1 00:00:11,844 --> 00:00:15,041 I'm often asked by younger filmmakers, why do I need to look at old movies? 2 00:00:15,148 --> 00:00:17,173 I've made a number of pictures in the past 20 years. 3 00:00:17,283 --> 00:00:20,252 And the response I find that I have to give them is that I'm... 4 00:00:20,353 --> 00:00:22,514 I still consider myself a student. 5 00:00:22,622 --> 00:00:26,820 Um, the more pictures I made in the past 20 years, the more I realized I really don't know. 6 00:00:26,926 --> 00:00:29,451 And I'm always looking for something to... 7 00:00:29,562 --> 00:00:32,497 something or someone that I could, that I could learn from. 8 00:00:32,598 --> 00:00:35,396 I tell the younger, the younger filmmakers and the young students... 9 00:00:35,501 --> 00:00:39,301 that I do it like painters used to do, what painters do... 10 00:00:39,405 --> 00:00:44,308 study the old masters, enrich your palette, expand the canvas. 11 00:00:44,410 --> 00:00:46,435 There's always so much more to learn. 12 00:00:48,781 --> 00:00:51,875 Now, take this forgotten "B" film, Silver Lode. 13 00:00:51,984 --> 00:00:54,111 Now, this was directed by Allan Dwan, 14 00:00:54,220 --> 00:00:58,316 one of the unheralded film pioneers who made the first of his 400 films... 15 00:00:58,424 --> 00:01:01,018 back in 1911. 16 00:01:01,127 --> 00:01:05,086 At the end of his long career, he was sort of relegated to low-budget genre films. 17 00:01:05,198 --> 00:01:08,065 But low budget or not, watch the beautiful simplicity... 18 00:01:08,167 --> 00:01:12,035 of the sweeping tracking shots that are literally guiding the desperateJohn Payne... 19 00:01:12,138 --> 00:01:15,665 toward his final sanctuary, the town church. 20 00:01:15,775 --> 00:01:17,970 Dwan's finest movies featured simple people, 21 00:01:18,077 --> 00:01:20,841 pastoral landscapes and the rural America of a bygone era. 22 00:01:20,947 --> 00:01:24,474 But behind the lyrical images of the Old West, 23 00:01:24,584 --> 00:01:29,044 Silver Lode suggests the fragility of our democratic institutions. 24 00:01:29,155 --> 00:01:32,955 On Independence Day, the day of his wedding, 25 00:01:33,059 --> 00:01:35,118 John Payne should be the happiest man in Silver Lode. 26 00:01:35,228 --> 00:01:38,163 There he is! Look! There! There he is! 27 00:01:38,264 --> 00:01:42,223 Instead, he has to fight for his life when he's unjustly accused of a murder... 28 00:01:42,335 --> 00:01:45,634 and suddenly ostracized by the community. 29 00:01:45,738 --> 00:01:49,936 Daringly, the fugitive's bride-to-be convinces the town that he's not guilty... 30 00:01:50,042 --> 00:01:52,533 by forging a telegram from a U.S. Marshal. 31 00:01:52,645 --> 00:01:56,877 "McCarty not what he represents himself to be. 32 00:01:56,983 --> 00:01:58,917 Wanted for murder and cattle rustling. " 33 00:01:59,018 --> 00:02:02,181 So, persecuted for the wrong reasons, Payne is pardoned for the wrong reasons. 34 00:02:02,288 --> 00:02:06,088 - Ya fixed it! - You have to remember that this was the era of the blacklists. 35 00:02:06,192 --> 00:02:08,752 Shoot 'em all! How many bullets ya got left? Two? Three? 36 00:02:08,861 --> 00:02:12,058 Political messages had to be smuggled in, cloaked in metaphors. 37 00:02:14,934 --> 00:02:17,767 Actually, the name of the villain, played by Dan Duryea, 38 00:02:17,870 --> 00:02:19,861 was "McCarty." 39 00:02:22,675 --> 00:02:26,111 And so a church bell and a fantastic lie saved the day. 40 00:02:26,212 --> 00:02:28,237 McCarty's dead. 41 00:02:30,149 --> 00:02:33,084 Dan, there isn't much that I can say. 42 00:02:33,186 --> 00:02:36,451 But I think I can speak for all of us... we're sorry. 43 00:02:36,556 --> 00:02:39,787 You're "sorry"? 44 00:02:39,892 --> 00:02:43,726 A moment ago you wanted to kill me. 45 00:02:43,830 --> 00:02:48,028 You forced me to kill, to defend myself, to save my own life. 46 00:02:48,134 --> 00:02:50,898 But you wouldn't believe what I said. 47 00:02:51,003 --> 00:02:53,995 A man's life can hang in the balance... 48 00:02:54,106 --> 00:02:56,199 on a piece of paper! 49 00:03:02,415 --> 00:03:04,815 And you're sorry. 50 00:03:04,917 --> 00:03:08,444 The '50s... The '50s for me is a fascinating era... 51 00:03:08,554 --> 00:03:12,046 when the subtext became as important as the apparent subject matter... 52 00:03:12,158 --> 00:03:14,092 or even more important. 53 00:03:14,193 --> 00:03:17,788 I mean, look at Douglas Sirk's film All That Heaven Allows, which he made in 1955, 54 00:03:17,897 --> 00:03:20,832 or Nicholas Ray's Bigger Than Life, made in 1956. 55 00:03:20,933 --> 00:03:23,060 Now, you have to understand these were not "B" movies. 56 00:03:23,169 --> 00:03:25,399 These were big-scale pictures with major studio stars. 57 00:03:25,505 --> 00:03:29,271 Furthermore, they were Americanas, 58 00:03:29,375 --> 00:03:31,935 the most wholesome genre of the period. 59 00:03:32,044 --> 00:03:35,536 Jane Wyman, the widow in Douglas Sirk's All That Heaven Allows, 60 00:03:35,648 --> 00:03:39,209 is not rejected by her community, she is immersed in it. 61 00:03:39,318 --> 00:03:42,446 Her world becomes unhinged when she falls in love with Rock Hudson, 62 00:03:42,555 --> 00:03:45,615 a much younger man who happens to be her gardener. 63 00:03:45,725 --> 00:03:51,220 A spiritual descendant of Thoreau, he represents a solid and serene individualism... 64 00:03:51,330 --> 00:03:55,426 that seems sadly out of place in the New England of the 1950s. 65 00:03:55,535 --> 00:03:59,403 What a beautiful view of the pond. Why, you can see for miles. 66 00:03:59,505 --> 00:04:02,565 Mm-hmm. The sun comes up right over that hill. 67 00:04:02,675 --> 00:04:05,337 - Oh! - Do you like it? 68 00:04:05,478 --> 00:04:07,412 Why, it's unbelievable. 69 00:04:07,480 --> 00:04:09,380 Let's take your boots off, huh? 70 00:04:09,482 --> 00:04:11,382 - Hello, Dan. - Hello, Cary. 71 00:04:11,484 --> 00:04:13,384 - Cary, you know Miss Frisbee, Mr. Allenby. Mr. Kirby. - Yes. 72 00:04:13,486 --> 00:04:17,616 - How do you do? - Oh, what's this I hear about your... Oh. 73 00:04:17,723 --> 00:04:20,191 Haven't I seen you somewhere before? 74 00:04:20,293 --> 00:04:23,126 Well, Mrs. Humphrey, probably in your garden. 75 00:04:23,229 --> 00:04:26,392 I've been pruning your trees for the last three years! 76 00:04:26,499 --> 00:04:29,627 Oh, yes, of course. 77 00:04:29,735 --> 00:04:34,570 - Uh, Sara, I really must be going. - Excuse me. I'll be right back. 78 00:04:34,674 --> 00:04:37,006 - Are you saying you don't want to marry me? - Oh, no, I'm not saying that. 79 00:04:37,109 --> 00:04:39,600 I'm... I'm just asking you to be patient. 80 00:04:39,712 --> 00:04:43,876 - It's only a question of time. - Only of time. 81 00:04:43,983 --> 00:04:46,713 Well, right now everybody's talking about us. 82 00:04:46,819 --> 00:04:49,219 We're a local sensation. 83 00:04:49,322 --> 00:04:52,621 And like Sara said, if... if the people get used to seeing us together, 84 00:04:52,725 --> 00:04:55,523 then maybe they'll accept us. 85 00:04:55,628 --> 00:05:01,066 You mean, uh, we'll be invited to all the cocktail parties. 86 00:05:01,167 --> 00:05:05,297 And, of course, Sara will see to it that I get into the country club. 87 00:05:05,404 --> 00:05:08,635 I can see that you don't want to listen to anybody's ideas but your own. 88 00:05:08,741 --> 00:05:11,676 And I can see that you're trying to make me choose between you and the children! 89 00:05:11,777 --> 00:05:15,838 No, Cary, you're the one that made it a question of choosing. 90 00:05:15,948 --> 00:05:17,882 So you're the one that'll have to choose. 91 00:05:21,621 --> 00:05:23,521 All right. 92 00:05:27,393 --> 00:05:29,293 It's all over. 93 00:05:31,564 --> 00:05:35,898 Once she surrenders to the community's pressure, Jane Wyman is trapped. 94 00:05:36,002 --> 00:05:37,970 Cary. 95 00:05:38,070 --> 00:05:41,198 She's left suffocating in their world of pretense and illusions... 96 00:05:41,307 --> 00:05:44,674 far from Hudson's Walden Pond. 97 00:05:44,777 --> 00:05:47,371 Home, family, social roles... 98 00:05:47,480 --> 00:05:50,176 can't fulfill the pursuit of happiness anymore. 99 00:05:50,282 --> 00:05:53,911 Somehow, they've become the instruments of repression. 100 00:05:54,020 --> 00:05:57,922 Beneath the surface of the seemingly ideal setting... 101 00:05:58,024 --> 00:06:01,516 lay a sharp indictment of American small-town life. 102 00:06:01,627 --> 00:06:03,527 ? And heaven and nature sing. 103 00:06:03,629 --> 00:06:06,996 Both Douglas Sirk and Nicholas Ray stayed within the rules. 104 00:06:07,099 --> 00:06:09,329 Their films had the required happy ending. 105 00:06:09,435 --> 00:06:14,134 But they hinted at the dangers inherent in conforming to society's conventions. 106 00:06:14,240 --> 00:06:17,266 You see, anything indirect... 107 00:06:17,376 --> 00:06:19,469 is, uh, stronger, 108 00:06:19,612 --> 00:06:21,705 in many cases, at least, 109 00:06:21,781 --> 00:06:25,911 because you leave it or you hand it over to the imagination... 110 00:06:26,018 --> 00:06:28,009 of your audience, you know. 111 00:06:28,120 --> 00:06:31,612 And I've always been trusting... 112 00:06:31,724 --> 00:06:33,851 my audience to have imagination. 113 00:06:33,959 --> 00:06:37,326 Otherwise, they should stay out of the cinema. 114 00:06:37,430 --> 00:06:42,458 - You know, you have to leave something open. - Mm-hmm. 115 00:06:42,568 --> 00:06:46,197 The moment you start preach in the film... preaching in the film... 116 00:06:46,305 --> 00:06:50,935 the moment you want to teach your audience, 117 00:06:51,043 --> 00:06:53,375 you're making a bad film. 118 00:06:53,479 --> 00:06:56,141 If you can't have a life, settle for its imitation. 119 00:06:56,248 --> 00:06:58,273 There's your present now. 120 00:06:58,384 --> 00:07:01,581 This is whatJane Wyman receives from her children... 121 00:07:01,687 --> 00:07:04,679 - Oh, please, Kay... - as a substitute for her lost love. 122 00:07:04,790 --> 00:07:08,282 Mother! Merry Christmas. 123 00:07:08,394 --> 00:07:11,386 Merry Christmas, Mrs. Scott. 124 00:07:11,497 --> 00:07:14,864 Television, the movie's rival medium in the 1950s, 125 00:07:14,967 --> 00:07:17,231 was cast as the ultimate symbol of alienation. 126 00:07:17,336 --> 00:07:21,067 All you have to do is turn that dial, and you have all the company you want... 127 00:07:21,173 --> 00:07:23,573 right there on the screen. 128 00:07:23,676 --> 00:07:28,773 Drama, comedy, life's parade at your fingertips. 129 00:07:32,251 --> 00:07:34,879 Like Douglas Sirk, Nicholas Ray offers... 130 00:07:34,987 --> 00:07:38,320 both the American family in suburbia and the psychotic elements: 131 00:07:38,424 --> 00:07:41,825 The convention and the contradictions; the sugar and the poison. 