20 00:00:09,690 --> 00:00:11,951 Italy, 1939. 21 00:00:12,499 --> 00:00:13,986 Mass rallies. 22 00:00:14,068 --> 00:00:22,134 This salesman, Mussolini, is selling an idea of order, superiority, purity. 23 00:00:22,305 --> 00:00:25,486 He becomes friends with this man, Hitler. 24 00:00:25,886 --> 00:00:29,403 These two mates ruin a lot of the world. 25 00:00:32,323 --> 00:00:36,913 Out of the ruins of Italy, comes a new movie language, Neo-realism. 26 00:00:36,913 --> 00:00:41,271 A type of filmmaking that will deal with the trauma of war. 27 00:00:41,297 --> 00:00:47,640 This is one of its most famous moments, filmed in real streets, urgent, and tragic. 28 00:00:55,505 --> 00:00:56,964 Movies in the 1940s 29 00:00:56,990 --> 00:01:01,691 had to get this raw, because life had become this raw. 30 00:01:01,698 --> 00:01:05,584 But before they did so, before they entirely sobered up, 31 00:01:05,584 --> 00:01:10,575 there was the little matter of Stagecoach and Orson Welles. 32 00:01:11,655 --> 00:01:14,706 Stagecoach made a star of John Wayne. 33 00:01:14,709 --> 00:01:17,135 The camera rushed into his face. 34 00:01:17,436 --> 00:01:18,553 Yeah. 35 00:01:20,812 --> 00:01:22,214 Hello, kid. 36 00:01:22,214 --> 00:01:23,415 Hello Curly. 37 00:01:24,467 --> 00:01:25,664 Hiya, Buck! 38 00:01:25,690 --> 00:01:26,718 How's your folks? 39 00:01:26,745 --> 00:01:30,330 It was the 94th film made by John Ford, 40 00:01:30,356 --> 00:01:33,904 here in his beloved monument valley, Ford was interviewed 41 00:01:33,904 --> 00:01:37,181 by another great director: Peter Bogdanovich. 42 00:01:37,946 --> 00:01:41,483 The interview shows how much Ford hated analysis. 43 00:01:43,131 --> 00:01:43,919 Take one? 44 00:01:43,919 --> 00:01:46,094 There won't be more then one take, will there? 45 00:01:46,094 --> 00:01:46,936 Shoot. 46 00:01:49,171 --> 00:01:53,542 ’Mr. Ford, I've noticed that your view of the West 47 00:01:53,542 --> 00:01:58,927 has become increasingly sad and melancholy over the years. 48 00:01:58,927 --> 00:02:01,849 I'm comparing, for instance, Wagon Master 49 00:02:01,876 --> 00:02:03,826 to The Man who shot Liberty Valance. 50 00:02:04,279 --> 00:02:07,560 Have you been aware of that... change in mood?’ 51 00:02:07,586 --> 00:02:08,697 No. 52 00:02:10,795 --> 00:02:13,948 ’Now that I point it out, is there anything you'd like to say about it?’ 53 00:02:14,812 --> 00:02:17,234 I don't know what you're talking about. 54 00:02:20,671 --> 00:02:25,610 ’Would you agree that the point of Fort Apache 55 00:02:25,636 --> 00:02:28,797 was that tradition, the tradition of the army 56 00:02:28,797 --> 00:02:31,289 was more important than one individual?’ 57 00:02:32,539 --> 00:02:33,290 Cut! 58 00:02:34,847 --> 00:02:38,796 Ford didn't want to say much about his movies, but others did. 59 00:02:38,796 --> 00:02:41,551 One critic wrote that he captures 60 00:02:41,577 --> 00:02:45,752 ‘the twitches of life and the silhouettes of legend’. 61 00:02:46,437 --> 00:02:49,519 Stagecoach is a movie legend. 62 00:02:49,519 --> 00:02:52,081 It's about a bunch of misfits on a journey. 63 00:02:52,081 --> 00:02:57,437 One of them, a saloon girl and prostitute, is cold shouldered by the others. 64 00:02:57,437 --> 00:03:01,419 But she's befriended by a cowboy called Ringo Kid. 65 00:03:02,538 --> 00:03:07,447 Many of the shots in the coach itself are filmed with back projection. 66 00:03:08,869 --> 00:03:12,622 Ford contrasts the claustrophobia of the coach 67 00:03:12,622 --> 00:03:17,017 with classically composed, pastoral shots like this one. 68 00:03:17,644 --> 00:03:21,782 In this setting, the Ringo Kid is brave enough to challenge 69 00:03:21,782 --> 00:03:24,030 the snobbery against the girl. 70 00:03:25,889 --> 00:03:31,226 Well, I am really a coward. I know I am. 71 00:03:31,226 --> 00:03:33,913 So that's why I did foolish things. 72 00:03:34,584 --> 00:03:36,930 And I was decorated eight or nine times. 73 00:03:37,495 --> 00:03:39,931 Tried to prove that I was not a coward. 74 00:03:40,286 --> 00:03:43,015 But after it was all over I still knew that I still know 75 00:03:43,015 --> 00:03:44,313 that I was a coward. 76 00:03:44,836 --> 00:03:48,839 I have always found out the little quiet little man 77 00:03:48,839 --> 00:03:53,851 that nobody pays any attention to, usually has more guts 78 00:03:53,851 --> 00:04:03,029 and courage than those big blow-hard, the big noisy, you know, 79 00:04:03,055 --> 00:04:05,424 the big outspoken fellas. 80 00:04:05,424 --> 00:04:08,676 It's the little man that does the courageous thing. 81 00:04:11,558 --> 00:04:15,504 In this scene, Ringo and the girl start a new life together 82 00:04:15,504 --> 00:04:18,551 in the mythic, meritocratic west. 83 00:04:22,322 --> 00:04:26,347 Well, kid, I told you not to follow me. 84 00:04:30,614 --> 00:04:33,630 Ford stages the scene in deep space. 85 00:04:35,343 --> 00:04:38,133 Stagecoach helped create a new visual fashion 86 00:04:38,133 --> 00:04:41,876 for deep space and deep focus in the 1940s. 87 00:04:42,786 --> 00:04:45,832 As we've seen, in Japan a few years previously, 88 00:04:45,832 --> 00:04:48,947 Mizoguchi was staging things in depth too. 89 00:04:49,345 --> 00:04:54,904 But Ford and his cameraman combined deep staging with deep focus. 90 00:05:03,122 --> 00:05:06,179 The trend in cinema had been for the flattering effects 91 00:05:06,179 --> 00:05:13,124 of a long lenses which creates shallow focus, eyes sharp, hair soft. 92 00:05:13,132 --> 00:05:15,236 Background out of focus. 93 00:05:18,849 --> 00:05:23,626 Deep focus used a wide-angle lens allowing actors and objects 94 00:05:23,626 --> 00:05:27,647 to be really close to the camera and really far away. 95 00:05:28,341 --> 00:05:30,387 Both can be seen, crisply. 96 00:05:31,553 --> 00:05:34,850 Deep focus emphasized the distance between them. 97 00:05:35,444 --> 00:05:39,970 It was great at rooms, especially if you kept the camera low, 98 00:05:39,996 --> 00:05:43,816 because then you'd see the ceiling, which plunged back into the background 99 00:05:43,816 --> 00:05:46,333 making a bold compositional line. 100 00:05:47,397 --> 00:05:49,583 Such deep staging and deep focus 101 00:05:49,609 --> 00:05:51,595 allowed the audience to choose where to look. 102 00:05:52,316 --> 00:05:55,992 As early as 1929, Sergei Eisenstein had suggested it 103 00:05:55,992 --> 00:05:58,171 as an alternative to editing. 104 00:05:58,766 --> 00:06:01,555 Our eyes do the editing within the frame. 105 00:06:01,555 --> 00:06:04,149 Jumping around from place to place. 106 00:06:04,735 --> 00:06:08,627 Stagecoach's innovations changed film history. 107 00:06:09,241 --> 00:06:13,390 One person who saw Stagecoach 30 times in 1940 108 00:06:13,390 --> 00:06:18,726 was this man, Orson Welles, who strode the movie stage. 109 00:06:18,726 --> 00:06:22,777 The magician of cinema who became its colossus. 110 00:06:24,935 --> 00:06:28,362 In this scene from his first film, Citizen Kane, 111 00:06:28,388 --> 00:06:31,688 Welles and his cinematographer Greg Tolland seemed 112 00:06:31,714 --> 00:06:35,284 to be pushing deep staging as far as it can go. 113 00:06:35,296 --> 00:06:38,412 Welles plays a hubristic newspaperman. 114 00:06:38,415 --> 00:06:41,463 He is less than a meter from the camera. 115 00:06:41,466 --> 00:06:47,867 Everett Sloane is so far away that he is as smaller than Welles's nose. 116 00:06:48,809 --> 00:06:52,027 Such deep staging forces scale. 117 00:06:52,029 --> 00:06:56,072 It's as expressionist as the shadows in Caligari. 118 00:06:56,656 --> 00:07:00,180 More than any film of its time, Citizen Kane challenged 119 00:07:00,180 --> 00:07:04,022 the soft and shallow look of romantic American cinema. 120 00:07:04,771 --> 00:07:06,130 But why did it do so? 121 00:07:06,983 --> 00:07:11,372 Because of the talent and instincts of the magician who made it. 122 00:07:18,458 --> 00:07:22,588 RKO studio where Welles made Citizen Kane. 123 00:07:23,359 --> 00:07:26,548 He was staging Shakespeare at the age of four. 124 00:07:27,271 --> 00:07:31,063 His mother died when he was 8 and his father when he was 12. 125 00:07:31,765 --> 00:07:33,505 He lived in Shanghai. 126 00:07:33,507 --> 00:07:36,926 Visited the palaces of faded emperors. 127 00:07:36,928 --> 00:07:41,728 Got to know the story of power and tramped through its ruins. 128 00:07:42,361 --> 00:07:45,410 He should have been the D.W. Griffith of the sound era. 129 00:07:45,412 --> 00:07:50,664 In fact, in a career that lasted nearly 50 years, he didn't direct 130 00:07:51,149 --> 00:07:56,318 a single foot of film for any of the four major Hollywood studios. 