1 00:00:05,000 --> 00:00:07,960 (TRAIN WHISTLES, CHUGS) 2 00:00:08,000 --> 00:00:10,000 (SWEET MUSIC) 3 00:00:17,320 --> 00:00:19,520 MAN: Good morning. Good morning. 4 00:00:19,560 --> 00:00:21,840 Good morning, ma'am. Good morning. 5 00:00:21,880 --> 00:00:25,240 Good morning, Mrs Wilberforce. Good morning, Mr Brown. 6 00:00:25,280 --> 00:00:27,880 Good morning, madam. Good morning. 7 00:00:27,920 --> 00:00:29,720 Much has altered over the years, 8 00:00:29,760 --> 00:00:32,920 but this labyrinth of streets around the Kings Cross area 9 00:00:32,960 --> 00:00:35,840 is the setting for one of the greatest comedies ever made. 10 00:00:35,880 --> 00:00:38,840 A heist movie, a murder story, 11 00:00:38,880 --> 00:00:41,840 a fairy tale steeped in London soot. 12 00:00:41,880 --> 00:00:45,040 A parable of Britishness, and a comedy of manners 13 00:00:45,080 --> 00:00:49,120 in which a gang of thieves TRIES to kill a little old lady. 14 00:00:49,160 --> 00:00:51,160 (DRAMATIC MUSIC) 15 00:00:54,280 --> 00:00:55,680 What would you say made 16 00:00:55,720 --> 00:00:57,960 The Ladykillers such a timeless comedy? 17 00:00:59,000 --> 00:01:02,520 Because it was so different in turn to any other British film 18 00:01:02,560 --> 00:01:04,319 I've ever seen, I think. 19 00:01:05,239 --> 00:01:08,200 It was a comedy, but it had a dark side to it. 20 00:01:09,080 --> 00:01:11,240 And the amazing thing is 21 00:01:11,280 --> 00:01:14,000 there's so many different interpretations of it. 22 00:01:14,039 --> 00:01:16,240 Mackendrick said once 23 00:01:16,280 --> 00:01:18,560 that if it had not been a comedy, 24 00:01:18,600 --> 00:01:21,200 if he'd made it straight, 25 00:01:21,240 --> 00:01:24,480 it would've been censored out of all existence. 26 00:01:24,520 --> 00:01:26,320 He could never have made it. 27 00:01:26,360 --> 00:01:29,640 So it was a comedy, but it was a dark comedy. 28 00:01:29,680 --> 00:01:32,320 (OMINOUS MUSIC) 29 00:01:32,360 --> 00:01:35,920 IAN: The Ladykillers remains one of the greatest British movies ever made 30 00:01:35,960 --> 00:01:38,200 because it has not lost its sting. 31 00:01:38,240 --> 00:01:40,720 The digs that Rose-Mackendrick made in the '50s 32 00:01:40,759 --> 00:01:43,440 are still relevant today. 33 00:01:43,479 --> 00:01:46,800 The dark surrealism of the film can be found in Monty Python. 34 00:01:46,840 --> 00:01:50,680 The social satire is nearly every British sitcom since. 35 00:01:50,720 --> 00:01:55,080 Of course, comedy, good comedy, is a serious business. 36 00:01:56,039 --> 00:01:58,039 ('MINUETTO' BY BOCCHERINI PLAYS) 37 00:02:09,440 --> 00:02:11,520 How about that. 38 00:02:11,560 --> 00:02:13,600 Eh? 39 00:02:13,640 --> 00:02:15,640 How about that. 40 00:02:17,000 --> 00:02:19,760 (SWEET MUSIC) 41 00:02:36,079 --> 00:02:38,640 NARRATOR: London is a city of secret places 42 00:02:38,680 --> 00:02:41,800 of unexpected country lanes and hidden gardens. 43 00:02:45,000 --> 00:02:47,920 The Prime Minister lives like a professional man 44 00:02:47,960 --> 00:02:51,120 in a plain house on the side of a narrow cul-de-sac. 45 00:02:52,360 --> 00:02:54,360 (OMINOUS MUSIC) 46 00:02:56,600 --> 00:02:58,600 (BIRDS SQUAWKING) 47 00:03:01,760 --> 00:03:03,880 All right. All right. 48 00:03:03,920 --> 00:03:07,000 (SQUAWKS) All right, my dear. 49 00:03:08,320 --> 00:03:10,760 I haven't been gone so very long, have I? 50 00:03:10,800 --> 00:03:12,800 Oh darling, water. Oh. 51 00:03:13,760 --> 00:03:16,400 (MUSIC INTENSIFIES) (LOUD SQUAWKING) 52 00:03:18,800 --> 00:03:20,800 (NOSTALGIC MUSIC) 53 00:03:24,079 --> 00:03:26,079 (MUSIC BECOMES OMINOUS) 54 00:03:28,680 --> 00:03:30,600 It was here on Argyle Street, 55 00:03:30,640 --> 00:03:34,680 where Alec Guinness's grotesque Professor Marcus takes a room, 56 00:03:34,720 --> 00:03:37,640 the perfect location from which to spring 57 00:03:37,680 --> 00:03:40,720 the perfect plan to rob the mail train. 58 00:03:40,760 --> 00:03:43,840 In that famous shot in which we first meet him 59 00:03:43,880 --> 00:03:48,000 at the front door, we see St Pancras station framed behind him. 60 00:03:48,920 --> 00:03:50,920 (TENSE MUSIC) 61 00:03:55,440 --> 00:03:57,200 Mrs Wilberforce? Yes. 62 00:03:58,120 --> 00:04:01,200 I understand you have rooms to let. 63 00:04:01,240 --> 00:04:04,040 Oh, the rooms? Yes. Won't you come in, please?Thank you. 64 00:04:04,080 --> 00:04:06,040 As the '50s arrived, 65 00:04:06,080 --> 00:04:08,800 a victorious but exhausted post-war Britain 66 00:04:08,840 --> 00:04:12,160 was getting back on its feet, asking itself, what comes next? 67 00:04:13,200 --> 00:04:16,160 Cinema was still a national preoccupation. 68 00:04:16,200 --> 00:04:18,480 Amid austerity and rationing, 69 00:04:18,519 --> 00:04:20,959 the British public were hungry 70 00:04:21,000 --> 00:04:23,680 for films that reflected the changing times 71 00:04:23,720 --> 00:04:26,160 and they were desperate for laughter. 72 00:04:26,200 --> 00:04:30,040 (BELLS CHIMING)PRESENTER: Already Piccadilly is very much as it was before the war. 73 00:04:30,080 --> 00:04:32,120 The British haven't yet forgotten 74 00:04:32,159 --> 00:04:34,720 when the lights went out for six long years. 75 00:04:34,760 --> 00:04:36,840 (GONG CLANGS) 76 00:04:36,880 --> 00:04:39,520 (AIR RAID SIRENS WAIL) 77 00:04:39,560 --> 00:04:41,760 All was darkness then, 78 00:04:41,800 --> 00:04:43,800 except for light slightly. 79 00:04:44,800 --> 00:04:46,960 The illumination of those years destroyed 80 00:04:47,000 --> 00:04:50,159 more than the historic buildings and human lives. 81 00:04:50,200 --> 00:04:52,480 Accumulated wealth was spent 82 00:04:52,520 --> 00:04:56,320 and the foreign investments of centuries sold to purchase victory. 83 00:04:58,600 --> 00:05:01,600 When victory came at last, Britain was flat. 84 00:05:01,640 --> 00:05:03,440 (MELANCHOLY MUSIC) 85 00:05:03,480 --> 00:05:05,360 In Britain in the 1950s, 86 00:05:05,400 --> 00:05:07,720 the country was getting over 87 00:05:07,760 --> 00:05:09,440 the worst aspects of the war. 88 00:05:09,480 --> 00:05:11,800 So, rationing had started to end. 89 00:05:11,840 --> 00:05:14,440 You were starting to see modernisation creep in. 90 00:05:14,480 --> 00:05:16,640 Interestingly, this film, The Ladykillers, 91 00:05:16,680 --> 00:05:20,200 is shot in the steam age, but in 1955, when it was released, 92 00:05:20,240 --> 00:05:22,400 diesel trains began to replace steam trains. 93 00:05:22,440 --> 00:05:24,640 So we're on the very verge of modernisation, 94 00:05:24,680 --> 00:05:27,080 moving into the 20th century as a country. 95 00:05:27,120 --> 00:05:31,000 The social makeup of London in the 1950s 96 00:05:31,040 --> 00:05:34,480 was fairly tumultuous. 97 00:05:34,520 --> 00:05:37,840 The people were coming out of the shadow of war. 98 00:05:37,880 --> 00:05:42,280 They were also trying to cope with continuing austerity, 99 00:05:42,320 --> 00:05:46,560 and there were a tremendous amount of problems, 100 00:05:46,600 --> 00:05:48,480 social problems on the streets. 101 00:05:49,760 --> 00:05:51,920 And yet, there was a sense that 102 00:05:51,960 --> 00:05:56,480 we had won the war and were unravelling in the peace. 103 00:05:56,520 --> 00:05:58,880 Now, London had been bombed to pieces. 104 00:05:58,920 --> 00:06:02,640 There were gaping holes in the buildings, 105 00:06:02,680 --> 00:06:04,320 in the infrastructure, in the roads 106 00:06:04,360 --> 00:06:06,440 and it was being rebuilt but piecemeal, 107 00:06:06,480 --> 00:06:08,280 a little bit at a time. The country was broke, 108 00:06:08,320 --> 00:06:10,360 it was borrowing money to get by 109 00:06:10,400 --> 00:06:14,040 and so everything that was happening was happening where it could. 110 00:06:14,080 --> 00:06:17,360 There's constant bomb sites which people were taking advantage of. 111 00:06:17,400 --> 00:06:20,000 There was all sorts of dodgy business was possible, 112 00:06:20,040 --> 00:06:23,000 because there was so much money changing hands in odd ways. 113 00:06:23,040 --> 00:06:25,040 There were still the remnants of the black market. 