tv The Movies CNN August 18, 2019 9:00pm-11:00pm PDT
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. it was one of the things he was known for was 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 pseudo gangster 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 bar, 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 gable, 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're just dripping 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. lugosi 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 on, i wanted
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 selznick 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 berkeley 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 new medium. and the way they'd have the sets basically move with the choreography was 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 astaire and rogers was a kind of 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 habits 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. i mean, if you haven't thought about switching to geico,
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of the newest phones included for just thirty-five dollars a month. for people with hearing loss, visit sprintrelay.com. can a beer be brewed for great taste, only 96 calories with zero grams of sugar? no sweat. ♪ miller lite. hold true. listen this is not the end for you. i already put on my comfy pants. i'm so... cozy. here. old spice swagger. listen, there is a place, full of sports, people, people watching sports, the guys are waiting. come on! ahhh. travelocity is there for you. not right in the room. that'd be awkward. but you know, online, on the phone,
when you realize you want to extend your stay. travelocity. wander wisely. 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 1934, 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 said 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 cigar" 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 claudette 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 romantic 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 categories, 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. >> you do or you wouldn't have lost your temper. >> what's the meaning of this? >> godfrey loves me. he put me in the shower. >> she was extraordinary. she played a lot of cukiness 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 call champagne. 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 you 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, walter --
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so you get the nicholas brothers, for instance, or bill bo jangles robinson. 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 laziest 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 directors. 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 commodification. >> when you have someone like marlene dietrich come from germany, she has to represent the exotic, the other, the unknown. ♪ her great appeal is her fabulous androgyny. 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. they were 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 apotheosis 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 bert 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. oh, come on. flo: don't worry. you're covered.
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"stagecoach" 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 trouble, lieutenant? >> geronimo. >> geronimo? >> will you sit down. >> inside the stage coast, each person is archetype. the scarlett 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 "ninotchka" 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 scarlett was, on the one hand, definitely a publicity stunt. on the other hand, it was serious. selznick wanted to find the right scarlett o'hara. >> he was already shooting on the back lot before scarlett was cast. >> david selznick is standing watching the burning of atlanta and they've got doubles playing rhett and scarlett in the wagon. his brother walks up with vivien leigh and says, i'd like you to meet scarlett o'hara. >> i love you. i do. >> i think it's incredibly hard to separate vivien leigh from scarlett 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. scarlett, 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 hattie mcdaniel 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. scarlett 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 rhett 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 maid. >> i sincerely hope, i shall always be a credit to my race and to the motion picture
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♪ preston sturgis was one of the greatest comedy filmmakers of all time that maybe you never heard of. >> i want this to be a picture of dignity. a true canvas of the suffering of humanity. >> with a little sex in it. >> how about a nice musical? >> early hollywood was a very hierarchal society. screenwriters wrote and directors directed. nobody did both. sturges 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 sturges. preston sturges is the first. preston sturges is the man that put these characters together and told the stories and opened the door for the rest of us. >> "the lady 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 thermometer and he feels it's just a waste of time. >> barbara stanwyck in "lady eve" was one of the best comedic performances of all time. when she's got the mirror and she's watching. it's really funny. >> not just this brilliant dialogue, it's also the incredible physical comedy. it's a wonderful balance of low comedy and high comedy and life is both, isn't it? >> sturges had a stretch during the 1940s where he turned out hit after hit after hit. it's an unprecedented streak of really quality films. >> cinema roll 5. 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 of that era like frits lang and
f.w.murnau. his first major film, "the lodger" looks like german expressionism in a lot of ways. they he went on to make these great british thrillers for which he became famous. best among all of them "the 39 steps." by the end of the '30s, 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 selznick under the six-film contract starting with "rebecca." >> that's it. that's mandalay. >> "rebecca" was based on a novel by daphne duh maurer about a young innocent woman who moves into this old gothic house. >> this is mrs. danville. >> and her 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. du winter together. >> hitchcock was brilliant aputting 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 beings who landed in the jersey farmlands tonight are the vanguard of an invading 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. so he was hailed as a great actor and a great director and he came to hollywood with the best contract anybody ever had. >> 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. so i asked the impossible thinking to be left alone. and at the end of the year's negotiations i got it. >> orson welles had such a monstrous ego he was going to do it the way he was going to do it, and the hell with what anybody thought of it. and i admired that because he had the skill to back it up. >> rosebud. >> "citizen kane" begins with the death of charles foster kane 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 kane's past and reads the memoirs of