132 00:07:45,598 --> 00:07:48,999 Look at Nicholas Ray's Bigger Than Life. 133 00:07:49,101 --> 00:07:52,468 James Mason portrays a frustrated schoolteacher... 134 00:07:52,571 --> 00:07:55,005 who undergoes personality changes when he becomes... 135 00:07:55,107 --> 00:07:57,541 hooked on cortisone, then an experimental drug. 136 00:07:57,643 --> 00:08:01,044 Just use your reason calmly. 137 00:08:01,147 --> 00:08:05,083 We'll have dinner the moment you've mastered this problem. 138 00:08:05,184 --> 00:08:09,120 Here he feels ten feet tall. 139 00:08:09,221 --> 00:08:12,918 - Ed, dinner's been waiting two hours. - I'm sorry. 140 00:08:13,025 --> 00:08:17,462 - Richie ought to eat. - I'm hungry too. 141 00:08:17,563 --> 00:08:20,396 Ed, Richie didn't even have lunch. 142 00:08:20,499 --> 00:08:22,660 The cortisone acts as a catalyst. 143 00:08:22,768 --> 00:08:26,499 It reveals a mental and spiritual dissatisfaction... 144 00:08:26,605 --> 00:08:29,403 and fuels Mason's growing desire to escape... 145 00:08:29,508 --> 00:08:32,568 from the dull existence that stifles his soul. 146 00:08:32,678 --> 00:08:36,170 Lou, it'll be better for all of us if you clearly understand one thing. 147 00:08:36,282 --> 00:08:39,046 I will not tolerate your attempts to undermine my program for Richard. 148 00:08:39,151 --> 00:08:41,051 Yes, darling. 149 00:08:41,153 --> 00:08:44,589 Be good enough not to speak to me in that hypocritical tone of voice. 150 00:08:44,690 --> 00:08:47,250 I see through you as clearly as I see through this glass pitcher! 151 00:08:47,359 --> 00:08:49,589 If you imagine I'm going to be fooled by all this sweetness and meekness... 152 00:08:49,695 --> 00:08:51,595 "Yes, darling, no, darling..." 153 00:08:51,697 --> 00:08:53,961 you're even a bigger idiot than I took you for. 154 00:08:54,066 --> 00:08:55,966 Let's clear this up once and for all! 155 00:08:56,068 --> 00:08:58,366 I'm staying in this house solely for the boy's sake! 156 00:08:58,470 --> 00:09:00,529 As for you personally, I'm completely finished with you. 157 00:09:00,639 --> 00:09:02,937 There's nothing left. Our marriage is over. 158 00:09:03,042 --> 00:09:04,942 In my mind I've divorced you. 159 00:09:05,044 --> 00:09:08,502 You're not my wife any longer, I'm not your husband any longer. 160 00:09:08,614 --> 00:09:11,811 Mason's family goes through hell as he starts questioning every tenet... 161 00:09:11,917 --> 00:09:14,647 of family life in the 1950s. 162 00:09:14,787 --> 00:09:18,120 "Momism," Sunday school, Little League sports... 163 00:09:18,190 --> 00:09:22,149 and even the egalitarian principles of American education. 164 00:09:38,310 --> 00:09:41,370 Lou! Lou! 165 00:09:42,848 --> 00:09:45,009 You'll be happy to know you've won. 166 00:09:45,117 --> 00:09:47,017 All of my efforts have been too late. 167 00:09:47,119 --> 00:09:50,179 In this house, our son has become a thief. 168 00:09:51,724 --> 00:09:55,785 My heroes are no more neurotic than the audience. 169 00:09:55,895 --> 00:09:59,126 Unless you can feel that... 170 00:09:59,231 --> 00:10:01,495 a hero is just as fucked up as you are... 171 00:10:01,600 --> 00:10:05,832 that you would make the same mistakes that he would make... 172 00:10:05,938 --> 00:10:10,272 uh, you can have no satisfaction... 173 00:10:10,376 --> 00:10:13,743 when he does commit a heroic act. 174 00:10:13,846 --> 00:10:18,647 Because then you can say, "Hell, I could have done that too." 175 00:10:18,751 --> 00:10:23,586 And that's the obligation of the filmmaker, of the theater worker... 176 00:10:23,689 --> 00:10:27,147 to give a heightened sense of experience to the... 177 00:10:27,259 --> 00:10:31,753 people who pay to come to see his work. 178 00:10:31,864 --> 00:10:34,594 "And they came to the place of which God had told him," 179 00:10:34,700 --> 00:10:39,137 and Abraham built an altar there and laid the wood in order and bound Isaac, his son, 180 00:10:39,238 --> 00:10:42,036 and laid him on the altar upon the wood. 181 00:10:42,141 --> 00:10:45,406 And Abraham stretched forth his hand... 182 00:10:45,511 --> 00:10:49,345 "and took the knife to slay his son." 183 00:10:49,448 --> 00:10:53,111 But, Ed, you didn't read it all. God stopped Abraham. 184 00:10:53,218 --> 00:10:56,085 God was wrong. 185 00:10:57,456 --> 00:11:00,983 Ed! No! Ed! No! Ed! No! 186 00:11:01,093 --> 00:11:05,792 Richie! Run out the window! Richie! Richie! 187 00:11:05,898 --> 00:11:09,493 No! Richie! 188 00:11:49,608 --> 00:11:52,304 Samuel Fuller's characters were no intellectuals. 189 00:11:52,411 --> 00:11:54,902 His was a visceral cinema, 190 00:11:55,014 --> 00:11:57,244 excessive, explosive. 191 00:11:57,349 --> 00:12:00,910 He once defined film as a battlefield. 192 00:12:01,020 --> 00:12:05,787 Love, hate, action, death. In one word, emotion. 193 00:12:08,193 --> 00:12:10,718 Impact was his main concern. 194 00:12:10,829 --> 00:12:14,094 Whether he was dealing with the Old West or Cold War America, 195 00:12:14,199 --> 00:12:18,033 his images were bursting with violence and sexual energy. 196 00:12:22,474 --> 00:12:24,772 In Pickup on South Street, 197 00:12:24,877 --> 00:12:27,641 Richard Widmark is a pickpocket... 198 00:12:27,746 --> 00:12:29,805 andJean Peters a prostitute. 199 00:12:37,256 --> 00:12:41,215 Here he inadvertently takes a microfilm... 200 00:12:41,326 --> 00:12:45,820 which Communist agents are trying to smuggle out of the country. 201 00:12:57,609 --> 00:13:00,237 How much is it worth to ya? 202 00:13:00,345 --> 00:13:02,313 What are you pushin' me for? 203 00:13:02,414 --> 00:13:04,348 You came here to buy, didn't you? 204 00:13:04,450 --> 00:13:08,284 America's fate is in the hands of two outcasts. 205 00:13:08,387 --> 00:13:11,254 She's just a runner who doesn't even know what side she's on, 206 00:13:11,356 --> 00:13:14,382 while he's a cynic, willing to do business with all sides. 207 00:13:14,493 --> 00:13:16,552 How much did ya bring? 208 00:13:16,662 --> 00:13:18,789 I don't wanna talk about it. 209 00:13:18,897 --> 00:13:21,764 - A former crime reporter, - How much? 210 00:13:21,867 --> 00:13:24,461 - Fuller cultivated the shocks and hyperbole... - Five hundred. 211 00:13:24,570 --> 00:13:26,504 That tabloids used in their headlines. 212 00:13:28,607 --> 00:13:32,805 You tell that Commie I want a big score for that film, and I want it in cash. 213 00:13:32,911 --> 00:13:34,811 - Tonight! - What are you talkin' about? 214 00:13:34,913 --> 00:13:37,507 You tell me. You people are supposed to have all the answers. 215 00:13:37,616 --> 00:13:41,347 - Tell ya what? - Come on! Drop the act. So you're a Red. 216 00:13:41,453 --> 00:13:44,650 Who cares? Your money's as good as anybody else's. 217 00:13:44,756 --> 00:13:48,487 Now get your stern up those stairs and tell your old lady what I want. 218 00:13:48,594 --> 00:13:51,324 I'll do business with a Red, but I don't have to believe one. 219 00:13:52,931 --> 00:13:57,334 Playing both ends against the middle, Widmark defied all "isms," 220 00:13:57,436 --> 00:13:59,870 - even patriotism. - Get outta here! 221 00:13:59,972 --> 00:14:02,497 Writer-director-producer Samuel Fuller's work... 222 00:14:02,608 --> 00:14:05,543 was a potent antidote to America's complacency during the Cold War. 223 00:14:05,644 --> 00:14:08,738 He was the most outspoken of the '50s smugglers. 224 00:14:08,847 --> 00:14:11,338 No ideology escaped his scathing irony. 225 00:14:11,450 --> 00:14:14,283 American hypocrisy was his constant target. 226 00:14:14,386 --> 00:14:16,786 Fuller's heroes were hard to distinguish from his villains. 227 00:14:16,889 --> 00:14:18,789 If you refuse to cooperate, 228 00:14:18,891 --> 00:14:21,325 you'll be as guilty as the traitors that gave Stalin the A-bomb. 229 00:14:21,426 --> 00:14:23,986 Are you wavin' the flag at me? 230 00:14:24,096 --> 00:14:26,587 I know something in our side you should get... 231 00:14:26,698 --> 00:14:31,965 Get this. I didn't grift that film, and you can't prove I did. 232 00:14:32,104 --> 00:14:34,231 - Do you know what treason means? - Who cares? 233 00:14:34,306 --> 00:14:38,208 - Answer the man! - Is there a law now I gotta listen to lectures? 234 00:14:38,310 --> 00:14:41,302 When he says, "Don't wave the goddamn flag at me,". 235 00:14:41,413 --> 00:14:45,349 Hoover objected to that and verbally objected it... 236 00:14:45,450 --> 00:14:50,319 in my presence at Romanoff's table with Zanuck. 237 00:14:50,422 --> 00:14:55,086 He objects that an American would say during the heat, 238 00:14:55,194 --> 00:14:57,492 the hottest point of the Cold War with Russia, 239 00:14:57,596 --> 00:15:00,156 "Don't wave the goddamn flag at me." 240 00:15:00,265 --> 00:15:05,100 And Zanuck said, "He's right," to me. "He's right. We'll leave out 'goddamn.'" 241 00:15:05,204 --> 00:15:07,832 And Hoover got very angry. 242 00:15:07,940 --> 00:15:10,670 "You know damn well that's not what I mean." 243 00:15:10,776 --> 00:15:14,644 And Zanuck explained very simply, and he was a friend of his... I mean, he knew him... 244 00:15:14,746 --> 00:15:19,649 "This is his character talking, and that character doesn't give a goddamn about the flag." 245 00:15:19,751 --> 00:15:22,276 It means nothing to him. 246 00:15:22,387 --> 00:15:24,787 Any flag... You must be that character. 247 00:15:24,890 --> 00:15:27,017 Otherwise, we are making a propaganda film. 248 00:15:27,159 --> 00:15:29,184 "And we don't make those kind of propaganda films." 249 00:15:30,596 --> 00:15:33,861 Fuller had found a niche in "B" films and genre pictures, 250 00:15:33,966 --> 00:15:35,934 but when the studio system collapsed, 251 00:15:36,034 --> 00:15:39,970 he was relegated to low-budget, independent productions. 252 00:15:40,072 --> 00:15:43,473 He had no money, no stars and only minimal sets. 253 00:15:43,575 --> 00:15:46,874 But out of these limitations emerged an outstanding film, 254 00:15:46,979 --> 00:15:50,506 Shock Corridor. 255 00:15:50,616 --> 00:15:55,144 Ajournalist pretends to be a madman in order to investigate a crime... 256 00:15:55,254 --> 00:15:57,814 that took place in a mental hospital. 257 00:15:57,923 --> 00:16:01,415 But instead of winning the Pulitzer Prize, he goes mad. 258 00:16:24,383 --> 00:16:27,819 Aaaah! 259 00:16:38,563 --> 00:16:41,828 Shock Corridor was full of front page material. 260 00:16:41,933 --> 00:16:45,699 The inmates were the product of Cold War paranoia and Southern racism. 261 00:16:45,804 --> 00:16:49,570 Every form of American insanity was represented. - Trent! 262 00:16:49,675 --> 00:16:54,977 This baptizes a new organization, the Ku Klux. 263 00:16:55,080 --> 00:16:58,641 - Sounds good. - No. 264 00:16:59,751 --> 00:17:03,016 Ku Klux Klan. 265 00:17:03,121 --> 00:17:05,919 Sounds more mysterious, more menacing, more alliterative. 