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MADE IN ENGLAND
THE FILMS OF POWELL AND PRESSBURGER
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PRESENTED BY
MARTIN SCORSESE
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DIRECTED BY
DAVID HINTON
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I was born in 1942
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and I developed asthma
at about three years old.
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And that meant that I couldn't run around
and play as much as other children,
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and so I found myself
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sitting in front of the TV,
watching movies.
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Some of the very first moving images
that I can remember seeing
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are from
The Thief of Baghdad.
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Whip yourself, winds of heaven!
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Whip till you wail aloud!
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I didn't know it then, but Michael Powell
was one of the directors on that film.
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And for a kid,
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there could be no better initiation
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into the Michael Powell mysteries.
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This was a picture made
by a great showman
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and every image
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filled me with wonder.
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00:03:35,917 --> 00:03:38,000
The power a movie can hold,
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it absolutely enthralled me.
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My eyes!
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I'm blind!
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Of course, what I was seeing then
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wasn't a glorious
Technicolor print of the film
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but actually a very poor
black and white version
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00:03:58,083 --> 00:04:01,292
on a 16 inch screen
on our family TV.
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00:04:07,917 --> 00:04:08,917
And yet
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it still had the power to grip me
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and stay with me
forever in my mind.
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00:04:15,583 --> 00:04:17,042
American films, yes.
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Even Italian films, neorealist films
I saw on television.
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00:04:20,958 --> 00:04:23,833
But the interesting thing about
television at that time
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was that many of the films
that were shown on American TV
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were British films.
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Because American distributors
would not sell to TV.
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But apparently British distributors would.
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And that's why
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British Cinema for me,
was so formative.
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I used to get excited by the different
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logos of the different
British film companies.
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But there was one which
held out a very special promise.
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That was the target of The Archers
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A PRODUCTION OF THE ARCHERS
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that heralded a Powell Pressburger film.
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And by the time I was ten or eleven,
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I'd be watching Powell Pressburger
films endlessly on TV.
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00:05:01,750 --> 00:05:02,792
They were shown a lot.
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00:05:06,667 --> 00:05:09,167
There was one called
The Tales of Hoffmann.
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Which is not an obvious film
you'd say for a child to enjoy.
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It's basically a 19th-century opera, but
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I just didn't watch it once,
I mean, I watched it
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repeatedly and obsessively.
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It was on this program
called
Million Dollar Movie
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which showed the same film all week,
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twice every evening
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and three times on the weekend.
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But the thing was
that I was hypnotized by it.
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And those repeated viewings
taught me pretty much
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everything I know about
the relation of camera to music.
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And even now,
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music and images from that picture
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often run through my mind.
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00:06:03,333 --> 00:06:04,375
In fact
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I think the Powell Pressburger
films have had
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a profound effect on
the sensibility that I bring
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to all the work I was able to do.
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I was so bewitched by them as a child
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that they make up a big part
of my film subconscious.
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Now going to the cinema with my father
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was also a very important
part of my childhood.
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00:06:28,583 --> 00:06:32,625
The nicest theaters then were spectacles
in themselves, great movie palaces
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and the screens were huge.
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And they filled you with hope
and expectation of wonder.
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And one film
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that fulfilled all those expectations
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00:06:44,375 --> 00:06:45,583
was
The Red Shoes.
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00:06:48,042 --> 00:06:50,542
It was the first time I saw
The Archers logo in color.
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And of course, I particularly
remember the ballet sequence.
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Wanting to know how they made
the dancer turn into a scrap of newspaper.
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00:07:03,500 --> 00:07:05,458
These days I'm told
that Powell Pressburger
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00:07:05,500 --> 00:07:08,667
represents something called
'English Romanticism'
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00:07:09,000 --> 00:07:10,500
But I don't really know what that is.
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To me, the overwhelming
impression of their films
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00:07:13,208 --> 00:07:14,833
has always been to do with color,
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light
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movement and a sense of music.
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And even as a child,
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I was certainly struck by
the theatricality of
The Red Shoes.
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The cinematic theatricality.
