Original subtitles

♪ ♪

♪ ♪

♪ >> THE CINEMATIC MUSICAL, IF YOU

LOOK AT THE DNA, THERE’S ALWAYS A KIND OF CODE OR A LANGUAGE

THAT’S SPECIFIC TO THE TIME THEY’RE IN.

♪ WHEN YOU’RE A JET YOU’RE A JET ALL THE WAY FROM YOUR FIRST

CIGARETTE TO YOUR LAST DIEING DAY ♪

>> WEST SIDE STORY IS SHAKESPEARE IN THE STREETS OF

NEW YORK. IT HAS A CODE THAT WAS BOTH OLD

AND COMPLETELY NEW. ♪

>> WITH "WEST SIDE STORY," THE MUSIC HAS THIS KIND OF JAZZ

INFLUENCE, DISCORD ANT ASPECT. YOU CAN FEEL IT.

IT’S LIKE SPARKING IN THE AIR. ♪

AND THE MOVES ARE VERY ANGULAR AND SORT OF ALMOST

ARCHITECTURAL. >> "WEST SIDE STORY" WAS A BIG

BROADWAY HIT CREATED BY ARTHUR LAWRENCE AND STEPHEN SONDHEIM

AND LEONARD BERNSTEIN, WHO WERE SOME OF THE GREATEST MUSICAL

GENIUSES WORKING AT THE TIME. >> THEY ACTUALLY ENLISTED JEROME

ROBBINS, WHO CREATED THE CHOREOGRAPHY AND DIRECTED THE

ORIGINAL BROADWAY PRODUCTION TO DIRECT THIS FILM ALONG WITH

ROBERT WISE. >> EVERYBODY WAS TRANSPORTED BY

"WEST SIDE STORY." IT WAS WILDLY ROMANTIC.

IT WAS THE ROMEO AND JULIET STORY, BUT TOLD WITH SUCH

URGENCY. >> COME DOWN.

>> NO. >> MARIA.

>> IT HAD TREMENDOUS IMPACT. >> WITH THIS RIVALRY, IT REALLY

REFLECTS AMERICA AND DEALS WITH ISSUES THAT ARE STILL RELEVANT

TODAY. ♪ LIFE CAN BE BRIGHT IN

AMERICA ♪ ♪ IF YOU CAN FIGHT IN AMERICA ♪

♪ LIFE IS ALL RIGHT IN AMERICA ♪ ♪ IF YOU’RE ALL WHITE IN

AMERICA ♪ >> YOU THINK YOU’RE GOING AFTER

THE AMERICAN DREAM, BUT THE AMERICAN DREAM IS CLEARLY NOT

ACCEPTING YOU. THAT’S REALLY WHAT’S BEING

TALKED ABOUT IN THAT MOMENT IN "WEST SIDE STORY"

♪ LOTS OF NEW HOUSING WITH MORE SPACE ♪

♪ LOTS OF DOORS SLAMMING IN OUR FACE

♪ I’LL GET AN APARTMENT ♪ ♪ BETTER GET RID OF YOUR

ACCENT ♪ >> "WEST SIDE STORY" REALLY

SHOWED 9 SHOWED THE WORLD IF YOU CAST

PEOPLE FROM THEIR OWN CULTURE, IT’S GOING TO MAKE AN IMPACT WHO

WINS THE OSCAR, RITA MORENO. >> RITA MORENO IN WEST"WEST SIDE

STORY." >> SHE STANDS OUT BECAUSE OF

THAT. >> I CAN’T BELIEVE IT.

>> "WEST SIDE STORY" JUST COINCIDED WITH HOLLYWOOD’S

ATTEMPT TO DO SOMETHING BIG, SPLASHY, AND TECHNICOLOR IN THE

MOVIES TO FIGHT BACK AGAINST TELEVISION.

>> IN THE 60s, THE STUDIOS WERE STAGGERING FROM PEOPLE NOT GOING

TO THE THEATERS. IT’S JUST HARD TO COMPETE WITH

FREE STUFF IN YOUR LIVING ROOM. >> AT THE TIME, TELEVISION IS

GOING GANGBUSTERS, SO THE MOVIES ARE CHANGING.

THEY’RE TRYING TO DO COUNTERPROGRAMMING.

IT’S LIKE IF TELEVISION IS GOING TO DO WHAT WE USED TO DO, THEN

WE HAVE TO DO SOMETHING NEW. SO WE SEE THE BIG EPIC

BLOCKBUSTER FILMS. >> IN NEW YORK, THE WORLD

PREMIERE OF "PART SPARTACUS. KIRK DOUGLAS ARRIVES WITH HIS

WIFE AT THE OPENING. >> SPARTACUS CAME RIGHT AT THE

TOP OF 1960sS. THIS WAS A BIG ROADSHOW, RESERVE

SEAT MOVIE WITH KIRK DOUGLAS. >> THOSE WHO ARE ABOUT TO DIE

SALUTE YOU. >> SPARTACUS IS A REVOLUTIONARY

MOVIE ABOUT REVOLUTIONARIES. IT’S THE STORY OF A SLAVE

REBELLION IN ROME, AND KIRK DOUGLAS IS THE LEADER OF THAT

REBELLION. >> SHE’S GOING TO ROME.

SHE’S BEEN SOLD. >> SHE’S BEEN SOLD?

>> NO TALKING IN THE KITCHEN, SLAVE.

>> SPARTACUS REALLY MIRRORED THE SITUATION BEHIND THE SCENES

BECAUSE DALTON TRUMBO, ITS SCREENWRITER, HAD BEEN

BLACKLISTED, HAD NOT BEEN ABLE TO USE HIS NAME ON MOVIES FOR

YEARS. >> ARE YOU OR HAVE YOU EVER BEEN

A MEMBER OF THE COMMUNIST PARTY? >> I BELIEVE I HAVE THE RIGHT TO

BE CONFRONTED WITH ANY EVIDENCE WHICH SUPPORTS THIS QUESTION.

I SHOULD LIKE TO SEE WHAT YOU HAVE.

>> OH, YOU WOULD? >> YES.

>> WELL, YOU WILL PRETTY SOON. [ LAUGHTER ]

>> KIRK DOUGLAS FAMOUSLY BROKE THE BLACKLIST WITH SPARTACUS,

SAID YOU WILL SEE SCREENPLAY BY DALTON TRUMBO ON THOSE CREDITS,

AND THE VERY FAMOUS SCENE IN THE MOVIE WHERE THEY’RE AFTER

SPARTACUS AND THEY’RE SAYING, WHERE IS SPARTACUS, AND

EVERYBODY STANDS UP? >> I’M SPARTACUS.

>> I’M SPARTACUS. >> THAT IS A VERY MOVIEING

SCENE, ESPECIALLY IF YOU KNOW TRUMBO’S HISTORY.

>> I’M SPARTACUS. >> I’M SPARTACUS.

>> I’M SPARTACUS. >> IT WAS A SCARY, DARK PERIOD

FOR HOLLYWOOD THAT WAS LIFTED RIGHT AS WE GOT INTO THE 60s.

♪ >> LAWRENCE OF ARABIA IS THE

MOVIE THAT REALLY MADE ME WANT TO BE A MOVIE MAKER.

IT’S SWEEPING VISTAS OF TREMENDOUS PRODUCTION VALUE,

SAND DUNES AND PERFECT LIGHTING CONDITIONS, AND THESE AMAZING

INTIMATE CLOSE‐UPS. IT’S A STORY ABOUT A MAN WHO

GETS HIMSELF INVOLVED IN THESE AFFAIRS BETWEEN ALL THE TRIBES

OF THE MIDDLE EAST. >> THE ENGLISH GOPHER, THEY

STRIKE WHERE THEY PLEASE AND THIS MAKES THEM GREAT.

>> MR. LAWRENCE, THAT WILL DO. IT’S NOT YOUR MILITARY ADVICE.

>> I WOULD LIKE TO HEAR HIS OPINION.

>> DAMN YOU, LAWRENCE. WHO DO YOU TAKE ORDERS FROM?

>> T.E. LAWRENCE WAS BRITISH, BUT ON THE OTHER HAND, HE

BECOMES A KIND OF CONVERT TO THE INDEPENDENCE MOVEMENT IN THE

MIDDLE EAST. >> LAWRENCE GOES ON THIS

ENORMOUS JOURNEY AND ADVENTURE IN TRYING TO HELP THE BED OU WIN

AGAINST THE TURKS AND WANTS TO DEFEND THEIR RIGHTS.

>> WHERE DO YOU BEGIN WITH AN EPIC LIKE LAWRENCE?

>> A BLANK SHEET OF PAPER AS WITH EVERYTHING.

YOU KNOW, YOU READ EVERYTHING YOU CAN GET YOUR HANDS ON, TALK

TO PEOPLE WHO KNEW THIS PARTICULAR CHARACTER.

THEN I THINK THE ONLY THING TO DO IS TO THROW IT ALL AWAY AND

DO HIM AS YOU SEE HIM. >> WHO ARE YOU?

>> WHO ARE YOU? THAT IS CENTRAL QUESTION OF THE

WHOLE MOVIE, AND LAWRENCE DOES NOT KNOW THE ANSWER TO THAT

QUESTION. >> HERE’S O’TOOLE, WHO IS GIVEN

THIS OPPORTUNITY, AND HE JUST ‐‐ HE GOES ALL THE WAY.

AND THE WAY HE PLAYED IT, YOU KNOW, WITH HIS PHYSICALITY, HE

GIVES ONE OF THE GREATEST PERFORMER I’VE EVER SEEN BY AN

ACTOR IN MY LIFE. >> THAT MOMENT, SOMETHING VERY

IMPORTANT CLICKED, WHICH WAS THIS.

AND THE EYES DIDN’T TRAVEL OVER THE CLOTHES, BUT THEY WERE AWARE

OF THE HANDS AND AWARE OF EVERYTHING THAT WAS GOING ON,

AND IT WAS AT ONCE WITHDRAWN AS A BOXER MUST BE, AND AT THE SAME

TIME VERY PENETRATING. AND THIS ONE PHYSICAL THING

REALLY CLICKED, AND IT MADE A WHOLE DIFFERENCE TO THE WAY I

PLAYED IT. >> WITH LAWRENCE, YOU HAVE THIS

SPECIAL THING, AN INTIMATE EPIC. >> DO YOU THINK I’M JUST

ANYBODY, ALI? DO YOU?

>> AND IT’S AN INCREDIBLY DETAILED CHARACTER STUDY IN ONE

OF THE BIGGEST MOVIES EVER MADE.

>>> SO I THINK A MAN IN HIS POSITION WILL TAKE ME TO EL

MOROCCO, MAYBE 21. INSTEAD HE TAKES ME TO HAMBURGER

HEAVEN AND SOME APARTMENT. >> THE APARTMENT IS A WATERSHED

MOVIE. IT IS NOT ONLY ONE OF THE

GREATEST FILMS EVER MADE, BUT FOR 1960, IT’S VERY DIFFICULT

SUBJECT MATTER BECAUSE IT’S ABOUT EXTRAMARITAL AFFAIRS.

>> THE APARTMENT IS ABOUT A NEW YORK CLERK NAMED C. C. BAXTER WHO

IS TRYING TO GET BACK ON THE CORPORATE LADDER.

SO HE AGREES TO LEND HIS APARTMENT OUT TO EXECUTIVES FOR

THEIR AFFAIRS. >> I HAVE SOMETHING I THINK

BELONGS TO YOU. I MEAN THE YOUNG LADY WHOEVER

SHE MAY BE. IT WAS ON MY COUCH WHEN I GOT

BACK LAST NIGHT. >> THANKS.

>> THE MIRROR IS BROKEN. IT WAS BROKEN WHEN I FOUND IT.

>> ALL OF IT COMES CRASHING DOWN WHEN HE REALIZES THE GIRL HE’S

FALLEN FOR, THE EL VATDEVATOR OPERATOR, PLAYED BY SHIRLEY

MacLAINE, THAT SHE IS ONE OF THE GIRLS THAT’S GOING UP TO HIS

APARTMENT AND HAVING AN AFFAIR WITH ONE OF THE BOSSES.

>> YOU DON’T THINK IT’S TOO LITTLE TOO MUCH.

AFTER ALL, THIS IS A CONSERVATIVE FIRM.

I DON’T WANT PEOPLE TO THINK I’M AN ENTERTAINER.

>> WHEN HE LOOKS IN THE MIRROR, HE REALIZES IT’S THE SAME MIRROR

THAT HE’S SEEN INSIDE HIS APARTMENT.

>> THE MIRROR, IT’S BROKEN. >> YES, I KNOW.

I LIKE IT THAT WAY. IT MAKES ME LOOK THE WAY I FEEL.

>> "THE APARTMENT" WAS THE DEEPEST ROMANTIC COMEDY MAYBE

EVER MADE. >> MISS KUBILIK?

>> AT THE HEART OF IT IS WHAT IT IS TO BE HUMAN.

>> DID YOU HEAR WHAT I SAID? I ABSOLUTELY ADORE YOU.

>> SHUT UP AND DEAL. >> MY LOVE OF THE APARTMENT

SPILLED INTO THE WRITING OF JEREMY MAGUIRE, AND THERE WOULD

NOT BE JERRY MAGUIRE IF IT WEREN’T FOR "THE APARTMENT."

