dadio? okay. uh-huh. yeah. >> i think that's how we'll end. thank you. it was really a pleasure to talk to you. >> nice talk to you, too. anderson cooper, everybody. we'll be right back. ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ let's go to the movies. for more than half a century, these words have meant an invitation to magic. the magic of moving pictures. the spinning of dreams in a

darkened theater. for three decades, the dreams were silent ones. the magic of movement alone. then suddenly, on a night in october 1927, a voice was heard from the screen. proclaiming a fabulous era in hollywood. the night the movies became the talkies with the premiere of a jazz singer and the voice of al jolson. >> it's interesting the first sound motion picture was a musical in which al jolson only sang and the reason for that is they said, well, who wants to hear actors talk. >> most of the running time it's a silent film using titles with an orchestra score. every once in a while the orchestra stops and jolson pops up and starts singing. ♪ wonderful tales are always hard to find ♪ ♪ some folks have one

some folks have none ♪ >> jolson always talked to his audience. he was known for his patter. and specifically, his catch phrase which he'd been saying since 1906. >> you ain't heard nothing yet. wait a minute. you ain't heard nothing. >> he said that when they were recording the audio so the first words we hear in dialogue in a film were, you ain't heard nothing yet. >> the first full talking feature, "lights of new york," is a very dull pseudogangster film with people you've never heard of sitting around a table and a telephone in the middle where, obviously, the microphone exists. and they're all leaning toward it. >> take him for a ride. oh. >> and the film came out, and it just blew the roof off. and nobody could figure it out because everybody knew it was a terrible movie. the only thing that could possibly be responsible for that kind of public response was the

fact that it was all talking. so that's the movie that really changed the equation. >> actresses and actors in the silent period had to look a certain way. you get sound and a lot of those people are put out of a job if they don't sound the right way. >> i don't mind if you close that door. >> i like them open. they're easier to get out through. >> john gill bert was having trouble in sound and his films weren't making money. >> a very big star. >> i was walking up and down. made one or two talkies. quit the business. >> the very last silent film mgm made called "the kiss" was a greta garbo film. they were afraid their biggest star would lose their audience when they heard her speak with her swedish accent. it was called anna christie and garbo talks was the tag line. everyone was excited to hear what she'd sound like, and she didn't disappoint. if you look at that famous scene in the barks there's a good 20

seconds of no music, no dialogue, no nothing, and it really builds the suspense. >> give me a whiskey. >> give me a whiskey, baby. >> greta garbo was full of mystery and beauty and talent. she just didn't try so much. you know what i mean? she was cool. ♪ >> mgm was sort of like the harvard of hollywood. it was the place that every star wanted to graduate to. it had garbo. it had gabel, spencer tracy. it offered to the public a sense of escape into a world of class and refinement. on the other hand, universal pictures was constantly on the financial shoals throughout the 1930s. they couldn't afford movie stars. and the strategy is finally

settled on was making horror movies. >> i am dracula. >> the universal horror movies are primal. they just driping with atmosphere. look at dracula. the look of it is part of the energy of it. part of the character. it's part of the vibe. >> the spider is spinning his web for the fly. the blood is delight. >> i love dracula. it gets better every time i watch it. legosi is acting on this other level. the whole pace of the scene revolves around him. he sucks all the air out of the room in a good way. >> when "dracula" became such a box office hit, they went, oh, that worked. what else is out there? >> in the name of god -- >> i know what it feels like to be god. >> it was james wells' "frankenstein" that made me want to make movies. i remember seeing the burning windmill sequence. i was 6 years old. and from that point 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 selsnik came in and had a real sense of what audiences wanted and gave them "king kong." >> "king kong" was one of my early traumatic experiences at the movies. i remember closing all of my blinds in our house because of the one scene where king kong looks into the window and finds faye ray and his hand comes in and abducts her. watching "king kong" when i was a kid was an amazing experience. if you've ever been around a

stop-motion puppet and moved it one frame at a time, there's something quite magical about that. that's why that form of animation has always been so inspirational to me. >> do you know who snuck into my state room at 3:00? >> nobody. that's the problem. >> the marx brothers changed american humor. the jokes were like hitting. and they still hit. you watch them over generations. the stuff is really still that funny. >> groucho is like the smart comedy. chico is the dumb comedy. it's like such a great variety pack. >> this was escapism for depression-era audiences. almost all of their films are about this group of working class comedians taking on an institution of great dignity and respect. the art world and animal crackers, university in horse feathers. an opera house in "a night at

the opera," the entire system of government in "duck soup." ♪ we're in the money we're in the money ♪ we've got a lot of what it takes to get along ♪ >> totally a fan. his warner brothers musicals were the best. they were real. they were about women working and show business, trying to get a job during the depression. >> remember my forgotten man? >> one of the most incredible numbers is "remember my forgotten man" with joan blondell. it's just heartbreaking with all the soldiers on the big archway, and it's just brilliant. busby birkley just blew people's minds. he turned musical from this black facing dance number to a kaleidoscope. he actually built special holes in the sound stage to really

film down. >> bus berkeley knew it was a medium. they'd have the sets move with the choreography. it's amazing. ♪ nothing's impossible i have found ♪ when my chin is on the ground i pick myself up dust myself off and start all over again ♪ >> my father was under contract at rko, and they asked him to make a musical. i think what he brought to a stair in rogers was a believability. ♪ start all over again >> seeing that film during the depression where people are surrounded by hopelessness when they see this buoyant and brilliant and comic number that would have been the most satisfying experience. pick yourself up. >> the habts of movie going in

the '30s were different from today. they didn't just come for one picture. there was a b picture, a news reel, a short and a cartoon. walt disney who created mickey mouse, he was a visionary. and he got this idea, maybe i'll make a feature length cartoon. no one ever thought about this. they thought he was out of his mind. >> no one had ever attempted this before. and the attempt is difficult for us to understand because it isn't just making feature animation. it is to see if an audience would care about drawings. >> "snow white" is based on a european fairytale, but it's not a children's picture. it was intended for a mixed audience of adults and kids. >> good-bye. good-bye.

>> walt was not afraid to have dramatic power. >> i can't do it. >> he was not afraid to go there. not afraid to have scenes that would be scary, traumatic even. >> people were shocked to find out that they were genuinely afraid in the scary parts and genuinely moved when snow white is under the sleeping death because of the tenderness of the animation. grown adults wept at the premiere. so disney did everything that they said couldn't be done. it was a giant hit. way surpassed expectations and allowed walt to really build the studio. >> every animated feature we have today, it all stems from "snow white." without "snow white" none of this would exist.