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The design of actors in the frame,
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the surprising ways
they looked and they moved.
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The dramatic angles and lighting.
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You got the sense that
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anything could happen in a film like this.
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And I was riveted by the mystery
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and the hysteria of the picture.
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The experience was so intense, in fact,
that first viewing of
The Red Shoes
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00:08:04,917 --> 00:08:08,167
may be one of the origins of
my own obsession with cinema itself.
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When I became a student
and then a young filmmaker
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Powell and Pressburger
remained a constant fascination.
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But we could only see their films
in very incomplete forms.
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Very degraded versions, bad copies.
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00:08:34,583 --> 00:08:37,833
But we knew there was something special
going on with these movies.
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And we became fascinated by
the distinctive signature on the films.
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Written, produced and directed
by Michael Powell and Emeric Pressburger.
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Now a shared credit like that
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was really unheard of and
we wanted to know who did what,
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who said cut, who said action?
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It was all a mystery.
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In those days, the only sources
of information were books
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and magazines, maybe.
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00:09:05,333 --> 00:09:07,417
And we read about British directors,
of course,
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00:09:07,583 --> 00:09:10,208
like David Lean and Carol Reed
and Alfred Hitchcock.
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But there was rarely, rarely
a mention of Powell Pressburger.
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So in effect,
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they became mythical beings
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to myself and my friends.
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Then finally in 1970
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I got to see a 35mm color print
of
Peeping Tom.
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Which had become a legendary work
among film students and filmmakers.
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It'll be two quid.
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I was an obsessive young filmmaker
watching a film
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about an obsessive young filmmaker
who is also a psychopath.
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It's a horror movie
with no blood.
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Where the object of terror
seems to be the film camera itself.
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No!
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00:10:10,167 --> 00:10:12,333
When I first saw it, it was
hard for me to believe
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that such a raw and
provocative film was made
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00:10:14,917 --> 00:10:18,375
by the same Michael Powell
who had made
The Red Shoes.
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But indeed, it was.
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And he dared to do what no one else
had really dared before him.
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To show how close moviemaking
can come to madness.
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How it can devour you
if you let it.
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By this time, I was
making movies on my own.
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And in 1974, after I made
Mean Streets,
I went to England
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and I found myself at a cocktail party
given by a man named Michael Kaplan.
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And I was asking him
about this, this mystery.
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Now, do you know of a Michael Powell?
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Does he exist?
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Is there such a person?
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00:11:02,500 --> 00:11:05,083
And he said "Oh, yes,
he's living in a caravan somewhere."
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00:11:07,125 --> 00:11:10,167
Well, that turned out
to be an exaggeration.
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00:11:10,208 --> 00:11:13,250
He was actually living
in a cottage in Gloucestershire,
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00:11:13,667 --> 00:11:15,667
but he'd fallen on very hard times.
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He'd been pretty much forgotten
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and abandoned by
the British film industry
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and he could barely even afford
to heat his own house.
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00:11:23,125 --> 00:11:24,667
But of course, I wanted to meet him
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and a drink was arranged.
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00:11:27,083 --> 00:11:30,583
So suddenly there I was
talking to Michael Powell.
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Who was amazed that someone
wanted to discuss his pictures with him.
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He had no idea that his work
had been an inspiration to me,
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and Brian De Palma,
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and Coppola and so many
others of the new generation.
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00:11:45,625 --> 00:11:49,375
Of course, I speak fast and
I was very energetic and very excited.
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I was bombarding him with questions.
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And he didn't say much.
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Michael didn't say much.
He was very reserved.
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Very quiet in his answers.
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But later, I discovered
that he was moved by the meeting.
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Because he wrote in his autobiography
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that during that meeting,
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he felt the blood course
through his veins again.
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The other day,
I ate a ricochet biscuit.
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00:12:13,000 --> 00:12:14,833
Well, that's the kind of biscuit
That's supposed to
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Bounce off the wall
Back in your mouth
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If you don't bounce back...
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You go hungry!
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00:12:22,458 --> 00:12:25,833
After our meeting, I arranged
for Michael to see
Mean Streets.
