The Movies (2019): Season 1, Episode 6 - The Golden Age - full transcript
From the 1930s through the 1950s, Hollywood studios create the most iconic and beloved films of all time, and America falls in love with the movies as stars like Bogie, Brando and Marilyn became icons.
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LET’S GO TO THE MOVIES.
FOR MORE THAN HALF A CENTURY,
THESE WORDS HAVE MEANT AN
INVITATION TO MAGIC.
THE MAGIC OF MOVING PICTURES.
THE SPINNING OF DREAMS IN A
DARKENED THEATER.
FOR THREE DECADES, THE DREAMS
WERE SILENT ONES.
THE MAGIC OF MOVEMENT ALONE.
THEN SUDDENLY, ON A NIGHT IN
OCTOBER 1927, A VOICE WAS HEARD
FROM THE SCREEN.
PROCLAIMING A FABULOUS ERA IN
HOLLYWOOD.
THE NIGHT THE MOVIES BECAME THE
TALKIES WITH THE PREMIERE OF A
JAZZ SINGER AND THE VOICE OF AL
JOLSON.
IT’S INTERESTING THE FIRST
SOUND MOTION PICTURE WAS A
MUSICAL IN WHICH AL JOLSON ONLY
SANG AND THE REASON FOR THAT IS
THEY SAID, WELL, WHO WANTS TO
HEAR ACTORS TALK.
MOST OF THE RUNNING TIME IT’S
A SILENT FILM USING TITLES WITH
AN ORCHESTRA SCORE.
EVERY ONCE IN A WHILE THE
ORCHESTRA STOPS AND JOLSON POPS
UP AND STARTS SINGING.
♪ WONDERFUL TALES ARE ALWAYS
HARD TO FIND ♪
♪ SOME FOLKS HAVE ONE
SOME FOLKS HAVE NONE ♪
JOLSON ALWAYS TALKED TO HIS
AUDIENCE.
HE WAS KNOWN FOR HIS PATTER.
AND SPECIFICALLY, HIS CATCH
PHRASE WHICH HE’D BEEN SAYING
SINCE 1906.
YOU AIN’T HEARD NOTHING YET.
WAIT A MINUTE.
YOU AIN’T HEARD NOTHING.
HE SAID THAT WHEN THEY WERE
RECORDING THE AUDIO SO THE FIRST
WORDS WE HEAR IN DIALOGUE IN A
FILM WERE, YOU AIN’T HEARD
NOTHING YET.
THE FIRST FULL TALKING
FEATURE, "LIGHTS OF NEW YORK,"
IS A VERY DULL PSEUDOGANGSTER
FILM WITH PEOPLE YOU’VE NEVER
HEARD OF SITTING AROUND A TABLE
AND A TELEPHONE IN THE MIDDLE
WHERE, OBVIOUSLY, THE MICROPHONE
EXISTS.
AND THEY’RE ALL LEANING TOWARD
IT.
TAKE HIM FOR A RIDE.
OH.
AND THE FILM CAME OUT, AND IT
JUST BLEW THE ROOF OFF.
AND NOBODY COULD FIGURE IT OUT
BECAUSE EVERYBODY KNEW IT WAS A
TERRIBLE MOVIE.
THE ONLY THING THAT COULD
POSSIBLY BE RESPONSIBLE FOR THAT
KIND OF PUBLIC RESPONSE WAS THE
FACT THAT IT WAS ALL TALKING.
SO THAT’S THE MOVIE THAT REALLY
CHANGED THE EQUATION.
ACTRESSES AND ACTORS IN THE
SILENT PERIOD HAD TO LOOK A
CERTAIN WAY.
YOU GET SOUND AND A LOT OF THOSE
PEOPLE ARE PUT OUT OF A JOB IF
THEY DON’T SOUND THE RIGHT WAY.
I DON’T MIND IF YOU CLOSE
THAT DOOR.
I LIKE THEM OPEN.
THEY’RE EASIER TO GET OUT
THROUGH.
JOHN GILL BERT WAS HAVING
TROUBLE IN SOUND AND HIS FILMS
WEREN’T MAKING MONEY.
A VERY BIG STAR.
I WAS WALKING UP AND DOWN.
MADE ONE OR TWO TALKIES.
QUIT THE BUSINESS.
THE VERY LAST SILENT FILM MGM
MADE CALLED "THE KISS" WAS A
GRETA GARBO FILM.
THEY WERE AFRAID THEIR BIGGEST
STAR WOULD LOSE THEIR AUDIENCE
WHEN THEY HEARD HER SPEAK WITH
HER SWEDISH ACCENT.
IT WAS CALLED ANNA CHRISTIE AND
GARBO TALKS WAS THE TAG LINE.
EVERYONE WAS EXCITED TO HEAR
WHAT SHE’D SOUND LIKE, AND SHE
DIDN’T DISAPPOINT.
IF YOU LOOK AT THAT FAMOUS SCENE
IN THE BARKS THERE’S A GOOD 20
SECONDS OF NO MUSIC, NO
DIALOGUE, NO NOTHING, AND IT
REALLY BUILDS THE SUSPENSE.
GIVE ME A WHISKEY.
GIVE ME A WHISKEY, BABY.
GRETA GARBO WAS FULL OF
MYSTERY AND BEAUTY AND TALENT.
SHE JUST DIDN’T TRY SO MUCH.
YOU KNOW WHAT I MEAN?
SHE WAS COOL.
♪
MGM WAS SORT OF LIKE THE
HARVARD OF HOLLYWOOD.
IT WAS THE PLACE THAT EVERY STAR
WANTED TO GRADUATE TO.
IT HAD GARBO.
IT HAD GABEL, SPENCER TRACY.
IT OFFERED TO THE PUBLIC A SENSE
OF ESCAPE INTO A WORLD OF CLASS
AND REFINEMENT.
ON THE OTHER HAND, UNIVERSAL
PICTURES WAS CONSTANTLY ON THE
FINANCIAL SHOALS THROUGHOUT THE
1930s.
THEY COULDN’T AFFORD MOVIE
STARS.
AND THE STRATEGY IS FINALLY
SETTLED ON WAS MAKING HORROR
MOVIES.
I AM DRACULA.
THE UNIVERSAL HORROR MOVIES
ARE PRIMAL.
THEY JUST DRIPING WITH
ATMOSPHERE.
LOOK AT DRACULA.
THE LOOK OF IT IS PART OF THE
ENERGY OF IT.
PART OF THE CHARACTER.
IT’S PART OF THE VIBE.
THE SPIDER IS SPINNING HIS
WEB FOR THE FLY.
THE BLOOD IS DELIGHT.
I LOVE DRACULA.
IT GETS BETTER EVERY TIME I
WATCH IT.
LEGOSI IS ACTING ON THIS OTHER
LEVEL.
THE WHOLE PACE OF THE SCENE
REVOLVES AROUND HIM.
HE SUCKS ALL THE AIR OUT OF THE
ROOM IN A GOOD WAY.
WHEN "DRACULA" BECAME SUCH A
BOX OFFICE HIT, THEY WENT, OH,
THAT WORKED.
WHAT ELSE IS OUT THERE?
IN THE NAME OF GOD - -
I KNOW WHAT IT FEELS LIKE TO
BE GOD.
IT WAS JAMES WELLS’
"FRANKENSTEIN" THAT MADE ME WANT
TO MAKE MOVIES.
I REMEMBER SEEING THE BURNING
WINDMILL SEQUENCE.
I WAS 6 YEARS OLD.
AND FROM THAT POINT OIN, I WANTE
TO MAKE FILMS.
THE BRIDE OF FRANKENSTEIN.
EVERYBODY MADE HORROR
PICTURES BUT WHAT WAS UNIQUE
ABOUT UNIVERSAL’S WAS THE CARE
WITH WHICH THEY WERE MADE, PLUS,
THEY MADE A LOT AND HAD BIG
SUCCESS.
A LITTLE BIT OF AN UNDERDOG
STUDIO.
AND THEN DAVID SELSNIK CAME IN
AND HAD A REAL SENSE OF WHAT
AUDIENCES WANTED AND GAVE THEM
"KING KONG."
"KING KONG" WAS ONE OF MY
EARLY TRAUMATIC EXPERIENCES AT
THE MOVIES.
I REMEMBER CLOSING ALL OF MY
BLINDS IN OUR HOUSE BECAUSE OF
THE ONE SCENE WHERE KING KONG
LOOKS INTO THE WINDOW AND FINDS
FAYE RAY AND HIS HAND COMES IN
AND ABDUCTS HER.
WATCHING "KING KONG" WHEN I WAS
A KID WAS AN AMAZING EXPERIENCE.
IF YOU’VE EVER BEEN AROUND A
STOP-MOTION PUPPET AND MOVED IT
ONE FRAME AT A TIME, THERE’S
SOMETHING QUITE MAGICAL ABOUT
THAT.
THAT’S WHY THAT FORM OF
ANIMATION HAS ALWAYS BEEN SO
INSPIRATIONAL TO ME.
DO YOU KNOW WHO SNUCK INTO MY
STATE ROOM AT 3:00?
NOBODY.
THAT’S THE PROBLEM.
THE MARX BROTHERS CHANGED
AMERICAN HUMOR.
THE JOKES WERE LIKE HITTING.
AND THEY STILL HIT.
YOU WATCH THEM OVER GENERATIONS.
THE STUFF IS REALLY STILL THAT
FUNNY.
GROUCHO IS LIKE THE SMART
COMEDY.
CHICO IS THE DUMB COMEDY.
IT’S LIKE SUCH A GREAT VARIETY
PACK.
THIS WAS ESCAPISM FOR
DEPRESSION-ERA AUDIENCES.
ALMOST ALL OF THEIR FILMS ARE
ABOUT THIS GROUP OF WORKING
CLASS COMEDIANS TAKING ON AN
INSTITUTION OF GREAT DIGNITY AND
RESPECT.
THE ART WORLD AND ANIMAL
CRACKERS, UNIVERSITY IN HORSE
FEATHERS.
AN OPERA HOUSE IN "A NIGHT AT
THE OPERA," THE ENTIRE SYSTEM OF
GOVERNMENT IN "DUCK SOUP."
♪ WE’RE IN THE MONEY
WE’RE IN THE MONEY ♪
WE’VE GOT A LOT OF WHAT IT TAKES
TO GET ALONG ♪
TOTALLY A FAN.
HIS WARNER BROTHERS MUSICALS
WERE THE BEST.
THEY WERE REAL.
THEY WERE ABOUT WOMEN WORKING
AND SHOW BUSINESS, TRYING TO GET
A JOB DURING THE DEPRESSION.
REMEMBER MY FORGOTTEN MAN?
ONE OF THE MOST INCREDIBLE
NUMBERS IS "REMEMBER MY
FORGOTTEN MAN" WITH JOAN
BLONDELL.
IT’S JUST HEARTBREAKING WITH ALL
THE SOLDIERS ON THE BIG ARCHWAY,
AND IT’S JUST BRILLIANT.
BUSBY BIRKLEY JUST BLEW PEOPLE’S
MINDS.
HE TURNED MUSICAL FROM THIS
BLACK FACING DANCE NUMBER TO A
KALEIDOSCOPE.
HE ACTUALLY BUILT SPECIAL HOLES
IN THE SOUND STAGE TO REALLY
FILM DOWN.
BUS BERKELEY KNEW IT WAS A
MEDIUM.
THEY’D HAVE THE SETS MOVE WITH
THE CHOREOGRAPHY.
IT’S AMAZING.
♪ NOTHING’S IMPOSSIBLE I HAVE
FOUND ♪
WHEN MY CHIN IS ON THE GROUND
I PICK MYSELF UP
DUST MYSELF OFF AND START ALL
OVER AGAIN ♪
MY FATHER WAS UNDER CONTRACT
AT RKO, AND THEY ASKED HIM TO
MAKE A MUSICAL.
I THINK WHAT HE BROUGHT TO A
STAIR IN ROGERS WAS A
BELIEVABILITY.
♪ START ALL OVER AGAIN ♪
SEEING THAT FILM DURING THE
DEPRESSION WHERE PEOPLE ARE
SURROUNDED BY HOPELESSNESS WHEN
THEY SEE THIS BUOYANT AND
BRILLIANT AND COMIC NUMBER THAT
WOULD HAVE BEEN THE MOST
SATISFYING EXPERIENCE.
PICK YOURSELF UP.
THE HABTS OF MOVIE GOING IN
THE ’30s WERE DIFFERENT FROM
TODAY.
THEY DIDN’T JUST COME FOR ONE
PICTURE.
THERE WAS A B PICTURE, A NEWS
REEL, A SHORT AND A CARTOON.
WALT DISNEY WHO CREATED MICKEY
MOUSE, HE WAS A VISIONARY.
AND HE GOT THIS IDEA, MAYBE I’LL
MAKE A FEATURE LENGTH CARTOON.
NO ONE EVER THOUGHT ABOUT THIS.
THEY THOUGHT HE WAS OUT OF HIS
MIND.
NO ONE HAD EVER ATTEMPTED
THIS BEFORE.
AND THE ATTEMPT IS DIFFICULT FOR
US TO UNDERSTAND BECAUSE IT
ISN’T JUST MAKING FEATURE
ANIMATION.
IT IS TO SEE IF AN AUDIENCE
WOULD CARE ABOUT DRAWINGS.
"SNOW WHITE" IS BASED ON A
EUROPEAN FAIRYTALE, BUT IT’S NOT
A CHILDREN’S PICTURE.
IT WAS INTENDED FOR A MIXED
AUDIENCE OF ADULTS AND KIDS.
GOOD-BYE.
GOOD-BYE.
WALT WAS NOT AFRAID TO HAVE
DRAMATIC POWER.
I CAN’T DO IT.
HE WAS NOT AFRAID TO GO
THERE.
NOT AFRAID TO HAVE SCENES THAT
WOULD BE SCARY, TRAUMATIC EVEN.
PEOPLE WERE SHOCKED TO FIND
OUT THAT THEY WERE GENUINELY
AFRAID IN THE SCARY PARTS AND
GENUINELY MOVED WHEN SNOW WHITE
IS UNDER THE SLEEPING DEATH
BECAUSE OF THE TENDERNESS OF THE
ANIMATION.
GROWN ADULTS WEPT AT THE
PREMIERE.
SO DISNEY DID EVERYTHING THAT
THEY SAID COULDN’T BE DONE.
IT WAS A GIANT HIT.
WAY SURPASSED EXPECTATIONS AND
ALLOWED WALT TO REALLY BUILD THE
STUDIO.
EVERY ANIMATED FEATURE WE
HAVE TODAY, IT ALL STEMS FROM
"SNOW WHITE." WITHOUT "SNOW
WHITE" NONE OF THIS WOULD EXIST.
RED, THIS CAN’T GO ON.
WHY?
I LOVE MY WIFE.
I’VE NEVER LOVED ANYBODY ELSE.
WE’VE BEEN SWEETHEARTS SINCE WE
WERE KIDS.
BUT SHE DOESN’T NEED TO KNOW
ABOUT US.
BETWEEN 1930 AND 193 4,
FILMMAKERS WERE FREE TO EXPLORE
SUBJECTS LIKE SEX AND VIOLENCE.
WHAT YOU GET IS SOME FASCINATING
FEMALE CHARACTERS WHO WERE
SEXUALLY LIBERATED.
IT’S QUITE SHOCKING TO SEE WHAT
THEY WERE ABLE TO GET AWAY WITH.
I ALWAYS DID LIKE A MAN IN
UNIFORM.
THAT ONE FITS YOU GRAND.
WHY DON’T YOU COME AND SEE ME
SOME TIME.
MAE WEST WAS NOT AFRAID TO
OWN HER STATUS AS A SEX SYMBOL.
SHE WAS INCREDIBLY INTELLIGENT
AND WROTE ALL HER OWN FILMS.
SHE STARRED WITH CARY GRANT.
SHE LOVED HIS VOICE.
THAT HELPED HIM TO BECOME A
LEADING MAN.
TONIGHT YOU WERE ESPECIALLY
GOOD.
WHEN I’M GOOD, I’M VERY GOOD.
BUT WHEN I’M BAD, I’M BETTER.
HER FILMS WERE INCREDIBLY
SUCCESSFUL, BUT THE CATHOLIC
LEGION OF DECENCY, THE MORAL
GROUPS WERE NOT HAPPY AT ALL.
THEY WERE PETITIONING THE
GOVERNMENT TO STEP IN AND START
ENFORCING CENSORSHIP IF THE
STUDIOS DIDN’T DO IT THEMSELVES.
HOLLYWOOD IS TRYING TO FIGURE
OUT HOW TO DEAL WITH THE
PRESSURE THEY’RE GETTING BECAUSE
OF MAE WEST.
BECAUSE OF ALL OF THESE EARLY
GANGSTER FILMS LIKE "LITTLE
SEGAR" AND "PUBLIC ENEMY" AND
"SCARFACE."
WHAT’S GOING TO HAPPEN AS A
RESULT IS HOLLYWOOD WOULD CREATE
THE CODE ADMINISTRATION IN ’34
TO REIGN IT IN.
WHAT THIS COUNTRY NEEDS MORE
THAN A GOOD FIVE-CENT CIGAR IS
CLEAN ROLLICKING COMEDY.
NEXT TIME YOU DROP IN, BRING
YOUR FOLKS.
THE 1934, THE BEGINNINGS OF
THE SCREWBALL COMEDY COME UP.
IT HAPPENED ONE NIGHT.
PITS CLARK GABLE AGAINST CLAUDET
COLBERT.
A SPOILED HEIRESS WHO HAS RUN
AWAY FROM HER DAD.
WHEN YOU GET THE CODE WHICH
MAKES IT IMPOSSIBLE TO SHOW
PEOPLE IN BED TOGETHER, YOU HAVE
TO INVENT.
YOU’LL NOT GIVE UP ON SEX BUT
YOU HAVE TO TALK AROUND IT.
YOU CREATE AN INTRIGUE.
IT CREATED BANTER.
THAT, I SUPPOSE, MAKES
EVERYTHING QUITE ALL RIGHT.
OH, THIS?
WELL, I LIKE PRIVACY WHEN I
RETIRE.
I’M VERY DELICATE IN THAT
RESPECT.
PRYING EYES ANNOY ME.
"IT HAPPENED ONE NIGHT" IS
GENIUS.
THE WALLS OF JERICHO SCENE SAY
CLASSIC FOR ANYONE THAT WANTS TO
DIRECT ROMANTSIC COMEDIES.
THE WALLS OF JERICHO WILL
PROTECT YOU FROM THE BIG, BAD
WOLF.
IT PUSHED HIM TO CREATE AN
EVEN BETTER, IN MANY WAYS,
SEXIER SCENE.
IT HAPPENED ONE NIGHT WAS SO
SUCCESSFUL WINNING FIVE ACADEMY
AWARDS.
ALL THE MAJOR CALIFORNIAS AND IT
KICKED OFF THE WHOLE IDEA THAT
WE SHOULD ALL BE MAKING
SCREWBALL COMEDIES.
CAN’T BE SEEN TALKING TO THIS
MAN.
WHAT WILL THEY THINK?
GODFREY IS GOING TO BE OUR
BUTLER.
THEY WERE PARTICULARLY
POPULAR IN THE ’30s BECAUSE OF
THE DEPRESSION.
YOU SAW GENERALLY WEALTHY
PEOPLE, OR PEOPLE WELL OFF
MAKING FOOLS OF THEMSELVES.
JUST LEAVE EVERYTHING TO
GODFREY.
THE PHRASE SCREWBALL CAME
FROM A REVIEW IN "VARIETY" OF
CAROLE LOMBARD’S SCREWBALL
PERFORMANCE IN "MY MAN GODFREY."
FORGET THAT YOU HAVE ANY
SENSE.
GODFREY, DON’T GO AWAY.
OH, YOU - - NOW I KNOW YOU LOVE
ME.
I DO NOT LOVE YOU AND YOU’RE
GETTING ME ALL WET.
WHAT’S THE MEANING OF THIS?
GODFREY LOVES ME.
HE PUT ME IN THE SHOWER.
SHE WAS EXTRAORDINARY.
SHE PLAYED A LOT OF KUKINESS BUT
SHE HAD LOGIC TO HER HUMOR.
YOUR TIMING CAN’T BE LIKE THAT
UNLESS YOU’RE VERY, VERY CLEVER.
THE TRICK WAS THAT THE
LEADING CHARACTERS DID
SLAPSTICK.
ONE OF MY FAVORITES IS "THE
AWFUL TRUTH."
♪
IT WAS KIND OF THE FIRST REAL
CARY GRANT PERFORMANCE.
WHAT IS THE MATTER WITH YOU?
THE FOLLOWING YEAR HE DID
"BRINGING UP BABY."
THE EPITOME OF SCREWBALL COMEDY.
DISCOVERING THE ROMANTIC
COMEDIES OF THE ’30s AND ’40s,
THAT REALLY TOOK OVER MY LIFE
FOR A LONG TIME.
THE "PHILADELPHIA STORY" IS ONE
OF MY ALL-TIME FAVORITES.
HELLO.
FANCY SEEING YOU.
THREE OF THE MOST IMPECCABLE
ACTORS IN A MOVIE TOGETHER.
CINDERELLA’S SLIPPER.
IT’S CALLHAMPAGNE.
IT’S A GREAT LEVELLER.
JIMMY STEWART’S DRUNKEN SCENE
IS ONE OF THE ALL-TIME GREAT
DRUNKEN PERFORMANCES.
HE’S JUST SO CONVINCING.
AND IT’S JUST SO FUNNY AND
BEAUTIFUL AND YOU ROOT FOR THIS
ONE AND THEN YOU ROOT FOR THAT
ONE.
IT GIVES YOU EVERYTHING YOU
COULD EVER WANT FROM A MOVIE.
I KNOW YOU ANY TIME, ANY
PLACE.
ANYWHERE.
YOU’RE REPEATING YOURSELF.
THAT’S THE SPEECH YOU MADE THE
NIGHT ROWYOU PROPOSED.
OF COURSE I REMEMBER IT.
IF I DIDN’T REMEMBER YOU, I’D
HAVE DIVORCED YOU.
MORE WORDS PER SQUARE INCH IN
"HIS GIRL FRIDAY."
I IMAGINE THE SCRIPT IS PROBABLY
THAT THICK AND ROSLYN RUSSELL
CLEARLY WAS THE BEST AT IT.
LISTEN, WALTZER - -
I MADE A GREAT REPORTER OUFTS
YOU - -
YOU WON’T BE - -
♪
MANY OF THESE FILMS THAT YOU
GET IN HOLLYWOOD IN THE ’30s
SHOWCASE SOME OF THE TOP BLACK
PERFORMERS OF THAT ERA.
SO YOU GET THE NICHOLAS
BROTHERS, FOR INSTANCE, OR BILL
BOROBINSON.
MANY PEOPLE FOUND THEM
ENTERTAINING BUT THESE BLACK
CHARACTERS WERE OFTEN
STEREOTYPICAL AND PROBLEMATIC.
♪ HALLELUJAH ♪
HATTIE McDANIEL WAS KNOWN FOR
PLAYING MAMIE-TYPE ROLES.
YOU KNOW, I’VE BEEN UNDER THE
IMPRESSION THAT YOU IS A ONE-MAN
WOMAN.
I AM.
ONE MAN AT A TIME.
FIGURES LIKE THE NANNY WERE
REALLY RACIAL CARICATURES.
WHAT A MAMIE ON THE PLANTATION
WOULD HAVE BEEN.
THEY DON’T HAVE MUCH AGENCY.
THEY EXIST AS THE BACKDROP FOR
THE NARRATIVE WORLD THAT THE
WHITE CHARACTERS LIVE IN.
TRY AND FIND OUT WHAT HE
WANTS.
THOSE IMAGES WERE DAMAGING
BUT SHE DIDN’T CREATE THEM.
THEY WERE CREATED BY THE WHITE
PEOPLE WHO CONTROL HOLLYWOOD.
I BELIEVE YOU’RE THE LAZYIEST
MAN THAT EVER LIVED ON THIS
RIVER.
THAT’S SAYING A WHOLE LOT.
PAUL ROBESON WAS ALWAYS
BIGGER THAN THE MATERIAL HE WAS
GIVEN.
♪ OLD MAN RIVER ♪
♪ THAT OLD MAN RIVER ♪
IN "SHOW BOAT" HE WAS ABLE TO
CHANGE "OLD MAN RIVER" INTO
SOMETHING MUCH MORE COMPLEX AND
ULTIMATELY MUCH MORE CRITICAL OF
THE RACISM THAT CHARACTER IS
EXPERIENCING.
♪
♪ AND YOU’LL LAND IN JAIL ♪
OSCAR MICHELLE WAS ONE OF THE
PIONEERS OF AFRICAN-AMERICAN
CINEMA.
HE WAS PART OF A GENRE KNOWN AS
THE RACE FILM.
AND RACE FILMS WERE MADE SINCE
THE BEGINNING OF THE BIRTH FILM,
BY BLACK FILMMAKERS FOR BLACK
AUDIENCES.
IN THE VERY EARLY DAYS OF
CINEMA, IT’S EASIER, NOT ONLY
FOR AFRICAN-AMERICANS, BUT ALSO
FOR WOMEN TO GET INTO THE
INDUSTRY.
IT WAS CONSIDERED THE NORM TO
HAVE WOMEN IN ALL LEVELS OF
HOLLYWOOD.
THEY WERE DRCTSIRECTORS.
HALF OF ALL FILMS WRITTEN
BETWEEN 1912 AND 1921 WERE
WRITTEN BY WOMEN.
WE AIN’T TELLING NOBODY UNTIL
WE GET READY TO MAKE THE BREAK
OUTSIDE OF YOU.
"THE BIG HOUSE" WAS ONE OF
TWO FILMS THAT FRANCIS MARION
WON HER OSCARS FOR.
THE OTHER FILM, OF COURSE, IS
"THE CHAMP."
I THINK THAT’S ENOUGH FOR
TODAY, DON’T YOU?
SHE WAS INCREDIBLY PROLIFIC.
SHE HAS A HUGE FILMOGRAPHY.
SHE MADE FILMS IN GENRES YOU
MIGHT THINK OF AS MASCULINE.
AS THE FILM INDUSTRY
CONSOLIDATED INTO STUDIOS, BOTH
WOMEN AND AFRICAN-AMERICANS ARE
BEING PUSHED OUT AS SHAPERS BILL
MAKERS.
AND A STUDIO SYSTEM THAT’S
ORGANIZED AROUND STARS AND WOMEN
BECOME THE OBJECTS OF THAT
COMODIFICATION.
WHEN YOU HAVE SOMEONE LIKE
MARLENA DIETRICH COME FROM
GERMANY, SHE HAS TO REPRESENT
THE EXOTIC, THE OTHER, THE
UNKNOWN.
♪
HER GREAT APPEAL IS HER FABULOUS
ANDROGENY.
EVERYBODY SEEMS TO LIKE THAT
ABOUT HER.
SHE’S PLAYING A CABARET
SINGER DRESSED IN A TOP HAT AND
TAILS WHICH HAD BECOME AN ICONIC
OUTFIT SHE WORE IN PERFORMANCES
FOR THE REST OF HER LIFE.
SHE TAKES THIS YOUNG WOMAN FROM
THE AUDIENCE AND GIVES THE WOMAN
A KISS RIGHT ON THE LIPS.
PARTICULARLY IN THE FILMS SHE
MADE, MOROCCO, BLOND VENUS, THE
DEVIL IS A WOMAN," ALMOST
NOTHING HAPPENED IN THESE
MOVIES.
THEY WERE NONNARRATIVE.
JUST STAGING THIS SPECTACLE OF
DESIRE AND BEAUTY.
IN THE 1930s, IT WAS
ESTIMATED THAT ABOUT 70% OF A
MOVIE-GOING AUDIENCE WAS FEMALE.