114 00:06:25,080 --> 00:06:27,120 There were still gangsters operating in Soho. 115 00:06:27,160 --> 00:06:30,040 It was a very mixed up, messed up time, 116 00:06:30,080 --> 00:06:32,640 but that was also a time of enormous potential. 117 00:06:32,680 --> 00:06:34,560 A time when someone with a good idea 118 00:06:34,600 --> 00:06:37,040 or an imaginative approach 119 00:06:37,080 --> 00:06:39,000 or, as this film shows, 120 00:06:39,040 --> 00:06:42,280 a cunning semi-legal, if not entirely illegal enterprise, 121 00:06:42,320 --> 00:06:46,440 could probably slip through the gaps in society and make their way. 122 00:06:47,840 --> 00:06:49,840 (INTRIGUING MUSIC) 123 00:07:04,440 --> 00:07:08,480 Picture the scene: Kings Cross in 1955. 124 00:07:08,520 --> 00:07:11,080 The scars of the war are still evident, 125 00:07:11,120 --> 00:07:12,880 but the times are changing. 126 00:07:12,920 --> 00:07:15,440 Advertising hoardings, motor cars, 127 00:07:15,480 --> 00:07:18,920 a sense of possibility hangs in the polluted air. 128 00:07:18,960 --> 00:07:21,440 London is bustling into the future 129 00:07:21,480 --> 00:07:24,000 by fair means or otherwise. 130 00:07:24,040 --> 00:07:27,000 So Ealing Studios' properly, the way that we see it, 131 00:07:27,040 --> 00:07:30,280 sort of golden age in the 1940s and 1950s, 132 00:07:30,320 --> 00:07:32,760 really happens after Michael Balcon 133 00:07:32,800 --> 00:07:36,360 who was an early mogul, who helped Hitchcock 134 00:07:36,400 --> 00:07:39,680 get some of his films off the ground in the 1930s, came along. 135 00:07:39,720 --> 00:07:43,480 And Ealing Studios, as we know it, 136 00:07:43,520 --> 00:07:47,200 happened just around the beginning of the Second World War. 137 00:07:47,240 --> 00:07:50,800 And throughout the second World War, Balcon was very interested 138 00:07:50,840 --> 00:07:53,400 in the idea that film should have some social responsibility, 139 00:07:53,440 --> 00:07:57,360 and he was interested in expanding what kind of things could be done. 140 00:07:57,400 --> 00:07:59,080 And so he started to make films 141 00:07:59,120 --> 00:08:01,600 that were concerned with war propaganda, 142 00:08:01,640 --> 00:08:04,200 things like Went the Day Well in 1943. 143 00:08:04,240 --> 00:08:07,400 And by the late 1940s, had sort of perfected 144 00:08:07,440 --> 00:08:10,080 a very British, very sort of genteel 145 00:08:10,120 --> 00:08:13,880 style and approach, and also a really nice way of working, 146 00:08:13,920 --> 00:08:17,800 which included contracting most of its players out. 147 00:08:17,840 --> 00:08:20,640 So by 1949, he had Alec Guinness, 148 00:08:20,680 --> 00:08:23,920 he had the people that you associate with the Ealing comedy. 149 00:08:23,960 --> 00:08:26,640 The films are an inspired reflection 150 00:08:26,680 --> 00:08:30,520 of a jaunty, disrespectful side to the British character. 151 00:08:30,560 --> 00:08:33,440 The plucky island that has stood up to Hitler, 152 00:08:33,480 --> 00:08:36,880 a spirited non-conformism that had hibernated 153 00:08:36,919 --> 00:08:40,520 during the pomp of the empire and Victorian times, 154 00:08:40,559 --> 00:08:43,080 but had been reawakened by the war. 155 00:08:43,120 --> 00:08:45,000 Indeed, it is often the tension 156 00:08:45,040 --> 00:08:47,160 between these two sides of Britishness, 157 00:08:47,200 --> 00:08:49,760 tradition and subversion, 158 00:08:49,800 --> 00:08:51,840 that stirs up the comedy. 159 00:08:51,880 --> 00:08:54,720 And never more so than in The Ladykillers. 160 00:08:56,040 --> 00:08:58,400 NORMAN: Ealing comedies were a reflection 161 00:08:58,440 --> 00:09:00,600 of the national character at the time. 162 00:09:00,640 --> 00:09:02,760 They caught the zeitgeist 163 00:09:02,800 --> 00:09:04,800 of how people were feeling. 164 00:09:04,840 --> 00:09:06,800 They caught the idea that, 165 00:09:06,840 --> 00:09:10,480 having seen off the Nazis at a cost, 166 00:09:10,520 --> 00:09:14,360 that they had a sense of...it had built up that sense of resistance. 167 00:09:14,400 --> 00:09:17,080 That idea that you could be 168 00:09:17,120 --> 00:09:19,200 sort of tribal in a way. 169 00:09:19,240 --> 00:09:23,480 It brought out the idea of course, that Britain was an island nation 170 00:09:23,520 --> 00:09:26,040 and that they would resist all invaders. 171 00:09:26,080 --> 00:09:28,480 It left the nation with a somehow a sort of residual 172 00:09:28,520 --> 00:09:31,400 sense of resistance, which was transferred 173 00:09:31,440 --> 00:09:34,240 to institutions and authorities 174 00:09:34,280 --> 00:09:37,560 that they didn't care for. They didn't want to be put down anymore. 175 00:09:37,600 --> 00:09:39,840 They wanted to actually have more freedom. 176 00:09:39,880 --> 00:09:42,200 And so Michael Balcon, 177 00:09:42,240 --> 00:09:45,200 who understood the British character very, very well, 178 00:09:45,240 --> 00:09:47,880 he brought together a whole gang 179 00:09:47,920 --> 00:09:51,280 of like-minded directors and writers, 180 00:09:51,320 --> 00:09:53,160 and indeed editors. 181 00:09:54,080 --> 00:09:56,520 The Ladykillers is the last of the Ealing comedies, 182 00:09:56,560 --> 00:09:58,720 a collection of comedies that had nailed this period 183 00:09:58,760 --> 00:10:00,640 because the studios had worked 184 00:10:00,680 --> 00:10:02,880 with a variety of different directors during the war. 185 00:10:02,920 --> 00:10:05,360 They'd learned a documentary style. They wanted realism. 186 00:10:05,400 --> 00:10:08,320 They wanted to look at the streets, the stories around them 187 00:10:08,360 --> 00:10:11,000 and appeal actually to a largely working-class, 188 00:10:11,040 --> 00:10:13,800 cinema-going audience. So, it was very aware 189 00:10:13,840 --> 00:10:16,800 of these changes and The Ladykillers was the final... 190 00:10:16,840 --> 00:10:19,640 if you like... Because the studio was closed pretty much after this. 191 00:10:19,680 --> 00:10:22,160 It was sold to the BBC and the concept of the Ealing comedy 192 00:10:22,200 --> 00:10:25,360 ended with The Ladykillers. This was their final hurrah. 193 00:10:25,400 --> 00:10:28,040 May I introduce Mr Lawson? 194 00:10:28,080 --> 00:10:30,280 How do you do gentlemen? Mr Lawson? 195 00:10:30,320 --> 00:10:33,600 And Mr Robinson. Mrs Wilberforce. 196 00:10:33,640 --> 00:10:35,480 Mr Robinson. 197 00:10:35,520 --> 00:10:37,440 All right. Thank you. 198 00:10:37,480 --> 00:10:39,320 You believe it all. 199 00:10:39,360 --> 00:10:41,440 That's the amazing thing about the film. 200 00:10:41,480 --> 00:10:43,640 It is a kind of a fantasy, isn't it? 201 00:10:43,680 --> 00:10:47,800 It's got a sort of fable-like structure to it, hasn't it?Yes. Mm. 202 00:10:47,840 --> 00:10:52,080 It does have, but you keep on watching and you believe it all. 203 00:10:52,120 --> 00:10:55,480 That's the extraord... And I think that's one of the reasons 204 00:10:55,520 --> 00:10:58,000 you believe it all, is the old girl. 205 00:10:58,040 --> 00:11:01,120 Yes, Katie Johnson. Yes. Katie Johnson. 206 00:11:02,160 --> 00:11:06,080 She's, you know, a fairly unknown figure, 207 00:11:06,120 --> 00:11:08,640 but she's so good in the film. 208 00:11:08,680 --> 00:11:10,840 She keeps it on a steady, I mean, 209 00:11:10,880 --> 00:11:13,840 she doesn't try to be funny in any way. 210 00:11:13,880 --> 00:11:18,040 Yes. She is...completely...herself. 211 00:11:18,080 --> 00:11:20,880 It's that marvellous quality of great comedy.Yeah. 212 00:11:20,920 --> 00:11:24,600 None of the actors or characters know they're in a comedy, 213 00:11:24,640 --> 00:11:28,040 for them the world is dead straight. Yeah. Exactly, yes. 214 00:11:28,080 --> 00:11:30,440 And she certainly is. She's a... 215 00:11:30,480 --> 00:11:33,040 She really bases the whole thing 216 00:11:33,080 --> 00:11:36,840 in reality I think, more than anything else. 217 00:11:38,760 --> 00:11:41,760 (METALLIC CLANGING) (PIPES SHUDDERING, BANGING) 218 00:11:41,800 --> 00:11:43,800 (WATER GURGLING AND HISSING) 219 00:11:56,800 --> 00:11:58,960 (CHUGGING) 220 00:11:59,000 --> 00:12:01,720 WOMAN: (OVER PA) The train now arriving 221 00:12:01,760 --> 00:12:03,920 at Platform 1... (TRAIN WHISTLING) 222 00:12:03,960 --> 00:12:06,680 ..is the 1:05pm from Cambridge. 