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I'm often asked by younger filmmakers,why do I need to look at old movies?
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I've made a number of pictures
in the past 20 years.
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And the response I find that
I have to give them is that I'm...
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I still consider myself a student.
5
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Um, the more pictures
I made in the past 20 years,
the more I realized I really don't know.
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00:02:00,721 --> 00:02:03,246
And I'm always looking for
something to...
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something or someone that I could,
that I could learn from.
8
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I tell the younger, the younger
filmmakers and the young students...
9
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that I do it like painters used to do,
what painters do...
10
00:02:13,200 --> 00:02:18,103
study the old masters,
enrich your palette, expand the canvas.
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There's always so much more to learn.
12
00:02:22,576 --> 00:02:25,670
Now, take this forgotten "B" film,
Silver Lode.
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Now, this was directed by Allan Dwan,
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one of the unheralded film pioneerswho made the first of his 400 films...
15
00:02:32,219 --> 00:02:34,813
back in 1911.
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At the end of his long career,he was sort of relegatedto low-budget genre films.
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But low budget or not,watch the beautiful simplicity...
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of the sweeping tracking shotsthat are literally guidingthe desperateJohn Payne...
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toward his final sanctuary,the town church.
20
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Dwan's finest moviesfeatured simple people,
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pastoral landscapesand the rural America of a bygone era.
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But behind the lyrical imagesof the Old West,
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Silver Lode suggests the fragilityof our democratic institutions.
24
00:03:02,950 --> 00:03:06,750
On Independence Day,the day of his wedding,
25
00:03:06,854 --> 00:03:08,913
John Payne should bethe happiest man in Silver Lode.
26
00:03:09,023 --> 00:03:11,958
There he is! Look!
There! There he is!
27
00:03:12,059 --> 00:03:16,018
Instead, he has to fightfor his life when he's unjustlyaccused of a murder...
28
00:03:16,130 --> 00:03:19,429
and suddenly ostracizedby the community.
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00:03:19,533 --> 00:03:23,731
Daringly, the fugitive'sbride-to-be convinces the townthat he's not guilty...
30
00:03:23,837 --> 00:03:26,328
by forging a telegramfrom a U.S. Marshal.
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00:03:26,440 --> 00:03:30,672
"McCarty not what he
represents himself to be.
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00:03:30,778 --> 00:03:32,712
Wanted for murderand cattle rustling. "
33
00:03:32,813 --> 00:03:35,976
So, persecuted for the wrong reasons,Payne is pardoned for the wrong reasons.
34
00:03:36,083 --> 00:03:39,883
- Ya fixed it!
- You have to remember that thiswas the era of the blacklists.
35
00:03:39,987 --> 00:03:42,547
Shoot 'em all! How many bullets
ya got left? Two? Three?
36
00:03:42,656 --> 00:03:45,853
Political messages had to besmuggled in, cloaked in metaphors.
37
00:03:48,729 --> 00:03:51,562
Actually, the name of the villain,played by Dan Duryea,
38
00:03:51,665 --> 00:03:53,656
was "McCarty."
39
00:03:56,470 --> 00:03:59,906
And so a church belland a fantastic lie saved the day.
40
00:04:00,007 --> 00:04:02,032
McCarty's dead.
41
00:04:03,944 --> 00:04:06,879
Dan, there isn't much that I can say.
42
00:04:06,981 --> 00:04:10,246
But I think I can speak
for all of us... we're sorry.
43
00:04:10,351 --> 00:04:13,582
You're "sorry"?
44
00:04:13,687 --> 00:04:17,521
A moment ago you wanted to kill me.
45
00:04:17,625 --> 00:04:21,823
You forced me to kill,
to defend myself, to save my own life.
46
00:04:21,929 --> 00:04:24,693
But you wouldn't believe what I said.
47
00:04:24,798 --> 00:04:27,790
A man's life can hangin the balance...
48
00:04:27,901 --> 00:04:29,994
on a piece of paper!
49
00:04:36,210 --> 00:04:38,610
And you're sorry.
50
00:04:38,712 --> 00:04:42,239
The '50s...The '50s for me is a fascinating era...
51
00:04:42,349 --> 00:04:45,841
when the subtext became as important
as the apparent subject matter...
52
00:04:45,953 --> 00:04:47,887
or even more important.
53
00:04:47,988 --> 00:04:51,583
I mean, look at Douglas Sirk's
film All That Heaven Allows,
which he made in 1955,
54
00:04:51,692 --> 00:04:54,627
or Nicholas Ray's
Bigger Than Life, made in 1956.
55
00:04:54,728 --> 00:04:56,855
Now, you have to understand
these were not "B" movies.
56
00:04:56,964 --> 00:04:59,194
These were big-scale pictures
with major studio stars.
57
00:04:59,300 --> 00:05:03,066
Furthermore, they were Americanas,
58
00:05:03,170 --> 00:05:05,730
the most wholesome genre of the period.
59
00:05:05,839 --> 00:05:09,331
Jane Wyman, the widow in Douglas Sirk's
All That Heaven Allows,
60
00:05:09,443 --> 00:05:13,004
is not rejected by her community,she is immersed in it.
61
00:05:13,113 --> 00:05:16,241
Her world becomes unhingedwhen she falls in love with Rock Hudson,
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00:05:16,350 --> 00:05:19,410
a much younger manwho happens to be her gardener.
63
00:05:19,520 --> 00:05:25,015
A spiritual descendant ofThoreau, he represents a solidand serene individualism...
64
00:05:25,125 --> 00:05:29,221
that seems sadly out of placein the New England of the 1950s.
65
00:05:29,330 --> 00:05:33,198
What a beautiful view of the pond.
Why, you can see for miles.
66
00:05:33,300 --> 00:05:36,360
Mm-hmm. The sun comes up
right over that hill.
67
00:05:36,470 --> 00:05:39,132
- Oh!
- Do you like it?
68
00:05:39,273 --> 00:05:41,207
Why, it's unbelievable.
69
00:05:41,275 --> 00:05:43,175
Let's take your boots off, huh?
70
00:05:43,277 --> 00:05:45,177
- Hello, Dan.
- Hello, Cary.
71
00:05:45,279 --> 00:05:47,179
- Cary, you know Miss Frisbee,
Mr. Allenby. Mr. Kirby.
- Yes.
72
00:05:47,281 --> 00:05:51,411
- How do you do?
- Oh, what's this I hear about your... Oh.
73
00:05:51,518 --> 00:05:53,986
Haven't I seen you somewhere before?
74
00:05:54,088 --> 00:05:56,921
Well, Mrs. Humphrey,
probably in your garden.
75
00:05:57,024 --> 00:06:00,187
I've been pruning your trees
for the last three years!
76
00:06:00,294 --> 00:06:03,422
Oh, yes, of course.
77
00:06:03,530 --> 00:06:08,365
- Uh, Sara, I really must be going.
- Excuse me. I'll be right back.
78
00:06:08,469 --> 00:06:10,801
- Are you saying
you don't want to marry me?
- Oh, no, I'm not saying that.
79
00:06:10,904 --> 00:06:13,395
I'm... I'm just asking you to be patient.
80
00:06:13,507 --> 00:06:17,671
- It's only a question of time.
- Only of time.
81
00:06:17,778 --> 00:06:20,508
Well, right now
everybody's talking about us.
82
00:06:20,614 --> 00:06:23,014
We're a local sensation.
83
00:06:23,117 --> 00:06:26,416
And like Sara said, if... if the people
get used to seeing us together,
84
00:06:26,520 --> 00:06:29,318
then maybe they'll accept us.
85
00:06:29,423 --> 00:06:34,861
You mean, uh, we'll be invited
to all the cocktail parties.
86
00:06:34,962 --> 00:06:39,092
And, of course, Sara will see to it
that I get into the country club.
87
00:06:39,199 --> 00:06:42,430
I can see that you don't want to listen
to anybody's ideas but your own.
88
00:06:42,536 --> 00:06:45,471
And I can see that you're trying to make
me choose between you and the children!
89
00:06:45,572 --> 00:06:49,633
No, Cary, you're the one
that made it a question of choosing.
90
00:06:49,743 --> 00:06:51,677
So you're the one
that'll have to choose.
91
00:06:55,416 --> 00:06:57,316
All right.
92
00:07:01,188 --> 00:07:03,088
It's all over.
93
00:07:05,359 --> 00:07:09,693
Once she surrenders to the community'spressure, Jane Wyman is trapped.
94
00:07:09,797 --> 00:07:11,765
Cary.
95
00:07:11,865 --> 00:07:14,993
She's left suffocating intheir world of pretense and illusions...
96
00:07:15,102 --> 00:07:18,469
far from Hudson's Walden Pond.
97
00:07:18,572 --> 00:07:21,166
Home, family, social roles...
98
00:07:21,275 --> 00:07:23,971
can't fulfillthe pursuit of happiness anymore.
99
00:07:24,077 --> 00:07:27,706
Somehow, they've becomethe instruments of repression.
100
00:07:27,815 --> 00:07:31,717
Beneath the surfaceof the seemingly ideal setting...
101
00:07:31,819 --> 00:07:35,311
lay a sharp indictmentof American small-town life.
102
00:07:35,422 --> 00:07:37,322
? And heaven and nature sing
103
00:07:37,424 --> 00:07:40,791
Both Douglas Sirk and Nicholas Raystayed within the rules.
104
00:07:40,894 --> 00:07:43,124
Their films hadthe required happy ending.
105
00:07:43,230 --> 00:07:47,929
But they hinted at the dangers inherentin conforming to society's conventions.
106
00:07:48,035 --> 00:07:51,061
You see, anything indirect...
107
00:07:51,171 --> 00:07:53,264
is, uh, stronger,
108
00:07:53,407 --> 00:07:55,500
in many cases, at least,
109
00:07:55,576 --> 00:07:59,706
because you leave it or you hand it
over to the imagination...
110
00:07:59,813 --> 00:08:01,804
of your audience, you know.
111
00:08:01,915 --> 00:08:05,407
And I've always been trusting...
112
00:08:05,519 --> 00:08:07,646
my audience to have imagination.
113
00:08:07,754 --> 00:08:11,121
Otherwise, they should stay out
of the cinema.
114
00:08:11,225 --> 00:08:16,253
- You know,
you have to leave something open.
- Mm-hmm.
115
00:08:16,363 --> 00:08:19,992
The moment you start preach
in the film... preaching in the film...
116
00:08:20,100 --> 00:08:24,730
the moment you want
to teach your audience,
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00:08:24,838 --> 00:08:27,170
you're making a bad film.
118
00:08:27,274 --> 00:08:29,936
If you can't have a life,settle for its imitation.
119
00:08:30,043 --> 00:08:32,068
There's your present now.
120
00:08:32,179 --> 00:08:35,376
This is whatJane Wymanreceives from her children...
121
00:08:35,482 --> 00:08:38,474
- Oh, please, Kay...
- as a substitute for her lost love.
122
00:08:38,585 --> 00:08:42,077
Mother!Merry Christmas.
123
00:08:42,189 --> 00:08:45,181
Merry Christmas, Mrs. Scott.
124
00:08:45,292 --> 00:08:48,659
Television, the movie'srival medium in the 1950s,
125
00:08:48,762 --> 00:08:51,026
was cast as the ultimate symbolof alienation.
126
00:08:51,131 --> 00:08:54,862
All you have to do is turn that dial,
and you have all the company you want...
127
00:08:54,968 --> 00:08:57,368
right there on the screen.
128
00:08:57,471 --> 00:09:02,568
Drama, comedy,life's parade at your fingertips.
129
00:09:06,046 --> 00:09:08,674
Like Douglas Sirk,
Nicholas Ray offers...
130
00:09:08,782 --> 00:09:12,115
both the American family in suburbia
and the psychotic elements:
131
00:09:12,219 --> 00:09:15,620
The convention and the contradictions;
the sugar and the poison.
132
00:09:19,393 --> 00:09:22,794
Look at Nicholas Ray's Bigger Than Life.
133
00:09:22,896 --> 00:09:26,263
James Mason portraysa frustrated schoolteacher...
134
00:09:26,366 --> 00:09:28,800
who undergoes personality changeswhen he becomes...
135
00:09:28,902 --> 00:09:31,336
hooked on cortisone,then an experimental drug.
136
00:09:31,438 --> 00:09:34,839
Just use your reason calmly.
137
00:09:34,942 --> 00:09:38,878
We'll have dinner the moment
you've mastered this problem.
138
00:09:38,979 --> 00:09:42,915
Here he feels ten feet tall.
139
00:09:43,016 --> 00:09:46,713
- Ed, dinner's been waiting two hours.
- I'm sorry.
140
00:09:46,820 --> 00:09:51,257
- Richie ought to eat.
