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1
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There. Save all this.
2
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Mr. Von Ellstein! Would you come here please.
3
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- You call that directing? - That is what I've been calling it for 32 years.
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Why, there are values and dimensions in that scene you haven't begun to hit.
5
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Perhaps they are not the values and dimensions I wish to hit.
6
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I could make this scene a climax.
7
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I could make every scene in this picture a climax.
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If I did, I would be a bad director, and I like to think of my self as one of the best.
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A picture all climaxes is like a necklace without a string... it falls apart.
10
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Look, when I want a lecture on the aesthetics of motion pictures, I'll ask for it.
11
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And it won't be on my time...
12
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and a cover-up for a shallow and inept interpretation of a great scene.
13
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To be a director, you must have imagination.
14
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Whose imagination, Mr. Shields? Yours or mine?
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You know what you must do, Mr. Shields,
16
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so that you will have it exactly as you want it?
17
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You must direct this picture yourself.
18
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To direct a picture,
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a man needs humility.
20
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Do you have humility, Mr. Shields?
21
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Film is a disease, Frank Capra said.
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When it infects your bloodstream,
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it takes over as the number-one hormone.
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It plays la go to your psyche---------------.
25
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As with heroin, the antidote to film is more film.
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Very nice!
27
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I guess I have to say that when I was growing up in the '40s and '50s,
28
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I spent a lot of time in movie theaters.
29
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I became obsessed with movies.
30
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At that time there was nothing really available that I could find written on film...
31
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except one book...
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sort of my first film book, although I couldn't afford to buy it...
33
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and couldn't find a copy except the only one available from the New York Public Library.
34
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I borrowed it from the library repeatedly.
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It's called A Pictorial History of the Movies by Deems Taylor,
36
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and it was a pictorial history of the movies in black-and-white stills,
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year by year up to 1949.
38
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The book cast as pell on me...
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'cause back then I hadn't seen many of the films shown in the book,
40
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so all I had at my disposal to experience these films were these black-and-white stills.
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I'd fantasize about them and they would play into my dreams.
42
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I was so tempted to steal some of these pictures from the book-- a terrible urge.
43
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After all, it's a book from the public library.
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Well, I confess-- once or twice I did give in to that urge.
45
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I remember quite clearly-- it was 1946 and I was four years old.
46
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My mother took me to see King Vidor's Duel In The Sun.
47
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I was fanatical about westerns.
48
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My father usually took me to see them, but this time my mother took me.
49
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It had been condemned by the Church...
50
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Lust in the Dust, they dubbed it.
51
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So she used me as an excuse to see it herself, obviously.
52
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From the opening titles alone, I was mesmerized.
53
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Bright blasts of deliriously vibrant color, '
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the gun shots, ' the savage intensity of themusic, '
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the burning sun, '
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the overt sexuality.
57
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Jennifer Jones was a half-breed servant girl...
58
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and Gregory Peck was the villain,
59
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a ruthless rancher'son who seduced her.
60
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For a child it was a puzzle.
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I mean, how could the heroine fall for the villain?
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It was all quite overpowering. Frightening, too.
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The finalduelin thesun,
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- whereJenniferJones shoots Gregory Peck,
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was too intense for this four year old.
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Icoveredmy eyes throughmostofit.
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You double-crossin'bobcat!
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A flawed film, but nevertheless...
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the hallucinatory quality of the imagery has never weakened forme over the years.
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It seemed that the two protagonists could only consummate their passion...
71
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by killing each other.
72
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I guess that does it.
73
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Pearl.
74
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Hey, Pearl!
75
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I didn't know it, but in 1946 Hollywood had reached a zenith.
76
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Two decades later, when I embraced filmmaking,
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the studio system had collapsed and was taken over by giant corporations.
78
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It was during the '50s that my passion for films grew and became a vocation.
79
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The movies were entering a new era...
80
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the era of The Searchers and The Girl Can't Help It;
81
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of east of eden and Blackboard Jungle;
82
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of Bigger Than Life and Vertigo.
83
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My passion was fueled by all sorts of famous and infamous films,
84
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not necessarily the culturally correct ones.
85
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Films you may never have heard of.
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The Naked Kiss;
87
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Murder by Contract;
88
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Don't you get restless?
89
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If I get restless, I exercise.
90
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My girl lives in Cleveland.
91
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- Well, this is not Cleveland. - I don't like pigs.
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I do.
93
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Human nature.
94
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The Red House.
95
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This is the way it could always be, Jeannie.
96
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We don't need anybody else.
97
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Ain't you Zeke Ward's kid?
98
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Aaaaah!
99
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Aaah! Mommy! Mommy!
100
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Out on the lawn, Mommy! There it is! There it is!
101
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John!
102
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Mommy!
103
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Directors that are sadly forgotten now...
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Allan Dwan, Samuel Fuller,
105
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Phil Karlson, Ida Lupino,
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Delmer Daves, Andre De Toth,
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Joseph H. Lewis, Irving Lerner.
108
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Over the years I've discovered many an obscured films,
109
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and sometimes they were more inspirational...
110
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than the prestigious films that were receiving all the attention at the time.
111
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But I can only talk to you about what has moved me or intrigued me.
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I can't really be objective here.
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This is like an imaginary museum,
114
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and we just can't enter every room, unfortunately, because we just don't have the time.
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So I'm talking to you about some of the films that colored my dreams,
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that changed my perceptions and even my life, in some cases, '
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films that prompted me, for better or for worse, to become a filmmaker myself.
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As early as I can remember,
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the key issue for me was: What did it take to be a filmmaker in Hollywood?
120
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Even today I still wonder: What does it take to be a professional,
121
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or maybe even an artist, in Hollywood?
122
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How do you survive the constant tug-of-war...
123
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between personal expression and commercial imperatives?
124
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What is the price you pay to work in Hollywood?
125
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Do you end up with a split personality?
126
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Do you make one for them, one for yourself?
127
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How about making Ants In Your Pants in 1941?
128
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- You can have Bob Hope, Mary Martin. - Maybe Bing Crosby.
129
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- The Abbott Dancers. - Maybe Jack Benny and Rochester.
130
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- A big-name band. - What? Oh, no.
131
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I want to make O Brother, Where Art Thou?
132
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From the beginning I saw film as ameans ofself-expression.
133
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I was mostly interested in the directors,
134
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especially the ones who circumvented the system to get their visions onto the screen.
135
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This the sort of thing you had in mind?
136
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- Course they need freshening up. They been hanging quite a while. - I can't get into this.
137
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Sometimes it seemed everything conspired to prevent them from achieving personal expression.
138
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This... This may be a problem, unless you get a thinner man.
139
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For there are rules, many rules, in Hollywood's power game.
140
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Shoulder pads. Straighten it right out.
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This'll give you the effect. It'll be good.
142
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A poetor a painter can be aloner,
143
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but the American film director has to be, first and foremost, a team player.
144
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Most important was the collaboration between the director and the producer.
145
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In The Bad And The Beautiful, possibly the best drama about Hollywood's creative battles,
146
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Kirk Douglas plays the producer...
147
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- What if... - Suppose we...
148
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and Barry Sullivan the director.
149
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They both dream of making great films,
150
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but for their first project they have been assigned alow-budget thriller called...
151
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The Doom of the Catmen.
152
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Put five men dressed like cats on the screen, what do they look like?
153
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Like five men dressed like cats.
154
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When an audience pays to see a picture like this, what do they pay for?
155
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To get the pants scared off'em.
156
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And what scares the human race more than any other single thing?
157
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- The dark! - Of course. And why?
158
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Because the dark has a life of its own.
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In the dark, all sorts of things come alive.
160
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Suppose we never do show the cat men. Is that what you're thinking?
161
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- Exactly. - No cat men!
162
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Movies are a medium based on consensus.
163
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In the old days you dealt with moguls and major studios.
164
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Today you have executives and giant corporations instead.
165
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But one iron rule remains true.'
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every decision is shaped by the money men's perception of what the audience wants.
167
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I've told you a hundred times, I don't want to win awards.
168
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Give me pictures that end with a kiss and black ink in the books.
169
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I'll make this picture, Harry, or I'll quit.
170
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It was a time...
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when the producer was the key figure.
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I found it and licked it. I wanna produce it so much, I can taste it.
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He chose the director... He cast the director...
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that he thought would be right for the material,
175
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which he had directed... acquired a novel, a play, an original, whatever...
176
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and then given the green light.
177
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Then he would cast the director.
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That was pretty much the system when I came into the business.
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Duel In The Sun is a fascinating example.
180
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Even an old master like King Vidor, who practically put Hollywood on the map,
181
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was not necessarily calling the shots.
182
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The major creative force on the film was the producer, David O. Selznick,
183
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an obsessive perfectionist who wanted to top his greatest achievement,
184
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Gone With The Wind.
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The result was a kind of grandiose quality...
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that was a bit over the top,
187
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but to David it was great fun...
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to exaggerate, to heighten.
189
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Hisall-encompassing enthusiasm galvanized everybody.
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That energy, '
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that sense of play fulness,
192
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of rascality...
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that was Selznick.
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About 1:00 or2:00 in the morning,
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when the actors had to go to sleep,
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David would settle down and rewrite the script...
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and we'd get different pages the next morning.
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That didn't always set too well with the directors, but it was David's picture.
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It was his baby.
200
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King Vidor was directing,
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but David was overcome by his own enthusiasm at times...
202
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and began more and more to direct over King's shoulder.
203
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And that created considerable tension on the set,
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finally leading to the moment when King stood up...
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and told David he knew what he could do with the picture and walked off.
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David's enthusiasm overwhelmed him...
207
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and William Dieterle finished the picture.
208
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This is King Vidor. Put him on.
209
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- Have you made up your mind? - I've made up my mind, Arthur.
210
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Get yourself another boy. I'm a director, not a butcher.
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Somehow Vidor survived as an on-again/off-again team player.
212
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He even worked again later with Selznick in television.
213
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Vidor was probably the most resilient of the film pioneers,
214
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one of the few who were able, time and again, to convince the moguls...
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to let him experiment with the medium.
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Throughout his career he succeeded in alternating studio assignments...
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pictures like The Champ and Stella Dallas...
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with personal projects like Hallelujah, Our Daily Bread...
219
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or this most unusual film.'
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MGM's Irving Thalberg agreed to finance it...
221
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because Vidor had given the studio its greatest success of the silent era-- The Big Parade.
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Sometimes Vidor was even willing to mortgage his house or gamble his own salary.
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Somehow he found a way to do one fort he studios, one for himself.
224
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Now, remember, the Hollywood of the classical era-- the '30sand '40s...
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was based on a powerful, vertically integrated industry.
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The studios, particularly the fiv emajors...
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MGM, Warner Brothers, Paramount, RKO and Fox...
228
00:16:31,387 --> 00:16:33,719
controlled everyphase of the process.'
229
00:16:33,823 --> 00:16:35,757
production, distribution, even exhibition,
230
00:16:35,858 --> 00:16:38,918
as they owned their own chains of theaters worldwide.
231
00:16:39,028 --> 00:16:40,928
To produce 50 pictures a year,
232
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each studio held its stars, writers, directors, producers...
233
00:16:43,866 --> 00:16:45,766
and an army of skilled technicians...
234
00:16:45,868 --> 00:16:47,768
underlong-term contracts.
235
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They even cultivated a recognizable style, or a look, in their films.
236
00:16:52,975 --> 00:16:55,876
MGM was more of a dream world...
237
00:16:55,978 --> 00:16:57,878
where everything was idealized...
238
00:16:57,980 --> 00:17:00,710
and somewhat sentimentalized.
239
00:17:00,816 --> 00:17:04,081
That came, I think, from L.B. Mayer,
240
00:17:04,186 --> 00:17:07,087
what he thought was classy.
241
00:17:07,189 --> 00:17:11,057
And I think probably Fox leaned more towards,
242
00:17:11,160 --> 00:17:13,060
uh, uh--
243
00:17:13,162 --> 00:17:16,063
Well, I wouldn't exactly say gritty realism,
244
00:17:16,165 --> 00:17:19,066
because they made Betty Grable musicals and ice skating pictures...
245
00:17:19,168 --> 00:17:21,068
and all kinds of pictures.
246
00:17:21,170 --> 00:17:24,071
But I think the things that Zanuck is remembered for...
247
00:17:24,173 --> 00:17:26,573
are pictures with a social conscience...
248
00:17:26,676 --> 00:17:31,375
and done with a degree of, of realism...
249
00:17:31,480 --> 00:17:34,881
that probably would not be characteristic of MGM.
250
00:17:34,984 --> 00:17:39,819
In those days I could look at the picture and ife verything was in white silk... MGM.
251
00:17:39,922 --> 00:17:41,822
I could look at the picture...
252
00:17:41,924 --> 00:17:45,052
if it's a Fred Astaire-- RKO.
253
00:17:45,161 --> 00:17:47,721
Subsequently, MGM.
254
00:17:47,830 --> 00:17:51,732
Paramount was a little bit all over the place.
255
00:17:51,834 --> 00:17:53,734
They did not have to...
256
00:17:53,836 --> 00:17:55,736
They did have their own handwriting,
257
00:17:55,838 --> 00:18:00,707
with Bing Crosby and Bob Hope...
258
00:18:00,810 --> 00:18:03,643
or with Martin and Lewis and...
259
00:18:03,746 --> 00:18:07,910
We knew exactly...
260
00:18:08,017 --> 00:18:12,511
We went to the same restaurants. We had our own circle.
261
00:18:12,622 --> 00:18:16,114
Now, if you worked at MGM, you had to adjust to the MGM style.
262
00:18:16,225 --> 00:18:20,127
And it was quite different from the WarnerBrothers or Paramounts tyle.
263
00:18:20,229 --> 00:18:23,756
If they did not conform to the studio look, the mavericks were reigned in.
264
00:18:23,866 --> 00:18:27,768
Some, like Erich von Stroheim, simply refused to be harnessed,
265
00:18:27,870 --> 00:18:29,770
and he paid a heavy price.
266
00:18:29,872 --> 00:18:31,863
Buster Keaton-- very free wheeling...
267
00:18:31,974 --> 00:18:35,705
agonized when MGM put him under the yoke of their supervising producers.
268
00:18:35,811 --> 00:18:38,211
His genius didn't survive the treatment.
269
00:18:38,314 --> 00:18:42,842
On the other hand, those who could work comfortably within the system, they thrived.
270
00:18:42,952 --> 00:18:45,819
They came to define their studios'style.
271
00:18:45,921 --> 00:18:48,651
Clarence Brown at MGM, '
272
00:18:48,758 --> 00:18:50,555
Henry KingatFox, '
273
00:18:50,660 --> 00:18:52,560
Raoul Walsh at Warner Brothers, '
274
00:18:52,662 --> 00:18:55,187
they were Hollywoodpros whorose from theranks.
275
00:18:55,297 --> 00:18:59,358
Most of their lengthy careers were spent under one roof.
276
00:18:59,468 --> 00:19:02,301
Take Michael Curtiz, for example, here directing The Charge of the Light Brigade.
277
00:19:02,405 --> 00:19:05,340
This guy made no less than 85 films for Warner Brothers,
278
00:19:05,441 --> 00:19:08,410
and Casablanca was his 63rd.
279
00:19:08,511 --> 00:19:11,639
That's an average of three features a year over a period of 28 years.
280
00:19:11,747 --> 00:19:14,648
Three features a year. Think of the incredible opportunities they were given...
281
00:19:14,750 --> 00:19:17,685
to learn their trade and become a true professional.
282
00:19:17,787 --> 00:19:21,587
There were also talents who needed the discipline of thes ystem to blossom.
283
00:19:21,691 --> 00:19:23,955
A perfect example was Vincente Minnelli.
284
00:19:24,060 --> 00:19:27,223
He knew and often acknowledged that the producer/director dynamic...
285
00:19:27,329 --> 00:19:31,823
was crucial to the quality and success of a picture.
286
00:19:31,934 --> 00:19:33,834
An avant-garde Broadway choreographer,
287
00:19:33,936 --> 00:19:36,837
he was lured to Hollywood by producer Arthur Freed...
288
00:19:36,939 --> 00:19:40,272
and became MGM's resident artist for 30years,
289
00:19:40,376 --> 00:19:44,278
thanks to sympathetic producers like Freedand, later, John Houseman.
290
00:19:44,380 --> 00:19:47,713
Minnelli had all of the studio's resources at his disposal.
291
00:19:47,817 --> 00:19:51,719
The cameras were his brushes and the sound stage shis canvas.
292
00:19:51,821 --> 00:19:55,723
All that he hated and loved about Hollywood was distilled in the harsh story...
293
00:19:55,825 --> 00:19:57,884
of The Bad and the Beautiful--
294
00:19:57,993 --> 00:20:01,622
the ambition, the power, the opportunism and the betrayal.
295
00:20:01,731 --> 00:20:04,632
No one was spared, not even the director.
296
00:20:04,734 --> 00:20:07,635
Here Barry Sullivan hears from his ruthless partner...
297
00:20:07,737 --> 00:20:09,637
what has become of their dream project.
298
00:20:09,739 --> 00:20:12,139
What happened? Didn't he go for Gaucho?
299
00:20:12,241 --> 00:20:15,142
Go for him? He had a hemorrhage. He... Shh.
300
00:20:15,244 --> 00:20:17,644
The first time a star ever said he'd shine...
301
00:20:17,747 --> 00:20:21,012
Kirk Douglas'character was loosely based on several actual producers,
302
00:20:21,117 --> 00:20:23,017
among them David Selznick.
303
00:20:23,119 --> 00:20:26,020
The Faraway Mountain's gonna be done just the way we want it.
304
00:20:26,122 --> 00:20:29,558
A million-dollar budget; a location in Veracruz; Von ellstein to direct.
305
00:20:29,658 --> 00:20:31,558
Uh, Gaucho, Wendy for the girl.
306
00:20:31,660 --> 00:20:33,560
Ants Chapman formy cameraman.
307
00:20:33,662 --> 00:20:35,653
Von ellstein to direct?
308
00:20:35,765 --> 00:20:39,667
You're taken care of. It won't be a separate panel, but your name'll be on screen.
309
00:20:39,769 --> 00:20:41,669
Assistant to the producer.
310
00:20:41,771 --> 00:20:44,672
- Thanks. - You know this story better than anyone else.
311
00:20:44,774 --> 00:20:48,175
It's your baby. I want you with me on the set all the time.
312
00:20:48,277 --> 00:20:50,177
You don't have to talk to Von ellstein.
313
00:20:50,279 --> 00:20:53,180
- Any ideas you have, I'll tell him. - Thanks again.
314
00:20:53,282 --> 00:20:56,183
- Von ellstein to direct. - You always said he was the best in the business.
315
00:20:56,285 --> 00:20:58,685
Sure he is.
316
00:20:58,788 --> 00:21:03,248
Fred, I'd rather hurt you now than kill you off forever.
317
00:21:03,359 --> 00:21:06,760
You'rejust not ready to direct a million-dollar picture.
318
00:21:06,862 --> 00:21:10,457
But you're ready to produce a million-dollar picture.
319
00:21:10,566 --> 00:21:12,466
With Von ellstein I am.
320
00:21:14,703 --> 00:21:17,604
Now, to survive, to master the creative process,
321
00:21:17,706 --> 00:21:20,607
each filmmaker had to develop his own strategy.
322
00:21:20,709 --> 00:21:23,610
Some, like Frank Capra, Cecil B. DeMille or Alfred Hitchcock,
323
00:21:23,712 --> 00:21:25,612
carved a niche for themselves...
324
00:21:25,714 --> 00:21:29,150
by excelling in a certain type of story and being identified with it.
325
00:21:29,251 --> 00:21:32,152
Their very name became a box office draw.
326
00:21:32,254 --> 00:21:34,154
A few even achieved Capra's dream...
327
00:21:34,256 --> 00:21:36,918
and secured their name above the title.
328
00:21:37,026 --> 00:21:40,257
They had wonderful directors at MGM, but you never heard their name.
329
00:21:40,362 --> 00:21:42,262
But you heard about me.
330
00:21:42,364 --> 00:21:45,265
I was the enemy of the major studio.
331
00:21:45,367 --> 00:21:48,268
I believed in one man, one film.
332
00:21:48,370 --> 00:21:51,271
I believed one man should make the film,
333
00:21:51,373 --> 00:21:54,274
and I believed the director should be that one man.
334
00:21:54,376 --> 00:21:57,277
One man should do it-- I didn't give a damn who.
335
00:21:57,379 --> 00:22:01,839
But I thought the director had the most to do with it.
336
00:22:01,951 --> 00:22:03,851
I just couldn't--
337
00:22:03,953 --> 00:22:07,650
I just couldn't accept art as a committee.
338
00:22:10,426 --> 00:22:13,953
I could only accept art as an extension of an individual.
339
00:22:22,638 --> 00:22:25,539
If you haven't got the story, you haven't got anything.
340
00:22:25,641 --> 00:22:28,542
Raoul Walsh used to say this, and this is another cardinal rule.
341
00:22:28,644 --> 00:22:31,545
The American filmmaker has always been more interested in creating fiction...
342
00:22:31,647 --> 00:22:33,547
than revealing reality.
343
00:22:33,649 --> 00:22:35,549
Early on the documentary form was discarded...
344
00:22:35,651 --> 00:22:37,812
or relegated to a marginal status.
345
00:22:37,920 --> 00:22:40,821
For better or worse, the Hollywood director is an entertainer.
346
00:22:40,923 --> 00:22:42,823
He's in the business oftelling stories.
347
00:22:42,925 --> 00:22:45,826
He's therefore saddled with conventions and stereotypes,
348
00:22:45,928 --> 00:22:47,828
formulas and cliches,
349
00:22:47,930 --> 00:22:51,331
and all these limitations were codified in specific genres.
350
00:22:51,433 --> 00:22:54,334
This was the very foundation of the studio system.
351
00:22:54,436 --> 00:22:56,336
Audiences loved genre pictures,
352
00:22:56,438 --> 00:22:59,339
and the oldmasters never seemed reluctant to supply them.
353
00:22:59,441 --> 00:23:02,274
When John Ford rose in the middle of a tempestuous meeting...
354
00:23:02,378 --> 00:23:06,508
at the Directors Guildof America in 1950 and introduced himself, this is what he said.'
355
00:23:06,615 --> 00:23:09,516
My name is John Ford, and I make westerns.
356
00:23:09,618 --> 00:23:12,644
He was not referring to his more honored pictures, such as The Informer...
357
00:23:12,755 --> 00:23:16,156
or The Grapes of Wrath or How Green Was My Valley or The QuietMan.
358
00:23:16,258 --> 00:23:19,386
The westerns were what he was most proud of.
359
00:23:19,495 --> 00:23:22,396
Or so he may have wanted us to believe.
360
00:23:22,498 --> 00:23:25,695
Eventually filmgenres would serve to organize assembly line production.
361
00:23:25,801 --> 00:23:28,702
Each studio made so many westerns, so many musicals,
362
00:23:28,804 --> 00:23:31,705
so many gangster films, and so forth.
363
00:23:31,807 --> 00:23:34,708
Edwin S. Porter's THe Great Train Robbery.
364
00:23:34,810 --> 00:23:37,711
This was one of the first attempts at scripting a story,
365
00:23:37,813 --> 00:23:40,714
and fittingly it was also a western.
366
00:23:40,816 --> 00:23:45,719
The first master story teller of theA mericanscreen was D. W. Griffith.
367
00:23:45,821 --> 00:23:48,813
His sensibility was steeped inaliterary tradition,
368
00:23:48,924 --> 00:23:53,327
that of Dickens and Tolstoy, Frank Norrisand Walt Whitman.
369
00:23:53,429 --> 00:23:56,956
Yet, while borrowing from 19th-centuryliterature,
370
00:23:57,066 --> 00:24:00,832
Griffith was forging the new art of the 20th century.
371
00:24:00,936 --> 00:24:03,336
He explored the emotional impact of film,
372
00:24:03,439 --> 00:24:06,340
and before the outbreak of World War One...
373
00:24:06,442 --> 00:24:10,344
he had already delineated nearly every genre, even the gangsterfilm...
374
00:24:10,446 --> 00:24:13,847
with his short The Musketeers of Pig Alley.
375
00:24:32,267 --> 00:24:35,532
Any minute now it may be curtains for Roy earl.
376
00:24:35,637 --> 00:24:38,538
Genres were never rigid.
377
00:24:38,640 --> 00:24:41,837
Creative filmmakers kept stretching their boundaries.
378
00:24:41,944 --> 00:24:47,177
This was a classical art, where personal expression was stimulated,
379
00:24:47,282 --> 00:24:49,182
rather than inhibited, by discipline.
380
00:24:52,588 --> 00:24:56,149
Take Raoul Walsh, the most gifted apprentice and disciple of Griffith.
381
00:24:56,258 --> 00:24:58,920
What's the idea, you? Get back where you belong.
382
00:24:59,028 --> 00:25:02,520
His strongest films were variations ona few themes and characters.
383
00:25:02,631 --> 00:25:05,156
The figure of the sympathetic outlaw, for instance, '
384
00:25:05,267 --> 00:25:09,465
arebel in the tradition of Jesse James----------- inspired him time and again.
385
00:25:09,571 --> 00:25:13,337
In High Sierra you didn't root for the police and the ordinary citizens--
386
00:25:13,442 --> 00:25:15,342
you rooted for the gangster.
387
00:25:15,444 --> 00:25:20,848
You knew he was doomed when he became separated from the only person who cared about him--
388
00:25:20,949 --> 00:25:23,281
his tarnished angel, Ida Lupino.
389
00:25:23,385 --> 00:25:28,846
Aw, be smart. Justyell up to him and tell him to put his gun away and come down.
390
00:25:28,957 --> 00:25:31,357
Otherwise we'll get him sure.
391
00:25:36,432 --> 00:25:38,332
All right.
392
00:25:38,434 --> 00:25:40,425
Go ahead and yell.
393
00:25:42,337 --> 00:25:44,237
- No, I won't! - What's that?
394
00:25:44,339 --> 00:25:46,739
- I won't, I tell ya! - We'll get him then.
395
00:25:46,842 --> 00:25:51,245
He's gonna die anyway. He'd rather it was this way. Go on, kill him, all of you!
396
00:25:51,346 --> 00:25:53,780
Earl!
397
00:25:53,882 --> 00:25:56,851
Come down! It's your last chance!
398
00:25:56,952 --> 00:26:01,855
Come and get me! There's plenty of ya down there!
399
00:26:01,957 --> 00:26:03,857
At the end of his memoirs,
400
00:26:03,959 --> 00:26:05,984
Walsh quotes Shakespeare, his constant inspiration.
401
00:26:06,095 --> 00:26:09,496
Each man in his time plays many parts.
402
00:26:09,598 --> 00:26:12,795
This applies to Walsh himself, but also to his explosive characters.
403
00:26:12,901 --> 00:26:16,302
These outcasts were bigger than life, ' they stood beyond good and evil.
404
00:26:18,073 --> 00:26:20,974
Their lust forlife was insatiable,
405
00:26:21,076 --> 00:26:22,976
even as their actions precipitated their tragic destiny.
406
00:26:23,078 --> 00:26:25,069
Mary!
407
00:26:25,180 --> 00:26:27,580
The world was too small for them,
408
00:26:27,683 --> 00:26:30,584
and Walsh would often give them a cosmic battle ground...
409
00:26:30,686 --> 00:26:32,586
Mary!
410
00:26:32,688 --> 00:26:35,316
- Mt. Whitney and the High Sierras. - Mary!
411
00:26:50,506 --> 00:26:52,997
Eight years later Walsh filmed the same story as a western...
412
00:26:53,108 --> 00:26:55,201
Colorado Territory.
413
00:26:55,310 --> 00:26:58,746
Again he provided his desperado with a wide landscape...
414
00:26:58,847 --> 00:27:00,712
which dwarfed human figures.
415
00:27:00,816 --> 00:27:05,082
This time the Cityof the Moon in the Canyon of Death.
416
00:27:10,959 --> 00:27:13,086
Hey, McQueen!
417
00:27:13,195 --> 00:27:15,095
You gotno chance!
418
00:27:15,197 --> 00:27:17,961
- Come on down! - Come and getme!
419
00:27:18,066 --> 00:27:21,729
- We'll starve ya out! - Go ahead!
420
00:27:21,837 --> 00:27:25,739
So dear to the heart of Raoul Walsh was his heroine, now a half-breedout cast,
421
00:27:25,841 --> 00:27:28,674
that he gave her as much strength and character as the hero.
422
00:27:28,777 --> 00:27:33,237
You don't wanna leave him up there, buzzards pickin' his bones clean.
423
00:27:33,348 --> 00:27:37,250
Call him out, and we'll split the 20,000 reward with ya.
424
00:27:41,990 --> 00:27:45,050
You might even sense a mystical dimension...
425
00:27:45,160 --> 00:27:47,060
at the end of the film...
426
00:27:47,162 --> 00:27:51,064
that clearly transcended any genre limitation.
427
00:27:51,166 --> 00:27:55,068
The lost city is like a primitive cathedral.
428
00:27:57,606 --> 00:28:00,439
As he listens to the Navajos chanting in the night,
429
00:28:00,542 --> 00:28:02,942
Joel McCre are flects on his fate...
430
00:28:03,045 --> 00:28:04,945
and appears to accept it.
431
00:28:10,485 --> 00:28:13,113
Wes!
432
00:28:13,222 --> 00:28:15,622
- Wes! - Colorado.
433
00:28:15,724 --> 00:28:19,285
Wes, they're comin' at ya! They found a backway.
434
00:28:19,394 --> 00:28:22,022
Come down, Wes!
435
00:28:22,130 --> 00:28:24,598
Hurry, Wes! I got horses!
436
00:28:24,700 --> 00:28:28,329
Walsh used some of the same camera angles as in High Sierra,
437
00:28:28,437 --> 00:28:32,464
but this time the messenger of death was a Navajo sharp shooter.
438
00:28:39,047 --> 00:28:41,572
Don't!
439
00:28:43,118 --> 00:28:45,814
Don't! They'll kill ya!
440
00:28:47,923 --> 00:28:49,823
Andin Colorado Territory,
441
00:28:49,925 --> 00:28:51,825
the tragedy was complete.
442
00:28:51,927 --> 00:28:53,918
Both protagonists were doomed.
443
00:28:56,531 --> 00:29:01,366
Now, to me the most interesting of these classic genres are the indigenous ones
444
00:29:01,470 --> 00:29:03,802
the western, which was born on the frontier;
445
00:29:03,905 --> 00:29:06,806
the gangster film, which was originated in the east Coast cities;
446
00:29:06,908 --> 00:29:09,308
and the musical, which was spawned by Broadway.
447
00:29:09,411 --> 00:29:12,312
They remind me of jazz... they allow for endless, increasingly complex,
448
00:29:12,414 --> 00:29:14,473
sometimes perverse variations,
449
00:29:14,583 --> 00:29:17,609
and when these variations were played by the masters,
450
00:29:17,719 --> 00:29:18,879
they reflected the changing times.
451
00:29:19,721 --> 00:29:23,350
They gave you fascinating insights into American culture and the American psyche.
452
00:29:28,897 --> 00:29:31,798
You can see how film genre evolved...
453
00:29:31,900 --> 00:29:34,801
just by watching three westerns John Ford directed...
454
00:29:34,903 --> 00:29:37,804
with the same actor, John Wayne.
455
00:29:37,906 --> 00:29:42,866
The character of the hero becomes richer, more complex with each decade.
456
00:29:42,978 --> 00:29:44,878
The Ringo Kid of Stagecoach...
457
00:29:44,980 --> 00:29:47,380
Sorry. No silver cups.
458
00:29:47,482 --> 00:29:51,919
Grew first into the benevolent father figure of She Wore a Yellow Ribbon.
459
00:29:52,020 --> 00:29:53,920
They all put in the hat for it, sir.
460
00:29:54,022 --> 00:29:56,650
There's a sentiment on the back of it.
461
00:30:04,066 --> 00:30:07,797
To Captain Brittles...
462
00:30:07,903 --> 00:30:10,064
from C Troop.
463
00:30:15,243 --> 00:30:17,143
Lest we forget.
464
00:30:17,245 --> 00:30:20,442
Now watch Ford transform John Wayne...
465
00:30:20,549 --> 00:30:22,483
into them is fit of The Searchers.
466
00:30:24,286 --> 00:30:26,686
Ethan Edwards returns from years of wandering...
467
00:30:26,788 --> 00:30:31,020
to discover that his love dones have been massacred by the Indians.
468
00:30:31,126 --> 00:30:34,027
- Another one, huh? - John Wayne's heroic persona...
469
00:30:34,129 --> 00:30:36,723
has turned dark and obsessive.
470
00:30:36,832 --> 00:30:39,733
The physical death of the Indian is not enough.
471
00:30:39,835 --> 00:30:42,736
Ethan wants to ensure his spiritual death as well.
472
00:30:42,838 --> 00:30:45,204
This 'un come a long way----------- before he died, Captain.
473
00:30:45,307 --> 00:30:48,538
Well, ethan, there's another one you can score up for your brother.
474
00:30:48,643 --> 00:30:52,101
Jorgensen!
475
00:30:52,214 --> 00:30:54,614
Why don't ya finish the job?
476
00:31:03,358 --> 00:31:05,258
What good did that do ya?
477
00:31:05,360 --> 00:31:07,351
By what you preach, none.
478
00:31:07,462 --> 00:31:09,362
By what that Comanche believes,
479
00:31:09,464 --> 00:31:12,456
ain't got no eyes, he can't enter the spirit land.
480
00:31:12,567 --> 00:31:16,162
He has to wander forever between the winds. You get it, Reverend.
481
00:31:16,271 --> 00:31:19,001
Come on, blanket head.
482
00:31:19,107 --> 00:31:23,510
Gone is the simple black-and-white morality of the early days.
483
00:31:29,184 --> 00:31:32,585
Gone are the old-fashioned values of the seasoned cavalry officer.
484
00:31:38,627 --> 00:31:42,586
- Now look at Ethan Edwards of The Searchers. - Hyah! Get in there!
485
00:31:42,697 --> 00:31:45,097
The same star, John Wayne, '
486
00:31:46,501 --> 00:31:49,402
the same location, around Monument Valley, '
487
00:31:51,406 --> 00:31:53,431
the same director, John Ford, '
488
00:31:53,542 --> 00:31:57,410
but a different character, different attitudes, different conflicts,
489
00:31:57,512 --> 00:31:59,412
almost a different country.
490
00:32:01,116 --> 00:32:02,947
Ethan Edward shunts down his niece,
491
00:32:03,051 --> 00:32:04,951
No, no! ethan!
492
00:32:05,053 --> 00:32:08,614
Abducted and raised by the Indians after the massacre of her parents,
493
00:32:08,723 --> 00:32:10,714
because he believes she has been tarnished.
494
00:32:12,527 --> 00:32:16,930
Living with Comanches, he insists, is not being alive.
495
00:32:21,102 --> 00:32:24,333
Ethan Edwards is actually the most frightening characterin the film.
496
00:32:24,439 --> 00:32:26,339
- Debbie! - After years of searching,
497
00:32:26,441 --> 00:32:28,341
when he finally finds Natalie Wood,
498
00:32:28,443 --> 00:32:31,276
you don'tknow whether he's gonna kill her or save her.
499
00:32:31,379 --> 00:32:33,973
No, ethan! No!
500
00:32:45,460 --> 00:32:47,360
Let's go home, Debbie.
501
00:32:50,799 --> 00:32:53,700
This is no happy ending, though.
502
00:32:53,802 --> 00:32:57,533
There is no home, no family waiting forEthan.
503
00:32:57,639 --> 00:33:01,700
He is cursed, just as he cursed the dead Comanche.
504
00:33:03,111 --> 00:33:06,638
He is a drifter, doomed to wander between the winds.
505
00:33:15,257 --> 00:33:20,160
The western also allowed for elaborate psychological and even Freudian dramas.
506
00:33:20,262 --> 00:33:22,822
- Well, patron? - Hang him.
507
00:33:22,931 --> 00:33:24,922
In Anthony Mann's The Furies,
508
00:33:25,033 --> 00:33:27,797
the patriarchal cattle baron wantshis rebellious daughter...
509
00:33:27,903 --> 00:33:30,497
to beg him for her lover's life.
510
00:33:30,605 --> 00:33:33,335
You will not humble your self.
511
00:33:33,441 --> 00:33:35,341
This I ask.
512
00:33:35,443 --> 00:33:39,504
While John Ford only alluded to the darkside, Anthony Mann dwelled in it.
513
00:33:41,616 --> 00:33:44,016
The proud Mexican chooses to die...
