experienced before. ♪ ♪ ♪ ♪

♪ ♪ ♪ the cinematic musical -- if you look at the dna, there's always a kind of code or a language that's specific to the time they're in.

♪ when you're a jet, you're a jet ♪ ♪ all the way from your first cigarette to your last dying day ♪ >> "west side story" is shakespeare in the streets of new york. it has a code that was both old and completely new. ♪ >> with "west side story," the music has this kind of jazz influence, discordant aspect. you can feel it. it's like sparking in the air. ♪ and the moves are very angular and sort of almost architectural. >> "west side story" was a big broadway hit created by arthur lawrence and stephen sondheim and leonard bernstein, who were some of the greatest musical geniuses working at the time. >> they actually enlisted jerome robbins, who created the choreography and directed the

original broadway production, to direct this film along with robert wise. >> everybody was transported by "west side story." it was wildly romantic. it was the "romeo and juliet" story, but told with such urgency. >> come down. >> no. >> maria. >> it had tremendous impact. >> with this rivalry between puerto ricanos and white gang guys, it really reflects america and deals with issues that are still relevant today. ♪ life can be bright in america ♪ ♪ if you can fight in america ♪ life is all right in america ♪ if you're all white in america ♪ >> you think you're going after the american dream, but the american dream is clearly not accepting you. that's really what's being talked about in that moment in "west side story." ♪ lots of new housing with more space ♪ ♪ lots of doors slamming in our face ♪ ♪ i'll get a terrace apartment ♪ better get rid of your accent ♪ >> "west side story" really showed the world if you cast

people from their own culture, it's going to make an impact who wins the oscar, rita moreno, because she's the only one that's got the style, who's really got it, you know? >> rita moreno in "west side story." >> and she stands out because of that. >> i can't believe it. >> "west side story" just coincided with hollywood's attempt to do something big, splashy, and technicolor in the movies to fight back against television. >> in the '60s, the studios were staggering from people not going to the theaters. it's just hard to compete with free stuff in your living room. >> at the time, television is going gangbusters, so the movies are changing. they're trying to do counter-programming. it's like if television is going to do what we used to do, then we have to do something new. so we see the big epic blockbuster films. >> in new york, the world premiere of "spartacus."

kirk douglas, executive producer and star of the $12 million spectacle, arrives with his wife on the opening of one of the great white way's most glittering events. >> "spartacus" came right at the top of the 1960s. this was a big roadshow, reserved seat movie with kirk douglas. >> those who are about to die salute you. >> "spartacus" is a revolutionary movie about revolutionaries. you know, it's the story of a slave rebellion in rome, and kirk douglas is the leader of that rebellion. >> she's going to rome. she's been sold. >> she's been sold? >> no talking in the kitchen, slave. >> "spartacus" really mirrored the situation behind the scenes because dalton trumbo, its screenwriter, had been blacklisted, had not been able to use his name on movies for years. >> are you or have you ever been a member of the communist party?

>> i believe i have the right to be confronted with any evidence which supports this question. i should like to see what you have. >> oh, you would? >> yes. >> well, you will pretty soon. [ laughter ] >> kirk douglas famously broke the blacklist with "spartacus." said "you will see 'screenplay by dalton trumbo' on those credits." and the very famous scene in the movie where they're after spartacus and they're saying, where is spartacus, and everybody stands up -- >> i'm spartacus. >> i'm spartacus. >> that is a very moving scene, especially if you know trumbo's history. >> i'm spartacus. >> i'm spartacus. >> i'm spartacus. >> it was a scary, dark period for hollywood that was lifted right as we got into the '60s. ♪ >> "lawrence of arabia" is the movie that really made me want to be a moviemaker.

its sweeping vistas of tremendous production value, sand dunes and perfect lighting conditions, and these amazing intimate close-ups. it's a story about a man who gets himself involved in these affairs between all the tribes of the middle east. >> the english go where they please and strike where they please, and this makes them great. >> mr. lawrence, that will do. lieutenant lawrence is not your military adviser. >> i would like to hear his opinion. >> damn it, lawrence. who do you take orders from? >> t.e. lawrence was british, but on the other hand, he becomes a kind of convert to the independence movement in the middle east. >> lawrence goes on this enormous journey and adventure in trying to help the bedouin against the turks and wants to defend their rights. >> no prisoners! no prisoners!

>> where do you begin with an epic like lawrence? >> a blank sheet of paper as with everything. you know, you read everything you can get your hands on, talk to people who knew this particular character. then i think the only thing to do is to throw it all away and do him as you see him. >> who are you? >> who are you? that is the central question of the whole movie, and lawrence does not know the answer to that question. >> here's o'toole who is given this opportunity, and he just -- he goes all the way. and the way he played it, you know, with his physicality, he gives one of the greatest performances i've ever seen by an actor in my life. >> kennington, the sculptor who sculpted him, said lawrence reminded him of a middleweight boxer. and at that moment, something

very important clicked, which was this. and the eyes didn't travel over the clothes, but they were aware of the hands and aware of everything that was going on, and it was at once withdrawn as a boxer must be, and at the same time very penetrating. and this one physical thing really clicked, and it made a whole difference to the way i played it. >> with lawrence, you have this special thing, an intimate epic. >> do you think i'm just anybody, ali? do you? >> and it's an incredibly detailed character study in one of the biggest movies ever made. >> announcer: "the movies" is brought to you by geico. 15 minutes could save you 15% or more on car insurance. visit geico.com to see how much

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so i think a man in his position he'll take me to el morocco, maybe 21. instead he takes me to hamburger heaven and some shnook's apartment. >> "the apartment" is really a watershed movie. it's not only one of the greatest films ever made, but for 1960, it's very difficult subject matter because it was about extramarital affairs. >> hello? >> listen, kid. i can't pass this up. she looks like marilyn monroe.

>> "the apartment" is about a new york clerk named c.c. baxter who is trying to get up on the corporate ladder. >> is this the place? >> and so he agrees to lend his apartment out to executives for their affairs. >> i have something i think belongs to you. >> me? >> i mean the young lady, whoever she may be. it was on my couch when i got back last night. >> oh, yeah. thanks. >> the mirror is broken. it was broken when i found it. >> all of it comes crashing down when he realizes that the girl he's fallen for, the elevator operator, miss kubelik, played by shirley maclaine, that she is one of the girls that's going up to his apartment and having an affair with one of the bosses. >> you don't think it's a little too much? after all, this is a conservative firm. i don't want people to think i'm an entertainer. >> when he looks in the mirror, he realizes it's the same mirror that he's seen inside his apartment. >> the mirror, it's broken. >> yes, i know. i like it that way.