223 00:12:06,720 --> 00:12:09,280 (SUSPICIOUS MUSIC) 224 00:12:14,600 --> 00:12:17,440 This is King's Cross Station, one of the main hubs of London 225 00:12:17,480 --> 00:12:20,440 in the 1950s and it was in this area 226 00:12:20,480 --> 00:12:22,560 The Ladykillers took place. 227 00:12:22,600 --> 00:12:24,600 228 00:12:31,920 --> 00:12:34,520 Now she's driving away. 229 00:12:39,320 --> 00:12:42,200 Under the artful eye of director Alexander Mackendrick, 230 00:12:42,240 --> 00:12:44,880 the most cunning of the Ealing directors, 231 00:12:44,920 --> 00:12:48,120 in The Ladykillers, Kings Cross is not just a backdrop, 232 00:12:48,160 --> 00:12:49,960 it is a character. 233 00:12:50,000 --> 00:12:54,320 This is the perfect microcosm of London in 1955. 234 00:12:54,360 --> 00:12:56,400 The oblivious traffic streaming by 235 00:12:56,440 --> 00:12:59,320 that serves as both an opportunity 236 00:12:59,360 --> 00:13:02,800 for the professor's gang of rogues and a trap. 237 00:13:02,840 --> 00:13:05,200 They will never escape its grip. 238 00:13:05,240 --> 00:13:07,680 In fact, they will only ever be free 239 00:13:07,720 --> 00:13:10,320 of Mrs Wilberforce's strange little house 240 00:13:10,360 --> 00:13:14,080 via, how should we put it? The back door. 241 00:13:14,120 --> 00:13:16,840 The plot of The Ladykillers is relatively simple. 242 00:13:16,880 --> 00:13:19,560 It's a caper movie to begin with. 243 00:13:19,600 --> 00:13:21,560 It's about a gang of criminals 244 00:13:21,600 --> 00:13:25,640 who have plans to rob a security van 245 00:13:25,680 --> 00:13:28,120 on King's Cross Station. 246 00:13:28,160 --> 00:13:31,120 The element that is unusual about this 247 00:13:31,160 --> 00:13:33,960 is that they want to use a little old lady 248 00:13:34,000 --> 00:13:36,920 who lives right on the edge 249 00:13:36,960 --> 00:13:38,880 of the Copenhagen Bridge, 250 00:13:38,920 --> 00:13:41,520 which is part of one of the tunnels 251 00:13:41,560 --> 00:13:43,360 leading into Kings Cross. 252 00:13:43,400 --> 00:13:45,480 And they're going to actually use her 253 00:13:45,520 --> 00:13:49,080 to get the loot away from the station 254 00:13:49,120 --> 00:13:52,720 and to safety, because that is where the danger lies 255 00:13:52,760 --> 00:13:54,480 in the aftermath. 256 00:13:54,520 --> 00:13:57,360 We have to have someone to bring out the money. Let's get a professional 257 00:13:57,400 --> 00:14:00,000 or bring it out ourselves. A spectacular getaway, you mean? 258 00:14:00,040 --> 00:14:03,320 That's 70 miles an hour in the heart of London, in broad daylight. 259 00:14:03,360 --> 00:14:04,720 (CHUCKLES) (LAUGHS) 260 00:14:05,800 --> 00:14:08,480 I'll take it back into the station- And send it out by train? 261 00:14:08,520 --> 00:14:11,120 What any intelligent policeman would expect us to do. 262 00:14:11,160 --> 00:14:13,040 Quite a flair for the obvious. 263 00:14:13,080 --> 00:14:16,000 Can't you appreciate that Mrs Wilberforce 264 00:14:16,040 --> 00:14:19,360 is not a mere appendage to my plan. She's the very core of it. 265 00:14:19,400 --> 00:14:21,320 So, we have Mrs Wilberforce, 266 00:14:21,360 --> 00:14:24,040 who is a very old lady, 267 00:14:24,080 --> 00:14:26,600 slightly fussy, slightly bewildered. 268 00:14:26,640 --> 00:14:28,840 She's well-known at the local police station 269 00:14:28,880 --> 00:14:31,000 for constantly going in and reporting crimes 270 00:14:31,040 --> 00:14:32,560 which aren't crimes. 271 00:14:32,600 --> 00:14:35,000 She has a room in her house that she wants to let out, 272 00:14:35,040 --> 00:14:37,440 and this mysterious Professor Marcus appears 273 00:14:37,480 --> 00:14:40,160 and rents out the house. This is Alec Guinness's character. 274 00:14:40,200 --> 00:14:41,880 Very rapidly, it becomes clear 275 00:14:41,920 --> 00:14:44,520 that he's putting together a gang to do a job. 276 00:14:44,560 --> 00:14:47,280 They want to-to pull over a van 277 00:14:47,320 --> 00:14:50,520 and steal what's in it, but for this, they need a patsy. 278 00:14:50,560 --> 00:14:54,400 So he tells her that they're going to have a string quintet 279 00:14:54,440 --> 00:14:58,320 practicing upstairs during the evenings in her house. 280 00:14:58,360 --> 00:15:00,680 And does she mind? She doesn't mind. She loves music. 281 00:15:00,720 --> 00:15:03,640 Once they've got the goods, once they've got the money, 282 00:15:03,680 --> 00:15:05,720 they need to get it past the police. 283 00:15:05,760 --> 00:15:07,440 And the way they've decided to do this 284 00:15:07,480 --> 00:15:09,960 is to tell the old lady to go to the station 285 00:15:10,000 --> 00:15:13,560 and pick up a case which she's got to bring back to the house. 286 00:15:13,600 --> 00:15:15,400 That's the genius, 287 00:15:15,440 --> 00:15:18,120 as the Professor Marcus insists, 288 00:15:18,160 --> 00:15:20,320 that's what's perfect about his perfect plan 289 00:15:20,360 --> 00:15:22,840 is that the police will be looking for money going out, 290 00:15:22,880 --> 00:15:25,600 but what they're going to do is bring the money in. 291 00:15:27,400 --> 00:15:29,560 There is this wonderful quality in The Ladykillers 292 00:15:29,600 --> 00:15:31,840 that it takes real life 293 00:15:31,880 --> 00:15:36,200 and sort of re-serves it up in dark comic terms. 294 00:15:36,240 --> 00:15:39,360 So, the gang are essentially a-a model 295 00:15:39,400 --> 00:15:41,680 of the real life gangs of Kings Cross. 296 00:15:41,720 --> 00:15:44,280 The Italian gangs. They are, yes. They're a model of... 297 00:15:44,320 --> 00:15:47,520 what was going on, really. 298 00:15:47,560 --> 00:15:50,520 After all, what does Peter Sellers play? 299 00:15:50,560 --> 00:15:54,760 He plays an archetypal spiv, really, doesn't he?Yeah. 300 00:15:54,800 --> 00:15:59,480 And uh...Herbert Lom is the international one... 301 00:15:59,520 --> 00:16:01,720 um...dead serious. 302 00:16:01,760 --> 00:16:04,400 He's the most- Yes. He's the assassin, isn't he? 303 00:16:04,440 --> 00:16:06,840 Yes. He's the assassin. 304 00:16:06,880 --> 00:16:09,320 So as a contrast to Mrs Wilberforce, 305 00:16:09,360 --> 00:16:12,440 who has this kind of rosy, quaint English-ness 306 00:16:12,480 --> 00:16:15,160 and a real politeness, but also has this sort of 307 00:16:15,200 --> 00:16:17,640 iron-fist-in-a-velvet-glove quality about her, 308 00:16:17,680 --> 00:16:21,800 this kind of unbreakable sense of self 309 00:16:21,840 --> 00:16:23,840 and how things should be in the world. 310 00:16:23,880 --> 00:16:28,400 Versus the men, the criminals, that pile into the picture. 311 00:16:28,440 --> 00:16:31,640 Each of them represents a very specific part 312 00:16:31,680 --> 00:16:34,360 of British society at that time. 313 00:16:34,400 --> 00:16:36,280 So, you have the youngest of the bunch, 314 00:16:36,320 --> 00:16:38,120 you have Peter Sellers who comes along, 315 00:16:38,160 --> 00:16:40,800 and this is basically your East End, 316 00:16:40,840 --> 00:16:42,840 cheeky spiv character. 317 00:16:42,880 --> 00:16:44,880 He even has the sort of draped, 318 00:16:44,920 --> 00:16:48,320 flat lapel jacket that the Teddy boys used to wear. 319 00:16:48,360 --> 00:16:50,960 He represents sort of the danger of youth, 320 00:16:51,000 --> 00:16:54,920 of the youth rebellion, I guess, of the period to some extent. 321 00:16:54,960 --> 00:16:56,400 You have Herbert Lom 322 00:16:56,440 --> 00:16:59,040 who was a Czech-born, half-Jewish actor 323 00:16:59,080 --> 00:17:02,200 who came to Britain to get away from the Nazi invasion 324 00:17:02,240 --> 00:17:04,280 of what was then Czechoslovakia. 325 00:17:04,319 --> 00:17:07,200 And he had a side in playing villains. 326 00:17:07,240 --> 00:17:10,359 He was always playing villains. He had both seemingly the demeanour 327 00:17:10,400 --> 00:17:12,319 and I guess at the time what people consider to be 328 00:17:12,359 --> 00:17:14,119 the right accent for it. 329 00:17:14,160 --> 00:17:16,040 And I think he's the scariest of the bunch. 