514
00:33:44,119 --> 00:33:47,020
ratherthan allow his woman to humiliate herself.
515
00:33:49,124 --> 00:33:51,024
Amen.
516
00:33:52,260 --> 00:33:54,660
The Furies could'vebeen a Greek tragedy.
517
00:33:54,763 --> 00:33:58,699
The powerful story, written by Niven Busch, the author of Duel in the Sun,
518
00:33:58,800 --> 00:34:01,701
was actually inspired by Dostoyevsky's novel The Idiot.
519
00:34:03,138 --> 00:34:05,038
Juan.
520
00:34:09,344 --> 00:34:11,744
The kiss of a good friend.
521
00:34:12,914 --> 00:34:15,007
'Til our eyes...
522
00:34:15,116 --> 00:34:17,209
next meet.
523
00:34:17,319 --> 00:34:19,219
'Til then.
524
00:34:35,437 --> 00:34:38,338
Tears a body to see someoneyou love hurt, doesn't it?
525
00:34:38,440 --> 00:34:41,671
Do you want me to beg? Do you want me on my knees to you for his life?
526
00:34:41,776 --> 00:34:43,676
- I'd hang him anyway. - That's what he said.
527
00:34:43,778 --> 00:34:45,678
He did, eh? He always was smart.
528
00:34:45,780 --> 00:34:49,181
But you're not. You're old, getting foolish and you've made a mistake.
529
00:34:49,284 --> 00:34:51,184
It's meyou should've hung,
530
00:34:51,286 --> 00:34:54,187
because now I hate you in a way I didn't know a human could hate.
531
00:34:54,289 --> 00:34:56,189
Take a good, long look at me, T.C.
532
00:34:56,291 --> 00:35:00,318
You won't see me again until the day I take your world away from you!
533
00:35:05,834 --> 00:35:08,860
Juanito.
534
00:35:08,970 --> 00:35:11,063
Juanito!
535
00:35:11,172 --> 00:35:14,437
Juanito!
536
00:35:14,542 --> 00:35:16,442
The mythology of the frontier,
537
00:35:16,544 --> 00:35:18,944
of a land in perpetual expansion,
538
00:35:19,047 --> 00:35:21,709
has given way to greed, vengeance,
539
00:35:21,816 --> 00:35:24,717
megalomania, sadistic violence.
540
00:35:24,819 --> 00:35:28,016
- Roy! - Anthony Mann's brooding heroes were no saints.
541
00:35:28,123 --> 00:35:30,387
Look out! Let go ofhim!
542
00:35:30,492 --> 00:35:33,086
Seeking revenge was their obsession,
543
00:35:33,194 --> 00:35:36,061
an obsession that would consume and nearly destroy them.
544
00:35:36,164 --> 00:35:39,827
Even James Stewart, the all-American hero of Frank Capra's fables,
545
00:35:39,934 --> 00:35:42,266
succumbed to outbursts of savage violence.
546
00:35:42,370 --> 00:35:45,771
In The Naked Spur, you see him reel in his dead prey.
547
00:35:45,874 --> 00:35:49,503
He has become a bounty hunter in order to buy back the ranch stolen from him...
548
00:35:49,611 --> 00:35:53,012
- while he was away fighting in the Civil War. - Cut him loose, Howie!
549
00:35:53,114 --> 00:35:55,014
I'm takin' him back!
550
00:35:55,116 --> 00:35:59,678
This is what I came after, and now I got him! No partners, like I started!
551
00:36:00,789 --> 00:36:02,620
He's gonna pay for my land!
552
00:36:02,724 --> 00:36:04,851
It's no good if you take him back!
553
00:36:04,959 --> 00:36:06,859
They're dead! Finished!
554
00:36:06,961 --> 00:36:10,124
- He'll never be dead for you! - I don't care anything about that!
555
00:36:10,231 --> 00:36:12,631
The money! That's all I've ever cared about!
556
00:36:12,734 --> 00:36:15,635
Roy, he called the current. He said face up to it.
557
00:36:15,737 --> 00:36:18,638
All right, that's what I'm doin'. That's what I'm doin'.
558
00:36:18,740 --> 00:36:23,302
Maybe I don't fit your ideas of me, but that's the way I am.
559
00:36:23,411 --> 00:36:26,141
- Jeff! - Hey, Hank!
560
00:36:26,247 --> 00:36:28,875
You all drop your guns and come on down.
561
00:36:30,785 --> 00:36:33,948
Budd Boetticher explored the bare essentials of the genre.
562
00:36:34,055 --> 00:36:36,956
His style was as simple as his impassive heroes.
563
00:36:37,058 --> 00:36:39,219
Let me see your hands, please.
564
00:36:39,327 --> 00:36:42,228
- Deceptively simple. - Put 'em out there!
565
00:36:42,330 --> 00:36:47,632
The archetypes of the genre were distilled to the point of abstraction.
566
00:36:47,736 --> 00:36:51,399
Bull fighting had been Boetticher's first vocation.
567
00:36:51,506 --> 00:36:55,408
The choreography of basic human passions was his forte.
568
00:36:55,510 --> 00:36:58,377
What did you do with Hank?
569
00:36:58,480 --> 00:37:01,381
- Who's he? - The station man here.
570
00:37:01,483 --> 00:37:04,043
He's overyonder in the well.-----------
571
00:37:09,557 --> 00:37:11,457
And the boy?
572
00:37:11,559 --> 00:37:13,459
He's with 'im.
573
00:37:13,561 --> 00:37:16,462
In the seven westerns he made with Randolph Scott,
574
00:37:16,564 --> 00:37:19,897
Boetticher always gave precedence to character over action.
575
00:37:20,001 --> 00:37:23,095
You let us go and we'll never breathe a word about this.
576
00:37:23,204 --> 00:37:27,038
I know you won't. Do you go along with what he said?
577
00:37:27,142 --> 00:37:30,202
If I said yes, you wouldn't believe me.
578
00:37:30,311 --> 00:37:33,109
Yeah, it's dumb even talkin' about it, ain't it?
579
00:37:33,214 --> 00:37:35,682
Each adventure was a poker game,
580
00:37:35,784 --> 00:37:39,413
and the player's complex moves were more important than the avowed goal.
581
00:37:39,521 --> 00:37:43,048
- You know what's gonna happen to you? - I think so.
582
00:37:43,158 --> 00:37:45,888
- You scared? - Yeah.
583
00:37:45,994 --> 00:37:48,895
You're honest about it. I'll say that for ya.
584
00:37:50,498 --> 00:37:52,523
Ouch!
585
00:37:56,171 --> 00:37:59,072
Pour yourself a cup of coffee.
586
00:37:59,174 --> 00:38:03,008
In the power play, the hero and the villain were complimentary figures.
587
00:38:05,380 --> 00:38:08,281
They shared the same loneliness, the same dreams...
588
00:38:08,383 --> 00:38:10,283
and even the same ethical code.
589
00:38:10,385 --> 00:38:12,285
Have a seat.
590
00:38:12,387 --> 00:38:14,287
Over there.
591
00:38:16,391 --> 00:38:19,827
Somehow, the gentleman and the desperado...
592
00:38:19,928 --> 00:38:21,828
were fascinated by each other.
593
00:38:21,930 --> 00:38:24,831
- You got a wife up on your place? - No.
594
00:38:24,933 --> 00:38:28,460
- Should have. Ain't right for a man to be alone. - They say that.
595
00:38:29,571 --> 00:38:31,937
Well, I oughta know.
596
00:38:33,208 --> 00:38:35,301
- You cook good coffee. - Brennan.
597
00:38:37,512 --> 00:38:39,412
Talk.
598
00:38:40,515 --> 00:38:42,210
What about?
599
00:38:43,384 --> 00:38:45,511
Your place. What's it like?
600
00:38:46,621 --> 00:38:48,521
It's not much. Not yet, anyway.
601
00:38:48,623 --> 00:38:51,023
- You got stock on it? - Some.
602
00:38:51,125 --> 00:38:53,525
Work the ground?
603
00:38:53,628 --> 00:38:56,153
I plan to, yeah.
604
00:38:58,466 --> 00:39:00,866
I'm gonna have me a place someday.
605
00:39:00,969 --> 00:39:03,802
I thought about it. I thought about it a lot.
606
00:39:05,206 --> 00:39:07,640
You figure you'll get it this way?
607
00:39:08,910 --> 00:39:10,810
Well, sometimes you don't have a choice.
608
00:39:10,912 --> 00:39:12,777
Don't you?
609
00:39:14,215 --> 00:39:16,115
- Now, look, Brennan... - Frank!
610
00:39:19,721 --> 00:39:23,748
For decades the western genre embellished the reality of the west...
611
00:39:23,858 --> 00:39:26,418
to make it more interesting.
612
00:39:26,527 --> 00:39:29,724
But in the mid-'50s several films started questioning the myth...
613
00:39:29,831 --> 00:39:31,731
perpetuated by Hollywood.
614
00:39:31,833 --> 00:39:35,200
Arthur Penn, forinstance, presented Billy the Kid as a juvenile delinquent...
615
00:39:35,303 --> 00:39:37,203
in search of a father figure.
616
00:39:37,305 --> 00:39:41,207
By having aj ournalist follow the young misfit throughhis career of crime,
617
00:39:41,309 --> 00:39:45,643
Penn suggested how history was distorted even as it was unfolding.
618
00:39:45,747 --> 00:39:47,647
- Statey our name. - Garrett.
619
00:39:47,749 --> 00:39:51,344
- Huh? How's that? - Garrett. Pat Garrett.
620
00:39:51,452 --> 00:39:53,647
My--
621
00:39:59,360 --> 00:40:02,454
Little case of the quick jump.
622
00:40:03,665 --> 00:40:05,929
Somebody gonna get his head clipped off.
623
00:40:09,504 --> 00:40:13,065
Paul Newman portrayed Billy as a suicidal antihero...
624
00:40:13,174 --> 00:40:15,142
who sought his own death.
625
00:40:15,243 --> 00:40:17,143
You help me.
626
00:40:21,783 --> 00:40:23,683
We don't want you.
627
00:40:26,487 --> 00:40:30,048
Neither a vicious killer nora sympathetic outlaw,
628
00:40:30,158 --> 00:40:32,058
Billy was arebel without a cause.
629
00:40:32,160 --> 00:40:34,492
You help me.
630
00:40:34,595 --> 00:40:40,090
His rage and confusion hadmore to do with them a laise of growing up in the 1950s...
631
00:40:40,201 --> 00:40:43,102
than with there a lities of the Old West.
632
00:40:43,204 --> 00:40:45,104
Please.
633
00:40:45,206 --> 00:40:48,607
Billy, don'tgo for your gun.
634
00:40:51,512 --> 00:40:54,413
Keep your hands away from your side.
635
00:40:54,515 --> 00:40:57,973
- I don't wanna kill ya. - He's here.
636
00:40:58,086 --> 00:41:00,884
Billy.
637
00:41:00,989 --> 00:41:02,820
Come to me.
638
00:41:21,743 --> 00:41:25,144
Just when you think the western has been exhausted,
639
00:41:25,246 --> 00:41:27,510
that there's nowhere else to go with it,
640
00:41:27,615 --> 00:41:31,016
something will come along with a new slant on things.
641
00:41:31,119 --> 00:41:33,519
It's very exciting when that happens.
642
00:41:34,655 --> 00:41:36,623
Unforgiven is a good example...
643
00:41:36,724 --> 00:41:41,525
of what I mean when you can address a situation.
644
00:41:41,629 --> 00:41:44,530
There's a lot of concern in society today...
645
00:41:44,632 --> 00:41:47,533
about, about violence and gunplay,
646
00:41:47,635 --> 00:41:51,867
and that film, even though it takes place in 1880,
647
00:41:51,973 --> 00:41:53,873
it, uh, it addresses that now,
648
00:41:53,975 --> 00:41:57,433
that in order... when you are a perpetrator of violence...
649
00:41:57,545 --> 00:42:00,446
and you get involved in that sort ofthing,
650
00:42:00,548 --> 00:42:02,448
you roby our soul...
651
00:42:02,550 --> 00:42:05,781
as well as the person...
652
00:42:05,887 --> 00:42:08,788
the person you're committing a violent act against.
653
00:42:08,890 --> 00:42:12,291
In Unforgiven, Eastwood plays a professional killer...
654
00:42:12,393 --> 00:42:15,294
who has tried to reform and become a farmer.
655
00:42:15,396 --> 00:42:17,296
Physically and mentally scarred,
656
00:42:17,398 --> 00:42:20,299
he'shaunted by his dark and violent past.
657
00:42:20,401 --> 00:42:24,235
Judgment night comes after his best friend has been tortured to death...
658
00:42:24,338 --> 00:42:26,533
by Sheriff Gene Hackman.
659
00:42:26,641 --> 00:42:30,202
There's no glamour in killing anymore.
660
00:42:30,311 --> 00:42:33,212
The lawman behaves as badly as the renegade.
661
00:42:33,314 --> 00:42:37,580
They're both former gunslingers who have shot people in the back or when they were unarmed.
662
00:42:39,487 --> 00:42:42,388
Who's the fella owns this shithole?
663
00:42:45,359 --> 00:42:48,760
Uh, I-l own this establishment.
664
00:42:50,231 --> 00:42:54,258
Bought it from Greeley for a thousand dollars.
665
00:42:55,369 --> 00:42:57,303
You'd better clear outta there.
666
00:42:57,405 --> 00:42:59,737
Yes, sir.
667
00:42:59,841 --> 00:43:02,469
Just hold it right there. Hold it!
668
00:43:12,053 --> 00:43:14,954
Well, sir, you are a cowardly son of a bitch.
669
00:43:16,557 --> 00:43:18,491
You just shot an unarmed man.
670
00:43:18,593 --> 00:43:20,993
Well, he should armed himself...
671
00:43:21,095 --> 00:43:23,996
if he's gonna decorate his saloon with my friend.
672
00:43:24,098 --> 00:43:27,659
You'd be William Munny out of Missouri.
673
00:43:27,768 --> 00:43:29,702
Killer of women and children.
674
00:43:29,804 --> 00:43:31,965
That's right.
675
00:43:33,374 --> 00:43:35,467
I've killed women and children.
676
00:43:36,911 --> 00:43:39,812
Killed just about everything that walks or crawled...
677
00:43:39,914 --> 00:43:42,075
at one time or another.
678
00:43:42,183 --> 00:43:45,983
And I'm here to kill you, Little Bill,
679
00:43:46,087 --> 00:43:47,987
for what you did to Ned.
680
00:43:51,993 --> 00:43:54,052
You boys had better move away.
681
00:43:54,162 --> 00:43:57,495
I've always felt that the western movie...
682
00:43:57,598 --> 00:44:02,535
is one of the fewart forms that Americans can lay claim to.
683
00:44:02,637 --> 00:44:05,538
Americans are somewhat masochistic, I must say, about that.
684
00:44:05,640 --> 00:44:08,803
Sometimes they can be very blase about their own art forms...
685
00:44:08,910 --> 00:44:11,310
because it doesn't...
686
00:44:11,412 --> 00:44:13,812
The grass is always greener, you know.
687
00:44:13,915 --> 00:44:15,815
It's, um...
688
00:44:15,917 --> 00:44:17,976
It's easy to look elsewhere...
689
00:44:18,085 --> 00:44:21,646
when sometimes great art can be right in front of you.
690
00:44:21,756 --> 00:44:25,715
Of course, most American directors never claimed to be artists.
691
00:44:25,826 --> 00:44:28,886
They prided themselves on appearing blase.
692
00:44:28,996 --> 00:44:33,228
Holding one's cards close to the vest was a survival strategy.
693
00:44:33,334 --> 00:44:37,202
Even an old masterlike John Ford, it seems, had to wear a mask.
694
00:44:37,305 --> 00:44:40,206
- Watch how he plays the tight-lipped pro... - Take one.
695
00:44:40,308 --> 00:44:42,208
In front of Peter Bogdanovich's camera.
696
00:44:42,310 --> 00:44:46,041
Take one? Won't want more than one take, will they? Shoot.
697
00:44:46,147 --> 00:44:49,048
Mr. Ford, I've noticed that the, uh...
698
00:44:49,150 --> 00:44:53,052
that your view of the West has become increasingly sad...
699
00:44:53,154 --> 00:44:55,554
and melancholy over the years.
700
00:44:55,656 --> 00:44:57,954
I'm comparing, for instance, Wagon Master...
701
00:44:58,059 --> 00:45:00,550
to The Man Who Shot Liberty Valance.
702
00:45:00,661 --> 00:45:04,495
- Have you been aware of tha tchange in mood? - No. No.
703
00:45:06,234 --> 00:45:08,134
Now that I've pointed it out,
704
00:45:08,236 --> 00:45:10,636
is there anything you'd like to say about it?
705
00:45:10,738 --> 00:45:12,638
I don't know what you're talking about.
706
00:45:15,343 --> 00:45:19,302
Can I ask you what particularelement about the western...
707
00:45:19,413 --> 00:45:21,643
appealed to you from the beginning?
708
00:45:21,749 --> 00:45:24,081
I wouldn't know.
709
00:45:25,653 --> 00:45:30,556
Would you agree that the point of Fort Apache...
710
00:45:30,658 --> 00:45:33,559
was that the tradition of the army...
711
00:45:33,728 --> 00:45:36,060
was more important than one individual?
712
00:45:36,163 --> 00:45:38,063
Cut.
713
00:45:54,815 --> 00:45:56,783
The gangster film.
714
00:45:56,884 --> 00:45:59,444
Another rich genre which allowed filmmakers...
715
00:45:59,553 --> 00:46:02,386
to dwell on America's fascination with violence and lawlessness.
716
00:46:02,490 --> 00:46:05,425
It's only a coal truck.
717
00:46:07,995 --> 00:46:10,555
Hey, Tom. Wait a minute.
718
00:46:10,665 --> 00:46:14,601
- What happened? - Aw, nothin'. I just got burned up, that's all.
719
00:46:34,789 --> 00:46:36,689
There'saction only if there is danger.
720
00:46:36,791 --> 00:46:40,693
This was said by Howard Hawks, an authority on both the western and the gangster film.
721
00:46:40,795 --> 00:46:43,696
To stay alive or die; this is our greatest drama.
722
00:46:43,798 --> 00:46:45,698
The gangster film predates World War One,
723
00:46:45,800 --> 00:46:47,768
as with Griffith's Musketeers of Pig Alley...
724
00:46:47,868 --> 00:46:49,768
or Raoul Walsh's picture of 1915 called Regeneration,
725
00:46:49,870 --> 00:46:54,136
which was shot on location on New York's Lower EastSide.
726
00:46:55,810 --> 00:47:00,076
Gangsters then were viewed as the victims of a depressed environment.
727
00:47:02,750 --> 00:47:05,651
Neighborhood kids growing up on the mean streets.
728
00:47:08,356 --> 00:47:12,087
But ten years later, Prohibition brought about a tide of movies...
729
00:47:12,193 --> 00:47:16,630
that signaled a tremendous escalation in urban violence.
730
00:47:18,733 --> 00:47:22,294
What struck me in Scarface was Howard Hawks'cool and distant objectivity.
731
00:47:22,403 --> 00:47:24,633
Hey! That's O'Hara's mob.
732
00:47:24,739 --> 00:47:28,266
Heshowed Tony Camonte, also known as AICapone,
733
00:47:28,376 --> 00:47:30,537
asa vicious, immature, irresponsible character.
734
00:47:30,644 --> 00:47:33,374
Hey, lookit! They got machine guns you can carry!
735
00:47:33,481 --> 00:47:37,440
- If I had some of them, I could run the whole works in a month! - I'll get you one!
736
00:47:37,551 --> 00:47:40,145
Yet, that world was almost attractive...
737
00:47:40,254 --> 00:47:42,154
because of its irresponsibility.
738
00:47:44,091 --> 00:47:46,491
And that was disturbing.
739
00:47:46,594 --> 00:47:49,495
At times, of course, the film is very funny.
740
00:47:49,597 --> 00:47:52,623
Not surprising, as Hawks was as much a master of comedy as of action.
741
00:47:52,733 --> 00:47:56,635
Swell! Look, it's little. You can carry it. Let's get outta here.
742
00:47:56,737 --> 00:48:00,764
But at the endof the '30s came a really pivotal film... Raoul Walsh's Roaring Twenties.
743
00:48:03,711 --> 00:48:07,147
Don't you ever say that to me again. Do you hear? Never.
744
00:48:09,517 --> 00:48:11,917
This chronicle of the Prohibition era...
745
00:48:12,019 --> 00:48:14,920
was the last great gangster film before the advent of film noir.
746
00:48:15,022 --> 00:48:18,423
It readl ikea twisted Horatio Alger story.
747
00:48:18,526 --> 00:48:20,426
The gangster caricatured the American dream.
748
00:48:20,528 --> 00:48:23,929
Of all the dog-and-pony joints I've ever worked in, this tops 'em all.
749
00:48:24,031 --> 00:48:26,090
Don't worry, honey. I likeya.
750
00:48:26,200 --> 00:48:28,100
Well, happy New Year.
751
00:48:28,202 --> 00:48:31,103
This was the gripping saga of a war hero turned bootlegger...
752
00:48:31,205 --> 00:48:34,106
and his downfall after the stockmarket crash.
753
00:48:34,208 --> 00:48:37,143
Eddie! eddie!
754
00:48:37,244 --> 00:48:42,204
It was actually the inspiration behind one of my student films, It's Not Just You, Murray.
755
00:48:42,316 --> 00:48:45,615
And I'd like to think, uh, GoodFellas comes out of the tradition...
756
00:48:45,719 --> 00:48:49,815
of something as extraordinary as The Roaring Twenties and Scarface.
757
00:48:49,924 --> 00:48:52,154
Drop it! Drop it!
758
00:49:02,269 --> 00:49:04,169
Eddie!
759
00:49:04,271 --> 00:49:07,172
The gangster had now become a tragic figure.
760
00:49:16,717 --> 00:49:18,617
Eddie!
761
00:49:20,721 --> 00:49:23,121
Walsh even dared to end the film...
762
00:49:23,224 --> 00:49:25,124
on a semi-religious image...
763
00:49:25,226 --> 00:49:27,126
that evokes a pieta.
764
00:49:30,064 --> 00:49:31,964
He's dead.
765
00:49:32,066 --> 00:49:34,227
Well, who is this guy?
766
00:49:34,335 --> 00:49:36,496
This is eddie Bartlett.
767
00:49:36,604 --> 00:49:38,902
What was his business?
768
00:49:41,742 --> 00:49:44,643
He used to be a big shot.
769
00:49:58,425 --> 00:50:02,191
After World War Two, the gangster turned into a business man.
770
00:50:02,296 --> 00:50:05,197
The gang was taken over by anonymous corporations.
771
00:50:05,299 --> 00:50:08,427
What a layout.
772
00:50:08,536 --> 00:50:12,028
There's only one way to handle you. Kill me?
773
00:50:12,139 --> 00:50:16,303
If I have to, yeah. A guy's gotta fight for what's his.
774
00:50:16,410 --> 00:50:19,811
The first film to show the major changes in the underworld...
775
00:50:19,914 --> 00:50:23,315
was Byron Haskins' underrated I Walk Alone.
776
00:50:23,417 --> 00:50:27,148
Burt Lancaster, just out of prison, discovers the new world he's in.
777
00:50:27,254 --> 00:50:29,154
Get him outta here.
778
00:50:29,256 --> 00:50:32,020
He knows all my business. He stays.
779
00:50:32,126 --> 00:50:34,026
You and your boys.
780
00:50:34,128 --> 00:50:37,291
This isn't the Four Kings, 'no hiding out behind a steeldoor and a peephole.
781
00:50:37,398 --> 00:50:39,298
This is big business.
782
00:50:39,400 --> 00:50:43,302
We deal with banks, lawyers and a Dunn and Bradstreet rating.
783
00:50:43,404 --> 00:50:45,804
The world's spun right past you, Frankie.
784
00:50:45,906 --> 00:50:47,806
In the '20s you were great.
785
00:50:47,908 --> 00:50:50,809
In the '30s you might've made the switch, but today you're finished,
786
00:50:50,911 --> 00:50:53,812
as dead as the headlines the day you went into prison.
787
00:50:53,914 --> 00:50:56,815
- Regional associate... - Stop tryin' to dizzy me up!
788
00:51:01,622 --> 00:51:05,752
Here. Now, I want simple answers, Dave. No diagrams.
789
00:51:05,859 --> 00:51:08,760
Dink's got the full say around here, right?
790
00:51:08,862 --> 00:51:10,762
- Yes. - Okay, then.
791
00:51:10,864 --> 00:51:14,265
Except that it's revocable by a vote of the board of directors of Regent Associates.
792
00:51:14,368 --> 00:51:17,531
- Stop the double-talk. - I'm sorry, Frankie.
793
00:51:17,638 --> 00:51:20,971
- Just what does Dink own? - In which corporation?
794
00:51:22,209 --> 00:51:24,074
Some films,
795
00:51:24,178 --> 00:51:26,544
notably Abraham Polonsky's Force of evil,
796
00:51:26,647 --> 00:51:30,105
went even further and painted the whole society as corrupt.
797
00:51:30,217 --> 00:51:33,345
The face of John Garfield, a lawyer for the mob,
798
00:51:33,454 --> 00:51:36,116
was a landscape of moral conflicts.
799
00:51:36,223 --> 00:51:38,783
People can be made to talk.
800
00:51:38,892 --> 00:51:40,792
Was my phone talking too?
801
00:51:43,897 --> 00:51:46,491
The social body itself was sick.
802
00:51:46,600 --> 00:51:50,001
The system's violence became the issue, rather than individual violence.
803
00:51:50,104 --> 00:51:53,005
You saw a corrupt world implode before your eyes.
804
00:51:53,107 --> 00:51:56,008
Leo, I arranged with Tucker for you to quit tonight.
805
00:51:56,110 --> 00:51:58,635
- I'll pay off your investments. - I don't want it, Joe.
806
00:51:58,746 --> 00:52:01,078
The money I made in this rotten business is no good for me.
807
00:52:01,181 --> 00:52:04,947
- I don't want it back. - The money has no moral opinions.
808
00:52:05,052 --> 00:52:07,953
I find I have, Joe. I find I have.
809
00:52:08,055 --> 00:52:10,956
Abraham Polonsky's dialogue was unusually poetic.
810
00:52:11,058 --> 00:52:13,458
I'm glad you called me, Freddy.
811
00:52:13,560 --> 00:52:18,054
I'm glad you thought it over to calm down and listen to me, so I can help you.
812
00:52:18,165 --> 00:52:20,065
Coffee.
813
00:52:20,167 --> 00:52:24,467
Please, Mr. Morse. All I want is to quit. That's all. Nothing else.
814
00:52:24,571 --> 00:52:28,029
They won't let me quit, and I want to quit. I'll die if I don't quit.
815
00:52:28,142 --> 00:52:30,042
I'm a man with heart trouble.
816
00:52:30,144 --> 00:52:32,544
I die almost every day myself.
817
00:52:32,646 --> 00:52:34,546
That's the way I live.
818
00:52:34,648 --> 00:52:37,048
It's a silly habit.
819
00:52:37,151 --> 00:52:41,520
You know, sometimes you feel as though you're dying...
820
00:52:41,622 --> 00:52:43,522
here...
821
00:52:43,624 --> 00:52:45,683
and here.
822
00:52:45,793 --> 00:52:47,693
Here.
823
00:52:47,795 --> 00:52:49,695
You're dying while you're breathing.
824
00:52:58,105 --> 00:53:00,300
Freddy, what have you done?
825
00:53:02,409 --> 00:53:04,309
Freddy, what have you done to me?
826
00:53:11,819 --> 00:53:14,720
- Take it easy, Pop, and you won't get hurt. - You're safe with us.
827
00:53:14,822 --> 00:53:17,347
Come on! It can't take all night!
828
00:53:17,458 --> 00:53:20,916
- Stand up and walk! - Stop him! Stop him! He knows me!
829
00:53:21,028 --> 00:53:24,054
Kill him! Kill him! He knows me!
830
00:53:34,942 --> 00:53:36,842
Where's my brother, Ben?
831
00:53:36,944 --> 00:53:40,846
You couldn't buck the system. You were indebted to the syndicate for life.
832
00:53:40,948 --> 00:53:43,280
Where's my brother? Where's my brother?
833
00:53:43,383 --> 00:53:45,783
Where did Ficco take my brother?
834
00:53:45,886 --> 00:53:48,719
They were forever using you.
835
00:53:48,822 --> 00:53:51,290
They even wanted you to sacrifice your own family.
836
00:53:51,391 --> 00:53:55,020
I wanted to find Leo, to see him once more.
837
00:53:55,129 --> 00:53:57,188
It was morning by then, dawn,
838
00:53:57,297 --> 00:54:01,859
and naturally I was feeling very bad there as I went down there.
839
00:54:03,036 --> 00:54:06,369
I just kept going downand down there.
840
00:54:06,473 --> 00:54:09,874
It was like going down to the bottom of the world...
841
00:54:09,977 --> 00:54:12,639
to find my brother.
842
00:54:14,748 --> 00:54:16,648
This madness culminated...
843
00:54:16,750 --> 00:54:19,150
in Francis Coppola's The Godfather.
844
00:54:19,253 --> 00:54:22,245
As Al Pacino discovered when he came back from World War Two,
845
00:54:22,356 --> 00:54:25,723
the son had to follow his father's criminal path.
846
00:54:25,826 --> 00:54:29,193
When you were a Corleone, there was no leaving the outfit.
847
00:54:29,296 --> 00:54:33,289
It was an evil family bound by fear and torn by treachery,
848
00:54:33,400 --> 00:54:37,097
but you served it without ever questioning its legitimacy,
849
00:54:37,204 --> 00:54:39,638
as though it was your country.
850
00:54:39,740 --> 00:54:43,699
American values... family, free enterprise, patriotism... became totally twisted.
851
00:54:43,811 --> 00:54:45,711
Even individualism was dead.
852
00:54:45,813 --> 00:54:48,714
The organization was a state within the state;
853
00:54:48,816 --> 00:54:51,717
the gangster, a chairman of the board; and crime was a way of life.
854
00:54:53,487 --> 00:54:56,979
By the late '60s the gangster genre had proven so versatile...
855
00:54:57,090 --> 00:54:59,991
it could even embrace an avant-garde style.
856
00:55:00,093 --> 00:55:03,529
Watch the innovative editing here of John Boorman's Point Blank.
857
00:55:03,630 --> 00:55:06,758
The images are literally flashing through CarrollO' Connor's mind...
858
00:55:06,867 --> 00:55:08,767
as he realizes who Lee Marvin is...
859
00:55:08,869 --> 00:55:12,498
a killer who slugged and smashed his way to the top of the organization...
860
00:55:12,606 --> 00:55:17,873
in a desperate quest to find the man in charge, the man who can simply pay him.
861
00:55:17,978 --> 00:55:20,242
- Aaaah! - Walker.
862
00:55:20,347 --> 00:55:22,247
Walker.
863
00:55:22,349 --> 00:55:24,749
You're a very bad, destructive man, Walker.
864
00:55:24,852 --> 00:55:28,948
- Why do you do things like this? What doyou want? - I want my money.
865
00:55:29,056 --> 00:55:30,887
I want my 93 grand.
866
00:55:30,991 --> 00:55:33,221
Ninety-three thousand dollars?
867
00:55:33,327 --> 00:55:36,228
You'd threaten a financial structure like this for $93,000?
868
00:55:36,330 --> 00:55:40,790
- I don't believe you. What do you really want? - I-l really want my money.
869
00:55:40,901 --> 00:55:42,596
I want my money!
870
00:55:42,703 --> 00:55:45,695
Well, I'm not gonna give ya any money, and nobody else is!
871
00:55:45,806 --> 00:55:48,206
Don't you understand that?
872
00:55:50,077 --> 00:55:51,977
Carter!
873
00:55:52,079 --> 00:55:55,879
- Well, wh-who runs things? - Carter and I run things... I run things.
874
00:55:55,983 --> 00:55:58,474
What about Fairfax? Will he pay me?
875
00:55:58,585 --> 00:56:01,247
Fairfax is a man who signs checks.
876
00:56:01,355 --> 00:56:03,255
No. Cash.
877
00:56:03,357 --> 00:56:06,190
Cash, checks... Fairfax isn't gonna give you anything. He's finished.
878
00:56:06,360 --> 00:56:09,761
- Fairfax is dead. He just doesn't know it yet. - Somebody's gotta pay.
879
00:56:16,737 --> 00:56:21,071
Parallel to the gangster film was the rise of a very different genre... the musical.
880
00:56:21,174 --> 00:56:23,074
An interesting coincidence.
881
00:56:23,176 --> 00:56:25,076
The harshness of the times... the Depression...
882
00:56:25,178 --> 00:56:28,079
colored this most escapist of all film genres.
883
00:56:30,517 --> 00:56:33,816
With Busby Berkeley, the genre came into its own.
884
00:56:33,921 --> 00:56:35,821
A former dance instructor,
885
00:56:35,923 --> 00:56:38,824
Berkeley was the first to realize that a movie musical...
886
00:56:38,926 --> 00:56:41,827
was totally different from a stage dmusical.
887
00:56:41,929 --> 00:56:45,626
On film, everything was seen through one eye... the camera.
888
00:56:45,732 --> 00:56:47,859
In designing his production numbers,
889
00:56:47,968 --> 00:56:51,563
he would therefore rely on unusual camera movements and angles.
890
00:56:51,672 --> 00:56:54,163
The camera itself would partake in the choreography.
891
00:56:54,274 --> 00:56:59,177
Berkeley's ballets could not have existed outside of the movies.
892
00:56:59,279 --> 00:57:01,679
They were pure cinematic creations.
893
00:57:08,555 --> 00:57:11,456
Berkeley's films were viewed as pure entertainment,
894
00:57:11,558 --> 00:57:14,857
but some time sheap plied his wizar dry to the grim realities of American life...
895
00:57:14,962 --> 00:57:18,193
caught in the grip of the Depression.
896
00:57:18,298 --> 00:57:20,596
Remember my forgotten man?
897
00:57:23,270 --> 00:57:26,330
You put a rifle in hishand.
898
00:57:28,976 --> 00:57:31,444
You sent him faraway.
899
00:57:31,545 --> 00:57:34,708
You shouted Hip-Hooray.
900
00:57:34,815 --> 00:57:37,340
But look at him today.
901
00:57:39,386 --> 00:57:42,321
Remember my forgotten man.
902
00:57:43,824 --> 00:57:46,122
You had him cultivate thel and.
903
00:57:48,929 --> 00:57:52,092
He walked behind a plow.
904
00:57:52,199 --> 00:57:54,326
The sweat fell from his brow.
905
00:57:55,836 --> 00:57:57,736
Butlook at him right now.
906
00:57:59,373 --> 00:58:02,274
'Cause ever since the world began,
907
00:58:04,478 --> 00:58:07,140
a woman's got to have aman.
908
00:58:09,616 --> 00:58:12,813
For getting him, you see,
909
00:58:12,919 --> 00:58:15,319
means you're forgetting me.
910
00:58:15,422 --> 00:58:17,390
Aaaah!
911
00:58:17,491 --> 00:58:20,392
Always stretching the limits of the musical genre,
912
00:58:20,494 --> 00:58:23,622
Berkeley even dared choreograph human tragedies.
913
00:58:23,730 --> 00:58:26,096
Aaaah!
914
00:58:41,848 --> 00:58:43,748
Aaaah!
915
00:58:49,823 --> 00:58:53,554
The big parade goes on for years
916
00:58:53,660 --> 00:58:56,060
I can't do it, I tell ya. I can't!
917
00:58:56,163 --> 00:58:58,825
Berkeley's early musicals at Warner Brothers...
918
00:58:58,932 --> 00:59:01,833
offered back stage stories whose pacing was not unlike that of the gangster film.
919
00:59:01,935 --> 00:59:04,335
I'm too nervous! I can't do it!
920
00:59:04,438 --> 00:59:06,338
They were dominated by the figure...
921
00:59:06,440 --> 00:59:08,670
of the crazed, manic, often embittered Broad way producer.
922
00:59:08,775 --> 00:59:11,369
- What do ya wanna do, boss? - Bring up that curtain!
923
00:59:11,478 --> 00:59:13,378
In Footlight Parade, you hadJ ames Cagney.
924
00:59:13,480 --> 00:59:15,380
- All right, that's you! - No!
925
00:59:15,482 --> 00:59:17,382
In 42nd Street, Warner Baxter.
926
00:59:17,484 --> 00:59:19,975
Watch that tempo! Watch it, will you?
927
00:59:20,087 --> 00:59:22,055
Get your feet off of the floor!
