All language subtitles for The Movies s01e05_English

♪
>> THE CINEMATIC MUSICAL, IF YOU

LOOK AT THE DNA, THERE’S ALWAYS
A KIND OF CODE OR A LANGUAGE

THAT’S SPECIFIC TO THE TIME
THEY’RE IN.

♪ WHEN YOU’RE A JET YOU’RE A JET
ALL THE WAY FROM YOUR FIRST

CIGARETTE TO YOUR LAST DIEING
DAY ♪

>> WEST SIDE STORY IS
SHAKESPEARE IN THE STREETS OF

NEW YORK.
IT HAS A CODE THAT WAS BOTH OLD

AND COMPLETELY NEW.
♪

>> WITH "WEST SIDE STORY," THE
MUSIC HAS THIS KIND OF JAZZ

INFLUENCE, DISCORD ANT ASPECT.
YOU CAN FEEL IT.

IT’S LIKE SPARKING IN THE AIR.
♪

AND THE MOVES ARE VERY ANGULAR
AND SORT OF ALMOST

ARCHITECTURAL.
>> "WEST SIDE STORY" WAS A BIG

BROADWAY HIT CREATED BY ARTHUR
LAWRENCE AND STEPHEN SONDHEIM

AND LEONARD BERNSTEIN, WHO WERE
SOME OF THE GREATEST MUSICAL

GENIUSES WORKING AT THE TIME.
>> THEY ACTUALLY ENLISTED JEROME

ROBBINS, WHO CREATED THE
CHOREOGRAPHY AND DIRECTED THE

ORIGINAL BROADWAY PRODUCTION TO
DIRECT THIS FILM ALONG WITH

ROBERT WISE.
>> EVERYBODY WAS TRANSPORTED BY

"WEST SIDE STORY."
IT WAS WILDLY ROMANTIC.

IT WAS THE ROMEO AND JULIET
STORY, BUT TOLD WITH SUCH

URGENCY.
>> COME DOWN.

>> NO.
>> MARIA.

>> IT HAD TREMENDOUS IMPACT.
>> WITH THIS RIVALRY, IT REALLY

REFLECTS AMERICA AND DEALS WITH
ISSUES THAT ARE STILL RELEVANT

TODAY.
♪ LIFE CAN BE BRIGHT IN

AMERICA ♪
♪ IF YOU CAN FIGHT IN AMERICA ♪

♪ LIFE IS ALL RIGHT IN AMERICA ♪
♪ IF YOU’RE ALL WHITE IN

AMERICA ♪
>> YOU THINK YOU’RE GOING AFTER

THE AMERICAN DREAM, BUT THE
AMERICAN DREAM IS CLEARLY NOT

ACCEPTING YOU.
THAT’S REALLY WHAT’S BEING

TALKED ABOUT IN THAT MOMENT IN
"WEST SIDE STORY"

♪ LOTS OF NEW HOUSING WITH MORE
SPACE ♪

♪ LOTS OF DOORS SLAMMING IN OUR
FACE

♪ I’LL GET AN APARTMENT ♪
♪ BETTER GET RID OF YOUR

ACCENT ♪
>> "WEST SIDE STORY" REALLY

SHOWED 9
SHOWED THE WORLD IF YOU CAST

PEOPLE FROM THEIR OWN CULTURE,
IT’S GOING TO MAKE AN IMPACT WHO

WINS THE OSCAR, RITA MORENO.
>> RITA MORENO IN WEST"WEST SIDE

STORY."
>> SHE STANDS OUT BECAUSE OF

THAT.
>> I CAN’T BELIEVE IT.

>> "WEST SIDE STORY" JUST
COINCIDED WITH HOLLYWOOD’S

ATTEMPT TO DO SOMETHING BIG,
SPLASHY, AND TECHNICOLOR IN THE

MOVIES TO FIGHT BACK AGAINST
TELEVISION.

>> IN THE 60s, THE STUDIOS WERE
STAGGERING FROM PEOPLE NOT GOING

TO THE THEATERS.
IT’S JUST HARD TO COMPETE WITH

FREE STUFF IN YOUR LIVING ROOM.
>> AT THE TIME, TELEVISION IS

GOING GANGBUSTERS, SO THE MOVIES
ARE CHANGING.

THEY’RE TRYING TO DO
COUNTERPROGRAMMING.

IT’S LIKE IF TELEVISION IS GOING
TO DO WHAT WE USED TO DO, THEN

WE HAVE TO DO SOMETHING NEW.
SO WE SEE THE BIG EPIC

BLOCKBUSTER FILMS.
>> IN NEW YORK, THE WORLD

PREMIERE OF "PART SPARTACUS.
KIRK DOUGLAS ARRIVES WITH HIS

WIFE AT THE OPENING.
>> SPARTACUS CAME RIGHT AT THE

TOP OF 1960sS.
THIS WAS A BIG ROADSHOW, RESERVE

SEAT MOVIE WITH KIRK DOUGLAS.
>> THOSE WHO ARE ABOUT TO DIE

SALUTE YOU.
>> SPARTACUS IS A REVOLUTIONARY

MOVIE ABOUT REVOLUTIONARIES.
IT’S THE STORY OF A SLAVE

REBELLION IN ROME, AND KIRK
DOUGLAS IS THE LEADER OF THAT

REBELLION.
>> SHE’S GOING TO ROME.

SHE’S BEEN SOLD.
>> SHE’S BEEN SOLD?

>> NO TALKING IN THE KITCHEN,
SLAVE.

>> SPARTACUS REALLY MIRRORED THE
SITUATION BEHIND THE SCENES

BECAUSE DALTON TRUMBO, ITS
SCREENWRITER, HAD BEEN

BLACKLISTED, HAD NOT BEEN ABLE
TO USE HIS NAME ON MOVIES FOR

YEARS.
>> ARE YOU OR HAVE YOU EVER BEEN

A MEMBER OF THE COMMUNIST PARTY?
>> I BELIEVE I HAVE THE RIGHT TO

BE CONFRONTED WITH ANY EVIDENCE
WHICH SUPPORTS THIS QUESTION.

I SHOULD LIKE TO SEE WHAT YOU
HAVE.

>> OH, YOU WOULD?
>> YES.

>> WELL, YOU WILL PRETTY SOON.
[ LAUGHTER ]

>> KIRK DOUGLAS FAMOUSLY BROKE
THE BLACKLIST WITH SPARTACUS,

SAID YOU WILL SEE SCREENPLAY BY
DALTON TRUMBO ON THOSE CREDITS,

AND THE VERY FAMOUS SCENE IN THE
MOVIE WHERE THEY’RE AFTER

SPARTACUS AND THEY’RE SAYING,
WHERE IS SPARTACUS, AND

EVERYBODY STANDS UP?
>> I’M SPARTACUS.

>> I’M SPARTACUS.
>> THAT IS A VERY MOVIEING

SCENE, ESPECIALLY IF YOU KNOW
TRUMBO’S HISTORY.

>> I’M SPARTACUS.
>> I’M SPARTACUS.

>> I’M SPARTACUS.
>> IT WAS A SCARY, DARK PERIOD

FOR HOLLYWOOD THAT WAS LIFTED
RIGHT AS WE GOT INTO THE 60s.

♪
>> LAWRENCE OF ARABIA IS THE

MOVIE THAT REALLY MADE ME WANT
TO BE A MOVIE MAKER.

IT’S SWEEPING VISTAS OF
TREMENDOUS PRODUCTION VALUE,

SAND DUNES AND PERFECT LIGHTING
CONDITIONS, AND THESE AMAZING

INTIMATE CLOSE‐UPS.
IT’S A STORY ABOUT A MAN WHO

GETS HIMSELF INVOLVED IN THESE
AFFAIRS BETWEEN ALL THE TRIBES

OF THE MIDDLE EAST.
>> THE ENGLISH GOPHER, THEY

STRIKE WHERE THEY PLEASE AND
THIS MAKES THEM GREAT.

>> MR. LAWRENCE, THAT WILL DO.
IT’S NOT YOUR MILITARY ADVICE.

>> I WOULD LIKE TO HEAR HIS
OPINION.

>> DAMN YOU, LAWRENCE.
WHO DO YOU TAKE ORDERS FROM?

>> T.E. LAWRENCE WAS BRITISH,
BUT ON THE OTHER HAND, HE

BECOMES A KIND OF CONVERT TO THE
INDEPENDENCE MOVEMENT IN THE

MIDDLE EAST.
>> LAWRENCE GOES ON THIS

ENORMOUS JOURNEY AND ADVENTURE
IN TRYING TO HELP THE BED OU WIN

AGAINST THE TURKS AND WANTS TO
DEFEND THEIR RIGHTS.

>> WHERE DO YOU BEGIN WITH AN
EPIC LIKE LAWRENCE?

>> A BLANK SHEET OF PAPER AS
WITH EVERYTHING.

YOU KNOW, YOU READ EVERYTHING
YOU CAN GET YOUR HANDS ON, TALK

TO PEOPLE WHO KNEW THIS
PARTICULAR CHARACTER.

THEN I THINK THE ONLY THING TO
DO IS TO THROW IT ALL AWAY AND

DO HIM AS YOU SEE HIM.
>> WHO ARE YOU?

>> WHO ARE YOU?
THAT IS CENTRAL QUESTION OF THE

WHOLE MOVIE, AND LAWRENCE DOES
NOT KNOW THE ANSWER TO THAT

QUESTION.
>> HERE’S O’TOOLE, WHO IS GIVEN

THIS OPPORTUNITY, AND HE JUST ‐‐
HE GOES ALL THE WAY.

AND THE WAY HE PLAYED IT, YOU
KNOW, WITH HIS PHYSICALITY, HE

GIVES ONE OF THE GREATEST
PERFORMER I’VE EVER SEEN BY AN

ACTOR IN MY LIFE.
>> THAT MOMENT, SOMETHING VERY

IMPORTANT CLICKED, WHICH WAS
THIS.

AND THE EYES DIDN’T TRAVEL OVER
THE CLOTHES, BUT THEY WERE AWARE

OF THE HANDS AND AWARE OF
EVERYTHING THAT WAS GOING ON,

AND IT WAS AT ONCE WITHDRAWN AS
A BOXER MUST BE, AND AT THE SAME

TIME VERY PENETRATING.
AND THIS ONE PHYSICAL THING

REALLY CLICKED, AND IT MADE A
WHOLE DIFFERENCE TO THE WAY I

PLAYED IT.
>> WITH LAWRENCE, YOU HAVE THIS

SPECIAL THING, AN INTIMATE EPIC.
>> DO YOU THINK I’M JUST

ANYBODY, ALI?
DO YOU?

>> AND IT’S AN INCREDIBLY
DETAILED CHARACTER STUDY IN ONE

OF THE BIGGEST MOVIES EVER MADE.

>>> SO I THINK A MAN IN HIS
POSITION WILL TAKE ME TO EL

MOROCCO, MAYBE 21.
INSTEAD HE TAKES ME TO HAMBURGER

HEAVEN AND SOME APARTMENT.
>> THE APARTMENT IS A WATERSHED

MOVIE.
IT IS NOT ONLY ONE OF THE

GREATEST FILMS EVER MADE, BUT
FOR 1960, IT’S VERY DIFFICULT

SUBJECT MATTER BECAUSE IT’S
ABOUT EXTRAMARITAL AFFAIRS.

>> THE APARTMENT IS ABOUT A NEW
YORK CLERK NAMED C. C. BAXTER WHO

IS TRYING TO GET BACK ON THE
CORPORATE LADDER.

SO HE AGREES TO LEND HIS
APARTMENT OUT TO EXECUTIVES FOR

THEIR AFFAIRS.
>> I HAVE SOMETHING I THINK

BELONGS TO YOU.
I MEAN THE YOUNG LADY WHOEVER

SHE MAY BE.
IT WAS ON MY COUCH WHEN I GOT

BACK LAST NIGHT.
>> THANKS.

>> THE MIRROR IS BROKEN.
IT WAS BROKEN WHEN I FOUND IT.

>> ALL OF IT COMES CRASHING DOWN
WHEN HE REALIZES THE GIRL HE’S

FALLEN FOR, THE EL VATDEVATOR
OPERATOR, PLAYED BY SHIRLEY

MacLAINE, THAT SHE IS ONE OF THE
GIRLS THAT’S GOING UP TO HIS

APARTMENT AND HAVING AN AFFAIR
WITH ONE OF THE BOSSES.

>> YOU DON’T THINK IT’S TOO
LITTLE TOO MUCH.

AFTER ALL, THIS IS A
CONSERVATIVE FIRM.

I DON’T WANT PEOPLE TO THINK I’M
AN ENTERTAINER.

>> WHEN HE LOOKS IN THE MIRROR,
HE REALIZES IT’S THE SAME MIRROR

THAT HE’S SEEN INSIDE HIS
APARTMENT.

>> THE MIRROR, IT’S BROKEN.
>> YES, I KNOW.

I LIKE IT THAT WAY.
IT MAKES ME LOOK THE WAY I FEEL.

>> "THE APARTMENT" WAS THE
DEEPEST ROMANTIC COMEDY MAYBE

EVER MADE.
>> MISS KUBILIK?

>> AT THE HEART OF IT IS WHAT IT
IS TO BE HUMAN.

>> DID YOU HEAR WHAT I SAID?
I ABSOLUTELY ADORE YOU.

>> SHUT UP AND DEAL.
>> MY LOVE OF THE APARTMENT

SPILLED INTO THE WRITING OF
JEREMY MAGUIRE, AND THERE WOULD

NOT BE JERRY MAGUIRE IF IT
WEREN’T FOR "THE APARTMENT."