266 00:17:06,024 --> 00:17:09,050 - Ku Klux Klan. Say it. - Ku Klux Klan. 267 00:17:09,161 --> 00:17:11,061 - KKK. - KKK. 268 00:17:11,163 --> 00:17:14,724 It'll catch on quick. It'll drive those carpetbaggers back north. 269 00:17:14,833 --> 00:17:16,824 Scare the hell out of'em. Tar and feather them. 270 00:17:16,935 --> 00:17:18,835 Hang' em. Burn 'em. 271 00:17:21,273 --> 00:17:24,902 Listen to me, Americans. America for Americans! 272 00:17:25,010 --> 00:17:27,501 America for Americans! 273 00:17:27,612 --> 00:17:30,581 Keep our schools white! 274 00:17:30,682 --> 00:17:33,242 - Keep 'em white! - That's right! Keep 'em white! 275 00:17:33,352 --> 00:17:35,912 - I'm against Catholics! - Hallelujah, man! Hallelujah! 276 00:17:36,021 --> 00:17:39,081 - AgainstJews! Jews! - Hallelujah! Hallelujah! 277 00:17:39,191 --> 00:17:41,716 - Against niggers! - Hallelujah! Hallelujah! 278 00:17:41,827 --> 00:17:44,853 - Against niggers! - Hallelujah! 279 00:17:44,963 --> 00:17:47,227 - Against niggers! - Hallelujah! 280 00:17:47,332 --> 00:17:49,766 There's one! 281 00:17:49,868 --> 00:17:52,496 Let's get that black boy before he marries my daughter! 282 00:17:52,604 --> 00:17:54,731 Hallelujah! Hallelujah! 283 00:17:56,842 --> 00:17:58,742 The metaphor was crystal clear. 284 00:17:58,844 --> 00:18:02,940 In Fuller's vision, America had become an insane asylum. 285 00:18:05,050 --> 00:18:10,454 Sadly, Fuller's later career was typical of the times. 286 00:18:10,555 --> 00:18:13,820 To finance his unorthodox projects, he had to move to Europe. 287 00:18:13,925 --> 00:18:17,827 And for a whole generation of smugglers, this was the end of the line. 288 00:18:19,931 --> 00:18:22,764 The pioneers and showmen were gone. 289 00:18:22,868 --> 00:18:25,996 The moguls were replaced by agents and executives. 290 00:18:26,104 --> 00:18:28,004 Actors and directors were starting their own companies. 291 00:18:28,106 --> 00:18:32,475 Start the wind machine. 292 00:18:32,577 --> 00:18:34,909 Runaway production was the name of the game. 293 00:18:35,013 --> 00:18:37,379 Turn on the paddle wheel. 294 00:18:37,482 --> 00:18:40,849 Roll 'em! 295 00:18:40,952 --> 00:18:43,853 - To make films you had to go to London, - Action! 296 00:18:43,955 --> 00:18:45,855 Paris, Madrid and Rome. 297 00:18:45,957 --> 00:18:49,757 A film like Two Weeks In Another Town captured the desperation of the times. 298 00:18:49,861 --> 00:18:53,262 I have an offer... leave. 299 00:18:58,270 --> 00:19:00,602 There's only one name for you. 300 00:19:00,705 --> 00:19:05,074 On the streets of my village they call them... 301 00:19:05,177 --> 00:19:07,304 - Welcome to Hollywood on the Tiber. - How dare you! 302 00:19:07,412 --> 00:19:11,644 - You are behind schedule. - I need two weeks to finish shooting this picture. 303 00:19:11,750 --> 00:19:15,948 You give me two extra weeks, and I'll give you a Maurice Kruger picture. 304 00:19:16,054 --> 00:19:19,615 - Don't you want the best movie you can get? - No. 305 00:19:19,724 --> 00:19:25,094 - Don't you have pride in what pictures you put your name on? - No. 306 00:19:25,197 --> 00:19:27,097 Turn that off and get out. I want to get some sleep. 307 00:19:27,199 --> 00:19:29,133 Tucino, you international peddler! 308 00:19:29,234 --> 00:19:33,603 Take a good look at a movie that was made just because we couldn't sleep until we made it. 309 00:19:33,705 --> 00:19:36,265 Ironically, Two Weeks In Another Town... 310 00:19:36,408 --> 00:19:38,638 - was the sequel to The Bad And The Beautiful. - Laugh the way he would have! 311 00:19:38,710 --> 00:19:43,170 That's not a god talking, Georgia. That's only a man. 312 00:19:43,281 --> 00:19:46,808 Both films were directed by Vincente Minnelli, produced byJohn Houseman... 313 00:19:46,918 --> 00:19:49,045 and starred Kirk Douglas. 314 00:19:49,154 --> 00:19:53,716 But in ten years, from 1952 to 1962, 315 00:19:53,825 --> 00:19:56,316 the industry had undergone tremendous changes, 316 00:19:56,428 --> 00:19:58,658 and Two Weeks In Another Town... 317 00:19:58,763 --> 00:20:01,857 was a startling mirror of Hollywood's decline. 318 00:20:01,967 --> 00:20:05,095 Did it with style. 319 00:20:05,203 --> 00:20:07,831 L-It's all right, Mrs. Curry. 320 00:20:07,939 --> 00:20:12,899 Kruger, you're great. 321 00:20:17,382 --> 00:20:19,475 I was great. 322 00:20:19,584 --> 00:20:21,484 The golden age was over. 323 00:20:21,586 --> 00:20:25,955 And for many a veteran director, this was a painful period of anguish and self-doubt. 324 00:20:26,057 --> 00:20:29,026 Who in his right mind would expect me to settle for you? 325 00:20:29,127 --> 00:20:33,530 A worn-out, dried-up, whining, meddling old hag! 326 00:20:33,632 --> 00:20:37,193 My lawful wedded nightmare. Frustrated and stupid. 327 00:20:37,302 --> 00:20:41,568 Sticking your fat nose into everything day and night! 328 00:20:41,673 --> 00:20:44,073 Clara? 329 00:20:45,176 --> 00:20:47,076 Clara? 330 00:20:53,518 --> 00:20:55,645 Clara. 331 00:20:55,754 --> 00:20:59,315 Don't swallow all those sleeping pills. 332 00:20:59,424 --> 00:21:04,259 The doctor will just have to come up and pump out your stomach again. 333 00:21:04,362 --> 00:21:08,526 You know how sick that makes me. 334 00:21:15,874 --> 00:21:20,004 Oh, Clara. Clara. 335 00:21:21,846 --> 00:21:27,079 L- I look at this film I'm shooting. I like it. 336 00:21:29,020 --> 00:21:31,045 What if I'm wrong... 337 00:21:31,156 --> 00:21:33,681 and it's another calamity? 338 00:21:34,926 --> 00:21:37,690 Where do I go from here? 339 00:21:39,431 --> 00:21:42,423 Took me two years to get this job, and that was a fluke. 340 00:21:44,202 --> 00:21:48,434 How can a man go wrong and not know why? 341 00:21:48,540 --> 00:21:51,134 What's happened to me? 342 00:21:53,144 --> 00:21:55,635 Is it ego? 343 00:21:56,748 --> 00:21:59,512 Self-indulgence? 344 00:22:01,119 --> 00:22:03,314 Or... 345 00:22:08,059 --> 00:22:10,755 am I just plain afraid? 346 00:22:10,862 --> 00:22:13,524 Oh, my poor... 347 00:22:13,632 --> 00:22:18,194 I've seen the film you're shooting, and it's beautiful. 348 00:22:32,684 --> 00:22:37,451 Whereas the smuggler works undercover and his subversion is not detected immediately, 349 00:22:37,589 --> 00:22:39,955 the iconoclast attacks conventions head-on... 350 00:22:40,025 --> 00:22:43,426 and his defiance sends shock waves through the industry. 351 00:22:43,528 --> 00:22:47,589 In Hollywood, the iconoclasts comprise the visionaries, the groundbreakers, 352 00:22:47,699 --> 00:22:51,226 the renegades who openly defied the system and expanded the art form. 353 00:22:51,336 --> 00:22:54,999 Often they were defeated. Sometimes they actually made the system work for them. 354 00:23:01,713 --> 00:23:05,012 Hollywood has always had a love/hate relationship with those who break its rules, 355 00:23:05,116 --> 00:23:08,244 extolling them one moment and burning them the next. 356 00:23:13,224 --> 00:23:18,787 The Hollywood establishment often confused entertainment with escapism, 357 00:23:18,897 --> 00:23:23,561 so borrowing from real life was deemed either boring or sometimes subversive, 358 00:23:23,668 --> 00:23:26,660 particularly if it meant plumbing the lower depths. 359 00:23:26,771 --> 00:23:29,501 But back in the silent era, a few filmmakers challenged... 360 00:23:29,641 --> 00:23:31,541 the ideals of glamour and wholesomeness by injecting... 361 00:23:31,643 --> 00:23:34,203 a dose of reality into their films, 362 00:23:34,279 --> 00:23:37,009 generally within the framework of the melodrama. 363 00:23:37,115 --> 00:23:39,481 D. W. Griffith, for instance, is often identified... 364 00:23:39,584 --> 00:23:43,076 with quaint romanticism and Victorian sensibility. 365 00:23:43,188 --> 00:23:47,989 But more than once, he went beyond the accepted melodrama of his time. 366 00:23:49,561 --> 00:23:52,689 In Broken Blossoms, he showed how a sordid reality... 367 00:23:52,797 --> 00:23:54,992 can destroy the purest dreams. 368 00:24:01,506 --> 00:24:04,134 This was the most delicate interracial romance. 369 00:24:04,242 --> 00:24:07,575 Physical and spiritual suffering is what unites Lillian Gish, 370 00:24:07,679 --> 00:24:10,773 the waif battered by her boxing father, 371 00:24:10,882 --> 00:24:14,511 and Richard Barthelmess, the young Buddhist who lost his religious fervor... 372 00:24:14,619 --> 00:24:17,645 in the slums of London. 373 00:24:17,756 --> 00:24:21,624 Their bodies, like their souls, are bent or stunted. 374 00:24:22,994 --> 00:24:25,462 Both are broken blossoms. 375 00:24:30,935 --> 00:24:35,235 Only when they find each other do they come alive. 376 00:24:36,841 --> 00:24:39,207 So, for a brief moment, 377 00:24:39,310 --> 00:24:42,609 they're allowed to dream before our eyes. 378 00:24:49,921 --> 00:24:53,880 But when the racist father discovers the situation, 379 00:24:53,992 --> 00:24:57,553 bigotry is exposed in its rawest form. 380 00:24:59,330 --> 00:25:04,290 Sweetness and compassion turn to fury and savagery. 381 00:25:19,884 --> 00:25:24,116 The young Chinese who didn't believe in violence... 382 00:25:24,222 --> 00:25:26,713 picks up a gun to save his beloved. 383 00:25:30,295 --> 00:25:32,286 He'll come too late. 384 00:25:37,869 --> 00:25:40,599 Her punishment is death. 385 00:25:45,046 --> 00:25:49,415 The setting was Vienna in the last days of the Hapsburg dynasty, 386 00:25:49,517 --> 00:25:54,352 a decadent world that both fascinated and repelled Stroheim. 387 00:25:58,826 --> 00:26:02,694 The city of waltzes and operettas was a pigsty. 388 00:26:10,805 --> 00:26:15,799 Behind the romantic exterior, Stroheim revealed an ugly, cruel society... 389 00:26:15,910 --> 00:26:18,310 ruled by greed. 390 00:26:28,890 --> 00:26:32,155 The apple blossoms offered a brief refuge, 391 00:26:32,260 --> 00:26:34,353 but they were an illusion. 392 00:26:34,462 --> 00:26:38,091 Innocence was doomed from the start. 393 00:26:38,199 --> 00:26:41,566 Stroheim's heroines were no madonnas. 394 00:26:41,669 --> 00:26:46,299 Like their male counterparts, they were always endowed with strong sexual desires. 395 00:26:46,407 --> 00:26:50,104 What Stroheim was after was a more honest depiction... 396 00:26:50,211 --> 00:26:53,078 of human relationships. 397 00:27:07,829 --> 00:27:09,763 Both lovers were victims. 398 00:27:09,864 --> 00:27:12,389 The young girl who surrendered her soul... 399 00:27:12,500 --> 00:27:17,403 and the prince who had not yet been corrupted by the hypocrisy of his milieu. 400 00:27:21,642 --> 00:27:24,941 Stroheim's images could certainly be brutal, 401 00:27:25,046 --> 00:27:28,140 and they inevitably got him into trouble with the censors. 