Original subtitles

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♪ >>> LET’S GO TO THE MOVIES.

FOR MORE THAN HALF A CENTURY, THESE WORDS HAVE MEANT AN

INVITATION TO MAGIC. THE MAGIC OF MOVING PICTURES.

THE SPINNING OF DREAMS IN A DARKENED THEATER.

FOR THREE DECADES, THE DREAMS WERE SILENT ONES.

THE MAGIC OF MOVEMENT ALONE. THEN SUDDENLY, ON A NIGHT IN

OCTOBER 1927, A VOICE WAS HEARD FROM THE SCREEN.

PROCLAIMING A FABULOUS ERA IN HOLLYWOOD.

THE NIGHT THE MOVIES BECAME THE TALKIES WITH THE PREMIERE OF A

JAZZ SINGER AND THE VOICE OF AL JOLSON.

>> IT’S INTERESTING THE FIRST SOUND MOTION PICTURE WAS A

MUSICAL IN WHICH AL JOLSON ONLY SANG AND THE REASON FOR THAT IS

THEY SAID, WELL, WHO WANTS TO HEAR ACTORS TALK.

>> MOST OF THE RUNNING TIME IT’S A SILENT FILM USING TITLES WITH

AN ORCHESTRA SCORE. EVERY ONCE IN A WHILE THE

ORCHESTRA STOPS AND JOLSON POPS UP AND STARTS SINGING.

♪ WONDERFUL TALES ARE ALWAYS HARD TO FIND ♪

♪ SOME FOLKS HAVE ONE SOME FOLKS HAVE NONE ♪

>> JOLSON ALWAYS TALKED TO HIS AUDIENCE.

HE WAS KNOWN FOR HIS PATTER. AND SPECIFICALLY, HIS CATCH

PHRASE WHICH HE’D BEEN SAYING SINCE 1906.

>> YOU AIN’T HEARD NOTHING YET. WAIT A MINUTE.

YOU AIN’T HEARD NOTHING. >> HE SAID THAT WHEN THEY WERE

RECORDING THE AUDIO SO THE FIRST WORDS WE HEAR IN DIALOGUE IN A

FILM WERE, YOU AIN’T HEARD NOTHING YET.

>> THE FIRST FULL TALKING FEATURE, "LIGHTS OF NEW YORK,"

IS A VERY DULL PSEUDOGANGSTER FILM WITH PEOPLE YOU’VE NEVER

HEARD OF SITTING AROUND A TABLE AND A TELEPHONE IN THE MIDDLE

WHERE, OBVIOUSLY, THE MICROPHONE EXISTS.

AND THEY’RE ALL LEANING TOWARD IT.

>> TAKE HIM FOR A RIDE. OH.

>> AND THE FILM CAME OUT, AND IT JUST BLEW THE ROOF OFF.

AND NOBODY COULD FIGURE IT OUT BECAUSE EVERYBODY KNEW IT WAS A

TERRIBLE MOVIE. THE ONLY THING THAT COULD

POSSIBLY BE RESPONSIBLE FOR THAT KIND OF PUBLIC RESPONSE WAS THE

FACT THAT IT WAS ALL TALKING. SO THAT’S THE MOVIE THAT REALLY

CHANGED THE EQUATION. >> ACTRESSES AND ACTORS IN THE

SILENT PERIOD HAD TO LOOK A CERTAIN WAY.

YOU GET SOUND AND A LOT OF THOSE PEOPLE ARE PUT OUT OF A JOB IF

THEY DON’T SOUND THE RIGHT WAY. >> I DON’T MIND IF YOU CLOSE

THAT DOOR. >> I LIKE THEM OPEN.

THEY’RE EASIER TO GET OUT THROUGH.

>> JOHN GILL BERT WAS HAVING TROUBLE IN SOUND AND HIS FILMS

WEREN’T MAKING MONEY. >> A VERY BIG STAR.

>> I WAS WALKING UP AND DOWN. MADE ONE OR TWO TALKIES.

QUIT THE BUSINESS. >> THE VERY LAST SILENT FILM MGM

MADE CALLED "THE KISS" WAS A GRETA GARBO FILM.

THEY WERE AFRAID THEIR BIGGEST STAR WOULD LOSE THEIR AUDIENCE

WHEN THEY HEARD HER SPEAK WITH HER SWEDISH ACCENT.

IT WAS CALLED ANNA CHRISTIE AND GARBO TALKS WAS THE TAG LINE.

EVERYONE WAS EXCITED TO HEAR WHAT SHE’D SOUND LIKE, AND SHE

DIDN’T DISAPPOINT. IF YOU LOOK AT THAT FAMOUS SCENE

IN THE BARKS THERE’S A GOOD 20 SECONDS OF NO MUSIC, NO

DIALOGUE, NO NOTHING, AND IT REALLY BUILDS THE SUSPENSE.

>> GIVE ME A WHISKEY. >> GIVE ME A WHISKEY, BABY.

>> GRETA GARBO WAS FULL OF MYSTERY AND BEAUTY AND TALENT.

SHE JUST DIDN’T TRY SO MUCH. YOU KNOW WHAT I MEAN?

SHE WAS COOL. ♪

>> MGM WAS SORT OF LIKE THE HARVARD OF HOLLYWOOD.

IT WAS THE PLACE THAT EVERY STAR WANTED TO GRADUATE TO.

IT HAD GARBO. IT HAD GABEL, SPENCER TRACY.

IT OFFERED TO THE PUBLIC A SENSE OF ESCAPE INTO A WORLD OF CLASS

AND REFINEMENT. ON THE OTHER HAND, UNIVERSAL

PICTURES WAS CONSTANTLY ON THE FINANCIAL SHOALS THROUGHOUT THE

1930s. THEY COULDN’T AFFORD MOVIE

STARS. AND THE STRATEGY IS FINALLY

SETTLED ON WAS MAKING HORROR MOVIES.

>> I AM DRACULA. >> THE UNIVERSAL HORROR MOVIES

ARE PRIMAL. THEY JUST DRIPING WITH

ATMOSPHERE. LOOK AT DRACULA.

THE LOOK OF IT IS PART OF THE ENERGY OF IT.

PART OF THE CHARACTER. IT’S PART OF THE VIBE.

>> THE SPIDER IS SPINNING HIS WEB FOR THE FLY.

THE BLOOD IS DELIGHT. >> I LOVE DRACULA.

IT GETS BETTER EVERY TIME I WATCH IT.

LEGOSI IS ACTING ON THIS OTHER LEVEL.

THE WHOLE PACE OF THE SCENE REVOLVES AROUND HIM.

HE SUCKS ALL THE AIR OUT OF THE ROOM IN A GOOD WAY.

>> WHEN "DRACULA" BECAME SUCH A BOX OFFICE HIT, THEY WENT, OH,

THAT WORKED. WHAT ELSE IS OUT THERE?

>> IN THE NAME OF GOD ‐‐ >> I KNOW WHAT IT FEELS LIKE TO

BE GOD. >> IT WAS JAMES WELLS’

"FRANKENSTEIN" THAT MADE ME WANT TO MAKE MOVIES.

I REMEMBER SEEING THE BURNING WINDMILL SEQUENCE.

I WAS 6 YEARS OLD. AND FROM THAT POINT OIN, I WANTE

TO MAKE FILMS. >> THE BRIDE OF FRANKENSTEIN.

>> EVERYBODY MADE HORROR PICTURES BUT WHAT WAS UNIQUE

ABOUT UNIVERSAL’S WAS THE CARE WITH WHICH THEY WERE MADE, PLUS,

THEY MADE A LOT AND HAD BIG SUCCESS.

>> A LITTLE BIT OF AN UNDERDOG STUDIO.

AND THEN DAVID SELSNIK CAME IN AND HAD A REAL SENSE OF WHAT

AUDIENCES WANTED AND GAVE THEM "KING KONG."

>> "KING KONG" WAS ONE OF MY EARLY TRAUMATIC EXPERIENCES AT

THE MOVIES. I REMEMBER CLOSING ALL OF MY

BLINDS IN OUR HOUSE BECAUSE OF THE ONE SCENE WHERE KING KONG

LOOKS INTO THE WINDOW AND FINDS FAYE RAY AND HIS HAND COMES IN

AND ABDUCTS HER. WATCHING "KING KONG" WHEN I WAS

A KID WAS AN AMAZING EXPERIENCE. IF YOU’VE EVER BEEN AROUND A

STOP‐MOTION PUPPET AND MOVED IT ONE FRAME AT A TIME, THERE’S

SOMETHING QUITE MAGICAL ABOUT THAT.

THAT’S WHY THAT FORM OF ANIMATION HAS ALWAYS BEEN SO

INSPIRATIONAL TO ME. >> DO YOU KNOW WHO SNUCK INTO MY

STATE ROOM AT 3:00? >> NOBODY.

THAT’S THE PROBLEM. >> THE MARX BROTHERS CHANGED

AMERICAN HUMOR. THE JOKES WERE LIKE HITTING.

AND THEY STILL HIT. YOU WATCH THEM OVER GENERATIONS.

THE STUFF IS REALLY STILL THAT FUNNY.

>> GROUCHO IS LIKE THE SMART COMEDY.

CHICO IS THE DUMB COMEDY. IT’S LIKE SUCH A GREAT VARIETY

PACK. >> THIS WAS ESCAPISM FOR

DEPRESSION‐ERA AUDIENCES. ALMOST ALL OF THEIR FILMS ARE

ABOUT THIS GROUP OF WORKING CLASS COMEDIANS TAKING ON AN

INSTITUTION OF GREAT DIGNITY AND RESPECT.

THE ART WORLD AND ANIMAL CRACKERS, UNIVERSITY IN HORSE

FEATHERS. AN OPERA HOUSE IN "A NIGHT AT

THE OPERA," THE ENTIRE SYSTEM OF GOVERNMENT IN "DUCK SOUP."

♪ WE’RE IN THE MONEY WE’RE IN THE MONEY ♪

WE’VE GOT A LOT OF WHAT IT TAKES TO GET ALONG ♪

>> TOTALLY A FAN. HIS WARNER BROTHERS MUSICALS

WERE THE BEST. THEY WERE REAL.

THEY WERE ABOUT WOMEN WORKING AND SHOW BUSINESS, TRYING TO GET

A JOB DURING THE DEPRESSION. >> REMEMBER MY FORGOTTEN MAN?

>> ONE OF THE MOST INCREDIBLE NUMBERS IS "REMEMBER MY

FORGOTTEN MAN" WITH JOAN BLONDELL.

IT’S JUST HEARTBREAKING WITH ALL THE SOLDIERS ON THE BIG ARCHWAY,

AND IT’S JUST BRILLIANT. BUSBY BIRKLEY JUST BLEW PEOPLE’S

MINDS. HE TURNED MUSICAL FROM THIS

BLACK FACING DANCE NUMBER TO A KALEIDOSCOPE.

HE ACTUALLY BUILT SPECIAL HOLES IN THE SOUND STAGE TO REALLY

FILM DOWN. >> BUS BERKELEY KNEW IT WAS A

MEDIUM. THEY’D HAVE THE SETS MOVE WITH

THE CHOREOGRAPHY. IT’S AMAZING.

♪ NOTHING’S IMPOSSIBLE I HAVE FOUND ♪

WHEN MY CHIN IS ON THE GROUND I PICK MYSELF UP

DUST MYSELF OFF AND START ALL OVER AGAIN ♪

>> MY FATHER WAS UNDER CONTRACT AT RKO, AND THEY ASKED HIM TO

MAKE A MUSICAL. I THINK WHAT HE BROUGHT TO A

STAIR IN ROGERS WAS A BELIEVABILITY.

♪ START ALL OVER AGAIN ♪ >> SEEING THAT FILM DURING THE

DEPRESSION WHERE PEOPLE ARE SURROUNDED BY HOPELESSNESS WHEN

THEY SEE THIS BUOYANT AND BRILLIANT AND COMIC NUMBER THAT

WOULD HAVE BEEN THE MOST SATISFYING EXPERIENCE.

PICK YOURSELF UP. >> THE HABTS OF MOVIE GOING IN

THE ’30s WERE DIFFERENT FROM TODAY.

THEY DIDN’T JUST COME FOR ONE PICTURE.

THERE WAS A B PICTURE, A NEWS REEL, A SHORT AND A CARTOON.

WALT DISNEY WHO CREATED MICKEY MOUSE, HE WAS A VISIONARY.

AND HE GOT THIS IDEA, MAYBE I’LL MAKE A FEATURE LENGTH CARTOON.

NO ONE EVER THOUGHT ABOUT THIS. THEY THOUGHT HE WAS OUT OF HIS

MIND. >> NO ONE HAD EVER ATTEMPTED

THIS BEFORE. AND THE ATTEMPT IS DIFFICULT FOR

US TO UNDERSTAND BECAUSE IT ISN’T JUST MAKING FEATURE

ANIMATION. IT IS TO SEE IF AN AUDIENCE

WOULD CARE ABOUT DRAWINGS. >> "SNOW WHITE" IS BASED ON A

EUROPEAN FAIRYTALE, BUT IT’S NOT A CHILDREN’S PICTURE.

IT WAS INTENDED FOR A MIXED AUDIENCE OF ADULTS AND KIDS.

>> GOOD‐BYE. GOOD‐BYE.

>> WALT WAS NOT AFRAID TO HAVE DRAMATIC POWER.

>> I CAN’T DO IT. >> HE WAS NOT AFRAID TO GO

THERE. NOT AFRAID TO HAVE SCENES THAT

WOULD BE SCARY, TRAUMATIC EVEN. >> PEOPLE WERE SHOCKED TO FIND

OUT THAT THEY WERE GENUINELY AFRAID IN THE SCARY PARTS AND

GENUINELY MOVED WHEN SNOW WHITE IS UNDER THE SLEEPING DEATH

BECAUSE OF THE TENDERNESS OF THE ANIMATION.

GROWN ADULTS WEPT AT THE PREMIERE.