330 00:17:16,079 --> 00:17:19,560 I think he very much represents this idea of um... 331 00:17:19,599 --> 00:17:21,160 of a foreign threat. 332 00:17:21,200 --> 00:17:23,640 Making up the gang is 333 00:17:23,680 --> 00:17:27,560 the huge thug played by Danny Green, who is the muscle. 334 00:17:27,599 --> 00:17:30,160 If-If-If you'd imagined a potato talking, 335 00:17:30,200 --> 00:17:32,760 it would talk in the voice of Danny Green. 336 00:17:32,800 --> 00:17:35,360 You have the major Cecil Parker, 337 00:17:35,400 --> 00:17:38,200 wonderful sort of faux gentleman, 338 00:17:38,240 --> 00:17:40,600 bit of a coward, probably cashiered from the army 339 00:17:40,640 --> 00:17:42,680 if indeed he ever was in the army, 340 00:17:42,720 --> 00:17:46,400 but a sort of prime cowardly con-man type. 341 00:17:46,440 --> 00:17:48,360 This is a wonderful collection, 342 00:17:48,400 --> 00:17:50,840 but it's headed by Guinness. 343 00:17:50,880 --> 00:17:53,280 He gives an extraordinary performance. 344 00:17:54,680 --> 00:17:57,240 Guinness's performance as the professor 345 00:17:57,280 --> 00:17:59,600 is a comic marvel of straight acting. 346 00:18:00,560 --> 00:18:02,480 When he first read the screenplay, 347 00:18:02,520 --> 00:18:05,400 he was sure that it had been written for Alastair Sim. 348 00:18:05,440 --> 00:18:07,480 He was assured by all around him 349 00:18:07,520 --> 00:18:10,720 that, "No, no, no, it's for you, Alec. It's your story". 350 00:18:10,760 --> 00:18:13,720 Nevertheless, what Guinness decided to do 351 00:18:13,760 --> 00:18:15,880 was play the role as Alastair Sim. 352 00:18:15,920 --> 00:18:19,080 So, that extraordinary look, the hairpiece, the teeth, 353 00:18:19,120 --> 00:18:21,520 the dark eyes, the pale skin, 354 00:18:21,560 --> 00:18:23,760 is in a way based on Alastair Sim, 355 00:18:23,800 --> 00:18:26,560 especially his version of Ebenezer Scrooge. 356 00:18:28,880 --> 00:18:31,800 Alec Guinness served during the Second World War in the Navy. 357 00:18:31,840 --> 00:18:34,760 He was a landing craft commander during the invasion of Sicily. 358 00:18:34,800 --> 00:18:37,000 He would also go back to the UK now and again to appear 359 00:18:37,040 --> 00:18:39,880 in patriotic plays. So he was in a play about bomber command 360 00:18:39,920 --> 00:18:42,200 and the odd film where he played a soldier. 361 00:18:42,240 --> 00:18:44,280 He had prior to the war been 362 00:18:44,320 --> 00:18:46,520 in a number of theatrical productions, including one 363 00:18:46,560 --> 00:18:50,680 he'd devised himself, which is an adaptation of Great Expectations. 364 00:18:50,720 --> 00:18:53,960 And just after the war, David Lean took the idea 365 00:18:54,000 --> 00:18:56,840 of that adaptation and then further adapted it with Ronald Neame 366 00:18:56,880 --> 00:18:59,520 into the film Great Expectations, in which he cast Alec Guinness, 367 00:18:59,560 --> 00:19:01,000 which is his first big film role. 368 00:19:01,040 --> 00:19:03,720 Then, his first big breakthrough 369 00:19:03,760 --> 00:19:06,440 popular appeal movie was 370 00:19:06,480 --> 00:19:09,520 Kind Hearts and Coronets, which was an Ealing Comedy's comedy, 371 00:19:09,560 --> 00:19:11,600 and it was the beginning of his career with Ealing. 372 00:19:11,640 --> 00:19:13,920 In Kind Hearts and Coronets, he plays all the members 373 00:19:13,960 --> 00:19:17,360 of the D'Ascoyne family, who are murdered one at a time. 374 00:19:17,400 --> 00:19:21,320 So, he plays a variety of very cartoon-like characters, 375 00:19:21,360 --> 00:19:23,400 which is interesting when you think of his career. 376 00:19:23,440 --> 00:19:26,520 He'd been playing Shakespearean roles largely, 377 00:19:26,560 --> 00:19:28,680 almost entirely up until the Second World War, 378 00:19:28,720 --> 00:19:30,800 then, coming out of it, he plays some serious roles. 379 00:19:30,840 --> 00:19:34,080 He's got some romantic comedies under his belt to come. 380 00:19:34,120 --> 00:19:36,280 He was going to be a romantic lead, 381 00:19:36,320 --> 00:19:39,040 but he was quite prepared to take these very, very 382 00:19:39,080 --> 00:19:41,080 over-the-top, cartoonish roles. 383 00:19:42,760 --> 00:19:45,400 What's wrong? Major! Major! Tell me what's happening! 384 00:19:45,440 --> 00:19:48,440 Louis! Louis!Major!Will you mind your own business, please? 385 00:19:48,480 --> 00:19:51,160 So, with Alec Guinness, 386 00:19:51,200 --> 00:19:53,400 sort of rightly placed, both as an actor 387 00:19:53,440 --> 00:19:56,760 and in every other sense, as the ringleader of this group, 388 00:19:56,800 --> 00:20:00,800 it is a wonderful ensemble piece of a film in terms of these actors. 389 00:20:00,840 --> 00:20:03,280 But it's really interesting to see someone who would become 390 00:20:03,320 --> 00:20:07,160 as huge as Peter Sellers in sort of a second-fiddle part. 391 00:20:07,200 --> 00:20:10,400 Of course, at the time, Sellers was more than happy to just 392 00:20:10,440 --> 00:20:12,680 be on a film set with Alec Guinness. 393 00:20:12,720 --> 00:20:14,600 He regarded him as one of his idols. 394 00:20:14,640 --> 00:20:17,960 He said he was happy just to watch Alec Guinness act. 395 00:20:18,000 --> 00:20:21,040 Guinness in return once recalled that he felt 396 00:20:21,080 --> 00:20:25,120 that Peter Sellers was rather sulky or quiet on set. 397 00:20:25,160 --> 00:20:28,000 Maybe because he was intimidated, although that's just me inferring. 398 00:20:28,040 --> 00:20:31,440 But Guinness is, I think rightly deserving 399 00:20:31,480 --> 00:20:34,880 of that level of adulation from Sellers 400 00:20:34,920 --> 00:20:36,920 and from I think the rest of us. 401 00:20:36,960 --> 00:20:40,240 Because the ability with which he could switch 402 00:20:40,280 --> 00:20:43,000 between, you know, Shakespeare 403 00:20:43,040 --> 00:20:46,000 and comedy, something like Kind Hearts and Coronets 404 00:20:46,040 --> 00:20:48,920 to Bridge on the River Kwai, which was only a few years later 405 00:20:48,960 --> 00:20:52,560 in 1957, is...is really remarkable. 406 00:20:53,800 --> 00:20:56,120 Guinness never overdoes things. 407 00:20:56,160 --> 00:21:00,200 His performance is brim full of subtle ironies and physical comedy. 408 00:21:00,240 --> 00:21:03,160 He's the devil in a threadbare jumper. 409 00:21:03,200 --> 00:21:06,880 There is something Mephistophelian about his performance. 410 00:21:06,920 --> 00:21:10,960 It is less the ill-gotten gains at stake than his own cleverness. 411 00:21:11,000 --> 00:21:15,280 He unravels as the plot unravels around him. 412 00:21:15,320 --> 00:21:17,640 Arrogance is his downfall 413 00:21:17,680 --> 00:21:20,880 and he cannot understand why this little woman 414 00:21:20,920 --> 00:21:23,560 has destroyed his master plan. 415 00:21:23,600 --> 00:21:26,240 (WHISTLE BLOWS) 416 00:21:26,280 --> 00:21:27,840 (CHUCKLES) I'm always leaving it. 417 00:21:30,360 --> 00:21:32,600 (PROFESSOR LAUGHING) LOUIS: What's she doing? What? 418 00:21:32,640 --> 00:21:35,280 MAN: What's going on here? It's all right. 419 00:21:35,320 --> 00:21:39,560 It's just that she went back to get her umbrella. 420 00:21:40,680 --> 00:21:42,680 421 00:21:55,960 --> 00:21:57,800 LOUIS: She could have shopped us all. 422 00:21:57,840 --> 00:22:00,400 The silly old- Uh...what you're knocking her for? 423 00:22:00,440 --> 00:22:03,200 She done it, didn't she? We're nearly home, Louis. 424 00:22:03,240 --> 00:22:05,320 What can possibly go wrong now? 425 00:22:05,360 --> 00:22:07,240 (KNOCKING) Driver! Stop at once! Hey, what? 426 00:22:10,520 --> 00:22:13,280 Born in Boston of Scottish heritage 427 00:22:13,320 --> 00:22:15,040 and raised in Glasgow, 428 00:22:15,080 --> 00:22:17,240 Alexander Mackendrick was a gifted artist. 429 00:22:17,280 --> 00:22:19,480 He had been a political cartoonist 430 00:22:19,520 --> 00:22:22,040 and drawn propaganda pieces during the war, 431 00:22:22,080 --> 00:22:24,360 and then moved into documentaries. 432 00:22:24,400 --> 00:22:26,600 The head of Ealing Studios, Michael Balcon, 433 00:22:26,640 --> 00:22:30,920 had reluctantly accepted him as Director of Whiskey Galore. 