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At the end of the 1800s a new artform
flickered into live.
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It looked like our dreams.
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00:00:16,742 --> 00:00:20,242
Movies are multi-billion dollar
global entertainment industry now.
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00:00:21,081 --> 00:00:24,888
But what drives them
isn't box-office or showbiz.
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00:00:25,742 --> 00:00:28,171
It's passion, innovation!
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00:00:29,555 --> 00:00:31,268
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00:00:31,293 --> 00:00:34,417
So let's travel the world
to find this innovation for ourselves.
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To discover it in this man,
Stanley Donen,
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who made Singing in the Rain.
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And in Jane Campion in Australia.
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And in the films of Kyôko Kagawa
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00:00:46,286 --> 00:00:48,987
who was in perhaps
the greatest movie ever made.
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00:00:50,899 --> 00:00:54,597
And Amitabh Bachchan,
the most famous actor in the world.
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00:00:55,126 --> 00:00:58,335
And in the movies of Martin Scorcese
and Spike Lee,
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00:00:58,360 --> 00:01:00,564
Lars Von Trier and
Akira Kurosawa.
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00:01:02,087 --> 00:01:05,105
Welcome to the story of film,
an odyssey.
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00:01:05,522 --> 00:01:09,040
An epic tale of innovation
across twelve decades,
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00:01:09,375 --> 00:01:12,358
six continents
and a thousand films.
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In this chapter we meet
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the great film comedian
Charlie Chaplin
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and discover the realist directors
who threatened Hollywood.
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1918.
World war I had just ended.
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Much of Europe was
scorched earth.
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The seeds of nazism
had been planted.
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A few years later, the
surrealist manifesto said
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that art should record dreams.
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But what dreams?
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In the hills of Los Angeles, the myth
of Hollywood had just been born.
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The town had started
to burnish itself.
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Starlets with the especial slenderness
of youth were attracted
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by the bauble that is Hollywood:
shiny and romantic.
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With its escapism
and promise of perfection.
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00:02:28,155 --> 00:02:31,764
This part of the story of film
is about the strengthening
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00:02:31,866 --> 00:02:33,803
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00:02:33,881 --> 00:02:37,278
A factory with which the world
would fall in love.
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But, as we'll see,
for all its strength and power,
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00:02:41,784 --> 00:02:44,136
many inside the factory system
of Hollywood
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seemed not to notice
how fragile it was.
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00:02:47,394 --> 00:02:48,548
How breakable.
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00:02:51,902 --> 00:02:54,017
Before the 1920s were over, key filmmakers
were trying to break the bauble.
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00:02:54,042 --> 00:02:57,799
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00:02:59,739 --> 00:03:04,339
Investment in cinema increased
10-fold in the late teens and 20s.
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00:03:04,682 --> 00:03:06,784
Hollywood became an industry.
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00:03:07,840 --> 00:03:10,655
The money often came from the
east coast bankers.
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00:03:11,322 --> 00:03:15,214
On the west coast it was spent
by a series of production bosses
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working class, Jewish businessmen.
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00:03:17,706 --> 00:03:21,249
Adolph Zukor, a Hungarian
immigrant and fur trader,
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00:03:21,274 --> 00:03:24,676
set up famous players,
which would become Paramount.
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00:03:27,409 --> 00:03:31,347
Four Canadian Polish brothers
set up Warner bros.
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00:03:33,157 --> 00:03:37,305
A brash Russian called
Louis B. Mayer, ran MGM.
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00:03:38,621 --> 00:03:42,303
They built big boring bunkers
called 'sound stages',
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00:03:42,328 --> 00:03:47,065
so that filming could move indoors,
into the dark, to control this...
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Light!
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00:03:53,057 --> 00:03:55,714
This scene in Citizen Kane shows
that Hollywood could work wonders with light.
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00:03:55,746 --> 00:03:58,800
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00:04:01,352 --> 00:04:04,069
The beams make the library
look like a sepulcher.
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00:04:04,428 --> 00:04:06,758
The documents gleam.
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00:04:09,292 --> 00:04:12,045
Hollywood set up
a production line system
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00:04:12,070 --> 00:04:14,950
the way that the 'Model T'
Ford motor car was assembled.
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00:04:16,642 --> 00:04:21,136
In Japan, at the time,
directors led the production process,
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but in Hollywood it was production bosses
like Zukor and Mayer and Warner.
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00:04:22,283 --> 00:04:26,571
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00:04:27,298 --> 00:04:32,148
Below them, in the movie barns,
writers would concoct stories.
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00:04:32,366 --> 00:04:37,694
Talent scouts would find new starlets
in coffee shops or magazines.
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00:04:37,952 --> 00:04:42,475
Set designers in the boring buildings
would invent magnificent buildings.
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00:04:44,934 --> 00:04:48,212
This is what legendary Hollywood designer
William Cameron Menzies
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00:04:48,237 --> 00:04:50,554
thought Baghdad might look like.
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00:04:50,969 --> 00:04:54,940
Inhuman in scale.
Elegant and decorative.
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00:05:00,739 --> 00:05:04,457
Costume designers conjured
lifestyles and selves.
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00:05:04,799 --> 00:05:07,522
And got to know the bodies
of their stars.
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00:05:09,205 --> 00:05:11,806
This is one of Marilyn Monroe's dresses.
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00:05:13,410 --> 00:05:18,708
Make-up artists came up with new types
of foundation and eyelash and look.
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00:05:19,256 --> 00:05:22,805
This is the room and table where
Marilyn Monroe went blonde.
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00:05:24,986 --> 00:05:28,303
Engineers devised new technology.
Lights to illuminate hair.
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00:05:28,951 --> 00:05:31,169
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00:05:31,318 --> 00:05:35,392
To make eye lashes cast shadows on the
face of Marlene Dietrich in Desire.
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00:05:35,463 --> 00:05:36,830
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00:05:38,977 --> 00:05:41,205
Dollies on which to move the camera,
to make the image glide.
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00:05:41,260 --> 00:05:43,260
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00:05:46,681 --> 00:05:51,183
The image glided in Gone with the Wind
as if blown by the wind,
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away from the lovers and the sunset.
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00:05:58,891 --> 00:06:02,851
And new cameras themselves.
Beautiful objects.
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00:06:03,465 --> 00:06:07,827
This one, used in World War II.
Half camera, half gun.
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00:06:08,529 --> 00:06:12,819
This one, from the 1960s:
portable and nosey.
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00:06:14,539 --> 00:06:16,810
And then the money-men thought:
'wait a minute!
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00:06:16,835 --> 00:06:19,720
Why don't we buy the screens as well
so we can control
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00:06:19,720 --> 00:06:22,312
where the films are shown and when?'
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00:06:23,700 --> 00:06:26,870
And, so, things that were made
in boring buildings,
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00:06:26,870 --> 00:06:29,342
were shown in grand ones.
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00:06:34,668 --> 00:06:37,771
The whole point was to
standardize and control.
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00:06:38,422 --> 00:06:42,645
Actress Joan Crawford's contract
specified when she should go to bed.
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00:06:43,411 --> 00:06:46,498
Johnny Weismuller's Tarzan
contract fined him
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00:06:46,498 --> 00:06:50,194
for every pound he weighed over 190 pounds.
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00:06:51,384 --> 00:06:54,175
Novelist Henry Miller called
Hollywood's production line,
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00:06:54,175 --> 00:06:58,182
'a dictatorship in which the artist
is silenced.'
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00:06:59,156 --> 00:07:04,237
It was a dictatorship, and yet
some say there was genius in it.
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00:07:05,049 --> 00:07:07,778
A genius of sorts, Busby Berkley,
choreographed this fantasy,
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00:07:07,786 --> 00:07:09,857
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00:07:09,882 --> 00:07:13,382
Girls in the Snow making
patterns with their moves.
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00:07:13,382 --> 00:07:16,393
Increasingly abstract.
Geometric.
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00:07:25,463 --> 00:07:28,533
Stanley Donen, who made
Singin' in the Rain:
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00:07:28,558 --> 00:07:30,521
The studio system, in my opinion,
didn't really get into the film.
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00:07:31,553 --> 00:07:35,643
105
00:07:35,668 --> 00:07:40,869
The "studio system" was the
garden, where we all worked.
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00:07:40,869 --> 00:07:46,466
I mean, there I was at MGM
with a lot of enormously gifted people
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and I often think about that.
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00:07:51,988 --> 00:07:57,320
That idea of having a company
which brought people together
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00:07:57,320 --> 00:07:59,811
to make money, it's all they were doing.
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They weren't doing it
for any other reason.
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00:08:02,417 --> 00:08:04,991
What was behind it was
an economic thing.
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00:08:04,991 --> 00:08:06,906
They were a company making money,
or hoping to make money.'