SO DISNEY DID EVERYTHING THAT THEY SAID COULDN’T BE DONE.

IT WAS A GIANT HIT. WAY SURPASSED EXPECTATIONS AND

ALLOWED WALT TO REALLY BUILD THE STUDIO.

>> EVERY ANIMATED FEATURE WE HAVE TODAY, IT ALL STEMS FROM

"SNOW WHITE." WITHOUT "SNOW WHITE" NONE OF THIS WOULD EXIST.

>>> RED, THIS CAN’T GO ON. >> WHY?

>> I LOVE MY WIFE. I’VE NEVER LOVED ANYBODY ELSE.

WE’VE BEEN SWEETHEARTS SINCE WE WERE KIDS.

>> BUT SHE DOESN’T NEED TO KNOW ABOUT US.

>> BETWEEN 1930 AND 193 4, FILMMAKERS WERE FREE TO EXPLORE

SUBJECTS LIKE SEX AND VIOLENCE. WHAT YOU GET IS SOME FASCINATING

FEMALE CHARACTERS WHO WERE SEXUALLY LIBERATED.

IT’S QUITE SHOCKING TO SEE WHAT THEY WERE ABLE TO GET AWAY WITH.

>> I ALWAYS DID LIKE A MAN IN UNIFORM.

THAT ONE FITS YOU GRAND. WHY DON’T YOU COME AND SEE ME

SOME TIME. >> MAE WEST WAS NOT AFRAID TO

OWN HER STATUS AS A SEX SYMBOL. SHE WAS INCREDIBLY INTELLIGENT

AND WROTE ALL HER OWN FILMS. SHE STARRED WITH CARY GRANT.

SHE LOVED HIS VOICE. THAT HELPED HIM TO BECOME A

LEADING MAN. >> TONIGHT YOU WERE ESPECIALLY

GOOD. >> WHEN I’M GOOD, I’M VERY GOOD.

BUT WHEN I’M BAD, I’M BETTER. >> HER FILMS WERE INCREDIBLY

SUCCESSFUL, BUT THE CATHOLIC LEGION OF DECENCY, THE MORAL

GROUPS WERE NOT HAPPY AT ALL. THEY WERE PETITIONING THE

GOVERNMENT TO STEP IN AND START ENFORCING CENSORSHIP IF THE

STUDIOS DIDN’T DO IT THEMSELVES. >> HOLLYWOOD IS TRYING TO FIGURE

OUT HOW TO DEAL WITH THE PRESSURE THEY’RE GETTING BECAUSE

OF MAE WEST. BECAUSE OF ALL OF THESE EARLY

GANGSTER FILMS LIKE "LITTLE SEGAR" AND "PUBLIC ENEMY" AND

"SCARFACE." WHAT’S GOING TO HAPPEN AS A

RESULT IS HOLLYWOOD WOULD CREATE THE CODE ADMINISTRATION IN ’34

TO REIGN IT IN. >> WHAT THIS COUNTRY NEEDS MORE

THAN A GOOD FIVE‐CENT CIGAR IS CLEAN ROLLICKING COMEDY.

>> NEXT TIME YOU DROP IN, BRING YOUR FOLKS.

>> THE 1934, THE BEGINNINGS OF THE SCREWBALL COMEDY COME UP.

IT HAPPENED ONE NIGHT. PITS CLARK GABLE AGAINST CLAUDET

COLBERT. A SPOILED HEIRESS WHO HAS RUN

AWAY FROM HER DAD. >> WHEN YOU GET THE CODE WHICH

MAKES IT IMPOSSIBLE TO SHOW PEOPLE IN BED TOGETHER, YOU HAVE

TO INVENT. YOU’LL NOT GIVE UP ON SEX BUT

YOU HAVE TO TALK AROUND IT. YOU CREATE AN INTRIGUE.

IT CREATED BANTER. >> THAT, I SUPPOSE, MAKES

EVERYTHING QUITE ALL RIGHT. >> OH, THIS?

WELL, I LIKE PRIVACY WHEN I RETIRE.

I’M VERY DELICATE IN THAT RESPECT.

PRYING EYES ANNOY ME. >> "IT HAPPENED ONE NIGHT" IS

GENIUS. THE WALLS OF JERICHO SCENE SAY

CLASSIC FOR ANYONE THAT WANTS TO DIRECT ROMANTSIC COMEDIES.

>> THE WALLS OF JERICHO WILL PROTECT YOU FROM THE BIG, BAD

WOLF. >> IT PUSHED HIM TO CREATE AN

EVEN BETTER, IN MANY WAYS, SEXIER SCENE.

>> IT HAPPENED ONE NIGHT WAS SO SUCCESSFUL WINNING FIVE ACADEMY

AWARDS. ALL THE MAJOR CALIFORNIAS AND IT

KICKED OFF THE WHOLE IDEA THAT WE SHOULD ALL BE MAKING

SCREWBALL COMEDIES. >> CAN’T BE SEEN TALKING TO THIS

MAN. WHAT WILL THEY THINK?

>> GODFREY IS GOING TO BE OUR BUTLER.

>> THEY WERE PARTICULARLY POPULAR IN THE ’30s BECAUSE OF

THE DEPRESSION. YOU SAW GENERALLY WEALTHY

PEOPLE, OR PEOPLE WELL OFF MAKING FOOLS OF THEMSELVES.

>> JUST LEAVE EVERYTHING TO GODFREY.

>> THE PHRASE SCREWBALL CAME FROM A REVIEW IN "VARIETY" OF

CAROLE LOMBARD’S SCREWBALL PERFORMANCE IN "MY MAN GODFREY."

>> FORGET THAT YOU HAVE ANY SENSE.

>> GODFREY, DON’T GO AWAY. OH, YOU ‐‐ NOW I KNOW YOU LOVE

ME. >> I DO NOT LOVE YOU AND YOU’RE

GETTING ME ALL WET. >> WHAT’S THE MEANING OF THIS?

>> GODFREY LOVES ME. HE PUT ME IN THE SHOWER.

>> SHE WAS EXTRAORDINARY. SHE PLAYED A LOT OF KUKINESS BUT

SHE HAD LOGIC TO HER HUMOR. YOUR TIMING CAN’T BE LIKE THAT

UNLESS YOU’RE VERY, VERY CLEVER. >> THE TRICK WAS THAT THE

LEADING CHARACTERS DID SLAPSTICK.

ONE OF MY FAVORITES IS "THE AWFUL TRUTH."

♪ IT WAS KIND OF THE FIRST REAL

CARY GRANT PERFORMANCE. >> WHAT IS THE MATTER WITH YOU?

>> THE FOLLOWING YEAR HE DID "BRINGING UP BABY."

THE EPITOME OF SCREWBALL COMEDY. >> DISCOVERING THE ROMANTIC

COMEDIES OF THE ’30s AND ’40s, THAT REALLY TOOK OVER MY LIFE

FOR A LONG TIME. THE "PHILADELPHIA STORY" IS ONE

OF MY ALL‐TIME FAVORITES. >> HELLO.

FANCY SEEING YOU. THREE OF THE MOST IMPECCABLE

ACTORS IN A MOVIE TOGETHER. >> CINDERELLA’S SLIPPER.

IT’S CALLHAMPAGNE. IT’S A GREAT LEVELLER.

>> JIMMY STEWART’S DRUNKEN SCENE IS ONE OF THE ALL‐TIME GREAT

DRUNKEN PERFORMANCES. HE’S JUST SO CONVINCING.

AND IT’S JUST SO FUNNY AND BEAUTIFUL AND YOU ROOT FOR THIS

ONE AND THEN YOU ROOT FOR THAT ONE.

IT GIVES YOU EVERYTHING YOU COULD EVER WANT FROM A MOVIE.

>> I KNOW YOU ANY TIME, ANY PLACE.

>> ANYWHERE. YOU’RE REPEATING YOURSELF.

THAT’S THE SPEECH YOU MADE THE NIGHT ROWYOU PROPOSED.

>> OF COURSE I REMEMBER IT. IF I DIDN’T REMEMBER YOU, I’D

HAVE DIVORCED YOU. >> MORE WORDS PER SQUARE INCH IN

"HIS GIRL FRIDAY." I IMAGINE THE SCRIPT IS PROBABLY

THAT THICK AND ROSLYN RUSSELL CLEARLY WAS THE BEST AT IT.

>> LISTEN, WALTZER ‐‐ >> I MADE A GREAT REPORTER OUFTS

YOU ‐‐ >> YOU WON’T BE ‐‐

♪ >>> MANY OF THESE FILMS THAT YOU

GET IN HOLLYWOOD IN THE ’30s SHOWCASE SOME OF THE TOP BLACK

PERFORMERS OF THAT ERA. SO YOU GET THE NICHOLAS

BROTHERS, FOR INSTANCE, OR BILL BOROBINSON.

MANY PEOPLE FOUND THEM ENTERTAINING BUT THESE BLACK

CHARACTERS WERE OFTEN STEREOTYPICAL AND PROBLEMATIC.

♪ HALLELUJAH ♪ >> HATTIE McDANIEL WAS KNOWN FOR

PLAYING MAMIE‐TYPE ROLES. >> YOU KNOW, I’VE BEEN UNDER THE

IMPRESSION THAT YOU IS A ONE‐MAN WOMAN.

>> I AM. ONE MAN AT A TIME.

>> FIGURES LIKE THE NANNY WERE REALLY RACIAL CARICATURES.

WHAT A MAMIE ON THE PLANTATION WOULD HAVE BEEN.

THEY DON’T HAVE MUCH AGENCY. THEY EXIST AS THE BACKDROP FOR

THE NARRATIVE WORLD THAT THE WHITE CHARACTERS LIVE IN.

>> TRY AND FIND OUT WHAT HE WANTS.

>> THOSE IMAGES WERE DAMAGING BUT SHE DIDN’T CREATE THEM.

THEY WERE CREATED BY THE WHITE PEOPLE WHO CONTROL HOLLYWOOD.

>> I BELIEVE YOU’RE THE LAZYIEST MAN THAT EVER LIVED ON THIS

RIVER. >> THAT’S SAYING A WHOLE LOT.

>> PAUL ROBESON WAS ALWAYS BIGGER THAN THE MATERIAL HE WAS

GIVEN. ♪ OLD MAN RIVER ♪

♪ THAT OLD MAN RIVER ♪ >> IN "SHOW BOAT" HE WAS ABLE TO

CHANGE "OLD MAN RIVER" INTO SOMETHING MUCH MORE COMPLEX AND

ULTIMATELY MUCH MORE CRITICAL OF THE RACISM THAT CHARACTER IS

EXPERIENCING. ♪

♪ AND YOU’LL LAND IN JAIL ♪ >> OSCAR MICHELLE WAS ONE OF THE

PIONEERS OF AFRICAN‐AMERICAN CINEMA.

HE WAS PART OF A GENRE KNOWN AS THE RACE FILM.

AND RACE FILMS WERE MADE SINCE THE BEGINNING OF THE BIRTH FILM,

BY BLACK FILMMAKERS FOR BLACK AUDIENCES.

>> IN THE VERY EARLY DAYS OF CINEMA, IT’S EASIER, NOT ONLY

FOR AFRICAN‐AMERICANS, BUT ALSO FOR WOMEN TO GET INTO THE

INDUSTRY. >> IT WAS CONSIDERED THE NORM TO

HAVE WOMEN IN ALL LEVELS OF HOLLYWOOD.

THEY WERE DRCTSIRECTORS. HALF OF ALL FILMS WRITTEN

BETWEEN 1912 AND 1921 WERE WRITTEN BY WOMEN.

>> WE AIN’T TELLING NOBODY UNTIL WE GET READY TO MAKE THE BREAK

OUTSIDE OF YOU. >> "THE BIG HOUSE" WAS ONE OF

TWO FILMS THAT FRANCIS MARION WON HER OSCARS FOR.

THE OTHER FILM, OF COURSE, IS "THE CHAMP."

>> I THINK THAT’S ENOUGH FOR TODAY, DON’T YOU?

>> SHE WAS INCREDIBLY PROLIFIC. SHE HAS A HUGE FILMOGRAPHY.

SHE MADE FILMS IN GENRES YOU MIGHT THINK OF AS MASCULINE.

>> AS THE FILM INDUSTRY CONSOLIDATED INTO STUDIOS, BOTH

WOMEN AND AFRICAN‐AMERICANS ARE BEING PUSHED OUT AS SHAPERS BILL

MAKERS. AND A STUDIO SYSTEM THAT’S

ORGANIZED AROUND STARS AND WOMEN BECOME THE OBJECTS OF THAT

COMODIFICATION. >> WHEN YOU HAVE SOMEONE LIKE

MARLENA DIETRICH COME FROM GERMANY, SHE HAS TO REPRESENT

THE EXOTIC, THE OTHER, THE UNKNOWN.

♪ HER GREAT APPEAL IS HER FABULOUS

ANDROGENY. EVERYBODY SEEMS TO LIKE THAT

ABOUT HER. >> SHE’S PLAYING A CABARET

SINGER DRESSED IN A TOP HAT AND TAILS WHICH HAD BECOME AN ICONIC

OUTFIT SHE WORE IN PERFORMANCES FOR THE REST OF HER LIFE.

SHE TAKES THIS YOUNG WOMAN FROM THE AUDIENCE AND GIVES THE WOMAN

A KISS RIGHT ON THE LIPS. PARTICULARLY IN THE FILMS SHE

MADE, MOROCCO, BLOND VENUS, THE DEVIL IS A WOMAN," ALMOST

NOTHING HAPPENED IN THESE MOVIES.

THEY WERE NONNARRATIVE. JUST STAGING THIS SPECTACLE OF

DESIRE AND BEAUTY. >> IN THE 1930s, IT WAS

ESTIMATED THAT ABOUT 70% OF A MOVIE‐GOING AUDIENCE WAS FEMALE.

AND THE MORE WOMEN IN THE AUDIENCE YOU GET, THE MORE THEY

CRAVE STRONG FEMALE CHARACTERS. >> THESE FEMALE MOVIE STARS

REALLY RULED THE BOX OFFICE. AND OFTEN WERE GETTING PAID MUCH

MORE THAN THEIR MALE COUNTERPARTS.