♪ >> BREAKFAST AT TIFFANY’S IS THE

ICONIC AUDREY HEPBURN ROLE. WHEN YOU HEAR THE TITLE, YOU

INSTANTLY IMAGINE HER IN THE LITTLE BLACK DRESS WITH THE

PEARLS, WITH THE PERFECT UP‐DO, AND SHE’S THIS TRAGIC, FLAWED

FIGURE. >> WHAT HAPPENED TO YOU, ANYWAY?

YOU TAKE OFF FOR THE POWDER ROOM, AND THAT’S THE LAST I SEE

YOU. >> NOW, REALLY, HARRY ‐‐

>> HARRY WAS THE OTHER GUY. I’M SID.

>> BREAKFAST AT TIFFANY’S, LIKE THE APARTMENT, IS A MOVIE ABOUT

PEOPLE WHO ARE SORT OF WILLING TO SELL THEIR SOULS.

>> 300? SHE’S VERY GENEROUS.

>> AND REALIZING AT WHAT POINT THEY’RE NOT GOING TO DO THAT

ANYMORE. >> I WAS JUST TRYING TO LET YOU

KNOW I UNDERSTAND. I UNDERSTAND COMPLETELY.

>> AUDREY HEPBURN IS JUST THIS LIGHT.

HER SUBTLETIES WERE ASTOUNDING TO ME.

>> FRED DARLING, I’M SO GLAD YOU COULD COME.

>> JUST THE WAY THAT SHE SPOKE AND THE WAY SHE WAS ALWAYS

ELEGANTLY SELF‐DEPRECATING. >> I’M TRYING TO SAVE, BUT I’M

NOT VERY GOOD AT IT. >> THERE’S NOT A BAD AUDREY

HEPBURN FILM. THERE JUST ISN’T.

♪ TWO DRIFTERS OFF TO SEE THE WORLD ♪

>> IN MOON RIVER, AUDREY HEPBURN IS SITTING ON THE FIRE ESCAPE

AND SINGING IT IN THIS VERY TENDER WAY, AND YOU FEEL SHE’S

SORT OF THIS LOST SOUL, TRYING TO GRAPPLE ABOUT WHO SHE IS IN

THE WORLD. ♪ MOON RIVER AND ME ♪

>> WHAT WAS AMAZING ABOUT AUDREY WAS SHE WAS VERY FRAGILE IN

LIFE, SMOKED TOO MUCH, INSECURE. AND WHEN SHE GOT IN FRONT OF THE

CAMERA, SOMETHING HAPPENED. ALL THAT FRAGILITY, SENSITIVITY,

SHE KIND OF MARSHALLED IT AND BECAME VERY STRONG.

>> YOU THINK YOU OWN ME? >> THAT’S EXACTLY WHAT I THINK.

>> I KNOW THAT’S WHAT EVERYBODY ALWAYS THINKS BUT EVERYBODY

HAPPENS TO BE WRONG. >> I AM NOT EVERYBODY.

>> WHEN WE THINK OF CLASSIC HOLLYWOOD, WE THINK OF ROMANCE

AND GLAMOUR. THAT BEGINS TO BREAK DOWN IN THE

60s, AND WE START TO GET A MORE COMPLEX VIEW OF HUMAN

PSYCHOLOGY. >> NOW, THEN, COMRADE ‐‐

>> MAY I PRE‐SENT THE FAMOUS RAYMOND SHAW.

>> A YOUNG MAN YOU’VE FLOWN 8,000 MILES TO THIS DREARY SPOT

IN MANCHURIA TO SEE. >> THE MANCHURIAN CANDIDATE IS

ABOUT A BRAINWASHED SOLDIER WHO IS THE STEPSON OF AN IMPORTANT

SENATOR. >> TAKE THIS SCARF AND STRANGLE

HIM TO DEATH. >> YES, MA’AM.

>> I REMEMBER SEEING THE MANCHURIAN CANDIDATE WHEN IT

FIRST CAME OUT, AND IT’S A VERY UNSETTLING OPENING.

YOU REALLY FEEL LIKE THEY’RE BRAINWASHING YOU WHILE YOU’RE

WATCHING IT. >> HEY, SARGE, CUT IT OUT.

>> QUIET, PLEASE. YOU JUST SIT THERE QUIETLY AND

COOPERATE. >> YES, MA’AM.

>> THE MANCHURIAN CANDIDATE WHEN PEOPLE SEE IT FOR THE FIRST

TIME, IT KIND OF BLOWS THEIR MIND.

IT’S GOT SCI‐FI ELEMENTS TO IT IN ADDITION TO BEING A REALLY

INTRIGUING POLITICAL THRILLER. >> I HAVE HERE A LIST OF THE

NAMES OF 207 PERSONS WHO ARE KNOWN BY THE SECRETARY OF

DEFENSE AS BEING MEMBERS OF THE COMMUNIST PARTY.

>> THE MANCHURIAN CANDIDATE IS NOT A TIMID FILM.

IT TAKES ON McCARTHYISM FULL TLOTD

THROTTLE. >> ALL THEY’RE SAYING ARE THERE

ANY COMMUNISTS IN THE DEFENSE DEPARTMENT?

OF COURSE NOT. THEY’RE SAYING HOW MANY

COMMUNISTS ARE THERE IN THE DEFENSE DEPARTMENT?

>> ANGELA LANSBURY IS THE EVIL FIGURE MANIPULATING BEHIND THE

SCENES. >> STOP TALKING ABOUT AN EXPERT

ALL OF A SUDDEN AND GET OUT THERE AND SAY WHAT YOU’RE

SUPPOSED TO SAY. >> AS WITH ALL GREAT VILLAINS,

SHE EMBRACES THAT ROLE. SHE DOESN’T WANT YOU TO FEEL

SYMPATHY FOR HER. SHE WANTS YOU TO GET OUT OF HER

WAY. >> YOU ARE TO SHOOT THE

PRESIDENTIAL NOMINEE THROUGH THE HEAD.

>> WHEN JOHN F. KENNEDY WAS ASSASSINATED, FRANK SINATRA

DIDN’T WANT PEOPLE TO SEE THIS FILM.

BUT THIS WAS NOT ABOUT THE POWER OF ASSASSINATION IN CHANGING

POLITICAL EVENTS. THIS WAS ABOUT THE PSYCHOLOGICAL

DIMENSION OF THE COLD WAR AND FORCING PEOPLE TO THINK ABOUT

THE NATURE OF THE FEARS THEY HAD.

>> I DEAL IN NIGHTMARES, AND NIGHTMARES HAVE TO BE AWFULLY

VIVID. YOU’RE VERY GLAD WHEN YOU WAKE

UP JUST AS YOU’RE ABOUT TO DROP THROUGH THE TRAP ON THE GALLOWS.

>> HITCHCOCK HAS SEVERAL YEARS WHERE HE HAD A PURPLE PATCH OF

LIKE ALL CLASSICS, AND HE’S LIKE, WELL, I’VE DONE VERTIGO.

I’VE DONE NORTH BY NORTHWEST. NOW I’M GOING TO DO A FILM FOR

ME. THAT FILM IS "PSYCHO".

♪ >> FOR ALFRED HITCHCOCK TO MAKE

PSYCHO, IMAGINE IF TODAY STEVEN SPIELBERG ANNOUNCED THAT HIS

NEXT FILM WOULD BE "THE BRIDE OF CHUCKY."

IT WAS THAT SHOCKING, AND PARAMOUNT WOULDN’T MAKE IT.

HE ENDED UP PAYING FOR IT HIMSELF BASICALLY.

AT THE TIME PEOPLE THOUGHT HITCHCOCK HAD THROWN HIS CAREER

AWAY. >> SAM, THIS IS THE LAST TIME.

>> FOR WHAT? >> FOR THIS.

>> PSYCHO STARTS OUT AS A DEFINITIVE FILM NOIR FROM THE

BEGINNING OF THE FILM. WOMAN IS HAVING AN ILLICIT

AFFAIR. SHE STEALS MONEY FROM HER OFFICE

TO GO MEET THE GUY AND RUN AWAY. THAT’S FILM NOIR.

>> MARIAN, WHAT IN THE WORLD ‐‐ WHAT ARE YOU DOING UP HERE?

OF COURSE I’M GLAD TO SEE YOU. I ALWAYS AM.

>> THEN ALL OF A SUDDEN, SHE MEETS THIS GUY IN A LONELY

MOTEL, AND, MAN, IT BECOMES SOMETHING ELSE.

>> DIRTY NIGHT. >> YOU HAVE A VACANCY?

>> WE HAVE 12 VACANCIES. 12 CABINS, 12 VACANCIES.

>> WHEN I FIRST SAW PSYCHO, I WAS HORRIFIED.

IT’S REALLY ONE OF THE CREEPIEST MOVIES EVER MADE.

>> HITCHCOCK WAS GREAT AT WHERE TO PUT THE CAMERA.

HE HELPED TELL THE STORY. >> IF ANYONE EVER TALKED TO ME

THE WAY I HEARD THE WAY SHE SPOKE TO YOU ‐‐

>> HE REALLY KNEW HOW TO THROW US OFF BALANCE BY PUTTING HIS

CAMERA OFF BALANCE. >> WHEN PSYCHO OPENED IN NEW

YORK CITY, THE PRESS SAT UPSTAIRS IN THE BALCONY, 500

PEOPLE, AND THE PAYING CUSTOMERS WERE DOWNSTAIRS, ABOUT A

THOUSAND PEOPLE. WHEN WE GOT TO THE SHOWER SCENE,

I’VE NEVER SEEN SUCH A REACTION. ♪

[ SCREAMING ] >> THE AUDIENCE DOWNSTAIRS WAS

SCREAMING TO SUCH A DEGREE THAT YOU DID NOT HEAR THE SOUNDTRACK.

AND IT WASN’T A SCREAM LIKE AHH, AHH, AHH.

IT WAS AHHH! THEY COULDN’T BELIEVE IT.

I COULDN’T BELIEVE IT JANET LEIGH WAS GETTING KILLED.

SHE’S THE [ BLEEP ] STAR OF THE PICTURE.

>> SUDDENLY WE HAVE NO PROTAGONIST TO ATTACH OURSELVES

TO. THERE’S NO MOVIE BEFORE THAT

EVER DID THAT, AND IT WAS TERRIFYING TO BE STRANDED THERE

ALONE WITH A KILLER. AND WHO IS THIS KILLER?

♪ >> THAT INVENTION IS REALLY

SOMETHING EXTRAORDINARY, AND IT HERALDED A DIFFERENT KIND OF

FILMMAKING. IT FELT MORE PERSONAL AND MORE

WEIRD. HE WAS TRULY A MASTER OF TERROR.

>>> I DON’T USE SEX TO LAND AN ACCOUNT.

>> WHEN DO YOU USE IT? >> I DON’T.

>> MY CONDOLENCES TO YOUR HUSBAND.

>> OH, I’M NOT MARRIED. >> THAT FIGURES.

>> THE CONVENTIONAL WISDOM ABOUT DORIS DAY IS OF COURSE SHE’S A

PROFESSIONAL VIRGIN, A PRUDE, A RELIC FROM THE 1950s.

ALL OF THOSE THINGS ARE WRONG. >> HELLO?

>> GOOD MORNING. >> I THINK DORIS DAY IS A BRIDGE

BETWEEN 50s MORALITY AND 60s MORALITY.

>> OH, MY DARLING. OH, MY DARLING, ARE YOU HAVING

ANOTHER NIGHTMARE? >> WHAT WAS COOL ABOUT THE

MOVIES THAT SHE WAS IN WAS THAT THEY WERE CENTERED AROUND HER

AND HER PROBLEMS. >> SHE WAS A FEMALE PROTAGONIST,

WHICH WAS UNUSUAL AT THAT TIME. >> IF WE LOOK BACK AT DOR ISZ

DAY FILMS TODAY, WE CAN SEE SHE REALLY ESTABLISHED A NEW KIND OF

REPRESENTATION OF A CAREER WOMAN WHO WAS VERY MUCH IN CHARGE OF

HER OWN LIFE. SHE WAS INDEPENDENT, URBAN, AND

THAT REALLY WAS A KIND OF A PROTOTYPE FOR THE LIBERATED

WOMAN. >> MRS. AMERICA MIGHT DO WELL TO

START EARLY IN HER MARRIAGE, A PLANNED CULTIVATION OF OUTSIDE

INTERESTS AND HOBBIES. >> IN THE EARLY 60s, FILM COMEDY

WAS VERY COMMERCIAL. IT WAS THAT COLORFUL, FUN,

FREE‐WHEELING COMEDY STYLE. YOU GOT PETER SELLERS IN THE

BLAKE EDWARDS MOVIE "THE PINK PANTHER".

>> WE MUST FIND THAT WOMAN. >> AT THE SAME TIME THAT YOU HAD

JERRY LEWIS. >> AS A KID, YOU LOVED JERRY

LEWIS BECAUSE HE WAS A KID. HE WAS A KID DOING ALL THESE

WACKY THINGS THAT YOU WOULD LIKE TO DO.

I MEAN YOU WANTED TO TALK LIKE THAT AND WALK AROUND LIKE THAT.

HE WAS FUN. >> JERRY LEWIS IS A CROSS ROADS

COMEDIAN BETWEEN THOSE OLDER VAUD VILLIAN COMEDIANS AND THE

MODERN NEUROTIC COMEDIAN, BUT STILL KIND OF RELYING ON AN

OLDER PERSONA. THERE WERE A LOT OF NEW FILM

MAKING TECHNIQUES, ESPECIALLY WITH MOVIES LIKE "THE ERRAND

BOY." ♪

>> AS A FILMMAKER, JERRY LEWIS IS USING THE ELEMENTS OF CINEMA

TO ENHANCE THE COMEDY. HE’S REALLY PLAYING WITH THE

MEDIUM WITH AS MUCH ATTENTION TO THE FILMMAKING AS TO THE

PERFORMANCE. >> JERRY LEWIS, IN THE EARLY

60s, MADE A DIFFERENT TYPE OF COMEDY, COMEDY FOR ALL AGES.