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00:08:06,931 --> 00:08:08,718
114
00:08:10,444 --> 00:08:13,657
So the industry was a bauble
but also a garden,
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00:08:13,682 --> 00:08:16,906
which is what Agnes Demille
called Hollywood a decade earlier.
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00:08:18,021 --> 00:08:20,922
And what varied flowers grew there!
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MGM, for example, which was so
proud of itself
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that it filmed
its own Neo-classical buildings,
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00:08:27,778 --> 00:08:31,624
was said to have
"more stars than there are in heaven."
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00:08:32,702 --> 00:08:35,628
Its movies had an opulence
and optimism.
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00:08:36,466 --> 00:08:38,593
In this dance scene in
Singin' in the Rain,
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even the shadows
have light in them.
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00:08:49,250 --> 00:08:51,319
Warner brothers was
more streetwise.
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00:08:52,125 --> 00:08:55,283
Its stars were angels
with dirty faces.
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00:08:55,285 --> 00:08:57,791
Scenes like this one from
The Maltese Falcon
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had a downtrodden hero.
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00:08:59,437 --> 00:09:00,490
Harder lighting.
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00:09:00,640 --> 00:09:01,812
Sharper shadows.
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00:09:01,892 --> 00:09:03,225
Gangster outfits.
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00:09:03,250 --> 00:09:04,961
Night-time settings.
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00:09:07,023 --> 00:09:08,027
Murder.
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00:09:08,052 --> 00:09:09,048
Melodrama.
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00:09:09,073 --> 00:09:10,209
Movie journalism.
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00:09:11,248 --> 00:09:14,932
This scene from The Scarlet Empress
shows Paramount's style.
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00:09:15,083 --> 00:09:16,104
Sparkling.
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00:09:16,151 --> 00:09:17,185
Champagney.
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00:09:17,384 --> 00:09:18,917
Costumes on display.
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00:09:19,042 --> 00:09:20,057
Feminine.
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00:09:20,082 --> 00:09:21,096
Romantic.
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00:09:21,121 --> 00:09:21,991
Wry.
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00:09:22,016 --> 00:09:24,492
More taken by the "veiled" and the east.
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00:09:26,237 --> 00:09:30,309
Tell me, Alexei.
Are you still fond of me?
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Yes, your imperial majesty,
I love you.
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00:09:33,793 --> 00:09:36,437
The "studio system" was a
capitalist production line.
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00:09:36,594 --> 00:09:38,424
It was copied around the world.
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00:09:38,572 --> 00:09:42,600
In India, Mexico, Italy,
Britain, China, Hong Kong,
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00:09:42,625 --> 00:09:44,418
Korea, and France.
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00:09:45,503 --> 00:09:49,687
Each of those industries made
formulaic, copycat movies.
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00:09:50,434 --> 00:09:54,961
But the system also fostered
expertise and taste.
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00:09:55,468 --> 00:09:57,828
Extravagance and brilliance.
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00:09:58,494 --> 00:10:01,314
The ghost in the machine
was art.
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00:10:53,125 --> 00:10:54,257
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00:10:54,281 --> 00:10:58,039
By the mid-'20s, the boring buildings
were making 700 films a year.
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00:10:59,867 --> 00:11:02,493
This is one of them,
The Thief of Bagdad.
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00:11:02,938 --> 00:11:05,056
It could stand for many of them.
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00:11:08,689 --> 00:11:10,587
It states its theme up front.
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00:11:11,059 --> 00:11:14,766
A holy man shows
that happiness must be earned.
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00:11:14,768 --> 00:11:16,770
A tweak of the American dream.
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00:11:17,701 --> 00:11:19,673
Then a wide shot
of a street scene.
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00:11:19,989 --> 00:11:23,685
We hardly notice the man lying
at the head height of the merchants.
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00:11:24,546 --> 00:11:26,999
But then we dissolve inwards
to see him.
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00:11:27,335 --> 00:11:28,496
We recognize him.
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00:11:28,726 --> 00:11:31,430
He's the movie's star,
Douglas Fairbanks.
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00:11:32,062 --> 00:11:33,508
He's also its producer.
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00:11:34,252 --> 00:11:36,701
He's asleep at the center
of the action.
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00:11:36,726 --> 00:11:38,958
Unaware that we're looking
at him.
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00:11:38,960 --> 00:11:40,597
And we dissolve in again.
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00:11:41,459 --> 00:11:42,504
Soft lighting.
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00:11:42,506 --> 00:11:43,610
Shallow focus.
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00:11:43,635 --> 00:11:44,472
Make-up.
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00:11:44,497 --> 00:11:45,856
A certain femininity.
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00:11:46,797 --> 00:11:49,276
But then he steals
a man's wallet.
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00:11:49,301 --> 00:11:52,073
Our beautiful, dreaming hero
is a thief.
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00:11:52,098 --> 00:11:54,561
The passer-by exits screen right.
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00:11:54,914 --> 00:11:56,617
Notices his wallet is missing.
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Cut to Doug, who looks
screen right.
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00:11:59,738 --> 00:12:01,502
The camera doesn't
cross the line.
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00:12:01,805 --> 00:12:04,812
We know he's looking at his victim.
Smiling.
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00:12:05,679 --> 00:12:09,442
In just 90 seconds the film
has told us its theme:
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00:12:09,684 --> 00:12:11,129
Romantic and American.
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00:12:11,647 --> 00:12:13,490
Introduced us to a society.
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00:12:14,701 --> 00:12:15,913
Then a scene.
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00:12:19,457 --> 00:12:20,723
Then an individual.
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00:12:21,137 --> 00:12:24,825
Seduced us with style:
The poetics of lighting.
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00:12:25,166 --> 00:12:26,959
Amused us with character.
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00:12:27,261 --> 00:12:28,677
A likable rogue.
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00:12:28,702 --> 00:12:30,946
A human being like us,
but more glamorous
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00:12:30,971 --> 00:12:32,883
and with more exciting life.
189
00:12:34,641 --> 00:12:37,124
It makes the space very clear.
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00:12:37,955 --> 00:12:40,339
We're not confused
about where we are.
191
00:12:41,640 --> 00:12:43,239
The story kicks in, of course.
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The thief has broken
into a palace.
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00:12:46,011 --> 00:12:47,887
He hears that a Princess
is there.
194
00:12:48,179 --> 00:12:50,249
Glimpses her fairytale bed.
195
00:12:50,778 --> 00:12:52,408
Will he go down to look at her?
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00:12:52,433 --> 00:12:53,441
No.
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00:12:53,551 --> 00:12:54,605
No.
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00:12:54,910 --> 00:12:55,921
Maybe.
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00:13:12,749 --> 00:13:13,812
No.
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00:13:19,957 --> 00:13:21,040
Yes.
201
00:13:21,986 --> 00:13:24,121
We can't wait to see her either.
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00:13:28,589 --> 00:13:30,588
The curl of the fantasy balcony.
203
00:13:31,271 --> 00:13:34,027
The elegant attenuation
of her mosquito net.
204
00:13:34,460 --> 00:13:36,749
His trousers are see through now.
205
00:13:40,789 --> 00:13:42,066
He looks through the net.
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00:13:42,299 --> 00:13:43,345
His shadow.
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00:13:43,832 --> 00:13:45,477
Hollywood cinema, the bauble,
is brilliant at the anticipation of seeing.
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00:13:45,502 --> 00:13:47,859
209
00:13:47,884 --> 00:13:49,268
The desire to see.
210
00:13:49,270 --> 00:13:50,610
The pleasure of seeing.
211
00:13:52,493 --> 00:13:54,421
The thief falls in love, of course.
212
00:13:54,719 --> 00:13:57,780
And his love sets in motion
the rest of the film.
213
00:13:59,158 --> 00:14:01,554
This sort of movie
is usually called classical,
214
00:14:01,554 --> 00:14:04,152
but really it's romantic.
215
00:14:08,836 --> 00:14:11,601
It became Hollywood's claim
to fame in the '20s.
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00:14:12,661 --> 00:14:16,083
It's what most people mean
when they even say the word "movie."
217
00:14:16,321 --> 00:14:18,769
It's the mainstream, the bauble.
218
00:14:19,776 --> 00:14:21,666
So Hollywood mainstream films
in the '20s
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00:14:21,691 --> 00:14:23,939
were entertaining and romantic,
220
00:14:23,944 --> 00:14:26,120
but our theme
is innovation in cinema.
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00:14:26,541 --> 00:14:27,805
Were they innovative?
222
00:14:28,292 --> 00:14:31,732
Some of the most popular films
of the '20s, the comedies,
223
00:14:31,757 --> 00:14:33,231
most certainly were.
224
00:14:40,495 --> 00:14:44,221
Three filmmakers Buster Keaton,
Charlie Chaplin and Harold Lloyd
225
00:14:44,221 --> 00:14:47,424
were the greatest of the
American comedy directors.