>> WOULDN’T YOU LIKE SOMEONE TO BE IN LOVE WITH YOU?

>> YES, GABRIELLE. I WOULD LIKE SOMEONE IN LOVE

WITH ME. >> DO YOU THINK I’M ATTRACTIVE?

>> THERE ARE BETTER WORDS THAN THAT FOR WHAT YOU ARE.

>> ALTHOUGH IT MAY SEEM ABSURD TO US IN HER TIME, BETTE DAVIS

WAS CONSIDERED NOT PRETTY. SHE HAD THIS SORT OF UNUSUAL

FACE WITH THE SLIGHTLY PROTRUDING EYES BUT SO LITTLE

VANITY AS AN ACTRESS AND UTTER OPENNESS TO PLAYING UNLIKABLE

CHARACTERS. >> HERE SHE WAS A YOUNG ACTRESS

TRYING TO ESTABLISH HERSELF AS A STAR.

AND SHE INSISTS ON DOING OF HUMAN BONDAGE, WHERE SHE PLAYS

THE WORST PERSON WHO EVER LIVED. >> I NEVER CARED FOR YOU NOT

ONCE. I WAS ALWAYS MAKING A FOOL OF

YOU. YOU BORED ME STIFF.

I HATED YA. IT MADE ME SICK WHEN I HAD TO

LET YOU KISS ME. I ONLY DID IT BECAUSE YOU BEGGED

ME. YOU HOUNDED ME AND DROVE ME

CRAZY. AND AFTER YOU KISSED ME, I

ALWAYS USED TO WIPE MY MOUTH. WIPE MY MOUTH!

>> BETTE DAVIS GIVES THIS INCREDIBLE PERFORMANCE IN "OF

HUMAN BONDAGE." DOESN’T EVEN GET NOMINATED.

SO THE NEXT YEAR SHE WINS FOR "DANGEROUS" AND THAT’S SORT OF

CONSIDERED ONE OF THE FIRST CONSOLATION PRIZE OSCARS.

EVERYBODY REALIZES WE SHOULD HAVE GIVEN IT TO YOU LAST YEAR.

SHE BECOMES THE FIRST ACTRESS TO GET FIVE BEST ACTRESS

NOMINATIONS IN A ROW. SHE IS MERYL STREEP OF THE

PRE‐WORLD WAR II PERIOD, BASICALLY.

>> THE WOMEN’S PICTURE WAS A REALLY GREAT ALMOST GENRE OF

FILMS THAT LASTED FROM 1930 THROUGH THE 1950s.

IT ENCOMPASSED SO MANY DIFFERENT GENRES WITHIN, BUT IT ALWAYS HAD

A WOMAN AT THE CENTER OF IT. >> MAY I SUGGEST IF YOU ARE

DRESSING TO PLEASE STEVEN NOT THAT ONE.

HE DOESN’T LIKE SUCH OBVIOUS EFFECTS.

>> THANKS FOR THE TIP. BUT WHEN ANYTHING I WEAR DOESN’T

PLEASE STEVEN, I TAKE IT OFF. >> LOOK AT THE WOMEN AS SORT OF

THE APOTHIOSIS OF THE GENRE. THERE WERE NO MEN IN THIS MOVIE.

NOT ONE SINGLE MAN IN THE FILM. AND THEY MADE A HIT.

>> THERE’S A NAME FOR YOU LADIES.

BUT IT IS NEWS IN HIGH SOCIETY, OUTSIDE OF A KENNEL.

♪ >> MY MOTHER WAS TRULY A STAGE

MOTHER. BUT A MEAN ONE.

>> I DIDN’T FEEL GOOD IF I WAS SICK TO MY TUMMY.

GET OUT AND SING OR I’LL WRAP YOU AROUND THE BED POST AND

BREAK YOU OFF SHORT. SO I’D GO OUT AND SING ♪.

♪ SOMEWHERE OVER THE RAINBOW WAY UP HIGH ♪

>> ONE OF THE PRECEPTS FOR A STORY MUSICAL IS THAT THE SONG

HAS TO ADVANCE THE STORY. A SONG LIKE "SOMEWHERE OVER THE

RAINBOW." ALL THAT LONGING.

YOU KNOW THAT SHE’S GOT TO GO ON A JOURNEY AFTER SHE SINGS A SONG

LIKE THAT. >> AND THEN ALL OF A SUDDEN, SHE

GETS TO GO SOME PLACE ELSE. SHE’S TAKEN UP BY A TORNADO AND

LANDS IN THIS MAGICAL WORLD. SHE DOESN’T KNOW THAT SHE’S IN

ANOTHER WORLD UNTIL SHE OPENS THAT DOOR AND IT IS IN BEAUTIFUL

COLOR. >> YOU CAN’T THINK ABOUT THE

WIZARD OF OZ WITHOUT THINKING ABOUT THE YELLOW BRICK ROAD.

THREE‐STRIP TECHNICOLOR WHICH HAD COLORS AMAZINGLY VIVID.

BECAUSE IT WAS A FANTASY, THE COLORS DIDN’T HAVE TO BE

REALISTIC BUT VERY ALIVE AND EXCITING.

THIS WAS ENTERTAINMENT THAT PEOPLE HADN’T SEEN BEFORE.

♪ WE’RE OFF TO SEE THE WIZARD THE WONDERFUL WIZARD OF OZ ♪

>> IT’S ASTONISHING WHAT THEY WERE ABLE TO DO AND HOW POIGNANT

ALL OF THOSE PERFORMANCES ARE. >> DON’T YOU THINK THE WIZARD

COULD HELP HIM, TOO? >> I DON’T SEE WHY NOT.

>> JACK HALEY, RAY BOLGER AND BRETT LAHR BROUGHT POIGNANCY TO

THESE CHARACTERS. >> CLOSE YOUR EYES AND TAP YOUR

HEELS TOGETHER THREE TIMES. >> IT WAS THE GREATEST

CHILDREN’S FILM OF ALL TIME THAT PEOPLE CONSTANTLY RELATE TO.

THE IDEA OF LEAVING HOME AND FINDING HOME AGAIN.

>> OH, AUNTIE EM, THERE’S NO PLACE LIKE HOME.

>>> "STAGE COACH" WAS ONE OF THE DEFINING FILMS OF THE WESTERN

GENRE. FORD BEGINS TO TURN AROUND THE

IDEA OF THE WESTERN AS A GOOD HAT/BAD HAT INTO SOMETHING MORE

INTERESTING IN WHICH YOU’VE GOT A REALLY UNIQUE AND DAMAGED SET

OF CHARACTERS. >> YOU MUST WARN YOUR PASSENGERS

THEY TRAVEL AT THEIR OWN RISK. >> THEIR OWN RISK?

WHAT’S THE PROBLEM? >> GERONIMO.

>> GERONIMO? >> WILL YOU SIT DOWN.

>> INSIDE THE STAGE COAST, EACH PERSON IS ARCHETYPE.

THE SCARLET WOMAN WHO WAS ONCE A GOOD PERSON BUT HAS CROSSED A

LINE. THE GAMBLER, THE DRUNKEN DOCTOR.

THEY’RE ALL THROWN TOGETHER AND HAVE TO STAY ALIVE, AND THEY

HAVE TO LEARN TO APPRECIATE THE BEST IN EACH OTHER.

>> THE CAMERA RUSHES IN INTO JOHN WAYNE’S FACE.

AND YOU CAN SEE A BEAD OF SWEAT RUNNING DOWN HIS CHECK.

>> HELLO, CURLY. >> YOU DON’T DO THAT SHOT IF

THAT ACTOR CAN’T DELIVER AS A MOVIE STAR, AND HE DOES.

>> THEY USED TO SAY BEFORE THEY MADE HIM A STAR BY NOT LETTING

HIM TALK. BY JUST SHOWING HIS REACTIONS.

WHICH IS SOMEWHAT TRUE. WAYNE SAID TO ME ONCE, I’M NOT

AN ACTION ACTOR. I’M A REACTION ACTOR.

>> JOHN WAYNE HAS NEVER GOTTEN ENOUGH CREDIT FOR BEING THE

GREAT ACTOR HE WAS. >> THANKS.

THAT’S ALL I WANTED TO KNOW. >> HE HAD A STYLE UNLIKE ANY

OTHER ACTOR BEFORE HIM OR AFTER HIM.

♪ >> IN TERMS OF THE ACTION, THAT

WAS INCREDIBLE AT THAT TIME. IT STILL IS PRETTY AMAZING.

THE APACHE THAT JUMPS ON THE HORSE AND HE’S SHOT.

HE HAS TO RIDE UNDERNEATH IT. THAT WAS ALL DONE IN REALTIME.

THIS HAD TO BE CAREFULLY CHOREOGRAPHED.

VERY SOPHISTICATED. >> "STAGECOACH" CAME OUT IN

1939, WHICH IS STILL CONSIDERED THE GREATEST YEAR FOR FILM THAT

EVER WAS. >> LOOK, LOOK, THERE IT IS.

>> BOOM. >> WHAT?

>> CAPITOL DOME. >> YES, SIR.

BIG AS LIFE. BEEN THERE A LONG TIME NOW.

>> YES, SIR. THIS WAY, SENATOR.

>> "MR. SMITH GOES TO WASHINGTON" IS POLITICAL PARABLE

ABOUT AN IDEALISTIC YOUNG MAN PLAYED BY JIMMY STEWART.

>> HE GETS TO WASHINGTON, AND HE FINDS THIS KIND OF CORRUPT

MACHINE THAT WE FEAR IS GOING TO EAT HIM UP.

>> THIS IS A MAN’S WORLD. IT’S A BRUTAL WORLD, AND YOU

HAVE NO PLACE IN IT. YOU’LL ONLY GET HURT.

>> "MR. SMITH GOES TO WASHINGTON" IS PROBABLY MY FIRST

MOVIE. HE WAS AN IMMIGRANT.

AND HE HATED THE IDEA OF BIG GOVERNMENT STEAM‐ROLLING THE

REGULAR CITIZEN. >> I’M GOING TO STAY RIGHT HERE

AND FIGHT FOR THIS LOST CAUSE, EVEN IF THIS ROOM GETS FILLED

WITH LIES LIKE THESE. >> THIS FILM IS A PERFECT

EXAMPLE OF HOW IN AMERICA AN INDIVIDUAL CAN MAKE A

DIFFERENCE. >> IT’S THE TALLEST BUILDING IN

THE WORLD. YOU CAN’T MISS THAT.

>> 1939 IS ALSO THE YEAR THAT NINOTHCHK WAS MADE.

>> ’39 STANDS OUT BECAUSE IT HAS SO MANY LANDMARK MOVIES THAT

HAVE WITHSTOOD THE TEST OF TIME AND ARE TAUGHT AND REFERRED TO

OVER AND OVER. >> MAYBE IT’S A CULMINATION.

MAYBE IT’S A FLUKE. BUT THE SHEER NUMBER OF

MEMORABLE FILMS EVERYONE KNOWS AND LOVES THAT CAME OUT OF THIS

YEAR IS REMARKABLE. ♪

>> THESE DAYS, EVERYTHING IS CALL AN EPIC.

"GONE WITH THE WIND" WAS AN EPIC BECAUSE IT SHOWS YOU THE

POSSIBILITY OF FILM. IT IS A SPECTACLE.

HERE IS THE CIVIL WAR AND ALL OF ITS HORROR AND ITS SIZE.

>> THIS HUGE PULLBACK SCENE OF WOUNDED SOUTHERN VETERANS THAT’S

SO EMBLEMATIC. IT’S VERY IMPRESSIVE FROM A

TECHNICAL LEVEL. BUT THE STORIES AROUND THE FILM

ARE, TO ME, MORE INTERESTING THAN THE FILM ITSELF.

DAVID SELZNICK, ONE OF THE MOST IMPORTANT PLAYERS IN HOLLYWOOD

IS AN INDEPENDENT‐MINDED GUY. WALKS AWAY FROM THE STUDIO

SYSTEM AT THE HEIGHT OF HIS CAREER TO START SELZNICK

INTERNATIONAL PICTURES. WITHIN A YEAR IT’S CLEAR THAT

THE PRIMARY OBJECTIVE OF THAT COMPANY IS TO PRODUCE "GONE WITH

THE WIND." IT WOULD TAKE HIM THREE YEARS TO

GET IT MADE. >> WHO WAS TO PLAY RHETT BUTLER.

IT WAS CLARK GABLE. HE WAS A MAN’S MAN AND HAD A

REAL KIND OF SENSE OF BRAVADO ABOUT HIM.

BUT ONE THAT HE SEEMED TO EARN. >> I’M IN LOVE WITH YOU, ASHLEY.

>> I’M IN LOVE WITH YOU, ASHLEY. I LOVE YOU.

>> I LOVE YOU. >> THE SEARCH FOR SCARLET WAS,

ON THE ONE HAND, DEFINITELY A PUBLICITY STUNT.

ON THE OTHER HAND, IT WAS SERIOUS.

SELZNICK WANTED TO FIND THE RIGHT SCARLET O’HARA.

>> HE WAS ALREADY SHOOTING ON THE BACK LOT BEFORE SCARLET WAS

CAST. >> DAVID SELZNICK IS STANDING

WATCHING THE BURNING OF ATLANTA AND THEY’VE GOT DOUBLES PLAYING

RHETT AND SCARLET IN THE WAGON. HIS BROTHER WALKS UP WITH VIVIEN

LEIGH AND SAYS, I’D LIKE YOU TO MEET SCARLET O’HARA.

>> I LOVE YOU. I DO.

>> I THINK IT’S INCREDIBLY HARD TO SEPARATE VIVIEN LEIGH FROM

SCARLET O’HARA. SHE’S ABLE TO GENERATE EMPATHY

OUT OF A FAIRLY CHALLENGING, IF NOT DESPICABLE CHARACTER FOR

MOST OF THE FILM. AND SHE MAKES IT HER OWN.