131 00:07:56,713 --> 00:08:00,870 Norman Lloyd played the poet Cinna in Welles' acclaimed staging 132 00:08:00,870 --> 00:08:02,180 of Julius Caesar. 133 00:08:02,631 --> 00:08:05,965 The story of the staging was told, inaccurately, 134 00:08:05,991 --> 00:08:09,193 in the recent film Me and Orson Welles. 135 00:08:09,860 --> 00:08:11,965 What is my name? 136 00:08:11,967 --> 00:08:12,938 Whither am I going? 137 00:08:12,940 --> 00:08:14,179 Where do I dwell? 138 00:08:14,181 --> 00:08:15,789 Enough! 139 00:08:15,791 --> 00:08:17,176 This is worse than terrible! 140 00:08:17,679 --> 00:08:20,580 Cinna is Shakespeare's indictment of the intelligentsia, 141 00:08:20,580 --> 00:08:22,818 he's a lofty, byronic figure. 142 00:08:22,818 --> 00:08:25,785 You know, I completely disagree! 143 00:08:26,471 --> 00:08:29,753 I never had that kind of argument with Orson. 144 00:08:29,755 --> 00:08:32,358 As I watched that, I was embarrassed, 145 00:08:32,358 --> 00:08:36,258 because I never would have had that kind of argument with Orson. 146 00:08:37,367 --> 00:08:40,249 But just as an actor, like Lloyd revered Welles, 147 00:08:40,249 --> 00:08:42,955 so Welles revered his own heroes. 148 00:08:43,972 --> 00:08:46,768 Though he learnt much from Stagecoach, 149 00:08:46,794 --> 00:08:49,945 the great force in his films, their battering ram, 150 00:08:49,945 --> 00:08:52,356 comes from theatre and elsewhere. 151 00:08:52,725 --> 00:08:58,078 Here he plays Shakespeare's Falstaff, a buffoon shot in deep space. 152 00:08:58,694 --> 00:09:01,545 He was interested in Italian renaissance painting. 153 00:09:01,880 --> 00:09:08,296 His attraction to powerful people, kings, tycoons, inventors is like Shakespeare's. 154 00:09:08,988 --> 00:09:12,477 Also like Shakespeare, he looked to the past, 155 00:09:12,477 --> 00:09:15,418 to times before democracy and liberalism. 156 00:09:18,209 --> 00:09:20,354 Here, it's the world of Henry IV. 157 00:09:20,332 --> 00:09:24,959 John Gielgud dwarfed by a massive empty cathedral. 158 00:09:28,647 --> 00:09:32,867 Citizen Kane thinks of himself as a Medici or a Mughal emperor. 159 00:09:33,495 --> 00:09:36,573 Kane is full of the lust for power. 160 00:09:37,422 --> 00:09:39,924 His world is massive, but empty. 161 00:09:40,481 --> 00:09:42,635 Maybe the last time he felt anything real 162 00:09:42,635 --> 00:09:47,307 was as a boy playing in the snow on his rosebud sledge, 163 00:09:47,307 --> 00:09:51,991 in this incredible scene, in deep space with tracking camera. 164 00:09:55,328 --> 00:10:00,515 Citizen Kane denounced grandeur, egomania and maybe, even, 165 00:10:00,515 --> 00:10:05,179 the cinematic hubris that made Cabiria's tracking shots. 166 00:10:07,909 --> 00:10:10,660 And Intolerance's epic scale. 167 00:10:15,246 --> 00:10:18,583 And The General's outlandish production values. 168 00:10:20,158 --> 00:10:23,871 Keaton's film was famously expensive. 169 00:10:24,729 --> 00:10:29,141 Shakespeare and the Medicis, the Mughals, Ottomans and Stagecoach 170 00:10:29,141 --> 00:10:33,895 were not the only sources of Welles' visual and human ideas. 171 00:10:34,604 --> 00:10:37,414 There was the fact of his own body and voice. 172 00:10:37,909 --> 00:10:42,084 Both were enormous, mature, unfeasible even. 173 00:10:42,430 --> 00:10:44,828 It was like he was painted by Holbein. 174 00:10:45,158 --> 00:10:48,280 He could never play a young person, or a teenager 175 00:10:48,280 --> 00:10:52,218 or an ordinary guy or a 20th century everyman. 176 00:10:52,655 --> 00:10:57,942 The space in his films was gigantic because his persona was gigantic. 177 00:10:57,942 --> 00:11:02,462 And the sound was gigantic too, whispers in close-up, 178 00:11:02,462 --> 00:11:04,459 echoes from miles back. 179 00:11:04,713 --> 00:11:07,931 49,000 acres of nothing but scenery and statues! 180 00:11:07,931 --> 00:11:09,495 I'm lonesome! 181 00:11:09,495 --> 00:11:14,028 'Til just yesterday we've had no less than 50 of your friends at any one time. 182 00:11:14,034 --> 00:11:16,363 I think if you look carefully in the west wing, Susan, 183 00:11:16,363 --> 00:11:19,528 you'll find about a dozen vacationers still in residence. 184 00:11:19,870 --> 00:11:23,874 He extended the overlapping dialogue of Howard Hawks' comedies, 185 00:11:23,874 --> 00:11:26,243 to fill a whole film. 186 00:11:26,995 --> 00:11:28,269 Can you prove it isn't? 187 00:11:28,269 --> 00:11:31,301 Mr. Bernstein, I'd like you to meet Mr. Thatcher. 188 00:11:31,303 --> 00:11:32,474 How are you doing, Mr. Thatcher? 189 00:11:32,476 --> 00:11:35,324 Leland. Hello Mr. Thatcher, my ex-guardian. 190 00:11:35,326 --> 00:11:37,539 We have no secrets from our readers, Mr. Bernstein. 191 00:11:37,541 --> 00:11:39,799 Mr. Thatcher is one of our most devoted readers. 192 00:11:40,013 --> 00:11:44,610 The visual ideas of Toland and Welles about deep focus and deep space 193 00:11:44,610 --> 00:11:47,017 excited filmmakers around the world. 194 00:11:47,182 --> 00:11:51,067 Look at the depth of this scene in The Maltese Falcon. 195 00:11:52,385 --> 00:11:55,581 Humphrey Bogart's thumb, no more than 20 centimeters 196 00:11:55,581 --> 00:11:58,907 from the camera, is clearly in focus. 197 00:12:00,204 --> 00:12:04,759 And look at this incredible scene in a bar in The best Years of our Lives. 198 00:12:05,251 --> 00:12:10,733 The older man, Frederic March asks the younger, Dana Andrews, 199 00:12:10,759 --> 00:12:13,613 to end his romance with the older man's daughter. 200 00:12:14,694 --> 00:12:19,061 Andrews agrees to do so and goes to call her in a phone box. 201 00:12:19,858 --> 00:12:21,982 As the phone call's the main drama in the scene, 202 00:12:21,982 --> 00:12:25,838 you'd expect director Wyler and D.P. [Director of Photography] Gregg Toland 203 00:12:25,864 --> 00:12:28,692 to set up their camera near the box, 204 00:12:28,692 --> 00:12:31,657 so we can see and hear the action. 205 00:12:31,657 --> 00:12:36,897 But, instead, they put it far away, beside this piano, 206 00:12:36,923 --> 00:12:41,024 where a war veteran who's lost his hands is playing. 207 00:12:41,558 --> 00:12:43,361 The father's at the piano, too, 208 00:12:43,361 --> 00:12:47,598 but anxiously looks to the tiny booth in the extreme background. 209 00:12:49,365 --> 00:12:53,775 It's as if the crucial action has been sucked away by a black hole. 210 00:12:53,775 --> 00:12:56,779 We're forced to imagine the conversation. 211 00:12:56,804 --> 00:13:00,509 Just as, in real life, we can't always see everything 212 00:13:00,534 --> 00:13:01,973 that we want to see. 213 00:13:03,707 --> 00:13:07,149 Years later the Austrian, Michael Haneke, used deep space 214 00:13:07,174 --> 00:13:12,207 to show a woman on a train getting away from harassment. 215 00:13:19,043 --> 00:13:23,533 And the Hungarian, Béla Tarr, uses deep space to move our eyes 216 00:13:23,559 --> 00:13:28,002 from foreground, to the background, and then to the foreground again. 217 00:13:28,027 --> 00:13:31,183 In each case the effect was one of tension, 218 00:13:31,208 --> 00:13:35,703 as if the world is a force field in which the people are held. 219 00:13:36,291 --> 00:13:42,415 Deep staging in American cinema would become less fashionable again in the 1950s. 220 00:13:42,440 --> 00:13:46,722 The new color, widescreen film stocks were just not sensitive enough 221 00:13:46,747 --> 00:13:50,019 to suck in all that information at once. 222 00:13:50,044 --> 00:13:54,467 So here, in How to marry a Millionaire, the space is shallow 223 00:13:54,493 --> 00:13:58,845 and the actors are displayed across it like a washing line. 224 00:13:58,871 --> 00:14:04,860 Very long lenses in the 60s and 70s, excited directors about very shallow focus. 225 00:14:04,885 --> 00:14:09,553 Here, filmed with a long lens, Anouk Aimée floated 226 00:14:09,579 --> 00:14:13,987 in her own visual world, like Garbo in the 1920s. 227 00:14:14,013 --> 00:14:19,713 And in the 1990s Michael Mann's film Heat, influenced by pop videos, 228 00:14:19,739 --> 00:14:24,374 used the newest types of long lens to create focus so shallow 229 00:14:24,399 --> 00:14:30,574 that the lights behind al Pacino in this shoot out became dreamy blobs. 