434 00:22:30,960 --> 00:22:34,120 And Mackendrick would wrap his stylish comedies 435 00:22:34,160 --> 00:22:37,560 in barbed wire and through films like The Man In The White Suit 436 00:22:37,600 --> 00:22:39,640 and The Lady Killers come to be seen 437 00:22:39,680 --> 00:22:42,280 as the greatest exponent of the Ealing comedy. 438 00:22:43,240 --> 00:22:45,440 He was very politically minded. A lot of his cartoons 439 00:22:45,480 --> 00:22:47,360 are quite satirical and quite edgy. 440 00:22:47,400 --> 00:22:49,760 During the Second World War, he worked in the film industry 441 00:22:49,800 --> 00:22:52,120 and was part of a group of people who helped to restructure 442 00:22:52,160 --> 00:22:55,120 the Italian film industry. So, when he came back to the UK, 443 00:22:55,160 --> 00:22:58,680 he, instead of going back into advertising and cartoons, 444 00:22:58,720 --> 00:23:00,560 he went into working for Ealing Studios, 445 00:23:00,600 --> 00:23:03,160 where, initially, he worked as a sketch artist 446 00:23:03,200 --> 00:23:06,720 and gradually took little assistant directing jobs 447 00:23:06,760 --> 00:23:10,080 until his first directing job for the studios 448 00:23:10,120 --> 00:23:13,960 was Whiskey Galore about Scots thumbing their noses at the English. 449 00:23:14,000 --> 00:23:17,200 And he worked his way up through The Man in the White Suit, 450 00:23:17,240 --> 00:23:21,040 which was seen by Ealing as excessively satirical 451 00:23:21,080 --> 00:23:24,320 and this, The Ladykillers, was his, 452 00:23:24,360 --> 00:23:27,680 I would argue his finest work. It was his farewell to the UK. 453 00:23:27,720 --> 00:23:29,760 He left after this to go to America 454 00:23:29,800 --> 00:23:31,840 and it really is the apogee of his career. 455 00:23:31,880 --> 00:23:33,520 It's a phenomenal piece of work. 456 00:23:33,560 --> 00:23:36,280 It's interesting that Alexander Mackendrick ended up 457 00:23:36,320 --> 00:23:38,720 on The Ladykillers because Michael Balcon 458 00:23:38,760 --> 00:23:41,080 did not originally want him for it. 459 00:23:41,120 --> 00:23:43,720 He'd made a film in 1951 for Ealing Studios 460 00:23:43,760 --> 00:23:46,640 called The Man in the White Suit, which was, I think, 461 00:23:46,680 --> 00:23:50,440 quite politically subversive and spiky for its time. 462 00:23:50,480 --> 00:23:52,880 And perhaps slightly outside of the remit 463 00:23:52,920 --> 00:23:55,720 of what Ealing usually did, which tended to fall back on 464 00:23:55,760 --> 00:24:00,240 slightly more cosy truisms about British authority, particularly. 465 00:24:00,280 --> 00:24:03,440 Mackendrick was known for having a little bit more of a, 466 00:24:03,480 --> 00:24:07,800 perhaps more quietly, but still a subversive attitude. 467 00:24:07,840 --> 00:24:10,200 He had also a little bit of a different background 468 00:24:10,240 --> 00:24:12,640 to perhaps some of the other Ealing directors. 469 00:24:12,680 --> 00:24:16,200 He came from Boston originally, 470 00:24:16,240 --> 00:24:18,800 by the time he was seven, he had both lost his father 471 00:24:18,840 --> 00:24:20,720 and his mother had left him behind. 472 00:24:20,760 --> 00:24:24,360 So, his grandfather took him to Scotland where he was raised. 473 00:24:24,400 --> 00:24:26,320 And perhaps partly as a result of that, 474 00:24:26,360 --> 00:24:28,720 he had something of a lonely childhood. 475 00:24:28,760 --> 00:24:30,600 By the time he was making movies, 476 00:24:30,640 --> 00:24:33,320 you can see some of that cynicism about humanity, I think, 477 00:24:33,360 --> 00:24:36,280 and some darkness in that work. 478 00:24:36,320 --> 00:24:39,640 And so even though he was not originally slated 479 00:24:39,680 --> 00:24:41,880 to end up on The Ladykillers, 480 00:24:41,920 --> 00:24:44,120 he was already friendly with 481 00:24:44,160 --> 00:24:46,760 and had worked with William Rose, the screenwriter. 482 00:24:47,920 --> 00:24:50,200 Ironically, but fittingly, 483 00:24:50,240 --> 00:24:52,920 The Ladykillers is a creation of two outsiders 484 00:24:52,960 --> 00:24:56,600 who had made Britain their home, and they brought a disdainful 485 00:24:56,640 --> 00:25:00,760 and slightly distant examination of the country to the film. 486 00:25:00,800 --> 00:25:04,360 The screenwriter William Rose had been born in Missouri, 487 00:25:04,400 --> 00:25:06,640 but was stationed in London during the war, 488 00:25:06,680 --> 00:25:09,120 married a local woman and stayed on. 489 00:25:09,160 --> 00:25:12,600 So, he could observe British manners from close quarters. 490 00:25:13,760 --> 00:25:17,920 He wrote five screenplays for Ealing, among them Genevieve, 491 00:25:17,960 --> 00:25:21,400 and claimed to have dreamed up his masterpiece in its entirety. 492 00:25:22,560 --> 00:25:25,640 Brilliantly structured, piercingly clever 493 00:25:25,680 --> 00:25:27,720 and scaberulously funny, 494 00:25:27,760 --> 00:25:31,560 the screenplay for The Ladykillers would be nominated for an Oscar. 495 00:25:31,600 --> 00:25:33,800 (DUBIOUS ORCHESTRAL MUSIC) 496 00:25:38,400 --> 00:25:41,160 I don't believe it. I don't believe it. 497 00:25:41,200 --> 00:25:44,240 Shut up. It's just sitting there. 498 00:25:44,280 --> 00:25:48,280 Look, could we-No-one, I hope, is going to suggest that we steal it. 499 00:25:48,320 --> 00:25:51,240 So, you're talking about two people, to some extent or another 500 00:25:51,280 --> 00:25:54,800 who had a slightly external view of British-ness, 501 00:25:54,840 --> 00:25:58,640 but also seemingly could take a scalpel to it in certain ways. 502 00:25:58,680 --> 00:26:01,520 And so when they met at this meeting 503 00:26:01,560 --> 00:26:03,840 at Ealing Studios that they had weekly 504 00:26:03,880 --> 00:26:07,400 and Rose mentioned that the entire concept of The Ladykillers 505 00:26:07,440 --> 00:26:10,920 came to him in a dream, Mackendrick was fascinated by that. 506 00:26:10,960 --> 00:26:13,080 That was when he thought he could really do something 507 00:26:13,120 --> 00:26:16,360 with the material because it was quite an unusual concept. 508 00:26:16,400 --> 00:26:19,880 Well, Mackendrick is a director who... 509 00:26:21,200 --> 00:26:24,600 ..really came from Scotland and did things differently. 510 00:26:24,640 --> 00:26:29,320 Him and Robert Hamer were the best, I think, of that group of directors. 511 00:26:29,360 --> 00:26:32,680 Yes. But he was the most original, 512 00:26:32,720 --> 00:26:36,400 and this is the most original of all the films 513 00:26:36,440 --> 00:26:39,400 that are so admired now. 514 00:26:39,440 --> 00:26:41,360 Were they admired at the time? 515 00:26:41,400 --> 00:26:44,520 I mean, they're revered now. Yes, they were. I think they were. 516 00:26:44,560 --> 00:26:47,280 But I think the Americans thought, 517 00:26:47,320 --> 00:26:50,560 oh, the funny British are at it again, you know, 518 00:26:50,600 --> 00:26:53,320 but they did like this film, didn't they?Yes. 519 00:26:53,360 --> 00:26:55,880 I think it was um... 520 00:26:55,920 --> 00:26:58,720 was well remarked upon, and as I say, 521 00:26:58,760 --> 00:27:03,160 Mackendrick was immediately invited to Hollywood. 522 00:27:03,200 --> 00:27:06,920 Rose and Mackendrick had had slightly difficult dealings 523 00:27:06,960 --> 00:27:09,880 with each other on a previous film, The Maggie, 524 00:27:09,920 --> 00:27:13,000 but at the weekly meetings at Ealing, 525 00:27:13,040 --> 00:27:17,680 when Rose pitched his new idea, which he dreamed of, 526 00:27:17,720 --> 00:27:19,440 Mackendrick took to it immediately. 527 00:27:19,480 --> 00:27:22,240 He saw the possibilities and so the two of them 528 00:27:22,280 --> 00:27:25,120 really collaborated on this script. 529 00:27:25,160 --> 00:27:28,840 Interestingly enough, Michael Balcon was rather nervous of the script 530 00:27:28,880 --> 00:27:31,280 and so was Rank, the distribution company. 531 00:27:32,360 --> 00:27:34,760 However, Mackendrick had his way. 532 00:27:34,800 --> 00:27:37,680 He said, "I can make this film with Rose's script", 533 00:27:37,720 --> 00:27:41,040 which actually wasn't completed at the time of filming. 