>> HAS THE WAR STARTED? >> IF YOU’RE GOING TO TELL THAT

STORY, YOU HAVE TO HAVE BLACK PEOPLE AS SLAVES.

>> MS. SCARLET, WHAT WE ARE GOING TO DO WITH NOTHING TO FEED

THOSE SICK FOLKS AND THAT CHILD? >> I DON’T KNOW.

I DON’T KNOW. >> THE BLACK CHARACTERS PLAYED

BY HADDIE McDONNELL AND BUTTERFLY McQUEEN ARE REALLY THE

BEST CHARACTERS IN THE MOVIE. THEY’RE THE ONLY, IN A WEIRD

WAY, MORAL CHARACTERS. RHETT ESSENTIALLY RAPES HIS

WIFE. SCARLET IS A DISASTER.

ASHLEY WILKES IS JUST THE WEAKLING.

MELANIE IS A DOOR MAT AND THEN MAMIE IN THE CENTER OF ALL OF

THIS. >> IT’S MR. RHETT I’M WORRIED

ABOUT. >> UNDERSTANDS HER PLACE IN THE

WORLD AND MAKES THE BEST OF IT. >> HE LOST HIS MIND THESE LAST

COUPLE OF DAYS. >> OH, NO, MAMIE, NO.

>> I’VE NEVER SEEN NO MAN, BLACK OR WHITE, SHUTS HIS DOOR.

>> TOWARD THE END OF THE FILM WHEN MAMIE IS TELLING MELANIE

ABOUT RETS AND HIS GRIEF AND YOU FEEL IT.

IT’S SUCH A POWERFUL SCENE. >> PLEASE, MS. MELLY.

>> I’LL DO WHAT I CAN. >> I PRESENT THE ACADEMY AWARD

FOR THE BEST PERFORMANCE OF AN ACTRESS IN SUPPORTING ROLE

DURING 1939 TO HATTIE McDANIEL. >> HATTIE McDANIEL WAS THE FIRST

AFRICAN‐AMERICAN TO WIN AN ACADEMY AWARD.

AND EVEN HOW THAT HAPPENED, SHE COULDN’T SIT WITH THE REST OF

THE CAST. SHE WAS SITTING IN THIS AREA

NEAR THE KITCHEN. >> THIS IS ONE OF THE HAPPIEST

MOMENTS OF MY LIFE. IT WASN’T LIKE SHE WAS GOING TO

GO INTO GREAT LEADING ROLES. SHE CONTINUED TO PLAY MAIDS.

SHE ESSENTIALLY SAID, I’D RATHER MAKE $10,000 PLAYING A MAID THAN

MAKE $10 BEING A MADE. >> I SINCERELY HOPE, I SHALL

ALWAYS BE A CREDIT TO MY RACE AND TO THE MOTION PICTURE

INDUSTRY. MY HEART IS TOO FULL TO TELL YOU

JUST HOW I FEEL AND MAY I SAY THANK YOU AND GOD BLESS YOU.

♪ >>> PRESTON STURGIS WAS ONE OF

THE GREATEST COMEDY FILMMAKERS OF ALL TIME THAT MAYBE YOU NEVER

HEARD OF. >> IF I WANT THIS TO BE A

PICTURE OF DIGNITY. >> WITH A LITTLE SEX IN IT.

>> HOW ABOUT A NICE MUSICAL? SCR AND DIRECTORS DIRECTED.

NOBODY DID BOTH. STURGESS WANTED TO DIRECT.

HE WROTE A SCRIPT THAT THE STUDIO REALLY LIKED FOR A FILM

CALLED "THE GREAT McGINTY" AND HE AGREED TO SELL IT TO THE

STUDIO FOR A DOLLAR IF HE WOULD LET HIM DIRECT AND THE STUDIO

AGREED. THE REST IS THE HISTORY.

WHEN I ASKED BILLY WILDER WHO HE THOUGHT THE KING OF WRITER

DIRECTORS WAS HE SAID PRESTON STU "RGB" ES PERFORM PRESTON

STURGE JESS IS THE MAN THAT PUT THESE CHARACTERS TOGETHER AND

OPENED THE DOOR FOR THE REST OF US.

>> THE LADIES EVE ONE OF HIS BEST FILMS WAS BRILLIANTLY SET

UP. SO HENRY FONDA APPEARS IN THE

SHIP’S DINING ROOM AND EVERY ELIGIBLE WANTS HIS ATTENTION

BECAUSE HE’S A RICH GUY. >> EVERY JANE IN THE ROOM WAS

GIVING HIM THE THE THERMOMETER. >> BAR BRA STANWYCK IN "LADY

EVE" WAS ONE OF THE BEST COME MEED GIVING PERFORMANCES OF ALL

TIME WHEN SHE’S GOT THE MIRROR. REALLY FUNNY.

>> NOT JUST THIS BRILLIANT DIALOGUE, LEASE ALSO THE

INCREDIBLE PHYSICAL COMEDY. IT’S A WONDERFUL BALANCE OF LOW

COMEDY AND HIGH COMEDY AND LIFE IS BOTH, ISN’T IT?

>> STURGESS HAD A STRETCH DURING THE 1940S WHERE HE TURNED OUT

HIT AFTER HIT AFTER HIT. IT’S AN UNPRECEDENTED STREAK OF

REALLY QUALITY FILMS. >> ALFRED HITCHCOCK.

>> HITCHCOCK BEGAN WORKING IN THE INDUSTRY AS AN ART DIRECTOR

AT THE UFA STUDIOS IN BERLIN WHERE HE GOT TO WATCH SOME OF

THE GREAT GERMAN DIRECTORS LIKE FRITZ LANG.

HIS FIRST MAJOR FILM, "THE LONGER" LOOKS LIKE GERMAN

EXPRESSIONISM IN A LOT OF WAYS. THEY BE HE WENT ON TO MAKE THESE

GREAT BRITISH THRILLERS FOR WHICH HE BECAME FAMOUS.

BEST AMONG ALL OF THEM, 939 STEPS.

BY THE END OF THE FIRTS HE’S THE LEADING ARTIST OF THE BRITISH

CINEMA BUT HE UNDERSTANDS THAT HE’S WORKING IN A VERY

FINANCIALLY LIMITED SYSTEM. HE ALSO SEES THE WAR COMING, AND

HE’S VERY HAPPY TO COME TO AMERICA AND WORK FOR ELSE IS

NICK UNDER IS THE SIX‐FILM CONTRACT STARTING WITH

"REBECCA." >> THAT’S IT.

THAT’S MANDALAY. >> IT WAS BASED ON A NOVEL BY

DAPHNE DUE MUIRYER ABOUT A YOUNG INNOCENT WOMAN WHO MOVES INTO

THIS OLD GOTHIC HOUSE AND THEY ARE LIFE BECOMES ENTANGLED IN

MYSTERY. >> HOW DO YOU DO.

>> SHE FEELS LIKE SHE CAN’T POSSIBLY COMPETE WITH REBECCA.

HER HUSBAND MAX’S DEAD WIFE. >> DO YOU THINK THE DEAD COME

BACK AND WATCH THE LIVING? >> I DON’T BELIEVE IT.

>> SOMETIMES. I WONDER IF SHE DOESN’T COME

BACK HERE TO MANDERLY. AND WATCH YOU AND MR. DUE WINTER

TOGETHER. >> HITCHCOCK WAS BRIT AT PUTTING

THE AUDIENCE IN THE PLACE OF THE CHARACTER THROUGH THE SUBJECTIVE

USE OF THE CAMERA, WHAT HE USED TO CALL PURE CINEMA.

>> THE ASSEMBLY OF PIECES OF FILM TO CREATE FRIGHT IS THE

ESSENTIAL PART OF MY JOB. I BELIEVE IN PUTTING THE HORROR

IN THE MIND OF THE AUDIENCE AND NOT NECESSARILY ON THE SCREEN.

>> HIS FILMS TOOK A GENRE AND ESSENTIALLY MADE THE GENRE THE

DIRECTOR’S OWN. HITCHCOCK REALLY WAS THE MASTER

OF SUSPENSE. AND HE DESERVES THAT TITLE.

>> INCREDIBLE AS IT MAY SEEM THOSE STRANGE BEAKS WHO LANDED

IN THE JERSEY FARMLAND TONIGHT ARE THE VANGUARD OF AND I VADING

ARMY FROM THE PLANET MARS. >> ORSON WELLES CAME INTO THE

FILM BUSINESS HAVING BEEN A TREMENDOUS SUCCESS IN RADIO.

SCARED HALF THE COUNTRY WITH WAR OF THE WORLDS IN ’38.

HE WAS ON THE COVER OF TIME BECAUSE OF HIS THEATER

PERFORMANCES AT THE MERCURY THEATER AND HE CAME TO HOLLYWOOD

WITH THE BEST CONTRACT ANYBODY EVER HAD.

>> KNOW WHEN YOU DON’T REALLY WANT TO GO OUT TO HOLLYWOOD, THE

DEALS GOT BETTER AND BETTER. IN MY CASE I DIDN’T WANT MONEY,

I WANTED AUTHORITY. I ASKED THE IMPOSITIVE AND AT

THE END OF A YEAR’S NEGOTIATION IZ GOT IT.

>> HE HAD SUCH A MONSTROUS EGO HE WAS GOING TO DO THE WAY HE

WANTED TO DO IT AND THE HELL WITH WHAT WILL ANYBODY THOUGHT

ABOUT IT AND I ADMIRED THAT BECAUSE HE HAD THE SKILL TO BACK

IT UP. >> ROSEBUD.

>> CITIZEN KANE BEGINS WITH THE DEATH OF CHARLES FOSTER CANE

SAYING ONE WORD. ROSEBUD.

THE WHOLE REST OF THE MOVIE IS ABOUT A REPORTER SEARCHING FOR

THE MEANING OF ROSEBUD. HE SPEAKS TO PEOPLE FROM CANE’S

PAST AND READS THE MEMOIRS OF HIS LAWYER AND THROUGH

THERECTIONS OF THOSE PEOPLE WE LEARN ABOUT CHARLES FOSTER

KING’S LIFE. >> MAYBE THE THING THAT WELLS

DID BEST WAS RECOGNIZE WHAT HE DIDN’T KNOW.

EARLY ON AT 25 SO HE HIRES HERMAN MANKOWITZ MY GRABBED

FATHER TO WRITE THE SCREENPLAY. HE HIRES ROBERT WEISS TO EDIT

THE FILM NOT TO MENTION BERNARD HERMAN’S BRILLIANT MUSIC AND THE

SINNING TOGRAPHY CHANGED THE WAY WE MAKE MOVIES.

>> MERRY CHRISTMAS. >> MERRY CHRISTMAS.

>> AND A HAPPY NEW YEAR. >> IT FELT LIKE SOMETHING NEW.

THE TRANSITIONS THE FLASH BACK CONSTRUCTION, REPETITION OF

CERTAIN SCENES FROM DIFFERENT POINTS OF VIEW AND NOT TO BE

IGNORED IS THE FACT THAT OR IS GIVES AN EXTRAODINARILY

BRILLIANT PERFORMANCE. >> I MADE NO CAMPAIGN PROMISES.

BECAUSE UNTIL A FEW WEEKS AGO, I HAD NO HOPE OF BEING ELECTED.

>> THE TECHNIQUE THAT KAELS STICKS OUT TO ME ON KRIDS CANE

IS BASICALLY DEPTH OF FOCUS. >> YOU’RE FIRED.

>> THE CLOSE‐UPS ARE AS SHARP AS THE DEEP BACKGROUND.

YOU SEE NOT JUST THE STORY THAT HE’S TELLING.

YOU SEE DEEPER INTO THE STORY. HE JUST CREATED A HANDBOOK ON

CINEMA WITH CITIZEN KANE. >> THERE’S NO QUESTION THAT

CHARLES FOSTER KANE IS BASED IN ORANGE LART ON THE LIFE OF

WILLIAM RANDOLPH HEARTS. HE OWNED RADIO STATIONS AND

MAGAZINES AND QUITE ACCOUNT POWER PLAYER IN AMERICAN

POLITICS AND EVEN MORE IMPORTANT IN HOLLYWOOD POLITICS.

>> HEARTS BLACK LISTED THE MOVIE.

ALL HIS PAPERS WOULDN’T RUN ADS FOR THE PICTURE AND A LOT OF

THEATERS GOT AFRAID OF PLAYING IT.

CAN’T MAKE MONEY WITH A PICTURE IF YOU CAN’T GET A THEATER.

>> BY THE NONHEARST PAPERS IT WAS INCREDIBLY WELL RECEIVED.

IT WAS NOMINATED FOR NINE OSCARS.

IT ONLY WON ONE FOR THE SCREENPLAY WHICH WENT TO MY

GRANDFATHER AND WELLS. SHOULD HAVE WON BEST PICTURE AND

BEST DIRECTOR FOR WELLS, SHOULD PROBABLY HAVE WON BEST ACTOR FOR

WELLS. IT’S A SIGN THAT PRESSURE WAS

ALMOST CERTAINLY BROUGHT TO BEAR ON THIS MOVIE.

>> THERE’S NO BETTER FIRST FILM IN CINEMATIC HISTORY THAN

CITIZEN KANE. I DON’T KNOW ANY OTHER FILM THAT

WAS A FIRST TIME DIRECTOR’S FILM THAT CAN EVEN LIGHT A CANDLE LET

ALONE HOLD A ♪

>> ADOLPH HITLER’S ALL OUT ATTACK ON POLAND MAKES THE LONG

DREADED WAR A CERTAINTY. >> THROUGH NEWSPAPERS AND NEWS

REELS AMERICANS HAVE BEEN WATCHING THE DEVELOPMENT OF

DICTATORSHIP IN GERMANY. HITLER’S PROPAGANDA HAD FOCUSED

ON HOW TO DELIVER IMAGES THAT MOVED PEOPLE’S MINDS.