AND THERE WAS A LARGER CULTURAL SHIFT JUST ABOUT TO HAPPEN.

>> THOSE ARE THE FACTS, FELIX. YOU GOT TO FACE IT.

YOU CAN’T SPEND THE REST OF YOUR LIFE CRYING.

IT ANNOYS PEOPLE IN THE MOVIE. >> IT WASN’T PHYSICAL COMEDY.

IT WAS CEREBRAL. INCREASINGLY IN THE 60s, COMEDY

BECAME SOMETHING FOR ADULTS. >> YOU’RE A WRITER AND A

DIRECTOR? >> YES, I’VE WRITTEN AND

DIRECTED A NEW MOTION FLICK CALLED "THE PRODUCERS" STARRING

ZERO MOSS TELL AND INTRODUCING GENE WILDER.

>> "THE PRODUCERS" IS JERN WINLY, I WOULD SAY ONE OF THE

TOP COMEDIES OF ALL TIME. >> YES?

>> YES WHAT? >> WHAT YOU WERE SAYING.

KEEP TALKING. >> IN THE PRODUCERS, THEY’RE

GOING TO GET INVESTORS TO INVEST IN A BROADWAY PLAY THAT THEY

KNOW WILL FAIL SO THEY CAN TAKE OFF WITH THE MONEY.

[ SCREAMING ] >> I WANT THAT MONEY!

>> I FELL ON MY KEYS. >> THE SURE FIRE DISASTER, IT’S

CALLED "SPRINGTIME FOR HITLER". ♪ SPRINGTIME FOR HITLER ♪

>> YOU CAN’T BELIEVE THE PRODUCERS GOT MADE.

THE IDEA OF DOING A MUSICAL IN WHICH HITLER IS THE STAR, I MEAN

THAT CONCEPT ALONE WAS BRILLIANT AND UNPRECEDENTED AND IT REALLY

GAVE YOU A SENSE OF WHO MEL BROOKS WAS AS A COMIC MIND.

>> I WANT TO THANK THE ACADEMY OF ARTS SCIENCES AND MONEY FOR

THIS WONDERFUL AWARD. >> MEL IS A GIANT, MAYBE THE

BALLSIEST OF THEM. >> I’LL JUST SAY WHAT’S IN MY

HEART. BA BUMP, BA BUMP, BA BUMP.

>> BUT ONE OF THE BEST OF THEM. EXPLOSIVELY FUNNY.

>> DR. STRANGELOVE, DO WE HAVE ANYTHING LIKE THAT IN THE WORKS?

>> A MOMENT, PLEASE, MR. PRESIDENT.

>> "DR. STRANGELOVE" IS ABOUT HOW THE UNITED STATES AND

RUSSIA, THROUGH A SERIES OF MISUNDERSTANDINGS AND ACTIONS BY

CERTIFIABLY CRAZY PEOPLE, ALMOST COME TO THE BRINK OF NUCLEAR

WAR. >> NOW, THEN, DIMITRI, YOU KNOW

HOW WE’VE ALWAYS TALKED ABOUT THE POSSIBILITY OF SOMETHING

GOING WRONG WITH THE BOMB. >> YOU KNOW, AS A COMEDY PERSON,

THERE IS A COMEDY BEFORE "DR. STRANGELOVE" AND AFTER "DR.

STRANGELOVE" BECAUSE NO ONE HAD SEEN ANYTHING THAT DRY.

THE SATIRE OF IT, IN ORDER TO DO IT RIGHT, YOU HAD TO DO IT

COMPLETELY STRAIGHT. >> OF COURSE I LIKE TO SPEAK TO

YOU. OF COURSE I LIKE TO SAY HELLO.

>> ON THE SURFACE, IT WAS NOT SUPPOSED TO SCARE ANYBODY

BECAUSE IT WAS A COMEDY WHEN, IN FACT, IT’S NOT A COMEDY.

THE FILM REALLY, REALLY TAKES YOU TO THE END OF THE WORLD.

>> GENTLEMEN, YOU CAN’T FIGHT IN HERE.

THIS IS THE WAR ROOM. >> PETER SELLERS WAS

UNBELIEVABLE AS EVERY CHARACTER, BUT ESPECIALLY AS

DR. STRANGELOVE. >> PETER SELLERS IS WHAT MAKES

THAT FILM SING, THAT YOU CAN FEET THAT STANLEY KUBRICK HAS

SOMEBODY THAT HE TRUSTS TO GO COMPLETELY OFF THE RAILS AND

THAT HE KNOWS HOW TO FILM IT AND CONTAIN IT AND USE IT FOR THE

PURPOSES OF THE STORY. >> THE WHOLE POINT OF THE

DOOMSDAY MACHINE IS LOST IF YOU KEEP IT A SECRET.

WHY DIDN’T YOU TELL THE WORLD, EH?

>> WHEN I FIRST SAW THE FILM, I CAME OUT OF THAT MOVIE FEARING

NUCLEAR WAR WITH THE RUSSIANS MORE THAN I EVER HAD BEFORE.

>> I GOT A PRETTY FAIR IDEA THAT SOMETHING DOGGONE IMPORTANT IS

GOING ON BACK THERE. >> STANLEY KUBRICK WAS ONE OF

THE MOST AUDACIOUS FILMMAKERS IN HISTORY.

>> WELL, BOYS, I RECKON THIS IS IT.

NUCLEAR COMBAT TOE TO TOE WITH THE RUSSKIES.

>> WHO ELSE WOULD HAVE SLIM PICKENS IN A COWBOY HAT GETTING

ON AN ATOMIC BOMB AND RIDING IT ALL THE WAY TO THE GROUND WAVING

HIS HAT OVER HIS HEAD LIKE HE’S AT A RODEO?

IT DELIVERS ARMAGEDDON IN SONG. ♪

WITH EVERY SINGLE HYDROGEN BOMB EXPLOSION PHOTOGRAPHED CUT

TOGETHER IN SYNC, IN HARMONY WITH THE MUSIC.

♪

>>> I’VE HEARD A HOLLYWOOD PRODUCER REFER TO THE MOVIE

BUSINESS AS THE TRANSPORTATION BUSINESS.

YOU GO TO THE THEATER, AND WE TAKE YOU SOMEWHERE ELSE.

>> BY THE 60s, THE WONDERFUL THING ABOUT THE STUDIO SYSTEM

WAS HOW IT COULD CREATE PLACE AND TIME SO MAGNIFICENTLY.

♪ >> SO OFTEN FILMS THAT WERE SET

IN THE PAST DIDN’T LOOK LIVED IN.

THEY DIDN’T LOOK LIKE ACTUAL EXPERIENCE.

IN THE ’60s, TOM JONES FINALLY MADE IT FEEL LIKE PEOPLE LIVING

IN THESE TIMES, NOT PEOPLE ACTING OUT THOSE TIMES.

>> MANY OF THE GREAT EPIC FILMS IN THE ’60s HAVE HISTORICAL OR

LITERARY ENDORSEMENT, AND PEOPLE LOVE THOSE BIG, RICH STORIES.

>> YOU SEE? THEY LOVE US DEARLY, THESE

FRENCH. >> SO THEY SHOULD.

WE PAY THEM ENOUGH. >> THE FIRST MOVIE THAT HAD A

HUGE IMPACT ON ME WAS "BECKETT." I JUST THOUGHT, WOW, WHAT GOES

ON HERE? THIS IS POWERFUL MEDICINE.

>> I WOULD HAVE GONE TO WAR WITH ALL ENGLAND’S MIGHT BEHIND ME

AND EVEN AGAINST ENGLAND’S INTERESTS TO DEFEND YOU, THOMAS.

>> O’TOOLE WITH BURTON, JUST KNOCKED OUT.

THEIR CAPACITY TO SHOW AGONIZED, WRENCHING EMOTION.

>> YOU NEVER LOVED ME, DID YOU, THOMAS?

>> INSOFAR AS I WAS CAPABLE OF LOVE, YES, I DID.

>> SEEING THESE TWO GIANTS PERFORMING, REALLY IT STAYED

WITH ME A VERY LONG TIME. ♪

>> A MAN FOR ALL SEASONS IS THIS BEAUTIFUL MOVIE BY FRED

ZIMMERMAN. IT’S THIS RARE PORTRAIT OF A MAN

WITH ACTUAL MORALS, WHO STANDS UP FOR WHAT HE BELIEVES.

>> AT COURT THEY OFFER YOU ALL SORTS OF THINGS, HOMES, MANORS,

MANOR HOUSES, COATS OF ARMS. A MAN SHOULD GO WHERE HE WON’T

BE TEMPTED. >> IT’S ABOUT UNRAVELING A

DIFFICULT SITUATION BETWEEN THE DHOICH AND THE STATE.

THE KING WANTED TO BE DIVORCED. THE CHURCH WILL NOT ALLOW THIS.

HOW DO YOU NAVIGATE THOSE TWO MASTERS AND KEEP BOTH HAPPY?

THEREIN LIES THE FILM. >> YOUR GRACE, I’M NOT FITTED TO

MEDDLE IN THESE MATTERS. TO ME, IT SEEMS A MATTER FOR THE

HOLY SEE. >> THOMAS, DOES A MAN NEED A

POPE TO TELL HIM WHERE HE’S SINNED.

>> THIS IS A MAN KNOWING HE’S GOING TO HAVE TO PAY A TERRIBLE

PRICE, AND WHO HONORS HIS CONSCIENCE AND HONORS HIS GOD IN

THIS CASE RATHER THAN SURRENDER TO THE KING.

>> BE NOT AFRAID OF YOUR OFFICE. SEND ME TO GOD.

>> YOU’RE VERY SHORT OF THAT, SIR THOMAS?

>> HE WILL NOT REFUSE ONE ‐‐ >> THERE’S NOTHING QUITE LIKE A

GIANT EPIC. YOU GET LOST.

IT’S THREE HOURS AND CHANGE. YOU GO TO A DIFFERENT PLACE IN A

DIFFERENT TIME, AND WHEN IT WORKS, IT TRANSPORTS YOU IN A

WAY THAT REALLY CINEMA DOES BETTER THAN ANYTHING ELSE.

>> DR. ZHIVAGO IS ONE OF THESE HUGE, LITERAL EPICS THAT DAVID

LEAN SPECIALIZED IN. >> YOU COULD SAY THAT DAVID LEAN

IS THE TOLSTOY OF MOVIES BECAUSE HE WORKS ON CANVASES THAT ARE AS

LARGE AS TOLSTOY’S, AND HE HAS THE AMBITION OF TOLSTOY.

>> IN DR. ZHIVAGO, OMAR SHARIF, WHO HAD DONE LAWRENCE OF ARABIA

FOR LEAN, THE TEMPESTUOUS LAURA PLAYED BY THE GREAT JULIE

CHRISTIE. >> WHAT ARE WE GOING TO DO?

>> I DON’T KNOW. >> IT’S A BEAUTIFULLY MADE SOAP

OPERA WITH ALL THE RUSSIAN EMOTION.

LEAN WAS VERY CAPABLE AT THATPOI IN HIS LIFE OF GOING BACK AND

FORTH FROM THE SPECTACULAR TO THE INTIMATE.

>> THE ’60s MIGHT HAVE BEEN WHERE HOLLYWOOD MIGHT HAVE GOT

ITS BIGGEST EPICS RIGHT, BUT ALSO THOSE MOVIES WERE JUST TOO

BIG AND TOO DIFFICULT TO MAKE. YOU LOOK AT SOMETHING LIKE WHAT

CLEOPATRA CAST. IT VERY THEY’RELY CRIPPLED NOT

ONLY ONE STUDIO BUT THE BUSINESS.

>> THE MOTION PICTURE CASTING ACHIEVEMENT OF THE YEAR IS ABOUT

TO BECOME A RECORDED FACT. THE OCCASION, THE HOLLYWOOD

SIGNING OF THE EXOTIC ELIZABETH FOR THE MOST EXOTIC ROLE IN HER

CAREER. AND THE ROLE OF CLEOPATRA.

WHAT A ROLE, AND LIZ IS THE GAL TO DO IT JUSTICE.

>> AS CLEOPATRA GOT MADE, THE COST OF IT KEPT PILING UP AND

PILING UP. HUNDREDS OF MILLIONS IN TODAY’S

DOLLARS. IT WAS SO ELABORATE.

THESE WERE NOT CGI MOMENTS, NOT COMPUTER GRAPHICS.

THE PEOPLE YOU SEE ON THE SCREEN IN THESE HUGE SCENES WITH ALL

THESE EXTRAS, THOSE ARE ALL REAL PEOPLE.

THIS WAS A MASSIVE UNDERTAKING. >> NOTHING LIKE THIS HAS COME TO

ROME SINCE ROMULUS. >> FOR THE ROLE OF MARK ANTHONY,

THEY HIRED RICHARD BURTON. BURTON WAS A GREAT SHAKESPEAREAN

ACTOR. IN THE VERY FIRST SCENE THEY

SHOT WAS ON CLEOPATRA’S BARGE, AND THERE’S A VERY PASSIONATE

KISS THAT GOES ON AND ON. AND THE DIRECTOR, JOE

MANKIEWICZ, SAID, CUT, CUT, CUT. AND IT WAS CLEAR SOMETHING HAD

BEEN IGNITED, AND THEN SUDDENLY YOU HAD THIS SCANDAL.