402 00:27:28,249 --> 00:27:30,683 But at heart, he was a romantic... 403 00:27:30,785 --> 00:27:34,846 who was haunted by the loss and the corruption of love. 404 00:27:36,257 --> 00:27:39,886 Rather than indulge in the splendors of imperial Vienna, 405 00:27:39,994 --> 00:27:42,258 he exposed its moral squalor. 406 00:27:44,332 --> 00:27:48,098 The young prince's father, a ruined aristocrat, 407 00:27:48,202 --> 00:27:52,832 strikes a deal with a rich merchant, who's desperate to marry off his crippled daughter. 408 00:28:04,118 --> 00:28:07,281 Stroheim paid a high price for his transgressions... 409 00:28:07,388 --> 00:28:11,449 and his perceived intransigence. 410 00:28:11,559 --> 00:28:16,155 The very qualities that made him a great artist undid him. 411 00:28:16,264 --> 00:28:21,361 He was dubbed a megalomaniac and ended up losing control over most of his projects. 412 00:28:21,469 --> 00:28:25,929 They would all be eventually truncated or disfigured. 413 00:28:26,040 --> 00:28:29,840 All fragments of a broken vision. 414 00:28:39,120 --> 00:28:41,020 In the '30s a few topical films... 415 00:28:41,122 --> 00:28:43,784 allowed the grim reality of the Depression to seep into the movies, 416 00:28:43,891 --> 00:28:45,882 particularly at Warner Brothers. 417 00:28:45,993 --> 00:28:48,223 Young Darryl Zanuck, then head of production, 418 00:28:48,329 --> 00:28:51,890 ordered his writers to draw their subjects from newspaper headlines. 419 00:28:51,999 --> 00:28:54,729 I Am A Fugitive From A Chain Gang was probably the most famous... 420 00:28:54,835 --> 00:28:56,860 of these hard-hitting exposes. 421 00:28:56,971 --> 00:29:01,135 It even led to the reformation of the penal system in the South. 422 00:29:01,242 --> 00:29:03,472 However, David Selznick at RKO... 423 00:29:03,578 --> 00:29:07,207 jumped the gun on Zanuck by releasing his own indictment of the chain gang system... 424 00:29:07,315 --> 00:29:09,476 several months earlier. 425 00:29:12,420 --> 00:29:14,445 The film was called Hell's Highway. 426 00:29:14,555 --> 00:29:17,718 Well, young fella, ya won't catch cold in that sweatbox. 427 00:29:17,825 --> 00:29:20,817 It was one of the three films directed by Rowland Brown, 428 00:29:20,928 --> 00:29:24,261 a forgotten figure whose meteoric career reputedly ended... 429 00:29:24,365 --> 00:29:26,833 when he punched one of Hollywood's top executives. 430 00:29:36,310 --> 00:29:38,835 Carter's dead. Strangled to death in the sweatbox. 431 00:29:38,946 --> 00:29:43,212 The contractor says the boy committed suicide. 432 00:29:43,317 --> 00:29:46,343 - Carter's dead. - Carter's dead. 433 00:29:46,454 --> 00:29:48,513 - Carter's dead. - Carter's dead. 434 00:29:48,623 --> 00:29:51,183 Somehow, Rowland Brown's audacity epitomized the pre-Code era. 435 00:29:51,292 --> 00:29:54,227 Those are the tumultuous years before rigid censorship rules, 436 00:29:54,328 --> 00:29:56,728 known as the Production Code, came into effect. 437 00:29:56,831 --> 00:30:00,528 - Where's Carter? - Yeah! Where is Carter? 438 00:30:00,635 --> 00:30:05,538 Where's Carter? 439 00:30:05,640 --> 00:30:08,336 Quiet there! 440 00:30:08,442 --> 00:30:13,072 A convicted bank robber, Richard Dix is one of the forgotten men of the Depression. 441 00:30:13,180 --> 00:30:18,083 His rebellious behavior is justified by the appalling conditions at the prison camp. 442 00:30:21,022 --> 00:30:25,356 His desperation reflects that of the country. 443 00:30:25,459 --> 00:30:29,691 Well, why don't you start? 444 00:30:29,797 --> 00:30:34,200 The World War One veteran was once an all-American hero. 445 00:30:38,305 --> 00:30:41,968 Social consciousness sparked Warner Brothers'stark dramas. 446 00:30:42,076 --> 00:30:46,274 Films like William Wellman's Wild Boys OfThe Road and Heroes For Sale. 447 00:30:46,380 --> 00:30:48,871 I have to get to my aunt's in Chicago someway. 448 00:30:48,983 --> 00:30:52,180 - This is the only way I can do it. - Well, don't your folks mind? 449 00:30:52,286 --> 00:30:54,948 My mother's dead. 450 00:30:56,390 --> 00:30:58,358 And we got a big family. 451 00:30:58,459 --> 00:31:01,451 With me gone, it means just one less mouth to feed. 452 00:31:01,562 --> 00:31:04,030 That's why they were kind of glad to see me go. 453 00:31:06,801 --> 00:31:10,396 Wild Boys OfThe Road was about teenagers who had been forced to leave home... 454 00:31:10,504 --> 00:31:14,270 to find work because their parents lost theirjobs in the Depression. 455 00:31:14,375 --> 00:31:18,038 Railroad dicks constantly harassed and abused them. 456 00:31:18,145 --> 00:31:20,272 Cheese it! Railroad dicks! 457 00:31:20,381 --> 00:31:24,477 The social and political context was painted in rather broad strokes, 458 00:31:24,585 --> 00:31:28,578 but the dramas were contemporary, urgent, gripping. 459 00:31:28,689 --> 00:31:32,648 Wild Bill Wellman had a natural feeling for the vagabond life, 460 00:31:32,760 --> 00:31:36,025 for the homeless youngsters and their battles with authority. 461 00:31:36,130 --> 00:31:39,657 His sympathy lay with the outcasts and with the rebels. 462 00:32:12,733 --> 00:32:15,361 Tommy! 463 00:32:20,274 --> 00:32:22,333 Now, at the opposite end of the spectrum... 464 00:32:22,443 --> 00:32:24,809 you find a different breed of iconoclast, 465 00:32:24,912 --> 00:32:27,779 Baroque stylists such as Josef von Sternberg. 466 00:32:30,618 --> 00:32:33,212 Like Stroheim, Sternberg demanded total control... 467 00:32:33,320 --> 00:32:35,914 over all aspects of his productions. 468 00:32:36,023 --> 00:32:40,687 But his was a voluptuous, dreamlike, supremely artificial world, 469 00:32:40,795 --> 00:32:44,595 lovingly composed on the Paramount soundstages. 470 00:32:46,066 --> 00:32:49,058 Sternberg's radical stylization proved as provocative... 471 00:32:49,170 --> 00:32:52,367 as Stroheim's extreme realism. 472 00:32:52,473 --> 00:32:56,136 Each film became a ceremonial with the director orchestrating... 473 00:32:56,243 --> 00:32:59,269 the most elaborate, erotic rituals around his star, 474 00:32:59,380 --> 00:33:02,008 Marlene Dietrich. 475 00:33:02,116 --> 00:33:04,516 Of the seven films Sternberg made with Dietrich, 476 00:33:04,618 --> 00:33:08,110 The Scarlet Empress was the most baroque and the boldest... 477 00:33:08,222 --> 00:33:10,486 in its depiction of erotic manipulation... 478 00:33:10,591 --> 00:33:14,118 as it traced the transformation of an innocent Prussian princess... 479 00:33:14,228 --> 00:33:18,460 into Catherine the Great, the empress of Russia. 480 00:33:18,566 --> 00:33:22,195 The woman you adore is quite close to you, isn't she? 481 00:33:22,303 --> 00:33:25,329 Catherine, I love you, worship you. 482 00:33:28,642 --> 00:33:33,545 As the heroine quickly discovered, political power and sexual power were inseparable. 483 00:33:37,685 --> 00:33:40,245 Her battles were waged in the bedroom... 484 00:33:40,354 --> 00:33:43,721 as she learned the art of choosing and changing lovers at the right time. 485 00:33:48,028 --> 00:33:50,087 Catherine showed such considerable skills... 486 00:33:50,197 --> 00:33:53,189 that she even challenged traditional sexual roles. 487 00:33:53,300 --> 00:33:56,929 Behind the mirror, as you know, there's a flight of stairs. 488 00:33:57,037 --> 00:34:00,495 Down below someone is waiting to come up. 489 00:34:00,608 --> 00:34:04,510 Will His Excellency be kind enough to open the door for him carefully... 490 00:34:04,612 --> 00:34:06,512 so that he can sneak in? 491 00:34:14,255 --> 00:34:18,089 Nothing escaped Sternberg's artistic control. 492 00:34:18,192 --> 00:34:21,286 He wrote the script, conceived the lighting, 493 00:34:21,395 --> 00:34:23,363 composed some of the music, 494 00:34:23,464 --> 00:34:25,728 directed the Los Angeles Symphonic Orchestra, 495 00:34:25,833 --> 00:34:27,733 helped design the sets and sculptures, 496 00:34:27,835 --> 00:34:30,895 Why did you send my mother away? What wrong had she done? 497 00:34:31,005 --> 00:34:33,633 And probably selected every icon himself. 498 00:34:36,677 --> 00:34:39,976 He even claimed that Marlene was just another tool. 499 00:34:42,583 --> 00:34:47,213 He said, "Remember that Marlene is not Marlene... I'm Marlene." 500 00:34:47,321 --> 00:34:49,221 She knows that better than anyone. " 501 00:34:50,324 --> 00:34:52,155 That must be Peter. 502 00:34:52,259 --> 00:34:55,160 Go and see if it is and tell him to come here at once. 503 00:34:56,897 --> 00:35:00,799 Your Imperial Highness, Her Majesty wishes to see you at once. 504 00:35:00,901 --> 00:35:03,529 "To the artist," insisted Sternberg, 505 00:35:03,637 --> 00:35:06,902 "the subject is incidental, and only his vision matters. " 506 00:35:07,007 --> 00:35:10,306 "He said, " The camera is a diabolical instrument... 507 00:35:10,411 --> 00:35:13,346 that conveys ideas with lightning speed. 508 00:35:13,447 --> 00:35:16,848 "Each picture transliterates a thousand words. " 509 00:35:18,953 --> 00:35:22,548 Perhaps the greatest iconoclast of them all was also the youngest... 510 00:35:22,656 --> 00:35:24,556 Orson Welles. 511 00:35:24,658 --> 00:35:29,220 The downright villainy of Boss Jim W. Gettys' political machine, 512 00:35:29,330 --> 00:35:31,389 now in complete control... 513 00:35:31,498 --> 00:35:34,399 He was 25 when he landed in Hollywood. 514 00:35:34,501 --> 00:35:38,130 I made no campaign promises... 515 00:35:38,238 --> 00:35:41,230 because, until a few weeks ago, 516 00:35:41,342 --> 00:35:44,243 I had no hope of being elected. 517 00:35:44,345 --> 00:35:48,281 Now, however, I have something more than a hope. 518 00:35:50,384 --> 00:35:52,284 And Jim Gettys... 519 00:35:52,386 --> 00:35:55,583 Jim Gettys has something less than a chance. 520 00:35:55,689 --> 00:35:58,487 In the wake of his radio show War of the Worlds, 521 00:35:58,592 --> 00:36:02,323 the young prodigy was given unprecedented latitude by RKO, 522 00:36:02,429 --> 00:36:04,329 including what's known today as... 523 00:36:04,431 --> 00:36:07,161 the right to final cut. 524 00:36:07,267 --> 00:36:09,701 At the time only screen legend Charlie Chaplin... 525 00:36:09,803 --> 00:36:12,931 enjoyed such creative control over his productions. 526 00:36:13,040 --> 00:36:16,134 For his first film Welles set out to explore the many facets... 527 00:36:16,243 --> 00:36:19,144 of media baron William Randolph Hearst, 528 00:36:19,246 --> 00:36:23,342 whose abuse of wealth and power defied America's democratic traditions. 529 00:36:25,119 --> 00:36:27,019 Some in Hollywood were so incensed... 530 00:36:27,121 --> 00:36:31,023 that they put pressure on RKO to destroy the negative. 