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red, this can't go on. >> why? >> i love my wife. i've never loved anybody else. we've been sweethearts since we were kids. >> but she doesn't need to know about us. >> between 1930 and 193 4, filmmakers were free to explore subjects like sex and violence. what you get is some fascinating female characters who were sexually liberated. it's quite shocking to see what they were able to get away with. >> i always did like a man in uniform. that one fits you grand.

why don't you come and see me some time. >> mae west was not afraid to own her status as a sex symbol. she was incredibly intelligent and wrote all her own films. she starred with cary grant. she loved his voice. that helped him to become a leading man. >> tonight you were especially good. >> when i'm good, i'm very good. but when i'm bad, i'm better. >> her films were incredibly successful, but the catholic legion of decency, the moral groups were not happy at all. they were petitioning the government to step in and start enforcing censorship if the studios didn't do it themselves. >> hollywood is trying to figure out how to deal with the pressure they're getting because of mae west. because of all of these early gangster films like "little segar" and "public enemy" and "scarface." what's going to happen as a result is hollywood would create

the code administration in '34 to reign it in. >> what this country needs more than a good five-cent cigar is clean rollicking comedy. >> next time you drop in, bring your folks. >> the 1934, the beginnings of the screwball comedy come up. it happened one night. pits clark gable against claudet colbert. a spoiled heiress who has run away from her dad. >> when you get the code which makes it impossible to show people in bed together, you have to invent. you'll not give up on sex but you have to talk around it. you create an intrigue. it created banter. >> that, i suppose, makes everything quite all right. >> oh, this? well, i like privacy when i retire. i'm very delicate in that respect. prying eyes annoy me. >> "it happened one night" is genius. the walls of jericho scene say

classic for anyone that wants to direct romantsic comedies. >> the walls of jericho will protect you from the big, bad wolf. >> it pushed him to create an even better, in many ways, sexier scene. >> it happened one night was so successful winning five academy awards. all the major californias and it kicked off the whole idea that we should all be making screwball comedies. >> can't be seen talking to this man. what will they think? >> godfrey is going to be our butler. >> they were particularly popular in the '30s because of the depression. you saw generally wealthy people, or people well off making fools of themselves. >> just leave everything to godfrey. >> the phrase screwball came from a review in "variety" of carole lombard's screwball performance in "my man godfrey." >> forget that you have any sense.

>> godfrey, don't go away. oh, you -- now i know you love me. >> i do not love you and you're getting me all wet. >> what's the meaning of this? >> godfrey loves me. he put me in the shower. >> she was extraordinary. she played a lot of kukiness but she had logic to her humor. your timing can't be like that unless you're very, very clever. >> the trick was that the leading characters did slapstick. one of my favorites is "the awful truth." ♪ it was kind of the first real cary grant performance. >> what is the matter with you? >> the following year he did "bringing up baby." the epitome of screwball comedy. >> discovering the romantic comedies of the '30s and '40s, that really took over my life for a long time.

the "philadelphia story" is one of my all-time favorites. >> hello. fancy seeing you. three of the most impeccable actors in a movie together. >> cinderella's slipper. it's callhampagne. it's a great leveller. >> jimmy stewart's drunken scene is one of the all-time great drunken performances. he's just so convincing. and it's just so funny and beautiful and you root for this one and then you root for that one. it gives you everything you could ever want from a movie. >> i know you any time, any place. >> anywhere. you're repeating yourself. that's the speech you made the night ryou 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 -- >> i made a great reporter oufts you -- >> you won't be --

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♪ many of these films that you get in hollywood in the '30s showcase some of the top black performers of that era.

so you get the nicholas brothers, for instance, or bill borobinson. many people found them entertaining but these black characters were often stereotypical and problematic. ♪ hallelujah >> hattie mcdaniel was known for playing mamie-type roles. >> you know, i've been under the impression that you is a one-man woman. >> i am. one man at a time. >> figures like the nanny were really racial caricatures. what a mamie on the plantation would have been. they don't have much agency. they exist as the backdrop for the narrative world that the white characters live in. >> try and find out what he wants. >> those images were damaging but she didn't create them. they were created by the white people who control hollywood. >> i believe you're the lazyiest

man that ever lived on this river. >> that's saying a whole lot. >> paul robeson was always bigger than the material he was given. ♪ old man river ♪ that old man river >> in "show boat" he was able to change "old man river" into something much more complex and ultimately much more critical of the racism that character is experiencing. ♪ ♪ and you'll land in jail >> oscar michelle was one of the pioneers of african-american cinema. he was part of a genre known as the race film. and race films were made since the beginning of the birth film, by black filmmakers for black

audiences. >> in the very early days of cinema, it's easier, not only for african-americans, but also for women to get into the industry. >> it was considered the norm to have women in all levels of hollywood. they were drcirectors. half of all films written between 1912 and 1921 were written by women. >> we ain't telling nobody until we get ready to make the break outside of you. >> "the big house" was one of two films that francis marion won her oscars for. the other film, of course, is "the champ." >> i think that's enough for today, don't you? >> she was incredibly prolific. she has a huge filmography. she made films in genres you might think of as masculine. >> as the film industry consolidated into studios, both

women and african-americans are being pushed out as shapers bill makers. and a studio system that's organized around stars and women become the objects of that comodification. >> when you have someone like marlena dietrich come from germany, she has to represent the exotic, the other, the unknown. ♪ her great appeal is her fabulous androgeny. everybody seems to like that about her. >> she's playing a cabaret singer dressed in a top hat and tails which had become an iconic outfit she wore in performances for the rest of her life. she takes this young woman from the audience and gives the woman a kiss right on the lips. particularly in the films she

made, morocco, blond venus, the devil is a woman," almost nothing happened in these movies. they were nonnarrative. just staging this spectacle of desire and beauty. >> in the 1930s, it was estimated that about 70% of a movie-going audience was female. and the more women in the audience you get, the more they crave strong female characters. >> these female movie stars really ruled the box office. and often were getting paid much more than their male counterparts. >> wouldn't you like someone to be in love with you? >> yes, gabrielle. i would like someone in love with me. >> do you think i'm attractive? >> there are better words than that for what you are. >> although it may seem absurd to us in her time, bette davis was considered not pretty. she had this sort of unusual face with the slightly protruding eyes but so little vanity as an actress and utter

