All language subtitles for A.Personal.Journey.With.Martin.Scorsese.Through.American.Movies.1995.Part1-Eng

- [People Chattering]
- [Man] Cut!

There.
Save all this.

[Man] Mr. Von Ellstein!
Would you come here please.

[Chattering Continues]

- You call that directing?
- That is what I've been
calling it for 32 years.

Why, there are values and dimensions
in that scene you haven't begun to hit.

Perhaps they are not the values
and dimensions I wish to hit.

I could make this scene a climax.

I could make every scene
in this picture a climax.

If I did, I would be a bad
director, and I like to think
of myself as one of the best.

A picture all climaxes is like
a necklace without a string...
it falls apart.

Look, when I want
a lecture on the aesthetics
of motion pictures, I'll ask for it.

And it won't be on my time...

and a cover-up for a shallow and
inept interpretation of a great scene.

To be a director,
you must have imagination.

Whose imagination, Mr. Shields?
Yours or mine?

You know what you must do, Mr. Shields,

so that you will have it
exactly as you want it?

You must direct
this picture yourself.

To direct a picture,

a man needs humility.

Do you have humility, Mr. Shields?

[Martin Scorsese]
"Film is a disease, “Frank Capra said.

When it infects your bloodstream,

it takes over as the number-one hormone.

It plays lago to your psyche.

As with heroin,
the antidote to film is more film.

Very nice!

I guess I have to say that when I was
growing up in the '40s and '50s,

I spent a lot of time
in movie theaters.

I became obsessed with movies.

At that time there was
nothing really available that
I could find written on film...

except one book...

sort of my first film book,
although I couldn't afford to buy it...

and couldn't find
a copy except the only one available
from the New York Public Library.

I borrowed it from
the library repeatedly.

It's called A Pictorial History
of the Movies by Deems Taylor,

and it was a pictorial history
of the movies in black-and-white stills,

year by year up to 1949.

The book cast a spell on me...

'cause back then I hadn't seen
many of the films shown in the book,

so all I had at my disposal
to experience these films were
these black-and-white stills.

I'd fantasize about them
and they would play into my dreams.

I was so tempted to steal
some of these pictures from
the book... a terrible urge.

After all, it's a book
from the public library.

Well, I confess... once or twice
I did give in to that urge.

I remember quite clearly...
it was 1946 and I was four years old.

My mother took me to see
King Vidor's Duel In The Sun.

I was fanatical about westerns.

My father usually took me to see them,
but this time my mother took me.

It had been condemned by the Church...

Lust in the Dust, they dubbed it.

So she used me as an excuse
to see it herself, obviously.

- [Gunshot, Bullet Ricochets]
- ♪[Orchestra, Dramatic]

From the opening titles alone,
I was mesmerized.

Bright blasts of
deliriously vibrant color, ;

the gunshots, ;
the savage intensity of the music, ;

the burning sun, ;

the overt sexuality.

Jennifer Jones was
a half-breed servant girl...

and Gregory Peck was the villain,

a ruthless rancher's son
who seduced her.

For a child it was a puzzle.

I mean, how could the heroine
fall for the villain?

[Thunderclap]

It was all quite overpowering.
Frightening, too.

[Rifle Cocking]

The final duel in the sun,

- where Jennifer Jones
shoots Gregory Peck,
- [Gunshot]

Was too intense for this four year old.

I covered my eyes through most of it.

[Gunshot, Bullet Ricochets]

You double-crossin' bobcat!

A flawed film, but nevertheless...

the hallucinatory quality
of the imagery has never
weakened for me over the years.

[Gunshot]

[Gasps]

It seemed that the two protagonists
could only consummate their passion...

by killing each other.

I guess that does it.

Pearl.

Hey, Pearl!

[Gunshot, Bullet Ricochets]

I didn't know it, but in 1946
Hollywood had reached a zenith.

Two decades later,
when I embraced filmmaking,

the studio system had collapsed and was
taken over by giant corporations.

It was during the '50s that my passion
for films grew and became a vocation.

The movies were entering a new era...

the era of The Searchers
and The Girl Can't Help It;

of East of Eden and Blackboard Jungle;

of Bigger Than Life and Vertigo.

My passion was fueled by all sorts
of famous and infamous films,

not necessarily
the culturally correct ones.

Films you may never have heard of.

- [Man Mumbling]
- The Naked Kiss;

Murder by Contract;

Don't you get restless?

If I get restless, I exercise.

My girl lives in Cleveland.

- Well, this is not Cleveland.
- I don't like pigs.

I do.

Human nature.

The Red House.

This is the way
it could always be, Jeannie.

We don't need anybody else.

Ain't you Zeke Ward's kid?

Aaaaah!

Aaah!
Mommy! Mommy!

[Baby Wailing]

Out on the lawn, Mommy!
There it is! There it is!

[Crying]

[Baby Continues Wailing]

John!

[Screaming, Wailing Continues]

Mommy!
[Continues Crying]

Mommy!

Directors that
are sadly forgotten now...

Allan Dwan, ; Samuel Fuller, ;

Phil Karlson, ; Ida Lupino, ;

Delmer Daves, ; Andre De Toth, ;

Joseph H. Lewis, ; Irving Lerner.

Over the years I've discovered
many an obscured film,

and sometimes they were
more inspirational...

than the prestigious films that were
receiving all the attention at the time.

But I can only talk to you about what
has moved me or intrigued me.

I can't really be objective here.

This is like an imaginary museum,

and we just can't enter every
room, unfortunately, because
we just don't have the time.

[Gasps]

So I'm talking to you about some
of the films that colored my dreams,

that changed my perceptions
and even my life, in some cases, ;

films that prompted me, for better or
for worse, to become a filmmaker myself.

As early as I can remember,

the key issue for me was: What did
it take to be a filmmaker in Hollywood?

Even today I still wonder:
What does it take to be a professional,

or maybe even an artist, in Hollywood?

How do you survive
the constant tug-of-war...

between personal expression
and commercial imperatives?

What is the price you pay
to work in Hollywood?

Do you end up with
a split personality?

Do you make one for them,
one for yourself?

How about making Ants In Your Pants
in 1941?

- You can have Bob Hope, Mary Martin.
- Maybe Bing Crosby.

- The Abbott Dancers.
- Maybe Jack Benny and Rochester.

- A big-name band.
- What? Oh, no.

I want to make
O Brother, Where Art Thou?

[Scorsese] From the beginning I saw
film as a means of self-expression.