928
00:59:22,155 --> 00:59:25,056
In these times, if you showed any ambition...
929
00:59:25,158 --> 00:59:28,093
-you either became a gangster or as how biz performer, - Faster! Faster!
930
00:59:28,195 --> 00:59:30,163
Come on! Faster! Faster!
931
00:59:30,263 --> 00:59:32,663
At least in the fantasy world of Warner Brothers.
932
00:59:32,766 --> 00:59:36,167
Stop it! Stop it! Stop it! It's brutal!
933
00:59:36,269 --> 00:59:38,169
Ohh!
934
00:59:38,271 --> 00:59:43,174
May I remind you that Pretty Lady's out-of-town opening is not far away?
935
00:59:43,276 --> 00:59:47,610
It's been advertised as a musical-comedy with dancing!
936
00:59:47,714 --> 00:59:49,614
If it isn't asking too much,
937
00:59:49,716 --> 00:59:51,980
will you please show me a little?
938
00:59:52,085 --> 00:59:55,350
Come on. Ready, Jerry? Get into it now!
939
00:59:55,455 --> 00:59:59,858
Broadway offered a metaphor for a desperate, shattered country.
940
00:59:59,960 --> 01:00:03,657
Director or chorus girl, your life depended on the show's success.
941
01:00:05,765 --> 01:00:08,666
Against all odds, Warner Baxter achieved his dream.
942
01:00:08,768 --> 01:00:11,498
These directors make me sick. Take Marsh.
943
01:00:11,605 --> 01:00:14,506
Puts his name all over the program, gets all the credit.
944
01:00:14,608 --> 01:00:17,236
If it wasn't for kids like Sawyer, he wouldn't have a show.
945
01:00:17,344 --> 01:00:20,245
Marsh would probably say he discovered her. Some guys get all the breaks.
946
01:00:20,347 --> 01:00:23,248
Buton opening night he was too drained...
947
01:00:23,350 --> 01:00:25,250
to enjoy the production's triumph.
948
01:00:25,352 --> 01:00:28,879
The show had taken on a life ofits own.
949
01:00:28,989 --> 01:00:32,686
The task master's lot, in the end, was solitude.
950
01:00:36,029 --> 01:00:37,929
They're sending me to New York for good,
951
01:00:38,031 --> 01:00:40,659
to be head of the office of Fenton, Ray burn and Company.
952
01:00:40,767 --> 01:00:42,667
- New York? - What?
953
01:00:42,769 --> 01:00:44,703
New York?
954
01:00:44,804 --> 01:00:48,205
Ten years later, Vincente Minnelli's Meet Me In St. Louis was a milestone.
955
01:00:48,308 --> 01:00:51,436
- I simply don't believe it. - We'll leave right after Christmas.
956
01:00:51,545 --> 01:00:54,446
I thought we'd all like to have Christmas in St. Louis.
957
01:00:54,548 --> 01:00:57,449
Firstofall, the story didn't have a Broadway setting.
958
01:00:57,551 --> 01:00:59,815
New York is a big city.
959
01:00:59,920 --> 01:01:04,755
It was a memory album set in the Midwestat the turn of the century.
960
01:01:04,858 --> 01:01:08,259
Its protagonists were the members of amiddle-class household.
961
01:01:10,363 --> 01:01:13,662
They did not need to be professional performers.
962
01:01:13,767 --> 01:01:17,362
Anyone could sing and dance, if they felt like it.
963
01:01:19,973 --> 01:01:23,374
Singing and dancing became as natural as breathing or talking.
964
01:01:23,476 --> 01:01:27,606
- La-da-dah, dah-dah-dah. - Also, the tunes were designed to furt her the plot...
965
01:01:27,714 --> 01:01:29,614
and reveal the characters.
966
01:01:29,716 --> 01:01:32,617
They expressed the ebband flow----------- of personal emotions.
967
01:01:32,719 --> 01:01:35,711
If Santa Claus brings me any toys, I'm taking them with me.
968
01:01:35,822 --> 01:01:39,155
I'm taking all my dolls; the dead ones, too.
969
01:01:39,259 --> 01:01:41,193
I'm taking everything.
970
01:01:41,294 --> 01:01:43,194
Of course you are.
971
01:01:43,296 --> 01:01:45,196
I'll help you pack them myself.
972
01:01:45,298 --> 01:01:48,199
You don't have to leave anything behind,
973
01:01:48,301 --> 01:01:50,201
except your snow people, of course.
974
01:01:52,906 --> 01:01:55,204
Sometimes they were tinged with bitter sweet irony...
975
01:01:55,308 --> 01:01:58,209
as the family faced an uncertain future in the big city.
976
01:01:58,311 --> 01:02:00,575
Have yourself.
977
01:02:00,680 --> 01:02:04,343
A merry little Christmas.
978
01:02:04,451 --> 01:02:10,822
Make they uletide gay-----------------
979
01:02:10,924 --> 01:02:14,519
Next year all our troubles.
980
01:02:14,628 --> 01:02:20,032
Will be miles away.
981
01:02:23,270 --> 01:02:28,264
Oh, have yourself.
982
01:02:28,375 --> 01:02:32,004
A merry little
983
01:02:32,112 --> 01:02:36,208
Christmas.
984
01:02:36,316 --> 01:02:38,477
Now.
985
01:02:39,719 --> 01:02:41,619
Tootie.
986
01:02:47,527 --> 01:02:49,791
Tootie!
987
01:02:49,896 --> 01:02:52,387
Sweet ness and innocence will prevail,
988
01:02:52,499 --> 01:02:55,400
but with the explosion of a child's pain and rage...
989
01:02:55,502 --> 01:02:59,097
unexpected shadows were suddenly caston this nostalgic period piece.
990
01:02:59,205 --> 01:03:01,969
Nobody's gonna have them! Not if we're going to New York!
991
01:03:02,075 --> 01:03:04,976
I've got to kill them if we can't take them with us!
992
01:03:05,078 --> 01:03:09,242
Tootie, darling, don't cry. You can build others now people in New York.
993
01:03:09,349 --> 01:03:12,409
You can't do anything like you do in St. Louis!
994
01:03:12,519 --> 01:03:14,384
Oh, no, darling. You're wrong.
995
01:03:14,487 --> 01:03:17,388
The rabbit hunters have his private carrot patch surrounded,
996
01:03:17,490 --> 01:03:19,390
and they're closing in.
997
01:03:19,492 --> 01:03:21,892
And what's that sticking up over that bush?
998
01:03:21,995 --> 01:03:24,395
- Are you my daddy? - It's, um-- Hmm?
999
01:03:24,497 --> 01:03:27,796
- No, I'm just your Uncle Doug. - Oh.
1000
01:03:27,901 --> 01:03:30,301
In themid-'40s something interesting happened.
1001
01:03:30,403 --> 01:03:32,303
Hey, fellas. Can Icomein?
1002
01:03:32,405 --> 01:03:34,430
Darker currents seeped into the musical,
1003
01:03:34,541 --> 01:03:37,442
as they had in the western and the gangster film.
1004
01:03:37,544 --> 01:03:40,843
Even the more conventional musicals hinted at the post war malaise.
1005
01:03:40,947 --> 01:03:42,175
Root-too-toot-ooh Toot-ooh.
1006
01:03:42,282 --> 01:03:45,843
Listen to that fiddle player slap, slap, slap.
1007
01:03:45,952 --> 01:03:48,853
On the surface My Dream ls Yours had all the trappings...
1008
01:03:48,955 --> 01:03:52,356
of a Doris Day vehicle produced on the Warner Bros assembly line.
1009
01:03:52,459 --> 01:03:54,689
It seemed to be pure escapist fare.
1010
01:03:54,794 --> 01:03:57,695
Oh, it's so spacious and peaceful.
1011
01:03:57,797 --> 01:04:00,698
No sponsors or agents pushing me around.
1012
01:04:00,800 --> 01:04:03,633
Just hitch your wagon to me and you'll be a star.
1013
01:04:03,737 --> 01:04:07,332
No. Thank you, Gary, but I have too much to do on my own.
1014
01:04:07,440 --> 01:04:11,137
- My dream is yours. - But the comedy had a bitter edge.
1015
01:04:11,244 --> 01:04:14,645
It isn't much to give.
1016
01:04:14,748 --> 01:04:17,649
You saw the performer's personal relationships...
1017
01:04:17,751 --> 01:04:21,312
turnings our and being sacrificed to their careers.
1018
01:04:21,421 --> 01:04:24,390
So, darling, may I say.
1019
01:04:24,491 --> 01:04:27,392
Look, honey, let's have an understanding.
1020
01:04:27,494 --> 01:04:30,395
Two careers in one family is one too many.
1021
01:04:30,497 --> 01:04:33,022
We'll concentrate on mine, huh?
1022
01:04:33,133 --> 01:04:34,691
Come on. Hereheis!
1023
01:04:34,801 --> 01:04:37,201
The film made you aware of how difficult,
1024
01:04:37,303 --> 01:04:40,067
or even impossible, relationships are between creative people.
1025
01:04:40,173 --> 01:04:42,505
It was a major influence...
1026
01:04:42,609 --> 01:04:44,509
on my film New York, New York.
1027
01:04:44,611 --> 01:04:46,909
I'm through with spending time
1028
01:04:47,013 --> 01:04:51,416
Doris Day'sbigbreak comes when she has to replace Lee Bowman, the popular crooner she loves,
1029
01:04:51,518 --> 01:04:54,544
who's too drunk toper form on his own national radios how.
1030
01:04:54,654 --> 01:04:57,555
Gary, you can't go on. You're drunk.
1031
01:04:57,657 --> 01:05:01,491
Lee Bowman's character was an egotist who felt threatened by Doris Day'ssuccess.
1032
01:05:01,594 --> 01:05:05,121
My dream is yours.
1033
01:05:05,231 --> 01:05:08,632
- It isn't much to give. - In New York, New York, I took that tormented romance...
1034
01:05:08,735 --> 01:05:11,636
and made it the very subject of the film.
1035
01:05:11,738 --> 01:05:14,832
But while I live My dream is yours.
1036
01:05:14,941 --> 01:05:17,102
Lovely girl.
1037
01:05:17,210 --> 01:05:19,110
Lovely singer.
1038
01:05:19,212 --> 01:05:21,112
Handy with a knife, too.
1039
01:05:21,214 --> 01:05:26,652
Begins to shine.
1040
01:05:30,924 --> 01:05:34,325
The pinnacle of the musical was reached in the early '50s.
1041
01:05:42,268 --> 01:05:45,431
Again we meet the incomparable Vincente Minnelli.
1042
01:06:03,189 --> 01:06:08,092
Look at The Band Wagon's finalproduction number, The Girl Hunt Ballet.
1043
01:06:08,194 --> 01:06:11,595
In this satire of Mickey Spillane's pulp novels,
1044
01:06:11,698 --> 01:06:15,361
you see the musical borrowing and absorbing the icons of film noi...
1045
01:06:15,468 --> 01:06:18,369
private eyes and dangerous sirens.
1046
01:06:18,471 --> 01:06:22,908
Minnelli's musicals celebrated the triumph of the imaginary over the real.
1047
01:06:24,644 --> 01:06:27,545
Any aspect of reality, however trivial,
1048
01:06:27,647 --> 01:06:31,048
could be transformed, stylized and incorporated into a ballet.
1049
01:06:34,153 --> 01:06:36,144
The world was a stage,
1050
01:06:36,256 --> 01:06:39,657
and it belonged to those who could sing and dance.
1051
01:06:52,772 --> 01:06:55,002
MGM was then the magic factory,
1052
01:06:55,108 --> 01:06:59,738
where producerArthur Freed nurtured such classics as On The Town,
1053
01:06:59,846 --> 01:07:02,314
An American in Paris, Singin' in the Rain,
1054
01:07:02,415 --> 01:07:06,215
It's Always Fair Weather and, of course, The Band Wagon.
1055
01:07:11,724 --> 01:07:13,954
He's drunk.
1056
01:07:14,060 --> 01:07:15,960
- How bad? - Very.
1057
01:07:16,062 --> 01:07:18,963
- What do you want me to do? - Keep him off.
1058
01:07:19,065 --> 01:07:21,295
A horse!
1059
01:07:21,401 --> 01:07:23,301
My kingdom for a horse!
1060
01:07:23,403 --> 01:07:25,303
George Cukor's A Star ls Born...
1061
01:07:25,405 --> 01:07:27,600
took the genre one step further.
1062
01:07:27,707 --> 01:07:30,107
Get a load of Norman Maine, will ya?
1063
01:07:30,209 --> 01:07:33,235
It gave us Judy Garland as a bandsinger who becomes a moviestar...
1064
01:07:33,346 --> 01:07:36,247
while James Mason, her mentor, sabotages his career.
1065
01:07:36,349 --> 01:07:39,250
Sure, but just a few. I promised the boys.
1066
01:07:39,352 --> 01:07:41,252
Take your hands of fme.
1067
01:07:41,354 --> 01:07:44,755
Actually, the story had been brought to the screen twice before...
1068
01:07:44,857 --> 01:07:47,257
in a non-musical form.
1069
01:07:47,360 --> 01:07:50,420
The show must go on. That is the performer's first commandment.
1070
01:07:50,530 --> 01:07:53,431
But Mason's Norman Maine couldn't take it anymore.
1071
01:07:53,533 --> 01:07:55,433
- That does it. - Just a few more.
1072
01:07:55,535 --> 01:07:58,436
- I said, that does it. - But you got plenty of time!
1073
01:07:58,538 --> 01:08:01,701
He was trapped in the cruel worldof make-believe.
1074
01:08:01,808 --> 01:08:03,708
L-I'm sorry, gentlemen. No time.
1075
01:08:03,810 --> 01:08:06,711
He couldn't even bear to look at himself.
1076
01:08:06,813 --> 01:08:10,613
Are you trying to stop me from going on? Is that it?
1077
01:08:12,719 --> 01:08:16,587
These broken mirrors were the first step toward self-destruction.
1078
01:08:16,689 --> 01:08:20,284
For the love that's truly true you gotta have me go with you.
1079
01:08:20,393 --> 01:08:22,293
- You gotta have me - Why the holdout.
1080
01:08:22,395 --> 01:08:23,623
And me.
1081
01:08:23,730 --> 01:08:25,721
Have you sold out.
1082
01:08:25,832 --> 01:08:29,962
Time you woke up Time you spoke up.
1083
01:08:30,069 --> 01:08:32,537
This line I'm handin'you.
1084
01:08:32,639 --> 01:08:34,869
It's not a hand out
1085
01:08:34,974 --> 01:08:38,466
Asa team we'd beast and out Fallout.
1086
01:08:38,578 --> 01:08:42,878
- You wanna live high on a dime. - This was not a musical-comedy.
1087
01:08:42,982 --> 01:08:46,611
This was a musical drama about the sad ironies of show business.
1088
01:08:46,719 --> 01:08:49,688
- Boodely-ooh-boo - Why the holdout.
1089
01:08:49,789 --> 01:08:53,350
Have you sold out.
1090
01:08:53,459 --> 01:08:57,418
Time you woke up Time you spoke up.
1091
01:08:58,698 --> 01:09:01,428
Ooh, you gotta have me go with you.
1092
01:09:01,534 --> 01:09:05,766
Why the holdout Have you soldout.
1093
01:09:05,872 --> 01:09:09,865
Time you woke up Timey ou spoke up.
1094
01:09:09,976 --> 01:09:12,877
This line I'm handin' you.
1095
01:09:12,979 --> 01:09:14,879
It's not a handout.
1096
01:09:14,981 --> 01:09:18,144
As a team we'd be a standout.
1097
01:09:18,251 --> 01:09:20,651
You wanna live high on a dime.
1098
01:09:20,753 --> 01:09:22,880
You wanna have too harsh a climb.
1099
01:09:22,989 --> 01:09:25,048
You gotta have me.
1100
01:09:25,158 --> 01:09:26,591
Go with you.
1101
01:09:26,693 --> 01:09:30,754
All the time.
1102
01:09:34,400 --> 01:09:37,301
In spite of bold attempts by such choreographer-directors...
1103
01:09:37,403 --> 01:09:41,999
as Gene Kelly, Stanley Donen and Bob Fosse to open up new territories,
1104
01:09:42,108 --> 01:09:45,771
the musical ceased to exist as a film genre.
1105
01:09:45,878 --> 01:09:50,781
But the showbiz performer still remains a key figure in musical biographies.
1106
01:09:50,883 --> 01:09:55,786
Recently the most exciting effort was probably Bob Fosse's self-portrait, All ThatJazz.
1107
01:09:55,888 --> 01:09:59,915
It's show time, folks.
1108
01:10:00,026 --> 01:10:04,395
The figure of the exhausted entertainer needing open heart surgery...
1109
01:10:04,497 --> 01:10:08,490
would fitright into Busby Berkeley's gallery of hard-driving, hard-drinking,
1110
01:10:08,601 --> 01:10:10,501
chain-smoking directors.
1111
01:10:14,607 --> 01:10:19,442
We're glad that you're sorry.
1112
01:10:19,545 --> 01:10:25,506
Now.
1113
01:10:25,618 --> 01:10:28,519
Cut!
1114
01:10:30,890 --> 01:10:33,290
You blew it. You forgot your line.
1115
01:10:33,392 --> 01:10:37,692
At the end of this number you're supposed to say, uh... What's he supposed to say?
1116
01:10:37,797 --> 01:10:42,359
He's supposed to say, I don't want to die. I want to live.
1117
01:10:45,805 --> 01:10:50,037
Well, if you can't say it, you can't say it. We'll just have to cut it.
1118
01:10:50,143 --> 01:10:53,044
Cut it. Take me up. Next setup.
1119
01:10:57,683 --> 01:11:01,710
Of course it's not enough for American directors to be just storytellers.
1120
01:11:01,821 --> 01:11:04,722
So, as we continue our journey in parts two and three,
1121
01:11:04,824 --> 01:11:08,920
I'd like to show you how I think they need also to be illusionists,
1122
01:11:09,028 --> 01:11:10,962
sometimes smugglers...
1123
01:11:11,063 --> 01:11:13,190
and even at times iconoclasts.
1124
01:11:13,599 --> 01:11:17,194
That is, if they intend to express their own personal vision.
1125
01:14:08,418 --> 01:14:11,979
To tell a story, to implement his vision, the director has to be a technician...
1126
01:14:12,088 --> 01:14:13,988
and even an illusionist.
1127
01:14:14,090 --> 01:14:17,389
This means controlling and mastering the technical process.
1128
01:14:17,493 --> 01:14:19,393
Our palette has expanded tremendously...
1129
01:14:19,495 --> 01:14:22,020
through a century of constant experimentations.
1130
01:14:22,131 --> 01:14:25,658
The movies grew from silent to sound; black and white to Technicolor;
1131
01:14:25,768 --> 01:14:27,668
standard screen size to CinemaScope;
1132
01:14:27,770 --> 01:14:30,330
35 millimeter to 70 millimeter.
1133
01:14:30,440 --> 01:14:35,104
The American industry, it seems, never failed to embrace new technological developments.
1134
01:14:35,211 --> 01:14:38,840
Somehow, it moved faster and more decisively than its foreign rivals.
1135
01:14:42,452 --> 01:14:44,716
As King Vidor said, The cinema...
1136
01:14:44,821 --> 01:14:48,052
is the greatest means of expression ever invented,
1137
01:14:48,157 --> 01:14:50,387
but it is an illusion more powerful than any other,
1138
01:14:50,493 --> 01:14:53,758
and it should therefore be in the hands of the magicians and the wizards...
1139
01:14:53,863 --> 01:14:55,854
who can bring it to life.
1140
01:14:55,965 --> 01:14:59,059
Here, Buster Keaton, an aspiring cameraman,
1141
01:14:59,168 --> 01:15:01,068
is showing his footage to MGM executives...
1142
01:15:01,170 --> 01:15:03,297
in the hope of getting a job.
1143
01:15:03,406 --> 01:15:07,968
Unfortunately he has double exposed the film, and the screening is a disaster.
1144
01:15:08,077 --> 01:15:11,410
However, as every director will experience,
1145
01:15:11,514 --> 01:15:14,950
accidents can be the source of extraordinary poetry...
1146
01:15:15,051 --> 01:15:16,951
and beauty.
1147
01:15:17,053 --> 01:15:20,819
What Keaton's cameraman needs is to learn and master the language of film.
1148
01:15:22,959 --> 01:15:25,621
Interestingly, most of the early film pioneers,
1149
01:15:25,728 --> 01:15:29,630
including D. W. Griffiith, had no formal education.
1150
01:15:29,732 --> 01:15:32,758
They were self-taught and often shared the prevailing prejudice...
1151
01:15:32,869 --> 01:15:37,465
that the cinema was a minor form of entertainment.
1152
01:15:37,573 --> 01:15:42,169
The American film probably came of age in February, 1915,
1153
01:15:42,278 --> 01:15:45,907
when D. W. Griffiith opened his first feature-length epic,
1154
01:15:46,015 --> 01:15:48,108
The Birth Of A Nation.
1155
01:15:48,217 --> 01:15:51,948
According to Raoul Walsh, who was one of Griffiith's assistants at the time...
1156
01:15:52,054 --> 01:15:54,522
and who played the role ofJohn Wilkes Booth,
1157
01:15:54,624 --> 01:15:57,855
it took The Birth Of A Nation to convince Americans...
1158
01:15:57,960 --> 01:16:00,588
that films were an art in their own right...
1159
01:16:00,696 --> 01:16:04,223
and not just the illegitimate offspring of the theater.
1160
01:16:04,333 --> 01:16:07,325
How did Griffiith achieve this triumph?
1161
01:16:07,436 --> 01:16:11,236
Essentially through his composition and orchestration of the shots.
1162
01:16:11,340 --> 01:16:14,832
As Walsh put it, The high and low angled shots...
1163
01:16:14,944 --> 01:16:18,641
turned a good picture into a great one.
1164
01:16:23,219 --> 01:16:26,120
One close-up was worth a thousand words.
1165
01:16:27,857 --> 01:16:31,258
Erich von Stroheim, also one of Griffiith's assistants,
1166
01:16:31,360 --> 01:16:34,557
said that he was the pioneer of filmdom,
1167
01:16:34,664 --> 01:16:38,862
the first to put beauty and poetry into a cheap and tawdry sort of amusement.
1168
01:16:47,577 --> 01:16:52,480
I've always felt that visual literacy is just as important as verbal literacy.
1169
01:16:52,582 --> 01:16:57,144
And what the film pioneers were exploring was the medium's specifiic techniques.
1170
01:16:57,253 --> 01:17:02,520
In the process, they invented a new language based on images rather than words.
1171
01:17:02,625 --> 01:17:05,185
A visual grammar, you might say.
1172
01:17:05,294 --> 01:17:08,730
Close-ups, :
1173
01:17:11,534 --> 01:17:13,934
irises, :
1174
01:17:26,649 --> 01:17:29,345
dissolves, :
1175
01:17:34,857 --> 01:17:37,724
masking part of the screen for emphasis, :
1176
01:17:47,303 --> 01:17:49,703
dolly shots, :
1177
01:17:57,546 --> 01:17:59,946
tracking shots.
1178
01:18:07,690 --> 01:18:11,091
Now these are the basic tools that directors have at their disposal...
1179
01:18:11,193 --> 01:18:14,629
to create and heighten the illusion of reality.
1180
01:18:16,299 --> 01:18:19,564
When Lillian Gish called D. W. Griffiith the father of film,
1181
01:18:19,669 --> 01:18:21,694
she used the same analogy.
1182
01:18:21,804 --> 01:18:25,900
She said, He gave us the grammar of filmmaking.
1183
01:18:28,444 --> 01:18:32,505
He understood the psychic strength of the lens.
1184
01:18:36,285 --> 01:18:40,221
Half a century later, Stanley Kubrick may have had Griffiith in mind...
1185
01:18:40,323 --> 01:18:43,087
when he remarked that what is truly original in the art of filmmaking,
1186
01:18:43,192 --> 01:18:46,423
what distinguishes it from all the other arts,
1187
01:18:46,529 --> 01:18:48,861
may be the editing process.
1188
01:18:48,964 --> 01:18:53,128
Watch how Griffiith developed, two years before The Birth Of A Nation,
1189
01:18:53,235 --> 01:18:55,726
the technique of crosscutting.
1190
01:18:55,838 --> 01:18:58,238
He shows you two events happening at the same time...
1191
01:18:58,341 --> 01:19:01,003
and intercuts them to increase the tension of the suspense.
1192
01:19:07,383 --> 01:19:11,342
Now, at that time, Griffiith had to fight his distributors,
1193
01:19:11,454 --> 01:19:16,357
who feared that audiences would be confused by this innovation.
1194
01:19:25,167 --> 01:19:27,328
It was in the great epics of the silent era...
1195
01:19:27,436 --> 01:19:31,065
that the illusionists learned to use special effects and visual wizardry...
1196
01:19:31,173 --> 01:19:34,574
to conjure up some of their most compelling visions.
1197
01:19:34,677 --> 01:19:36,838
The American tradition of the great spectacle...
1198
01:19:36,946 --> 01:19:39,107
was born around 1915...
1199
01:19:39,215 --> 01:19:41,945
when D. W. Griffiith saw Cabiria,
1200
01:19:42,051 --> 01:19:43,951
an Italian super-production.
1201
01:19:44,053 --> 01:19:45,953
Watched it twice in one night. It inspired him.
1202
01:19:46,055 --> 01:19:50,185
Gave him the audacity to create his masterpiece, Intolerance.
1203
01:19:50,292 --> 01:19:53,284
Giovanni Pastrone's Cabiria had all the right ingredients:
1204
01:19:53,396 --> 01:19:56,763
adventure, melodrama, pageantry, religion,
1205
01:19:56,866 --> 01:19:58,959
extraordinary production design...
1206
01:19:59,068 --> 01:20:01,832
and striking camera angles and lighting.
1207
01:20:30,599 --> 01:20:33,124
To film this scene, they actually dragged...
1208
01:20:33,235 --> 01:20:36,295
Hannibal's elephants up onto a mountaintop.
1209
01:20:40,543 --> 01:20:42,443
Intolerance.
1210
01:20:42,545 --> 01:20:46,037
Much has been made of its extravagant budget,
1211
01:20:46,148 --> 01:20:50,380
real-size sets and thousands of extras.
1212
01:20:50,486 --> 01:20:54,786
The achievement is all the more extraordinary because Griffiith worked without a script.
1213
01:20:54,890 --> 01:20:57,984
It was all planned in his head, not on paper.
1214
01:20:58,093 --> 01:21:02,359
But Griffiith went even further.
1215
01:21:02,465 --> 01:21:06,799
Intolerance was a daring attempt at interweaving stories and characters...
1216
01:21:06,902 --> 01:21:08,802
not from the same period,
1217
01:21:08,904 --> 01:21:12,362
but from four different centuries.
1218
01:21:22,384 --> 01:21:25,683
Freely crosscutting from one era to another,
1219
01:21:25,788 --> 01:21:29,349
he blended them altogether in a grand symphony devoted to one idea:
1220
01:21:31,193 --> 01:21:34,128
passionate plea for tolerance.
1221
01:21:36,432 --> 01:21:39,265
Griffiith's passion for history was balanced by his passion...
1222
01:21:39,368 --> 01:21:41,962
for simple people, the victims of history.
1223
01:21:42,071 --> 01:21:46,667
In modern day America, a young woman is deemed an unfit mother...
1224
01:21:46,775 --> 01:21:49,608
because her husband is in jail.
1225
01:21:49,712 --> 01:21:53,409
Oppression is represented by society matrons,
1226
01:21:53,516 --> 01:21:58,078
Puritan reformers who want to place her baby in an orphanage.
1227
01:22:18,774 --> 01:22:23,074
Griffiith's distressed heroines carried with them...
1228
01:22:23,178 --> 01:22:25,976
the heart and soul of the picture.
1229
01:22:26,081 --> 01:22:30,984
For them, he composed his most eloquent close-ups.
1230
01:22:32,621 --> 01:22:37,718
Like Griffiith, Cecil B. DeMille liked to paint on a big canvas.
1231
01:22:37,826 --> 01:22:41,262
His ambition was to tell an absorbing personal story...
1232
01:22:41,363 --> 01:22:44,059
against a background of great historical events.
1233
01:22:44,166 --> 01:22:47,897
His first Biblical epic was inspired by one simple belief.
1234
01:22:48,003 --> 01:22:52,906
You cannot break the Ten Commandments, : they will break you.
1235
01:22:58,514 --> 01:23:03,008
Watch DeMille's masterful staging of the exodus from Egypt:
1236
01:23:03,118 --> 01:23:06,747
the visual contrasts between the pharaoh's war machine...
1237
01:23:06,855 --> 01:23:09,790
and the simple caravan of the Israelites, :
1238
01:23:09,892 --> 01:23:12,053
his sense of wonder, :
1239
01:23:14,129 --> 01:23:18,589
his attention to details, even in big crowd scenes.
1240
01:23:18,701 --> 01:23:22,467
His miniatures were as powerful as his frescoes.
1241
01:23:22,571 --> 01:23:26,473
DeMille even used an early two-strip Technicolor process here.
1242
01:23:26,575 --> 01:23:32,013
However, the grandiose set pieces were always subordinate to the story.
1243
01:23:32,114 --> 01:23:36,778
DeMille knew that spectacle alone would never make a great picture.
1244
01:23:36,885 --> 01:23:40,048
He spent much more time working on dramatic construction...
1245
01:23:40,155 --> 01:23:42,783
than on planning photographic effects.
1246
01:23:42,891 --> 01:23:47,760
The audience,he said, is interested in individuals whom they can love or hate.
1247
01:23:49,898 --> 01:23:55,461
DeMille believed that he could translate the words of the Bible in the medium of film literally.
1248
01:23:55,571 --> 01:23:59,098
To achieve this, he devised extraordinary technical effects,
1249
01:23:59,208 --> 01:24:02,302
such as the parting of the Red Sea.
1250
01:24:02,411 --> 01:24:07,144
DeMille insisted that every detail be seen with equal clarity.
1251
01:24:07,249 --> 01:24:10,616
Here, for instance, notice the rocks and seaweed...
1252
01:24:10,719 --> 01:24:14,849
scattered on the sand to make the beach look like the bottom of the sea.
1253
01:24:14,957 --> 01:24:17,357
It was a last-minute inspiration on the part of DeMille,
1254
01:24:17,459 --> 01:24:19,757
who led his army of extras into the surf...
1255
01:24:19,862 --> 01:24:22,695
and showed them how to gather the kelp.
1256
01:24:30,973 --> 01:24:35,103
Of course, I never saw DeMille's silent films when I was a boy.
1257
01:24:35,210 --> 01:24:38,805
His later epics are the ones that made an indelible impression on me.
1258
01:24:38,914 --> 01:24:40,814
Before the dawn of history,
1259
01:24:40,916 --> 01:24:44,545
ever since the first man discovered his soul,
1260
01:24:44,653 --> 01:24:49,317
he has struggled against the forces that sought to enslave him.
1261
01:24:49,425 --> 01:24:53,384
He saw the awful power of nature parade against him,
1262
01:24:53,495 --> 01:24:55,827
the evil eye of the lightning,
1263
01:24:55,931 --> 01:24:59,162
the terrifying voice of the thunder,
1264
01:24:59,268 --> 01:25:01,930
the shrieking, wind-filled darkness,
1265
01:25:02,037 --> 01:25:05,598
enslaving his mind with shackles of fear.
1266
01:25:05,708 --> 01:25:07,608
Fear bred superstition...
1267
01:25:07,710 --> 01:25:10,406
And then there was DeMille's own remake of The Ten Commandments,
1268
01:25:10,512 --> 01:25:12,503
which I have seen countless times.
1269
01:25:12,614 --> 01:25:14,912
- Look! - Look! There!
1270
01:25:15,017 --> 01:25:18,578
- Where he struck the river, it bleeds. - The water turns to blood.
1271
01:25:18,687 --> 01:25:23,317
DeMille presented such a sumptuous fantasy that if you saw his movies as a child,
1272
01:25:23,425 --> 01:25:26,758
they stuck with you for life.
1273
01:25:26,862 --> 01:25:30,059
The marvelous superseded the sacred.
1274
01:25:34,703 --> 01:25:38,571
What I remember most vividly are the tableau vivant,
1275
01:25:40,976 --> 01:25:43,536
the colors,
1276
01:25:48,016 --> 01:25:52,385
the dreamlike quality of the imagery...
1277
01:25:52,488 --> 01:25:55,286
and, of course, the special effects.
1278
01:25:55,390 --> 01:25:58,154
God is a unique flame,
1279
01:25:58,260 --> 01:26:02,321
but the flame is a different color to different people.
1280
01:26:05,200 --> 01:26:10,103
These were the words of Rama Krishna which DeMille quoted to define his own faith.
1281
01:26:46,375 --> 01:26:51,608
Sokar, great lord of the lower world...
1282
01:26:57,519 --> 01:27:00,716
The great illusionists of the past, Cecil B. DeMille,
1283
01:27:00,823 --> 01:27:06,318
D. W. Griffiith, Frank Borzage, King Vidor,
1284
01:27:06,428 --> 01:27:08,589
were conductors.
1285
01:27:08,697 --> 01:27:11,461
They orchestrated visual symphonies...
1286
01:27:13,635 --> 01:27:16,968
what Vidor called silent music.
1287
01:27:17,072 --> 01:27:19,905
It would fade away as Hollywood embraced sound.
1288
01:27:20,008 --> 01:27:22,875
But the legacy of the silent era was remarkable.
1289
01:27:22,978 --> 01:27:25,446
American movies had matured into a sophisticated art form...
1290
01:27:25,547 --> 01:27:27,674
with elaborate camera moves, long takes,
1291
01:27:27,783 --> 01:27:31,150
deep focus, expressive lighting, miniatures, et cetera.
1292
01:27:31,253 --> 01:27:33,721
I mean, in the late '20s, the most exciting experiments...
1293
01:27:33,822 --> 01:27:36,290
were taking place at the Fox Studios,
1294
01:27:36,391 --> 01:27:38,291
where the German master, Frederick Murnau,
1295
01:27:38,393 --> 01:27:41,658
was given carte blanche on the strength of his European triumphs.
1296
01:27:43,799 --> 01:27:47,428
His film, Sunrise, became the most expensive art film...
1297
01:27:47,536 --> 01:27:49,436
made in Hollywood.
1298
01:27:54,309 --> 01:27:58,211
Rather than a plot, Murnau offered visions,
1299
01:27:58,313 --> 01:28:00,247
a landscape of the mind.
1300
01:28:00,349 --> 01:28:03,113
His ambition was to paint his charactersdesires...
1301
01:28:03,218 --> 01:28:05,584
with lights and shadows.
1302
01:28:05,687 --> 01:28:09,623
This is how the frenzied city girl tempts the young farmer:
1303
01:28:09,725 --> 01:28:12,751
with a kaleidoscope of images.
1304
01:28:12,861 --> 01:28:15,022
She wants him to leave everything behind:
1305
01:28:15,130 --> 01:28:17,724
his land, his wife, his child,
1306
01:28:17,833 --> 01:28:20,893
the peace and innocence of the country life.
1307
01:28:27,109 --> 01:28:32,547
The vamp has planted a deadly thought in the young husband's mind.
1308
01:28:32,648 --> 01:28:37,312
Murnau calls Sunrise a story of two humans.
1309
01:28:37,419 --> 01:28:40,547
This song of the man and his wife is of no place.
1310
01:28:40,656 --> 01:28:44,285
You might hear it anywhere at anytime.
1311
01:28:44,393 --> 01:28:46,953
They dont have a name,
1312
01:28:47,062 --> 01:28:51,965
but you experience every idea, every emotion that visits them.
1313
01:28:52,067 --> 01:28:56,231
He had George OBrien's shoes weighted with 20 pounds of lead...
1314
01:28:56,338 --> 01:28:58,602
to give the actor a more threatening presence.
1315
01:29:23,365 --> 01:29:26,630
Murnau was called a cerebral director by his Hollywood peers...
1316
01:29:26,735 --> 01:29:29,431
because he demanded that his actors fully understand...
1317
01:29:29,538 --> 01:29:31,506
the mind of their character.
1318
01:29:31,606 --> 01:29:34,541
He said, I talked to an actor of what he should be thinking...
1319
01:29:34,643 --> 01:29:37,373
rather than what he should be doing.
1320
01:30:01,937 --> 01:30:06,806
The camera,said Murnau, is the director's sketching pencil.
1321
01:30:06,908 --> 01:30:10,105
It should be as mobile as possible
1322
01:30:10,278 --> 01:30:11,677
to catch every fleeting mood.