it makes me look the way i feel. >> "the apartment" was the deepest romantic comedy maybe ever made. >> miss kubelik? miss kubelik? >> at the heart of it is what it is to be human. >> did you hear what i said, miss kubelik? i absolutely adore you. >> shut up and deal. >> my love of "the apartment" spilled into the writing of "jerry maguire," and there would not be "jerry maguire" if it weren't for "the apartment." ♪ >> "breakfast at tiffany's" is the iconic audrey hepburn role. when you hear the title, you instantly imagine her in the little black dress with the pearls, with the perfect up-do, and she's this tragic, flawed figure. >> what happened to you, anyway? you take off for the powder room, and that's the last i see you. >> now, really, harry -- >> harry was the other guy. i'm sid. >> "breakfast at tiffany's,"

like "the apartment," is a movie about people who are sort of willing to sell their souls. >> 300? she's very generous. >> and realizing at what point they're not going to do that anymore. >> i was just trying to let you know i understand. i understand completely. >> audrey hepburn is just this light. her subtleties were astounding to me. >> fred darling, i'm so glad you could come. >> just the way that she spoke and the way that she was always elegantly self-deprecating. >> i'm trying to save, but i'm not very good at it. >> there's not a bad audrey hepburn film. there just isn't. ♪ two drifters off to see the world ♪ >> in "moon river," audrey hepburn is sitting on the fire escape and singing it in this very tender way, and you feel she's sort of this lost soul, trying to grapple with who she is in the world.

♪ moon river and me >> what was amazing about audrey was she was very fragile in life, smoked too much, insecure. and when she got in front of the camera, something happened. all that fragility, sensitivity, everything, she kind of marshaled it and became very strong. >> you think you own me? >> that's exactly what i think. >> i know that's what everybody always thinks, but everybody happens to be wrong. >> look, i am not everybody. >> when we think of classic hollywood, we think of romance and glamour. that begins to break down in the '60s, and we start to get a more complex view of human psychology. >> now, then, comrade -- >> may i present the famous raymond shaw. >> a young man you've flown 8,000 miles to this dreary spot in manchuria to see. >> frank sinatra and my father

produced a movie called "the manchurian candidate," which is about a brainwashed soldier who is the stepson of an important senator. >> take this scarf and strangle ed mavole to death. >> yes, ma'am. >> i remember seeing "the manchurian candidate" when it first came out, and it's a very unsettling opening. you really feel like they're brainwashing you while you're watching it. >> hey, sarge, cut it out. >> quiet, ed, please. you just sit there quietly and cooperate. >> yes, ma'am. >> "the manchurian candidate," when people see it for the first time, it kind of blows their mind. it's got sci-fi elements to it in addition to being a really intriguing political thriller. >> i have here a list of the names of 207 persons who are known by the secretary of defense as being members of the communist party. >> "the manchurian candidate" is not a timid film.

it takes on mccarthyism full throttle. >> are they saying are there any communists in the defense department? of course not. they're saying how many communists are there in the defense department? >> angela lansbury is the evil figure manipulating behind the scenes. >> just stop talking like an expert all of a sudden and get out there and say what you're supposed to say. >> again, as with all great villains, she embraces that role. she doesn't want you to feel sympathy for her. she just wants you to get out of her way. >> you are to shoot the presidential nominee through the head. >> when john f. kennedy was assassinated, frank sinatra didn't want people to see this film. but this was not about the power of assassination in changing political events. this was about the psychological dimension of the cold war and forcing people to think about the nature of the fears they had. >> i deal in nightmares, and nightmares have to be awfully vivid.

you're very glad when you wake up just as you're about to drop through the trap on the gallows. >> hitchcock has several years where he has a purple patch of like all classics, and he's like, "well, i've done 'vertigo.' i've done 'north by northwest.' that's my massive hit. now i'm going to do a film for me." and that film is "psycho." ♪ >> for alfred hitchcock to make "psycho," imagine if today steven spielberg announced that his next film would be "the bride of chucky." it was that shocking, and paramount wouldn't make it. he ended up paying for it himself basically. at the time people thought hitchcock had thrown his career away. >> sam, this is the last time. >> for what? >> for this. >> "psycho" starts out as a definitive film noir from the beginning of the film. a woman is having an illicit affair. she steals money from her office to go meet the guy and run away. that's film noir. >> marian, what in the world --

what are you doing up here? of course i'm glad to see you. i always am. >> then all of a sudden, she meets this guy in a lonely motel, and, man, it becomes something else. >> dirty night. >> you have a vacancy? >> oh, we have 12 vacancies. 12 cabins, 12 vacancies. >> when i first saw "psycho," i was horrified. it's really one of the creepiest movies ever made. >> go tell her she'll not be appeasing her ugly appetite with my food or my son. >> hitchcock was great at where to put the camera. he helped tell the story. >> if anyone ever talked to me the way i heard the way she spoke to you -- >> he really knew how to throw us off balance by putting his camera off balance. >> when "psycho" opened in new york city, the press sat upstairs in the balcony, 500 people, and the paying customers were downstairs, about a thousand people. when we got to the shower scene,

i've never seen such a reaction. ♪ [ screaming ] >> the audience downstairs was screaming to such a degree that you did not hear the soundtrack. and it wasn't a scream like ah, ah, ah. it was ahhh! they couldn't believe it. i couldn't believe it. janet leigh was getting killed. she's the [ bleep ] star of the picture. >> suddenly we have no protagonist to attach ourselves to. there's no movie before that ever did that, and it was terrifying to be stranded there alone with a killer. and who is this killer? ♪

>> that invention is really something extraordinary, and it heralded a different kind of filmmaking. it felt more personal and more weird. he was truly a master of terror. >> announcer: the movies brought to you by arby's. arby's, we have the meats.

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i don't use sex to land an account. >> when do you use it? >> i don't. >> my condolences to your husband. >> oh, i'm not married. >> that figures. >> the conventional wisdom about doris day is of course she's a professional virgin, a prude, a relic from the 1950s. all of those things are wrong. >> hello? >> good morning. >> i think doris day is a bridge between '50s morality and '60s morality. >> oh, my darling. oh, my darling, are you having another nightmare? >> what was cool about the movies that she was in was that they were centered around her and her problems.

>> she was a female protagonist, which was unusual at that time. >> if we look back at doris day films today, we can see she really established a new kind of representation of a career woman who was very much in charge of her own life. she was independent, urban, and that really was a kind of a prototype for the liberated woman. >> mrs. america might do well to start early in her marriage, a planned cultivation of outside interests and hobbies. >> in the early '60s, film comedy was very commercial. it was that colorful, fun, freewheeling comedy style. you got peter sellers in the blake edwards movie "the pink panther." >> we must find that woman. >> at the same time that you had jerry lewis. >> as a kid, you loved jerry lewis because he was a kid. he was a kid doing all these

wacky things that you would like to do. i mean you wanted to talk like that and walk around like that. he was fun. >> jerry lewis is a crossroads comedian between those older vaudevillian comedians and the modern neurotic comedian, but still kind of relying on an older persona. there were a lot of new filmmaking techniques, especially with movies like "the errand boy." ♪ >> as a filmmaker, jerry lewis is using the elements of cinema to enhance the comedy. he's really playing with the medium with as much attention to the filmmaking as to the performance.