230 00:14:42,144 --> 00:14:44,103 But it was this place, Italy, 231 00:14:44,128 --> 00:14:49,424 that was at the center of the movie world in the 1940s. 232 00:15:08,563 --> 00:15:14,264 This film school, ‘Centro Sperimentale,’ was opened under Mussolini in the 1930s. 233 00:15:20,283 --> 00:15:26,812 This famous film studio 234 00:15:26,838 --> 00:15:28,863 where great sets have been built, 235 00:15:28,889 --> 00:15:32,295 where Italian epics and comedies had been made, 236 00:15:32,320 --> 00:15:35,564 had been used as an army barracks during World War II. 237 00:15:38,836 --> 00:15:41,414 And film lights were limited. 238 00:15:44,946 --> 00:15:48,309 So, filmmakers took to the streets. 239 00:15:51,681 --> 00:15:55,289 Before the war, central Rome looked like this. 240 00:16:00,492 --> 00:16:04,581 But, by 1945 it looked like this. 241 00:16:10,585 --> 00:16:14,576 People still went about their lives, but the world had changed. 242 00:16:14,601 --> 00:16:16,538 The city had changed. 243 00:16:16,563 --> 00:16:19,138 The film industry had changed. 244 00:16:19,357 --> 00:16:25,082 And so, in a series of films made in Italy between 1945 and 1952, 245 00:16:25,108 --> 00:16:28,495 the language of film changed too. 246 00:16:28,520 --> 00:16:32,856 What became known as ‘rubble movies’ [Trümmerfilm], were born. 247 00:16:32,882 --> 00:16:36,332 The first was this one, Rome open City [Roma città aperta] 248 00:16:36,362 --> 00:16:39,268 directed by Roberto Rosselini. 249 00:16:40,717 --> 00:16:45,138 The film started as a documentary about a priest in Rome during World War II, 250 00:16:45,163 --> 00:16:51,231 but grew into a portrait of the city, struggling to resist fascism and Nazism. 251 00:16:54,231 --> 00:16:57,625 This is how the actress in the film was shot and lit: 252 00:16:57,650 --> 00:17:00,984 old style, glamour, a negligee. 253 00:17:07,106 --> 00:17:10,255 But look at how the other woman in the film is presented... 254 00:17:10,257 --> 00:17:13,582 Deglamorized, single light source. 255 00:17:13,607 --> 00:17:16,219 She's pregnant but not married. 256 00:17:16,219 --> 00:17:17,930 Daring for the time. 257 00:17:17,955 --> 00:17:20,233 And she's anti-fascist. 258 00:17:20,259 --> 00:17:25,792 Another anti-fascist in the film, Don Pelligrini, is a priest in this church. 259 00:17:25,817 --> 00:17:29,726 Rossellini wanted his images plain, unadorned, 260 00:17:29,751 --> 00:17:37,240 and so he used lenses of about 50 mm... 261 00:17:37,266 --> 00:17:42,128 rather than Wellesean wide angle lenses... 262 00:17:42,154 --> 00:17:45,605 or longer lenses. 263 00:17:45,630 --> 00:17:50,329 He didn't care too much if the shot wasn't in focus. 264 00:17:56,997 --> 00:17:59,792 And whilst not hand holding the camera much, 265 00:17:59,817 --> 00:18:03,547 he seemed to have his D.P. loosen the head of the tripod 266 00:18:03,572 --> 00:18:05,837 to give loads of movement. 267 00:18:11,829 --> 00:18:15,577 Light bulbs were bare in Italian Neo-realism. 268 00:18:19,743 --> 00:18:26,405 Martin Scorsese says that they influenced the bare light bulbs in Raging Bull. 269 00:18:30,294 --> 00:18:35,802 And it's said that in these neorealist films, we saw one of these for the first time. 270 00:18:37,263 --> 00:18:43,941 Rosselini said that if, by chance, he made a beautiful shot, he'd cut it out. 271 00:18:46,681 --> 00:18:51,427 If the nature of movie beauty changed in Europe in the 1940s, 272 00:18:51,452 --> 00:18:55,231 it was partly because of a writer called Cesare Zavattini. 273 00:18:56,872 --> 00:19:03,411 He said, ‘before this, if one was thinking over the idea of a film on, say, a strike, 274 00:19:03,437 --> 00:19:05,888 one would immediately invent a plot. 275 00:19:05,913 --> 00:19:09,759 And the strike itself became only the background to the film.’ 276 00:19:09,784 --> 00:19:15,333 Today he said in a later interview, ‘we would describe the strike itself. 277 00:19:15,358 --> 00:19:20,439 We have an unlimited trust in things, facts and people.’ 278 00:19:20,657 --> 00:19:24,280 This was revolutionary: the reduction of plot. 279 00:19:24,305 --> 00:19:26,675 De-dramatization. 280 00:19:27,755 --> 00:19:30,743 And Zavattini said something even more revealing, 281 00:19:30,768 --> 00:19:34,547 ‘when we've thought out a scene we feel the need to “remain” in it, 282 00:19:34,572 --> 00:19:39,776 because it can contain so many echoes and reverberations.’ 283 00:19:41,314 --> 00:19:43,373 This was again revelatory. 284 00:19:44,163 --> 00:19:46,290 Things took place in real time. 285 00:19:46,532 --> 00:19:48,659 Ordinary details mattered. 286 00:19:49,258 --> 00:19:51,277 Where Alfred Hitchcock was to say 287 00:19:51,303 --> 00:19:54,821 that cinema was life with the boring bits cut out, 288 00:19:54,847 --> 00:20:00,941 Zavattini and the neorealists said that cinema is the boring bits. 289 00:20:11,832 --> 00:20:15,678 The most famous film that Zavattini wrote, Bicycle Thieves [Ladri di biciclette], 290 00:20:15,704 --> 00:20:22,222 is about an unemployed man who has his bike - his only chance of getting casual work - stolen. 291 00:20:22,247 --> 00:20:25,819 He and his son look all over Rome for it. 292 00:20:25,844 --> 00:20:31,270 In the end, worn out and afraid of not being able to get even basic work, 293 00:20:31,295 --> 00:20:33,875 he himself steals a bike. 294 00:20:40,114 --> 00:20:44,019 Director Vittorio De Sica, has the scene shot starkly, 295 00:20:44,044 --> 00:20:48,173 in harsh light, and keeps the camera far back from the theft. 296 00:20:48,538 --> 00:20:52,395 As if not to intrude on the father's shame. 297 00:21:09,865 --> 00:21:12,948 But then the boy sees the father's theft. 298 00:21:12,950 --> 00:21:14,910 We're close to him. 299 00:21:16,136 --> 00:21:18,924 This tracking shot shows that films like Bicycle Thieves 300 00:21:18,949 --> 00:21:21,242 are not afraid of conventional filming, 301 00:21:21,267 --> 00:21:25,515 empathy, point of view, tension and emotion. 302 00:21:26,867 --> 00:21:31,566 But this scene, a few moments earlier, is more unusual. 303 00:21:32,481 --> 00:21:35,342 The boy nearly gets hit by a car. 304 00:21:35,368 --> 00:21:36,454 Twice. 305 00:21:38,867 --> 00:21:42,534 In a Hollywood film the dad would have seen this and grabbed the boy 306 00:21:42,559 --> 00:21:47,620 and scolded him or comforted him, but also realized how much he loves him. 307 00:21:49,569 --> 00:21:55,177 But in Italian Neo-realism such moments just happened, without cause or effect. 308 00:21:55,560 --> 00:21:57,052 It was a loose end. 309 00:21:57,078 --> 00:21:59,612 It didn't play back into the plot. 310 00:22:00,431 --> 00:22:04,049 Pre-war film stories were chains of cause and effect. 311 00:22:04,051 --> 00:22:08,212 But in Italian Neo-realism, the chain was sometimes broken. 312 00:22:09,250 --> 00:22:14,022 Neo-realism turned the realist dissidence of 20s cinema 313 00:22:14,048 --> 00:22:20,439 into a national film movement in the '40s, that then swept around the world. 314 00:22:49,908 --> 00:22:53,088 Far away from Neo-realism and the rubble of Europe, 315 00:22:53,113 --> 00:22:57,540 the mythic capital of the American movie industry, Hollywood, 316 00:22:57,540 --> 00:23:01,567 started to get less glossy in the 1940s too. 317 00:23:01,578 --> 00:23:04,964 A starlet called Peg Entwistle killed herself 318 00:23:04,989 --> 00:23:08,113 by jumping from this letter in the Hollywood sign. 319 00:23:10,966 --> 00:23:16,171 After a long day in the sunshine in L.A., nighttime falls. 320 00:23:19,274 --> 00:23:22,818 There are few streetlights, so it's really dark. 321 00:23:34,930 --> 00:23:39,506 Hardly anybody walks, so those that do can hear their own footsteps. 322 00:23:40,073 --> 00:23:44,559 The eucalyptus and orange blossom smells almost sickly sweet. 323 00:23:45,411 --> 00:23:49,557 The grills on windows cast shadows like prisons. 324 00:23:50,169 --> 00:23:54,502 Throughout World War II, Hollywood kept making this kind of film. 325 00:24:02,224 --> 00:24:08,518 Betty Grable in her feathers and décor, was one of wartime's most popular stars. 326 00:24:09,568 --> 00:24:11,685 But America's most curious filmmakers 327 00:24:11,710 --> 00:24:17,079 went abroad or just watched newsreels and saw this. 328 00:24:25,420 --> 00:24:26,613 And this. 329 00:24:26,977 --> 00:24:30,558 The documentary tragedy of Rome open city. 330 00:24:36,357 --> 00:24:39,257 The romantic exuberance of Hollywood ebbed. 331 00:24:39,631 --> 00:24:42,298 Its paradise got a bit lost. 332 00:24:42,990 --> 00:24:44,063 And it showed. 333 00:24:44,494 --> 00:24:50,320 Between 1941 and 1959, more than 350 dark films 334 00:24:50,345 --> 00:24:55,281 were made in Hollywood, films that became known as ‘films noirs’. 