AND THE MORE WOMEN IN THE
AUDIENCE YOU GET, THE MORE THEY
CRAVE STRONG FEMALE CHARACTERS.
THESE FEMALE MOVIE STARS
REALLY RULED THE BOX OFFICE.
AND OFTEN WERE GETTING PAID MUCH
MORE THAN THEIR MALE
COUNTERPARTS.
WOULDN’T YOU LIKE SOMEONE TO
BE IN LOVE WITH YOU?
YES, GABRIELLE.
I WOULD LIKE SOMEONE IN LOVE
WITH ME.
DO YOU THINK I’M ATTRACTIVE?
THERE ARE BETTER WORDS THAN
THAT FOR WHAT YOU ARE.
ALTHOUGH IT MAY SEEM ABSURD
TO US IN HER TIME, BETTE DAVIS
WAS CONSIDERED NOT PRETTY.
SHE HAD THIS SORT OF UNUSUAL
FACE WITH THE SLIGHTLY
PROTRUDING EYES BUT SO LITTLE
VANITY AS AN ACTRESS AND UTTER
OPENNESS TO PLAYING UNLIKABLE
CHARACTERS.
HERE SHE WAS A YOUNG ACTRESS
TRYING TO ESTABLISH HERSELF AS A
STAR.
AND SHE INSISTS ON DOING OF
HUMAN BONDAGE, WHERE SHE PLAYS
THE WORST PERSON WHO EVER LIVED.
I NEVER CARED FOR YOU NOT
ONCE.
I WAS ALWAYS MAKING A FOOL OF
YOU.
YOU BORED ME STIFF.
I HATED YA.
IT MADE ME SICK WHEN I HAD TO
LET YOU KISS ME.
I ONLY DID IT BECAUSE YOU BEGGED
ME.
YOU HOUNDED ME AND DROVE ME
CRAZY.
AND AFTER YOU KISSED ME, I
ALWAYS USED TO WIPE MY MOUTH.
WIPE MY MOUTH!
BETTE DAVIS GIVES THIS
INCREDIBLE PERFORMANCE IN "OF
HUMAN BONDAGE."
DOESN’T EVEN GET NOMINATED.
SO THE NEXT YEAR SHE WINS FOR
"DANGEROUS" AND THAT’S SORT OF
CONSIDERED ONE OF THE FIRST
CONSOLATION PRIZE OSCARS.
EVERYBODY REALIZES WE SHOULD
HAVE GIVEN IT TO YOU LAST YEAR.
SHE BECOMES THE FIRST ACTRESS TO
GET FIVE BEST ACTRESS
NOMINATIONS IN A ROW.
SHE IS MERYL STREEP OF THE
PRE-WORLD WAR II PERIOD,
BASICALLY.
THE WOMEN’S PICTURE WAS A
REALLY GREAT ALMOST GENRE OF
FILMS THAT LASTED FROM 1930
THROUGH THE 1950s.
IT ENCOMPASSED SO MANY DIFFERENT
GENRES WITHIN, BUT IT ALWAYS HAD
A WOMAN AT THE CENTER OF IT.
MAY I SUGGEST IF YOU ARE
DRESSING TO PLEASE STEVEN NOT
THAT ONE.
HE DOESN’T LIKE SUCH OBVIOUS
EFFECTS.
THANKS FOR THE TIP.
BUT WHEN ANYTHING I WEAR DOESN’T
PLEASE STEVEN, I TAKE IT OFF.
LOOK AT THE WOMEN AS SORT OF
THE APOTHIOSIS OF THE GENRE.
THERE WERE NO MEN IN THIS MOVIE.
NOT ONE SINGLE MAN IN THE FILM.
AND THEY MADE A HIT.
THERE’S A NAME FOR YOU
LADIES.
BUT IT IS NEWS IN HIGH SOCIETY,
OUTSIDE OF A KENNEL.
♪
MY MOTHER WAS TRULY A STAGE
MOTHER.
BUT A MEAN ONE.
I DIDN’T FEEL GOOD IF I WAS
SICK TO MY TUMMY.
GET OUT AND SING OR I’LL WRAP
YOU AROUND THE BED POST AND
BREAK YOU OFF SHORT.
SO I’D GO OUT AND SING ♪.
♪ SOMEWHERE OVER THE RAINBOW
WAY UP HIGH ♪
ONE OF THE PRECEPTS FOR A
STORY MUSICAL IS THAT THE SONG
HAS TO ADVANCE THE STORY.
A SONG LIKE "SOMEWHERE OVER THE
RAINBOW."
ALL THAT LONGING.
YOU KNOW THAT SHE’S GOT TO GO ON
A JOURNEY AFTER SHE SINGS A SONG
LIKE THAT.
AND THEN ALL OF A SUDDEN, SHE
GETS TO GO SOME PLACE ELSE.
SHE’S TAKEN UP BY A TORNADO AND
LANDS IN THIS MAGICAL WORLD.
SHE DOESN’T KNOW THAT SHE’S IN
ANOTHER WORLD UNTIL SHE OPENS
THAT DOOR AND IT IS IN BEAUTIFUL
COLOR.
YOU CAN’T THINK ABOUT THE
WIZARD OF OZ WITHOUT THINKING
ABOUT THE YELLOW BRICK ROAD.
THREE-STRIP TECHNICOLOR WHICH
HAD COLORS AMAZINGLY VIVID.
BECAUSE IT WAS A FANTASY, THE
COLORS DIDN’T HAVE TO BE
REALISTIC BUT VERY ALIVE AND
EXCITING.
THIS WAS ENTERTAINMENT THAT
PEOPLE HADN’T SEEN BEFORE.
♪ WE’RE OFF TO SEE THE WIZARD
THE WONDERFUL WIZARD OF OZ ♪
IT’S ASTONISHING WHAT THEY
WERE ABLE TO DO AND HOW POIGNANT
ALL OF THOSE PERFORMANCES ARE.
DON’T YOU THINK THE WIZARD
COULD HELP HIM, TOO?
I DON’T SEE WHY NOT.
JACK HALEY, RAY BOLGER AND
BRETT LAHR BROUGHT POIGNANCY TO
THESE CHARACTERS.
CLOSE YOUR EYES AND TAP YOUR
HEELS TOGETHER THREE TIMES.
IT WAS THE GREATEST
CHILDREN’S FILM OF ALL TIME THAT
PEOPLE CONSTANTLY RELATE TO.
THE IDEA OF LEAVING HOME AND
FINDING HOME AGAIN.
OH, AUNTIE EM, THERE’S NO
PLACE LIKE HOME.
"STAGE COACH" WAS ONE OF THE
DEFINING FILMS OF THE WESTERN
GENRE.
FORD BEGINS TO TURN AROUND THE
IDEA OF THE WESTERN AS A GOOD
HAT/BAD HAT INTO SOMETHING MORE
INTERESTING IN WHICH YOU’VE GOT
A REALLY UNIQUE AND DAMAGED SET
OF CHARACTERS.
YOU MUST WARN YOUR PASSENGERS
THEY TRAVEL AT THEIR OWN RISK.
THEIR OWN RISK?
WHAT’S THE PROBLEM?
GERONIMO.
GERONIMO?
WILL YOU SIT DOWN.
INSIDE THE STAGE COAST, EACH
PERSON IS ARCHETYPE.
THE SCARLET WOMAN WHO WAS ONCE A
GOOD PERSON BUT HAS CROSSED A
LINE.
THE GAMBLER, THE DRUNKEN DOCTOR.
THEY’RE ALL THROWN TOGETHER AND
HAVE TO STAY ALIVE, AND THEY
HAVE TO LEARN TO APPRECIATE THE
BEST IN EACH OTHER.
THE CAMERA RUSHES IN INTO
JOHN WAYNE’S FACE.
AND YOU CAN SEE A BEAD OF SWEAT
RUNNING DOWN HIS CHECK.
HELLO, CURLY.
YOU DON’T DO THAT SHOT IF
THAT ACTOR CAN’T DELIVER AS A
MOVIE STAR, AND HE DOES.
THEY USED TO SAY BEFORE THEY
MADE HIM A STAR BY NOT LETTING
HIM TALK.
BY JUST SHOWING HIS REACTIONS.
WHICH IS SOMEWHAT TRUE.
WAYNE SAID TO ME ONCE, I’M NOT
AN ACTION ACTOR.
I’M A REACTION ACTOR.
JOHN WAYNE HAS NEVER GOTTEN
ENOUGH CREDIT FOR BEING THE
GREAT ACTOR HE WAS.
THANKS.
THAT’S ALL I WANTED TO KNOW.
HE HAD A STYLE UNLIKE ANY
OTHER ACTOR BEFORE HIM OR AFTER
HIM.
♪
IN TERMS OF THE ACTION, THAT
WAS INCREDIBLE AT THAT TIME.
IT STILL IS PRETTY AMAZING.
THE APACHE THAT JUMPS ON THE
HORSE AND HE’S SHOT.
HE HAS TO RIDE UNDERNEATH IT.
THAT WAS ALL DONE IN REALTIME.
THIS HAD TO BE CAREFULLY
CHOREOGRAPHED.
VERY SOPHISTICATED.
"STAGECOACH" CAME OUT IN
1939, WHICH IS STILL CONSIDERED
THE GREATEST YEAR FOR FILM THAT
EVER WAS.
LOOK, LOOK, THERE IT IS.
BOOM.
WHAT?
CAPITOL DOME.
YES, SIR.
BIG AS LIFE.
BEEN THERE A LONG TIME NOW.
YES, SIR.
THIS WAY, SENATOR.
"MR. SMITH GOES TO
WASHINGTON" IS POLITICAL PARABLE
ABOUT AN IDEALISTIC YOUNG MAN
PLAYED BY JIMMY STEWART.
HE GETS TO WASHINGTON, AND HE
FINDS THIS KIND OF CORRUPT
MACHINE THAT WE FEAR IS GOING TO
EAT HIM UP.
THIS IS A MAN’S WORLD.
IT’S A BRUTAL WORLD, AND YOU
HAVE NO PLACE IN IT.
YOU’LL ONLY GET HURT.
"MR. SMITH GOES TO
WASHINGTON" IS PROBABLY MY FIRST
MOVIE.
HE WAS AN IMMIGRANT.
AND HE HATED THE IDEA OF BIG
GOVERNMENT STEAM-ROLLING THE
REGULAR CITIZEN.
I’M GOING TO STAY RIGHT HERE
AND FIGHT FOR THIS LOST CAUSE,
EVEN IF THIS ROOM GETS FILLED
WITH LIES LIKE THESE.
THIS FILM IS A PERFECT
EXAMPLE OF HOW IN AMERICA AN
INDIVIDUAL CAN MAKE A
DIFFERENCE.
IT’S THE TALLEST BUILDING IN
THE WORLD.
YOU CAN’T MISS THAT.
1939 IS ALSO THE YEAR THAT
NINOTHCHK WAS MADE.
’39 STANDS OUT BECAUSE IT HAS
SO MANY LANDMARK MOVIES THAT
HAVE WITHSTOOD THE TEST OF TIME
AND ARE TAUGHT AND REFERRED TO
OVER AND OVER.
MAYBE IT’S A CULMINATION.
MAYBE IT’S A FLUKE.
BUT THE SHEER NUMBER OF
MEMORABLE FILMS EVERYONE KNOWS
AND LOVES THAT CAME OUT OF THIS
YEAR IS REMARKABLE.
♪
THESE DAYS, EVERYTHING IS
CALL AN EPIC.
"GONE WITH THE WIND" WAS AN EPIC
BECAUSE IT SHOWS YOU THE
POSSIBILITY OF FILM.
IT IS A SPECTACLE.
HERE IS THE CIVIL WAR AND ALL OF
ITS HORROR AND ITS SIZE.
THIS HUGE PULLBACK SCENE OF
WOUNDED SOUTHERN VETERANS THAT’S
SO EMBLEMATIC.
IT’S VERY IMPRESSIVE FROM A
TECHNICAL LEVEL.
BUT THE STORIES AROUND THE FILM
ARE, TO ME, MORE INTERESTING
THAN THE FILM ITSELF.
DAVID SELZNICK, ONE OF THE MOST
IMPORTANT PLAYERS IN HOLLYWOOD
IS AN INDEPENDENT-MINDED GUY.
WALKS AWAY FROM THE STUDIO
SYSTEM AT THE HEIGHT OF HIS
CAREER TO START SELZNICK
INTERNATIONAL PICTURES.
WITHIN A YEAR IT’S CLEAR THAT
THE PRIMARY OBJECTIVE OF THAT
COMPANY IS TO PRODUCE "GONE WITH
THE WIND."
IT WOULD TAKE HIM THREE YEARS TO
GET IT MADE.
WHO WAS TO PLAY RHETT BUTLER.
IT WAS CLARK GABLE.
HE WAS A MAN’S MAN AND HAD A
REAL KIND OF SENSE OF BRAVADO
ABOUT HIM.
BUT ONE THAT HE SEEMED TO EARN.
I’M IN LOVE WITH YOU, ASHLEY.
I’M IN LOVE WITH YOU, ASHLEY.
I LOVE YOU.
I LOVE YOU.
THE SEARCH FOR SCARLET WAS,
ON THE ONE HAND, DEFINITELY A
PUBLICITY STUNT.
ON THE OTHER HAND, IT WAS
SERIOUS.
SELZNICK WANTED TO FIND THE
RIGHT SCARLET O’HARA.
HE WAS ALREADY SHOOTING ON
THE BACK LOT BEFORE SCARLET WAS
CAST.
DAVID SELZNICK IS STANDING
WATCHING THE BURNING OF ATLANTA
AND THEY’VE GOT DOUBLES PLAYING
RHETT AND SCARLET IN THE WAGON.
HIS BROTHER WALKS UP WITH VIVIEN
LEIGH AND SAYS, I’D LIKE YOU TO
MEET SCARLET O’HARA.
I LOVE YOU.
I DO.
I THINK IT’S INCREDIBLY HARD
TO SEPARATE VIVIEN LEIGH FROM
SCARLET O’HARA.
SHE’S ABLE TO GENERATE EMPATHY
OUT OF A FAIRLY CHALLENGING, IF
NOT DESPICABLE CHARACTER FOR
MOST OF THE FILM.
AND SHE MAKES IT HER OWN.
HAS THE WAR STARTED?
IF YOU’RE GOING TO TELL THAT
STORY, YOU HAVE TO HAVE BLACK
PEOPLE AS SLAVES.
MS. SCARLET, WHAT WE ARE
GOING TO DO WITH NOTHING TO FEED
THOSE SICK FOLKS AND THAT CHILD?
I DON’T KNOW.
I DON’T KNOW.
THE BLACK CHARACTERS PLAYED
BY HADDIE McDONNELL AND
BUTTERFLY McQUEEN ARE REALLY THE
BEST CHARACTERS IN THE MOVIE.
THEY’RE THE ONLY, IN A WEIRD
WAY, MORAL CHARACTERS.
RHETT ESSENTIALLY RAPES HIS
WIFE.
SCARLET IS A DISASTER.
ASHLEY WILKES IS JUST THE
WEAKLING.
MELANIE IS A DOOR MAT AND THEN
MAMIE IN THE CENTER OF ALL OF
THIS.
IT’S MR. RHETT I’M WORRIED
ABOUT.
UNDERSTANDS HER PLACE IN THE
WORLD AND MAKES THE BEST OF IT.
HE LOST HIS MIND THESE LAST
COUPLE OF DAYS.
OH, NO, MAMIE, NO.
I’VE NEVER SEEN NO MAN, BLACK
OR WHITE, SHUTS HIS DOOR.
TOWARD THE END OF THE FILM
WHEN MAMIE IS TELLING MELANIE
ABOUT RETS AND HIS GRIEF AND YOU
FEEL IT.
IT’S SUCH A POWERFUL SCENE.
PLEASE, MS. MELLY.
I’LL DO WHAT I CAN.
I PRESENT THE ACADEMY AWARD
FOR THE BEST PERFORMANCE OF AN
ACTRESS IN SUPPORTING ROLE
DURING 1939 TO HATTIE McDANIEL.
HATTIE McDANIEL WAS THE FIRST
AFRICAN-AMERICAN TO WIN AN
ACADEMY AWARD.
AND EVEN HOW THAT HAPPENED, SHE
COULDN’T SIT WITH THE REST OF
THE CAST.
SHE WAS SITTING IN THIS AREA
NEAR THE KITCHEN.
THIS IS ONE OF THE HAPPIEST
MOMENTS OF MY LIFE.
IT WASN’T LIKE SHE WAS GOING TO
GO INTO GREAT LEADING ROLES.
SHE CONTINUED TO PLAY MAIDS.
SHE ESSENTIALLY SAID, I’D RATHER
MAKE $10,000 PLAYING A MAID THAN
MAKE $10 BEING A MADE.
I SINCERELY HOPE, I SHALL
ALWAYS BE A CREDIT TO MY RACE
AND TO THE MOTION PICTURE
INDUSTRY.
MY HEART IS TOO FULL TO TELL YOU
JUST HOW I FEEL AND MAY I SAY
THANK YOU AND GOD BLESS YOU.
♪
PRESTON STURGIS WAS ONE OF
THE GREATEST COMEDY FILMMAKERS
OF ALL TIME THAT MAYBE YOU NEVER
HEARD OF.
IF I WANT THIS TO BE A
PICTURE OF DIGNITY.
WITH A LITTLE SEX IN IT.
HOW ABOUT A NICE MUSICAL? SCR
AND DIRECTORS DIRECTED.
NOBODY DID BOTH.
STURGESS WANTED TO DIRECT.
HE WROTE A SCRIPT THAT THE
STUDIO REALLY LIKED FOR A FILM
CALLED "THE GREAT McGINTY" AND
HE AGREED TO SELL IT TO THE
STUDIO FOR A DOLLAR IF HE WOULD
LET HIM DIRECT AND THE STUDIO
AGREED.
THE REST IS THE HISTORY.
WHEN I ASKED BILLY WILDER WHO HE
THOUGHT THE KING OF WRITER
DIRECTORS WAS HE SAID PRESTON
STU "RGB" ES PERFORM PRESTON
STURGE JESS IS THE MAN THAT PUT
THESE CHARACTERS TOGETHER AND
OPENED THE DOOR FOR THE REST OF
US.
THE LADIES EVE ONE OF HIS
BEST FILMS WAS BRILLIANTLY SET
UP.
SO HENRY FONDA APPEARS IN THE
SHIP’S DINING ROOM AND EVERY
ELIGIBLE WANTS HIS ATTENTION
BECAUSE HE’S A RICH GUY.
EVERY JANE IN THE ROOM WAS
GIVING HIM THE THE THERMOMETER.
BAR BRA STANWYCK IN "LADY
EVE" WAS ONE OF THE BEST COME
MEED GIVING PERFORMANCES OF ALL
TIME WHEN SHE’S GOT THE MIRROR.
REALLY FUNNY.
NOT JUST THIS BRILLIANT
DIALOGUE, LEASE ALSO THE
INCREDIBLE PHYSICAL COMEDY.
IT’S A WONDERFUL BALANCE OF LOW
COMEDY AND HIGH COMEDY AND LIFE
IS BOTH, ISN’T IT?
STURGESS HAD A STRETCH DURING
THE 1940S WHERE HE TURNED OUT
HIT AFTER HIT AFTER HIT.
IT’S AN UNPRECEDENTED STREAK OF
REALLY QUALITY FILMS.
ALFRED HITCHCOCK.
HITCHCOCK BEGAN WORKING IN
THE INDUSTRY AS AN ART DIRECTOR
AT THE UFA STUDIOS IN BERLIN
WHERE HE GOT TO WATCH SOME OF
THE GREAT GERMAN DIRECTORS LIKE
FRITZ LANG.
HIS FIRST MAJOR FILM, "THE
LONGER" LOOKS LIKE GERMAN
EXPRESSIONISM IN A LOT OF WAYS.
THEY BE HE WENT ON TO MAKE THESE
GREAT BRITISH THRILLERS FOR
WHICH HE BECAME FAMOUS.
BEST AMONG ALL OF THEM, 939
STEPS.
BY THE END OF THE FIRTS HE’S THE
LEADING ARTIST OF THE BRITISH
CINEMA BUT HE UNDERSTANDS THAT
HE’S WORKING IN A VERY
FINANCIALLY LIMITED SYSTEM.
HE ALSO SEES THE WAR COMING, AND
HE’S VERY HAPPY TO COME TO
AMERICA AND WORK FOR ELSE IS
NICK UNDER IS THE SIX-FILM
CONTRACT STARTING WITH
"REBECCA."
THAT’S IT.
THAT’S MANDALAY.
IT WAS BASED ON A NOVEL BY
DAPHNE DUE MUIRYER ABOUT A YOUNG
INNOCENT WOMAN WHO MOVES INTO
THIS OLD GOTHIC HOUSE AND THEY
ARE LIFE BECOMES ENTANGLED IN
MYSTERY.
HOW DO YOU DO.
SHE FEELS LIKE SHE CAN’T
POSSIBLY COMPETE WITH REBECCA.
HER HUSBAND MAX’S DEAD WIFE.
DO YOU THINK THE DEAD COME
BACK AND WATCH THE LIVING?
I DON’T BELIEVE IT.
SOMETIMES.
I WONDER IF SHE DOESN’T COME
BACK HERE TO MANDERLY.
AND WATCH YOU AND MR. DUE WINTER
TOGETHER.
HITCHCOCK WAS BRIT AT PUTTING
THE AUDIENCE IN THE PLACE OF THE
CHARACTER THROUGH THE SUBJECTIVE
USE OF THE CAMERA, WHAT HE USED
TO CALL PURE CINEMA.
THE ASSEMBLY OF PIECES OF
FILM TO CREATE FRIGHT IS THE
ESSENTIAL PART OF MY JOB.
I BELIEVE IN PUTTING THE HORROR
IN THE MIND OF THE AUDIENCE AND
NOT NECESSARILY ON THE SCREEN.
HIS FILMS TOOK A GENRE AND
ESSENTIALLY MADE THE GENRE THE
DIRECTOR’S OWN.
HITCHCOCK REALLY WAS THE MASTER
OF SUSPENSE.
AND HE DESERVES THAT TITLE.
INCREDIBLE AS IT MAY SEEM
THOSE STRANGE BEAKS WHO LANDED
IN THE JERSEY FARMLAND TONIGHT
ARE THE VANGUARD OF AND I VADING
ARMY FROM THE PLANET MARS.
ORSON WELLES CAME INTO THE
FILM BUSINESS HAVING BEEN A
TREMENDOUS SUCCESS IN RADIO.
SCARED HALF THE COUNTRY WITH WAR
OF THE WORLDS IN ’38.
HE WAS ON THE COVER OF TIME
BECAUSE OF HIS THEATER
PERFORMANCES AT THE MERCURY
THEATER AND HE CAME TO HOLLYWOOD
WITH THE BEST CONTRACT ANYBODY
EVER HAD.
KNOW WHEN YOU DON’T REALLY
WANT TO GO OUT TO HOLLYWOOD, THE
DEALS GOT BETTER AND BETTER.
IN MY CASE I DIDN’T WANT MONEY,
I WANTED AUTHORITY.
I ASKED THE IMPOSITIVE AND AT
THE END OF A YEAR’S NEGOTIATION
IZ GOT IT.
HE HAD SUCH A MONSTROUS EGO
HE WAS GOING TO DO THE WAY HE
WANTED TO DO IT AND THE HELL
WITH WHAT WILL ANYBODY THOUGHT
ABOUT IT AND I ADMIRED THAT
BECAUSE HE HAD THE SKILL TO BACK
IT UP.
ROSEBUD.
CITIZEN KANE BEGINS WITH THE
DEATH OF CHARLES FOSTER CANE
SAYING ONE WORD.
ROSEBUD.
THE WHOLE REST OF THE MOVIE IS
ABOUT A REPORTER SEARCHING FOR
THE MEANING OF ROSEBUD.
HE SPEAKS TO PEOPLE FROM CANE’S
PAST AND READS THE MEMOIRS OF
HIS LAWYER AND THROUGH
THERECTIONS OF THOSE PEOPLE WE
LEARN ABOUT CHARLES FOSTER
KING’S LIFE.
MAYBE THE THING THAT WELLS
DID BEST WAS RECOGNIZE WHAT HE
DIDN’T KNOW.
EARLY ON AT 25 SO HE HIRES
HERMAN MANKOWITZ MY GRABBED
FATHER TO WRITE THE SCREENPLAY.
HE HIRES ROBERT WEISS TO EDIT
THE FILM NOT TO MENTION BERNARD
HERMAN’S BRILLIANT MUSIC AND THE
SINNING TOGRAPHY CHANGED THE WAY
WE MAKE MOVIES.
MERRY CHRISTMAS.
MERRY CHRISTMAS.
AND A HAPPY NEW YEAR.
IT FELT LIKE SOMETHING NEW.
THE TRANSITIONS THE FLASH BACK
CONSTRUCTION, REPETITION OF
CERTAIN SCENES FROM DIFFERENT
POINTS OF VIEW AND NOT TO BE
IGNORED IS THE FACT THAT OR IS
GIVES AN EXTRAODINARILY
BRILLIANT PERFORMANCE.
I MADE NO CAMPAIGN PROMISES.
BECAUSE UNTIL A FEW WEEKS AGO, I
HAD NO HOPE OF BEING ELECTED.
THE TECHNIQUE THAT KAELS
STICKS OUT TO ME ON KRIDS CANE
IS BASICALLY DEPTH OF FOCUS.
YOU’RE FIRED.
THE CLOSE-UPS ARE AS SHARP AS
THE DEEP BACKGROUND.
YOU SEE NOT JUST THE STORY THAT
HE’S TELLING.
YOU SEE DEEPER INTO THE STORY.
HE JUST CREATED A HANDBOOK ON
CINEMA WITH CITIZEN KANE.
THERE’S NO QUESTION THAT
CHARLES FOSTER KANE IS BASED IN
ORANGE LART ON THE LIFE OF
WILLIAM RANDOLPH HEARTS.
HE OWNED RADIO STATIONS AND
MAGAZINES AND QUITE ACCOUNT
POWER PLAYER IN AMERICAN
POLITICS AND EVEN MORE IMPORTANT
IN HOLLYWOOD POLITICS.
HEARTS BLACK LISTED THE
MOVIE.
ALL HIS PAPERS WOULDN’T RUN ADS
FOR THE PICTURE AND A LOT OF
THEATERS GOT AFRAID OF PLAYING
IT.
CAN’T MAKE MONEY WITH A PICTURE
IF YOU CAN’T GET A THEATER.
BY THE NONHEARST PAPERS IT
WAS INCREDIBLY WELL RECEIVED.
IT WAS NOMINATED FOR NINE
OSCARS.
IT ONLY WON ONE FOR THE
SCREENPLAY WHICH WENT TO MY
GRANDFATHER AND WELLS.
SHOULD HAVE WON BEST PICTURE AND
BEST DIRECTOR FOR WELLS, SHOULD
PROBABLY HAVE WON BEST ACTOR FOR
WELLS.
IT’S A SIGN THAT PRESSURE WAS
ALMOST CERTAINLY BROUGHT TO BEAR
ON THIS MOVIE.
THERE’S NO BETTER FIRST FILM
IN CINEMATIC HISTORY THAN
CITIZEN KANE.
I DON’T KNOW ANY OTHER FILM THAT
WAS A FIRST TIME DIRECTOR’S FILM
THAT CAN EVEN LIGHT A CANDLE LET
ALONE HOLD A
♪
ADOLPH HITLER’S ALL OUT
ATTACK ON POLAND MAKES THE LONG
DREADED WAR A CERTAINTY.
THROUGH NEWSPAPERS AND NEWS
REELS AMERICANS HAVE BEEN
WATCHING THE DEVELOPMENT OF
DICTATORSHIP IN GERMANY.