226
00:14:49,041 --> 00:14:51,262
Before them there
was mostly slapstick.
227
00:14:52,677 --> 00:14:55,527
This sight gag on a fast moving train
was typical.
228
00:14:55,581 --> 00:14:58,206
A good cheap laugh using a
bucket of water.
229
00:15:00,907 --> 00:15:03,702
But then came Keaton,
obsessed by the camera.
230
00:15:03,938 --> 00:15:05,862
In this scene from his
film The Cameraman,
231
00:15:05,862 --> 00:15:07,648
he shows that fascination.
232
00:15:12,289 --> 00:15:16,641
Keaton became the greatest comic
image-maker the cinema had yet seen.
233
00:15:23,583 --> 00:15:25,239
He thought like an architect.
234
00:15:25,484 --> 00:15:28,446
In this sequence in a short film
he made in 1920,
235
00:15:28,471 --> 00:15:31,214
the house built becomes
a playpen.
236
00:15:33,044 --> 00:15:34,717
It falls around him.
237
00:15:39,910 --> 00:15:42,848
Keaton helped define
silent cinema.
238
00:15:43,005 --> 00:15:44,424
He just got it.
239
00:15:45,509 --> 00:15:47,962
We've already seen
that he got that in editing,
240
00:15:47,962 --> 00:15:50,940
a cut replaces
one space with another.
241
00:15:51,419 --> 00:15:55,116
Here he jokes about it, as if,
as he's walking down a street,
242
00:15:55,116 --> 00:15:56,939
he's suddenly on a cliff top.
243
00:15:58,663 --> 00:16:01,965
But as this scene shows,
he also got that movies
244
00:16:01,990 --> 00:16:03,476
are about looking.
245
00:16:09,002 --> 00:16:11,531
And he got that they're
brilliant at dare-devilling.
246
00:16:11,815 --> 00:16:14,533
He begins this sequence
with an overhead shot,
247
00:16:14,533 --> 00:16:16,514
to make the building
look really high.
248
00:16:19,784 --> 00:16:23,651
In the story, Buster must jump
between the tall buildings.
249
00:16:24,045 --> 00:16:27,354
He had a set built above
this third street tunnel in L.A.
250
00:16:28,449 --> 00:16:31,604
Right at the very top of this
old archive shot of the tunnel.
251
00:16:33,761 --> 00:16:37,646
Keaton's camera position makes him look
far higher up than he was.
252
00:16:38,410 --> 00:16:40,698
There was a net just below,
out of shot.
253
00:16:40,972 --> 00:16:43,502
Just as well because
Keaton didn't make it
254
00:16:43,502 --> 00:16:45,549
and was badly bruised.
255
00:16:48,515 --> 00:16:51,198
Keaton's inventiveness was
often highly planned,
256
00:16:51,198 --> 00:16:53,066
but sometimes spontaneous.
257
00:16:53,920 --> 00:16:57,432
Here, he saw a train arriving
and so improvised a gag
258
00:16:57,457 --> 00:16:59,716
to make it look like he himself
stopped it.
259
00:17:00,102 --> 00:17:01,710
Then started it again.
260
00:17:08,047 --> 00:17:10,129
One of his greatest
movies, The General,
261
00:17:10,129 --> 00:17:12,473
was a comedy epic about a train.
262
00:17:12,498 --> 00:17:14,544
It's set during
the American civil war.
263
00:17:14,921 --> 00:17:17,072
Buster's a Southern train driver.
264
00:17:17,202 --> 00:17:19,785
A bit eccentric,
obsessed by detail.
265
00:17:22,107 --> 00:17:24,487
In the first half of the film,
he travels north
266
00:17:24,487 --> 00:17:27,787
to the captive's lair,
and rescues his sweetheart.
267
00:17:32,580 --> 00:17:35,706
Every visual joke and
setup in the first half,
268
00:17:35,706 --> 00:17:37,902
is repeated and amplified
in the second,
269
00:17:37,902 --> 00:17:39,472
but in reverse order.
270
00:17:39,785 --> 00:17:41,201
We get the pattern.
271
00:17:41,203 --> 00:17:43,810
We see the next joke
coming and we're laughing
272
00:17:43,810 --> 00:17:45,670
before it even starts.
273
00:17:48,922 --> 00:17:52,523
The climax of the film has been called:
The most stunning visual event
274
00:17:52,548 --> 00:17:56,707
ever arranged for a comedy,
perhaps for any kind of film.
275
00:17:59,348 --> 00:18:01,353
The northern enemy's advancing,
so Keaton sets fire to a bridge.
276
00:18:01,588 --> 00:18:04,556
277
00:18:04,732 --> 00:18:07,712
Their train crosses.
The bridge gives way.
278
00:18:08,531 --> 00:18:10,046
This is no trick shot.
279
00:18:10,325 --> 00:18:12,671
The locomotive and the bridge
were real.
280
00:18:14,772 --> 00:18:17,721
The wreck of the train
was visible for years to come.
281
00:18:19,326 --> 00:18:24,658
Such scale, such sublime, was a
key element of silent film.
282
00:18:25,433 --> 00:18:26,597
Labor was cheap.
283
00:18:26,877 --> 00:18:28,675
Wall street hadn't crashed.
284
00:18:29,468 --> 00:18:32,720
Imaginations were extravagant
and uncapped.
285
00:18:33,061 --> 00:18:37,239
Studios were not yet afraid of
the size of director's dreams.
286
00:18:38,881 --> 00:18:42,325
Keaton's dreams outstripped
his box office.
287
00:18:43,265 --> 00:18:45,818
He was eventually sacked by MGM.
288
00:18:48,271 --> 00:18:51,500
He hit the bottle and lived
in a trailer in a car park
289
00:18:51,500 --> 00:18:53,383
beside his former studio.
290
00:19:00,989 --> 00:19:03,494
He was forgotten for years,
291
00:19:03,519 --> 00:19:07,838
but as this rare archive
footage of him shows,
292
00:19:07,863 --> 00:19:09,738
Keaton was joking 'til the end.
293
00:19:09,763 --> 00:19:11,499
This little cigarette routine shows
he still had the urge to improvise.
294
00:19:11,524 --> 00:19:14,954
295
00:19:15,215 --> 00:19:18,557
In 1965, at the Venice film festival,
he got a standing ovation.
296
00:19:18,557 --> 00:19:20,691
297
00:19:20,801 --> 00:19:22,884
He died the next year.
298
00:19:25,958 --> 00:19:29,336
Amongst the scores of filmmakers
who were influenced by Keaton
299
00:19:29,336 --> 00:19:32,136
is Palestine's, Elia Suleiman.
300
00:19:36,338 --> 00:19:40,650
This scene shows that Sulieman,
like Keaton, filmed in deadpan.
301
00:19:41,142 --> 00:19:45,049
He keeps back from the action.
And finds grumpiness funny.
302
00:20:06,953 --> 00:20:09,746
Buster Keaton only
once shared the screen
303
00:20:09,771 --> 00:20:13,325
with our next great silent film
comedian, Charlie Chaplin.
304
00:20:13,779 --> 00:20:15,502
In this scene in Limelight,
305
00:20:15,527 --> 00:20:19,194
Chaplin shows that whilst he was
less into the camera than Keaton,
306
00:20:19,194 --> 00:20:21,896
he was far more into
body movement.
307
00:20:42,140 --> 00:20:44,708
Chaplin thought like a dancer
and a vaudevillian.
308
00:20:45,872 --> 00:20:50,400
Here he rehearses a comic movement
before filming it in costume.
309
00:21:14,421 --> 00:21:17,347
Actor and producer
Norman Lloyd knew Chaplin
310
00:21:17,347 --> 00:21:22,358
and, also, Alfred Hitchcock, who was born
not far from Chaplin in London.
311
00:21:24,607 --> 00:21:27,281
'Hitch came from
a middle class family.
312
00:21:27,281 --> 00:21:31,067
His father was a poultry
dealer, fish and poultry,
313
00:21:31,067 --> 00:21:37,564
and Hitch always had an aspiration
to be part of that world.
314
00:21:37,994 --> 00:21:42,074
Charlie came out of the direst
poverty that you can imagine.
315
00:21:42,193 --> 00:21:44,268
Unbelievable poverty.
316
00:21:45,027 --> 00:21:47,279
I mean, stuff like he
and his brother Sydney,
317
00:21:47,279 --> 00:21:50,874
who was his half-brother,
318
00:21:50,899 --> 00:21:54,442
stealing fruit, rotten fruit.
319
00:21:54,492 --> 00:21:56,647
They would know
where the wagon was
320
00:21:56,672 --> 00:21:58,597
with fruit that was going
to be dumped.