>> ALL THE PAPARAZZI IN THE WORLD CONVERGED, AND EVERYONE

WAS ALL ABOUT BURTON/TAYLOR. WHAT’S HAPPENING?

THEY WERE BOTH MARRIED TO OTHER PEOPLE.

IN SOME WAYS, THE DRAMA OUTSIDE THE MOVIE GOT MORE INVOLVING

THAN THE DRAMA INSIDE THE MOVIE. >> THIS LIFE, HOW IT HURTS, HOW

LOVE CAN STAB THE HEART. >> CLEOPATRA IN MANY WAYS

WRECKED MY UNCLE’S CAREER. IT SORT OF ‐‐ HE HATED IT.

>> CONGRATULATIONS. A WONDERFUL, WONDERFUL EVENING.

>> YOU MUST KNOW SOMETHING I DON’T.

>> WELL, I MUST TELL YOU, I DO. >> CLEOPATRA ACTUALLY MADE GOOD

MONEY. IT JUST DIDN’T MAKE ENOUGH MONEY

TO RECOUP THE ENORMOUS EXPENSE OF THE PRODUCTION.

>> FOX FAMOUSLY HAD TO SELL OFF THE BACK PART OF THEIR LOT.

SO IT BECAME THE DEATH KNELL OF THE STUDIO SYSTEM.

>> TO REACH A POINT WHERE A MOVIE LIKE KLEE PAT RA COULD

REPRESENT AN EXPENDITURE OF NEARLY ONE‐HALF THE NET CAPITAL

OF THE COMPANY MAKING IT AND DESTROY THE MANAGEMENT OF THAT

COMPANY IN THE BARG >>> IF SOMEONE SAID TO YOU, IT’S

1964. THE LAPD REPORTS THAT 15,000

SCREAMING TEENAGERS, MOST OF THEM FEMALE, ARE IN FRONT OF THE

EGYPTIAN THEATER, WHAT DO YOU THINK IS HAPPENING?

MOST PEOPLE SAY, THE BEATLES ARE ARRIVING.

ACTUALLY, IT’S THE OPENING NIGHT IN L. A. OF "MY FAIR LADY."

>> THE PREMIERE OF MY FAIR LADY. ONE OF THE BIGGEST OPENING

NIGHTS IN RECENT YEARS WITH A ROSTER OF STARS THAT WILL MAKE

YOUR EYES BLINK. THE STAR OF THE PICTURE, REX

HARRISON. >> IN MY FAIR LADY, THEY HAVE A

CONTEST TO SEE IF HENRY HIGGINS CAN TRANSFORM THIS FLOWER GIRL

WITH HER COCKNEY ACCENT INTO SOMEONE THAT HE COULD PASS OFF

AS ROYALTY IN HIGH SOCIETY. >> YOU SEE THIS CREATURE WITH

HER CURB STONE ENGLISH, THE ENGLISH THAT WILL KEEP HER IN

THE GUTTER UNTIL THE END OF HER DAYS, WELL, SIR, IN SIX MONTHS I

COULD PASS HER OFF AS A DUCHESS AT AN EMBASSY BALL.

>> REX HARRISON BECAME THAT RARE GUY WHO COULD RECREATE HIS ROLE

ON FILM. BUT FOR THE ROLE OF ELIZA

DOOLITTLE. BUT JULIE ANDREWS WAS TURNED

DOWN BY JACK WARNER, WHO PERSONALLY PRODUCED THE MOVIE,

IN FAVOR OF AUDREY HEPBURN ♪ THE RAIN IN SPAIN STAYS MAINLY

IN THE PLAIN ♪ >> BY GEORGE, SHE’S GOT IT.

BY GEORGE, SHE’S GOT IT. >> I LOVE MY FAIR LADY.

THE MUSIC IS INCREDIBLE. ♪ I COULD HAVE DANCED ALL

NIGHT ♪ ♪ I COULD HAVE DANCED ALL

NIGHT ♪ ♪ AND STILL HAVE BEGGED FOR

MORE ♪ >> MY FAIR LADY WON BEST PICTURE

IN 1964. IT IS CONSIDERED A SUCCESS ALL

AROUND, AND EVEN THOUGH JULIE ANDREWS HAD BEEN PASSED OVER FOR

THE ROLE, SHE GOT MARY POPPINS, AND SHE HAD THE LAST LAUGH.

>> LADIES AND GENTLEMEN, HERE IS JULIE ANDREWS, MARY POPPINS.

>> MARY POPPINS WAS A HUGE MOVIE FOR THE WHOLE FAMILY, AND YOU

HAVE JULIE ANDREWS." SHE’S SO STRONG, SHE’S SUPER

HUMAN. SHE FLIES IN FROM A CLOUD AND

SHE SHIFTS THE POWER STRUCTURE IN A VERY MALE DOMINATED

HOUSEHOLD. >> THAT’S WHAT?

>> GEORGES BANKS IS THINKING HE’S GOING TO INTERVIEW A NANNY.

>> WE BROUGHT YOUR REFERENCES I PRESUME.

MAY I SEE THEM. >> I MAKE IT A POINT NEVER TO

GIVE REFERENCES. >> SHE INTERVIEWS HIM FOR THE

JOB SO SHE’S THE BOSS FROM THE WORD GO.

>> JULIE AND DREWS IS A SUPER TALENT.

BEAUTIFUL. INCREDIBLE VOICE.

♪ FOR A SPOON FULL OF SUGAR HELPS THE MEDICINE GO DOWN ♪

>> REALLY DRY AND FUNNY. SHE WASN’T THIS CHEER MONSTER.

IN FACT, SHE HAD A LITTLE ATTITUDE.

>> AS I EXPECTED. MARY POPPINS PRACTICALLY PERFECT

IN EVERY WAY. >> IT WAS A MAGICAL WORLD OF

MUSIC AND COLOR. ♪ SUPERCALIFRAGILISTIC‐

EXPIALIDOCIOUS EVEN THOUGH THE SOUND OF IT IS SOMETHING QUITE

ATROCIOUS ♪ >> AND IT WAS ABOUT SOMETHING.

>> I DIDN’T EVEN REALIZE TILL I WAS SHOWING IT TO MY KIDS.

IT IS ABOUT THE IMPORTANCE OF SPENDING TIME WITH YOUR

CHILDREN. ♪ LET’S GETS FLY A KITE UP TO

THE HIGHEST HEIGHT ♪ >> THE WINNER IS JULIE ANDREWS,

MARY POPPINS". >> WHEN SHE WINS THE GOLDEN

GLOBE, SHE ACTUALLY THROWS A LITTLE SHADE AT THE STUDIO FOR

OVERLOOKING HER. >> MY THANKS TO A MAN WHO MADE A

WONDERFUL MOVIE AND MADE ALL THIS POSSIBLE IN THE FIRST

PLACE, MR. JACK WARNER. >> SHE ALSO GOT AN OSCAR, THEN

WENT ON TO DO PROBABLY THE GREATEST, CERTAINLY THE MOST

SUCCESSFUL OF THE 1960s MUSICALS, THE ROGERS AND

HAMMERSTEIN CLASSIC THE SOUND OF MUSIC".

>> THE HILLS ARE ALIVE WITH THE SOUND OF MUSIC.

♪ WITH SONGS THEY HAVE SUNG FOR A THOUSAND YEARS IS ♪

>> THE FIRST MUSICAL I SAW WAS SOUND OF MUSIC".

IT CHANGED MY LIFE. THERE’S SOMETHING ABOUT IT THAT

IS JUST WONDERFUL AND JOYOUS. >> RAIN DROPS ON ROSES AND

WHISKERS ON KITTENS BROETS COPPER KET COUNSEL AND WARM

WOOLEN MITTENS BROWN PAPER PACKAGES TIED UP IN SFRINGS

STRINGS ♪ >> WHETHER HE YOU’RE A KID AND

YOU WATCH THE SOUND OF MUSIC" IT SEEMS EXCITING.

THERE’S A KID OF EVERY AGE IN THE VON TRAPP FAMILY.

NO MATTER HOW OLD YOU ARE, THERE’S SOMEBODY YOU CAN RELATE

TO OR CONNECT WITH. ♪ BEAT FLOAT BEAT FLY ♪

♪ >> IT’S WHIMSICAL AND FANTASTIC

WITHIN A SETTING THAT IS VERY REAL FROM A HISTORICAL

PERSPECTIVE. THEY’RE RUNNING FROM NAZIS BUT

THEY’RE DOING IT IN SONG. ♪ GOOD‐BYE ♪

>> WE WANT TO SPECIALIZE IN TELEVISION AND FILM.

>> TELEVISION I JUST WANT TO DO ONE A YEAR AND NOT FOR MANY MORE

YEARS BUT FILMS IS SOMETHING THAT I’D LIKE TO CONCENTRATE ON,

IF I WORK, WHEN I WORK. >> FUNNY GIRL" IS THE MUSICAL

THAT SIGNIFIES THE ARRIVAL OF BARBRA STREISAND WHO HAD

ORIGINALNATED THE ROLE ON BROADWAY.

WE MET HER FOR THE FIRST TIME IN FILM WHEN SHE LOOKS IN THE

MIRROR AND SAYS, HELLO GORGEOUS. >> AND WE JUST IMMEDIATELY FALL

IN LOVE WITH HER. >> FANNY, YOU’RE AN ENCHANTING

GIRL. I WISH I COULD GET TO KNOW YOU

BETTER. >> GIVE ME SIX GOOD REASONS WHY

NOT. >> ORDINARILY WE RELATE TO A

STAR ON SCREEN VICARIOUSLY. I WISH I COULD BE LIKE THAT.

BARBRA STREISAND SAYS YOU ARE LIKE THIS.

I’M YOU. >> CAN I ROLLER SKATE?

♪ >> THE THING ABOUT BARBARA

STREISAND IS SHE CAN CONVEY A MOMENT WITH JUST AN EYE FLICK

AND THEN A MOMENT LATER SHE SINGS IN A VOICE THAT I’M LIKE

PLASTERED TO THE WALL. WHAT’S HAPPENING.

SHE’S INCREDIBLE. ♪ LIFE’S CAN CANDY AND THE SUN’S

A BALL OF BUTTER ♪ ♪ DON’T BRING AROUND A CLOUD

DON’T RAIN ON MY PARADE ♪ >> FUNNY GIRL" SIGNALED THE

BIRTH OF A GREAT, GREAT FILM ACTRESS.

OF COURSE, SHE WINS THE ACADEMY AWARD FOR HER FIRST FILM ROLE

EVER. >> HELLO, GORGEOUS.

>> WE’VE GOT TOM. >>> CHARACTER.

>> PAUL NEW MAN CAME OUT OF THE 1950s AS ONE OF THE TOP LEADING

MEN IN HOLLYWOOD. THERE WAS AN OSCAR NOMINATION

FOR CAT ON A HOT TIN ROOF" FROM 1958.

HE ALSO LOOKED LIKE PAUL NEW MAN.

COULD HE HAVE BEEN IN ANY MOVIE HE WANTED TO BE IN.

>> I’M THE BEST YOU EVER SEEN. I’M THE BEST THERE IS.

>> HE HAD EVERYTHING. HE COMES FROM THE ACTOR’S

STUDIO. A MAJOR STAR ON BROADWAY.

CHARISMA ON SCREEN. HE WAS THE HUSTLER.

YOU CAN’T GET BETTER THAN THAT. >> THAT MAN SHOOT A GREAT GAME

OF POOL. >> SO DO YOU, FAST EDDIE.

>> THAT WIDE SCREEN BLACK AND WHITE WITH HIM AND JACKIE

GLEASON AND GEORGE C. SCOTT WAS SOMETHING SO UNIQUE AT THAT

TIME. A CHARACTER PIECE THAT WAY.

>> JOE. I JUST HOPE FOR YOUR SAKING THAT

THIS HOUSE IS ON FIRE. >> I’M SORRY TO ROUST YOU OUT

BUT WE’VE GOT TROUBLE AT THE RANCH.

>> YOU GOT TROUBLE RIGHT HERE, BUB.

>> IN HUD, HE WAS SUPPOSED TO BE KIND OF A SHALLOW DAMAGED

CHARACTER AND HE WAS PLAYING THAT TO THE HILT AND

PARTICULARLY DEALING WITH THE DARKSIDE OF THINGS.

>> YOU DON’T LOOK OUT FOR YOURSELF, THE ONLY HELPING HAND

YOU’LL EVER GET IS WHEN THEY LOWER THE BOX.

>> "HUD" IS A KIND OF COMMENTARY ON WHERE YOU END UP IF YOU BUY

INTO THE MYTH OF THE WESTERN HERO.

YOU END UP WITH A GUY WHO DRINKS TOO MUCH, HAS NO RESPECT FOR

WOMEN, S WHO’S MASCULINE IN THE DIVORCE SENSE OF THE TERM YET

HUD IS ATTRACTIVE TO US BECAUSE HE’S PLAYED BID PAUL NEW MAN.

>> IN COOL HAND LUKE, NEW MAN CLEARLY IS A FIGURE OF THE

COUNTER CULTURE MOVEMENT. REBELLING AGAINST AUTHORITY.