♪
>> BREAKFAST AT TIFFANY’S IS THE

ICONIC AUDREY HEPBURN ROLE.
WHEN YOU HEAR THE TITLE, YOU

INSTANTLY IMAGINE HER IN THE
LITTLE BLACK DRESS WITH THE

PEARLS, WITH THE PERFECT UP‐DO,
AND SHE’S THIS TRAGIC, FLAWED

FIGURE.
>> WHAT HAPPENED TO YOU, ANYWAY?

YOU TAKE OFF FOR THE POWDER
ROOM, AND THAT’S THE LAST I SEE

YOU.
>> NOW, REALLY, HARRY ‐‐

>> HARRY WAS THE OTHER GUY.
I’M SID.

>> BREAKFAST AT TIFFANY’S, LIKE
THE APARTMENT, IS A MOVIE ABOUT

PEOPLE WHO ARE SORT OF WILLING
TO SELL THEIR SOULS.

>> 300?
SHE’S VERY GENEROUS.

>> AND REALIZING AT WHAT POINT
THEY’RE NOT GOING TO DO THAT

ANYMORE.
>> I WAS JUST TRYING TO LET YOU

KNOW I UNDERSTAND.
I UNDERSTAND COMPLETELY.

>> AUDREY HEPBURN IS JUST THIS
LIGHT.

HER SUBTLETIES WERE ASTOUNDING
TO ME.

>> FRED DARLING, I’M SO GLAD YOU
COULD COME.

>> JUST THE WAY THAT SHE SPOKE
AND THE WAY SHE WAS ALWAYS

ELEGANTLY SELF‐DEPRECATING.
>> I’M TRYING TO SAVE, BUT I’M

NOT VERY GOOD AT IT.
>> THERE’S NOT A BAD AUDREY

HEPBURN FILM.
THERE JUST ISN’T.

♪ TWO DRIFTERS OFF TO SEE THE
WORLD ♪

>> IN MOON RIVER, AUDREY HEPBURN
IS SITTING ON THE FIRE ESCAPE

AND SINGING IT IN THIS VERY
TENDER WAY, AND YOU FEEL SHE’S

SORT OF THIS LOST SOUL, TRYING
TO GRAPPLE ABOUT WHO SHE IS IN

THE WORLD.
♪ MOON RIVER AND ME ♪

>> WHAT WAS AMAZING ABOUT AUDREY
WAS SHE WAS VERY FRAGILE IN

LIFE, SMOKED TOO MUCH, INSECURE.
AND WHEN SHE GOT IN FRONT OF THE

CAMERA, SOMETHING HAPPENED.
ALL THAT FRAGILITY, SENSITIVITY,

SHE KIND OF MARSHALLED IT AND
BECAME VERY STRONG.

>> YOU THINK YOU OWN ME?
>> THAT’S EXACTLY WHAT I THINK.

>> I KNOW THAT’S WHAT EVERYBODY
ALWAYS THINKS BUT EVERYBODY

HAPPENS TO BE WRONG.
>> I AM NOT EVERYBODY.

>> WHEN WE THINK OF CLASSIC
HOLLYWOOD, WE THINK OF ROMANCE

AND GLAMOUR.
THAT BEGINS TO BREAK DOWN IN THE

60s, AND WE START TO GET A MORE
COMPLEX VIEW OF HUMAN

PSYCHOLOGY.
>> NOW, THEN, COMRADE ‐‐

>> MAY I PRE‐SENT THE FAMOUS
RAYMOND SHAW.

>> A YOUNG MAN YOU’VE FLOWN
8,000 MILES TO THIS DREARY SPOT

IN MANCHURIA TO SEE.
>> THE MANCHURIAN CANDIDATE IS

ABOUT A BRAINWASHED SOLDIER WHO
IS THE STEPSON OF AN IMPORTANT

SENATOR.
>> TAKE THIS SCARF AND STRANGLE

HIM TO DEATH.
>> YES, MA’AM.

>> I REMEMBER SEEING THE
MANCHURIAN CANDIDATE WHEN IT

FIRST CAME OUT, AND IT’S A VERY
UNSETTLING OPENING.

YOU REALLY FEEL LIKE THEY’RE
BRAINWASHING YOU WHILE YOU’RE

WATCHING IT.
>> HEY, SARGE, CUT IT OUT.

>> QUIET, PLEASE.
YOU JUST SIT THERE QUIETLY AND

COOPERATE.
>> YES, MA’AM.

>> THE MANCHURIAN CANDIDATE WHEN
PEOPLE SEE IT FOR THE FIRST

TIME, IT KIND OF BLOWS THEIR
MIND.

IT’S GOT SCI‐FI ELEMENTS TO IT
IN ADDITION TO BEING A REALLY

INTRIGUING POLITICAL THRILLER.
>> I HAVE HERE A LIST OF THE

NAMES OF 207 PERSONS WHO ARE
KNOWN BY THE SECRETARY OF

DEFENSE AS BEING MEMBERS OF THE
COMMUNIST PARTY.

>> THE MANCHURIAN CANDIDATE IS
NOT A TIMID FILM.

IT TAKES ON McCARTHYISM FULL
TLOTD

THROTTLE.
>> ALL THEY’RE SAYING ARE THERE

ANY COMMUNISTS IN THE DEFENSE
DEPARTMENT?

OF COURSE NOT.
THEY’RE SAYING HOW MANY

COMMUNISTS ARE THERE IN THE
DEFENSE DEPARTMENT?

>> ANGELA LANSBURY IS THE EVIL
FIGURE MANIPULATING BEHIND THE

SCENES.
>> STOP TALKING ABOUT AN EXPERT

ALL OF A SUDDEN AND GET OUT
THERE AND SAY WHAT YOU’RE

SUPPOSED TO SAY.
>> AS WITH ALL GREAT VILLAINS,

SHE EMBRACES THAT ROLE.
SHE DOESN’T WANT YOU TO FEEL

SYMPATHY FOR HER.
SHE WANTS YOU TO GET OUT OF HER

WAY.
>> YOU ARE TO SHOOT THE

PRESIDENTIAL NOMINEE THROUGH THE
HEAD.

>> WHEN JOHN F. KENNEDY WAS
ASSASSINATED, FRANK SINATRA

DIDN’T WANT PEOPLE TO SEE THIS
FILM.

BUT THIS WAS NOT ABOUT THE POWER
OF ASSASSINATION IN CHANGING

POLITICAL EVENTS.
THIS WAS ABOUT THE PSYCHOLOGICAL

DIMENSION OF THE COLD WAR AND
FORCING PEOPLE TO THINK ABOUT

THE NATURE OF THE FEARS THEY
HAD.

>> I DEAL IN NIGHTMARES, AND
NIGHTMARES HAVE TO BE AWFULLY

VIVID.
YOU’RE VERY GLAD WHEN YOU WAKE

UP JUST AS YOU’RE ABOUT TO DROP
THROUGH THE TRAP ON THE GALLOWS.

>> HITCHCOCK HAS SEVERAL YEARS
WHERE HE HAD A PURPLE PATCH OF

LIKE ALL CLASSICS, AND HE’S
LIKE, WELL, I’VE DONE VERTIGO.

I’VE DONE NORTH BY NORTHWEST.
NOW I’M GOING TO DO A FILM FOR

ME.
THAT FILM IS "PSYCHO".

♪
>> FOR ALFRED HITCHCOCK TO MAKE

PSYCHO, IMAGINE IF TODAY STEVEN
SPIELBERG ANNOUNCED THAT HIS

NEXT FILM WOULD BE "THE BRIDE OF
CHUCKY."

IT WAS THAT SHOCKING, AND
PARAMOUNT WOULDN’T MAKE IT.

HE ENDED UP PAYING FOR IT
HIMSELF BASICALLY.

AT THE TIME PEOPLE THOUGHT
HITCHCOCK HAD THROWN HIS CAREER

AWAY.
>> SAM, THIS IS THE LAST TIME.

>> FOR WHAT?
>> FOR THIS.

>> PSYCHO STARTS OUT AS A
DEFINITIVE FILM NOIR FROM THE

BEGINNING OF THE FILM.
WOMAN IS HAVING AN ILLICIT

AFFAIR.
SHE STEALS MONEY FROM HER OFFICE

TO GO MEET THE GUY AND RUN AWAY.
THAT’S FILM NOIR.

>> MARIAN, WHAT IN THE WORLD ‐‐
WHAT ARE YOU DOING UP HERE?

OF COURSE I’M GLAD TO SEE YOU.
I ALWAYS AM.

>> THEN ALL OF A SUDDEN, SHE
MEETS THIS GUY IN A LONELY

MOTEL, AND, MAN, IT BECOMES
SOMETHING ELSE.

>> DIRTY NIGHT.
>> YOU HAVE A VACANCY?

>> WE HAVE 12 VACANCIES.
12 CABINS, 12 VACANCIES.

>> WHEN I FIRST SAW PSYCHO, I
WAS HORRIFIED.

IT’S REALLY ONE OF THE CREEPIEST
MOVIES EVER MADE.

>> HITCHCOCK WAS GREAT AT WHERE
TO PUT THE CAMERA.

HE HELPED TELL THE STORY.
>> IF ANYONE EVER TALKED TO ME

THE WAY I HEARD THE WAY SHE
SPOKE TO YOU ‐‐

>> HE REALLY KNEW HOW TO THROW
US OFF BALANCE BY PUTTING HIS

CAMERA OFF BALANCE.
>> WHEN PSYCHO OPENED IN NEW

YORK CITY, THE PRESS SAT
UPSTAIRS IN THE BALCONY, 500

PEOPLE, AND THE PAYING CUSTOMERS
WERE DOWNSTAIRS, ABOUT A

THOUSAND PEOPLE.
WHEN WE GOT TO THE SHOWER SCENE,

I’VE NEVER SEEN SUCH A REACTION.
♪

[ SCREAMING ]
>> THE AUDIENCE DOWNSTAIRS WAS

SCREAMING TO SUCH A DEGREE THAT
YOU DID NOT HEAR THE SOUNDTRACK.

AND IT WASN’T A SCREAM LIKE AHH,
AHH, AHH.

IT WAS AHHH!
THEY COULDN’T BELIEVE IT.

I COULDN’T BELIEVE IT JANET
LEIGH WAS GETTING KILLED.

SHE’S THE [ BLEEP ] STAR OF THE
PICTURE.

>> SUDDENLY WE HAVE NO
PROTAGONIST TO ATTACH OURSELVES

TO.
THERE’S NO MOVIE BEFORE THAT

EVER DID THAT, AND IT WAS
TERRIFYING TO BE STRANDED THERE

ALONE WITH A KILLER.
AND WHO IS THIS KILLER?

♪
>> THAT INVENTION IS REALLY

SOMETHING EXTRAORDINARY, AND IT
HERALDED A DIFFERENT KIND OF

FILMMAKING.
IT FELT MORE PERSONAL AND MORE

WEIRD.
HE WAS TRULY A MASTER OF TERROR.

>>> I DON’T USE SEX TO LAND AN
ACCOUNT.

>> WHEN DO YOU USE IT?
>> I DON’T.

>> MY CONDOLENCES TO YOUR
HUSBAND.

>> OH, I’M NOT MARRIED.
>> THAT FIGURES.

>> THE CONVENTIONAL WISDOM ABOUT
DORIS DAY IS OF COURSE SHE’S A

PROFESSIONAL VIRGIN, A PRUDE, A
RELIC FROM THE 1950s.

ALL OF THOSE THINGS ARE WRONG.
>> HELLO?

>> GOOD MORNING.
>> I THINK DORIS DAY IS A BRIDGE

BETWEEN 50s MORALITY AND 60s
MORALITY.

>> OH, MY DARLING.
OH, MY DARLING, ARE YOU HAVING

ANOTHER NIGHTMARE?
>> WHAT WAS COOL ABOUT THE

MOVIES THAT SHE WAS IN WAS THAT
THEY WERE CENTERED AROUND HER

AND HER PROBLEMS.
>> SHE WAS A FEMALE PROTAGONIST,

WHICH WAS UNUSUAL AT THAT TIME.
>> IF WE LOOK BACK AT DOR ISZ

DAY FILMS TODAY, WE CAN SEE SHE
REALLY ESTABLISHED A NEW KIND OF

REPRESENTATION OF A CAREER WOMAN
WHO WAS VERY MUCH IN CHARGE OF

HER OWN LIFE.
SHE WAS INDEPENDENT, URBAN, AND

THAT REALLY WAS A KIND OF A
PROTOTYPE FOR THE LIBERATED

WOMAN.
>> MRS. AMERICA MIGHT DO WELL TO

START EARLY IN HER MARRIAGE, A
PLANNED CULTIVATION OF OUTSIDE

INTERESTS AND HOBBIES.
>> IN THE EARLY 60s, FILM COMEDY

WAS VERY COMMERCIAL.
IT WAS THAT COLORFUL, FUN,

FREE‐WHEELING COMEDY STYLE.
YOU GOT PETER SELLERS IN THE

BLAKE EDWARDS MOVIE "THE PINK
PANTHER".

>> WE MUST FIND THAT WOMAN.
>> AT THE SAME TIME THAT YOU HAD

JERRY LEWIS.
>> AS A KID, YOU LOVED JERRY

LEWIS BECAUSE HE WAS A KID.
HE WAS A KID DOING ALL THESE

WACKY THINGS THAT YOU WOULD LIKE
TO DO.

I MEAN YOU WANTED TO TALK LIKE
THAT AND WALK AROUND LIKE THAT.

HE WAS FUN.
>> JERRY LEWIS IS A CROSS ROADS

COMEDIAN BETWEEN THOSE OLDER
VAUD VILLIAN COMEDIANS AND THE

MODERN NEUROTIC COMEDIAN, BUT
STILL KIND OF RELYING ON AN

OLDER PERSONA.
THERE WERE A LOT OF NEW FILM

MAKING TECHNIQUES, ESPECIALLY
WITH MOVIES LIKE "THE ERRAND

BOY."
♪

>> AS A FILMMAKER, JERRY LEWIS
IS USING THE ELEMENTS OF CINEMA

TO ENHANCE THE COMEDY.
HE’S REALLY PLAYING WITH THE

MEDIUM WITH AS MUCH ATTENTION TO
THE FILMMAKING AS TO THE

PERFORMANCE.
>> JERRY LEWIS, IN THE EARLY

60s, MADE A DIFFERENT TYPE OF
COMEDY, COMEDY FOR ALL AGES.