335 00:24:57,441 --> 00:25:02,762 One of the earliest and most influential was this one: Double indemnity. 336 00:25:03,880 --> 00:25:05,499 Look at this scene in it. 337 00:25:05,823 --> 00:25:10,742 The actress and the wall at the far end of the corridor are both in focus. 338 00:25:10,767 --> 00:25:15,621 The visual depth of Mizoguchi, Stagecoach and Citizen Kane. 339 00:25:18,560 --> 00:25:23,274 The situation is this: the insurance man who's coming out the door 340 00:25:23,299 --> 00:25:26,643 has fallen for the woman who hides behind the door, 341 00:25:26,669 --> 00:25:28,832 the wife of one of his clients. 342 00:25:29,541 --> 00:25:34,646 She convinces him to help her kill her husband and share the insurance pay-out. 343 00:25:34,671 --> 00:25:35,819 They do so. 344 00:25:36,420 --> 00:25:40,455 The man's boss, in the dark suit, begins to suspect that the wife 345 00:25:40,480 --> 00:25:44,004 is the murderess and goes to the man's apartment 346 00:25:44,029 --> 00:25:45,700 to tell him his hunch. 347 00:25:46,679 --> 00:25:49,861 If the boss saw the wife there, it would confirm 348 00:25:49,886 --> 00:25:53,442 his hunch and implicate the man, his employee. 349 00:25:53,942 --> 00:25:57,939 So the wife hides behind the man's outward-opening door. 350 00:25:58,335 --> 00:25:59,774 Goodbye Keyes. 351 00:25:59,776 --> 00:26:00,849 So long, Walter. 352 00:26:04,493 --> 00:26:07,075 Double indemnity's director, Billy Wilder, 353 00:26:07,100 --> 00:26:11,522 was an Austrian Jew who fled the Nazis in 1933. 354 00:26:12,101 --> 00:26:15,721 Ironically filmed here in the bright sun of Santa Monica, 355 00:26:15,746 --> 00:26:18,254 his films were thematically dark. 356 00:26:18,771 --> 00:26:23,920 Like many émigrés who made great films noirs... Fritz Lang, Robert Siodmak, 357 00:26:23,946 --> 00:26:31,100 Otto Preminger, Michael Curtiz, Jacques Tourneur... he loved the unpretentiousness of America, 358 00:26:31,125 --> 00:26:33,717 but hated its worship of money. 359 00:26:35,209 --> 00:26:38,326 The wife in this scene lusts for it. 360 00:26:38,351 --> 00:26:42,858 The man lusts for her and, because he's weak and flawed, 361 00:26:42,883 --> 00:26:44,560 for money too. 362 00:26:48,990 --> 00:26:52,763 Robert Towne who wrote the film Chinatown. 363 00:26:52,788 --> 00:27:03,086 Cinema noir... The characters are fated, in one way or another 364 00:27:03,112 --> 00:27:05,603 and it is a character flaw of some kind. 365 00:27:05,628 --> 00:27:08,704 They are like moths and flames. 366 00:27:08,729 --> 00:27:12,302 You look at Walter in Double Indemnity. 367 00:27:12,327 --> 00:27:15,118 And I wanted to see her again, close, 368 00:27:15,143 --> 00:27:17,776 without that silly staircase between us. 369 00:27:20,430 --> 00:27:23,236 He just can't resist a pretty anklet. 370 00:27:23,237 --> 00:27:26,306 You look at Robert Mitchum in Out of the Past,... 371 00:27:26,331 --> 00:27:31,386 he can't... he wants to be with a decent girl, 372 00:27:31,411 --> 00:27:36,132 but he can't stay out of the way, it's usually a femme fatale... 373 00:27:36,157 --> 00:27:44,110 Even when he wants to disentangle himself, he can't avoid it... 374 00:27:44,135 --> 00:27:46,798 Geddes with Chinatown. 375 00:27:46,823 --> 00:27:53,647 There is some flaw in them, that draws them to their fate, 376 00:27:53,672 --> 00:28:01,859 even as they try to avoid it, not just a dark world 377 00:28:01,885 --> 00:28:05,635 where they get kind of beaten up... 378 00:28:05,661 --> 00:28:13,251 They are men who at some deep, unconscious level seek out their fate, 379 00:28:13,276 --> 00:28:15,060 even as they try to avoid it. 380 00:28:15,526 --> 00:28:19,113 Paul Schrader who wrote Taxi Driver and Raging Bull: 381 00:28:19,115 --> 00:28:23,984 The flawed hero which, you know, first sort of appeared 382 00:28:24,010 --> 00:28:28,550 in Freud influenced films, you know, but it never really took hold 383 00:28:28,576 --> 00:28:32,484 till after the war and you had these guys came home from the war. 384 00:28:32,509 --> 00:28:38,658 And you had all of that social dislocation where women who had gotten jobs in the war 385 00:28:38,683 --> 00:28:44,549 were now expected to give up their jobs and men who fought in the war 386 00:28:44,575 --> 00:28:48,865 came home and didn't have any money. 387 00:28:48,891 --> 00:28:54,994 There was a lot of frustration and so that kind of Freudian hero started 388 00:28:55,019 --> 00:29:01,156 feeling like a much more realistic hero than he had felt like in, 389 00:29:01,181 --> 00:29:04,379 you know, the '30s and '40s. 390 00:29:05,889 --> 00:29:11,463 War, the city of L.A., flawed characters, and social and legal collapse 391 00:29:11,489 --> 00:29:14,903 created noir but so did other things. 392 00:29:14,928 --> 00:29:19,956 The lattice of shadows of German expressionism can be seen. 393 00:29:19,981 --> 00:29:24,264 In this German film, light casts a grid of shadows, 394 00:29:24,289 --> 00:29:27,693 but the handrail is a lattice too. 395 00:29:29,748 --> 00:29:33,549 Double Indemnity was co-written by Raymond Chandler who, 396 00:29:33,574 --> 00:29:39,253 along with Dashiel Hammett, created the character types and situations of noir. 397 00:29:45,553 --> 00:29:50,630 Howard Hawks filmed Chandler's The big Sleep in 1946. 398 00:29:50,655 --> 00:29:53,532 Humphrey Bogart played Philip Marlowe. 399 00:29:53,816 --> 00:29:56,661 The film crackled with snappy dialogue. 400 00:29:56,686 --> 00:29:59,423 A feature of the best noirs. 401 00:29:59,423 --> 00:30:08,993 May I use your phone, Mr. Marlowe? 402 00:30:09,019 --> 00:30:09,706 Hello. 403 00:30:09,732 --> 00:30:12,996 Police headquarter, please. 404 00:30:13,021 --> 00:30:17,472 Hello. This is Mrs.... 405 00:30:17,498 --> 00:30:18,881 Hello. What do you want, please? 406 00:30:18,883 --> 00:30:22,729 I don't want a thing! What! You called me. I called you? 407 00:30:22,755 --> 00:30:23,720 Say, who is this? 408 00:30:23,746 --> 00:30:24,951 This is sergeant Reilly at headquarters. 409 00:30:24,977 --> 00:30:27,572 Sergeant Reilly, well, there isn't any sergeant Reilly here. 410 00:30:27,574 --> 00:30:28,485 I know there's not... 411 00:30:28,511 --> 00:30:30,124 Wait a minute. You better talk to my mother. 412 00:30:30,151 --> 00:30:32,380 I don't wanna talk to your mother. Why should I wanna talk to your mother? 413 00:30:32,406 --> 00:30:37,364 The big Sleep was the most influential film noir since Double Indemnity. 414 00:30:37,389 --> 00:30:41,085 It's complex plot set a fashion. 415 00:30:41,110 --> 00:30:46,340 The film was co-written by Leigh Brackett, another great female screenwriter, 416 00:30:46,365 --> 00:30:53,435 who co-wrote this film Rio Bravo, in which Angie Dickinson gets the best lines. 417 00:30:54,299 --> 00:30:59,501 You see, that's what I'd do, 418 00:30:59,527 --> 00:31:01,921 if I were the kind of girl that you think I am. 419 00:31:01,946 --> 00:31:06,519 And Bracket co-wrote this film, Star Wars: The Empire strikes back. 420 00:31:06,544 --> 00:31:12,277 In the film's climax, Luke discovers, in the style of a Hollywood romance... 421 00:31:12,303 --> 00:31:14,842 that Darth Vader is his father. 422 00:31:14,867 --> 00:31:20,193 Brackett had helped bring traditional movie storytelling into the '70s. 423 00:31:20,218 --> 00:31:23,461 The women in film noir haunt the films. 424 00:31:23,486 --> 00:31:28,316 Jane Greer in Out of the Past takes her time, moves like velvet, 425 00:31:28,341 --> 00:31:35,007 knows that the man is weak, enjoys his gaze, turns it to her advantage. 426 00:31:35,879 --> 00:31:39,670 Usually in noir it's an immoral advantage. 427 00:31:41,222 --> 00:31:44,560 And yet of the 350 or so noirs, 428 00:31:44,585 --> 00:31:50,756 only one, this one, was directed by a woman, Ida Lupino. 429 00:31:50,817 --> 00:31:56,963 She mastered the form, using spot lighting and subjective camera. 430 00:31:56,970 --> 00:31:58,572 A film with down-turned eyes. 431 00:31:58,597 --> 00:32:04,172 Directing in American film had become, by this stage, a boy's club. 432 00:32:05,128 --> 00:32:08,082 And there's so much more to say about film noir. 433 00:32:09,600 --> 00:32:14,165 The pugnacious presence of actor Edward G. Robinson in Double Indemnity 434 00:32:14,190 --> 00:32:18,455 is a reminder of how noir was fascinated by the sort of gangster films 435 00:32:18,480 --> 00:32:21,472 of the 30s in which Robinson appeared. 436 00:32:21,497 --> 00:32:25,499 In those he was disdainful, dapper. 