TURNED AN UGLY MOVEMENT INTO SOMETHING CINEMATICALLY

BEAUTIFUL. EVEN THE BABE IS THRILLS AND

SEEMS ALL SMILES. >> CHARLIE CHAPLIN TOOK THAT AND

BROKE IT APART. ♪

>> CHAPLAIN MAKES THIS INCREDIBLY INTENSE POLITICAL

SATIRE REALLY DECRYING THE STATE OF THE WORLD AND THE POSSIBLE

STATE OF THE FUTURE. >> EMPEROR OF THE WORLD.

>> HOW DO YOU DEAL WITH MEGALOMANIA ON SCREEN WITHOUT

SOUNDING STREET DENT AND PEDANTIC?

YOU TURN THE WORLD INTO A BALLOON AND YOU HAVE THIS

FOOLISH DEMAGOGUE DANCE WITH IT. THIS CLOWN CAN ACTUALLY DESTROY

THIS WORLD. SO IT’S BOTH TRAGEDY AND COMEDY

WRAPPED INTO ONE. IN ONE OF THE MOST POWERFUL

POLITICAL SCENES IN FILM. >> WHO DO YOU THINK WILL WIN THE

WAR. >> I HAVEN’T THE SLIGHTEST IDEA.

>> RICK IS COMPLETELY NEUTRAL ABOUT EVERYTHING AND THAT TAKES

IN THE FIELD OF WOMEN. >> HUM GRI BOGART RUNS RICK’S IN

CAS DA BLANCA. IT’S WORLD WAR II BEFORE THE

UNITED STATES ENTERS THE WAR. HE’S GOT GAMBLING, HE’S GOT THE

ALCOHOL. HE DOESN’T HAVE TO WORRY ABOUT

THE WAR AND IT TURNS OUT THE WAR COMES TO HIM.

♪ NO MATTER WHAT THE FUTURE BRINGS AS TIME GOES BY ♪

>> SAM, I THOUGHT I TOLD YOU NEVER TO PLAY.

>> INTO RICK’S CAFE WALKS A COUPLE, ILSA AND HER HUSBAND

VICTOR LAS LOW, HERO OF THE RESISTANCE.

>> ABOUT VICTOR LAS LOS EVERYWHERE.

>> UNBEKNOWNST TO ANYONE ELSE IN THE MOVIE, ELLIS SA AND RICK

HAVE A PAST. >> OF ALL THE GIN JOINTS IN ALL

THE TOWNS IN THE WORLD, SHE WALKS INTO MINE.

>> HE IS THE EPITOME OF THAT WOUNDED CYNIC.

WE GET TO SEE A MAN WHO USED TO BE AN DALIST RECLAIM THAT PART

OF HIMSELF. ♪

>> THERE’S A GREAT SCENE WHERE THE GERMANS ARE BY THE PIANO AND

THEY START SINGING. AND EVERYBODY IN RICK’S CAFE WHO

IS NOT GERMAN IS SILENT AND IN PAIN.

♪ VICTOR LAS LOW GOES TO THE BAD

AND SAYS LET’S PLAY THE FRENCH NATIONAL ANTHEM.

PLAY IT. >> THEY GIVE THAT LOOK TO BOGEY.

HE JUST GOES, AND THEN YOU’RE LIKE OH, BOGEY’S JOINED THE WAR.

♪ >> THE MOVIE IS ABOUT REFUGEES

CAUGHT IN DESPERATE LIFE‐THREATENING SITUATIONS.

AND HALF THE CAST WAS REFUGEES WHO HAD BEEN CAUGHT NOTICE

DESPERATE LIFE‐THREATENING SITUATIONS.

PETER LORI ESCAPED GERMANY WHEN THE NAZIS TOOK OVER.

CONRAD VITE WHO PLAYED THE NASTIEST NAZI OF THEM ALL WAS A

FERVENT ANTI‐NAZI, HAD A JEWISH WIFE.

HIS WIFE THEY ESCAPED FROM FRANCE JUST AS THE GERMANS

ARRIVED IN PARIS. ALL OF DALIO’S FAMILY LEFT

BEHIND DIED IN THE CAMPS. ♪

>> DEFEATING FASCISM THROUGH PATRIOTISM AND THE PASSION OF

LOVING YOUR COUNTRY. TO THIS DAY, I GET CHILLS AND

TEARS WHEN I WATCH THAT SCENE. >> VIVA LA FRANCE.

>> CASABLANCA IS A PERFECT SCRIPT FOR THE PERFECT TIME.

THE WAY THE STORY WINDS UP IS THE ONLY WAY THAT STORY COULD

HAVE WOUND UP. >> I’M NO GOOD AT BEING NOBLE

BUT IT DOESN’T TAKE MUCH TO SEE THAT THE PROBLEMS OF THREE

LITTLE PEOPLE DON’T AMOUNT TO A HILL OF BEANS IN THIS CRAZY

WORLD. >> IT’S TELLING US ALL THAT OUR

PROBLEMS AS INDIVIDUALS DON’T MEAN A LOT IN THE FACE OF THIS

BIGGER CHALLENGE TO COME. >> HERE’S LOOKING AT YOU, KID.

>> THAN WE ALL HAD TO DEAL WITH THAT IN THE VERY DARKEST DAYS OF

WORLD WAR II. >> OPEN FIRE.

YA WHO. >> MAN YOUR STATION.

>> FIRE. >> THE TYPICAL STORY OF A COMBAT

FILM IS ABOUT A GROUP WITH AN OBJECTIVE FACING DEATH, THEY SAY

THIS IS WHAT WE HAVE TO DO. LET’S GET THIS DONE AND WIN IT.

>> WHAT DO YOU THINK OF THE BOMBER NOW?

>> THEY’RE DESIGNED TO REASSURE PEOPLE AND TO INVOLVE PEOPLE IN

THE WAR. WHEN YOU TRY TO UNDERSTAND THE

CHANGE THAT WORD WAR II WROUGHT ON THE MOVIES, YOU HAVE TO

UNDERSTAND THAT FIVE OF THE GREATEST DIRECTORS ACTUALLY WENT

AND TOOK PART IN THE WAR. >> IT WAS CAPRA, IT WAS FORD, IT

WAS STEVENS, IT WAS HOUSTON, THEN IT WAS WYLER.

THESE ARE CLEARLY FIVE OF THE GREAT AMERICAN ICONS.

THEY SERVED THEIR COUNTRY AS STORY TELLERS AND RISKED THEIR

LIVES. >> IN MEN WHO BELIEVED IN THEIR

COUNTRY LIKE MY FATHER FELT THE MORAL OBLIGATION TO DEFEND THEIR

COUNTRY AGAINST THE SCOURGE OF NAZIISM.

>> IN AN EFFORT TO MAINTAIN CONTACT WITH THE ENEMY OUR

PATROLS IMMEDIATELY PUSHED AHEAD.

>> HE WAS IN SOME VERY HAIRY SITUATIONS.

HE TALKED ABOUT A COMMANDER WHOSE TROOPS HAD REALLY BEEN

DECIMATED BY THE GERMANS CROSSING A BINGE THAT HAD BEEN

BOMBED. AND THIS MAN RAISED HIS ARM TO

SALUTE EXCEPT HE WAS MISSING A HAND.

THE WAR DEFINITELY FOLLOWED HIM THROUGHOUT HIS LIFE.

>> JOHN FORD FILMED THE BAT ALF MIDWAY THAT WON HIM AN ACADEMY

AWARD FOR BEST DOCUMENTARY. HE ALSO FILMED THE D‐DAY

LANDINGS IN 1944. HE WAS DEEPLY AFFECTED BY THE

WAR. HE COMES BACK TO HOLLYWOOD

WANTING TO MAKE A MOVIE. HE DOESN’T WANT TO MAKE YOUR

SORT OF WE’VE WON, IT’S ALL WONDERFUL TYPE OF MOVIE.

>> TAKE COVER. >> THEY WERE EXPENDABLES IS

ABOUT THE FALL OF THE PHILIPPINES AND THE DEFEAT OF

THE UNITED STATES. >> FORD MADE THIS VERY PATRIOTIC

PICTURE ABOUT THE NOBLE SACRIFICE.

>> WHEN YOU SEE THE GENERAL, TELL HIM THE END HERE IS NEAR.

>> MOST OF THEM WERE GOING TO BECOME PRISONERS OF WAR AND MANY

OF THEM WOULD PROBABLY PERISH. >> AS I CALL YOUR NAMES, KINDLY

STEP IN. >> AT THE END OF THE MOVIE IS

VERY MUCH ABOUT THE FATE OF THE SAILORS STAYING BACK.

IF THEY DIDN’T GET ON THAT PLANE THAT, THEY KNOW WHAT THAT MEANS.

>> SIR, HOW MANY MORE PLANES ARE COMING

BACK TO THE AMERICAN HOME WITH WELCOME AND WELL DONE

EVERYWHERE. >> IMMEDIATELY AFTER THE WAR,

EVERYBODY WAS SAYING HOW DO WE PICK UP WHERE WE LEFT OFF?

AFTER EVERYTHING THAT WE HAVE SEEN AND LEARNED.

THE COST OF WAR IS WHAT IS COMMUNICATED IN THE BEST YEARS

OF OUR LIVES BETTER THAN ANY WAR MOVIE I’VE EVER SEEN.

. >> THESE GUYS ARE JUST TRYING TO

GET HOME. >> THIS IS MY STREET.

>> THEY NEVER KNEW EACH OTHER BEFORE THE WAR BUT THEY ALL MEET

AND THEY BECOME FAST FRIENDS. AND THEIR LIVES START TO REALLY

INTERCONNECT AS THEY START TO WORK OUT.

THE HUGE DAMAGE THAT THE WAR CAUSES ARE EMOTIONAL CORE.

>> THE FILM WAS MADE RIGHT AFTER THE WAR AND AS THE CAMERA CRANES

UP, YOU SEE THIS VAST WORLD WAR II GRAVEYARD OF OLD HULKS, NO

DIGITAL PHOTOGRAPHY OR MAT WORK. THAT PHENOMENONAL SCENE WHEN

DANA AND DREWS IS SITTING IN THE JUNKED PLANE RELIVING HIS

MISSION AS A BOMBARDIER, IT COMMUNICATES THAT OPPRESSIVE

WEIGHT OF THE EXPERIENCE. OF PUTTING YOUR LIFE ON HOLD AND

GOING OFF AND MAYBE COMING BACK, MAYBE NOT COMING BACK AT ALL.

OR MAYBE COMING BACK WITH NO HANDS.

>> I’VE LEARNED HOW TO TAKE THIS HARNESS OFF.

>> THE FACT THAT THEY CAST HAROLD RUSSELL, A GUY WHO LOST

HIS HANDS DURING THE WAR, THAT WAS INCREDIBLY POWERFUL.

>> THIS IS A VERY PROUD AND A VERY HAPPY MONTH.

>> THEY HAD MADE PLANS TO GIVE HIM A SPECIAL OSCAR AND THEN IT

TURNED OUT THE PERFORMANCE WAS SO GOOD THAT PEOPLE VOTE FORD

HIM FOR BEST SUPPORTING ACTOR WHICH THEY COULDN’T HAVE

PREDICTED SO HE WON TWO OSCARS. >> HELLO, DARLING.

>> HELLO, DADDY. >> HELLO, DADDY.

>> HOW DO YOU LIKE IT. >> IT’S A WONDERFUL LIFE" WASN’T

VERY SUCCESSFUL WHEN IT CAME OUT WHICH I’M ALWAYS SHOCKED WHEN I

LEARN THAT A MOVIE THAT WE REVERE ACTUALLY STRUGGLED IN ITS

INITIAL RELEASE BUT WHAT A REMARKABLE BLEND OF NARRATIVE

VALUES AND THEMES. >> DADDY, THE BROWNS NEXT DOOR

HAVE A NEW CAR. YOU SHOULD SEE IT.

>> WHAT’S THE MATTER WITH OUR CAR?

ISN’T IT GOOD ENOUGH FOR YOU? >> BECAUSE CAP BRA WAS ALWAYS

SUCH A MUMIST I THINK IT WAS VERY IMPORTANT TO HIM TO

ACKNOWLEDGE FLAWS, ACKNOWLEDGE WEAKNESS.

>> GEORGE, WHAT’S WRONG? >> WRONGING?

EVERYTHING. YOU CALL IT A HAPPY FAMILY WHY

DO WE HAVE TO HAVE ALL THESE KIDS.

>> JIMMY STEWART CAME BACK FROM THE WAR, AS WELL.

HE FLEW MISSIONS. THESE ARE TWO VETERANS NOW AND I

DON’T THINK IT WOULD HAVE GONE THAT DARK HAD FRANK CAPRA STAYED

HOME AND MADE LIGHT COMEDIES. >> APPARENTLY FRANK CAPRA

APPEALED TO HIM BY SAYING IT’S A CHRISTMAS MOVIE ABOUT SUICIDE.

JIMMY STEWART SAID CHRISTMAS MOVIE ABOUT SUICIDE, COUNT ME

IN. YOU COME BACK FROM THE WAR WITH

A GRAVEYARD KIND OF SENSE OF HUMOR.

GEORGE BAILEY IS LIGHT YEARS AWAY FROM THAT IDEALISTIC

MR. SMITHING IN "MR. SMITH GOES TO WASHINGTON."

INTO IT WAS PROBABLY THE STRONGEST PICTURE I’VE MADE.

I NEVER HAVE RUN ACROSS SUCH A UNIQUE STORY, A MAN WHO THOUGHT

HE WAS A FAILURE BEING GIVEN THE OPPORTUNITY TO COME BACK AND SEE

THE WORLD AS IT WOULD HAVE BEEN HAD HE NOT BEEN BORN.

>> YOU’VE BEEN GRIFFIN A GREAT GIFT, GEORGE.

A CHANCE TO SEE WHAT THE WORLD WOULD BE LIKE WITHOUT.