- I'm hungry too.
141
00:09:51,358 --> 00:09:54,191
Ed, Richie didn't even have lunch.
142
00:09:54,294 --> 00:09:56,455
The cortisone acts as a catalyst.
143
00:09:56,563 --> 00:10:00,294
It reveals a mentaland spiritual dissatisfaction...
144
00:10:00,400 --> 00:10:03,198
and fuels Mason's growing desireto escape...
145
00:10:03,303 --> 00:10:06,363
from the dull existencethat stifles his soul.
146
00:10:06,473 --> 00:10:09,965
Lou, it'll be better for all of us
if you clearly understand one thing.
147
00:10:10,077 --> 00:10:12,841
I will not tolerate your attempts
to undermine my program for Richard.
148
00:10:12,946 --> 00:10:14,846
Yes, darling.
149
00:10:14,948 --> 00:10:18,384
Be good enough not to speak to me
in that hypocritical tone of voice.
150
00:10:18,485 --> 00:10:21,045
I see through you as clearly as
I see through this glass pitcher!
151
00:10:21,154 --> 00:10:23,384
If you imagine I'm going to be fooled
by all this sweetness and meekness...
152
00:10:23,490 --> 00:10:25,390
"Yes, darling, no, darling..."
153
00:10:25,492 --> 00:10:27,756
you're even a bigger idiot
than I took you for.
154
00:10:27,861 --> 00:10:29,761
Let's clear this up
once and for all!
155
00:10:29,863 --> 00:10:32,161
I'm staying in this house
solely for the boy's sake!
156
00:10:32,265 --> 00:10:34,324
As for you personally,
I'm completely finished with you.
157
00:10:34,434 --> 00:10:36,732
There's nothing left.
Our marriage is over.
158
00:10:36,837 --> 00:10:38,737
In my mind I've divorced you.
159
00:10:38,839 --> 00:10:42,297
You're not my wife any longer,I'm not your husband any longer.
160
00:10:42,409 --> 00:10:45,606
Mason's family goes through hellas he starts questioning every tenet...
161
00:10:45,712 --> 00:10:48,442
of family life in the 1950s.
162
00:10:48,582 --> 00:10:51,915
"Momism," Sunday school,Little League sports...
163
00:10:51,985 --> 00:10:55,944
and even the egalitarian principlesof American education.
164
00:11:12,105 --> 00:11:15,165
Lou! Lou!
165
00:11:16,643 --> 00:11:18,804
You'll be happy to know you've won.
166
00:11:18,912 --> 00:11:20,812
All of my efforts
have been too late.
167
00:11:20,914 --> 00:11:23,974
In this house,
our son has become a thief.
168
00:11:25,519 --> 00:11:29,580
My heroes are no more neurotic
than the audience.
169
00:11:29,690 --> 00:11:32,921
Unless you can feel that...
170
00:11:33,026 --> 00:11:35,290
a hero is just as fucked up as you are...
171
00:11:35,395 --> 00:11:39,627
that you would make the same mistakes
that he would make...
172
00:11:39,733 --> 00:11:44,067
uh, you can have no satisfaction...
173
00:11:44,171 --> 00:11:47,538
when he does commit a heroic act.
174
00:11:47,641 --> 00:11:52,442
Because then you can say,
"Hell, I could have done that too."
175
00:11:52,546 --> 00:11:57,381
And that's the obligation of
the filmmaker, of the theater worker...
176
00:11:57,484 --> 00:12:00,942
to give a heightened sense
of experience to the...
177
00:12:01,054 --> 00:12:05,548
people who pay to come
to see his work.
178
00:12:05,659 --> 00:12:08,389
"And they came to the place
of which God had told him,
179
00:12:08,495 --> 00:12:12,932
and Abraham built an altar
there and laid the wood in
order and bound Isaac, his son,
180
00:12:13,033 --> 00:12:15,831
and laid him on the altar upon the wood.
181
00:12:15,936 --> 00:12:19,201
And Abraham stretched forth his hand...
182
00:12:19,306 --> 00:12:23,140
and took the knife to slay his son."
183
00:12:23,243 --> 00:12:26,906
But, Ed, you didn't read it all.
God stopped Abraham.
184
00:12:27,013 --> 00:12:29,880
God was wrong.
185
00:12:31,251 --> 00:12:34,778
Ed! No! Ed! No!
Ed! No!
186
00:12:34,888 --> 00:12:39,587
Richie! Run out the window!Richie! Richie!
187
00:12:39,693 --> 00:12:43,288
No! Richie!
188
00:13:23,403 --> 00:13:26,099
Samuel Fuller's characterswere no intellectuals.
189
00:13:26,206 --> 00:13:28,697
His was a visceral cinema,
190
00:13:28,809 --> 00:13:31,039
excessive, explosive.
191
00:13:31,144 --> 00:13:34,705
He once defined filmas a battlefield.
192
00:13:34,815 --> 00:13:39,582
Love, hate, action, death.In one word, emotion.
193
00:13:41,988 --> 00:13:44,513
Impact was his main concern.
194
00:13:44,624 --> 00:13:47,889
Whether he was dealing withthe Old West or Cold War America,
195
00:13:47,994 --> 00:13:51,828
his images were burstingwith violence and sexual energy.
196
00:13:56,269 --> 00:13:58,567
In Pickup on South Street,
197
00:13:58,672 --> 00:14:01,436
Richard Widmark is a pickpocket...
198
00:14:01,541 --> 00:14:03,600
andJean Peters a prostitute.
199
00:14:11,051 --> 00:14:15,010
Here he inadvertentlytakes a microfilm...
200
00:14:15,121 --> 00:14:19,615
which Communist agents aretrying to smuggle out of the country.
201
00:14:31,404 --> 00:14:34,032
How much is it worth to ya?
202
00:14:34,140 --> 00:14:36,108
What are you pushin' me for?
203
00:14:36,209 --> 00:14:38,143
You came here to buy, didn't you?
204
00:14:38,245 --> 00:14:42,079
America's fate is in the handsof two outcasts.
205
00:14:42,182 --> 00:14:45,049
She's just a runner who doesn'teven know what side she's on,
206
00:14:45,151 --> 00:14:48,177
while he's a cynic,willing to do business with all sides.
207
00:14:48,288 --> 00:14:50,347
How much did ya bring?
208
00:14:50,457 --> 00:14:52,584
I don't wanna talk about it.
209
00:14:52,692 --> 00:14:55,559
- A former crime reporter,
- How much?
210
00:14:55,662 --> 00:14:58,256
- Fuller cultivatedthe shocks and hyperbole...
- Five hundred.
211
00:14:58,365 --> 00:15:00,299
That tabloids used in their headlines.
212
00:15:02,402 --> 00:15:06,600
You tell that Commie I want a big score
for that film, and I want it in cash.
213
00:15:06,706 --> 00:15:08,606
- Tonight!
- What are you talkin' about?
214
00:15:08,708 --> 00:15:11,302
You tell me. You people are
supposed to have all the answers.
215
00:15:11,411 --> 00:15:15,142
- Tell ya what?
- Come on! Drop the act. So you're a Red.
216
00:15:15,248 --> 00:15:18,445
Who cares?Your money's as good as anybody else's.
217
00:15:18,551 --> 00:15:22,282
Now get your stern up those stairs
and tell your old lady what I want.
218
00:15:22,389 --> 00:15:25,119
I'll do business with a Red,
but I don't have to believe one.
219
00:15:26,726 --> 00:15:31,129
Playing both ends against the middle,Widmark defied all "isms,"
220
00:15:31,231 --> 00:15:33,665
- even patriotism.
- Get outta here!
221
00:15:33,767 --> 00:15:36,292
Writer-director-producerSamuel Fuller's work...
222
00:15:36,403 --> 00:15:39,338
was a potent antidote to America's
complacency during the Cold War.
223
00:15:39,439 --> 00:15:42,533
He was the most outspoken
of the '50s smugglers.
224
00:15:42,642 --> 00:15:45,133
No ideology escaped his scathing irony.
225
00:15:45,245 --> 00:15:48,078
American hypocrisy
was his constant target.
226
00:15:48,181 --> 00:15:50,581
Fuller's heroes were hard
to distinguish from his villains.
227
00:15:50,684 --> 00:15:52,584
If you refuse to cooperate,
228
00:15:52,686 --> 00:15:55,120
you'll be as guilty as the traitors
that gave Stalin the A-bomb.
229
00:15:55,221 --> 00:15:57,781
Are you wavin' the flag at me?
230
00:15:57,891 --> 00:16:00,382
I know something
in our side you should get...
231
00:16:00,493 --> 00:16:05,760
Get this. I didn't grift that film,
and you can't prove I did.
232
00:16:05,899 --> 00:16:08,026
- Do you know what treason means?
- Who cares?
233
00:16:08,101 --> 00:16:12,003
- Answer the man!
- Is there a law now
I gotta listen to lectures?
234
00:16:12,105 --> 00:16:15,097
When he says,"Don't wave the goddamn flag at me,"
235
00:16:15,208 --> 00:16:19,144
Hoover objected to thatand verbally objected it...
236
00:16:19,245 --> 00:16:24,114
in my presence at Romanoff's table
with Zanuck.
237
00:16:24,217 --> 00:16:28,881
He objects that an American
would say during the heat,
238
00:16:28,989 --> 00:16:31,287
the hottest point of
the Cold War with Russia,
239
00:16:31,391 --> 00:16:33,951
"Don't wave the goddamn flag at me."
240
00:16:34,060 --> 00:16:38,895
And Zanuck said, "He's right," to me.
"He's right. We'll leave out 'goddamn.'"
241
00:16:38,999 --> 00:16:41,627
And Hoover got very angry.
242
00:16:41,735 --> 00:16:44,465
"You know damn well
that's not what I mean."
243
00:16:44,571 --> 00:16:48,439
And Zanuck explained very
simply, and he was a friend
of his... I mean, he knew him...
244
00:16:48,541 --> 00:16:53,444
"This is his character talking,
and that character doesn't give
a goddamn about the flag.
245
00:16:53,546 --> 00:16:56,071
It means nothing to him.
246
00:16:56,182 --> 00:16:58,582
Any flag... You must be that character.
247
00:16:58,685 --> 00:17:00,812
Otherwise, we are making
a propaganda film.
248
00:17:00,954 --> 00:17:02,979
And we don't make those kind
of propaganda films."
249
00:17:04,391 --> 00:17:07,656
Fuller had found a nichein "B" films and genre pictures,
250
00:17:07,761 --> 00:17:09,729
but when the studio system collapsed,
251
00:17:09,829 --> 00:17:13,765
he was relegated to low-budget,independent productions.
252
00:17:13,867 --> 00:17:17,268
He had no money,no stars and only minimal sets.
253
00:17:17,370 --> 00:17:20,669
But out of these limitationsemerged an outstanding film,
254
00:17:20,774 --> 00:17:24,301
Shock Corridor.
255
00:17:24,411 --> 00:17:28,939
Ajournalist pretends to be a madmanin order to investigate a crime...
256
00:17:29,049 --> 00:17:31,609
that took place in a mental hospital.
257
00:17:31,718 --> 00:17:35,210
But instead of winningthe Pulitzer Prize, he goes mad.
258
00:17:58,178 --> 00:18:01,614
Aaaah!
259
00:18:12,358 --> 00:18:15,623
Shock Corridor was fullof front page material.
260
00:18:15,728 --> 00:18:19,494
The inmates were the product ofCold War paranoia and Southern racism.
261
00:18:19,599 --> 00:18:23,365
Every form ofAmerican insanity was represented.
- Trent!
262
00:18:23,470 --> 00:18:28,772
This baptizes a new organization,
the Ku Klux.
263
00:18:28,875 --> 00:18:32,436
- Sounds good.
- No.
264
00:18:33,546 --> 00:18:36,811
Ku Klux Klan.
265
00:18:36,916 --> 00:18:39,714
Sounds more mysterious,
more menacing, more alliterative.
266
00:18:39,819 --> 00:18:42,845
- Ku Klux Klan. Say it.
- Ku Klux Klan.
267
00:18:42,956 --> 00:18:44,856
- KKK.
- KKK.
268
00:18:44,958 --> 00:18:48,519
It'll catch on quick. It'll drive
those carpetbaggers back north.
269
00:18:48,628 --> 00:18:50,619
Scare the hell out of'em.
Tar and feather them.
270
00:18:50,730 --> 00:18:52,630
Hang' em. Burn 'em.
271
00:18:55,068 --> 00:18:58,697
Listen to me, Americans.
America for Americans!
272
00:18:58,805 --> 00:19:01,296
America for Americans!
273
00:19:01,407 --> 00:19:04,376
Keep our schools white!