>> LAY DOWN, LUKE. HE’S JUST GOING TO KNOCK YOU

DOWN AGAIN, BUDDY. >> CIRCUMSTANCE HASN’T MADE LUKE

A CRIMINAL. >> STAY DOWN.

>> IT’S ALMOST HIS CHOICE. >> YOU’RE GOING TO HAVE TO KILL

ME. >> OR HIS REFUSAL TO DO WHAT’S

EXPECTED OF HIM. >> DON’T YOU EVER TALK THAT WAY

TO ME. >> THE WARDEN IN THE FILM IS

PLAYED BY STROTHER MARTIN. IT’S ONE OF THE GREAT TEN‐LINE

PERFORMANCES IN MOVIES. >> WHAT WE’VE GOT HERE FAILURE

TO COMMUNICATE. >> AND IT REALLY FEELS LIKE A

’60s LINE WHERE YOU KNOW, JUST IN ONE MOMENT, KIDS AND ADULTS

COULD SEE THE GENERATION GAP AND SEE EACH OTHER ON THE OTHER

SIDE. >> SORRY, LUKE.

JUST DOING MY JOB. YOU GOT TO APPRECIATE THAT.

>> AH. CALLING IT YOUR JOB DON’T MAKE

IT RIGHT, BOSS. >> I STILL THINK HE’S THE LAST

OF THE OLD MOVIE STARS WHEN HE STARTS THE ’60s, HE’S UP AGAINST

THE LIKES OF CARRY GRANT AND JOHN WAYNE AND MARLON BRANDO AND

BY THE END OF THE ’60s, HE’S UP AGAINST THE LIKES OF STEVE

McQUEEN AND SEAN CONNERY. AND FOR McQUEEN, I THINK NEW MAN

WAS SORT OF A TARGET. >> THE GREAT ESCAPE IS AS GOOD A

PRIMPER OF WAR MOVIE AS YOUR YOU’RE GOING TO GET.

A GREAT ENSEMBLE CAST BUT ANCHORED BY STEVE McQUEEN.

>> BY MORNING I’M GOING TO BE SO FAR AWAY YOU COULDN’T HEAR IT IF

THEY WERE SHOOTING AT ME WITH HOWITZERS.

>> HE’S NOT A BIG GUY LIKE JOHN WAYNE BUT HE HAD A QUALITY OF

BELIEVABILITY. YOU BELIEVED THAT HE WAS TOUGH,

WIRY, RESOURCEFUL. >> WASN’T IT AWHILE AGO THE

STUDIOS PROHIBITED YOU DOING ANY RACING WHILE YOU WERE ACTUALLY

IN PRODUCTION? >> SHH.

>> I SEE ALL KINDS OF EXECUTIVE LOOKING PEOPLE SANDING AROUND

WITH THEIR FINGERS CROSSED. >> THEY’RE BEING NICE TO ME ON

THIS FILM. >> STEVE McQUEEN IS THE MAN.

>> TO KNOW THAT HE COULD DRIVE THOSE CARS, CORIDE THOSE

MOTORCYCLES MADE HIM THE MODERN KIND OF MOVIE STAR HERO.

>> HE DIDN’T CALL HIMSELF THE KING OF COOL BUT IT’S CLEAR WHY

HE GOT THE NICKNAME. WHEN HE DRESSES UP IN THE THOMAS

CROWN AFFAIR IT WAS COOL. THE WAY HE PLAYS CARDS IN THE

CINCINNATI KID HE WAS COOL. WHEN HE DRESSES DOWN IN "BULLET"

HE WAS COOL. HE COULDN’T HELP IT.

>> BULLET HAS THE PERFECT McQUEEN MOMENT, SOMEBODY’S

FOLLOWING HIM. HE FIGURES IT OUT.

HE DOESN’T TRY TO ESCAPE WHICH IS WHAT ANYBODY WOULD DO.

INSTEAD HE TURNS THE CAR AROUND AND HE STARTS CHASING THEM.

THAT’S STEVE McQUEEN. >> THERE ARE CAR CHASES BEFORE

IN MOVIES AND NEVER A CAR CHASE LIKE "BULLET."

YOU KNOW AT THAT POINT WHERE PHIL HICKMAN THE OTHER DRIVER

CLIPS IN HIS SEAT BELT, THE AUDIENCE IS LIKE OKAY, HERE WE

GO. IT’S LIKE A MASTERPIECE OF

ACTION CINEMA. I CAN NEVER GO TO SAN FRANCISCO

AND SEE THOSE HILLS WITHOUT THINKING OF THAT MUSTANG TAKING

THOSE TURNS. >> IT’S THE MOST FAMOUS CAR

CHASE IN ALL OF MOVIES. BUT THAT SECONDARY TO ME TO THE

FEELING OF I JUST WANT TO LOOK AT THIS STORY IN THIS CITY WITH

THIS GUY LEADING ME THROUGH. THE WHOLE MOVIE IS REALLY ABOUT

McQUEEN AND HIS PERSONA. >> I ADMIRE YOUR CURRENTLY, MR.

>> FRENCH. SYLVIA TRENCH.

I ADMIRE YOUR LUCK. MR.?

>> BOND, JAMES BOND. >> IF YOU GREW UP IN THE ’60s

IT’S HARD FOR YOU NOT TO IDENTIFY WITH BOND.

HE WAS LIKE I’M KICKING ASS, I’M TAKING NAMES, I’M MAKING EQUIPS,

I GOT YOUR GIRL. >> DID YOU SAY YOU HAD TO LEAVE?

>> IMMEDIATELY. >> SO WHEN THE FIRST JAMES BOND

FILM WAS MADE, A LOT OF RISKS WERE TAKEN.

AND SEAN CONNERY WAS ONE OF THOSE.

>> JAMES, WHERE ON EARTH HAVE YOU BEEN?

I’VE BEEN SEARCHING LONDON FOR YOU.

>> IAN FLEMMING AND OTHERS WERE NOT SUPER CONFIDENT ABOUT

CONNERY IN THAT ROLE. BUT THE AUDIENCE RECEPTION

REALLY PROVED THAT CONNERY COULD PULL OFF BOND.

>> ONE THING I READ ABOUT YOU SAID YOU WEREN’T LIVING UP TO

YOUR IMAGE. >> THEY PAY THE FINES IF I LIVE

UP TO THE IMAGE. >> SEAN CONNERY WAS SO HANDSOME,

THERE’S A KIND OF NAUGHTY FUN JUST TO HIS SMILE AND YOU FELT

AS THOUGH YOU DIDN’T NEED TO KNOW HIM.

YOU WEREN’T ASKING FOR AN INTERNAL PERFORMANCE FROM HIM.

HE WAS SOMEBODY YOU COULD PROJECT A FANTASY ON.

>> MY FRIENDS CALL ME TANYA. >> MINE CALL ME JAMES BOND.

>> JAMES BOND IS CREATED DURING THE COLD WAR BY IAN FLEMING AND

IN COLD WAR TERMS, JAMES BOND IS EVERYTHING THAT THE RUSSIANS ARE

NOT. AND THAT BECOMES A KIND OF

SUBLIMINAL APPEAL. >> TAKE IT EASY, 007.

FIRE ESCAPE ONLY FOR ONE. >> IN FROM RUSSIA WITH LOVE,

THERE’S A FIGHT INSIDE A TRAIN CAR THAT CONNERY HAS WITH ROBERT

SHAW. AND IT IS IN A TINY CONFINED

SPACE AND IT IS BRUTAL. AND CONNERY COULD ALWAYS GET

THIS LOOK ON HIS FACE LIKE I’M NOT GOING TO MAKE IT OUT OF THIS

ROOM ALIVE. AND THAT’S SOMETHING THAT IS

ABSOLUTELY ESSENTIAL TO AN ACTION STAR.

>> GOLD FINGERING IS WHEN IT BECOMES A SUPER SPY FILM.

IT HAS THE FANTASTIC CAL ELEMENTS THAT KIND OF BOND

REALLY STARTS TO LEAN INTO. WE’RE IN FORT KNOX.

THERE ARE WOMEN PILOTS THAT ARE VERY SEXY AND YOU HAVE A HENCH

MAN WHO HAS A HAT THAT CAN BE CUT OFF YOUR HEAD IF THROWN AT

YOU LIKE A FRISBEE. EVERYTHING ABOUT "GOLD FINGER"

INFORMS THE REST OF THE FRANCHISE.

>> DO YOU EXPECT ME TO TALK? >> NO, MR. BOND.

I EXPECT YOU TO DIE. >> BOND NEVER DIES.

NO MATTER WHAT HAPPENS FROM DECADE TO DECADE, BOND MANAGES

TO REINVENT HIMSELF TO ACHIEVE NEW FORMS OF RELEVANCE.

"THE MISFITS." >> HOW DO YOU COULD.

>> TO SEE GABLE TRY TO HOLD HIS OWN WITH A LOT OF LEGENDARY

METHOD ACTORS, ELI WALL LACK AND CLIFT AND MARILYN MONROE, A

DIFFERENT GABLE SHOWS UP TO MAKE THAT MOVIE AND KIND OF LOVED

THAT. >> YOU JUST SAID HE WAS ABOUT TO

GIVE IT TO HER. >> I SELL TO DEALERS ONLY.

THAT’S ALL THEY’RE LOOKING TO BUY IS A HORSE.

>> I WAS JUST WONDERING WHO YOU THINK YOU’VE BEEN TALKING TO

SINCE WE MET. >> THERE’S SOMETHING ROUGH ABOUT

THAT MOVIE. VISCERAL MOMENTS, SUCH THAT YOU

ALMOST FEEL IT’S DOCUMENTARY THAT YOU’RE OUT IN THE DESERT

WITH THE MUSTANGS. >> FINISH.

IT’S LIKE ROPING A DREAM NOW. I GOT TO FIND ANOTHER WAY TO BE

ALIVE, THAT’S ALL. >> THAT WAS GABLE’S LAST FILM.

THAT’S GOT A VERY KIND OF ELIJIAC FEELING TO IT.

THE END TO THE TRADITIONAL MOVIE WEST IS COMING AND THIS FILM IS

KIND OF A MONUMENT TO THAT. >> HOW MANY OF YOU DID THEY

HIRE? >> ENOUGH.

>> THE WESTERN BECOMES DARK BY THE END OF CLASSICAL HOLLYWOOD.

YOU SEE SUCH A CHANGE IN THE UNITED STATES CULTURE AND I

THINK THE WESTERN SHOWS THAT. >> THESE FILMS TAKE A MORE

PSYCHOLOGICAL LOOK AT THE WESTERN MOLD.

>> WHAT DID YOU SAY HIS NAME WAS?

THE MAN WITH THE SILVER‐KNOBBED WHIP.

>> I SAID LIBERTY VALANCE. BUT IF THAT’S WHAT YOU GOT TO

DO, YOU BETTER START PACKING A HANDGUN.

>> A GUN? I DON’T WANT A GUN.

I DON’T WANT TO KILL HIM. I WANT TO PUT HIM IN JAIL.

>> OH. >> THE MAN WHO SHOT LIBERTY

VALANCE IS JOHN FORD’S LAST GREAT WESTERN.

YET, IT’S SO DIFFERENT THAN WHAT PRECEDED.

>> PILGRIM, YOU HAVE TO COCK IT FIRST.

>> I FORGOT. >> I SEE IT ALMOST AS A BOOK END

TO STAGECOACH BECAUSE STAGECOACH INTRODUCES THE JOHN WAYNE

CHARACTER AS A YOUNG VIBRANT OUTLAW.

AND AT MAN WHO SHOT LIBERTY VALANCE COMES BACK TO AN OLDER

PERHAPS WISER JOHN WAYNE CHARACTER WHO STILL HAS A CODE.

BUT IS MUCH MORE CYNICAL ABOUT THE WORLD.

>> YOU PUT THAT PAPER OUT THE STREETS OF SHIN BONE ARE GOING

TO BE RUNNING WITH BLOOD. >> THE MAN WHO SHOT LIBERTY

VALANCE SOMEONE DESCRIBED IT RECENTLY AS THE GREATEST

AMERICAN POLITICAL FILM. IT’S ABOUT HOW REREWRITE HISTORY

TO FIT OUR MYTHIC NEEDS. >> JOHN WAYNE ACTUALLY KILLS CAN

LIBERTY VALANCE. JIMMY STEWART GETS CREDIT AND

BECOMES FALSE AND SOON AFTER THAT, WAYNE IS FORGOTTEN.

>> WHO WAS TOM DONOVAN? >> EVENTUALLY STEWART TELLS IT

THE TRUTH AND THE NEWSPAPER MAN RIPS UP THE STORY AND SAYS ONE

OF THE MOST FAMOUS LINES IN AMERICAN FILM.

>> THIS IS THE WEST, SIR. WHEN THE LEGEND BECOMES FACT,

PRINT THE LEGEND. >> HE’S RIGHT.

>> WESTERNS ARE CUT AND DRIED. GOOD GUY WINS AT THE END.

IT’S ALWAYS FOR THE BENEFIT. THERE ARE NO REGRETS AND THIS IS

JOHN FORD, THE MAN WHO CREATED AN THE MYTH OF THE MOVIE WESTERN

AS MUCH AS ANYONE. QUESTIONING IT.