AND THERE WAS A LARGER CULTURAL
SHIFT JUST ABOUT TO HAPPEN.

>> THOSE ARE THE FACTS, FELIX.
YOU GOT TO FACE IT.

YOU CAN’T SPEND THE REST OF YOUR
LIFE CRYING.

IT ANNOYS PEOPLE IN THE MOVIE.
>> IT WASN’T PHYSICAL COMEDY.

IT WAS CEREBRAL.
INCREASINGLY IN THE 60s, COMEDY

BECAME SOMETHING FOR ADULTS.
>> YOU’RE A WRITER AND A

DIRECTOR?
>> YES, I’VE WRITTEN AND

DIRECTED A NEW MOTION FLICK
CALLED "THE PRODUCERS" STARRING

ZERO MOSS TELL AND INTRODUCING
GENE WILDER.

>> "THE PRODUCERS" IS JERN
WINLY, I WOULD SAY ONE OF THE

TOP COMEDIES OF ALL TIME.
>> YES?

>> YES WHAT?
>> WHAT YOU WERE SAYING.

KEEP TALKING.
>> IN THE PRODUCERS, THEY’RE

GOING TO GET INVESTORS TO INVEST
IN A BROADWAY PLAY THAT THEY

KNOW WILL FAIL SO THEY CAN TAKE
OFF WITH THE MONEY.

[ SCREAMING ]
>> I WANT THAT MONEY!

>> I FELL ON MY KEYS.
>> THE SURE FIRE DISASTER, IT’S

CALLED "SPRINGTIME FOR HITLER".
♪ SPRINGTIME FOR HITLER ♪

>> YOU CAN’T BELIEVE THE
PRODUCERS GOT MADE.

THE IDEA OF DOING A MUSICAL IN
WHICH HITLER IS THE STAR, I MEAN

THAT CONCEPT ALONE WAS BRILLIANT
AND UNPRECEDENTED AND IT REALLY

GAVE YOU A SENSE OF WHO MEL
BROOKS WAS AS A COMIC MIND.

>> I WANT TO THANK THE ACADEMY
OF ARTS SCIENCES AND MONEY FOR

THIS WONDERFUL AWARD.
>> MEL IS A GIANT, MAYBE THE

BALLSIEST OF THEM.
>> I’LL JUST SAY WHAT’S IN MY

HEART.
BA BUMP, BA BUMP, BA BUMP.

>> BUT ONE OF THE BEST OF THEM.
EXPLOSIVELY FUNNY.

>> DR. STRANGELOVE, DO WE HAVE
ANYTHING LIKE THAT IN THE WORKS?

>> A MOMENT, PLEASE,
MR. PRESIDENT.

>> "DR. STRANGELOVE" IS ABOUT
HOW THE UNITED STATES AND

RUSSIA, THROUGH A SERIES OF
MISUNDERSTANDINGS AND ACTIONS BY

CERTIFIABLY CRAZY PEOPLE, ALMOST
COME TO THE BRINK OF NUCLEAR

WAR.
>> NOW, THEN, DIMITRI, YOU KNOW

HOW WE’VE ALWAYS TALKED ABOUT
THE POSSIBILITY OF SOMETHING

GOING WRONG WITH THE BOMB.
>> YOU KNOW, AS A COMEDY PERSON,

THERE IS A COMEDY BEFORE "DR.
STRANGELOVE" AND AFTER "DR.

STRANGELOVE" BECAUSE NO ONE HAD
SEEN ANYTHING THAT DRY.

THE SATIRE OF IT, IN ORDER TO DO
IT RIGHT, YOU HAD TO DO IT

COMPLETELY STRAIGHT.
>> OF COURSE I LIKE TO SPEAK TO

YOU.
OF COURSE I LIKE TO SAY HELLO.

>> ON THE SURFACE, IT WAS NOT
SUPPOSED TO SCARE ANYBODY

BECAUSE IT WAS A COMEDY WHEN, IN
FACT, IT’S NOT A COMEDY.

THE FILM REALLY, REALLY TAKES
YOU TO THE END OF THE WORLD.

>> GENTLEMEN, YOU CAN’T FIGHT IN
HERE.

THIS IS THE WAR ROOM.
>> PETER SELLERS WAS

UNBELIEVABLE AS EVERY CHARACTER,
BUT ESPECIALLY AS

DR. STRANGELOVE.
>> PETER SELLERS IS WHAT MAKES

THAT FILM SING, THAT YOU CAN
FEET THAT STANLEY KUBRICK HAS

SOMEBODY THAT HE TRUSTS TO GO
COMPLETELY OFF THE RAILS AND

THAT HE KNOWS HOW TO FILM IT AND
CONTAIN IT AND USE IT FOR THE

PURPOSES OF THE STORY.
>> THE WHOLE POINT OF THE

DOOMSDAY MACHINE IS LOST IF YOU
KEEP IT A SECRET.

WHY DIDN’T YOU TELL THE WORLD,
EH?

>> WHEN I FIRST SAW THE FILM, I
CAME OUT OF THAT MOVIE FEARING

NUCLEAR WAR WITH THE RUSSIANS
MORE THAN I EVER HAD BEFORE.

>> I GOT A PRETTY FAIR IDEA THAT
SOMETHING DOGGONE IMPORTANT IS

GOING ON BACK THERE.
>> STANLEY KUBRICK WAS ONE OF

THE MOST AUDACIOUS FILMMAKERS IN
HISTORY.

>> WELL, BOYS, I RECKON THIS IS
IT.

NUCLEAR COMBAT TOE TO TOE WITH
THE RUSSKIES.

>> WHO ELSE WOULD HAVE SLIM
PICKENS IN A COWBOY HAT GETTING

ON AN ATOMIC BOMB AND RIDING IT
ALL THE WAY TO THE GROUND WAVING

HIS HAT OVER HIS HEAD LIKE HE’S
AT A RODEO?

IT DELIVERS ARMAGEDDON IN SONG.
♪

WITH EVERY SINGLE HYDROGEN BOMB
EXPLOSION PHOTOGRAPHED CUT

TOGETHER IN SYNC, IN HARMONY
WITH THE MUSIC.

♪

>>> I’VE HEARD A HOLLYWOOD
PRODUCER REFER TO THE MOVIE

BUSINESS AS THE TRANSPORTATION
BUSINESS.

YOU GO TO THE THEATER, AND WE
TAKE YOU SOMEWHERE ELSE.

>> BY THE 60s, THE WONDERFUL
THING ABOUT THE STUDIO SYSTEM

WAS HOW IT COULD CREATE PLACE
AND TIME SO MAGNIFICENTLY.

♪
>> SO OFTEN FILMS THAT WERE SET

IN THE PAST DIDN’T LOOK LIVED
IN.

THEY DIDN’T LOOK LIKE ACTUAL
EXPERIENCE.

IN THE ’60s, TOM JONES FINALLY
MADE IT FEEL LIKE PEOPLE LIVING

IN THESE TIMES, NOT PEOPLE
ACTING OUT THOSE TIMES.

>> MANY OF THE GREAT EPIC FILMS
IN THE ’60s HAVE HISTORICAL OR

LITERARY ENDORSEMENT, AND PEOPLE
LOVE THOSE BIG, RICH STORIES.

>> YOU SEE?
THEY LOVE US DEARLY, THESE

FRENCH.
>> SO THEY SHOULD.

WE PAY THEM ENOUGH.
>> THE FIRST MOVIE THAT HAD A

HUGE IMPACT ON ME WAS "BECKETT."
I JUST THOUGHT, WOW, WHAT GOES

ON HERE?
THIS IS POWERFUL MEDICINE.

>> I WOULD HAVE GONE TO WAR WITH
ALL ENGLAND’S MIGHT BEHIND ME

AND EVEN AGAINST ENGLAND’S
INTERESTS TO DEFEND YOU, THOMAS.

>> O’TOOLE WITH BURTON, JUST
KNOCKED OUT.

THEIR CAPACITY TO SHOW AGONIZED,
WRENCHING EMOTION.

>> YOU NEVER LOVED ME, DID YOU,
THOMAS?

>> INSOFAR AS I WAS CAPABLE OF
LOVE, YES, I DID.

>> SEEING THESE TWO GIANTS
PERFORMING, REALLY IT STAYED

WITH ME A VERY LONG TIME.
♪

>> A MAN FOR ALL SEASONS IS THIS
BEAUTIFUL MOVIE BY FRED

ZIMMERMAN.
IT’S THIS RARE PORTRAIT OF A MAN

WITH ACTUAL MORALS, WHO STANDS
UP FOR WHAT HE BELIEVES.

>> AT COURT THEY OFFER YOU ALL
SORTS OF THINGS, HOMES, MANORS,

MANOR HOUSES, COATS OF ARMS.
A MAN SHOULD GO WHERE HE WON’T

BE TEMPTED.
>> IT’S ABOUT UNRAVELING A

DIFFICULT SITUATION BETWEEN THE
DHOICH AND THE STATE.

THE KING WANTED TO BE DIVORCED.
THE CHURCH WILL NOT ALLOW THIS.

HOW DO YOU NAVIGATE THOSE TWO
MASTERS AND KEEP BOTH HAPPY?

THEREIN LIES THE FILM.
>> YOUR GRACE, I’M NOT FITTED TO

MEDDLE IN THESE MATTERS.
TO ME, IT SEEMS A MATTER FOR THE

HOLY SEE.
>> THOMAS, DOES A MAN NEED A

POPE TO TELL HIM WHERE HE’S
SINNED.

>> THIS IS A MAN KNOWING HE’S
GOING TO HAVE TO PAY A TERRIBLE

PRICE, AND WHO HONORS HIS
CONSCIENCE AND HONORS HIS GOD IN

THIS CASE RATHER THAN SURRENDER
TO THE KING.

>> BE NOT AFRAID OF YOUR OFFICE.
SEND ME TO GOD.

>> YOU’RE VERY SHORT OF THAT,
SIR THOMAS?

>> HE WILL NOT REFUSE ONE ‐‐
>> THERE’S NOTHING QUITE LIKE A

GIANT EPIC.
YOU GET LOST.

IT’S THREE HOURS AND CHANGE.
YOU GO TO A DIFFERENT PLACE IN A

DIFFERENT TIME, AND WHEN IT
WORKS, IT TRANSPORTS YOU IN A

WAY THAT REALLY CINEMA DOES
BETTER THAN ANYTHING ELSE.

>> DR. ZHIVAGO IS ONE OF THESE
HUGE, LITERAL EPICS THAT DAVID

LEAN SPECIALIZED IN.
>> YOU COULD SAY THAT DAVID LEAN

IS THE TOLSTOY OF MOVIES BECAUSE
HE WORKS ON CANVASES THAT ARE AS

LARGE AS TOLSTOY’S, AND HE HAS
THE AMBITION OF TOLSTOY.

>> IN DR. ZHIVAGO, OMAR SHARIF,
WHO HAD DONE LAWRENCE OF ARABIA

FOR LEAN, THE TEMPESTUOUS LAURA
PLAYED BY THE GREAT JULIE

CHRISTIE.
>> WHAT ARE WE GOING TO DO?

>> I DON’T KNOW.
>> IT’S A BEAUTIFULLY MADE SOAP

OPERA WITH ALL THE RUSSIAN
EMOTION.

LEAN WAS VERY CAPABLE AT THATPOI
IN HIS LIFE OF GOING BACK AND

FORTH FROM THE SPECTACULAR TO
THE INTIMATE.

>> THE ’60s MIGHT HAVE BEEN
WHERE HOLLYWOOD MIGHT HAVE GOT

ITS BIGGEST EPICS RIGHT, BUT
ALSO THOSE MOVIES WERE JUST TOO

BIG AND TOO DIFFICULT TO MAKE.
YOU LOOK AT SOMETHING LIKE WHAT

CLEOPATRA CAST.
IT VERY THEY’RELY CRIPPLED NOT

ONLY ONE STUDIO BUT THE
BUSINESS.

>> THE MOTION PICTURE CASTING
ACHIEVEMENT OF THE YEAR IS ABOUT

TO BECOME A RECORDED FACT.
THE OCCASION, THE HOLLYWOOD

SIGNING OF THE EXOTIC ELIZABETH
FOR THE MOST EXOTIC ROLE IN HER

CAREER.
AND THE ROLE OF CLEOPATRA.

WHAT A ROLE, AND LIZ IS THE GAL
TO DO IT JUSTICE.

>> AS CLEOPATRA GOT MADE, THE
COST OF IT KEPT PILING UP AND

PILING UP.
HUNDREDS OF MILLIONS IN TODAY’S

DOLLARS.
IT WAS SO ELABORATE.

THESE WERE NOT CGI MOMENTS, NOT
COMPUTER GRAPHICS.

THE PEOPLE YOU SEE ON THE SCREEN
IN THESE HUGE SCENES WITH ALL

THESE EXTRAS, THOSE ARE ALL REAL
PEOPLE.

THIS WAS A MASSIVE UNDERTAKING.
>> NOTHING LIKE THIS HAS COME TO

ROME SINCE ROMULUS.
>> FOR THE ROLE OF MARK ANTHONY,

THEY HIRED RICHARD BURTON.
BURTON WAS A GREAT SHAKESPEAREAN

ACTOR.
IN THE VERY FIRST SCENE THEY

SHOT WAS ON CLEOPATRA’S BARGE,
AND THERE’S A VERY PASSIONATE

KISS THAT GOES ON AND ON.
AND THE DIRECTOR, JOE

MANKIEWICZ, SAID, CUT, CUT, CUT.
AND IT WAS CLEAR SOMETHING HAD

BEEN IGNITED, AND THEN SUDDENLY
YOU HAD THIS SCANDAL.