1323
01:30:11,780 --> 01:30:16,649
It must whirl and peep and move from place to place as swiftly as thought itself.
1324
01:30:25,627 --> 01:30:28,790
Later in theirjourney, the broken couple is reunited.
1325
01:30:28,897 --> 01:30:33,561
Fear and guilt fade away. They become invulnerable.
1326
01:30:33,668 --> 01:30:38,128
Nothing can harm them anymore, not even the city's hustle and bustle.
1327
01:30:43,412 --> 01:30:48,475
Magically, subjective perceptions take on an objective reality.
1328
01:30:48,583 --> 01:30:51,984
A superimposition could serve as an inner vision...
1329
01:30:52,087 --> 01:30:54,282
or an inner monologue.
1330
01:30:55,757 --> 01:30:58,248
What Murnau is projecting onto the environment...
1331
01:30:58,360 --> 01:31:01,557
is their dream, their common dream.
1332
01:31:05,233 --> 01:31:08,202
At least for a brief moment.
1333
01:31:13,508 --> 01:31:18,309
In Sunrise, love and death are intertwined like day and night.
1334
01:31:19,915 --> 01:31:24,750
But in Seventh Heaven, love negated death itself.
1335
01:31:24,853 --> 01:31:28,118
Both films starredJanet Gaynor,
1336
01:31:28,223 --> 01:31:30,191
who commuted between the two sets,
1337
01:31:30,292 --> 01:31:33,625
working with Murnau during the day and with Borzage at night.
1338
01:31:43,271 --> 01:31:45,171
She is a street angel.
1339
01:31:47,876 --> 01:31:52,074
She's saved by Charles Farrell, a street sweeper.
1340
01:31:55,050 --> 01:31:59,919
Reluctantly, he takes her to his lofty garret above the city.
1341
01:32:00,021 --> 01:32:05,891
He works in the sewers of Paris but insists that he lives near the stars.
1342
01:32:05,994 --> 01:32:08,519
Borzage was not a highly educated man,
1343
01:32:08,630 --> 01:32:11,121
let alone an art historian like Murnau.
1344
01:32:11,233 --> 01:32:14,361
His approach to the medium was more instinctive.
1345
01:32:14,469 --> 01:32:18,132
He was a maestro of the pantomime.
1346
01:32:18,240 --> 01:32:21,698
What inspired him was the sheer power of emotions.
1347
01:32:21,810 --> 01:32:24,472
This was the great mystery that elevated his melodramas...
1348
01:32:24,579 --> 01:32:27,377
into pure songs of love.
1349
01:32:29,217 --> 01:32:32,675
Directed by Borzage, Janet Gaynor and Charles Farrell...
1350
01:32:32,787 --> 01:32:34,982
formed a unique couple,
1351
01:32:35,090 --> 01:32:37,581
at once vibrant with sexual passion...
1352
01:32:37,692 --> 01:32:40,923
and wrapped in a mystical aura.
1353
01:32:41,029 --> 01:32:44,931
Their romance would lift them from the physical to the spiritual.
1354
01:33:04,686 --> 01:33:07,416
War rips them apart.
1355
01:33:22,037 --> 01:33:27,475
But as Borzage once stated, Souls are made great through love and adversity.
1356
01:33:30,779 --> 01:33:33,179
Even when he's blinded in the trenches,
1357
01:33:33,281 --> 01:33:36,842
the lovers remain in daily telepathic communication.
1358
01:34:20,495 --> 01:34:23,862
Borzage deeply believed in the transcendent power of love.
1359
01:34:31,139 --> 01:34:35,371
Time and space can be surmounted and abolished.
1360
01:34:37,746 --> 01:34:40,874
Because Diane refuses to accept Chico's death...
1361
01:34:40,982 --> 01:34:43,041
she's able to bring him back from the dead.
1362
01:35:35,537 --> 01:35:40,031
For the lovers, reality itself is immaterial.
1363
01:35:44,846 --> 01:35:47,940
The art of the pantomime had reached its zenith.
1364
01:35:48,049 --> 01:35:50,279
But the era of sound had arrived.
1365
01:35:50,385 --> 01:35:54,845
And for the silent film directors, this was a time of painful transition.
1366
01:35:54,956 --> 01:35:57,925
Even a script conference called for new skills.
1367
01:35:58,026 --> 01:36:03,794
We were so imbued and so living in, in pantomime...
1368
01:36:03,898 --> 01:36:08,665
that a fellow would come in and tell a story to, uh,
1369
01:36:08,770 --> 01:36:11,170
say, to Thalberg at MGM...
1370
01:36:11,272 --> 01:36:14,969
a comedy story, particularly... or, say, Mack Sennett...
1371
01:36:15,076 --> 01:36:17,135
Hed tell the whole damn story in pantomime.
1372
01:36:17,245 --> 01:36:21,477
He comes in and... Aah! And then, sock!
1373
01:36:21,583 --> 01:36:24,143
And, you know, everything was like that.
1374
01:36:24,252 --> 01:36:26,914
It looked like cartoon strips.
1375
01:36:27,021 --> 01:36:30,320
So all of a sudden were dealing with dialogue.
1376
01:36:30,425 --> 01:36:35,192
So, I had, from the time I was...
1377
01:36:35,296 --> 01:36:37,764
12 or 14 or something,
1378
01:36:37,866 --> 01:36:41,996
thought entirely in terms of images and pictures and movement.
1379
01:36:42,103 --> 01:36:45,436
Movement. I very much... What's an interesting movement?
1380
01:36:45,540 --> 01:36:47,531
So here we are with words.
1381
01:36:47,642 --> 01:36:50,873
The studios bowed to the tyranny of sound experts...
1382
01:36:50,979 --> 01:36:53,243
who knew little about filmmaking.
1383
01:36:53,348 --> 01:36:56,647
At first, they had the cameras enclosed in a soundproof booth...
1384
01:36:56,751 --> 01:36:59,311
or ensconced in a blimp.
1385
01:36:59,421 --> 01:37:02,549
As William Wellman put it, Creaking floors received more attention...
1386
01:37:02,657 --> 01:37:04,784
than creaking stories.
1387
01:37:04,893 --> 01:37:08,260
Actors were kept anchored within the range of microphones.
1388
01:37:08,363 --> 01:37:10,854
Now, these had to be hidden sometimes in rather obvious props...
1389
01:37:10,965 --> 01:37:12,865
like this lantern in Anna Christie.
1390
01:37:12,967 --> 01:37:16,733
- Pretty, eh? - Gives you the creeps, though.
1391
01:37:16,838 --> 01:37:20,103
Film historians insisted that at that time movies stopped moving.
1392
01:37:20,208 --> 01:37:23,541
But the myth of the static camera has been dispelled...
1393
01:37:23,645 --> 01:37:27,103
now that so many films of the period have been rediscovered.
1394
01:37:27,215 --> 01:37:30,343
There were directors who refused to be shackled or paralyzed.
1395
01:37:30,452 --> 01:37:33,478
Directors such as Rouben Mamoulian, Frank Capra,
1396
01:37:33,588 --> 01:37:36,318
William Wellman, Tay Garnett,
1397
01:37:36,424 --> 01:37:40,622
all of whom can be credited with getting the camera moving again.
1398
01:37:40,728 --> 01:37:43,322
Most Tay Garnett pictures of the early '30s...
1399
01:37:43,431 --> 01:37:46,992
feature fluid camera moves and even very long takes.
1400
01:37:47,101 --> 01:37:49,592
Two gins for Frankie.
1401
01:37:49,704 --> 01:37:53,663
Watch how skillfully the camera follows the tray across the dance floor.
1402
01:37:58,913 --> 01:38:01,575
The choreography looks effortless.
1403
01:38:01,683 --> 01:38:05,847
But believe me, this shot must have been very hard to achieve.
1404
01:38:11,392 --> 01:38:15,055
The dreamlike world of the silent film was no more.
1405
01:38:15,163 --> 01:38:18,997
With the talkies a more naturalistic approach seemed to prevail.
1406
01:38:19,100 --> 01:38:23,764
But in fact, sound encouraged the illusionists to heighten reality.
1407
01:38:26,908 --> 01:38:30,435
Here, in The Big House, the sound effects alone suggest...
1408
01:38:30,545 --> 01:38:34,709
that the convicts are anonymous robots.
1409
01:38:34,816 --> 01:38:38,411
Our Father, Who art in heaven,
1410
01:38:38,520 --> 01:38:40,511
hallowed be Thy name.
1411
01:38:40,622 --> 01:38:43,989
Thy kingdom come. Thy will be done...
1412
01:38:44,092 --> 01:38:48,153
But in the chapel, as soon as you hear their voices, they come alive.
1413
01:38:48,263 --> 01:38:50,424
Give us this day our daily bread.
1414
01:38:50,532 --> 01:38:52,898
And forgive us our trespasses...
1415
01:38:53,001 --> 01:38:56,937
as we forgive those who trespass against us.
1416
01:38:57,038 --> 01:38:59,404
And lead us not into temptation,
1417
01:38:59,507 --> 01:39:01,407
but deliver us from evil.
1418
01:39:01,509 --> 01:39:04,103
They are given an identity and a purpose...
1419
01:39:04,212 --> 01:39:06,874
when their actions contradict the chorus of prayer.
1420
01:39:06,981 --> 01:39:08,881
...forever and ever. Amen.
1421
01:39:08,983 --> 01:39:11,918
A most effective counterpoint.
1422
01:39:16,291 --> 01:39:20,591
- Sound can enhance the drama tremendously, - Not bad, huh?
1423
01:39:20,695 --> 01:39:23,186
Particularly when it depicts an event that youre not shown.
1424
01:39:27,569 --> 01:39:31,096
Just watch this one.
1425
01:39:31,205 --> 01:39:35,608
In Scarface, Howard Hawks demonstrated that sound and visual effects...
1426
01:39:35,710 --> 01:39:39,407
can blend into a deadly metaphor.
1427
01:39:46,220 --> 01:39:48,381
Sound can tell the whole story,
1428
01:39:48,489 --> 01:39:51,947
as Wild Bill Wellman proved repeatedly.
1429
01:39:54,495 --> 01:39:57,953
Apoet of stark images and brutal understatements,
1430
01:39:58,066 --> 01:40:01,934
he loved to jolt, deceive and even frustrate his audience...
1431
01:40:02,036 --> 01:40:04,561
by depriving them of a spectacular scene.
1432
01:40:19,120 --> 01:40:21,145
Here, in The Public Enemy,
1433
01:40:24,158 --> 01:40:28,891
he dared to stage the film's climax and the hero's comeuppance offscreen.
1434
01:40:33,735 --> 01:40:36,533
Three-strip Technicolor.
1435
01:40:36,638 --> 01:40:39,368
In the mid-'30s this dramatically improved process...
1436
01:40:39,474 --> 01:40:41,999
was a wonderful gift bestowed on the illusionists.
1437
01:40:42,110 --> 01:40:46,206
- How's that for an entrance? - Perfect.
1438
01:40:46,314 --> 01:40:48,248
What's happened to you?
1439
01:40:48,349 --> 01:40:50,374
Youre deliberating whipping yourself into a fiit of hysterics.
1440
01:40:50,485 --> 01:40:52,510
Oh, no, I mustnt do that.
1441
01:40:52,620 --> 01:40:54,952
It might disturb Mother and Ruth or wake up Danny.
1442
01:40:55,056 --> 01:40:57,217
In the old two-strip Technicolor, the one DeMille used...
1443
01:40:57,325 --> 01:40:59,259
in the silent Ten Commandments,
1444
01:40:59,360 --> 01:41:02,454
the color blue couldnt be reproduced.
1445
01:41:02,563 --> 01:41:06,590
But now the three-strip process covered the entire spectrum.
1446
01:41:06,701 --> 01:41:10,660
Extra-wide cameras could expose three negatives simultaneously,
1447
01:41:10,772 --> 01:41:13,502
each recording one of the primary colors.
1448
01:41:18,146 --> 01:41:23,140
This is Gene Tierney, an angel face with the darkest of hearts.
1449
01:41:25,186 --> 01:41:29,953
Leave Her To Heaven was a fascinating hybrid, a film noir in color,
1450
01:41:30,058 --> 01:41:32,424
with the neurotically possessive woman...
1451
01:41:32,527 --> 01:41:35,985
destroying anybody who might come between her and her husband,
1452
01:41:36,097 --> 01:41:38,327
even the unwanted child she's carrying.
1453
01:41:45,807 --> 01:41:47,934
We wouldnt be separated for long.
1454
01:41:48,042 --> 01:41:51,102
- Just a few weeks. - No, I d... ld rather wait.
1455
01:41:51,212 --> 01:41:56,377
Her husband's younger brother, a paraplegic boy, was in her way too.
1456
01:41:59,387 --> 01:42:04,086
Now you have to remember that color was rarely used for contemporary drama then.
1457
01:42:04,192 --> 01:42:07,423
- Think you can make it, Danny? - Aw, it's a cinch.
1458
01:42:07,528 --> 01:42:10,156
It was more associated with period pieces and musicals.
1459
01:42:10,264 --> 01:42:14,997
John Stahl's direction and Leon Shamroy's cinematography...
1460
01:42:15,103 --> 01:42:17,867
conjured up an unsettling superrealist vision.
1461
01:42:17,972 --> 01:42:20,998
Dont worry about your direction. I'll keep you on your course.
1462
01:42:21,109 --> 01:42:23,202
- Okay! - This was a lost paradise.
1463
01:42:23,311 --> 01:42:26,838
Its beauty ravished by the heroine's perversity.
1464
01:42:26,948 --> 01:42:29,280
I... I think I'm gettin' tired.
1465
01:42:29,383 --> 01:42:34,548
Take it easy. You dont want to give up when youve come so far.
1466
01:42:34,655 --> 01:42:39,115
Okay. I'll get my second wind in a minute.
1467
01:42:39,227 --> 01:42:43,527
Oh!
1468
01:42:43,631 --> 01:42:46,122
The wa... water's cold.
1469
01:42:46,234 --> 01:42:48,668
Colder than I thought.
1470
01:42:48,770 --> 01:42:52,262
Oh! I ate too much lunch.
1471
01:42:52,373 --> 01:42:54,967
I got a stomachache. Ellen!
1472
01:42:55,076 --> 01:42:58,512
It's... It's a cramp.
1473
01:42:58,613 --> 01:43:00,911
Ellen! It's... It's a cramp!
1474
01:43:07,088 --> 01:43:09,386
Ellen, it's... Ellen, it's...
1475
01:43:10,925 --> 01:43:13,257
Help me!
1476
01:43:33,848 --> 01:43:36,282
Danny!
1477
01:43:36,384 --> 01:43:38,511
Danny!
1478
01:43:41,856 --> 01:43:43,790
Danny!
1479
01:43:43,891 --> 01:43:48,794
Rather than encourage realism, the Technicolor palette went even further...
1480
01:43:48,896 --> 01:43:51,922
and added flamboyance to the melodrama.
1481
01:43:55,903 --> 01:43:59,566
The illusionist always knew that color itself...
1482
01:43:59,674 --> 01:44:01,869
can actually play a dramatic role.
1483
01:44:01,976 --> 01:44:04,501
This is what Nicholas Ray attempted in Johnny Guitar.
1484
01:44:07,148 --> 01:44:11,050
- Joan Crawford was Vienna, - Are you satisfiied theyre not here?
1485
01:44:11,152 --> 01:44:13,382
- No! - the outsider,
1486
01:44:13,487 --> 01:44:15,512
persecuted by the so-called respectable citizens...
1487
01:44:15,623 --> 01:44:18,023
because of her ties to a band of renegades.
1488
01:44:18,125 --> 01:44:20,025
In this truly offbeat western,
1489
01:44:20,127 --> 01:44:23,563
Nicholas Ray reversed the genre's traditional iconography.
1490
01:44:23,664 --> 01:44:27,293
Black was the color of Mercedes McCambridge and the vigilantes,
1491
01:44:27,401 --> 01:44:31,701
while the outcasts were endowed with rich colors or even pure white.
1492
01:44:31,806 --> 01:44:33,706
We came for the kid and his bunch.
1493
01:44:33,808 --> 01:44:36,606
I'm sitting here in my own house, minding my own business,
1494
01:44:36,711 --> 01:44:39,236
playing my own piano.
1495
01:44:39,347 --> 01:44:41,838
I dont think you can make a crime out of that.
1496
01:44:50,458 --> 01:44:54,053
Youre only a boy! We dont want to hurt you!
1497
01:44:54,161 --> 01:44:58,325
Just tell us she was one of ya, Turkey, and you'll go free!
1498
01:44:58,432 --> 01:45:03,870
Come on, Turkey. Tell us. I'll give ya my word ya wont hang.
1499
01:45:03,971 --> 01:45:09,500
What should I do? I dont wanna die! What do I do?
1500
01:45:11,145 --> 01:45:13,045
Save yourself.
1501
01:45:14,882 --> 01:45:16,782
Well, was she?
1502
01:45:20,154 --> 01:45:22,850
You can mirror emotions with color.
1503
01:45:25,326 --> 01:45:30,093
Vienna's gambling house was designed and adorned like the set of a baroque opera.
1504
01:45:30,197 --> 01:45:33,462
Colors were deliberately distorted or thrown off balance.
1505
01:45:33,567 --> 01:45:38,061
Blue was toned down in favor of deep, saturated colors.
1506
01:45:38,172 --> 01:45:42,905
When an insane jealousy compels McCambridge to destroy Joan Crawford's palace,
1507
01:45:43,010 --> 01:45:46,912
the palette alone suggests a fury from hell.
1508
01:45:48,783 --> 01:45:52,947
Now, the size of the screen itself needed to grow. It couldnt be contained.
1509
01:45:53,054 --> 01:45:56,990
In the mid-'50s it spilled over its boundaries into something much grander.
1510
01:45:57,091 --> 01:45:59,389
And I still remember one of the great experiences I had...
1511
01:45:59,493 --> 01:46:02,394
in, in fiilm-going back in 1953.
1512
01:46:02,496 --> 01:46:05,488
I was ten or eleven years old when I went to the Roxy Theater,
1513
01:46:05,599 --> 01:46:09,797
and the curtain began to open and continued to open and open...
1514
01:46:09,904 --> 01:46:12,031
on the biggest screen Id ever seen.
1515
01:46:12,139 --> 01:46:14,198
It was the fiilm The Robe.
1516
01:46:14,308 --> 01:46:17,106
It was the first CinemaScope picture, shot in 1953.
1517
01:46:22,683 --> 01:46:25,174
Rome, master of the earth.
1518
01:46:25,286 --> 01:46:29,416
Originally, the new aspect ratio was a commercial gimmick...
1519
01:46:29,523 --> 01:46:32,686
designed to give the film industry an edge over its rival, television.
1520
01:46:32,793 --> 01:46:35,193
From the foggy coasts of the northern sea...
1521
01:46:35,296 --> 01:46:38,163
Yet many filmmakers resisted the innovation.
1522
01:46:38,265 --> 01:46:41,496
It's only good for funerals and snakes, pronounced Fritz Lang.
1523
01:46:46,007 --> 01:46:49,135
It was a new canvas, and directors were put to the test...
1524
01:46:49,243 --> 01:46:51,234
as they learned to master the new proportions.
1525
01:46:56,550 --> 01:47:00,042
At first, Elia Kazan disliked them.
1526
01:47:00,154 --> 01:47:04,614
But East Of Eden showed that CinemaScope could suit an intimate family drama...
1527
01:47:04,725 --> 01:47:06,920
as well as vast frescoes.
1528
01:47:07,028 --> 01:47:10,429
You were not limited to landscapes or processions,
1529
01:47:10,531 --> 01:47:13,500
horizontal lines or diagonal movements.
1530
01:47:14,902 --> 01:47:18,668
Watch how Kazan plays with the configuration of his set,
1531
01:47:18,773 --> 01:47:23,301
whenJames Dean dares to enter his long-lost mother's bordello for the first time.
1532
01:47:27,448 --> 01:47:30,281
Will ya let me talk to ya?
1533
01:47:30,384 --> 01:47:34,844
Please. I gotta talk to ya.
1534
01:47:40,061 --> 01:47:42,325
Joe! Joe!
1535
01:47:42,430 --> 01:47:47,026
Get out of here. Joe! Tex!
1536
01:47:47,134 --> 01:47:52,367
Actually, Kazan combined the old and the new proportions in his composition,
1537
01:47:52,473 --> 01:47:57,433
introducing narrower frames, such as doorways and corridors...
1538
01:47:57,545 --> 01:48:01,379
within the wide format itself.
1539
01:48:01,482 --> 01:48:04,007
I wanna talk to ya! I wanna talk to ya!
1540
01:48:04,118 --> 01:48:07,019
I wanna talk to ya!
1541
01:48:07,121 --> 01:48:11,285
Talk to me! Talk to me! Please! Mother!
1542
01:48:13,227 --> 01:48:15,718
Few were as skilled as Vincente Minnelli...
1543
01:48:15,830 --> 01:48:18,196
in using CinemaScope for dramatic effect.
1544
01:48:18,299 --> 01:48:22,235
Here in the tragic finale of Some Came Running,
1545
01:48:22,336 --> 01:48:24,600
the actors seem to blend into their surroundings.
1546
01:48:24,705 --> 01:48:27,469
They have a lot of souvenirs and a lot of free prizes for ya.
1547
01:48:27,575 --> 01:48:31,136
I got one of them, uh, them grammar books from the library.
1548
01:48:31,245 --> 01:48:34,237
I got it from that teacher who...
1549
01:48:34,348 --> 01:48:38,876
whom... whom is the objective...
1550
01:48:38,986 --> 01:48:40,954
- Whom says so? - Hmm?
1551
01:48:41,055 --> 01:48:43,489
The suspense actually derives from their integration...
1552
01:48:43,591 --> 01:48:45,525
into the environment.
1553
01:48:45,626 --> 01:48:49,357
You dont know if and when the killer and his unsuspecting prey...
1554
01:48:49,463 --> 01:48:52,557
will come together in the same space.
1555
01:48:52,666 --> 01:48:56,568
CinemaScope allows Minnelli to deploy a more complex,
1556
01:48:56,670 --> 01:48:59,468
and therefore more threatening image.
1557
01:48:59,573 --> 01:49:02,133
The more open the frame, the greater the impression of depth...
1558
01:49:02,243 --> 01:49:05,212
and the more striking the illusion of reality.
1559
01:49:05,312 --> 01:49:09,612
Were presented with a vibrant, chaotic canvas...
1560
01:49:09,717 --> 01:49:12,709
and it's up to us to explore and interpret it.
1561
01:49:29,436 --> 01:49:32,564
The impact of the wide screen was particularly signifiicant...
1562
01:49:32,673 --> 01:49:36,769
on such genres as the western and the epic.
1563
01:49:38,812 --> 01:49:41,542
When he started Land OfThe Pharaohs,
1564
01:49:41,649 --> 01:49:44,049
Howard Hawks was nervous about the new format.
1565
01:49:44,151 --> 01:49:48,087
He complained, It's good only for showing great masses and movement.
1566
01:49:48,189 --> 01:49:52,853
It's hard to focus attention, and it's very diffiicult to edit.
1567
01:49:52,960 --> 01:49:55,485
However, his approach proved masterful.
1568
01:49:55,596 --> 01:49:58,064
Three million of such stones would be needed...
1569
01:49:58,165 --> 01:50:00,725
before the work was done.
1570
01:50:00,834 --> 01:50:05,203
Three million stones of an average weight of 5,000 pounds.
1571
01:50:05,306 --> 01:50:10,608
Every stone cut precisely to fit into its destined place...
1572
01:50:10,711 --> 01:50:12,611
in the great pyramid.
1573
01:50:14,548 --> 01:50:17,142
It was the composition of the shots that helped us appreciate...
1574
01:50:17,251 --> 01:50:19,151
the human efforts and technical feats...
1575
01:50:19,253 --> 01:50:21,847
that the filmmakers attributed to the pyramid builders.
1576
01:50:21,956 --> 01:50:24,447
What is that stone, Father?
1577
01:50:24,558 --> 01:50:27,049
That's the sarcophagus of the Pharaoh,
1578
01:50:27,161 --> 01:50:29,152
the stone that will hold his body after death.
1579
01:50:29,263 --> 01:50:31,527
Where does it go to?
1580
01:50:31,632 --> 01:50:35,329
Into a great chamber in the pyramid, but where that is, you must not know.
1581
01:50:41,041 --> 01:50:45,705
This was like a documentary made on location 2,800 years B.C.
1582
01:50:45,813 --> 01:50:48,805
The wide screen gave the sense we were really there.
1583
01:50:50,217 --> 01:50:52,549
This is the way people lived and worked.
1584
01:50:52,653 --> 01:50:55,986
This is what they believed, endured and achieved.
1585
01:50:57,291 --> 01:51:00,226
I just shot it the way you see a thing.
1586
01:51:00,327 --> 01:51:02,727
I shoot straightforward, too.
1587
01:51:02,830 --> 01:51:07,199
I dont use any camera tricks or anything.
1588
01:51:07,301 --> 01:51:12,204
Camera usually is at eye height.
1589
01:51:12,306 --> 01:51:14,831
And the audience sees just what we see.
1590
01:51:22,583 --> 01:51:27,885
Today, a film like The Fall OfThe Roman Empire...
1591
01:51:27,988 --> 01:51:30,889
has the poignant beauty of a lost art,
1592
01:51:32,626 --> 01:51:35,857
for this was the autumn of the great American epics.
1593
01:51:35,963 --> 01:51:37,988
They simply became too expensive to make.
1594
01:51:41,435 --> 01:51:45,701
Like Howard Hawks, Anthony Mann had been a master of the western.
1595
01:51:45,806 --> 01:51:49,037
The Fall OfThe Roman Empire offered a multilayered drama...
1596
01:51:49,143 --> 01:51:53,136
which was as intense as any of the director's westerns.
1597
01:51:53,247 --> 01:51:57,775
His sense of space and dramatic composition has never been more evident.
1598
01:52:00,354 --> 01:52:05,348
Throughout the film, you could hear the gods laugh in the background,
1599
01:52:05,459 --> 01:52:09,156
a cruel laugh that spelled the doom of all the protagonists...
1600
01:52:09,263 --> 01:52:11,163
and of the Roman Empire.
1601
01:52:17,304 --> 01:52:22,332
So, is the grand old tradition started by Cabiria and Intolerance obsolete?
1602
01:52:22,443 --> 01:52:25,435
Well, it would seem so. I mean, today there's no need to drag...
1603
01:52:25,546 --> 01:52:27,844
Hannibal's elephants up the Alps anymore.
1604
01:52:27,948 --> 01:52:30,439
They... They can be generated by the computer.
1605
01:52:30,551 --> 01:52:33,611
So is this the end of epic cinema or the dawn of a new art form?
1606
01:52:33,721 --> 01:52:37,953
Nobody can afford to buy 3,000 or 4,000 extras.
1607
01:52:38,058 --> 01:52:40,583
It's just not economically feasible anymore,
1608
01:52:40,694 --> 01:52:43,925
cause you have to costume them, you have to transport them,
1609
01:52:44,031 --> 01:52:45,931
you have to feed them.
1610
01:52:46,033 --> 01:52:48,866
Uh, and it... You move very slowly...
1611
01:52:48,969 --> 01:52:52,268
when youre trying to direct a large group of people like that.
1612
01:52:52,373 --> 01:52:56,537
So doing that today is, is next to impossible.
1613
01:52:56,643 --> 01:53:00,135
But doing it digitally, which is, you get a small group of people,
1614
01:53:00,247 --> 01:53:03,774
say, 100 people, and you replicate them, you move them around.
1615
01:53:03,884 --> 01:53:06,785
You can have exactly the same effect for a tenth of the cost.
1616
01:53:10,724 --> 01:53:15,457
Weve changed the medium in a way that is profound.
1617
01:53:16,830 --> 01:53:19,128
It is no longer a photographic medium.
1618
01:53:19,233 --> 01:53:22,259
It's now a painterly medium, and it's very fluid,
1619
01:53:22,369 --> 01:53:24,769
so that things that are in the frame you can take out,
1620
01:53:24,872 --> 01:53:27,067
move, put them over here.
1621
01:53:27,174 --> 01:53:29,802
And so, it's almost like going from two dimension to three dimension...
1622
01:53:29,910 --> 01:53:32,902
in the dynamic that's been created at this point.
1623
01:53:36,216 --> 01:53:41,313
There is a misconception that we are surrendering something of art...
1624
01:53:41,422 --> 01:53:43,413
to a technology that will do it for us.
1625
01:53:43,524 --> 01:53:45,788
That... That is never the case.
1626
01:53:45,893 --> 01:53:48,191
But cinema itself is technology.
1627
01:53:48,295 --> 01:53:52,288
And to say that, oh, well, it cant be an art...
1628
01:53:52,399 --> 01:53:55,891
because it's a mechanical device rushing celluloid through it...
1629
01:53:56,003 --> 01:53:59,097
is as naive as to say, well, you cant create...
1630
01:53:59,206 --> 01:54:01,868
because now it's a computer rushing numbers through it.
1631
01:54:01,975 --> 01:54:05,274
The technology is always an element of creativity.
1632
01:54:05,379 --> 01:54:08,075
But it never is the source of the creativity.
1633
01:54:08,182 --> 01:54:13,085
And, so, my attitude is to embrace technology as it comes...
1634
01:54:19,426 --> 01:54:22,293
In any kind of art form youre creating an illusion...
1635
01:54:22,396 --> 01:54:26,628
for the audience to look at reality through your special eye.
1636
01:54:26,733 --> 01:54:28,667
The camera lies all the time.
1637
01:54:28,769 --> 01:54:32,170
It lies 24 times a second.
1638
01:54:46,019 --> 01:54:49,147
In other words, were all the children of D. W. Griffiith...
1639
01:54:49,256 --> 01:54:51,281
and Stanley Kubrick.
1640
01:54:55,028 --> 01:54:59,089
Take 2001, the first film to link the camera and the computer...
1641
01:54:59,199 --> 01:55:04,296
in the creation of special effects for the spaceship's journey into the unknown.
1642
01:55:05,639 --> 01:55:07,732
This was a breakthrough in technical wizardry.
1643
01:55:09,676 --> 01:55:12,873
Every frame of 2001 made you aware...
1644
01:55:12,980 --> 01:55:17,178
that the possibilities for cinematic manipulations are indeed infinite.
1645
01:55:19,119 --> 01:55:24,455
Like Griffiith's Intolerance, like Murnau's Sunrise,
1646
01:55:24,558 --> 01:55:26,719
it was at once a super-production,
1647
01:55:26,827 --> 01:55:30,820
an experimental film and a visionary poem.
1648
01:57:09,596 --> 01:57:11,894
Whether the illusion is created through high-tech...
1649
01:57:11,999 --> 01:57:14,866
or low-tech wizardry doesnt really matter.
1650
01:57:14,968 --> 01:57:20,099
The magic will only be effective if it is carried by a strong vision.
1651
01:57:22,275 --> 01:57:24,368
And it can be achieved in so many ways.
1652
01:57:24,478 --> 01:57:28,175
Fifty years ago when he was assigned to a small B film called Cat People,
1653
01:57:28,281 --> 01:57:31,614
directorJacques Tourneur had practically no budget...
1654
01:57:31,718 --> 01:57:35,620
and, of course, none of today's new technologies.
1655
01:57:35,722 --> 01:57:40,056
But he knew that the dark had a life of its own.
1656
01:57:40,160 --> 01:57:42,788
He decided not to show the creature threatening his protagonist.
1657
01:57:45,399 --> 01:57:50,393
Hed only suggest a presence.
1658
01:57:55,075 --> 01:57:59,205
And to do that, he simply conjured up an ominous shadow play.
1659
01:58:19,099 --> 01:58:20,999
Help!
1660
01:58:23,603 --> 01:58:26,197
Help!
1661
01:58:26,306 --> 01:58:29,173
Help!
1662
01:58:29,276 --> 01:58:32,006
It was a sleight of hand that an early film magician...
1663
01:58:32,112 --> 01:58:34,080
could have performed at the turn of the century.
1664
01:58:34,181 --> 01:58:36,081
What is the matter, Alice?
1665
01:58:48,061 --> 01:58:49,961
Sorry to have disturbed you, Alice.
1666
01:58:50,063 --> 01:58:53,328
I missed you and Oliver, and I thought you might know where he is.
1667
01:58:53,433 --> 01:58:57,836
We waited for you at the muzeum. You'll probably fiind him at home.
1668
01:58:57,938 --> 01:59:00,771
If you dont mind then, I'll run on.
1669
01:59:00,874 --> 01:59:02,774
Could I have my robe, please?
1670
01:59:02,876 --> 01:59:04,707
Sure.
1671
01:59:06,346 --> 01:59:09,008
Gee whiz, honey, it's torn to ribbons.
1672
01:59:09,116 --> 01:59:13,348
Now, we talked about the rules, about the narrative codes, about the technical tools,
1673
01:59:13,453 --> 01:59:16,786
and weve seen how Hollywood filmmakers adjusted to these limitations.
1674
01:59:18,191 --> 01:59:20,091
They even played with them.
1675
01:59:20,193 --> 01:59:24,061
Now's the time to look at the cracks in the system.
1676
01:59:24,164 --> 01:59:27,656
And what slipped through these cracks has always fascinated me.
1677
01:59:27,768 --> 01:59:29,668
I mean, there were opportunities, there were projects...
1678
01:59:29,770 --> 01:59:32,603
that allowed for the expression of different sensibilities,
1679
01:59:32,706 --> 01:59:35,300
offbeat themes or even radical political views,
1680
01:59:35,408 --> 01:59:38,900
particularly when the fiinancial stakes were minimal.
1681
01:59:39,012 --> 01:59:42,607
Less money, more freedom. I mean, the world of B fiilms was...
1682
01:59:42,716 --> 01:59:46,083
often freer and more conducive to experimenting and innovating.
1683
01:59:46,186 --> 01:59:50,247
The '40s directors found that they could exercise more control on a small-budget movie...
1684
01:59:50,357 --> 01:59:52,257
than on a prestigious A picture.
1685
01:59:52,359 --> 01:59:54,657
Also, theyd have less executives looking over their shoulder.
1686
01:59:54,761 --> 01:59:57,730
They could introduce unusual touches, weave unexpected motifs...
1687
01:59:57,831 --> 02:00:02,359
and even transform routine material into a much more personal expression.
1688
02:00:02,469 --> 02:00:05,768
So in a sense, they became, um, they became smugglers.
1689
02:00:05,872 --> 02:00:08,432
They cheated and somehow got away with it.
1690
02:00:10,944 --> 02:00:12,844
Style was crucial.
1691
02:00:12,946 --> 02:00:16,313
The first master of esoterica was Jacques Tourneur,
1692
02:00:16,416 --> 02:00:20,580
who began making his mark in low-budget, supernatural thrillers.
1693
02:00:20,687 --> 02:00:24,418
On Cat People he had a good reason not to show the creature.
1694
02:00:24,524 --> 02:00:27,584
He said, The less you see, the more you believe.
1695
02:00:27,694 --> 02:00:30,891
You must never try to impose your views on the viewer.
1696
02:00:30,997 --> 02:00:34,433
But rather, you must try to let it seep in little by little.
1697
02:00:36,136 --> 02:00:41,938
This oblique approach perfectly defines the smuggler's strategy.
1698
02:00:51,585 --> 02:00:54,884
Climb on, sister. Are you ridin with me or aint ya?
1699
02:00:57,457 --> 02:00:59,982
You look as if youd seen a ghost.
1700
02:01:00,093 --> 02:01:01,993
Did you see it?
1701
02:01:09,369 --> 02:01:13,271
The son of pioneer Maurice Tourneur, Jacques Tourneur had the good fortune to find...
1702
02:01:13,373 --> 02:01:16,171
an extraordinary oasis of creative subversion...
1703
02:01:16,276 --> 02:01:19,837
in producer Val Lewton's unit at RKO.
1704
02:01:19,946 --> 02:01:23,575
Lewton, a former story editor for Selznick, was once described...
1705
02:01:23,683 --> 02:01:26,379
as a benevolent David Selznick.
1706
02:01:26,486 --> 02:01:29,717
Lewton worked extensively on all of the scripts that he produced.
1707
02:01:29,823 --> 02:01:33,281
But he never set foot on the set and left the director to his own devices.
1708
02:01:33,393 --> 02:01:36,590
Look at that woman. Isnt she something?
1709
02:01:36,696 --> 02:01:39,324
A B film like Cat People only cost $ 134,000.
1710
02:01:39,432 --> 02:01:41,832
Looks like a cat.
1711
02:01:41,935 --> 02:01:44,267
But it touched a chord in America...