HITLER’S PROPAGANDA HAD FOCUSED
ON HOW TO DELIVER IMAGES THAT
MOVED PEOPLE’S MINDS.
TURNED AN UGLY MOVEMENT INTO
SOMETHING CINEMATICALLY
BEAUTIFUL.
EVEN THE BABE IS THRILLS AND
SEEMS ALL SMILES.
CHARLIE CHAPLIN TOOK THAT AND
BROKE IT APART.
♪
CHAPLAIN MAKES THIS
INCREDIBLY INTENSE POLITICAL
SATIRE REALLY DECRYING THE STATE
OF THE WORLD AND THE POSSIBLE
STATE OF THE FUTURE.
EMPEROR OF THE WORLD.
HOW DO YOU DEAL WITH
MEGALOMANIA ON SCREEN WITHOUT
SOUNDING STREET DENT AND
PEDANTIC?
YOU TURN THE WORLD INTO A
BALLOON AND YOU HAVE THIS
FOOLISH DEMAGOGUE DANCE WITH IT.
THIS CLOWN CAN ACTUALLY DESTROY
THIS WORLD.
SO IT’S BOTH TRAGEDY AND COMEDY
WRAPPED INTO ONE.
IN ONE OF THE MOST POWERFUL
POLITICAL SCENES IN FILM.
WHO DO YOU THINK WILL WIN THE
WAR.
I HAVEN’T THE SLIGHTEST IDEA.
RICK IS COMPLETELY NEUTRAL
ABOUT EVERYTHING AND THAT TAKES
IN THE FIELD OF WOMEN.
HUM GRI BOGART RUNS RICK’S IN
CAS DA BLANCA.
IT’S WORLD WAR II BEFORE THE
UNITED STATES ENTERS THE WAR.
HE’S GOT GAMBLING, HE’S GOT THE
ALCOHOL.
HE DOESN’T HAVE TO WORRY ABOUT
THE WAR AND IT TURNS OUT THE WAR
COMES TO HIM.
♪ NO MATTER WHAT THE FUTURE
BRINGS AS TIME GOES BY ♪
SAM, I THOUGHT I TOLD YOU
NEVER TO PLAY.
INTO RICK’S CAFE WALKS A
COUPLE, ILSA AND HER HUSBAND
VICTOR LAS LOW, HERO OF THE
RESISTANCE.
ABOUT VICTOR LAS LOS
EVERYWHERE.
UNBEKNOWNST TO ANYONE ELSE IN
THE MOVIE, ELLIS SA AND RICK
HAVE A PAST.
OF ALL THE GIN JOINTS IN ALL
THE TOWNS IN THE WORLD, SHE
WALKS INTO MINE.
HE IS THE EPITOME OF THAT
WOUNDED CYNIC.
WE GET TO SEE A MAN WHO USED TO
BE AN DALIST RECLAIM THAT PART
OF HIMSELF.
♪
THERE’S A GREAT SCENE WHERE
THE GERMANS ARE BY THE PIANO AND
THEY START SINGING.
AND EVERYBODY IN RICK’S CAFE WHO
IS NOT GERMAN IS SILENT AND IN
PAIN.
♪
VICTOR LAS LOW GOES TO THE BAD
AND SAYS LET’S PLAY THE FRENCH
NATIONAL ANTHEM.
PLAY IT.
THEY GIVE THAT LOOK TO BOGEY.
HE JUST GOES, AND THEN YOU’RE
LIKE OH, BOGEY’S JOINED THE WAR.
♪
THE MOVIE IS ABOUT REFUGEES
CAUGHT IN DESPERATE
LIFE-THREATENING SITUATIONS.
AND HALF THE CAST WAS REFUGEES
WHO HAD BEEN CAUGHT NOTICE
DESPERATE LIFE-THREATENING
SITUATIONS.
PETER LORI ESCAPED GERMANY WHEN
THE NAZIS TOOK OVER.
CONRAD VITE WHO PLAYED THE
NASTIEST NAZI OF THEM ALL WAS A
FERVENT ANTI-NAZI, HAD A JEWISH
WIFE.
HIS WIFE THEY ESCAPED FROM
FRANCE JUST AS THE GERMANS
ARRIVED IN PARIS.
ALL OF DALIO’S FAMILY LEFT
BEHIND DIED IN THE CAMPS.
♪
DEFEATING FASCISM THROUGH
PATRIOTISM AND THE PASSION OF
LOVING YOUR COUNTRY.
TO THIS DAY, I GET CHILLS AND
TEARS WHEN I WATCH THAT SCENE.
VIVA LA FRANCE.
CASABLANCA IS A PERFECT
SCRIPT FOR THE PERFECT TIME.
THE WAY THE STORY WINDS UP IS
THE ONLY WAY THAT STORY COULD
HAVE WOUND UP.
I’M NO GOOD AT BEING NOBLE
BUT IT DOESN’T TAKE MUCH TO SEE
THAT THE PROBLEMS OF THREE
LITTLE PEOPLE DON’T AMOUNT TO A
HILL OF BEANS IN THIS CRAZY
WORLD.
IT’S TELLING US ALL THAT OUR
PROBLEMS AS INDIVIDUALS DON’T
MEAN A LOT IN THE FACE OF THIS
BIGGER CHALLENGE TO COME.
HERE’S LOOKING AT YOU, KID.
THAN WE ALL HAD TO DEAL WITH
THAT IN THE VERY DARKEST DAYS OF
WORLD WAR II.
OPEN FIRE.
YA WHO.
MAN YOUR STATION.
FIRE.
THE TYPICAL STORY OF A COMBAT
FILM IS ABOUT A GROUP WITH AN
OBJECTIVE FACING DEATH, THEY SAY
THIS IS WHAT WE HAVE TO DO.
LET’S GET THIS DONE AND WIN IT.
WHAT DO YOU THINK OF THE
BOMBER NOW?
THEY’RE DESIGNED TO REASSURE
PEOPLE AND TO INVOLVE PEOPLE IN
THE WAR.
WHEN YOU TRY TO UNDERSTAND THE
CHANGE THAT WORD WAR II WROUGHT
ON THE MOVIES, YOU HAVE TO
UNDERSTAND THAT FIVE OF THE
GREATEST DIRECTORS ACTUALLY WENT
AND TOOK PART IN THE WAR.
IT WAS CAPRA, IT WAS FORD, IT
WAS STEVENS, IT WAS HOUSTON,
THEN IT WAS WYLER.
THESE ARE CLEARLY FIVE OF THE
GREAT AMERICAN ICONS.
THEY SERVED THEIR COUNTRY AS
STORY TELLERS AND RISKED THEIR
LIVES.
IN MEN WHO BELIEVED IN THEIR
COUNTRY LIKE MY FATHER FELT THE
MORAL OBLIGATION TO DEFEND THEIR
COUNTRY AGAINST THE SCOURGE OF
NAZIISM.
IN AN EFFORT TO MAINTAIN
CONTACT WITH THE ENEMY OUR
PATROLS IMMEDIATELY PUSHED
AHEAD.
HE WAS IN SOME VERY HAIRY
SITUATIONS.
HE TALKED ABOUT A COMMANDER
WHOSE TROOPS HAD REALLY BEEN
DECIMATED BY THE GERMANS
CROSSING A BINGE THAT HAD BEEN
BOMBED.
AND THIS MAN RAISED HIS ARM TO
SALUTE EXCEPT HE WAS MISSING A
HAND.
THE WAR DEFINITELY FOLLOWED HIM
THROUGHOUT HIS LIFE.
JOHN FORD FILMED THE BAT ALF
MIDWAY THAT WON HIM AN ACADEMY
AWARD FOR BEST DOCUMENTARY.
HE ALSO FILMED THE D-DAY
LANDINGS IN 1944.
HE WAS DEEPLY AFFECTED BY THE
WAR.
HE COMES BACK TO HOLLYWOOD
WANTING TO MAKE A MOVIE.
HE DOESN’T WANT TO MAKE YOUR
SORT OF WE’VE WON, IT’S ALL
WONDERFUL TYPE OF MOVIE.
TAKE COVER.
THEY WERE EXPENDABLES IS
ABOUT THE FALL OF THE
PHILIPPINES AND THE DEFEAT OF
THE UNITED STATES.
FORD MADE THIS VERY PATRIOTIC
PICTURE ABOUT THE NOBLE
SACRIFICE.
WHEN YOU SEE THE GENERAL,
TELL HIM THE END HERE IS NEAR.
MOST OF THEM WERE GOING TO
BECOME PRISONERS OF WAR AND MANY
OF THEM WOULD PROBABLY PERISH.
AS I CALL YOUR NAMES, KINDLY
STEP IN.
AT THE END OF THE MOVIE IS
VERY MUCH ABOUT THE FATE OF THE
SAILORS STAYING BACK.
IF THEY DIDN’T GET ON THAT PLANE
THAT, THEY KNOW WHAT THAT MEANS.
SIR, HOW MANY MORE PLANES ARE
COMING
BACK TO THE AMERICAN HOME WITH
WELCOME AND WELL DONE
EVERYWHERE.
IMMEDIATELY AFTER THE WAR,
EVERYBODY WAS SAYING HOW DO WE
PICK UP WHERE WE LEFT OFF?
AFTER EVERYTHING THAT WE HAVE
SEEN AND LEARNED.
THE COST OF WAR IS WHAT IS
COMMUNICATED IN THE BEST YEARS
OF OUR LIVES BETTER THAN ANY WAR
MOVIE I’VE EVER SEEN.
.
THESE GUYS ARE JUST TRYING TO
GET HOME.
THIS IS MY STREET.
THEY NEVER KNEW EACH OTHER
BEFORE THE WAR BUT THEY ALL MEET
AND THEY BECOME FAST FRIENDS.
AND THEIR LIVES START TO REALLY
INTERCONNECT AS THEY START TO
WORK OUT.
THE HUGE DAMAGE THAT THE WAR
CAUSES ARE EMOTIONAL CORE.
THE FILM WAS MADE RIGHT AFTER
THE WAR AND AS THE CAMERA CRANES
UP, YOU SEE THIS VAST WORLD WAR
II GRAVEYARD OF OLD HULKS, NO
DIGITAL PHOTOGRAPHY OR MAT WORK.
THAT PHENOMENONAL SCENE WHEN
DANA AND DREWS IS SITTING IN THE
JUNKED PLANE RELIVING HIS
MISSION AS A BOMBARDIER, IT
COMMUNICATES THAT OPPRESSIVE
WEIGHT OF THE EXPERIENCE.
OF PUTTING YOUR LIFE ON HOLD AND
GOING OFF AND MAYBE COMING BACK,
MAYBE NOT COMING BACK AT ALL.
OR MAYBE COMING BACK WITH NO
HANDS.
I’VE LEARNED HOW TO TAKE THIS
HARNESS OFF.
THE FACT THAT THEY CAST
HAROLD RUSSELL, A GUY WHO LOST
HIS HANDS DURING THE WAR, THAT
WAS INCREDIBLY POWERFUL.
THIS IS A VERY PROUD AND A
VERY HAPPY MONTH.
THEY HAD MADE PLANS TO GIVE
HIM A SPECIAL OSCAR AND THEN IT
TURNED OUT THE PERFORMANCE WAS
SO GOOD THAT PEOPLE VOTE FORD
HIM FOR BEST SUPPORTING ACTOR
WHICH THEY COULDN’T HAVE
PREDICTED SO HE WON TWO OSCARS.
HELLO, DARLING.
HELLO, DADDY.
HELLO, DADDY.
HOW DO YOU LIKE IT.
IT’S A WONDERFUL LIFE" WASN’T
VERY SUCCESSFUL WHEN IT CAME OUT
WHICH I’M ALWAYS SHOCKED WHEN I
LEARN THAT A MOVIE THAT WE
REVERE ACTUALLY STRUGGLED IN ITS
INITIAL RELEASE BUT WHAT A
REMARKABLE BLEND OF NARRATIVE
VALUES AND THEMES.
DADDY, THE BROWNS NEXT DOOR
HAVE A NEW CAR.
YOU SHOULD SEE IT.
WHAT’S THE MATTER WITH OUR
CAR?
ISN’T IT GOOD ENOUGH FOR YOU?
BECAUSE CAP BRA WAS ALWAYS
SUCH A MUMIST I THINK IT WAS
VERY IMPORTANT TO HIM TO
ACKNOWLEDGE FLAWS, ACKNOWLEDGE
WEAKNESS.
GEORGE, WHAT’S WRONG?
WRONGING?
EVERYTHING.
YOU CALL IT A HAPPY FAMILY WHY
DO WE HAVE TO HAVE ALL THESE
KIDS.
JIMMY STEWART CAME BACK FROM
THE WAR, AS WELL.
HE FLEW MISSIONS.
THESE ARE TWO VETERANS NOW AND I
DON’T THINK IT WOULD HAVE GONE
THAT DARK HAD FRANK CAPRA STAYED
HOME AND MADE LIGHT COMEDIES.
APPARENTLY FRANK CAPRA
APPEALED TO HIM BY SAYING IT’S A
CHRISTMAS MOVIE ABOUT SUICIDE.
JIMMY STEWART SAID CHRISTMAS
MOVIE ABOUT SUICIDE, COUNT ME
IN.
YOU COME BACK FROM THE WAR WITH
A GRAVEYARD KIND OF SENSE OF
HUMOR.
GEORGE BAILEY IS LIGHT YEARS
AWAY FROM THAT IDEALISTIC
MR. SMITHING IN "MR. SMITH GOES
TO WASHINGTON."
INTO IT WAS PROBABLY THE
STRONGEST PICTURE I’VE MADE.
I NEVER HAVE RUN ACROSS SUCH A
UNIQUE STORY, A MAN WHO THOUGHT
HE WAS A FAILURE BEING GIVEN THE
OPPORTUNITY TO COME BACK AND SEE
THE WORLD AS IT WOULD HAVE BEEN
HAD HE NOT BEEN BORN.
YOU’VE BEEN GRIFFIN A GREAT
GIFT, GEORGE.
A CHANCE TO SEE WHAT THE WORLD
WOULD BE LIKE WITHOUT.
YOU THAT’S A DARK, DARK PLACE
TO BEGIN A MOVIE THAT’S
ULTIMATELY GOING TO WIND UP
BEING ONE OF THE GREAT HOLIDAY
MOVIES AND ONE OF THE MOST
AFFIRMING MOVIES EVER MADE.
MERRY CHRISTMAS.
IT’S POWERFUL BECAUSE IT’S
BEEN A JOURNEY FROM PLACE OF
TRUE DESPAIR AND TAKES GUTS TO
TELL THE STORY WITH THAT KIND OF
STRENGTH AND COMMITMENT.
AND YEAH, SWEETHEART.
THERE’S A GIRL WANTS TO SEE
YOU.
HER NAME’S WANDER LAY.
CUSTOMER?
I GUESS SO.
YOU’LL WANT TO SEE HER ANYWAY.
SHE’S A KNOCKOUT.
SHOW HER IN, DARLING.
SHOW HER IN.
FROM THE WAR IS A STYLE OF
FILM MAKING THAT’S VERY POPULAR
IN THE ’40s AND FICHTS.
THE FILMS ARE MOODY, PES PES
MICK TICK, KIND OF ABOUT THE
UNDERBELLY OF MANOR SOCIETY.
BECAUSE OF WORLD WAR II THERE
WAS AN APPETITE AMONG AUDIENCES
FOR THESE KIND OF FILMS.
ANYBODY HEAR THE SHOT.
SOMEBODY MUST HAVE.
WE JUST GOT HERE.
THE MALTESE FALCON IS
OSTENSIBLY A DETECTIVE STORY BUT
THE PLOT REVOLVES AROUND ALL
THESE CRAZY CHARACTERS LOOKING
FOR THE BLACK BIRD AND HOW SAM
SPADE PLAYS THESE CHARACTERS OFF
EACH OTHER.
YOU’RE GOOD.
YOU’RE VERY GOOD.
WHAT DID HE SAY?
ABOUT WHAT?
ABOUT ME.
NOTHING.
WHAT DID YOU TALK ABOUT THEN?
HE OFFERED ME $5,000 FOR THE
BLACK BIRD.
MY FATHER WAS NOT THAT BIG A
FAN OF ACTORS.
IF YOU WATCH HIS MOVIES, HE’S
MORE INTERESTED IN CHARACTER.
I THINK THIS WAS WHY HE LOVED
HUMPHREY BOGART SO MUCH.
THANKS, DARLING.
THERE’S A KIND OF DIRECTNESS AND
HONESTY ABOUT HIM THAT WE’RE NOT
USED TO.
WHEN YOU’RE SLACK, YOU’LL
TAKE IT AND LIKE IT.
BOGART IS NOT THE GOOD GUY.
AND THAT IS ESSENTIAL TO THIS
WHOLE TREND.
THE ATTITUDE IS VERY AMERICAN.
BUT IT DIDN’T REALLY BECOME FILM
NOIR UNTIL THESE FILMMAKERS THAT
CAME OVER FROM EUROPE BROUGHT A
PARTICULAR VISUAL SENSIBILITY
AND THAT IS WHERE INTERIOR WAS
BORN.
I KILLED DIEDRICH SON.
ME, WALTER NEF.
INSURANCE SALESMAN.
BILLY WILDER ADAPTED THIS
AMAZING STORY WITH RAYMOND
CHANDLER.
THE WAY IT STARTS TOLD BY A GUY
BLEEDING TO DEATH, IT WOULD
BECOME SO IMPORTANT TO HARD
BOILED DETECTIVE STORIES.
I WASN’T LONG, WAS HE?
NOT AT ALL.
I HOPE I’VE GOT MY FACE ON
STREIT.
PERFECT TORE R FOR MY MONEY.
THERE WAS A VERY INTENSE
MURDER SCENE THAT HAD TO BE
FLINLED AND HOW ARE YOU GOING TO
DO IT IN THIS AGE OF CENSORSHIP?
THIS IS NOT THE RIGHT STREET.
WHY DID YOU TURN HERE?
WHAT ARE YOU DOING THAT FOR?
WHAT ARE YOU HONGKING THE HORN
FOR?
BILLY WILDER LEAVES THE
CAMERA ON BARBARA STANWYCK AND
SHE EXPERIENCES THE PAIN OF HER
HUSBAND AND THEN THE
SATISFACTION OF IT.
SHE GIVES YOU ALL OF THAT.
AND THAT’S AS GOOD AS IT GETS.
OKAY, BABY, THAT’S IT.
THE MURDER YOU DON’T SEE IN
DOUBLE INDEMNITY IS BETTER THAN
ANY GRIZZLY MURDER YOU COULD
SHOW ME.
STRAIGHT DOWN THE LINE.
BARBARA STANWYCK’S PERFORM,
AS PHYLLIS IS THE ARCHETYPE OF
THE DANGEROUS FEMME FATALE.
BACK IN THE MORNING.
MEET ME AT THE HOTEL.
WHEN YOU GET TO JANE GREER IN
"OUT OF THE PAST," SHE TAKES IT
A STEP FURTHER.
CAN WE GET AWAY WITH IT.
SHE’S MUCH MORE OF A COLD
PSYCHOPATH.
THERE’S A SCENE WHERE HE’S
WATCHING ROBERT MITCH CHUM AND
HIS PARTNER BEAT THE HELL OUT OF
EACH OTHER AND SHE’S SORT OF IN
ECSTASY.
I’LL NEVER FORGET THE IMAGES
IN THAT FIGHT HER FACE SHOOTING
A GUY IT STAYED WITH ME FOR THE
REST OF MY LIFE.
THAT WILL DRY YOUR HAIR.
SHE TAKES INTO THE BUNGALOW
AND THEY KISS.
SOMETHING IN THE CAMERA MOVES TO
THE DOOR AND THE DOOR OPENS.
IT’S RAINING.
CAMERA JUST TRACKS.
IT’S JUST VISUAL POETRY AND
MOOD.
EVERY STUDIO AT A CERTAIN
POINT WAS MAKING SIM OR EIGHT OF
THESE MOVIES A YEAR.
TAKE THIS THICK OUT OF MY
MOUTH, WILL YOU?
ARTISTS WERE EAGER TO MAKE
MOVIES THAT WERE MORE ADULT.
HARRY.
THIS KIND OF NOTION OF
DARKNESS IN FILMS HAD KIND OF
THE OPPOSITE OF THE HOLLYWOOD
ENDING WHERE THINGS DON’T WORK
OUT WELL, THINGS DON’T WORK OUT
FOR THE HERO.
THIS IS FILM NOIR’S LEGACY.
YES, THIS IS SUNSET BOULEVARD,
LOS ANGELES, CALIFORNIA.
IT’S ABOUT 5:00 IN THE MORNING.
THAT’S THE HOMICIDE SQUAD.
THE 50s PRODUCED A LOT OF
REALLY DARK CYNICAL MOVIES AND
IT STARTS PRETTY EARLY ON WITH
SUNSET BOULEVARD.
IT OPENS UP WITH A BODY IN A
POOL.
THEN IT’S ALL TOLD IN FLASHBACK
BY THE MAN IN THE POOL.
YOU’RE NORMA DESMOND.
USED TO BE IN SILENT PICTURES,
USED TO BE BIG.
I AM BIG.
IT’S THE PICTURES THAT GOT
SMALL.
HER PERFORMANCE EVERYONE
TALKS ABOUT IS GLORIA SWANSON AS
NORMA DESMOND GLORIA SWANSON HAD
BEEN A HUGE STAR IN SILENT FILMS
SO SHE VERY MUCH KNEW THE
CHARACTER SHE PLAYED.
WE DIDN’T NEED THAT.
WE HAD FAYS.
NOW IN HER EARLY ’50S, SHE IS
PLAYING THIS DEPOSED QUEEN WHO
BECOMES INCREASINGLY DELUSIONAL
AND GOES MAD.
THERE’S NOTHING ELSE, JUST
US.
AND THE CAMERAS.
AND THOSE WONDERFUL PEOPLE OUT
THERE IN THE DARK.
IT’S A FILM ABOUT HOLLYWOOD’S
TENDENCY TOES THROW PEOPLE AWAY
TO, BUILD PEOPLE UP AND THEN
TEAR THEM DOWN AND FORGET THEM.
LORD, I’M NOT 20ISH.
I’M NOT 30ISH.
THREE MONTHS AGO, I WAS 40 YEARS
OLD.
40.
4- 0.
UPSET BOULEVARD AND ALL ABOUT
EVE BOTH CAME OUT IN THE 1950.
BETTE DAVIS HAD A KIND OF LULL
IN HER CAREER AND MADE A COUPLE
MOVIES THAT HADN’T MADE MONEY SO
THIS WAS A REAL COMEBACK.
HERE SHE WAS PLAYING THIS GREAT
STAGE ACRES MARGARET CHANNING
WORRIED ABOUT LOSING HER CAREER,
LOSING HERMAN AND ALONG COMES
EVE HARRINGTON.
WHAT DO YOU THINK OF MY
ELEGANT NEW SUIT.
VERY BECOMING.
IT LOOKS MUCH BETTER THAN YOU
THAN IT DID ON ME.
THIS UP AND COME IRSTARTS AS
A FAN BUT YOU QUICKLY REALIZE
SHE’S SOMETHING ELSE ENTIRELY.
SHE WANTS TO GET THE ROLES THAT
MARGOT ONCE WAS GETTING.
MARGOT IS FIGHTING THIS TOOTH
AND NAIL AS ONLY BETTE DAVIS
CAN.
FASTEN YOUR SEAT BELTS.
IT’S GOING TO BE A BUMPY NIGHT.
BETTE DAVIS ATTENTION YOU
FROM THE HEIGHT OF VANITY TO THE
DEPTHS OF DESPAIR.
AND I JUST LOVE THAT ART.
I THINK THAT’S THE GREATEST
PERFORMANCE OF HER CAREER.
A WOMAN’S CAREER, THE THINGS
YOU DROP ON YOUR LADDER SO YOU
CAN MOVE FASTER, YOU FORGET
YOU’LL NEED THEM AGAIN WHEN YOU
GET BACK TO BEING A WOMAN.
SUNSET BOULEVARD AND ALL
ABOUT EVE ARE ALL ABOUT ACTORS
COMPETING EACH OTHER AND BEING
USURPED BY A YOUNGER AGENDA
RIGGS.
THAT’S WHAT HAPPENED IN THE BEST
ACTRESS RACE WHERE HAD YOU GLOR
WA SWANSON COMPETING AGAINST
BETTE DAVIS.
HOWEVER THE WINNER WAS JUDY
HOLLIDAY WHO HAD JUST RISEN TO
OVERNIGHT FAME IN "BORN
YESTERDAY."
WHAT DID YOU SAY IT FOR?
I DON’T KNOW.
HOW OLD ARE YOU?
29.
IT’S ENTERTAINMENT IN YOUR
OWN LIVING ROOM AND ALL OVER THE
COUNTRY MOVIE AUDIENCES OF ALL
AGES SIT GLUED TO THEIR
TELEVISION SETS.
THE PICTURE MAY BE SMALL BUT
IT’S FREE.
PROBABLY THE MOST SERIOUS
THREAT TO MOVIES CAME IN THE
1950s WHEN PEOPLE WERE OOH
BUYING TELEVISIONS.
BIBLICAL EXSPANSIVE EPICS IN THE
’50S WERE ONE OF HOLLYWOOD’S
FIRST SUCCESSFUL ANSWERS TO THE
THREAT OF TELEVISION.
THAT BROUGHT PEOPLE BACK TO THE
THEATERS AND THAT JUST CAUSED
HOLLYWOOD TO MAKE MORE AND MORE
OF THEM.
WHO SHALL WITHSTAND THE POWER
OF GOD?
WATCHING YOUR BLACK AND WHITE
BOX TV ON THE FLOOR OF YOUR
LIVING ROOM WAS NOTHING COMPARED
TO GOING TO A MOVIE LIKE BEN
HUR.
IT WAS JUST NOT THE KIND OF
THING THAT ANYBODY HAD SEEN AT
THAT TIME.
MOVIES HAD TO GET OFF THEIR
LAWYERS NOT LAYS AROUND AND
LET’S MAKE GOING TO THE CINEMA
AN EVEN MORE EXTRAORDINARY
EXPERIENCE.
THEN AFTER TELEVISION COMES
ALONG, SOME OF THE GREAT
MUSICALS OF ALL TIME COME ALONG
AS A RESULT OF THAT.
♪ GOOD MORNING, GOOD MORNING
IT’S GREAT TO STAY UP LATE GOOD
MORNING GOOD MORNING TO YOU.
♪.
SINGING IN THE RAIN IS THE
PERFECT MOVIE.
IT’S FUN AND IT’S BEAUTIFUL AND
IT’S COLORFUL AND THE SONGS ARE
BRILLIANT.
I DIDN’T REALIZE AT THE TIME
THAT THEY WERE FROM DIFFERENT
MUSICALS.
SINGING IN THE RAIN.
SINGING IN THE RAIN WAS IN
ANOTHER MOVIE.
IT WAS NOT THAT POPULAR.
BUT I THINK A SONG IS JUST A
SONG UNTIL THE RIGHT SINGER
SINGS IT.
>>.
♪ SINGING IN THE RAIN JUST
SINGING IN THE RAIN ♪
♪ WHAT A GLORIOUS FEELING I’M
HAPPY AGAIN ♪
SAID WHAT DO YOU DO WITH
SINGING IN THE RAIN?
I SAID IT WILL BE RAINING AND
I’LL BE SINGING.
THAT WAS IT.
IT WASN’T HARD TO COMPOSE IT.
THE MOMENT OF SLASHING THE
WATER.
THAT PART WAS FUN.
♪
CLANG, CLANG CLANG WENT THE
TROLLEY.
DING DING DING WENT THE BELL.