>> ALL THE PAPARAZZI IN THE
WORLD CONVERGED, AND EVERYONE

WAS ALL ABOUT BURTON/TAYLOR.
WHAT’S HAPPENING?

THEY WERE BOTH MARRIED TO OTHER
PEOPLE.

IN SOME WAYS, THE DRAMA OUTSIDE
THE MOVIE GOT MORE INVOLVING

THAN THE DRAMA INSIDE THE MOVIE.
>> THIS LIFE, HOW IT HURTS, HOW

LOVE CAN STAB THE HEART.
>> CLEOPATRA IN MANY WAYS

WRECKED MY UNCLE’S CAREER.
IT SORT OF ‐‐ HE HATED IT.

>> CONGRATULATIONS.
A WONDERFUL, WONDERFUL EVENING.

>> YOU MUST KNOW SOMETHING I
DON’T.

>> WELL, I MUST TELL YOU, I DO.
>> CLEOPATRA ACTUALLY MADE GOOD

MONEY.
IT JUST DIDN’T MAKE ENOUGH MONEY

TO RECOUP THE ENORMOUS EXPENSE
OF THE PRODUCTION.

>> FOX FAMOUSLY HAD TO SELL OFF
THE BACK PART OF THEIR LOT.

SO IT BECAME THE DEATH KNELL OF
THE STUDIO SYSTEM.

>> TO REACH A POINT WHERE A
MOVIE LIKE KLEE PAT RA COULD

REPRESENT AN EXPENDITURE OF
NEARLY ONE‐HALF THE NET CAPITAL

OF THE COMPANY MAKING IT AND
DESTROY THE MANAGEMENT OF THAT

COMPANY IN THE BARG
>>> IF SOMEONE SAID TO YOU, IT’S

1964.
THE LAPD REPORTS THAT 15,000

SCREAMING TEENAGERS, MOST OF
THEM FEMALE, ARE IN FRONT OF THE

EGYPTIAN THEATER, WHAT DO YOU
THINK IS HAPPENING?

MOST PEOPLE SAY, THE BEATLES ARE
ARRIVING.

ACTUALLY, IT’S THE OPENING NIGHT
IN L. A. OF "MY FAIR LADY."

>> THE PREMIERE OF MY FAIR LADY.
ONE OF THE BIGGEST OPENING

NIGHTS IN RECENT YEARS WITH A
ROSTER OF STARS THAT WILL MAKE

YOUR EYES BLINK.
THE STAR OF THE PICTURE, REX

HARRISON.
>> IN MY FAIR LADY, THEY HAVE A

CONTEST TO SEE IF HENRY HIGGINS
CAN TRANSFORM THIS FLOWER GIRL

WITH HER COCKNEY ACCENT INTO
SOMEONE THAT HE COULD PASS OFF

AS ROYALTY IN HIGH SOCIETY.
>> YOU SEE THIS CREATURE WITH

HER CURB STONE ENGLISH, THE
ENGLISH THAT WILL KEEP HER IN

THE GUTTER UNTIL THE END OF HER
DAYS, WELL, SIR, IN SIX MONTHS I

COULD PASS HER OFF AS A DUCHESS
AT AN EMBASSY BALL.

>> REX HARRISON BECAME THAT RARE
GUY WHO COULD RECREATE HIS ROLE

ON FILM.
BUT FOR THE ROLE OF ELIZA

DOOLITTLE.
BUT JULIE ANDREWS WAS TURNED

DOWN BY JACK WARNER, WHO
PERSONALLY PRODUCED THE MOVIE,

IN FAVOR OF AUDREY HEPBURN
♪ THE RAIN IN SPAIN STAYS MAINLY

IN THE PLAIN ♪
>> BY GEORGE, SHE’S GOT IT.

BY GEORGE, SHE’S GOT IT.
>> I LOVE MY FAIR LADY.

THE MUSIC IS INCREDIBLE.
♪ I COULD HAVE DANCED ALL

NIGHT ♪
♪ I COULD HAVE DANCED ALL

NIGHT ♪
♪ AND STILL HAVE BEGGED FOR

MORE ♪
>> MY FAIR LADY WON BEST PICTURE

IN 1964.
IT IS CONSIDERED A SUCCESS ALL

AROUND, AND EVEN THOUGH JULIE
ANDREWS HAD BEEN PASSED OVER FOR

THE ROLE, SHE GOT MARY POPPINS,
AND SHE HAD THE LAST LAUGH.

>> LADIES AND GENTLEMEN, HERE IS
JULIE ANDREWS, MARY POPPINS.

>> MARY POPPINS WAS A HUGE MOVIE
FOR THE WHOLE FAMILY, AND YOU

HAVE JULIE ANDREWS."
SHE’S SO STRONG, SHE’S SUPER

HUMAN.
SHE FLIES IN FROM A CLOUD AND

SHE SHIFTS THE POWER STRUCTURE
IN A VERY MALE DOMINATED

HOUSEHOLD.
>> THAT’S WHAT?

>> GEORGES BANKS IS THINKING
HE’S GOING TO INTERVIEW A NANNY.

>> WE BROUGHT YOUR REFERENCES I
PRESUME.

MAY I SEE THEM.
>> I MAKE IT A POINT NEVER TO

GIVE REFERENCES.
>> SHE INTERVIEWS HIM FOR THE

JOB SO SHE’S THE BOSS FROM THE
WORD GO.

>> JULIE AND DREWS IS A SUPER
TALENT.

BEAUTIFUL.
INCREDIBLE VOICE.

♪ FOR A SPOON FULL OF SUGAR
HELPS THE MEDICINE GO DOWN ♪

>> REALLY DRY AND FUNNY.
SHE WASN’T THIS CHEER MONSTER.

IN FACT, SHE HAD A LITTLE
ATTITUDE.

>> AS I EXPECTED.
MARY POPPINS PRACTICALLY PERFECT

IN EVERY WAY.
>> IT WAS A MAGICAL WORLD OF

MUSIC AND COLOR.
♪ SUPERCALIFRAGILISTIC‐

EXPIALIDOCIOUS EVEN THOUGH THE
SOUND OF IT IS SOMETHING QUITE

ATROCIOUS ♪
>> AND IT WAS ABOUT SOMETHING.

>> I DIDN’T EVEN REALIZE TILL I
WAS SHOWING IT TO MY KIDS.

IT IS ABOUT THE IMPORTANCE OF
SPENDING TIME WITH YOUR

CHILDREN.
♪ LET’S GETS FLY A KITE UP TO

THE HIGHEST HEIGHT ♪
>> THE WINNER IS JULIE ANDREWS,

MARY POPPINS".
>> WHEN SHE WINS THE GOLDEN

GLOBE, SHE ACTUALLY THROWS A
LITTLE SHADE AT THE STUDIO FOR

OVERLOOKING HER.
>> MY THANKS TO A MAN WHO MADE A

WONDERFUL MOVIE AND MADE ALL
THIS POSSIBLE IN THE FIRST

PLACE, MR. JACK WARNER.
>> SHE ALSO GOT AN OSCAR, THEN

WENT ON TO DO PROBABLY THE
GREATEST, CERTAINLY THE MOST

SUCCESSFUL OF THE 1960s
MUSICALS, THE ROGERS AND

HAMMERSTEIN CLASSIC THE SOUND OF
MUSIC".

>> THE HILLS ARE ALIVE WITH THE
SOUND OF MUSIC.

♪ WITH SONGS THEY HAVE SUNG FOR
A THOUSAND YEARS IS ♪

>> THE FIRST MUSICAL I SAW WAS
SOUND OF MUSIC".

IT CHANGED MY LIFE.
THERE’S SOMETHING ABOUT IT THAT

IS JUST WONDERFUL AND JOYOUS.
>> RAIN DROPS ON ROSES AND

WHISKERS ON KITTENS BROETS
COPPER KET COUNSEL AND WARM

WOOLEN MITTENS BROWN PAPER
PACKAGES TIED UP IN SFRINGS

STRINGS ♪
>> WHETHER HE YOU’RE A KID AND

YOU WATCH THE SOUND OF MUSIC" IT
SEEMS EXCITING.

THERE’S A KID OF EVERY AGE IN
THE VON TRAPP FAMILY.

NO MATTER HOW OLD YOU ARE,
THERE’S SOMEBODY YOU CAN RELATE

TO OR CONNECT WITH.
♪ BEAT FLOAT BEAT FLY ♪

♪
>> IT’S WHIMSICAL AND FANTASTIC

WITHIN A SETTING THAT IS VERY
REAL FROM A HISTORICAL

PERSPECTIVE.
THEY’RE RUNNING FROM NAZIS BUT

THEY’RE DOING IT IN SONG.
♪ GOOD‐BYE ♪

>> WE WANT TO SPECIALIZE IN
TELEVISION AND FILM.

>> TELEVISION I JUST WANT TO DO
ONE A YEAR AND NOT FOR MANY MORE

YEARS BUT FILMS IS SOMETHING
THAT I’D LIKE TO CONCENTRATE ON,

IF I WORK, WHEN I WORK.
>> FUNNY GIRL" IS THE MUSICAL

THAT SIGNIFIES THE ARRIVAL OF
BARBRA STREISAND WHO HAD

ORIGINALNATED THE ROLE ON
BROADWAY.

WE MET HER FOR THE FIRST TIME IN
FILM WHEN SHE LOOKS IN THE

MIRROR AND SAYS, HELLO GORGEOUS.
>> AND WE JUST IMMEDIATELY FALL

IN LOVE WITH HER.
>> FANNY, YOU’RE AN ENCHANTING

GIRL.
I WISH I COULD GET TO KNOW YOU

BETTER.
>> GIVE ME SIX GOOD REASONS WHY

NOT.
>> ORDINARILY WE RELATE TO A

STAR ON SCREEN VICARIOUSLY.
I WISH I COULD BE LIKE THAT.

BARBRA STREISAND SAYS YOU ARE
LIKE THIS.

I’M YOU.
>> CAN I ROLLER SKATE?

♪
>> THE THING ABOUT BARBARA

STREISAND IS SHE CAN CONVEY A
MOMENT WITH JUST AN EYE FLICK

AND THEN A MOMENT LATER SHE
SINGS IN A VOICE THAT I’M LIKE

PLASTERED TO THE WALL.
WHAT’S HAPPENING.

SHE’S INCREDIBLE.
♪ LIFE’S CAN CANDY AND THE SUN’S

A BALL OF BUTTER ♪
♪ DON’T BRING AROUND A CLOUD

DON’T RAIN ON MY PARADE ♪
>> FUNNY GIRL" SIGNALED THE

BIRTH OF A GREAT, GREAT FILM
ACTRESS.

OF COURSE, SHE WINS THE ACADEMY
AWARD FOR HER FIRST FILM ROLE

EVER.
>> HELLO, GORGEOUS.

>> WE’VE GOT TOM.
>>> CHARACTER.

>> PAUL NEW MAN CAME OUT OF THE
1950s AS ONE OF THE TOP LEADING

MEN IN HOLLYWOOD.
THERE WAS AN OSCAR NOMINATION

FOR CAT ON A HOT TIN ROOF" FROM
1958.

HE ALSO LOOKED LIKE PAUL NEW
MAN.

COULD HE HAVE BEEN IN ANY MOVIE
HE WANTED TO BE IN.

>> I’M THE BEST YOU EVER SEEN.
I’M THE BEST THERE IS.

>> HE HAD EVERYTHING.
HE COMES FROM THE ACTOR’S

STUDIO.
A MAJOR STAR ON BROADWAY.

CHARISMA ON SCREEN.
HE WAS THE HUSTLER.

YOU CAN’T GET BETTER THAN THAT.
>> THAT MAN SHOOT A GREAT GAME

OF POOL.
>> SO DO YOU, FAST EDDIE.

>> THAT WIDE SCREEN BLACK AND
WHITE WITH HIM AND JACKIE

GLEASON AND GEORGE C. SCOTT WAS
SOMETHING SO UNIQUE AT THAT

TIME.
A CHARACTER PIECE THAT WAY.

>> JOE.
I JUST HOPE FOR YOUR SAKING THAT

THIS HOUSE IS ON FIRE.
>> I’M SORRY TO ROUST YOU OUT

BUT WE’VE GOT TROUBLE AT THE
RANCH.

>> YOU GOT TROUBLE RIGHT HERE,
BUB.

>> IN HUD, HE WAS SUPPOSED TO BE
KIND OF A SHALLOW DAMAGED

CHARACTER AND HE WAS PLAYING
THAT TO THE HILT AND

PARTICULARLY DEALING WITH THE
DARKSIDE OF THINGS.

>> YOU DON’T LOOK OUT FOR
YOURSELF, THE ONLY HELPING HAND

YOU’LL EVER GET IS WHEN THEY
LOWER THE BOX.

>> "HUD" IS A KIND OF COMMENTARY
ON WHERE YOU END UP IF YOU BUY

INTO THE MYTH OF THE WESTERN
HERO.

YOU END UP WITH A GUY WHO DRINKS
TOO MUCH, HAS NO RESPECT FOR

WOMEN, S WHO’S MASCULINE IN THE
DIVORCE SENSE OF THE TERM YET

HUD IS ATTRACTIVE TO US BECAUSE
HE’S PLAYED BID PAUL NEW MAN.

>> IN COOL HAND LUKE, NEW MAN
CLEARLY IS A FIGURE OF THE

COUNTER CULTURE MOVEMENT.
REBELLING AGAINST AUTHORITY.

>> LAY DOWN, LUKE.
HE’S JUST GOING TO KNOCK YOU

DOWN AGAIN, BUDDY.
>> CIRCUMSTANCE HASN’T MADE LUKE

A CRIMINAL.
>> STAY DOWN.

