:02:02,465 all the way from Louisiana. 817 01:02:02,567 --> 01:02:04,467 He picked me up outside of Shreveport. 818 01:02:06,371 --> 01:02:10,467 Detour was shot in six days for only $ 20,000. 819 01:02:10,575 --> 01:02:12,975 Vera, open the door. Please, open the door. 820 01:02:13,077 --> 01:02:15,375 If you don"t open the door, I'm going to kick it down, Vera. 821 01:02:15,480 --> 01:02:18,278 The director could only rely on his resourcefulness. 822 01:02:18,383 --> 01:02:20,681 Vera, don"t call the cops. Listen to me. 823 01:02:20,785 --> 01:02:22,685 I'll break the phone. 824 01:02:22,787 --> 01:02:25,119 In fact, his idiosyncratic style... 825 01:02:25,223 --> 01:02:27,919 grew out of such drastic limitations. 826 01:02:28,026 --> 01:02:31,223 This is why Ulmer has become such an inspiration over the years... 827 01:02:31,329 --> 01:02:33,729 to low-budget filmmakers. 828 01:02:37,969 --> 01:02:39,869 Vera. 829 01:02:42,473 --> 01:02:44,373 Here we find Tom Neal... 830 01:02:44,475 --> 01:02:47,137 after a second outrageous twist of fate. 831 01:02:49,547 --> 01:02:52,038 The world is full of skeptics. 832 01:02:52,150 --> 01:02:55,142 I know. I'm one myself. 833 01:02:55,253 --> 01:02:57,153 In the Haskell business, 834 01:02:57,255 --> 01:02:59,155 how many of you would believe he fell out of the car? 835 01:02:59,257 --> 01:03:01,657 Now, after killing Vera without really meaning to do it, 836 01:03:01,759 --> 01:03:03,659 how many of you would believe it wasn"t premeditated? 837 01:03:03,761 --> 01:03:06,423 Ulmer couldn"t even afford any special effects. 838 01:03:06,531 --> 01:03:09,932 He simply let the shot go in and out of focus repeatedly, 839 01:03:10,034 --> 01:03:14,596 an appropriate reflection of the character's disoriented mental state. 840 01:03:14,706 --> 01:03:18,073 Vera was dead, and I was her murderer. 841 01:03:18,176 --> 01:03:20,076 Murderer! 842 01:03:20,178 --> 01:03:22,078 The hitchhiker's journey... 843 01:03:22,180 --> 01:03:24,580 turned into an ironic morality play. 844 01:03:24,682 --> 01:03:27,776 Film noir showed how quickly an ordinary man could lose it all... 845 01:03:27,885 --> 01:03:30,285 when he strayed from his path. 846 01:03:30,388 --> 01:03:34,085 Lured by the prospect of sinful pleasures, 847 01:03:34,192 --> 01:03:37,355 he ended up suffering hellish retribution. 848 01:03:37,462 --> 01:03:39,293 Film noir. 849 01:03:39,397 --> 01:03:41,297 I don"t know, you know, 850 01:03:41,399 --> 01:03:43,299 when I make a picture, I never classify it. 851 01:03:43,401 --> 01:03:45,631 If this is a comedy, I wait until the preview. 852 01:03:45,737 --> 01:03:47,637 If they laugh a lot, I say this is a comedy. 853 01:03:47,739 --> 01:03:50,139 Or serious picture or fiilm noir. 854 01:03:50,241 --> 01:03:52,641 I never heard that expression in those days. 855 01:03:52,744 --> 01:03:56,737 I just made pictures that I would have liked to see. 856 01:03:56,848 --> 01:04:00,579 And if I was lucky, it coincided with, uh, 857 01:04:00,685 --> 01:04:02,812 with the taste of the audience. 858 01:04:02,920 --> 01:04:04,820 I killed Deitrichson. 859 01:04:04,922 --> 01:04:06,822 Me, Walter Neff. 860 01:04:06,924 --> 01:04:10,325 Insurance salesman, 35 years old, unmarried, no visible scars. 861 01:04:12,830 --> 01:04:16,231 Until a while ago that is. 862 01:04:16,334 --> 01:04:18,234 Yes, I killed him. 863 01:04:19,837 --> 01:04:23,500 I killed him for money and for a woman. 