WHEN YOU COME ALONG WITH
VINCENT MINNELLI MAKING "MEET ME
IN ST. LOUIS" AND "AMERICAN IN
PARIS" AND "THE BAND WAGON," YOU
HAVE SUCH ORIGINALITY, SUCH JOY
AND SUCH, WOULD THAT STAND THE
TEST OF TIME.
♪ WANT TO HAVE BELLS THAT WILL
RING YOU WANT TO HAVE SONGS THAT
WILL SING ♪ IN 195, GEORGE KOOK
COREY MAKES A STAR IS BORN AND
TURNS IT INTO A MUSICAL.
IF I DON’T GET MY WAY, I
BEGIN TO BREAK UP PEOPLE.
YOU UNDERSTAND, DON’T YOU?
YES, I UNDERSTAND.
JUDY GARLAND AT THAT POINT
HAS HAD HER SHARE OF PROBLEMS
WITH DRUGS AND ALCOHOL, BEEN
FIRED.
SO "A STAR IS BORN" IS REALLY A
HUGE COMEBACK FOR JUDY GARLAND.
♪ THE NIGHT BITTER ♪
SHE’S PLAYING THE UPUP AND
COMING SINGER WHO IS DISCOVERED
BY AN ALCOHOLIC ACTOR.
YOU GET THESE GREAT MUSICAL
NUMBERS, ESPECIALLY THE MAN WHO
GOT AWAY.
Reporter: ALL BECAUSE OF THE
MAN THAT GOT AWAY ♪
SHE MAKES YOU FEEL EVERY
SINGLE EMOTION IN THAT SHE’S
HEBBING HER BODY TOWARD THE
CAMERA.
IT IS A CRY OF ANGST AND PAIN.
IT IS AN OPERA MOMENT THAT SHE
IS TURNING INTO JUST ONE OF THE
GREAT MOVIE MOMENTS OF ALL TIME.
ONE UNINTERRUPTED TAKE OF HER
SINGING THIS SONG.
♪ LEASE JUST TO LETUP ♪
YOU SEE THE MOST INTIMATE
REVELATION OF THIS PERFORMER WHO
HAS SOMETHING ON THE INSIDE THAT
SOMEHOW IS NOT GETTING OUT
BECAUSE THEY’RE BEING BOTTOMED
IN ANOTHER WAY.
EVERYTHING CAN RELATE TO THAT
WHETHER YOU’RE 0 AN ARTIST OR
NOT OR A MUSICIAN OR NOT.
♪ THE MAN ♪
SELF-REVELATION.
♪ THAT GOT AWAY ♪
WE’RE GOING TO GET THE ANSWER
TO THAT QUESTION IF WE HAVE TO
STAY HERE FOR A WEEK.
ARE YOU A MEMBER OF THE
COMMUNIST MEMBER OR HAVE YOU
EVER BEEN A MEMBER OF THE
COMMUNIST PARTY?
AFTER WORLD WAR II IS ENDED,
THE HOUSE UN-AMERICAN ACTIVITIES
COMMITTEE SETS OUT LOOKING FOR
SO-CALLED COMMUNIST INFILTRATION
OF THE AMERICAN MOTION PICTURE
INDUSTRY.
THE CHARGE HAS BEEN MADE THAT
THE THE SCREENWRITER GUILD HAD A
NUMBER OF INDIVIDUALS IN IT WHO
ARE MEMBERS OF THE COMMUNIST
PARTY.
THERE WAS THE SENSE THAT IF
THE SOVIETS WANTED TO INFILTRATE
AMERICA, THE WAY TO DO IT WAS TO
INFECT HOLLYWOOD.
YOUR PURPOSE IS TO USE THIS
TO DISRUPT THE MOTION PICTURE
INDUSTRY TO INVADE THE RIGHTS
NOT ONLY OF ME BUT OF THE
PRODUCERS TO THEIR THOUGHTS, TO
THEIR OPINIONS.
TEN SCREENWRITERS AND
PRODUCERS WHO REFUSED TO
COOPERATE WITH THEIR
INVESTIGATION EVENTUALLY ARE
FOUND GUILTY OF CONTEMPT OF
CONGRESS AND SENTENCED AND SERVE
UP TO A YEAR IN PRISON.
WE WILL NOT REEMPLOY ANY OF
THE TEN UNTIL SUCH TIME AS HE IS
ACQUITTED.
THE COMMITTEE IDENTIFIED
PEOPLE WHO WERE SUSPECTED OF
BEING COMMUNISTS AND THEN THE
STUDIOS THEMSELVES PROCEEDED TO
FIRE AND BLACK LIST ANYONE WHO
REFUSED TO COOPERATE.
BEN MILLER NOW WITH JIM
PIERCE AND JACK COLBY.
THEY ASKED ABOUT THE NOON TRAIN.
THE NOON TRAIN?
AND CARL FOREMAN IS WRITING
THE SCREENPLAY OF "HIGH NOON" IN
THOR?
OF 1951 WHEN HE GETS A SUBPOENA
TO TESTIFY BEFORE ACCOUNT HOUSE
UN-AMERICAN ACTIVITIES COMMITTEE
AND HE’S BEGINNING TO WRITE MORE
INTO THE SCREENPLAY OF A PARABLE
AL GOER EVEN ABOUT THE HOLLYWOOD
BLACK LIST.
FOREMAN BEGINS TO SEE THE
COMMITTEE AS THE YOUNG THUGS WHO
WERE COMING TO TOWN TO KILL HIM
AND HE AN BEGINS TO IDENTIFY
WITH THE MARSHALL HIMSELF.
THIS IS MY TOWN.
I’VE GOT FRIENDS HERE.
I’LL SWEAR IN A BUNCH OF SPECIAL
DEPUTIES AND WITH A POS IS HE
BEHIND ME, MAYBE THERE WOULD BE
ANY TROUBLE.
YOU KNOW THEY’LL BE TROUBLE.
THEN IT’S BETTER TO HAVE IT
HERE.
COOPER IS GIVING THIS
INCREDIBLE NATURAL PERFORMANCE.
THIS ONGOING DILEMMA THAT’S
GOING ON IN HIS MIND ENDS UP
BEING THE HEART BEAT OF THE
MOVIE.
SOME OF YOU WERE SPECIAL
DEPUTIES WHEN WE BROKE THIS
BUNCH.
I NEED YOU AGAIN NOW.
THE SCRIPT HAS THIS GREAT
1950s THEME OF YOUR NEIGHBOR’S
ABANDONING YOU BECAUSE MIGHT BE
A COMMUNIST OR BECAUSE THEY
DON’T WANT YOU TO KNOW ABOUT
THEIR BOMB SHELTER MOVIE.
ILLUMINATED WHAT WAS GOING ON.
CARL FOREMAN WAS A MAN OF
SUCH PRINCIPLE THAT WHEN HE
TESTIFIED, HE WOULD NOT NAME
NAMES.
IS HE PAID AN ENORMOUS PRICE.
HE WAS FORCED TO UPROOT AND MOVE
TO ENGLAND.
THE GREAT TRAGEDY OF THE BLACK
LIST IS THAT IT DESTROYED
CAREERS AND IT BRUISED OTHERS
AND IT TURNED CREATIVE PEOPLE
AGAINST ONE ANOTHER.
IT WAS A TERRIBLY CHALLENGING
TIME AND YOU HAD PEOPLE FEARING
ANOTHER WAR.
YOU’RE A TRAITOR.
YOU’RE A TRAITOR AND A SPY.
THOSE ARE JUST UNPLEASANT
WORDS.
I’M A LOYAL SUPPORTER OF THE
GREATEST SOCIAL EXPERIMENT IN
THE WORLD.
AMERICA WAS GOING THROUGH
COMMUNIST PARANOIA.
WE WILL COMMUNIST INFILTRATION
IN OUR SCHOOLS AND OUR
GOVERNMENT.
FROM THAT YOU GET ALIEN INVASION
MOVIES.
MOVIES.
IT WAS AN ERA THAT WAS STIPED
IN FEAR.
NOT JUST FROM THE COMMUNIST
WITCH HUNTS THAT WERE GOING ON
BUT OF COURSE, FROM THE ATOM
BOMB.
THE CREATION OF NUCLEAR
WEAPONS MAKES THE POSSIBILITIES
FOR TERROR AND HORROR SEEM
ENDLESS.
THE GIANT INSECT GENRE
STARTED WITH THIS THEM" IN 1954.
A FANTASTIC MUTATION PROBABLY
CAUSED BY LINGERING RADIATION
FROM THE FIRST ATOMIC BOMB.
THAT KICKED OFF A TREND OF
CREATURE FEATURES.
A MONSTER LEADING A TRAIL OF
CARNAGE.
THE IMAGINATION RAN WILD.
WHAT’S GOING TO HAPPEN TO US IN
THIS NUCLEAR AGE.
I DIDN’T THINK I HAD THAT
MUCH TO DRINK.
I LOVED ALL THE ’50S SCI-FI
FILMS, THE WORSE OF THEM TO THE
BEST OF THEM FROM "I MARRIED A
MONSTER FROM OUTER SPACE" TO - -
YOU CAN’T GET FURTHER APART IN
TERMS OF TWO FILMS THAT ONLY
SHARE ONE THING, GENRE, THAT’S
IT.
WHAT ABOUT THIS MONSTER STORY
OF YOURS?
WELL, IT’S BIG AND TERRIBLE.
ORIGINALLY GODZILLA WAS A
JAPANESE FILM IN JAPANESE.
THE WAY HOLLYWOOD TRIED TO TURN
IT INTO SOMETHING WE COULD
DIGEST THEY RECUT IT WITH AN
AMERICAN REPORTER IN TOKYO.
I PREFER THE PURE JAPANESE
VERSION BECAUSE IT’S SO VISUAL.
IT’S MUCH MORE PRIMAL.
AND GODZILLA IS MUCH MORE
PIERCE.
WHAT ARE THE PEOPLE DOING?
TRYING TO SAVE THEMSELVES AND
TRYING TO CONCOCT SOME KIND OF A
TECHNOLOGY TO DESTROY THE
MONSTER.
THAT’S ALL YOU REALLY HAVE TO
KNOW.
IT IS LIST RALLY THE REACTION
OF A POPULACE THAT HAS HAD AS
ATOMIC BOMB DROPPED ON THEM.
WHAT DID THAT FEEL LIKE
CULTURALLY?
LIKE A MONSTER CAPE OUT OF THE
OCEAN AND STOMPED YOUR
CIVILIZATION FLAT.
THEY COME FROM ANOTHER WORLD
SPAWNED IN THE LIGHT YEARS OF
SPACE UNLEASHED TO TAKE OVER THE
BODIES AND SOULS OF THE PEOPLE
OF OUR PLANET.
ONE OF THE MOVIES THAT
DEFINES THE ANXIETY OF THE 1950s
IS "INVASION OF THE BODY
SNATCHERS" WHERE THE ENEMY IS
GOING TO COME AND LOOK LIKE YOUR
NUMBER.
WE’VE BEEN WAITING FOR YOU.
IT’S GOING TO TAKE YOU OVER
AND BEFORE YOU REALIZE IT,
EVERYTHING YOU KNOW AND LOVE IS
GONE.
WE’VE GOT TO GO.
THEY’LL NEVER BELIEVE ME.
HELP.
INVASION OF THE BODY
SNATCHERS IS A GRADE GENRE MOVIE
THAT, WOULD ON TWO LEVELS.
IT CAN BE SEEN AS A METAPHOR FOR
THREAT OF COMMUNISTS.
ON THE FLIPSIDE IT’S ABOUT THE
THREAT OF THE McCARTHY WITCH
HUNT AND YET IT CERTAINLY, WOULD
ON ITS OWN TERMS AS A HORROR
MOVIE.
THROUGH ALL OF THIS,
CHILDREN, EVERYONE.
THEY’RE HERE ALREADY.
"AND THE WATERFRONT IS A
REMARKABLE FILM SET ON THE DOCKS
OF NEW JERSEY AT A TIME WHEN
THERE WERE CROOKED LABOR UNIONS
THAT CONTROLLED THE DOCKS AND
YOU HAD TO BE IN GOOD WITH THE
UNION BOUSS TO GET ANY KIND OF
WORK.
THIS IS ABOUT HOW THAT SYSTEM
WAS BROKEN.
WATCH IT.
GET A DOCTOR!
ON THE WATER FRONT IS THE
FIRST TIME I SAW PEOPLE THAT I
KNEW THAT THAT I WAS GROWING UP
WITH, THE PEOPLE IN MY FAMILY
THE PEOPLE IN THE STREETS UP
THERE ON THE SCREEN.
THE DEPICTION OF THE LIFESTYLE
WAS VERY REALISTIC.
THE TENEMENTS WERE THE SAME.
YOU COULD PUT A GAME ON EVERY
IMAGE AND IT’S BEAUTIFUL ART.
BE CAREFUL DON’T SPILL NO
WATER ON THE FLOOR.
THE BEHAVIOR OF BRANDO WAS
THE BREAK THROUGH OF THE
CENTURY.
I REMEMBER THE FIRST TIME I
SAW BRANDO ON THE SCREEN AND IT
WAS A REVOLUTION.
REVOLUTIONIZED THE ART OF
ACTING.
> I DON’T KNOW NOTHING.
BY BRINGING A LEVEL OF
REALITY THAT NOBODY EVER THOUGHT
WAS ACCEPTABLE.
I COULD HAVE BEEN A
CONTENDER.
I COULD HAVE BEEN SOMEBODY.
INSTEAD OF A BUM.
EVERYBODY LOOKED UP TO
BRANDO.
HE WAS GREAT.
WASN’T ABOUT TECHNIQUE IN A WAY,
IT WAS TECHNIQUE OF A SORT BUT
IT WAS ABOUT JUST FEELING.
YOU FELT SO MUCH FROM HIM.
I WAS YOU, CHARLIE.
MARLON BRANDO IS OFTEN
ASSOCIATED WITH THE METHOD AS A
STYLE OF ACTING.
THE METHOD ESSENTIALLY IS
TERRIBLY HUMAN PROFOUNDLY HUMAN
THING.
IT’S NOT - - IT WAS AFFECTED BY
PSYCHOANALYSIS, THE
UNDERSTANDING OF THE SOLE.
HE’S BUILT IN ON THE
WATERFRONT BUT WHO ISN’T.
THEY’RE ALL METHOD ACTORS FROM
THE ACTORS STUDIO.
MUCH AS I ADMIRED BRANDO,
CARL MALDEN, EVE VA MARIE SAINT
WAS ONE OF MY FAVORITE
ACTRESSES.
CA ZAN WORKED SO WELL WITH HER.
YES, I AM.
THERE WERE SO MANY OF US FROM
THE STUDIO.
WE ALL WERE RATHER THE SAME WAY
AND WE FELT COMFORTABLE WITH ONE
ANOTHER.
I GUESS THEY DON’T LET YOU
WALK WITH FELLOWS WHERE YOU’VE
BEEN, HUH.
YOU KNOW HOW THE SISTERS ARE.
ARE YOU TRYING TO BE A NUN.
EADIE MY CHARACTER HAD GLOVES
AND I DROPPED A GLOVE BY
ACCIDENT I DROPPED IT.
HE PICKED UP THE GLOVE.
HE PUT IT ON HIS HAND.
WE’RE GOING TO HAVE A
THANKSGIVING PARTY.
IT WAS VERY SENSUOUS WHAT HE
WAS DOING WITH THAT GLOVE AND
EADIE HAD TO GET THE GLOVE.
AND SHE DIDN’T KNOW HOW TO GET
IT.
SHE HAD TO GO TO HIM TO BE
CLOSER TO HIM.
I COULD GET HOME ALL RIGHT
NOW, THANKS.
IT SHOWS THE SENSITIVITY AND
THE GENIUS OF MARLON BRANDO.
ON THE WATERFRONT WAS
NOMINATED FOR 12 ACADEMY AWARDS.
IT WINS EIGHT INCLUDING BEST
SUPPORTING ACTRESS EVA MARIE
SAINT WHO IS PREGNANT WHILE SHE
ACCEPTS IT.
I MAY HAVE THE BABY RIGHT
HERE.
I HAD THE BABY THE NEXT DAY.
AND NO, WE DID NOT CALL HIM
OSCAR.
WHEN I THINK OF SOME OF THE
GREAT ACTORS OF THE 1950s LIKE
MONTGOMERY CLIFT, AUDREY
HEPBURN, SIDNEY PHOTOYER, ANDY
GRIFFITH AND, OF COURSE, JAMES
DEAN THEY’RE A YOUNG GENERATION
WHO ARE WILLING TO SHARE MORE OF
THAT YOUR SOUL IN THEIR
PERFORMANCE.
WHEN I SAW EAST OF EDEN, I
WAS LIKE OH, MY GOD.
OH, MY GOD.
IT WAS METHOD ACTING AT ITS
FINEST.
I DO THINK THAT HE’S ABSOLUTELY
ONE OF THE GREATEST ACTORSES WHO
EVER LIMBED AND THAT’S BASED ON
EAST OF EDEN ALONE FOR ME.
REBEL WITHOUT A CAUSE WAS THE
FILM THAT MADE JAMES DEAN A
MASSIVE STAR.
HE ONLY WAS IN THREE FILMS.
BUT ALL OF THEM ARE
UNFORGETTABLE.
I REALLY WAS MOVED BY REBEL
WITHOUT A CAUSE.
WHEN HE PULLS UP THE BOTTLE TO
HIS FOREHEAD, I HAD NEVER SEEN
THAT.
I DON’T KNOW WHERE THAT CAME
FROM.
IT WAS SO INTERNAL AND SO
CONFLICTED.
MY, YOU SURE DO LOOK PRETTY.
JUST WENT FARTHER THAN ANYONE
I’D EVER SEEN BEFORE THAT
IMMERSING HIMSELF IN THESE
CHARACTERS.
JAMES DEAN BECOMES AN ICONIC
FIGURE WHO SPEAKS TO A
GENERATION AND WHEN YOU ADD TO
THAT THE UNFULFILLED LIFE
BECAUSE OF DYING IN HIS YOUTH,
YOU HAVE A KIND OF PERFECT
COMBINATION OF A MYTHIC FIGURE
OF WHICH THERE HOME RUN VERY FEW
IN HOLLYWOOD.
♪ A KISS ON HAND MAY BE QUITE
CONTINENTAL ♪
♪ BUT DIAMONDS ARE A GIRL’S BEST
FRIEND ♪
ONE OF THE GREATEST IMAGES IN
THE HISTORY OF FILM IS MARILYN
MONROE IN THAT PINK DRESS
SINGING DIAMONDS ARE A GIRL’S
BEST FRIEND.
♪ DIAMONDS ARE A GIRL’S BEST
FRIEND ♪
WHAT MOST PEOPLE KNOW ABOUT
MARILYN MONROE IS SHE BECOMES
THIS BIG SEX SYMBOL STARTING IN
THE 50s BUT WHAT A LOT OF PEOPLE
DON’T KNOW IS HOW FUNNY SHE IS.
OH, DO YOU FEEL THE BREEZE IN
THE SUBWAY?
ISN’T IT DELICIOUS.
SHE EVENTUALLY GOT TIRED OF
BEING TYPE CAST AS A SEX POT
BOMBSHELL AND WANTED TO EXPAND
HER RANGE.
SO SHE FAMOUSLY FORSAKES HER
CONTRACT WITH 20th COUNTRY FOX
TO MOVE TO NEW YORK TO STUDY
WITH THE MOST RESPECTED ACTING
COACH IN THE UNITED STATES AT
THE MOMENT LEE STRASBOURG AT THE
ACTOR’S STUDIO.
WE DON’T GIVE HER ENOUGH
CREDIT AS AN ACTRESS.
SHE COULD DO IT ALL AND BILLY
WILDER KNEW IT.
SOME LIKE IT HOT IS HER MOST
MEMORABLE FILM BECAUSE SHE PUTS
EVERYTHING TOGETHER FOR HERSELF.
YOU START TO SEE HER AS A PERSON
THAT YOU CARE ABOUT EMOTIONALLY.
ALL THE GIRLS DRINK.
IT’S JUST THE THAT I’M THE ONE
THAT GETS CAUGHT.
I ALWAYS GET THE FUZZY END OF
THE LOLLIPOP.
WHEN YOU’RE IN THE HANDS OF A
BILLY WILDER, IT’S THE RIGHT
PERSON SAYING THE LINE IN THE
RATE WAY.
THEY HEAR THE COMEDY OF IT.
THERE’S A MUSIC TO A PUNCH LINE.
THIS MAY EVEN TURN OUT TO BE
A SURPRISE PARTY.
WHAT SURPRISE?
NOT YET.
WHEN?
HAVE A DRINK FIRST.
IT’S A RIDICULOUS MOVIE.
IN A LOT OF WAYS.
TONY CURTIS AND JACK LEMMON PLAY
THESE TWO MUSICIANS IN 1920s
CHICAGO AND THEY ACCIDENTALLY
WITNESS THE ST. VALENTINE’S DAY
MASSACRE AND THEY HAVE TO
WITHOUT TRYING TO, HE ATTRACTS A
MILLIONAIRE WHO FALLS IN LOVE
WITH HIM.
I’M ENGAGED.
CONGRATULATIONS.
WHO’S THE LUCKY GIRL?
I AM.
"SOME LIKE IT HOT" IS THE
GREATEST COMEDY OF ALL TIME WITH
THE GREATEST LAST LINE.
YOU DON’T UNDERSTAND, OZGOOD.
I’M A MAN.
WELL, NOBODY’S PERFECT.
♪
I’VE NOTICED YOUR VIEW OF THE
WEST HAS BECOME INCREASINGLY SAD
AND MELANCHOLY OVER THE YEARS.
HAVE YOU BEEN AWARE OF THAT
CHANGE IN MOOD?
NO.
JOHN FORD IS AMAZING.
HE PUTS HIS GREAT EMOTION AND
SENSITIVITY INTO THESE
REMARKABLE FILMS, ONE AFTER THE
OTHER AFTER THE OTHER AFTER THE
OTHER.
I THINK HE SAW THE WORLD A
LITTLE BIT DIFFERENTLY THAN
OTHER PEOPLE DID.
♪
HE HAD THIS INCREDIBLE
INTUITIVE SENSE OF COMPOSITION.
HE UNDENIABLY UNDERSTOOD THE
POWER OF THE FRAME.
THE WESTERN GAVE FORD THE
FREEDOM TO EXAMINE THEMES OF
MASCULINITY, LOYALTY, REVENGE,
AND JUSTICE.
"THE SEARCHERS" IS A CULMINATION
OF THIS JOURNEY WITH THESE SAME
TWO KEY COLLABORATORS.
THE DIRECTOR NOW IN THE LATE
PART OF HIS CAREER AND THE STAR
IN THE LATE PART OF HIS CAREER.
MURDER!
"THE SEARCHERS" IS PROBABLY
AS DARK AND ME LEF LENTCHARACTER
WAYNE EVER PLAYED.
HIS NIECE GETS KIDNAPPED.
ONCE HE FINDS HER, IT’S NOT WHAT
HE EXPECTS.
THESE ARE MY PEOPLE.
GO.
GO, MARTIN, PLEASE.
STAND ASIDE MARTIN.
"THE SEARCHERS" IS A FILM
ABOUT RACISM.
JOHN WAYNE’S HATRED FOR THE
FIRST NATION’S PEOPLE IS
PROFOUND.
THE FACT THAT YOU CUT TO THE END
OF THE STORY AND HE WINDS UP
RESCUING NATALIE WOOD.
AND IT ALWAYS BRINGS TEARS TO MY
EYES WHEN HE EMBRACES DEBBIE AND
THEN TAKES HER HOME.
LET’S GO HOME, DEBBIE.
IT’S A FILM THAT OFFERS A
GREAT DEAL OF HOPE THAT THE
WORST DIED IN THE WOOL, HATER OF
THE DIFFERENCES IN OTHERS CAN
CHANGE.
♪
THE STUDIO SYSTEM WAS
COLLAPSING AT THE END OF THE
1950s.
ALMOST EVERYBODY WAS A FREE
AGENT TO GO SORT OF CRAFT THEIR
OWN DEAL.
SO, DIRECTORS HAD THE FREEDOM TO
PUT THEIR STAMP ON MOVIES.
THIS WAS A SIGNIFICANT CHANGE IN
HOW HOLLYWOOD DID BUSINESS.
MID-’50s TO EARLY ’60s
HITCHCOCK IS WHEN HE CHURNED OUT
MOST OF HIS PIECES.
HE STARTED TO MAKE FILMS IN
COLOR AND HAVE AMERICAN CAST AND
HAVE BIGGER SPLASHIER KIND OF
FILMS.
I COULD SEE "VERTIGO" OVER AND
OVER AGAIN AND STILL NOT
COMPLETELY GET IT.
AND I LOVE THAT ABOUT IT.
IT’S SUCH A SUBCONSCIOUS MOVIE,
KIND OF A RIDDLE.
YOU FEEL LIKE HITCHCOCK IS
ENGAGED IN A SYMBOLIC
CONVERSATION WITH THE AUDIENCE.
YOU WANT ME TO BE DRESSED
LIKE HER?
JUDY, I JUST WANT YOU TO LOOK
NICE.
I KNOW IT LOOKS WELL ON YOU.
NO, NO I WON’T DO IT.
THE RELATIONSHIP BETWEEN
JIMMY STEWART AND KIM NOVAK IS
LIKE A DIRECTOR’S RELATIONSHIP
WITH AN ACTRESS.
IT’S FIXATED ON HOW YOU
LOOKED.
YOUR HAIR, YOUR JEWELRY, THE
LITTLE STONE HERE HE PICKED OUT.
MR. HITCHCOCK, CAN I ASK YOU
THIS?
MR. DIRECTOR ALLOW THEM A LIFE
OF THEIR OWN?
IF THE DIRECTOR IS WORKING IN
THE PURELY CINEMATIC MEDIUM,
THEN THE ACTOR MUST COME UNDER
HIS CONTROL.
WORKING WITH HIM WAS JUST THE
OPPOSITE FROM THE ACTOR’S
STUDIO.
HE DOESN’T TALK ABOUT ANY
FEELINGS.
HE TOLD ME DON’T USE YOUR HANDS.
LOWER YOUR VOICE.
AND LOOK DIRECTLY INTO CARY
GRANT’S EYES.
JACK PHILLIPS, WESTERN SALES
MANAGER FOR KINGBY ELECTRONICS.
NO YOU’RE NOT.
YOUR ROGER THORN HILL OF MADISON
AVENUE AND YOU’RE WANTED FOR
MURDER.
DON’T BE SO MODEST.
HITCH DOCK WASCOCK WAS ONE FI
THE DIRECTORS TO BECOME A BRAND
NAME, WHERE YOU MIGHT SHOW UP
BECAUSE HE DIRECTED IT.
THAT FEELING OF PEOPLE SHOWED UP
BECAUSE HE DIRECTED IT WAS ABOUT
TO BECOME STANDARD.
THIS IS THE HEART OF AMERICAN
CINEMA.
EVERYONE WHO’S WORKING TODAY HAS
SEEN AND WAS INFLUENCED BY THAT
CLASSIC.
STELLA!
THOSE WERE THE BUILDING
BLOCKS, THOSE WERE THE TEMPLATES
OF EVERYTHING THAT CAME AFTER
IT.
YOU CAN GO THROUGH THOSE FILMS
AGAIN AND AGAIN AND AGAIN AND
THEY WOULD LIVE ETERNALLY IF YOU
JUST GIVE THEM A CHANCE.
I DON’T KNOW WHAT I WOULD DO
WITHOUT YOU.
OUR STORY OF HOLLYWOOD’S
FABULOUS ERA HAS COME TO AN END.
FOR THOSE OF YOU WHO MAY HAVE
MISSED YOUR FAVORITE PERFORMER
OR FILM, OUR SINCEREST REGRETS.