openness to playing unlikable characters. >> here she was a young actress trying to establish herself as a star. and she insists on doing of human bondage, where she plays the worst person who ever lived. >> i never cared for you not once. i was always making a fool of you. you bored me stiff. i hated ya. it made me sick when i had to let you kiss me. i only did it because you begged me. you hounded me and drove me crazy. and after you kissed me, i always used to wipe my mouth. wipe my mouth! >> bette davis gives this incredible performance in "of human bondage." doesn't even get nominated. so the next year she wins for "dangerous" and that's sort of considered one of the first consolation prize oscars. everybody realizes we should have given it to you last year. she becomes the first actress to get five best actress nominations in a row. she is meryl streep of the pre-world war ii period,

basically. >> the women's picture was a really great almost genre of films that lasted from 1930 through the 1950s. it encompassed so many different genres within, but it always had a woman at the center of it. >> may i suggest if you are dressing to please steven not that one. he doesn't like such obvious effects. >> thanks for the tip. but when anything i wear doesn't please steven, i take it off. >> look at the women as sort of the apothiosis of the genre. there were no men in this movie. not one single man in the film. and they made a hit. >> there's a name for you ladies. but it is news in high society, outside of a kennel. ♪ >> my mother was truly a stage mother. but a mean one. >> i didn't feel good if i was sick to my tummy. get out and sing or i'll wrap

you around the bed post and break you off short. so i'd go out and sing. ♪ somewhere over the rainbow way up high ♪ >> one of the precepts for a story musical is that the song has to advance the story. a song like "somewhere over the rainbow." all that longing. you know that she's got to go on a journey after she sings a song like that. >> and then all of a sudden, she gets to go some place else. she's taken up by a tornado and lands in this magical world. she doesn't know that she's in another world until she opens that door and it is in beautiful color. >> you can't think about the wizard of oz without thinking about the yellow brick road. three-strip technicolor which

had colors amazingly vivid. because it was a fantasy, the colors didn't have to be realistic but very alive and exciting. this was entertainment that people hadn't seen before. ♪ we're off to see the wizard the wonderful wizard of oz ♪ >> it's astonishing what they were able to do and how poignant all of those performances are. >> don't you think the wizard could help him, too? >> i don't see why not. >> jack haley, ray bolger and brett lahr brought poignancy to these characters. >> close your eyes and tap your heels together three times. >> it was the greatest children's film of all time that people constantly relate to. the idea of leaving home and finding home again. >> oh, auntie em, there's no place like home. this is something big. this is something bigger. that is big.

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"stage coach" was one of the defining films of the western genre. ford begins to turn around the idea of the western as a good hat/bad hat into something more interesting in which you've got a really unique and damaged set of characters. >> you must warn your passengers they travel at their own risk. >> their own risk? what's the problem? >> geronimo.

>> geronimo? >> will you sit down. >> inside the stage coast, each person is archetype. the scarlet woman who was once a good person but has crossed a line. the gambler, the drunken doctor. they're all thrown together and have to stay alive, and they have to learn to appreciate the best in each other. >> the camera rushes in into john wayne's face. and you can see a bead of sweat running down his check. >> hello, curly. >> you don't do that shot if that actor can't deliver as a movie star, and he does. >> they used to say before they made him a star by not letting him talk. by just showing his reactions. which is somewhat true. wayne said to me once, i'm not an action actor. i'm a reaction actor. >> john wayne has never gotten enough credit for being the great actor he was. >> thanks. that's all i wanted to know. >> he had a style unlike any other actor before him or after him. ♪

>> in terms of the action, that was incredible at that time. it still is pretty amazing. the apache that jumps on the horse and he's shot. he has to ride underneath it. that was all done in realtime. this had to be carefully choreographed. very sophisticated. >> "stagecoach" came out in 1939, which is still considered the greatest year for film that ever was. >> look, look, there it is. >> boom. >> what? >> capitol dome. >> yes, sir. big as life. been there a long time now. >> yes, sir. this way, senator. >> "mr. smith goes to washington" is political parable about an idealistic young man played by jimmy stewart. >> he gets to washington, and he finds this kind of corrupt machine that we fear is going to eat him up. >> this is a man's world. it's a brutal world, and you have no place in it.

you'll only get hurt. >> "mr. smith goes to washington" is probably my first movie. he was an immigrant. and he hated the idea of big government steam-rolling the regular citizen. >> i'm going to stay right here and fight for this lost cause, even if this room gets filled with lies like these. >> this film is a perfect example of how in america an individual can make a difference. >> it's the tallest building in the world. you can't miss that. >> 1939 is also the year that ninothchk was made. >> '39 stands out because it has so many landmark movies that have withstood the test of time and are taught and referred to over and over. >> maybe it's a culmination. maybe it's a fluke. but the sheer number of memorable films everyone knows and loves that came out of this year is remarkable.

♪ >> these days, everything is call an epic. "gone with the wind" was an epic because it shows you the possibility of film. it is a spectacle. here is the civil war and all of its horror and its size. >> this huge pullback scene of wounded southern veterans that's so emblematic. it's very impressive from a technical level. but the stories around the film are, to me, more interesting than the film itself. david selznick, one of the most important players in hollywood is an independent-minded guy. walks away from the studio system at the height of his career to start selznick international pictures. within a year it's clear that the primary objective of that company is to produce "gone with the wind." it would take him three years to get it made. >> who was to play rhett butler. it was clark gable. he was a man's man and had a real kind of sense of bravado about him. but one that he seemed to earn.

>> i'm in love with you, ashley. >> i'm in love with you, ashley. i love you. >> i love you. >> the search for scarlet was, on the one hand, definitely a publicity stunt. on the other hand, it was serious. selznick wanted to find the right scarlet o'hara. >> he was already shooting on the back lot before scarlet was cast. >> david selznick is standing watching the burning of atlanta and they've got doubles playing rhett and scarlet in the wagon. his brother walks up with vivien leigh and says, i'd like you to meet scarlet o'hara. >> i love you. i do. >> i think it's incredibly hard to separate vivien leigh from scarlet o'hara. she's able to generate empathy out of a fairly challenging, if not despicable character for most of the film. and she makes it her own.