864 01:04:23,608 --> 01:04:25,735 Film noir revealed the dark underbelly... 865 01:04:25,843 --> 01:04:28,368 of American urban life. 866 01:04:28,479 --> 01:04:31,710 Its denizens were private eyes, 867 01:04:31,816 --> 01:04:34,614 rogue cops, white-collar criminals, 868 01:04:34,719 --> 01:04:36,619 femmes fatale. 869 01:04:37,855 --> 01:04:39,755 As Raymond Chandler said, 870 01:04:39,857 --> 01:04:43,190 "The streets were dark with something more than night." 871 01:04:43,294 --> 01:04:45,194 This is not the right street. 872 01:04:45,296 --> 01:04:47,196 Why did you turn here? 873 01:04:50,501 --> 01:04:54,369 What"re you doing that for? 874 01:04:54,472 --> 01:04:56,372 What"re you honking the horn for? 875 01:05:05,550 --> 01:05:07,950 You couldn"t take anything for granted anymore. 876 01:05:09,687 --> 01:05:12,588 Not even suburbia. 877 01:05:12,690 --> 01:05:15,420 Not even the supermarkets of Southern California. 878 01:05:19,630 --> 01:05:21,530 I loved you, Walter, and I hated him. 879 01:05:21,632 --> 01:05:24,829 But I wasn"t going to do anything about it, not until I met you. 880 01:05:24,936 --> 01:05:27,598 You planned the whole thing. 881 01:05:27,705 --> 01:05:29,605 I only wanted him dead. 882 01:05:29,707 --> 01:05:31,607 And I'm the one that fiixed it so he was dead. 883 01:05:31,709 --> 01:05:33,643 Is that what you"re telling me? 884 01:05:33,745 --> 01:05:35,975 And nobody's pulling out. 885 01:05:36,080 --> 01:05:37,980 If we went into this together, 886 01:05:38,082 --> 01:05:39,982 we"re coming out at the end together. 887 01:05:40,084 --> 01:05:43,679 It's straight down the line for both of us. Remember? 888 01:05:46,591 --> 01:05:48,991 Life is a betrayal, 889 01:05:49,093 --> 01:05:52,756 and, you know, sometimes you betray yourself, too, you know. 890 01:05:52,864 --> 01:05:54,764 Let's have the guts to admit it. 891 01:05:54,866 --> 01:05:57,767 There isn"t anybody born here lately... 892 01:05:57,869 --> 01:06:02,738 who didn"t play dirty sometime, somewhere in his life. 893 01:06:02,840 --> 01:06:04,740 So, why to hide it? 894 01:06:04,842 --> 01:06:09,074 Truth, honesty, that's my key to fiilmmaking. 895 01:06:11,182 --> 01:06:13,082 Do you have any identifiication? 896 01:06:13,184 --> 01:06:15,243 Sure. 897 01:06:15,353 --> 01:06:19,187 Andre De Toth was one of the most persistent... 898 01:06:19,290 --> 01:06:21,190 of the expatriate smugglers. 899 01:06:23,494 --> 01:06:26,156 In Crime Wave he undermined the old clich�... 900 01:06:26,264 --> 01:06:29,358 that in America you can always get another break. 901 01:06:29,467 --> 01:06:31,367 A second chance. 902 01:06:31,469 --> 01:06:33,369 Phone. 903 01:06:33,471 --> 01:06:35,371 - Hello. - Steve? 904 01:06:35,473 --> 01:06:37,373 - Yeah. - Steve Lacey? 905 01:06:37,475 --> 01:06:40,638 Gene Nelson plays an ex-convict trying to go straight... 906 01:06:40,745 --> 01:06:42,645 Hello, this is Lacey. 907 01:06:42,747 --> 01:06:44,647 Who is haunted by his past. 908 01:06:44,749 --> 01:06:47,183 Hello. 909 01:06:47,285 --> 01:06:49,185 They"re always passin' through town, 910 01:06:49,287 --> 01:06:51,187 tryin' to put the bite on me for this or that. 911 01:06:51,289 --> 01:06:53,189 I told you how it"d be. 912 01:06:53,291 --> 01:06:55,691 And I didn"t mind, did I? 913 01:06:55,793 --> 01:06:57,693 I love you. I wanted you. 914 01:06:57,795 --> 01:07:00,195 And now that I"ve got you, I care a lot less. 915 01:07:00,298 --> 01:07:03,699 I can"t fiigure it. What do you see in a guy like me? 916 01:07:05,670 --> 01:07:07,661 I see a guy who's swell. 