531 00:36:31,125 --> 00:36:33,525 Fortunately, they didn't succeed. 532 00:36:39,266 --> 00:36:43,168 Welles was like a young magician enchanted by his own magic. 533 00:36:43,270 --> 00:36:46,171 In fact, the most revolutionary aspect of Citizen Kane... 534 00:36:46,273 --> 00:36:48,173 was its self-consciousness. 535 00:36:48,275 --> 00:36:50,835 The style drew attention to itself. 536 00:36:52,679 --> 00:36:54,374 Rosebud. 537 00:36:59,520 --> 00:37:01,420 Now, this contradicted the classical ideal... 538 00:37:01,522 --> 00:37:04,013 of the invisible camera and seamless cuts. 539 00:37:04,124 --> 00:37:07,093 Welles used every narrative technique and filmic device... 540 00:37:07,194 --> 00:37:10,095 deep focus, high and low angles, wide-angle lenses. 541 00:37:10,197 --> 00:37:12,597 "I want to use the motion picture camera... 542 00:37:12,699 --> 00:37:14,724 as an instrument of poetry, " he said. 543 00:37:14,835 --> 00:37:17,736 And somehow Welles'passion for the medium... 544 00:37:17,838 --> 00:37:20,466 became the great excitement of the piece itself. 545 00:37:22,443 --> 00:37:27,574 Now, you see, I had the best contract that anybody's ever had for Kane. 546 00:37:27,681 --> 00:37:31,708 Nobody comes on the set; nobody gets to look at the rushes; nothing. 547 00:37:31,819 --> 00:37:34,720 You just make the picture and that's it. 548 00:37:34,822 --> 00:37:37,723 If I hadn't had that contract, they've would've stopped me at the beginning, 549 00:37:37,825 --> 00:37:39,725 just by the nature of the script. 550 00:37:39,827 --> 00:37:43,729 But it was such conditions... I've never had anything remotely equal... 551 00:37:43,831 --> 00:37:45,731 to that contract since. 552 00:37:45,833 --> 00:37:48,233 So it isn't just the success. 553 00:37:48,335 --> 00:37:52,294 What spoiled me is having had the joy of that kind of liberty... 554 00:37:52,406 --> 00:37:54,306 once in my life... 555 00:37:54,408 --> 00:37:58,742 and never having been able to enjoy it again. 556 00:37:58,846 --> 00:38:02,077 George Amberson Minafer walked homeward slowly... 557 00:38:02,182 --> 00:38:06,585 through what seemed to be the strange streets of a strange city. 558 00:38:06,687 --> 00:38:10,487 For the town was growing and changing. 559 00:38:10,591 --> 00:38:14,186 It was heaving up in the middle incredibly. 560 00:38:14,294 --> 00:38:16,694 It was spreading incredibly. 561 00:38:16,797 --> 00:38:21,097 And as it heaved and spread, it befouled itself... 562 00:38:21,201 --> 00:38:23,101 and darkened its sky. 563 00:38:24,705 --> 00:38:27,606 Orson Welles inspired more would-be directors... 564 00:38:27,708 --> 00:38:30,609 than any other filmmaker since D. W. Griffith. 565 00:38:30,711 --> 00:38:33,612 Yet Welles didn't change the status of the Hollywood director. 566 00:38:33,714 --> 00:38:36,615 He actually lost all his privileges a year later... 567 00:38:36,717 --> 00:38:38,844 on The Magnificent Ambersons, 568 00:38:38,952 --> 00:38:43,355 which was chopped down and partially reshot in his absence. 569 00:38:45,125 --> 00:38:48,526 Do you know that I always liked Hollywood very much. 570 00:38:48,629 --> 00:38:51,462 It just wasn't reciprocated. 571 00:38:53,567 --> 00:38:57,469 Throughout his career, Welles pushed the creative envelope in so many ways. 572 00:38:57,571 --> 00:39:00,802 To trace Kane's political ambitions, for instance, 573 00:39:00,908 --> 00:39:02,773 he created fake newsreel footage. 574 00:39:02,876 --> 00:39:04,776 To give it the appropriate look, 575 00:39:04,878 --> 00:39:08,541 he had editor Robert Wise drag the film across a concrete floor. 576 00:39:08,649 --> 00:39:11,015 Here was an opportunity for Welles to recall... 577 00:39:11,118 --> 00:39:13,143 William Randolph Hearst's fondness for dictators. 578 00:39:13,253 --> 00:39:17,155 You saw Kane posing with Hitler for the photographers. 579 00:39:17,257 --> 00:39:20,158 Now, at the same time, in his first talking picture, 580 00:39:20,260 --> 00:39:23,593 Chaplin dared to aim at the Fascist powers directly. 581 00:39:23,697 --> 00:39:26,598 At the risk of infuriating America's isolationist forces, 582 00:39:26,700 --> 00:39:28,600 Chaplin took on the dictator singlehandedly. 583 00:39:28,702 --> 00:39:30,602 Und now, derJuden. 584 00:39:32,706 --> 00:39:34,606 DerJuden! 585 00:39:57,030 --> 00:39:58,759 DerJuden. 586 00:39:58,865 --> 00:40:02,232 Ohhhh, derJuden. 587 00:40:02,336 --> 00:40:06,363 His Excellency has just referred to theJewish people. 588 00:40:06,473 --> 00:40:08,998 A comedy drawing on such topical horrors... 589 00:40:09,109 --> 00:40:12,078 as racial persecutions and concentration camps, 590 00:40:12,179 --> 00:40:15,580 The Great Dictator presented Chaplin with another major challenge: 591 00:40:15,682 --> 00:40:17,582 He gave himself a double role, 592 00:40:17,684 --> 00:40:19,584 that of the monster dictator Hynkel... 593 00:40:19,686 --> 00:40:23,087 and the victim, theJewish barber. 594 00:40:28,695 --> 00:40:33,098 Of course, even the renegades like Chaplin and Welles had to work around the censors. 595 00:40:33,200 --> 00:40:35,168 Attention! 596 00:40:35,269 --> 00:40:39,171 The content of American films was still strictly controlled. 597 00:40:39,273 --> 00:40:42,674 Adult themes and images were too often curtailed or suppressed. 598 00:40:45,012 --> 00:40:46,912 But after World War Two, 599 00:40:47,014 --> 00:40:49,915 audiences wanted pictures to be truer to life. 600 00:40:50,017 --> 00:40:52,850 A few of our filmmakers started challenging the rules. 601 00:40:52,953 --> 00:40:55,114 Hey, Stella! 602 00:40:55,222 --> 00:40:58,123 You quit that howlin' down there and go to bed! 603 00:40:58,225 --> 00:41:01,126 - Joyce, I want my girl down here! - You shut up! 604 00:41:01,228 --> 00:41:04,129 Elia Kazan led the assault. 605 00:41:05,532 --> 00:41:09,024 Hey, Stella! 606 00:41:10,971 --> 00:41:13,371 Hey, Stella! 607 00:41:18,478 --> 00:41:23,381 His Streetcar Named Desire caused the first major breach in Hollywood's Production Code. 608 00:41:23,483 --> 00:41:25,383 I wouldn't mix in this. 609 00:41:34,761 --> 00:41:38,094 Kazan fought tooth and nail, frame by frame, 610 00:41:38,198 --> 00:41:42,601 to preserve the integrity of Tennessee Williams'drama when he adapted it to the screen. 611 00:41:45,205 --> 00:41:48,106 This meant exposing the overtly carnal desires... 612 00:41:48,208 --> 00:41:52,872 of Stanley and his battered, pregnant wife Stella. 613 00:41:52,979 --> 00:41:56,881 Now, these close shots of Kim Hunter were not in the film... 614 00:41:56,983 --> 00:41:58,883 as it was originally released... 615 00:41:58,985 --> 00:42:03,388 because the Legion of Decency objected to their sensuality. 616 00:42:08,161 --> 00:42:10,288 The studio decided to cut them... 617 00:42:10,397 --> 00:42:13,298 and replace the jazz score with more conventional music. 618 00:42:27,848 --> 00:42:30,408 Don't ever leave me, baby. 619 00:42:32,018 --> 00:42:36,387 The camera is more than a recorder... it's a microscope. 620 00:42:36,490 --> 00:42:39,323 It penetrates. It goes into people. 621 00:42:39,426 --> 00:42:43,328 You see their most private and concealed thoughts. 622 00:42:43,430 --> 00:42:46,331 I'm able... I have been able to do that with actors. 623 00:42:46,433 --> 00:42:50,164 I mean, I've revealed things that actors didn't know they were revealing about themselves. 624 00:42:50,270 --> 00:42:53,103 You know, I seen you a lot of times before. 625 00:42:53,206 --> 00:42:56,107 Remember parochial school out on Paluski Street? 626 00:42:56,209 --> 00:42:59,178 Seven, eight years ago. Your hair... Had your hair, uh... 627 00:42:59,279 --> 00:43:01,270 Braids. That's right. 628 00:43:01,381 --> 00:43:03,281 Looked like a hunk of rope. 629 00:43:03,383 --> 00:43:07,479 You had wires on your teeth and glasses, everything. 630 00:43:07,587 --> 00:43:09,487 You was really a mess. 631 00:43:09,589 --> 00:43:12,615 I was 12 years old when I saw On The Waterfront. 632 00:43:12,726 --> 00:43:14,626 It was a breakthrough for me. 633 00:43:14,728 --> 00:43:17,128 Don't get sore. I'm just kidding you. 634 00:43:17,230 --> 00:43:20,631 I just mean to tell you that you... grew up very nice. 635 00:43:20,734 --> 00:43:23,202 Kazan was forging a new acting style. 636 00:43:25,305 --> 00:43:27,205 Edie? 637 00:43:29,810 --> 00:43:31,710 Edie? 638 00:43:31,812 --> 00:43:33,712 It had the appearance of realism, 639 00:43:33,814 --> 00:43:36,715 but actually it revealed the natural behavior of people... 640 00:43:36,817 --> 00:43:40,981 and the truth in that behavior that I'd never seen before on the screen. 641 00:43:41,087 --> 00:43:42,987 Stay away from me! 642 00:43:43,089 --> 00:43:47,287 "Brando, " Kazan said, "was the only actor I could describe as a genius. 643 00:43:47,394 --> 00:43:50,852 He had that ambivalence that I believe is essential in depicting humanity..." 644 00:43:50,964 --> 00:43:53,159 Come on! Open the door, please! 645 00:43:53,266 --> 00:43:55,166 - "both strength... - Stop it! 646 00:43:55,268 --> 00:43:57,168 And sensibility. " 647 00:43:58,705 --> 00:44:00,434 I want you to stay away from me. 648 00:44:00,540 --> 00:44:03,668 I know what you want me to do, but I ain't gonna do it, so forget it! 649 00:44:03,777 --> 00:44:08,146 I don't want you to do anything. You let your conscience tell you what to do. 650 00:44:08,248 --> 00:44:11,274 Shut up about that conscience. That's all I been hearin'. 651 00:44:11,418 --> 00:44:14,910 I never mentioned the word before. You just stay away from me! 652 00:44:14,988 --> 00:44:17,889 Edie, you love me. I want you to... 653 00:44:17,991 --> 00:44:21,392 I didn't say I didn't love you. I said stay away from me! 654 00:44:21,495 --> 00:44:24,396 - I want you to say it to me. - Stay away from me! 655 00:44:39,579 --> 00:44:43,913 Elia Kazan paved the way for the iconoclasts of the '50s and '60s. 656 00:44:44,017 --> 00:44:46,417 They were writer-directors and writer-producers, 657 00:44:46,520 --> 00:44:50,479 men like Robert Aldrich, Richard Brooks, 658 00:44:50,590 --> 00:44:54,082 Robert Rossen, Billy Wilder, 659 00:44:54,194 --> 00:44:56,094 and among the younger generation... 660 00:44:56,196 --> 00:44:58,596 Arthur Penn and Sam Peckinpah. 661 00:44:58,698 --> 00:45:01,599 They all defied the guardians of public morality... 662 00:45:01,701 --> 00:45:04,864 by daring to tackle controversial issues like racism, 663 00:45:04,971 --> 00:45:08,463 inner-city violence, juvenile delinquency, 664 00:45:08,575 --> 00:45:11,703 homosexuality, war atrocities, 665 00:45:11,811 --> 00:45:13,711 the death penalty. 666 00:45:13,813 --> 00:45:16,043 A new reality was hitting the screens. 