>> IT’S ALMOST HIS CHOICE.
>> YOU’RE GOING TO HAVE TO KILL

ME.
>> OR HIS REFUSAL TO DO WHAT’S

EXPECTED OF HIM.
>> DON’T YOU EVER TALK THAT WAY

TO ME.
>> THE WARDEN IN THE FILM IS

PLAYED BY STROTHER MARTIN.
IT’S ONE OF THE GREAT TEN‐LINE

PERFORMANCES IN MOVIES.
>> WHAT WE’VE GOT HERE FAILURE

TO COMMUNICATE.
>> AND IT REALLY FEELS LIKE A

’60s LINE WHERE YOU KNOW, JUST
IN ONE MOMENT, KIDS AND ADULTS

COULD SEE THE GENERATION GAP AND
SEE EACH OTHER ON THE OTHER

SIDE.
>> SORRY, LUKE.

JUST DOING MY JOB.
YOU GOT TO APPRECIATE THAT.

>> AH.
CALLING IT YOUR JOB DON’T MAKE

IT RIGHT, BOSS.
>> I STILL THINK HE’S THE LAST

OF THE OLD MOVIE STARS WHEN HE
STARTS THE ’60s, HE’S UP AGAINST

THE LIKES OF CARRY GRANT AND
JOHN WAYNE AND MARLON BRANDO AND

BY THE END OF THE ’60s, HE’S UP
AGAINST THE LIKES OF STEVE

McQUEEN AND SEAN CONNERY.
AND FOR McQUEEN, I THINK NEW MAN

WAS SORT OF A TARGET.
>> THE GREAT ESCAPE IS AS GOOD A

PRIMPER OF WAR MOVIE AS YOUR
YOU’RE GOING TO GET.

A GREAT ENSEMBLE CAST BUT
ANCHORED BY STEVE McQUEEN.

>> BY MORNING I’M GOING TO BE SO
FAR AWAY YOU COULDN’T HEAR IT IF

THEY WERE SHOOTING AT ME WITH
HOWITZERS.

>> HE’S NOT A BIG GUY LIKE JOHN
WAYNE BUT HE HAD A QUALITY OF

BELIEVABILITY.
YOU BELIEVED THAT HE WAS TOUGH,

WIRY, RESOURCEFUL.
>> WASN’T IT AWHILE AGO THE

STUDIOS PROHIBITED YOU DOING ANY
RACING WHILE YOU WERE ACTUALLY

IN PRODUCTION?
>> SHH.

>> I SEE ALL KINDS OF EXECUTIVE
LOOKING PEOPLE SANDING AROUND

WITH THEIR FINGERS CROSSED.
>> THEY’RE BEING NICE TO ME ON

THIS FILM.
>> STEVE McQUEEN IS THE MAN.

>> TO KNOW THAT HE COULD DRIVE
THOSE CARS, CORIDE THOSE

MOTORCYCLES MADE HIM THE MODERN
KIND OF MOVIE STAR HERO.

>> HE DIDN’T CALL HIMSELF THE
KING OF COOL BUT IT’S CLEAR WHY

HE GOT THE NICKNAME.
WHEN HE DRESSES UP IN THE THOMAS

CROWN AFFAIR IT WAS COOL.
THE WAY HE PLAYS CARDS IN THE

CINCINNATI KID HE WAS COOL.
WHEN HE DRESSES DOWN IN "BULLET"

HE WAS COOL.
HE COULDN’T HELP IT.

>> BULLET HAS THE PERFECT
McQUEEN MOMENT, SOMEBODY’S

FOLLOWING HIM.
HE FIGURES IT OUT.

HE DOESN’T TRY TO ESCAPE WHICH
IS WHAT ANYBODY WOULD DO.

INSTEAD HE TURNS THE CAR AROUND
AND HE STARTS CHASING THEM.

THAT’S STEVE McQUEEN.
>> THERE ARE CAR CHASES BEFORE

IN MOVIES AND NEVER A CAR CHASE
LIKE "BULLET."

YOU KNOW AT THAT POINT WHERE
PHIL HICKMAN THE OTHER DRIVER

CLIPS IN HIS SEAT BELT, THE
AUDIENCE IS LIKE OKAY, HERE WE

GO.
IT’S LIKE A MASTERPIECE OF

ACTION CINEMA.
I CAN NEVER GO TO SAN FRANCISCO

AND SEE THOSE HILLS WITHOUT
THINKING OF THAT MUSTANG TAKING

THOSE TURNS.
>> IT’S THE MOST FAMOUS CAR

CHASE IN ALL OF MOVIES.
BUT THAT SECONDARY TO ME TO THE

FEELING OF I JUST WANT TO LOOK
AT THIS STORY IN THIS CITY WITH

THIS GUY LEADING ME THROUGH.
THE WHOLE MOVIE IS REALLY ABOUT

McQUEEN AND HIS PERSONA.
>> I ADMIRE YOUR CURRENTLY, MR.

>> FRENCH.
SYLVIA TRENCH.

I ADMIRE YOUR LUCK.
MR.?

>> BOND, JAMES BOND.
>> IF YOU GREW UP IN THE ’60s

IT’S HARD FOR YOU NOT TO
IDENTIFY WITH BOND.

HE WAS LIKE I’M KICKING ASS, I’M
TAKING NAMES, I’M MAKING EQUIPS,

I GOT YOUR GIRL.
>> DID YOU SAY YOU HAD TO LEAVE?

>> IMMEDIATELY.
>> SO WHEN THE FIRST JAMES BOND

FILM WAS MADE, A LOT OF RISKS
WERE TAKEN.

AND SEAN CONNERY WAS ONE OF
THOSE.

>> JAMES, WHERE ON EARTH HAVE
YOU BEEN?

I’VE BEEN SEARCHING LONDON FOR
YOU.

>> IAN FLEMMING AND OTHERS WERE
NOT SUPER CONFIDENT ABOUT

CONNERY IN THAT ROLE.
BUT THE AUDIENCE RECEPTION

REALLY PROVED THAT CONNERY COULD
PULL OFF BOND.

>> ONE THING I READ ABOUT YOU
SAID YOU WEREN’T LIVING UP TO

YOUR IMAGE.
>> THEY PAY THE FINES IF I LIVE

UP TO THE IMAGE.
>> SEAN CONNERY WAS SO HANDSOME,

THERE’S A KIND OF NAUGHTY FUN
JUST TO HIS SMILE AND YOU FELT

AS THOUGH YOU DIDN’T NEED TO
KNOW HIM.

YOU WEREN’T ASKING FOR AN
INTERNAL PERFORMANCE FROM HIM.

HE WAS SOMEBODY YOU COULD
PROJECT A FANTASY ON.

>> MY FRIENDS CALL ME TANYA.
>> MINE CALL ME JAMES BOND.

>> JAMES BOND IS CREATED DURING
THE COLD WAR BY IAN FLEMING AND

IN COLD WAR TERMS, JAMES BOND IS
EVERYTHING THAT THE RUSSIANS ARE

NOT.
AND THAT BECOMES A KIND OF

SUBLIMINAL APPEAL.
>> TAKE IT EASY, 007.

FIRE ESCAPE ONLY FOR ONE.
>> IN FROM RUSSIA WITH LOVE,

THERE’S A FIGHT INSIDE A TRAIN
CAR THAT CONNERY HAS WITH ROBERT

SHAW.
AND IT IS IN A TINY CONFINED

SPACE AND IT IS BRUTAL.
AND CONNERY COULD ALWAYS GET

THIS LOOK ON HIS FACE LIKE I’M
NOT GOING TO MAKE IT OUT OF THIS

ROOM ALIVE.
AND THAT’S SOMETHING THAT IS

ABSOLUTELY ESSENTIAL TO AN
ACTION STAR.

>> GOLD FINGERING IS WHEN IT
BECOMES A SUPER SPY FILM.

IT HAS THE FANTASTIC CAL
ELEMENTS THAT KIND OF BOND

REALLY STARTS TO LEAN INTO.
WE’RE IN FORT KNOX.

THERE ARE WOMEN PILOTS THAT ARE
VERY SEXY AND YOU HAVE A HENCH

MAN WHO HAS A HAT THAT CAN BE
CUT OFF YOUR HEAD IF THROWN AT

YOU LIKE A FRISBEE.
EVERYTHING ABOUT "GOLD FINGER"

INFORMS THE REST OF THE
FRANCHISE.

>> DO YOU EXPECT ME TO TALK?
>> NO, MR. BOND.

I EXPECT YOU TO DIE.
>> BOND NEVER DIES.

NO MATTER WHAT HAPPENS FROM
DECADE TO DECADE, BOND MANAGES

TO REINVENT HIMSELF TO ACHIEVE
NEW FORMS OF RELEVANCE.

"THE MISFITS."
>> HOW DO YOU COULD.

>> TO SEE GABLE TRY TO HOLD HIS
OWN WITH A LOT OF LEGENDARY

METHOD ACTORS, ELI WALL LACK AND
CLIFT AND MARILYN MONROE, A

DIFFERENT GABLE SHOWS UP TO MAKE
THAT MOVIE AND KIND OF LOVED

THAT.
>> YOU JUST SAID HE WAS ABOUT TO

GIVE IT TO HER.
>> I SELL TO DEALERS ONLY.

THAT’S ALL THEY’RE LOOKING TO
BUY IS A HORSE.

>> I WAS JUST WONDERING WHO YOU
THINK YOU’VE BEEN TALKING TO

SINCE WE MET.
>> THERE’S SOMETHING ROUGH ABOUT

THAT MOVIE.
VISCERAL MOMENTS, SUCH THAT YOU

ALMOST FEEL IT’S DOCUMENTARY
THAT YOU’RE OUT IN THE DESERT

WITH THE MUSTANGS.
>> FINISH.

IT’S LIKE ROPING A DREAM NOW.
I GOT TO FIND ANOTHER WAY TO BE

ALIVE, THAT’S ALL.
>> THAT WAS GABLE’S LAST FILM.

THAT’S GOT A VERY KIND OF
ELIJIAC FEELING TO IT.

THE END TO THE TRADITIONAL MOVIE
WEST IS COMING AND THIS FILM IS

KIND OF A MONUMENT TO THAT.
>> HOW MANY OF YOU DID THEY

HIRE?
>> ENOUGH.

>> THE WESTERN BECOMES DARK BY
THE END OF CLASSICAL HOLLYWOOD.

YOU SEE SUCH A CHANGE IN THE
UNITED STATES CULTURE AND I

THINK THE WESTERN SHOWS THAT.
>> THESE FILMS TAKE A MORE

PSYCHOLOGICAL LOOK AT THE
WESTERN MOLD.

>> WHAT DID YOU SAY HIS NAME
WAS?

THE MAN WITH THE SILVER‐KNOBBED
WHIP.

>> I SAID LIBERTY VALANCE.
BUT IF THAT’S WHAT YOU GOT TO

DO, YOU BETTER START PACKING A
HANDGUN.

>> A GUN?
I DON’T WANT A GUN.

I DON’T WANT TO KILL HIM.
I WANT TO PUT HIM IN JAIL.

>> OH.
>> THE MAN WHO SHOT LIBERTY

VALANCE IS JOHN FORD’S LAST
GREAT WESTERN.

YET, IT’S SO DIFFERENT THAN WHAT
PRECEDED.

>> PILGRIM, YOU HAVE TO COCK IT
FIRST.

>> I FORGOT.
>> I SEE IT ALMOST AS A BOOK END

TO STAGECOACH BECAUSE STAGECOACH
INTRODUCES THE JOHN WAYNE

CHARACTER AS A YOUNG VIBRANT
OUTLAW.

AND AT MAN WHO SHOT LIBERTY
VALANCE COMES BACK TO AN OLDER

PERHAPS WISER JOHN WAYNE
CHARACTER WHO STILL HAS A CODE.

BUT IS MUCH MORE CYNICAL ABOUT
THE WORLD.

>> YOU PUT THAT PAPER OUT THE
STREETS OF SHIN BONE ARE GOING

TO BE RUNNING WITH BLOOD.
>> THE MAN WHO SHOT LIBERTY

VALANCE SOMEONE DESCRIBED IT
RECENTLY AS THE GREATEST

AMERICAN POLITICAL FILM.
IT’S ABOUT HOW REREWRITE HISTORY

TO FIT OUR MYTHIC NEEDS.
>> JOHN WAYNE ACTUALLY KILLS CAN

LIBERTY VALANCE.
JIMMY STEWART GETS CREDIT AND

BECOMES FALSE AND SOON AFTER
THAT, WAYNE IS FORGOTTEN.

>> WHO WAS TOM DONOVAN?
>> EVENTUALLY STEWART TELLS IT

THE TRUTH AND THE NEWSPAPER MAN
RIPS UP THE STORY AND SAYS ONE

OF THE MOST FAMOUS LINES IN
AMERICAN FILM.

>> THIS IS THE WEST, SIR.
WHEN THE LEGEND BECOMES FACT,

PRINT THE LEGEND.
>> HE’S RIGHT.

>> WESTERNS ARE CUT AND DRIED.
GOOD GUY WINS AT THE END.

IT’S ALWAYS FOR THE BENEFIT.
THERE ARE NO REGRETS AND THIS IS

JOHN FORD, THE MAN WHO CREATED
AN THE MYTH OF THE MOVIE WESTERN

AS MUCH AS ANYONE.
QUESTIONING IT.