>> jerry lewis, in the early '60s, made a different type of comedy, comedy for all ages. and there was a larger cultural shift just about to happen. >> those are the facts, felix. you got to face it. you can't spend the rest of your life crying. it annoys people in the movies. >> a sort of verbal wit was coming in. it wasn't physical comedy. it was cerebral. it was political. and increasingly in the '60s, comedy became something for adults. >> now, you're a writer, and you're a director? >> yes, i've written and directed a new motion flick called "the producers" starring zero mostel and introducing gene wilder. >> under the right circumstances, a producer could make more money with a flop than he could with a hit. >> "the producers" is genuinely, i would say, one of the top comedies of all time. >> yes? >> yes what? >> what you were saying, keep talking. >> in "the producers," they're going to get investors to invest in a broadway play that they know will fail so they can take off with the money. [ screaming ]

>> i want that money! >> oh, i fell on my keys. >> the surefire disaster is called "springtime for hitler." ♪ springtime for hitler and germany ♪ >> you can't believe "the producers" got made. the idea of doing a musical in which hitler is the star, i mean that concept alone was brilliant and unprecedented, and it really gave you a sense of who mel brooks was as a comic mind. >> i want to thank the academy of arts, sciences, and money for this wonderful award. >> mel is a giant, maybe the ballsiest of them. >> well, i'll just say what's in my heart. ba-bump, ba-bump, ba-bump. >> but one of the best of them. explosively funny. >> dr. strangelove, do we have anything like that in the works? >> a moment, please, mr. president. >> "dr. strangelove" is about how the united states and

russia, through a series of misunderstandings and actions by certifiably crazy people, almost come to the brink of nuclear war. >> now, then, dimitri, you know how we've always talked about the possibility of something going wrong with the bomb. >> you know, as a comedy person, there was a comedy before "dr. strangelove" and after "dr. strangelove" because no one had seen anything that dry. the satire of it, in order to do it right, you had to do it completely straight. >> of course i like to speak to you. of course i like to say hello. >> on the surface, it was not supposed to scare anybody because it was a comedy when, in fact, it's not a comedy. the film really, really takes you to the end of the world. >> gentlemen, you can't fight in here. this is the war room. >> peter sellers was unbelievable as every character, but especially as dr. strangelove. >> peter sellers is what makes

that film sing, that you can feet that stanley kubrick has somebody that he trusts to go completely off the rails and that he knows how to film it and contain it and use it for the purposes of the story. >> the whole point of the doomsday machine is lost if you keep it a secret. why didn't you tell the world, eh? >> when i first saw the film, i came out of that movie fearing nuclear war with the russians more than i ever had before. >> i got a pretty fair idea that something doggone important is going on back there. >> stanley kubrick was one of the most audacious filmmakers in history. >> well, boys, i reckon this is it. nuclear combat toe to toe with the russkies. >> who else would have slim pickens in a cowboy hat getting on an atomic bomb and riding it all the way to the ground, waving his hat over his head like he's at a rodeo? it delivers armageddon in song.

♪ with every single hydrogen bomb explosion ever photographed cut together in sync, in harmony with the music. ♪ and if all of mankind were made up of kind women and kind men. it would be spectacular if the golden rule was golden to every man. and the good things that we ever did was everything that we can. (announcer) treating others like we'd like to be treated has always been our guiding principle. this is something bigger.. [ "movin on up" by primal scream ] that is big. not as big as that. sure that's big.

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i've heard a hollywood producer refer to the movie business as the transportation business. you go to the theater, and we take you somewhere else. >> by the '60s, the wonderful thing about the studio system was how it could create place and time so magnificently. ♪ >> so often films that were set in the past didn't look lived in. they didn't look like actual experience. in the '60s, "tom jones" finally made it feel like people living in these times, not people acting out those times. >> many of the great epic films in the '60s have historical or literary endorsement, and people love those big, rich stories.

>> you see? they love us dearly, these french. >> so they should. we pay them enough. >> the first movie that had a huge impact on me was "beckett." i just thought, wow, what goes on here? this is powerful medicine. >> i would have gone to war with all england's might behind me and even against england's interests to defend you, thomas. >> o'toole with burton, just knocked out. their capacity to show agonized, wrenching emotion. >> you never loved me, did you, thomas? >> insofar as i was capable of love, yes, i did. >> seeing these two giants performing, really it stayed with me a very long time. ♪ >> "a man for all seasons" is this beautiful movie by fred zimmerman.

it's this rare portrait of a man with actual morals, who stands up for what he believes. >> at court they offer you all sorts of things, homes, manors, manor houses, coats of arms. a man should go where he won't be tempted. >> it's about unraveling a difficult situation between the church and the state. the king wanted to be divorced. the church will not allow this. how do you navigate those two masters and keep both happy? therein lies the film. >> your grace, i'm not fitted to meddle in these matters. to me, it seems a matter for the holy see. >> thomas, does a man need a pope to tell him where he's sinned. >> this is a man knowing he's going to have to pay a terrible price, and who honors his conscience and honors his god in this case rather than surrender to the king. >> be not afraid of your office. send me to god. >> you're very sure of that, sir thomas? >> he will not refuse one who is so blithe to go to him. >> there's nothing quite like a giant epic you get lost in.

it's three hours and change. you go to a different place in a different time, and when it works, it transports you in a way that really cinema does better than anything else. >> yuri! >> tonya! >> "dr. zhivago" is one of these huge, literate epics that david lean specialized in. >> you could say that david lean is the tolstoy of movies because he works on canvases that are as large as tolstoy's, and he has the ambition of tolstoy. >> in "dr. zhivago," omar sharif, who had done "lawrence of arabia" for david lean, plays this extraordinary lead, and he's torn between his wife, geraldine chaplin and the tempestuous laura, played by the great julie christie. >> what are we going to do? >> i don't know. >> it's a beautifully made soap opera with all the russian emotion. lean was very capable at that

point in his life of going back and forth from the spectacular to the intimate. >> the '60s might have been where hollywood got its biggest epics right, but also those movies were just too big and too difficult to make. you look at something like what "cleopatra" cost. it very nearly crippled not only one studio but the business. >> the motion picture casting achievement of the year is about to become a recorded fact. the occasion, the hollywood signing of the exotic elizabeth for the most exotic role in her career. and the role of cleopatra. what a role, and liz is the gal to do it justice. >> as "cleopatra" got made, the cost of it kept piling up and piling up. hundreds of millions in today's dollars. it was so elaborate. these were not cgi moments, not computer graphics. the people you see on the screen in these huge scenes with all

these extras, those are all real people. this was a massive undertaking. >> nothing like this has come into to rome since romulus and remus. >> for the role of mark antony, they hired richard burton. burton was a great shakespearean actor. the very first scene they shot was on cleopatra's barge, and there's a very passionate kiss that goes on and on. and the director, joe mankiewicz, said, "cut, cut, cut." and it was clear something had been ignited, and then suddenly you had this scandal. >> all the paparazzi in the world converged, and everyone was all about burton and taylor. what's happening? they were both married to other people. in some ways, the drama outside the movie got more involving than the drama inside the movie. >> this life, how it hurts, how

love can stab the heart. >> "cleopatra" in many ways wrecked my uncle's career. it sort of -- he hated it. >> congratulations. a wonderful, wonderful achievement. >> you must know something i don't. >> well, i must tell you, i do. >> "cleopatra" actually made good money. it just didn't make enough money to recoup the enormous expense of the production. >> fox famously had to sell off the back part of their lot. so it became the death knell of the studio system. >> to reach a point where a movie like "cleopatra" could represent an expenditure of nearly one-half the net capital value of the company making it and destroy the management of that company in the bargain, motion pictures had come a long way. he greatness of an suv? is it to carry cargo or to carry on a legacy? its show of strength or its sign of intelligence?