I was mostly interested
in the directors,

especially the ones who
circumvented the system to get
their visions onto the screen.

This the sort of thing
you had in mind?

- Course they need freshening up.
They been hanging quite a while.
- I can't get into this.

Sometimes it seemed everything
conspired to prevent them
from achieving personal expression.

This... This may be a problem,
unless you get a thinner man.

For there are rules, many rules,
in Hollywood's power game.

Shoulder pads.
Straighten it right out.

This'll give you the effect.
It'll be good.

[Scorsese]
A poet or a painter can be a loner,

but the American film director has to
be, first and foremost, a team player.

Most important was the collaboration
between the director and the producer.

In The Bad And The Beautiful,
possibly the best drama about
Hollywood's creative battles,

Kirk Douglas plays the producer...

- What if...
- Suppose we...

and Barry Sullivan the director.

They both dream of making great films,

but for their first project
they have been assigned
a low-budget thriller called...

The Doom of the Catmen.

Put five men dressed like cats
on the screen, what do they look like?

Like five men dressed like cats.

When an audience pays to see a picture
like this, what do they pay for?

To get the pants scared off 'em.

And what scares the human race
more than any other single thing?

- The dark!
- Of course. And why?

Because the dark
has a life of its own.

In the dark,
all sorts of things come alive.

Suppose we never do show the cat men.
Is that what you're thinking?

- Exactly.
- No cat men!

[Scorsese] Movies are
a medium based on consensus.

In the old days you dealt
with moguls and major studios.

Today you have executives
and giant corporations instead.

But one iron rule remains true: ;

every decision is shaped
by the money men's perception
of what the audience wants.

I've told you a hundred times,
I don't want to win awards.

Give me pictures that end
with a kiss and black ink in the books.

I'll make this picture,
Harry, or I'll quit.

[Gregory Peck] It was a time...

when the producer was the key figure.

I found it and licked it. I wanna
produce it so much, I can taste it.

He chose the director...
He cast the director...

that he thought would be
right for the material,

which he had directed... acquired a
novel, a play, an original, whatever...

and then given the green light.

Then he would cast the director.

That was pretty much the system
when I came into the business.

[Scorsese] Duel In The Sun
is a fascinating example.

Even an old master like King Vidor, who
practically put Hollywood on the map,

was not necessarily calling the shots.

The major creative force on the film was
the producer, David O. Selznick,

an obsessive perfectionist who wanted
to top his greatest achievement,

Gone With The Wind.

[Peck] The result was
a kind of grandiose quality...

that was a bit over the top,

but to David it was great fun...

to exaggerate, to heighten.

His all-encompassing enthusiasm
galvanized everybody.

That energy, ;

that sense of playfulness,

of rascality...

that was Selznick.

About 1:;00 or 2:;00 in the morning,

when the actors had to go to sleep,

David would settle down
and rewrite the script...

and we'd get different pages
the next morning.

That didn't always set too well with the
directors, but it was David's picture.

It was his baby.

King Vidor was directing,

but David was overcome
by his own enthusiasm at times...

and began more and more
to direct over King's shoulder.

And that created
considerable tension on the set,

♪

finally leading to the moment
when King stood up...

and told David he knew what he could do
with the picture and walked off.

David's enthusiasm overwhelmed him...

and William Dieterle
finished the picture.

♪

This is King Vidor. Put him on.

- [Man On Phone]
Have you made up your mind?
- I've made up my mind, Arthur.

Get yourself another boy.
I'm a director, not a butcher.

[Scorsese] Somehow Vidor survived
as an on-again/off-again team player.

He even worked again later
with Selznick in television.

Vidor was probably the most resilient
of the film pioneers,

one of the few who were able, time
and again, to convince the moguls...

to let him experiment
with the medium.

Throughout his career he succeeded in
alternating studio assignments...

pictures like The Champ
and Stella Dallas...

with personal projects
like Hallelujah, Our Daily Bread...

or this most unusual film: ;

MGM's Irving Thalberg
agreed to finance it...

because Vidor had given the
studio its greatest success of
the silent era... The Big Parade.

Sometimes Vidor was even
willing to mortgage his house
or gamble his own salary.

Somehow he found a way to do
one for the studios, one for himself.

Now, remember, the Hollywood of
the classical era... the '30s and '40s...

was based on a powerful,
vertically integrated industry.

The studios,
particularly the five majors...

MGM, Warner Brothers,
Paramount, RKO and Fox...

controlled every phase
of the process: ;

production, distribution,
even exhibition,

as they owned their own chains
of theaters worldwide.

To produce 50 pictures a year,

each studio held its stars,
writers, directors, producers...

and an army of skilled technicians...

under long-term contracts.

They even cultivated a recognizable
style, or a look, in their films.

MGM was more of a dream world...

where everything was idealized...

and somewhat sentimentalized.

That came, I think, from L.B. Mayer,

what he thought was classy.

And I think probably
Fox leaned more towards,

uh, uh...

Well, I wouldn't exactly say
gritty realism,

because they made Betty Grable musicals
and ice skating pictures...

and all kinds of pictures.

But I think the things
that Zanuck is remembered for...

are pictures with
a social conscience...

and done with
a degree of, of realism...

that probably would not
be characteristic of MGM.

In those days I could look at
the picture and if everything was
in white silk... MGM.

I could look at the picture...

if it's a Fred Astaire... RKO.

Subsequently, MGM.

Paramount was a little bit
all over the place.

They did not have to...

They did have
their own handwriting,

with Bing Crosby and Bob Hope...

or with Martin and Lewis and...

♪ [Sings Theme]
We knew exactly...

We went to the same restaurants.
We had our own circle.

[Scorsese] Now, if you worked at MGM,
you had to adjust to the MGM style.

And it was quite different from
the Warner Brothers or Paramount style.

If they did not conform to the studio
look, the mavericks were reigned in.

Some, like Erich von Stroheim,
simply refused to be harnessed,

and he paid a heavy price.

Buster Keaton... very freewheeling...

agonized when MGM put him under the yoke
of their supervising producers.

His genius didn't
survive the treatment.

On the other hand, those who
could work comfortably within
the system, they thrived.

They came to define
their studios’ style.

Clarence Brown at MGM, ;

Henry King at Fox, ;

Raoul Walsh at Warner Brothers, ;

they were Hollywood pros
who rose from the ranks.

Most of their lengthy careers
were spent under one roof.

Take Michael Curtiz,
for example, here directing
The Charge of the Light Brigade.

This guy made no less than 85 films
for Warner Brothers,

and Casablanca was his 63rd.

