sensibility. we'd never really had that before, and it opened up a whole new vista for american film. ♪ ♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> 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 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. it's 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! 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. y by using natural ingredients to craft scents that work in harmony. warm vanilla and himalayan magnolia.

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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. (janine) i used to be a little cranky.

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[ fast-paced drumming ]

i don't use sex to land an account. >> when do you use it? >> i don't. >> my condolences to your husband. >> i'm not married. is there that figures. >> the conventional wisdom about doris day, of course, she's a professional virgin, a prude, a relic from the 1950s. all those things are wrong. 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

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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 "becket." 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 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.

>> so what beat me? >> character. >> paul newman came out of the

1950s as within of tone of the men. >> 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, fats. i'm the best there is. >> he had everything. he comes from the actor's studio. he's a major star on broadway. he had charisma on-screen. he was the hustler. you can't get better than that. >> fat man, 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, this is something that was 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, hud, but we've got trouble at the ranch. >> 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, a 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 ensemble cast, but it's really anchored by steve mcqueen. >> by morning i'm going to be so far away, you couldn't hear it if they were shooting at me with howitzers. >> 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. >> 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 it's pretty clear why he got that nickname. when he dressed up in "the thomas crown affair," it was cool. the way he plays cards against the establishment character in "the cincinnati kid," he was cool. when he dressed down in "bullitt," it was cool. he couldn't help it. "bullitt" 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 "bullitt." 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.

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one of my favorite movies is "the misfits". and marilyn monroe. it's like a different gable shows up to make that movie. i kind of love that. >> you just said you were about to give'em to her.

>> 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 a 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 elegiac 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 bookend 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 valance. >> john wayne actually kills liberty valance. jimmy stewart gets credit and becomes famous, and soon after that, wayne is forgotten. >> who was tom donovan? >> eventually stewart tells the truth, and the newspaperman 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 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. >> sergio leone kind of turns the western on its ear, and because he was italian, they became known as spaghetti westerns even though most of them were shot in spain. >> i reckon you picked the wrong trail. >> his big mistake, i think, was getting born. >> sergio leone 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 music 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 morricone 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 frenetically as, where's the gold? who's going to shoot first? >> okay. the audience were screaming. and it wasn't a scream like ah, ah, ah. >> my friends call me tonya. >> mine call me james bond. >> it's more of a potion than a movie. >> hello, gorgeous. >> it was a magical world. music and color, and it was about something. >> it's hard to find a film as playful and as funny and funny and wry and clever. >> american audiences were ready for this more sophisticated,

more mature kind of storytelling. >> i'm walkin' here. i'm walkin' here! ahead this hour. life under quarantine. cnn speaks with cruise ship passengers stuck in limbo as the coronavirus hits a tragic milestone. in thailand, police kill a soldier accused of carrying out a deadly rampage. we'll hear from a survivor about what happened. and gaining momentum in new hampshire. ahead of the first u.s. election primary, we look at who leads and who's gaining ground. but ahead this hour, welcome to our viewers here this hour we're coming to you live from atlanta. i'm