>> YOU THAT’S A DARK, DARK PLACE TO BEGIN A MOVIE THAT’S

ULTIMATELY GOING TO WIND UP BEING ONE OF THE GREAT HOLIDAY

MOVIES AND ONE OF THE MOST AFFIRMING MOVIES EVER MADE.

>> MERRY CHRISTMAS. >> IT’S POWERFUL BECAUSE IT’S

BEEN A JOURNEY FROM PLACE OF TRUE DESPAIR AND TAKES GUTS TO

TELL THE STORY WITH THAT KIND OF STRENGTH AND COMMITMENT.

>> AND YEAH, SWEETHEART. >> THERE’S A GIRL WANTS TO SEE

YOU. HER NAME’S WANDER LAY.

>> CUSTOMER? >> I GUESS SO.

YOU’LL WANT TO SEE HER ANYWAY. SHE’S A KNOCKOUT.

>> SHOW HER IN, DARLING. SHOW HER IN.

>> FROM THE WAR IS A STYLE OF FILM MAKING THAT’S VERY POPULAR

IN THE ’40s AND FICHTS. THE FILMS ARE MOODY, PES PES

MICK TICK, KIND OF ABOUT THE UNDERBELLY OF MANOR SOCIETY.

BECAUSE OF WORLD WAR II THERE WAS AN APPETITE AMONG AUDIENCES

FOR THESE KIND OF FILMS. >> ANYBODY HEAR THE SHOT.

>> SOMEBODY MUST HAVE. WE JUST GOT HERE.

>> THE MALTESE FALCON IS OSTENSIBLY A DETECTIVE STORY BUT

THE PLOT REVOLVES AROUND ALL THESE CRAZY CHARACTERS LOOKING

FOR THE BLACK BIRD AND HOW SAM SPADE PLAYS THESE CHARACTERS OFF

EACH OTHER. >> YOU’RE GOOD.

YOU’RE VERY GOOD. >> WHAT DID HE SAY?

>> ABOUT WHAT? >> ABOUT ME.

>> NOTHING. >> WHAT DID YOU TALK ABOUT THEN?

>> HE OFFERED ME $5,000 FOR THE BLACK BIRD.

>> MY FATHER WAS NOT THAT BIG A FAN OF ACTORS.

IF YOU WATCH HIS MOVIES, HE’S MORE INTERESTED IN CHARACTER.

I THINK THIS WAS WHY HE LOVED HUMPHREY BOGART SO MUCH.

>> THANKS, DARLING. THERE’S A KIND OF DIRECTNESS AND

HONESTY ABOUT HIM THAT WE’RE NOT USED TO.

>> WHEN YOU’RE SLACK, YOU’LL TAKE IT AND LIKE IT.

>> BOGART IS NOT THE GOOD GUY. AND THAT IS ESSENTIAL TO THIS

WHOLE TREND. THE ATTITUDE IS VERY AMERICAN.

BUT IT DIDN’T REALLY BECOME FILM NOIR UNTIL THESE FILMMAKERS THAT

CAME OVER FROM EUROPE BROUGHT A PARTICULAR VISUAL SENSIBILITY

AND THAT IS WHERE INTERIOR WAS BORN.

>> I KILLED DIEDRICH SON. ME, WALTER NEF.

INSURANCE SALESMAN. >> BILLY WILDER ADAPTED THIS

AMAZING STORY WITH RAYMOND CHANDLER.

THE WAY IT STARTS TOLD BY A GUY BLEEDING TO DEATH, IT WOULD

BECOME SO IMPORTANT TO HARD BOILED DETECTIVE STORIES.

>> I WASN’T LONG, WAS HE? >> NOT AT ALL.

>> I HOPE I’VE GOT MY FACE ON STREIT.

>> PERFECT TORE R FOR MY MONEY. >> THERE WAS A VERY INTENSE

MURDER SCENE THAT HAD TO BE FLINLED AND HOW ARE YOU GOING TO

DO IT IN THIS AGE OF CENSORSHIP? >> THIS IS NOT THE RIGHT STREET.

WHY DID YOU TURN HERE? >> WHAT ARE YOU DOING THAT FOR?

WHAT ARE YOU HONGKING THE HORN FOR?

>> BILLY WILDER LEAVES THE CAMERA ON BARBARA STANWYCK AND

SHE EXPERIENCES THE PAIN OF HER HUSBAND AND THEN THE

SATISFACTION OF IT. SHE GIVES YOU ALL OF THAT.

AND THAT’S AS GOOD AS IT GETS. >> OKAY, BABY, THAT’S IT.

>> THE MURDER YOU DON’T SEE IN DOUBLE INDEMNITY IS BETTER THAN

ANY GRIZZLY MURDER YOU COULD SHOW ME.

>> STRAIGHT DOWN THE LINE. >> BARBARA STANWYCK’S PERFORM,

AS PHYLLIS IS THE ARCHETYPE OF THE DANGEROUS FEMME FATALE.

>> BACK IN THE MORNING. MEET ME AT THE HOTEL.

>> WHEN YOU GET TO JANE GREER IN "OUT OF THE PAST," SHE TAKES IT

A STEP FURTHER. >> CAN WE GET AWAY WITH IT.

>> SHE’S MUCH MORE OF A COLD PSYCHOPATH.

THERE’S A SCENE WHERE HE’S WATCHING ROBERT MITCH CHUM AND

HIS PARTNER BEAT THE HELL OUT OF EACH OTHER AND SHE’S SORT OF IN

ECSTASY. >> I’LL NEVER FORGET THE IMAGES

IN THAT FIGHT HER FACE SHOOTING A GUY IT STAYED WITH ME FOR THE

REST OF MY LIFE. >> THAT WILL DRY YOUR HAIR.

>> SHE TAKES INTO THE BUNGALOW AND THEY KISS.

SOMETHING IN THE CAMERA MOVES TO THE DOOR AND THE DOOR OPENS.

IT’S RAINING. CAMERA JUST TRACKS.

IT’S JUST VISUAL POETRY AND MOOD.

>> EVERY STUDIO AT A CERTAIN POINT WAS MAKING SIM OR EIGHT OF

THESE MOVIES A YEAR. >> TAKE THIS THICK OUT OF MY

MOUTH, WILL YOU? >> ARTISTS WERE EAGER TO MAKE

MOVIES THAT WERE MORE ADULT. >> HARRY.

>> THIS KIND OF NOTION OF DARKNESS IN FILMS HAD KIND OF

THE OPPOSITE OF THE HOLLYWOOD ENDING WHERE THINGS DON’T WORK

OUT WELL, THINGS DON’T WORK OUT FOR THE HERO.

>> THIS IS FILM NOIR’S LEGACY.

YES, THIS IS SUNSET BOULEVARD, LOS ANGELES, CALIFORNIA.

IT’S ABOUT 5:00 IN THE MORNING. THAT’S THE HOMICIDE SQUAD.

>> THE 50s PRODUCED A LOT OF REALLY DARK CYNICAL MOVIES AND

IT STARTS PRETTY EARLY ON WITH SUNSET BOULEVARD.

IT OPENS UP WITH A BODY IN A POOL.

THEN IT’S ALL TOLD IN FLASHBACK BY THE MAN IN THE POOL.

>> YOU’RE NORMA DESMOND. USED TO BE IN SILENT PICTURES,

USED TO BE BIG. >> I AM BIG.

IT’S THE PICTURES THAT GOT SMALL.

>> HER PERFORMANCE EVERYONE TALKS ABOUT IS GLORIA SWANSON AS

NORMA DESMOND GLORIA SWANSON HAD BEEN A HUGE STAR IN SILENT FILMS

SO SHE VERY MUCH KNEW THE CHARACTER SHE PLAYED.

>> WE DIDN’T NEED THAT. WE HAD FAYS.

>> NOW IN HER EARLY ’50S, SHE IS PLAYING THIS DEPOSED QUEEN WHO

BECOMES INCREASINGLY DELUSIONAL AND GOES MAD.

>> THERE’S NOTHING ELSE, JUST US.

AND THE CAMERAS. AND THOSE WONDERFUL PEOPLE OUT

THERE IN THE DARK. >> IT’S A FILM ABOUT HOLLYWOOD’S

TENDENCY TOES THROW PEOPLE AWAY TO, BUILD PEOPLE UP AND THEN

TEAR THEM DOWN AND FORGET THEM. >> LORD, I’M NOT 20ISH.

I’M NOT 30ISH. THREE MONTHS AGO, I WAS 40 YEARS

OLD. 40.

4‐0. >> UPSET BOULEVARD AND ALL ABOUT

EVE BOTH CAME OUT IN THE 1950. BETTE DAVIS HAD A KIND OF LULL

IN HER CAREER AND MADE A COUPLE MOVIES THAT HADN’T MADE MONEY SO

THIS WAS A REAL COMEBACK. HERE SHE WAS PLAYING THIS GREAT

STAGE ACRES MARGARET CHANNING WORRIED ABOUT LOSING HER CAREER,

LOSING HERMAN AND ALONG COMES EVE HARRINGTON.

>> WHAT DO YOU THINK OF MY ELEGANT NEW SUIT.

>> VERY BECOMING. IT LOOKS MUCH BETTER THAN YOU

THAN IT DID ON ME. >> THIS UP AND COME IRSTARTS AS

A FAN BUT YOU QUICKLY REALIZE SHE’S SOMETHING ELSE ENTIRELY.

SHE WANTS TO GET THE ROLES THAT MARGOT ONCE WAS GETTING.

MARGOT IS FIGHTING THIS TOOTH AND NAIL AS ONLY BETTE DAVIS

CAN. >> FASTEN YOUR SEAT BELTS.

IT’S GOING TO BE A BUMPY NIGHT. >> BETTE DAVIS ATTENTION YOU

FROM THE HEIGHT OF VANITY TO THE DEPTHS OF DESPAIR.

AND I JUST LOVE THAT ART. I THINK THAT’S THE GREATEST

PERFORMANCE OF HER CAREER. >> A WOMAN’S CAREER, THE THINGS

YOU DROP ON YOUR LADDER SO YOU CAN MOVE FASTER, YOU FORGET

YOU’LL NEED THEM AGAIN WHEN YOU GET BACK TO BEING A WOMAN.

>> SUNSET BOULEVARD AND ALL ABOUT EVE ARE ALL ABOUT ACTORS

COMPETING EACH OTHER AND BEING USURPED BY A YOUNGER AGENDA

RIGGS. THAT’S WHAT HAPPENED IN THE BEST

ACTRESS RACE WHERE HAD YOU GLOR WA SWANSON COMPETING AGAINST

BETTE DAVIS. HOWEVER THE WINNER WAS JUDY

HOLLIDAY WHO HAD JUST RISEN TO OVERNIGHT FAME IN "BORN

YESTERDAY." >> WHAT DID YOU SAY IT FOR?

>> I DON’T KNOW. HOW OLD ARE YOU?

>> 29. >> IT’S ENTERTAINMENT IN YOUR

OWN LIVING ROOM AND ALL OVER THE COUNTRY MOVIE AUDIENCES OF ALL

AGES SIT GLUED TO THEIR TELEVISION SETS.

THE PICTURE MAY BE SMALL BUT IT’S FREE.

>> PROBABLY THE MOST SERIOUS THREAT TO MOVIES CAME IN THE

1950s WHEN PEOPLE WERE OOH BUYING TELEVISIONS.

BIBLICAL EXSPANSIVE EPICS IN THE ’50S WERE ONE OF HOLLYWOOD’S

FIRST SUCCESSFUL ANSWERS TO THE THREAT OF TELEVISION.

THAT BROUGHT PEOPLE BACK TO THE THEATERS AND THAT JUST CAUSED

HOLLYWOOD TO MAKE MORE AND MORE OF THEM.

>> WHO SHALL WITHSTAND THE POWER OF GOD?

>> WATCHING YOUR BLACK AND WHITE BOX TV ON THE FLOOR OF YOUR

LIVING ROOM WAS NOTHING COMPARED TO GOING TO A MOVIE LIKE BEN

HUR. IT WAS JUST NOT THE KIND OF

THING THAT ANYBODY HAD SEEN AT THAT TIME.

>> MOVIES HAD TO GET OFF THEIR LAWYERS NOT LAYS AROUND AND

LET’S MAKE GOING TO THE CINEMA AN EVEN MORE EXTRAORDINARY

EXPERIENCE. THEN AFTER TELEVISION COMES

ALONG, SOME OF THE GREAT MUSICALS OF ALL TIME COME ALONG

AS A RESULT OF THAT. ♪ GOOD MORNING, GOOD MORNING

IT’S GREAT TO STAY UP LATE GOOD MORNING GOOD MORNING TO YOU.

♪. >> SINGING IN THE RAIN IS THE

PERFECT MOVIE. IT’S FUN AND IT’S BEAUTIFUL AND

IT’S COLORFUL AND THE SONGS ARE BRILLIANT.

I DIDN’T REALIZE AT THE TIME THAT THEY WERE FROM DIFFERENT

MUSICALS. >> SINGING IN THE RAIN.

>> SINGING IN THE RAIN WAS IN ANOTHER MOVIE.

IT WAS NOT THAT POPULAR. BUT I THINK A SONG IS JUST A

SONG UNTIL THE RIGHT SINGER SINGS IT.

>>. ♪ SINGING IN THE RAIN JUST

SINGING IN THE RAIN ♪ ♪ WHAT A GLORIOUS FEELING I’M

HAPPY AGAIN ♪ >> SAID WHAT DO YOU DO WITH

SINGING IN THE RAIN? I SAID IT WILL BE RAINING AND

I’LL BE SINGING. THAT WAS IT.

IT WASN’T HARD TO COMPOSE IT. >> THE MOMENT OF SLASHING THE

WATER. >> THAT PART WAS FUN.

♪ CLANG, CLANG CLANG WENT THE

TROLLEY. DING DING DING WENT THE BELL.