274
00:19:04,477 --> 00:19:07,037
- Keep 'em white!
- That's right! Keep 'em white!
275
00:19:07,147 --> 00:19:09,707
- I'm against Catholics!
- Hallelujah, man! Hallelujah!
276
00:19:09,816 --> 00:19:12,876
- AgainstJews! Jews!
- Hallelujah! Hallelujah!
277
00:19:12,986 --> 00:19:15,511
- Against niggers!
- Hallelujah! Hallelujah!
278
00:19:15,622 --> 00:19:18,648
- Against niggers!
- Hallelujah!
279
00:19:18,758 --> 00:19:21,022
- Against niggers!
- Hallelujah!
280
00:19:21,127 --> 00:19:23,561
There's one!
281
00:19:23,663 --> 00:19:26,291
Let's get that black boy
before he marries my daughter!
282
00:19:26,399 --> 00:19:28,526
Hallelujah!
Hallelujah!
283
00:19:30,637 --> 00:19:32,537
The metaphor was crystal clear.
284
00:19:32,639 --> 00:19:36,735
In Fuller's vision,America had become an insane asylum.
285
00:19:38,845 --> 00:19:44,249
Sadly, Fuller's later careerwas typical of the times.
286
00:19:44,350 --> 00:19:47,615
To finance his unorthodox projects,he had to move to Europe.
287
00:19:47,720 --> 00:19:51,622
And for a whole generation of smugglers,this was the end of the line.
288
00:19:53,726 --> 00:19:56,559
The pioneers and showmen were gone.
289
00:19:56,663 --> 00:19:59,791
The moguls were replacedby agents and executives.
290
00:19:59,899 --> 00:20:01,799
Actors and directors were startingtheir own companies.
291
00:20:01,901 --> 00:20:06,270
Start the wind machine.
292
00:20:06,372 --> 00:20:08,704
Runaway productionwas the name of the game.
293
00:20:08,808 --> 00:20:11,174
Turn on the paddle wheel.
294
00:20:11,277 --> 00:20:14,644
Roll 'em!
295
00:20:14,747 --> 00:20:17,648
- To make films you had to go to London,
- Action!
296
00:20:17,750 --> 00:20:19,650
Paris, Madrid and Rome.
297
00:20:19,752 --> 00:20:23,552
A film like Two Weeks In Another Town
captured the desperation of the times.
298
00:20:23,656 --> 00:20:27,057
I have an offer... leave.
299
00:20:32,065 --> 00:20:34,397
There's only one name for you.
300
00:20:34,500 --> 00:20:38,869
On the streets of my village
they call them...
301
00:20:38,972 --> 00:20:41,099
- Welcome to Hollywood on the Tiber.
- How dare you!
302
00:20:41,207 --> 00:20:45,439
- You are behind schedule.
- I need two weeks
to finish shooting this picture.
303
00:20:45,545 --> 00:20:49,743
You give me two extra weeks, and I'll
give you a Maurice Kruger picture.
304
00:20:49,849 --> 00:20:53,410
- Don't you want
the best movie you can get?
- No.
305
00:20:53,519 --> 00:20:58,889
- Don't you have pride in
what pictures you put your name on?
- No.
306
00:20:58,992 --> 00:21:00,892
Turn that off and get out.
I want to get some sleep.
307
00:21:00,994 --> 00:21:02,928
Tucino, you international peddler!
308
00:21:03,029 --> 00:21:07,398
Take a good look at a moviethat was made just because wecouldn't sleep until we made it.
309
00:21:07,500 --> 00:21:10,060
Ironically, Two Weeks In Another Town...
310
00:21:10,203 --> 00:21:12,433
- was the sequel to
The Bad And The Beautiful.
- Laugh the way he would have!
311
00:21:12,505 --> 00:21:16,965
That's not a god talking, Georgia.That's only a man.
312
00:21:17,076 --> 00:21:20,603
Both films were directed by VincenteMinnelli, produced byJohn Houseman...
313
00:21:20,713 --> 00:21:22,840
and starred Kirk Douglas.
314
00:21:22,949 --> 00:21:27,511
But in ten years,from 1952 to 1962,
315
00:21:27,620 --> 00:21:30,111
the industry had undergonetremendous changes,
316
00:21:30,223 --> 00:21:32,453
and Two Weeks In Another Town...
317
00:21:32,558 --> 00:21:35,652
was a startling mirrorof Hollywood's decline.
318
00:21:35,762 --> 00:21:38,890
Did it with style.
319
00:21:38,998 --> 00:21:41,626
L-It's all right, Mrs. Curry.
320
00:21:41,734 --> 00:21:46,694
Kruger, you're great.
321
00:21:51,177 --> 00:21:53,270
I was great.
322
00:21:53,379 --> 00:21:55,279
The golden age was over.
323
00:21:55,381 --> 00:21:59,750
And for many a veteran director,this was a painful periodof anguish and self-doubt.
324
00:21:59,852 --> 00:22:02,821
Who in his right mind
would expect me to settle for you?
325
00:22:02,922 --> 00:22:07,325
A worn-out, dried-up,
whining, meddling old hag!
326
00:22:07,427 --> 00:22:10,988
My lawful wedded nightmare.
Frustrated and stupid.
327
00:22:11,097 --> 00:22:15,363
Sticking your fat nose
into everything day and night!
328
00:22:15,468 --> 00:22:17,868
Clara?
329
00:22:18,971 --> 00:22:20,871
Clara?
330
00:22:27,313 --> 00:22:29,440
Clara.
331
00:22:29,549 --> 00:22:33,110
Don't swallow all those sleeping pills.
332
00:22:33,219 --> 00:22:38,054
The doctor will just have to come up
and pump out your stomach again.
333
00:22:38,157 --> 00:22:42,321
You know how sick that makes me.
334
00:22:49,669 --> 00:22:53,799
Oh, Clara. Clara.
335
00:22:55,641 --> 00:23:00,874
L- I look at this filmI'm shooting. I like it.
336
00:23:02,815 --> 00:23:04,840
What if I'm wrong...
337
00:23:04,951 --> 00:23:07,476
and it's another calamity?
338
00:23:08,721 --> 00:23:11,485
Where do I go from here?
339
00:23:13,226 --> 00:23:16,218
Took me two years to get this job,
and that was a fluke.
340
00:23:17,997 --> 00:23:22,229
How can a man go wrongand not know why?
341
00:23:22,335 --> 00:23:24,929
What's happened to me?
342
00:23:26,939 --> 00:23:29,430
Is it ego?
343
00:23:30,543 --> 00:23:33,307
Self-indulgence?
344
00:23:34,914 --> 00:23:37,109
Or...
345
00:23:41,854 --> 00:23:44,550
am I just plain afraid?
346
00:23:44,657 --> 00:23:47,319
Oh, my poor...
347
00:23:47,427 --> 00:23:51,989
I've seen the film you're shooting,
and it's beautiful.
348
00:24:06,479 --> 00:24:11,246
Whereas the smuggler works
undercover and his subversion
is not detected immediately,
349
00:24:11,384 --> 00:24:13,750
the iconoclast attacks
conventions head-on...
350
00:24:13,820 --> 00:24:17,221
and his defiance sends shock waves
through the industry.
351
00:24:17,323 --> 00:24:21,384
In Hollywood, the iconoclasts comprise
the visionaries, the groundbreakers,
352
00:24:21,494 --> 00:24:25,021
the renegades who openly defied
the system and expanded the art form.
353
00:24:25,131 --> 00:24:28,794
Often they were defeated. Sometimes they
actually made the system work for them.
354
00:24:35,508 --> 00:24:38,807
Hollywood has always hada love/hate relationship with thosewho break its rules,
355
00:24:38,911 --> 00:24:42,039
extolling them one momentand burning them the next.
356
00:24:47,019 --> 00:24:52,582
The Hollywood establishment oftenconfused entertainment with escapism,
357
00:24:52,692 --> 00:24:57,356
so borrowing from real life was deemedeither boring or sometimes subversive,
358
00:24:57,463 --> 00:25:00,455
particularly if it meantplumbing the lower depths.
359
00:25:00,566 --> 00:25:03,296
But back in the silent era,a few filmmakers challenged...
360
00:25:03,436 --> 00:25:05,336
the ideals of glamour andwholesomeness by injecting...
361
00:25:05,438 --> 00:25:07,998
a dose of reality into their films,
362
00:25:08,074 --> 00:25:10,804
generally withinthe framework of the melodrama.
363
00:25:10,910 --> 00:25:13,276
D. W. Griffith, for instance,is often identified...
364
00:25:13,379 --> 00:25:16,871
with quaint romanticismand Victorian sensibility.
365
00:25:16,983 --> 00:25:21,784
But more than once, he went beyondthe accepted melodrama of his time.
366
00:25:23,356 --> 00:25:26,484
In Broken Blossoms,
he showed how a sordid reality...
367
00:25:26,592 --> 00:25:28,787
can destroy the purest dreams.
368
00:25:35,301 --> 00:25:37,929
This was the most delicateinterracial romance.
369
00:25:38,037 --> 00:25:41,370
Physical and spiritual sufferingis what unites Lillian Gish,
370
00:25:41,474 --> 00:25:44,568
the waif battered by her boxing father,
371
00:25:44,677 --> 00:25:48,306
and Richard Barthelmess,the young Buddhistwho lost his religious fervor...
372
00:25:48,414 --> 00:25:51,440
in the slums of London.
373
00:25:51,551 --> 00:25:55,419
Their bodies, like their souls,are bent or stunted.
374
00:25:56,789 --> 00:25:59,257
Both are broken blossoms.
375
00:26:04,730 --> 00:26:09,030
Only when they findeach other do they come alive.
376
00:26:10,636 --> 00:26:13,002
So, for a brief moment,
377
00:26:13,105 --> 00:26:16,404
they're allowed to dreambefore our eyes.
378
00:26:23,716 --> 00:26:27,675
But when the racist fatherdiscovers the situation,
379
00:26:27,787 --> 00:26:31,348
bigotry is exposed in its rawest form.
380
00:26:33,125 --> 00:26:38,085
Sweetness and compassionturn to fury and savagery.
381
00:26:53,679 --> 00:26:57,911
The young Chinesewho didn't believe in violence...
382
00:26:58,017 --> 00:27:00,508
picks up a gun to save his beloved.
383
00:27:04,090 --> 00:27:06,081
He'll come too late.
384
00:27:11,664 --> 00:27:14,394
Her punishment is death.
385
00:27:20,740 --> 00:27:25,541
Erich von Stroheim wasthe most outrageous of the iconoclasts,and he fell the hardest.
386
00:27:25,645 --> 00:27:29,308
The Wedding March is a fairy tale,but a tragic one,
387
00:27:29,415 --> 00:27:34,182
with Fay Wray, a poor musician'sdaughter, as Cinderella,
388
00:27:34,286 --> 00:27:38,188
and Stroheim, the scionof an aristocratic family,as her Prince Charming.
389
00:27:55,341 --> 00:27:59,710
The setting was Vienna in the last daysof the Hapsburg dynasty,
390
00:27:59,812 --> 00:28:04,647
a decadent world that bothfascinated and repelled Stroheim.
391
00:28:09,121 --> 00:28:12,989
The city of waltzesand operettas was a pigsty.
392
00:28:21,100 --> 00:28:26,094
Behind the romantic exterior, Stroheimrevealed an ugly, cruel society...
393
00:28:26,205 --> 00:28:28,605
ruled by greed.
394
00:28:39,185 --> 00:28:42,450
The apple blossomsoffered a brief refuge,
395
00:28:42,555 --> 00:28:44,648
but they were an illusion.
396
00:28:44,757 --> 00:28:48,386
Innocence was doomed from the start.
397
00:28:48,494 --> 00:28:51,861
Stroheim's heroines were no madonnas.
398
00:28:51,964 --> 00:28:56,594
Like their male counterparts,they were always endowedwith strong sexual desires.
399
00:28:56,702 --> 00:29:00,399
What Stroheim was afterwas a more honest depiction...
400
00:29:00,506 --> 00:29:03,373
of human relationships.
401
00:29:18,124 --> 00:29:20,058
Both lovers were victims.
402
00:29:20,159 --> 00:29:22,684
The young girlwho surrendered her soul...
403
00:29:22,795 --> 00:29:27,698
and the prince who hadnot yet been corruptedby the hypocrisy of his milieu.
404
00:29:31,937 --> 00:29:35,236
Stroheim's imagescould certainly be brutal,
405
00:29:35,341 --> 00:29:38,435
and they inevitably got himinto trouble with the censors.
406
00:29:38,544 --> 00:29:40,978
But at heart, he was a romantic...
407
00:29:41,080 --> 00:29:45,141
who was haunted by the lossand the corruption of love.