667 00:45:16,149 --> 00:45:19,050 I think producer-director Otto Preminger did more than anyone else... 668 00:45:19,152 --> 00:45:22,053 to bring about the demise of the Production Code. 669 00:45:22,155 --> 00:45:25,056 His crusade against censorship led him from The Moon Is Blue, 670 00:45:25,158 --> 00:45:27,683 a comedy about professional virgins, 671 00:45:27,794 --> 00:45:29,694 to Advise and Consent, 672 00:45:29,796 --> 00:45:31,696 which exposed political corruption in Washington... 673 00:45:31,798 --> 00:45:33,698 and even showed gay bars. 674 00:45:33,800 --> 00:45:37,395 He was among the first to challenge the blacklists by hiring Dalton Trumbo, 675 00:45:37,504 --> 00:45:39,404 one of the "Hollywood Ten," 676 00:45:39,506 --> 00:45:41,406 to write Exodus. 677 00:45:41,508 --> 00:45:43,908 One of Preminger's most important victories was scored... 678 00:45:44,010 --> 00:45:46,911 when he made the film The Man With the Golden Arm, 679 00:45:47,013 --> 00:45:49,914 probably the first honest depiction of drug addiction... 680 00:45:50,016 --> 00:45:51,847 on American screens. 681 00:45:51,952 --> 00:45:55,353 Here's Frank Sinatra, in one of his most memorable performances, 682 00:45:55,455 --> 00:45:58,356 as a heroin addict going through withdrawal. 683 00:46:15,809 --> 00:46:17,709 Let me out! 684 00:46:20,647 --> 00:46:22,547 Ohh! 685 00:46:26,453 --> 00:46:28,353 Out! 686 00:46:28,455 --> 00:46:30,855 Come on! Let me out! 687 00:46:32,192 --> 00:46:34,092 Ohh! 688 00:46:36,096 --> 00:46:38,291 Ohh! 689 00:46:42,335 --> 00:46:45,736 And don't try to come back, or I'll throw you out again! 690 00:46:45,839 --> 00:46:49,002 Alexander Mackendrick's Sweet Smell of Success... 691 00:46:49,109 --> 00:46:51,509 exposed a different kind of addiction... 692 00:46:51,611 --> 00:46:53,511 the addiction to power. 693 00:46:53,613 --> 00:46:55,513 I love this dirty town. 694 00:46:55,615 --> 00:46:59,517 The arena was Broadway, with Burt Lancaster portrayingJ.J. Hunsecker, 695 00:46:59,619 --> 00:47:01,519 the master manipulator. 696 00:47:02,856 --> 00:47:05,086 In Clifford Odets and Ernest Lehman's screenplay, 697 00:47:05,191 --> 00:47:09,127 the formidable newspaper and radio columnist was to show business... 698 00:47:09,229 --> 00:47:12,221 what Senator McCarthy was to Cold War politics. 699 00:47:12,332 --> 00:47:14,630 His fear and intimidation tactics... 700 00:47:14,734 --> 00:47:16,964 made him a national institution, 701 00:47:17,070 --> 00:47:21,063 but his ruthless world flickered in a moral twilight. 702 00:47:29,616 --> 00:47:32,915 Manny, tell me, what exactly are the... 703 00:47:33,019 --> 00:47:36,921 unseen gifts of this lovely young thing that you manage? 704 00:47:38,191 --> 00:47:40,091 Well, she sings a little. 705 00:47:40,193 --> 00:47:42,093 You know, she sings... 706 00:47:42,195 --> 00:47:45,596 Manny's faith in me is simply awe-inspiring, Mr. Hunsecker. 707 00:47:45,699 --> 00:47:48,133 - Actually, I'm still studying. - What subject? 708 00:47:48,234 --> 00:47:50,134 Singing, of course. 709 00:47:50,236 --> 00:47:52,204 Straight concert and... 710 00:47:52,305 --> 00:47:55,399 Why, of course. You might, for instance, be studying politics. 711 00:47:55,508 --> 00:47:57,408 Uh... me? 712 00:47:57,510 --> 00:47:59,410 - Well, you see, J. J... - I mean, I? 713 00:47:59,512 --> 00:48:01,412 Y-You must be kidding, Mr. Hunsecker. 714 00:48:01,514 --> 00:48:03,914 Me, with myJersey City brains? 715 00:48:04,017 --> 00:48:07,418 I know. That wonder boy of yours opens at the Latin Quarter next week. 716 00:48:07,520 --> 00:48:09,420 - J.J., uh... - Say good-bye, Lester. 717 00:48:09,522 --> 00:48:12,980 J.J.'s power is based on a network of informers and sycophants. 718 00:48:13,093 --> 00:48:16,995 That's the only reason the poor slobs pay you... to see their names in my column. 719 00:48:17,097 --> 00:48:19,998 - Now I make it out you're doing me a favor? - I didn't say tha... 720 00:48:20,100 --> 00:48:23,001 The day I can't get along without a press agent's handouts, 721 00:48:23,103 --> 00:48:25,628 I'll close up and move to Alaska. 722 00:48:25,739 --> 00:48:27,798 Sweep out my igloo. Here I come. 723 00:48:27,907 --> 00:48:31,206 Manny, you rode in here on the senator's shirttails, so shut your mouth. 724 00:48:31,311 --> 00:48:34,144 Now, come, J.J. That's a little too harsh. 725 00:48:34,247 --> 00:48:37,148 Anyone seems fair game for you tonight. 726 00:48:37,250 --> 00:48:42,449 This man is not for you, Harvey, and you shouldn't be seen in public with him. 727 00:48:42,555 --> 00:48:45,456 Because that's another part of a press agent's life. 728 00:48:45,558 --> 00:48:48,459 They dig up scandal about prominent people and shovel it thin... 729 00:48:48,561 --> 00:48:50,461 among columnists who give them space. 730 00:48:50,563 --> 00:48:54,397 There seems to be some allusion here that escapes me. 731 00:48:54,501 --> 00:48:56,401 We're friends, Harvey. 732 00:48:56,503 --> 00:48:59,995 We go as far back as when you were a fresh kid congressman, don't we? 733 00:49:00,106 --> 00:49:03,234 Why is it that everything you say sounds like a threat? 734 00:49:03,343 --> 00:49:06,369 Maybe it's a mannerism, because I don't threaten friends. 735 00:49:06,479 --> 00:49:09,380 But why furnish your enemies with ammunition? 736 00:49:09,482 --> 00:49:13,782 You're a family man, Harvey, and someday, God willing, you may want to be president. 737 00:49:13,887 --> 00:49:16,788 And here you are, out in the open, 738 00:49:16,890 --> 00:49:22,157 where any hep person knows that this one is toting that one around for you. 739 00:49:26,199 --> 00:49:28,292 Are we kids, or what? 740 00:49:29,736 --> 00:49:32,637 Next time you come up you might join me on my TV show. 741 00:49:32,739 --> 00:49:36,641 Thanks, J.J., for what I consider sound advice. 742 00:49:36,743 --> 00:49:38,768 Go now, and sin no more. 743 00:49:38,878 --> 00:49:41,369 ? It was an itsy-bitsy teenie-weenie? 744 00:49:41,481 --> 00:49:43,381 - ? Yellow polka dot bikini? - Nein! Nein! 745 00:49:43,483 --> 00:49:45,883 ? That she wore for the first time? 746 00:49:45,985 --> 00:49:49,887 Let's not forget that comedies can be just as iconoclastic as dramas. 747 00:49:49,989 --> 00:49:52,822 Billy Wilder's work, first as a writer in the 1930s, 748 00:49:52,926 --> 00:49:56,828 then as a writer-director from the '40s on, is a perfect example. 749 00:49:56,930 --> 00:50:00,832 Over the years Wilder's wit only grew more abrasive. 750 00:50:00,934 --> 00:50:03,835 Instead of sweetening his brews, he kept adding more acid. 751 00:50:03,937 --> 00:50:05,837 - Sind Sie ein Amerikanischer Spion? - Nein! 752 00:50:05,939 --> 00:50:08,840 You won't find a more iconoclastic film in the Kennedy years... 753 00:50:08,942 --> 00:50:10,842 than his film One, Two, Three, 754 00:50:10,944 --> 00:50:13,344 ? It was an itsy-bitsy teenie-weenie?? 755 00:50:13,446 --> 00:50:17,576 A savage political farce that dared ridicule all ideologies at the height of the Cold War. 756 00:50:20,186 --> 00:50:22,586 - Hey! - MacNamara! 757 00:50:22,689 --> 00:50:26,090 If it isn't my old friends Hart, Schaffner and Karl Marx. 758 00:50:26,192 --> 00:50:29,593 - I see you bring blonde lady with you. - Ring-a-ding-ding! 759 00:50:29,696 --> 00:50:32,597 James Cagney plays a Coca-Cola executive who has enrolled his secretary... 760 00:50:32,699 --> 00:50:35,099 to hoodwink the Soviet commissars in East Berlin. 761 00:50:35,201 --> 00:50:37,601 To what do we owe this unexpected pleasure? 762 00:50:37,704 --> 00:50:40,605 - You're a trade commission. I thought we might trade. - Coca-Cola? 763 00:50:40,707 --> 00:50:43,608 No. But I hear you boys would like Fraulein Ingeborg to go to work for you. 764 00:50:43,710 --> 00:50:45,610 - You wanna trade your secretary? - Right. 765 00:50:45,712 --> 00:50:47,612 - For Russian secretary? - Wrong. 766 00:50:47,714 --> 00:50:50,615 I do not blame you. Ours is built like bowlegged samovar. 767 00:50:55,221 --> 00:50:58,622 We find proposition very interesting. Now, what can we offer you? 768 00:50:58,725 --> 00:51:00,625 All I want from you is a small favor. 769 00:51:00,727 --> 00:51:02,627 Small favor, big favor. Anything. 770 00:51:02,729 --> 00:51:05,789 There's a guy named Otto Ludwig Piffl being held by the East German police. 771 00:51:05,899 --> 00:51:08,299 - For what reason? - Son of a gun stole my cuckoo clock. 772 00:51:08,401 --> 00:51:10,301 - You want cuckoo clock back? - Wrong. 773 00:51:10,403 --> 00:51:12,303 - You want Piffl back. - Right. 774 00:51:12,405 --> 00:51:15,306 Impossible, my friend. We cannot interfere with internal affairs... 775 00:51:15,408 --> 00:51:17,308 of sovereign republic of East Germany. 776 00:51:17,410 --> 00:51:20,311 - No Piffl, no deal. Let's go, Ingeborg. - Wait! What is the hurry? 777 00:51:20,413 --> 00:51:22,313 You're not giving us a chance. 778 00:51:22,415 --> 00:51:25,816 Is old Russian proverb: You cannot milk cow with hands in pockets. 779 00:51:25,919 --> 00:51:29,320 Herr Ober! Vodka! Caviar! 780 00:51:29,422 --> 00:51:32,323 Herr Kapellmeister, more rock and roll! 781 00:51:38,765 --> 00:51:41,666 Wilder's transgressions of political correctness... 782 00:51:41,768 --> 00:51:44,168 matched his transgressions of good taste. 783 00:51:44,270 --> 00:51:48,263 To Wilder, good taste was another name for censorship. 784 00:51:48,374 --> 00:51:51,207 "I'm accused of being vulgar," he would say. 785 00:51:51,311 --> 00:51:54,212 "So much the better, that proves I'm closer to life. " 786 00:51:54,314 --> 00:51:56,942 The picture was hit by a change in attitude. 787 00:51:57,050 --> 00:52:02,181 The wall was built, nobody could get through East Berlin to West Berlin and vice versa. 788 00:52:02,288 --> 00:52:05,689 The desire of the audience to laugh was strong. 789 00:52:07,126 --> 00:52:09,026 About 25 years later, 790 00:52:09,128 --> 00:52:11,528 it became a smash hit in Germany. 791 00:52:11,631 --> 00:52:13,724 Everybody went to see it because... 792 00:52:13,833 --> 00:52:18,736 the wall was gone and, uh... 793 00:52:18,838 --> 00:52:22,672 it was not gone yet, but it had eased, you know, that whole thing. 794 00:52:22,775 --> 00:52:26,176 And it became... it became, uh... 795 00:52:26,279 --> 00:52:31,740 it became a kind of a historic vignette... 796 00:52:31,851 --> 00:52:34,752 of the silliness of the Russians... 797 00:52:34,854 --> 00:52:37,152 and the stupidity of the Americans. 798 00:52:37,256 --> 00:52:39,451 Come on, everything. Get it up here. 799 00:52:39,559 --> 00:52:44,258 By the late 1960s the Production Code was almost defunct. 