>> has the war started? >> if you're going to tell that story, you have to have black people as slaves. >> ms. scarlet, what we are going to do with nothing to feed those sick folks and that child? >> i don't know. i don't know. >> the black characters played by haddie mcdonnell and butterfly mcqueen are really the best characters in the movie. they're the only, in a weird way, moral characters. rhett essentially rapes his wife. scarlet is a disaster. ashley wilkes is just the weakling. melanie is a door mat and then mamie in the center of all of this. >> it's mr. rhett i'm worried about. >> understands her place in the world and makes the best of it. >> he lost his mind these last couple of days. >> oh, no, mamie, no. >> i've never seen no man, black or white, shuts his door. >> toward the end of the film when mamie is telling melanie about rets and his grief and you

feel it. it's such a powerful scene. >> please, ms. melly. >> i'll do what i can. >> i present the academy award for the best performance of an actress in supporting role during 1939 to hattie mcdaniel. >> hattie mcdaniel was the first african-american to win an academy award. and even how that happened, she couldn't sit with the rest of the cast. she was sitting in this area near the kitchen. >> this is one of the happiest moments of my life. it wasn't like she was going to go into great leading roles. she continued to play maids. she essentially said, i'd rather make $10,000 playing a maid than make $10 being a made. >> i sincerely hope, i shall always be a credit to my race and to the motion picture industry. my heart is too full to tell you just how i feel and may i say

thank you and god bless you. [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.

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of all time that maybe you never heard of. >> if i want this to be a picture of dignity. >> with a little sex in it. >> how about a nice musical? sc and directors directed. nobody did both. sturgess wanted to direct. he wrote a script that the studio really liked for a film called "the great mcginty" and he agreed to sell it to the studio for a dollar if he would let him direct and the studio agreed. the rest is the history. when i asked billy wilder who he thought the king of writer directors was he said preston stu "rgb" es perform preston sturge jess is the man that put these characters together and opened the door for the rest of us. >> the ladies eve one of his best films was brilliantly set up. so henry fonda appears in the ship's dining room and every eligible wants his attention because he's a rich guy. >> every jane in the room was

giving him the the thermometer. >> bar bra stanwyck in "lady eve" was one of the best come meed giving performances of all time when she's got the mirror. really funny. >> not just this brilliant dialogue, lease also the incredible physical comedy. it's a wonderful balance of low comedy and high comedy and life is both, isn't it? >> sturgess had a stretch during the 1940s where he turned out hit after hit after hit. it's an unprecedented streak of really quality films. >> alfred hitchcock. >> hitchcock began working in the industry as an art director at the ufa studios in berlin where he got to watch some of the great german directors like fritz lang. his first major film, "the longer" looks like german expressionism in a lot of ways. they be he went on to make these

great british thrillers for which he became famous. best among all of them, 939 steps. by the end of the firts he's the leading artist of the british cinema but he understands that he's working in a very financially limited system. he also sees the war coming, and he's very happy to come to america and work for else is nick under is the six-film contract starting with "rebecca." >> that's it. that's mandalay. >> it was based on a novel by daphne due muiryer about a young innocent woman who moves into this old gothic house and they are life becomes entangled in mystery. >> how do you do. >> she feels like she can't possibly compete with rebecca. her husband max's dead wife. >> do you think the dead come back and watch the living? >> i don't believe it. >> sometimes. i wonder if she doesn't come back here to manderly. and watch you and mr. due winter

together. >> hitchcock was brit at putting the audience in the place of the character through the subjective use of the camera, what he used to call pure cinema. >> the assembly of pieces of film to create fright is the essential part of my job. i believe in putting the horror in the mind of the audience and not necessarily on the screen. >> his films took a genre and essentially made the genre the director's own. hitchcock really was the master of suspense. and he deserves that title. >> incredible as it may seem those strange beaks who landed in the jersey farmland tonight are the vanguard of and i vading army from the planet mars. >> orson welles came into the film business having been a tremendous success in radio. scared half the country with war of the worlds in '38. he was on the cover of time because of his theater performances at the mercury

theater and he came to hollywood with the best contract anybody ever had. >> know when you don't really want to go out to hollywood, the deals got better and better. in my case i didn't want money, i wanted authority. i asked the impositive and at the end of a year's negotiation iz got it. >> he had such a monstrous ego he was going to do the way he wanted to do it and the hell with what will anybody thought about it and i admired that because he had the skill to back it up. >> rosebud. >> citizen kane begins with the death of charles foster cane saying one word. rosebud. the whole rest of the movie is about a reporter searching for the meaning of rosebud. he speaks to people from cane's past and reads the memoirs of his lawyer and through therections of those people we learn about charles foster king's life. >> maybe the thing that wells

did best was recognize what he didn't know. early on at 25 so he hires herman mankowitz my grabbed father to write the screenplay. he hires robert weiss to edit the film not to mention bernard herman's brilliant music and the sinning tography changed the way we make movies. >> merry christmas. >> merry christmas. >> and a happy new year. >> it felt like something new. the transitions the flash back construction, repetition of certain scenes from different points of view and not to be ignored is the fact that or is gives an extraodinarily brilliant performance. >> i made no campaign promises. because until a few weeks ago, i had no hope of being elected. >> the technique that kaels sticks out to me on krids cane is basically depth of focus. >> you're fired. >> the close-ups are as sharp as the deep background. you see not just the story that

he's telling. you see deeper into the story. he just created a handbook on cinema with citizen kane. >> there's no question that charles foster kane is based in orange lart on the life of william randolph hearts. he owned radio stations and magazines and quite account power player in american politics and even more important in hollywood politics. >> hearts black listed the movie. all his papers wouldn't run ads for the picture and a lot of theaters got afraid of playing it. can't make money with a picture if you can't get a theater. >> by the nonhearst papers it was incredibly well received. it was nominated for nine oscars. it only won one for the screenplay which went to my grandfather and wells. should have won best picture and best director for wells, should probably have won best actor for wells. it's a sign that pressure was almost certainly brought to bear on this movie. >> there's no better first film

in cinematic history than citizen kane. i don't know any other film that was a first time director's film that can even light a candle let alone hold a candle to ka florida e. >> rosebud. that a handle is just a handle. or -- that you can't be both inside and outside. most people haven't driven a lincoln. discover the lincoln approach to craftsmanship at the lincoln summer invitation. right now, get 0% apr on all 2019 lincoln vehicles plus no payments for up to 90 days. only at your lincoln dealer. keep being you. and ask your doctor about biktarvy. biktarvy is a complete one-pill, once-a-day treatment used for hiv in certain adults. it's not a cure, but with one small pill, biktarvy fights hiv with three different medicines to help you get to undetectable.