>> WHEN YOU COME ALONG WITH VINCENT MINNELLI MAKING "MEET ME

IN ST. LOUIS" AND "AMERICAN IN PARIS" AND "THE BAND WAGON," YOU

HAVE SUCH ORIGINALITY, SUCH JOY AND SUCH, WOULD THAT STAND THE

TEST OF TIME. ♪ WANT TO HAVE BELLS THAT WILL

RING YOU WANT TO HAVE SONGS THAT WILL SING ♪ IN 195, GEORGE KOOK

COREY MAKES A STAR IS BORN AND TURNS IT INTO A MUSICAL.

>> IF I DON’T GET MY WAY, I BEGIN TO BREAK UP PEOPLE.

YOU UNDERSTAND, DON’T YOU? >> YES, I UNDERSTAND.

>> JUDY GARLAND AT THAT POINT HAS HAD HER SHARE OF PROBLEMS

WITH DRUGS AND ALCOHOL, BEEN FIRED.

SO "A STAR IS BORN" IS REALLY A HUGE COMEBACK FOR JUDY GARLAND.

♪ THE NIGHT BITTER ♪ >> SHE’S PLAYING THE UPUP AND

COMING SINGER WHO IS DISCOVERED BY AN ALCOHOLIC ACTOR.

YOU GET THESE GREAT MUSICAL NUMBERS, ESPECIALLY THE MAN WHO

GOT AWAY. >> Reporter: ALL BECAUSE OF THE

MAN THAT GOT AWAY ♪ >> SHE MAKES YOU FEEL EVERY

SINGLE EMOTION IN THAT SHE’S HEBBING HER BODY TOWARD THE

CAMERA. IT IS A CRY OF ANGST AND PAIN.

IT IS AN OPERA MOMENT THAT SHE IS TURNING INTO JUST ONE OF THE

GREAT MOVIE MOMENTS OF ALL TIME. ONE UNINTERRUPTED TAKE OF HER

SINGING THIS SONG. ♪ LEASE JUST TO LETUP ♪

>> YOU SEE THE MOST INTIMATE REVELATION OF THIS PERFORMER WHO

HAS SOMETHING ON THE INSIDE THAT SOMEHOW IS NOT GETTING OUT

BECAUSE THEY’RE BEING BOTTOMED IN ANOTHER WAY.

EVERYTHING CAN RELATE TO THAT WHETHER YOU’RE 0 AN ARTIST OR

NOT OR A MUSICIAN OR NOT. ♪ THE MAN ♪

>> SELF‐REVELATION. ♪ THAT GOT AWAY ♪

>> WE’RE GOING TO GET THE ANSWER TO THAT QUESTION IF WE HAVE TO

STAY HERE FOR A WEEK. ARE YOU A MEMBER OF THE

COMMUNIST MEMBER OR HAVE YOU EVER BEEN A MEMBER OF THE

COMMUNIST PARTY? >> AFTER WORLD WAR II IS ENDED,

THE HOUSE UN‐AMERICAN ACTIVITIES COMMITTEE SETS OUT LOOKING FOR

SO‐CALLED COMMUNIST INFILTRATION OF THE AMERICAN MOTION PICTURE

INDUSTRY. >> THE CHARGE HAS BEEN MADE THAT

THE THE SCREENWRITER GUILD HAD A NUMBER OF INDIVIDUALS IN IT WHO

ARE MEMBERS OF THE COMMUNIST PARTY.

>> THERE WAS THE SENSE THAT IF THE SOVIETS WANTED TO INFILTRATE

AMERICA, THE WAY TO DO IT WAS TO INFECT HOLLYWOOD.

>> YOUR PURPOSE IS TO USE THIS TO DISRUPT THE MOTION PICTURE

INDUSTRY TO INVADE THE RIGHTS NOT ONLY OF ME BUT OF THE

PRODUCERS TO THEIR THOUGHTS, TO THEIR OPINIONS.

>> TEN SCREENWRITERS AND PRODUCERS WHO REFUSED TO

COOPERATE WITH THEIR INVESTIGATION EVENTUALLY ARE

FOUND GUILTY OF CONTEMPT OF CONGRESS AND SENTENCED AND SERVE

UP TO A YEAR IN PRISON. >> WE WILL NOT REEMPLOY ANY OF

THE TEN UNTIL SUCH TIME AS HE IS ACQUITTED.

>> THE COMMITTEE IDENTIFIED PEOPLE WHO WERE SUSPECTED OF

BEING COMMUNISTS AND THEN THE STUDIOS THEMSELVES PROCEEDED TO

FIRE AND BLACK LIST ANYONE WHO REFUSED TO COOPERATE.

>> BEN MILLER NOW WITH JIM PIERCE AND JACK COLBY.

THEY ASKED ABOUT THE NOON TRAIN. >> THE NOON TRAIN?

>> AND CARL FOREMAN IS WRITING THE SCREENPLAY OF "HIGH NOON" IN

THOR? OF 1951 WHEN HE GETS A SUBPOENA

TO TESTIFY BEFORE ACCOUNT HOUSE UN‐AMERICAN ACTIVITIES COMMITTEE

AND HE’S BEGINNING TO WRITE MORE INTO THE SCREENPLAY OF A PARABLE

AL GOER EVEN ABOUT THE HOLLYWOOD BLACK LIST.

>> FOREMAN BEGINS TO SEE THE COMMITTEE AS THE YOUNG THUGS WHO

WERE COMING TO TOWN TO KILL HIM AND HE AN BEGINS TO IDENTIFY

WITH THE MARSHALL HIMSELF. >> THIS IS MY TOWN.

I’VE GOT FRIENDS HERE. I’LL SWEAR IN A BUNCH OF SPECIAL

DEPUTIES AND WITH A POS IS HE BEHIND ME, MAYBE THERE WOULD BE

ANY TROUBLE. >> YOU KNOW THEY’LL BE TROUBLE.

>> THEN IT’S BETTER TO HAVE IT HERE.

>> COOPER IS GIVING THIS INCREDIBLE NATURAL PERFORMANCE.

THIS ONGOING DILEMMA THAT’S GOING ON IN HIS MIND ENDS UP

BEING THE HEART BEAT OF THE MOVIE.

>> SOME OF YOU WERE SPECIAL DEPUTIES WHEN WE BROKE THIS

BUNCH. I NEED YOU AGAIN NOW.

>> THE SCRIPT HAS THIS GREAT 1950s THEME OF YOUR NEIGHBOR’S

ABANDONING YOU BECAUSE MIGHT BE A COMMUNIST OR BECAUSE THEY

DON’T WANT YOU TO KNOW ABOUT THEIR BOMB SHELTER MOVIE.

ILLUMINATED WHAT WAS GOING ON. >> CARL FOREMAN WAS A MAN OF

SUCH PRINCIPLE THAT WHEN HE TESTIFIED, HE WOULD NOT NAME

NAMES. IS HE PAID AN ENORMOUS PRICE.

HE WAS FORCED TO UPROOT AND MOVE TO ENGLAND.

THE GREAT TRAGEDY OF THE BLACK LIST IS THAT IT DESTROYED

CAREERS AND IT BRUISED OTHERS AND IT TURNED CREATIVE PEOPLE

AGAINST ONE ANOTHER. IT WAS A TERRIBLY CHALLENGING

TIME AND YOU HAD PEOPLE FEARING ANOTHER WAR.

>> YOU’RE A TRAITOR. YOU’RE A TRAITOR AND A SPY.

>> THOSE ARE JUST UNPLEASANT WORDS.

I’M A LOYAL SUPPORTER OF THE GREATEST SOCIAL EXPERIMENT IN

THE WORLD. >> AMERICA WAS GOING THROUGH

COMMUNIST PARANOIA. WE WILL COMMUNIST INFILTRATION

IN OUR SCHOOLS AND OUR GOVERNMENT.

FROM THAT YOU GET ALIEN INVASION MOVIES.

MOVIES. >> IT WAS AN ERA THAT WAS STIPED

IN FEAR. NOT JUST FROM THE COMMUNIST

WITCH HUNTS THAT WERE GOING ON BUT OF COURSE, FROM THE ATOM

BOMB. >> THE CREATION OF NUCLEAR

WEAPONS MAKES THE POSSIBILITIES FOR TERROR AND HORROR SEEM

ENDLESS. >> THE GIANT INSECT GENRE

STARTED WITH THIS THEM" IN 1954. >> A FANTASTIC MUTATION PROBABLY

CAUSED BY LINGERING RADIATION FROM THE FIRST ATOMIC BOMB.

>> THAT KICKED OFF A TREND OF CREATURE FEATURES.

>> A MONSTER LEADING A TRAIL OF CARNAGE.

>> THE IMAGINATION RAN WILD. WHAT’S GOING TO HAPPEN TO US IN

THIS NUCLEAR AGE. >> I DIDN’T THINK I HAD THAT

MUCH TO DRINK. >> I LOVED ALL THE ’50S SCI‐FI

FILMS, THE WORSE OF THEM TO THE BEST OF THEM FROM "I MARRIED A

MONSTER FROM OUTER SPACE" TO ‐‐ YOU CAN’T GET FURTHER APART IN

TERMS OF TWO FILMS THAT ONLY SHARE ONE THING, GENRE, THAT’S

IT. >> WHAT ABOUT THIS MONSTER STORY

OF YOURS? WELL, IT’S BIG AND TERRIBLE.

>> ORIGINALLY GODZILLA WAS A JAPANESE FILM IN JAPANESE.

THE WAY HOLLYWOOD TRIED TO TURN IT INTO SOMETHING WE COULD

DIGEST THEY RECUT IT WITH AN AMERICAN REPORTER IN TOKYO.

>> I PREFER THE PURE JAPANESE VERSION BECAUSE IT’S SO VISUAL.

IT’S MUCH MORE PRIMAL. AND GODZILLA IS MUCH MORE

PIERCE. WHAT ARE THE PEOPLE DOING?

TRYING TO SAVE THEMSELVES AND TRYING TO CONCOCT SOME KIND OF A

TECHNOLOGY TO DESTROY THE MONSTER.

THAT’S ALL YOU REALLY HAVE TO KNOW.

>> IT IS LIST RALLY THE REACTION OF A POPULACE THAT HAS HAD AS

ATOMIC BOMB DROPPED ON THEM. WHAT DID THAT FEEL LIKE

CULTURALLY? LIKE A MONSTER CAPE OUT OF THE

OCEAN AND STOMPED YOUR CIVILIZATION FLAT.

>> THEY COME FROM ANOTHER WORLD SPAWNED IN THE LIGHT YEARS OF

SPACE UNLEASHED TO TAKE OVER THE BODIES AND SOULS OF THE PEOPLE

OF OUR PLANET. >> ONE OF THE MOVIES THAT

DEFINES THE ANXIETY OF THE 1950s IS "INVASION OF THE BODY

SNATCHERS" WHERE THE ENEMY IS GOING TO COME AND LOOK LIKE YOUR

NUMBER. >> WE’VE BEEN WAITING FOR YOU.

>> IT’S GOING TO TAKE YOU OVER AND BEFORE YOU REALIZE IT,

EVERYTHING YOU KNOW AND LOVE IS GONE.

>> WE’VE GOT TO GO. >> THEY’LL NEVER BELIEVE ME.

>> HELP. >> INVASION OF THE BODY

SNATCHERS IS A GRADE GENRE MOVIE THAT, WOULD ON TWO LEVELS.

IT CAN BE SEEN AS A METAPHOR FOR THREAT OF COMMUNISTS.

ON THE FLIPSIDE IT’S ABOUT THE THREAT OF THE McCARTHY WITCH

HUNT AND YET IT CERTAINLY, WOULD ON ITS OWN TERMS AS A HORROR

MOVIE. >> THROUGH ALL OF THIS,

CHILDREN, EVERYONE. THEY’RE HERE ALREADY.

"AND THE WATERFRONT IS A REMARKABLE FILM SET ON THE DOCKS

OF NEW JERSEY AT A TIME WHEN THERE WERE CROOKED LABOR UNIONS

THAT CONTROLLED THE DOCKS AND YOU HAD TO BE IN GOOD WITH THE

UNION BOUSS TO GET ANY KIND OF WORK.

THIS IS ABOUT HOW THAT SYSTEM WAS BROKEN.

>> WATCH IT. >> GET A DOCTOR!

>> ON THE WATER FRONT IS THE FIRST TIME I SAW PEOPLE THAT I

KNEW THAT THAT I WAS GROWING UP WITH, THE PEOPLE IN MY FAMILY

THE PEOPLE IN THE STREETS UP THERE ON THE SCREEN.

THE DEPICTION OF THE LIFESTYLE WAS VERY REALISTIC.

THE TENEMENTS WERE THE SAME. YOU COULD PUT A GAME ON EVERY

IMAGE AND IT’S BEAUTIFUL ART. >> BE CAREFUL DON’T SPILL NO

WATER ON THE FLOOR. >> THE BEHAVIOR OF BRANDO WAS

THE BREAK THROUGH OF THE CENTURY.

>> I REMEMBER THE FIRST TIME I SAW BRANDO ON THE SCREEN AND IT

WAS A REVOLUTION. REVOLUTIONIZED THE ART OF

ACTING. > I DON’T KNOW NOTHING.

>> BY BRINGING A LEVEL OF REALITY THAT NOBODY EVER THOUGHT

WAS ACCEPTABLE. >> I COULD HAVE BEEN A

CONTENDER. I COULD HAVE BEEN SOMEBODY.

INSTEAD OF A BUM. >> EVERYBODY LOOKED UP TO

BRANDO. HE WAS GREAT.

WASN’T ABOUT TECHNIQUE IN A WAY, IT WAS TECHNIQUE OF A SORT BUT

IT WAS ABOUT JUST FEELING. YOU FELT SO MUCH FROM HIM.

>> I WAS YOU, CHARLIE. >> MARLON BRANDO IS OFTEN

ASSOCIATED WITH THE METHOD AS A STYLE OF ACTING.

>> THE METHOD ESSENTIALLY IS TERRIBLY HUMAN PROFOUNDLY HUMAN

THING. IT’S NOT ‐‐ IT WAS AFFECTED BY

PSYCHOANALYSIS, THE UNDERSTANDING OF THE SOLE.