IN OUR BRIEF TIME, WE’VE ONLY
BEEN ABLE TO SHOW SOME OF THEM.
♪
♪
♪
♪
♪
♪
♪
♪
LET’S GO TO THE MOVIES.
FOR MORE THAN HALF A CENTURY,
THESE WORDS HAVE MEANT AN
INVITATION TO MAGIC.
THE MAGIC OF MOVING PICTURES.
THE SPINNING OF DREAMS IN A
DARKENED THEATER.
FOR THREE DECADES, THE DREAMS
WERE SILENT ONES.
THE MAGIC OF MOVEMENT ALONE.
THEN SUDDENLY, ON A NIGHT IN
OCTOBER 1927, A VOICE WAS HEARD
FROM THE SCREEN.
PROCLAIMING A FABULOUS ERA IN
HOLLYWOOD.
THE NIGHT THE MOVIES BECAME THE
TALKIES WITH THE PREMIERE OF A
JAZZ SINGER AND THE VOICE OF AL
JOLSON.
IT’S INTERESTING THE FIRST
SOUND MOTION PICTURE WAS A
MUSICAL IN WHICH AL JOLSON ONLY
SANG AND THE REASON FOR THAT IS
THEY SAID, WELL, WHO WANTS TO
HEAR ACTORS TALK.
MOST OF THE RUNNING TIME IT’S
A SILENT FILM USING TITLES WITH
AN ORCHESTRA SCORE.
EVERY ONCE IN A WHILE THE
ORCHESTRA STOPS AND JOLSON POPS
UP AND STARTS SINGING.
♪ WONDERFUL TALES ARE ALWAYS
HARD TO FIND ♪
♪ SOME FOLKS HAVE ONE
SOME FOLKS HAVE NONE ♪
JOLSON ALWAYS TALKED TO HIS
AUDIENCE.
HE WAS KNOWN FOR HIS PATTER.
AND SPECIFICALLY, HIS CATCH
PHRASE WHICH HE’D BEEN SAYING
SINCE 1906.
YOU AIN’T HEARD NOTHING YET.
WAIT A MINUTE.
YOU AIN’T HEARD NOTHING.
HE SAID THAT WHEN THEY WERE
RECORDING THE AUDIO SO THE FIRST
WORDS WE HEAR IN DIALOGUE IN A
FILM WERE, YOU AIN’T HEARD
NOTHING YET.
THE FIRST FULL TALKING
FEATURE, "LIGHTS OF NEW YORK,"
IS A VERY DULL PSEUDOGANGSTER
FILM WITH PEOPLE YOU’VE NEVER
HEARD OF SITTING AROUND A TABLE
AND A TELEPHONE IN THE MIDDLE
WHERE, OBVIOUSLY, THE MICROPHONE
EXISTS.
AND THEY’RE ALL LEANING TOWARD
IT.
TAKE HIM FOR A RIDE.
OH.
AND THE FILM CAME OUT, AND IT
JUST BLEW THE ROOF OFF.
AND NOBODY COULD FIGURE IT OUT
BECAUSE EVERYBODY KNEW IT WAS A
TERRIBLE MOVIE.
THE ONLY THING THAT COULD
POSSIBLY BE RESPONSIBLE FOR THAT
KIND OF PUBLIC RESPONSE WAS THE
FACT THAT IT WAS ALL TALKING.
SO THAT’S THE MOVIE THAT REALLY
CHANGED THE EQUATION.
ACTRESSES AND ACTORS IN THE
SILENT PERIOD HAD TO LOOK A
CERTAIN WAY.
YOU GET SOUND AND A LOT OF THOSE
PEOPLE ARE PUT OUT OF A JOB IF
THEY DON’T SOUND THE RIGHT WAY.
I DON’T MIND IF YOU CLOSE
THAT DOOR.
I LIKE THEM OPEN.
THEY’RE EASIER TO GET OUT
THROUGH.
JOHN GILL BERT WAS HAVING
TROUBLE IN SOUND AND HIS FILMS
WEREN’T MAKING MONEY.
A VERY BIG STAR.
I WAS WALKING UP AND DOWN.
MADE ONE OR TWO TALKIES.
QUIT THE BUSINESS.
THE VERY LAST SILENT FILM MGM
MADE CALLED "THE KISS" WAS A
GRETA GARBO FILM.
THEY WERE AFRAID THEIR BIGGEST
STAR WOULD LOSE THEIR AUDIENCE
WHEN THEY HEARD HER SPEAK WITH
HER SWEDISH ACCENT.
IT WAS CALLED ANNA CHRISTIE AND
GARBO TALKS WAS THE TAG LINE.
EVERYONE WAS EXCITED TO HEAR
WHAT SHE’D SOUND LIKE, AND SHE
DIDN’T DISAPPOINT.
IF YOU LOOK AT THAT FAMOUS SCENE
IN THE BARKS THERE’S A GOOD 20
SECONDS OF NO MUSIC, NO
DIALOGUE, NO NOTHING, AND IT
REALLY BUILDS THE SUSPENSE.
GIVE ME A WHISKEY.
GIVE ME A WHISKEY, BABY.
GRETA GARBO WAS FULL OF
MYSTERY AND BEAUTY AND TALENT.
SHE JUST DIDN’T TRY SO MUCH.
YOU KNOW WHAT I MEAN?
SHE WAS COOL.
♪
MGM WAS SORT OF LIKE THE
HARVARD OF HOLLYWOOD.
IT WAS THE PLACE THAT EVERY STAR
WANTED TO GRADUATE TO.
IT HAD GARBO.
IT HAD GABEL, SPENCER TRACY.
IT OFFERED TO THE PUBLIC A SENSE
OF ESCAPE INTO A WORLD OF CLASS
AND REFINEMENT.
ON THE OTHER HAND, UNIVERSAL
PICTURES WAS CONSTANTLY ON THE
FINANCIAL SHOALS THROUGHOUT THE
1930s.
THEY COULDN’T AFFORD MOVIE
STARS.
AND THE STRATEGY IS FINALLY
SETTLED ON WAS MAKING HORROR
MOVIES.
I AM DRACULA.
THE UNIVERSAL HORROR MOVIES
ARE PRIMAL.
THEY JUST DRIPING WITH
ATMOSPHERE.
LOOK AT DRACULA.
THE LOOK OF IT IS PART OF THE
ENERGY OF IT.
PART OF THE CHARACTER.
IT’S PART OF THE VIBE.
THE SPIDER IS SPINNING HIS
WEB FOR THE FLY.
THE BLOOD IS DELIGHT.
I LOVE DRACULA.
IT GETS BETTER EVERY TIME I
WATCH IT.
LEGOSI IS ACTING ON THIS OTHER
LEVEL.
THE WHOLE PACE OF THE SCENE
REVOLVES AROUND HIM.
HE SUCKS ALL THE AIR OUT OF THE
ROOM IN A GOOD WAY.
WHEN "DRACULA" BECAME SUCH A
BOX OFFICE HIT, THEY WENT, OH,
THAT WORKED.
WHAT ELSE IS OUT THERE?
IN THE NAME OF GOD - -
I KNOW WHAT IT FEELS LIKE TO
BE GOD.
IT WAS JAMES WELLS’
"FRANKENSTEIN" THAT MADE ME WANT
TO MAKE MOVIES.
I REMEMBER SEEING THE BURNING
WINDMILL SEQUENCE.
I WAS 6 YEARS OLD.
AND FROM THAT POINT OIN, I WANTE
TO MAKE FILMS.
THE BRIDE OF FRANKENSTEIN.
EVERYBODY MADE HORROR
PICTURES BUT WHAT WAS UNIQUE
ABOUT UNIVERSAL’S WAS THE CARE
WITH WHICH THEY WERE MADE, PLUS,
THEY MADE A LOT AND HAD BIG
SUCCESS.
A LITTLE BIT OF AN UNDERDOG
STUDIO.
AND THEN DAVID SELSNIK CAME IN
AND HAD A REAL SENSE OF WHAT
AUDIENCES WANTED AND GAVE THEM
"KING KONG."
"KING KONG" WAS ONE OF MY
EARLY TRAUMATIC EXPERIENCES AT
THE MOVIES.
I REMEMBER CLOSING ALL OF MY
BLINDS IN OUR HOUSE BECAUSE OF
THE ONE SCENE WHERE KING KONG
LOOKS INTO THE WINDOW AND FINDS
FAYE RAY AND HIS HAND COMES IN
AND ABDUCTS HER.
WATCHING "KING KONG" WHEN I WAS
A KID WAS AN AMAZING EXPERIENCE.
IF YOU’VE EVER BEEN AROUND A
STOP-MOTION PUPPET AND MOVED IT
ONE FRAME AT A TIME, THERE’S
SOMETHING QUITE MAGICAL ABOUT
THAT.
THAT’S WHY THAT FORM OF
ANIMATION HAS ALWAYS BEEN SO
INSPIRATIONAL TO ME.
DO YOU KNOW WHO SNUCK INTO MY
STATE ROOM AT 3:00?
NOBODY.
THAT’S THE PROBLEM.
THE MARX BROTHERS CHANGED
AMERICAN HUMOR.
THE JOKES WERE LIKE HITTING.
AND THEY STILL HIT.
YOU WATCH THEM OVER GENERATIONS.
THE STUFF IS REALLY STILL THAT
FUNNY.
GROUCHO IS LIKE THE SMART
COMEDY.
CHICO IS THE DUMB COMEDY.
IT’S LIKE SUCH A GREAT VARIETY
PACK.
THIS WAS ESCAPISM FOR
DEPRESSION-ERA AUDIENCES.
ALMOST ALL OF THEIR FILMS ARE
ABOUT THIS GROUP OF WORKING
CLASS COMEDIANS TAKING ON AN
INSTITUTION OF GREAT DIGNITY AND
RESPECT.
THE ART WORLD AND ANIMAL
CRACKERS, UNIVERSITY IN HORSE
FEATHERS.
AN OPERA HOUSE IN "A NIGHT AT
THE OPERA," THE ENTIRE SYSTEM OF
GOVERNMENT IN "DUCK SOUP."
♪ WE’RE IN THE MONEY
WE’RE IN THE MONEY ♪
WE’VE GOT A LOT OF WHAT IT TAKES
TO GET ALONG ♪
TOTALLY A FAN.
HIS WARNER BROTHERS MUSICALS
WERE THE BEST.
THEY WERE REAL.
THEY WERE ABOUT WOMEN WORKING
AND SHOW BUSINESS, TRYING TO GET
A JOB DURING THE DEPRESSION.
REMEMBER MY FORGOTTEN MAN?
ONE OF THE MOST INCREDIBLE
NUMBERS IS "REMEMBER MY
FORGOTTEN MAN" WITH JOAN
BLONDELL.
IT’S JUST HEARTBREAKING WITH ALL
THE SOLDIERS ON THE BIG ARCHWAY,
AND IT’S JUST BRILLIANT.
BUSBY BIRKLEY JUST BLEW PEOPLE’S
MINDS.
HE TURNED MUSICAL FROM THIS
BLACK FACING DANCE NUMBER TO A
KALEIDOSCOPE.
HE ACTUALLY BUILT SPECIAL HOLES
IN THE SOUND STAGE TO REALLY
FILM DOWN.
BUS BERKELEY KNEW IT WAS A
MEDIUM.
THEY’D HAVE THE SETS MOVE WITH
THE CHOREOGRAPHY.
IT’S AMAZING.
♪ NOTHING’S IMPOSSIBLE I HAVE
FOUND ♪
WHEN MY CHIN IS ON THE GROUND
I PICK MYSELF UP
DUST MYSELF OFF AND START ALL
OVER AGAIN ♪
MY FATHER WAS UNDER CONTRACT
AT RKO, AND THEY ASKED HIM TO
MAKE A MUSICAL.
I THINK WHAT HE BROUGHT TO A
STAIR IN ROGERS WAS A
BELIEVABILITY.
♪ START ALL OVER AGAIN ♪
SEEING THAT FILM DURING THE
DEPRESSION WHERE PEOPLE ARE
SURROUNDED BY HOPELESSNESS WHEN
THEY SEE THIS BUOYANT AND
BRILLIANT AND COMIC NUMBER THAT
WOULD HAVE BEEN THE MOST
SATISFYING EXPERIENCE.
PICK YOURSELF UP.
THE HABTS OF MOVIE GOING IN
THE ’30s WERE DIFFERENT FROM
TODAY.
THEY DIDN’T JUST COME FOR ONE
PICTURE.
THERE WAS A B PICTURE, A NEWS
REEL, A SHORT AND A CARTOON.
WALT DISNEY WHO CREATED MICKEY
MOUSE, HE WAS A VISIONARY.
AND HE GOT THIS IDEA, MAYBE I’LL
MAKE A FEATURE LENGTH CARTOON.
NO ONE EVER THOUGHT ABOUT THIS.
THEY THOUGHT HE WAS OUT OF HIS
MIND.
NO ONE HAD EVER ATTEMPTED
THIS BEFORE.
AND THE ATTEMPT IS DIFFICULT FOR
US TO UNDERSTAND BECAUSE IT
ISN’T JUST MAKING FEATURE
ANIMATION.
IT IS TO SEE IF AN AUDIENCE
WOULD CARE ABOUT DRAWINGS.
"SNOW WHITE" IS BASED ON A
EUROPEAN FAIRYTALE, BUT IT’S NOT
A CHILDREN’S PICTURE.
IT WAS INTENDED FOR A MIXED
AUDIENCE OF ADULTS AND KIDS.
GOOD-BYE.
GOOD-BYE.
WALT WAS NOT AFRAID TO HAVE
DRAMATIC POWER.
I CAN’T DO IT.
HE WAS NOT AFRAID TO GO
THERE.
NOT AFRAID TO HAVE SCENES THAT
WOULD BE SCARY, TRAUMATIC EVEN.
PEOPLE WERE SHOCKED TO FIND
OUT THAT THEY WERE GENUINELY
AFRAID IN THE SCARY PARTS AND
GENUINELY MOVED WHEN SNOW WHITE
IS UNDER THE SLEEPING DEATH
BECAUSE OF THE TENDERNESS OF THE
ANIMATION.
GROWN ADULTS WEPT AT THE
PREMIERE.
SO DISNEY DID EVERYTHING THAT
THEY SAID COULDN’T BE DONE.
IT WAS A GIANT HIT.
WAY SURPASSED EXPECTATIONS AND
ALLOWED WALT TO REALLY BUILD THE
STUDIO.
EVERY ANIMATED FEATURE WE
HAVE TODAY, IT ALL STEMS FROM
"SNOW WHITE." WITHOUT "SNOW
WHITE" NONE OF THIS WOULD EXIST.
RED, THIS CAN’T GO ON.
WHY?
I LOVE MY WIFE.
I’VE NEVER LOVED ANYBODY ELSE.
WE’VE BEEN SWEETHEARTS SINCE WE
WERE KIDS.
BUT SHE DOESN’T NEED TO KNOW
ABOUT US.
BETWEEN 1930 AND 193 4,
FILMMAKERS WERE FREE TO EXPLORE
SUBJECTS LIKE SEX AND VIOLENCE.
WHAT YOU GET IS SOME FASCINATING
FEMALE CHARACTERS WHO WERE
SEXUALLY LIBERATED.
IT’S QUITE SHOCKING TO SEE WHAT
THEY WERE ABLE TO GET AWAY WITH.
I ALWAYS DID LIKE A MAN IN
UNIFORM.
THAT ONE FITS YOU GRAND.
WHY DON’T YOU COME AND SEE ME
SOME TIME.
MAE WEST WAS NOT AFRAID TO
OWN HER STATUS AS A SEX SYMBOL.
SHE WAS INCREDIBLY INTELLIGENT
AND WROTE ALL HER OWN FILMS.
SHE STARRED WITH CARY GRANT.
SHE LOVED HIS VOICE.
THAT HELPED HIM TO BECOME A
LEADING MAN.
TONIGHT YOU WERE ESPECIALLY
GOOD.
WHEN I’M GOOD, I’M VERY GOOD.
BUT WHEN I’M BAD, I’M BETTER.
HER FILMS WERE INCREDIBLY
SUCCESSFUL, BUT THE CATHOLIC
LEGION OF DECENCY, THE MORAL
GROUPS WERE NOT HAPPY AT ALL.
THEY WERE PETITIONING THE
GOVERNMENT TO STEP IN AND START
ENFORCING CENSORSHIP IF THE
STUDIOS DIDN’T DO IT THEMSELVES.
HOLLYWOOD IS TRYING TO FIGURE
OUT HOW TO DEAL WITH THE
PRESSURE THEY’RE GETTING BECAUSE
OF MAE WEST.
BECAUSE OF ALL OF THESE EARLY
GANGSTER FILMS LIKE "LITTLE
SEGAR" AND "PUBLIC ENEMY" AND
"SCARFACE."
WHAT’S GOING TO HAPPEN AS A
RESULT IS HOLLYWOOD WOULD CREATE
THE CODE ADMINISTRATION IN ’34
TO REIGN IT IN.
WHAT THIS COUNTRY NEEDS MORE
THAN A GOOD FIVE-CENT CIGAR IS
CLEAN ROLLICKING COMEDY.
NEXT TIME YOU DROP IN, BRING
YOUR FOLKS.
THE 1934, THE BEGINNINGS OF
THE SCREWBALL COMEDY COME UP.
IT HAPPENED ONE NIGHT.
PITS CLARK GABLE AGAINST CLAUDET
COLBERT.
A SPOILED HEIRESS WHO HAS RUN
AWAY FROM HER DAD.
WHEN YOU GET THE CODE WHICH
MAKES IT IMPOSSIBLE TO SHOW
PEOPLE IN BED TOGETHER, YOU HAVE
TO INVENT.
YOU’LL NOT GIVE UP ON SEX BUT
YOU HAVE TO TALK AROUND IT.
YOU CREATE AN INTRIGUE.
IT CREATED BANTER.
THAT, I SUPPOSE, MAKES
EVERYTHING QUITE ALL RIGHT.
OH, THIS?
WELL, I LIKE PRIVACY WHEN I
RETIRE.
I’M VERY DELICATE IN THAT
RESPECT.
PRYING EYES ANNOY ME.
"IT HAPPENED ONE NIGHT" IS
GENIUS.
THE WALLS OF JERICHO SCENE SAY
CLASSIC FOR ANYONE THAT WANTS TO
DIRECT ROMANTSIC COMEDIES.
THE WALLS OF JERICHO WILL
PROTECT YOU FROM THE BIG, BAD
WOLF.
IT PUSHED HIM TO CREATE AN
EVEN BETTER, IN MANY WAYS,
SEXIER SCENE.
IT HAPPENED ONE NIGHT WAS SO
SUCCESSFUL WINNING FIVE ACADEMY
AWARDS.
ALL THE MAJOR CALIFORNIAS AND IT
KICKED OFF THE WHOLE IDEA THAT
WE SHOULD ALL BE MAKING
SCREWBALL COMEDIES.
CAN’T BE SEEN TALKING TO THIS
MAN.
WHAT WILL THEY THINK?
GODFREY IS GOING TO BE OUR
BUTLER.
THEY WERE PARTICULARLY
POPULAR IN THE ’30s BECAUSE OF
THE DEPRESSION.
YOU SAW GENERALLY WEALTHY
PEOPLE, OR PEOPLE WELL OFF
MAKING FOOLS OF THEMSELVES.
JUST LEAVE EVERYTHING TO
GODFREY.
THE PHRASE SCREWBALL CAME
FROM A REVIEW IN "VARIETY" OF
CAROLE LOMBARD’S SCREWBALL
PERFORMANCE IN "MY MAN GODFREY."
FORGET THAT YOU HAVE ANY
SENSE.
GODFREY, DON’T GO AWAY.
OH, YOU - - NOW I KNOW YOU LOVE
ME.
I DO NOT LOVE YOU AND YOU’RE
GETTING ME ALL WET.
WHAT’S THE MEANING OF THIS?
GODFREY LOVES ME.
HE PUT ME IN THE SHOWER.
SHE WAS EXTRAORDINARY.
SHE PLAYED A LOT OF KUKINESS BUT
SHE HAD LOGIC TO HER HUMOR.
YOUR TIMING CAN’T BE LIKE THAT
UNLESS YOU’RE VERY, VERY CLEVER.
THE TRICK WAS THAT THE
LEADING CHARACTERS DID
SLAPSTICK.
ONE OF MY FAVORITES IS "THE
AWFUL TRUTH."
♪
IT WAS KIND OF THE FIRST REAL
CARY GRANT PERFORMANCE.
WHAT IS THE MATTER WITH YOU?
THE FOLLOWING YEAR HE DID
"BRINGING UP BABY."
THE EPITOME OF SCREWBALL COMEDY.
DISCOVERING THE ROMANTIC
COMEDIES OF THE ’30s AND ’40s,
THAT REALLY TOOK OVER MY LIFE
FOR A LONG TIME.
THE "PHILADELPHIA STORY" IS ONE
OF MY ALL-TIME FAVORITES.
HELLO.
FANCY SEEING YOU.
THREE OF THE MOST IMPECCABLE
ACTORS IN A MOVIE TOGETHER.
CINDERELLA’S SLIPPER.
IT’S CALLHAMPAGNE.
IT’S A GREAT LEVELLER.
JIMMY STEWART’S DRUNKEN SCENE
IS ONE OF THE ALL-TIME GREAT
DRUNKEN PERFORMANCES.
HE’S JUST SO CONVINCING.
AND IT’S JUST SO FUNNY AND
BEAUTIFUL AND YOU ROOT FOR THIS
ONE AND THEN YOU ROOT FOR THAT
ONE.
IT GIVES YOU EVERYTHING YOU
COULD EVER WANT FROM A MOVIE.
I KNOW YOU ANY TIME, ANY
PLACE.
ANYWHERE.
YOU’RE REPEATING YOURSELF.
THAT’S THE SPEECH YOU MADE THE
NIGHT ROWYOU PROPOSED.
OF COURSE I REMEMBER IT.
IF I DIDN’T REMEMBER YOU, I’D
HAVE DIVORCED YOU.
MORE WORDS PER SQUARE INCH IN
"HIS GIRL FRIDAY."
I IMAGINE THE SCRIPT IS PROBABLY
THAT THICK AND ROSLYN RUSSELL
CLEARLY WAS THE BEST AT IT.
LISTEN, WALTZER - -
I MADE A GREAT REPORTER OUFTS
YOU - -
YOU WON’T BE - -
♪
MANY OF THESE FILMS THAT YOU
GET IN HOLLYWOOD IN THE ’30s
SHOWCASE SOME OF THE TOP BLACK
PERFORMERS OF THAT ERA.
SO YOU GET THE NICHOLAS
BROTHERS, FOR INSTANCE, OR BILL
BOROBINSON.
MANY PEOPLE FOUND THEM
ENTERTAINING BUT THESE BLACK
CHARACTERS WERE OFTEN
STEREOTYPICAL AND PROBLEMATIC.
♪ HALLELUJAH ♪
HATTIE McDANIEL WAS KNOWN FOR
PLAYING MAMIE-TYPE ROLES.
YOU KNOW, I’VE BEEN UNDER THE
IMPRESSION THAT YOU IS A ONE-MAN
WOMAN.
I AM.
ONE MAN AT A TIME.
FIGURES LIKE THE NANNY WERE
REALLY RACIAL CARICATURES.
WHAT A MAMIE ON THE PLANTATION
WOULD HAVE BEEN.
THEY DON’T HAVE MUCH AGENCY.
THEY EXIST AS THE BACKDROP FOR
THE NARRATIVE WORLD THAT THE
WHITE CHARACTERS LIVE IN.
TRY AND FIND OUT WHAT HE
WANTS.
THOSE IMAGES WERE DAMAGING
BUT SHE DIDN’T CREATE THEM.
THEY WERE CREATED BY THE WHITE
PEOPLE WHO CONTROL HOLLYWOOD.
I BELIEVE YOU’RE THE LAZYIEST
MAN THAT EVER LIVED ON THIS
RIVER.
THAT’S SAYING A WHOLE LOT.
PAUL ROBESON WAS ALWAYS
BIGGER THAN THE MATERIAL HE WAS
GIVEN.
♪ OLD MAN RIVER ♪
♪ THAT OLD MAN RIVER ♪
IN "SHOW BOAT" HE WAS ABLE TO
CHANGE "OLD MAN RIVER" INTO
SOMETHING MUCH MORE COMPLEX AND
ULTIMATELY MUCH MORE CRITICAL OF
THE RACISM THAT CHARACTER IS
EXPERIENCING.
♪
♪ AND YOU’LL LAND IN JAIL ♪
OSCAR MICHELLE WAS ONE OF THE
PIONEERS OF AFRICAN-AMERICAN
CINEMA.
HE WAS PART OF A GENRE KNOWN AS
THE RACE FILM.
AND RACE FILMS WERE MADE SINCE
THE BEGINNING OF THE BIRTH FILM,
BY BLACK FILMMAKERS FOR BLACK
AUDIENCES.
IN THE VERY EARLY DAYS OF
CINEMA, IT’S EASIER, NOT ONLY
FOR AFRICAN-AMERICANS, BUT ALSO
FOR WOMEN TO GET INTO THE
INDUSTRY.
IT WAS CONSIDERED THE NORM TO
HAVE WOMEN IN ALL LEVELS OF
HOLLYWOOD.
THEY WERE DRCTSIRECTORS.
HALF OF ALL FILMS WRITTEN
BETWEEN 1912 AND 1921 WERE
WRITTEN BY WOMEN.
WE AIN’T TELLING NOBODY UNTIL
WE GET READY TO MAKE THE BREAK
OUTSIDE OF YOU.
"THE BIG HOUSE" WAS ONE OF
TWO FILMS THAT FRANCIS MARION
WON HER OSCARS FOR.
THE OTHER FILM, OF COURSE, IS
"THE CHAMP."
I THINK THAT’S ENOUGH FOR
TODAY, DON’T YOU?
SHE WAS INCREDIBLY PROLIFIC.
SHE HAS A HUGE FILMOGRAPHY.
SHE MADE FILMS IN GENRES YOU
MIGHT THINK OF AS MASCULINE.
AS THE FILM INDUSTRY
CONSOLIDATED INTO STUDIOS, BOTH
WOMEN AND AFRICAN-AMERICANS ARE
BEING PUSHED OUT AS SHAPERS BILL
MAKERS.
AND A STUDIO SYSTEM THAT’S
ORGANIZED AROUND STARS AND WOMEN
BECOME THE OBJECTS OF THAT
COMODIFICATION.
WHEN YOU HAVE SOMEONE LIKE
MARLENA DIETRICH COME FROM
GERMANY, SHE HAS TO REPRESENT
THE EXOTIC, THE OTHER, THE
UNKNOWN.
♪
HER GREAT APPEAL IS HER FABULOUS
ANDROGENY.
EVERYBODY SEEMS TO LIKE THAT
ABOUT HER.
SHE’S PLAYING A CABARET
SINGER DRESSED IN A TOP HAT AND
TAILS WHICH HAD BECOME AN ICONIC
OUTFIT SHE WORE IN PERFORMANCES
FOR THE REST OF HER LIFE.
SHE TAKES THIS YOUNG WOMAN FROM
THE AUDIENCE AND GIVES THE WOMAN
A KISS RIGHT ON THE LIPS.
PARTICULARLY IN THE FILMS SHE
MADE, MOROCCO, BLOND VENUS, THE
DEVIL IS A WOMAN," ALMOST
NOTHING HAPPENED IN THESE
MOVIES.
THEY WERE NONNARRATIVE.
JUST STAGING THIS SPECTACLE OF
DESIRE AND BEAUTY.
IN THE 1930s, IT WAS
ESTIMATED THAT ABOUT 70% OF A
MOVIE-GOING AUDIENCE WAS FEMALE.