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attack on poland makes the long dreaded war a certainty. >> through newspapers and news reels americans have been watching the development of dictatorship in germany. hitler's propaganda had focused on how to deliver images that moved people's minds. turned an ugly movement into something cinematically beautiful. even the babe is thrills and seems all smiles. >> charlie chaplin took that and broke it apart. ♪ >> chaplain makes this incredibly intense political satire really decrying the state of the world and the possible state of the future. >> emperor of the world. >> how do you deal with

megalomania on screen without sounding street dent and pedantic? you turn the world into a balloon and you have this foolish demagogue dance with it. this clown can actually destroy this world. so it's both tragedy and comedy wrapped into one. in one of the most powerful political scenes in film. >> who do you think will win the war. >> i haven't the slightest idea. >> rick is completely neutral about everything and that takes in the field of women. >> hum gri bogart runs rick's in cas da blanca. it's world war ii before the united states enters the war. he's got gambling, he's got the alcohol. he doesn't have to worry about the war and it turns out the war comes to him. ♪ no matter what the future brings as time goes by ♪

>> sam, i thought i told you never to play. >> into rick's cafe walks a couple, ilsa and her husband victor las low, hero of the resistance. >> about victor las los everywhere. >> unbeknownst to anyone else in the movie, ellis sa and rick have a past. >> of all the gin joints in all the towns in the world, she walks into mine. >> he is the epitome of that wounded cynic. we get to see a man who used to be an dalist reclaim that part of himself. ♪ >> there's a great scene where the germans are by the piano and they start singing. and everybody in rick's cafe who is not german is silent and in pain. ♪

victor las low goes to the bad and says let's play the french national anthem. play it. >> they give that look to bogey. he just goes, and then you're like oh, bogey's joined the war. ♪ >> the movie is about refugees caught in desperate life-threatening situations. and half the cast was refugees who had been caught notice desperate life-threatening situations. peter lori escaped germany when the nazis took over. conrad vite who played the nastiest nazi of them all was a fervent anti-nazi, had a jewish wife. his wife they escaped from france just as the germans arrived in paris. all of dalio's family left behind died in the camps. ♪ >> defeating fascism through patriotism and the passion of loving your country.

to this day, i get chills and tears when i watch that scene. >> viva la france. >> casablanca is a perfect script for the perfect time. the way the story winds up is the only way that story could have wound up. >> i'm no good at being noble but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. >> it's telling us all that our problems as individuals don't mean a lot in the face of this bigger challenge to come. >> here's looking at you, kid. >> than we all had to deal with that in the very darkest days of world war ii. >> open fire. ya who. >> man your station. >> fire. >> the typical story of a combat film is about a group with an objective facing death, they say this is what we have to do. let's get this done and win it. >> what do you think of the

bomber now? >> they're designed to reassure people and to involve people in the war. when you try to understand the change that word war ii wrought on the movies, you have to understand that five of the greatest directors actually went and took part in the war. >> it was capra, it was ford, it was stevens, it was houston, then it was wyler. these are clearly five of the great american icons. they served their country as story tellers and risked their lives. >> in men who believed in their country like my father felt the moral obligation to defend their country against the scourge of naziism. >> in an effort to maintain contact with the enemy our patrols immediately pushed ahead. >> he was in some very hairy situations. he talked about a commander whose troops had really been decimated by the germans

crossing a binge that had been bombed. and this man raised his arm to salute except he was missing a hand. the war definitely followed him throughout his life. >> john ford filmed the bat alf midway that won him an academy award for best documentary. he also filmed the d-day landings in 1944. he was deeply affected by the war. he comes back to hollywood wanting to make a movie. he doesn't want to make your sort of we've won, it's all wonderful type of movie. >> take cover. >> they were expendables is about the fall of the philippines and the defeat of the united states. >> ford made this very patriotic picture about the noble sacrifice. >> when you see the general, tell him the end here is near. >> most of them were going to become prisoners of war and many of them would probably perish. >> as i call your names, kindly step in. >> at the end of the movie is very much about the fate of the

sailors staying back. if they didn't get on that plane that, they know what that means. >> sir, how many more planes are coming 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.

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go with align whole food blend. from the pros in digestive health. back to the american home with welcome and well done everywhere. >> immediately after the war, everybody was saying how do we pick up where we left off? after everything that we have seen and learned. the cost of war is what is

communicated in the best years of our lives better than any war movie i've ever seen. . >> these guys are just trying to get home. >> this is my street. >> they never knew each other before the war but they all meet and they become fast friends. and their lives start to really interconnect as they start to work out. the huge damage that the war causes are emotional core. >> the film was made right after the war and as the camera cranes up, you see this vast world war ii graveyard of old hulks, no digital photography or mat work. that phenomenonal scene when dana and drews is sitting in the junked plane reliving his mission as a bombardier, it communicates that oppressive weight of the experience. of putting your life on hold and going off and maybe coming back, maybe not coming back at all. or maybe coming back with no hands.

>> i've learned how to take this harness off. >> the fact that they cast harold russell, a guy who lost his hands during the war, that was incredibly powerful. >> this is a very proud and a very happy month. >> they had made plans to give him a special oscar and then it turned out the performance was so good that people vote ford him for best supporting actor which they couldn't have predicted so he won two oscars. >> hello, darling. >> hello, daddy. >> hello, daddy. >> how do you like it. >> it's a wonderful life" wasn't very successful when it came out which i'm always shocked when i learn that a movie that we revere actually struggled in its initial release but what a remarkable blend of narrative values and themes. >> daddy, the browns next door have a new car. you should see it. >> what's the matter with our car? isn't it good enough for you? >> because cap bra was always such a mumist i think it was very important to him to

acknowledge flaws, acknowledge weakness. >> george, what's wrong? >> wronging? everything. you call it a happy family why do we have to have all these kids. >> jimmy stewart came back from the war, as well. he flew missions. these are two veterans now and i don't think it would have gone that dark had frank capra stayed home and made light comedies. >> apparently frank capra appealed to him by saying it's a christmas movie about suicide. jimmy stewart said christmas movie about suicide, count me in. you come back from the war with a graveyard kind of sense of humor. george bailey is light years away from that idealistic mr. smithing in "mr. smith goes to washington." into it was probably the strongest picture i've made. i never have run across such a unique story, a man who thought he was a failure being given the opportunity to come back and see the world as it would have been had he not been born. >> you've been griffin a great gift, george. a chance to see what the world would be like without.