321
00:21:58,597 --> 00:22:01,118
They'd go and get that fruit.
Eat that fruit.
322
00:22:02,457 --> 00:22:07,882
His mother being put
into an asylum and out.
323
00:22:07,884 --> 00:22:09,127
In and out.
324
00:22:09,581 --> 00:22:11,438
I think his father
was a drinker.
325
00:22:11,752 --> 00:22:17,404
Charlie had such an upbringing
that it's in the movies.'
326
00:22:18,068 --> 00:22:21,771
And never more so than
in his picture, The Kid,
327
00:22:21,796 --> 00:22:25,673
which recreated the rooms and
relationships of Chaplin's childhood.
328
00:22:25,946 --> 00:22:27,119
Cold mornings.
329
00:22:27,235 --> 00:22:28,433
Worn out bedding.
330
00:22:28,605 --> 00:22:32,328
Life in a London garret,
with a bath on the wall.
331
00:22:33,220 --> 00:22:36,040
Chaplin plays a version of his
by now famous character,
332
00:22:36,040 --> 00:22:39,748
a penniless tramp, who thinks
he's a gentleman dilettante.
333
00:22:40,326 --> 00:22:42,698
Who finds an orphan boy
and brings him up.
334
00:22:46,939 --> 00:22:48,832
The boy starts to work
for his dad.
335
00:22:48,832 --> 00:22:51,238
He breaks windows
so his dad can fix them.
336
00:22:53,797 --> 00:22:57,818
Shot in America, of course,
but English style windows and doors.
337
00:23:09,324 --> 00:23:12,457
Eventually, the boy's taken
to an orphanage.
338
00:23:14,304 --> 00:23:19,866
Chaplin coaxed a brilliant performance
from Jackie Coogan as he's taken away.
339
00:23:26,347 --> 00:23:28,452
The film humanized comic cinema.
340
00:23:28,986 --> 00:23:31,467
It D.W. Griffith-ized it,
you could say.
341
00:23:32,063 --> 00:23:34,961
It showed Chaplin's
passionate empathy with the poor.
342
00:23:35,386 --> 00:23:37,596
It was a huge hit
around the world.
343
00:23:38,278 --> 00:23:40,874
Chaplin was cinema's
Charles Dickens.
344
00:23:49,238 --> 00:23:52,472
He built his own studio in L.A.
in the English style
345
00:23:52,472 --> 00:23:54,855
and filmed it in time lapse.
346
00:23:55,332 --> 00:23:57,857
A rare thing to do,
which shows his pride in it.
347
00:23:58,188 --> 00:24:00,306
He had final cut on his films.
348
00:24:00,906 --> 00:24:02,787
His premieres were mobbed.
349
00:24:03,630 --> 00:24:06,336
The studio today looks like
a row of English houses,
350
00:24:06,336 --> 00:24:08,469
plunked in a megalopolis.
351
00:24:15,231 --> 00:24:17,866
A deleted scene from his
film City Lights,
352
00:24:17,866 --> 00:24:22,086
that Chaplin made ten years later,
shows how his mind worked.
353
00:24:22,582 --> 00:24:24,285
He's on a street corner.
354
00:24:24,285 --> 00:24:26,623
A piece of wood is stuck
in an air vent.
355
00:24:26,863 --> 00:24:28,697
Chaplin begins to play with it.
356
00:24:28,697 --> 00:24:29,887
To improvise.
357
00:24:47,643 --> 00:24:49,774
The Soviets thought
of him as a marxist,
358
00:24:49,774 --> 00:24:52,116
but Chaplin was
almost a Jungian too.
359
00:24:52,319 --> 00:24:53,538
A believer in play.
360
00:24:53,802 --> 00:24:54,976
Inspiration.
361
00:24:55,156 --> 00:24:56,921
Finding ideas within yourself.
362
00:25:02,873 --> 00:25:04,756
It's like he's strumming
on the table,
363
00:25:04,756 --> 00:25:07,294
letting his unconscious
do its work.
364
00:25:12,660 --> 00:25:16,951
60 years later, the British director,
Nicholas Roeg, also seemed to try
365
00:25:16,951 --> 00:25:20,051
to show the unconscious lives
of his characters.
366
00:25:21,219 --> 00:25:24,445
'You could be right.
Then again, why spoil the mystery?
367
00:25:24,956 --> 00:25:27,114
The people act cool
with each other,
368
00:25:27,114 --> 00:25:32,322
but their hands, filmed in close up,
suggest twitchy mental energy.
369
00:25:35,162 --> 00:25:37,777
Chaplin's deleted scene
is a lovely little poem
370
00:25:37,777 --> 00:25:40,312
about daydreaming
on street corners.
371
00:26:04,620 --> 00:26:08,083
Stanley donen sees ideas
in Chaplin too.
372
00:26:08,603 --> 00:26:13,123
'To be wonderful choreography
it has to have an idea
373
00:26:13,123 --> 00:26:17,802
which overwhelms the
whole production,
374
00:26:17,804 --> 00:26:20,207
or dance, or whatever you'd like
to call it.
375
00:26:20,527 --> 00:26:23,573
And that's what's hard to find.
376
00:26:23,575 --> 00:26:29,155
A great, wonderful, encompassing idea
for the musical number.
377
00:26:29,155 --> 00:26:33,039
Well, the idea of the dictator kicking
the balloon is a great metaphor
378
00:26:33,039 --> 00:26:37,466
because it's Adolf Hitler
making the world his toy
379
00:26:37,466 --> 00:26:43,428
and the image is so spectacular
that that's the kind of thing I'm talking about.
380
00:26:43,433 --> 00:26:46,871
If you can come up with
that kind of idea.
381
00:26:46,871 --> 00:26:49,689
But it had to be... First
he was going to...
382
00:26:49,714 --> 00:26:52,038
I don't know how he thought of it,
in what order,
383
00:26:52,040 --> 00:26:55,127
but he was going to make a
film about Adolf Hitler
384
00:26:55,152 --> 00:26:57,063
and he was going to play Hitler.
385
00:26:57,069 --> 00:26:59,885
And how was he going to
make a buffoon of him
386
00:26:59,885 --> 00:27:06,036
but not make him be
the ogre that he was
387
00:27:06,037 --> 00:27:09,635
and that's quite
an accomplishment.
388
00:27:30,376 --> 00:27:31,986
Fascism and ballet.
389
00:27:32,307 --> 00:27:35,252
Who else would have thought
up a scene like this?
390
00:27:37,695 --> 00:27:40,952
No one else in the story of
film combines entertainment,
391
00:27:40,952 --> 00:27:46,419
ideas, movement, improvisation
and politics like Chaplin.
392
00:27:50,977 --> 00:27:54,982
In France in the 1940s Chaplin
inspired Jacques Tati,
393
00:27:55,007 --> 00:27:57,903
but Tati leant forward
and wore short trousers,
394
00:27:57,903 --> 00:28:00,906
where Chaplin leant backwards
and wore long ones.
395
00:28:02,260 --> 00:28:07,417
In Italy, Toto became a huge star,
wearing Chaplin's trademark bowler hat
396
00:28:07,417 --> 00:28:10,297
and with Chaplin's
jabby, confident manner.
397
00:28:11,413 --> 00:28:15,511
And in the massive film industry of
India, this man, megastar and director,
398
00:28:15,511 --> 00:28:21,142
Raj Kapoor, modeled his screen character,
"the tramp", on Chaplin's.
399
00:28:21,151 --> 00:28:22,085
Streetwise.
400
00:28:22,087 --> 00:28:23,116
Plucky.
401
00:28:23,117 --> 00:28:24,026
Tipping his hat.
402
00:28:24,370 --> 00:28:29,204
Stealing from the rich.
403
00:28:29,204 --> 00:28:34,362
And in America itself, the great director
Billy Wilder saw Chaplin as his master.
404
00:28:35,167 --> 00:28:38,712
Gloria Swanson explicitly impersonates him
in Sunset Boulevard.
405
00:28:45,572 --> 00:28:48,995
But even a moment like this in
Chaplin's The Great Dictator...
406
00:28:55,006 --> 00:28:59,315
Was reworked in this scene,
in Wilder's Some like it hot.
407
00:29:04,111 --> 00:29:05,273
Look at that!
408
00:29:05,959 --> 00:29:07,474
Look how she moves!
409
00:29:07,476 --> 00:29:11,642
Chaplin co-founded United Artists,
the studio that made Some like it hot.
410
00:29:12,574 --> 00:29:16,032
The studio was one of the great
foundation stones of Hollywood.
411
00:29:16,249 --> 00:29:19,186
Chaplin was
in American cinema's bloodstream.
412
00:29:19,892 --> 00:29:23,724
But to the country's shame,
it kicked him out in the '50s
413
00:29:23,724 --> 00:29:25,336
because he was a leftist.