SAYING WELL MAYBE, THE MARCH OF CIVILIZATION, MAYBE IT WASN’T

ALL GOOD. MAYBE QUALITIES OF HUMANITY WERE

THE LOST, MAYBE KINDS OF PEOPLE WERE LOST THEY WERE BETTER

HAVING AROUND TODAY. >> NOTHING’S TOO GOOD FOR THE

MAN WHO SHOT LIBERTY VALANCE. >> THIS MOVIE IS LIKE LIBERTY

VALANCE. GOOD GUY IS NOT NECESSARILY THE

GOOD GUY ANYMORE. THIS BECOMES HEIGHTENED WITH THE

GENRE THROUGHOUT THE ’60s. >> LEONE KIND OF TURNS THE

WESTERN ON HIS EAR AND BECAUSE HE WAS ITALIAN THEY BECAME KNOWN

AS SPAGHETTI WESTERNS EVEN THOUGH MOST OF THEM WERE SHOT IN

IN SPAIN. >> HIS BIG MISTAKE I THINK WAS

GETTING BORN. >> SERGIO LYON TOOK THE SYNTAX

OF THE WESTERN GUN FIGHTS, THE EMPTY STREETS.

>> GET THREE COFFINS READY AND RAISED IT UP NOT SURFACE AND

DROPPED OUT EVERYTHING ELSE. >> THERE WAS NO CULTURE, THERE

WAS NO SOCIETY. THERE WAS NO MORES.

YOU KNOW, IT WAS MINIMALIST. >> MY MISTAKE.

>> AND CLINT EASTWOOD FIT PERFECTLY INTO THAT.

HE WAS THE MAN WITH NO NAME. >> ACCORDING TO THE POWERS

VESTED IN US. >> THE WESTERN’S FOREVER CHANGED

WITH THE SOUND TRACKS. HIS APPROACH TO USING MUSIC TO

KIND OF PUNCTUATE THE THEME AND TONE OF THE FILM.

>> HE HAD DONE HIS SCORE BEFORE THEY SHOT THE MOVIE AND SO IN

THE GRAVEYARD SEQUENCE AT THE END OF "THE GOOD, THE BAD AND

THE UGLY" ON THE DAY THEY CAN HEAR THE SCORE THAT WE AS AN

AUDIENCE ARE HEARING. IF YOU DID THAT JUST SILENT, I

THINK ACTORS WOULD START TO WONDER WHAT’S HAPPENING.

WHEN YOU PLAY THE MARCONI MUSIC, NOW YOU’RE IN AN OPERA AND IT

CHANGES THEIR PERFORMANCES. >> MARCONI’S MUSIC AND THE USE

OF CLOSE‐UPS COMBINED TO REALLY PUNCTUATE EMOTION AND THINKING.

AND THE CLOSE‐UPS GET CLOSER AND CLOSER AND CLOSER TO THE ACTS’

FACES TILL YOU JUST SEE THEIR EYES AND IT STARTS TO MOVE MORE

FRENETICALLY AS WHERE’S THE GOLD, WHO IS GOING TO SHOOT

FIRST? >> OKAY.

OPEN UP IN THERE. >> BUTCH, YOU KNOW THAT IF IT

WERE MY MONEY, THERE IS NOBODY THAT I WOULD RATHER HAVE STEAL

IT THAN YOU. >> BUTCH CASSIDY AND THE

SUNDANCE KID IS A COUNTER CULTURE WESTERN.

THERE’S NEVER A MOMENT WHEN YOU’RE NOT ROOTING FOR THE BAD

GUYS IN THIS MOVIE. >> IT HIT A NERVE I THINK,

UNEXPECTEDLY. IT HIT SOME KIND OF NERVE THAT

HAD TO DO WITH OUTLAWS AND THE OUTLAW SENSIBILITY.

>> THINK THERE’S ENOUGH DYNAMITE THERE, BUTCH.

>> IT’S HARD TO FIND A FILM AS FUN AND FUNNY AND WRY AND

CLEVER. NEWMAN AND REDFORD WERE THE

PERFECT COUPLE. >> I THINK WE LOST THEM.

DO YOU THINK WE LOST THEM? >> NO.

>> NEITHER DO I. >> PAUL AND I HAD TO CONNECT AS

CHARACTERS. SO WE SPENT A LOT OF TIME

TOGETHER AND THE MORE TIME WE SPENT TOGETHER, THE FONDER WE

BECAME OF EACH OTHER. AND HE AND I BECAME REALLY GOOD

FRIENDS. >> WE’RE DONE.

HE’S DEAD. YOU’RE WELCOME TO STAY.

>> LISTEN, I DON’T MEAN TO BE A SORE LOSER BUT IF I’M DEAD, KILL

HIM. >> LOVE TO.

>> REDFORD’S SUPPOSED TO BE THE FASTEST GUN IN ALL THE WEST AND

NEWMAN IS A VERY FUNNY SAR DONIC LEADER OF THE GANG, BUTCH

CASSIDY. >> NO, NOT YET.

NOT TILL ME AND HARLEY GET THE RULES STRAIGHTENED OUT.

>> RULES? IN A KNIFE FIGHT?

NO RULES. >> IF THERE AIN’T GOING TO BE

ANY RULES, SOMEONE GET THE FIGHT STARTED.

COUNT ONE TWO, THREE, GO. >> ONE, TWO, THREE, GO.

>> IT’S A RELATIONSHIP MOVIE AND BEST DEFINED IN THAT MOVIE WHERE

THEY’RE BEING CHASED. THERE’S NOWHERE TO GO.

THEY’RE ON THE EDGE OF A CLIFF AND THERE’S A RAGING RIVER

BELOW. IT’S SO CLEAR THAT THE ODDS OF

THEM SURVIVING ARE PRETTY MUCH NONE.

>> I’LL JUMP FIRST. >> NO.

>> YOU JUMP FIRST. >> NO, I SAID.

>> WHAT’S THE MATTER WITH YOU? >> I CAN’T SWIM.

>> IT’S A GREAT DYNAMIC. >> ARE YOU CRAZY?

THE FALL WILL PROBABLY KILL YOU. >> THE MOVIE JUST WORKS.

>> AND WESTERNS WILL STAY AROUND DESPITE LEAN TIMES BECAUSE

THEY’RE SO CENTRAL TO OUR IDEA OF WHAT THE COUNTRY IS.

IN ONE WESTERN AFTER ANOTHER, THESE HUMAN FIGURES ARE PLACED

ON THIS VAST CANVAS. AND IN THAT GENRE, YOU CAN TELL

ANY KIND OF STORY YOU WANT. IT IS A VESSEL INTO WHICH YOU

CAN PUT ANYTHING.

>> AND HARPER LEE’S BOOK "TO KILL A MOCKINGBIRD" CAME AT A

TIME WHEN PEOPLE IN THIS COUNTRY NEEDED TO READ THAT OKAY.

>> ATTICUS, YOU HEARD ABOUT TOM ROBINSON.

>> YES, SIR. >> GRAND JURY WILL GET AROUND TO

CHARGING HIM TOMORROW. >> "TO KILL A MOCKINGBIRD" IS

REALLY A FASCINATING STORY. YOU SEE AMERICA SORT OF

GRAPPLING WITH ITSELF HOW TO APPROACH ISSUES OF THE CIVIL

RIGHTS STRUGGLE. >> I GET ASIDE FROM THAT DOOR,

MR. FINCH. >> ATTICUS FINCH IS A LAWYER WHO

GOES AGAINST THE GRAIN OF HIS COMMUNITY TO SAY THAT A BLACK

GUY IS BEING WRONGLY HELD ACCOUNTABLE FOR SOMETHING THAT

HE DID NOT DO. >> TOM, DID YOU RAPE HER?

>> I DID NOT, SIR. >> THE FILM MAKES ATTICUS FINCH

INTO A HERO. IT’S TOLD THROUGH THE EYES OF

HIS YOUNG DAUGHTER. >> YOU NEVER REALLY UNDERSTAND A

PERSON UNTIL YOU CONSIDER THINGS FROM HIS POINT OF VIEW.

>> TO KILL A"TO KILL A MOCKINGBI TOUCHING FATHER/DAUGHTER STORY

AND WE DON’T HAVE MANY OF THOSE. >> THERE’S BEEN SOME HARD TALK

AROUND TOWN TO THE EFFECT THAT I SHOULDN’T DO MUCH ABOUT

DEFENDING THIS MAN. >> HER FATHER IS SHOWING SCOUT

WHAT A GOOD GUY LOOKS LIKE. >> IF YOU SHOULDN’T BE DEFENDING

HIM, THEN WHY ARE YOU DOING IT. >> GREGORY PECK’S ATTICUS FINCH

REALLY DOES HELP AMERICA SORT OF COME INTO THE DISCOURSE OF THE

CIVIL RIGHTS STRUGGLE. >> IN OUR COURTS, ALL MEN ARE

CREATED EQUAL. >> THE REALITY IS, ATTICUS FINCH

WAS A FANTASY. PARTICULARLY AT THAT TIME WHEN

HISTORY OFFERS US A NUMBER OF CONSISTENTLY OPPOSITE EXAMPLES.

>> I DIDN’T MAKE ANY RULES. >> BUT YOU SURELY.

>> EVERYBODY LIVES BY THEM. EVERYBODY’S STUCK WITH WHAT HE

IS. EVEN THEM SWAMP ANIMALS.

>> EVEN THAT WEASEL. >> YOU CALLING ME A WIESEL?

>> NO, I’M CALLING YOU A WHITE MAN.

>> SIDNEY POITIER WOULD OFTEN BE CAST IN BLATANT SORT OF MESSAGE

MOVIES OF THAT ERA. THERE ARE SOME EXCEPTIONS LIKE A

RAISINEN IN THE SUN. >> I’M THINKING I’M 35 YEARS

OLD, I’M MARRIED 11 YEARS AND I GOT A BOYS WHO GOT TO SLEEP IN

THE LICHING ROOM. >> RAISIN IN THE SUN WAS ABOUT

INTEGRATION. THEY BUY A HOUSE IN A NICE WHITE

AREA BU BUT THE PEOPLE IN THE NEIGHBORHOOD DON’T WANT THEM

THERE. >> OUR ASSOCIATION IS PREPARED

TO BUY THE HOUSE FROM YOU AT A FINANCIAL GAIN TO YOUR FAMILY.

>> LORD HAVE MERCY. >> POITIER GETS TO SHOW MORE

RANGE IN "RAISIN IN THE SUN." >> YOU MIND HOW I FEEL.

YOU GET OUT OF HERE. >> HE’S ANGRY AT THE SYSTEM, AT

WHITE SUPREMACY, ANGRY AT THE LACK OF ECONOMIC OPPORTUNITY FOR

BLACK AMERICANS. >> ALL I WANT TO IS TO BE ABLE

TO STAND IN FRONT OF MY BOY LIKE MY FATHER NEVER WAS ABLE TO DO

TO ME AND TELL HIM THAT HE WILL BE SOMEBODY IN THIS WORLD

BESIDES A SERVANT AND A CHAUFFEUR.

HUH? >> THESE WERE NOT STEREOTYPICAL

BLACK CHARACTERS, MAGICAL NEGROS OR GOOD NEGRO WHO WERE THERE TO

DEMONSTRATE THE ULTIMATE GOOD OF MAINSTREAM WHITE SOCIETY.

HE’S PLAYING A WELL ROUNDED THREE DIMENSIONAL CHARACTER AND

I THINK HE JUST BUILDS ON IT FROM THERE.

>> I’M A BAPTIST. I DON’T GO TO MASS.

>> WE GO. >> HOW DID YOU GET THERE BEFORE

I CAME ALONG. >> WE WALK TREY SUNDAY NOW WE

GO, TOO. >> WITH LILIES IN THE FIELD, HE

BECOMES THE SECOND AFRICAN‐AMERICAN TO WIN AN

ACADEMY AWARD. FIRST TO WIN IN THE BEST ACTOR

CATEGORY. >> SIDNEY POITIER.

>> MR. POITIER IS THE FIRST NEGRO TO WIN SUCH A HIGH AWARD

AND THE ANNOUNCEMENT IS RECEIVED WARMLY BY THE AUDIENCE.

>> IT IS A LONG JOURNEY TO THIS MOMENT.

>> SIDNEY POITIER HAS THIS RISE IN THE LATE ’60s WHERE HE’S NOT

JUST A BLACK ACTOR. HE WAS THE BIGGEST ACTOR IN

HOLLYWOOD. >> MOM, THIS IS JOHN.

>> GUESSES WHO COMING TO DINNER WAS A HUGE HIT IN 1967.

THAT STARS SPENCER TRACY AND KATHRYN HEPBURN IN THE LAST OF

THEIR FILMS TOGETHER. AND IT WAS ABOUT AN INTERRACIAL

RELATIONSHIP. >> AS FOR YOU TWO AND THE

PROBLEMS YOU’RE GOING TO HAVE, THEY SEEM ALMOST UNIMAGINABLE.

BUT YOU’LL HAVE NO PROBLEM WITH ME.

>> THE YEAR SIDNEY WAS THE NUMBER ONE BOX OFFICE STAR I SAW

ALL THREE MOVIES, GUESSES WHO COME TO DINNER, IN THE HEAT OF

THE NIGHT. >> YOU KNOW WHAT THAT MEANS?

>> HE >> PROBABLY GOT HIM KILLED.

>> THAT’S WHAT HE SHE THINKS. SHE WANTS TO US CATCH HER

KILLER. >> IN THE HEAT OF THE NIGHT HE

PLAYED A DETECTIVE WHO COMES FROM THE NORTH TO THE SOUTH AND

HAS TO SOLVE A CRIME ALONG WITH A RACIST SHERIFF PLAYED BY ROD

STEIGER. AND IT WAS BEING DRAMATIZED ON A

FLIP, IT’S ACTUALLY HAPPENING IN AMERICA.