>> you that's a dark, dark place to begin a movie that's ultimately going to wind up being one of the great holiday movies and one of the most affirming movies ever made. >> merry christmas. >> it's powerful because it's been a journey from place of true despair and takes guts to tell the story with that kind of strength and commitment. >> and yeah, sweetheart. >> there's a girl wants to see you. her name's wander lay. >> customer? >> i guess so. you'll want to see her anyway. she's a knockout. >> show her in, darling. show her in. >> from the war is a style of film making that's very popular in the '40s and fichts. the films are moody, pes pes mick tick, kind of about the underbelly of manor society. because of world war ii there was an appetite among audiences for these kind of films. >> anybody hear the shot. >> somebody must have. we just got here. >> the maltese falcon is

ostensibly a detective story but the plot revolves around all these crazy characters looking for the black bird and how sam spade plays these characters off each other. >> you're good. you're very good. >> what did he say? >> about what? >> about me. >> nothing. >> what did you talk about then? >> he offered me $5,000 for the black bird. >> my father was not that big a fan of actors. if you watch his movies, he's more interested in character. i think this was why he loved humphrey bogart so much. >> thanks, darling. there's a kind of directness and honesty about him that we're not used to. >> when you're slack, you'll take it and like it. >> bogart is not the good guy. and that is essential to this whole trend. the attitude is very american. but it didn't really become film noir until these filmmakers that came over from europe brought a particular visual sensibility

and that is where interior was born. >> i killed diedrich son. me, walter nef. insurance salesman. >> billy wilder adapted this amazing story with raymond chandler. the way it starts told by a guy bleeding to death, it would become so important to hard boiled detective stories. >> i wasn't long, was he? >> not at all. >> i hope i've got my face on streit. >> perfect tore r for my money. >> there was a very intense murder scene that had to be flinled and how are you going to do it in this age of censorship? >> this is not the right street. why did you turn here? >> what are you doing that for? what are you honking the horn for? >> billy wilder leaves the camera on barbara stanwyck and she experiences the pain of her husband and then the satisfaction of it. she gives you all of that.

and that's as good as it gets. >> okay, baby, that's it. >> the murder you don't see in double indemnity is better than any grizzly murder you could show me. >> straight down the line. >> barbara stanwyck's perform, as phyllis is the archetype of the dangerous femme fatale. >> back in the morning. meet me at the hotel. >> when you get to jane greer in "out of the past," she takes it a step further. >> can we get away with it. >> she's much more of a cold psychopath. there's a scene where he's watching robert mitch chum and his partner beat the hell out of each other and she's sort of in ecstasy. >> i'll never forget the images in that fight her face shooting a guy it stayed with me for the rest of my life. >> that will dry your hair. >> she takes into the bungalow and they kiss. something in the camera moves to the door and the door opens. it's raining.

camera just tracks. it's just visual poetry and mood. >> every studio at a certain point was making sim or eight of these movies a year. >> take this thick out of my mouth, will you? >> artists were eager to make movies that were more adult. >> harry. >> this kind of notion of darkness in films had kind of the opposite of the hollywood ending where things don't work out well, things don't work out for the hero. >> this is film noir's legacy. wireless is full of "awards". number one in overall network performance. highest in wireless network quality performance. highest in wireless network quality performance in the north central region. it's hard to know what to think. that's why sprint's doing things differently and offering a new one hundred percent total satisfaction guarantee. so, you can try out the network, see the savings and decide for yourself.

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yes, this is sunset boulevard, los angeles, california. it's about 5:00 in the morning. that's the homicide squad. >> the 50s produced a lot of really dark cynical movies and it starts pretty early on with sunset boulevard. it opens up with a body in a pool. then it's all told in flashback by the man in the pool. >> you're norma desmond. used to be in silent pictures, used to be big. >> i am big. it's the pictures that got small. >> her performance everyone talks about is gloria swanson as norma desmond gloria swanson had

been a huge star in silent films so she very much knew the character she played. >> we didn't need that. we had fays. >> now in her early '50s, she is playing this deposed queen who becomes increasingly delusional and goes mad. >> there's nothing else, just us. and the cameras. and those wonderful people out there in the dark. >> it's a film about hollywood's tendency toes throw people away to, build people up and then tear them down and forget them. >> lord, i'm not 20ish. i'm not 30ish. three months ago, i was 40 years old. 40. 4-0. >> upset boulevard and all about eve both came out in the 1950. bette davis had a kind of lull in her career and made a couple movies that hadn't made money so this was a real comeback. here she was playing this great stage acres margaret channing worried about losing her career, losing herman and along comes

eve harrington. >> what do you think of my elegant new suit. >> very becoming. it looks much better than you than it did on me. >> this up and come irstarts as a fan but you quickly realize she's something else entirely. she wants to get the roles that margot once was getting. margot is fighting this tooth and nail as only bette davis can. >> fasten your seat belts. it's going to be a bumpy night. >> bette davis attention you from the height of vanity to the depths of despair. and i just love that art. i think that's the greatest performance of her career. >> a woman's career, the things you drop on your ladder so you can move faster, you forget you'll need them again when you get back to being a woman. >> sunset boulevard and all about eve are all about actors competing each other and being usurped by a younger agenda riggs. that's what happened in the best actress race where had you glor wa swanson competing against

bette davis. however the winner was judy holliday who had just risen to overnight fame in "born yesterday." >> what did you say it for? >> i don't know. how old are you? >> 29. >> it's entertainment in your own living room and all over the country movie audiences of all ages sit glued to their television sets. the picture may be small but it's free. >> probably the most serious threat to movies came in the 1950s when people were ooh buying televisions. biblical exspansive epics in the '50s were one of hollywood's first successful answers to the threat of television. that brought people back to the theaters and that just caused hollywood to make more and more of them. >> who shall withstand the power of god? >> watching your black and white box tv on the floor of your living room was nothing compared

to going to a movie like ben hur. it was just not the kind of thing that anybody had seen at that time. >> movies had to get off their lawyers not lays around and let's make going to the cinema an even more extraordinary experience. then after television comes along, some of the great musicals of all time come along as a result of that. ♪ good morning, good morning it's great to stay up late good morning good morning to you. ♪. >> singing in the rain is the perfect movie. it's fun and it's beautiful and it's colorful and the songs are brilliant. i didn't realize at the time that they were from different musicals. >> singing in the rain. >> singing in the rain was in another movie. it was not that popular. but i think a song is just a song until the right singer sings it. >>. ♪ singing in the rain just singing in the rain ♪ ♪ what a glorious feeling i'm

happy again ♪ >> said what do you do with singing in the rain? i said it will be raining and i'll be singing. that was it. it wasn't hard to compose it. >> the moment of slashing the water. >> that part was fun. ♪ clang, clang clang went the trolley. ding ding ding went the bell. >> when you come along with vincent minnelli making "meet me in st. louis" and "american in paris" and "the band wagon," you have such originality, such joy and such, would that stand the test of time. ♪ want to have bells that will ring you want to have songs that will sing ♪ in 195, george kook corey makes a star is born and turns it into a musical. >> if i don't get my way, i begin to break up people. you understand, don't you? >> yes, i understand.