AND THE MORE WOMEN IN THE
AUDIENCE YOU GET, THE MORE THEY
CRAVE STRONG FEMALE CHARACTERS.
THESE FEMALE MOVIE STARS
REALLY RULED THE BOX OFFICE.
AND OFTEN WERE GETTING PAID MUCH
MORE THAN THEIR MALE
COUNTERPARTS.
WOULDN’T YOU LIKE SOMEONE TO
BE IN LOVE WITH YOU?
YES, GABRIELLE.
I WOULD LIKE SOMEONE IN LOVE
WITH ME.
DO YOU THINK I’M ATTRACTIVE?
THERE ARE BETTER WORDS THAN
THAT FOR WHAT YOU ARE.
ALTHOUGH IT MAY SEEM ABSURD
TO US IN HER TIME, BETTE DAVIS
WAS CONSIDERED NOT PRETTY.
SHE HAD THIS SORT OF UNUSUAL
FACE WITH THE SLIGHTLY
PROTRUDING EYES BUT SO LITTLE
VANITY AS AN ACTRESS AND UTTER
OPENNESS TO PLAYING UNLIKABLE
CHARACTERS.
HERE SHE WAS A YOUNG ACTRESS
TRYING TO ESTABLISH HERSELF AS A
STAR.
AND SHE INSISTS ON DOING OF
HUMAN BONDAGE, WHERE SHE PLAYS
THE WORST PERSON WHO EVER LIVED.
I NEVER CARED FOR YOU NOT
ONCE.
I WAS ALWAYS MAKING A FOOL OF
YOU.
YOU BORED ME STIFF.
I HATED YA.
IT MADE ME SICK WHEN I HAD TO
LET YOU KISS ME.
I ONLY DID IT BECAUSE YOU BEGGED
ME.
YOU HOUNDED ME AND DROVE ME
CRAZY.
AND AFTER YOU KISSED ME, I
ALWAYS USED TO WIPE MY MOUTH.
WIPE MY MOUTH!
BETTE DAVIS GIVES THIS
INCREDIBLE PERFORMANCE IN "OF
HUMAN BONDAGE."
DOESN’T EVEN GET NOMINATED.
SO THE NEXT YEAR SHE WINS FOR
"DANGEROUS" AND THAT’S SORT OF
CONSIDERED ONE OF THE FIRST
CONSOLATION PRIZE OSCARS.
EVERYBODY REALIZES WE SHOULD
HAVE GIVEN IT TO YOU LAST YEAR.
SHE BECOMES THE FIRST ACTRESS TO
GET FIVE BEST ACTRESS
NOMINATIONS IN A ROW.
SHE IS MERYL STREEP OF THE
PRE-WORLD WAR II PERIOD,
BASICALLY.
THE WOMEN’S PICTURE WAS A
REALLY GREAT ALMOST GENRE OF
FILMS THAT LASTED FROM 1930
THROUGH THE 1950s.
IT ENCOMPASSED SO MANY DIFFERENT
GENRES WITHIN, BUT IT ALWAYS HAD
A WOMAN AT THE CENTER OF IT.
MAY I SUGGEST IF YOU ARE
DRESSING TO PLEASE STEVEN NOT
THAT ONE.
HE DOESN’T LIKE SUCH OBVIOUS
EFFECTS.
THANKS FOR THE TIP.
BUT WHEN ANYTHING I WEAR DOESN’T
PLEASE STEVEN, I TAKE IT OFF.
LOOK AT THE WOMEN AS SORT OF
THE APOTHIOSIS OF THE GENRE.
THERE WERE NO MEN IN THIS MOVIE.
NOT ONE SINGLE MAN IN THE FILM.
AND THEY MADE A HIT.
THERE’S A NAME FOR YOU
LADIES.
BUT IT IS NEWS IN HIGH SOCIETY,
OUTSIDE OF A KENNEL.
♪
MY MOTHER WAS TRULY A STAGE
MOTHER.
BUT A MEAN ONE.
I DIDN’T FEEL GOOD IF I WAS
SICK TO MY TUMMY.
GET OUT AND SING OR I’LL WRAP
YOU AROUND THE BED POST AND
BREAK YOU OFF SHORT.
SO I’D GO OUT AND SING ♪.
♪ SOMEWHERE OVER THE RAINBOW
WAY UP HIGH ♪
ONE OF THE PRECEPTS FOR A
STORY MUSICAL IS THAT THE SONG
HAS TO ADVANCE THE STORY.
A SONG LIKE "SOMEWHERE OVER THE
RAINBOW."
ALL THAT LONGING.
YOU KNOW THAT SHE’S GOT TO GO ON
A JOURNEY AFTER SHE SINGS A SONG
LIKE THAT.
AND THEN ALL OF A SUDDEN, SHE
GETS TO GO SOME PLACE ELSE.
SHE’S TAKEN UP BY A TORNADO AND
LANDS IN THIS MAGICAL WORLD.
SHE DOESN’T KNOW THAT SHE’S IN
ANOTHER WORLD UNTIL SHE OPENS
THAT DOOR AND IT IS IN BEAUTIFUL
COLOR.
YOU CAN’T THINK ABOUT THE
WIZARD OF OZ WITHOUT THINKING
ABOUT THE YELLOW BRICK ROAD.
THREE-STRIP TECHNICOLOR WHICH
HAD COLORS AMAZINGLY VIVID.
BECAUSE IT WAS A FANTASY, THE
COLORS DIDN’T HAVE TO BE
REALISTIC BUT VERY ALIVE AND
EXCITING.
THIS WAS ENTERTAINMENT THAT
PEOPLE HADN’T SEEN BEFORE.
♪ WE’RE OFF TO SEE THE WIZARD
THE WONDERFUL WIZARD OF OZ ♪
IT’S ASTONISHING WHAT THEY
WERE ABLE TO DO AND HOW POIGNANT
ALL OF THOSE PERFORMANCES ARE.
DON’T YOU THINK THE WIZARD
COULD HELP HIM, TOO?
I DON’T SEE WHY NOT.
JACK HALEY, RAY BOLGER AND
BRETT LAHR BROUGHT POIGNANCY TO
THESE CHARACTERS.
CLOSE YOUR EYES AND TAP YOUR
HEELS TOGETHER THREE TIMES.
IT WAS THE GREATEST
CHILDREN’S FILM OF ALL TIME THAT
PEOPLE CONSTANTLY RELATE TO.
THE IDEA OF LEAVING HOME AND
FINDING HOME AGAIN.
OH, AUNTIE EM, THERE’S NO
PLACE LIKE HOME.
"STAGE COACH" WAS ONE OF THE
DEFINING FILMS OF THE WESTERN
GENRE.
FORD BEGINS TO TURN AROUND THE
IDEA OF THE WESTERN AS A GOOD
HAT/BAD HAT INTO SOMETHING MORE
INTERESTING IN WHICH YOU’VE GOT
A REALLY UNIQUE AND DAMAGED SET
OF CHARACTERS.
YOU MUST WARN YOUR PASSENGERS
THEY TRAVEL AT THEIR OWN RISK.
THEIR OWN RISK?
WHAT’S THE PROBLEM?
GERONIMO.
GERONIMO?
WILL YOU SIT DOWN.
INSIDE THE STAGE COAST, EACH
PERSON IS ARCHETYPE.
THE SCARLET WOMAN WHO WAS ONCE A
GOOD PERSON BUT HAS CROSSED A
LINE.
THE GAMBLER, THE DRUNKEN DOCTOR.
THEY’RE ALL THROWN TOGETHER AND
HAVE TO STAY ALIVE, AND THEY
HAVE TO LEARN TO APPRECIATE THE
BEST IN EACH OTHER.
THE CAMERA RUSHES IN INTO
JOHN WAYNE’S FACE.
AND YOU CAN SEE A BEAD OF SWEAT
RUNNING DOWN HIS CHECK.
HELLO, CURLY.
YOU DON’T DO THAT SHOT IF
THAT ACTOR CAN’T DELIVER AS A
MOVIE STAR, AND HE DOES.
THEY USED TO SAY BEFORE THEY
MADE HIM A STAR BY NOT LETTING
HIM TALK.
BY JUST SHOWING HIS REACTIONS.
WHICH IS SOMEWHAT TRUE.
WAYNE SAID TO ME ONCE, I’M NOT
AN ACTION ACTOR.
I’M A REACTION ACTOR.
JOHN WAYNE HAS NEVER GOTTEN
ENOUGH CREDIT FOR BEING THE
GREAT ACTOR HE WAS.
THANKS.
THAT’S ALL I WANTED TO KNOW.
HE HAD A STYLE UNLIKE ANY
OTHER ACTOR BEFORE HIM OR AFTER
HIM.
♪
IN TERMS OF THE ACTION, THAT
WAS INCREDIBLE AT THAT TIME.
IT STILL IS PRETTY AMAZING.
THE APACHE THAT JUMPS ON THE
HORSE AND HE’S SHOT.
HE HAS TO RIDE UNDERNEATH IT.
THAT WAS ALL DONE IN REALTIME.
THIS HAD TO BE CAREFULLY
CHOREOGRAPHED.
VERY SOPHISTICATED.
"STAGECOACH" CAME OUT IN
1939, WHICH IS STILL CONSIDERED
THE GREATEST YEAR FOR FILM THAT
EVER WAS.
LOOK, LOOK, THERE IT IS.
BOOM.
WHAT?
CAPITOL DOME.
YES, SIR.
BIG AS LIFE.
BEEN THERE A LONG TIME NOW.
YES, SIR.
THIS WAY, SENATOR.
"MR. SMITH GOES TO
WASHINGTON" IS POLITICAL PARABLE
ABOUT AN IDEALISTIC YOUNG MAN
PLAYED BY JIMMY STEWART.
HE GETS TO WASHINGTON, AND HE
FINDS THIS KIND OF CORRUPT
MACHINE THAT WE FEAR IS GOING TO
EAT HIM UP.
THIS IS A MAN’S WORLD.
IT’S A BRUTAL WORLD, AND YOU
HAVE NO PLACE IN IT.
YOU’LL ONLY GET HURT.
"MR. SMITH GOES TO
WASHINGTON" IS PROBABLY MY FIRST
MOVIE.
HE WAS AN IMMIGRANT.
AND HE HATED THE IDEA OF BIG
GOVERNMENT STEAM-ROLLING THE
REGULAR CITIZEN.
I’M GOING TO STAY RIGHT HERE
AND FIGHT FOR THIS LOST CAUSE,
EVEN IF THIS ROOM GETS FILLED
WITH LIES LIKE THESE.
THIS FILM IS A PERFECT
EXAMPLE OF HOW IN AMERICA AN
INDIVIDUAL CAN MAKE A
DIFFERENCE.
IT’S THE TALLEST BUILDING IN
THE WORLD.
YOU CAN’T MISS THAT.
1939 IS ALSO THE YEAR THAT
NINOTHCHK WAS MADE.
’39 STANDS OUT BECAUSE IT HAS
SO MANY LANDMARK MOVIES THAT
HAVE WITHSTOOD THE TEST OF TIME
AND ARE TAUGHT AND REFERRED TO
OVER AND OVER.
MAYBE IT’S A CULMINATION.
MAYBE IT’S A FLUKE.
BUT THE SHEER NUMBER OF
MEMORABLE FILMS EVERYONE KNOWS
AND LOVES THAT CAME OUT OF THIS
YEAR IS REMARKABLE.
♪
THESE DAYS, EVERYTHING IS
CALL AN EPIC.
"GONE WITH THE WIND" WAS AN EPIC
BECAUSE IT SHOWS YOU THE
POSSIBILITY OF FILM.
IT IS A SPECTACLE.
HERE IS THE CIVIL WAR AND ALL OF
ITS HORROR AND ITS SIZE.
THIS HUGE PULLBACK SCENE OF
WOUNDED SOUTHERN VETERANS THAT’S
SO EMBLEMATIC.
IT’S VERY IMPRESSIVE FROM A
TECHNICAL LEVEL.
BUT THE STORIES AROUND THE FILM
ARE, TO ME, MORE INTERESTING
THAN THE FILM ITSELF.
DAVID SELZNICK, ONE OF THE MOST
IMPORTANT PLAYERS IN HOLLYWOOD
IS AN INDEPENDENT-MINDED GUY.
WALKS AWAY FROM THE STUDIO
SYSTEM AT THE HEIGHT OF HIS
CAREER TO START SELZNICK
INTERNATIONAL PICTURES.
WITHIN A YEAR IT’S CLEAR THAT
THE PRIMARY OBJECTIVE OF THAT
COMPANY IS TO PRODUCE "GONE WITH
THE WIND."
IT WOULD TAKE HIM THREE YEARS TO
GET IT MADE.
WHO WAS TO PLAY RHETT BUTLER.
IT WAS CLARK GABLE.
HE WAS A MAN’S MAN AND HAD A
REAL KIND OF SENSE OF BRAVADO
ABOUT HIM.
BUT ONE THAT HE SEEMED TO EARN.
I’M IN LOVE WITH YOU, ASHLEY.
I’M IN LOVE WITH YOU, ASHLEY.
I LOVE YOU.
I LOVE YOU.
THE SEARCH FOR SCARLET WAS,
ON THE ONE HAND, DEFINITELY A
PUBLICITY STUNT.
ON THE OTHER HAND, IT WAS
SERIOUS.
SELZNICK WANTED TO FIND THE
RIGHT SCARLET O’HARA.
HE WAS ALREADY SHOOTING ON
THE BACK LOT BEFORE SCARLET WAS
CAST.
DAVID SELZNICK IS STANDING
WATCHING THE BURNING OF ATLANTA
AND THEY’VE GOT DOUBLES PLAYING
RHETT AND SCARLET IN THE WAGON.
HIS BROTHER WALKS UP WITH VIVIEN
LEIGH AND SAYS, I’D LIKE YOU TO
MEET SCARLET O’HARA.
I LOVE YOU.
I DO.
I THINK IT’S INCREDIBLY HARD
TO SEPARATE VIVIEN LEIGH FROM
SCARLET O’HARA.
SHE’S ABLE TO GENERATE EMPATHY
OUT OF A FAIRLY CHALLENGING, IF
NOT DESPICABLE CHARACTER FOR
MOST OF THE FILM.
AND SHE MAKES IT HER OWN.
HAS THE WAR STARTED?
IF YOU’RE GOING TO TELL THAT
STORY, YOU HAVE TO HAVE BLACK
PEOPLE AS SLAVES.
MS. SCARLET, WHAT WE ARE
GOING TO DO WITH NOTHING TO FEED
THOSE SICK FOLKS AND THAT CHILD?
I DON’T KNOW.
I DON’T KNOW.
THE BLACK CHARACTERS PLAYED
BY HADDIE McDONNELL AND
BUTTERFLY McQUEEN ARE REALLY THE
BEST CHARACTERS IN THE MOVIE.
THEY’RE THE ONLY, IN A WEIRD
WAY, MORAL CHARACTERS.
RHETT ESSENTIALLY RAPES HIS
WIFE.
SCARLET IS A DISASTER.
ASHLEY WILKES IS JUST THE
WEAKLING.
MELANIE IS A DOOR MAT AND THEN
MAMIE IN THE CENTER OF ALL OF
THIS.
IT’S MR. RHETT I’M WORRIED
ABOUT.
UNDERSTANDS HER PLACE IN THE
WORLD AND MAKES THE BEST OF IT.
HE LOST HIS MIND THESE LAST
COUPLE OF DAYS.
OH, NO, MAMIE, NO.
I’VE NEVER SEEN NO MAN, BLACK
OR WHITE, SHUTS HIS DOOR.
TOWARD THE END OF THE FILM
WHEN MAMIE IS TELLING MELANIE
ABOUT RETS AND HIS GRIEF AND YOU
FEEL IT.
IT’S SUCH A POWERFUL SCENE.
PLEASE, MS. MELLY.
I’LL DO WHAT I CAN.
I PRESENT THE ACADEMY AWARD
FOR THE BEST PERFORMANCE OF AN
ACTRESS IN SUPPORTING ROLE
DURING 1939 TO HATTIE McDANIEL.
HATTIE McDANIEL WAS THE FIRST
AFRICAN-AMERICAN TO WIN AN
ACADEMY AWARD.
AND EVEN HOW THAT HAPPENED, SHE
COULDN’T SIT WITH THE REST OF
THE CAST.
SHE WAS SITTING IN THIS AREA
NEAR THE KITCHEN.
THIS IS ONE OF THE HAPPIEST
MOMENTS OF MY LIFE.
IT WASN’T LIKE SHE WAS GOING TO
GO INTO GREAT LEADING ROLES.
SHE CONTINUED TO PLAY MAIDS.
SHE ESSENTIALLY SAID, I’D RATHER
MAKE $10,000 PLAYING A MAID THAN
MAKE $10 BEING A MADE.
I SINCERELY HOPE, I SHALL
ALWAYS BE A CREDIT TO MY RACE
AND TO THE MOTION PICTURE
INDUSTRY.
MY HEART IS TOO FULL TO TELL YOU
JUST HOW I FEEL AND MAY I SAY
THANK YOU AND GOD BLESS YOU.
♪
PRESTON STURGIS WAS ONE OF
THE GREATEST COMEDY FILMMAKERS
OF ALL TIME THAT MAYBE YOU NEVER
HEARD OF.
IF I WANT THIS TO BE A
PICTURE OF DIGNITY.
WITH A LITTLE SEX IN IT.
HOW ABOUT A NICE MUSICAL? SCR
AND DIRECTORS DIRECTED.
NOBODY DID BOTH.
STURGESS WANTED TO DIRECT.
HE WROTE A SCRIPT THAT THE
STUDIO REALLY LIKED FOR A FILM
CALLED "THE GREAT McGINTY" AND
HE AGREED TO SELL IT TO THE
STUDIO FOR A DOLLAR IF HE WOULD
LET HIM DIRECT AND THE STUDIO
AGREED.
THE REST IS THE HISTORY.
WHEN I ASKED BILLY WILDER WHO HE
THOUGHT THE KING OF WRITER
DIRECTORS WAS HE SAID PRESTON
STU "RGB" ES PERFORM PRESTON
STURGE JESS IS THE MAN THAT PUT
THESE CHARACTERS TOGETHER AND
OPENED THE DOOR FOR THE REST OF
US.
THE LADIES EVE ONE OF HIS
BEST FILMS WAS BRILLIANTLY SET
UP.
SO HENRY FONDA APPEARS IN THE
SHIP’S DINING ROOM AND EVERY
ELIGIBLE WANTS HIS ATTENTION
BECAUSE HE’S A RICH GUY.
EVERY JANE IN THE ROOM WAS
GIVING HIM THE THE THERMOMETER.
BAR BRA STANWYCK IN "LADY
EVE" WAS ONE OF THE BEST COME
MEED GIVING PERFORMANCES OF ALL
TIME WHEN SHE’S GOT THE MIRROR.
REALLY FUNNY.
NOT JUST THIS BRILLIANT
DIALOGUE, LEASE ALSO THE
INCREDIBLE PHYSICAL COMEDY.
IT’S A WONDERFUL BALANCE OF LOW
COMEDY AND HIGH COMEDY AND LIFE
IS BOTH, ISN’T IT?
STURGESS HAD A STRETCH DURING
THE 1940S WHERE HE TURNED OUT
HIT AFTER HIT AFTER HIT.
IT’S AN UNPRECEDENTED STREAK OF
REALLY QUALITY FILMS.
ALFRED HITCHCOCK.
HITCHCOCK BEGAN WORKING IN
THE INDUSTRY AS AN ART DIRECTOR
AT THE UFA STUDIOS IN BERLIN
WHERE HE GOT TO WATCH SOME OF
THE GREAT GERMAN DIRECTORS LIKE
FRITZ LANG.
HIS FIRST MAJOR FILM, "THE
LONGER" LOOKS LIKE GERMAN
EXPRESSIONISM IN A LOT OF WAYS.
THEY BE HE WENT ON TO MAKE THESE
GREAT BRITISH THRILLERS FOR
WHICH HE BECAME FAMOUS.
BEST AMONG ALL OF THEM, 939
STEPS.
BY THE END OF THE FIRTS HE’S THE
LEADING ARTIST OF THE BRITISH
CINEMA BUT HE UNDERSTANDS THAT
HE’S WORKING IN A VERY
FINANCIALLY LIMITED SYSTEM.
HE ALSO SEES THE WAR COMING, AND
HE’S VERY HAPPY TO COME TO
AMERICA AND WORK FOR ELSE IS
NICK UNDER IS THE SIX-FILM
CONTRACT STARTING WITH
"REBECCA."
THAT’S IT.
THAT’S MANDALAY.
IT WAS BASED ON A NOVEL BY
DAPHNE DUE MUIRYER ABOUT A YOUNG
INNOCENT WOMAN WHO MOVES INTO
THIS OLD GOTHIC HOUSE AND THEY
ARE LIFE BECOMES ENTANGLED IN
MYSTERY.
HOW DO YOU DO.
SHE FEELS LIKE SHE CAN’T
POSSIBLY COMPETE WITH REBECCA.
HER HUSBAND MAX’S DEAD WIFE.
DO YOU THINK THE DEAD COME
BACK AND WATCH THE LIVING?
I DON’T BELIEVE IT.
SOMETIMES.
I WONDER IF SHE DOESN’T COME
BACK HERE TO MANDERLY.
AND WATCH YOU AND MR. DUE WINTER
TOGETHER.
HITCHCOCK WAS BRIT AT PUTTING
THE AUDIENCE IN THE PLACE OF THE
CHARACTER THROUGH THE SUBJECTIVE
USE OF THE CAMERA, WHAT HE USED
TO CALL PURE CINEMA.
THE ASSEMBLY OF PIECES OF
FILM TO CREATE FRIGHT IS THE
ESSENTIAL PART OF MY JOB.
I BELIEVE IN PUTTING THE HORROR
IN THE MIND OF THE AUDIENCE AND
NOT NECESSARILY ON THE SCREEN.
HIS FILMS TOOK A GENRE AND
ESSENTIALLY MADE THE GENRE THE
DIRECTOR’S OWN.
HITCHCOCK REALLY WAS THE MASTER
OF SUSPENSE.
AND HE DESERVES THAT TITLE.
INCREDIBLE AS IT MAY SEEM
THOSE STRANGE BEAKS WHO LANDED
IN THE JERSEY FARMLAND TONIGHT
ARE THE VANGUARD OF AND I VADING
ARMY FROM THE PLANET MARS.
ORSON WELLES CAME INTO THE
FILM BUSINESS HAVING BEEN A
TREMENDOUS SUCCESS IN RADIO.
SCARED HALF THE COUNTRY WITH WAR
OF THE WORLDS IN ’38.
HE WAS ON THE COVER OF TIME
BECAUSE OF HIS THEATER
PERFORMANCES AT THE MERCURY
THEATER AND HE CAME TO HOLLYWOOD
WITH THE BEST CONTRACT ANYBODY
EVER HAD.
KNOW WHEN YOU DON’T REALLY
WANT TO GO OUT TO HOLLYWOOD, THE
DEALS GOT BETTER AND BETTER.
IN MY CASE I DIDN’T WANT MONEY,
I WANTED AUTHORITY.
I ASKED THE IMPOSITIVE AND AT
THE END OF A YEAR’S NEGOTIATION
IZ GOT IT.
HE HAD SUCH A MONSTROUS EGO
HE WAS GOING TO DO THE WAY HE
WANTED TO DO IT AND THE HELL
WITH WHAT WILL ANYBODY THOUGHT
ABOUT IT AND I ADMIRED THAT
BECAUSE HE HAD THE SKILL TO BACK
IT UP.
ROSEBUD.
CITIZEN KANE BEGINS WITH THE
DEATH OF CHARLES FOSTER CANE
SAYING ONE WORD.
ROSEBUD.
THE WHOLE REST OF THE MOVIE IS
ABOUT A REPORTER SEARCHING FOR
THE MEANING OF ROSEBUD.
HE SPEAKS TO PEOPLE FROM CANE’S
PAST AND READS THE MEMOIRS OF
HIS LAWYER AND THROUGH
THERECTIONS OF THOSE PEOPLE WE
LEARN ABOUT CHARLES FOSTER
KING’S LIFE.
MAYBE THE THING THAT WELLS
DID BEST WAS RECOGNIZE WHAT HE
DIDN’T KNOW.
EARLY ON AT 25 SO HE HIRES
HERMAN MANKOWITZ MY GRABBED
FATHER TO WRITE THE SCREENPLAY.
HE HIRES ROBERT WEISS TO EDIT
THE FILM NOT TO MENTION BERNARD
HERMAN’S BRILLIANT MUSIC AND THE
SINNING TOGRAPHY CHANGED THE WAY
WE MAKE MOVIES.
MERRY CHRISTMAS.
MERRY CHRISTMAS.
AND A HAPPY NEW YEAR.
IT FELT LIKE SOMETHING NEW.
THE TRANSITIONS THE FLASH BACK
CONSTRUCTION, REPETITION OF
CERTAIN SCENES FROM DIFFERENT
POINTS OF VIEW AND NOT TO BE
IGNORED IS THE FACT THAT OR IS
GIVES AN EXTRAODINARILY
BRILLIANT PERFORMANCE.
I MADE NO CAMPAIGN PROMISES.
BECAUSE UNTIL A FEW WEEKS AGO, I
HAD NO HOPE OF BEING ELECTED.
THE TECHNIQUE THAT KAELS
STICKS OUT TO ME ON KRIDS CANE
IS BASICALLY DEPTH OF FOCUS.
YOU’RE FIRED.
THE CLOSE-UPS ARE AS SHARP AS
THE DEEP BACKGROUND.
YOU SEE NOT JUST THE STORY THAT
HE’S TELLING.
YOU SEE DEEPER INTO THE STORY.
HE JUST CREATED A HANDBOOK ON
CINEMA WITH CITIZEN KANE.
THERE’S NO QUESTION THAT
CHARLES FOSTER KANE IS BASED IN
ORANGE LART ON THE LIFE OF
WILLIAM RANDOLPH HEARTS.
HE OWNED RADIO STATIONS AND
MAGAZINES AND QUITE ACCOUNT
POWER PLAYER IN AMERICAN
POLITICS AND EVEN MORE IMPORTANT
IN HOLLYWOOD POLITICS.
HEARTS BLACK LISTED THE
MOVIE.
ALL HIS PAPERS WOULDN’T RUN ADS
FOR THE PICTURE AND A LOT OF
THEATERS GOT AFRAID OF PLAYING
IT.
CAN’T MAKE MONEY WITH A PICTURE
IF YOU CAN’T GET A THEATER.
BY THE NONHEARST PAPERS IT
WAS INCREDIBLY WELL RECEIVED.
IT WAS NOMINATED FOR NINE
OSCARS.
IT ONLY WON ONE FOR THE
SCREENPLAY WHICH WENT TO MY
GRANDFATHER AND WELLS.
SHOULD HAVE WON BEST PICTURE AND
BEST DIRECTOR FOR WELLS, SHOULD
PROBABLY HAVE WON BEST ACTOR FOR
WELLS.
IT’S A SIGN THAT PRESSURE WAS
ALMOST CERTAINLY BROUGHT TO BEAR
ON THIS MOVIE.
THERE’S NO BETTER FIRST FILM
IN CINEMATIC HISTORY THAN
CITIZEN KANE.
I DON’T KNOW ANY OTHER FILM THAT
WAS A FIRST TIME DIRECTOR’S FILM
THAT CAN EVEN LIGHT A CANDLE LET
ALONE HOLD A
♪
ADOLPH HITLER’S ALL OUT
ATTACK ON POLAND MAKES THE LONG
DREADED WAR A CERTAINTY.
THROUGH NEWSPAPERS AND NEWS
REELS AMERICANS HAVE BEEN
WATCHING THE DEVELOPMENT OF
DICTATORSHIP IN GERMANY.