That's an average of three features
a year over a period of 28 years.

Three features a year.
Think of the incredible
opportunities they were given...

to learn their trade
and become a true professional.

There were also talents who needed
the discipline of the system to blossom.

A perfect example
was Vincente Minnelli.

He knew and often acknowledged
that the producer/director dynamic...

- was crucial to the quality
and success of a picture.
- [Gunshots]

An avant-garde Broadway choreographer,

he was lured to Hollywood
by producer Arthur Freed...

and became MGM's resident artist
for 30 years,

thanks to sympathetic producers
like Freed and, later, John Houseman.

Minnelli had all of
the studio's resources at his disposal.

The cameras were his brushes
and the soundstages his canvas.

All that he hated and loved
about Hollywood was distilled
in the harsh story...

of The Bad and the Beautiful...

the ambition, the power,
the opportunism and the betrayal.

No one was spared,
not even the director.

Here Barry Sullivan hears
from his ruthless partner...

what has become of their dream project.

What happened?
Didn't he go for Gaucho?

Go for him?
He had a hemorrhage. He... Shh.

The first time a star
ever said he'd shine...

Kirk Douglas’ character was loosely
based on several actual producers,

among them David Selznick.

The Faraway Mountain's gonna be done
just the way we want it.

A million-dollar budget; a location
in Veracruz; Von Ellstein to direct.

Uh, Gaucho,
Wendy for the girl.

Ants Chapman for my cameraman.

Von Ellstein to direct?

You're taken care of.
It won't be a separate panel,
but your name'll be on screen.

Assistant to the producer.

- Thanks.
- You know this story
better than anyone else.

It's your baby. I want you
with me on the set all the time.

You don't have to talk
to Von Ellstein.

- Any ideas you have, I'll tell him.
- Thanks again.

- Von Ellstein to direct.
- You always said
he was the best in the business.

Sure he is.

Fred, I'd rather hurt you now
than kill you off forever.

You're just not ready to direct
a million-dollar picture.

But you're ready to produce
a million-dollar picture.

With Von Ellstein I am.

Now, to survive, to master
the creative process,

each filmmaker had to develop
his own strategy.

Some, like Frank Capra,
Cecil B. DeMille or Alfred Hitchcock,

carved a niche for themselves...

by excelling in a certain type of story
and being identified with it.

Their very name
became a box office draw.

A few even achieved Capra's dream...

and secured their name
above the title.

[Capra] They had wonderful directors
at MGM, but you never heard their name.

But you heard about me.

I was the enemy of the major studio.

I believed in one man, one film.

I believed one man should make the film,

and I believed the director
should be that one man.

One man should do it...
I didn't give a damn who.

But I thought the director
had the most to do with it.

I just couldn't...

I just couldn't accept art
as a committee.

I could only accept art
as an extension of an individual.

If you haven't got the story,
you haven't got anything.

Raoul Walsh used to say this,
and this is another cardinal rule.

The American filmmaker has always been
more interested in creating fiction...

than revealing reality.

Early on the documentary form
was discarded...

or relegated to a marginal status.

For better or worse, the Hollywood
director is an entertainer.

He's in the business
of telling stories.

He's therefore saddled with
conventions and stereotypes,

formulas and clichés,

and all these limitations were
codified in specific genres.

This was the very foundation
of the studio system.

Audiences loved genre pictures,

and the old masters
never seemed reluctant to supply them.

When John Ford rose in the middle
of a tempestuous meeting...

at the Directors Guild of
America in 1950 and introduced
himself, this is what he said: ;

"My name is John Ford,
and I make westerns."

He was not referring to his more honored
pictures, such as The Informer...

or The Grapes of Wrath or How Green
Was My Valley or The Quiet Man.

The westerns were
what he was most proud of.

Or so he may have wanted us to believe.

Eventually film genres would serve
to organize assembly line production.

Each studio made so many westerns,
so many musicals,

so many gangster films, and so forth.

Edwin S. Porter's
The Great Train Robbery.

This was one of the first attempts
at scripting a story,

and fittingly it was also a western.

The first master storyteller of
the American screen was D. W. Griffith.

His sensibility was steeped
in a literary tradition,

that of Dickens and Tolstoy,
Frank Norris and Walt Whitman.

Yet, while borrowing
from 19th-century literature,

Griffith was forging
the new art of the 20th century.

He explored
the emotional impact of film,

and before the outbreak
of World War One...

he had already delineated nearly
every genre, even the gangster film...

with his short
The Musketeers of Pig Alley.

Any minute now it may be curtains
for Roy Earl.

[Scorsese] Genres were never rigid.

Creative filmmakers
kept stretching their boundaries.

This was a classical art, where
personal expression was stimulated,

rather than inhibited, by discipline.

[Machine Gun Fire]

Take Raoul Walsh, the most gifted
apprentice and disciple of Griffith.

What's the idea, you?
Get back where you belong.

His strongest films were variations
on a few themes and characters.

The figure of the sympathetic outlaw,
for instance, ;

a rebel in the tradition of Jesse James
inspired him time and again.

In High Sierra you didn't root for
the police and the ordinary citizens...

you rooted for the gangster.

You knew he was doomed when he
became separated from the only
person who cared about him...

his tarnished angel, Ida Lupino.

Aw, be smart. Just yell up
to him and tell him to put
his gun away and come down.

Otherwise we'll get him sure.

[Sighs]

All right.

Go ahead and yell.

- No, I won't!
- What's that?

- I won't, I tell ya!
- We'll get him then.

He's gonna die anyway.
He'd rather it was this way.
Go on, kill him, all of you!

- [Sobbing]
- [Shouting] Earl!

Come down!
It's your last chance!

Come and get me!
There's plenty of ya down there!

[Scorsese]
At the end of his memoirs,

Walsh quotes Shakespeare,
his constant inspiration.

"Each man in his time plays many parts."

This applies to Walsh himself,
but also to his explosive characters.

These outcasts were bigger than life, ;
they stood beyond good and evil.

[Barks]

- Their lust for life was insatiable,
- [Barking Continues]

Even as their actions
precipitated their tragic destiny.

Mary!

The world was too small for them,

and Walsh would often give them
a cosmic battleground...

Mary!
[Echoing]

- Mt. Whitney and the High Sierras.
- Mary!

[Gunshot]

[Gasps, Screams]

[Gunshot]

Eight years later Walsh filmed
the same story as a western...

Colorado Territory.

Again he provided his desperado
with a wide landscape...

which dwarfed human figures.