1712
02:01:44,371 --> 02:01:48,273
by exploring a young bride's fear of her own sexuality.
1713
02:01:48,375 --> 02:01:51,538
Moia cectra?
1714
02:01:56,049 --> 02:01:57,949
Moia cectra?
1715
02:02:02,289 --> 02:02:04,883
Now wait a minute. It cant be that serious.
1716
02:02:04,991 --> 02:02:08,927
- Just one single word. - She greeted me.
1717
02:02:09,029 --> 02:02:11,896
She called me sister.
1718
02:02:11,998 --> 02:02:16,025
When her deepest feelings for her husband are aroused,
1719
02:02:16,136 --> 02:02:20,368
the heroine is overwhelmed by shame and guilt.
1720
02:02:23,576 --> 02:02:26,739
She seems to be consumed by a malevolent spirit.
1721
02:02:31,284 --> 02:02:34,276
Or if you will, by her inner demons.
1722
02:02:35,455 --> 02:02:38,424
You were saying, The cats...
1723
02:02:38,525 --> 02:02:41,187
They torment me.
1724
02:02:41,294 --> 02:02:43,558
I awake in the night,
1725
02:02:43,663 --> 02:02:48,464
and the tread of their feet whispers in my brain.
1726
02:02:48,568 --> 02:02:51,128
I have no peace,
1727
02:02:51,237 --> 02:02:53,535
for they are in me.
1728
02:02:53,640 --> 02:02:56,973
Tourneur's films undermined a key principle of classical fiiction:
1729
02:02:57,077 --> 02:03:00,774
In me? In me?
1730
02:03:00,880 --> 02:03:04,782
The notion that people are in control of themselves.
1731
02:03:04,884 --> 02:03:09,014
Tourneur's characters were moved by forces they didnt even understand.
1732
02:03:09,122 --> 02:03:12,319
Their curse was not fate in the Greek sense.
1733
02:03:12,425 --> 02:03:14,325
It was not an external force.
1734
02:03:14,427 --> 02:03:17,590
It dwelled within their own psyche.
1735
02:03:17,697 --> 02:03:22,066
So in its own way, Cat People was as important as Citizen Kane...
1736
02:03:22,168 --> 02:03:25,763
in the development of a more mature American cinema.
1737
02:03:30,510 --> 02:03:33,570
In Tourneur's second film with producer Val Lewton,
1738
02:03:33,680 --> 02:03:35,739
I Walked With A Zombie,
1739
02:03:35,849 --> 02:03:40,343
the heroine is a nurse assigned to a catatonic woman in the West Indies.
1740
02:03:40,453 --> 02:03:42,819
She's drawn into a parallel world...
1741
02:03:42,922 --> 02:03:47,256
when she seeks the help of sorcerers to cure her patient.
1742
02:03:50,096 --> 02:03:52,929
Jacques Tourneur was a modest craftsman.
1743
02:03:53,033 --> 02:03:56,628
He compared his work to that of a carpenter who simply carves a chair or table...
1744
02:03:56,736 --> 02:03:59,569
that he's been hired to build.
1745
02:03:59,672 --> 02:04:02,334
But years later, at the end of his career,
1746
02:04:02,442 --> 02:04:07,709
Tourneur confessed that he had always been passionately interested in the supernatural.
1747
02:04:07,814 --> 02:04:11,750
A bit of a psychic himself, he made films about the supernatural...
1748
02:04:11,851 --> 02:04:14,251
because he believed in it...
1749
02:04:14,354 --> 02:04:17,414
and had even experienced it firsthand.
1750
02:04:20,160 --> 02:04:22,219
How did he smuggle this contraband?
1751
02:04:22,328 --> 02:04:24,990
Tourneur relied on the imagination of the audience.
1752
02:04:25,098 --> 02:04:28,295
He said, When spectators are sitting in a darkened theater...
1753
02:04:28,401 --> 02:04:32,861
and recognize their own insecurity and that of the protagonist on the screen,
1754
02:04:32,972 --> 02:04:35,566
then they will accept the most unbelievable situations...
1755
02:04:35,675 --> 02:04:39,372
and follow the director wherever he wants to take them.
1756
02:04:48,488 --> 02:04:51,924
Tourneur's twilight zone was a labyrinth.
1757
02:04:52,025 --> 02:04:54,289
His were perilous journeys into the unknown...
1758
02:04:54,394 --> 02:04:57,227
and sometimes the occult.
1759
02:04:57,330 --> 02:05:02,233
Reality remained opaque and rarely were people what they appeared to be.
1760
02:05:02,335 --> 02:05:05,600
They stood at the frontier of a hidden world,
1761
02:05:05,705 --> 02:05:09,664
a shimmering canvas of distant murmurs and deep shadows.
1762
02:05:14,781 --> 02:05:17,409
- She doesnt bleed. - Zombie.
1763
02:05:17,517 --> 02:05:22,250
Common to all of Tourneur's films was a muted disenchantment,
1764
02:05:22,355 --> 02:05:24,255
a strange melancholy,
1765
02:05:24,357 --> 02:05:27,155
the eerie feeling of having embarked on an adventure...
1766
02:05:27,260 --> 02:05:29,160
from which there was no return.
1767
02:05:29,262 --> 02:05:32,698
It seemed only a few days before I met Mr. Holland in Antigua.
1768
02:05:32,799 --> 02:05:34,699
We boarded the boat for St. Sebastian.
1769
02:05:34,801 --> 02:05:37,770
It was all just as I had imagined it.
1770
02:05:37,871 --> 02:05:42,672
I looked at those great, glowing stars. I felt the warm wind on my cheek.
1771
02:05:42,775 --> 02:05:47,872
I breathed deep, and every bit of me inside myself said,
1772
02:05:47,981 --> 02:05:51,382
- How beautiful. - It's not beautiful.
1773
02:05:51,484 --> 02:05:55,682
You read my thoughts, Mr. Holland.
1774
02:05:55,788 --> 02:05:58,256
It's easy enough to read the thoughts of a newcomer.
1775
02:05:58,358 --> 02:06:01,486
Everything seems beautiful because you dont understand.
1776
02:06:01,594 --> 02:06:04,427
Those flying fiish, theyre not leaping for joy.
1777
02:06:04,531 --> 02:06:09,059
Theyre jumping in terror. Bigger fiish want to eat them.
1778
02:06:09,169 --> 02:06:14,334
That luminous water, it takes its gleam from millions of tiny dead bodies,
1779
02:06:14,440 --> 02:06:18,308
the glitter of putrescence.
1780
02:06:18,411 --> 02:06:22,575
There's no beauty here, only death and decay.
1781
02:06:22,682 --> 02:06:26,778
You cant really believe that.
1782
02:06:26,886 --> 02:06:30,754
Everything good dies here, even the stars.
1783
02:06:33,526 --> 02:06:36,893
After Tourneur opened Pandora's box, things were never the same.
1784
02:06:36,996 --> 02:06:40,193
It may have gone unnoticed at fiirst, but a strange darkness crept into American fiilms,
1785
02:06:40,300 --> 02:06:43,701
a feeling of insecurity, disorientation and foreboding,
1786
02:06:43,803 --> 02:06:46,931
as though the ground could suddenly give way under your feet.
1787
02:06:47,040 --> 02:06:49,133
When my father was alive, we traveled a lot.
1788
02:06:49,242 --> 02:06:52,700
We went nearly everywhere. We had wonderful times.
1789
02:06:52,812 --> 02:06:54,712
I didnt know you traveled so much.
1790
02:06:54,814 --> 02:06:57,840
- Oh, yes. - Perhaps weve been to some of the same places.
1791
02:06:57,951 --> 02:07:00,215
No, I dont think so.
1792
02:07:00,320 --> 02:07:04,950
- Were in Venice. - Yes, weve arrived. Now, where would you like to go next?
1793
02:07:05,058 --> 02:07:07,049
- France? England? Russia? - Switzerland.
1794
02:07:07,160 --> 02:07:11,494
Switzerland. Excuse me one moment while I talk with the engineer.
1795
02:07:11,598 --> 02:07:14,863
Again, appearances were as deceptive as they were beautiful...
1796
02:07:14,968 --> 02:07:16,868
in Max Ophuls's elegies.
1797
02:07:16,970 --> 02:07:19,495
- You and the lady, are you enjoying the trip? - Very much.
1798
02:07:19,606 --> 02:07:22,837
- Weve decided on Switzerland. - The romantic decor was a trap.
1799
02:07:22,942 --> 02:07:26,241
- There you are. Thank you. - Oh, thank you!
1800
02:07:26,346 --> 02:07:28,109
Switzerland!
1801
02:07:28,214 --> 02:07:30,546
Switzerland!
1802
02:07:30,650 --> 02:07:33,118
This was a carnival of illusions,
1803
02:07:33,219 --> 02:07:36,848
an imaginary journey for an imaginary romance.
1804
02:07:36,956 --> 02:07:39,550
Ophuls was an angel in exile in Hollywood.
1805
02:07:39,659 --> 02:07:42,127
The Viennese maestro suffered years of unemployment...
1806
02:07:42,228 --> 02:07:44,992
until producerJohn Houseman gave him a chance...
1807
02:07:45,098 --> 02:07:49,000
to adapt Stefan Zweig's novella, Letter From An Unknown Woman.
1808
02:07:51,204 --> 02:07:54,503
Now, you know far too much about me already, and I know almost nothing about you, huh?
1809
02:07:54,607 --> 02:07:57,940
- It was his valentine to Vienna, - Except that youve traveled a great deal.
1810
02:07:58,044 --> 02:08:01,241
And a farewell to the culture of his youth.
1811
02:08:01,347 --> 02:08:05,044
Ophuls's camera and his heroine moved in unison.
1812
02:08:05,151 --> 02:08:07,984
The fluid visual choreography allowed you to experience...
1813
02:08:08,087 --> 02:08:10,681
Joan Fontaine's every heartbeat.
1814
02:08:10,790 --> 02:08:12,849
- Stefan, the train is leaving. - Just a minute.
1815
02:08:12,959 --> 02:08:15,427
For a brief moment, happiness appeared within reach.
1816
02:08:15,528 --> 02:08:17,428
How long have you been standing here?
1817
02:08:17,530 --> 02:08:19,794
But Stefan will always remain unattainable.
1818
02:08:19,899 --> 02:08:23,528
I dont want to go. Do you believe that?
1819
02:08:23,636 --> 02:08:26,196
I'll be here when you get back.
1820
02:08:26,306 --> 02:08:30,743
Say Stefan the way you said it last night.
1821
02:08:30,843 --> 02:08:33,243
Stefan.
1822
02:08:33,346 --> 02:08:35,246
It's as though youve said it all your life.
1823
02:08:35,348 --> 02:08:38,579
- Better hurry, sir. - Yes! Good-bye.
1824
02:08:38,685 --> 02:08:42,587
- Stefan! - Yes! Good-bye.
1825
02:08:42,689 --> 02:08:46,455
Cold reality sets in at the train station.
1826
02:08:46,559 --> 02:08:48,584
Wont be long. I'll be back in, in two weeks.
1827
02:08:48,695 --> 02:08:51,289
The real one. Lisa will never travel with Stefan,
1828
02:08:51,397 --> 02:08:54,992
the frivolous pianist on whom she has projected her passions.
1829
02:08:55,101 --> 02:09:00,505
She's left behind, pregnant with a child conceived that magical night.
1830
02:09:03,076 --> 02:09:06,068
Ophuls was just one of the European expatriates...
1831
02:09:06,179 --> 02:09:08,374
most of them refuges from Fascism...
1832
02:09:08,481 --> 02:09:13,384
who were largely responsible for the exploration of these new darker territories.
1833
02:09:13,486 --> 02:09:16,614
The others were well-known directors such as Fritz Lang,
1834
02:09:16,723 --> 02:09:20,819
Alfred Hitchcock, Otto Preminger, Billy Wilder.
1835
02:09:20,927 --> 02:09:25,091
But also lesser known names such as Douglas Sirk, Robert Siodmak,
1836
02:09:25,198 --> 02:09:28,099
Edgar Ulmer, Andre De Toth.
1837
02:09:28,201 --> 02:09:31,568
To them, crime was a source of fascination.
1838
02:09:31,671 --> 02:09:34,231
It allowed them to probe the nature of evil.
1839
02:09:34,340 --> 02:09:36,900
Monstrosity was something banal, almost natural.
1840
02:09:37,009 --> 02:09:39,842
The criminal world cannot be conveniently isolated or circumscribed...
1841
02:09:39,946 --> 02:09:43,074
within the urban underworld as in the old gangster film.
1842
02:09:43,182 --> 02:09:46,674
Hello, Adele. I dropped over to the butcher shop like you told me to.
1843
02:09:46,786 --> 02:09:48,686
I got a nice piece of liver.
1844
02:09:48,788 --> 02:09:51,188
It was everywhere, lurking under the surface.
1845
02:09:51,290 --> 02:09:53,690
Every man was a potential criminal.
1846
02:09:53,793 --> 02:09:56,887
How long have you known Katherine March?
1847
02:09:56,996 --> 02:09:59,191
Answer me!
1848
02:10:02,368 --> 02:10:04,632
I don t know what you re talking about.
1849
02:10:04,737 --> 02:10:06,967
How long have you known her?
1850
02:10:07,073 --> 02:10:09,098
Dont get excited. Let me help you off with your coat.
1851
02:10:09,208 --> 02:10:11,108
Youre the one that's excited.
1852
02:10:11,210 --> 02:10:14,737
Get away with that knife. Do you want to cut my throat?
1853
02:10:14,847 --> 02:10:18,180
The common man falling in a trap...
1854
02:10:19,419 --> 02:10:21,319
Whyd you come here?
1855
02:10:21,421 --> 02:10:23,321
As he succumbs first to vice, then to murder.
1856
02:10:23,423 --> 02:10:25,323
- To ask you to marry me. - What about your wife?
1857
02:10:25,425 --> 02:10:27,325
I havent any wife. That's fiinished.
1858
02:10:27,427 --> 02:10:29,327
- For cat's sake... - Her husband turned up. I'm free.
1859
02:10:29,429 --> 02:10:32,262
This was Fritz Lang's favorite plot: reality turning into a nightmare.
1860
02:10:32,365 --> 02:10:34,265
I dont care what's happened.
1861
02:10:34,367 --> 02:10:36,267
L-I can marry you now.
1862
02:10:36,369 --> 02:10:38,269
L-I want you to be my wife.
1863
02:10:38,371 --> 02:10:40,271
We... We'll go away together.
1864
02:10:40,373 --> 02:10:43,274
Way far off so you can forget this other man.
1865
02:10:43,376 --> 02:10:46,675
Don t cry, Kitty. Please dont cry.
1866
02:10:46,779 --> 02:10:50,875
I'm not crying, you fool. I'm laughing.
1867
02:10:50,983 --> 02:10:52,678
Kitty.
1868
02:10:52,785 --> 02:10:56,016
Oh, you idiot. How can a man be so dumb?
1869
02:10:56,122 --> 02:10:58,022
Kitty.
1870
02:11:02,562 --> 02:11:05,827
Lve wanted to laugh in your face ever since I first met you.
1871
02:11:05,932 --> 02:11:08,992
Youre old and ugly, and I'm sick of you. Sick, sick, sick!
1872
02:11:09,101 --> 02:11:12,593
- Kitty, for heaven's sake. - You killJohnny? Id like to see you try.
1873
02:11:12,705 --> 02:11:15,731
Why, hed break every bone in your body. He's a man.
1874
02:11:15,842 --> 02:11:17,742
You wanna marry me? You?
1875
02:11:17,844 --> 02:11:20,244
Get out of here! Get out!
1876
02:11:20,346 --> 02:11:22,246
Get away from me! Chris! Chris!
1877
02:11:22,348 --> 02:11:24,179
Get away from me! Chris!
1878
02:11:24,283 --> 02:11:26,183
Chris!
1879
02:11:29,155 --> 02:11:31,385
Violence has become, in my opinion,
1880
02:11:31,491 --> 02:11:35,222
a defiinite, uh, point, in a script.
1881
02:11:35,328 --> 02:11:39,492
It has a dramaturgical reason to be there.
1882
02:11:39,599 --> 02:11:42,932
You see, I dont think that people believe in the devil...
1883
02:11:43,035 --> 02:11:46,163
with the horns and the forked tail.
1884
02:11:46,272 --> 02:11:49,867
And therefore, they dont believe in punishment after...
1885
02:11:51,477 --> 02:11:54,378
they are dead.
1886
02:11:54,480 --> 02:11:57,745
So, my question was for me,
1887
02:11:57,850 --> 02:11:59,750
what are people...
1888
02:11:59,852 --> 02:12:03,879
In what belief people... Or, what are people fearing is better.
1889
02:12:03,990 --> 02:12:05,890
And that is physical pain.
1890
02:12:05,992 --> 02:12:08,893
And physical pain comes from violence.
1891
02:12:08,995 --> 02:12:12,396
And that, I think, is today the only,
1892
02:12:12,498 --> 02:12:15,934
uh, uh, uh, fact which people really fear,
1893
02:12:16,035 --> 02:12:21,769
and therefore it has become a-a defiinite part of life...
1894
02:12:21,874 --> 02:12:24,707
and naturally also of scripts.
1895
02:12:27,713 --> 02:12:31,114
The phrase film noir was coined by the French in 1946...
1896
02:12:31,217 --> 02:12:34,618
when they discovered the Hollywood productions they had missed...
1897
02:12:34,720 --> 02:12:37,120
during the German occupation.
1898
02:12:37,223 --> 02:12:40,215
Did you ever want to cut away a piece of your memory...
1899
02:12:40,326 --> 02:12:42,226
or blot it out?
1900
02:12:42,328 --> 02:12:44,956
You cant, you know. No matter how hard you try.
1901
02:12:45,064 --> 02:12:48,465
You can change the scenery, but sooner or later...
1902
02:12:48,568 --> 02:12:50,468
you'll get a whiff of perfume...
1903
02:12:50,570 --> 02:12:52,470
or somebody will say a certain phrase or maybe hum something,
1904
02:12:52,572 --> 02:12:54,472
then youre licked again.
1905
02:12:57,176 --> 02:13:00,077
This was not a specifiic genre like the gangster film,
1906
02:13:00,179 --> 02:13:05,276
but a mood which was best described by this line from Ulmer's Detour.
1907
02:13:05,384 --> 02:13:07,784
- Mr. Haskell. - Whichever way you turn...
1908
02:13:07,887 --> 02:13:09,787
Mr. Haskell.
1909
02:13:09,889 --> 02:13:12,289
Fate sticks out its foot to trip you.
1910
02:13:12,391 --> 02:13:14,655
Mr. Haskell, wake up. It's raining.
1911
02:13:14,760 --> 02:13:17,422
Dont you think we oughta stop and put up the top?
1912
02:13:17,530 --> 02:13:19,623
In Detour, down-and-out pianist Tom Neal...
1913
02:13:19,732 --> 02:13:23,429
hitchhikes his way west to join his fiancƩe.
1914
02:13:23,536 --> 02:13:28,235
His life starts unraveling when the man who has given him a lift falls asleep.
1915
02:13:28,341 --> 02:13:31,105
Until then Id done things my way,
1916
02:13:31,210 --> 02:13:33,110
but from then on something else stepped in...
1917
02:13:33,212 --> 02:13:35,112
and shunted me off to a different destination...
1918
02:13:35,214 --> 02:13:37,114
than the one I had picked for myself.
1919
02:13:37,216 --> 02:13:39,480
But when I pulled open that door...
1920
02:13:43,389 --> 02:13:46,153
Mr. Haskell, what's the matter? Are you hurt?
1921
02:13:46,258 --> 02:13:48,658
Are you hurt, Mr. Haskell?
1922
02:13:48,761 --> 02:13:52,788
Doom was written on Tom Neal's face.
1923
02:13:52,898 --> 02:13:56,766
He was bewildered and afraid to go to the police.
1924
02:13:56,869 --> 02:14:00,396
Keeping the dead man's car and cash was definitely a mistake,
1925
02:14:00,506 --> 02:14:04,875
but an even bigger mistake was picking up a female hitchhiker.
1926
02:14:04,977 --> 02:14:07,810
A few hours more, and wed be in Hollywood.
1927
02:14:07,913 --> 02:14:10,643
Ld forget where I parked the car and look up Sue.
1928
02:14:10,750 --> 02:14:13,150
This nightmare of being a dead man would be over.
1929
02:14:13,252 --> 02:14:15,550
Where did you leave his body?
1930
02:14:15,655 --> 02:14:17,555
Where did you leave the owner of this car?
1931
02:14:17,657 --> 02:14:19,557
Youre not foolin' anyone.
1932
02:14:19,659 --> 02:14:22,890
This buggy belongs to a guy named Haskell. That's not you, mister.
1933
02:14:22,995 --> 02:14:25,964
It just so happens I rode with Charlie Haskell...
1934
02:14:26,065 --> 02:14:27,965
all the way from Louisiana.
1935
02:14:28,067 --> 02:14:29,967
He picked me up outside of Shreveport.
1936
02:14:31,871 --> 02:14:35,967
Detour was shot in six days for only $ 20,000.
1937
02:14:36,075 --> 02:14:38,475
Vera, open the door. Please, open the door.
1938
02:14:38,577 --> 02:14:40,875
If you dont open the door, I'm going to kick it down, Vera.
1939
02:14:40,980 --> 02:14:43,778
The director could only rely on his resourcefulness.
1940
02:14:43,883 --> 02:14:46,181
Vera, dont call the cops. Listen to me.
1941
02:14:46,285 --> 02:14:48,185
I'll break the phone.
1942
02:14:48,287 --> 02:14:50,619
In fact, his idiosyncratic style...
1943
02:14:50,723 --> 02:14:53,419
grew out of such drastic limitations.
1944
02:14:53,526 --> 02:14:56,723
This is why Ulmer has become such an inspiration over the years...
1945
02:14:56,829 --> 02:14:59,229
to low-budget filmmakers.
1946
02:15:03,469 --> 02:15:05,369
Vera.
1947
02:15:07,973 --> 02:15:09,873
Here we find Tom Neal...
1948
02:15:09,975 --> 02:15:12,637
after a second outrageous twist of fate.
1949
02:15:15,047 --> 02:15:17,538
The world is full of skeptics.
1950
02:15:17,650 --> 02:15:20,642
I know. I'm one myself.
1951
02:15:20,753 --> 02:15:22,653
In the Haskell business,
1952
02:15:22,755 --> 02:15:24,655
how many of you would believe he fell out of the car?
1953
02:15:24,757 --> 02:15:27,157
Now, after killing Vera without really meaning to do it,
1954
02:15:27,259 --> 02:15:29,159
how many of you would believe it wasnt premeditated?
1955
02:15:29,261 --> 02:15:31,923
Ulmer couldnt even afford any special effects.
1956
02:15:32,031 --> 02:15:35,432
He simply let the shot go in and out of focus repeatedly,
1957
02:15:35,534 --> 02:15:40,096
an appropriate reflection of the character's disoriented mental state.
1958
02:15:40,206 --> 02:15:43,573
Vera was dead, and I was her murderer.
1959
02:15:43,676 --> 02:15:45,576
Murderer!
1960
02:15:45,678 --> 02:15:47,578
The hitchhiker's journey...
1961
02:15:47,680 --> 02:15:50,080
turned into an ironic morality play.
1962
02:15:50,182 --> 02:15:53,276
Film noir showed how quickly an ordinary man could lose it all...
1963
02:15:53,385 --> 02:15:55,785
when he strayed from his path.
1964
02:15:55,888 --> 02:15:59,585
Lured by the prospect of sinful pleasures,
1965
02:15:59,692 --> 02:16:02,855
he ended up suffering hellish retribution.
1966
02:16:02,962 --> 02:16:04,793
Film noir.
1967
02:16:04,897 --> 02:16:06,797
I dont know, you know,
1968
02:16:06,899 --> 02:16:08,799
when I make a picture, I never classify it.
1969
02:16:08,901 --> 02:16:11,131
If this is a comedy, I wait until the preview.
1970
02:16:11,237 --> 02:16:13,137
If they laugh a lot, I say this is a comedy.
1971
02:16:13,239 --> 02:16:15,639
Or serious picture or fiilm noir.
1972
02:16:15,741 --> 02:16:18,141
I never heard that expression in those days.
1973
02:16:18,244 --> 02:16:22,237
I just made pictures that I would have liked to see.
1974
02:16:22,348 --> 02:16:26,079
And if I was lucky, it coincided with, uh,
1975
02:16:26,185 --> 02:16:28,312
with the taste of the audience.
1976
02:16:28,420 --> 02:16:30,320
I killed Deitrichson.
1977
02:16:30,422 --> 02:16:32,322
Me, Walter Neff.
1978
02:16:32,424 --> 02:16:35,825
Insurance salesman, 35 years old, unmarried, no visible scars.
1979
02:16:38,330 --> 02:16:41,731
Until a while ago that is.
1980
02:16:41,834 --> 02:16:43,734
Yes, I killed him.
1981
02:16:45,337 --> 02:16:49,000
I killed him for money and for a woman.
1982
02:16:49,108 --> 02:16:51,235
Film noir revealed the dark underbelly...
1983
02:16:51,343 --> 02:16:53,868
of American urban life.
1984
02:16:53,979 --> 02:16:57,210
Its denizens were private eyes,
1985
02:16:57,316 --> 02:17:00,114
rogue cops, white-collar criminals,
1986
02:17:00,219 --> 02:17:02,119
femmes fatale.
1987
02:17:03,355 --> 02:17:05,255
As Raymond Chandler said,
1988
02:17:05,357 --> 02:17:08,690
The streets were dark with something more than night.
1989
02:17:08,794 --> 02:17:10,694
This is not the right street.
1990
02:17:10,796 --> 02:17:12,696
Why did you turn here?
1991
02:17:16,001 --> 02:17:19,869
Whatre you doing that for?
1992
02:17:19,972 --> 02:17:21,872
Whatre you honking the horn for?
1993
02:17:31,050 --> 02:17:33,450
You couldnt take anything for granted anymore.
1994
02:17:35,187 --> 02:17:38,088
Not even suburbia.
1995
02:17:38,190 --> 02:17:40,920
Not even the supermarkets of Southern California.
1996
02:17:45,130 --> 02:17:47,030
I loved you, Walter, and I hated him.
1997
02:17:47,132 --> 02:17:50,329
But I wasnt going to do anything about it, not until I met you.
1998
02:17:50,436 --> 02:17:53,098
You planned the whole thing.
1999
02:17:53,205 --> 02:17:55,105
I only wanted him dead.
2000
02:17:55,207 --> 02:17:57,107
And I'm the one that fiixed it so he was dead.
2001
02:17:57,209 --> 02:17:59,143
Is that what youre telling me?
2002
02:17:59,245 --> 02:18:01,475
And nobody's pulling out.
2003
02:18:01,580 --> 02:18:03,480
If we went into this together,
2004
02:18:03,582 --> 02:18:05,482
were coming out at the end together.
2005
02:18:05,584 --> 02:18:09,179
It's straight down the line for both of us. Remember?
2006
02:18:12,091 --> 02:18:14,491
Life is a betrayal,
2007
02:18:14,593 --> 02:18:18,256
and, you know, sometimes you betray yourself, too, you know.
2008
02:18:18,364 --> 02:18:20,264
Let's have the guts to admit it.
2009
02:18:20,366 --> 02:18:23,267
There isnt anybody born here lately...
2010
02:18:23,369 --> 02:18:28,238
who didnt play dirty sometime, somewhere in his life.
2011
02:18:28,340 --> 02:18:30,240
So, why to hide it?
2012
02:18:30,342 --> 02:18:34,574
Truth, honesty, that's my key to fiilmmaking.
2013
02:18:36,682 --> 02:18:38,582
Do you have any identifiication?
2014
02:18:38,684 --> 02:18:40,743
Sure.
2015
02:18:40,853 --> 02:18:44,687
Andre De Toth was one of the most persistent...
2016
02:18:44,790 --> 02:18:46,690
of the expatriate smugglers.
2017
02:18:48,994 --> 02:18:51,656
In Crime Wave he undermined the old clichƩ...
2018
02:18:51,764 --> 02:18:54,858
that in America you can always get another break.
2019
02:18:54,967 --> 02:18:56,867
A second chance.
2020
02:18:56,969 --> 02:18:58,869
Phone.
2021
02:18:58,971 --> 02:19:00,871
- Hello. - Steve?
2022
02:19:00,973 --> 02:19:02,873
- Yeah. - Steve Lacey?
2023
02:19:02,975 --> 02:19:06,138
Gene Nelson plays an ex-convict trying to go straight...
2024
02:19:06,245 --> 02:19:08,145
Hello, this is Lacey.
2025
02:19:08,247 --> 02:19:10,147
Who is haunted by his past.
2026
02:19:10,249 --> 02:19:12,683
Hello.
2027
02:19:12,785 --> 02:19:14,685
Theyre always passin' through town,
2028
02:19:14,787 --> 02:19:16,687
tryin' to put the bite on me for this or that.
2029
02:19:16,789 --> 02:19:18,689
I told you how itd be.
2030
02:19:18,791 --> 02:19:21,191
And I didnt mind, did I?
2031
02:19:21,293 --> 02:19:23,193
I love you. I wanted you.
2032
02:19:23,295 --> 02:19:25,695
And now that Ive got you, I care a lot less.
2033
02:19:25,798 --> 02:19:29,199
I cant fiigure it. What do you see in a guy like me?
2034
02:19:31,170 --> 02:19:33,161
I see a guy who's swell.
2035
02:19:33,272 --> 02:19:35,866
Sterling Hayden portrays the relentless cop...
2036
02:19:35,975 --> 02:19:38,068
who presumes he is guilty.
2037
02:19:38,177 --> 02:19:40,077
Lacey's kept pretty straight since he got out.
2038
02:19:40,179 --> 02:19:44,081
Yeah, I know. Sober, industrious, expert mechanic on airplane engines.
2039
02:19:44,183 --> 02:19:46,083
A pilot before they sent him up,
2040
02:19:46,185 --> 02:19:48,085
- now works at a private airport in Sunland, right? - Right.
2041
02:19:48,187 --> 02:19:51,350
Call him.
2042
02:19:53,459 --> 02:19:56,360
Dont answer it, Steve. Let it ring.
2043
02:19:56,462 --> 02:19:58,862
They'll just want what they all want.
2044
02:19:58,964 --> 02:20:02,866
Let em think youre away, that youre not here, and they'll leave you alone.
2045
02:20:02,968 --> 02:20:05,368
Once youve done a bit, nobody leaves you alone.
2046
02:20:05,471 --> 02:20:08,304
- Somebody's always on your back. - Steve.
2047
02:20:10,242 --> 02:20:12,142
No answer.
2048
02:20:12,244 --> 02:20:14,144
There, you see?
2049
02:20:14,246 --> 02:20:16,612
I told ya.
2050
02:20:19,318 --> 02:20:22,776
Doesnt look so good for Mr. Lacey.
2051
02:20:22,888 --> 02:20:25,789
Even a sympathetic parole offiicer cant save him.
2052
02:20:25,891 --> 02:20:28,792
You stay on your side of the fence. I'm looking for a cop killer.
2053
02:20:28,894 --> 02:20:30,794
I'm on my side. I dont take things for granted.
2054
02:20:30,896 --> 02:20:32,796
I check and recheck. Lacey's made good with me.
2055
02:20:32,898 --> 02:20:34,798
I have faith in him.
2056
02:20:34,900 --> 02:20:36,800
- Once a crook, always a crook. - That's nonsense.
2057
02:20:36,902 --> 02:20:38,802
Sick men get well again.
2058
02:20:38,904 --> 02:20:42,135
Yeah? And you hate to lose a patient. Well, youre gonna lose this one.
2059
02:20:42,241 --> 02:20:44,141
Stay here and fiind that dough.
2060
02:20:44,243 --> 02:20:46,143
Dont worry about wrecking the joint. Just fiind it.
2061
02:20:46,245 --> 02:20:48,145
Right.
2062
02:20:48,247 --> 02:20:50,147
All right, hot shot.
2063
02:20:50,249 --> 02:20:52,149
Put out your hands.
2064
02:20:52,251 --> 02:20:55,243
How long one has to pay for a mistake?
2065
02:20:55,354 --> 02:20:58,380
For a misstep in their life? When is enough enough?
2066
02:20:58,490 --> 02:21:00,754
You dont like that, do you, Mrs. Lacey?
2067
02:21:00,859 --> 02:21:03,760
It can happen to you, too, if youre covering up for this guy.
2068
02:21:03,862 --> 02:21:06,729
So dont try to walk out. Youre a material witness.
2069
02:21:06,832 --> 02:21:09,130
Dont stay here, Ellen. Forget about me.
2070
02:21:09,234 --> 02:21:11,896
Get out of town!
2071
02:21:12,004 --> 02:21:14,404
You fiinished, Mr. Lacey?
2072
02:21:14,506 --> 02:21:17,373
There's no reprieve in film noir.
2073
02:21:17,476 --> 02:21:19,910
You just keep paying for your sins.
2074
02:21:23,482 --> 02:21:26,315
Ida Lupino often used film noir visuals,
2075
02:21:26,418 --> 02:21:28,386
but for her own very specifiic purposes.
2076
02:21:28,487 --> 02:21:32,583
In Lupino's films, it was young women who went through hell...
2077
02:21:32,691 --> 02:21:37,094
when their middle-class security was shattered by a traumatic experience.
2078
02:21:37,196 --> 02:21:39,596
Bigamy, parental abuse,
2079
02:21:39,698 --> 02:21:43,429
unwanted pregnancy, rape.
2080
02:21:45,771 --> 02:21:49,730
Taxi! Taxi!
2081
02:21:49,842 --> 02:21:53,676
Lupino would force the audience to experience from the inside...
2082
02:21:53,779 --> 02:21:55,679
the ordeal of her heroines.
2083
02:21:55,781 --> 02:21:58,978
Please! Please! Somebody help me!
2084
02:22:08,360 --> 02:22:11,761
In Outrage, she presents the ultimate female nightmare...
2085
02:22:11,864 --> 02:22:14,924
not as a melodrama, but as a subdued behavioral study...
2086
02:22:15,033 --> 02:22:17,092
that captures the banality of evil...
2087
02:22:17,202 --> 02:22:19,898
in an ordinary small town.
2088
02:22:34,853 --> 02:22:39,256
In an unusual move, actress Ida Lupino had become a director in 1949...
2089
02:22:39,358 --> 02:22:41,656
because shed been suspended by Warner Bros.
2090
02:22:41,760 --> 02:22:44,786
She seized the opportunity to form a production company...
2091
02:22:44,897 --> 02:22:47,559
with her husband Collier Young.
2092
02:22:47,666 --> 02:22:49,566
They developed their own projects,
2093
02:22:49,668 --> 02:22:51,568
making a policy of discovering young talent...
2094
02:22:51,670 --> 02:22:54,070
and tackling unglamorous subjects...
2095
02:22:54,173 --> 02:22:56,505
such as the rape in Outrage.
2096
02:22:56,608 --> 02:22:58,508
I couldnt move.
2097
02:22:58,610 --> 02:23:00,510
I couldnt move!
2098
02:23:00,612 --> 02:23:02,512
How tall was he, dear?
2099
02:23:02,614 --> 02:23:04,514
Take him away!
2100
02:23:04,616 --> 02:23:06,516
Beyond the horror of the crime,
2101
02:23:06,618 --> 02:23:10,520
Ida Lupino illuminates the changes in the psyche of the victim,
2102
02:23:10,622 --> 02:23:13,716
a wounded young woman who's about to be married...
2103
02:23:13,825 --> 02:23:18,319
but now has to learn how to overcome her pain and despair.
2104
02:23:18,430 --> 02:23:20,830
Go on! Take a good look!
2105
02:23:20,933 --> 02:23:23,424
Go on, all of you!
2106
02:23:23,535 --> 02:23:25,435
Hey, Annie.
2107
02:23:25,537 --> 02:23:28,233
I'm asking you to marry me now.
2108
02:23:28,340 --> 02:23:30,740
Or didnt you hear me?
2109
02:23:30,842 --> 02:23:33,470
Yes, I heard.
2110
02:23:33,579 --> 02:23:35,547
Well?
2111
02:23:35,647 --> 02:23:38,047
No!
2112
02:23:38,150 --> 02:23:41,278
Anne! Hey!
2113
02:23:41,386 --> 02:23:43,718
InJoseph Lewis Gun Crazy,
2114
02:23:43,822 --> 02:23:46,120
the focus was not on the victim,
2115
02:23:46,225 --> 02:23:48,785
but on the criminals themselves.
2116
02:23:48,894 --> 02:23:51,294
You were compelled to share their fear...