408
00:29:46,552 --> 00:29:50,181
Rather than indulge in the splendorsof imperial Vienna,
409
00:29:50,289 --> 00:29:52,553
he exposed its moral squalor.
410
00:29:54,627 --> 00:29:58,393
The young prince's father,a ruined aristocrat,
411
00:29:58,497 --> 00:30:03,127
strikes a deal with a richmerchant, who's desperate tomarry off his crippled daughter.
412
00:30:14,413 --> 00:30:17,576
Stroheim paid a high pricefor his transgressions...
413
00:30:17,683 --> 00:30:21,744
and his perceived intransigence.
414
00:30:21,854 --> 00:30:26,450
The very qualities that made hima great artist undid him.
415
00:30:26,559 --> 00:30:31,656
He was dubbed a megalomaniacand ended up losing controlover most of his projects.
416
00:30:31,764 --> 00:30:36,224
They would all be eventuallytruncated or disfigured.
417
00:30:36,335 --> 00:30:40,135
All fragments of a broken vision.
418
00:30:49,415 --> 00:30:51,315
In the '30s a few topical films...
419
00:30:51,417 --> 00:30:54,079
allowed the grim reality of
the Depression to seep into the movies,
420
00:30:54,186 --> 00:30:56,177
particularly at Warner Brothers.
421
00:30:56,288 --> 00:30:58,518
Young Darryl Zanuck,then head of production,
422
00:30:58,624 --> 00:31:02,185
ordered his writers to drawtheir subjects from newspaper headlines.
423
00:31:02,294 --> 00:31:05,024
I Am A Fugitive From A Chain Gang
was probably the most famous...
424
00:31:05,130 --> 00:31:07,155
of these hard-hitting exposes.
425
00:31:07,266 --> 00:31:11,430
It even led to the reformationof the penal system in the South.
426
00:31:11,537 --> 00:31:13,767
However, David Selznick at RKO...
427
00:31:13,873 --> 00:31:17,502
jumped the gun on Zanuckby releasing his own indictmentof the chain gang system...
428
00:31:17,610 --> 00:31:19,771
several months earlier.
429
00:31:22,715 --> 00:31:24,740
The film was called Hell's Highway.
430
00:31:24,850 --> 00:31:28,013
Well, young fella,
ya won't catch cold in that sweatbox.
431
00:31:28,120 --> 00:31:31,112
It was one of the three filmsdirected by Rowland Brown,
432
00:31:31,223 --> 00:31:34,556
a forgotten figurewhose meteoric career reputedly ended...
433
00:31:34,660 --> 00:31:37,128
when he punchedone of Hollywood's top executives.
434
00:31:46,605 --> 00:31:49,130
Carter's dead.
Strangled to death in the sweatbox.
435
00:31:49,241 --> 00:31:53,507
The contractor says
the boy committed suicide.
436
00:31:53,612 --> 00:31:56,638
- Carter's dead.
- Carter's dead.
437
00:31:56,749 --> 00:31:58,808
- Carter's dead.
- Carter's dead.
438
00:31:58,918 --> 00:32:01,478
Somehow, Rowland Brown's audacityepitomized the pre-Code era.
439
00:32:01,587 --> 00:32:04,522
Those are the tumultuous yearsbefore rigid censorship rules,
440
00:32:04,623 --> 00:32:07,023
known as the Production Code,came into effect.
441
00:32:07,126 --> 00:32:10,823
- Where's Carter?
- Yeah! Where is Carter?
442
00:32:10,930 --> 00:32:15,833
Where's Carter?
443
00:32:15,935 --> 00:32:18,631
Quiet there!
444
00:32:18,737 --> 00:32:23,367
A convicted bank robber,Richard Dix is one of theforgotten men of the Depression.
445
00:32:23,475 --> 00:32:28,378
His rebellious behavioris justified by the appallingconditions at the prison camp.
446
00:32:31,317 --> 00:32:35,651
His desperation reflectsthat of the country.
447
00:32:35,754 --> 00:32:39,986
Well, why don't you start?
448
00:32:40,092 --> 00:32:44,495
The World War One veteranwas once an all-American hero.
449
00:32:48,600 --> 00:32:52,263
Social consciousness sparkedWarner Brothers'stark dramas.
450
00:32:52,371 --> 00:32:56,569
Films like William Wellman's Wild Boys
OfThe Road and Heroes For Sale.
451
00:32:56,675 --> 00:32:59,166
I have to get to my aunt's
in Chicago someway.
452
00:32:59,278 --> 00:33:02,475
- This is the only way I can do it.
- Well, don't your folks mind?
453
00:33:02,581 --> 00:33:05,243
My mother's dead.
454
00:33:06,685 --> 00:33:08,653
And we got a big family.
455
00:33:08,754 --> 00:33:11,746
With me gone,
it means just one less mouth to feed.
456
00:33:11,857 --> 00:33:14,325
That's why they were
kind of glad to see me go.
457
00:33:17,096 --> 00:33:20,691
Wild Boys OfThe Road
was about teenagers who hadbeen forced to leave home...
458
00:33:20,799 --> 00:33:24,565
to find work because their parentslost theirjobs in the Depression.
459
00:33:24,670 --> 00:33:28,333
Railroad dicks constantlyharassed and abused them.
460
00:33:28,440 --> 00:33:30,567
Cheese it!
Railroad dicks!
461
00:33:30,676 --> 00:33:34,772
The social and political context waspainted in rather broad strokes,
462
00:33:34,880 --> 00:33:38,873
but the dramas werecontemporary, urgent, gripping.
463
00:33:38,984 --> 00:33:42,943
Wild Bill Wellman had a natural feelingfor the vagabond life,
464
00:33:43,055 --> 00:33:46,320
for the homeless youngstersand their battles with authority.
465
00:33:46,425 --> 00:33:49,952
His sympathy lay with the outcastsand with the rebels.
466
00:34:23,028 --> 00:34:25,656
Tommy!
467
00:34:30,569 --> 00:34:32,628
Now, at the opposite endof the spectrum...
468
00:34:32,738 --> 00:34:35,104
you find a different breedof iconoclast,
469
00:34:35,207 --> 00:34:38,074
Baroque stylists such asJosef von Sternberg.
470
00:34:40,913 --> 00:34:43,507
Like Stroheim,Sternberg demanded total control...
471
00:34:43,615 --> 00:34:46,209
over all aspects of his productions.
472
00:34:46,318 --> 00:34:50,982
But his was a voluptuous,dreamlike, supremely artificial world,
473
00:34:51,090 --> 00:34:54,890
lovingly composedon the Paramount soundstages.
474
00:34:56,361 --> 00:34:59,353
Sternberg's radical stylizationproved as provocative...
475
00:34:59,465 --> 00:35:02,662
as Stroheim's extreme realism.
476
00:35:02,768 --> 00:35:06,431
Each film became a ceremonialwith the director orchestrating...
477
00:35:06,538 --> 00:35:09,564
the most elaborate, erotic ritualsaround his star,
478
00:35:09,675 --> 00:35:12,303
Marlene Dietrich.
479
00:35:12,411 --> 00:35:14,811
Of the seven filmsSternberg made with Dietrich,
480
00:35:14,913 --> 00:35:18,405
The Scarlet Empress wasthe most baroque and the boldest...
481
00:35:18,517 --> 00:35:20,781
in its depictionof erotic manipulation...
482
00:35:20,886 --> 00:35:24,413
as it traced the transformationof an innocent Prussian princess...
483
00:35:24,523 --> 00:35:28,755
into Catherine the Great,the empress of Russia.
484
00:35:28,861 --> 00:35:32,490
The woman you adore is
quite close to you, isn't she?
485
00:35:32,598 --> 00:35:35,624
Catherine, I love you, worship you.
486
00:35:38,937 --> 00:35:43,840
As the heroine quicklydiscovered, political power andsexual power were inseparable.
487
00:35:47,980 --> 00:35:50,540
Her battles were waged in the bedroom...
488
00:35:50,649 --> 00:35:54,016
as she learned the art of choosingand changing lovers at the right time.
489
00:35:58,323 --> 00:36:00,382
Catherine showedsuch considerable skills...
490
00:36:00,492 --> 00:36:03,484
that she even challengedtraditional sexual roles.
491
00:36:03,595 --> 00:36:07,224
Behind the mirror, as you know,
there's a flight of stairs.
492
00:36:07,332 --> 00:36:10,790
Down below someone
is waiting to come up.
493
00:36:10,903 --> 00:36:14,805
Will His Excellency be kind enough
to open the door for him carefully...
494
00:36:14,907 --> 00:36:16,807
so that he can sneak in?
495
00:36:24,550 --> 00:36:28,384
Nothing escaped Sternberg'sartistic control.
496
00:36:28,487 --> 00:36:31,581
He wrote the script,conceived the lighting,
497
00:36:31,690 --> 00:36:33,658
composed some of the music,
498
00:36:33,759 --> 00:36:36,023
directed the Los AngelesSymphonic Orchestra,
499
00:36:36,128 --> 00:36:38,028
helped design the sets and sculptures,
500
00:36:38,130 --> 00:36:41,190
Why did you send my mother away?
What wrong had she done?
501
00:36:41,300 --> 00:36:43,928
And probably selectedevery icon himself.
502
00:36:46,972 --> 00:36:50,271
He even claimed thatMarlene was just another tool.
503
00:36:52,878 --> 00:36:57,508
He said, "Remember that Marleneis not Marlene... I'm Marlene.
504
00:36:57,616 --> 00:36:59,516
She knows that better than anyone. "
505
00:37:00,619 --> 00:37:02,450
That must be Peter.
506
00:37:02,554 --> 00:37:05,455
Go and see if it is and tell him
to come here at once.
507
00:37:07,192 --> 00:37:11,094
Your Imperial Highness,
Her Majesty wishes to see you at once.
508
00:37:11,196 --> 00:37:13,824
"To the artist," insisted Sternberg,
509
00:37:13,932 --> 00:37:17,197
"the subject is incidental,and only his vision matters. "
510
00:37:17,302 --> 00:37:20,601
He said, " The camera isa diabolical instrument...
511
00:37:20,706 --> 00:37:23,641
that conveys ideas with lightning speed.
512
00:37:23,742 --> 00:37:27,143
Each picture transliteratesa thousand words. "
513
00:37:29,248 --> 00:37:32,843
Perhaps the greatest iconoclastof them all was also the youngest...
514
00:37:32,951 --> 00:37:34,851
Orson Welles.
515
00:37:34,953 --> 00:37:39,515
The downright villainy of
Boss Jim W. Gettys' political machine,
516
00:37:39,625 --> 00:37:41,684
now in complete control...
517
00:37:41,793 --> 00:37:44,694
He was 25when he landed in Hollywood.
518
00:37:44,796 --> 00:37:48,425
I made no campaign promises...
519
00:37:48,533 --> 00:37:51,525
because, until a few weeks ago,
520
00:37:51,637 --> 00:37:54,538
I had no hope of being elected.
521
00:37:54,640 --> 00:37:58,576
Now, however,
I have something more than a hope.
522
00:38:00,679 --> 00:38:02,579
And Jim Gettys...
523
00:38:02,681 --> 00:38:05,878
Jim Gettys has
something less than a chance.
524
00:38:05,984 --> 00:38:08,782
In the wakeof his radio show War of the Worlds,
525
00:38:08,887 --> 00:38:12,618
the young prodigy was givenunprecedented latitude by RKO,
526
00:38:12,724 --> 00:38:14,624
including what's known today as...
527
00:38:14,726 --> 00:38:17,456
the right to final cut.
528
00:38:17,562 --> 00:38:19,996
At the timeonly screen legend Charlie Chaplin...
529
00:38:20,098 --> 00:38:23,226
enjoyed such creative controlover his productions.
530
00:38:23,335 --> 00:38:26,429
For his first film Welles set outto explore the many facets...
531
00:38:26,538 --> 00:38:29,439
of media baronWilliam Randolph Hearst,
532
00:38:29,541 --> 00:38:33,637
whose abuse of wealth and powerdefied America's democratic traditions.
533
00:38:35,414 --> 00:38:37,314
Some in Hollywood were so incensed...
534
00:38:37,416 --> 00:38:41,318
that they put pressure on RKOto destroy the negative.
535
00:38:41,420 --> 00:38:43,820
Fortunately, they didn't succeed.
536
00:38:49,561 --> 00:38:53,463
Welles was like a young magicianenchanted by his own magic.
537
00:38:53,565 --> 00:38:56,466
In fact, the most revolutionary aspectof Citizen Kane...
538
00:38:56,568 --> 00:38:58,468
was its self-consciousness.
539
00:38:58,570 --> 00:39:01,130
The style drew attention to itself.