414
00:29:26,530 --> 00:29:32,938
'When you work with a man
like Chaplin, or Renoir,
415
00:29:32,963 --> 00:29:34,339
you assimilate.
416
00:29:35,045 --> 00:29:36,440
You hope their greatness.
417
00:29:36,913 --> 00:29:40,064
That is to say,
you become part of their world.
418
00:29:40,828 --> 00:29:43,786
And you try to not only
work on that level
419
00:29:43,811 --> 00:29:48,484
but you absorb
something from them.
420
00:29:49,486 --> 00:29:53,324
And you begin to have the
points of view that they have,
421
00:29:53,324 --> 00:29:59,728
not that you've disregarded
your own, but what you bring
422
00:29:59,753 --> 00:30:07,595
is the ability to assimilate
what they're doing.'
423
00:30:11,090 --> 00:30:13,813
The comedian who was most
influenced by Chaplin in the '20s
424
00:30:13,813 --> 00:30:17,733
was the Nebraskan son
of a photographer, Harold Lloyd.
425
00:30:19,475 --> 00:30:21,688
At first Lloyd was too
like Chaplin.
426
00:30:23,074 --> 00:30:26,726
Here he shrugs, wears a frock coat
and sports a moustache.
427
00:30:26,728 --> 00:30:30,687
But then he and his producer
tried him in big black, rimmed glasses.
428
00:30:31,275 --> 00:30:33,257
In those days this was
a nerdy look.
429
00:30:33,821 --> 00:30:37,311
But add in Lloyd's athleticism,
and the flinty courage
430
00:30:37,336 --> 00:30:40,008
that we see here
and you got a ballsy dreamer.
431
00:30:40,237 --> 00:30:41,920
Both aggressive and lyrical.
432
00:30:42,099 --> 00:30:43,418
A jock-nerd.
433
00:30:44,651 --> 00:30:47,736
Lloyd's most influential film,
Safety Last,
434
00:30:47,761 --> 00:30:51,353
ends with one of the most famous
sequences in '20s cinema.
435
00:30:51,784 --> 00:30:54,258
He plays a hick who
pretends to his girlfriend
436
00:30:54,258 --> 00:30:56,405
that he's manager of a store.
437
00:30:57,314 --> 00:31:00,769
In the climax of the film,
as a publicity stunt for the store,
438
00:31:00,794 --> 00:31:04,185
Lloyd, who had vertigo and a
missing thumb and forefinger
439
00:31:04,185 --> 00:31:07,775
on one hand in real life,
climbs the building.
440
00:31:08,766 --> 00:31:15,050
The sequence is a vertical obstacle
race: a bird, a net, a plank, a clock,
441
00:31:15,050 --> 00:31:20,444
a rope, a dog, a mouse, a gun,
and a wind-gauge get in Lloyd's way.
442
00:31:37,237 --> 00:31:39,338
When he finally reaches
the top of the building
443
00:31:39,338 --> 00:31:43,206
the action reaches a crescendo,
and he swoops in an arc
444
00:31:43,206 --> 00:31:45,207
into the arms of his sweetheart.
445
00:31:46,339 --> 00:31:49,144
The climb is a beautiful idea
on film.
446
00:32:08,184 --> 00:32:12,509
On the other side of the world,
Japan's great director, Yasujirô Ozu,
447
00:32:12,509 --> 00:32:15,270
was influenced
by the ballsy dreamer.
448
00:32:17,557 --> 00:32:21,156
The students in this film have been
working out how to cheat at exams.
449
00:32:21,361 --> 00:32:26,270
They have Harold Lloyd's
confident silliness, his man-boyishness.
450
00:32:30,053 --> 00:32:33,442
The comedies were the brightest, most
entertaining and innovative things
451
00:32:33,442 --> 00:32:35,783
to come out of
Hollywood in the '20s.
452
00:32:37,265 --> 00:32:40,820
They, and the extravagant romance
of films like The Thief of Bagdad
453
00:32:40,845 --> 00:32:44,043
in all its splendor,
its special effects and sweep,
454
00:32:44,068 --> 00:32:48,121
made Hollywood a major
export industry for America.
455
00:32:50,552 --> 00:32:55,006
But something in its very flickering,
the fact that the bauble was a fantasy,
456
00:32:55,006 --> 00:32:56,825
made it vulnerable.
457
00:32:57,687 --> 00:33:01,469
This architectural dream of Baghdad
isn't the real Baghdad of course.
458
00:33:01,625 --> 00:33:03,564
This is the real Baghdad.
459
00:33:05,732 --> 00:33:08,371
To say so can shatter
the bauble.
460
00:33:08,969 --> 00:33:11,448
Reality can break fantasy.
461
00:33:11,473 --> 00:33:13,975
And in the '20s,
462
00:33:14,000 --> 00:33:17,267
several filmmakers
already realized this.
463
00:33:19,252 --> 00:33:22,345
They wanted to show this:
real life.
464
00:33:22,347 --> 00:33:24,243
Without the costumes
and glitter.
465
00:33:24,806 --> 00:33:26,066
Non-fiction.
466
00:33:27,118 --> 00:33:31,280
In 1921, an Irish-American explorer,
Robert Flaherty,
467
00:33:31,305 --> 00:33:35,195
made the longest non-fiction film
so far in the story of film,
468
00:33:35,331 --> 00:33:36,956
Nanook of the North.
469
00:33:37,870 --> 00:33:39,160
It's set in Alaska.
470
00:33:39,270 --> 00:33:42,691
And has beautiful but conventional
scenic shots like this.
471
00:33:42,825 --> 00:33:46,045
But then it focuses on
one real Itivinuit man,
472
00:33:46,045 --> 00:33:47,882
Nanook, and his family.
473
00:33:48,645 --> 00:33:50,754
Nanook of the North
was no travelogue.
474
00:33:50,847 --> 00:33:53,480
It stared into Nanook's face.
475
00:33:53,778 --> 00:33:57,932
It was about his psychology,
his mythic struggle against the elements.
476
00:33:57,911 --> 00:34:02,136
Like Chaplin and D.W. Griffith,
Flaherty was a romantic,
477
00:34:02,136 --> 00:34:08,304
but by using non-actors, non-stars,
no Douglas Fairbanks or Garbo here.
478
00:34:09,650 --> 00:34:12,167
He made the audience
look more ethically.
479
00:34:21,524 --> 00:34:25,844
As it happens, Flaherty
staged this scene and others,
480
00:34:25,869 --> 00:34:29,687
but Nanook of the North
was a huge hit around the world.
481
00:34:31,927 --> 00:34:34,723
People had seen a real
man, a playful father
482
00:34:34,723 --> 00:34:37,128
with a sense of
humor, on screen.
483
00:34:52,293 --> 00:34:54,997
You could buy Nanook
ice cream bars.
484
00:34:55,398 --> 00:34:59,856
Nanook's death, two years later,
of starvation, made headlines.
485
00:35:03,640 --> 00:35:09,059
And so documentary, as an art form,
as a viable genre, was born.
486
00:35:12,602 --> 00:35:15,802
Documentary is often thought
of as merely information
487
00:35:15,802 --> 00:35:21,159
but in fact non-fiction cinema is amongst
the most innovative in the story of film.
488
00:35:22,790 --> 00:35:26,021
Forugh Farrokhzad's Iranian film,
The House is black,
489
00:35:26,021 --> 00:35:28,751
used beautiful tracking
shots to turn a home
490
00:35:28,751 --> 00:35:31,902
for people with leprosy
into a film poem.
491
00:35:41,712 --> 00:35:47,065
In this film essay, Sans soleil,
Chris Marker filmed real places
492
00:35:47,090 --> 00:35:48,552
in Japan and elsewhere.
493
00:35:48,713 --> 00:35:52,555
Then wrote a fictional commentary
in which an imaginary women
494
00:35:52,651 --> 00:35:55,548
quotes from made-up letters
from the filmmaker.
495
00:35:56,391 --> 00:35:59,814
He wrote: I'm just back from
Hikida, the northern island.
496
00:36:00,336 --> 00:36:03,812
Rich and hurried Japanese
take the plane, others take the ferry.
497
00:36:04,740 --> 00:36:07,214
Waiting. Immobility.
Snatches of sleep.
498
00:36:07,707 --> 00:36:11,651
Curiously all of that makes me
think of a past or future war.
499
00:36:12,206 --> 00:36:16,240
Imagined words on top
of non-fiction pictures.
500
00:36:16,568 --> 00:36:22,110
That's why I go into
so much trouble when I got back.
501
00:36:24,692 --> 00:36:29,090
'Cause I was in the mindframe
of well, just come back
502
00:36:29,115 --> 00:36:31,176
from a place where everyone
wants me dead.