2117
02:23:51,396 --> 02:23:53,455
and even their exhilaration.
2118
02:23:53,565 --> 02:23:57,467
The audience was pulled into the action and became an accomplice.
2119
02:23:57,569 --> 02:24:00,470
You cant shoot a man just because he hesitates.
2120
02:24:00,572 --> 02:24:04,474
Well, maybe not, but you can sure scare him off, like that hotel clerk.
2121
02:24:04,576 --> 02:24:06,976
- No, Laurie, I just dont... - Oh, Bart, you know something?
2122
02:24:07,079 --> 02:24:09,980
- What? - I love you.
2123
02:24:10,082 --> 02:24:13,483
I love you more than anything else in the world.
2124
02:24:15,587 --> 02:24:17,487
Of course the fascinating pair of Gun Crazy...
2125
02:24:17,589 --> 02:24:21,081
belonged to the outlaw tradition of the '30s.
2126
02:24:21,193 --> 02:24:23,991
- Help! Help! - The tradition that would culminate in the 60s...
2127
02:24:24,096 --> 02:24:27,224
- with Arthur Penn's Bonnie and Clyde. - Laurie, Laurie, dont!
2128
02:24:27,332 --> 02:24:29,232
Come on. Get in!
2129
02:24:29,334 --> 02:24:33,737
But in Lewislandmark film, the renegades were wild animals.
2130
02:24:33,839 --> 02:24:37,297
Sex and violence were totally intertwined.
2131
02:24:37,409 --> 02:24:40,640
- You were gonna kill that man. - Hed have killed us if hed had the chance.
2132
02:24:56,395 --> 02:24:59,626
Shoot! Why dont you shoot?
2133
02:25:03,902 --> 02:25:05,802
Shoot!
2134
02:25:08,874 --> 02:25:12,105
- Shoot. Do you hear me? - All right!
2135
02:25:25,590 --> 02:25:27,490
Get em?
2136
02:25:28,727 --> 02:25:30,627
Yeah.
2137
02:25:33,365 --> 02:25:36,357
First and foremost, film noir was a style.
2138
02:25:36,468 --> 02:25:40,768
It combined realism and expressionism,
2139
02:25:40,872 --> 02:25:44,433
the use of real locations and elaborate shadow plays.
2140
02:25:44,543 --> 02:25:49,640
Here ace cinematographer John Alton deserves a mention.
2141
02:25:49,748 --> 02:25:54,185
The Hungarian-born master painted with light.
2142
02:25:54,286 --> 02:25:57,050
This was the title of his 1949 textbook...
2143
02:25:57,155 --> 02:26:00,647
which we were still using as students in the 1960s.
2144
02:26:04,563 --> 02:26:06,758
Extreme black and white contrasts, :
2145
02:26:06,865 --> 02:26:09,959
isolated sources of lighting, :
2146
02:26:10,068 --> 02:26:12,093
Pass key! Pass key!
2147
02:26:12,204 --> 02:26:14,138
Ominous camera placement, :
2148
02:26:14,239 --> 02:26:16,139
deep perspective.
2149
02:26:16,241 --> 02:26:18,766
The most striking examples of Alton's work...
2150
02:26:18,877 --> 02:26:23,814
are found in Anthony Mann's early films such as this film, T-Men.
2151
02:26:23,915 --> 02:26:26,406
And in the same year, Raw Deal.
2152
02:26:26,518 --> 02:26:29,851
Five or ten minutes, we'll be pullinout.
2153
02:26:29,955 --> 02:26:32,423
Pullinout for a new country,
2154
02:26:32,524 --> 02:26:35,755
leaving everything behind.
2155
02:26:35,861 --> 02:26:38,955
Maybe, maybe we can make a different life...
2156
02:26:39,064 --> 02:26:41,225
for ourself in South America.
2157
02:26:41,333 --> 02:26:43,233
A good life.
2158
02:26:43,335 --> 02:26:45,235
Why didnt he stop talking?
2159
02:26:45,337 --> 02:26:47,237
When the clock stopped moving,
2160
02:26:47,339 --> 02:26:49,239
he was singing everything Id ever wanted to hear.
2161
02:26:49,341 --> 02:26:53,243
All my life, the lyrics were his, all right.
2162
02:26:53,345 --> 02:26:56,439
But the music... Anne s, Annes.
2163
02:26:56,548 --> 02:26:58,948
And suddenly I saw that every time he kissed me...
2164
02:26:59,050 --> 02:27:01,211
hed be kissing Anne.
2165
02:27:01,319 --> 02:27:03,446
Every time he held me, spoke to me, danced with me,
2166
02:27:03,555 --> 02:27:06,854
ate, drank, played, sang it would be Anne, Anne.
2167
02:27:06,958 --> 02:27:08,858
Anne!
2168
02:27:11,863 --> 02:27:13,763
These were small B-productions...
2169
02:27:13,865 --> 02:27:15,765
where Alton was free to experiment...
2170
02:27:15,867 --> 02:27:17,767
and often took unusual risks.
2171
02:27:17,869 --> 02:27:20,030
Busy little man, eh, snooper?
2172
02:27:21,473 --> 02:27:24,306
Almost had ya, all of you.
2173
02:27:24,409 --> 02:27:26,309
Tony!
2174
02:27:26,411 --> 02:27:28,208
And you, Vanny, so smart.
2175
02:27:28,313 --> 02:27:32,340
Top-drawer crook. Lived with me and never caught on.
2176
02:27:32,451 --> 02:27:34,749
There is no doubt in my mind...
2177
02:27:34,853 --> 02:27:37,048
that the prettiest music is sad, he remarked.
2178
02:27:37,155 --> 02:27:40,147
Knew all the angles...
2179
02:27:40,258 --> 02:27:45,423
'And the most beautiful photography is in a low-key with rich blacks.
2180
02:27:45,530 --> 02:27:47,930
Sucker.
2181
02:27:57,008 --> 02:27:59,101
The paranoia of film noir reached its high point...
2182
02:27:59,211 --> 02:28:02,339
with Robert Aldrich's film Kiss Me Deadly.
2183
02:28:06,785 --> 02:28:10,949
Out of the dark, a haunted woman appears to private eye Mike Hammer.
2184
02:28:11,056 --> 02:28:15,584
She's running away from a mental institution and an unbearable secret.
2185
02:28:15,694 --> 02:28:18,060
She's not mad, though.
2186
02:28:18,163 --> 02:28:22,429
Merely innocent, destined to be a sacrifiicial lamb.
2187
02:28:22,534 --> 02:28:25,002
- If we dont make that bus stop... - We will.
2188
02:28:28,640 --> 02:28:32,041
If we dont,
2189
02:28:32,143 --> 02:28:34,043
remember me.
2190
02:28:45,857 --> 02:28:48,758
Stylized lighting and composition conveyed a deranged world.
2191
02:28:48,860 --> 02:28:50,885
There was no moral compass anymore.
2192
02:28:50,996 --> 02:28:55,126
Aldrich even turned Mickey Spillanes detective Mike Hammer...
2193
02:28:55,233 --> 02:28:58,862
into an ambiguous figure, a guy whos treated like dirt by everybody...
2194
02:28:58,970 --> 02:29:03,771
and is even described as a sleazy, despicable bedroom dick.
2195
02:29:03,875 --> 02:29:08,608
Aldrich's point, an important one during those McCarthy times,
2196
02:29:08,713 --> 02:29:12,274
was the end neverjustifiies the means.
2197
02:29:12,384 --> 02:29:14,784
- She's passed out. - I'll bring her to.
2198
02:29:14,886 --> 02:29:17,286
If you revive her, do you know what that would be?
2199
02:29:17,389 --> 02:29:21,086
Resurrection, that's what it would be.
2200
02:29:21,192 --> 02:29:23,319
And do you know what resurrection means?
2201
02:29:23,428 --> 02:29:25,828
It means raise the dead.
2202
02:29:25,931 --> 02:29:29,662
And just who do you think you are that you think you can raise the dead?
2203
02:29:33,204 --> 02:29:35,104
At the end of Kiss Me Deadly,
2204
02:29:35,206 --> 02:29:39,006
the duplicitous woman who stole this package from a secret government project...
2205
02:29:39,110 --> 02:29:43,570
was like the wife of Lot who refused to heed the warnings.
2206
02:29:57,395 --> 02:30:02,059
Aldrich's tale led to a few cryptic, threatening words:
2207
02:30:02,167 --> 02:30:06,365
Manhattan Project, Los Alamos, Trinity.
2208
02:30:06,471 --> 02:30:09,440
This time opening Pandora's box...
2209
02:30:09,541 --> 02:30:13,136
meant universal annihilation, the apocalypse.
2210
02:30:15,280 --> 02:30:18,181
Of course, not all smugglers operated within film noir.
2211
02:30:18,283 --> 02:30:21,116
In Part 3, as we continue our journey,
2212
02:30:21,219 --> 02:30:24,416
Id like to show you how they worked around more wholesome genres...
2213
02:30:24,522 --> 02:30:27,650
and even, at times, big Hollywood star vehicles.
2214
02:30:27,759 --> 02:30:30,159
We'll also look at a different breed of directors,
2215
02:30:30,261 --> 02:30:32,559
those who attacked the system head on...
2216
02:30:32,664 --> 02:30:34,564
the iconoclasts.
2217
02:33:24,244 --> 02:33:27,441
I'm often asked by younger filmmakers, why do I need to look at old movies?
2218
02:33:27,548 --> 02:33:29,573
I've made a number of pictures in the past 20 years.
2219
02:33:29,683 --> 02:33:32,652
And the response I find that I have to give them is that I'm...
2220
02:33:32,753 --> 02:33:34,914
I still consider myself a student.
2221
02:33:35,022 --> 02:33:39,220
Um, the more pictures I made in the past 20 years, the more I realized I really don't know.
2222
02:33:39,326 --> 02:33:41,851
And I'm always looking for something to...
2223
02:33:41,962 --> 02:33:44,897
something or someone that I could, that I could learn from.
2224
02:33:44,998 --> 02:33:47,796
I tell the younger, the younger filmmakers and the young students...
2225
02:33:47,901 --> 02:33:51,701
that I do it like painters used to do, what painters do...
2226
02:33:51,805 --> 02:33:56,708
study the old masters, enrich your palette, expand the canvas.
2227
02:33:56,810 --> 02:33:58,835
There's always so much more to learn.
2228
02:34:01,181 --> 02:34:04,275
Now, take this forgotten B film,Silver Lode.
2229
02:34:04,384 --> 02:34:06,511
Now, this was directed by Allan Dwan,
2230
02:34:06,620 --> 02:34:10,716
one of the unheralded film pioneers who made the first of his 400 films...
2231
02:34:10,824 --> 02:34:13,418
back in 1911.
2232
02:34:13,527 --> 02:34:17,486
At the end of his long career, he was sort of relegated to low-budget genre films.
2233
02:34:17,598 --> 02:34:20,465
But low budget or not, watch the beautiful simplicity...
2234
02:34:20,567 --> 02:34:24,435
of the sweeping tracking shots that are literally guiding the desperateJohn Payne...
2235
02:34:24,538 --> 02:34:28,065
toward his final sanctuary, the town church.
2236
02:34:28,175 --> 02:34:30,370
Dwan's finest movies featured simple people,
2237
02:34:30,477 --> 02:34:33,241
pastoral landscapes and the rural America of a bygone era.
2238
02:34:33,347 --> 02:34:36,874
But behind the lyrical images of the Old West,
2239
02:34:36,984 --> 02:34:41,444
Silver Lode suggests the fragilityof our democratic institutions.
2240
02:34:41,555 --> 02:34:45,355
On Independence Day, the day of his wedding,
2241
02:34:45,459 --> 02:34:47,518
John Payne should be the happiest man in Silver Lode.
2242
02:34:47,628 --> 02:34:50,563
There he is! Look! There! There he is!
2243
02:34:50,664 --> 02:34:54,623
Instead, he has to fight for his life when he's unjustly accused of a murder...
2244
02:34:54,735 --> 02:34:58,034
and suddenly ostracized by the community.
2245
02:34:58,138 --> 02:35:02,336
Daringly, the fugitive's bride-to-be convinces the town that he's not guilty...
2246
02:35:02,442 --> 02:35:04,933
by forging a telegram from a U.S. Marshal.
2247
02:35:05,045 --> 02:35:09,277
McCarty not what he represents himself to be.
2248
02:35:09,383 --> 02:35:11,317
Wanted for murder and cattle rustling.
2249
02:35:11,418 --> 02:35:14,581
So, persecuted for the wrong reasons, Payne is pardoned for the wrong reasons.
2250
02:35:14,688 --> 02:35:18,488
- Ya fixed it! - You have to remember that this was the era of the blacklists.
2251
02:35:18,592 --> 02:35:21,152
Shoot 'em all! How many bullets ya got left? Two? Three?
2252
02:35:21,261 --> 02:35:24,458
Political messages had to be smuggled in, cloaked in metaphors.
2253
02:35:27,334 --> 02:35:30,167
Actually, the name of the villain, played by Dan Duryea,
2254
02:35:30,270 --> 02:35:32,261
was McCarty.
2255
02:35:35,075 --> 02:35:38,511
And so a church bell and a fantastic lie saved the day.
2256
02:35:38,612 --> 02:35:40,637
McCarty's dead.
2257
02:35:42,549 --> 02:35:45,484
Dan, there isn't much that I can say.
2258
02:35:45,586 --> 02:35:48,851
But I think I can speak for all of us... we're sorry.
2259
02:35:48,956 --> 02:35:52,187
You're sorry?
2260
02:35:52,292 --> 02:35:56,126
A moment ago you wanted to kill me.
2261
02:35:56,230 --> 02:36:00,428
You forced me to kill, to defend myself, to save my own life.
2262
02:36:00,534 --> 02:36:03,298
But you wouldn't believe what I said.
2263
02:36:03,403 --> 02:36:06,395
A man's life can hang in the balance...
2264
02:36:06,506 --> 02:36:08,599
on a piece of paper!
2265
02:36:14,815 --> 02:36:17,215
And you're sorry.
2266
02:36:17,317 --> 02:36:20,844
The '50s... The '50s for me is a fascinating era...
2267
02:36:20,954 --> 02:36:24,446
when the subtext became as important as the apparent subject matter...
2268
02:36:24,558 --> 02:36:26,492
or even more important.
2269
02:36:26,593 --> 02:36:30,188
I mean, look at Douglas Sirk's film All That Heaven Allows, which he made in 1955,
2270
02:36:30,297 --> 02:36:33,232
or Nicholas Ray'sBigger Than Life, made in 1956.
2271
02:36:33,333 --> 02:36:35,460
Now, you have to understand these were not B movies.
2272
02:36:35,569 --> 02:36:37,799
These were big-scale pictures with major studio stars.
2273
02:36:37,905 --> 02:36:41,671
Furthermore, they were Americanas,
2274
02:36:41,775 --> 02:36:44,335
the most wholesome genre of the period.
2275
02:36:44,444 --> 02:36:47,936
Jane Wyman, the widow in Douglas Sirk'sAll That Heaven Allows,
2276
02:36:48,048 --> 02:36:51,609
is not rejected by her community, she is immersed in it.
2277
02:36:51,718 --> 02:36:54,846
Her world becomes unhinged when she falls in love with Rock Hudson,
2278
02:36:54,955 --> 02:36:58,015
a much younger man who happens to be her gardener.
2279
02:36:58,125 --> 02:37:03,620
A spiritual descendant of Thoreau, he represents a solid and serene individualism...
2280
02:37:03,730 --> 02:37:07,826
that seems sadly out of place in the New England of the 1950s.
2281
02:37:07,935 --> 02:37:11,803
What a beautiful view of the pond. Why, you can see for miles.
2282
02:37:11,905 --> 02:37:14,965
Mm-hmm. The sun comes up right over that hill.
2283
02:37:15,075 --> 02:37:17,737
- Oh! - Do you like it?
2284
02:37:17,878 --> 02:37:19,812
Why, it's unbelievable.
2285
02:37:19,880 --> 02:37:21,780
Let's take your boots off, huh?
2286
02:37:21,882 --> 02:37:23,782
- Hello, Dan. - Hello, Cary.
2287
02:37:23,884 --> 02:37:25,784
- Cary, you know Miss Frisbee, Mr. Allenby. Mr. Kirby. - Yes.
2288
02:37:25,886 --> 02:37:30,016
- How do you do?- Oh, what's this I hear about your... Oh.
2289
02:37:30,123 --> 02:37:32,591
Haven't I seen you somewhere before?
2290
02:37:32,693 --> 02:37:35,526
Well, Mrs. Humphrey, probably in your garden.
2291
02:37:35,629 --> 02:37:38,792
I've been pruning your trees for the last three years!
2292
02:37:38,899 --> 02:37:42,027
Oh, yes, of course.
2293
02:37:42,135 --> 02:37:46,970
- Uh, Sara, I really must be going. - Excuse me. I'll be right back.
2294
02:37:47,074 --> 02:37:49,406
- Are you saying you don't want to marry me? - Oh, no, I'm not saying that.
2295
02:37:49,509 --> 02:37:52,000
I'm... I'm just asking you to be patient.
2296
02:37:52,112 --> 02:37:56,276
- It's only a question of time. - Only of time.
2297
02:37:56,383 --> 02:37:59,113
Well, right now everybody's talking about us.
2298
02:37:59,219 --> 02:38:01,619
We're a local sensation.
2299
02:38:01,722 --> 02:38:05,021
And like Sara said, if... if the people get used to seeing us together,
2300
02:38:05,125 --> 02:38:07,923
then maybe they'll accept us.
2301
02:38:08,028 --> 02:38:13,466
You mean, uh, we'll be invited to all the cocktail parties.
2302
02:38:13,567 --> 02:38:17,697
And, of course, Sara will see to it that I get into the country club.
2303
02:38:17,804 --> 02:38:21,035
I can see that you don't want to listen to anybody's ideas but your own.
2304
02:38:21,141 --> 02:38:24,076
And I can see that you're trying to make me choose between you and the children!
2305
02:38:24,177 --> 02:38:28,238
No, Cary, you're the one that made it a question of choosing.
2306
02:38:28,348 --> 02:38:30,282
So you're the one that'll have to choose.
2307
02:38:34,021 --> 02:38:35,921
All right.
2308
02:38:39,793 --> 02:38:41,693
It's all over.
2309
02:38:43,964 --> 02:38:48,298
Once she surrenders to the community's pressure, Jane Wyman is trapped.
2310
02:38:48,402 --> 02:38:50,370
Cary.
2311
02:38:50,470 --> 02:38:53,598
She's left suffocating in their world of pretense and illusions...
2312
02:38:53,707 --> 02:38:57,074
far from Hudson's Walden Pond.
2313
02:38:57,177 --> 02:38:59,771
Home, family, social roles...
2314
02:38:59,880 --> 02:39:02,576
can't fulfill the pursuit of happiness anymore.
2315
02:39:02,682 --> 02:39:06,311
Somehow, they've become the instruments of repression.
2316
02:39:06,420 --> 02:39:10,322
Beneath the surface of the seemingly ideal setting...
2317
02:39:10,424 --> 02:39:13,916
lay a sharp indictment of American small-town life.
2318
02:39:14,027 --> 02:39:15,927
? And heaven and nature sing.
2319
02:39:16,029 --> 02:39:19,396
Both Douglas Sirk and Nicholas Ray stayed within the rules.
2320
02:39:19,499 --> 02:39:21,729
Their films had the required happy ending.
2321
02:39:21,835 --> 02:39:26,534
But they hinted at the dangers inherent in conforming to society's conventions.
2322
02:39:26,640 --> 02:39:29,666
You see, anything indirect...
2323
02:39:29,776 --> 02:39:31,869
is, uh, stronger,
2324
02:39:32,012 --> 02:39:34,105
in many cases, at least,
2325
02:39:34,181 --> 02:39:38,311
because you leave it or you hand it over to the imagination...
2326
02:39:38,418 --> 02:39:40,409
of your audience, you know.
2327
02:39:40,520 --> 02:39:44,012
And I've always been trusting...
2328
02:39:44,124 --> 02:39:46,251
my audience to have imagination.
2329
02:39:46,359 --> 02:39:49,726
Otherwise, they should stay out of the cinema.
2330
02:39:49,830 --> 02:39:54,858
- You know, you have to leave something open. - Mm-hmm.
2331
02:39:54,968 --> 02:39:58,597
The moment you start preach in the film... preaching in the film...
2332
02:39:58,705 --> 02:40:03,335
the moment you want to teach your audience,
2333
02:40:03,443 --> 02:40:05,775
you're making a bad film.
2334
02:40:05,879 --> 02:40:08,541
If you can't have a life, settle for its imitation.
2335
02:40:08,648 --> 02:40:10,673
There's your present now.
2336
02:40:10,784 --> 02:40:13,981
This is whatJane Wyman receives from her children...
2337
02:40:14,087 --> 02:40:17,079
- Oh, please, Kay... - as a substitute for her lost love.
2338
02:40:17,190 --> 02:40:20,682
Mother! Merry Christmas.
2339
02:40:20,794 --> 02:40:23,786
Merry Christmas, Mrs. Scott.
2340
02:40:23,897 --> 02:40:27,264
Television, the movie's rival medium in the 1950s,
2341
02:40:27,367 --> 02:40:29,631
was cast as the ultimate symbol of alienation.
2342
02:40:29,736 --> 02:40:33,467
All you have to do is turn that dial, and you have all the company you want...
2343
02:40:33,573 --> 02:40:35,973
right there on the screen.
2344
02:40:36,076 --> 02:40:41,173
Drama, comedy, life's parade at your fingertips.
2345
02:40:44,651 --> 02:40:47,279
Like Douglas Sirk, Nicholas Ray offers...
2346
02:40:47,387 --> 02:40:50,720
both the American family in suburbia and the psychotic elements:
2347
02:40:50,824 --> 02:40:54,225
The convention and the contradictions; the sugar and the poison.
2348
02:40:57,998 --> 02:41:01,399
Look at Nicholas Ray's Bigger Than Life.
2349
02:41:01,501 --> 02:41:04,868
James Mason portrays a frustrated schoolteacher...
2350
02:41:04,971 --> 02:41:07,405
who undergoes personality changes when he becomes...
2351
02:41:07,507 --> 02:41:09,941
hooked on cortisone, then an experimental drug.
2352
02:41:10,043 --> 02:41:13,444
Just use your reason calmly.
2353
02:41:13,547 --> 02:41:17,483
We'll have dinner the moment you've mastered this problem.
2354
02:41:17,584 --> 02:41:21,520
Here he feels ten feet tall.
2355
02:41:21,621 --> 02:41:25,318
- Ed, dinner's been waiting two hours. - I'm sorry.
2356
02:41:25,425 --> 02:41:29,862
- Richie ought to eat. - I'm hungry too.
2357
02:41:29,963 --> 02:41:32,796
Ed, Richie didn't even have lunch.
2358
02:41:32,899 --> 02:41:35,060
The cortisone acts as a catalyst.
2359
02:41:35,168 --> 02:41:38,899
It reveals a mental and spiritual dissatisfaction...
2360
02:41:39,005 --> 02:41:41,803
and fuels Mason's growing desire to escape...
2361
02:41:41,908 --> 02:41:44,968
from the dull existence that stifles his soul.
2362
02:41:45,078 --> 02:41:48,570
Lou, it'll be better for all of us if you clearly understand one thing.
2363
02:41:48,682 --> 02:41:51,446
I will not tolerate your attempts to undermine my program for Richard.
2364
02:41:51,551 --> 02:41:53,451
Yes, darling.
2365
02:41:53,553 --> 02:41:56,989
Be good enough not to speak to me in that hypocritical tone of voice.
2366
02:41:57,090 --> 02:41:59,650
I see through you as clearly as I see through this glass pitcher!
2367
02:41:59,759 --> 02:42:01,989
If you imagine I'm going to be fooled by all this sweetness and meekness...
2368
02:42:02,095 --> 02:42:03,995
Yes, darling, no, darling...
2369
02:42:04,097 --> 02:42:06,361
you're even a bigger idiot than I took you for.
2370
02:42:06,466 --> 02:42:08,366
Let's clear this up once and for all!
2371
02:42:08,468 --> 02:42:10,766
I'm staying in this house solely for the boy's sake!
2372
02:42:10,870 --> 02:42:12,929
As for you personally, I'm completely finished with you.
2373
02:42:13,039 --> 02:42:15,337
There's nothing left. Our marriage is over.
2374
02:42:15,442 --> 02:42:17,342
In my mind I've divorced you.
2375
02:42:17,444 --> 02:42:20,902
You're not my wife any longer, I'm not your husband any longer.
2376
02:42:21,014 --> 02:42:24,211
Mason's family goes through hell as he starts questioning every tenet...
2377
02:42:24,317 --> 02:42:27,047
of family life in the 1950s.
2378
02:42:27,187 --> 02:42:30,520
Momism, Sunday school, Little League sports...
2379
02:42:30,590 --> 02:42:34,549
and even the egalitarian principles of American education.
2380
02:42:50,710 --> 02:42:53,770
Lou! Lou!
2381
02:42:55,248 --> 02:42:57,409
You'll be happy to know you've won.
2382
02:42:57,517 --> 02:42:59,417
All of my efforts have been too late.
2383
02:42:59,519 --> 02:43:02,579
In this house, our son has become a thief.
2384
02:43:04,124 --> 02:43:08,185
My heroes are no more neurotic than the audience.
2385
02:43:08,295 --> 02:43:11,526
Unless you can feel that...
2386
02:43:11,631 --> 02:43:13,895
a hero is just as fucked up as you are...
2387
02:43:14,000 --> 02:43:18,232
that you would make the same mistakes that he would make...
2388
02:43:18,338 --> 02:43:22,672
uh, you can have no satisfaction...
2389
02:43:22,776 --> 02:43:26,143
when he does commit a heroic act.
2390
02:43:26,246 --> 02:43:31,047
Because then you can say, Hell, I could have done that too.
2391
02:43:31,151 --> 02:43:35,986
And that's the obligation of the filmmaker, of the theater worker...
2392
02:43:36,089 --> 02:43:39,547
to give a heightened sense of experience to the...
2393
02:43:39,659 --> 02:43:44,153
people who pay to come to see his work.
2394
02:43:44,264 --> 02:43:46,994
And they came to the place of which God had told him,
2395
02:43:47,100 --> 02:43:51,537
and Abraham built an altar there and laid the wood in order and bound Isaac, his son,
2396
02:43:51,638 --> 02:43:54,436
and laid him on the altar upon the wood.
2397
02:43:54,541 --> 02:43:57,806
And Abraham stretched forth his hand...
2398
02:43:57,911 --> 02:44:01,745
and took the knife to slay his son.
2399
02:44:01,848 --> 02:44:05,511
But, Ed, you didn't read it all. God stopped Abraham.
2400
02:44:05,618 --> 02:44:08,485
God was wrong.
2401
02:44:09,856 --> 02:44:13,383
Ed! No! Ed! No! Ed! No!
2402
02:44:13,493 --> 02:44:18,192
Richie! Run out the window! Richie! Richie!
2403
02:44:18,298 --> 02:44:21,893
No! Richie!
2404
02:45:02,008 --> 02:45:04,704
Samuel Fuller's characters were no intellectuals.
2405
02:45:04,811 --> 02:45:07,302
His was a visceral cinema,
2406
02:45:07,414 --> 02:45:09,644
excessive, explosive.
2407
02:45:09,749 --> 02:45:13,310
He once defined film as a battlefield.
2408
02:45:13,420 --> 02:45:18,187
Love, hate, action, death. In one word, emotion.
2409
02:45:20,593 --> 02:45:23,118
Impact was his main concern.
2410
02:45:23,229 --> 02:45:26,494
Whether he was dealing with the Old West or Cold War America,
2411
02:45:26,599 --> 02:45:30,433
his images were bursting with violence and sexual energy.
2412
02:45:34,874 --> 02:45:37,172
In Pickup on South Street,
2413
02:45:37,277 --> 02:45:40,041
Richard Widmark is a pickpocket...
2414
02:45:40,146 --> 02:45:42,205
andJean Peters a prostitute.
2415
02:45:49,656 --> 02:45:53,615
Here he inadvertently takes a microfilm...
2416
02:45:53,726 --> 02:45:58,220
which Communist agents are trying to smuggle out of the country.
2417
02:46:10,009 --> 02:46:12,637
How much is it worth to ya?
2418
02:46:12,745 --> 02:46:14,713
What are you pushin' me for?
2419
02:46:14,814 --> 02:46:16,748
You came here to buy, didn't you?
2420
02:46:16,850 --> 02:46:20,684
America's fate is in the hands of two outcasts.
2421
02:46:20,787 --> 02:46:23,654
She's just a runner who doesn't even know what side she's on,
2422
02:46:23,756 --> 02:46:26,782
while he's a cynic, willing to do business with all sides.
2423
02:46:26,893 --> 02:46:28,952
How much did ya bring?
2424
02:46:29,062 --> 02:46:31,189
I don't wanna talk about it.
2425
02:46:31,297 --> 02:46:34,164
- A former crime reporter, - How much?
2426
02:46:34,267 --> 02:46:36,861
- Fuller cultivated the shocks and hyperbole...- Five hundred.
2427
02:46:36,970 --> 02:46:38,904
That tabloids used in their headlines.
2428
02:46:41,007 --> 02:46:45,205
You tell that Commie I want a big score for that film, and I want it in cash.
2429
02:46:45,311 --> 02:46:47,211
- Tonight!- What are you talkin' about?
2430
02:46:47,313 --> 02:46:49,907
You tell me. You people are supposed to have all the answers.
2431
02:46:50,016 --> 02:46:53,747
- Tell ya what? - Come on! Drop the act. So you're a Red.
2432
02:46:53,853 --> 02:46:57,050
Who cares? Your money's as good as anybody else's.
2433
02:46:57,156 --> 02:47:00,887
Now get your stern up those stairs and tell your old lady what I want.
2434
02:47:00,994 --> 02:47:03,724
I'll do business with a Red, but I don't have to believe one.
2435
02:47:05,331 --> 02:47:09,734
Playing both ends against the middle, Widmark defied all isms,
2436
02:47:09,836 --> 02:47:12,270
- even patriotism.- Get outta here!
2437
02:47:12,372 --> 02:47:14,897
Writer-director-producer Samuel Fuller's work...
2438
02:47:15,008 --> 02:47:17,943
was a potent antidote to America's complacency during the Cold War.
2439
02:47:18,044 --> 02:47:21,138
He was the most outspoken of the '50s smugglers.
2440
02:47:21,247 --> 02:47:23,738
No ideology escaped his scathing irony.
2441
02:47:23,850 --> 02:47:26,683
American hypocrisy was his constant target.
2442
02:47:26,786 --> 02:47:29,186
Fuller's heroes were hard to distinguish from his villains.
2443
02:47:29,289 --> 02:47:31,189
If you refuse to cooperate,
2444
02:47:31,291 --> 02:47:33,725
you'll be as guilty as the traitors that gave Stalin the A-bomb.
2445
02:47:33,826 --> 02:47:36,386
Are you wavin' the flag at me?
2446
02:47:36,496 --> 02:47:38,987
I know something in our side you should get...
2447
02:47:39,098 --> 02:47:44,365
Get this. I didn't grift that film, and you can't prove I did.
2448
02:47:44,504 --> 02:47:46,631
- Do you know what treason means? - Who cares?
2449
02:47:46,706 --> 02:47:50,608
- Answer the man! - Is there a law now I gotta listen to lectures?
2450
02:47:50,710 --> 02:47:53,702
When he says, Don't wave the goddamn flag at me,.
2451
02:47:53,813 --> 02:47:57,749
Hoover objected to that and verbally objected it...
2452
02:47:57,850 --> 02:48:02,719
in my presence at Romanoff's table with Zanuck.
2453
02:48:02,822 --> 02:48:07,486
He objects that an American would say during the heat,
2454
02:48:07,594 --> 02:48:09,892
the hottest point of the Cold War with Russia,
2455
02:48:09,996 --> 02:48:12,556
Don't wave the goddamn flag at me.
2456
02:48:12,665 --> 02:48:17,500
And Zanuck said, He's right, to me. He's right. We'll leave out 'goddamn.'
2457
02:48:17,604 --> 02:48:20,232
And Hoover got very angry.
2458
02:48:20,340 --> 02:48:23,070
You know damn well that's not what I mean.
2459
02:48:23,176 --> 02:48:27,044
And Zanuck explained very simply, and he was a friend of his... I mean, he knew him...
2460
02:48:27,146 --> 02:48:32,049
This is his character talking, and that character doesn't give a goddamn about the flag.
2461
02:48:32,151 --> 02:48:34,676
It means nothing to him.
2462
02:48:34,787 --> 02:48:37,187
Any flag... You must be that character.
2463
02:48:37,290 --> 02:48:39,417
Otherwise, we are making a propaganda film.
2464
02:48:39,559 --> 02:48:41,584
And we don't make those kind of propaganda films.
2465
02:48:42,996 --> 02:48:46,261
Fuller had found a niche in B films and genre pictures,
2466
02:48:46,366 --> 02:48:48,334
but when the studio system collapsed,
2467
02:48:48,434 --> 02:48:52,370
he was relegated to low-budget, independent productions.
2468
02:48:52,472 --> 02:48:55,873
He had no money, no stars and only minimal sets.
2469
02:48:55,975 --> 02:48:59,274
But out of these limitations emerged an outstanding film,
2470
02:48:59,379 --> 02:49:02,906
Shock Corridor.
2471
02:49:03,016 --> 02:49:07,544
Ajournalist pretends to be a madman in order to investigate a crime...
2472
02:49:07,654 --> 02:49:10,214
that took place in a mental hospital.
2473
02:49:10,323 --> 02:49:13,815
But instead of winning the Pulitzer Prize, he goes mad.
2474
02:49:36,783 --> 02:49:40,219
Aaaah!
2475
02:49:50,963 --> 02:49:54,228
Shock Corridor was fullof front page material.
2476
02:49:54,333 --> 02:49:58,099
The inmates were the product of Cold War paranoia and Southern racism.
2477
02:49:58,204 --> 02:50:01,970
Every form of American insanity was represented. - Trent!
2478
02:50:02,075 --> 02:50:07,377
This baptizes a new organization, the Ku Klux.
2479
02:50:07,480 --> 02:50:11,041
- Sounds good. - No.
2480
02:50:12,151 --> 02:50:15,416
Ku Klux Klan.
2481
02:50:15,521 --> 02:50:18,319
Sounds more mysterious, more menacing, more alliterative.
2482
02:50:18,424 --> 02:50:21,450
- Ku Klux Klan. Say it. - Ku Klux Klan.
2483
02:50:21,561 --> 02:50:23,461
- KKK. - KKK.
2484
02:50:23,563 --> 02:50:27,124
It'll catch on quick. It'll drive those carpetbaggers back north.
2485
02:50:27,233 --> 02:50:29,224
Scare the hell out of'em. Tar and feather them.
2486
02:50:29,335 --> 02:50:31,235
Hang' em. Burn 'em.
2487
02:50:33,673 --> 02:50:37,302
Listen to me, Americans. America for Americans!
2488
02:50:37,410 --> 02:50:39,901
America for Americans!
2489
02:50:40,012 --> 02:50:42,981
Keep our schools white!
2490
02:50:43,082 --> 02:50:45,642
- Keep 'em white! - That's right! Keep 'em white!
2491
02:50:45,752 --> 02:50:48,312
- I'm against Catholics! - Hallelujah, man! Hallelujah!
2492
02:50:48,421 --> 02:50:51,481
- AgainstJews! Jews! - Hallelujah! Hallelujah!
2493
02:50:51,591 --> 02:50:54,116
- Against niggers! - Hallelujah! Hallelujah!
2494
02:50:54,227 --> 02:50:57,253
- Against niggers! - Hallelujah!
2495
02:50:57,363 --> 02:50:59,627
- Against niggers! - Hallelujah!
2496
02:50:59,732 --> 02:51:02,166
There's one!
2497
02:51:02,268 --> 02:51:04,896
Let's get that black boy before he marries my daughter!
2498
02:51:05,004 --> 02:51:07,131
Hallelujah! Hallelujah!
2499
02:51:09,242 --> 02:51:11,142
The metaphor was crystal clear.
2500
02:51:11,244 --> 02:51:15,340
In Fuller's vision, America had become an insane asylum.
2501
02:51:17,450 --> 02:51:22,854
Sadly, Fuller's later career was typical of the times.
2502
02:51:22,955 --> 02:51:26,220
To finance his unorthodox projects, he had to move to Europe.
2503
02:51:26,325 --> 02:51:30,227
And for a whole generation of smugglers, this was the end of the line.