917 01:07:07,772 --> 01:07:10,366 Sterling Hayden portrays the relentless cop... 918 01:07:10,475 --> 01:07:12,568 who presumes he is guilty. 919 01:07:12,677 --> 01:07:14,577 Lacey's kept pretty straight since he got out. 920 01:07:14,679 --> 01:07:18,581 Yeah, I know. Sober, industrious, expert mechanic on airplane engines. 921 01:07:18,683 --> 01:07:20,583 A pilot before they sent him up, 922 01:07:20,685 --> 01:07:22,585 - now works at a private airport in Sunland, right? - Right. 923 01:07:22,687 --> 01:07:25,850 Call him. 924 01:07:27,959 --> 01:07:30,860 Don"t answer it, Steve. Let it ring. 925 01:07:30,962 --> 01:07:33,362 They'll just want what they all want. 926 01:07:33,464 --> 01:07:37,366 Let "em think you"re away, that you"re not here, and they'll leave you alone. 927 01:07:37,468 --> 01:07:39,868 Once you"ve done a bit, nobody leaves you alone. 928 01:07:39,971 --> 01:07:42,804 - Somebody's always on your back. - Steve. 929 01:07:44,742 --> 01:07:46,642 No answer. 930 01:07:46,744 --> 01:07:48,644 There, you see? 931 01:07:48,746 --> 01:07:51,112 I told ya. 932 01:07:53,818 --> 01:07:57,276 Doesn"t look so good for Mr. Lacey. 933 01:07:57,388 --> 01:08:00,289 Even a sympathetic parole offiicer can"t save him. 934 01:08:00,391 --> 01:08:03,292 You stay on your side of the fence. I'm looking for a cop killer. 935 01:08:03,394 --> 01:08:05,294 I'm on my side. I don"t take things for granted. 936 01:08:05,396 --> 01:08:07,296 I check and recheck. Lacey's made good with me. 937 01:08:07,398 --> 01:08:09,298 I have faith in him. 938 01:08:09,400 --> 01:08:11,300 - Once a crook, always a crook. - That's nonsense. 939 01:08:11,402 --> 01:08:13,302 Sick men get well again. 940 01:08:13,404 --> 01:08:16,635 Yeah? And you hate to lose a patient. Well, you"re gonna lose this one. 941 01:08:16,741 --> 01:08:18,641 Stay here and fiind that dough. 942 01:08:18,743 --> 01:08:20,643 Don"t worry about wrecking the joint. Just fiind it. 943 01:08:20,745 --> 01:08:22,645 Right. 944 01:08:22,747 --> 01:08:24,647 All right, hot shot. 945 01:08:24,749 --> 01:08:26,649 Put out your hands. 946 01:08:26,751 --> 01:08:29,743 How long one has to pay for a mistake? 947 01:08:29,854 --> 01:08:32,880 For a misstep in their life? When is enough enough? 948 01:08:32,990 --> 01:08:35,254 You don"t like that, do you, Mrs. Lacey? 949 01:08:35,359 --> 01:08:38,260 It can happen to you, too, if you"re covering up for this guy. 950 01:08:38,362 --> 01:08:41,229 So don"t try to walk out. You"re a material witness. 951 01:08:41,332 --> 01:08:43,630 Don"t stay here, Ellen. Forget about me. 952 01:08:43,734 --> 01:08:46,396 Get out of town! 953 01:08:46,504 --> 01:08:48,904 You fiinished, Mr. Lacey? 954 01:08:49,006 --> 01:08:51,873 There's no reprieve in film noir. 955 01:08:51,976 --> 01:08:54,410 You just keep paying for your sins. 956 01:08:57,982 --> 01:09:00,815 Ida Lupino often used film noir visuals, 957 01:09:00,918 --> 01:09:02,886 but for her own very specifiic purposes. 958 01:09:02,987 --> 01:09:07,083 In Lupino's films, it was young women who went through hell... 959 01:09:07,191 --> 01:09:11,594 when their middle-class security was shattered by a traumatic experience. 