503
00:36:32,511 --> 00:36:34,678
And director Brian Hill and
and poet Simon Armitage
504
00:36:34,678 --> 00:36:37,576
interviewed this man about
his war experiences,
505
00:36:37,576 --> 00:36:39,880
then turned his
words into poems,
506
00:36:39,880 --> 00:36:44,184
then had him speak the poems
to make his memories magical.
507
00:36:44,693 --> 00:36:48,479
Exit wounds or burns to the face.
You're just soft in the head.
508
00:36:50,542 --> 00:36:55,979
And the British army isn't the place
for a lying bastard or basket case.
509
00:37:00,073 --> 00:37:03,040
Watch him now.
Watch him all the time.
510
00:37:03,979 --> 00:37:07,771
In the '60s, Jørgen Leth
made this short documentary
511
00:37:07,771 --> 00:37:08,978
The perfect Human.
512
00:37:09,057 --> 00:37:11,624
In a documentary made
nearly 40 years later,
513
00:37:11,624 --> 00:37:16,404
director Lars Von Trier asked
Leth to remake the original
514
00:37:16,404 --> 00:37:22,720
five times, each time
with a startling new challenge.
515
00:37:27,907 --> 00:37:31,150
All these are innovative high
points in the story of film,
516
00:37:31,935 --> 00:37:35,543
and show that documentary
directors, from Flaherty onwards,
517
00:37:35,543 --> 00:37:37,374
were really co-directors.
518
00:37:37,687 --> 00:37:41,775
The other half of the directing team
was real life itself.
519
00:37:51,119 --> 00:37:54,467
Back in L.A. in the '20s,
maybe it was seeing documentaries
520
00:37:54,467 --> 00:37:57,280
like Nanook of the North
that led our next filmmaker
521
00:37:57,280 --> 00:38:00,915
to use realism to undermine
the Hollywood fantasy.
522
00:38:02,591 --> 00:38:06,378
A director called Erich Von Stroheim
took on the establishment.
523
00:38:07,275 --> 00:38:11,095
Here he filmed himself square on,
looming out of the dark.
524
00:38:11,197 --> 00:38:11,994
Grinning.
525
00:38:12,019 --> 00:38:13,090
Scarred.
526
00:38:13,200 --> 00:38:18,386
Eric Von Stroheim was one of
the few legitimate geniuses
527
00:38:18,386 --> 00:38:21,733
of the early silent days.
528
00:38:22,197 --> 00:38:30,699
He was a man of such vision
and he was so great a poet and an artist
529
00:38:30,724 --> 00:38:34,127
that he found nothing
but trouble in Hollywood.
530
00:38:34,127 --> 00:38:37,901
Stroheim's drive to realism
was more obsessive than Flaherty's.
531
00:38:37,981 --> 00:38:40,058
Here he even shows an actress
532
00:38:40,083 --> 00:38:42,452
how to do a simple thing
like comb her hair.
533
00:38:42,615 --> 00:38:44,439
A small detail in the scene.
534
00:38:45,415 --> 00:38:48,995
This is his gigantic fifth film,
Greed.
535
00:38:49,558 --> 00:38:51,211
The man on the right
is a dentist.
536
00:38:51,485 --> 00:38:53,100
His wife wins the lottery.
537
00:38:57,773 --> 00:39:01,535
In the original prints, the money
was hand tinted yellow.
538
00:39:07,657 --> 00:39:09,362
As she gets obsessively greedy,
539
00:39:09,362 --> 00:39:12,270
so her husband becomes
drunken and penniless.
540
00:39:12,596 --> 00:39:13,241
He beats her.
541
00:39:21,808 --> 00:39:25,014
Stroheim shows her agony,
her smallness.
542
00:39:35,813 --> 00:39:37,306
Eventually the man
murders his wife
543
00:39:37,306 --> 00:39:40,220
and, in this famous climax
shot in death valley,
544
00:39:40,220 --> 00:39:44,043
also kills a rival
who put him out of business.
545
00:39:44,670 --> 00:39:47,263
By now the yellow,
the color of money,
546
00:39:47,263 --> 00:39:49,642
has flooded the whole world
of the story.
547
00:39:55,041 --> 00:40:00,596
And, as the man is handcuffed
to the body, so he himself must perish.
548
00:40:07,162 --> 00:40:11,460
The story alone shows Stroheim's contempt
for Hollywood romance, for the bauble.
549
00:40:12,290 --> 00:40:14,153
As did his techniques.
550
00:40:14,868 --> 00:40:18,199
He shot every scene of the
novel by Frank Norris,
551
00:40:18,224 --> 00:40:19,846
on which the film was based.
552
00:40:20,252 --> 00:40:22,084
Nine months of shooting.
553
00:40:25,217 --> 00:40:28,346
Sometimes, as here,
in baking heat.
554
00:40:28,699 --> 00:40:30,599
Actors pushed to their limits.
555
00:40:30,601 --> 00:40:33,566
A budget of $1.5 million.
556
00:40:40,625 --> 00:40:43,322
The finished movie ran 7 hours.
557
00:40:43,702 --> 00:40:47,885
Stroheim was the Emile Zola
or Dostojevski of cinema.
558
00:41:03,424 --> 00:41:08,619
Cinematographer Carl [...] :
'Early in his life he was visited
559
00:41:08,619 --> 00:41:12,550
by such very great humiliation.
560
00:41:12,798 --> 00:41:18,904
Such deep, inward, psychic
wounds that there came in him
561
00:41:18,904 --> 00:41:24,981
an insane desire to use
his genius as a weapon.
562
00:41:27,321 --> 00:41:29,753
MGM hated the results.
563
00:41:29,983 --> 00:41:32,589
Stroheim's ultra-realism became
a stigma.
564
00:41:33,028 --> 00:41:35,344
He didn't get to direct
many more films.
565
00:41:35,485 --> 00:41:40,903
Here, in 1948, he returns to his home
city of Vienna to direct a film,
566
00:41:40,928 --> 00:41:42,119
but nothing came of it.
567
00:41:42,596 --> 00:41:47,477
In 1950, he saw the cut version of
Greed, and cried.
568
00:41:48,011 --> 00:41:49,976
He said that the film was dead.
569
00:41:53,143 --> 00:41:56,198
In the same year, Stroheim
played the protective butler
570
00:41:56,198 --> 00:41:58,647
in Billy Wilder's
Sunset Boulevard.
571
00:42:02,335 --> 00:42:07,308
In this famous scene, Wilder shows
fictional movie star Norma Desmond
572
00:42:07,308 --> 00:42:09,449
watching one of her old movies.
573
00:42:10,338 --> 00:42:15,700
The clip is from a sublime, extravagant
real movie from the 1920s, Queen Kelly.
574
00:42:16,493 --> 00:42:19,538
It was directed, way back then,
by none other
575
00:42:19,538 --> 00:42:22,959
than the sublime, extravagant,
Erich Von Stroheim.
576
00:42:23,111 --> 00:42:26,633
For complicated reasons the movie
never saw the light of day.
577
00:42:29,590 --> 00:42:33,082
Three years after Von Stroheim's
Greed, another MGM film
578
00:42:33,082 --> 00:42:38,219
tried to portray '20s America with far
more realism than romantic cinema.
579
00:42:39,197 --> 00:42:41,846
It became the greatest pre-Wall Street crash
580
00:42:41,846 --> 00:42:44,436
social problem picture of its time.
581
00:42:45,779 --> 00:42:49,567
The Crowd tells the story
of an ordinary New York couple.
582
00:42:50,060 --> 00:42:52,188
They have a child, but she dies.
583
00:42:53,372 --> 00:42:56,720
In this heartbreaking scene,
the father thinks his dead daughter
584
00:42:56,745 --> 00:43:00,522
is merely sleeping, and so
tries to hush street noise
585
00:43:00,522 --> 00:43:02,958
so that it won't
disturb her slumber.
586
00:43:08,723 --> 00:43:12,490
The Crowd's director,
King Vidor, met James Joyce in Paris.
587
00:43:12,667 --> 00:43:16,383
He adored D.W. Griffiths' ideasy
epic Intolerance.
588
00:43:16,705 --> 00:43:20,009
He was that rare Hollywood beast,
an intellectual.
589
00:43:21,382 --> 00:43:25,906
His films almost never feature villains,
and were written mostly by women.
590
00:43:30,336 --> 00:43:33,969
Vidor pushed realism in acting
beyond the Hollywood norm.
591
00:43:34,409 --> 00:43:38,230
Here he films the leading actress
in the crowd in static shot,
592
00:43:38,230 --> 00:43:41,554
a longish take,
no fancy clothes or set.
593
00:43:41,984 --> 00:43:44,100
Just her growing despair.
594
00:44:19,430 --> 00:44:23,474
The Crowd was the first movie
to use New York extensively as a location.