2504
02:51:32,331 --> 02:51:35,164
The pioneers and showmen were gone.
2505
02:51:35,268 --> 02:51:38,396
The moguls were replaced by agents and executives.
2506
02:51:38,504 --> 02:51:40,404
Actors and directors were starting their own companies.
2507
02:51:40,506 --> 02:51:44,875
Start the wind machine.
2508
02:51:44,977 --> 02:51:47,309
Runaway production was the name of the game.
2509
02:51:47,413 --> 02:51:49,779
Turn on the paddle wheel.
2510
02:51:49,882 --> 02:51:53,249
Roll 'em!
2511
02:51:53,352 --> 02:51:56,253
- To make films you had to go to London, - Action!
2512
02:51:56,355 --> 02:51:58,255
Paris, Madrid and Rome.
2513
02:51:58,357 --> 02:52:02,157
A film like Two Weeks In Another Towncaptured the desperation of the times.
2514
02:52:02,261 --> 02:52:05,662
I have an offer... leave.
2515
02:52:10,670 --> 02:52:13,002
There's only one name for you.
2516
02:52:13,105 --> 02:52:17,474
On the streets of my village they call them...
2517
02:52:17,577 --> 02:52:19,704
- Welcome to Hollywood on the Tiber.- How dare you!
2518
02:52:19,812 --> 02:52:24,044
- You are behind schedule. - I need two weeks to finish shooting this picture.
2519
02:52:24,150 --> 02:52:28,348
You give me two extra weeks, and I'll give you a Maurice Kruger picture.
2520
02:52:28,454 --> 02:52:32,015
- Don't you want the best movie you can get? - No.
2521
02:52:32,124 --> 02:52:37,494
- Don't you have pride in what pictures you put your name on? - No.
2522
02:52:37,597 --> 02:52:39,497
Turn that off and get out. I want to get some sleep.
2523
02:52:39,599 --> 02:52:41,533
Tucino, you international peddler!
2524
02:52:41,634 --> 02:52:46,003
Take a good look at a movie that was made just because we couldn't sleep until we made it.
2525
02:52:46,105 --> 02:52:48,665
Ironically, Two Weeks In Another Town...
2526
02:52:48,808 --> 02:52:51,038
- was the sequel to The Bad And The Beautiful. - Laugh the way he would have!
2527
02:52:51,110 --> 02:52:55,570
That's not a god talking, Georgia. That's only a man.
2528
02:52:55,681 --> 02:52:59,208
Both films were directed by Vincente Minnelli, produced byJohn Houseman...
2529
02:52:59,318 --> 02:53:01,445
and starred Kirk Douglas.
2530
02:53:01,554 --> 02:53:06,116
But in ten years, from 1952 to 1962,
2531
02:53:06,225 --> 02:53:08,716
the industry had undergone tremendous changes,
2532
02:53:08,828 --> 02:53:11,058
and Two Weeks In Another Town...
2533
02:53:11,163 --> 02:53:14,257
was a startling mirror of Hollywood's decline.
2534
02:53:14,367 --> 02:53:17,495
Did it with style.
2535
02:53:17,603 --> 02:53:20,231
L-It's all right, Mrs. Curry.
2536
02:53:20,339 --> 02:53:25,299
Kruger, you're great.
2537
02:53:29,782 --> 02:53:31,875
I was great.
2538
02:53:31,984 --> 02:53:33,884
The golden age was over.
2539
02:53:33,986 --> 02:53:38,355
And for many a veteran director, this was a painful period of anguish and self-doubt.
2540
02:53:38,457 --> 02:53:41,426
Who in his right mind would expect me to settle for you?
2541
02:53:41,527 --> 02:53:45,930
A worn-out, dried-up, whining, meddling old hag!
2542
02:53:46,032 --> 02:53:49,593
My lawful wedded nightmare. Frustrated and stupid.
2543
02:53:49,702 --> 02:53:53,968
Sticking your fat nose into everything day and night!
2544
02:53:54,073 --> 02:53:56,473
Clara?
2545
02:53:57,576 --> 02:53:59,476
Clara?
2546
02:54:05,918 --> 02:54:08,045
Clara.
2547
02:54:08,154 --> 02:54:11,715
Don't swallow all those sleeping pills.
2548
02:54:11,824 --> 02:54:16,659
The doctor will just have to come up and pump out your stomach again.
2549
02:54:16,762 --> 02:54:20,926
You know how sick that makes me.
2550
02:54:28,274 --> 02:54:32,404
Oh, Clara. Clara.
2551
02:54:34,246 --> 02:54:39,479
L- I look at this film I'm shooting. I like it.
2552
02:54:41,420 --> 02:54:43,445
What if I'm wrong...
2553
02:54:43,556 --> 02:54:46,081
and it's another calamity?
2554
02:54:47,326 --> 02:54:50,090
Where do I go from here?
2555
02:54:51,831 --> 02:54:54,823
Took me two years to get this job, and that was a fluke.
2556
02:54:56,602 --> 02:55:00,834
How can a man go wrong and not know why?
2557
02:55:00,940 --> 02:55:03,534
What's happened to me?
2558
02:55:05,544 --> 02:55:08,035
Is it ego?
2559
02:55:09,148 --> 02:55:11,912
Self-indulgence?
2560
02:55:13,519 --> 02:55:15,714
Or...
2561
02:55:20,459 --> 02:55:23,155
am I just plain afraid?
2562
02:55:23,262 --> 02:55:25,924
Oh, my poor...
2563
02:55:26,032 --> 02:55:30,594
I've seen the film you're shooting, and it's beautiful.
2564
02:55:45,084 --> 02:55:49,851
Whereas the smuggler works undercover and his subversion is not detected immediately,
2565
02:55:49,989 --> 02:55:52,355
the iconoclast attacks conventions head-on...
2566
02:55:52,425 --> 02:55:55,826
and his defiance sends shock waves through the industry.
2567
02:55:55,928 --> 02:55:59,989
In Hollywood, the iconoclasts comprise the visionaries, the groundbreakers,
2568
02:56:00,099 --> 02:56:03,626
the renegades who openly defied the system and expanded the art form.
2569
02:56:03,736 --> 02:56:07,399
Often they were defeated. Sometimes they actually made the system work for them.
2570
02:56:14,113 --> 02:56:17,412
Hollywood has always had a love/hate relationship with those who break its rules,
2571
02:56:17,516 --> 02:56:20,644
extolling them one moment and burning them the next.
2572
02:56:25,624 --> 02:56:31,187
The Hollywood establishment often confused entertainment with escapism,
2573
02:56:31,297 --> 02:56:35,961
so borrowing from real life was deemed either boring or sometimes subversive,
2574
02:56:36,068 --> 02:56:39,060
particularly if it meant plumbing the lower depths.
2575
02:56:39,171 --> 02:56:41,901
But back in the silent era, a few filmmakers challenged...
2576
02:56:42,041 --> 02:56:43,941
the ideals of glamour and wholesomeness by injecting...
2577
02:56:44,043 --> 02:56:46,603
a dose of reality into their films,
2578
02:56:46,679 --> 02:56:49,409
generally within the framework of the melodrama.
2579
02:56:49,515 --> 02:56:51,881
D. W. Griffith, for instance, is often identified...
2580
02:56:51,984 --> 02:56:55,476
with quaint romanticism and Victorian sensibility.
2581
02:56:55,588 --> 02:57:00,389
But more than once, he went beyond the accepted melodrama of his time.
2582
02:57:01,961 --> 02:57:05,089
In Broken Blossoms,he showed how a sordid reality...
2583
02:57:05,197 --> 02:57:07,392
can destroy the purest dreams.
2584
02:57:13,906 --> 02:57:16,534
This was the most delicate interracial romance.
2585
02:57:16,642 --> 02:57:19,975
Physical and spiritual suffering is what unites Lillian Gish,
2586
02:57:20,079 --> 02:57:23,173
the waif battered by her boxing father,
2587
02:57:23,282 --> 02:57:26,911
and Richard Barthelmess, the young Buddhist who lost his religious fervor...
2588
02:57:27,019 --> 02:57:30,045
in the slums of London.
2589
02:57:30,156 --> 02:57:34,024
Their bodies, like their souls, are bent or stunted.
2590
02:57:35,394 --> 02:57:37,862
Both are broken blossoms.
2591
02:57:43,335 --> 02:57:47,635
Only when they find each other do they come alive.
2592
02:57:49,241 --> 02:57:51,607
So, for a brief moment,
2593
02:57:51,710 --> 02:57:55,009
they're allowed to dream before our eyes.
2594
02:58:02,321 --> 02:58:06,280
But when the racist father discovers the situation,
2595
02:58:06,392 --> 02:58:09,953
bigotry is exposed in its rawest form.
2596
02:58:11,730 --> 02:58:16,690
Sweetness and compassion turn to fury and savagery.
2597
02:58:32,284 --> 02:58:36,516
The young Chinese who didn't believe in violence...
2598
02:58:36,622 --> 02:58:39,113
picks up a gun to save his beloved.
2599
02:58:42,695 --> 02:58:44,686
He'll come too late.
2600
02:58:50,269 --> 02:58:52,999
Her punishment is death.
2601
02:59:34,946 --> 02:59:39,315
The setting was Vienna in the last days of the Hapsburg dynasty,
2602
02:59:39,417 --> 02:59:44,252
a decadent world that both fascinated and repelled Stroheim.
2603
02:59:48,726 --> 02:59:52,594
The city of waltzes and operettas was a pigsty.
2604
03:00:00,705 --> 03:00:05,699
Behind the romantic exterior, Stroheim revealed an ugly, cruel society...
2605
03:00:05,810 --> 03:00:08,210
ruled by greed.
2606
03:00:18,790 --> 03:00:22,055
The apple blossoms offered a brief refuge,
2607
03:00:22,160 --> 03:00:24,253
but they were an illusion.
2608
03:00:24,362 --> 03:00:27,991
Innocence was doomed from the start.
2609
03:00:28,099 --> 03:00:31,466
Stroheim's heroines were no madonnas.
2610
03:00:31,569 --> 03:00:36,199
Like their male counterparts, they were always endowed with strong sexual desires.
2611
03:00:36,307 --> 03:00:40,004
What Stroheim was after was a more honest depiction...
2612
03:00:40,111 --> 03:00:42,978
of human relationships.
2613
03:00:56,929 --> 03:00:58,863
Both lovers were victims.
2614
03:00:58,964 --> 03:01:01,489
The young girl who surrendered her soul...
2615
03:01:01,600 --> 03:01:06,503
and the prince who had not yet been corrupted by the hypocrisy of his milieu.
2616
03:01:10,742 --> 03:01:14,041
Stroheim's images could certainly be brutal,
2617
03:01:14,146 --> 03:01:17,240
and they inevitably got him into trouble with the censors.
2618
03:01:17,349 --> 03:01:19,783
But at heart, he was a romantic...
2619
03:01:19,885 --> 03:01:23,946
who was haunted by the loss and the corruption of love.
2620
03:01:25,357 --> 03:01:28,986
Rather than indulge in the splendors of imperial Vienna,
2621
03:01:29,094 --> 03:01:31,358
he exposed its moral squalor.
2622
03:01:33,432 --> 03:01:37,198
The young prince's father, a ruined aristocrat,
2623
03:01:37,302 --> 03:01:41,932
strikes a deal with a rich merchant, who's desperate to marry off his crippled daughter.
2624
03:01:53,218 --> 03:01:56,381
Stroheim paid a high price for his transgressions...
2625
03:01:56,488 --> 03:02:00,549
and his perceived intransigence.
2626
03:02:00,659 --> 03:02:05,255
The very qualities that made him a great artist undid him.
2627
03:02:05,364 --> 03:02:10,461
He was dubbed a megalomaniac and ended up losing control over most of his projects.
2628
03:02:10,569 --> 03:02:15,029
They would all be eventually truncated or disfigured.
2629
03:02:15,140 --> 03:02:18,940
All fragments of a broken vision.
2630
03:02:28,220 --> 03:02:30,120
In the '30s a few topical films...
2631
03:02:30,222 --> 03:02:32,884
allowed the grim reality of the Depression to seep into the movies,
2632
03:02:32,991 --> 03:02:34,982
particularly at Warner Brothers.
2633
03:02:35,093 --> 03:02:37,323
Young Darryl Zanuck, then head of production,
2634
03:02:37,429 --> 03:02:40,990
ordered his writers to draw their subjects from newspaper headlines.
2635
03:02:41,099 --> 03:02:43,829
I Am A Fugitive From A Chain Gangwas probably the most famous...
2636
03:02:43,935 --> 03:02:45,960
of these hard-hitting exposes.
2637
03:02:46,071 --> 03:02:50,235
It even led to the reformation of the penal system in the South.
2638
03:02:50,342 --> 03:02:52,572
However, David Selznick at RKO...
2639
03:02:52,678 --> 03:02:56,307
jumped the gun on Zanuck by releasing his own indictment of the chain gang system...
2640
03:02:56,415 --> 03:02:58,576
several months earlier.
2641
03:03:01,520 --> 03:03:03,545
The film was called Hell's Highway.
2642
03:03:03,655 --> 03:03:06,818
Well, young fella, ya won't catch cold in that sweatbox.
2643
03:03:06,925 --> 03:03:09,917
It was one of the three films directed by Rowland Brown,
2644
03:03:10,028 --> 03:03:13,361
a forgotten figure whose meteoric career reputedly ended...
2645
03:03:13,465 --> 03:03:15,933
when he punched one of Hollywood's top executives.
2646
03:03:25,410 --> 03:03:27,935
Carter's dead. Strangled to death in the sweatbox.
2647
03:03:28,046 --> 03:03:32,312
The contractor says the boy committed suicide.
2648
03:03:32,417 --> 03:03:35,443
- Carter's dead. - Carter's dead.
2649
03:03:35,554 --> 03:03:37,613
- Carter's dead. - Carter's dead.
2650
03:03:37,723 --> 03:03:40,283
Somehow, Rowland Brown's audacity epitomized the pre-Code era.
2651
03:03:40,392 --> 03:03:43,327
Those are the tumultuous years before rigid censorship rules,
2652
03:03:43,428 --> 03:03:45,828
known as the Production Code, came into effect.
2653
03:03:45,931 --> 03:03:49,628
- Where's Carter? - Yeah! Where is Carter?
2654
03:03:49,735 --> 03:03:54,638
Where's Carter?
2655
03:03:54,740 --> 03:03:57,436
Quiet there!
2656
03:03:57,542 --> 03:04:02,172
A convicted bank robber, Richard Dix is one of the forgotten men of the Depression.
2657
03:04:02,280 --> 03:04:07,183
His rebellious behavior is justified by the appalling conditions at the prison camp.
2658
03:04:10,122 --> 03:04:14,456
His desperation reflects that of the country.
2659
03:04:14,559 --> 03:04:18,791
Well, why don't you start?
2660
03:04:18,897 --> 03:04:23,300
The World War One veteran was once an all-American hero.
2661
03:04:27,405 --> 03:04:31,068
Social consciousness sparked Warner Brothers'stark dramas.
2662
03:04:31,176 --> 03:04:35,374
Films like William Wellman's Wild Boys OfThe Road and Heroes For Sale.
2663
03:04:35,480 --> 03:04:37,971
I have to get to my aunt's in Chicago someway.
2664
03:04:38,083 --> 03:04:41,280
- This is the only way I can do it. - Well, don't your folks mind?
2665
03:04:41,386 --> 03:04:44,048
My mother's dead.
2666
03:04:45,490 --> 03:04:47,458
And we got a big family.
2667
03:04:47,559 --> 03:04:50,551
With me gone, it means just one less mouth to feed.
2668
03:04:50,662 --> 03:04:53,130
That's why they were kind of glad to see me go.
2669
03:04:55,901 --> 03:04:59,496
Wild Boys OfThe Road was about teenagers who had been forced to leave home...
2670
03:04:59,604 --> 03:05:03,370
to find work because their parents lost theirjobs in the Depression.
2671
03:05:03,475 --> 03:05:07,138
Railroad dicks constantly harassed and abused them.
2672
03:05:07,245 --> 03:05:09,372
Cheese it! Railroad dicks!
2673
03:05:09,481 --> 03:05:13,577
The social and political context was painted in rather broad strokes,
2674
03:05:13,685 --> 03:05:17,678
but the dramas were contemporary, urgent, gripping.
2675
03:05:17,789 --> 03:05:21,748
Wild Bill Wellman had a natural feeling for the vagabond life,
2676
03:05:21,860 --> 03:05:25,125
for the homeless youngsters and their battles with authority.
2677
03:05:25,230 --> 03:05:28,757
His sympathy lay with the outcasts and with the rebels.
2678
03:06:01,833 --> 03:06:04,461
Tommy!
2679
03:06:09,374 --> 03:06:11,433
Now, at the opposite end of the spectrum...
2680
03:06:11,543 --> 03:06:13,909
you find a different breed of iconoclast,
2681
03:06:14,012 --> 03:06:16,879
Baroque stylists such as Josef von Sternberg.
2682
03:06:19,718 --> 03:06:22,312
Like Stroheim, Sternberg demanded total control...
2683
03:06:22,420 --> 03:06:25,014
over all aspects of his productions.
2684
03:06:25,123 --> 03:06:29,787
But his was a voluptuous, dreamlike, supremely artificial world,
2685
03:06:29,895 --> 03:06:33,695
lovingly composed on the Paramount soundstages.
2686
03:06:35,166 --> 03:06:38,158
Sternberg's radical stylization proved as provocative...
2687
03:06:38,270 --> 03:06:41,467
as Stroheim's extreme realism.
2688
03:06:41,573 --> 03:06:45,236
Each film became a ceremonial with the director orchestrating...
2689
03:06:45,343 --> 03:06:48,369
the most elaborate, erotic rituals around his star,
2690
03:06:48,480 --> 03:06:51,108
Marlene Dietrich.
2691
03:06:51,216 --> 03:06:53,616
Of the seven films Sternberg made with Dietrich,
2692
03:06:53,718 --> 03:06:57,210
The Scarlet Empress wasthe most baroque and the boldest...
2693
03:06:57,322 --> 03:06:59,586
in its depiction of erotic manipulation...
2694
03:06:59,691 --> 03:07:03,218
as it traced the transformation of an innocent Prussian princess...
2695
03:07:03,328 --> 03:07:07,560
into Catherine the Great, the empress of Russia.
2696
03:07:07,666 --> 03:07:11,295
The woman you adore is quite close to you, isn't she?
2697
03:07:11,403 --> 03:07:14,429
Catherine, I love you, worship you.
2698
03:07:17,742 --> 03:07:22,645
As the heroine quickly discovered, political power and sexual power were inseparable.
2699
03:07:26,785 --> 03:07:29,345
Her battles were waged in the bedroom...
2700
03:07:29,454 --> 03:07:32,821
as she learned the art of choosing and changing lovers at the right time.
2701
03:07:37,128 --> 03:07:39,187
Catherine showed such considerable skills...
2702
03:07:39,297 --> 03:07:42,289
that she even challenged traditional sexual roles.
2703
03:07:42,400 --> 03:07:46,029
Behind the mirror, as you know, there's a flight of stairs.
2704
03:07:46,137 --> 03:07:49,595
Down below someone is waiting to come up.
2705
03:07:49,708 --> 03:07:53,610
Will His Excellency be kind enough to open the door for him carefully...
2706
03:07:53,712 --> 03:07:55,612
so that he can sneak in?
2707
03:08:03,355 --> 03:08:07,189
Nothing escaped Sternberg's artistic control.
2708
03:08:07,292 --> 03:08:10,386
He wrote the script, conceived the lighting,
2709
03:08:10,495 --> 03:08:12,463
composed some of the music,
2710
03:08:12,564 --> 03:08:14,828
directed the Los Angeles Symphonic Orchestra,
2711
03:08:14,933 --> 03:08:16,833
helped design the sets and sculptures,
2712
03:08:16,935 --> 03:08:19,995
Why did you send my mother away? What wrong had she done?
2713
03:08:20,105 --> 03:08:22,733
And probably selected every icon himself.
2714
03:08:25,777 --> 03:08:29,076
He even claimed that Marlene was just another tool.
2715
03:08:31,683 --> 03:08:36,313
He said, Remember that Marleneis not Marlene... I'm Marlene.
2716
03:08:36,421 --> 03:08:38,321
She knows that better than anyone.
2717
03:08:39,424 --> 03:08:41,255
That must be Peter.
2718
03:08:41,359 --> 03:08:44,260
Go and see if it is and tell him to come here at once.
2719
03:08:45,997 --> 03:08:49,899
Your Imperial Highness, Her Majesty wishes to see you at once.
2720
03:08:50,001 --> 03:08:52,629
To the artist, insisted Sternberg,
2721
03:08:52,737 --> 03:08:56,002
the subject is incidental, and only his vision matters.
2722
03:08:56,107 --> 03:08:59,406
He said, The camera is a diabolical instrument...
2723
03:08:59,511 --> 03:09:02,446
that conveys ideas with lightning speed.
2724
03:09:02,547 --> 03:09:05,948
Each picture transliterates a thousand words.
2725
03:09:08,053 --> 03:09:11,648
Perhaps the greatest iconoclast of them all was also the youngest...
2726
03:09:11,756 --> 03:09:13,656
Orson Welles.
2727
03:09:13,758 --> 03:09:18,320
The downright villainy of Boss Jim W. Gettys' political machine,
2728
03:09:18,430 --> 03:09:20,489
now in complete control...
2729
03:09:20,598 --> 03:09:23,499
He was 25 when he landed in Hollywood.
2730
03:09:23,601 --> 03:09:27,230
I made no campaign promises...
2731
03:09:27,338 --> 03:09:30,330
because, until a few weeks ago,
2732
03:09:30,442 --> 03:09:33,343
I had no hope of being elected.
2733
03:09:33,445 --> 03:09:37,381
Now, however, I have something more than a hope.
2734
03:09:39,484 --> 03:09:41,384
And Jim Gettys...
2735
03:09:41,486 --> 03:09:44,683
Jim Gettys has something less than a chance.
2736
03:09:44,789 --> 03:09:47,587
In the wakeof his radio show War of the Worlds,
2737
03:09:47,692 --> 03:09:51,423
the young prodigy was given unprecedented latitude by RKO,
2738
03:09:51,529 --> 03:09:53,429
including what's known today as...
2739
03:09:53,531 --> 03:09:56,261
the right to final cut.
2740
03:09:56,367 --> 03:09:58,801
At the time only screen legend Charlie Chaplin...
2741
03:09:58,903 --> 03:10:02,031
enjoyed such creative control over his productions.
2742
03:10:02,140 --> 03:10:05,234
For his first film Welles set out to explore the many facets...
2743
03:10:05,343 --> 03:10:08,244
of media baron William Randolph Hearst,
2744
03:10:08,346 --> 03:10:12,442
whose abuse of wealth and power defied America's democratic traditions.
2745
03:10:14,219 --> 03:10:16,119
Some in Hollywood were so incensed...
2746
03:10:16,221 --> 03:10:20,123
that they put pressure on RKO to destroy the negative.
2747
03:10:20,225 --> 03:10:22,625
Fortunately, they didn't succeed.
2748
03:10:28,366 --> 03:10:32,268
Welles was like a young magician enchanted by his own magic.
2749
03:10:32,370 --> 03:10:35,271
In fact, the most revolutionary aspectof Citizen Kane...
2750
03:10:35,373 --> 03:10:37,273
was its self-consciousness.
2751
03:10:37,375 --> 03:10:39,935
The style drew attention to itself.
2752
03:10:41,779 --> 03:10:43,474
Rosebud.
2753
03:10:48,620 --> 03:10:50,520
Now, this contradicted the classical ideal...
2754
03:10:50,622 --> 03:10:53,113
of the invisible camera and seamless cuts.
2755
03:10:53,224 --> 03:10:56,193
Welles used every narrative technique and filmic device...
2756
03:10:56,294 --> 03:10:59,195
deep focus, high and low angles, wide-angle lenses.
2757
03:10:59,297 --> 03:11:01,697
I want to use the motion picture camera...
2758
03:11:01,799 --> 03:11:03,824
as an instrument of poetry, he said.
2759
03:11:03,935 --> 03:11:06,836
And somehow Welles'passion for the medium...
2760
03:11:06,938 --> 03:11:09,566
became the great excitement of the piece itself.
2761
03:11:11,543 --> 03:11:16,674
Now, you see, I had the best contract that anybody's ever had for Kane.
2762
03:11:16,781 --> 03:11:20,808
Nobody comes on the set; nobody gets to look at the rushes; nothing.
2763
03:11:20,919 --> 03:11:23,820
You just make the picture and that's it.
2764
03:11:23,922 --> 03:11:26,823
If I hadn't had that contract, they've would've stopped me at the beginning,
2765
03:11:26,925 --> 03:11:28,825
just by the nature of the script.
2766
03:11:28,927 --> 03:11:32,829
But it was such conditions... I've never had anything remotely equal...
2767
03:11:32,931 --> 03:11:34,831
to that contract since.
2768
03:11:34,933 --> 03:11:37,333
So it isn't just the success.
2769
03:11:37,435 --> 03:11:41,394
What spoiled me is having had the joy of that kind of liberty...
2770
03:11:41,506 --> 03:11:43,406
once in my life...
2771
03:11:43,508 --> 03:11:47,842
and never having been able to enjoy it again.
2772
03:11:47,946 --> 03:11:51,177
George Amberson Minafer walked homeward slowly...
2773
03:11:51,282 --> 03:11:55,685
through what seemed to be the strange streets of a strange city.
2774
03:11:55,787 --> 03:11:59,587
For the town was growing and changing.
2775
03:11:59,691 --> 03:12:03,286
It was heaving up in the middle incredibly.
2776
03:12:03,394 --> 03:12:05,794
It was spreading incredibly.
2777
03:12:05,897 --> 03:12:10,197
And as it heaved and spread, it befouled itself...
2778
03:12:10,301 --> 03:12:12,201
and darkened its sky.
2779
03:12:13,805 --> 03:12:16,706
Orson Welles inspired more would-be directors...
2780
03:12:16,808 --> 03:12:19,709
than any other filmmaker since D. W. Griffith.
2781
03:12:19,811 --> 03:12:22,712
Yet Welles didn't change the status of the Hollywood director.
2782
03:12:22,814 --> 03:12:25,715
He actually lost all his privileges a year later...
2783
03:12:25,817 --> 03:12:27,944
on The Magnificent Ambersons,
2784
03:12:28,052 --> 03:12:32,455
which was chopped down and partially reshot in his absence.
2785
03:12:34,225 --> 03:12:37,626
Do you know that I always liked Hollywood very much.
2786
03:12:37,729 --> 03:12:40,562
It just wasn't reciprocated.
2787
03:12:42,667 --> 03:12:46,569
Throughout his career, Welles pushed the creative envelope in so many ways.
2788
03:12:46,671 --> 03:12:49,902
To trace Kane's political ambitions, for instance,
2789
03:12:50,008 --> 03:12:51,873
he created fake newsreel footage.
2790
03:12:51,976 --> 03:12:53,876
To give it the appropriate look,
2791
03:12:53,978 --> 03:12:57,641
he had editor Robert Wise drag the film across a concrete floor.
2792
03:12:57,749 --> 03:13:00,115
Here was an opportunity for Welles to recall...
2793
03:13:00,218 --> 03:13:02,243
William Randolph Hearst's fondness for dictators.
2794
03:13:02,353 --> 03:13:06,255
You saw Kane posing with Hitler for the photographers.
2795
03:13:06,357 --> 03:13:09,258
Now, at the same time, in his first talking picture,
2796
03:13:09,360 --> 03:13:12,693
Chaplin dared to aim at the Fascist powers directly.
2797
03:13:12,797 --> 03:13:15,698
At the risk of infuriating America's isolationist forces,
2798
03:13:15,800 --> 03:13:17,700
Chaplin took on the dictator singlehandedly.
2799
03:13:17,802 --> 03:13:19,702
Und now, derJuden.
2800
03:13:21,806 --> 03:13:23,706
DerJuden!
2801
03:13:46,130 --> 03:13:47,859
DerJuden.
2802
03:13:47,965 --> 03:13:51,332
Ohhhh, derJuden.
2803
03:13:51,436 --> 03:13:55,463
His Excellency has just referred to theJewish people.
2804
03:13:55,573 --> 03:13:58,098
A comedy drawing on such topical horrors...
2805
03:13:58,209 --> 03:14:01,178
as racial persecutions and concentration camps,
2806
03:14:01,279 --> 03:14:04,680
The Great Dictator presented Chaplinwith another major challenge:
2807
03:14:04,782 --> 03:14:06,682
He gave himself a double role,
2808
03:14:06,784 --> 03:14:08,684
that of the monster dictator Hynkel...
2809
03:14:08,786 --> 03:14:12,187
and the victim, theJewish barber.
2810
03:14:17,795 --> 03:14:22,198
Of course, even the renegades like Chaplin and Welles had to work around the censors.
2811
03:14:22,300 --> 03:14:24,268
Attention!
2812
03:14:24,369 --> 03:14:28,271
The content of American films was still strictly controlled.
2813
03:14:28,373 --> 03:14:31,774
Adult themes and images were too often curtailed or suppressed.
2814
03:14:34,112 --> 03:14:36,012
But after World War Two,
2815
03:14:36,114 --> 03:14:39,015
audiences wanted pictures to be truer to life.
2816
03:14:39,117 --> 03:14:41,950
A few of our filmmakers started challenging the rules.
2817
03:14:42,053 --> 03:14:44,214
Hey, Stella!
2818
03:14:44,322 --> 03:14:47,223
You quit that howlin' down there and go to bed!
2819
03:14:47,325 --> 03:14:50,226
- Joyce, I want my girl down here! - You shut up!
2820
03:14:50,328 --> 03:14:53,229
Elia Kazan led the assault.
2821
03:14:54,632 --> 03:14:58,124
Hey, Stella!
2822
03:15:00,071 --> 03:15:02,471
Hey, Stella!
2823
03:15:07,578 --> 03:15:12,481
His Streetcar Named Desire caused the first major breach in Hollywood's Production Code.
2824
03:15:12,583 --> 03:15:14,483
I wouldn't mix in this.
2825
03:15:23,861 --> 03:15:27,194
Kazan fought tooth and nail, frame by frame,
2826
03:15:27,298 --> 03:15:31,701
to preserve the integrity of Tennessee Williams'drama when he adapted it to the screen.
2827
03:15:34,305 --> 03:15:37,206
This meant exposing the overtly carnal desires...
2828
03:15:37,308 --> 03:15:41,972
of Stanley and his battered, pregnant wife Stella.
2829
03:15:42,079 --> 03:15:45,981
Now, these close shots of Kim Hunter were not in the film...
2830
03:15:46,083 --> 03:15:47,983
as it was originally released...
2831
03:15:48,085 --> 03:15:52,488
because the Legion of Decency objected to their sensuality.
2832
03:15:57,261 --> 03:15:59,388
The studio decided to cut them...
2833
03:15:59,497 --> 03:16:02,398
and replace the jazz score with more conventional music.
2834
03:16:16,948 --> 03:16:19,508
Don't ever leave me, baby.
2835
03:16:21,118 --> 03:16:25,487
The camera is more than a recorder... it's a microscope.
2836
03:16:25,590 --> 03:16:28,423
It penetrates. It goes into people.
2837
03:16:28,526 --> 03:16:32,428
You see their most private and concealed thoughts.
2838
03:16:32,530 --> 03:16:35,431
I'm able... I have been able to do that with actors.
2839
03:16:35,533 --> 03:16:39,264
I mean, I've revealed things that actors didn't know they were revealing about themselves.
2840
03:16:39,370 --> 03:16:42,203
You know, I seen you a lot of times before.
2841
03:16:42,306 --> 03:16:45,207
Remember parochial school out on Paluski Street?
2842
03:16:45,309 --> 03:16:48,278
Seven, eight years ago. Your hair... Had your hair, uh...
2843
03:16:48,379 --> 03:16:50,370
Braids. That's right.
2844
03:16:50,481 --> 03:16:52,381
Looked like a hunk of rope.
2845
03:16:52,483 --> 03:16:56,579
You had wires on your teeth and glasses, everything.
2846
03:16:56,687 --> 03:16:58,587
You was really a mess.
2847
03:16:58,689 --> 03:17:01,715
I was 12 years oldwhen I saw On The Waterfront.
2848
03:17:01,826 --> 03:17:03,726
It was a breakthrough for me.
2849
03:17:03,828 --> 03:17:06,228
Don't get sore. I'm just kidding you.
2850
03:17:06,330 --> 03:17:09,731
I just mean to tell you that you... grew up very nice.
2851
03:17:09,834 --> 03:17:12,302
Kazan was forging a new acting style.
2852
03:17:14,405 --> 03:17:16,305
Edie?
2853
03:17:18,910 --> 03:17:20,810
Edie?
2854
03:17:20,912 --> 03:17:22,812
It had the appearance of realism,
2855
03:17:22,914 --> 03:17:25,815
but actually it revealed the natural behavior of people...
2856
03:17:25,917 --> 03:17:30,081
and the truth in that behavior that I'd never seen before on the screen.
2857
03:17:30,187 --> 03:17:32,087
Stay away from me!
2858
03:17:32,189 --> 03:17:36,387
Brando, Kazan said, was the only actor I could describe as a genius.
2859
03:17:36,494 --> 03:17:39,952
He had that ambivalence that I believe is essential in depicting humanity...
2860
03:17:40,064 --> 03:17:42,259
Come on! Open the door, please!
2861
03:17:42,366 --> 03:17:44,266
- both strength...- Stop it!
2862
03:17:44,368 --> 03:17:46,268
And sensibility.
2863
03:17:47,805 --> 03:17:49,534
I want you to stay away from me.
2864
03:17:49,640 --> 03:17:52,768
I know what you want me to do, but I ain't gonna do it, so forget it!
2865
03:17:52,877 --> 03:17:57,246
I don't want you to do anything. You let your conscience tell you what to do.
2866
03:17:57,348 --> 03:18:00,374
Shut up about that conscience. That's all I been hearin'.
2867
03:18:00,518 --> 03:18:04,010
I never mentioned the word before. You just stay away from me!
2868
03:18:04,088 --> 03:18:06,989
Edie, you love me. I want you to...
2869
03:18:07,091 --> 03:18:10,492
I didn't say I didn't love you. I said stay away from me!
2870
03:18:10,595 --> 03:18:13,496
- I want you to say it to me. - Stay away from me!
2871
03:18:28,679 --> 03:18:33,013
Elia Kazan paved the way for the iconoclasts of the '50s and '60s.
2872
03:18:33,117 --> 03:18:35,517
They were writer-directors and writer-producers,
2873
03:18:35,620 --> 03:18:39,579
men like Robert Aldrich, Richard Brooks,
2874
03:18:39,690 --> 03:18:43,182
Robert Rossen, Billy Wilder,
2875
03:18:43,294 --> 03:18:45,194
and among the younger generation...
2876
03:18:45,296 --> 03:18:47,696
Arthur Penn and Sam Peckinpah.
2877
03:18:47,798 --> 03:18:50,699
They all defied the guardians of public morality...
2878
03:18:50,801 --> 03:18:53,964
by daring to tackle controversial issues like racism,
2879
03:18:54,071 --> 03:18:57,563
inner-city violence, juvenile delinquency,
2880
03:18:57,675 --> 03:19:00,803
homosexuality, war atrocities,
2881
03:19:00,911 --> 03:19:02,811
the death penalty.
2882
03:19:02,913 --> 03:19:05,143
A new reality was hitting the screens.
2883
03:19:05,249 --> 03:19:08,150
I think producer-director Otto Preminger did more than anyone else...
2884
03:19:08,252 --> 03:19:11,153
to bring about the demise of the Production Code.
2885
03:19:11,255 --> 03:19:14,156
His crusade against censorshipled him from The Moon Is Blue,
2886
03:19:14,258 --> 03:19:16,783
a comedy about professional virgins,
2887
03:19:16,894 --> 03:19:18,794
to Advise & Consent,
2888
03:19:18,896 --> 03:19:20,796
which exposed political corruption in Washington...
2889
03:19:20,898 --> 03:19:22,798
and even showed gay bars.
2890
03:19:22,900 --> 03:19:26,495
He was among the first to challenge the blacklists by hiring Dalton Trumbo,
2891
03:19:26,604 --> 03:19:28,504
one of the Hollywood Ten,
2892
03:19:28,606 --> 03:19:30,506
to write Exodus.
2893
03:19:30,608 --> 03:19:33,008
One of Preminger's most important victories was scored...
2894
03:19:33,110 --> 03:19:36,011
when he made the filmThe Man With the Golden Arm,
2895
03:19:36,113 --> 03:19:39,014
probably the first honest depiction of drug addiction...