540
00:39:02,974 --> 00:39:04,669
Rosebud.
541
00:39:09,815 --> 00:39:11,715
Now, this contradictedthe classical ideal...
542
00:39:11,817 --> 00:39:14,308
of the invisible cameraand seamless cuts.
543
00:39:14,419 --> 00:39:17,388
Welles used every narrative techniqueand filmic device...
544
00:39:17,489 --> 00:39:20,390
deep focus, high and low angles,wide-angle lenses.
545
00:39:20,492 --> 00:39:22,892
"I want to usethe motion picture camera...
546
00:39:22,994 --> 00:39:25,019
as an instrument of poetry, "
he said.
547
00:39:25,130 --> 00:39:28,031
And somehow Welles'passionfor the medium...
548
00:39:28,133 --> 00:39:30,761
became the great excitementof the piece itself.
549
00:39:32,738 --> 00:39:37,869
Now, you see,I had the best contract thatanybody's ever had for Kane.
550
00:39:37,976 --> 00:39:42,003
Nobody comes on the set; nobody gets
to look at the rushes; nothing.
551
00:39:42,114 --> 00:39:45,015
You just make the picture and that's it.
552
00:39:45,117 --> 00:39:48,018
If I hadn't had that contract, they've
would've stopped me at the beginning,
553
00:39:48,120 --> 00:39:50,020
just by the nature of the script.
554
00:39:50,122 --> 00:39:54,024
But it was such conditions... I've never
had anything remotely equal...
555
00:39:54,126 --> 00:39:56,026
to that contract since.
556
00:39:56,128 --> 00:39:58,528
So it isn't just the success.
557
00:39:58,630 --> 00:40:02,589
What spoiled me is having had
the joy of that kind of liberty...
558
00:40:02,701 --> 00:40:04,601
once in my life...
559
00:40:04,703 --> 00:40:09,037
and never having been able
to enjoy it again.
560
00:40:09,141 --> 00:40:12,372
George Amberson Minaferwalked homeward slowly...
561
00:40:12,477 --> 00:40:16,880
through what seemed to bethe strange streets of a strange city.
562
00:40:16,982 --> 00:40:20,782
For the town was growing and changing.
563
00:40:20,886 --> 00:40:24,481
It was heaving upin the middle incredibly.
564
00:40:24,589 --> 00:40:26,989
It was spreading incredibly.
565
00:40:27,092 --> 00:40:31,392
And as it heaved and spread,it befouled itself...
566
00:40:31,496 --> 00:40:33,396
and darkened its sky.
567
00:40:35,000 --> 00:40:37,901
Orson Welles inspiredmore would-be directors...
568
00:40:38,003 --> 00:40:40,904
than any other filmmakersince D. W. Griffith.
569
00:40:41,006 --> 00:40:43,907
Yet Welles didn't change the statusof the Hollywood director.
570
00:40:44,009 --> 00:40:46,910
He actually lostall his privileges a year later...
571
00:40:47,012 --> 00:40:49,139
on The Magnificent Ambersons,
572
00:40:49,247 --> 00:40:53,650
which was chopped downand partially reshot in his absence.
573
00:40:55,420 --> 00:40:58,821
Do you know that I always
liked Hollywood very much.
574
00:40:58,924 --> 00:41:01,757
It just wasn't reciprocated.
575
00:41:03,862 --> 00:41:07,764
Throughout his career, Welles pushedthe creative envelope in so many ways.
576
00:41:07,866 --> 00:41:11,097
To trace Kane's political ambitions,for instance,
577
00:41:11,203 --> 00:41:13,068
he created fake newsreel footage.
578
00:41:13,171 --> 00:41:15,071
To give it the appropriate look,
579
00:41:15,173 --> 00:41:18,836
he had editor Robert Wise drag the filmacross a concrete floor.
580
00:41:18,944 --> 00:41:21,310
Here was an opportunityfor Welles to recall...
581
00:41:21,413 --> 00:41:23,438
William Randolph Hearst'sfondness for dictators.
582
00:41:23,548 --> 00:41:27,450
You saw Kane posing with Hitlerfor the photographers.
583
00:41:27,552 --> 00:41:30,453
Now, at the same time,in his first talking picture,
584
00:41:30,555 --> 00:41:33,888
Chaplin dared to aim atthe Fascist powers directly.
585
00:41:33,992 --> 00:41:36,893
At the risk of infuriatingAmerica's isolationist forces,
586
00:41:36,995 --> 00:41:38,895
Chaplin took onthe dictator singlehandedly.
587
00:41:38,997 --> 00:41:40,897
Und now, derJuden.
588
00:41:43,001 --> 00:41:44,901
DerJuden!
589
00:42:07,325 --> 00:42:09,054
DerJuden.
590
00:42:09,160 --> 00:42:12,527
Ohhhh, derJuden.
591
00:42:12,631 --> 00:42:16,658
His Excellency hasjust referred to theJewish people.
592
00:42:16,768 --> 00:42:19,293
A comedydrawing on such topical horrors...
593
00:42:19,404 --> 00:42:22,373
as racial persecutionsand concentration camps,
594
00:42:22,474 --> 00:42:25,875
The Great Dictator presented Chaplinwith another major challenge:
595
00:42:25,977 --> 00:42:27,877
He gave himself a double role,
596
00:42:27,979 --> 00:42:29,879
that of the monster dictator Hynkel...
597
00:42:29,981 --> 00:42:33,382
and the victim, theJewish barber.
598
00:42:38,990 --> 00:42:43,393
Of course, even the renegadeslike Chaplin and Welleshad to work around the censors.
599
00:42:43,495 --> 00:42:45,463
Attention!
600
00:42:45,564 --> 00:42:49,466
The content of American filmswas still strictly controlled.
601
00:42:49,568 --> 00:42:52,969
Adult themes and images weretoo often curtailed or suppressed.
602
00:42:55,307 --> 00:42:57,207
But after World War Two,
603
00:42:57,309 --> 00:43:00,210
audiences wanted picturesto be truer to life.
604
00:43:00,312 --> 00:43:03,145
A few of our filmmakersstarted challenging the rules.
605
00:43:03,248 --> 00:43:05,409
Hey, Stella!
606
00:43:05,517 --> 00:43:08,418
You quit that howlin' down there
and go to bed!
607
00:43:08,520 --> 00:43:11,421
- Joyce, I want my girl down here!
- You shut up!
608
00:43:11,523 --> 00:43:14,424
Elia Kazan led the assault.
609
00:43:15,827 --> 00:43:19,319
Hey, Stella!
610
00:43:21,266 --> 00:43:23,666
Hey, Stella!
611
00:43:28,773 --> 00:43:33,676
His Streetcar Named Desire
caused the first major breachin Hollywood's Production Code.
612
00:43:33,778 --> 00:43:35,678
I wouldn't mix in this.
613
00:43:45,056 --> 00:43:48,389
Kazan foughttooth and nail, frame by frame,
614
00:43:48,493 --> 00:43:52,896
to preserve the integrity ofTennessee Williams'drama whenhe adapted it to the screen.
615
00:43:55,500 --> 00:43:58,401
This meant exposingthe overtly carnal desires...
616
00:43:58,503 --> 00:44:03,167
of Stanley and his battered,pregnant wife Stella.
617
00:44:03,274 --> 00:44:07,176
Now, these close shots of Kim Hunterwere not in the film...
618
00:44:07,278 --> 00:44:09,178
as it was originally released...
619
00:44:09,280 --> 00:44:13,683
because the Legion of Decencyobjected to their sensuality.
620
00:44:18,456 --> 00:44:20,583
The studio decided to cut them...
621
00:44:20,692 --> 00:44:23,593
and replace the jazz scorewith more conventional music.
622
00:44:38,143 --> 00:44:40,703
Don't ever leave me, baby.
623
00:44:42,313 --> 00:44:46,682
The camera is more thana recorder...it's a microscope.
624
00:44:46,785 --> 00:44:49,618
It penetrates. It goes into people.
625
00:44:49,721 --> 00:44:53,623
You see their most private
and concealed thoughts.
626
00:44:53,725 --> 00:44:56,626
I'm able... I have been able
to do that with actors.
627
00:44:56,728 --> 00:45:00,459
I mean, I've revealed things
that actors didn't know they
were revealing about themselves.
628
00:45:00,565 --> 00:45:03,398
You know, I seen you
a lot of times before.
629
00:45:03,501 --> 00:45:06,402
Remember parochial school
out on Paluski Street?
630
00:45:06,504 --> 00:45:09,473
Seven, eight years ago.
Your hair... Had your hair, uh...
631
00:45:09,574 --> 00:45:11,565
Braids.
That's right.
632
00:45:11,676 --> 00:45:13,576
Looked like a hunk of rope.
633
00:45:13,678 --> 00:45:17,774
You had wires on your teeth
and glasses, everything.
634
00:45:17,882 --> 00:45:19,782
You was really a mess.
635
00:45:19,884 --> 00:45:22,910
I was 12 years oldwhen I saw On The Waterfront.
636
00:45:23,021 --> 00:45:24,921
It was a breakthrough for me.
637
00:45:25,023 --> 00:45:27,423
Don't get sore.
I'm just kidding you.
638
00:45:27,525 --> 00:45:30,926
I just mean to tell you that you...
grew up very nice.
639
00:45:31,029 --> 00:45:33,497
Kazan was forging a new acting style.
640
00:45:35,600 --> 00:45:37,500
Edie?
641
00:45:40,105 --> 00:45:42,005
Edie?
642
00:45:42,107 --> 00:45:44,007
It had the appearance of realism,
643
00:45:44,109 --> 00:45:47,010
but actually it revealedthe natural behavior of people...
644
00:45:47,112 --> 00:45:51,276
and the truth in that behavior thatI'd never seen before on the screen.
645
00:45:51,382 --> 00:45:53,282
Stay away from me!
646
00:45:53,384 --> 00:45:57,582
"Brando, " Kazan said, "was the onlyactor I could describe as a genius.
647
00:45:57,689 --> 00:46:01,147
He had that ambivalence that I believeis essential in depicting humanity..."
648
00:46:01,259 --> 00:46:03,454
Come on! Open the door, please!
649
00:46:03,561 --> 00:46:05,461
- "both strength...
- Stop it!
650
00:46:05,563 --> 00:46:07,463
And sensibility. "
651
00:46:09,000 --> 00:46:10,729
I want you to stay away from me.
652
00:46:10,835 --> 00:46:13,963
I know what you want me to do,
but I ain't gonna do it, so forget it!
653
00:46:14,072 --> 00:46:18,441
I don't want you to do anything. You let
your conscience tell you what to do.
654
00:46:18,543 --> 00:46:21,569
Shut up about that conscience.
That's all I been hearin'.
655
00:46:21,713 --> 00:46:25,205
I never mentioned the word before.
You just stay away from me!
656
00:46:25,283 --> 00:46:28,184
Edie, you love me.
I want you to...
657
00:46:28,286 --> 00:46:31,687
I didn't say I didn't love you.
I said stay away from me!
658
00:46:31,790 --> 00:46:34,691
- I want you to say it to me.
- Stay away from me!
659
00:46:49,874 --> 00:46:54,208
Elia Kazan pavedthe way for the iconoclastsof the '50s and '60s.
660
00:46:54,312 --> 00:46:56,712
They were writer-directorsand writer-producers,
661
00:46:56,815 --> 00:47:00,774
men like Robert Aldrich, Richard Brooks,
662
00:47:00,885 --> 00:47:04,377
Robert Rossen, Billy Wilder,
663
00:47:04,489 --> 00:47:06,389
and among the younger generation...
664
00:47:06,491 --> 00:47:08,891
Arthur Penn and Sam Peckinpah.
665
00:47:08,993 --> 00:47:11,894
They all defiedthe guardians of public morality...
666
00:47:11,996 --> 00:47:15,159
by daring to tackle controversial issueslike racism,
667
00:47:15,266 --> 00:47:18,758
inner-city violence,juvenile delinquency,
668
00:47:18,870 --> 00:47:21,998
homosexuality, war atrocities,
669
00:47:22,106 --> 00:47:24,006
the death penalty.
670
00:47:24,108 --> 00:47:26,338
A new reality was hitting the screens.
671
00:47:26,444 --> 00:47:29,345
I think producer-director Otto Premingerdid more than anyone else...
672
00:47:29,447 --> 00:47:32,348
to bring about the demiseof the Production Code.
673
00:47:32,450 --> 00:47:35,351
His crusade against censorshipled him from The Moon Is Blue,
674
00:47:35,453 --> 00:47:37,978
a comedy about professional virgins,
675
00:47:38,089 --> 00:47:39,989
to Advise & Consent,
676
00:47:40,091 --> 00:47:41,991
which exposedpolitical corruption in Washington...