437 00:32:27,359 --> 00:32:29,294 And it's pessimism came in part 438 00:32:29,320 --> 00:32:32,787 from the poetic realist films of France in the 1930s, 439 00:32:32,813 --> 00:32:38,359 such as this moody encounter between two lost souls in Quaie des Brumes. 440 00:32:40,012 --> 00:32:43,420 If proof is needed that France influenced America in the 40s, 441 00:32:43,445 --> 00:32:47,269 look at this film La Chienne, directed by Jean Renoir. 442 00:32:47,579 --> 00:32:50,931 A man falls in love with a hard-hearted, young woman. 443 00:32:56,959 --> 00:33:04,082 It was remade as Scarlet Street, by Fritz Lang, in America, 14 years later. 444 00:33:04,107 --> 00:33:08,670 The scene where the man pleads for the woman's love is very similar. 445 00:33:09,704 --> 00:33:10,779 Its star? 446 00:33:11,138 --> 00:33:13,818 Edward G. Robinson. 447 00:33:16,771 --> 00:33:20,284 Here in Montrose, a suburb of Los Angeles, 448 00:33:20,309 --> 00:33:23,997 a b-movie called Gun Crazy was shot in 1950. 449 00:33:24,606 --> 00:33:28,662 It was one of the most innovative, passionate noirs ever made 450 00:33:28,687 --> 00:33:32,904 and shows how documentary and Neo-realism influenced the genre. 451 00:33:33,379 --> 00:33:36,642 It was directed by this Hemingway-esque man, 452 00:33:36,667 --> 00:33:42,949 speaking on his fishing boat, the great b-movie director Joseph H. Lewis. 453 00:33:43,689 --> 00:33:48,312 A man and a woman, passionate and reckless, are about to rob a bank. 454 00:33:48,337 --> 00:33:50,128 Their hearts are beating. 455 00:33:50,761 --> 00:33:55,265 In a conventional noir we'd see their faces, sweaty brows. 456 00:33:55,331 --> 00:33:58,467 Here Lewis keeps the camera behind them. 457 00:33:58,492 --> 00:34:02,839 His D.P. sat in the back seat on a jockey saddle. 458 00:34:02,864 --> 00:34:06,145 He made a special board on which the camera could pan. 459 00:34:06,202 --> 00:34:07,501 Alright? 460 00:34:09,417 --> 00:34:12,894 Lewis then had new button microphones put on the actors 461 00:34:12,920 --> 00:34:15,494 and on a policeman we're about to see. 462 00:34:15,519 --> 00:34:18,732 And gave the performers free reign to improvise. 463 00:34:18,758 --> 00:34:20,697 There's a car just pulled out. 464 00:34:20,723 --> 00:34:23,141 We can get in there. 465 00:34:23,143 --> 00:34:25,188 We'll have to... Yeah, yeah. Okay. 466 00:34:25,214 --> 00:34:26,784 Right in here. Fast as you can. 467 00:34:26,810 --> 00:34:30,468 Don't worry, I won't be a minute longer than I have to. 468 00:34:30,494 --> 00:34:33,162 Here goes nothing! Okay! 469 00:34:35,639 --> 00:34:40,486 Filming a stick up in the conventional way was scheduled to take four days. 470 00:34:40,511 --> 00:34:44,036 Lewis claims to have shot this in three hours 471 00:34:44,061 --> 00:34:48,985 and says that the unbroken shot covers two miles of ground. 472 00:34:50,797 --> 00:34:52,140 Get out. 473 00:34:52,166 --> 00:34:54,209 Go on. 474 00:34:54,235 --> 00:34:57,285 That's right, stand right there. 475 00:34:57,310 --> 00:34:59,084 Okay. 476 00:35:05,192 --> 00:35:09,258 The camera and D.P. in the jockey saddle move forward and right. 477 00:35:09,283 --> 00:35:12,910 Another sound recordist was strapped to the top of the car. 478 00:35:12,936 --> 00:35:15,282 Well, that's a nice get up. 479 00:35:15,307 --> 00:35:16,942 I like it. 480 00:35:16,967 --> 00:35:18,582 Good looking gun. 481 00:35:18,607 --> 00:35:19,435 Thanks. 482 00:35:19,435 --> 00:35:21,010 That's English, ain't it? 483 00:35:21,012 --> 00:35:22,618 That's right 484 00:35:22,620 --> 00:35:23,975 What show are you with? 485 00:35:24,001 --> 00:35:25,670 Cheyenne rodeo in Hollywood. 486 00:35:25,672 --> 00:35:27,859 The bus will be coming through in a few minutes. 487 00:35:27,885 --> 00:35:29,948 I got to stay too far out in front. 488 00:35:29,974 --> 00:35:31,103 You gonna play here? 489 00:35:31,104 --> 00:35:31,873 No. 490 00:35:31,898 --> 00:35:33,820 Well, it's an easy town on shows. 491 00:35:33,822 --> 00:35:36,367 Three tickets and you've covered the whole police force. 492 00:35:36,392 --> 00:35:38,765 That's a pretty nice gun you've got too. 493 00:35:38,791 --> 00:35:39,687 I'm sorry, I don't let 494 00:35:39,689 --> 00:35:41,514 anybody handle it. 495 00:35:41,539 --> 00:35:43,951 Killed a man with it last year. 496 00:35:43,977 --> 00:35:45,840 Did he have it coming to him? 497 00:35:45,866 --> 00:35:49,579 Yes, but it wasn't much fun watching him go down. 498 00:35:49,581 --> 00:35:51,778 He had no idea, he was getting... 499 00:35:53,274 --> 00:35:56,410 The staging looks so real that passers-by yelled, 500 00:35:56,435 --> 00:35:58,418 ‘They've held up a bank!’ 501 00:36:00,645 --> 00:36:01,914 Take off! 502 00:36:02,758 --> 00:36:07,889 The deadly passion and stylistic innovation of Gun Crazy were a major influence 503 00:36:07,914 --> 00:36:11,337 on a much later film, Bonnie and Clyde, 504 00:36:11,362 --> 00:36:14,684 about the anxiety of a couple that robs banks. 505 00:36:14,977 --> 00:36:17,666 Your mama could take this bank. 506 00:36:20,819 --> 00:36:22,405 Straight between the eyes. 507 00:36:22,430 --> 00:36:24,420 She didn't fool me for a minute. Not this time. 508 00:36:25,131 --> 00:36:29,164 Paul Schrader says that noir died out in 1958 509 00:36:29,190 --> 00:36:34,264 but its influence can be seen much later, in L.A. confidential 510 00:36:34,289 --> 00:36:39,882 in which Kim Basinger pretends to be Veronica Lake in this Gun for Hire. 511 00:36:40,903 --> 00:36:43,655 In Blade Runner, in which Sean Young 512 00:36:43,680 --> 00:36:48,685 walks through shadows in a pool of light, like a film noir, femme fatale. 513 00:36:49,586 --> 00:36:55,149 In The dark Knight, in which the city is fetid and morally dark. 514 00:36:59,445 --> 00:37:05,252 And even in Mumbai noir, such as Shiva by Ram Gopal Varma, 515 00:37:05,278 --> 00:37:08,622 all shadows and low camera angles. 516 00:37:12,043 --> 00:37:16,073 The influence of film noir has travelled the world. 517 00:37:20,710 --> 00:37:24,783 So American film in the 40s was newly serious, 518 00:37:24,808 --> 00:37:28,758 but did film noir smash the bauble of romantic cinema? 519 00:37:30,967 --> 00:37:32,805 If you've seen this: 520 00:37:33,218 --> 00:37:36,796 the sweeping camera moves and sweeping emotions of Titanic, 521 00:37:36,862 --> 00:37:38,923 you'll know that the answer is no. 522 00:37:39,886 --> 00:37:42,522 Romantic cinema continued. 523 00:37:43,077 --> 00:37:48,646 But even to live in L.A. in the late 40s and 50s started to feel different. 524 00:37:48,671 --> 00:37:51,585 Ernst Lubitsch died in 1947. 525 00:37:51,895 --> 00:37:56,165 D.W. Griffith and Greg Toland, American cinema's civilizer 526 00:37:56,190 --> 00:38:01,216 and its deep space experimenter, both died in 1948. 527 00:38:03,474 --> 00:38:09,387 Louis Lumière in France died too, as did Eisenstein in the USSR. 528 00:38:10,584 --> 00:38:15,757 Judy Balaban's dad, Barney, ran Paramount studios for decades, 529 00:38:15,783 --> 00:38:20,634 so she was at the center of it all, and was engaged to Montgomery Clift. 530 00:38:20,643 --> 00:38:26,310 Originally our friends were very light-hearted 531 00:38:26,335 --> 00:38:29,131 and there was a lot of socializing and parties 532 00:38:29,156 --> 00:38:31,585 and small talk and vacations and whatever. 533 00:38:31,612 --> 00:38:34,267 I mean, you know, we were close to Janet and Tony and Dean 534 00:38:34,292 --> 00:38:38,117 and Jean Martin and I was close to Sammy Davis from New York 535 00:38:38,143 --> 00:38:41,329 so we were close to Sammy and, you know, the whole rat pack thing. 536 00:38:41,355 --> 00:38:46,159 Sinatra and Gene Kelly lived across the street from us 537 00:38:46,161 --> 00:38:50,006 and Debbie and Eddie, you know, it was just a lot of people 538 00:38:50,032 --> 00:38:54,202 having a lot of parties, frankly. 539 00:38:54,209 --> 00:39:00,510 But there came a moment in time where a lot of that shifted. 540 00:39:00,512 --> 00:39:03,931 I was married to Tony Franciosa by then. 541 00:39:03,933 --> 00:39:09,633 But the world began to be more conscious of itself in the larger sphere 542 00:39:09,659 --> 00:39:14,317 than just simply the insular sense of whatever your own neighborhood was, 543 00:39:14,327 --> 00:39:16,774 whether it was in the mid-west or Hollywood, 544 00:39:16,799 --> 00:39:20,547 suddenly there was a more universal consciousness. 545 00:39:20,572 --> 00:39:24,234 I look at periods were movies seem to be ahead of everything, 546 00:39:24,260 --> 00:39:27,606 and then there are periods where they seem to be behind everything 547 00:39:27,632 --> 00:39:29,120 else in the world. 