This time the City of the Moon
in the Canyon of Death.

Hey, McQueen!

You got no chance!

- Come on down!
- Come and get me!

- We'll starve ya out!
- Go ahead!

So dear to the heart of Raoul Walsh was
his heroine, now a half-breed outcast,

that he gave her as much strength
and character as the hero.

You don't wanna leave him up there,
buzzards pickin' his bones clean.

Call him out, and we'll split
the 20,000 reward with ya.

[Spits]

[Scorsese] You might even
sense a mystical dimension...

at the end of the film...

that clearly transcended
any genre limitation.

- The lost city is like
a primitive cathedral.
- [Chanting]

As he listens to
the Navajos chanting in the night,

Joel McCrea reflects on his fate...

and appears to accept it.

Wes!
[Echoing]

- Wes!
- Colorado.

Wes, they're comin' at ya!
They found a back way.

- [Chamber Clicks]
- Come down, Wes!

Hurry, Wes!
I got horses!

[Scorsese] Walsh used some of the same
camera angles as in High Sierra,

but this time the messenger of death
was a Navajo sharpshooter.

- [Gunshot]
- [Screams]

Don't!

- Don't! They'll kill ya!
- [Gunshots Continue]

[Scorsese]
And in Colorado Territory,

the tragedy was complete.

Both protagonists were doomed.

Now, to me the most interesting of these
classic genres are the indigenous ones...

the western,
which was born on the frontier;

the gangster film, which was originated
in the East Coast cities;

and the musical,
which was spawned by Broadway.

They remind me of jazz... they allow
for endless, increasingly complex,

sometimes perverse variations,

and when these variations
were played by the masters,

they reflected the changing times.

They gave you fascinating
insights into American culture
and the American psyche.

You can see how a film genre evolved...

just by watching three westerns
John Ford directed...

with the same actor, John Wayne.

The character of the hero becomes
richer, more complex with each decade.

The Ringo Kid of Stagecoach...

Sorry. No silver cups.

Grew first into the benevolent father
figure of She Wore a Yellow Ribbon.

They all put in the hat for it, sir.

There's a sentiment on the back of it.

"To Captain Brittles...

from C Troop."

[Sniffles]

"Lest we forget."

[Scorsese] Now watch Ford
transform John Wayne...

into the misfit of The Searchers.

Ethan Edwards returns
from years of wandering...

to discover that his loved ones
have been massacred by the Indians.

- Another one, huh?
- John Wayne's heroic persona...

has turned dark and obsessive.

The physical death of the Indian
is not enough.

Ethan wants to ensure
his spiritual death as well.

This 'un come a long way
before he died, Captain.

Well, Ethan, there's another one
you can score up for your brother.

- [Groans, Whimpers]
- Jorgensen!

Why don't ya finish the job?

[Gunshot, Echoing]

[Continues Echoing]

What good did that do ya?

By what you preach, none.

By what that Comanche believes,

ain't got no eyes,
he can't enter the spirit land.

He has to wander forever
between the winds. You get it, Reverend.

Come on, blanket head.

[Scorsese] Gone is
the simple black-and-white
morality of the early days.

[Gunshots]

[Thunder]

Gone are the old-fashioned values
of the seasoned cavalry officer.

[Thunder Continues]

- ♪♪[Bugle]
- [Gunshots]

- Now look at
Ethan Edwards of The Searchers.
- Hyah! Get in there!

The same star, John Wayne, ;

the same location,
around Monument Valley, ;

the same director, John Ford, ;

but a different character, different
attitudes, different conflicts,

almost a different country.

Ethan Edwards hunts down his niece,

No, no! Ethan!

Abducted and raised by the Indians
after the massacre of her parents,

because he believes
she has been tarnished.

- [Shouts, Grunts]
- Living with Comanches,
he insists, is not being alive.

Ethan Edwards is actually the most
frightening character in the film.

- Debbie!
- After years of searching,

when he finally finds Natalie Wood,

you don't know whether
he's gonna kill her or save her.

No, Ethan! No!

Let's go home, Debbie.

This is no happy ending, though.

There is no home,
no family waiting for Ethan.

He is cursed,
just as he cursed the dead Comanche.

He is a drifter,
doomed to wander between the winds.

The western also allowed for elaborate
psychological and even Freudian dramas.

- Well, patrón?
- Hang him.

In Anthony Mann's The Furies,

the patriarchal cattle baron
wants his rebellious daughter...

to beg him for her lover's life.

You will not humble yourself.

This I ask.

While John Ford only alluded to the
dark side, Anthony Mann dwelled in it.

[Man Speaking Spanish]

The proud Mexican chooses to die...

rather than allow his woman
to humiliate herself.

[Continues In Spanish]

Amen.

The Furies could've been
a Greek tragedy.

The powerful story, written by Niven
Busch, the author of Duel in the Sun,

was actually inspired
by Dostoyevsky's novel The Idiot.

Juan.

The kiss of a good friend.

'Til our eyes...

next meet.

'Til then.

Tears a body to see
someone you love hurt, doesn't it?

Do you want me to beg? Do you want me
on my knees to you for his life?

- I'd hang him anyway.
- That's what he said.

He did, eh?
He always was smart.

But you're not. You're old, getting
foolish and you've made a mistake.

It's me you should've hung,

because now I hate you in a way
I didn't know a human could hate.

Take a good, long look at me, T.C.

You won't see me again until the day
I take your world away from you!

[Murmuring Prayer In Spanish]

[Woman Whimpering]
Juanito.

Juanito!

Juanito!
[Wailing]

[Scorsese]
The mythology of the frontier,

of a land in perpetual expansion,

has given way to greed, vengeance,

megalomania, sadistic violence.

- Roy!
- Anthony Mann's brooding heroes
were no saints.

Look out!
Let go of him!

Seeking revenge was their obsession,

an obsession that would consume
and nearly destroy them.

Even James Stewart, the all-American
hero of Frank Capra's fables,

succumbed to outbursts
of savage violence.

In The Naked Spur, you see him
reel in his dead prey.

He has become a bounty hunter in order
to buy back the ranch stolen from him...

- while he was away
fighting in the Civil War.
- Cut him loose, Howie!

I'm takin' him back!

This is what I came after, and now
I got him! No partners, like I started!

He's gonna pay for my land!

It's no good if you take him back!

They're dead!
Finished!

- He'll never be dead for you!
- I don't care anything about that!

The money!
That's all I've ever cared about!

Roy, he called the current.
He said face up to it.