SAYING WELL MAYBE, THE MARCH OF
CIVILIZATION, MAYBE IT WASN’T

ALL GOOD.
MAYBE QUALITIES OF HUMANITY WERE

THE LOST, MAYBE KINDS OF PEOPLE
WERE LOST THEY WERE BETTER

HAVING AROUND TODAY.
>> NOTHING’S TOO GOOD FOR THE

MAN WHO SHOT LIBERTY VALANCE.
>> THIS MOVIE IS LIKE LIBERTY

VALANCE.
GOOD GUY IS NOT NECESSARILY THE

GOOD GUY ANYMORE.
THIS BECOMES HEIGHTENED WITH THE

GENRE THROUGHOUT THE ’60s.
>> LEONE KIND OF TURNS THE

WESTERN ON HIS EAR AND BECAUSE
HE WAS ITALIAN THEY BECAME KNOWN

AS SPAGHETTI WESTERNS EVEN
THOUGH MOST OF THEM WERE SHOT IN

IN SPAIN.
>> HIS BIG MISTAKE I THINK WAS

GETTING BORN.
>> SERGIO LYON TOOK THE SYNTAX

OF THE WESTERN GUN FIGHTS, THE
EMPTY STREETS.

>> GET THREE COFFINS READY AND
RAISED IT UP NOT SURFACE AND

DROPPED OUT EVERYTHING ELSE.
>> THERE WAS NO CULTURE, THERE

WAS NO SOCIETY.
THERE WAS NO MORES.

YOU KNOW, IT WAS MINIMALIST.
>> MY MISTAKE.

>> AND CLINT EASTWOOD FIT
PERFECTLY INTO THAT.

HE WAS THE MAN WITH NO NAME.
>> ACCORDING TO THE POWERS

VESTED IN US.
>> THE WESTERN’S FOREVER CHANGED

WITH THE SOUND TRACKS.
HIS APPROACH TO USING MUSIC TO

KIND OF PUNCTUATE THE THEME AND
TONE OF THE FILM.

>> HE HAD DONE HIS SCORE BEFORE
THEY SHOT THE MOVIE AND SO IN

THE GRAVEYARD SEQUENCE AT THE
END OF "THE GOOD, THE BAD AND

THE UGLY" ON THE DAY THEY CAN
HEAR THE SCORE THAT WE AS AN

AUDIENCE ARE HEARING.
IF YOU DID THAT JUST SILENT, I

THINK ACTORS WOULD START TO
WONDER WHAT’S HAPPENING.

WHEN YOU PLAY THE MARCONI MUSIC,
NOW YOU’RE IN AN OPERA AND IT

CHANGES THEIR PERFORMANCES.
>> MARCONI’S MUSIC AND THE USE

OF CLOSE‐UPS COMBINED TO REALLY
PUNCTUATE EMOTION AND THINKING.

AND THE CLOSE‐UPS GET CLOSER AND
CLOSER AND CLOSER TO THE ACTS’

FACES TILL YOU JUST SEE THEIR
EYES AND IT STARTS TO MOVE MORE

FRENETICALLY AS WHERE’S THE
GOLD, WHO IS GOING TO SHOOT

FIRST?
>> OKAY.

OPEN UP IN THERE.
>> BUTCH, YOU KNOW THAT IF IT

WERE MY MONEY, THERE IS NOBODY
THAT I WOULD RATHER HAVE STEAL

IT THAN YOU.
>> BUTCH CASSIDY AND THE

SUNDANCE KID IS A COUNTER
CULTURE WESTERN.

THERE’S NEVER A MOMENT WHEN
YOU’RE NOT ROOTING FOR THE BAD

GUYS IN THIS MOVIE.
>> IT HIT A NERVE I THINK,

UNEXPECTEDLY.
IT HIT SOME KIND OF NERVE THAT

HAD TO DO WITH OUTLAWS AND THE
OUTLAW SENSIBILITY.

>> THINK THERE’S ENOUGH DYNAMITE
THERE, BUTCH.

>> IT’S HARD TO FIND A FILM AS
FUN AND FUNNY AND WRY AND

CLEVER.
NEWMAN AND REDFORD WERE THE

PERFECT COUPLE.
>> I THINK WE LOST THEM.

DO YOU THINK WE LOST THEM?
>> NO.

>> NEITHER DO I.
>> PAUL AND I HAD TO CONNECT AS

CHARACTERS.
SO WE SPENT A LOT OF TIME

TOGETHER AND THE MORE TIME WE
SPENT TOGETHER, THE FONDER WE

BECAME OF EACH OTHER.
AND HE AND I BECAME REALLY GOOD

FRIENDS.
>> WE’RE DONE.

HE’S DEAD.
YOU’RE WELCOME TO STAY.

>> LISTEN, I DON’T MEAN TO BE A
SORE LOSER BUT IF I’M DEAD, KILL

HIM.
>> LOVE TO.

>> REDFORD’S SUPPOSED TO BE THE
FASTEST GUN IN ALL THE WEST AND

NEWMAN IS A VERY FUNNY SAR DONIC
LEADER OF THE GANG, BUTCH

CASSIDY.
>> NO, NOT YET.

NOT TILL ME AND HARLEY GET THE
RULES STRAIGHTENED OUT.

>> RULES?
IN A KNIFE FIGHT?

NO RULES.
>> IF THERE AIN’T GOING TO BE

ANY RULES, SOMEONE GET THE FIGHT
STARTED.

COUNT ONE TWO, THREE, GO.
>> ONE, TWO, THREE, GO.

>> IT’S A RELATIONSHIP MOVIE AND
BEST DEFINED IN THAT MOVIE WHERE

THEY’RE BEING CHASED.
THERE’S NOWHERE TO GO.

THEY’RE ON THE EDGE OF A CLIFF
AND THERE’S A RAGING RIVER

BELOW.
IT’S SO CLEAR THAT THE ODDS OF

THEM SURVIVING ARE PRETTY MUCH
NONE.

>> I’LL JUMP FIRST.
>> NO.

>> YOU JUMP FIRST.
>> NO, I SAID.

>> WHAT’S THE MATTER WITH YOU?
>> I CAN’T SWIM.

>> IT’S A GREAT DYNAMIC.
>> ARE YOU CRAZY?

THE FALL WILL PROBABLY KILL YOU.
>> THE MOVIE JUST WORKS.

>> AND WESTERNS WILL STAY AROUND
DESPITE LEAN TIMES BECAUSE

THEY’RE SO CENTRAL TO OUR IDEA
OF WHAT THE COUNTRY IS.

IN ONE WESTERN AFTER ANOTHER,
THESE HUMAN FIGURES ARE PLACED

ON THIS VAST CANVAS.
AND IN THAT GENRE, YOU CAN TELL

ANY KIND OF STORY YOU WANT.
IT IS A VESSEL INTO WHICH YOU

CAN PUT ANYTHING.

>> AND HARPER LEE’S BOOK "TO
KILL A MOCKINGBIRD" CAME AT A

TIME WHEN PEOPLE IN THIS COUNTRY
NEEDED TO READ THAT OKAY.

>> ATTICUS, YOU HEARD ABOUT TOM
ROBINSON.

>> YES, SIR.
>> GRAND JURY WILL GET AROUND TO

CHARGING HIM TOMORROW.
>> "TO KILL A MOCKINGBIRD" IS

REALLY A FASCINATING STORY.
YOU SEE AMERICA SORT OF

GRAPPLING WITH ITSELF HOW TO
APPROACH ISSUES OF THE CIVIL

RIGHTS STRUGGLE.
>> I GET ASIDE FROM THAT DOOR,

MR. FINCH.
>> ATTICUS FINCH IS A LAWYER WHO

GOES AGAINST THE GRAIN OF HIS
COMMUNITY TO SAY THAT A BLACK

GUY IS BEING WRONGLY HELD
ACCOUNTABLE FOR SOMETHING THAT

HE DID NOT DO.
>> TOM, DID YOU RAPE HER?

>> I DID NOT, SIR.
>> THE FILM MAKES ATTICUS FINCH

INTO A HERO.
IT’S TOLD THROUGH THE EYES OF

HIS YOUNG DAUGHTER.
>> YOU NEVER REALLY UNDERSTAND A

PERSON UNTIL YOU CONSIDER THINGS
FROM HIS POINT OF VIEW.

>> TO KILL A"TO KILL A MOCKINGBI
TOUCHING FATHER/DAUGHTER STORY

AND WE DON’T HAVE MANY OF THOSE.
>> THERE’S BEEN SOME HARD TALK

AROUND TOWN TO THE EFFECT THAT I
SHOULDN’T DO MUCH ABOUT

DEFENDING THIS MAN.
>> HER FATHER IS SHOWING SCOUT

WHAT A GOOD GUY LOOKS LIKE.
>> IF YOU SHOULDN’T BE DEFENDING

HIM, THEN WHY ARE YOU DOING IT.
>> GREGORY PECK’S ATTICUS FINCH

REALLY DOES HELP AMERICA SORT OF
COME INTO THE DISCOURSE OF THE

CIVIL RIGHTS STRUGGLE.
>> IN OUR COURTS, ALL MEN ARE

CREATED EQUAL.
>> THE REALITY IS, ATTICUS FINCH

WAS A FANTASY.
PARTICULARLY AT THAT TIME WHEN

HISTORY OFFERS US A NUMBER OF
CONSISTENTLY OPPOSITE EXAMPLES.

>> I DIDN’T MAKE ANY RULES.
>> BUT YOU SURELY.

>> EVERYBODY LIVES BY THEM.
EVERYBODY’S STUCK WITH WHAT HE

IS.
EVEN THEM SWAMP ANIMALS.

>> EVEN THAT WEASEL.
>> YOU CALLING ME A WIESEL?

>> NO, I’M CALLING YOU A WHITE
MAN.

>> SIDNEY POITIER WOULD OFTEN BE
CAST IN BLATANT SORT OF MESSAGE

MOVIES OF THAT ERA.
THERE ARE SOME EXCEPTIONS LIKE A

RAISINEN IN THE SUN.
>> I’M THINKING I’M 35 YEARS

OLD, I’M MARRIED 11 YEARS AND I
GOT A BOYS WHO GOT TO SLEEP IN

THE LICHING ROOM.
>> RAISIN IN THE SUN WAS ABOUT

INTEGRATION.
THEY BUY A HOUSE IN A NICE WHITE

AREA BU BUT THE PEOPLE IN THE
NEIGHBORHOOD DON’T WANT THEM

THERE.
>> OUR ASSOCIATION IS PREPARED

TO BUY THE HOUSE FROM YOU AT A
FINANCIAL GAIN TO YOUR FAMILY.

>> LORD HAVE MERCY.
>> POITIER GETS TO SHOW MORE

RANGE IN "RAISIN IN THE SUN."
>> YOU MIND HOW I FEEL.

YOU GET OUT OF HERE.
>> HE’S ANGRY AT THE SYSTEM, AT

WHITE SUPREMACY, ANGRY AT THE
LACK OF ECONOMIC OPPORTUNITY FOR

BLACK AMERICANS.
>> ALL I WANT TO IS TO BE ABLE

TO STAND IN FRONT OF MY BOY LIKE
MY FATHER NEVER WAS ABLE TO DO

TO ME AND TELL HIM THAT HE WILL
BE SOMEBODY IN THIS WORLD

BESIDES A SERVANT AND A
CHAUFFEUR.

HUH?
>> THESE WERE NOT STEREOTYPICAL

BLACK CHARACTERS, MAGICAL NEGROS
OR GOOD NEGRO WHO WERE THERE TO

DEMONSTRATE THE ULTIMATE GOOD OF
MAINSTREAM WHITE SOCIETY.

HE’S PLAYING A WELL ROUNDED
THREE DIMENSIONAL CHARACTER AND

I THINK HE JUST BUILDS ON IT
FROM THERE.

>> I’M A BAPTIST.
I DON’T GO TO MASS.

>> WE GO.
>> HOW DID YOU GET THERE BEFORE

I CAME ALONG.
>> WE WALK TREY SUNDAY NOW WE

GO, TOO.
>> WITH LILIES IN THE FIELD, HE

BECOMES THE SECOND
AFRICAN‐AMERICAN TO WIN AN

ACADEMY AWARD.
FIRST TO WIN IN THE BEST ACTOR

CATEGORY.
>> SIDNEY POITIER.

>> MR. POITIER IS THE FIRST
NEGRO TO WIN SUCH A HIGH AWARD

AND THE ANNOUNCEMENT IS RECEIVED
WARMLY BY THE AUDIENCE.

>> IT IS A LONG JOURNEY TO THIS
MOMENT.

>> SIDNEY POITIER HAS THIS RISE
IN THE LATE ’60s WHERE HE’S NOT

JUST A BLACK ACTOR.
HE WAS THE BIGGEST ACTOR IN

HOLLYWOOD.
>> MOM, THIS IS JOHN.

>> GUESSES WHO COMING TO DINNER
WAS A HUGE HIT IN 1967.

THAT STARS SPENCER TRACY AND
KATHRYN HEPBURN IN THE LAST OF

THEIR FILMS TOGETHER.
AND IT WAS ABOUT AN INTERRACIAL

RELATIONSHIP.
>> AS FOR YOU TWO AND THE

PROBLEMS YOU’RE GOING TO HAVE,
THEY SEEM ALMOST UNIMAGINABLE.

BUT YOU’LL HAVE NO PROBLEM WITH
ME.

>> THE YEAR SIDNEY WAS THE
NUMBER ONE BOX OFFICE STAR I SAW

ALL THREE MOVIES, GUESSES WHO
COME TO DINNER, IN THE HEAT OF

THE NIGHT.
>> YOU KNOW WHAT THAT MEANS?

>> HE >> PROBABLY GOT HIM
KILLED.

>> THAT’S WHAT HE SHE THINKS.
SHE WANTS TO US CATCH HER

KILLER.
>> IN THE HEAT OF THE NIGHT HE

PLAYED A DETECTIVE WHO COMES
FROM THE NORTH TO THE SOUTH AND

HAS TO SOLVE A CRIME ALONG WITH
A RACIST SHERIFF PLAYED BY ROD

STEIGER.
AND IT WAS BEING DRAMATIZED ON A

FLIP, IT’S ACTUALLY HAPPENING IN
AMERICA.