his lawyer and through the recollections of those people we learn about charles foster kane's life. >> maybe the thing that welles did best was recognize what he didn't know early on at 25. sew hires herman mankiewicz, my grandfather, to write the screenplay. he hires robert wise to edit the film. not to mention bernard hermann's brilliant music. and of course greg tollan's cinematography was a breakthrough and changed the way we make movies. >> merry christmas. >> merry christmas. >> and a happy new year. >> it felt like something new. the transitions, the flashback construction, repetition of certain scenes from different points of view and not to be ignored is the fact that orson gives an extraordinarily brilliant performance. >> i made no campaign promises. because until a few weeks ago, i had no hope of being elected. >> the technique that always sticks out to me on "citizen kane" 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 large part on the life of william randolph hearst. he owned newspapers, a newsreel service, radio stations and magazines. he was quite the power player in american politics. and even more important in hollywood politics. >> hearst blacklisted 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 non-hearst 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 welles. nothing else. it should have been best picture forwells. should have won best director
for welles. should have probably won best actor for welles. 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 candle to kane. >> rosebud. lexible. don't worry. my dutch is ok. just ok? (in dutch) tell him we need this merger. (in dutch) it's happening..! just ok is not ok. especially when it comes to your network. at&t is america's best wireless network and now, get the option of spotify premium on us, with your unlimited plan. more for your thing. that's our thing. there was no hesitation, i went straight to ctca. after my mastectomy, it was maddening because i felt part of my identity was being taken away.
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♪ adolph hitler's all-out attack on poland makes the long dreaded european war a certainty. >> through newspapers and news reels americans have been watching the development of dictatorship in germany. hitler's propaganda minister had focussed on how to deliver images that move people's minds. lenni riefenstahl turned an ugly movement into something cinematically beautiful. ♪ >> even the baby is thrilled is seems all smiles at the attention. >> charlie chaplin took that and broke it apart. ♪ >> chaplin 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 strident 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. >> humphrey bogart is an american who runs rick's in casablanca. it's world war ii before the united states entered the war. nobody knows his backstory. he's got the 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 lazlo, a hero of the resistance. >> he knows a great deal about casablanca. about victor lazlo everywhere. >> unbeknownst to anyone else in the movie, ilsa and rick have a past. >> of all the gin joints in all the towns in all the world, she walks into mine. >> he is the epitome of that wounded cynic. and what we get to see is a man who used to be an idealist 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 lazlo goes to the band and says let's play the french national anthem. >> play la marseillaise. 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 in desperate life-changing situations. peter lorre 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. marcel dallio and madeline lebeau, his wife, they escaped from france just as the germans were arriving in paris.
all of dalio's family who had been 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. >> vive 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. >> and that we all had to deal with that in the very darkest days of world war ii. >> open fire. yahoo! >> to your stations! >> 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 stephens, it was houston, then it was wyler. these were clearly five of the great american icons. they served their country as storytellers and risked their lives. >> and 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 bridge 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 battle of 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 expendable" 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 into the plane. >> at the end of the movie is very much about the fate of the sailors that were staying back. if they didn't get on that plane, they know what that means. >> sir, how many more planes are coming in? >> none. family meeting! busy! well, i'm going to t-mobile and for every iphone ten r i buy, they'll give me another one. but if you're busy... iphone ten r? let's go! for a limited time, come to t-mobile and for each iphone ten r you get, get a second one on us. if you have moderate to severe plaque psoriasis, every day can begin with flakes. it's a reminder of your struggles with psoriasis. but what if your psoriasis symptoms didn't follow you around? that's why there's ilumya.
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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 our 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 matte work. >> that phenomenonal scene when dana andrews is sitting in the junked plane reliving his missions 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 voted for 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 capra was always such a humanist, i think it was very important to him to acknowledge flaws, acknowledge weakness. >> george, what's wrong? >> wrong? 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. and jimmy stewart said christmas movie about suicide? count me in. you come back from the war with a graveyard kind of sense of humor. and george bailey is light years away from that idealistic mr. smith in "mr. smith goes to washington." >> i think 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 given 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 a place of true despair, and it takes guts to tell the story with that kind of strength and commitment. >> yeah, sweetheart? >> there's a girl wants to see you. her name's wanderlay. >> 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 filmmaking that's very popular in the '40s and '50s. the films are moody, they're pessimistic, they're kind of about the underbelly of american society. and 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 really 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 slapped, 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 noir was born. >> i killed diedrichson.