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♪ if someone said to you, it's 1964. the lapd reports that 15,000 screaming teenagers, most of them female, are in front of the egyptian theater, what do you think is happening? most people say, the beatles are arriving.

actually, it's the opening night in l.a. of "my fair lady." >> "hollywood star news" real cameras are off to the premiere of "my fair lady," one of the biggest opening nights in recent years with a roster of stars that will make your eyes blink. the star of the picture, rex harrison. >> in "my fair lady," they have a contest to see if henry higgins can transform this flower girl with her cockney accent into someone that he could pass off as royalty in high society. >> you see this creature with her curbstone english, the english that will keep her in the gutter until the end of her days? well, sir, in six months i could pass her off as a duchess at an embassy ball. >> rex harrison became that rare guy who could re-create his role on film. but for the role of eliza doolittle, julie andrews, who was such a hit on broadway, was turned down by jack warner, who personally produced the movie, in favor of audrey hepburn.

♪ the rain in spain stays mainly in the plain ♪ >> by george, she's got it. by george, she's got it. >> i love "my fair lady." the music is incredible. the music is incredible ♪ i could have danced all night ♪ ♪ i could have danced all night ♪ ♪ and still have begged for more ♪ >> "my fair lady" won best picture in 1964. it is considered a success all around even though julie andrews had been passed over for the role, she got mary poppins, and she had the last laugh. >> ladies and gentlemen, here is julie andrews, mary poppins. >> "mary poppins" was a huge movie for the whole family, and you have julie andrews as the strong character. she's so strong, she's superhuman. >> take a look. >> she flies in from a cloud, and she shifts the power structure in a very male-dominated household.

>> it's her. >> george banks is thinking he's going to interview a nanny. >> you brought your references, i presume. may i see them? >> oh, i make it a point never to give references. >> she interviews him for the job. >> now, about my wages. >> so she's the boss from the word go. >> julie andrews is a super talent, beautiful, incredible voice. ♪ for a spoonful of sugar helps the medicine go down ♪ >> really dry and funny. she wasn't this cheer monster. in fact, she had a little attitude. >> as i expected, mary poppins, practically perfect in every way. >> it was a magical world of music and color. ♪ oh supercalifragilistic- expialidocious ♪ >> and it was about something. that i didn't even realize until i was showing it to my kids.

it is about the importance of spending time with your children. ♪ let's go fly a kite up to the highest height ♪ >> the winner is julie andrews, "mary poppins." >> when she wins the golden globe, she actually throws a little shade at the studio for overlooking her. >> my thanks to a man who made a wonderful movie and who made all this possible in the first place, mr. jack warner. [ applause ] >> she also got an oscar, then went on to do probably the greatest, certainly the most successful of the 1960s musicals, the rodgers and hammerstein classic "the sound of music". ♪ the hills are alive with the sound of music ♪ ♪ with songs they have sung for a thousand years ♪ >> the first musical i ever saw was "sound of music," and it

changed my life. there's something about it that is just wonderful and joyous. ♪ raindrops and roses and whiskers on kittens ♪ ♪ bright copper kettles and warm woolen mittens ♪ ♪ brown paper badges tied up with strings ♪ ♪ these are a few of my favorite things. >> when you are a kid and you watch the sound of miesk, it just seems exciting. there's a kid of every age in the son trap family. no matter how hold you are, there's somebody you are related to or can connect with. ♪ so long, farewell >> it's whimsical and fantastic within a setting that is very real from a historical perspective. like they're running from nazis, but they're doing it in song. ♪ good-bye [ applause ]

>> we want to specialize in television and film. >> television i just want to do one a year and not for many, many more years. but films is something that i'd like to concentrate on if i work, when i work. ♪ >> "funny girl" is the musical that signifies the arrival of barbra streisand who had originated that role on broadway, and we met her for the first time in film when she looks in the mirror and says -- >> hello gorgeous. >> and we just immediately fall in love with her. >> fanny, you're an enchanting girl. i wish i could get to know you better. >> so give me six good reasons why not. >> ordinarily we relate to a starion screen vicariously. i wish i could be like that. barbra streisand changes the dynamic completely. what she says is, you are like this. i'm you. >> can i roller skate? ♪

>> whee! >> the thing about barbra streisand is she can convey a moment with just an eye flick, and then a moment later she sings in a voice that you're like i'm plasz tered who the wall. what's happening? she's incredible ♪ don't tell me not to live don't bring around a cloud to rain on my parade ♪ >> funny girl signaled the birth of a great, great film act resz, and of course she wins the academy award for her first film role ever. >> hello, gorgeous. wit looks like jill heading offe on an adventure. jill has entresto, a heart failure medicine

that helps her heart so she can keep on doing what she loves. in the largest heart failure study ever, entresto was proven superior at helping people stay alive and out of the hospital. it helps improve your heart's ability to pump blood to the body. don't take entresto if pregnant; it can cause harm or death to an unborn baby. don't take entresto with an ace inhibitor or aliskiren or if you've had angioedema with an ace or arb. the most serious side effects are angioedema, low blood pressure, kidney problems, or high blood potassium. ask your doctor about entresto, for heart failure. where to next? entrust your heart to entresto. tell him we're flexible. don't worry. my dutch is ok. just ok? (in dutch) tell him we need this merger.

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you got talent. >> so i got talent. so what beat me? >> character. >> paul newman came out of the 1950s as one of the top leading men in hollywood. there was an oscar nomination for "cat on a hot tin roof" from 1958. >> look at us, maggie. look at us. >> he also looked like paul newman, so he could have been in any movie he wanted to be in.