>> VERGEAL IS A FUNNY NAME FOR A BOY THAT COMES FROM

PHILADELPHIA. WHAT DO THEY CALL YOU UP THERE?

>> THEY CALL ME MR. TIBS. >> THERE’S ONE MOMENT IN THE

FILM WHEN HE HAS A CONFRONTATIONING WITH AN

IMPORTANT WHITE LAND OWNER. >> YOU TWO CAME HERE TO QUESTION

HE? >> AND THE WHITELAND OWNER

PLAYED BY LARRY GATES DOES THE O DOES NOT LIKE THE WAY POITIER’S

CHARACTER IS TALKING TO HIM. >> WAS MR. COBERT EVER IN THIS

GREEN HAASE SAY LAST NIGHT ABOUT MIDNIGHT.

>> SO HE SLAPS POITIER AND POITIER SLAPS HIM BACK.

SO QUICKLY. >> THE SLACKBACK WAS NOT IN THE

SCRIPT AND POITIER SAID UNLESS I GET TO RETURN THE SLAP, I’M NOT

MAKING THIS FILM. >> THIS WAS LEGENDARY.

YOU SAW A BLACK MAN PUT HANDS ON A WHITE MAN AND HE DOESN’T GET

KILLED. HE DOESN’T GO TO JAIL.

THERE’S NO REPERCUSSIONS. THAT SCENE TO ME WAS ONE OF THE

MOST EMPOWERED SCENES IN THE HISTORY OF HOLLYWOOD.

♪ IN THE HEAT OF THE NIGHT ♪

>> THEY’RE COMING TO GET YOU, BARBARA.

>> GEORGE ROMERO DOESN’T GET ENOUGH CREDIT FOR "NIGHT OF THE

LIVING DEAD" BECAUSE NOT ONLY DID HE CHANGE THE FACE OF ZOMBIE

MOVIES BUT HE ALSO CHANGED THE FACE OF INDEPENDENT CINEMA.

>> LOOK AT WHAT GEORGE ROMERO WAS DOING WITH THIS FILM.

HE WAS TACKLING THE CULTURAL TENSIONS OF THE TIME, THE

HYSTERIA GOING ON IN THE MOMENT. >> MASS HYSTERIA, WHAT DO THEY

THINK WE’RE IMAGINING ALL THIS. >> SHUT UP.

>> THERE’S NO ACTORS YOU RECOGNIZE.

IT FEES KIND OF LIKE A DOCUMENTARY.

IT KIND OF FELT LIKE NEWS REEL FOOTAGE OF VIETNAM.

IT WAS TERRIFYING. >> MEDICAL AUTHORITIES IN

CUMBERLAND HAVE CONCLUDED IN ALL CASES THE KILLERS ARE EATING THE

FLESH OF THE PEOPLE THEY MURDER. >> PEOPLE ALWAYS WANT TO BE

SCARED. EARLY ON YOU DO THAT WITH

MONSTERS. BUT YOU START TO GET THE SHIFT

WHEN THE MONSTERS BECOME US. IT’S REGULAR PEOPLE.

AND THAT’S ALWAYS FAR MORE FRIGHTENING.

>> PERFECT TIMING. COME ON IN.

>> IN ROSEMARY’S BABY,’S NOT AN IMPOSSIBLE SITUATION.

>> HE’S ROMAN, OKAY. >> IT’S YOUR HOME, IT’S YOUR

HUSBAND, IT’S YOUR LIFE WITH NEIGHBORS WHO SEEM NICE AND

FRIENDLY IN THE BEGINNING. IT ALL SEEMS OKAY, BUT IT’S

REALLY NOT. >> THAT VERY SIMPLE PREMISE OF

WHAT IF THE PEOPLE THAT YOU INVESTED YOUR LIFE IN WERE LYING

TO YOU? THAT IS A REALLY, REALLY SCARY

PREMISE. >> I DREAMED SOMEONE WAS RAPING

ME. SOMEONE INHUMAN.

>> ROSEMARY’S BABY IS A MOVIE ABOUT PARANOIA WHERE IT ALL

TURNS OUT TO BE TRUE. IT WAS TERRIFYING AND I WOULD

SIT THERE FROZEN BECAUSE EVERYTHING IS SO UNDERPLAYED.

>> QUIETLY, ROSEMARY. DON’T ARGUE OR MAKE A SCENE.

>> IT’S NOT TILL DEEP IN THE MOVIE WHEN YOU REALIZE THAT HER

HUSBAND HAS NOT JUST SOLD HIS SOLE TO THE DEVIL BUT HERS, AS

WELL. >> SPOEGS YOU HAD THE BABY AND

YOU LOST IT. WOULDN’T THAT BE THE SAME?

WE’RE GETTING SO MUCH. RETURN.

>> IN A SORT OF WISE MOMENT, THE FILM DOESN’T SHOW THE BABY.

WHAT YOU SEE IS MIA FARROW’S REACTION TO SEEING THE BABY.

AND THAT’S EVEN WORSE BECAUSE THEN YOU FILL IN YOUR OWN GAPS

ON WHAT THIS CHILD MUST LOOK LIKE, THIS CHILD THAT’S BEEN

FATHERED BY SATAN ITSELF. >> WHAT HAVE YOU DONE TO IT?

WHAT HAVE YOU DONE TO ITS EYES. >> HE HAS HIS FATHER’S EYES.

>> THAT’S THAT SORT OF THE POWER OF SUGGESTION THAT REALLY MAKES

THAT MOVIE AS UNCOMFORTABLE AS IT IS.

>> 300 LIGHT YEARS FROM YOUR PRECIOUS PLANET.

>> YOUR LOVED ONES ARE DEAD AND FORGOTTEN FOR 20 CENTURIES.

20 CENTURIES. >> PLANET OF THE APES DOES WHAT

THE BEST OF SCI‐FI DOES. IT IS THRILLING.

THERE IS ACTION. THERE IS DRAMA, BUT IT’S ABOUT

SOMETHING FAR MORE SERIOUS. UNDERNEATH IT, IT’S AN AL GOER

ABOUT RACISM ABOUT, INTOLERANCE, ABOUT PEOPLE IMPOSING THEIR WILL

ON OTHERS IN UNNECESSARY AND CRUEL WAYS.

>> OH, MY GOD. I’M BACK.

I’M HOME. >> PEOPLE DIDN’T KNOW THE ENDING

OF THE ME OF WHEN THEY WALKED INTO THE THEATER.

THAT WAS A GENUINE SURPRISE. >> YOU MANIACS!

YOU BLEW IT UP! OH, DAMN YOU!

>> WOW. I MEAN, IT WAS A REAL SHOCK.

>> AND THAT WILL STAY WITH ME FOREVER.

♪ >> 2001 WAS A MASTERPIECE AND I

DON’T OFTEN THROW THAT ONE AROUND, BUT IT WAS MAGNIFICENT

IN EVERY SHAPE AND FORM. I’VE SEEN IT NOW 19 TIMES.

IT’S LONG BUT MAJESTIC. ♪

>> 2001 HAD THE GREATEST TIME CUT IN THE HISTORY OF TIME CUTS

IN WHICH THE ENTIRE HISTORY OF HUMANKIND IS COMMUNICATED IN THE

FIRST WEAPON BEING THROWN UP INTO A BLUE SKY AND SUDDENLY

BECOMES A SPACECRAFT ORBITING THE EARTH.

>> THERE’S NOT A SINGLE ACT IN A KUBRICK FILM.

EVERYTHING IS WORKED OUT ALMOST AS IF AN INDIVIDUAL IMAGE HAD A

WHOLE LIBRARY OF RESEARCH BEHIND IT.

>> THE 9,000 SERIES IS THE MOST RELIABLE COMPUTER EVER MADE.

>> 2001 WAS A HARD‐CORE CONVERSATION FROM THE VERY FIRST

TIME ABOUT A COMPUTER BEING SMARTER THAN WE ARE.

THAT’S WHAT WAS SO BRILLIANT ABOUT IT.

>> OPEN THE POD BAY DOORS, HAL. >> I’M SORRY, DAVE.

I’M AFRAID I CAN’T DO THAT. >> IT’S ELUSIVE.

IT’S MORE LIKE MAGIC THAN A MOVIE, MORE OF A POTION THAN A

MOVIE. >> I JUST REMEMBER THAT ARE STAR

GATE MOMENT YOU COULD CALL IT A PSYCHEDELIC SPECIAL EFFECT FOR

THE PSYCH DEL HIK GENERATION. KUBRICK KNEW EXACTLY WHAT HE WAS

TELLING HIS STORY FOR. ♪

>> THE THING THAT’S MOST IMPRESSIVE ABOUT IT IS THE FACT

THAT FINALLY YOU CAN’T EXPLAIN IT.

WHAT HE SHOWED IS INTENTIONALLY BEYOND RATIONAL EXPLANATION.

I THINK THAT’S THE POINT OF THE FILM, THAT THING HAPPEN THAT ARE

BEYOND OUR HUMAN CAPACITY TO EXPLAIN.

AND IT’S A REMARKABLE ACHIEVEMENT.

♪

>> THERE WERE MORE STARS THAN ON THE SIDEWALKS OF HOLLYWOOD

BOULEVARD. IT WAS THE FILMLAND’S EVENING OF

GLIRTS AND GLAMOUR. VIRGINIA WOOLF AS YOU KNOW IS

NOT A CHILDREN’S STORY BUT A VERY CONTROVERSIAL PLAY BY ID

WARD ALBEE, NOW TRANSFORMED INTO A FILM OF THE SAME NATURE WITH

ELIZABETH TAYLOR AND RICHARD BURTON.

>> FILM MAKING IN THE SECOND HALF OF THE SIMMS WAS VERY, VERY

IMPORTANT TO WHAT WE SAW IN THE ’70s.

>> WHAT A DUMP. >> THERE WAS A NEW HOLLYWOOD, A

NEW WAVE OF FILMMAKERS AND THEY PUT MUCH MORE MATURE THINGS ON

THE SCREEN AND YOU HAD THE BEGINNINGS OF THAT PARTICULARLY

WITHES WHO AFRAID OF VIRGINIA WOOLF.

>> LOOK SWEETHEART I CAN DRINK YOU UNDER ANY GOD DAMN TABLE YOU

WANT. >> THERE ISN’T ABOMINATON AWARD

THAT YOU HAVEN’T WON. >> I SWEAR IF YOU EXISTED I

WOULD DIVORCE. >> YOU THEIR ROMANCE, THEY

ENJOYED OR ENDURED OR HOWEVER YOU WANT TO PHRASE IT IS SO

THELY PROJECTED ON TO THIS FILM. >> STOP IT, MARTHA.

>> LIKE HELL I WILL. YOU SEE GEORGE DIDN’T HAVE MUCH

PUSH. HE WASN’T PARTICULARLY

AGGRESSIVE. IN FACT, HE WAS SORT OF A FLOP.

>> YOU CANNOT WATCH THIS FILM WITHOUT WONDERING HOW MUCH OF

THIS IS TRUE. HOW MUCH OF THIS IS THEM NOT

ACTING. AND JUST WORKING OUT YOU KNOW

THE ANGST OF THEIR NOTORIOUSLY TUMULTUOUS RELATIONSHIP.

>> IS IN WILL ANY, NOT THAT I WANT TROUBLE IN THE BURTON

HOUSEHOLD. >> THERE’S ENOUGH AS IT IS.

>> STICK AROUND. >> FROM MIKE NICHOLS ON HIS

FIRST FILM TO TAKE TWO OF THE BIGGEST MOVIE STARS IN THE WORLD

AND SHOOT THEM IN THIS BLACK AND WHITE RAW SAVAGE WAY, I THINK IT

WAS KIND OF A STROKE OF GENIUS. >> FINALLY SNAPPED.

>> AND I’M GOING TO HAUL IT OUT AND I’M NOT GOING TO GIN A DAMN

WHAT I DO AND I’M GOING TO MAKE THE BIGGEST GOD DAMN, MOTION

YOU’VE HEARD. >>S WHO AFRAID OF VIRGINIA WOOLF

USED LANGUAGE THAT HAD NEVER BEEN HEARD IN A MOVIE.

"LIFE" MAGAZINE DID A STORY HOW DARING VIRGINIA WOOLF WAS.

THAT WAS 1966. RIGHT AROUND THAT TIME YOU BEGAN

TO SEE MORE OF THESE KINDS OF MOVIES BEING MADE AND THEN THE

DAM STARTED BREAKING OPEN. >> LEFT.

>> BONNIE AND CLYDE WAS PRODUCED BY WARREN BEATTY.

BASED ON THE ESCAPADES OF GANGSTERS FROM THE 1930s.

>> ONE TIME I TOLD YOU I WAS GOING TO MAKE YOU SOMEBODY.

THAT’S WHAT YOU DONE FOR ME. YOU MADE ME SOMEBODY THEY’RE

GOING TO REMEMBER. >> BEATTY WAS EXTREMELY

AMBITIOUS AND VERY SPECTACULAR THE.

HE WANTED TO WORK WITH THE BEST DIRECTORS IN HOLLYWOOD AND HE

WAS ALREADY INFLUENCED BY THE FRESH NEW WAVE IN EUROPEAN

FILMS. >> I THINK ONE OF HIS INFLUENCES

WAS THE FEATURE THAT GODAR MADE A BREAK‐THROUGH WITH BREATHLESS

WHICH IS ABOUT A CRIMINAL, A DESPERADO ON THE RUN 0 BUT WHO

WE REALLY EMPATHIZED WITH AS VIEWERS.