me, walter neff, insurance salesman. >> billy wilder adapted this amazing story with raymond chandler. and the way it starts with this voice-over narration told by a guy who's bleeding to death that would become so important to the hard-boiled detective stories. >> i wasn't long, was i? >> not at all, mrs. detricksen. >> i hope i've got my face on straight. >> perfect for my money. >> there was a very intense murder scene that had to be flimed, and how are you going to do it in this age of censorship? >> this is not the right street. why did you turn here? [ honking ] what are you doing that for? what are you honking the horn for? [ grunting ] >> 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 grisly murder you could show me. >> straight down the line. >> barbara stanwyck's performance 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 she's watching robert mitchum 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 him to the bungalow and they kiss. something in the camera moves to the door and the door opens. it's raining. the camera just tracks. it's just visual poetry and mood.
>> every studio at a certain point was making six or eight of these movies a year. >> take this thing 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.
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er, 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. >> the 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 dialogue. we had faces. >> 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 to throw people away, to build people up and then tear them down and forget them. >> lord, i'm not 20s. i'm not 30s. three months ago, i was 40 years old. 40. 4-0. >> "sunset boulevard" and "all about eve" both came out in 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 actress margaret channing who's worried about losing her career, losing her man, and then along comes eve harrington. >> what do you think of my elegant new suit? >> very becoming. it looks much better on you than
it did on me. >> i can imagine. >> this up-and-comer starts as a fan, but you quickly realize she's something else entirely. she wants to shove margo out of the way and get the roles margo 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 takes 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. >> funny business a woman's career. the things you drop on your way up the 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 both movies about actors competing against each other and being usurped by a younger generation. and that's exactly what happened at the ovgsz that year in the best actress race where you had gloria swanson competing against bette davis. however, the winner was judy holiday 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 buying televisions. >> biblical expansive 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 laurels, not laze 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. ♪ i'm singing in the rain ♪ just singing in the rain ♪ what a glorious feeling ♪ i'm happy again >> so they said, what do you do
with singing in the rain? i said it will be raining and i'll be singing. you know. and that was it. so it wasn't very hard really to compose it. >> the moment of splashing 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 bandwagon," you have such originality, such joy and such works that stand the test of time. ♪ you want to have bells that will ring ♪ ♪ you want to have songs that will sing ♪ >> in 1954 george cukor the great director remakes "a star is born" and he makes it 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. she's been fired by studios. so "a star is born" is really a
huge comeback for judy garland. ♪ the night is bitter >> she's playing the up-and-coming singer who is discovered by an alcoholic actor. so what you end up getting are these wonderful musical numbers, especially "the man who got away." ♪ and all because of the man that got away ♪ >> she makes you feel every single emotion in it. she's heaving 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. ♪ there's just no letup >> see the most intimate revelation of this performer that had something inside them that somehow is not getting out because they're being boxed in another way. everything can relate to that whether you're an artist or not
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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 screenwriter guilds 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? >> carl foreman is writing the screenplay of "high noon" in the summer of 1951 when he gets a subpoena to testify before the house un-american activities committee, and he's beginning to write more into the screenplay of a parable, allegory even, about the hollywood blacklist. foreman begins to see the committee as the young thugs who were coming to town to kill him and he begins to identify with the marshal himself. >> this is my town. i've got friends here. i'll swear in a bunch of special deputies and with a posse behind me, maybe there wouldn't be any trouble. >> you know there'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 heartbeat 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 you might be a communist or because they don't want you to know about their bomb shelter. the movie illuminated what was going on. >> carl foreman was a man of such principle that when he testified he would not name names. he paid an enormous price. he was forced to uproot and move to england. the great tragedy of the blacklist 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. >> it was an era that was steeped 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 "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. i love the worst of them to the best of them. from "i married a monster from outer space" to "the day the earth stood still." you can't get further apart in terms of two films that only share one thing, genre, that's it. >> let's have it, steve. 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 was they recut it with new scenes with an american reporter in tokyo. >> look at the size of those footprints. >> i prefer the pure japanese version because it's so visual. it's much more primal. and godzilla is much more fearsome. what are the people doing? they're trying to save themselves and they're trying to concoct some kind of a technology to destroy the monster. that's all you really have to know. >> it is literally the reaction
of a populace that has had an atomic bomb dropped on them. what did that feel like culturally? well, it felt like a monster came oust 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 really defines the anxiety of the 1950s is "invasion of the body snatchers" where the enemy is going to come, going to look like your neighbor. >> 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 great genre movie that works 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 works on its own terms as a horror movie. >> through all of this, our children, everyone. they're here already! you're next!