534 00:27:41,080 --> 00:27:45,320 And, that it won't be... He assured Balcon 535 00:27:45,360 --> 00:27:48,680 that it wouldn't be too satirical or too political. 536 00:27:48,720 --> 00:27:53,280 In fact, what it did give Mackendrick was the opportunity 537 00:27:53,320 --> 00:27:58,560 to actually put all these elements in, in a much more coded form. 538 00:27:58,600 --> 00:28:01,640 And I think that's one of the reasons why The Ladykillers 539 00:28:01,680 --> 00:28:03,640 is so endearing. 540 00:28:03,680 --> 00:28:07,000 Because every time you see it, you see yet another little layer. 541 00:28:07,040 --> 00:28:09,560 You see another little element um... 542 00:28:09,600 --> 00:28:13,160 that has been smuggled in by Mackendrick. 543 00:28:13,200 --> 00:28:15,560 Alexander Mackendrick has said this is a film 544 00:28:15,600 --> 00:28:18,480 about Britain in subsidence, and I think it's significant 545 00:28:18,520 --> 00:28:20,760 that Rose and Mackendrick were both outsiders. 546 00:28:20,800 --> 00:28:23,120 They were looking at the UK 547 00:28:23,160 --> 00:28:25,360 in this slightly bewildered fashion. 548 00:28:25,400 --> 00:28:28,800 For instance, William Rose had previously written Genevieve, 549 00:28:28,840 --> 00:28:30,560 this film about this car race to Brighton. 550 00:28:30,600 --> 00:28:32,960 There's a scene in that where two people cannot understand 551 00:28:33,000 --> 00:28:36,160 why in a boarding house they have to pre-book their hot water 552 00:28:36,200 --> 00:28:39,360 for 30 minutes. And after they've complained... (CHUCKLES) 553 00:28:39,400 --> 00:28:41,320 ..one woman says, "Are they Americans?" 554 00:28:41,360 --> 00:28:43,400 And you can see that's William Rose's voice. 555 00:28:43,440 --> 00:28:45,400 That's the man, the American in Britain. 556 00:28:45,440 --> 00:28:47,600 You've got to book your hot water?! 557 00:28:47,640 --> 00:28:49,360 And this film is very much like that. 558 00:28:49,400 --> 00:28:51,680 It's people looking at Britain and going, 559 00:28:51,720 --> 00:28:53,800 "This is how they do things?! 560 00:28:53,840 --> 00:28:56,880 "This is how crimes are committed? This is insane!" 561 00:28:56,920 --> 00:28:58,960 But it's done with enormous affection. 562 00:28:59,000 --> 00:29:01,800 (SINGING INDISTINCTLY) (DOOR OPENS) 563 00:29:03,400 --> 00:29:05,400 (SUSPENSEFUL MUSIC) 564 00:29:08,320 --> 00:29:10,320 Ah, professor! 565 00:29:10,360 --> 00:29:12,160 Good afternoon, gentlemen. (LAUGHTER) 566 00:29:12,200 --> 00:29:15,520 Your last rehearsal! Ah, professor, 567 00:29:15,560 --> 00:29:17,800 I must give you back your ten shillings.Thank you. 568 00:29:17,840 --> 00:29:20,240 You see, the cab man wouldn't take any money cause he said 569 00:29:20,280 --> 00:29:22,800 he was going into some other business. 570 00:29:22,840 --> 00:29:27,240 In terms of style, Mackendrick was recalling German expressionism, 571 00:29:27,280 --> 00:29:31,000 particularly the work of Fritz Lang and F W Murnau, 572 00:29:31,040 --> 00:29:34,040 films such as M and Nosferatu. 573 00:29:34,080 --> 00:29:39,000 You can see the Vampire in Nosferatu in Professor Marcus 574 00:29:39,040 --> 00:29:43,160 and Mackendrick makes wonderful use of exaggerated silhouettes. 575 00:29:43,200 --> 00:29:45,600 Tall, dark angles 576 00:29:45,640 --> 00:29:48,160 and this division, this sort of scale 577 00:29:48,200 --> 00:29:51,840 between the little old lady and these mobsters in her home. 578 00:29:51,880 --> 00:29:54,600 So, Mackendrick was extremely visually 579 00:29:54,640 --> 00:29:57,320 and cinematically literate, as you might expect, 580 00:29:57,360 --> 00:30:00,760 and you can see with him that as much as he has an ear for dialogue, 581 00:30:00,800 --> 00:30:03,800 which he's well known for, he also has a great eye here 582 00:30:03,840 --> 00:30:07,600 in these interiors. Even though that house looks very sort of cluttered 583 00:30:07,640 --> 00:30:10,160 and overcrowded by people and so forth, 584 00:30:10,200 --> 00:30:12,880 he finds a way to get those Dutch tilts in, 585 00:30:12,920 --> 00:30:17,000 and he finds a way to kind of get those angles at an odd skew. 586 00:30:17,040 --> 00:30:21,000 And it only aids this feeling of this kind of dream-like sense 587 00:30:21,040 --> 00:30:22,600 of things not quite being right, 588 00:30:22,640 --> 00:30:27,200 because whose perspective are we looking at here or from here? 589 00:30:27,240 --> 00:30:29,680 Even when the camera's kind of floating around behind 590 00:30:29,720 --> 00:30:33,920 the heads of characters, it's almost like an omniscient viewpoint, 591 00:30:33,960 --> 00:30:37,240 which suggests that there's someone else in the room watching 592 00:30:37,280 --> 00:30:40,920 all of this as though it's almost like an out-of-body experience 593 00:30:40,960 --> 00:30:43,680 to see it. And I think that's really fascinating. 594 00:30:45,320 --> 00:30:49,520 NORMAN: This is a film that is shot on real locations, 595 00:30:49,560 --> 00:30:52,640 but it has the exaggeration 596 00:30:52,680 --> 00:30:54,760 and the distortions of 597 00:30:54,800 --> 00:30:57,120 a kind of really grim fairy tale. 598 00:30:58,120 --> 00:31:01,680 Not only that, but it moves through different ways 599 00:31:01,720 --> 00:31:05,760 and modes of comedy, of farce, 600 00:31:05,800 --> 00:31:07,840 into something that is close to film noir. 601 00:31:07,880 --> 00:31:09,840 It goes into a caper film. 602 00:31:09,880 --> 00:31:12,920 One of the impressive things about this film is that 603 00:31:12,960 --> 00:31:15,520 this actual robbery itself... 604 00:31:15,560 --> 00:31:20,120 So meticulous is that depiction of that robbery 605 00:31:20,160 --> 00:31:23,200 that it was... The film was banned for being shown 606 00:31:23,240 --> 00:31:25,320 in prisons for many years 607 00:31:25,360 --> 00:31:28,920 after a bunch of ex-convicts performed a robbery 608 00:31:28,960 --> 00:31:31,960 based almost entirely on the robbery in this film. 609 00:31:33,400 --> 00:31:35,560 Once you've got the measure of this film, 610 00:31:35,600 --> 00:31:38,040 once you've got the idea that you are watching something 611 00:31:38,080 --> 00:31:40,400 that is unreal, but in a realistic environment, 612 00:31:40,440 --> 00:31:43,040 then you've got it. You can play with anything. 613 00:31:44,560 --> 00:31:47,080 The interior of Mrs Wilberforce's house 614 00:31:47,120 --> 00:31:50,120 encompasses all of Mackendrick's expressionist games. 615 00:31:50,160 --> 00:31:52,760 It appears tilted, a fairy-tale house 616 00:31:52,800 --> 00:31:55,000 built around a bewilderment of rooms 617 00:31:55,040 --> 00:31:56,800 and these inconstant pipes 618 00:31:56,840 --> 00:32:00,320 that Mrs Wilberforce encourages with a rubber mallet. 619 00:32:00,360 --> 00:32:02,320 Mackendrick classified his film 620 00:32:02,360 --> 00:32:05,040 as a parody of Britain in subsidence. 621 00:32:05,080 --> 00:32:07,680 It was just on the edge, wasn't it? 622 00:32:07,720 --> 00:32:09,800 Yeah.When you look at it now, you think... 623 00:32:10,680 --> 00:32:12,880 ..is that working? 624 00:32:12,920 --> 00:32:16,120 You know, but it does. Somehow, it works. 625 00:32:16,160 --> 00:32:19,520 These ridiculous crooks... Yeah. 626 00:32:19,560 --> 00:32:21,760 ..who are really quite real, 627 00:32:21,800 --> 00:32:23,760 as well as being ridiculous. 628 00:32:23,800 --> 00:32:27,320 There's something fantastical about this film, isn't there? 629 00:32:27,360 --> 00:32:30,640 Yeah.When you see it again, you think, gracious me, 630 00:32:30,680 --> 00:32:33,080 I've never seen a film quite like this.(CHUCKLES) 631 00:32:34,040 --> 00:32:39,840 ALL: (SINGING) 632 00:32:39,880 --> 00:32:45,880 633 00:32:50,841 --> 00:32:53,840 (CHUGGING) 634 00:32:58,440 --> 00:33:00,440 (OMINOUS MUSIC) 635 00:33:22,000 --> 00:33:23,680 It was over there on Frederica Street 636 00:33:23,720 --> 00:33:26,800 where the facade of the house was specially built. 637 00:33:26,840 --> 00:33:30,360 In the film, Frederica Street overlooked the railway line 638 00:33:30,400 --> 00:33:32,640 and the mouth of Copenhagen Tunnel. 