800 00:52:44,364 --> 00:52:47,800 - Bonnie and Clyde put the nail in the coffin. - Clyde, where's the car? 801 00:52:47,934 --> 00:52:50,869 What did he do? Where's the car? 802 00:52:50,937 --> 00:52:53,337 Where did he go? 803 00:52:53,439 --> 00:52:56,465 Here! 804 00:52:56,576 --> 00:52:59,374 The old studio system... 805 00:52:59,479 --> 00:53:01,379 was so hypocritical. 806 00:53:01,481 --> 00:53:05,884 They were constantly fearful of being accused of instilling in youth... 807 00:53:05,985 --> 00:53:08,317 the glory of the outlaw. 808 00:53:08,421 --> 00:53:11,686 So they had these rules, for instance, 809 00:53:11,791 --> 00:53:15,989 that you couldn't even fire a gun in the same frame with somebody getting hit. 810 00:53:16,095 --> 00:53:19,997 You had to have, literally, a film cut in between. 811 00:53:26,572 --> 00:53:29,735 So I thought, if we're gonna show this, we should show it. 812 00:53:29,842 --> 00:53:33,801 We should show what it looks like when somebody gets shot, 813 00:53:33,913 --> 00:53:37,371 that shooting somebody is not a sanitized event. 814 00:53:37,483 --> 00:53:39,883 It's not immaculate. 815 00:53:39,986 --> 00:53:41,886 There's an enormous amount of blood. 816 00:53:41,988 --> 00:53:46,584 There's an enormous amount of... of horror of change... 817 00:53:46,692 --> 00:53:48,683 that takes place when that occurs. 818 00:53:50,096 --> 00:53:53,065 We were in the middle of the Vietnamese war. 819 00:53:53,166 --> 00:53:57,125 What you saw on television was every bit... perhaps even more bloody... 820 00:53:57,236 --> 00:54:00,296 than what we were showing on film. 821 00:54:04,110 --> 00:54:05,771 Hey... 822 00:54:46,686 --> 00:54:49,086 The Production Code didn't survive the late '60s. 823 00:54:49,188 --> 00:54:52,021 Bonnie and Clyde and The Wild Bunch disposed of it. 824 00:54:52,125 --> 00:54:55,026 Today the violence in films is certainly more graphic. 825 00:54:55,128 --> 00:54:57,323 The last frontier may be sexuality, 826 00:54:57,430 --> 00:55:01,298 and beyond sexuality the complexity of the human psyche. 827 00:55:01,400 --> 00:55:04,767 This is the territory that Stanley Kubrick has been mining in his films. 828 00:55:04,871 --> 00:55:09,638 Like Kazan, Kubrick was a New York maverick who grew into an iconoclast. 829 00:55:09,742 --> 00:55:12,643 He emerged from independent production and film noir... 830 00:55:12,745 --> 00:55:14,872 to create his own unique, visionary worlds. 831 00:55:14,981 --> 00:55:16,881 His association with Kirk Douglas... 832 00:55:16,983 --> 00:55:18,883 on Paths of Glory and Spartacus... 833 00:55:18,985 --> 00:55:20,885 established him as a major player, 834 00:55:20,987 --> 00:55:23,888 but he couldn't stand being an employee on studio projects... 835 00:55:23,990 --> 00:55:26,891 and moved to London to make Lolita. 836 00:55:26,993 --> 00:55:30,224 He stayed there and hasn't worked in Hollywood since. 837 00:55:30,329 --> 00:55:32,229 He's one of the rare iconoclasts... 838 00:55:32,331 --> 00:55:35,732 who's enjoyed the luxury of operating completely on his own terms. 839 00:55:36,869 --> 00:55:38,769 Back here we have the kitchen. 840 00:55:38,871 --> 00:55:41,772 - That's where we have our informal meals. - Perhaps if you'd... 841 00:55:41,874 --> 00:55:43,774 My pastries win prizes around here. 842 00:55:43,876 --> 00:55:47,277 If you'd let me have your phone number, that would give me a chance to think it over. 843 00:55:47,380 --> 00:55:50,474 Here's James Mason as a European intellectual discovering the trappings... 844 00:55:50,583 --> 00:55:52,414 of small-town America. 845 00:55:52,518 --> 00:55:54,816 Oh, you must see the garden before you go. 846 00:55:54,921 --> 00:55:58,049 My flowers win prizes around here. 847 00:55:58,157 --> 00:56:00,057 They're the talk of the neighborhood. 848 00:56:00,159 --> 00:56:02,127 Voil�j! 849 00:56:02,228 --> 00:56:04,628 My yellow roses. 850 00:56:04,730 --> 00:56:07,290 My... Uh... Oh. My daughter. 851 00:56:07,400 --> 00:56:10,301 Uh, darling, turn that down, please. 852 00:56:10,403 --> 00:56:13,304 I could offer you a comfortable home... 853 00:56:13,406 --> 00:56:16,739 With a sunny garden, a congenial atmosphere, my cherry pie. 854 00:56:16,842 --> 00:56:18,742 When Kubrick made Lolita, 855 00:56:18,844 --> 00:56:22,405 the subject of a middle-aged man infatuated with a sexually precocious minor... 856 00:56:22,515 --> 00:56:24,415 was still completely taboo. 857 00:56:24,517 --> 00:56:26,417 We haven't discussed, uh, how much. 858 00:56:26,519 --> 00:56:28,419 Oh, uh, something nominal. Let's say... 859 00:56:28,521 --> 00:56:31,422 This was not the contraband of a smuggler, - 200 a month? 860 00:56:31,524 --> 00:56:33,890 But open defiance. 861 00:56:33,993 --> 00:56:37,360 Including meals and late snacks, et cetera. 862 00:56:37,463 --> 00:56:41,627 - You're a very persuasive salesman, Mrs. Haze. - Thank you. Uh... 863 00:56:41,734 --> 00:56:44,897 What was the decisive factor? Uh, my garden? 864 00:56:47,006 --> 00:56:49,338 I think it was your... cherry pies. 865 00:56:49,442 --> 00:56:51,842 Ohh! 866 00:56:55,114 --> 00:56:59,813 Why were you so late coming home from school yesterday afternoon? 867 00:56:59,919 --> 00:57:02,080 Yesterday. Yesterday. What was yesterday? 868 00:57:02,188 --> 00:57:04,088 Yesterday was Thursday. 869 00:57:04,190 --> 00:57:06,090 That's right. That's right. 870 00:57:06,192 --> 00:57:09,787 Michelle and I, um, stayed to watch football practice. 871 00:57:09,895 --> 00:57:13,956 - In the Frigid Queen? - What do you mean, "In the Frigid Queen"? 872 00:57:14,066 --> 00:57:18,969 I was driving around and I thought I saw you through the window. 873 00:57:19,071 --> 00:57:22,768 Oh. Yeah. Well, we stopped there for a malt afterwards. 874 00:57:22,875 --> 00:57:24,775 What difference does it make? 875 00:57:24,877 --> 00:57:28,210 You were sitting at a table with two boys. 876 00:57:28,314 --> 00:57:30,214 I told you, no dates. 877 00:57:30,316 --> 00:57:32,841 - It wasn't a date. - It was a date. 878 00:57:32,952 --> 00:57:35,079 - It wasn't a date. - It was a date, Lolita. 879 00:57:35,221 --> 00:57:37,121 - It was not a date. - It was a date! 880 00:57:37,223 --> 00:57:39,214 It wasn't a date. 881 00:57:39,292 --> 00:57:43,058 Whatever it was that you had yesterday afternoon, I don't want you to have it again. 882 00:57:43,162 --> 00:57:47,155 And while we're on the subject, how did you come to be so late on Saturday afternoon? 883 00:57:47,266 --> 00:57:50,167 Professor Humbert's fall befits his transgression. 884 00:57:50,269 --> 00:57:53,170 - Where have you put her? - Get your hands off her! 885 00:57:53,272 --> 00:57:55,172 - Where is she? - Obsessed with Lolita, 886 00:57:55,274 --> 00:57:57,174 who's now run away from him, 887 00:57:57,276 --> 00:57:59,176 he undergoes a mental breakdown. 888 00:57:59,278 --> 00:58:01,178 - Hold it now! - Don't let go! 889 00:58:01,280 --> 00:58:04,181 The satirical comedy turns into a bizarre tragedy. 890 00:58:04,283 --> 00:58:06,513 Let's get this business straight. 891 00:58:06,619 --> 00:58:09,816 This girl was officially discharged earlier tonight in the care of her uncle. 892 00:58:09,922 --> 00:58:11,822 If you say so. 893 00:58:11,924 --> 00:58:14,825 Well, has she or hasn't she an uncle? 894 00:58:14,927 --> 00:58:19,057 - All right, let's say she has an uncle. - What do you mean, "let's say"? 895 00:58:19,165 --> 00:58:21,065 Uh, all right. She has an uncle. 896 00:58:21,167 --> 00:58:24,068 Uncle Gus. Uh, yes, I remember now. 897 00:58:24,170 --> 00:58:27,367 He was going t-to pick her up here at the hospital. 898 00:58:27,473 --> 00:58:29,873 - L-I forgot that. - Forgot? 899 00:58:29,975 --> 00:58:32,876 - Yes, I forgot. - All right, let him up. 900 00:58:38,217 --> 00:58:40,276 Uh, she didn't, by any chance, 901 00:58:40,386 --> 00:58:43,287 leave any... message for me? 902 00:58:44,423 --> 00:58:46,323 No, I suppose not. 903 00:58:59,171 --> 00:59:01,731 Five years in the army... 904 00:59:01,841 --> 00:59:04,901 and some considerable experience of the world... 905 00:59:05,010 --> 00:59:09,913 had by now dispelled any of those romantic notions regarding love... 906 00:59:10,015 --> 00:59:11,915 with which Barry commenced life, 907 00:59:12,017 --> 00:59:14,918 and he began to have it in mind, 908 00:59:15,020 --> 00:59:17,921 as so many gentlemen had done before him, 909 00:59:18,023 --> 00:59:21,754 to marry a woman of fortune and condition. 910 00:59:21,861 --> 00:59:24,762 And, as such things so often happen, 911 00:59:24,864 --> 00:59:26,957 these thoughts closely coincided... 912 00:59:27,066 --> 00:59:31,935 with his setting first sight upon a lady who will henceforth play a considerable part... 913 00:59:32,037 --> 00:59:34,597 in the drama of his life... 914 00:59:34,707 --> 00:59:37,540 the Countess of Lyndon, 915 00:59:37,643 --> 00:59:39,975 Viscountess Bullingdon of England, 916 00:59:40,079 --> 00:59:43,480 Baroness Castle Lyndon of the kingdom of Ireland. 917 00:59:43,582 --> 00:59:46,881 A woman of vast wealth and great beauty. 918 00:59:48,988 --> 00:59:51,388 Kubrick's boldest project... 919 00:59:51,490 --> 00:59:54,789 was a period piece set in 18th-century Europe... 920 00:59:54,894 --> 00:59:56,794 Barry Lyndon. 921 01:00:09,074 --> 01:00:10,974 He broke new technical ground, 922 01:00:11,076 --> 01:00:12,976 having special lenses manufactured... 923 01:00:13,078 --> 01:00:17,777 to capture the glow of the candlelit mansions of the aristocracy. 924 01:00:20,386 --> 01:00:22,320 Instead of a picaresque tale, 925 01:00:22,421 --> 01:00:26,050 Kubrick offered another grim journey of self-destruction... 926 01:00:26,158 --> 01:00:29,059 the rise and fall of an opportunist. 927 01:00:36,435 --> 01:00:38,335 On the surface... 928 01:00:38,437 --> 01:00:42,339 the approach was cool and distant, deceptive. 929 01:00:42,441 --> 01:00:46,844 But I found this to be one of the most profoundly emotional films I've ever seen. 930 01:00:46,946 --> 01:00:49,847 Samuel, I'm going outside for a breath of air. 931 01:00:49,949 --> 01:00:51,849 Yes, milady. Of course. 932 01:00:54,153 --> 01:00:57,054 Kubrick's style was strangely unsettling. 933 01:00:57,156 --> 01:01:00,057 His audacity was to insist on slowness... 934 01:01:00,159 --> 01:01:02,821 in order to recreate the pace of life... 935 01:01:02,928 --> 01:01:05,829 and the ritualized behavior of the time. 936 01:01:09,435 --> 01:01:12,370 A good example is this seduction scene, 937 01:01:12,438 --> 01:01:14,804 which he stretches... 938 01:01:14,907 --> 01:01:17,808 until it settles into a sort of trance. 939 01:01:20,145 --> 01:01:24,047 What has always struck me is the ballet of the emotions in the film. 940 01:01:28,621 --> 01:01:32,216 Watch the tension between the camera's movements... 