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there were crooked labor unions that controlled the docks and you had to be in good with the union bosses to get any kind of work. this is about how that system was broken. >> watch it! >> get a doctor! >> "on the waterfront" 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 honest and not condescending. the tenements were the same. the roofs were the same. >> hi, terry. >> you could put a frame on every image and it's beautiful art. >> be careful don't spill no water on the floor. >> the behavior of brando was the breakthrough of the century. >> i remember the first time i saw brando on the screen and it was a revelation. it 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 a terribly human, profoundly human thing. it's not -- it was affected by psychoanalysis, the understanding of the soul, so to say. >> brando's brilliant in "on the waterfront," but who isn't brilliant in it? they're all method actors from the actors studio. >> much as i admired brando, karl malden, eva marie saint was one of my favorite actresses. and i just thought she did an amazing job in the film. kazan worked so well with her. >> you're his sister? >> yes, i am. >> there were so many of us from the studio.
we all worked 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 training to be a nun? >> edie, 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 edie 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's 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 -- >> i know where i stand. >> audrey hepburn, sidney poitier, andy griffith, and of course james dean. they're a young generation who are willing to share more of their soul in a 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 actors who's ever lived 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 holds 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. >> he 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 are 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 typecast as a sex pot bombshell and wanted to expand her range. so she famously forsakes her contract with 20th century fox to move to new york to study with the most respected acting coach in the united states at the moment lee strasburg at the actor's studio. >> we don't give her enough credit as an actress or a comedian. she could do it all and billy wilder knew it. 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 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 right 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 escape. they decide to join an all girl band disguised as women. jack lemmon becomes daphne and 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, osgood. i'm a man. >> well, nobody's perfect.
i can't believe it. that sophie opened up a wormhole through time? (speaking japanese) where am i? (woman speaking french) are you crazy/nuts? cyclist: pip! pip! (woman speaking french) i'm here, look at me. it's completely your fault. (man speaking french) ok? it's me. it's my fault? no, i can't believe how easy it was to save hundreds of dollars on my car insurance with geico. (pterodactyl screech) believe it. geico could save you 15% or more on car insurance. [baby cooing on baby monitor] psst.... it's too late for me. it's 8 pm on a saturday. we gotta go, the guys are waiting. come on. here. old spice.
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increasingly sad and melancholy over the years. have you been aware of that change in mood? >> no. >> john ford is amazing. he puts this 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 later part of his career. >> murder! >> "the searchers" is probably
as dark and menevolent a character as john wayne ever played. his niece gets kidnapped. he's bound and determined to find her and save her. he's not going to let anything get in her way. 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 character'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 dyed 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 the most of his masterpieces. he started to make films in color and have american casts 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 i won't do it. >> the relationship between jimmy stewart and kim novak is like a director's relationship with an actress. >> hitchcock was fixated on how you looked. your hair, your jewelry, the little stone here he picked out. >> mr. hitchcock, can i ask you this? are actors puppets or must the 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 thornhill of madison
avenue and you're wanted for murder on every front page in america. don't be so modest. >> hitchcock was one first of the directors to become a brand name, where you might show up because hitchcock directed it. and that feeling where people showed up for the director, that was about to become standard. >> you look back at classic hollywood in the 1930s through the '50s. this is the heart of american cinema. everyone who's working today has seen and was influenced by that classic era. >> 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 sincere regrets. in our brief time, we've only been able to salute some of them, but this show, in a sense, thanks all of them. the u.s. president is downplaying talk of a recession after his economic advisers appear on sunday talk shows to call growing fears unfounded. take a look at the scene in hong kong. hundreds of thousands of protesters come out in peaceful marches after weeks of violence. and after a more than two-week stranded at sea, some migrants attempt to swim to an italian island. welcome to our viewers in the united states and from all around the world. i'm rosemary church. >> i'm george howell from cnn world headquarters in atlanta. "newsroom" starts right no