595
00:44:24,169 --> 00:44:26,040
Vidor used hidden cameras.
596
00:44:26,492 --> 00:44:30,753
He cast an unknown actor,
James Murray, instead of a star.
597
00:44:31,795 --> 00:44:34,686
To show the scale of the office
where the husband worked,
598
00:44:34,686 --> 00:44:37,434
he designed this magnificent sequence.
599
00:44:37,851 --> 00:44:43,719
An overhead studio crane shot finds
John among the other identical desks.
600
00:44:45,166 --> 00:44:50,446
Billy Wilder repeated it in The Apartment,
a bitter-sweet reworking of Vidor's film.
601
00:44:52,519 --> 00:44:55,192
We dissolve through
to Wilder's everyman,
602
00:44:55,192 --> 00:44:58,512
played by Jack Lemon
at the very center of the frame.
603
00:44:59,911 --> 00:45:03,095
And Orson Welles used the same
visual idea in The Trial,
604
00:45:03,095 --> 00:45:07,233
exaggerating it by craning
upwards and using small people,
605
00:45:07,233 --> 00:45:10,964
and even dolls, and smaller
desks in the background
606
00:45:10,964 --> 00:45:12,822
to force the perspective.
607
00:45:14,605 --> 00:45:20,436
MGM was uneasy about the crowd's refusal
to romanticize ordinary New York life.
608
00:45:20,924 --> 00:45:23,989
They made Vidor shoot
seven different endings
609
00:45:23,989 --> 00:45:26,001
in various shades of optimism.
610
00:45:26,865 --> 00:45:31,835
'They say for a studio tuned
to glamour pictures and happy endings,
611
00:45:31,860 --> 00:45:35,058
which it was for then,
and many years afterwards.
612
00:45:35,199 --> 00:45:41,002
To have a realistic picture
which put the spotlight
613
00:45:41,027 --> 00:45:44,582
on marriage
and on any kind of American life.
614
00:45:44,963 --> 00:45:47,472
And then, you can't have
a happy ending on that.
615
00:45:47,684 --> 00:45:52,231
It just wouldn't fit.
But the studio didn't know.
616
00:45:52,778 --> 00:45:55,085
They were lost.
617
00:45:55,485 --> 00:45:57,692
What sort of how to end this
picture happily?
618
00:45:58,058 --> 00:46:01,960
So we made actually seven
endings and tried it out.
619
00:46:01,985 --> 00:46:06,280
Seven previews with the various
endings and finally I came up
620
00:46:06,282 --> 00:46:09,100
with the ending where he's
lost again in the crowd
621
00:46:09,100 --> 00:46:12,321
and the camera moves
back, back, back.
622
00:46:22,665 --> 00:46:26,551
The Crowd sums up a lot
about cinema of the '20s and '30s.
623
00:46:26,798 --> 00:46:30,671
It showed mass society emerging,
it focused on the everyman,
624
00:46:30,671 --> 00:46:32,201
as French films would do.
625
00:46:32,627 --> 00:46:35,714
And showed the kinetic energy
of cities themselves.
626
00:46:35,739 --> 00:46:39,450
Their rhythms and compositions,
like the German movies
627
00:46:39,450 --> 00:46:41,802
of Fritz Lang and
Walter Ruttmann.
628
00:46:44,071 --> 00:46:46,649
And the Soviet films
of Dziga Vertov.
629
00:47:00,867 --> 00:47:05,222
In the Soviet Union itself in the '20s,
this wonderful film played
630
00:47:05,222 --> 00:47:08,666
with the rebellious idea
of realism and cities.
631
00:47:09,470 --> 00:47:15,584
We're on Mars. It's all angles,
diagonals, modernist costumes.
632
00:47:16,910 --> 00:47:23,588
This is queen Aelita. She's shown earth
for the first time and sees a city.
633
00:47:34,154 --> 00:47:35,159
A battleship.
634
00:47:40,843 --> 00:47:43,426
Then, a focus pull
to a balcony in Moscow.
635
00:47:48,826 --> 00:47:53,419
The queen has glimpsed something real,
earth, and she wants it.
636
00:48:06,582 --> 00:48:09,735
We'll get to the famous Soviet
films of the '20s soon,
637
00:48:09,735 --> 00:48:14,690
but those by this director,
Yakov Protazanov, are quite unlike them.
638
00:48:16,861 --> 00:48:19,769
Protazanov worked at the same time
as the director of this film,
639
00:48:19,769 --> 00:48:21,050
Yevgeni Bauer.
640
00:48:22,023 --> 00:48:26,654
A scholar studies in his room.
Handsome side lighting.
641
00:48:27,606 --> 00:48:31,659
The scholar's aunt arrives.
Bauer uses an open door
642
00:48:31,684 --> 00:48:33,954
to create a slit on screen,
like a Vermeer painting.
643
00:48:37,086 --> 00:48:39,552
Later, we're in the scholar's study.
644
00:48:40,549 --> 00:48:43,498
Daringly for the time,
a main source light
645
00:48:43,523 --> 00:48:46,071
is in the shot, here
in the foreground.
646
00:48:50,484 --> 00:48:51,782
Bravely natural.
647
00:48:53,353 --> 00:48:56,562
Later, the scholar sees a
beautiful actress on stage,
648
00:48:56,562 --> 00:49:02,229
then, astonishingly, gets
a letter from her, asking to meet.
649
00:49:03,774 --> 00:49:05,378
He waits for her in the snow.
650
00:49:05,625 --> 00:49:09,593
She arrives in the background of
this shot: a daring composition.
651
00:49:09,618 --> 00:49:11,510
Filmed in natural light.
652
00:49:32,570 --> 00:49:36,342
And then the actress dies
and the scholar begins to dream of her.
653
00:49:38,727 --> 00:49:42,672
Here, in a field, she walks
into a beam of intense light.
654
00:50:01,696 --> 00:50:03,869
At the end of the film,
on his deathbed,
655
00:50:03,869 --> 00:50:07,981
exhausted with lamenting,
the scholar's aunt consoles him.
656
00:50:09,722 --> 00:50:13,487
Then Bauer dissolves
from nighttime blue to black and white.
657
00:50:14,115 --> 00:50:16,550
The ghost of the actress
is in the room too.
658
00:50:16,939 --> 00:50:19,443
And so the scholar stirs
once more.
659
00:50:20,438 --> 00:50:24,057
His aunt can't see the actress
of course and becomes upset.
660
00:50:36,908 --> 00:50:39,991
Where romantic cinema
was usually optimistic,
661
00:50:40,016 --> 00:50:42,559
these early Russian films
were laments.
662
00:50:42,808 --> 00:50:45,976
Pessimistic in a way,
about the realism of grief
663
00:50:45,976 --> 00:50:48,066
and loss and longing.
664
00:51:00,956 --> 00:51:03,084
You'd think that films like
Nanook of the North
665
00:51:03,084 --> 00:51:04,950
and Greed and The crowd
666
00:51:04,950 --> 00:51:08,581
and those of Yevgeni Bauer would
be the last word in realism
667
00:51:08,581 --> 00:51:11,404
in cinema at this time, but no.
668
00:51:13,414 --> 00:51:18,493
One profoundly serious Danish filmmaker
challenged romantic and fantasy cinema
669
00:51:18,493 --> 00:51:20,966
with such deeply felt
realism that he was
670
00:51:20,966 --> 00:51:23,371
a one man reformation.
671
00:51:23,744 --> 00:51:27,093
Undercutting the emotionalism
of mainstream cinema
672
00:51:27,093 --> 00:51:29,298
with a spiritual spareness.
673
00:51:30,381 --> 00:51:33,381
Look at this scene from
The Passion of Joan of Arc.
674
00:51:36,255 --> 00:51:41,690
Joan, the 15th century French catholic girl,
who was accused of witchcraft,
675
00:51:41,715 --> 00:51:44,587
has just signed a
statement denying God,
676
00:51:44,587 --> 00:51:45,712
to save her life.
677
00:52:02,393 --> 00:52:06,150
The actress, Marie Falconetti, had
never been in a movie before,
678
00:52:06,150 --> 00:52:07,782
nor would she again.
679
00:52:09,968 --> 00:52:11,964
She's filmed only in close up.
680
00:52:13,160 --> 00:52:14,563
Wears almost no make-up.
681
00:52:14,997 --> 00:52:16,494
You can see her freckles.
682
00:52:17,072 --> 00:52:19,442
Her eyelashes are matted
with tears.
683
00:52:20,671 --> 00:52:24,523
Falconetti's hair was cropped
just before this scene was shot.
684
00:52:25,359 --> 00:52:27,210
The filming was done in silence.
685
00:52:27,519 --> 00:52:31,661
Such an atmosphere on the set
that even some of the electricians cried.