>> HE’S BUILT IN ON THE WATERFRONT BUT WHO ISN’T.

THEY’RE ALL METHOD ACTORS FROM THE ACTORS STUDIO.

>> MUCH AS I ADMIRED BRANDO, CARL MALDEN, EVE VA MARIE SAINT

WAS ONE OF MY FAVORITE ACTRESSES.

CA ZAN WORKED SO WELL WITH HER. >> YES, I AM.

>> THERE WERE SO MANY OF US FROM THE STUDIO.

WE ALL WERE RATHER THE SAME WAY AND WE FELT COMFORTABLE WITH ONE

ANOTHER. >> I GUESS THEY DON’T LET YOU

WALK WITH FELLOWS WHERE YOU’VE BEEN, HUH.

>> YOU KNOW HOW THE SISTERS ARE. >> ARE YOU TRYING TO BE A NUN.

>> EADIE MY CHARACTER HAD GLOVES AND I DROPPED A GLOVE BY

ACCIDENT I DROPPED IT. HE PICKED UP THE GLOVE.

HE PUT IT ON HIS HAND. >> WE’RE GOING TO HAVE A

THANKSGIVING PARTY. >> IT WAS VERY SENSUOUS WHAT HE

WAS DOING WITH THAT GLOVE AND EADIE HAD TO GET THE GLOVE.

AND SHE DIDN’T KNOW HOW TO GET IT.

SHE HAD TO GO TO HIM TO BE CLOSER TO HIM.

>> I COULD GET HOME ALL RIGHT NOW, THANKS.

>> IT SHOWS THE SENSITIVITY AND THE GENIUS OF MARLON BRANDO.

>> ON THE WATERFRONT WAS NOMINATED FOR 12 ACADEMY AWARDS.

IT WINS EIGHT INCLUDING BEST SUPPORTING ACTRESS EVA MARIE

SAINT WHO IS PREGNANT WHILE SHE ACCEPTS IT.

>> I MAY HAVE THE BABY RIGHT HERE.

>> I HAD THE BABY THE NEXT DAY. AND NO, WE DID NOT CALL HIM

OSCAR. >> WHEN I THINK OF SOME OF THE

GREAT ACTORS OF THE 1950s LIKE MONTGOMERY CLIFT, AUDREY

HEPBURN, SIDNEY PHOTOYER, ANDY GRIFFITH AND, OF COURSE, JAMES

DEAN THEY’RE A YOUNG GENERATION WHO ARE WILLING TO SHARE MORE OF

THAT YOUR SOUL IN THEIR PERFORMANCE.

>> WHEN I SAW EAST OF EDEN, I WAS LIKE OH, MY GOD.

OH, MY GOD. IT WAS METHOD ACTING AT ITS

FINEST. I DO THINK THAT HE’S ABSOLUTELY

ONE OF THE GREATEST ACTORSES WHO EVER LIMBED AND THAT’S BASED ON

EAST OF EDEN ALONE FOR ME. >> REBEL WITHOUT A CAUSE WAS THE

FILM THAT MADE JAMES DEAN A MASSIVE STAR.

HE ONLY WAS IN THREE FILMS. BUT ALL OF THEM ARE

UNFORGETTABLE. >> I REALLY WAS MOVED BY REBEL

WITHOUT A CAUSE. WHEN HE PULLS UP THE BOTTLE TO

HIS FOREHEAD, I HAD NEVER SEEN THAT.

I DON’T KNOW WHERE THAT CAME FROM.

IT WAS SO INTERNAL AND SO CONFLICTED.

>> MY, YOU SURE DO LOOK PRETTY. >> JUST WENT FARTHER THAN ANYONE

I’D EVER SEEN BEFORE THAT IMMERSING HIMSELF IN THESE

CHARACTERS. >> JAMES DEAN BECOMES AN ICONIC

FIGURE WHO SPEAKS TO A GENERATION AND WHEN YOU ADD TO

THAT THE UNFULFILLED LIFE BECAUSE OF DYING IN HIS YOUTH,

YOU HAVE A KIND OF PERFECT COMBINATION OF A MYTHIC FIGURE

OF WHICH THERE HOME RUN VERY FEW IN HOLLYWOOD.

♪ A KISS ON HAND MAY BE QUITE CONTINENTAL ♪

♪ BUT DIAMONDS ARE A GIRL’S BEST FRIEND ♪

>> ONE OF THE GREATEST IMAGES IN THE HISTORY OF FILM IS MARILYN

MONROE IN THAT PINK DRESS SINGING DIAMONDS ARE A GIRL’S

BEST FRIEND. ♪ DIAMONDS ARE A GIRL’S BEST

FRIEND ♪ >> WHAT MOST PEOPLE KNOW ABOUT

MARILYN MONROE IS SHE BECOMES THIS BIG SEX SYMBOL STARTING IN

THE 50s BUT WHAT A LOT OF PEOPLE DON’T KNOW IS HOW FUNNY SHE IS.

>> OH, DO YOU FEEL THE BREEZE IN THE SUBWAY?

ISN’T IT DELICIOUS. >> SHE EVENTUALLY GOT TIRED OF

BEING TYPE CAST AS A SEX POT BOMBSHELL AND WANTED TO EXPAND

HER RANGE. SO SHE FAMOUSLY FORSAKES HER

CONTRACT WITH 20th COUNTRY FOX TO MOVE TO NEW YORK TO STUDY

WITH THE MOST RESPECTED ACTING COACH IN THE UNITED STATES AT

THE MOMENT LEE STRASBOURG AT THE ACTOR’S STUDIO.

>> WE DON’T GIVE HER ENOUGH CREDIT AS AN ACTRESS.

SHE COULD DO IT ALL AND BILLY WILDER KNEW IT.

>> SOME LIKE IT HOT IS HER MOST MEMORABLE FILM BECAUSE SHE PUTS

EVERYTHING TOGETHER FOR HERSELF. YOU START TO SEE HER AS A PERSON

THAT YOU CARE ABOUT EMOTIONALLY. >> ALL THE GIRLS DRINK.

IT’S JUST THE THAT I’M THE ONE THAT GETS CAUGHT.

I ALWAYS GET THE FUZZY END OF THE LOLLIPOP.

>> WHEN YOU’RE IN THE HANDS OF A BILLY WILDER, IT’S THE RIGHT

PERSON SAYING THE LINE IN THE RATE WAY.

THEY HEAR THE COMEDY OF IT. THERE’S A MUSIC TO A PUNCH LINE.

>> THIS MAY EVEN TURN OUT TO BE A SURPRISE PARTY.

>> WHAT SURPRISE? NOT YET.

>> WHEN? >> HAVE A DRINK FIRST.

>> IT’S A RIDICULOUS MOVIE. IN A LOT OF WAYS.

TONY CURTIS AND JACK LEMMON PLAY THESE TWO MUSICIANS IN 1920s

CHICAGO AND THEY ACCIDENTALLY WITNESS THE ST. VALENTINE’S DAY

MASSACRE AND THEY HAVE TO WITHOUT TRYING TO, HE ATTRACTS A

MILLIONAIRE WHO FALLS IN LOVE WITH HIM.

>> I’M ENGAGED. >> CONGRATULATIONS.

WHO’S THE LUCKY GIRL? >> I AM.

>> "SOME LIKE IT HOT" IS THE GREATEST COMEDY OF ALL TIME WITH

THE GREATEST LAST LINE. >> YOU DON’T UNDERSTAND, OZGOOD.

I’M A MAN. >> WELL, NOBODY’S PERFECT.

♪ >> I’VE NOTICED YOUR VIEW OF THE

WEST HAS BECOME INCREASINGLY SAD AND MELANCHOLY OVER THE YEARS.

HAVE YOU BEEN AWARE OF THAT CHANGE IN MOOD?

>> NO. >> JOHN FORD IS AMAZING.

HE PUTS HIS GREAT EMOTION AND SENSITIVITY INTO THESE

REMARKABLE FILMS, ONE AFTER THE OTHER AFTER THE OTHER AFTER THE

OTHER. I THINK HE SAW THE WORLD A

LITTLE BIT DIFFERENTLY THAN OTHER PEOPLE DID.

♪ >> HE HAD THIS INCREDIBLE

INTUITIVE SENSE OF COMPOSITION. HE UNDENIABLY UNDERSTOOD THE

POWER OF THE FRAME. >> THE WESTERN GAVE FORD THE

FREEDOM TO EXAMINE THEMES OF MASCULINITY, LOYALTY, REVENGE,

AND JUSTICE. "THE SEARCHERS" IS A CULMINATION

OF THIS JOURNEY WITH THESE SAME TWO KEY COLLABORATORS.

THE DIRECTOR NOW IN THE LATE PART OF HIS CAREER AND THE STAR

IN THE LATE PART OF HIS CAREER. >> MURDER!

>> "THE SEARCHERS" IS PROBABLY AS DARK AND ME LEF LENTCHARACTER

WAYNE EVER PLAYED. HIS NIECE GETS KIDNAPPED.

ONCE HE FINDS HER, IT’S NOT WHAT HE EXPECTS.

>> THESE ARE MY PEOPLE. GO.

GO, MARTIN, PLEASE. >> STAND ASIDE MARTIN.

>> "THE SEARCHERS" IS A FILM ABOUT RACISM.

JOHN WAYNE’S HATRED FOR THE FIRST NATION’S PEOPLE IS

PROFOUND. THE FACT THAT YOU CUT TO THE END

OF THE STORY AND HE WINDS UP RESCUING NATALIE WOOD.

AND IT ALWAYS BRINGS TEARS TO MY EYES WHEN HE EMBRACES DEBBIE AND

THEN TAKES HER HOME. >> LET’S GO HOME, DEBBIE.

>> IT’S A FILM THAT OFFERS A GREAT DEAL OF HOPE THAT THE

WORST DIED IN THE WOOL, HATER OF THE DIFFERENCES IN OTHERS CAN

CHANGE. ♪

>> THE STUDIO SYSTEM WAS COLLAPSING AT THE END OF THE

1950s. ALMOST EVERYBODY WAS A FREE

AGENT TO GO SORT OF CRAFT THEIR OWN DEAL.

SO, DIRECTORS HAD THE FREEDOM TO PUT THEIR STAMP ON MOVIES.

THIS WAS A SIGNIFICANT CHANGE IN HOW HOLLYWOOD DID BUSINESS.

>> MID‐’50s TO EARLY ’60s HITCHCOCK IS WHEN HE CHURNED OUT

MOST OF HIS PIECES. HE STARTED TO MAKE FILMS IN

COLOR AND HAVE AMERICAN CAST AND HAVE BIGGER SPLASHIER KIND OF

FILMS. I COULD SEE "VERTIGO" OVER AND

OVER AGAIN AND STILL NOT COMPLETELY GET IT.

AND I LOVE THAT ABOUT IT. IT’S SUCH A SUBCONSCIOUS MOVIE,

KIND OF A RIDDLE. YOU FEEL LIKE HITCHCOCK IS

ENGAGED IN A SYMBOLIC CONVERSATION WITH THE AUDIENCE.

>> YOU WANT ME TO BE DRESSED LIKE HER?

>> JUDY, I JUST WANT YOU TO LOOK NICE.

I KNOW IT LOOKS WELL ON YOU. >> NO, NO I WON’T DO IT.

>> THE RELATIONSHIP BETWEEN JIMMY STEWART AND KIM NOVAK IS

LIKE A DIRECTOR’S RELATIONSHIP WITH AN ACTRESS.

>> IT’S FIXATED ON HOW YOU LOOKED.

YOUR HAIR, YOUR JEWELRY, THE LITTLE STONE HERE HE PICKED OUT.

>> MR. HITCHCOCK, CAN I ASK YOU THIS?

MR. DIRECTOR ALLOW THEM A LIFE OF THEIR OWN?

>> IF THE DIRECTOR IS WORKING IN THE PURELY CINEMATIC MEDIUM,

THEN THE ACTOR MUST COME UNDER HIS CONTROL.

>> WORKING WITH HIM WAS JUST THE OPPOSITE FROM THE ACTOR’S

STUDIO. HE DOESN’T TALK ABOUT ANY

FEELINGS. HE TOLD ME DON’T USE YOUR HANDS.

LOWER YOUR VOICE. AND LOOK DIRECTLY INTO CARY

GRANT’S EYES. >> JACK PHILLIPS, WESTERN SALES

MANAGER FOR KINGBY ELECTRONICS. >> NO YOU’RE NOT.

YOUR ROGER THORN HILL OF MADISON AVENUE AND YOU’RE WANTED FOR

MURDER. DON’T BE SO MODEST.

>> HITCH DOCK WASCOCK WAS ONE FI THE DIRECTORS TO BECOME A BRAND

NAME, WHERE YOU MIGHT SHOW UP BECAUSE HE DIRECTED IT.

THAT FEELING OF PEOPLE SHOWED UP BECAUSE HE DIRECTED IT WAS ABOUT

TO BECOME STANDARD. >> THIS IS THE HEART OF AMERICAN

CINEMA. EVERYONE WHO’S WORKING TODAY HAS

SEEN AND WAS INFLUENCED BY THAT CLASSIC.

>> STELLA! >> THOSE WERE THE BUILDING

BLOCKS, THOSE WERE THE TEMPLATES OF EVERYTHING THAT CAME AFTER

IT. YOU CAN GO THROUGH THOSE FILMS

AGAIN AND AGAIN AND AGAIN AND THEY WOULD LIVE ETERNALLY IF YOU

JUST GIVE THEM A CHANCE. >> I DON’T KNOW WHAT I WOULD DO

WITHOUT YOU. >> OUR STORY OF HOLLYWOOD’S

FABULOUS ERA HAS COME TO AN END. FOR THOSE OF YOU WHO MAY HAVE

MISSED YOUR FAVORITE PERFORMER OR FILM, OUR SINCEREST REGRETS.

IN OUR BRIEF TIME, WE’VE ONLY BEEN ABLE TO SHOW SOME OF THEM.