>> judy garland at that point has had her share of problems with drugs and alcohol, been fired. so "a star is born" is really a huge comeback for judy garland. ♪ the night bitter >> she's playing the upup and coming singer who is discovered by an alcoholic actor. you get these great musical numbers, especially the man who got away. >> reporter: all because of the man that got away ♪ >> she makes you feel every single emotion in that she's hebbing her body toward the camera. it is a cry of angst and pain. it is an opera moment that she is turning into just one of the great movie moments of all time. one uninterrupted take of her singing this song. ♪ lease just to letup >> you see the most intimate revelation of this performer who has something on the inside that somehow is not getting out

because they're being bottomed in another way. everything can relate to that whether you're 0 an artist or not or a musician or not. ♪ the man >> self-revelation. ♪ that got away tell him we're flexible. 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. if you have moderate to thsevere rheumatoid arthritis, month after month, the clock is ticking on irreversible joint damage.

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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 the screenwriter guild had a number of individuals in it who are members of the communist party. >> there was the sense that if the soviets wanted to infiltrate america, the way to do it was to infect hollywood. >> your purpose is to use this to disrupt the motion picture industry to invade the rights not only of me but of the producers to their thoughts, to their opinions. >> ten screenwriters and producers who refused to cooperate with their investigation eventually are found guilty of contempt of congress and sentenced and serve

up to a year in prison. >> we will not reemploy any of the ten until such time as he is acquitted. >> the committee identified people who were suspected of being communists and then the studios themselves proceeded to fire and black list anyone who refused to cooperate. >> ben miller now with jim pierce and jack colby. they asked about the noon train. >> the noon train? >> and carl foreman is writing the screenplay of "high noon" in thor? of 1951 when he gets a subpoena to testify before account house un-american activities committee and he's beginning to write more into the screenplay of a parable al goer even about the hollywood black list. >> foreman begins to see the committee as the young thugs who were coming to town to kill him and he an begins to identify with the marshall himself. >> this is my town. i've got friends here. i'll swear in a bunch of special deputies and with a pos is he

behind me, maybe there would be any trouble. >> you know they'll be trouble. >> then it's better to have it here. >> cooper is giving this incredible natural performance. this ongoing dilemma that's going on in his mind ends up being the heart beat of the movie. >> some of you were special deputies when we broke this bunc i need you again now. >> the script has this great 1950s theme of your neighbor's abandoning you because might be a communist or because they don't want you to know about their bomb shelter movie. illuminated what was going on. >> carl foreman was a man of such principle that when he testified, he would not name names. is he paid an enormous price. he was forced to uproot and move to england. e great tragedy of the black list is that it destroyed careers and it bruised others and it turned creative people against one another. it was a terribly challenging time and you had people fearing

another war. >> you're a traitor. you're a traitor and a spy. >> those are just unpleasant words. i'm a loyal supporter of the greatest social experiment in the world. >> america was going through communist paranoia. we will communist infiltration in our schools and our government. from that you get alien invasion movie movies. >> it was an era that was stiped in fear. not just from the communist witch hunts that were going on but of course, from the atom bomb. >> the creation of nuclear weapons makes the possibilities for terror and horror seem endless. >> the giant insect genre started with this them" in 1954. >> a fantastic mutation probably caused by lingering radiation from the first atomic bomb. >> that kicked off a trend of creature features. >> a monster leading a trail of

carnage. >> the imagination ran wild. what's going to happen to us in this nuclear age. >> i didn't think i had that much to drink. >> i loved all the '50s sci-fi films, the worse of them to the best of them from "i married a monster from outer space" to -- you can't get further apart in terms of two films that only share one thing, genre, that's it. >> what about this monster story of yours? well, it's big and terrible. >> originally godzilla was a japanese film in japanese. the way hollywood tried to turn it into something we could digest they recut it with an american reporter in tokyo. >> i prefer the pure japanese version because it's so visual. it's much more primal. and godzilla is much more pierce. what are the people doing? trying to save themselves and trying to concoct some kind of a technology to destroy the

monster. that's all you really have to know. >> it is list rally the reaction of a populace that has had as atomic bomb dropped on them. what did that feel like culturally? like a monster cape out of the ocean and stomped your civilization flat. >> they come from another world spawned in the light years of space unleashed to take over the bodies and souls of the people of our planet. >> one of the movies that defines the anxiety of the 1950s is "invasion of the body snatchers" where the enemy is going to come and look like your number. >> we've been waiting for you. >> it's going to take you over and before you realize it, everything you know and love is gone. >> we've got to go. >> they'll never believe me. >> help. >> invasion of the body snatchers is a grade genre movie that, would on two levels. it can be seen as a metaphor for threat of communists. on the flipside it's about the threat of the mccarthy witch hunt and yet it certainly, would on its own terms as a horror

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>> watch it. >> get a doctor! >> on the water front is the first time i saw people that i knew that that i was growing up with, the people in my family the people in the streets up there on the screen. the depiction of the lifestyle was very realistic. the tenements were the same. you could put a game on every image and it's beautiful art. >> be careful don't spill no water on the floor. >> the behavior of brando was the break through of the century. >> i remember the first time i saw brando on the screen and it was a revolution. revolutionized the art of acting. > i don't know nothing. >> by bringing a level of reality that nobody ever thought was acceptable. >> i could have been a contender. i could have been somebody. instead of a bum. >> everybody looked up to brando. he was great. wasn't about technique in a way,

it was technique of a sort but it was about just feeling. you felt so much from him. >> i was you, charlie. >> marlon brando is often associated with the method as a style of acting. >> the method essentially is terribly human profoundly human thing. it's not -- it was affected by psychoanalysis, the understanding of the sole. >> he's built in on the waterfront but who isn't. they're all method actors from the actors studio. >> much as i admired brando, carl malden, eve va marie saint was one of my favorite actresses. ca zan worked so well with her. >> yes, i am. >> there were so many of us from the studio. we all were rather the same way and we felt comfortable with one another. >> i guess they don't let you walk with fellows where you've been, huh. >> you know how the sisters are. >> are you trying to be a nun.