639 00:33:32,680 --> 00:33:35,600 This gave Mackendrick his Dante-like images 640 00:33:35,640 --> 00:33:38,400 of criminal bodies being dispatched 641 00:33:38,440 --> 00:33:41,560 onto passing coal trains to descend, 642 00:33:41,600 --> 00:33:44,680 we don't doubt, all the way to hell. 643 00:33:44,720 --> 00:33:46,880 (RAILWAY TRACKS CLATTER) 644 00:33:48,120 --> 00:33:50,120 (BOLD MUSIC) 645 00:33:52,520 --> 00:33:54,520 ONE-ROUND: Guess who's next! 646 00:33:59,760 --> 00:34:04,160 Of course comedy, good comedy, is a serious business, 647 00:34:04,200 --> 00:34:06,560 and there are many different ways in which The Ladykillers 648 00:34:06,600 --> 00:34:09,040 has been read over the years. 649 00:34:09,080 --> 00:34:13,080 Is it some kind of psychological study of the family unit, 650 00:34:13,120 --> 00:34:15,800 where Mrs Wilberforce becomes the mother figure 651 00:34:15,840 --> 00:34:20,400 and the reason, the very reason, the gang finally can't kill her? 652 00:34:20,440 --> 00:34:22,800 Is it that there is an honour amongst thieves, 653 00:34:22,840 --> 00:34:24,760 there are certain levels they will not stoop to? 654 00:34:24,800 --> 00:34:28,159 She is their mother. How could they possibly kill her? 655 00:34:28,199 --> 00:34:30,239 Then it is read as a political satire. 656 00:34:31,199 --> 00:34:34,520 The between Mrs Wilberforce is the unchanging, 657 00:34:34,560 --> 00:34:37,600 unstinting, conservative side of things, 658 00:34:37,639 --> 00:34:39,920 whereas the gang is huffing and puffing 659 00:34:39,960 --> 00:34:42,280 to change things in the 1950s, 660 00:34:42,320 --> 00:34:44,920 but they cannot change tradition. 661 00:34:44,960 --> 00:34:47,920 NORMAN: Mrs Wilberforce is the emblem 662 00:34:47,960 --> 00:34:52,400 of a kind of older generation of Britain, 663 00:34:52,440 --> 00:34:54,960 the one who grew up with Victorian values, 664 00:34:55,000 --> 00:34:57,600 one who is sort of full 665 00:34:57,640 --> 00:34:59,720 of moral rectitude. 666 00:34:59,760 --> 00:35:01,960 And although on the surface 667 00:35:02,000 --> 00:35:05,280 she appears to be one of Ealing's kindly, 668 00:35:05,320 --> 00:35:08,760 little benign, genteel, little old ladies, 669 00:35:08,800 --> 00:35:11,760 she's actually got reserves of strength 670 00:35:11,800 --> 00:35:15,960 and fortitude that emerge during the course of the film. 671 00:35:16,000 --> 00:35:19,200 NATHAN: What they're doing is they're pinpointing a moment 672 00:35:19,240 --> 00:35:23,000 in British history and they're drawing in a variety of characters 673 00:35:23,040 --> 00:35:25,680 and a variety of archetypes and a variety of narratives, 674 00:35:25,720 --> 00:35:28,960 and putting them into this one mythical place 675 00:35:29,000 --> 00:35:31,840 in order to illustrate a point. 676 00:35:31,880 --> 00:35:35,480 And the point is the change that Britain is about to go through 677 00:35:35,520 --> 00:35:38,960 or is currently undergoing and how it is irreversible, 678 00:35:39,000 --> 00:35:41,720 but how Britain is trying to fight back and trying to stop it. 679 00:35:41,760 --> 00:35:44,000 And this is very much what Mackendrick was clear on. 680 00:35:44,040 --> 00:35:47,520 It's a satire, it's a social satire, about the state of the nation. 681 00:35:47,560 --> 00:35:51,760 He saw the lady that is not killed despite the title, 682 00:35:51,800 --> 00:35:55,160 Mrs Wilberforce, as symbolic of Old Britain, 683 00:35:55,200 --> 00:35:57,040 the Pre-War Britain, the Victorian Britain 684 00:35:57,080 --> 00:35:59,920 that was still clinging onto its ideas and its principles. 685 00:35:59,960 --> 00:36:01,680 And he saw the gang as modernity. 686 00:36:01,720 --> 00:36:04,120 They represent these types that were coming in, you know, 687 00:36:04,160 --> 00:36:08,800 trying to get their purchase into this tiny weenie street, 688 00:36:08,840 --> 00:36:10,800 which is holding onto all its values. 689 00:36:10,840 --> 00:36:12,800 And he saw that as being what the film was about. 690 00:36:12,840 --> 00:36:15,280 So really, so much of the... 691 00:36:15,320 --> 00:36:18,200 the cen... like, the linchpin, I guess I would say 692 00:36:18,240 --> 00:36:21,160 of The Ladykillers is the performance 693 00:36:21,200 --> 00:36:23,920 from Katie Johnson as Mrs Wilberforce. 694 00:36:23,960 --> 00:36:26,160 And Katie Johnson was an actress 695 00:36:26,200 --> 00:36:28,320 who was sort of a jobbing, supporting actress 696 00:36:28,360 --> 00:36:30,240 for decades in British film. 697 00:36:30,280 --> 00:36:32,560 So it's fair to say that some British audiences may well 698 00:36:32,600 --> 00:36:34,160 have recognised her face. 699 00:36:34,200 --> 00:36:37,400 Which I think only heightens this feeling that you get in the film 700 00:36:37,440 --> 00:36:40,640 of here's an actress who's, I believe, 76 years old 701 00:36:40,680 --> 00:36:42,840 when the film was being made or as the film came out 702 00:36:42,880 --> 00:36:46,480 and is already a likable character. She's a very sweet, little old lady, 703 00:36:46,520 --> 00:36:50,680 but it gives you the sense that audiences or contemporary audiences, 704 00:36:50,720 --> 00:36:54,000 would've been on this woman's side in some ways. 705 00:36:54,040 --> 00:36:56,280 They'd been watching her for a long time, 706 00:36:56,320 --> 00:36:58,720 but she'd never had her name by the title. 707 00:36:58,760 --> 00:37:01,200 She'd never got a proper credit on a film 708 00:37:01,240 --> 00:37:04,680 or been in a real starring role, even over all those years. 709 00:37:04,720 --> 00:37:08,160 So, Alexander Mackendrick actually spoke to Ealing 710 00:37:08,200 --> 00:37:11,640 and spoke to Rank, the distributors, and wanted to get her name 711 00:37:11,680 --> 00:37:14,200 above the title, which he succeeded in doing. 712 00:37:17,640 --> 00:37:20,280 But then you could always get that in British films. 713 00:37:20,320 --> 00:37:22,400 When you look down the cast list, 714 00:37:22,440 --> 00:37:26,800 you've seen a number of bit players, who hardly...you hardly... 715 00:37:26,840 --> 00:37:30,440 Frankie Howard is a barrow boy, for goodness sake.Yes! (CHUCKLES) 716 00:37:30,480 --> 00:37:33,960 Young man! Do you mind? 717 00:37:34,000 --> 00:37:36,600 That's the charm of the film 718 00:37:36,640 --> 00:37:41,040 and the charm of lot of British films at the time is the cast list. 719 00:37:41,080 --> 00:37:44,760 Oh, good God, it's him and him, and her and her. 720 00:37:44,800 --> 00:37:47,360 And it's certainly true of this film. 721 00:37:47,400 --> 00:37:49,640 And it creates a texture, doesn't it? Because... 722 00:37:49,680 --> 00:37:52,360 they're all very different actors... Yes, absolutely. 723 00:37:52,400 --> 00:37:55,720 ..and that kind of mixture sort of gives it something.Yeah. 724 00:37:55,760 --> 00:37:59,080 I think the real...it advertises 725 00:37:59,120 --> 00:38:01,960 the fact that British character actors 726 00:38:02,000 --> 00:38:04,640 are probably the best in the world. 727 00:38:04,680 --> 00:38:07,880 I don't know whether that's true or not, 728 00:38:07,920 --> 00:38:12,040 but I think it is, and this...this film 729 00:38:12,080 --> 00:38:16,120 absolutely agrees with that theory. 730 00:38:16,160 --> 00:38:18,680 Yeah. But what it's about, 731 00:38:18,720 --> 00:38:21,520 it's very difficult to ascertain. 732 00:38:21,560 --> 00:38:23,240 What do you think it's about? 733 00:38:23,280 --> 00:38:25,520 I think it's about, 734 00:38:25,560 --> 00:38:27,520 on one level it's a morality tale. 735 00:38:27,560 --> 00:38:29,720 Yes, it is. Yes. It's about... 