>> i'm the best you ever seen. i'm the best there is. >> he had everything. he comes from the actor's studio. a major star on broadway. he had charisma on-screen. he was the hustler. you can't get better than that. >> you shoot a great game of pool. >> so do you, fast eddie. >> that wide screen black and white with him and jackie gleason and george c. scott was something so unique at that time. a character piece that way. >> joe, i just hope for your sake that this house is on fire. >> i'm sorry to roust you out but we've got strutrouble at th rafrnl. >> you've got trouble right here, bub. >> in "hud," he was supposed to be kind of a shallow, damaged character, and he was playing that to the hilt and particularly dealing with the dark side of things. >> you don't look out for yourself, the only helping hand you'll ever get is when they lower the box. >> "hud" is a kind of commentary on where you end up if you buy

into the myth of the western hero. you end up with a guy who drinks too much, has no respect for women, who's masculine in the worst sense of that term. yet "hud" is attractive to us because he's played by paul newman. >> in "cool hand luke" newman clearly is a figure of the counterculture movement rebelling against authority. >> stay down, luke. he's just going to knock you down again, buddy. >> circumstance hasn't made luke a criminal. >> stay down. >> it's almost his choice. >> you're going to have to kill me. >> or his refusal to do what's expected of him. >> don't you ever talk that way to me. >> the warden in the film is played by strother martin, and it's one of the great ten-line performances in movies. >> what we've got here is failure to communicate. >> and it really feels like a

60s line where, you know, just in one moment, kids and adults could see the generation gap and see each other on the other side. >> sorry, luke. i'm just doing my job. you got to appreciate that. >> nah. calling it your job don't make it right, boss. >> i still think he's the last of the old movie stars. when he starts the '60s, he's up against the likes of cary grant and john wayne and marlon brando. and by the end of the '60s, he's up against the likes of steve mcqueen and sean connery. and for mcqueen, i think newman was sort of a target. ♪ >> the great escape is as good a prisoner of war movie as you're going to get. it has a great enpsalm be cast but it's really anchored by steve mcqueen. >> by morning i'm going to be so far away. >> steve mcqueen was an interesting kind of action star. he's not a big guy like john wayne, but he had a quality of believability.

you believed that he was tough, wiry, resourceful. >> wasn't it a while ago that the studios prohibited you doing any racing while you were actually in production? >> shhh. >> i see all kinds of executive-looking people standing around request their fingers crossed. >> they're being nice to me on this film. >> steve mcqueen is the man. to know that he could drive those cars, he could ride those motorcycles made him the modern kind of movie star hero. >> he didn't call himself the king of cool but tds unzable how he got that nickname. the way he plays cards against the establishment character in the cincinnati kid, he was cool. when he dressed down in bullet, it was cool. he couldn't help it. bullet has the perfect mcqueen moment. somebody is following him. he figures it out. he doesn't try to escape, which is what anybody would try to do.

instead, he turns the car around, and he starts chasing them. that's steve mcqueen. >> there are car chases before in movies, but there's never a car chase like "bullet." you know at that point where if bill hickman, the other driver, clips in his seat belt, the audience is like, okay, here we go. [ tires screeching ] it's like a masterpiece of action cinema. i can never go to san francisco and see those hills without thinking of that mustang taking those turns. >> it's the most famous car chase in all of movies, but that's secondary to me to the feeling of i just want to look at this story in this city, with this guy leading me through it. the whole movie is really about mcqueen and his persona. >> i admire your courage miss --

>> trench. sylvia trench. i admire your luck, mr. --? >> bond. james bond. >> if you grew up in the '60s, it's hard for you not to identify with bond. he was like, i'm kicking ass. i'm taking names. i'm making quips. i got your girl. >> when did you say you had to leave? >> immediately. >> so when the first james bond film was made, a lot of risks were taken, and sean connery was one of those. >> james, where on earth have you been? i've been searching london for you. >> ian fleming and others were not super confident about connery in that role. but the audience reception really proved that connery could pull off bond. >> there's something i read about you that said you weren't living up to your image. >> well they pay the fines if i live up to the image. >> sean connery was so handsome, there's a kind of naughty turn just in his smile. you felt as though you didn't need to know him.

you weren't asking for an internal performance from him. he was somebody you could project a fantasy on. >> my friends call me tanya. >> mine call me james bond. >> james bond is created during the cold war by ian fleming, and in cold war terms, james bond is everything that the russians are not. and that becomes a kind of subliminal appeal. >> take it easy, 007. >> in "from russia with love" there's this fight inside a train car that connery has with robert shaw, and it is in a tiny, confined space, and it is brutal. and connery could always get this look on his face like, i'm not going to make it out of this room alive, and that's something that is absolutely essential to an action star. >> "goldfinger" is one that

becomes a super spy film. it has the fa tasz tickle elements that kind of bond really starts to lean into. we're in fort knox. there are women pilots that are very sexy, and you have a henchman who has a hat that could cut off your head if thrown like a frisbee. everything about gold finger informs the rest of the franchise? >> do you expect me to talk? >> no, mr. bond. i expect you to die. >> bond never dies. no matter what happens from decade to decade, bond manages to re-invent himself to achieve new forms of relevance. is is am. with moderate to severe ulcerative colitis, are you okay? even when i was there, i never knew when my symptoms would keep us apart. so i talked to my doctor about humira. i learned humira can help get, and keep uc under control

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one of my favorite movies is "the misfits." >> how do you do? >> to see gable try to hold his own with a lot of legendary method actors, eli wallach and catalyst and marilyn monroe, it's like a different gable shows up to make that movie, and i kind of love that. >> you just said you was about to give them to her. >> i sell to dealers only. that's all they're looking to buy is a horse. >> i was just wondering who you think you've been talking to since we met. >> there's something rough about that movie. visceral moments such that you almost feel it's documentary, that you're out in the desert with the mustangs. >> i'm finished with it. it's like roping a dream now. yeah, i just got to find another way to be alive, that's all. >> that was gable's last film. that's got a very kind of

e leej yak feeling to it. the end to the traditional movie west is coming and this film is kind of a monument to that. >> how many of you did they hire? >> enough. >> the western becomes dark by the end of classical hollywood. you see such a change in the united states culture, and i think the western shows that. these films take a more psychological look at the western mold. >> what did you say his name was? the man with the silver-knobbed whip? >> i said liberty valance. but if that's what you got to do, you better start packing a handgun. >> a gun? i don't want a gun. i don't want to kill him. i want to put him in jail. >> oh. >> "the man who shot liberty valance" is john ford's last great western. yet, it's so different than what preceded. >> pilgrim, you've got to cock it first. >> i forgot.