2896
03:19:39,116 --> 03:19:40,947
on American screens.
2897
03:19:41,052 --> 03:19:44,453
Here's Frank Sinatra, in one of his most memorable performances,
2898
03:19:44,555 --> 03:19:47,456
as a heroin addict going through withdrawal.
2899
03:20:04,909 --> 03:20:06,809
Let me out!
2900
03:20:09,747 --> 03:20:11,647
Ohh!
2901
03:20:15,553 --> 03:20:17,453
Out!
2902
03:20:17,555 --> 03:20:19,955
Come on! Let me out!
2903
03:20:21,292 --> 03:20:23,192
Ohh!
2904
03:20:25,196 --> 03:20:27,391
Ohh!
2905
03:20:31,435 --> 03:20:34,836
And don't try to come back, or I'll throw you out again!
2906
03:20:34,939 --> 03:20:38,102
Alexander Mackendrick'sSweet Smell of Success...
2907
03:20:38,209 --> 03:20:40,609
exposed a different kind of addiction...
2908
03:20:40,711 --> 03:20:42,611
the addiction to power.
2909
03:20:42,713 --> 03:20:44,613
I love this dirty town.
2910
03:20:44,715 --> 03:20:48,617
The arena was Broadway, with Burt Lancaster portrayingJ.J. Hunsecker,
2911
03:20:48,719 --> 03:20:50,619
the master manipulator.
2912
03:20:51,956 --> 03:20:54,186
In Clifford Odets and Ernest Lehman's screenplay,
2913
03:20:54,291 --> 03:20:58,227
the formidable newspaper and radio columnist was to show business...
2914
03:20:58,329 --> 03:21:01,321
what Senator McCarthy was to Cold War politics.
2915
03:21:01,432 --> 03:21:03,730
His fear and intimidation tactics...
2916
03:21:03,834 --> 03:21:06,064
made him a national institution,
2917
03:21:06,170 --> 03:21:10,163
but his ruthless world flickered in a moral twilight.
2918
03:21:18,716 --> 03:21:22,015
Manny, tell me, what exactly are the...
2919
03:21:22,119 --> 03:21:26,021
unseen gifts of this lovely young thing that you manage?
2920
03:21:27,291 --> 03:21:29,191
Well, she sings a little.
2921
03:21:29,293 --> 03:21:31,193
You know, she sings...
2922
03:21:31,295 --> 03:21:34,696
Manny's faith in me is simply awe-inspiring, Mr. Hunsecker.
2923
03:21:34,799 --> 03:21:37,233
- Actually, I'm still studying. - What subject?
2924
03:21:37,334 --> 03:21:39,234
Singing, of course.
2925
03:21:39,336 --> 03:21:41,304
Straight concert and...
2926
03:21:41,405 --> 03:21:44,499
Why, of course. You might, for instance, be studying politics.
2927
03:21:44,608 --> 03:21:46,508
Uh... me?
2928
03:21:46,610 --> 03:21:48,510
- Well, you see, J. J... - I mean, I?
2929
03:21:48,612 --> 03:21:50,512
Y-You must be kidding, Mr. Hunsecker.
2930
03:21:50,614 --> 03:21:53,014
Me, with myJersey City brains?
2931
03:21:53,117 --> 03:21:56,518
I know. That wonder boy of yours opens at the Latin Quarter next week.
2932
03:21:56,620 --> 03:21:58,520
- J.J., uh... - Say good-bye, Lester.
2933
03:21:58,622 --> 03:22:02,080
J.J.'s power is based on a network of informers and sycophants.
2934
03:22:02,193 --> 03:22:06,095
That's the only reason the poor slobs pay you... to see their names in my column.
2935
03:22:06,197 --> 03:22:09,098
- Now I make it out you're doing me a favor? - I didn't say tha...
2936
03:22:09,200 --> 03:22:12,101
The day I can't get along without a press agent's handouts,
2937
03:22:12,203 --> 03:22:14,728
I'll close up and move to Alaska.
2938
03:22:14,839 --> 03:22:16,898
Sweep out my igloo. Here I come.
2939
03:22:17,007 --> 03:22:20,306
Manny, you rode in here on the senator's shirttails, so shut your mouth.
2940
03:22:20,411 --> 03:22:23,244
Now, come, J.J. That's a little too harsh.
2941
03:22:23,347 --> 03:22:26,248
Anyone seems fair game for you tonight.
2942
03:22:26,350 --> 03:22:31,549
This man is not for you, Harvey, and you shouldn't be seen in public with him.
2943
03:22:31,655 --> 03:22:34,556
Because that's another part of a press agent's life.
2944
03:22:34,658 --> 03:22:37,559
They dig up scandal about prominent people and shovel it thin...
2945
03:22:37,661 --> 03:22:39,561
among columnists who give them space.
2946
03:22:39,663 --> 03:22:43,497
There seems to be some allusion here that escapes me.
2947
03:22:43,601 --> 03:22:45,501
We're friends, Harvey.
2948
03:22:45,603 --> 03:22:49,095
We go as far back as when you were a fresh kid congressman, don't we?
2949
03:22:49,206 --> 03:22:52,334
Why is it that everything you say sounds like a threat?
2950
03:22:52,443 --> 03:22:55,469
Maybe it's a mannerism, because I don't threaten friends.
2951
03:22:55,579 --> 03:22:58,480
But why furnish your enemies with ammunition?
2952
03:22:58,582 --> 03:23:02,882
You're a family man, Harvey, and someday, God willing, you may want to be president.
2953
03:23:02,987 --> 03:23:05,888
And here you are, out in the open,
2954
03:23:05,990 --> 03:23:11,257
where any hep person knows that this one is toting that one around for you.
2955
03:23:15,299 --> 03:23:17,392
Are we kids, or what?
2956
03:23:18,836 --> 03:23:21,737
Next time you come up you might join me on my TV show.
2957
03:23:21,839 --> 03:23:25,741
Thanks, J.J., for what I consider sound advice.
2958
03:23:25,843 --> 03:23:27,868
Go now, and sin no more.
2959
03:23:35,085 --> 03:23:38,987
Let's not forget that comedies can be just as iconoclastic as dramas.
2960
03:23:39,089 --> 03:23:41,922
Billy Wilder's work, first as a writer in the 1930s,
2961
03:23:42,026 --> 03:23:45,928
then as a writer-director from the '40s on, is a perfect example.
2962
03:23:46,030 --> 03:23:49,932
Over the years Wilder's wit only grew more abrasive.
2963
03:23:50,034 --> 03:23:52,935
Instead of sweetening his brews, he kept adding more acid.
2964
03:23:53,037 --> 03:23:54,937
- Sind Sie ein Amerikanischer Spion? - Nein!
2965
03:23:55,039 --> 03:23:57,940
You won't find a more iconoclastic film in the Kennedy years...
2966
03:23:58,042 --> 03:23:59,942
than his film One, Two, Three,
2967
03:24:02,546 --> 03:24:06,676
A savage political farce that dared ridicule all ideologies at the height of the Cold War.
2968
03:24:09,286 --> 03:24:11,686
- Hey! - MacNamara!
2969
03:24:11,789 --> 03:24:15,190
If it isn't my old friends Hart, Schaffner and Karl Marx.
2970
03:24:15,292 --> 03:24:18,693
- I see you bring blonde lady with you. - Ring-a-ding-ding!
2971
03:24:18,796 --> 03:24:21,697
James Cagney plays a Coca-Cola executive who has enrolled his secretary...
2972
03:24:21,799 --> 03:24:24,199
to hoodwink the Soviet commissars in East Berlin.
2973
03:24:24,301 --> 03:24:26,701
To what do we owe this unexpected pleasure?
2974
03:24:26,804 --> 03:24:29,705
- You're a trade commission. I thought we might trade. - Coca-Cola?
2975
03:24:29,807 --> 03:24:32,708
No. But I hear you boys would like Fraulein Ingeborg to go to work for you.
2976
03:24:32,810 --> 03:24:34,710
- You wanna trade your secretary? - Right.
2977
03:24:34,812 --> 03:24:36,712
- For Russian secretary? - Wrong.
2978
03:24:36,814 --> 03:24:39,715
I do not blame you. Ours is built like bowlegged samovar.
2979
03:24:44,321 --> 03:24:47,722
We find proposition very interesting. Now, what can we offer you?
2980
03:24:47,825 --> 03:24:49,725
All I want from you is a small favor.
2981
03:24:49,827 --> 03:24:51,727
Small favor, big favor. Anything.
2982
03:24:51,829 --> 03:24:54,889
There's a guy named Otto Ludwig Piffl being held by the East German police.
2983
03:24:54,999 --> 03:24:57,399
- For what reason? - Son of a gun stole my cuckoo clock.
2984
03:24:57,501 --> 03:24:59,401
- You want cuckoo clock back? - Wrong.
2985
03:24:59,503 --> 03:25:01,403
- You want Piffl back. - Right.
2986
03:25:01,505 --> 03:25:04,406
Impossible, my friend. We cannot interfere with internal affairs...
2987
03:25:04,508 --> 03:25:06,408
of sovereign republic of East Germany.
2988
03:25:06,510 --> 03:25:09,411
- No Piffl, no deal. Let's go, Ingeborg. - Wait! What is the hurry?
2989
03:25:09,513 --> 03:25:11,413
You're not giving us a chance.
2990
03:25:11,515 --> 03:25:14,916
Is old Russian proverb: You cannot milk cow with hands in pockets.
2991
03:25:15,019 --> 03:25:18,420
Herr Ober! Vodka! Caviar!
2992
03:25:18,522 --> 03:25:21,423
Herr Kapellmeister, more rock and roll!
2993
03:25:27,865 --> 03:25:30,766
Wilder's transgressions of political correctness...
2994
03:25:30,868 --> 03:25:33,268
matched his transgressions of good taste.
2995
03:25:33,370 --> 03:25:37,363
To Wilder, good taste was another name for censorship.
2996
03:25:37,474 --> 03:25:40,307
I'm accused of being vulgar, he would say.
2997
03:25:40,411 --> 03:25:43,312
So much the better, that proves I'm closer to life.
2998
03:25:43,414 --> 03:25:46,042
The picture was hit by a change in attitude.
2999
03:25:46,150 --> 03:25:51,281
The wall was built, nobody could get through East Berlin to West Berlin and vice versa.
3000
03:25:51,388 --> 03:25:54,789
The desire of the audience to laugh was strong.
3001
03:25:56,226 --> 03:25:58,126
About 25 years later,
3002
03:25:58,228 --> 03:26:00,628
it became a smash hit in Germany.
3003
03:26:00,731 --> 03:26:02,824
Everybody went to see it because...
3004
03:26:02,933 --> 03:26:07,836
the wall was gone and, uh...
3005
03:26:07,938 --> 03:26:11,772
it was not gone yet, but it had eased, you know, that whole thing.
3006
03:26:11,875 --> 03:26:15,276
And it became... it became, uh...
3007
03:26:15,379 --> 03:26:20,840
it became a kind of a historic vignette...
3008
03:26:20,951 --> 03:26:23,852
of the silliness of the Russians...
3009
03:26:23,954 --> 03:26:26,252
and the stupidity of the Americans.
3010
03:26:26,356 --> 03:26:28,551
Come on, everything. Get it up here.
3011
03:26:28,659 --> 03:26:33,358
By the late 1960s the Production Code was almost defunct.
3012
03:26:33,464 --> 03:26:36,900
- Bonnie and Clyde put the nail in the coffin.- Clyde, where's the car?
3013
03:26:37,034 --> 03:26:39,969
What did he do? Where's the car?
3014
03:26:40,037 --> 03:26:42,437
Where did he go?
3015
03:26:42,539 --> 03:26:45,565
Here!
3016
03:26:45,676 --> 03:26:48,474
The old studio system...
3017
03:26:48,579 --> 03:26:50,479
was so hypocritical.
3018
03:26:50,581 --> 03:26:54,984
They were constantly fearful of being accused of instilling in youth...
3019
03:26:55,085 --> 03:26:57,417
the glory of the outlaw.
3020
03:26:57,521 --> 03:27:00,786
So they had these rules, for instance,
3021
03:27:00,891 --> 03:27:05,089
that you couldn't even fire a gun in the same frame with somebody getting hit.
3022
03:27:05,195 --> 03:27:09,097
You had to have, literally, a film cut in between.
3023
03:27:15,672 --> 03:27:18,835
So I thought, if we're gonna show this, we should show it.
3024
03:27:18,942 --> 03:27:22,901
We should show what it looks like when somebody gets shot,
3025
03:27:23,013 --> 03:27:26,471
that shooting somebody is not a sanitized event.
3026
03:27:26,583 --> 03:27:28,983
It's not immaculate.
3027
03:27:29,086 --> 03:27:30,986
There's an enormous amount of blood.
3028
03:27:31,088 --> 03:27:35,684
There's an enormous amount of... of horror of change...
3029
03:27:35,792 --> 03:27:37,783
that takes place when that occurs.
3030
03:27:39,196 --> 03:27:42,165
We were in the middle of the Vietnamese war.
3031
03:27:42,266 --> 03:27:46,225
What you saw on television wasevery bit... perhaps even more bloody...
3032
03:27:46,336 --> 03:27:49,396
than what we were showing on film.
3033
03:27:53,210 --> 03:27:54,871
Hey...
3034
03:28:35,786 --> 03:28:38,186
The Production Code didn't survive the late '60s.
3035
03:28:38,288 --> 03:28:41,121
Bonnie and Clydeand The Wild Bunch disposed of it.
3036
03:28:41,225 --> 03:28:44,126
Today the violence in films is certainly more graphic.
3037
03:28:44,228 --> 03:28:46,423
The last frontier may be sexuality,
3038
03:28:46,530 --> 03:28:50,398
and beyond sexuality the complexity of the human psyche.
3039
03:28:50,500 --> 03:28:53,867
This is the territory that Stanley Kubrick has been mining in his films.
3040
03:28:53,971 --> 03:28:58,738
Like Kazan, Kubrick was a New York maverick who grew into an iconoclast.
3041
03:28:58,842 --> 03:29:01,743
He emerged from independent production and film noir...
3042
03:29:01,845 --> 03:29:03,972
to create his own unique, visionary worlds.
3043
03:29:04,081 --> 03:29:05,981
His association with Kirk Douglas...
3044
03:29:06,083 --> 03:29:07,983
on Paths of Glory and Spartacus...
3045
03:29:08,085 --> 03:29:09,985
established him as a major player,
3046
03:29:10,087 --> 03:29:12,988
but he couldn't stand being an employee on studio projects...
3047
03:29:13,090 --> 03:29:15,991
and moved to London to make Lolita.
3048
03:29:16,093 --> 03:29:19,324
He stayed there and hasn't worked in Hollywood since.
3049
03:29:19,429 --> 03:29:21,329
He's one of the rare iconoclasts...
3050
03:29:21,431 --> 03:29:24,832
who's enjoyed the luxury of operating completely on his own terms.
3051
03:29:25,969 --> 03:29:27,869
Back here we have the kitchen.
3052
03:29:27,971 --> 03:29:30,872
- That's where we have our informal meals. - Perhaps if you'd...
3053
03:29:30,974 --> 03:29:32,874
My pastries win prizes around here.
3054
03:29:32,976 --> 03:29:36,377
If you'd let me have your phone number, that would give me a chance to think it over.
3055
03:29:36,480 --> 03:29:39,574
Here's James Mason as a European intellectual discovering the trappings...
3056
03:29:39,683 --> 03:29:41,514
of small-town America.
3057
03:29:41,618 --> 03:29:43,916
Oh, you must see the garden before you go.
3058
03:29:44,021 --> 03:29:47,149
My flowers win prizes around here.
3059
03:29:47,257 --> 03:29:49,157
They're the talk of the neighborhood.
3060
03:29:49,259 --> 03:29:51,227
VoilĖj!
3061
03:29:51,328 --> 03:29:53,728
My yellow roses.
3062
03:29:53,830 --> 03:29:56,390
My... Uh... Oh. My daughter.
3063
03:29:56,500 --> 03:29:59,401
Uh, darling, turn that down, please.
3064
03:29:59,503 --> 03:30:02,404
I could offer you a comfortable home...
3065
03:30:02,506 --> 03:30:05,839
With a sunny garden, a congenial atmosphere, my cherry pie.
3066
03:30:05,942 --> 03:30:07,842
When Kubrick made Lolita,
3067
03:30:07,944 --> 03:30:11,505
the subject of a middle-aged man infatuated with a sexually precocious minor...
3068
03:30:11,615 --> 03:30:13,515
was still completely taboo.
3069
03:30:13,617 --> 03:30:15,517
We haven't discussed, uh, how much.
3070
03:30:15,619 --> 03:30:17,519
Oh, uh, something nominal. Let's say...
3071
03:30:17,621 --> 03:30:20,522
This was not the contraband of a smuggler, - 200 a month?
3072
03:30:20,624 --> 03:30:22,990
But open defiance.
3073
03:30:23,093 --> 03:30:26,460
Including meals and late snacks, et cetera.
3074
03:30:26,563 --> 03:30:30,727
- You're a very persuasive salesman, Mrs. Haze.- Thank you. Uh...
3075
03:30:30,834 --> 03:30:33,997
What was the decisive factor? Uh, my garden?
3076
03:30:36,106 --> 03:30:38,438
I think it was your... cherry pies.
3077
03:30:38,542 --> 03:30:40,942
Ohh!
3078
03:30:44,214 --> 03:30:48,913
Why were you so late coming home from school yesterday afternoon?
3079
03:30:49,019 --> 03:30:51,180
Yesterday. Yesterday. What was yesterday?
3080
03:30:51,288 --> 03:30:53,188
Yesterday was Thursday.
3081
03:30:53,290 --> 03:30:55,190
That's right. That's right.
3082
03:30:55,292 --> 03:30:58,887
Michelle and I, um, stayed to watch football practice.
3083
03:30:58,995 --> 03:31:03,056
- In the Frigid Queen? - What do you mean, In the Frigid Queen?
3084
03:31:03,166 --> 03:31:08,069
I was driving around and I thought I saw you through the window.
3085
03:31:08,171 --> 03:31:11,868
Oh. Yeah. Well, we stopped there for a malt afterwards.
3086
03:31:11,975 --> 03:31:13,875
What difference does it make?
3087
03:31:13,977 --> 03:31:17,310
You were sitting at a table with two boys.
3088
03:31:17,414 --> 03:31:19,314
I told you, no dates.
3089
03:31:19,416 --> 03:31:21,941
- It wasn't a date. - It was a date.
3090
03:31:22,052 --> 03:31:24,179
- It wasn't a date. - It was a date, Lolita.
3091
03:31:24,321 --> 03:31:26,221
- It was not a date. - It was a date!
3092
03:31:26,323 --> 03:31:28,314
It wasn't a date.
3093
03:31:28,392 --> 03:31:32,158
Whatever it was that you had yesterday afternoon, I don't want you to have it again.
3094
03:31:32,262 --> 03:31:36,255
And while we're on the subject, how did you come to be so late on Saturday afternoon?
3095
03:31:36,366 --> 03:31:39,267
Professor Humbert's fall befits his transgression.
3096
03:31:39,369 --> 03:31:42,270
- Where have you put her? - Get your hands off her!
3097
03:31:42,372 --> 03:31:44,272
- Where is she? - Obsessed with Lolita,
3098
03:31:44,374 --> 03:31:46,274
who's now run away from him,
3099
03:31:46,376 --> 03:31:48,276
he undergoes a mental breakdown.
3100
03:31:48,378 --> 03:31:50,278
- Hold it now! - Don't let go!
3101
03:31:50,380 --> 03:31:53,281
The satirical comedy turns into a bizarre tragedy.
3102
03:31:53,383 --> 03:31:55,613
Let's get this business straight.
3103
03:31:55,719 --> 03:31:58,916
This girl was officially discharged earlier tonight in the care of her uncle.
3104
03:31:59,022 --> 03:32:00,922
If you say so.
3105
03:32:01,024 --> 03:32:03,925
Well, has she or hasn't she an uncle?
3106
03:32:04,027 --> 03:32:08,157
- All right, let's say she has an uncle. - What do you mean, let's say?
3107
03:32:08,265 --> 03:32:10,165
Uh, all right. She has an uncle.
3108
03:32:10,267 --> 03:32:13,168
Uncle Gus. Uh, yes, I remember now.
3109
03:32:13,270 --> 03:32:16,467
He was going t-to pick her up here at the hospital.
3110
03:32:16,573 --> 03:32:18,973
- L-I forgot that. - Forgot?
3111
03:32:19,075 --> 03:32:21,976
- Yes, I forgot. - All right, let him up.
3112
03:32:27,317 --> 03:32:29,376
Uh, she didn't, by any chance,
3113
03:32:29,486 --> 03:32:32,387
leave any... message for me?
3114
03:32:33,523 --> 03:32:35,423
No, I suppose not.
3115
03:32:48,271 --> 03:32:50,831
Five years in the army...
3116
03:32:50,941 --> 03:32:54,001
and some considerable experience of the world...
3117
03:32:54,110 --> 03:32:59,013
had by now dispelled any of those romantic notions regarding love...
3118
03:32:59,115 --> 03:33:01,015
with which Barry commenced life,
3119
03:33:01,117 --> 03:33:04,018
and he began to have it in mind,
3120
03:33:04,120 --> 03:33:07,021
as so many gentlemen had done before him,
3121
03:33:07,123 --> 03:33:10,854
to marry a woman of fortune and condition.
3122
03:33:10,961 --> 03:33:13,862
And, as such things so often happen,
3123
03:33:13,964 --> 03:33:16,057
these thoughts closely coincided...
3124
03:33:16,166 --> 03:33:21,035
with his setting first sight upon a lady who will henceforth play a considerable part...
3125
03:33:21,137 --> 03:33:23,697
in the drama of his life...
3126
03:33:23,807 --> 03:33:26,640
the Countess of Lyndon,
3127
03:33:26,743 --> 03:33:29,075
Viscountess Bullingdon of England,
3128
03:33:29,179 --> 03:33:32,580
Baroness Castle Lyndon of the kingdom of Ireland.
3129
03:33:32,682 --> 03:33:35,981
A woman of vast wealth and great beauty.
3130
03:33:38,088 --> 03:33:40,488
Kubrick's boldest project...
3131
03:33:40,590 --> 03:33:43,889
was a period piece set in 18th-century Europe...
3132
03:33:43,994 --> 03:33:45,894
Barry Lyndon.
3133
03:33:58,174 --> 03:34:00,074
He broke new technical ground,
3134
03:34:00,176 --> 03:34:02,076
having special lenses manufactured...
3135
03:34:02,178 --> 03:34:06,877
to capture the glow of the candlelit mansions of the aristocracy.
3136
03:34:09,486 --> 03:34:11,420
Instead of a picaresque tale,
3137
03:34:11,521 --> 03:34:15,150
Kubrick offered another grim journey of self-destruction...
3138
03:34:15,258 --> 03:34:18,159
the rise and fall of an opportunist.
3139
03:34:25,535 --> 03:34:27,435
On the surface...
3140
03:34:27,537 --> 03:34:31,439
the approach was cool and distant, deceptive.
3141
03:34:31,541 --> 03:34:35,944
But I found this to be one of the most profoundly emotional films I've ever seen.
3142
03:34:36,046 --> 03:34:38,947
Samuel, I'm going outside for a breath of air.
3143
03:34:39,049 --> 03:34:40,949
Yes, milady. Of course.
3144
03:34:43,253 --> 03:34:46,154
Kubrick's style was strangely unsettling.
3145
03:34:46,256 --> 03:34:49,157
His audacity was to insist on slowness...
3146
03:34:49,259 --> 03:34:51,921
in order to recreate the pace of life...
3147
03:34:52,028 --> 03:34:54,929
and the ritualized behavior of the time.
3148
03:34:58,535 --> 03:35:01,470
A good example is this seduction scene,
3149
03:35:01,538 --> 03:35:03,904
which he stretches...
3150
03:35:04,007 --> 03:35:06,908
until it settles into a sort of trance.
3151
03:35:09,245 --> 03:35:13,147
What has always struck me is the ballet of the emotions in the film.
3152
03:35:17,721 --> 03:35:21,316
Watch the tension between the camera's movements...
3153
03:35:21,424 --> 03:35:23,392
and the character's body language,
3154
03:35:23,493 --> 03:35:26,394
orchestrated by the music in this scene.
3155
03:36:38,101 --> 03:36:39,932
WithJohn Cassavetes'characters,
3156
03:36:40,036 --> 03:36:42,027
the emotion was always up front.
3157
03:36:42,138 --> 03:36:44,038
That's great.
3158
03:36:44,140 --> 03:36:48,236
It was at once their cross and their salvation.
3159
03:36:48,344 --> 03:36:51,438
John's approach was warm, embracing, focused on people.
3160
03:36:51,548 --> 03:36:54,949
- Aah! No. No. No, no, no, no. - Yes. Yes.
3161
03:36:55,051 --> 03:36:57,451
Relationships were all he was interested in.
3162
03:36:57,554 --> 03:37:00,455
The laughter and the games, the tears and the guilt,
3163
03:37:00,557 --> 03:37:02,457
the whole roller coaster of love.
3164
03:37:06,196 --> 03:37:10,098
A middle-class housewife, in despair over the failure of her marriage,
3165
03:37:10,200 --> 03:37:12,600
has been picked up by a young man.
3166
03:37:12,702 --> 03:37:15,102
She takes him home for the night.
3167
03:37:17,307 --> 03:37:20,208
The next morning he finds her comatose.
3168
03:37:24,147 --> 03:37:26,047
Operator?
3169
03:37:26,149 --> 03:37:29,482
I want the emergency rescue squad.
3170
03:37:29,586 --> 03:37:31,816
My number?
3171
03:37:31,921 --> 03:37:33,821
My number is...
3172
03:37:38,795 --> 03:37:42,526
Come on, now. Drink this, damn it!
3173
03:37:42,632 --> 03:37:45,260
Goddamn bitch. Drink this!
3174
03:37:46,803 --> 03:37:48,703
Come on, now. Don't go back out.
3175
03:37:48,805 --> 03:37:51,706
Cassavetes embodied the emergence of a new school...
3176
03:37:51,808 --> 03:37:54,208
of guerilla filmmaking in New York.
3177
03:37:54,310 --> 03:37:57,211
His films were literally made on the credit plan.
3178
03:37:57,313 --> 03:38:01,545
John was fearless, a true renegade setting up one psychodrama after another...
3179
03:38:01,651 --> 03:38:04,984
with the complicity of a whole close group of actor friends.
3180
03:38:05,088 --> 03:38:07,989
He insisted on having fun when making films...
3181
03:38:08,091 --> 03:38:10,821
while looking for some kind of truth.
3182
03:38:10,927 --> 03:38:13,361
Maybe even a revelation.
3183
03:38:17,300 --> 03:38:20,201
No. You gotta stay awake. Please.
3184
03:38:21,938 --> 03:38:25,567
I don't want you to die.
3185
03:38:27,243 --> 03:38:29,143
No.
3186
03:38:33,283 --> 03:38:35,183
Please, lady.
3187
03:38:38,888 --> 03:38:40,719
You gotta stay awake.
3188
03:38:40,824 --> 03:38:42,655
You gotta stay awake.
3189
03:38:44,294 --> 03:38:47,627
To have a philosophy is to know how to love...
3190
03:38:47,764 --> 03:38:50,494
- You gotta stay awake. - and to know where to put it.
3191
03:38:50,567 --> 03:38:52,865
But you can't put it everywhere.
3192
03:38:52,969 --> 03:38:57,633
You've gotta be a priest saying, Yes, my son, yes, my daughter, bless you.
3193
03:38:57,774 --> 03:38:59,674
But people don't live that way.
3194
03:38:59,776 --> 03:39:02,939
They live with anger and hostility and problems...
3195
03:39:03,012 --> 03:39:06,743
and lack of money, lack of...
3196
03:39:06,850 --> 03:39:10,877
You know, tremendous disappointments in their life. They're...
3197
03:39:10,987 --> 03:39:13,888
So, what they need is a philosophy.
3198
03:39:13,990 --> 03:39:16,891
I think what everybody needs is a way to say...
3199
03:39:16,993 --> 03:39:19,962
Where and how can I love, can I be in love...
3200
03:39:20,063 --> 03:39:23,965
so that I can live with some degree of peace?
3201
03:39:24,067 --> 03:39:27,559
And so that's why I have a need for the characters...
3202
03:39:27,670 --> 03:39:31,128
to really analyze love, discuss it, kill it,
3203
03:39:31,241 --> 03:39:34,335
destroy it, hurt each other, do all that stuff...
3204
03:39:34,444 --> 03:39:36,344
in that war,
3205
03:39:36,446 --> 03:39:41,281
in that word polemic and picture polemic of what life is.
3206
03:39:41,384 --> 03:39:44,285
The rest of the stuff really doesn't interest me.
3207
03:39:44,387 --> 03:39:47,288
It may interest other people, but I have a one-track mind.
3208
03:39:47,390 --> 03:39:50,086
All I'm interested in is love.
3209
03:39:58,134 --> 03:40:00,068
That's it! Hoo-hoo!
3210
03:40:00,169 --> 03:40:02,660
You're gonna cry! Ohh, geez! Come on!
3211
03:40:02,772 --> 03:40:07,334
Come on. I didn't want to hit you, but don't go to sleep on me.
3212
03:40:07,443 --> 03:40:10,810
Ohh! Come on, now! Cry! That's it! That's life, honey!
3213
03:40:12,048 --> 03:40:14,812
Tears of happiness, man. Just do it!
3214
03:40:14,918 --> 03:40:17,148
Come on, now. Ohh.
3215
03:40:17,253 --> 03:40:19,244
All of Cassavetes'films,
3216
03:40:19,355 --> 03:40:22,256
they were all epics of the human soul.
3217
03:40:22,358 --> 03:40:25,759
Watching them brings to mind a comment made byJohn Ford to a collaborator...
3218
03:40:25,862 --> 03:40:28,763
who was complaining about the miserable weather conditions in the desert...
3219
03:40:28,865 --> 03:40:30,765
when they were trying to shoot a picture.
3220
03:40:30,867 --> 03:40:33,768
The guy said, Look, Mr. Ford, what can we shoot out here?
3221
03:40:33,870 --> 03:40:36,771
And Ford replied, What can we shoot?
3222
03:40:36,873 --> 03:40:40,536
The most interesting and exciting thing in the whole world... a human face.
3223
03:40:44,981 --> 03:40:47,279
You want some coffee?
3224
03:40:47,383 --> 03:40:50,614
- Can I trust you? Huh? Huh? - Yeah.
3225
03:40:50,720 --> 03:40:53,120
Okay. I don't trust you anyway.
3226
03:40:53,222 --> 03:40:55,122
I don't...
3227
03:40:55,224 --> 03:40:57,556
Uh-huh. You little sneaky, you.
3228
03:40:57,660 --> 03:40:59,560
I'm gonna get you some coffee!
3229
03:40:59,662 --> 03:41:01,562
So, we're gonna have to stop...
3230
03:41:01,664 --> 03:41:03,791
because I can't go on any further.
3231
03:41:03,900 --> 03:41:06,300
Number one, we just don't have the time.
3232
03:41:06,402 --> 03:41:08,302
Number two, we've reached a different era.
3233
03:41:08,404 --> 03:41:12,807
It's the era of the late '60s, the years that I started making movies myself,
3234
03:41:12,909 --> 03:41:15,309
and, uh, it puts me in a different perspective.
3235
03:41:15,411 --> 03:41:18,312
We've reached a whole new chapter altogether and I really...
3236
03:41:18,414 --> 03:41:21,815
I could not really do justice to my friends who are making films...
3237
03:41:21,918 --> 03:41:25,820
and companions and, uh, my generation of filmmakers from the inside.
3238
03:41:25,922 --> 03:41:27,822
I can't... I can't do it.
3239
03:41:27,924 --> 03:41:30,825
Um, so the story really has no end,
3240
03:41:30,927 --> 03:41:32,827
and we haven't even started discussing...
3241
03:41:32,929 --> 03:41:35,363
such incredibly major figures as...
3242
03:41:35,465 --> 03:41:38,093
Ernst Lubitsch, Preston Sturges,
3243
03:41:38,201 --> 03:41:40,260
Joseph Mankiewicz, John Huston,
3244
03:41:40,370 --> 03:41:42,702
George Stevens, Sam Peckinpah,
3245
03:41:42,805 --> 03:41:45,296
William Wyler or, of course, Alfred Hitchcock.
3246
03:41:45,408 --> 03:41:48,309
But fortunately they've been celebrated in so many ways,
3247
03:41:48,411 --> 03:41:52,472
in so many books and articles and in some, actually, wonderful shows.
3248
03:41:52,582 --> 03:41:55,483
Documentaries about film are becoming a genre unto themselves...
3249
03:41:55,585 --> 03:41:58,486
thanks to Kevin Brownlow and David Gill's invaluable 13-hour series...
3250
03:41:58,588 --> 03:42:00,488
about Hollywood in its silent era...
3251
03:42:00,590 --> 03:42:02,490
just the silent film alone, 13 hours;
3252
03:42:02,592 --> 03:42:04,992
Peter Bogdanovich's filmDirected byJohn Ford,
3253
03:42:05,094 --> 03:42:07,995
Richard Schickel's seriesThe Men Who Made The Movies,
3254
03:42:08,097 --> 03:42:11,430
and so many British and French portraits of filmmakers.
3255
03:42:11,534 --> 03:42:15,971
So many directors have inspired me over the years,
3256
03:42:16,072 --> 03:42:21,601
I wouldn't know how to stop mentioning their names, we're indebted to them.
3257
03:42:21,711 --> 03:42:25,340
As we are to any original filmmaker who managed to survive...
3258
03:42:25,448 --> 03:42:29,077
and impose his or her vision in a very competitive profession.
3259
03:42:34,991 --> 03:42:37,459
When we talk about personal expression,
3260
03:42:37,560 --> 03:42:40,495
I'm often remindedof Kazan's film America, America,
3261
03:42:40,596 --> 03:42:45,499
the story of his uncle's journey from Anatolia to America...
3262
03:42:45,601 --> 03:42:50,095
the story of so many immigrants who came to this country from a very, very foreign land.
3263
03:42:50,206 --> 03:42:52,936
You're blockin'traffic! Come on! Move it along!
3264
03:42:53,042 --> 03:42:56,478
I kind of identified with it and was very moved by it.
3265
03:42:56,579 --> 03:43:01,243
Actually, I later saw myself making this same journey, but not from Anatolia.
3266
03:43:01,350 --> 03:43:04,251
Rather, from my own neighborhood in New York,
3267
03:43:04,353 --> 03:43:07,254
which was, in a sense, a very foreign land.
3268
03:43:07,356 --> 03:43:10,257
I made that journey from that land to moviemaking,
3269
03:43:10,359 --> 03:43:12,259
which was something unimaginable.
3270
03:43:12,361 --> 03:43:15,762
Actually, when I was a little younger there was another journey I wanted to make.
3271
03:43:15,865 --> 03:43:18,766
It was a religious one... I wanted to be a priest.
3272
03:43:18,868 --> 03:43:21,769
However I soon realized that my real vocation, my real calling,
3273
03:43:21,871 --> 03:43:23,771
was the movies.
3274
03:43:23,873 --> 03:43:27,775
I don't really see a conflict between the Church and movies... the sacred and the profane.
3275
03:43:27,877 --> 03:43:29,777
Obviously there are major differences,
3276
03:43:29,879 --> 03:43:32,473
but I could also see great similarities...
3277
03:43:32,582 --> 03:43:35,244
between a church and a movie house.
3278
03:43:35,351 --> 03:43:38,878
Both are places for people to come together and share a common experience,
3279
03:43:38,988 --> 03:43:41,821
and I believe there's a spirituality in films,
3280
03:43:41,924 --> 03:43:44,825
even if it's not one which can supplant faith.
3281
03:43:44,927 --> 03:43:49,330
I find that over the years many films address themselves to the spiritual side of man's nature...
3282
03:43:49,432 --> 03:43:52,333
from Griffith's film IntolerancetoJohn Ford's The Grapes of Wrath,
3283
03:43:52,435 --> 03:43:54,335
to Hitchcock's Vertigo,
3284
03:43:54,437 --> 03:43:56,837
to Kubrick's 2001 and so many more.
3285
03:43:56,939 --> 03:44:00,670
It's as if movies answer an ancient quest for the common unconscious.
3286
03:44:00,776 --> 03:44:03,677
They fulfill a spiritual need that people have...
3287
03:44:03,779 --> 03:44:05,679
to share a common memory.
265315