548 00:39:29,201 --> 00:39:35,525 So for example... the McCarthy era, 549 00:39:35,552 --> 00:39:42,571 would be a time when movies were caught in the more backward part of that era. 550 00:39:47,757 --> 00:39:50,878 Calling the house Un-American Activities Committee to order, 551 00:39:50,903 --> 00:39:54,717 chairman J. Parnell Thomas of New Jersey opens an enquiry 552 00:39:54,742 --> 00:39:58,323 into possible communist penetration of the Hollywood film industry. 553 00:39:58,356 --> 00:40:02,241 The committee you see came to determine if red party members reached the screen 554 00:40:02,266 --> 00:40:03,956 with subversive propaganda. 555 00:40:06,473 --> 00:40:09,978 The question is: have you ever been a member of the communist party? 556 00:40:10,003 --> 00:40:13,970 I'm framing my answer in the only way in which any American citizen 557 00:40:13,995 --> 00:40:15,524 can frame his answer. 558 00:40:15,549 --> 00:40:18,431 Then you deny... 559 00:40:21,404 --> 00:40:24,691 At these hearings, which started in 1947, 560 00:40:24,716 --> 00:40:30,603 50 studio bosses and producers agreed to sack any of their employees 561 00:40:30,630 --> 00:40:32,762 who would not co-operate with the government's 562 00:40:32,787 --> 00:40:37,252 new Anti-communist House Un-American Activities Committee (Huac). 563 00:40:41,287 --> 00:40:47,298 This new poison in Hollywood life also helped create the seriousness of film noir. 564 00:40:48,866 --> 00:40:54,796 The most principled filmmakers refused to testify against leftists. 565 00:40:56,612 --> 00:41:03,227 Others named names, and great artists were banned from working: Blacklisted. 566 00:41:05,565 --> 00:41:10,528 Those affected included Abraham Polonsky, Charlie Chaplin, Dolores Del Rio, 567 00:41:10,553 --> 00:41:13,079 Paul Robeson and Dalton Trumbo. 568 00:41:14,384 --> 00:41:20,045 The House Un-American Activities became the single biggest trauma in American cinema. 569 00:41:20,051 --> 00:41:24,461 The great cinematographer Haskell Wexler shot America, America 570 00:41:24,486 --> 00:41:29,404 for director Elia Kazan, who testified against the leftists. 571 00:41:30,169 --> 00:41:38,870 Kazan was a tremendously talented man and I talked to him 572 00:41:38,896 --> 00:41:42,386 a couple of times about it, but one of the things I remember he said, 573 00:41:42,412 --> 00:41:46,760 the main thing about directing is casting. 574 00:41:46,785 --> 00:41:49,762 When Kazan's name came up 575 00:41:49,788 --> 00:41:52,707 for a lifetime achievement award at the academy, 576 00:41:52,733 --> 00:41:58,011 I didn't think that Gadge, as we called him, should get that award 577 00:41:58,037 --> 00:42:05,888 and Karl Rollins said, ‘look, he is dying, he's a great director. 578 00:42:05,914 --> 00:42:08,416 I'm going to vote for him.’ 579 00:42:08,441 --> 00:42:22,368 So, I did and I wrote to Gadge and I said, ‘dear Gadge, I voted for you 580 00:42:22,394 --> 00:42:26,289 because I think you deserved the lifetime achievement award. 581 00:42:26,314 --> 00:42:31,659 I thought... I think it might be good if you said something 582 00:42:31,685 --> 00:42:35,260 which may sound euphemistic, that you're saying that you're sorry. 583 00:42:35,285 --> 00:42:38,912 That you may have hurt some people.’ 584 00:42:38,937 --> 00:42:46,932 I forget exact words I used, but... And my nickname was Pete, 585 00:42:46,959 --> 00:42:49,731 for many years, given to me by a whore in Puerto Rico. 586 00:42:49,756 --> 00:42:59,772 And she... And Kazan wrote me back: ‘Pete, go fuck yourself, Gadge.’ 587 00:42:59,797 --> 00:43:07,664 And that's the way he was to the moment he died. 588 00:43:07,689 --> 00:43:12,999 He must have felt guilt that he couldn't admit? 589 00:43:13,024 --> 00:43:19,327 Well, I mean... It certainly was an important thing, 590 00:43:19,353 --> 00:43:22,142 that he didn't have to squeal, 591 00:43:22,168 --> 00:43:27,293 he didn't have to, he was on the top, he was on the top of the world. No. 592 00:43:27,319 --> 00:43:33,401 And you're right. Rod Steiger and a lot of other people didn't... 593 00:43:33,426 --> 00:43:36,530 Would not accept anything about him. 594 00:43:39,010 --> 00:43:42,027 Kazan's Oscar award was televised of course. 595 00:43:42,052 --> 00:43:46,951 The famous reaction shots of the Oscar's broadcast were more telling than ever. 596 00:43:46,976 --> 00:43:50,591 Karl Malden, Warren Beatty stand and clap Kazan. 597 00:43:51,253 --> 00:43:57,273 Steven Spielberg sits and claps, Ed Harris and Amy Madigan don't clap at all. 598 00:43:59,411 --> 00:44:05,004 Meryl Streep and Lynne Redgrave clap, Nick Nolte doesn't. 599 00:44:10,242 --> 00:44:14,710 Back in 1949, the House Un-American Activities Committee chairman, 600 00:44:14,735 --> 00:44:19,587 J. Parnell Thomas, was sentenced to prison for embezzlement. 601 00:44:20,641 --> 00:44:24,169 The walk of fame in Hollywood Boulevard has stars dedicated 602 00:44:24,194 --> 00:44:29,133 to minor show biz personalities, but still doesn't carry the name 603 00:44:29,158 --> 00:44:31,663 of many of the blacklistees. 604 00:44:33,513 --> 00:44:37,860 And there were other momentous changes in the American film industry at the time. 605 00:44:37,885 --> 00:44:46,618 In 1948, the five main studios were forced by the US supreme court to sell their cinemas. 606 00:44:46,643 --> 00:44:51,613 One of them, Paramount sold 1,450 of them. 607 00:44:51,638 --> 00:44:56,031 The government began the anti-trust action against them because 608 00:44:56,056 --> 00:45:02,643 they said you cannot, produce, distribute and exhibit a product without being, 609 00:45:02,669 --> 00:45:06,268 you know, violating anti-trust laws. 610 00:45:07,696 --> 00:45:14,130 And so the government began this investigation and sued against the industry. 611 00:45:14,155 --> 00:45:19,598 It went on for some years and my father could see, as he felt, that the handwriting 612 00:45:19,632 --> 00:45:24,103 was on the wall and that no matter how long they fought it, they were going to lose. 613 00:45:25,044 --> 00:45:28,471 So he made a decision on behalf of what he felt was the right thing 614 00:45:28,496 --> 00:45:34,896 for the shareholders of the company that they should stop fighting this, 615 00:45:34,921 --> 00:45:39,108 stop spending money on it and figure out how to, you know, 616 00:45:39,134 --> 00:45:42,499 restructure the company so that there were two separate organizations. 617 00:45:42,524 --> 00:45:44,593 One of which would produce and distribute the film 618 00:45:44,618 --> 00:45:47,129 and the other one of which would be a theatre company. 619 00:45:47,621 --> 00:45:50,770 But in the early 50s, just as the studio system, 620 00:45:50,796 --> 00:45:53,977 what Stanley Donen called ‘the garden’, was dying, 621 00:45:54,003 --> 00:45:58,593 so it produced some of its most splendid blooms. 622 00:46:05,955 --> 00:46:09,572 At MGM, Cosmopolitan producer Arthur Freed gave 623 00:46:09,597 --> 00:46:14,508 sophisticates like Gene Kelly, Vincent Minelli and Stanley Donen, 624 00:46:14,533 --> 00:46:18,533 a chance to show that the studios still had joy in them, 625 00:46:18,559 --> 00:46:20,368 and beauty too. 626 00:46:21,849 --> 00:46:25,003 This extended dance sequence in An American in Paris 627 00:46:25,028 --> 00:46:28,174 was influenced by the success of the remarkable one 628 00:46:28,199 --> 00:46:30,852 in the British film The red Shoes. 629 00:46:32,584 --> 00:46:36,814 Flashing red lights, painted studio back drops. 630 00:46:42,572 --> 00:46:47,422 Gene Kelly was a leftist, and abhorred the anti-communist witch hunts. 631 00:46:47,447 --> 00:46:52,629 But both he and Stanley Donen, who started as a choreographer, 632 00:46:52,654 --> 00:47:00,634 were Americans born and bred, not émigrés, and at first their outlook was optimistic. 633 00:47:01,798 --> 00:47:07,419 Drawn from vaudeville and clowning as this scene shows. 634 00:47:15,774 --> 00:47:20,350 Like many of his generation, Donen found the design, dance and sexuality 635 00:47:20,376 --> 00:47:25,231 of the Fred Astaire-Ginger Rogers musicals of the 30s entrancing. 636 00:47:25,900 --> 00:47:30,282 I was nine years old and I was a little boy in a Southern town 637 00:47:30,309 --> 00:47:34,805 in South Carolina, where I was born and grew up, and I had never 638 00:47:34,815 --> 00:47:37,397 experienced anything like that... 639 00:47:37,423 --> 00:47:43,084 And I was not in... anyway... my family wasn't related to dancing or movies 640 00:47:43,109 --> 00:47:51,211 or anything and this moment of transcended life, real life... 641 00:47:52,097 --> 00:47:59,378 There they were dancing to the music, enjoying being alive, 642 00:47:59,404 --> 00:48:02,749 expressing their feelings . 