HITLER’S PROPAGANDA HAD FOCUSED
ON HOW TO DELIVER IMAGES THAT
MOVED PEOPLE’S MINDS.
TURNED AN UGLY MOVEMENT INTO
SOMETHING CINEMATICALLY
BEAUTIFUL.
EVEN THE BABE IS THRILLS AND
SEEMS ALL SMILES.
CHARLIE CHAPLIN TOOK THAT AND
BROKE IT APART.
♪
CHAPLAIN MAKES THIS
INCREDIBLY INTENSE POLITICAL
SATIRE REALLY DECRYING THE STATE
OF THE WORLD AND THE POSSIBLE
STATE OF THE FUTURE.
EMPEROR OF THE WORLD.
HOW DO YOU DEAL WITH
MEGALOMANIA ON SCREEN WITHOUT
SOUNDING STREET DENT AND
PEDANTIC?
YOU TURN THE WORLD INTO A
BALLOON AND YOU HAVE THIS
FOOLISH DEMAGOGUE DANCE WITH IT.
THIS CLOWN CAN ACTUALLY DESTROY
THIS WORLD.
SO IT’S BOTH TRAGEDY AND COMEDY
WRAPPED INTO ONE.
IN ONE OF THE MOST POWERFUL
POLITICAL SCENES IN FILM.
WHO DO YOU THINK WILL WIN THE
WAR.
I HAVEN’T THE SLIGHTEST IDEA.
RICK IS COMPLETELY NEUTRAL
ABOUT EVERYTHING AND THAT TAKES
IN THE FIELD OF WOMEN.
HUM GRI BOGART RUNS RICK’S IN
CAS DA BLANCA.
IT’S WORLD WAR II BEFORE THE
UNITED STATES ENTERS THE WAR.
HE’S GOT GAMBLING, HE’S GOT THE
ALCOHOL.
HE DOESN’T HAVE TO WORRY ABOUT
THE WAR AND IT TURNS OUT THE WAR
COMES TO HIM.
♪ NO MATTER WHAT THE FUTURE
BRINGS AS TIME GOES BY ♪
SAM, I THOUGHT I TOLD YOU
NEVER TO PLAY.
INTO RICK’S CAFE WALKS A
COUPLE, ILSA AND HER HUSBAND
VICTOR LAS LOW, HERO OF THE
RESISTANCE.
ABOUT VICTOR LAS LOS
EVERYWHERE.
UNBEKNOWNST TO ANYONE ELSE IN
THE MOVIE, ELLIS SA AND RICK
HAVE A PAST.
OF ALL THE GIN JOINTS IN ALL
THE TOWNS IN THE WORLD, SHE
WALKS INTO MINE.
HE IS THE EPITOME OF THAT
WOUNDED CYNIC.
WE GET TO SEE A MAN WHO USED TO
BE AN DALIST RECLAIM THAT PART
OF HIMSELF.
♪
THERE’S A GREAT SCENE WHERE
THE GERMANS ARE BY THE PIANO AND
THEY START SINGING.
AND EVERYBODY IN RICK’S CAFE WHO
IS NOT GERMAN IS SILENT AND IN
PAIN.
♪
VICTOR LAS LOW GOES TO THE BAD
AND SAYS LET’S PLAY THE FRENCH
NATIONAL ANTHEM.
PLAY IT.
THEY GIVE THAT LOOK TO BOGEY.
HE JUST GOES, AND THEN YOU’RE
LIKE OH, BOGEY’S JOINED THE WAR.
♪
THE MOVIE IS ABOUT REFUGEES
CAUGHT IN DESPERATE
LIFE-THREATENING SITUATIONS.
AND HALF THE CAST WAS REFUGEES
WHO HAD BEEN CAUGHT NOTICE
DESPERATE LIFE-THREATENING
SITUATIONS.
PETER LORI ESCAPED GERMANY WHEN
THE NAZIS TOOK OVER.
CONRAD VITE WHO PLAYED THE
NASTIEST NAZI OF THEM ALL WAS A
FERVENT ANTI-NAZI, HAD A JEWISH
WIFE.
HIS WIFE THEY ESCAPED FROM
FRANCE JUST AS THE GERMANS
ARRIVED IN PARIS.
ALL OF DALIO’S FAMILY LEFT
BEHIND DIED IN THE CAMPS.
♪
DEFEATING FASCISM THROUGH
PATRIOTISM AND THE PASSION OF
LOVING YOUR COUNTRY.
TO THIS DAY, I GET CHILLS AND
TEARS WHEN I WATCH THAT SCENE.
VIVA LA FRANCE.
CASABLANCA IS A PERFECT
SCRIPT FOR THE PERFECT TIME.
THE WAY THE STORY WINDS UP IS
THE ONLY WAY THAT STORY COULD
HAVE WOUND UP.
I’M NO GOOD AT BEING NOBLE
BUT IT DOESN’T TAKE MUCH TO SEE
THAT THE PROBLEMS OF THREE
LITTLE PEOPLE DON’T AMOUNT TO A
HILL OF BEANS IN THIS CRAZY
WORLD.
IT’S TELLING US ALL THAT OUR
PROBLEMS AS INDIVIDUALS DON’T
MEAN A LOT IN THE FACE OF THIS
BIGGER CHALLENGE TO COME.
HERE’S LOOKING AT YOU, KID.
THAN WE ALL HAD TO DEAL WITH
THAT IN THE VERY DARKEST DAYS OF
WORLD WAR II.
OPEN FIRE.
YA WHO.
MAN YOUR STATION.
FIRE.
THE TYPICAL STORY OF A COMBAT
FILM IS ABOUT A GROUP WITH AN
OBJECTIVE FACING DEATH, THEY SAY
THIS IS WHAT WE HAVE TO DO.
LET’S GET THIS DONE AND WIN IT.
WHAT DO YOU THINK OF THE
BOMBER NOW?
THEY’RE DESIGNED TO REASSURE
PEOPLE AND TO INVOLVE PEOPLE IN
THE WAR.
WHEN YOU TRY TO UNDERSTAND THE
CHANGE THAT WORD WAR II WROUGHT
ON THE MOVIES, YOU HAVE TO
UNDERSTAND THAT FIVE OF THE
GREATEST DIRECTORS ACTUALLY WENT
AND TOOK PART IN THE WAR.
IT WAS CAPRA, IT WAS FORD, IT
WAS STEVENS, IT WAS HOUSTON,
THEN IT WAS WYLER.
THESE ARE CLEARLY FIVE OF THE
GREAT AMERICAN ICONS.
THEY SERVED THEIR COUNTRY AS
STORY TELLERS AND RISKED THEIR
LIVES.
IN MEN WHO BELIEVED IN THEIR
COUNTRY LIKE MY FATHER FELT THE
MORAL OBLIGATION TO DEFEND THEIR
COUNTRY AGAINST THE SCOURGE OF
NAZIISM.
IN AN EFFORT TO MAINTAIN
CONTACT WITH THE ENEMY OUR
PATROLS IMMEDIATELY PUSHED
AHEAD.
HE WAS IN SOME VERY HAIRY
SITUATIONS.
HE TALKED ABOUT A COMMANDER
WHOSE TROOPS HAD REALLY BEEN
DECIMATED BY THE GERMANS
CROSSING A BINGE THAT HAD BEEN
BOMBED.
AND THIS MAN RAISED HIS ARM TO
SALUTE EXCEPT HE WAS MISSING A
HAND.
THE WAR DEFINITELY FOLLOWED HIM
THROUGHOUT HIS LIFE.
JOHN FORD FILMED THE BAT ALF
MIDWAY THAT WON HIM AN ACADEMY
AWARD FOR BEST DOCUMENTARY.
HE ALSO FILMED THE D-DAY
LANDINGS IN 1944.
HE WAS DEEPLY AFFECTED BY THE
WAR.
HE COMES BACK TO HOLLYWOOD
WANTING TO MAKE A MOVIE.
HE DOESN’T WANT TO MAKE YOUR
SORT OF WE’VE WON, IT’S ALL
WONDERFUL TYPE OF MOVIE.
TAKE COVER.
THEY WERE EXPENDABLES IS
ABOUT THE FALL OF THE
PHILIPPINES AND THE DEFEAT OF
THE UNITED STATES.
FORD MADE THIS VERY PATRIOTIC
PICTURE ABOUT THE NOBLE
SACRIFICE.
WHEN YOU SEE THE GENERAL,
TELL HIM THE END HERE IS NEAR.
MOST OF THEM WERE GOING TO
BECOME PRISONERS OF WAR AND MANY
OF THEM WOULD PROBABLY PERISH.
AS I CALL YOUR NAMES, KINDLY
STEP IN.
AT THE END OF THE MOVIE IS
VERY MUCH ABOUT THE FATE OF THE
SAILORS STAYING BACK.
IF THEY DIDN’T GET ON THAT PLANE
THAT, THEY KNOW WHAT THAT MEANS.
SIR, HOW MANY MORE PLANES ARE
COMING
BACK TO THE AMERICAN HOME WITH
WELCOME AND WELL DONE
EVERYWHERE.
IMMEDIATELY AFTER THE WAR,
EVERYBODY WAS SAYING HOW DO WE
PICK UP WHERE WE LEFT OFF?
AFTER EVERYTHING THAT WE HAVE
SEEN AND LEARNED.
THE COST OF WAR IS WHAT IS
COMMUNICATED IN THE BEST YEARS
OF OUR LIVES BETTER THAN ANY WAR
MOVIE I’VE EVER SEEN.
.
THESE GUYS ARE JUST TRYING TO
GET HOME.
THIS IS MY STREET.
THEY NEVER KNEW EACH OTHER
BEFORE THE WAR BUT THEY ALL MEET
AND THEY BECOME FAST FRIENDS.
AND THEIR LIVES START TO REALLY
INTERCONNECT AS THEY START TO
WORK OUT.
THE HUGE DAMAGE THAT THE WAR
CAUSES ARE EMOTIONAL CORE.
THE FILM WAS MADE RIGHT AFTER
THE WAR AND AS THE CAMERA CRANES
UP, YOU SEE THIS VAST WORLD WAR
II GRAVEYARD OF OLD HULKS, NO
DIGITAL PHOTOGRAPHY OR MAT WORK.
THAT PHENOMENONAL SCENE WHEN
DANA AND DREWS IS SITTING IN THE
JUNKED PLANE RELIVING HIS
MISSION AS A BOMBARDIER, IT
COMMUNICATES THAT OPPRESSIVE
WEIGHT OF THE EXPERIENCE.
OF PUTTING YOUR LIFE ON HOLD AND
GOING OFF AND MAYBE COMING BACK,
MAYBE NOT COMING BACK AT ALL.
OR MAYBE COMING BACK WITH NO
HANDS.
I’VE LEARNED HOW TO TAKE THIS
HARNESS OFF.
THE FACT THAT THEY CAST
HAROLD RUSSELL, A GUY WHO LOST
HIS HANDS DURING THE WAR, THAT
WAS INCREDIBLY POWERFUL.
THIS IS A VERY PROUD AND A
VERY HAPPY MONTH.
THEY HAD MADE PLANS TO GIVE
HIM A SPECIAL OSCAR AND THEN IT
TURNED OUT THE PERFORMANCE WAS
SO GOOD THAT PEOPLE VOTE FORD
HIM FOR BEST SUPPORTING ACTOR
WHICH THEY COULDN’T HAVE
PREDICTED SO HE WON TWO OSCARS.
HELLO, DARLING.
HELLO, DADDY.
HELLO, DADDY.
HOW DO YOU LIKE IT.
IT’S A WONDERFUL LIFE" WASN’T
VERY SUCCESSFUL WHEN IT CAME OUT
WHICH I’M ALWAYS SHOCKED WHEN I
LEARN THAT A MOVIE THAT WE
REVERE ACTUALLY STRUGGLED IN ITS
INITIAL RELEASE BUT WHAT A
REMARKABLE BLEND OF NARRATIVE
VALUES AND THEMES.
DADDY, THE BROWNS NEXT DOOR
HAVE A NEW CAR.
YOU SHOULD SEE IT.
WHAT’S THE MATTER WITH OUR
CAR?
ISN’T IT GOOD ENOUGH FOR YOU?
BECAUSE CAP BRA WAS ALWAYS
SUCH A MUMIST I THINK IT WAS
VERY IMPORTANT TO HIM TO
ACKNOWLEDGE FLAWS, ACKNOWLEDGE
WEAKNESS.
GEORGE, WHAT’S WRONG?
WRONGING?
EVERYTHING.
YOU CALL IT A HAPPY FAMILY WHY
DO WE HAVE TO HAVE ALL THESE
KIDS.
JIMMY STEWART CAME BACK FROM
THE WAR, AS WELL.
HE FLEW MISSIONS.
THESE ARE TWO VETERANS NOW AND I
DON’T THINK IT WOULD HAVE GONE
THAT DARK HAD FRANK CAPRA STAYED
HOME AND MADE LIGHT COMEDIES.
APPARENTLY FRANK CAPRA
APPEALED TO HIM BY SAYING IT’S A
CHRISTMAS MOVIE ABOUT SUICIDE.
JIMMY STEWART SAID CHRISTMAS
MOVIE ABOUT SUICIDE, COUNT ME
IN.
YOU COME BACK FROM THE WAR WITH
A GRAVEYARD KIND OF SENSE OF
HUMOR.
GEORGE BAILEY IS LIGHT YEARS
AWAY FROM THAT IDEALISTIC
MR. SMITHING IN "MR. SMITH GOES
TO WASHINGTON."
INTO IT WAS PROBABLY THE
STRONGEST PICTURE I’VE MADE.
I NEVER HAVE RUN ACROSS SUCH A
UNIQUE STORY, A MAN WHO THOUGHT
HE WAS A FAILURE BEING GIVEN THE
OPPORTUNITY TO COME BACK AND SEE
THE WORLD AS IT WOULD HAVE BEEN
HAD HE NOT BEEN BORN.
YOU’VE BEEN GRIFFIN A GREAT
GIFT, GEORGE.
A CHANCE TO SEE WHAT THE WORLD
WOULD BE LIKE WITHOUT.
YOU THAT’S A DARK, DARK PLACE
TO BEGIN A MOVIE THAT’S
ULTIMATELY GOING TO WIND UP
BEING ONE OF THE GREAT HOLIDAY
MOVIES AND ONE OF THE MOST
AFFIRMING MOVIES EVER MADE.
MERRY CHRISTMAS.
IT’S POWERFUL BECAUSE IT’S
BEEN A JOURNEY FROM PLACE OF
TRUE DESPAIR AND TAKES GUTS TO
TELL THE STORY WITH THAT KIND OF
STRENGTH AND COMMITMENT.
AND YEAH, SWEETHEART.
THERE’S A GIRL WANTS TO SEE
YOU.
HER NAME’S WANDER LAY.
CUSTOMER?
I GUESS SO.
YOU’LL WANT TO SEE HER ANYWAY.
SHE’S A KNOCKOUT.
SHOW HER IN, DARLING.
SHOW HER IN.
FROM THE WAR IS A STYLE OF
FILM MAKING THAT’S VERY POPULAR
IN THE ’40s AND FICHTS.
THE FILMS ARE MOODY, PES PES
MICK TICK, KIND OF ABOUT THE
UNDERBELLY OF MANOR SOCIETY.
BECAUSE OF WORLD WAR II THERE
WAS AN APPETITE AMONG AUDIENCES
FOR THESE KIND OF FILMS.
ANYBODY HEAR THE SHOT.
SOMEBODY MUST HAVE.
WE JUST GOT HERE.
THE MALTESE FALCON IS
OSTENSIBLY A DETECTIVE STORY BUT
THE PLOT REVOLVES AROUND ALL
THESE CRAZY CHARACTERS LOOKING
FOR THE BLACK BIRD AND HOW SAM
SPADE PLAYS THESE CHARACTERS OFF
EACH OTHER.
YOU’RE GOOD.
YOU’RE VERY GOOD.
WHAT DID HE SAY?
ABOUT WHAT?
ABOUT ME.
NOTHING.
WHAT DID YOU TALK ABOUT THEN?
HE OFFERED ME $5,000 FOR THE
BLACK BIRD.
MY FATHER WAS NOT THAT BIG A
FAN OF ACTORS.
IF YOU WATCH HIS MOVIES, HE’S
MORE INTERESTED IN CHARACTER.
I THINK THIS WAS WHY HE LOVED
HUMPHREY BOGART SO MUCH.
THANKS, DARLING.
THERE’S A KIND OF DIRECTNESS AND
HONESTY ABOUT HIM THAT WE’RE NOT
USED TO.
WHEN YOU’RE SLACK, YOU’LL
TAKE IT AND LIKE IT.
BOGART IS NOT THE GOOD GUY.
AND THAT IS ESSENTIAL TO THIS
WHOLE TREND.
THE ATTITUDE IS VERY AMERICAN.
BUT IT DIDN’T REALLY BECOME FILM
NOIR UNTIL THESE FILMMAKERS THAT
CAME OVER FROM EUROPE BROUGHT A
PARTICULAR VISUAL SENSIBILITY
AND THAT IS WHERE INTERIOR WAS
BORN.
I KILLED DIEDRICH SON.
ME, WALTER NEF.
INSURANCE SALESMAN.
BILLY WILDER ADAPTED THIS
AMAZING STORY WITH RAYMOND
CHANDLER.
THE WAY IT STARTS TOLD BY A GUY
BLEEDING TO DEATH, IT WOULD
BECOME SO IMPORTANT TO HARD
BOILED DETECTIVE STORIES.
I WASN’T LONG, WAS HE?
NOT AT ALL.
I HOPE I’VE GOT MY FACE ON
STREIT.
PERFECT TORE R FOR MY MONEY.
THERE WAS A VERY INTENSE
MURDER SCENE THAT HAD TO BE
FLINLED AND HOW ARE YOU GOING TO
DO IT IN THIS AGE OF CENSORSHIP?
THIS IS NOT THE RIGHT STREET.
WHY DID YOU TURN HERE?
WHAT ARE YOU DOING THAT FOR?
WHAT ARE YOU HONGKING THE HORN
FOR?
BILLY WILDER LEAVES THE
CAMERA ON BARBARA STANWYCK AND
SHE EXPERIENCES THE PAIN OF HER
HUSBAND AND THEN THE
SATISFACTION OF IT.
SHE GIVES YOU ALL OF THAT.
AND THAT’S AS GOOD AS IT GETS.
OKAY, BABY, THAT’S IT.
THE MURDER YOU DON’T SEE IN
DOUBLE INDEMNITY IS BETTER THAN
ANY GRIZZLY MURDER YOU COULD
SHOW ME.
STRAIGHT DOWN THE LINE.
BARBARA STANWYCK’S PERFORM,
AS PHYLLIS IS THE ARCHETYPE OF
THE DANGEROUS FEMME FATALE.
BACK IN THE MORNING.
MEET ME AT THE HOTEL.
WHEN YOU GET TO JANE GREER IN
"OUT OF THE PAST," SHE TAKES IT
A STEP FURTHER.
CAN WE GET AWAY WITH IT.
SHE’S MUCH MORE OF A COLD
PSYCHOPATH.
THERE’S A SCENE WHERE HE’S
WATCHING ROBERT MITCH CHUM AND
HIS PARTNER BEAT THE HELL OUT OF
EACH OTHER AND SHE’S SORT OF IN
ECSTASY.
I’LL NEVER FORGET THE IMAGES
IN THAT FIGHT HER FACE SHOOTING
A GUY IT STAYED WITH ME FOR THE
REST OF MY LIFE.
THAT WILL DRY YOUR HAIR.
SHE TAKES INTO THE BUNGALOW
AND THEY KISS.
SOMETHING IN THE CAMERA MOVES TO
THE DOOR AND THE DOOR OPENS.
IT’S RAINING.
CAMERA JUST TRACKS.
IT’S JUST VISUAL POETRY AND
MOOD.
EVERY STUDIO AT A CERTAIN
POINT WAS MAKING SIM OR EIGHT OF
THESE MOVIES A YEAR.
TAKE THIS THICK OUT OF MY
MOUTH, WILL YOU?
ARTISTS WERE EAGER TO MAKE
MOVIES THAT WERE MORE ADULT.
HARRY.
THIS KIND OF NOTION OF
DARKNESS IN FILMS HAD KIND OF
THE OPPOSITE OF THE HOLLYWOOD
ENDING WHERE THINGS DON’T WORK
OUT WELL, THINGS DON’T WORK OUT
FOR THE HERO.
THIS IS FILM NOIR’S LEGACY.
YES, THIS IS SUNSET BOULEVARD,
LOS ANGELES, CALIFORNIA.
IT’S ABOUT 5:00 IN THE MORNING.
THAT’S THE HOMICIDE SQUAD.
THE 50s PRODUCED A LOT OF
REALLY DARK CYNICAL MOVIES AND
IT STARTS PRETTY EARLY ON WITH
SUNSET BOULEVARD.
IT OPENS UP WITH A BODY IN A
POOL.
THEN IT’S ALL TOLD IN FLASHBACK
BY THE MAN IN THE POOL.
YOU’RE NORMA DESMOND.
USED TO BE IN SILENT PICTURES,
USED TO BE BIG.
I AM BIG.
IT’S THE PICTURES THAT GOT
SMALL.
HER PERFORMANCE EVERYONE
TALKS ABOUT IS GLORIA SWANSON AS
NORMA DESMOND GLORIA SWANSON HAD
BEEN A HUGE STAR IN SILENT FILMS
SO SHE VERY MUCH KNEW THE
CHARACTER SHE PLAYED.
WE DIDN’T NEED THAT.
WE HAD FAYS.
NOW IN HER EARLY ’50S, SHE IS
PLAYING THIS DEPOSED QUEEN WHO
BECOMES INCREASINGLY DELUSIONAL
AND GOES MAD.
THERE’S NOTHING ELSE, JUST
US.
AND THE CAMERAS.
AND THOSE WONDERFUL PEOPLE OUT
THERE IN THE DARK.
IT’S A FILM ABOUT HOLLYWOOD’S
TENDENCY TOES THROW PEOPLE AWAY
TO, BUILD PEOPLE UP AND THEN
TEAR THEM DOWN AND FORGET THEM.
LORD, I’M NOT 20ISH.
I’M NOT 30ISH.
THREE MONTHS AGO, I WAS 40 YEARS
OLD.
40.
4- 0.
UPSET BOULEVARD AND ALL ABOUT
EVE BOTH CAME OUT IN THE 1950.
BETTE DAVIS HAD A KIND OF LULL
IN HER CAREER AND MADE A COUPLE
MOVIES THAT HADN’T MADE MONEY SO
THIS WAS A REAL COMEBACK.
HERE SHE WAS PLAYING THIS GREAT
STAGE ACRES MARGARET CHANNING
WORRIED ABOUT LOSING HER CAREER,
LOSING HERMAN AND ALONG COMES
EVE HARRINGTON.
WHAT DO YOU THINK OF MY
ELEGANT NEW SUIT.
VERY BECOMING.
IT LOOKS MUCH BETTER THAN YOU
THAN IT DID ON ME.
THIS UP AND COME IRSTARTS AS
A FAN BUT YOU QUICKLY REALIZE
SHE’S SOMETHING ELSE ENTIRELY.
SHE WANTS TO GET THE ROLES THAT
MARGOT ONCE WAS GETTING.
MARGOT IS FIGHTING THIS TOOTH
AND NAIL AS ONLY BETTE DAVIS
CAN.
FASTEN YOUR SEAT BELTS.
IT’S GOING TO BE A BUMPY NIGHT.
BETTE DAVIS ATTENTION YOU
FROM THE HEIGHT OF VANITY TO THE
DEPTHS OF DESPAIR.
AND I JUST LOVE THAT ART.
I THINK THAT’S THE GREATEST
PERFORMANCE OF HER CAREER.
A WOMAN’S CAREER, THE THINGS
YOU DROP ON YOUR LADDER SO YOU
CAN MOVE FASTER, YOU FORGET
YOU’LL NEED THEM AGAIN WHEN YOU
GET BACK TO BEING A WOMAN.
SUNSET BOULEVARD AND ALL
ABOUT EVE ARE ALL ABOUT ACTORS
COMPETING EACH OTHER AND BEING
USURPED BY A YOUNGER AGENDA
RIGGS.
THAT’S WHAT HAPPENED IN THE BEST
ACTRESS RACE WHERE HAD YOU GLOR
WA SWANSON COMPETING AGAINST
BETTE DAVIS.
HOWEVER THE WINNER WAS JUDY
HOLLIDAY WHO HAD JUST RISEN TO
OVERNIGHT FAME IN "BORN
YESTERDAY."
WHAT DID YOU SAY IT FOR?
I DON’T KNOW.
HOW OLD ARE YOU?
29.
IT’S ENTERTAINMENT IN YOUR
OWN LIVING ROOM AND ALL OVER THE
COUNTRY MOVIE AUDIENCES OF ALL
AGES SIT GLUED TO THEIR
TELEVISION SETS.
THE PICTURE MAY BE SMALL BUT
IT’S FREE.
PROBABLY THE MOST SERIOUS
THREAT TO MOVIES CAME IN THE
1950s WHEN PEOPLE WERE OOH
BUYING TELEVISIONS.
BIBLICAL EXSPANSIVE EPICS IN THE
’50S WERE ONE OF HOLLYWOOD’S
FIRST SUCCESSFUL ANSWERS TO THE
THREAT OF TELEVISION.
THAT BROUGHT PEOPLE BACK TO THE
THEATERS AND THAT JUST CAUSED
HOLLYWOOD TO MAKE MORE AND MORE
OF THEM.
WHO SHALL WITHSTAND THE POWER
OF GOD?
WATCHING YOUR BLACK AND WHITE
BOX TV ON THE FLOOR OF YOUR
LIVING ROOM WAS NOTHING COMPARED
TO GOING TO A MOVIE LIKE BEN
HUR.
IT WAS JUST NOT THE KIND OF
THING THAT ANYBODY HAD SEEN AT
THAT TIME.
MOVIES HAD TO GET OFF THEIR
LAWYERS NOT LAYS AROUND AND
LET’S MAKE GOING TO THE CINEMA
AN EVEN MORE EXTRAORDINARY
EXPERIENCE.
THEN AFTER TELEVISION COMES
ALONG, SOME OF THE GREAT
MUSICALS OF ALL TIME COME ALONG
AS A RESULT OF THAT.
♪ GOOD MORNING, GOOD MORNING
IT’S GREAT TO STAY UP LATE GOOD
MORNING GOOD MORNING TO YOU.
♪.
SINGING IN THE RAIN IS THE
PERFECT MOVIE.
IT’S FUN AND IT’S BEAUTIFUL AND
IT’S COLORFUL AND THE SONGS ARE
BRILLIANT.
I DIDN’T REALIZE AT THE TIME
THAT THEY WERE FROM DIFFERENT
MUSICALS.
SINGING IN THE RAIN.
SINGING IN THE RAIN WAS IN
ANOTHER MOVIE.
IT WAS NOT THAT POPULAR.
BUT I THINK A SONG IS JUST A
SONG UNTIL THE RIGHT SINGER
SINGS IT.
>>.
♪ SINGING IN THE RAIN JUST
SINGING IN THE RAIN ♪
♪ WHAT A GLORIOUS FEELING I’M
HAPPY AGAIN ♪
SAID WHAT DO YOU DO WITH
SINGING IN THE RAIN?
I SAID IT WILL BE RAINING AND
I’LL BE SINGING.
THAT WAS IT.
IT WASN’T HARD TO COMPOSE IT.
THE MOMENT OF SLASHING THE
WATER.
THAT PART WAS FUN.
♪
CLANG, CLANG CLANG WENT THE
TROLLEY.
DING DING DING WENT THE BELL.