960 01:09:11,696 --> 01:09:14,096 Bigamy, parental abuse, 961 01:09:14,198 --> 01:09:17,929 unwanted pregnancy, rape. 962 01:09:20,271 --> 01:09:24,230 Taxi! Taxi! 963 01:09:24,342 --> 01:09:28,176 Lupino would force the audience to experience from the inside... 964 01:09:28,279 --> 01:09:30,179 the ordeal of her heroines. 965 01:09:30,281 --> 01:09:33,478 Please! Please! Somebody help me! 966 01:09:42,860 --> 01:09:46,261 In Outrage, she presents the ultimate female nightmare... 967 01:09:46,364 --> 01:09:49,424 not as a melodrama, but as a subdued behavioral study... 968 01:09:49,533 --> 01:09:51,592 that captures the banality of evil... 969 01:09:51,702 --> 01:09:54,398 in an ordinary small town. 970 01:10:09,353 --> 01:10:13,756 In an unusual move, actress Ida Lupino had become a director in 1949... 971 01:10:13,858 --> 01:10:16,156 because she"d been suspended by Warner Bros. 972 01:10:16,260 --> 01:10:19,286 She seized the opportunity to form a production company... 973 01:10:19,397 --> 01:10:22,059 with her husband Collier Young. 974 01:10:22,166 --> 01:10:24,066 They developed their own projects, 975 01:10:24,168 --> 01:10:26,068 making a policy of discovering young talent... 976 01:10:26,170 --> 01:10:28,570 and tackling unglamorous subjects... 977 01:10:28,673 --> 01:10:31,005 such as the rape in Outrage. 978 01:10:31,108 --> 01:10:33,008 I couldn"t move. 979 01:10:33,110 --> 01:10:35,010 I couldn"t move! 980 01:10:35,112 --> 01:10:37,012 How tall was he, dear? 981 01:10:37,114 --> 01:10:39,014 Take him away! 982 01:10:39,116 --> 01:10:41,016 Beyond the horror of the crime, 983 01:10:41,118 --> 01:10:45,020 Ida Lupino illuminates the changes in the psyche of the victim, 984 01:10:45,122 --> 01:10:48,216 a wounded young woman who's about to be married... 985 01:10:48,325 --> 01:10:52,819 but now has to learn how to overcome her pain and despair. 986 01:10:52,930 --> 01:10:55,330 Go on! Take a good look! 987 01:10:55,433 --> 01:10:57,924 Go on, all of you! 988 01:10:58,035 --> 01:10:59,935 Hey, Annie. 989 01:11:00,037 --> 01:11:02,733 I'm asking you to marry me now. 990 01:11:02,840 --> 01:11:05,240 Or didn"t you hear me? 991 01:11:05,342 --> 01:11:07,970 Yes, I heard. 992 01:11:08,079 --> 01:11:10,047 Well? 993 01:11:10,147 --> 01:11:12,547 No! 994 01:11:12,650 --> 01:11:15,778 Anne! Hey! 995 01:11:15,886 --> 01:11:18,218 InJoseph Lewis" Gun Crazy, 996 01:11:18,322 --> 01:11:20,620 the focus was not on the victim, 997 01:11:20,725 --> 01:11:23,285 but on the criminals themselves. 998 01:11:23,394 --> 01:11:25,794 You were compelled to share their fear... 999 01:11:25,896 --> 01:11:27,955 and even their exhilaration. 1000 01:11:28,065 --> 01:11:31,967 The audience was pulled into the action and became an accomplice. 1001 01:11:32,069 --> 01:11:34,970 You can"t shoot a man just because he hesitates. 1002 01:11:35,072 --> 01:11:38,974 Well, maybe not, but you can sure scare him off, like that hotel clerk. 1003 01:11:39,076 --> 01:11:41,476 - No, Laurie, I just don"t... - Oh, Bart, you know something? 1004 01:11:41,579 --> 01:11:44,480 - What? - I love you. 1005 01:11:44,582 --> 01:11:47,983 I love you more than anything else in the world. 1006 01:11:50,087 --> 01:11:51,987 Of course the fascinating pair of Gun Crazy... 