All language subtitles for The Mystery of Picasso(1956)-eng

One would die to know
what was on Rimbaud's mind

when he wrote
"The Drunken Boat,"

or on Mozart's, when he composed
his symphony "Jupiter."

We'd love to know
that secret process

guiding the creator
through his perilous adventures.

Thankfully, what is impossible
to know for poetry and music,

is not in the case
of painting.

To know what's going
through a painter's mind,

one just needs
to look at his hand.

Here's what the painter's
experiencing.

He's walking,
sliding on a tight rope.

He's following
a curve on the right,

a spot on the left.

If he misses and
loses his balance,

everything's lost.

The painter stumbles
like a blind man

in the darkness
of the white canvas.

The light that
slowly appears

is paradoxically created
by the painter,

who draws one black curve
after another.

For the first time,
the daily and private drama

of the blind genius

will be experienced
publicly.

Pablo Picasso agreed
to experience it today,

in front of you...
with you.

THE MYSTERY oF PICASSo

- So, what do we do now?
- Let's do another one.

- Unless you're tired.
- I don't mind being tired.

I can go on all night
if you want.

Let's do it. Claude.

- Yes?
- What do we have left?

- 450 feet.
- That's about five minutes.

- That'll do.
- Black and white or color?

Color. It's more fun.

- What do you want to do?
- It doesn't matter.

The usual?

It'll be a surprise.

All right.

All right, let's do it.

So let's be clear.

If anything happens,
you stop.

And I'll do the same, since
we have so little film left.

Scene number.

Good.

Are you ready?

- Yes.
- Rolling.

It's been one
and a half minute.

Just stop at the black.

okay.

- I'm done.
- Cut.

- Shall I get the inks ready?
- Yes, but quickly.

- How are we doing?
- Two minutes left to color.

We're going
to start rolling.

Rolling.

And action.

It's been half a minute.

45 seconds left.

That'll do.

- I need a little more time.
- Hurry up. I cheated a bit.

- What?
- I cheated to allow you more time.

- Eight seconds.
- It's all good.

I need more ink.

Cut! Stop now.

Tell me when you're ready.

- I'm ready.
- Rolling.

I need to cut. Stop now.

18 feet.

Roll.

I like it as it is now.

So just stop.
Let's take a few more frames.

Cut.

- Does it look good?
- Come see it.

- What do you think?
- What do you think?

I need to make another one,
with a different approach.

I want to go deeper.

This is already really good.
It's impressive.

But it's a little
superficial.

I want to go deeper...

and take more risks.

I want to show
all the different layers.

The layers underneath
the painting?

We can't shoot it
with the same effect.

I could use my oils,
like I do at home.

Then start with
what we've been doing

and we'll see what we can do.
But that's going to be risky.

Risk is exactly
what I'm going for.

In that case,
knock yourself out!

- Let's do it again.
- okay.

Rolling.

I'm done.

It bothers me that our viewers will
think you did this in 10 minutes.

- How long has it taken me?
- Five hours.

Well, now our viewers know.

Give me a large canvas.

I've proceeded as
I would have at home.

I don't have anything to do
with the camera or anything.

I'll try using
bits of paper.

This is going wrong.

It's going really wrong.

You are worried,
aren't you?

You shouldn't be, because
this could end in worse ways.

Why the long face?

- You wanted drama, you got it.
- But not at the end of the film.

- Why not?
- For the audience.

I've never worried
about the audience,

and I'm not about
to start now, at my age.

And this is
what I wanted to show:

the truth revealed
from within.

It's getting dark.

It's getting
darker and darker.

The moon...

the stars...

a shooting star.

It's really bad.
I'll get rid of the collage.

- It's getting better.
- At least, it's a painting.

Now that I know
where I'm going,

I'll get a new canvas
and start over.

This is the end.

The Mystery of Picasso