>> DOWN IN DUNCANVILLE LAST YEAR, POOR FARMERS KEPT YOU AWAY

FROM US WITH SHOTGUNS. YOU’RE SUPPOSED TO BE PROTECTING

YOU FROM HUSBAND AND. >> EVERYBODY GOING IN PROBABLY

KNEW THAT IT ENDED WITH A SHOOT‐OUT BUT THEY WERE NOT

SPECCING IT TO END WITH A VIOLENT HEAVY THUDDING MACHINE

GUNNING MOMENT. >> HEY.

>> THE MOVIE LETS YOU LOVE BONNIE AND CLYDE.

>> AND THEN WATCH THEM GET DESTROYED.

>> THE FRENCH HAVE BEEN HAVING DEEP DARK THOUGHTS ABOUT THE

SOCIAL LOGICAL AND PSYCHOLOGICAL SIGNIFICANCE OF THE FILM AND ITS

SUCCESS. GENERALLY, THEY ARE NOT VERY

INTERESTED IN WHAT IT TELLS ABOUT THE 1930s.

RATHER THEY CALL IT A REFLECTION OF THE HORROR, THE VIOLENCE, THE

EMPTINESS OF THE AMERICAN SOUL TODAY.

>>. ♪ HELLO DARKNESS MY HOLD

FRIEND ♪ >> OF ALL THESE KINDS OF MOVIES

THAT WERE BEGINNING TO BREAK THROUGH THE SYSTEM, THE

GRADUATE" BECAME THE MOVIE FOR A GENERATION.

>> MRS. ROBINSON, YOU’RE TRYING TO SEDUCE ME.

>> AREN’T YOU? >> WELL, NO, I HADN’T THOUGHT OF

IT. >> IT’S REALLY ABOUT A YOUNG

PERSON FEELING FULL OF MORAL CONFUSION.

>> OH, GOD. >> AND UTTERLY AT ODDS WITH

EVERYTHING THEY’RE EXPECTED TO ENGAGE WITH.

>> I JUST WANT TO SAY ONE WORD TO YOU.

ONE WORD. >> YES, SIR.

>> ARE YOU LISTENING? >> YES, I AM.

>> PLAQUES. >> THE GRADUATE" WAS THE

BEGINNING OF MY EDUCATION. I LITERALLY BEGAN TAKING NOTES,

CUTTING STYLES, PATTERNS, COMPOSITION, I COULD UNDERSTAND

THE HAND OF THE DIRECTOR. MIKE NICHOLS JUST HAD COMMAND OF

SO MANY DIFFERENT TONES AND GENRES.

♪ >> MIKE NICHOLS SAID I’M GOING

TO CHOOSE THE MUSIC SIMON AND GAR FUNKAL.

I’M GOING TO CHOOSE ONE ARTIST AND THAT’S GOING TO BE THE SOUL

OF THE WHOLE MOVIE. >> MRS. ROBINSON WAS MADE UP ON

THE SPOT. I WAS SINGING.

♪ GOD BLESS YOU PLEASE MRS. ROOSEVELT HEAVEN HOLDSES A

PLACE FOR THOSE PRAY ♪ >> IT WAS MRS. ROOSEVELT AND

SAID WE COULD. >> FOR THE REST OF YOUR LIFE YOU

CAN HEAR SIMON AND GARFUNKEL AND IT TAKES YOU BACK TO THE VIVID

SCENES IN THE GRADUATE. >> HERE’S TO YOU MRS. ROBINSON,

JESUS LOVES YOU MORE THAN YOU WILL KNOW, WHOA, WHOA.

>> WHEN YOU GET TO THE END OF THE GRADUATE, WE’RE NOT GIVEN A

HAPPY ENDING. >> ELAINE?

ELAINE. >> YES, BEN GETS THE GIRL.

>> THEY HOP ON THE BUS TOGETHER. BUT THEN THAT’S IT.

THEY DON’T EVEN KNOW WHAT TO DO WITH EACH OTHER.

♪ ♪ HELLO DARKNESSMIDE OLD

FRIEND ♪ >> IT’S ONE OF THE MOST PROFOUND

MOMENTS IN CINEMA HISTORY. ♪ TALK WITH YOU AGAIN ♪

>> TO SEE THE SMILES IS SLOWLY FADE AND IT’S JUST THIS

EXISTENTIAL MOMENT OF LIKE, NOW WHAT?

♪ LEFT ITS SEEDS WHILE I WAS SLEEPING ♪

>> THERE ARE NO EASY ANSWERS IN IT.

PEOPLE CAN RELATE TO THE MOVIE BUT THEY CAN ALSO RELATE TO THE

FRUSTRATION AND THE UNCERTAINTY OF WHAT THE MAIN CHARACTERS ARE

GOING THROUGH AT THE END AND IN 60s AMERICA WE WERE ALL IN THE

SAME BOAT WITH AN UNKNOWN FUTURE.

♪ WITHIN THE SOUND OF SILENCE ♪.

♪

>> THE AMERICAN MOTION PICTURE INDUSTRY IS IN THE THROES OF A

BLOODLESS REVOLUTION. MOST OF THE SOUND STAGES ARE

DARK AND THE TALK IS ABOUT RETRENCHMENT AND CUT BACK.

>> BY THE LATE ’60s, STUDIOS WERE IN A LOT OF FINANCIAL PAIN.

THIS WAS THE PERIOD WHERE WESTERN WERE PARAMOUNT.

TRANSAMERICA BOUGHT UNITED ARTISTS.

>> THESE LARGER COMPANIES DIDN’T KNOW HOW TO RUN A MOVIE COMPANY.

SO WHAT DID THEY DO? THEY TURN TO THE PRODUCERS

WORKING FOR THAT STUDIO SO THEY COULD USE THEIR EXPERIENCE.

>> DID YOU GET A CHANCE TO PRODUCE THE FILM?

>> THE MOVIE HAS CHANGED. >> THAT’S ME.

THAT’S THE BASIC CHANGE. THAT MEANS THAT I’M ABLE AS

PETER FONDA TO WALK INTO SOMEBODY’S OFFICE, SIT DOWN, AND

SAY HERE’S THE STORY IN MY HEAD. >> IF YOU THINK ABOUT THE

GENERATION, WE HAD OUR OWN CLOTHES, OUR OWN MUSIC.

WE HAD OUR OWN BOOKS. BUT WE DIDN’T HAVE OUR OWN

MOVIE. AND THAT’S THE SLOT I WANTED TO

FILL. ♪

♪ GET YOUR MOTOR RUNNING ♪ >> CAME OUT IN THE SUM ORE ’69,

COULD NOT BE A MORE PERFECT TIME CAPSULE, THE RESTLESSNESS.

FOR TRULY EXPRESSING YOURSELF. WHAT BETTER WAY TO DO THAT THAN

TO GO ON A ROAD TRIP THAT IS FUELLED BY THE MONEY YOU MADE

FROM A DRUG DEAL. >> IT WAS LIKE, OH, GOD, YEAH

WE’RE GOING TO RIDE ACROSS JOHN FORD’S WEST.

ONLY WE’RE GOING TO GO EAST. WE’RE GOING TO EAST BECAUSE

WE’RE GOING TO GO TO FLORIDA AND RETIRE.

>> YOU GOT A HELMET? >> OH, OH I’VE GOT A HELMET.

OH, I GOT A BEAUTY. >> THE MODEL WAS A ROGER CORRMAN

BIKE FILMS. CULTURALLY APPROPRIATE.

>> WHAT IS IT YOU WANT TO DO? >> WE WANT TO BE FREE TO RIDE

OUR MACHINES WITHOUT BEING HASSLED BY THE MAN.

AND WE WANT TO GET LOADED. >> WILD ANGELS WAS KNOWN AS THE

HIGHEST GROSSING LOW BUDGET PICTURE EVER MADE.

THAT RECORD WAS BROKEN VERY QUICKLY BY "EASY RIDER."

♪ >> WE USE ALL THESE GREAT SONGS.

"BORN TO BE WILD," JUST SOME OF THE GREAT SONGS EVER WRITTEN.

ONE OF THE APPEALS OF "EASY RIDER" WAS THAT YOUNG PEOPLE,

HIPPIES, COLLEGE STUDENTS, DRAFT RESISTORS COULD SEE THEMSELVES

ON THE SCREEN. >> WE REPRESENT THEM, MAN,

SOMEBODY NEEDS A HAIRCUT. WHAT YOU REPRESENT TO THEM IS

FREEDOM. >> IN "EASY RIDER," THESE GUYS

ARE TRYING TO BREAK IT OOF THE SYSTEM BUT NOT QUITE BEING ABLE

TO DO IT. >> DON’T EVER TELL ANYBODY THAT

THEY’RE NOT FREE BECAUSE THEN THEY GONE GET REAL BUSY KILLING

AND MAIMING TO PROVE TO YOU THAT THEY ARE.

>> SO, IT BECOMES A DARK STATEMENT ABOUT AMERICA.

>> IT TOOK DENNIS HOPPER AND PETER FONDA TO KIND OF PAVE THE

WAY FOR PEOPLE LIKE US TO BE ACCEPTED BY HOLLYWOOD.

WE WERE THE ENEMY. WE WERE THE LONG HAIRS.

>> WITH THE NEW HOLLYWOOD MOVIES, IT WASN’T JUST THAT THEY

WERE FUNNY OR SEXY OR EXCITING OR DANGEROUS.

>> WHO DO YOU THINK YOU ARE? LAWRENCE OF NIGERIA?

>> IT WAS CLEARLY A TRANSFORMATION IN CINEMA.

HOLLYWOOD HAD FINALLY CAUGHT UP TO EUROPEAN POST‐WAR NEO‐REALISM

AND REALIZED THAT AMERICAN AUDIENCES WERE READY FOR THIS

MORE SOPHISTICATED, MORE MATURE KIND OF STORY TELLING.

>> LET’S GET ONE LIKE THIS. >> THEY MAKE THE MOVIES?

>> YES, WE’RE MAKING A MOVIE. "MIDNIGHT COWBOY."

>> AND WHO IS THAT? >> BODY.

>> YOU’RE PRETTY. I’LL SAY THAT.

>> AS THE NEW HOLLYWOOD IS EMERGING, A BUNCH OF YOUNGER

MORE INDEPENDENT FILMMAKERS WANT TO MAKE MOVIES ABOUT ADULT

THEMES. AND "MIDNIGHT COWBOY" IS ONE OF

THOSE MOVIES. >> THE CLIMATE IN AMERICA SEEMS

RIPE FOR A LITTLE MORE HONESTY. IJ THEY’VE SAID ENOUGH BULL

SHIT. >> I WANT TO BUY YOU A DRINK.

WHAT YOU THINK OF THAT? >> "MIDNIGHT COWBOY" IS A LOVE

STORY BETWEEN TWO MEN, A PLUTONIC LOVE AFFAIR BETWEEN TWO

GUYS WHO COULD NOT BE MORE MISMATCHED IN HEIGHT, IN

BACKGROUND, IN OUTLOOK. >> I’M WALKING HERE!

I’M WALKING HERE! >> NOBODY EXPECTED IT TO MAKE A

DIME, BUT BECAUSE IT ATTRACTED AN AUDIENCE, ESPECIALLY OF YOUNG

PEOPLE, IT WAS A HUGE HIT. >> THIS WILL GO DOWN IN HISTORY

AS THE CINEMA SEASON WHICH PROVED THAT CRIME DOESN’T PAY,

BUT THERE’S A FORTUNE IN ADULTERY, INCEST, AND

HOMOSEXUALITY. THIS IS NOT AN ACADEMY AWARDS,

IT’S A FREAK OUT, LADIES AND GENTLEMEN.

>> NEW HOLLYWOOD AND OLD HOLLYWOOD REALLY CLASHED AT THE

ACADEMY AWARDS IN 1970. >> JOHN, I DIDN’T THINK YOU

WOULD SHOW. >> NOBODY DEFINES STUDIO STAR

MAKING LIKE JOHN WAYNE, YET HE NEVER WON AN OSCAR.

HERE HE IS NOMINATED FOR "TRUE GRIT" UP AGAINST TWO GUYS REALLY

REPRESENTATIVE OF THE NEW HOLLYWOOD.

>> THERE’S A "LIFE" MAGAZINE COVER STORY NEAR THAT TIME WITH

WAYNE AND DUSTIN HOFFMAN. DIFFERENT WORLDS, DIFFERENT

HEROES, ONE SPEAKING TO OUR ELDERS AND THE OTHER SPEAKING TO

A NEW GENERATION OF MOVIE GOERS. >> THE WINNER IS JOHN WAYNE.

>> IN THE END, WAYNE WON. >> I WOULD HAVE PUT THAT PATCH

ON 35 YEARS EARLIER. >> AND THEN YOU COULDN’T IMAGINE

A MORE DELICIOUS MOMENT OF CONFLICT THAN "MIDNIGHT COWBOY"

WINNING BEST PICTURE, ELIZABETH TAYLOR ANNOUNCING IT.

>> THE WINNER IS "MIDNIGHT COWBOY."

>> THE PRODUCER TOLD ME I’M NOT SURE LIZ TAYLOR HAD EVEN HEARD

OF "MIDNIGHT COWBOY" WHEN SHE OPENED THE ENVELOPE.

SHE WAS AS SHOCKED AS ANYONE. OLD HOLLYWOOD, NEW HOLLYWOOD IN