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00:12:26,708 --> 00:12:29,292
And he sent me a letter
praising the film.
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Except...
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he said that I use too much red.
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I GOT TIRED OF THE RED
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00:12:33,500 --> 00:12:34,500
Too much red?
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I didn't point out to him that his films
had something to do with this too.
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Look at all the red he uses.
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00:12:45,000 --> 00:12:49,500
Anyway, we started to write to each other
and eventually he came to New York.
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00:12:49,542 --> 00:12:52,333
He was introduced to a lot of people
and he was invited to become
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the senior director in residence
at Zoetrope,
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00:12:55,583 --> 00:12:57,917
Francis Coppola's company in L.A.
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And his life sort of turned around.
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I got a sort of routine here. I...
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I work on my autobiography in the morning
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and about 11 o'clock,
I walk over to the studio.
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I stop the traffic this way.
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If I did it in New York,
they'd run right over me.
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You can get away
with anything in California.
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Believe it or not
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this magnificent building
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00:13:28,292 --> 00:13:30,958
was built by Dr Kalmus of Technicolor,
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for Technicolor.
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Wonderful art deco building.
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Those were the days.
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Glorious Technicolor!
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Morning Colonel.
Anything for me?
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OK.
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00:13:52,958 --> 00:13:57,500
Michael was born in the village
of Bekesbourne, Kent in 1905,
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and grew up in the countryside,
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the son of a hop farmer.
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00:14:02,917 --> 00:14:05,667
His career in the movies began
when he was twenty.
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00:14:06,208 --> 00:14:09,917
Went on holiday, got a job in
a film company in the south of France
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00:14:09,958 --> 00:14:11,167
and never came back.
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00:14:18,583 --> 00:14:20,917
He started work as
a general dogsbody
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00:14:20,958 --> 00:14:23,375
at the Victorine Studios in Nice
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00:14:23,542 --> 00:14:26,167
where the American director Rex Ingram
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00:14:26,250 --> 00:14:29,208
was making epic silent films for MGM.
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00:14:39,125 --> 00:14:42,583
I was with a big American company
working in Europe,
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discipline was lax
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00:14:45,417 --> 00:14:47,875
and I had the run of all the departments.
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00:14:59,208 --> 00:15:01,583
And I always think it was
his apprenticeship with Ingram
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00:15:01,625 --> 00:15:04,833
that made Michael aim
for grandeur in his pictures.
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00:15:05,625 --> 00:15:08,542
Lush images, heightened emotions
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00:15:08,875 --> 00:15:12,292
and a preference for shock
and spectacle over realism.
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00:15:12,458 --> 00:15:15,333
And quote "good taste" unquote.
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00:15:20,583 --> 00:15:22,125
Now, while working with Ingram
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00:15:22,208 --> 00:15:24,250
he also did acting and stunt work
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00:15:24,292 --> 00:15:28,083
in a series of comedy shorts
that they called
The Riviera Revels.
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00:15:32,375 --> 00:15:34,042
But here he is in 1927
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00:15:35,125 --> 00:15:38,292
throwing himself into the role
of an innocent English tourist.
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00:15:46,458 --> 00:15:48,917
Michael returned to England in 1928
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00:15:49,000 --> 00:15:52,625
and he went into partnership with
the American producer Jerry Jackson
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00:15:53,083 --> 00:15:54,833
to make 'quota quickies.'
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00:15:55,083 --> 00:15:58,833
These were short features which
were made very fast, very cheap,
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00:15:59,042 --> 00:16:00,250
Are you there Bob?
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00:16:05,292 --> 00:16:07,708
God! It's us. My light's out.
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00:16:09,042 --> 00:16:11,375
And Michael learned
his trade as a director
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00:16:11,417 --> 00:16:13,875
by hammering out
more than 20 of them.
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00:16:13,917 --> 00:16:14,958
Light's gone out.
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00:16:15,292 --> 00:16:16,333
Full astern.
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00:16:16,542 --> 00:16:17,583
Port or starboard?
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00:16:18,125 --> 00:16:19,208
My God!