686
00:52:32,383 --> 00:52:34,077
Look at the lighting and focus.
687
00:52:34,592 --> 00:52:36,099
No depth to the image.
688
00:52:36,324 --> 00:52:37,716
Nothing in the background.
689
00:52:40,325 --> 00:52:42,373
No set or shadows.
690
00:52:43,323 --> 00:52:45,993
The walls were painted pink
to remove their glare,
691
00:52:45,993 --> 00:52:49,208
so as not to detract
from falconetti's face.
692
00:52:50,965 --> 00:52:56,123
The set designer, Hermann Warmm,
painted the shadows in Caligari.
693
00:53:00,332 --> 00:53:04,455
The film was directed in France
by a Dane, Carl Theodor Dreyer.
694
00:53:05,340 --> 00:53:08,156
He was brought up
in a strict protestant family.
695
00:53:09,874 --> 00:53:12,098
Falconetti and the others
are speaking.
696
00:53:12,964 --> 00:53:15,017
Dreyer had them say
the actual words
697
00:53:15,017 --> 00:53:18,425
that were spoken at the trial
nearly 500 years earlier.
698
00:53:18,985 --> 00:53:21,751
He thought that this gave
the scene conviction.
699
00:53:44,201 --> 00:53:46,718
The '90s maverick Lars Von Trier:
700
00:53:47,472 --> 00:53:49,465
Dreyer is fantastic.
701
00:53:51,151 --> 00:53:52,071
Why?
702
00:53:52,071 --> 00:53:56,776
He... The same thing that
he did with the décor,
703
00:53:56,801 --> 00:53:58,490
he also did with the
script, you know?
704
00:53:58,490 --> 00:54:02,848
He started with a very thick script
and then he kind of reduced and reduced.
705
00:54:03,184 --> 00:54:09,388
I don't know what he did
but it had this monumental feeling of course,
706
00:54:09,388 --> 00:54:14,326
after reducing for many years, it's
like a very good soup, you know,
707
00:54:14,351 --> 00:54:16,726
that's been reducing
for a long time.
708
00:54:18,518 --> 00:54:24,602
I don't know why he's great
but I think that goes for everybody.
709
00:54:24,602 --> 00:54:26,278
Why is Tarkovsky great?
710
00:54:26,278 --> 00:54:29,904
It's really difficult to say,
but it was, for me,
711
00:54:29,904 --> 00:54:33,225
to see his films were
kind of a revelation.
712
00:54:33,545 --> 00:54:39,924
So it's really... You should be
thankful that it's difficult to say
713
00:54:39,949 --> 00:54:43,146
why people are great,
because it's just something
714
00:54:43,171 --> 00:54:49,007
that you feel very strongly and
if you don't feel it strongly
715
00:54:49,032 --> 00:54:50,578
then they're not great.
716
00:54:52,964 --> 00:54:57,101
Dreyer was born out of wedlock,
adopted, and brought up a Lutheran.
717
00:54:57,349 --> 00:55:01,456
He lived here and went
to churches like this.
718
00:55:02,022 --> 00:55:05,195
Though he didn't believe in God,
the purity and plainness
719
00:55:05,195 --> 00:55:09,488
of Lutheran churches seemed
to have formed Dreyer's inner eye.
720
00:55:10,142 --> 00:55:13,052
He is the master
of pared down décor.
721
00:56:29,865 --> 00:56:35,777
Even in his first film, The president,
he seems to want to simplify and purify
722
00:56:35,802 --> 00:56:37,344
his images in a protestant way.
723
00:56:47,596 --> 00:56:50,535
Sets at the time
were usually cluttered, like this.
724
00:56:52,151 --> 00:56:54,606
Soon he started to film
on misty days.
725
00:56:54,689 --> 00:56:57,637
Or into the light
to soften his imagery.
726
00:56:58,107 --> 00:57:00,807
His shots became paler, whiter.
727
00:57:04,195 --> 00:57:09,117
His haunting vampire movie Vampyr,
features shadows against a white wall.
728
00:57:16,545 --> 00:57:18,827
They have a life of their own.
729
00:57:24,250 --> 00:57:28,023
And, in its famous ending, a
vampire's accomplice dies
730
00:57:28,023 --> 00:57:30,893
by suffocating in white flour.
731
00:57:33,277 --> 00:57:37,529
Dreyer's utterly spare use of
whiteness was wildly rebellious.
732
00:57:37,531 --> 00:57:40,721
Hollywood romantic cinema was
supposed to be decorative.
733
00:57:40,723 --> 00:57:41,785
Full of detail.
734
00:57:41,787 --> 00:57:43,337
Not blank.
735
00:57:45,296 --> 00:57:49,261
No other director in the story of
film cared so much about whiteness,
736
00:57:49,261 --> 00:57:52,205
its simplicity,
its spirituality.
737
00:57:53,105 --> 00:57:57,236
At the end of his film Ordet,
(The Word) a woman comes to life
738
00:57:57,236 --> 00:58:00,672
in a white, entirely
undecorated room.
739
00:58:22,428 --> 00:58:27,222
In Dreyer's last film, many years later,
a woman believes so completely
740
00:58:27,222 --> 00:58:30,382
in the power of love
that he films her as
741
00:58:30,382 --> 00:58:33,928
if through a white
scrim, as if in heaven,
742
00:58:33,953 --> 00:58:35,546
and she says this:
743
00:59:02,810 --> 00:59:05,252
Dreyer's seriousness was
deeply unfashionable
744
00:59:05,252 --> 00:59:09,643
and, so, in the '50s,
not getting his films made,
745
00:59:09,802 --> 00:59:11,478
he managed this cinema.
746
00:59:16,326 --> 00:59:20,442
The Danish film institute now
has a study center dedicated to his work.
747
00:59:44,104 --> 00:59:47,712
It's hard not to see Dreyer's
radical reduction of set and decor
748
00:59:47,712 --> 00:59:51,921
in Lars Von Trier's completely
set less film Dogville.
749
00:59:55,250 --> 00:59:56,801
750
00:59:56,826 --> 00:59:59,544
This was the opposite
of romantic Hollywood cinema.
751
00:59:59,666 --> 01:00:04,275
A million miles away from the decorative
splendor of The T hief of Bagdad.
752
01:00:06,305 --> 01:00:08,829
Martha, need I repeat,
we don't need the organ.
753
01:00:09,508 --> 01:00:12,164
We can be spiritual without singing
or reading from the Bible.
754
01:00:13,078 --> 01:00:15,466
It's almost seven.
Don't forget your bell now.
755
01:00:16,888 --> 01:00:20,484
This is the original screenplay
from Dreyer's film Joan of Arc.
756
01:00:22,430 --> 01:00:26,171
He sketched an idea for an image
in the film in the margin.
757
01:00:31,894 --> 01:00:36,160
Dreyer had purged silent cinema
of its spectacle its decoration,
758
01:00:36,160 --> 01:00:38,483
its action, its bauble.
759
01:00:38,825 --> 01:00:41,924
What was left was
a girl facing her God.
760
01:00:42,403 --> 01:00:43,614
Facing the camera.
761
01:00:44,923 --> 01:00:48,689
Years later, France's great
maverick director, Jean-Luc Godard,
762
01:00:48,689 --> 01:00:54,269
had his lover and muse, Anna Karina,
go to the cinema, in his film Vivre sa Vie.
763
01:00:54,850 --> 01:00:57,968
The film she saw was
The Passion of Joan of Arc.
764
01:01:06,511 --> 01:01:10,590
Dreyer's Scandinavian spiritualism
and fatalism was a universe away
765
01:01:10,590 --> 01:01:12,701
from this place: Hollywood.
766
01:01:13,958 --> 01:01:16,702
Escapist, romantic movies
were what most people saw
767
01:01:16,727 --> 01:01:18,726
in movie palaces like these.
768
01:01:19,241 --> 01:01:21,351
Places you'd go after
a hard day's work
769
01:01:21,351 --> 01:01:22,729
to forget your troubles.
770
01:01:22,977 --> 01:01:25,570
To see what utopia
might feel like.
771
01:01:33,718 --> 01:01:37,519
The realist directors of the '20s
hardly got a look in in these places.
772
01:01:37,939 --> 01:01:40,854
But they'd seen something
brilliant in the movies,
773
01:01:40,879 --> 01:01:45,667
the ability to capture reality
and make it splendid and moving.
774
01:01:46,796 --> 01:01:48,231
And this was just the start.
775
01:01:48,731 --> 01:01:52,722
Filmmakers in Germany, France,
Russia, Japan, and China
776
01:01:52,722 --> 01:01:55,385
would see other great things
in the filmstrip.
777
01:01:57,208 --> 01:02:03,486
Their discoveries would make the 1920s
the greatest decade in the story of film.
778
01:02:05,090 --> 01:02:09,653
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