All right, that's what I'm doin'.
That's what I'm doin'.

Maybe I don't fit your ideas of me,
but that's the way I am.

- Jeff!
- Hey, Hank!

[Man] You all drop
your guns and come on down.

[Scorsese] Budd Boetticher explored
the bare essentials of the genre.

His style was as simple
as his impassive heroes.

Let me see your hands, please.

- Deceptively simple.
- Put 'em out there!

The archetypes of the genre were
distilled to the point of abstraction.

Bullfighting had been
Boetticher's first vocation.

The choreography of
basic human passions was his forte.

What did you do with Hank?

- Who's he?
- The station man here.

He's over yonder in the well.

And the boy?

He's with 'im.

In the seven westerns
he made with Randolph Scott,

Boetticher always gave precedence
to character over action.

You let us go and we'll never breathe
a word about this.

I know you won't.
Do you go along with what he said?

If I said yes,
you wouldn't believe me.

Yeah, it's dumb
even talkin' about it, ain't it?

Each adventure was a poker game,

and the player's complex moves were
more important than the avowed goal.

- You know what's gonna happen to you?
- I think so.

- You scared?
- Yeah.

You're honest about it.
I'll say that for ya.

- [Thump]
- Ouch!

[Laughing]

Pour yourself a cup of coffee.
[Continues Laughing]

In the power play, the hero and
the villain were complimentary figures.

[Continues Laughing]

They shared the same loneliness,
the same dreams...

and even the same ethical code.

Have a seat.

Over there.

[Continues Laughing]

Somehow, the gentleman
and the desperado...

were fascinated by each other.

- You got a wife up on your place?
- No.

- Should have.
Ain't right for a man to be alone.
- They say that.

Well, I oughta know.

- You cook good coffee.
- Brennan.

Talk.

What about?

Your place.
What's it like?

It's not much.
Not yet, anyway.

- You got stock on it?
- Some.

Work the ground?

I plan to, yeah.

I'm gonna have me
a place someday.

I thought about it.
I thought about it a lot.

You figure you'll get it this way?

Well, sometimes
you don't have a choice.

Don't you?

- Now, look, Brennan...
- [Man] Frank!

♪[Automated One-Man Band]

[Scorsese] For decades
the western genre embellished
the reality of the west...

to make it more "interesting."

But in the mid-'50s several films
started questioning the myth...

perpetuated by Hollywood.

Arthur Penn, for instance,
presented Billy the Kid
as a juvenile delinquent...

- [Dinging]
- in search of a father figure.

By having a journalist follow the young
misfit through his career of crime,

Penn suggested how history was
distorted even as it was unfolding.

- State your name.
- Garrett.

- Huh? How's that?
- Garrett. Pat Garrett.

- [Click]
- My...

Little case of the quick jump.

Somebody gonna get
his head clipped off.

♪[Resumes]

Paul Newman portrayed Billy
as a suicidal antihero...

who sought his own death.

You help me.

We don't want you.

Neither a vicious killer
nor a sympathetic outlaw,

Billy was a rebel without a cause.

You help me.

His rage and confusion
had more to do with the malaise
of growing up in the 1950s...

than with the realities of the Old West.

Please.

Billy, don't go for your gun.

Keep your hands
away from your side.

- I don't wanna kill ya.
- He's here.

Billy.

Come to me.

[Gunshot]

[Clint Eastwood]Just when you think
the western has been exhausted,

that there's nowhere else to go with it,

something will come along
with a new slant on things.

It's very exciting when that happens.

Unforgiven is a good example...

of what I mean when you can
address a situation.

There's a lot of concern
in society today...

about, about violence and gunplay,

and that film,
even though it takes place in 1880,

it, uh, it addresses that now,

that in order... when you are
a perpetrator of violence...

and you get involved
in that sort of thing,

you rob your soul...

as well as the person...

the person you're committing
a violent act against.

[Scorsese] In Unforgiven,
Eastwood plays a professional killer...

who has tried to reform
and become a farmer.

Physically and mentally scarred,

he's haunted by
his dark and violent past.

Judgment night comes after his best
friend has been tortured to death...

by Sheriff Gene Hackman.

- There's no glamour in killing anymore.
- [Thunderclap]

The lawman behaves
as badly as the renegade.

They're both former gunslingers
who have shot people in the back
or when they were unarmed.

Who's the fella owns this shithole?

- Uh, l-I own this establishment.
- [Thunder Continues]

- Bought it from Greeley
for a thousand dollars.
- [Click]

You'd better clear outta there.

Yes, sir.

Just hold it right there.
Hold it!

[Screaming]

[Hammer Clicks]

Well, sir, you are
a cowardly son of a bitch.

You just shot an unarmed man.

Well, he shoulda armed himself...

if he's gonna decorate
his saloon with my friend.

You'd be William Munny out of Missouri.

Killer of women and children.

That's right.

I've killed women and children.

Killed just about everything
that walks or crawled...

at one time or another.

And I'm here to kill you, Little Bill,

for what you did to Ned.

[Thunder Continues]

You boys had better move away.

[Eastwood] I've always felt that
the western movie...

is one of the few art forms
that Americans can lay claim to.

Americans are somewhat masochistic,
I must say, about that.

Sometimes they can be very blasé
about their own art forms...

because it doesn't...

The grass is always greener, you know.

It's, um...

It's easy to look elsewhere...

when sometimes great art
can be right in front of you.

[Scorsese] Of course, most American
directors never claimed to be artists.

They prided themselves
on appearing blasé.

Holding one's cards close to the vest
was a survival strategy.

Even an old master like John Ford,
it seems, had to wear a mask.

- Watch how he plays
the tight-lipped pro...
- Take one.

In front of Peter Bogdanovich's camera.

"Take one"? Won't want more
than one take, will they? Shoot.

[Bogdanovich]
Mr. Ford, I've noticed that the, uh...

that your view of the West
has become increasingly sad...

and melancholy over the years.

I'm comparing, for instance,
Wagon Master...

to The Man Who Shot Liberty Valance.

- Have you been aware
of that change in mood?
- No. No.

Now that I've pointed it out,

is there anything
you'd like to say about it?

I don't know
what you're talking about.

Can I ask you what particular element
about the western...

appealed to you from the beginning?

I wouldn't know.

Would you agree
that the point of Fort Apache...

was that the tradition of the army...

was more important than one individual?

Cut.

[Loud Banging]

[Scorsese] The gangster film.

Another rich genre
which allowed filmmakers...

to dwell on America's fascination
with violence and lawlessness.