677
00:47:42,093 --> 00:47:43,993
and even showed gay bars.
678
00:47:44,095 --> 00:47:47,690
He was among the first to challengethe blacklists by hiring Dalton Trumbo,
679
00:47:47,799 --> 00:47:49,699
one of the "Hollywood Ten,"
680
00:47:49,801 --> 00:47:51,701
to write Exodus.
681
00:47:51,803 --> 00:47:54,203
One of Preminger'smost important victories was scored...
682
00:47:54,305 --> 00:47:57,206
when he made the film
The Man With the Golden Arm,
683
00:47:57,308 --> 00:48:00,209
probably the first honest depictionof drug addiction...
684
00:48:00,311 --> 00:48:02,142
on American screens.
685
00:48:02,247 --> 00:48:05,648
Here's Frank Sinatra, in oneof his most memorable performances,
686
00:48:05,750 --> 00:48:08,651
as a heroin addictgoing through withdrawal.
687
00:48:26,104 --> 00:48:28,004
Let me out!
688
00:48:30,942 --> 00:48:32,842
Ohh!
689
00:48:36,748 --> 00:48:38,648
Out!
690
00:48:38,750 --> 00:48:41,150
Come on!
Let me out!
691
00:48:42,487 --> 00:48:44,387
Ohh!
692
00:48:46,391 --> 00:48:48,586
Ohh!
693
00:48:52,630 --> 00:48:56,031
And don't try to come back,
or I'll throw you out again!
694
00:48:56,134 --> 00:48:59,297
Alexander Mackendrick's
Sweet Smell of Success...
695
00:48:59,404 --> 00:49:01,804
exposed a different kind of addiction...
696
00:49:01,906 --> 00:49:03,806
the addiction to power.
697
00:49:03,908 --> 00:49:05,808
I love this dirty town.
698
00:49:05,910 --> 00:49:09,812
The arena was Broadway, with BurtLancaster portrayingJ.J. Hunsecker,
699
00:49:09,914 --> 00:49:11,814
the master manipulator.
700
00:49:13,151 --> 00:49:15,381
In Clifford Odetsand Ernest Lehman's screenplay,
701
00:49:15,486 --> 00:49:19,422
the formidable newspaper andradio columnist was to show business...
702
00:49:19,524 --> 00:49:22,516
what Senator McCarthy wasto Cold War politics.
703
00:49:22,627 --> 00:49:24,925
His fear and intimidation tactics...
704
00:49:25,029 --> 00:49:27,259
made him a national institution,
705
00:49:27,365 --> 00:49:31,358
but his ruthless world flickeredin a moral twilight.
706
00:49:39,911 --> 00:49:43,210
Manny, tell me, what exactly are the...
707
00:49:43,314 --> 00:49:47,216
unseen gifts of this lovely young thing
that you manage?
708
00:49:48,486 --> 00:49:50,386
Well, she sings a little.
709
00:49:50,488 --> 00:49:52,388
You know, she sings...
710
00:49:52,490 --> 00:49:55,891
Manny's faith in me is
simply awe-inspiring, Mr. Hunsecker.
711
00:49:55,994 --> 00:49:58,428
- Actually, I'm still studying.
- What subject?
712
00:49:58,529 --> 00:50:00,429
Singing, of course.
713
00:50:00,531 --> 00:50:02,499
Straight concert and...
714
00:50:02,600 --> 00:50:05,694
Why, of course. You might,
for instance, be studying politics.
715
00:50:05,803 --> 00:50:07,703
Uh... me?
716
00:50:07,805 --> 00:50:09,705
- Well, you see,J. J...
- I mean, I?
717
00:50:09,807 --> 00:50:11,707
Y-You must be kidding, Mr. Hunsecker.
718
00:50:11,809 --> 00:50:14,209
Me, with myJersey City brains?
719
00:50:14,312 --> 00:50:17,713
I know. That wonder boy of yours
opens at the Latin Quarter next week.
720
00:50:17,815 --> 00:50:19,715
- J.J., uh...
- Say good-bye, Lester.
721
00:50:19,817 --> 00:50:23,275
J.J. 's power is based ona network of informers and sycophants.
722
00:50:23,388 --> 00:50:27,290
That's the only reason thepoor slobs pay you... to seetheir names in my column.
723
00:50:27,392 --> 00:50:30,293
- Now I make it out
you're doing me a favor?
- I didn't say tha...
724
00:50:30,395 --> 00:50:33,296
The day I can't get along
without a press agent's handouts,
725
00:50:33,398 --> 00:50:35,923
I'll close up and move to Alaska.
726
00:50:36,034 --> 00:50:38,093
Sweep out my igloo.
Here I come.
727
00:50:38,202 --> 00:50:41,501
Manny, you rode in here on the senator's
shirttails, so shut your mouth.
728
00:50:41,606 --> 00:50:44,439
Now, come,J.J.
That's a little too harsh.
729
00:50:44,542 --> 00:50:47,443
Anyone seems fair gamefor you tonight.
730
00:50:47,545 --> 00:50:52,744
This man is not for you, Harvey, and you
shouldn't be seen in public with him.
731
00:50:52,850 --> 00:50:55,751
Because that's another part
of a press agent's life.
732
00:50:55,853 --> 00:50:58,754
They dig up scandal about
prominent people and shovel it thin...
733
00:50:58,856 --> 00:51:00,756
among columnists who give them space.
734
00:51:00,858 --> 00:51:04,692
There seems to be some allusion here
that escapes me.
735
00:51:04,796 --> 00:51:06,696
We're friends, Harvey.
736
00:51:06,798 --> 00:51:10,290
We go as far back as when you were
a fresh kid congressman, don't we?
737
00:51:10,401 --> 00:51:13,529
Why is it that everything you say
sounds like a threat?
738
00:51:13,638 --> 00:51:16,664
Maybe it's a mannerism,
because I don't threaten friends.
739
00:51:16,774 --> 00:51:19,675
But why furnish your enemies
with ammunition?
740
00:51:19,777 --> 00:51:24,077
You're a family man, Harvey,
and someday, God willing,
you may want to be president.
741
00:51:24,182 --> 00:51:27,083
And here you are, out in the open,
742
00:51:27,185 --> 00:51:32,452
where any hep person knows that this one
is toting that one around for you.
743
00:51:36,494 --> 00:51:38,587
Are we kids, or what?
744
00:51:40,031 --> 00:51:42,932
Next time you come up
you might join me on my TV show.
745
00:51:43,034 --> 00:51:46,936
Thanks,J.J.,
for what I consider sound advice.
746
00:51:47,038 --> 00:51:49,063
Go now, and sin no more.
747
00:51:49,173 --> 00:51:51,664
? It was an itsy-bitsy teenie-weenie ?
748
00:51:51,776 --> 00:51:53,676
- ? Yellow polka dot bikini ?
- Nein! Nein!
749
00:51:53,778 --> 00:51:56,178
? That she wore for the first time ?
750
00:51:56,280 --> 00:52:00,182
Let's not forgetthat comedies can be just asiconoclastic as dramas.
751
00:52:00,284 --> 00:52:03,117
Billy Wilder's work,first as a writer in the 1930s,
752
00:52:03,221 --> 00:52:07,123
then as a writer-directorfrom the '40s on, is a perfect example.
753
00:52:07,225 --> 00:52:11,127
Over the years Wilder's wit only grewmore abrasive.
754
00:52:11,229 --> 00:52:14,130
Instead of sweetening his brews,he kept adding more acid.
755
00:52:14,232 --> 00:52:16,132
- Sind Sie ein Amerikanischer Spion?
- Nein!
756
00:52:16,234 --> 00:52:19,135
You won't find a more iconoclastic filmin the Kennedy years...
757
00:52:19,237 --> 00:52:21,137
than his film One, Two, Three,
758
00:52:21,239 --> 00:52:23,639
? It was an itsy-bitsy teenie-weenie ??
759
00:52:23,741 --> 00:52:27,871
a savage political farce thatdared ridicule all ideologiesat the height of the Cold War.
760
00:52:30,481 --> 00:52:32,881
- Hey!
- MacNamara!
761
00:52:32,984 --> 00:52:36,385
If it isn't my old friends Hart,
Schaffner and Karl Marx.
762
00:52:36,487 --> 00:52:39,888
- I see you bring blonde lady with you.
- Ring-a-ding-ding!
763
00:52:39,991 --> 00:52:42,892
James Cagney plays a Coca-Cola executivewho has enrolled his secretary...
764
00:52:42,994 --> 00:52:45,394
to hoodwink the Soviet commissarsin East Berlin.
765
00:52:45,496 --> 00:52:47,896
To what do we owe
this unexpected pleasure?
766
00:52:47,999 --> 00:52:50,900
- You're a trade commission.
I thought we might trade.
- Coca-Cola?
767
00:52:51,002 --> 00:52:53,903
No. But I hear you boys would like
Fraulein Ingeborg to go to work for you.
768
00:52:54,005 --> 00:52:55,905
- You wanna trade your secretary?
- Right.
769
00:52:56,007 --> 00:52:57,907
- For Russian secretary?
- Wrong.
770
00:52:58,009 --> 00:53:00,910
I do not blame you.
Ours is built like bowlegged samovar.
771
00:53:05,516 --> 00:53:08,917
We find proposition very interesting.
Now, what can we offer you?
772
00:53:09,020 --> 00:53:10,920
All I want from you
is a small favor.
773
00:53:11,022 --> 00:53:12,922
Small favor, big favor.
Anything.
774
00:53:13,024 --> 00:53:16,084
There's a guy named Otto Ludwig Piffl
being held by the East German police.
775
00:53:16,194 --> 00:53:18,594
- For what reason?
- Son of a gun stole my cuckoo clock.
776
00:53:18,696 --> 00:53:20,596
- You want cuckoo clock back?
- Wrong.
777
00:53:20,698 --> 00:53:22,598
- You want Piffl back.
- Right.
778
00:53:22,700 --> 00:53:25,601
Impossible, my friend. We cannot
interfere with internal affairs...
779
00:53:25,703 --> 00:53:27,603
of sovereign republic
of East Germany.
780
00:53:27,705 --> 00:53:30,606
- No Piffl, no deal. Let's go, Ingeborg.
- Wait! What is the hurry?
781
00:53:30,708 --> 00:53:32,608
You're not giving us a chance.
782
00:53:32,710 --> 00:53:36,111
Is old Russian proverb: You cannot
milk cow with hands in pockets.
783
00:53:36,214 --> 00:53:39,615
Herr Ober!
Vodka! Caviar!
784
00:53:39,717 --> 00:53:42,618
Herr Kapellmeister,
more rock and roll!
785
00:53:49,060 --> 00:53:51,961
Wilder's transgressionsof political correctness...
786
00:53:52,063 --> 00:53:54,463
matched his transgressionsof good taste.
787
00:53:54,565 --> 00:53:58,558
To Wilder, good taste wasanother name for censorship.
788
00:53:58,669 --> 00:54:01,502
"I'm accused of being vulgar,"he would say.
789
00:54:01,606 --> 00:54:04,507
"So much the better,that proves I'm closer to life. "
790
00:54:04,609 --> 00:54:07,237
The picture was hitby a change in attitude.
791
00:54:07,345 --> 00:54:12,476
The wall was built,nobody could get through East Berlinto West Berlin and vice versa.
792
00:54:12,583 --> 00:54:15,984
The desire of the audienceto laugh was strong.
793
00:54:17,421 --> 00:54:19,321
About 25 years later,
794
00:54:19,423 --> 00:54:21,823
it became a smash hit in Germany.
795
00:54:21,926 --> 00:54:24,019
Everybody went to see it because...
796
00:54:24,128 --> 00:54:29,031
the wall was gone and, uh...
797
00:54:29,133 --> 00:54:32,967
it was not gone yet, but it had eased,
you know, that whole thing.
798
00:54:33,070 --> 00:54:36,471
And it became...
it became, uh...
799
00:54:36,574 --> 00:54:42,035
it became a kind
of a historic vignette...
800
00:54:42,146 --> 00:54:45,047
of the silliness of the Russians...
801
00:54:45,149 --> 00:54:47,447
and the stupidity of the Americans.
802
00:54:47,551 --> 00:54:49,746
Come on, everything.
Get it up here.
803
00:54:49,854 --> 00:54:54,553
By the late 1960sthe Production Code was almost defunct.
804
00:54:54,659 --> 00:54:58,095
- Bonnie and Clyde put the nailin the coffin.
- Clyde, where's the car?
805
00:54:58,229 --> 00:55:01,164
What did he do? Where's the car?
806
00:55:01,232 --> 00:55:03,632
Where did he go?