1007 01:11:52,089 --> 01:11:55,581 belonged to the outlaw tradition of the '30s. 1008 01:11:55,693 --> 01:11:58,491 - Help! Help! - The tradition that would culminate in the "60s... 1009 01:11:58,596 --> 01:12:01,724 - with Arthur Penn's Bonnie and Clyde. - Laurie, Laurie, don"t! 1010 01:12:01,832 --> 01:12:03,732 Come on. Get in! 1011 01:12:03,834 --> 01:12:08,237 But in Lewis"landmark film, the renegades were wild animals. 1012 01:12:08,339 --> 01:12:11,797 Sex and violence were totally intertwined. 1013 01:12:11,909 --> 01:12:15,140 - You were gonna kill that man. - He"d have killed us if he"d had the chance. 1014 01:12:30,895 --> 01:12:34,126 Shoot! Why don"t you shoot? 1015 01:12:38,402 --> 01:12:40,302 Shoot! 1016 01:12:43,374 --> 01:12:46,605 - Shoot. Do you hear me? - All right! 1017 01:13:00,090 --> 01:13:01,990 Get "em? 1018 01:13:03,227 --> 01:13:05,127 Yeah. 1019 01:13:07,865 --> 01:13:10,857 First and foremost, film noir was a style. 1020 01:13:10,968 --> 01:13:15,268 It combined realism and expressionism, 1021 01:13:15,372 --> 01:13:18,933 the use of real locations and elaborate shadow plays. 1022 01:13:19,043 --> 01:13:24,140 Here ace cinematographer John Alton deserves a mention. 1023 01:13:24,248 --> 01:13:28,685 The Hungarian-born master painted with light. 1024 01:13:28,786 --> 01:13:31,550 This was the title of his 1949 textbook... 1025 01:13:31,655 --> 01:13:35,147 which we were still using as students in the 1960s. 1026 01:13:39,063 --> 01:13:41,258 Extreme black and white contrasts, : 1027 01:13:41,365 --> 01:13:44,459 isolated sources of lighting, : 1028 01:13:44,568 --> 01:13:46,593 Pass key! Pass key! 1029 01:13:46,704 --> 01:13:48,638 Ominous camera placement, : 1030 01:13:48,739 --> 01:13:50,639 deep perspective. 1031 01:13:50,741 --> 01:13:53,266 The most striking examples of Alton's work... 1032 01:13:53,377 --> 01:13:58,314 are found in Anthony Mann's early films such as this film, T-Men. 1033 01:13:58,415 --> 01:14:00,906 And in the same year, Raw Deal. 1034 01:14:01,018 --> 01:14:04,351 Five or ten minutes, we'll be pullin"out. 1035 01:14:04,455 --> 01:14:06,923 Pullin"out for a new country, 1036 01:14:07,024 --> 01:14:10,255 leaving everything behind. 1037 01:14:10,361 --> 01:14:13,455 Maybe, maybe we can make a different life... 1038 01:14:13,564 --> 01:14:15,725 for ourself in South America. 1039 01:14:15,833 --> 01:14:17,733 A good life. 1040 01:14:17,835 --> 01:14:19,735 Why didn"t he stop talking? 1041 01:14:19,837 --> 01:14:21,737 When the clock stopped moving, 1042 01:14:21,839 --> 01:14:23,739 he was singing everything I"d ever wanted to hear. 1043 01:14:23,841 --> 01:14:27,743 All my life, the lyrics were his, all right. 1044 01:14:27,845 --> 01:14:30,939 But the music... Anne "s, Anne"s. 1045 01:14:31,048 --> 01:14:33,448 And suddenly I saw that every time he kissed me... 1046 01:14:33,550 --> 01:14:35,711 he"d be kissing Anne. 1047 01:14:35,819 --> 01:14:37,946 Every time he held me, spoke to me, danced with me, 1048 01:14:38,055 --> 01:14:41,354 ate, drank, played, sang it would be Anne, Anne. 1049 01:14:41,458 --> 01:14:43,358 Anne! 1050 01:14:46,363 --> 01:14:48,263 These were small B-productions... 1051 01:14:48,365 --> 01:14:50,265 where Alton was free to experiment... 1052 01:14:50,367 --> 01:14:52,267 and often took unusual risks. 1053 01:14:52,369 --> 01:14:54,530 Busy little man, eh, snooper? 1054 01:14:55,973 --> 01:14:58,806 Almost had ya, all of you. 1055 01:14:58,909 --> 01:15:00,809 Tony! 1056 01:15:00,911 --> 01:15:02,708 And you, Vanny, so smart. 