- [Banging Continues]
- It's only a coal truck.

Hey, Tom. Wait a minute.

- What happened?
- Aw, nothin'.
I just got burned up, that's all.

[Loud Banging]

[Banging Continues]

[Machine Gun Fire]

[Gunfire Continues]

"There's action only if
there is danger. "

This was said by Howard Hawks,
an authority on both
the western and the gangster film.

"To stay alive or die;
this is our greatest drama."

The gangster film
predates World War One,

as with Griffith's
Musketeers of Pig Alley...

or Raoul Walsh's picture
of 1915 called Regeneration,

which was shot on location
on New York's Lower East Side.

Gangsters then were viewed as
the victims of a depressed environment.

Neighborhood kids growing up
on the mean streets.

But ten years later, Prohibition
brought about a tide of movies...

that signaled a tremendous escalation
in urban violence.

[Machine Gun Fire]

What struck me in Scarface was Howard
Hawks’ cool and distant objectivity.

Hey!
That's O'Hara's mob.

He showed Tony Camonte,
also known as Al Capone,

as a vicious, immature,
irresponsible character.

- Hey, lookit!
They got machine guns you can carry!
- [Gunfire Continues]

- If I had some of them,
I could run the whole works in a month!
- I'll get you one!

Yet, that world was almost attractive...

because of its irresponsibility.

And that was disturbing.

At times, of course,
the film is very funny.

Not surprising, as Hawks was as much
a master of comedy as of action.

Swell! Look, it's little.
You can carry it. Let's get outta here.

But at the end of the '30s
came a really pivotal film...
Raoul Walsh's Roaring Twenties.

Don't you ever say that to me again.
Do you hear? Never.

This chronicle of the Prohibition era...

was the last great gangster film
before the advent of film noir.

It read like a twisted
Horatio Alger story.

The gangster caricatured
the American dream.

Of all the dog-and-pony joints
I've ever worked in, this tops 'em all.

Don't worry, honey. I like ya.

Well, happy New Year.

[Scorsese] This was the gripping saga
of a war hero turned bootlegger...

and his downfall
after the stock market crash.

- [Gunshot]
- Eddie! Eddie!

It was actually the inspiration
behind one of my student films,
It's Not Just You, Murray.

And I'd like to think, uh, Good Fellas
comes out of the tradition...

of something as extraordinary as
The Roaring Twenties and Scarface.

Drop it!
Drop it!

Eddie!

The gangster had now become
a tragic figure.

Eddie!

Walsh even dared to end the film...

on a semi-religious image...

that evokes a pietà.

He's dead.

Well, who is this guy?

This is Eddie Bartlett.

What was his business?

He used to be a big shot.

After World War Two,
the gangster turned into a businessman.

The gang was taken over
by anonymous corporations.

[Whistles] What a layout.

There's only one way to handle you.
Kill me?

If I have to, yeah.
A guy's gotta fight for what's his.

[Scorsese] The first film to show
the major changes in the underworld...

was Byron Haskins'
underrated I Walk Alone.

Burt Lancaster, just out of prison,
discovers the new world he's in.

Get him outta here.

He knows all my business.
He stays.

You and your boys.

This isn't the Four Kings, ; no hiding out
behind a steel door and a peephole.

This is big business.

We deal with banks, lawyers
and a Dunn and Bradstreet rating.

The world's spun
right past you, Frankie.

In the '20s you were great.

In the '30s you might've made
the switch, but today you're finished,

as dead as the headlines
the day you went into prison.

- Regional associates...
- Stop tryin' to dizzy me up!

Here. Now, I want simple answers, Dave.
No diagrams.

Dink's got the full say
around here, right?

- Yes.
- Okay, then.

Except that it's revocable by
a vote of the board of directors
of Regent Associates.

- Stop the double-talk.
- I'm sorry, Frankie.

- Just what does Dink own?
- In which corporation?

[Scorsese]
Some films,

notably Abraham Polonsky's
Force of Evil,

went even further and painted
the whole society as corrupt.

The face of John Garfield,
a lawyer for the mob,

was a landscape of moral conflicts.

[Man Thinking]
People can be made to talk.

Was my phone talking too?

[Dial Tone, Click]

[Scorsese]
The social body itself was sick.

The system's violence became the issue,
rather than individual violence.

You saw a corrupt world
implode before your eyes.

Leo, I arranged with Tucker
for you to quit tonight.

- I'll pay off your investments.
- I don't want it, Joe.

The money I made in this rotten business
is no good for me.

- I don't want it back.
- The money has no moral opinions.

I find I have, Joe.
I find I have.

Abraham Polonsky's dialogue
was unusually poetic.

I'm glad you called me, Freddy.

I'm glad you thought it over
to calm down and listen to me,
so I can help you.

Coffee.

Please, Mr. Morse. All I want
is to quit. That's all. Nothing else.

They won't let me quit, and I want
to quit. I'll die if I don't quit.

I'm a man with heart trouble.

I die almost every day myself.

That's the way I live.

It's a silly habit.

You know, sometimes you feel
as though you're dying...

here...

and here.

Here.

You're dying while you're breathing.

Freddy, what have you done?

[Car Doors Slamming]

Freddy, what have you done to me?

- Take it easy, Pop,
and you won't get hurt.
- You're safe with us.

Come on!
It can't take all night!

- Stand up and walk!
- Stop him! Stop him! He knows me!

Kill him! Kill him!
He knows me!

[Moans]

Where's my brother, Ben?

[Scorsese]
You couldn't buck the system. You were
indebted to the syndicate for life.

Where's my brother?
Where's my brother?

Where did Ficco take my brother?

[Scorsese]
They were forever using you.

They even wanted you
to sacrifice your own family.

[Joe Thinking] I wanted to
find Leo, to see him once more.

It was morning by then, dawn,

and naturally I was feeling
very bad there as I went down there.

I just kept going
down and down there.

It was like going down
to the bottom of the world...

to find my brother.

[Scorsese]
This madness culminated...

in Francis Coppola's The Godfather.

As Al Pacino discovered
when he came back from World War Two,

the son had to follow
his father's criminal path.

When you were a Corleone,
there was no leaving the outfit.

It was an evil family
bound by fear and torn by treachery,

but you served it without ever
questioning its legitimacy,

as though it was your country.

American values... family,
free enterprise, patriotism...
became totally twisted.

Even individualism was dead.

The organization was
a state within the state;

the gangster, a chairman of the board;
and crime was a way of life.

By the late '60s the gangster genre
had proven so versatile...

it could even embrace
an avant-garde style.