807
00:55:03,734 --> 00:55:06,760
Here!
808
00:55:06,871 --> 00:55:09,669
The old studio system...
809
00:55:09,774 --> 00:55:11,674
was so hypocritical.
810
00:55:11,776 --> 00:55:16,179
They were constantly fearful ofbeing accused of instilling in youth...
811
00:55:16,280 --> 00:55:18,612
the glory of the outlaw.
812
00:55:18,716 --> 00:55:21,981
So they had these rules, for instance,
813
00:55:22,086 --> 00:55:26,284
that you couldn't even fire a gun in thesame frame with somebody getting hit.
814
00:55:26,390 --> 00:55:30,292
You had to have, literally,a film cut in between.
815
00:55:36,867 --> 00:55:40,030
So I thought, if we're gonna
show this, we should show it.
816
00:55:40,137 --> 00:55:44,096
We should show what it looks like
when somebody gets shot,
817
00:55:44,208 --> 00:55:47,666
that shooting somebody
is not a sanitized event.
818
00:55:47,778 --> 00:55:50,178
It's not immaculate.
819
00:55:50,281 --> 00:55:52,181
There's an enormous amount of blood.
820
00:55:52,283 --> 00:55:56,879
There's an enormous amount of...
of horror of change...
821
00:55:56,987 --> 00:55:58,978
that takes place when that occurs.
822
00:56:00,391 --> 00:56:03,360
We were inthe middle of the Vietnamese war.
823
00:56:03,461 --> 00:56:07,420
What you saw on television wasevery bit...perhaps even more bloody...
824
00:56:07,531 --> 00:56:10,591
than what we were showing on film.
825
00:56:14,405 --> 00:56:16,066
Hey...
826
00:56:56,981 --> 00:56:59,381
The Production Code didn't
survive the late '60s.
827
00:56:59,483 --> 00:57:02,316
Bonnie and Clyde
and The Wild Bunch disposed of it.
828
00:57:02,420 --> 00:57:05,321
Today the violence in films
is certainly more graphic.
829
00:57:05,423 --> 00:57:07,618
The last frontier may be sexuality,
830
00:57:07,725 --> 00:57:11,593
and beyond sexuality
the complexity of the human psyche.
831
00:57:11,695 --> 00:57:15,062
This is the territory that StanleyKubrick has been mining in his films.
832
00:57:15,166 --> 00:57:19,933
Like Kazan, Kubrick was a New Yorkmaverick who grew into an iconoclast.
833
00:57:20,037 --> 00:57:22,938
He emerged from independent productionand film noir...
834
00:57:23,040 --> 00:57:25,167
to create his ownunique, visionary worlds.
835
00:57:25,276 --> 00:57:27,176
His association with Kirk Douglas...
836
00:57:27,278 --> 00:57:29,178
on Paths of Glory and Spartacus...
837
00:57:29,280 --> 00:57:31,180
established him as a major player,
838
00:57:31,282 --> 00:57:34,183
but he couldn't stand beingan employee on studio projects...
839
00:57:34,285 --> 00:57:37,186
and moved to London to make Lolita.
840
00:57:37,288 --> 00:57:40,519
He stayed thereand hasn't worked in Hollywood since.
841
00:57:40,624 --> 00:57:42,524
He's one of the rare iconoclasts...
842
00:57:42,626 --> 00:57:46,027
who's enjoyed the luxury of operatingcompletely on his own terms.
843
00:57:47,164 --> 00:57:49,064
Back here we have the kitchen.
844
00:57:49,166 --> 00:57:52,067
- That's where we have
our informal meals.
- Perhaps if you'd...
845
00:57:52,169 --> 00:57:54,069
My pastries win prizes around here.
846
00:57:54,171 --> 00:57:57,572
If you'd let me have your
phone number, that would give me
a chance to think it over.
847
00:57:57,675 --> 00:58:00,769
Here's James Masonas a European intellectualdiscovering the trappings...
848
00:58:00,878 --> 00:58:02,709
of small-town America.
849
00:58:02,813 --> 00:58:05,111
Oh, you must see the garden
before you go.
850
00:58:05,216 --> 00:58:08,344
My flowers win prizes around here.
851
00:58:08,452 --> 00:58:10,352
They're the talk of the neighborhood.
852
00:58:10,454 --> 00:58:12,422
Voil�j!
853
00:58:12,523 --> 00:58:14,923
My yellow roses.
854
00:58:15,025 --> 00:58:17,585
My... Uh... Oh. My daughter.
855
00:58:17,695 --> 00:58:20,596
Uh, darling, turn that down, please.
856
00:58:20,698 --> 00:58:23,599
I could offer you a comfortable home...
857
00:58:23,701 --> 00:58:27,034
With a sunny garden,a congenial atmosphere, my cherry pie.
858
00:58:27,137 --> 00:58:29,037
When Kubrick made Lolita,
859
00:58:29,139 --> 00:58:32,700
the subject of a
middle-aged man infatuated with
a sexually precocious minor...
860
00:58:32,810 --> 00:58:34,710
was still completely taboo.
861
00:58:34,812 --> 00:58:36,712
We haven't discussed, uh, how much.
862
00:58:36,814 --> 00:58:38,714
Oh, uh, something nominal.
Let's say...
863
00:58:38,816 --> 00:58:41,717
This was notthe contraband of a smuggler,
- 200 a month?
864
00:58:41,819 --> 00:58:44,185
But open defiance.
865
00:58:44,288 --> 00:58:47,655
Including meals and late snacks,et cetera.
866
00:58:47,758 --> 00:58:51,922
- You're a very persuasivesalesman, Mrs. Haze.
- Thank you. Uh...
867
00:58:52,029 --> 00:58:55,192
What was the decisive factor?
Uh, my garden?
868
00:58:57,301 --> 00:58:59,633
I think it was your...
cherry pies.
869
00:58:59,737 --> 00:59:02,137
Ohh!
870
00:59:05,409 --> 00:59:10,108
Why were you so late coming home
from school yesterday afternoon?
871
00:59:10,214 --> 00:59:12,375
Yesterday. Yesterday.
What was yesterday?
872
00:59:12,483 --> 00:59:14,383
Yesterday was Thursday.
873
00:59:14,485 --> 00:59:16,385
That's right.
That's right.
874
00:59:16,487 --> 00:59:20,082
Michelle and I, um,
stayed to watch football practice.
875
00:59:20,190 --> 00:59:24,251
- In the Frigid Queen?
- What do you mean,
"In the Frigid Queen"?
876
00:59:24,361 --> 00:59:29,264
I was driving around and I thought
I saw you through the window.
877
00:59:29,366 --> 00:59:33,063
Oh. Yeah. Well, we stopped there
for a malt afterwards.
878
00:59:33,170 --> 00:59:35,070
What difference does it make?
879
00:59:35,172 --> 00:59:38,505
You were sitting at a table
with two boys.
880
00:59:38,609 --> 00:59:40,509
I told you, no dates.
881
00:59:40,611 --> 00:59:43,136
- It wasn't a date.
- It was a date.
882
00:59:43,247 --> 00:59:45,374
- It wasn't a date.
- It was a date, Lolita.
883
00:59:45,516 --> 00:59:47,416
- It was not a date.
- It was a date!
884
00:59:47,518 --> 00:59:49,509
It wasn't a date.
885
00:59:49,587 --> 00:59:53,353
Whatever it was that you had
yesterday afternoon, I don't
want you to have it again.
886
00:59:53,457 --> 00:59:57,450
And while we're on the subject,
how did you come to be so late
on Saturday afternoon?
887
00:59:57,561 --> 01:00:00,462
Professor Humbert's fallbefits his transgression.
888
01:00:00,564 --> 01:00:03,465
- Where have you put her?
- Get your hands off her!
889
01:00:03,567 --> 01:00:05,467
- Where is she?
- Obsessed with Lolita,
890
01:00:05,569 --> 01:00:07,469
who's now run away from him,
891
01:00:07,571 --> 01:00:09,471
he undergoes a mental breakdown.
892
01:00:09,573 --> 01:00:11,473
- Hold it now!
- Don't let go!
893
01:00:11,575 --> 01:00:14,476
The satirical comedy turns intoa bizarre tragedy.
894
01:00:14,578 --> 01:00:16,808
Let's get this business straight.
895
01:00:16,914 --> 01:00:20,111
This girl was officially
discharged earlier tonight
in the care of her uncle.
896
01:00:20,217 --> 01:00:22,117
If you say so.
897
01:00:22,219 --> 01:00:25,120
Well, has she or hasn't she an uncle?
898
01:00:25,222 --> 01:00:29,352
- All right, let's say she has an uncle.
- What do you mean, "let's say"?
899
01:00:29,460 --> 01:00:31,360
Uh, all right.
She has an uncle.
900
01:00:31,462 --> 01:00:34,363
Uncle Gus.
Uh, yes, I remember now.
901
01:00:34,465 --> 01:00:37,662
He was going t-to pick her up
here at the hospital.
902
01:00:37,768 --> 01:00:40,168
- L-I forgot that.
- Forgot?
903
01:00:40,270 --> 01:00:43,171
- Yes, I forgot.
- All right, let him up.
904
01:00:48,512 --> 01:00:50,571
Uh, she didn't, by any chance,
905
01:00:50,681 --> 01:00:53,582
leave any... message for me?
906
01:00:54,718 --> 01:00:56,618
No, I suppose not.
907
01:01:09,466 --> 01:01:12,026
Five years in the army...
908
01:01:12,136 --> 01:01:15,196
and some considerable experienceof the world...
909
01:01:15,305 --> 01:01:20,208
had by now dispelled any of thoseromantic notions regarding love...
910
01:01:20,310 --> 01:01:22,210
with which Barry commenced life,
911
01:01:22,312 --> 01:01:25,213
and he began to have it in mind,
912
01:01:25,315 --> 01:01:28,216
as so many gentlemenhad done before him,
913
01:01:28,318 --> 01:01:32,049
to marry a womanof fortune and condition.
914
01:01:32,156 --> 01:01:35,057
And, as such things so often happen,
915
01:01:35,159 --> 01:01:37,252
these thoughts closely coincided...
916
01:01:37,361 --> 01:01:42,230
with his setting first sightupon a lady who will henceforthplay a considerable part...
917
01:01:42,332 --> 01:01:44,892
in the drama of his life...
918
01:01:45,002 --> 01:01:47,835
the Countess of Lyndon,
919
01:01:47,938 --> 01:01:50,270
Viscountess Bullingdon of England,
920
01:01:50,374 --> 01:01:53,775
Baroness Castle Lyndonof the kingdom of Ireland.
921
01:01:53,877 --> 01:01:57,176
A woman of vast wealth and great beauty.
922
01:01:59,283 --> 01:02:01,683
Kubrick's boldest project...
923
01:02:01,785 --> 01:02:05,084
was a period piece setin 18th-century Europe...
924
01:02:05,189 --> 01:02:07,089
Barry Lyndon.
925
01:02:19,369 --> 01:02:21,269
He broke new technical ground,
926
01:02:21,371 --> 01:02:23,271
having special lenses manufactured...
927
01:02:23,373 --> 01:02:28,072
to capture the glow of the candlelitmansions of the aristocracy.
928
01:02:30,681 --> 01:02:32,615
Instead of a picaresque tale,
929
01:02:32,716 --> 01:02:36,345
Kubrick offered anothergrim journey of self-destruction...
930
01:02:36,453 --> 01:02:39,354
the rise and fall of an opportunist.
931
01:02:46,730 --> 01:02:48,630
On the surface...
932
01:02:48,732 --> 01:02:52,634
the approach wascool and distant, deceptive.
933
01:02:52,736 --> 01:02:57,139
But I found this to beone of the most profoundlyemotional films I've ever seen.
934
01:02:57,241 --> 01:03:00,142
Samuel, I'm going outside
for a breath of air.
935
01:03:00,244 --> 01:03:02,144
Yes, milady. Of course.
936
01:03:04,448 --> 01:03:07,349
Kubrick's stylewas strangely unsettling.
937
01:03:07,451 --> 01:03:10,352
His audacity wasto insist on slowness...
938
01:03:10,454 --> 01:03:13,116
in order to recreate the pace of life...
939
01:03:13,223 --> 01:03:16,124
and the ritualized behaviorof the time.
940
01:03:19,730 --> 01:03:22,665
A good example is this seduction scene,
941
01:03:22,733 --> 01:03:25,099
which he stretches...
942
01:03:25,202 --> 01:03:28,103
until it settles into a sort of trance.
943
01:03:30,440 --> 01:03:34,342
What has always struck me isthe ballet of the emotions in the film.
944
01:03:38,916 --> 01:03:42,511
Watch the tensionbetween the camera's movements...