941 01:01:32,324 --> 01:01:34,292 and the character's body language, 942 01:01:34,393 --> 01:01:37,294 orchestrated by the music in this scene. 943 01:02:49,001 --> 01:02:50,832 WithJohn Cassavetes'characters, 944 01:02:50,936 --> 01:02:52,927 the emotion was always up front. 945 01:02:53,038 --> 01:02:54,938 That's great. 946 01:02:55,040 --> 01:02:59,136 It was at once their cross and their salvation. 947 01:02:59,244 --> 01:03:02,338 John's approach was warm, embracing, focused on people. 948 01:03:02,448 --> 01:03:05,849 - Aah! No. No. No, no, no, no. - Yes. Yes. 949 01:03:05,951 --> 01:03:08,351 Relationships were all he was interested in. 950 01:03:08,454 --> 01:03:11,355 The laughter and the games, the tears and the guilt, 951 01:03:11,457 --> 01:03:13,357 the whole roller coaster of love. 952 01:03:17,096 --> 01:03:20,998 A middle-class housewife, in despair over the failure of her marriage, 953 01:03:21,100 --> 01:03:23,500 has been picked up by a young man. 954 01:03:23,602 --> 01:03:26,002 She takes him home for the night. 955 01:03:28,207 --> 01:03:31,108 The next morning he finds her comatose. 956 01:03:35,047 --> 01:03:36,947 Operator? 957 01:03:37,049 --> 01:03:40,382 I want the emergency rescue squad. 958 01:03:40,486 --> 01:03:42,716 My number? 959 01:03:42,821 --> 01:03:44,721 My number is... 960 01:03:49,695 --> 01:03:53,426 Come on, now. Drink this, damn it! 961 01:03:53,532 --> 01:03:56,160 Goddamn bitch. Drink this! 962 01:03:57,703 --> 01:03:59,603 Come on, now. Don't go back out. 963 01:03:59,705 --> 01:04:02,606 Cassavetes embodied the emergence of a new school... 964 01:04:02,708 --> 01:04:05,108 of guerilla filmmaking in New York. 965 01:04:05,210 --> 01:04:08,111 His films were literally made on the credit plan. 966 01:04:08,213 --> 01:04:12,445 John was fearless, a true renegade setting up one psychodrama after another... 967 01:04:12,551 --> 01:04:15,884 with the complicity of a whole close group of actor friends. 968 01:04:15,988 --> 01:04:18,889 He insisted on having fun when making films... 969 01:04:18,991 --> 01:04:21,721 while looking for some kind of truth. 970 01:04:21,827 --> 01:04:24,261 Maybe even a revelation. 971 01:04:28,200 --> 01:04:31,101 No. You gotta stay awake. Please. 972 01:04:32,838 --> 01:04:36,467 I don't want you to die. 973 01:04:38,143 --> 01:04:40,043 No. 974 01:04:44,183 --> 01:04:46,083 Please, lady. 975 01:04:49,788 --> 01:04:51,619 You gotta stay awake. 976 01:04:51,724 --> 01:04:53,555 You gotta stay awake. 977 01:04:55,194 --> 01:04:58,527 To have a philosophy is to know how to love... 978 01:04:58,664 --> 01:05:01,394 - You gotta stay awake. - and to know where to put it. 979 01:05:01,467 --> 01:05:03,765 But you can't put it everywhere. 980 01:05:03,869 --> 01:05:08,533 You've gotta be a priest saying, " Yes, my son, yes, my daughter, bless you. " 981 01:05:08,674 --> 01:05:10,574 But people don't live that way. 982 01:05:10,676 --> 01:05:13,839 They live with anger and hostility and problems... 983 01:05:13,912 --> 01:05:17,643 and lack of money, lack of... 984 01:05:17,750 --> 01:05:21,777 You know, tremendous disappointments in their life. They're... 985 01:05:21,887 --> 01:05:24,788 So, what they need is a philosophy. 986 01:05:24,890 --> 01:05:27,791 I think what everybody needs is a way to say... 987 01:05:27,893 --> 01:05:30,862 "Where and how can I love, can I be in love... 988 01:05:30,963 --> 01:05:34,865 so that I can live with some degree of peace?" 989 01:05:34,967 --> 01:05:38,459 And so that's why I have a need for the characters... 990 01:05:38,570 --> 01:05:42,028 to really analyze love, discuss it, kill it, 991 01:05:42,141 --> 01:05:45,235 destroy it, hurt each other, do all that stuff... 992 01:05:45,344 --> 01:05:47,244 in that war, 993 01:05:47,346 --> 01:05:52,181 in that word polemic and picture polemic of what life is. 994 01:05:52,284 --> 01:05:55,185 The rest of the stuff really doesn't interest me. 995 01:05:55,287 --> 01:05:58,188 It may interest other people, but I have a one-track mind. 996 01:05:58,290 --> 01:06:00,986 All I'm interested in is love. 997 01:06:09,034 --> 01:06:10,968 That's it! Hoo-hoo! 998 01:06:11,069 --> 01:06:13,560 You're gonna cry! Ohh, geez! Come on! 999 01:06:13,672 --> 01:06:18,234 Come on. I didn't want to hit you, but don't go to sleep on me. 1000 01:06:18,343 --> 01:06:21,710 Ohh! Come on, now! Cry! That's it! That's life, honey! 1001 01:06:22,948 --> 01:06:25,712 Tears of happiness, man. Just do it! 1002 01:06:25,818 --> 01:06:28,048 Come on, now. Ohh. 1003 01:06:28,153 --> 01:06:30,144 All of Cassavetes'films, 1004 01:06:30,255 --> 01:06:33,156 they were all epics of the human soul. 1005 01:06:33,258 --> 01:06:36,659 Watching them brings to mind a comment made byJohn Ford to a collaborator... 1006 01:06:36,762 --> 01:06:39,663 who was complaining about the miserable weather conditions in the desert... 1007 01:06:39,765 --> 01:06:41,665 when they were trying to shoot a picture. 1008 01:06:41,767 --> 01:06:44,668 The guy said, " Look, Mr. Ford, what can we shoot out here?" 1009 01:06:44,770 --> 01:06:47,671 And Ford replied, "What can we shoot?" 1010 01:06:47,773 --> 01:06:51,436 The most interesting and exciting thing in the whole world... a human face." 1011 01:06:55,881 --> 01:06:58,179 You want some coffee? 1012 01:06:58,283 --> 01:07:01,514 - Can I trust you? Huh? Huh? - Yeah. 1013 01:07:01,620 --> 01:07:04,020 Okay. I don't trust you anyway. 1014 01:07:04,122 --> 01:07:06,022 I don't... 1015 01:07:06,124 --> 01:07:08,456 Uh-huh. You little sneaky, you. 1016 01:07:08,560 --> 01:07:10,460 I'm gonna get you some coffee! 1017 01:07:10,562 --> 01:07:12,462 So, we're gonna have to stop... 1018 01:07:12,564 --> 01:07:14,691 because I can't go on any further. 1019 01:07:14,800 --> 01:07:17,200 Number one, we just don't have the time. 1020 01:07:17,302 --> 01:07:19,202 Number two, we've reached a different era. 1021 01:07:19,304 --> 01:07:23,707 It's the era of the late '60s, the years that I started making movies myself, 1022 01:07:23,809 --> 01:07:26,209 and, uh, it puts me in a different perspective. 1023 01:07:26,311 --> 01:07:29,212 We've reached a whole new chapter altogether and I really... 1024 01:07:29,314 --> 01:07:32,715 I could not really do justice to my friends who are making films... 1025 01:07:32,818 --> 01:07:36,720 and companions and, uh, my generation of filmmakers from the inside. 1026 01:07:36,822 --> 01:07:38,722 I can't... I can't do it. 1027 01:07:38,824 --> 01:07:41,725 Um, so the story really has no end, 1028 01:07:41,827 --> 01:07:43,727 and we haven't even started discussing... 1029 01:07:43,829 --> 01:07:46,263 such incredibly major figures as... 1030 01:07:46,365 --> 01:07:48,993 Ernst Lubitsch, Preston Sturges, 1031 01:07:49,101 --> 01:07:51,160 Joseph Mankiewicz, John Huston, 1032 01:07:51,270 --> 01:07:53,602 George Stevens, Sam Peckinpah, 1033 01:07:53,705 --> 01:07:56,196 William Wyler or, of course, Alfred Hitchcock. 1034 01:07:56,308 --> 01:07:59,209 But fortunately they've been celebrated in so many ways, 1035 01:07:59,311 --> 01:08:03,372 in so many books and articles and in some, actually, wonderful shows. 1036 01:08:03,482 --> 01:08:06,383 Documentaries about film are becoming a genre unto themselves... 1037 01:08:06,485 --> 01:08:09,386 thanks to Kevin Brownlow and David Gill's invaluable 13-hour series... 1038 01:08:09,488 --> 01:08:11,388 about Hollywood in its silent era... 1039 01:08:11,490 --> 01:08:13,390 just the silent film alone, 13 hours; 1040 01:08:13,492 --> 01:08:15,892 Peter Bogdanovich's film Directed byJohn Ford, 1041 01:08:15,994 --> 01:08:18,895 Richard Schickel's series The Men Who Made The Movies, 1042 01:08:18,997 --> 01:08:22,330 and so many British and French portraits of filmmakers. 1043 01:08:22,434 --> 01:08:26,871 So many directors have inspired me over the years, 1044 01:08:26,972 --> 01:08:32,501 I wouldn't know how to stop mentioning their names, we're indebted to them. 1045 01:08:32,611 --> 01:08:36,240 As we are to any original filmmaker who managed to survive... 1046 01:08:36,348 --> 01:08:39,977 and impose his or her vision in a very competitive profession. 1047 01:08:45,891 --> 01:08:48,359 When we talk about personal expression, 1048 01:08:48,460 --> 01:08:51,395 I'm often reminded of Kazan's film America, America, 1049 01:08:51,496 --> 01:08:56,399 the story of his uncle's journey from Anatolia to America... 1050 01:08:56,501 --> 01:09:00,995 the story of so many immigrants who came to this country from a very, very foreign land. 1051 01:09:01,106 --> 01:09:03,836 You're blockin'traffic! Come on! Move it along! 1052 01:09:03,942 --> 01:09:07,378 I kind of identified with it and was very moved by it. 1053 01:09:07,479 --> 01:09:12,143 Actually, I later saw myself making this same journey, but not from Anatolia. 1054 01:09:12,250 --> 01:09:15,151 Rather, from my own neighborhood in New York, 1055 01:09:15,253 --> 01:09:18,154 which was, in a sense, a very foreign land. 1056 01:09:18,256 --> 01:09:21,157 I made that journey from that land to moviemaking, 1057 01:09:21,259 --> 01:09:23,159 which was something unimaginable. 1058 01:09:23,261 --> 01:09:26,662 Actually, when I was a little younger there was another journey I wanted to make. 1059 01:09:26,765 --> 01:09:29,666 It was a religious one... I wanted to be a priest. 1060 01:09:29,768 --> 01:09:32,669 However I soon realized that my real vocation, my real calling, 1061 01:09:32,771 --> 01:09:34,671 was the movies. 1062 01:09:34,773 --> 01:09:38,675 I don't really see a conflict between the Church and movies... the sacred and the profane. 1063 01:09:38,777 --> 01:09:40,677 Obviously there are major differences, 1064 01:09:40,779 --> 01:09:43,373 but I could also see great similarities... 1065 01:09:43,482 --> 01:09:46,144 between a church and a movie house. 1066 01:09:46,251 --> 01:09:49,778 Both are places for people to come together and share a common experience, 1067 01:09:49,888 --> 01:09:52,721 and I believe there's a spirituality in films, 1068 01:09:52,824 --> 01:09:55,725 even if it's not one which can supplant faith. 1069 01:09:55,827 --> 01:10:00,230 I find that over the years many films address themselves to the spiritual side of man's nature... 1070 01:10:00,332 --> 01:10:03,233 from Griffith's film Intolerance toJohn Ford's The Grapes of Wrath, 1071 01:10:03,335 --> 01:10:05,235 to Hitchcock's Vertigo, 1072 01:10:05,337 --> 01:10:07,737 to Kubrick's 2001 and so many more. 1073 01:10:07,839 --> 01:10:11,570 It's as if movies answer an ancient quest for the common unconscious. 1074 01:10:11,676 --> 01:10:14,577 They fulfill a spiritual need that people have... 1075 01:10:14,679 --> 01:10:16,579 to share a common memory.