WHEN YOU COME ALONG WITH
VINCENT MINNELLI MAKING "MEET ME
IN ST. LOUIS" AND "AMERICAN IN
PARIS" AND "THE BAND WAGON," YOU
HAVE SUCH ORIGINALITY, SUCH JOY
AND SUCH, WOULD THAT STAND THE
TEST OF TIME.
♪ WANT TO HAVE BELLS THAT WILL
RING YOU WANT TO HAVE SONGS THAT
WILL SING ♪ IN 195, GEORGE KOOK
COREY MAKES A STAR IS BORN AND
TURNS IT INTO A MUSICAL.
IF I DON’T GET MY WAY, I
BEGIN TO BREAK UP PEOPLE.
YOU UNDERSTAND, DON’T YOU?
YES, I UNDERSTAND.
JUDY GARLAND AT THAT POINT
HAS HAD HER SHARE OF PROBLEMS
WITH DRUGS AND ALCOHOL, BEEN
FIRED.
SO "A STAR IS BORN" IS REALLY A
HUGE COMEBACK FOR JUDY GARLAND.
♪ THE NIGHT BITTER ♪
SHE’S PLAYING THE UPUP AND
COMING SINGER WHO IS DISCOVERED
BY AN ALCOHOLIC ACTOR.
YOU GET THESE GREAT MUSICAL
NUMBERS, ESPECIALLY THE MAN WHO
GOT AWAY.
Reporter: ALL BECAUSE OF THE
MAN THAT GOT AWAY ♪
SHE MAKES YOU FEEL EVERY
SINGLE EMOTION IN THAT SHE’S
HEBBING HER BODY TOWARD THE
CAMERA.
IT IS A CRY OF ANGST AND PAIN.
IT IS AN OPERA MOMENT THAT SHE
IS TURNING INTO JUST ONE OF THE
GREAT MOVIE MOMENTS OF ALL TIME.
ONE UNINTERRUPTED TAKE OF HER
SINGING THIS SONG.
♪ LEASE JUST TO LETUP ♪
YOU SEE THE MOST INTIMATE
REVELATION OF THIS PERFORMER WHO
HAS SOMETHING ON THE INSIDE THAT
SOMEHOW IS NOT GETTING OUT
BECAUSE THEY’RE BEING BOTTOMED
IN ANOTHER WAY.
EVERYTHING CAN RELATE TO THAT
WHETHER YOU’RE 0 AN ARTIST OR
NOT OR A MUSICIAN OR NOT.
♪ THE MAN ♪
SELF-REVELATION.
♪ THAT GOT AWAY ♪
WE’RE GOING TO GET THE ANSWER
TO THAT QUESTION IF WE HAVE TO
STAY HERE FOR A WEEK.
ARE YOU A MEMBER OF THE
COMMUNIST MEMBER OR HAVE YOU
EVER BEEN A MEMBER OF THE
COMMUNIST PARTY?
AFTER WORLD WAR II IS ENDED,
THE HOUSE UN-AMERICAN ACTIVITIES
COMMITTEE SETS OUT LOOKING FOR
SO-CALLED COMMUNIST INFILTRATION
OF THE AMERICAN MOTION PICTURE
INDUSTRY.
THE CHARGE HAS BEEN MADE THAT
THE THE SCREENWRITER GUILD HAD A
NUMBER OF INDIVIDUALS IN IT WHO
ARE MEMBERS OF THE COMMUNIST
PARTY.
THERE WAS THE SENSE THAT IF
THE SOVIETS WANTED TO INFILTRATE
AMERICA, THE WAY TO DO IT WAS TO
INFECT HOLLYWOOD.
YOUR PURPOSE IS TO USE THIS
TO DISRUPT THE MOTION PICTURE
INDUSTRY TO INVADE THE RIGHTS
NOT ONLY OF ME BUT OF THE
PRODUCERS TO THEIR THOUGHTS, TO
THEIR OPINIONS.
TEN SCREENWRITERS AND
PRODUCERS WHO REFUSED TO
COOPERATE WITH THEIR
INVESTIGATION EVENTUALLY ARE
FOUND GUILTY OF CONTEMPT OF
CONGRESS AND SENTENCED AND SERVE
UP TO A YEAR IN PRISON.
WE WILL NOT REEMPLOY ANY OF
THE TEN UNTIL SUCH TIME AS HE IS
ACQUITTED.
THE COMMITTEE IDENTIFIED
PEOPLE WHO WERE SUSPECTED OF
BEING COMMUNISTS AND THEN THE
STUDIOS THEMSELVES PROCEEDED TO
FIRE AND BLACK LIST ANYONE WHO
REFUSED TO COOPERATE.
BEN MILLER NOW WITH JIM
PIERCE AND JACK COLBY.
THEY ASKED ABOUT THE NOON TRAIN.
THE NOON TRAIN?
AND CARL FOREMAN IS WRITING
THE SCREENPLAY OF "HIGH NOON" IN
THOR?
OF 1951 WHEN HE GETS A SUBPOENA
TO TESTIFY BEFORE ACCOUNT HOUSE
UN-AMERICAN ACTIVITIES COMMITTEE
AND HE’S BEGINNING TO WRITE MORE
INTO THE SCREENPLAY OF A PARABLE
AL GOER EVEN ABOUT THE HOLLYWOOD
BLACK LIST.
FOREMAN BEGINS TO SEE THE
COMMITTEE AS THE YOUNG THUGS WHO
WERE COMING TO TOWN TO KILL HIM
AND HE AN BEGINS TO IDENTIFY
WITH THE MARSHALL HIMSELF.
THIS IS MY TOWN.
I’VE GOT FRIENDS HERE.
I’LL SWEAR IN A BUNCH OF SPECIAL
DEPUTIES AND WITH A POS IS HE
BEHIND ME, MAYBE THERE WOULD BE
ANY TROUBLE.
YOU KNOW THEY’LL BE TROUBLE.
THEN IT’S BETTER TO HAVE IT
HERE.
COOPER IS GIVING THIS
INCREDIBLE NATURAL PERFORMANCE.
THIS ONGOING DILEMMA THAT’S
GOING ON IN HIS MIND ENDS UP
BEING THE HEART BEAT OF THE
MOVIE.
SOME OF YOU WERE SPECIAL
DEPUTIES WHEN WE BROKE THIS
BUNCH.
I NEED YOU AGAIN NOW.
THE SCRIPT HAS THIS GREAT
1950s THEME OF YOUR NEIGHBOR’S
ABANDONING YOU BECAUSE MIGHT BE
A COMMUNIST OR BECAUSE THEY
DON’T WANT YOU TO KNOW ABOUT
THEIR BOMB SHELTER MOVIE.
ILLUMINATED WHAT WAS GOING ON.
CARL FOREMAN WAS A MAN OF
SUCH PRINCIPLE THAT WHEN HE
TESTIFIED, HE WOULD NOT NAME
NAMES.
IS HE PAID AN ENORMOUS PRICE.
HE WAS FORCED TO UPROOT AND MOVE
TO ENGLAND.
THE GREAT TRAGEDY OF THE BLACK
LIST IS THAT IT DESTROYED
CAREERS AND IT BRUISED OTHERS
AND IT TURNED CREATIVE PEOPLE
AGAINST ONE ANOTHER.
IT WAS A TERRIBLY CHALLENGING
TIME AND YOU HAD PEOPLE FEARING
ANOTHER WAR.
YOU’RE A TRAITOR.
YOU’RE A TRAITOR AND A SPY.
THOSE ARE JUST UNPLEASANT
WORDS.
I’M A LOYAL SUPPORTER OF THE
GREATEST SOCIAL EXPERIMENT IN
THE WORLD.
AMERICA WAS GOING THROUGH
COMMUNIST PARANOIA.
WE WILL COMMUNIST INFILTRATION
IN OUR SCHOOLS AND OUR
GOVERNMENT.
FROM THAT YOU GET ALIEN INVASION
MOVIES.
MOVIES.
IT WAS AN ERA THAT WAS STIPED
IN FEAR.
NOT JUST FROM THE COMMUNIST
WITCH HUNTS THAT WERE GOING ON
BUT OF COURSE, FROM THE ATOM
BOMB.
THE CREATION OF NUCLEAR
WEAPONS MAKES THE POSSIBILITIES
FOR TERROR AND HORROR SEEM
ENDLESS.
THE GIANT INSECT GENRE
STARTED WITH THIS THEM" IN 1954.
A FANTASTIC MUTATION PROBABLY
CAUSED BY LINGERING RADIATION
FROM THE FIRST ATOMIC BOMB.
THAT KICKED OFF A TREND OF
CREATURE FEATURES.
A MONSTER LEADING A TRAIL OF
CARNAGE.
THE IMAGINATION RAN WILD.
WHAT’S GOING TO HAPPEN TO US IN
THIS NUCLEAR AGE.
I DIDN’T THINK I HAD THAT
MUCH TO DRINK.
I LOVED ALL THE ’50S SCI-FI
FILMS, THE WORSE OF THEM TO THE
BEST OF THEM FROM "I MARRIED A
MONSTER FROM OUTER SPACE" TO - -
YOU CAN’T GET FURTHER APART IN
TERMS OF TWO FILMS THAT ONLY
SHARE ONE THING, GENRE, THAT’S
IT.
WHAT ABOUT THIS MONSTER STORY
OF YOURS?
WELL, IT’S BIG AND TERRIBLE.
ORIGINALLY GODZILLA WAS A
JAPANESE FILM IN JAPANESE.
THE WAY HOLLYWOOD TRIED TO TURN
IT INTO SOMETHING WE COULD
DIGEST THEY RECUT IT WITH AN
AMERICAN REPORTER IN TOKYO.
I PREFER THE PURE JAPANESE
VERSION BECAUSE IT’S SO VISUAL.
IT’S MUCH MORE PRIMAL.
AND GODZILLA IS MUCH MORE
PIERCE.
WHAT ARE THE PEOPLE DOING?
TRYING TO SAVE THEMSELVES AND
TRYING TO CONCOCT SOME KIND OF A
TECHNOLOGY TO DESTROY THE
MONSTER.
THAT’S ALL YOU REALLY HAVE TO
KNOW.
IT IS LIST RALLY THE REACTION
OF A POPULACE THAT HAS HAD AS
ATOMIC BOMB DROPPED ON THEM.
WHAT DID THAT FEEL LIKE
CULTURALLY?
LIKE A MONSTER CAPE OUT OF THE
OCEAN AND STOMPED YOUR
CIVILIZATION FLAT.
THEY COME FROM ANOTHER WORLD
SPAWNED IN THE LIGHT YEARS OF
SPACE UNLEASHED TO TAKE OVER THE
BODIES AND SOULS OF THE PEOPLE
OF OUR PLANET.
ONE OF THE MOVIES THAT
DEFINES THE ANXIETY OF THE 1950s
IS "INVASION OF THE BODY
SNATCHERS" WHERE THE ENEMY IS
GOING TO COME AND LOOK LIKE YOUR
NUMBER.
WE’VE BEEN WAITING FOR YOU.
IT’S GOING TO TAKE YOU OVER
AND BEFORE YOU REALIZE IT,
EVERYTHING YOU KNOW AND LOVE IS
GONE.
WE’VE GOT TO GO.
THEY’LL NEVER BELIEVE ME.
HELP.
INVASION OF THE BODY
SNATCHERS IS A GRADE GENRE MOVIE
THAT, WOULD ON TWO LEVELS.
IT CAN BE SEEN AS A METAPHOR FOR
THREAT OF COMMUNISTS.
ON THE FLIPSIDE IT’S ABOUT THE
THREAT OF THE McCARTHY WITCH
HUNT AND YET IT CERTAINLY, WOULD
ON ITS OWN TERMS AS A HORROR
MOVIE.
THROUGH ALL OF THIS,
CHILDREN, EVERYONE.
THEY’RE HERE ALREADY.
"AND THE WATERFRONT IS A
REMARKABLE FILM SET ON THE DOCKS
OF NEW JERSEY AT A TIME WHEN
THERE WERE CROOKED LABOR UNIONS
THAT CONTROLLED THE DOCKS AND
YOU HAD TO BE IN GOOD WITH THE
UNION BOUSS TO GET ANY KIND OF
WORK.
THIS IS ABOUT HOW THAT SYSTEM
WAS BROKEN.
WATCH IT.
GET A DOCTOR!
ON THE WATER FRONT IS THE
FIRST TIME I SAW PEOPLE THAT I
KNEW THAT THAT I WAS GROWING UP
WITH, THE PEOPLE IN MY FAMILY
THE PEOPLE IN THE STREETS UP
THERE ON THE SCREEN.
THE DEPICTION OF THE LIFESTYLE
WAS VERY REALISTIC.
THE TENEMENTS WERE THE SAME.
YOU COULD PUT A GAME ON EVERY
IMAGE AND IT’S BEAUTIFUL ART.
BE CAREFUL DON’T SPILL NO
WATER ON THE FLOOR.
THE BEHAVIOR OF BRANDO WAS
THE BREAK THROUGH OF THE
CENTURY.
I REMEMBER THE FIRST TIME I
SAW BRANDO ON THE SCREEN AND IT
WAS A REVOLUTION.
REVOLUTIONIZED THE ART OF
ACTING.
> I DON’T KNOW NOTHING.
BY BRINGING A LEVEL OF
REALITY THAT NOBODY EVER THOUGHT
WAS ACCEPTABLE.
I COULD HAVE BEEN A
CONTENDER.
I COULD HAVE BEEN SOMEBODY.
INSTEAD OF A BUM.
EVERYBODY LOOKED UP TO
BRANDO.
HE WAS GREAT.
WASN’T ABOUT TECHNIQUE IN A WAY,
IT WAS TECHNIQUE OF A SORT BUT
IT WAS ABOUT JUST FEELING.
YOU FELT SO MUCH FROM HIM.
I WAS YOU, CHARLIE.
MARLON BRANDO IS OFTEN
ASSOCIATED WITH THE METHOD AS A
STYLE OF ACTING.
THE METHOD ESSENTIALLY IS
TERRIBLY HUMAN PROFOUNDLY HUMAN
THING.
IT’S NOT - - IT WAS AFFECTED BY
PSYCHOANALYSIS, THE
UNDERSTANDING OF THE SOLE.
HE’S BUILT IN ON THE
WATERFRONT BUT WHO ISN’T.
THEY’RE ALL METHOD ACTORS FROM
THE ACTORS STUDIO.
MUCH AS I ADMIRED BRANDO,
CARL MALDEN, EVE VA MARIE SAINT
WAS ONE OF MY FAVORITE
ACTRESSES.
CA ZAN WORKED SO WELL WITH HER.
YES, I AM.
THERE WERE SO MANY OF US FROM
THE STUDIO.
WE ALL WERE RATHER THE SAME WAY
AND WE FELT COMFORTABLE WITH ONE
ANOTHER.
I GUESS THEY DON’T LET YOU
WALK WITH FELLOWS WHERE YOU’VE
BEEN, HUH.
YOU KNOW HOW THE SISTERS ARE.
ARE YOU TRYING TO BE A NUN.
EADIE MY CHARACTER HAD GLOVES
AND I DROPPED A GLOVE BY
ACCIDENT I DROPPED IT.
HE PICKED UP THE GLOVE.
HE PUT IT ON HIS HAND.
WE’RE GOING TO HAVE A
THANKSGIVING PARTY.
IT WAS VERY SENSUOUS WHAT HE
WAS DOING WITH THAT GLOVE AND
EADIE HAD TO GET THE GLOVE.
AND SHE DIDN’T KNOW HOW TO GET
IT.
SHE HAD TO GO TO HIM TO BE
CLOSER TO HIM.
I COULD GET HOME ALL RIGHT
NOW, THANKS.
IT SHOWS THE SENSITIVITY AND
THE GENIUS OF MARLON BRANDO.
ON THE WATERFRONT WAS
NOMINATED FOR 12 ACADEMY AWARDS.
IT WINS EIGHT INCLUDING BEST
SUPPORTING ACTRESS EVA MARIE
SAINT WHO IS PREGNANT WHILE SHE
ACCEPTS IT.
I MAY HAVE THE BABY RIGHT
HERE.
I HAD THE BABY THE NEXT DAY.
AND NO, WE DID NOT CALL HIM
OSCAR.
WHEN I THINK OF SOME OF THE
GREAT ACTORS OF THE 1950s LIKE
MONTGOMERY CLIFT, AUDREY
HEPBURN, SIDNEY PHOTOYER, ANDY
GRIFFITH AND, OF COURSE, JAMES
DEAN THEY’RE A YOUNG GENERATION
WHO ARE WILLING TO SHARE MORE OF
THAT YOUR SOUL IN THEIR
PERFORMANCE.
WHEN I SAW EAST OF EDEN, I
WAS LIKE OH, MY GOD.
OH, MY GOD.
IT WAS METHOD ACTING AT ITS
FINEST.
I DO THINK THAT HE’S ABSOLUTELY
ONE OF THE GREATEST ACTORSES WHO
EVER LIMBED AND THAT’S BASED ON
EAST OF EDEN ALONE FOR ME.
REBEL WITHOUT A CAUSE WAS THE
FILM THAT MADE JAMES DEAN A
MASSIVE STAR.
HE ONLY WAS IN THREE FILMS.
BUT ALL OF THEM ARE
UNFORGETTABLE.
I REALLY WAS MOVED BY REBEL
WITHOUT A CAUSE.
WHEN HE PULLS UP THE BOTTLE TO
HIS FOREHEAD, I HAD NEVER SEEN
THAT.
I DON’T KNOW WHERE THAT CAME
FROM.
IT WAS SO INTERNAL AND SO
CONFLICTED.
MY, YOU SURE DO LOOK PRETTY.
JUST WENT FARTHER THAN ANYONE
I’D EVER SEEN BEFORE THAT
IMMERSING HIMSELF IN THESE
CHARACTERS.
JAMES DEAN BECOMES AN ICONIC
FIGURE WHO SPEAKS TO A
GENERATION AND WHEN YOU ADD TO
THAT THE UNFULFILLED LIFE
BECAUSE OF DYING IN HIS YOUTH,
YOU HAVE A KIND OF PERFECT
COMBINATION OF A MYTHIC FIGURE
OF WHICH THERE HOME RUN VERY FEW
IN HOLLYWOOD.
♪ A KISS ON HAND MAY BE QUITE
CONTINENTAL ♪
♪ BUT DIAMONDS ARE A GIRL’S BEST
FRIEND ♪
ONE OF THE GREATEST IMAGES IN
THE HISTORY OF FILM IS MARILYN
MONROE IN THAT PINK DRESS
SINGING DIAMONDS ARE A GIRL’S
BEST FRIEND.
♪ DIAMONDS ARE A GIRL’S BEST
FRIEND ♪
WHAT MOST PEOPLE KNOW ABOUT
MARILYN MONROE IS SHE BECOMES
THIS BIG SEX SYMBOL STARTING IN
THE 50s BUT WHAT A LOT OF PEOPLE
DON’T KNOW IS HOW FUNNY SHE IS.
OH, DO YOU FEEL THE BREEZE IN
THE SUBWAY?
ISN’T IT DELICIOUS.
SHE EVENTUALLY GOT TIRED OF
BEING TYPE CAST AS A SEX POT
BOMBSHELL AND WANTED TO EXPAND
HER RANGE.
SO SHE FAMOUSLY FORSAKES HER
CONTRACT WITH 20th COUNTRY FOX
TO MOVE TO NEW YORK TO STUDY
WITH THE MOST RESPECTED ACTING
COACH IN THE UNITED STATES AT
THE MOMENT LEE STRASBOURG AT THE
ACTOR’S STUDIO.
WE DON’T GIVE HER ENOUGH
CREDIT AS AN ACTRESS.
SHE COULD DO IT ALL AND BILLY
WILDER KNEW IT.
SOME LIKE IT HOT IS HER MOST
MEMORABLE FILM BECAUSE SHE PUTS
EVERYTHING TOGETHER FOR HERSELF.
YOU START TO SEE HER AS A PERSON
THAT YOU CARE ABOUT EMOTIONALLY.
ALL THE GIRLS DRINK.
IT’S JUST THE THAT I’M THE ONE
THAT GETS CAUGHT.
I ALWAYS GET THE FUZZY END OF
THE LOLLIPOP.
WHEN YOU’RE IN THE HANDS OF A
BILLY WILDER, IT’S THE RIGHT
PERSON SAYING THE LINE IN THE
RATE WAY.
THEY HEAR THE COMEDY OF IT.
THERE’S A MUSIC TO A PUNCH LINE.
THIS MAY EVEN TURN OUT TO BE
A SURPRISE PARTY.
WHAT SURPRISE?
NOT YET.
WHEN?
HAVE A DRINK FIRST.
IT’S A RIDICULOUS MOVIE.
IN A LOT OF WAYS.
TONY CURTIS AND JACK LEMMON PLAY
THESE TWO MUSICIANS IN 1920s
CHICAGO AND THEY ACCIDENTALLY
WITNESS THE ST. VALENTINE’S DAY
MASSACRE AND THEY HAVE TO
WITHOUT TRYING TO, HE ATTRACTS A
MILLIONAIRE WHO FALLS IN LOVE
WITH HIM.
I’M ENGAGED.
CONGRATULATIONS.
WHO’S THE LUCKY GIRL?
I AM.
"SOME LIKE IT HOT" IS THE
GREATEST COMEDY OF ALL TIME WITH
THE GREATEST LAST LINE.
YOU DON’T UNDERSTAND, OZGOOD.
I’M A MAN.
WELL, NOBODY’S PERFECT.
♪
I’VE NOTICED YOUR VIEW OF THE
WEST HAS BECOME INCREASINGLY SAD
AND MELANCHOLY OVER THE YEARS.
HAVE YOU BEEN AWARE OF THAT
CHANGE IN MOOD?
NO.
JOHN FORD IS AMAZING.
HE PUTS HIS GREAT EMOTION AND
SENSITIVITY INTO THESE
REMARKABLE FILMS, ONE AFTER THE
OTHER AFTER THE OTHER AFTER THE
OTHER.
I THINK HE SAW THE WORLD A
LITTLE BIT DIFFERENTLY THAN
OTHER PEOPLE DID.
♪
HE HAD THIS INCREDIBLE
INTUITIVE SENSE OF COMPOSITION.
HE UNDENIABLY UNDERSTOOD THE
POWER OF THE FRAME.
THE WESTERN GAVE FORD THE
FREEDOM TO EXAMINE THEMES OF
MASCULINITY, LOYALTY, REVENGE,
AND JUSTICE.
"THE SEARCHERS" IS A CULMINATION
OF THIS JOURNEY WITH THESE SAME
TWO KEY COLLABORATORS.
THE DIRECTOR NOW IN THE LATE
PART OF HIS CAREER AND THE STAR
IN THE LATE PART OF HIS CAREER.
MURDER!
"THE SEARCHERS" IS PROBABLY
AS DARK AND ME LEF LENTCHARACTER
WAYNE EVER PLAYED.
HIS NIECE GETS KIDNAPPED.
ONCE HE FINDS HER, IT’S NOT WHAT
HE EXPECTS.
THESE ARE MY PEOPLE.
GO.
GO, MARTIN, PLEASE.
STAND ASIDE MARTIN.
"THE SEARCHERS" IS A FILM
ABOUT RACISM.
JOHN WAYNE’S HATRED FOR THE
FIRST NATION’S PEOPLE IS
PROFOUND.
THE FACT THAT YOU CUT TO THE END
OF THE STORY AND HE WINDS UP
RESCUING NATALIE WOOD.
AND IT ALWAYS BRINGS TEARS TO MY
EYES WHEN HE EMBRACES DEBBIE AND
THEN TAKES HER HOME.
LET’S GO HOME, DEBBIE.
IT’S A FILM THAT OFFERS A
GREAT DEAL OF HOPE THAT THE
WORST DIED IN THE WOOL, HATER OF
THE DIFFERENCES IN OTHERS CAN
CHANGE.
♪
THE STUDIO SYSTEM WAS
COLLAPSING AT THE END OF THE
1950s.
ALMOST EVERYBODY WAS A FREE
AGENT TO GO SORT OF CRAFT THEIR
OWN DEAL.
SO, DIRECTORS HAD THE FREEDOM TO
PUT THEIR STAMP ON MOVIES.
THIS WAS A SIGNIFICANT CHANGE IN
HOW HOLLYWOOD DID BUSINESS.
MID-’50s TO EARLY ’60s
HITCHCOCK IS WHEN HE CHURNED OUT
MOST OF HIS PIECES.
HE STARTED TO MAKE FILMS IN
COLOR AND HAVE AMERICAN CAST AND
HAVE BIGGER SPLASHIER KIND OF
FILMS.
I COULD SEE "VERTIGO" OVER AND
OVER AGAIN AND STILL NOT
COMPLETELY GET IT.
AND I LOVE THAT ABOUT IT.
IT’S SUCH A SUBCONSCIOUS MOVIE,
KIND OF A RIDDLE.
YOU FEEL LIKE HITCHCOCK IS
ENGAGED IN A SYMBOLIC
CONVERSATION WITH THE AUDIENCE.
YOU WANT ME TO BE DRESSED
LIKE HER?
JUDY, I JUST WANT YOU TO LOOK
NICE.
I KNOW IT LOOKS WELL ON YOU.
NO, NO I WON’T DO IT.
THE RELATIONSHIP BETWEEN
JIMMY STEWART AND KIM NOVAK IS
LIKE A DIRECTOR’S RELATIONSHIP
WITH AN ACTRESS.
IT’S FIXATED ON HOW YOU
LOOKED.
YOUR HAIR, YOUR JEWELRY, THE
LITTLE STONE HERE HE PICKED OUT.
MR. HITCHCOCK, CAN I ASK YOU
THIS?
MR. DIRECTOR ALLOW THEM A LIFE
OF THEIR OWN?
IF THE DIRECTOR IS WORKING IN
THE PURELY CINEMATIC MEDIUM,
THEN THE ACTOR MUST COME UNDER
HIS CONTROL.
WORKING WITH HIM WAS JUST THE
OPPOSITE FROM THE ACTOR’S
STUDIO.
HE DOESN’T TALK ABOUT ANY
FEELINGS.
HE TOLD ME DON’T USE YOUR HANDS.
LOWER YOUR VOICE.
AND LOOK DIRECTLY INTO CARY
GRANT’S EYES.
JACK PHILLIPS, WESTERN SALES
MANAGER FOR KINGBY ELECTRONICS.
NO YOU’RE NOT.
YOUR ROGER THORN HILL OF MADISON
AVENUE AND YOU’RE WANTED FOR
MURDER.
DON’T BE SO MODEST.
HITCH DOCK WASCOCK WAS ONE FI
THE DIRECTORS TO BECOME A BRAND
NAME, WHERE YOU MIGHT SHOW UP
BECAUSE HE DIRECTED IT.
THAT FEELING OF PEOPLE SHOWED UP
BECAUSE HE DIRECTED IT WAS ABOUT
TO BECOME STANDARD.
THIS IS THE HEART OF AMERICAN
CINEMA.
EVERYONE WHO’S WORKING TODAY HAS
SEEN AND WAS INFLUENCED BY THAT
CLASSIC.
STELLA!
THOSE WERE THE BUILDING
BLOCKS, THOSE WERE THE TEMPLATES
OF EVERYTHING THAT CAME AFTER
IT.
YOU CAN GO THROUGH THOSE FILMS
AGAIN AND AGAIN AND AGAIN AND
THEY WOULD LIVE ETERNALLY IF YOU
JUST GIVE THEM A CHANCE.
I DON’T KNOW WHAT I WOULD DO
WITHOUT YOU.
OUR STORY OF HOLLYWOOD’S
FABULOUS ERA HAS COME TO AN END.
FOR THOSE OF YOU WHO MAY HAVE
MISSED YOUR FAVORITE PERFORMER
OR FILM, OUR SINCEREST REGRETS.
IN OUR BRIEF TIME, WE’VE ONLY
BEEN ABLE TO SHOW SOME OF THEM.