>> VERGEAL IS A FUNNY NAME FOR A
BOY THAT COMES FROM

PHILADELPHIA.
WHAT DO THEY CALL YOU UP THERE?

>> THEY CALL ME MR. TIBS.
>> THERE’S ONE MOMENT IN THE

FILM WHEN HE HAS A
CONFRONTATIONING WITH AN

IMPORTANT WHITE LAND OWNER.
>> YOU TWO CAME HERE TO QUESTION

HE?
>> AND THE WHITELAND OWNER

PLAYED BY LARRY GATES DOES THE O
DOES NOT LIKE THE WAY POITIER’S

CHARACTER IS TALKING TO HIM.
>> WAS MR. COBERT EVER IN THIS

GREEN HAASE SAY LAST NIGHT ABOUT
MIDNIGHT.

>> SO HE SLAPS POITIER AND
POITIER SLAPS HIM BACK.

SO QUICKLY.
>> THE SLACKBACK WAS NOT IN THE

SCRIPT AND POITIER SAID UNLESS I
GET TO RETURN THE SLAP, I’M NOT

MAKING THIS FILM.
>> THIS WAS LEGENDARY.

YOU SAW A BLACK MAN PUT HANDS ON
A WHITE MAN AND HE DOESN’T GET

KILLED.
HE DOESN’T GO TO JAIL.

THERE’S NO REPERCUSSIONS.
THAT SCENE TO ME WAS ONE OF THE

MOST EMPOWERED SCENES IN THE
HISTORY OF HOLLYWOOD.

♪ IN THE HEAT OF THE NIGHT ♪

>> THEY’RE COMING TO GET YOU,
BARBARA.

>> GEORGE ROMERO DOESN’T GET
ENOUGH CREDIT FOR "NIGHT OF THE

LIVING DEAD" BECAUSE NOT ONLY
DID HE CHANGE THE FACE OF ZOMBIE

MOVIES BUT HE ALSO CHANGED THE
FACE OF INDEPENDENT CINEMA.

>> LOOK AT WHAT GEORGE ROMERO
WAS DOING WITH THIS FILM.

HE WAS TACKLING THE CULTURAL
TENSIONS OF THE TIME, THE

HYSTERIA GOING ON IN THE MOMENT.
>> MASS HYSTERIA, WHAT DO THEY

THINK WE’RE IMAGINING ALL THIS.
>> SHUT UP.

>> THERE’S NO ACTORS YOU
RECOGNIZE.

IT FEES KIND OF LIKE A
DOCUMENTARY.

IT KIND OF FELT LIKE NEWS REEL
FOOTAGE OF VIETNAM.

IT WAS TERRIFYING.
>> MEDICAL AUTHORITIES IN

CUMBERLAND HAVE CONCLUDED IN ALL
CASES THE KILLERS ARE EATING THE

FLESH OF THE PEOPLE THEY MURDER.
>> PEOPLE ALWAYS WANT TO BE

SCARED.
EARLY ON YOU DO THAT WITH

MONSTERS.
BUT YOU START TO GET THE SHIFT

WHEN THE MONSTERS BECOME US.
IT’S REGULAR PEOPLE.

AND THAT’S ALWAYS FAR MORE
FRIGHTENING.

>> PERFECT TIMING.
COME ON IN.

>> IN ROSEMARY’S BABY,’S NOT AN
IMPOSSIBLE SITUATION.

>> HE’S ROMAN, OKAY.
>> IT’S YOUR HOME, IT’S YOUR

HUSBAND, IT’S YOUR LIFE WITH
NEIGHBORS WHO SEEM NICE AND

FRIENDLY IN THE BEGINNING.
IT ALL SEEMS OKAY, BUT IT’S

REALLY NOT.
>> THAT VERY SIMPLE PREMISE OF

WHAT IF THE PEOPLE THAT YOU
INVESTED YOUR LIFE IN WERE LYING

TO YOU?
THAT IS A REALLY, REALLY SCARY

PREMISE.
>> I DREAMED SOMEONE WAS RAPING

ME.
SOMEONE INHUMAN.

>> ROSEMARY’S BABY IS A MOVIE
ABOUT PARANOIA WHERE IT ALL

TURNS OUT TO BE TRUE.
IT WAS TERRIFYING AND I WOULD

SIT THERE FROZEN BECAUSE
EVERYTHING IS SO UNDERPLAYED.

>> QUIETLY, ROSEMARY.
DON’T ARGUE OR MAKE A SCENE.

>> IT’S NOT TILL DEEP IN THE
MOVIE WHEN YOU REALIZE THAT HER

HUSBAND HAS NOT JUST SOLD HIS
SOLE TO THE DEVIL BUT HERS, AS

WELL.
>> SPOEGS YOU HAD THE BABY AND

YOU LOST IT.
WOULDN’T THAT BE THE SAME?

WE’RE GETTING SO MUCH.
RETURN.

>> IN A SORT OF WISE MOMENT, THE
FILM DOESN’T SHOW THE BABY.

WHAT YOU SEE IS MIA FARROW’S
REACTION TO SEEING THE BABY.

AND THAT’S EVEN WORSE BECAUSE
THEN YOU FILL IN YOUR OWN GAPS

ON WHAT THIS CHILD MUST LOOK
LIKE, THIS CHILD THAT’S BEEN

FATHERED BY SATAN ITSELF.
>> WHAT HAVE YOU DONE TO IT?

WHAT HAVE YOU DONE TO ITS EYES.
>> HE HAS HIS FATHER’S EYES.

>> THAT’S THAT SORT OF THE POWER
OF SUGGESTION THAT REALLY MAKES

THAT MOVIE AS UNCOMFORTABLE AS
IT IS.

>> 300 LIGHT YEARS FROM YOUR
PRECIOUS PLANET.

>> YOUR LOVED ONES ARE DEAD AND
FORGOTTEN FOR 20 CENTURIES.

20 CENTURIES.
>> PLANET OF THE APES DOES WHAT

THE BEST OF SCI‐FI DOES.
IT IS THRILLING.

THERE IS ACTION.
THERE IS DRAMA, BUT IT’S ABOUT

SOMETHING FAR MORE SERIOUS.
UNDERNEATH IT, IT’S AN AL GOER

ABOUT RACISM ABOUT, INTOLERANCE,
ABOUT PEOPLE IMPOSING THEIR WILL

ON OTHERS IN UNNECESSARY AND
CRUEL WAYS.

>> OH, MY GOD.
I’M BACK.

I’M HOME.
>> PEOPLE DIDN’T KNOW THE ENDING

OF THE ME OF WHEN THEY WALKED
INTO THE THEATER.

THAT WAS A GENUINE SURPRISE.
>> YOU MANIACS!

YOU BLEW IT UP!
OH, DAMN YOU!

>> WOW.
I MEAN, IT WAS A REAL SHOCK.

>> AND THAT WILL STAY WITH ME
FOREVER.

♪
>> 2001 WAS A MASTERPIECE AND I

DON’T OFTEN THROW THAT ONE
AROUND, BUT IT WAS MAGNIFICENT

IN EVERY SHAPE AND FORM.
I’VE SEEN IT NOW 19 TIMES.

IT’S LONG BUT MAJESTIC.
♪

>> 2001 HAD THE GREATEST TIME
CUT IN THE HISTORY OF TIME CUTS

IN WHICH THE ENTIRE HISTORY OF
HUMANKIND IS COMMUNICATED IN THE

FIRST WEAPON BEING THROWN UP
INTO A BLUE SKY AND SUDDENLY

BECOMES A SPACECRAFT ORBITING
THE EARTH.

>> THERE’S NOT A SINGLE ACT IN A
KUBRICK FILM.

EVERYTHING IS WORKED OUT ALMOST
AS IF AN INDIVIDUAL IMAGE HAD A

WHOLE LIBRARY OF RESEARCH BEHIND
IT.

>> THE 9,000 SERIES IS THE MOST
RELIABLE COMPUTER EVER MADE.

>> 2001 WAS A HARD‐CORE
CONVERSATION FROM THE VERY FIRST

TIME ABOUT A COMPUTER BEING
SMARTER THAN WE ARE.

THAT’S WHAT WAS SO BRILLIANT
ABOUT IT.

>> OPEN THE POD BAY DOORS, HAL.
>> I’M SORRY, DAVE.

I’M AFRAID I CAN’T DO THAT.
>> IT’S ELUSIVE.

IT’S MORE LIKE MAGIC THAN A
MOVIE, MORE OF A POTION THAN A

MOVIE.
>> I JUST REMEMBER THAT ARE STAR

GATE MOMENT YOU COULD CALL IT A
PSYCHEDELIC SPECIAL EFFECT FOR

THE PSYCH DEL HIK GENERATION.
KUBRICK KNEW EXACTLY WHAT HE WAS

TELLING HIS STORY FOR.
♪

>> THE THING THAT’S MOST
IMPRESSIVE ABOUT IT IS THE FACT

THAT FINALLY YOU CAN’T EXPLAIN
IT.

WHAT HE SHOWED IS INTENTIONALLY
BEYOND RATIONAL EXPLANATION.

I THINK THAT’S THE POINT OF THE
FILM, THAT THING HAPPEN THAT ARE

BEYOND OUR HUMAN CAPACITY TO
EXPLAIN.

AND IT’S A REMARKABLE
ACHIEVEMENT.

♪

>> THERE WERE MORE STARS THAN ON
THE SIDEWALKS OF HOLLYWOOD

BOULEVARD.
IT WAS THE FILMLAND’S EVENING OF

GLIRTS AND GLAMOUR.
VIRGINIA WOOLF AS YOU KNOW IS

NOT A CHILDREN’S STORY BUT A
VERY CONTROVERSIAL PLAY BY ID

WARD ALBEE, NOW TRANSFORMED INTO
A FILM OF THE SAME NATURE WITH

ELIZABETH TAYLOR AND RICHARD
BURTON.

>> FILM MAKING IN THE SECOND
HALF OF THE SIMMS WAS VERY, VERY

IMPORTANT TO WHAT WE SAW IN THE
’70s.

>> WHAT A DUMP.
>> THERE WAS A NEW HOLLYWOOD, A

NEW WAVE OF FILMMAKERS AND THEY
PUT MUCH MORE MATURE THINGS ON

THE SCREEN AND YOU HAD THE
BEGINNINGS OF THAT PARTICULARLY

WITHES WHO AFRAID OF VIRGINIA
WOOLF.

>> LOOK SWEETHEART I CAN DRINK
YOU UNDER ANY GOD DAMN TABLE YOU

WANT.
>> THERE ISN’T ABOMINATON AWARD

THAT YOU HAVEN’T WON.
>> I SWEAR IF YOU EXISTED I

WOULD DIVORCE.
>> YOU THEIR ROMANCE, THEY

ENJOYED OR ENDURED OR HOWEVER
YOU WANT TO PHRASE IT IS SO

THELY PROJECTED ON TO THIS FILM.
>> STOP IT, MARTHA.

>> LIKE HELL I WILL.
YOU SEE GEORGE DIDN’T HAVE MUCH

PUSH.
HE WASN’T PARTICULARLY

AGGRESSIVE.
IN FACT, HE WAS SORT OF A FLOP.

>> YOU CANNOT WATCH THIS FILM
WITHOUT WONDERING HOW MUCH OF

THIS IS TRUE.
HOW MUCH OF THIS IS THEM NOT

ACTING.
AND JUST WORKING OUT YOU KNOW

THE ANGST OF THEIR NOTORIOUSLY
TUMULTUOUS RELATIONSHIP.

>> IS IN WILL ANY, NOT THAT I
WANT TROUBLE IN THE BURTON

HOUSEHOLD.
>> THERE’S ENOUGH AS IT IS.

>> STICK AROUND.
>> FROM MIKE NICHOLS ON HIS

FIRST FILM TO TAKE TWO OF THE
BIGGEST MOVIE STARS IN THE WORLD

AND SHOOT THEM IN THIS BLACK AND
WHITE RAW SAVAGE WAY, I THINK IT

WAS KIND OF A STROKE OF GENIUS.
>> FINALLY SNAPPED.

>> AND I’M GOING TO HAUL IT OUT
AND I’M NOT GOING TO GIN A DAMN

WHAT I DO AND I’M GOING TO MAKE
THE BIGGEST GOD DAMN, MOTION

YOU’VE HEARD.
>>S WHO AFRAID OF VIRGINIA WOOLF

USED LANGUAGE THAT HAD NEVER
BEEN HEARD IN A MOVIE.

"LIFE" MAGAZINE DID A STORY HOW
DARING VIRGINIA WOOLF WAS.

THAT WAS 1966.
RIGHT AROUND THAT TIME YOU BEGAN

TO SEE MORE OF THESE KINDS OF
MOVIES BEING MADE AND THEN THE

DAM STARTED BREAKING OPEN.
>> LEFT.

>> BONNIE AND CLYDE WAS PRODUCED
BY WARREN BEATTY.

BASED ON THE ESCAPADES OF
GANGSTERS FROM THE 1930s.

>> ONE TIME I TOLD YOU I WAS
GOING TO MAKE YOU SOMEBODY.

THAT’S WHAT YOU DONE FOR ME.
YOU MADE ME SOMEBODY THEY’RE

GOING TO REMEMBER.
>> BEATTY WAS EXTREMELY

AMBITIOUS AND VERY SPECTACULAR
THE.

HE WANTED TO WORK WITH THE BEST
DIRECTORS IN HOLLYWOOD AND HE

WAS ALREADY INFLUENCED BY THE
FRESH NEW WAVE IN EUROPEAN

FILMS.
>> I THINK ONE OF HIS INFLUENCES

WAS THE FEATURE THAT GODAR MADE
A BREAK‐THROUGH WITH BREATHLESS

WHICH IS ABOUT A CRIMINAL, A
DESPERADO ON THE RUN 0 BUT WHO

WE REALLY EMPATHIZED WITH AS
VIEWERS.