>> i see it almost as a book end to stagecoach because stagecoach introduces the john wayne character as a young vibrant outlaw. and "the man who shot liberty valance" comes back to an older, perhaps wiser john wayne character who still has a code but is much more cynical about the world. >> you put that paper out, the streets of shinbone are going to be running with blood. >> the man who shot liberty valance someone described it recently as the greatest american political film. it's about how we rewrite history to fit our mythic needs. >> you didn't kill liberty val ansz. >> john wayne actually kills liberty val ansz. jimmy stewart gets credit and becomes false and soon after that, wayne is forgotten. >> who was tom donovan? >> eventually stewart tells it the truth and the newspaper man rips up the story and says one of the most famous lines in american film. >> this is the west, sir.

when the legend becomes fact, print the legend. >> he's right. >> westerns are cut and dried. good guy wins at the end. it's always for the best. there are no regrets. and this is john ford, the man who created the myth of the movie western as much as anyone, questioning it, saying, well, maybe the march of civilization, maybe it wasn't all good. maybe qualities of humanity were lost. maybe kinds of people were lost that we would be better having arundo around today. >> nothing's too good for the man who shot liberty valance. >> this movie is like liberty valance. good guy is not necessarily the good guy anymore. this becomes heightened with the genre throughout the '60s. >> leone kind of turns the western on his ear and because he was italian they became known as spaghetti westerns even though most of them were shot in in spain. >> i reckon you picked the wrong trail. >> his big mistake, i think, was

getting born. >> sergetio leoni took the syntax of westerns, the gunfights, the empty streets. >> get three coffins ready. >> and raised it up to the surface and dropped out everything else. >> there was no culture, there was no society. there was no mores. you know, it was minimalist. >> my mistake. >> and clint eastwood fit perfectly into that. he was "the man with no name." ">> according to the powers vested in us -- >> the westerns forever changed with the soundtracks of ennio morricone. his approach to using mufblg to kind of punctuate the theme and tone of the film. >> he had done his score before they shot the movie and so in the graveyard sequence at the end of "the good, the bad and

the ugly" on the day they can hear the score that we as an audience are hearing. now, if you did that just silent, i think actors would start to kind of wonder what's happening. when you play the moricone music, now you're in an opera, and it changes their performances. ♪ >> morricone's music and the use of close-ups combined to really punctuate emotion and thinking. and the close-ups get closer and closer and closer to the actors' faces till you just see their eyes, and it starts to move more fren etically as, where's the gold? who's going to shoot first? >> okay. open up in there. >> butch, you know that if it were my money, there is nobody that i would rather have steal it than you. >> "butch cassidy and the sundance kid" is a counter culture western. there's never a moment when you're not rooting for the bad

guys in this movie. >> it hit a nerve, i think, unexpectedly. it hit some kind of nerve that had to do with outlaws and the outlaw sensibility. >> think there's enough dynamite there, butch? >> it's hard to find a film as fun and funny and wry and clever. newman and redford were the perfect couple. >> i think we lost them. do you think we lost them? >> no. >> neither do i. >> paul and i had to connect as characters. so we spent a lot of time together, and the more time we spent together, the fonder we became of each other. and he and i became really good friends. >> we're done. he's dead. you're welcome to stay. >> listen, i don't mean to be a sore loser, but when it's done, if i'm dead, kill him. >> love to. >> redford's supposed to be the

fastest gun in all the west, and newman is a very funny, sardonic leader of the gang, butch cassidy. >> no, not yet. not till me and harley get the rules straightened out. >> rules? in a knife fight? no rules. >> if there ain't going to be any rules, someone get the fight started. someone count one, two, three, go. >> one, two, three, go. >> it's a relationship movie, and it's best defined in that scene where they're being chased. there's nowhere to go. there's on the edge of a cliff, and there's a raging river below, and it's so clear that the odds of them surviving are pretty much none. >> i'll jump first. >> no. >> then you jump first. >> no, i said. >> what's the matter with you? >> i can't swim. >> it's a great dynamic. [ laughter ] >> are you crazy? the fall will probably kill you. >> the movie just works.

>> ahh! >> westerns will stay around despite lean times because they're so centric to our idea of what the country is. in one western after another, these human figures are placed on this vast canvas, and in that genre, you can tell any kind of story you want. it is a vessel into which you can put anything. were great at being human. and if all of mankind were made up of kind women and kind men. it would be spectacular if the golden rule was golden to every man. and the good things that we ever did was everything that we can. (announcer) treating others like we'd like to be treated has always been our guiding principle.

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hafrprper lee's book, "to l a mockingbird," came at a time when people in this country needed to read that book. >> atticus, you heard about tom robinson. >> yes, sir. >> grand jury will get around to charging him tomorrow. >> "to kill a mockingbird" is really a fascinating story. you see america sort of grappling with itself on how to approach issues of the civil rights struggle. >> get aside from that door, mr. finch. >> atticus finch is a lawyer who goes against the grain of his community to say that a black guy is being wrongly held

accountable for something he did not do. >> tom, did you rape her? >> i did not, sir. >> the film makes atticus finch into a hero. it's told through the eyes of his young daughter. >> you never really understand a person until you consider things from his point of view. >> "to kill a mockingbird" is a touching father/daughter story and we don't have many of those. >> there's been some hard talk around town to the effect that i shouldn't do much about defending this man. >> her father is showing scout what a good guy looks like. >> if you shouldn't be defending him, then why are you doing it? >> gregory peck's atticus finch really does help america sort of come into the discourse of the civil rights struggle. >> in our courts, all men are created equal. >> the reality is, atticus finch was a fantasy, particularly at

that time when history offers us a number of consistently opposite examples. >> i didn't make any rules. >> no, but you sure live by them. >> everybody lives by them. everybody stuck with what is, even them swamp animals. >> even that weasel. >> you calling me a weasel? >> no. i'm calling you a white man. >> sidney poitier would often be cast in blat ant sort of message movies of that era, but there's some exceptions like "a raisin in the sun." >> looking in the mirror this morning and thinking, i'm 35 years old. i'm married 11 years, and i got a boy who has got to sleep in the living room because i got nothing. >> "raisin in the sun" was about integration. they buy a house in a nice white area, but the people in the neighborhood don't want them there. >> our association is prepared to buy the house from you at a financial gain to your family. >> god have mercy. ain't this the living gall? >> poitier gets to show more range in "raisin in the sun".

>> i guess you don't feel like this -- >> you mind how i people. you get out of here. >> he's angry at the system. he's angry at white supremacy. he's angry at the lack of economic opportunity for black americans. >> all i want is to make a future for this family. all i want is to be able to stand in front of my boy like my father never was able to do to me, and tell him he'll be somebody in this world besides a servant and a chauffeur, huh? >> these were not stereotypical black characters, magical negroes or good negroes who were there to demonstrate the ultimate good of mainstream white society. he's playing a well-rounded, three dimensional character, and i think he just builds on it from there. >> i'm a baptist. i don't go to mass. >> well, how did you get there before i came along? >> with lilies in the field, he becomes the second african-american to win an academy award, the first to win in the best actor category. >> the winner is sidney poitier.

[ applause ] >> mr. poitier is the first negro to win such a high award, and the announcement is received warmly by the audience. >> it is a long journey to this moment. >> sidney poitier has this rise in the late '60s where he's not just a black actor. he was the biggest actor in hollywood. >> mom, this is john. >> "guess who's coming to dinner" was a huge hit in 1967. it started spencer tracy and katharine hepburn in the last of their films together, and it was about an interracial relationship. >> as for you two and the problems you're going to have, they seem almost unimaginable. but you'll have no problem with me. >> the year sidney poitier was the number one box office star, which was 1967, i saw all three of the movies, guess who's coming to dinner, to sir with love. >> i heard they're going to hire a half a dozen men. half of them will be colored. you know what that means?