Watch the innovative editing here
of John Boorman's Point Blank.

The images are literally flashing
through Carroll O'Connor's mind...

as he realizes who Lee Marvin is...

a killer who slugged and smashed his way
to the top of the organization...

in a desperate quest to find the man in
charge, the man who can simply pay him.

- Aaaah!
- Walker.

[Mutters]
Walker.

You're a very bad,
destructive man, Walker.

- Why do you do things like this?
What do you want?
- I want my money.

I want my 93 grand.

Ninety-three thousand dollars?

You'd threaten a financial structure
like this for $93,000?

- I don't believe you.
What do you really want?
- L-I really want my money.

I want my money!

Well, I'm not gonna give ya any money,
and nobody else is!

- Don't you understand that?
- [Gunshot]

Carter!

- Well, wh-who runs things?
- Carter and I run things...
I run things.

What about Fairfax?
Will he pay me?

Fairfax is a man who signs checks.

No. Cash.

Cash, checks... Fairfax isn't gonna
give you anything. He's finished.

- Fairfax is dead.
He just doesn't know it yet.
- Somebody's gotta pay.

Parallel to the gangster film
was the rise of a very
different genre... the musical.

An interesting coincidence.

The harshness of the times...
the Depression...

colored this most escapist
of all film genres.

♪ [Singing]

[Scorsese] With Busby Berkeley,
the genre came into its own.

A former dance instructor,

Berkeley was the first to realize
that a movie musical...

was totally different
from a staged musical.

On film, everything was
seen through one eye... the camera.

In designing his production numbers,

he would therefore rely on
unusual camera movements and angles.

The camera itself would partake
in the choreography.

Berkeley's ballets could not have
existed outside of the movies.

They were pure cinematic creations.

♪

Berkeley's films were viewed
as pure entertainment,

but sometimes he applied his wizardry to
the grim realities of American life...

caught in the grip of the Depression.

[Woman]
Remember my forgotten man?

♪

You put a rifle in his hand.

♪

You sent him far away.

You shouted "Hip-Hooray."

But look at him today.

♪

Remember my forgotten man.

♪

You had him cultivate the land.

♪

He walked behind a plow.

The sweat fell from his brow.

♪

But look at him right now.

♪

'Cause ever since the world began,

♪

a woman's got to have a man.

♪

Forgetting him, you see,

means you're forgetting me.

[Woman Screams]
Aaaah!

[Scorsese] Always stretching
the limits of the musical genre,

Berkeley even dared
choreograph human tragedies.

Aaaah!

♪

[Crash]

♪

- [Gunshots]
- [Crowd Gasping Shouting]

[Women Scream]

♪

Aaaah!

[Crowd Murmuring]

- [Police Whistle Blows]
- [Siren Wailing]

♪The big parade goes on for years ♪

I can't do it, I tell ya.
I can't!

[Scorsese] Berkeley's early musicals
at Warner Brothers...

offered backstage stories
whose pacing was not unlike
that of the gangster film.

I'm too nervous!
I can't do it!

They were dominated by the figure...

of the crazed, manic,
often embittered Broadway producer.

- What do ya wanna do, boss?
- Bring up that curtain!

In Footlight Parade,
you had James Cagney.

- All right, that's you!
- No!

In 42nd Street, Warner Baxter.

Watch that tempo!
Watch it, will you?

Get your feet off of the floor!

In these times,
if you showed any ambition...

- you either became
a gangster or a show biz performer,
- Faster! Faster!

Come on!
Faster! Faster!

At least in the fantasy world
of Warner Brothers.

- Stop it! Stop it! Stop it! It's brutal!
- ♪[Stops]

Ohh!

May I remind you that Pretty Lady's
out-of-town opening is not far away?

It's been advertised
as a musical-comedy with dancing!

If it isn't asking too much,

will you please show me a little?

- Come on. Ready, Jerry?
Get into it now!
- ♪[Piano Resumes]

[Scorsese] Broadway offered a metaphor
for a desperate, shattered country.

Director or chorus girl, your life
depended on the show's success.

[Man Shouting]

Against all odds,
Warner Baxter achieved his dream.

These directors make me sick.
Take Marsh.

Puts his name all over the program,
gets all the credit.

If it wasn't for kids like Sawyer,
he wouldn't have a show.

Marsh would probably say he discovered
her. Some guys get all the breaks.

[Scorsese] But on opening night
he was too drained...

to enjoy the production's triumph.

- [Crowd Chattering]
- The show had taken on
a life of its own.

The taskmaster's lot,
in the end, was solitude.

They're sending me
to New York for good,

to be head of the office
of Fenton, Rayburn and Company.

- New York?
- What?

New York?

[Scorsese]
Ten years later, Vincente Minnelli's
Meet Me In St. Louis was a milestone.

- I simply don't believe it.
- We'll leave right after Christmas.

I thought we'd all like to have
Christmas in St. Louis.

[Scorsese] First of all, the story
didn't have a Broadway setting.

New York is a big city.

It was a memory album set in
the Midwest at the turn of the century.

Its protagonists were the members
of a middle-class household.

[Tinkling]

They did not need to be
professional performers.

- ♪ [Humming]
- Anyone could sing and dance,
if they felt like it.

♪ [Continues]

Singing and dancing became
as natural as breathing or talking.

- ♪ La-da-dah, dah-dah-dah ♪
- Also, the tunes were designed
to further the plot...

and reveal the characters.

They expressed the ebb and flow
of personal emotions.

If Santa Claus brings me any toys,
I'm taking them with me.

I'm taking all my dolls;
the dead ones, too.

I'm taking everything.

Of course you are.

I'll help you pack them myself.

You don't have to leave anything behind,

except your snow people, of course.

[Laughs]

Sometimes they were tinged
with bittersweet irony...

as the family faced
an uncertain future in the big city.

♪ Have yourself ♪

♪A merry little Christmas ♪

♪ Make the yuletide gay ♪

♪ Next year all our troubles ♪

♪Will be miles away ♪

♪ Oh, have yourself ♪

♪A merry little ♪

♪ Christmas ♪

♪ Now ♪

Tootie.

[Sobbing]

Tootie!

[Scorsese]
Sweetness and innocence will prevail,

but with the explosion
of a child's pain and rage...

unexpected shadows were suddenly
cast on this nostalgic period piece.

Nobody's gonna have them!
Not if we're going to New York!

I've got to kill them
if we can't take them with us!

Tootie, darling, don't cry. You can
build other snow people in New York.