643 00:48:08,583 --> 00:48:16,919 The idea of Gene Kelly singing in the rain and letting the rain hit him, is a... 644 00:48:16,945 --> 00:48:22,534 That's the idea that he is so joyful, that rain is a pleasure, 645 00:48:22,560 --> 00:48:24,953 he is not worried about getting wet, 646 00:48:24,953 --> 00:48:28,223 he is thrilled with being in love. 647 00:48:31,677 --> 00:48:34,813 The camera expresses the joy in itself without Gene, 648 00:48:34,839 --> 00:48:36,792 without even Gene Kelly just being there! 649 00:48:36,817 --> 00:48:38,731 Just the uplift of the camera?! 650 00:48:38,757 --> 00:48:41,085 It's not the uplift of the camera, 651 00:48:41,110 --> 00:48:45,592 it's the photograph of the camera being uplifted. 652 00:48:45,617 --> 00:48:49,693 It's what the camera sees that does it, the camera does nothing, 653 00:48:49,719 --> 00:48:52,628 it just does what we tell it to do. 654 00:48:53,430 --> 00:48:55,565 I can't talk to the camera and say, 655 00:48:55,590 --> 00:49:00,134 ’now lift up. I want to feel the joy of being weightless.’ 656 00:49:00,159 --> 00:49:05,361 I've said this to people before - if you say to a writer, 657 00:49:05,386 --> 00:49:10,994 ’does the pencil write the story?’ Of course it doesn't! 658 00:49:11,019 --> 00:49:15,219 And the camera is just the pencil that we're working with. 659 00:49:16,660 --> 00:49:21,057 In Singin' in the Rain, Donen and Kelly did a kaleidoscopic sequence 660 00:49:21,082 --> 00:49:25,307 to make fun of the Busby Berkeley numbers, which they hated. 661 00:49:40,363 --> 00:49:42,948 I used to think they were terrible. 662 00:49:42,974 --> 00:49:47,896 Absolutely terrible and I thought they were awful for a long time. 663 00:49:48,235 --> 00:49:52,925 And now when I look at them, I think they really are unique 664 00:49:52,950 --> 00:49:57,844 and wonderful and they have a point of view and I like them a lot. 665 00:49:58,162 --> 00:50:02,648 What's interesting is they didn't change at all, I've changed. 666 00:50:02,654 --> 00:50:06,273 They are what they are. A film locks it. 667 00:50:06,275 --> 00:50:08,653 It's like the written word on the page. 668 00:50:08,655 --> 00:50:10,041 It doesn't change. 669 00:50:10,066 --> 00:50:14,159 It's only our opinion of what it means that changes. 670 00:50:14,184 --> 00:50:16,167 Strong word, not in the theatre. 671 00:50:16,168 --> 00:50:17,707 The president isn't in the theatre. 672 00:50:17,709 --> 00:50:19,595 No, that's right. 673 00:50:19,825 --> 00:50:25,178 Change in Donen's life and work echoes the change in Hollywood itself. 674 00:50:25,203 --> 00:50:30,416 In his film Indiscreet, starring Cary Grant and Ingrid Bergman, for example, 675 00:50:30,441 --> 00:50:34,566 he used an innovative technique to challenge censorship. 676 00:50:36,239 --> 00:50:40,285 The leading man and the leading lady, even if they were married, 677 00:50:40,310 --> 00:50:42,239 couldn't be in bed together. 678 00:50:42,264 --> 00:50:43,806 It was censorship. 679 00:50:43,999 --> 00:50:49,035 If they were married they had to be in twin beds in the same room 680 00:50:49,044 --> 00:50:53,871 and I wanted to show how intimate they were. 681 00:50:53,897 --> 00:50:58,580 And so I said, ‘I have an idea of how I'll have them in bed together 682 00:50:58,606 --> 00:51:02,703 and the censors won't be able to do anything about it.’ 683 00:51:02,728 --> 00:51:08,023 In order to do it, so I could time it and everything, I built both sets, 684 00:51:08,049 --> 00:51:11,490 both bedrooms, on the same sound stage. 685 00:51:11,515 --> 00:51:16,051 I had a camera on each person, we did it all at once 686 00:51:16,077 --> 00:51:20,545 and I could watch them and say, you know, ‘do this. Do that.’ 687 00:51:20,571 --> 00:51:23,932 And so it was done as a spilt screen but we photographed it 688 00:51:23,958 --> 00:51:27,043 as though it was happening all at once. 689 00:51:29,064 --> 00:51:30,969 How long is this going to go on? 690 00:51:32,124 --> 00:51:33,286 How long is what going to go on? 691 00:51:33,311 --> 00:51:34,624 The pretense that we're happy? 692 00:51:34,968 --> 00:51:36,284 We've never pretended we're happy! 693 00:51:36,309 --> 00:51:37,779 Who's pretending? You are. 694 00:51:37,804 --> 00:51:38,661 That we're happily married. 695 00:51:38,687 --> 00:51:40,107 That you wanted to stay with me. 696 00:51:40,133 --> 00:51:46,000 And, as in American cinema in general, melancholia entered Donen's cinema. 697 00:51:47,161 --> 00:51:50,473 Two for the Road was about a married couple. 698 00:51:50,498 --> 00:51:55,592 We see one of the first road trips they took together and one of the last. 699 00:51:55,617 --> 00:51:58,711 The movie intercuts the time periods. 700 00:52:01,943 --> 00:52:05,253 You have to admit it. We've changed. 701 00:52:05,278 --> 00:52:06,822 I admit it, we've changed. 702 00:52:06,847 --> 00:52:08,419 It's sad but there it is. 703 00:52:08,592 --> 00:52:13,244 People back then used to say to me, ‘I love that movie! It's so romantic!’ 704 00:52:13,269 --> 00:52:20,068 And I would be stunned and say, ‘it's such a hard, tough look at marriage, 705 00:52:20,094 --> 00:52:22,139 why do you think of it as romantic?’ 706 00:52:22,165 --> 00:52:24,207 'Cause that's what I wanted it to be, 707 00:52:24,232 --> 00:52:27,471 to show you how people could live together, 708 00:52:27,496 --> 00:52:33,024 the abrasions, the buffeting against each other... 709 00:52:33,535 --> 00:52:40,641 and yet the way that you really appreciate your partner. 710 00:52:41,454 --> 00:52:45,258 By this time, Donen had made 21 films, 711 00:52:45,283 --> 00:52:48,171 some of the greatest to come out of Hollywood. 712 00:52:48,196 --> 00:52:51,295 He was just 43 years old. 713 00:52:53,268 --> 00:52:56,103 Did you feel as if you had run out of things to do? 714 00:52:56,105 --> 00:53:00,145 Oh god no, no. 715 00:53:00,171 --> 00:53:03,216 I mean, if you feel you've run out of things to do 716 00:53:03,241 --> 00:53:07,317 it means you think you're stupid, you have nothing more to say, 717 00:53:07,342 --> 00:53:11,726 I didn't think that. I don't even think it now. 718 00:53:12,661 --> 00:53:17,236 What else did you have to say then and what else do you have to say now? 719 00:53:19,205 --> 00:53:24,131 I think of Diaghilev with Nijinsky, you know? 720 00:53:24,161 --> 00:53:26,562 Diaghilev was supposed to have said to Nijinsky 721 00:53:26,587 --> 00:53:29,767 when he was asking him to do a ballet, 722 00:53:29,792 --> 00:53:31,443 ‘étonne moi!!’ 723 00:53:31,468 --> 00:53:34,988 astonish me... well, that's what I am still trying to do. 724 00:53:35,013 --> 00:53:38,384 I still want to astonish you about my understanding 725 00:53:38,409 --> 00:53:41,188 of what it's all about, how it is. 726 00:53:41,213 --> 00:53:44,983 How we react to it and what can I do? 727 00:53:45,373 --> 00:53:47,567 Just as Donen's films would do, 728 00:53:47,592 --> 00:53:53,309 so mainstream American cinema on the whole grew up in the '40s, and early '50s, 729 00:53:53,334 --> 00:53:55,308 the years of devastation. 730 00:53:55,887 --> 00:53:59,034 Under the influence of war and Italian Neo-realism, 731 00:53:59,059 --> 00:54:01,642 American movies became darker. 732 00:54:02,332 --> 00:54:06,679 Life in mainstream American cinema was no longer a bowl of cherries. 733 00:54:08,373 --> 00:54:12,118 And deep focus, deep staging, film noir lighting 734 00:54:12,143 --> 00:54:15,116 and the influence of Orson Welles 735 00:54:15,142 --> 00:54:20,542 had all given American film style new punch and portent. 736 00:54:25,020 --> 00:54:29,495 In Britain in the '40s and '50s we find films that best sum up 737 00:54:29,520 --> 00:54:32,141 the movie complexities of this time of war. 738 00:54:32,988 --> 00:54:37,879 An RAF bomber pilot's plane has been hit and is on fire. 739 00:54:38,639 --> 00:54:41,379 He has no parachute, so is about to die. 740 00:54:41,404 --> 00:54:43,695 His last words are to an American woman 741 00:54:43,720 --> 00:54:45,339 on a ground control base. 742 00:54:48,503 --> 00:54:52,947 English director Michael Powell and Hungarian writer Emeric Pressburger, 743 00:54:52,972 --> 00:54:57,632 plunge us into a moment of searing drama, romantic dialogue, 744 00:54:57,657 --> 00:55:03,430 shallow focus, rich color and lighting that hides tears. 