736 00:38:29,760 --> 00:38:33,560 wrongdoers who get their comeuppance delivered to them...Mm. 737 00:38:33,600 --> 00:38:35,760 ..by fate, by the little old lady. 738 00:38:35,800 --> 00:38:39,640 I think as you said, it is a portrait of a changing time. 739 00:38:39,680 --> 00:38:44,280 I think we'd come out of the war and the empire, the old order, 740 00:38:44,320 --> 00:38:46,640 have been sort of pushed aside... Mm. 741 00:38:46,680 --> 00:38:49,400 ..and this new order hasn't found itself yet. 742 00:38:49,440 --> 00:38:53,360 So the crooks kind of represent that aspirational side. 743 00:38:53,400 --> 00:38:56,760 It's definitely a comment on its time.Yeah. 744 00:38:56,800 --> 00:39:01,760 Definitely. But quite what that comment's actually saying is, 745 00:39:01,800 --> 00:39:04,880 well, you can have all sorts of theories about it.Yeah. 746 00:39:06,720 --> 00:39:10,560 The Ladykillers remains one of the greatest British movies ever made. 747 00:39:10,600 --> 00:39:13,080 What's more, it is hugely influential. 748 00:39:13,120 --> 00:39:16,120 It's had such an influence on pop culture. 749 00:39:16,160 --> 00:39:19,520 The dark surrealism of the film can be found in Monty Python. 750 00:39:19,560 --> 00:39:23,800 The social satire is nearly every British sitcom since. 751 00:39:23,840 --> 00:39:27,560 It's kind of fairy-tale London can be felt in films as diverse 752 00:39:27,600 --> 00:39:31,440 as The Long Good Friday, Performance, and the Harry Potter films. 753 00:39:32,480 --> 00:39:35,320 And the Coen Brothers proved with their remake, 754 00:39:35,360 --> 00:39:38,040 it was an unrepeatable film as well. 755 00:39:38,080 --> 00:39:40,680 I think that The Ladykillers is a masterpiece 756 00:39:40,720 --> 00:39:44,160 for many, many reasons, not least visually. 757 00:39:44,200 --> 00:39:46,520 It's timing is so impeccable. 758 00:39:46,560 --> 00:39:49,080 The comic timing, the combination of the screenplay, 759 00:39:49,120 --> 00:39:53,080 someone like even Peter Sellers who was fairly green at the time, 760 00:39:53,120 --> 00:39:55,560 just the way he can land a simple quip, 761 00:39:55,600 --> 00:39:57,160 it's...it's flawless. 762 00:39:57,200 --> 00:39:59,560 And people will always laugh at it, 763 00:39:59,600 --> 00:40:02,360 regardless of the fact that it's really specifically 764 00:40:02,400 --> 00:40:04,960 in 1950s Britain, it doesn't really matter. 765 00:40:05,000 --> 00:40:08,280 It-It travels. Like there's this wonderful moment with Peter Sellers 766 00:40:08,320 --> 00:40:11,120 that I always think of and it's not one of the bigger comic moments, 767 00:40:11,160 --> 00:40:13,880 I don't think, but to me, it just shows the brilliance 768 00:40:13,920 --> 00:40:17,280 of the combined efforts of all the creative people 769 00:40:17,320 --> 00:40:20,200 involved with the film. Where you get 770 00:40:20,240 --> 00:40:23,040 the old ladies piling in for the tea party, 771 00:40:23,080 --> 00:40:25,880 the initial idea is Herbert Lom's like, oh, we'll throw her 772 00:40:25,920 --> 00:40:27,960 in the car. Oh, we're gonna have to take that one too. 773 00:40:28,000 --> 00:40:30,520 The second woman comes in and then they all start coming in, 774 00:40:30,560 --> 00:40:33,600 and Peter Seller's looks and he says, "What shall we do? 775 00:40:33,640 --> 00:40:35,800 "Charter a bus?" And it cuts. 776 00:40:35,840 --> 00:40:37,640 Doesn't let you have any reaction time. 777 00:40:37,680 --> 00:40:40,160 It cuts away immediately and keeps moving the action. 778 00:40:40,200 --> 00:40:43,760 (WOMEN CHATTER INDISTINCTLY) What do you think we should do? 779 00:40:43,800 --> 00:40:46,520 Charter a bus? (CHATTER CONTINUES) 780 00:40:47,880 --> 00:40:50,200 The Ladykillers is a superb film 781 00:40:50,240 --> 00:40:53,360 because it can exist in pure isolation 782 00:40:53,400 --> 00:40:55,560 as a fable, as a fairytale, 783 00:40:55,600 --> 00:40:59,720 and yet it is also if looked at, a document of its time. 784 00:40:59,760 --> 00:41:03,440 So, you can study this film almost endlessly. 785 00:41:03,480 --> 00:41:07,120 You can study this film as a document about '50s Britain 786 00:41:07,160 --> 00:41:10,280 and about a historical moment in this country. 787 00:41:10,320 --> 00:41:12,560 You can also use it to study film. 788 00:41:12,600 --> 00:41:15,680 It's about a particular point where Ealing Studios, 789 00:41:15,720 --> 00:41:18,360 who represented a particular kind of cinema, is ending. 790 00:41:18,400 --> 00:41:21,160 And understanding, the arrival of new forms. 791 00:41:21,200 --> 00:41:23,760 It's also, at the same time, 792 00:41:23,800 --> 00:41:26,760 something which you don't have to worry about any of that whatsoever. 793 00:41:26,800 --> 00:41:31,000 It's also just a daft story about this little fairy-tale cottage 794 00:41:31,040 --> 00:41:33,200 in a forest of London 795 00:41:33,240 --> 00:41:36,720 where these monsters come and try to scare an old lady 796 00:41:36,760 --> 00:41:39,480 and then fail and she ends up living happily ever after. 797 00:41:39,520 --> 00:41:42,720 So, you can see any film you want to in this and it will work. 798 00:41:42,760 --> 00:41:44,520 That's what is so genius about it. 799 00:41:44,560 --> 00:41:46,840 It can be every film to every person. 800 00:41:46,880 --> 00:41:48,880 (SOMBRE MUSIC) (BUS CLATTERS) 801 00:41:51,320 --> 00:41:53,960 But I do hope you'll believe me. 802 00:41:54,000 --> 00:41:57,960 It's true. I get it, the lolly, but I wasn't really one of the gang. 803 00:41:59,120 --> 00:42:02,360 I admit the keeper was planned in my house, 804 00:42:02,400 --> 00:42:04,560 but it wasn't I who planned it. 805 00:42:04,600 --> 00:42:08,080 And I did not plan or have anything to do 806 00:42:08,120 --> 00:42:11,760 with the East Castle Street job. Didn't ya, ma'am? 807 00:42:11,800 --> 00:42:14,320 The central character of Mrs Wilberforce, 808 00:42:14,360 --> 00:42:18,440 who is trying to give the money back to the police 809 00:42:18,480 --> 00:42:21,400 and partly because she spent a lot of time 810 00:42:21,440 --> 00:42:23,720 talking about things that haven't happened, 811 00:42:23,760 --> 00:42:26,400 they are very kind, they're indulgent. 812 00:42:26,440 --> 00:42:28,800 But they simply don't believe her. They say, "Well... 813 00:42:28,840 --> 00:42:32,720 "just keep the money. She's done her best to actually 814 00:42:32,760 --> 00:42:35,200 be as righteous as possible 815 00:42:35,240 --> 00:42:37,800 and uh...as law abiding, 816 00:42:37,840 --> 00:42:40,160 and that is her reward. 817 00:42:40,200 --> 00:42:44,120 Her reward is to have all the money. 818 00:42:44,160 --> 00:42:46,600 I think that's a fantastic, 819 00:42:46,640 --> 00:42:49,320 fantastically subversive message. 820 00:42:49,360 --> 00:42:51,920 Especially given the fact that she is the one 821 00:42:51,960 --> 00:42:54,720 who's actually...emblematic 822 00:42:54,760 --> 00:42:58,720 of these old, almost sort of past-it values 823 00:42:58,760 --> 00:43:02,120 of implacability, you know, the Victoriana. 824 00:43:02,160 --> 00:43:04,200 And the great thing is that 825 00:43:04,240 --> 00:43:06,120 it doesn't seem to have affected her at all, 826 00:43:06,160 --> 00:43:08,200 because now she is able to be generous. 827 00:43:08,240 --> 00:43:12,400 Now she's able to be benevolent in a way that she was before, 828 00:43:12,440 --> 00:43:15,560 but without the resources. Now she has the resources. 829 00:43:15,600 --> 00:43:19,520 Absolutely wonderful and a strangely uplifting ending. 830 00:43:22,120 --> 00:43:25,120 Oh, very good, very good. 831 00:43:25,160 --> 00:43:27,360 Turned out nice, hasn't it. Yes. It has. 832 00:43:28,440 --> 00:43:31,680 Perhaps more than any other Ealing, 833 00:43:31,720 --> 00:43:35,320 it's lasted because you don't see it maybe nostalgically, 834 00:43:35,360 --> 00:43:37,280 you see it as its own thing. 835 00:43:37,320 --> 00:43:39,840 I see it nostalgically too 836 00:43:39,880 --> 00:43:42,120 because of King's Cross and everything.Yes. Yes. 837 00:43:42,160 --> 00:43:43,760 But at the same time, 838 00:43:43,800 --> 00:43:46,360 it's an astonishing film because it... 839 00:43:46,400 --> 00:43:48,760 it works on so many different levels.Yeah. 840 00:43:48,800 --> 00:43:52,760 Not sure what Mackendrick really was trying to do with the film, 841 00:43:52,800 --> 00:43:56,280 but whatever it was, he made a very good film. 842 00:43:58,320 --> 00:44:00,960 Oh, hey, hey, hey! Look! Here, lady! Look! 843 00:44:01,960 --> 00:44:03,960 (SWEET MUSIC) 844 00:44:09,720 --> 00:44:11,840 AccessibleCustomerService@sky.uk