1057 01:15:02,813 --> 01:15:06,840 Top-drawer crook. Lived with me and never caught on. 1058 01:15:06,951 --> 01:15:09,249 "There is no doubt in my mind... 1059 01:15:09,353 --> 01:15:11,548 that the prettiest music is sad," he remarked. 1060 01:15:11,655 --> 01:15:14,647 Knew all the angles... 1061 01:15:14,758 --> 01:15:19,923 'And the most beautiful photography is in a low-key with rich blacks." 1062 01:15:20,030 --> 01:15:22,430 Sucker. 1063 01:15:31,508 --> 01:15:33,601 The paranoia of film noir reached its high point... 1064 01:15:33,711 --> 01:15:36,839 with Robert Aldrich's film Kiss Me Deadly. 1065 01:15:41,285 --> 01:15:45,449 Out of the dark, a haunted woman appears to private eye Mike Hammer. 1066 01:15:45,556 --> 01:15:50,084 She's running away from a mental institution and an unbearable secret. 1067 01:15:50,194 --> 01:15:52,560 She's not mad, though. 1068 01:15:52,663 --> 01:15:56,929 Merely innocent, destined to be a sacrifiicial lamb. 1069 01:15:57,034 --> 01:15:59,502 - If we don"t make that bus stop... - We will. 1070 01:16:03,140 --> 01:16:06,541 If we don"t, 1071 01:16:06,643 --> 01:16:08,543 remember me. 1072 01:16:20,357 --> 01:16:23,258 Stylized lighting and composition conveyed a deranged world. 1073 01:16:23,360 --> 01:16:25,385 There was no moral compass anymore. 1074 01:16:25,496 --> 01:16:29,626 Aldrich even turned Mickey Spillane"s detective Mike Hammer... 1075 01:16:29,733 --> 01:16:33,362 into an ambiguous figure, a guy who"s treated like dirt by everybody... 1076 01:16:33,470 --> 01:16:38,271 and is even described as a "sleazy, despicable bedroom dick." 1077 01:16:38,375 --> 01:16:43,108 Aldrich's point, an important one during those McCarthy times, 1078 01:16:43,213 --> 01:16:46,774 was the end neverjustifiies the means. 1079 01:16:46,884 --> 01:16:49,284 - She's passed out. - I'll bring her to. 1080 01:16:49,386 --> 01:16:51,786 If you revive her, do you know what that would be? 1081 01:16:51,889 --> 01:16:55,586 Resurrection, that's what it would be. 1082 01:16:55,692 --> 01:16:57,819 And do you know what resurrection means? 1083 01:16:57,928 --> 01:17:00,328 It means raise the dead. 1084 01:17:00,431 --> 01:17:04,162 And just who do you think you are that you think you can raise the dead? 1085 01:17:07,704 --> 01:17:09,604 At the end of Kiss Me Deadly, 1086 01:17:09,706 --> 01:17:13,506 the duplicitous woman who stole this package from a secret government project... 1087 01:17:13,610 --> 01:17:18,070 was like the wife of Lot who refused to heed the warnings. 1088 01:17:31,895 --> 01:17:36,559 Aldrich's tale led to a few cryptic, threatening words: 1089 01:17:36,667 --> 01:17:40,865 Manhattan Project, Los Alamos, Trinity. 1090 01:17:40,971 --> 01:17:43,940 This time opening Pandora's box... 1091 01:17:44,041 --> 01:17:47,636 meant universal annihilation, the apocalypse. 1092 01:17:49,780 --> 01:17:52,681 Of course, not all smugglers operated within film noir. 1093 01:17:52,783 --> 01:17:55,616 In Part 3, as we continue our journey, 1094 01:17:55,719 --> 01:17:58,916 I"d like to show you how they worked around more wholesome genres... 1095 01:17:59,022 --> 01:18:02,150 and even, at times, big Hollywood star vehicles. 1096 01:18:02,259 --> 01:18:04,659 We'll also look at a different breed of directors, 1097 01:18:04,761 --> 01:18:07,059 those who attacked the system head on... 1098 01:18:07,164 --> 01:18:09,064 the iconoclasts.