>> eadie my character had gloves and i dropped a glove by accident i dropped it. he picked up the glove. he put it on his hand. >> we're going to have a thanksgiving party. >> it was very sensuous what he was doing with that glove and eadie had to get the glove. and she didn't know how to get it. she had to go to him to be closer to him. >> i could get home all right now, thanks. >> it shows the sensitivity and the genius of marlon brando. >> on the waterfront was nominated for 12 academy awards. it wins eight including best supporting actress eva marie saint who is pregnant while she accepts it. >> i may have the baby right here. >> i had the baby the next day. and no, we did not call him oscar. >> when i think of some of the great actors of the 1950s like montgomery clift, audrey hepburn, sidney photoyer, andy

griffith and, of course, james dean they're a young generation who are willing to share more of that your soul in their performance. >> when i saw east of eden, i was like oh, my god. oh, my god. it was method acting at its finest. i do think that he's absolutely one of the greatest actorses who ever limbed and that's based on east of eden alone for me. >> rebel without a cause was the film that made james dean a massive star. he only was in three films. but all of them are unforgettable. >> i really was moved by rebel without a cause. when he pulls up the bottle to his forehead, i had never seen that. i don't know where that came from. it was so internal and so conflicted. >> my, you sure do look pretty. >> just went farther than anyone i'd ever seen before that immersing himself in these

characters. >> james dean becomes an iconic figure who speaks to a generation and when you add to that the unfulfilled life because of dying in his youth, you have a kind of perfect combination of a mythic figure of which there home run very few in hollywood. ♪ a kiss on hand may be quite continental ♪ ♪ but diamonds are a girl's best friend ♪ >> one of the greatest images in the history of film is marilyn monroe in that pink dress singing diamonds are a girl's best friend. ♪ diamonds are a girl's best friend ♪ >> what most people know about marilyn monroe is she becomes this big sex symbol starting in the 50s but what a lot of people don't know is how funny she is. >> oh, do you feel the breeze in the subway? isn't it delicious. >> she eventually got tired of being type cast as a sex pot

bombshell and wanted to expand her range. so she famously forsakes her contract with 20th country fox to move to new york to study with the most respected acting coach in the united states at the moment lee strasbourg at the actor's studio. >> we don't give her enough credit as an actress. she could do it all and billy wilder knew it. >> some like it hot is her most memorable film because she puts everything together for herself. you start to see her as a person that you care about emotionally. >> all the girls drink. it's just the that i'm the one that gets caught. i always get the fuzzy end of the lollipop. >> when you're in the hands of a billy wilder, it's the right person saying the line in the rate way. they hear the comedy of it. there's a music to a punch line. >> this may even turn out to be a surprise party. >> what surprise? not yet. >> when? >> have a drink first.

>> it's a ridiculous movie. in a lot of ways. tony curtis and jack lemmon play these two musicians in 1920s chicago and they accidentally witness the st. valentine's day massacre and they have to without trying to, he attracts a millionaire who falls in love with him. >> i'm engaged. >> congratulations. who's the lucky girl? >> i am. >> "some like it hot" is the greatest comedy of all time with the greatest last line. >> you don't understand, ozgood. i'm a man. >> well, nobody's perfect. i saved hundreds when i switched my car insurance to geico. this is how it made me feel.

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and melancholy over the years. have you been aware of that change in mood? >> no. >> john ford is amazing. he puts his great emotion and sensitivity into these remarkable films, one after the other after the other after the other. i think he saw the world a little bit differently than other people did. ♪ >> he had this incredible intuitive sense of composition. he undeniably understood the power of the frame. >> the western gave ford the freedom to examine themes of masculinity, loyalty, revenge, and justice. "the searchers" is a culmination of this journey with these same two key collaborators. the director now in the late part of his career and the star in the late part of his career. >> murder! >> "the searchers" is probably

as dark and me lef lecharacter wayne ever played. his niece gets kidnapped. once he finds her, it's not what he expects. >> these are my people. go. go, martin, please. >> stand aside martin. >> "the searchers" is a film about racism. john wayne's hatred for the first nation's people is profound. the fact that you cut to the end of the story and he winds up rescuing natalie wood. and it always brings tears to my eyes when he embraces debbie and then takes her home. >> let's go home, debbie. >> it's a film that offers a great deal of hope that the worst died in the wool, hater of

the differences in others can change. ♪ >> the studio system was collapsing at the end of the 1950s. almost everybody was a free agent to go sort of craft their own deal. so, directors had the freedom to put their stamp on movies. this was a significant change in how hollywood did business. >> mid-'50s to early '60s hitchcock is when he churned out most of his pieces. he started to make films in color and have american cast and have bigger splashier kind of films. i could see "vertigo" over and over again and still not completely get it. and i love that about it. it's such a subconscious movie, kind of a riddle. you feel like hitchcock is engaged in a symbolic conversation with the audience. >> you want me to be dressed like her? >> judy, i just want you to look

nice. i know it looks well on you. >> no, no i won't do it. >> the relationship between jimmy stewart and kim novak is like a director's relationship with an actress. >> it's fixated on how you looked. your hair, your jewelry, the little stone here he picked out. >> mr. hitchcock, can i ask you this? mr. director allow them a life of their own? >> if the director is working in the purely cinematic medium, then the actor must come under his control. >> working with him was just the opposite from the actor's studio. he doesn't talk about any feelings. he told me don't use your hands. lower your voice. and look directly into cary grant's eyes. >> jack phillips, western sales manager for kingby electronics. >> no you're not.

your roger thorn hill of madison avenue and you're wanted for murder. don't be so modest. >> hitch dock wcock was one fir the directors to become a brand name, where you might show up because he directed it. that feeling of people showed up because he directed it was about to become standard. >> this is the heart of american cinema. everyone who's working today has seen and was influenced by that classic. >> stella! >> those were the building blocks, those were the templates of everything that came after it. you can go through those films again and again and again and they would live eternally if you just give them a chance. >> i don't know what i would do without you. >> our story of hollywood's fabulous era has come to an end. for those of you who may have missed your favorite performer

or film, our sincerest regrets. in our brief time, we've only been able to show some of them. but this show thanks all of you. ♪ ♪ ♪ ♪