>> probably got him killed. >> she wants us to catch her killer. >> in the heat of the night, he played a detective who comes from the north to the south and has to solve a crime along with a racist sheriff played by rod stieger. what's being dramatized on film is actually happening in america. >> virgil, that's a funny name from a negro boy to come from philadelphia. what do they call you up there? >> they call me mr. tibs. >> there's one moment in the film where he has a confrontation with an important white landowner. >> you two came here to question me? >> and the white landowner, played bring larry gates, does not like the way poitier's character is talking to him. >> was mr. col bert ever in this greenhouse last night about midnight? >> so he slaps poitier, and poitier slaps him back so quickly. >> the slap act was not in the script, and poitier said, unless

i get to return the slap, i'm not making this film. >> this was legendary. you saw a black man put hands on a white man, and he doesn't get killed. he doesn't go to jail. there's no repercussions. that scene, to me, was one of the most empowered scenes in the history of hollywood. ♪ in the heat of the night wit looks like jill heading offe on an adventure. jill has entresto, a heart failure medicine that helps her heart so she can keep on doing what she loves. in the largest heart failure study ever, entresto was proven superior at helping people stay alive and out of the hospital.

it helps improve your heart's ability to pump blood to the body. don't take entresto if pregnant; it can cause harm or death to an unborn baby. don't take entresto with an ace inhibitor or aliskiren or if you've had angioedema with an ace or arb. the most serious side effects are angioedema, low blood pressure, kidney problems, or high blood potassium. ask your doctor about entresto, for heart failure. where to next? entrust your heart to entresto.

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they're coming to get you, barbara. >> george romero doesn't get enough credit for "night of the living dead" because not only did he change the face of zombie movies, but he also changed the face of independent cinema. >> look at what george romero was doing with this film. he was tackling the cultural tensions of the time, the hysteria that was going on in the moment. >> mass hysteria, what do they think? we're imagining all this? >> shut up. >> night of the living dead didn't feel like a movie. there's no actors you recognize. it kind of feels like a documentary. it kind of felt like news reel footage of vietnam. it was terrifying. >> medical authorities in cumberland have concluded in all cases, the killers are eating the flesh of the people they murder. >> people always want to be scared. early on you do that with monsters.

but you start to get the shift when the monsters become us. it's regular people. and that's always far more frightening. >> perfect timing. come on in. >> in "rosemary's baby," it's not an impossible situation. >> he's roman, okay? >> it's your home, it's your husband, it's a life. >> now to a fine, healthy baby. >> with neighbors who seem nice and friendly at first in the beginning. you know, it all seems okay, but it's really not. >> that very simple premise of what if the people that you invested your life in were lying to you? that is a really, really scary premise. >> i dreamed someone was raping me. i think it was someone inhuman. >> rosemary's baby is a movie about paranoia where it all turns out to be true. it was terrifying and i would sit there frozen because everything is so underplayed. >> quietly, rosemary. don't argue or make a scene.

>> it's not till deep in the movie when you realize that her husband has not just sold his soul to the devil, but really hers as well. >> supposing you had the baby and you lost it? wouldn't that be the same? we're getting so much in return. >> in a sort of wise moment, the film doesn't show the baby. what you see is mia farrow's reaction to seeing the baby. and that's even worse because then you fill in your own gaps on what this child must look like, this child that's been fathered by satan himself. >> what have you done to it? what have you done to its eyes? >> he has his father's eyes. >> it's sort of the power of suggestion that really makes that movie as uncomfortable as it is. >> you're 300 light years from your precious planet. your loved ones are dead and forgotten for 20 centuries. 20 centuries. >> "planet of the apes" does

what the best of sci-fi does. it is thrilling. there is action. there is drama, but it's about something far more serious. undernaethd it, it's an allegory about racism, about intolerance, about people imposing their will on others in unnecessary and cruel ways. >> oh, my god. i'm back. i'm home. >> people didn't know the ending of the movie when they walked into the theater. that was a genuine surprise. >> you maniacs! you blew it up! oh, damn you! >> wow. i mean, it was a real shock. that will stay with me forever. ♪

>> "2001" was a masterpiece and i don't often throw that one around, but it was magnificent in every shape and form. i've seen it now 19 times. it's long but majestic. ♪ >> "2001" had the greatest time cut in the history of time cuts in which the entire history of humankind is communicated in the first weapon being thrown up into a blue sky and suddenly becomes a spacecraft orbiting the earth. >> there's not a single act in a kubrick film. like a chess match, everything is worked out almost as if an individual image had a whole library of research behind it. >> the 9,000 series is the most reliable computer ever made.

>> "2001" was a hard-core conversation from the very first time about a computer being smarter than we are. that's what was so brilliant about it. >> open the pod bay doors, hal. >> i'm sorry, dave. i'm afraid i can't do that. >> it's elusive. it's more like magic than a movie. it's more of a potion than a movie. >> i just remember that stargate moment. you could call it a psychedelic special effect for the psychedelic generation. kubrick knew exactly who he was telling the story for. ♪ >> the thing that's most impressive about it is the fact that finally you can't explain it. what he showed is intentionally beyond rational explanation. i think that's the point of the film, that things happen that are beyond our human capacity to

explain, and it's a remarkable achievement. ♪ this is hal. this is hal's heart. it's been broken. and put back together. this is also hal's heart. and this is hal's relief, knowing he's covered.

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hearing all of stanley's stories about his home, and everything that he's learned over the years, it reminds me that this is as much for him as it is for me. join our family of home instead caregivers and help make a world of difference. home instead senior care. apply today. there were more stars than on the sidewalks of hollywood boulevard. it was the film land's evening of glitter and glamour.

virginia woolf, as you know, is not a children's story but a very controversial play by edward albie, now transformed into a film of the same nature with elizabeth taylor and richard burton. >> filmmaking in the second half of the '60s was very, very important to what we saw in the '70s. >> what a dump. >> there was a new hollywood, a new wave of filmmakers, and they put much more mature things on the screen, and you had the beginnings of that, particularly with who's afraid of virginia woolf. >> look, sweetheart, i can drink you under any goddamn table so don't worry about me. >> there isn't an abomination award going that you haven't won. >> i swear if you existed, i'd divorce you. >> elizabeth taylor and richard bur burton's romance, they enjoyed or endured or however you want to phrase it, is totally projected on to this film. >> stop it, martha. >> like hell i will. you see, george didn't have much push. he wasn't particularly aggressive. in fact, he was sort of a flop. >> you cannot watch this film

without wondering how much of this is true, how much of this is them not acting and just working out, you know, the angst of their notoriously tumultuous relationship. >> there's enough as it is. >> stick around. >> for mike nichols on his first film to take like two of the biggest movie stars in the world and shoot them in this black and white, raw, savage way, i think it was kind of a stroke of genius. >> he's snapped, and i'm going to howl it out, and i'm not going to give a damn what i do, and i'm going to make the biggest goddamn explosion you've ever heard. >> who's afraid of virginia woolf used language that had never been heard in a movie, seven words that were never there. "life" magazine at the time did this huge story about how daring virginia woolf was. that was 1966. right around that time, you began to see more of these kinds