745 00:55:03,717 --> 00:55:05,110 Are you in love with anybody? 746 00:55:05,113 --> 00:55:06,617 No, no don't answer that! 747 00:55:06,643 --> 00:55:08,505 I could love a man like you, Peter. 748 00:55:08,532 --> 00:55:11,128 I love you, June. You're alive and I'm leaving you. 749 00:55:11,154 --> 00:55:12,472 Where do you live? On the station? 750 00:55:12,498 --> 00:55:15,202 No, in a big country house about five miles from here. 751 00:55:15,204 --> 00:55:16,140 Leigh wood house. 752 00:55:16,142 --> 00:55:17,951 Old house? Yes, very old. 753 00:55:17,977 --> 00:55:19,722 Good. I'll be a ghost and come and see you. 754 00:55:19,747 --> 00:55:20,985 You're not frightened of ghosts are you? 755 00:55:21,011 --> 00:55:22,257 It would be awful if you were. 756 00:55:22,463 --> 00:55:27,009 They formed company together in 1942 and made films like this one 757 00:55:27,034 --> 00:55:31,487 which were almost mystical in their Englishness, their romance, 758 00:55:31,513 --> 00:55:33,587 their opposition to documentary. 759 00:55:34,573 --> 00:55:36,555 The airman seems not to die, 760 00:55:36,580 --> 00:55:39,570 but, instead, to have suffered brain damage. 761 00:55:40,124 --> 00:55:44,511 During losses in consciousness, he imagines going to heaven 762 00:55:44,536 --> 00:55:48,526 to argue for more time on earth, because he has fallen in love 763 00:55:48,551 --> 00:55:49,993 with the American woman. 764 00:55:50,969 --> 00:55:55,312 Heaven's in black and white, an art director's fantasy. 765 00:55:56,622 --> 00:55:59,874 The title of the film, A matter of life and death, 766 00:55:59,899 --> 00:56:02,106 tells us what it deals with. 767 00:56:02,131 --> 00:56:06,459 The biggest things in life, especially when the world's at war. 768 00:56:06,849 --> 00:56:09,836 Powell and Pressburger showed that moviemakers didn't have to choose 769 00:56:09,861 --> 00:56:15,609 between honesty about the trauma of war and the high style of romantic cinema. 770 00:56:16,197 --> 00:56:20,888 No other filmmakers of their time could so combine the two. 771 00:56:21,799 --> 00:56:24,294 And another English filmmaker of the 40s told us 772 00:56:24,320 --> 00:56:27,996 that war and trauma bring out the best in us. 773 00:56:28,021 --> 00:56:30,684 Here he is, Humphrey Jennings. 774 00:56:30,709 --> 00:56:35,658 Posh, skinny, playing a post man who's so devoted to his duty 775 00:56:35,684 --> 00:56:40,304 that even after he's tied up, he still gets his letter delivered. 776 00:56:40,845 --> 00:56:45,184 Soon he was directing, with a poetic style all of his own. 777 00:56:45,209 --> 00:56:48,608 The great British director Terence Davies reveres Jennings. 778 00:56:48,633 --> 00:56:51,842 Yes, even if he had made only Listen to Britain, 779 00:56:51,867 --> 00:56:55,847 it's one of the great poems... that's a voice. 780 00:57:02,357 --> 00:57:06,074 The most moving sequence is around the national gallery 781 00:57:06,103 --> 00:57:09,803 and when... the people are just enjoying the song 782 00:57:09,829 --> 00:57:13,267 and it may be their last summer where they are free 783 00:57:13,292 --> 00:57:17,506 and you see Marie Hersh playing one of the Mozart piano concertos 784 00:57:17,531 --> 00:57:20,275 and you just think what he is saying is that... 785 00:57:20,300 --> 00:57:23,243 something that is quintessentially British. 786 00:57:23,268 --> 00:57:24,930 That no one else has got. 787 00:57:24,957 --> 00:57:29,313 We've got that and we were prepared to fight for it. 788 00:57:30,723 --> 00:57:32,976 Jennings believed that because British people 789 00:57:33,001 --> 00:57:36,905 shared the same landscapes, history and culture, 790 00:57:36,931 --> 00:57:39,937 they've got a collective unconscious. 791 00:57:40,280 --> 00:57:42,457 What he called the ‘legacy of feeling.’ 792 00:57:42,482 --> 00:57:45,395 The thing that gets people through trauma together. 793 00:57:46,073 --> 00:57:49,045 And in terms of film style, Jennings felt that 794 00:57:49,070 --> 00:57:51,538 there is a force field between shots. 795 00:57:51,727 --> 00:57:55,231 Look at this moment, again from Listen to Britain. 796 00:57:55,256 --> 00:57:57,833 A half dozen tin hats. 797 00:57:57,858 --> 00:58:00,740 Then cut to five bare headed women. 798 00:58:00,765 --> 00:58:03,136 Their heads where the hats were. 799 00:58:03,161 --> 00:58:07,990 Then a statue of Charles I, who was beheaded. 800 00:58:12,782 --> 00:58:18,440 Three images together giving us an eerie feeling of vulnerability of heads. 801 00:58:18,749 --> 00:58:21,790 The cinematic sum, greater than its parts. 802 00:58:21,815 --> 00:58:25,885 Eisenstein's 1 1=3 again. 803 00:58:28,362 --> 00:58:33,785 And in 1949, a final British film, marvelously summed up 804 00:58:33,810 --> 00:58:39,024 the changes in western cinema, the trauma, poetics, the expressionism 805 00:58:39,049 --> 00:58:41,806 and shadow play, in these years. 806 00:58:42,610 --> 00:58:46,471 The third Man is set in Vienna after World War II, 807 00:58:46,496 --> 00:58:49,631 a city split between the victors. 808 00:58:50,660 --> 00:58:53,784 The film's writer, the catholic novelist Graham Greene, 809 00:58:53,809 --> 00:58:58,008 planted, at the heart of his story, a great moral crime. 810 00:58:58,593 --> 00:59:04,703 A man, Harry Lime, played by Orson Welles is making money by selling penicillin 811 00:59:04,728 --> 00:59:06,546 that's supposed to treat children. 812 00:59:07,209 --> 00:59:11,639 Director Carol Reed liked the seriousness of this idea. 813 00:59:11,664 --> 00:59:15,826 Its pessimism reminded him of the 30s French poetic realist films 814 00:59:15,851 --> 00:59:17,189 he so admired. 815 00:59:18,111 --> 00:59:23,591 He and his cinematographer filmed many shots off the horizontal axis, 816 00:59:23,617 --> 00:59:26,210 to show the moral imbalance. 817 00:59:36,014 --> 00:59:40,035 Director Reed had edited this Oscar winning wartime documentary - 818 00:59:40,279 --> 00:59:42,189 Miles of wire netting for the beaches. 819 00:59:42,191 --> 00:59:44,864 Seventy-two hundred tons of petrol per day. 820 00:59:44,947 --> 00:59:47,272 With an underwater pipeline to carry it to France. 821 00:59:47,298 --> 00:59:49,636 A white star is the emblem of liberation - 822 00:59:49,662 --> 00:59:53,438 and, like the Italians and some of American filmmakers, 823 00:59:53,463 --> 00:59:58,239 felt that cinema had to engage more with reality. 824 00:59:59,778 --> 01:00:04,844 This sequence in The third Man, in which Welles' Lime is first revealed, 825 01:00:04,869 --> 01:00:10,076 had the expressionist bravura of Welles' own film, Citizen Kane. 826 01:00:45,126 --> 01:00:50,304 In this famous ending, Lime's descent, disappointed friend, Holly Martins, 827 01:00:50,330 --> 01:00:55,927 stands to the left of the image, waiting for Anna, Lime's old girlfriend, 828 01:00:55,953 --> 01:00:58,567 whom Holly has come to love. 829 01:00:58,592 --> 01:01:02,009 She walks towards him from the extreme distance... 830 01:01:02,034 --> 01:01:04,120 the deep staging of Welles. 831 01:01:04,979 --> 01:01:08,749 Reed doesn't cut the shot, or dissolve the walk 832 01:01:08,774 --> 01:01:11,891 as Scorsese would later do in Taxi Driver. 833 01:01:25,458 --> 01:01:30,776 Reed lets Anna walk the whole way, in real time, 834 01:01:30,802 --> 01:01:35,076 the de-dramatized time of Italian Neo-realism. 835 01:01:35,101 --> 01:01:40,227 Writer Greene envisaged a happy ending, where Anna would take Holly's arm. 836 01:01:40,556 --> 01:01:45,209 As Roman Polanski would do decades later with the ending of Chinatown, 837 01:01:45,235 --> 01:01:47,985 Reed rejected such optimism. 838 01:01:48,010 --> 01:01:52,035 Anna turns away from Holly and walks out of shot. 839 01:01:52,060 --> 01:01:55,760 She prefers the memory of the rogue Harry Lime 840 01:01:55,794 --> 01:01:57,989 to the weak, decent man. 841 01:01:58,723 --> 01:02:03,247 One of the most daring endings in mainstream film history. 842 01:02:04,201 --> 01:02:07,157 One of the greatest films ever made, 843 01:02:07,183 --> 01:02:11,273 The third Man is a compendium of 40s cinema. 844 01:02:13,081 --> 01:02:17,540 The new moral seriousness of the movies, their realism and deep staging, 845 01:02:17,565 --> 01:02:24,607 would sweep across the world in the '50s, to India, Africa, South America and Japan. 846 01:02:28,582 --> 01:02:33,879 New continents of filmmaking would emerge, new stories and styles, 847 01:02:33,904 --> 01:02:36,393 framings and visions. 848 01:02:36,419 --> 01:02:41,419 For the first time in the story of film, cinema would be global.