945
01:03:42,619 --> 01:03:44,587
and the character's body language,
946
01:03:44,688 --> 01:03:47,589
orchestrated by the music in this scene.
947
01:04:59,296 --> 01:05:01,127
WithJohn Cassavetes'characters,
948
01:05:01,231 --> 01:05:03,222
the emotion was always up front.
949
01:05:03,333 --> 01:05:05,233
That's great.
950
01:05:05,335 --> 01:05:09,431
It was at once their crossand their salvation.
951
01:05:09,539 --> 01:05:12,633
John's approach was warm, embracing,focused on people.
952
01:05:12,743 --> 01:05:16,144
- Aah! No. No. No, no, no, no.
- Yes. Yes.
953
01:05:16,246 --> 01:05:18,646
Relationships wereall he was interested in.
954
01:05:18,749 --> 01:05:21,650
The laughter and the games,the tears and the guilt,
955
01:05:21,752 --> 01:05:23,652
the whole roller coaster of love.
956
01:05:27,391 --> 01:05:31,293
A middle-class housewife, in despairover the failure of her marriage,
957
01:05:31,395 --> 01:05:33,795
has been picked up by a young man.
958
01:05:33,897 --> 01:05:36,297
She takes him home for the night.
959
01:05:38,502 --> 01:05:41,403
The next morning he finds her comatose.
960
01:05:45,342 --> 01:05:47,242
Operator?
961
01:05:47,344 --> 01:05:50,677
I want the emergency rescue squad.
962
01:05:50,781 --> 01:05:53,011
My number?
963
01:05:53,116 --> 01:05:55,016
My number is...
964
01:05:59,990 --> 01:06:03,721
Come on, now. Drink this, damn it!
965
01:06:03,827 --> 01:06:06,455
Goddamn bitch.
Drink this!
966
01:06:07,998 --> 01:06:09,898
Come on, now.
Don't go back out.
967
01:06:10,000 --> 01:06:12,901
Cassavetes embodiedthe emergence of a new school...
968
01:06:13,003 --> 01:06:15,403
of guerilla filmmaking in New York.
969
01:06:15,505 --> 01:06:18,406
His films were literally madeon the credit plan.
970
01:06:18,508 --> 01:06:22,740
John was fearless,a true renegade setting upone psychodrama after another...
971
01:06:22,846 --> 01:06:26,179
with the complicity of a wholeclose group of actor friends.
972
01:06:26,283 --> 01:06:29,184
He insisted on having funwhen making films...
973
01:06:29,286 --> 01:06:32,016
while looking for some kind of truth.
974
01:06:32,122 --> 01:06:34,556
Maybe even a revelation.
975
01:06:38,495 --> 01:06:41,396
No. You gotta stay awake.
Please.
976
01:06:43,133 --> 01:06:46,762
I don't want you to die.
977
01:06:48,438 --> 01:06:50,338
No.
978
01:06:54,478 --> 01:06:56,378
Please, lady.
979
01:07:00,083 --> 01:07:01,914
You gotta stay awake.
980
01:07:02,019 --> 01:07:03,850
You gotta stay awake.
981
01:07:05,489 --> 01:07:08,822
To havea philosophy is to know how to love...
982
01:07:08,959 --> 01:07:11,689
- You gotta stay awake.
- and to know where to put it.
983
01:07:11,762 --> 01:07:14,060
But you can't put it everywhere.
984
01:07:14,164 --> 01:07:18,828
You've gotta be a priest saying, " Yes,my son, yes, my daughter, bless you. "
985
01:07:18,969 --> 01:07:20,869
But people don't live that way.
986
01:07:20,971 --> 01:07:24,134
They live with anger and hostility
and problems...
987
01:07:24,207 --> 01:07:27,938
and lack of money, lack of...
988
01:07:28,045 --> 01:07:32,072
You know, tremendous disappointments
in their life. They're...
989
01:07:32,182 --> 01:07:35,083
So, what they need is a philosophy.
990
01:07:35,185 --> 01:07:38,086
I think what everybody needs
is a way to say...
991
01:07:38,188 --> 01:07:41,157
"Where and how can I love,
can I be in love...
992
01:07:41,258 --> 01:07:45,160
so that I can live
with some degree of peace?"
993
01:07:45,262 --> 01:07:48,754
And so that's why I have
a need for the characters...
994
01:07:48,865 --> 01:07:52,323
to really analyze love,
discuss it, kill it,
995
01:07:52,436 --> 01:07:55,530
destroy it, hurt each other,
do all that stuff...
996
01:07:55,639 --> 01:07:57,539
in that war,
997
01:07:57,641 --> 01:08:02,476
in that word polemic
and picture polemic of what life is.
998
01:08:02,579 --> 01:08:05,480
The rest of the stuff
really doesn't interest me.
999
01:08:05,582 --> 01:08:08,483
It may interest other people,
but I have a one-track mind.
1000
01:08:08,585 --> 01:08:11,281
All I'm interested in is love.
1001
01:08:19,329 --> 01:08:21,263
That's it! Hoo-hoo!
1002
01:08:21,364 --> 01:08:23,855
You're gonna cry!
Ohh, geez! Come on!
1003
01:08:23,967 --> 01:08:28,529
Come on. I didn't want to hit you,
but don't go to sleep on me.
1004
01:08:28,638 --> 01:08:32,005
Ohh! Come on, now! Cry!
That's it! That's life, honey!
1005
01:08:33,243 --> 01:08:36,007
Tears of happiness, man.
Just do it!
1006
01:08:36,113 --> 01:08:38,343
Come on, now. Ohh.
1007
01:08:38,448 --> 01:08:40,439
All of Cassavetes'films,
1008
01:08:40,550 --> 01:08:43,451
they were all epics of the human soul.
1009
01:08:43,553 --> 01:08:46,954
Watching them brings to mind a comment
made byJohn Ford to a collaborator...
1010
01:08:47,057 --> 01:08:49,958
who was complaining about the miserable
weather conditions in the desert...
1011
01:08:50,060 --> 01:08:51,960
when they were trying
to shoot a picture.
1012
01:08:52,062 --> 01:08:54,963
The guy said, " Look, Mr. Ford,
what can we shoot out here?"
1013
01:08:55,065 --> 01:08:57,966
And Ford replied,
"What can we shoot?
1014
01:08:58,068 --> 01:09:01,731
The most interesting and exciting thing
in the whole world... a human face."
1015
01:09:06,176 --> 01:09:08,474
You want some coffee?
1016
01:09:08,578 --> 01:09:11,809
- Can I trust you? Huh? Huh?
- Yeah.
1017
01:09:11,915 --> 01:09:14,315
Okay. I don't trust you anyway.
1018
01:09:14,417 --> 01:09:16,317
I don't...
1019
01:09:16,419 --> 01:09:18,751
Uh-huh.
You little sneaky, you.
1020
01:09:18,855 --> 01:09:20,755
I'm gonna get you some coffee!
1021
01:09:20,857 --> 01:09:22,757
So, we're gonna have to stop...
1022
01:09:22,859 --> 01:09:24,986
because I can't go on any further.
1023
01:09:25,095 --> 01:09:27,495
Number one, we just don't have the time.
1024
01:09:27,597 --> 01:09:29,497
Number two,
we've reached a different era.
1025
01:09:29,599 --> 01:09:34,002
It's the era of the late '60s, the years
that I started making movies myself,
1026
01:09:34,104 --> 01:09:36,504
and, uh, it puts me
in a different perspective.
1027
01:09:36,606 --> 01:09:39,507
We've reached a whole
new chapter altogether and I really...
1028
01:09:39,609 --> 01:09:43,010
I could not really do justice
to my friends who are making films...
1029
01:09:43,113 --> 01:09:47,015
and companions and, uh, my generation
of filmmakers from the inside.
1030
01:09:47,117 --> 01:09:49,017
I can't...
I can't do it.
1031
01:09:49,119 --> 01:09:52,020
Um, so the story really has no end,
1032
01:09:52,122 --> 01:09:54,022
and we haven't even
started discussing...
1033
01:09:54,124 --> 01:09:56,558
such incredibly major figures as...
1034
01:09:56,660 --> 01:09:59,288
Ernst Lubitsch, Preston Sturges,
1035
01:09:59,396 --> 01:10:01,455
Joseph Mankiewicz, John Huston,
1036
01:10:01,565 --> 01:10:03,897
George Stevens, Sam Peckinpah,
1037
01:10:04,000 --> 01:10:06,491
William Wyler or,of course, Alfred Hitchcock.
1038
01:10:06,603 --> 01:10:09,504
But fortunately they've beencelebrated in so many ways,
1039
01:10:09,606 --> 01:10:13,667
in so many books and articles and insome, actually, wonderful shows.
1040
01:10:13,777 --> 01:10:16,678
Documentaries about film are becoming
a genre unto themselves...
1041
01:10:16,780 --> 01:10:19,681
thanks to Kevin Brownlow and David
Gill's invaluable 13-hour series...
1042
01:10:19,783 --> 01:10:21,683
about Hollywood in its silent era...
1043
01:10:21,785 --> 01:10:23,685
just the silent film alone, 13 hours;
1044
01:10:23,787 --> 01:10:26,187
Peter Bogdanovich's film
Directed byJohn Ford,
1045
01:10:26,289 --> 01:10:29,190
Richard Schickel's series
The Men Who Made The Movies,
1046
01:10:29,292 --> 01:10:32,625
and so many British and French portraits
of filmmakers.
1047
01:10:32,729 --> 01:10:37,166
So many directors have inspired meover the years,
1048
01:10:37,267 --> 01:10:42,796
I wouldn't know how to stop mentioningtheir names, we're indebted to them.
1049
01:10:42,906 --> 01:10:46,535
As we are to any original filmmakerwho managed to survive...
1050
01:10:46,643 --> 01:10:50,272
and impose his or her visionin a very competitive profession.
1051
01:10:56,186 --> 01:10:58,654
When we talk about personal expression,
1052
01:10:58,755 --> 01:11:01,690
I'm often remindedof Kazan's film America, America,
1053
01:11:01,791 --> 01:11:06,694
the story of his uncle's journeyfrom Anatolia to America...
1054
01:11:06,796 --> 01:11:11,290
the story of so many immigrantswho came to this country froma very, very foreign land.
1055
01:11:11,401 --> 01:11:14,131
You're blockin'traffic!Come on! Move it along!
1056
01:11:14,237 --> 01:11:17,673
I kind of identifiedwith it and was very moved by it.
1057
01:11:17,774 --> 01:11:22,438
Actually, I later saw myself making this
same journey, but not from Anatolia.
1058
01:11:22,545 --> 01:11:25,446
Rather, from my own neighborhood
in New York,
1059
01:11:25,548 --> 01:11:28,449
which was, in a sense,
a very foreign land.
1060
01:11:28,551 --> 01:11:31,452
I made that journey
from that land to moviemaking,
1061
01:11:31,554 --> 01:11:33,454
which was something unimaginable.
1062
01:11:33,556 --> 01:11:36,957
Actually, when I was a little
younger there was another
journey I wanted to make.
1063
01:11:37,060 --> 01:11:39,961
It was a religious one...
I wanted to be a priest.
1064
01:11:40,063 --> 01:11:42,964
However I soon realized
that my real vocation, my real calling,
1065
01:11:43,066 --> 01:11:44,966
was the movies.
1066
01:11:45,068 --> 01:11:48,970
I don't really see a conflict
between the Church and movies...
the sacred and the profane.
1067
01:11:49,072 --> 01:11:50,972
Obviously there are major differences,
1068
01:11:51,074 --> 01:11:53,668
but I could also see
great similarities...
1069
01:11:53,777 --> 01:11:56,439
between a church and a movie house.
1070
01:11:56,546 --> 01:12:00,073
Both are places for people to come
together and share a common experience,
1071
01:12:00,183 --> 01:12:03,016
and I believe
there's a spirituality in films,
1072
01:12:03,119 --> 01:12:06,020
even if it's not one
which can supplant faith.
1073
01:12:06,122 --> 01:12:10,525
I find that over the years
many films address themselves
to the spiritual side of man's nature...
1074
01:12:10,627 --> 01:12:13,528
from Griffith's film Intolerance
toJohn Ford's The Grapes of Wrath,
1075
01:12:13,630 --> 01:12:15,530
to Hitchcock's Vertigo,
1076
01:12:15,632 --> 01:12:18,032
to Kubrick's 2001 and so many more.
1077
01:12:18,134 --> 01:12:21,865
It's as if movies answer an ancient
quest for the common unconscious.
1078
01:12:21,971 --> 01:12:24,872
They fulfill a spiritual need
that people have...
1079
01:12:24,974 --> 01:12:26,874
to share a common memory.
99490
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