of movies being made. and then the dam started breaking open. ♪ >> bonnie and clyde was produced by warren beatty, based on the escapades of gangsters from the 1930s. >> one time i told you i was going to make you somebody. that's what you done for me. you made me somebody they're going to remember. >> beatty was extremely ambitious and very smart. he wanted to work with the best directors in hollywood, and he was already influenced by the fresh new wave in european films. >> i think one of his influences was the feature that godar made a breakthrough with breathless, which is about a criminal, a

desper adoe on the run, but who we really empathize with as viewers. >> down duncanville last year, poor farmers kept you laws away from us with shotguns. >> you're supposed to be protecting them from us and they're protecting -- that don't make sense, do it? >> everybody knew it probably ended with a shoot-out, but they were not expecting it to end with a violent, heavy, thudding, machine gun moment. the movie lets you love bonnie and clyde. and then watch them get destroyed. [ sound of gunfire ] >> the french have been having deep, dark thoughts about the sociological and psychological significance of the film and its success. generally they are not very interested in what it tells about the 1930s. rather, they call it a reflection of the horror, the violence, the emptiness of the american soul today.

♪ hello dark ness my old friend ♪ >> of all these kinds of movies that were beginning to break through the system, "the graduate" became the movie for a generation. >> mrs. robinson, you're trying to seduce me. aren't you? >> well, no, i hadn't thought of it. >> it's really about a young person feeling full of moral confusion. >> oh, god. >> and utterly at odds with everything they're expected to engage with. >> i just want to say one word to you. one word. >> yes, sir? >> are you listening? >> yes, i am. >> plastics. >> "the graduate" was the beginning of my education. i literally began taking notes, cutting styles, patterns, composition. i could understand the hand of the director. mike nichols just had command of so many different tones and

genres. ♪ >> mike nichols said, i'm going to choose the music simon & garfunkel. i'm going to choose one artist, and that's going to be the soul of the whole movie. >> mrs. robinson was made up on the spot. i was singing -- ♪ god bless you please mrs. roosevelt. heaven holds a place for those who pray ♪ it was mrs. roosevelt, and he said. >> that would change the title of the movie. >> yeah. >> for the rest of your life, you can hear simon & garfunkel, and it takes you back to these vivid scenes in "the graduate ♪ ♪ here's to you, mrs. robinson ♪ jesus loves you more than you will know ♪ >> when you get to the end of "the graduate," we're not given a happy ending. >> yes, ben gets the girl. they hop on the bus together,

but then that's it. they don't even know what to do with each other. ♪ hello darkness, my old friend ♪ >> it's one of the most profound moments in cinema history. ♪ it's great to talk with you again ♪ >> you see the smile slowly fade, and it's just this existential moment of like, now what? ♪ left its seeds while i was sleeping ♪ >> there are no easy answers in it. people can relate to the movie, but they can also relate to the frustration and uncertainty of what the main characters are going through at the end. in the mid-19d 60s america, we were all in the same boat with an unknown future ♪ within the sound of silence ♪ i want it that way...

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the american motion picture industry is in the throes of a bloodless revolution. much of the talk is about cut back. >> in the 1960s studios were in a lot of financial pain. this is the period where transamerica bought united artists. >> these larger companies didn't know how to run a movie company. so what did they do? they turned to the directors and writer producers working for that studio.

this is little bit like turning the asylum over to the lunatics. >> the money has changed. that's the basic change. that means i'm able to walk into somebody's office, sit down and say here's a story i've got in my head and the guy says how much do you want. >> if you think about the generation, we had our own clothes, our own music, we had our own books but we didn't have our own movie. and that's a slot i wanted to fill. >> in the summer of '69 it could not be a perfect time capsule for that era, the restlessness, the way of life and for truly expressing yourself. and what better way to do that than to go on a road trip that is fueled by the money you've

made from a drug deal? >> it was like, oh, god, yeah, we're going to ride across john ford's west only you know what, we're going to go east. >> you've got a helmet? >> oh, oh, i've got a helmet. oh, i've got a beauty. >> the model was the roger corman biker films from the late '60s which were low budget and culturally appropriate. >> just what is it you want to do? >> we want to be free to ride our machines without being hassled by the man, and we want to get loaded. >> wild angels was known as the highest grossing low budget picture ever made. that record was broken very quickly by easy rider. >> all these great songs and

they're just some of the great songs ever written. >> one of the pos of easy ride it that hippies, college students could see themselves on-screen. >> somebody needs a haircut. what you represent to them is freedom. >> in easy rider, these guys are trying to break out of the system but not quite being able to do it. >> of course don't ever tell anybody they're not free because they're going to get real busy killing and maiming to prove to you they are. >> so it becomes a dark statement about america. >> it took dennis hopper and peter to pave the way for people like us to be accepted by

hollywood. >> with the new hollywood movies it wasn't just that they were funny or sexy or exciting or dangerous. >> who do you think you are? >> it was cleary a transformation and realized that american audiences were ready for this more sophisticated more mature kind of story telling. >> you're pretty, i'll say that. >> as the new hollywood is emerging, a bunch of younger more independent film makers want to make movies about adult themes and midnight cowboys is one of these movies. >> the climate in america seems right for a little more honesty.

i think they've said enough bull. >> i i'm going to buy you a drink. what do you think of that >> midnight cowboys is essentially a love story between two men, a platonic love affair between two guys who could not be more mismatched in height, in background, in outlook. >> i'm walking here. i'm walking here. >> nobody expected it to make a dime but because it attracted an audience especially of young people, it was a huge hit. >> this will go down in history as the cinema season which proved crime doesn't play but there's a fortune in adultery, insist and home sexuality. this is not an academy awards. it's a freak out, ladies and gentlemen. >> new hollywood and old hollywood had really clashed at the academy awards in 1970. >> are i didn't you'd show. >> nobody defines studio star

making like john wayne. he'd never won an oscar and here he is nominated for true grit. >> there's a life magazine cover story of wayne and dustin hoffman. different worlds. >> the winner is john wayne. >> in the end wayne won. >> if i'd known that, i would have put that patch on 35 years earlier. and then you couldn't imagine a more dliks s conflict of midnight cowboy winning best picture. >> the winner is midnight cowboy. >> jerry helman the producer of midnight cowboy told me i'm not sure liz taylor had even heard of midnight cowboy when she opened the envelope. she was as shocked as anyone.

again, old hollywood, new hollywood in a way only hollywood could bring us. hong kong police escalate their crack down on protesters, violent scenes in the subway after a day of anti-government demonstrations. accused sex trafficker jeffrey epstein was left alone in his jail cell and was not being monitored the night he apparently committed suicide. and a big setback for the saudi led coalition in yemen as allies turn against one another. hello and welcome to our viewers joining us here in the united states and from all around the world. i'm rosemary church at cnn headquarters in atlanta, and this is "cnn newsroom"