>> DOWN IN DUNCANVILLE LAST
YEAR, POOR FARMERS KEPT YOU AWAY

FROM US WITH SHOTGUNS.
YOU’RE SUPPOSED TO BE PROTECTING

YOU FROM HUSBAND AND.
>> EVERYBODY GOING IN PROBABLY

KNEW THAT IT ENDED WITH A
SHOOT‐OUT BUT THEY WERE NOT

SPECCING IT TO END WITH A
VIOLENT HEAVY THUDDING MACHINE

GUNNING MOMENT.
>> HEY.

>> THE MOVIE LETS YOU LOVE
BONNIE AND CLYDE.

>> AND THEN WATCH THEM GET
DESTROYED.

>> THE FRENCH HAVE BEEN HAVING
DEEP DARK THOUGHTS ABOUT THE

SOCIAL LOGICAL AND PSYCHOLOGICAL
SIGNIFICANCE OF THE FILM AND ITS

SUCCESS.
GENERALLY, THEY ARE NOT VERY

INTERESTED IN WHAT IT TELLS
ABOUT THE 1930s.

RATHER THEY CALL IT A REFLECTION
OF THE HORROR, THE VIOLENCE, THE

EMPTINESS OF THE AMERICAN SOUL
TODAY.

>>.
♪ HELLO DARKNESS MY HOLD

FRIEND ♪
>> OF ALL THESE KINDS OF MOVIES

THAT WERE BEGINNING TO BREAK
THROUGH THE SYSTEM, THE

GRADUATE" BECAME THE MOVIE FOR A
GENERATION.

>> MRS. ROBINSON, YOU’RE TRYING
TO SEDUCE ME.

>> AREN’T YOU?
>> WELL, NO, I HADN’T THOUGHT OF

IT.
>> IT’S REALLY ABOUT A YOUNG

PERSON FEELING FULL OF MORAL
CONFUSION.

>> OH, GOD.
>> AND UTTERLY AT ODDS WITH

EVERYTHING THEY’RE EXPECTED TO
ENGAGE WITH.

>> I JUST WANT TO SAY ONE WORD
TO YOU.

ONE WORD.
>> YES, SIR.

>> ARE YOU LISTENING?
>> YES, I AM.

>> PLAQUES.
>> THE GRADUATE" WAS THE

BEGINNING OF MY EDUCATION.
I LITERALLY BEGAN TAKING NOTES,

CUTTING STYLES, PATTERNS,
COMPOSITION, I COULD UNDERSTAND

THE HAND OF THE DIRECTOR.
MIKE NICHOLS JUST HAD COMMAND OF

SO MANY DIFFERENT TONES AND
GENRES.

♪
>> MIKE NICHOLS SAID I’M GOING

TO CHOOSE THE MUSIC SIMON AND
GAR FUNKAL.

I’M GOING TO CHOOSE ONE ARTIST
AND THAT’S GOING TO BE THE SOUL

OF THE WHOLE MOVIE.
>> MRS. ROBINSON WAS MADE UP ON

THE SPOT.
I WAS SINGING.

♪ GOD BLESS YOU PLEASE
MRS. ROOSEVELT HEAVEN HOLDSES A

PLACE FOR THOSE PRAY ♪
>> IT WAS MRS. ROOSEVELT AND

SAID WE COULD.
>> FOR THE REST OF YOUR LIFE YOU

CAN HEAR SIMON AND GARFUNKEL AND
IT TAKES YOU BACK TO THE VIVID

SCENES IN THE GRADUATE.
>> HERE’S TO YOU MRS. ROBINSON,

JESUS LOVES YOU MORE THAN YOU
WILL KNOW, WHOA, WHOA.

>> WHEN YOU GET TO THE END OF
THE GRADUATE, WE’RE NOT GIVEN A

HAPPY ENDING.
>> ELAINE?

ELAINE.
>> YES, BEN GETS THE GIRL.

>> THEY HOP ON THE BUS TOGETHER.
BUT THEN THAT’S IT.

THEY DON’T EVEN KNOW WHAT TO DO
WITH EACH OTHER.

♪
♪ HELLO DARKNESSMIDE OLD

FRIEND ♪
>> IT’S ONE OF THE MOST PROFOUND

MOMENTS IN CINEMA HISTORY.
♪ TALK WITH YOU AGAIN ♪

>> TO SEE THE SMILES IS SLOWLY
FADE AND IT’S JUST THIS

EXISTENTIAL MOMENT OF LIKE, NOW
WHAT?

♪ LEFT ITS SEEDS WHILE I WAS
SLEEPING ♪

>> THERE ARE NO EASY ANSWERS IN
IT.

PEOPLE CAN RELATE TO THE MOVIE
BUT THEY CAN ALSO RELATE TO THE

FRUSTRATION AND THE UNCERTAINTY
OF WHAT THE MAIN CHARACTERS ARE

GOING THROUGH AT THE END AND IN
60s AMERICA WE WERE ALL IN THE

SAME BOAT WITH AN UNKNOWN
FUTURE.

♪ WITHIN THE SOUND OF SILENCE ♪.

♪

>> THE AMERICAN MOTION PICTURE
INDUSTRY IS IN THE THROES OF A

BLOODLESS REVOLUTION.
MOST OF THE SOUND STAGES ARE

DARK AND THE TALK IS ABOUT
RETRENCHMENT AND CUT BACK.

>> BY THE LATE ’60s, STUDIOS
WERE IN A LOT OF FINANCIAL PAIN.

THIS WAS THE PERIOD WHERE
WESTERN WERE PARAMOUNT.

TRANSAMERICA BOUGHT UNITED
ARTISTS.

>> THESE LARGER COMPANIES DIDN’T
KNOW HOW TO RUN A MOVIE COMPANY.

SO WHAT DID THEY DO?
THEY TURN TO THE PRODUCERS

WORKING FOR THAT STUDIO SO THEY
COULD USE THEIR EXPERIENCE.

>> DID YOU GET A CHANCE TO
PRODUCE THE FILM?

>> THE MOVIE HAS CHANGED.
>> THAT’S ME.

THAT’S THE BASIC CHANGE.
THAT MEANS THAT I’M ABLE AS

PETER FONDA TO WALK INTO
SOMEBODY’S OFFICE, SIT DOWN, AND

SAY HERE’S THE STORY IN MY HEAD.
>> IF YOU THINK ABOUT THE

GENERATION, WE HAD OUR OWN
CLOTHES, OUR OWN MUSIC.

WE HAD OUR OWN BOOKS.
BUT WE DIDN’T HAVE OUR OWN

MOVIE.
AND THAT’S THE SLOT I WANTED TO

FILL.
♪

♪ GET YOUR MOTOR RUNNING ♪
>> CAME OUT IN THE SUM ORE ’69,

COULD NOT BE A MORE PERFECT TIME
CAPSULE, THE RESTLESSNESS.

FOR TRULY EXPRESSING YOURSELF.
WHAT BETTER WAY TO DO THAT THAN

TO GO ON A ROAD TRIP THAT IS
FUELLED BY THE MONEY YOU MADE

FROM A DRUG DEAL.
>> IT WAS LIKE, OH, GOD, YEAH

WE’RE GOING TO RIDE ACROSS JOHN
FORD’S WEST.

ONLY WE’RE GOING TO GO EAST.
WE’RE GOING TO EAST BECAUSE

WE’RE GOING TO GO TO FLORIDA AND
RETIRE.

>> YOU GOT A HELMET?
>> OH, OH I’VE GOT A HELMET.

OH, I GOT A BEAUTY.
>> THE MODEL WAS A ROGER CORRMAN

BIKE FILMS.
CULTURALLY APPROPRIATE.

>> WHAT IS IT YOU WANT TO DO?
>> WE WANT TO BE FREE TO RIDE

OUR MACHINES WITHOUT BEING
HASSLED BY THE MAN.

AND WE WANT TO GET LOADED.
>> WILD ANGELS WAS KNOWN AS THE

HIGHEST GROSSING LOW BUDGET
PICTURE EVER MADE.

THAT RECORD WAS BROKEN VERY
QUICKLY BY "EASY RIDER."

♪
>> WE USE ALL THESE GREAT SONGS.

"BORN TO BE WILD," JUST SOME OF
THE GREAT SONGS EVER WRITTEN.

ONE OF THE APPEALS OF "EASY
RIDER" WAS THAT YOUNG PEOPLE,

HIPPIES, COLLEGE STUDENTS, DRAFT
RESISTORS COULD SEE THEMSELVES

ON THE SCREEN.
>> WE REPRESENT THEM, MAN,

SOMEBODY NEEDS A HAIRCUT.
WHAT YOU REPRESENT TO THEM IS

FREEDOM.
>> IN "EASY RIDER," THESE GUYS

ARE TRYING TO BREAK IT OOF THE
SYSTEM BUT NOT QUITE BEING ABLE

TO DO IT.
>> DON’T EVER TELL ANYBODY THAT

THEY’RE NOT FREE BECAUSE THEN
THEY GONE GET REAL BUSY KILLING

AND MAIMING TO PROVE TO YOU THAT
THEY ARE.

>> SO, IT BECOMES A DARK
STATEMENT ABOUT AMERICA.

>> IT TOOK DENNIS HOPPER AND
PETER FONDA TO KIND OF PAVE THE

WAY FOR PEOPLE LIKE US TO BE
ACCEPTED BY HOLLYWOOD.

WE WERE THE ENEMY.
WE WERE THE LONG HAIRS.

>> WITH THE NEW HOLLYWOOD
MOVIES, IT WASN’T JUST THAT THEY

WERE FUNNY OR SEXY OR EXCITING
OR DANGEROUS.

>> WHO DO YOU THINK YOU ARE?
LAWRENCE OF NIGERIA?

>> IT WAS CLEARLY A
TRANSFORMATION IN CINEMA.

HOLLYWOOD HAD FINALLY CAUGHT UP
TO EUROPEAN POST‐WAR NEO‐REALISM

AND REALIZED THAT AMERICAN
AUDIENCES WERE READY FOR THIS

MORE SOPHISTICATED, MORE MATURE
KIND OF STORY TELLING.

>> LET’S GET ONE LIKE THIS.
>> THEY MAKE THE MOVIES?

>> YES, WE’RE MAKING A MOVIE.
"MIDNIGHT COWBOY."

>> AND WHO IS THAT?
>> BODY.

>> YOU’RE PRETTY.
I’LL SAY THAT.

>> AS THE NEW HOLLYWOOD IS
EMERGING, A BUNCH OF YOUNGER

MORE INDEPENDENT FILMMAKERS WANT
TO MAKE MOVIES ABOUT ADULT

THEMES.
AND "MIDNIGHT COWBOY" IS ONE OF

THOSE MOVIES.
>> THE CLIMATE IN AMERICA SEEMS

RIPE FOR A LITTLE MORE HONESTY.
IJ THEY’VE SAID ENOUGH BULL

SHIT.
>> I WANT TO BUY YOU A DRINK.

WHAT YOU THINK OF THAT?
>> "MIDNIGHT COWBOY" IS A LOVE

STORY BETWEEN TWO MEN, A
PLUTONIC LOVE AFFAIR BETWEEN TWO

GUYS WHO COULD NOT BE MORE
MISMATCHED IN HEIGHT, IN

BACKGROUND, IN OUTLOOK.
>> I’M WALKING HERE!

I’M WALKING HERE!
>> NOBODY EXPECTED IT TO MAKE A

DIME, BUT BECAUSE IT ATTRACTED
AN AUDIENCE, ESPECIALLY OF YOUNG

PEOPLE, IT WAS A HUGE HIT.
>> THIS WILL GO DOWN IN HISTORY

AS THE CINEMA SEASON WHICH
PROVED THAT CRIME DOESN’T PAY,

BUT THERE’S A FORTUNE IN
ADULTERY, INCEST, AND

HOMOSEXUALITY.
THIS IS NOT AN ACADEMY AWARDS,

IT’S A FREAK OUT, LADIES AND
GENTLEMEN.

>> NEW HOLLYWOOD AND OLD
HOLLYWOOD REALLY CLASHED AT THE

ACADEMY AWARDS IN 1970.
>> JOHN, I DIDN’T THINK YOU

WOULD SHOW.
>> NOBODY DEFINES STUDIO STAR

MAKING LIKE JOHN WAYNE, YET HE
NEVER WON AN OSCAR.

HERE HE IS NOMINATED FOR "TRUE
GRIT" UP AGAINST TWO GUYS REALLY

REPRESENTATIVE OF THE NEW
HOLLYWOOD.

>> THERE’S A "LIFE" MAGAZINE
COVER STORY NEAR THAT TIME WITH

WAYNE AND DUSTIN HOFFMAN.
DIFFERENT WORLDS, DIFFERENT

HEROES, ONE SPEAKING TO OUR
ELDERS AND THE OTHER SPEAKING TO

A NEW GENERATION OF MOVIE GOERS.
>> THE WINNER IS JOHN WAYNE.

>> IN THE END, WAYNE WON.
>> I WOULD HAVE PUT THAT PATCH

ON 35 YEARS EARLIER.
>> AND THEN YOU COULDN’T IMAGINE

A MORE DELICIOUS MOMENT OF
CONFLICT THAN "MIDNIGHT COWBOY"

WINNING BEST PICTURE, ELIZABETH
TAYLOR ANNOUNCING IT.

>> THE WINNER IS "MIDNIGHT
COWBOY."

>> THE PRODUCER TOLD ME I’M NOT
SURE LIZ TAYLOR HAD EVEN HEARD

OF "MIDNIGHT COWBOY" WHEN SHE
OPENED THE ENVELOPE.

SHE WAS AS SHOCKED AS ANYONE.
OLD HOLLYWOOD, NEW HOLLYWOOD IN