[Sobbing] You can't do anything
like you do in St. Louis!

Oh, no, darling.
You're wrong.

"The rabbit hunters have his
private carrot patch surrounded,

and they're closing in.

And what's that sticking up
over that bush?"

- Are you my daddy?
- It's, um... Hmm?

- [Chuckles]
No, I'm just your Uncle Doug.
- Oh.

In the mid-'40s
something interesting happened.

Hey, fellas.
Can I come in?

[Scorsese] Darker currents
seeped into the musical,

as they had in the western
and the gangster film.

Even the more conventional musicals
hinted at the postwar malaise.

♪ Root-too-toot-ooh
Toot-ooh ♪

♪ Listen to that fiddle player
slap, slap, slap ♪

On the surface My Dream Is Yours
had all the trappings...

of a Doris Day vehicle produced
on the Warner Bros assembly line.

It seemed to be pure escapist fare.

Oh, it's so spacious and peaceful.

No sponsors or agents pushing me around.

Just hitch your wagon to me
and you'll be a star.

No. Thank you, Gary,
but I have too much to do on my own.

- ♪ My dream is yours ♪
- But the comedy had a bitter edge.

♪ It isn't much to give ♪

You saw the performer's
personal relationships...

turning sour and being sacrificed
to their careers.

♪ So, darling, may I say ♪

Look, honey,
let's have an understanding.

Two careers in one family
is one too many.

We'll concentrate on mine, huh?

[Man] Come on. Here he is!

The film made you aware
of how difficult,

or even impossible, relationships
are between creative people.

- [Chattering]
- It was a major influence...

on my film New York, New York.

♪ I'm through with spending time ♪

Doris Day's big break comes when
she has to replace Lee Bowman,
the popular crooner she loves,

who's too drunk to perform on
his own national radio show.

Gary, you can't go on.
You're drunk.

Lee Bowman's character was
an egotist who felt threatened
by Doris Day's success.

♪ My dream is yours ♪

- ♪It isn't much to give ♪
- In New York, New York,
I took that tormented romance...

and made it
the very subject of the film.

♪ But while I live
My dream is yours ♪

- ♪♪[Continues]
- Lovely girl.

Lovely singer.

Handy with a knife, too.

♪Begins to shine ♪♪

[Grunting, Groaning]

The pinnacle of the musical
was reached in the early '50s.

♪

Again we meet the incomparable
Vincente Minnelli.

♪

♪

Look at The Band Wagon's
final production number,
"The Girl Hunt Ballet."

In this satire
of Mickey Spillane's pulp novels,

you see the musical borrowing
and absorbing the icons of film noir...

private eyes and dangerous sirens.

Minnelli's musicals celebrated the
triumph of the imaginary over the real.

♪

Any aspect of reality, however trivial,

could be transformed, stylized
and incorporated into a ballet.

♪

The world was a stage,

and it belonged to those
who could sing and dance.

♪

MGM was then the magic factory,

where producer Arthur Freed
nurtured such classics as On The Town,

An American in Paris,
Singin' in the Rain,

It's Always Fair Weather
and, of course, The Band Wagon.

♪

He's drunk.

- How bad?
- Very.

- What do you want me to do?
- Keep him off.

A horse!

My kingdom for a horse!

George Cukor's A Star Is Born...

took the genre one step further.

Get a load of Norman Maine, will ya?

It gave us Judy Garland as a band singer
who becomes a movie star...

while James Mason, her mentor,
sabotages his career.

Sure, but just a few.
I promised the boys.

Take your hands off me.

Actually, the story had been brought
to the screen twice before...

in a non-musical form.

"The show must go on." That is
the performer's first commandment.

But Mason's Norman Maine
couldn't take it anymore.

- That does it.
- Just a few more.

- I said, that does it.
- But you got plenty of time!

[Scorsese] He was trapped
in the cruel world of make-believe.

L-I'm sorry, gentlemen.
No time.

He couldn't even bear
to look at himself.

Are you trying to stop me
from going on? Is that it?

[Women Screaming]

These broken mirrors were
the first step toward self-destruction.

♪ For the love that's truly true
you gotta have me go with you ♪

- ♪You gotta have me ♪
- ♪Why the holdout ♪

♪And me ♪

- ♪Have you sold out ♪
- [Women Screaming]

- ♪ Time you woke up
Time you spoke up ♪
- [Screaming, Gasping]

♪ This line I'm handin' you ♪

♪It's not a handout ♪

♪As a team we'd be a standout
Fall out ♪

- ♪You wanna live high on a dime ♪
- This was not a musical-comedy.

This was a musical drama
about the sad ironies of show business.

- ♪ Boodely-ooh-boo ♪
- ♪Why the holdout ♪

♪ Have you sold out ♪

♪Time you woke up
Time you spoke up ♪

♪ Ooh, you gotta have me go with you ♪

♪ Why the holdout
Have you sold out ♪

♪Time you woke up
Time you spoke up ♪

- ♪This line I'm handin' you ♪
- [Audience Murmuring]

♪ It's not a handout ♪

♪As a team we'd be a standout ♪

- ♪You wanna live high on a dime ♪
- [Audience Laughing]

[Laughing]
♪You wanna have too harsh a climb ♪

♪You gotta have me ♪

♪ Go with you ♪

♪All the time ♪

In spite of bold attempts by
such choreographer-directors...

as Gene Kelly, Stanley Donen and
Bob Fosse to open up new territories,

the musical ceased to exist
as a film genre.

But the show biz performer still remains
a key figure in musical biographies.

Recently the most exciting
effort was probably Bob Fosse's
self-portrait, All That Jazz.

[Coughing]
It's show time, folks.

The figure of the exhausted entertainer
needing open heart surgery...

would fit right into Busby Berkeley's
gallery of hard-driving, hard-drinking,

chain-smoking directors.

♪

[Beeping]

♪We're glad that you're sorry ♪

♪Now ♪♪

- [Man] Cut!
- [Bell Ringing]

You blew it.
You forgot your line.

At the end of this number
you're supposed to say, uh...
What's he supposed to say?

He's supposed to say,
"I don't want to die. I want to live."

[Mumbling]

Well, if you can't say it, you can't
say it. We'll just have to cut it.

Cut it. Take me up.
Next setup.

Of course it's not enough for American
directors to be just storytellers.

So, as we continue our journey
in parts two and three,

I'd like to show you how I think
they need also to be illusionists,

sometimes smugglers...

and even at times iconoclasts.

That is, if they intend to express
their own personal vision.