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00:16:19,708 --> 00:16:21,792
It's the phantom light.
The one they all talk about.
236
00:16:21,833 --> 00:16:22,833
Where the devil are we?
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00:16:24,750 --> 00:16:27,542
Wait a moment, Mr. Owen.
We're just off the North Stake rocks
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00:16:27,625 --> 00:16:28,833
Bring us down again!
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00:16:31,042 --> 00:16:32,208
Warn the engine room.
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00:16:38,667 --> 00:16:40,958
This one is
The Phantom Light.
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00:16:41,708 --> 00:16:42,708
That was a near one.
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00:16:43,083 --> 00:16:44,375
You're right, Sir, it was.
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00:16:46,833 --> 00:16:52,292
By 1937 Michael had acquired
the experience and the confidence
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00:16:52,417 --> 00:16:54,542
to make his first really personal work.
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00:16:55,583 --> 00:16:56,750
The Edge of the World.
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00:16:59,625 --> 00:17:03,542
It's about a small community on
a remote island off the coast of Scotland.
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00:18:17,000 --> 00:18:19,042
It was a great leap forward for Michael.
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00:18:19,708 --> 00:18:22,500
A beautiful committed and poetic film.
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00:18:22,625 --> 00:18:23,792
And on the strength of it,
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00:18:24,083 --> 00:18:27,250
he was given a contract by
the producer Alexander Korda
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00:18:27,542 --> 00:18:28,875
at Denham studios.
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00:18:37,500 --> 00:18:41,458
Korda put Michael to work on
a film called
The Spy In Black.
253
00:18:41,708 --> 00:18:51,417
[They whisper in German]
254
00:18:52,125 --> 00:18:56,250
Introducing him at a script conference
to a writer called Emeric Pressburger.
255
00:18:56,750 --> 00:18:59,083
Emeric felt in his pocket
256
00:18:59,375 --> 00:19:02,750
and he produced his version of the script.
257
00:19:03,667 --> 00:19:04,667
This is it.
258
00:19:06,208 --> 00:19:09,042
It was a nice little
rolled up piece of paper
259
00:19:09,083 --> 00:19:12,292
and he unrolled it
and he read the first scene
260
00:19:13,125 --> 00:19:15,042
and I was spellbound.
261
00:19:15,125 --> 00:19:17,250
I just listened while
he went on reading
262
00:19:17,292 --> 00:19:20,292
and unfolding it and unfolding it
and unfolding it.
263
00:19:21,875 --> 00:19:24,042
He'd stood the story on its head.
264
00:19:24,083 --> 00:19:27,000
He turned a man into a woman,
a woman into a man.
265
00:19:27,042 --> 00:19:29,792
He'd altered the suspense,
he'd rewritten the end.
266
00:19:30,667 --> 00:19:33,625
I looked at this producer,
he was purple in the face.
267
00:19:33,667 --> 00:19:36,292
I looked at the writer,
he was prepared to faint.
268
00:19:36,708 --> 00:19:37,958
And I was just rejoicing
269
00:19:38,000 --> 00:19:40,333
that I was going to work
with somebody like this
270
00:19:40,375 --> 00:19:43,167
and that I wasn't going
to let him get away in a hurry either.
271
00:19:43,500 --> 00:19:45,417
Have you heard
The Soldier's March
?
272
00:20:01,625 --> 00:20:03,625
I say, that medal ribbon?
273
00:20:03,667 --> 00:20:05,167
I don't seem to recognize it.
274
00:20:05,208 --> 00:20:06,250
What is it?
275
00:20:06,875 --> 00:20:09,583
The Iron Cross, second class.
276
00:20:10,083 --> 00:20:11,083
Second class.
277
00:20:12,625 --> 00:20:14,375
Then you must be a prisoner of war.
278
00:20:14,958 --> 00:20:16,000
No.
279
00:20:17,208 --> 00:20:18,250
You are.
280
00:20:18,917 --> 00:20:20,000
Oh dear.
281
00:20:20,875 --> 00:20:23,583
Emeric Pressburger,
like Alex Korda
282
00:20:23,750 --> 00:20:26,875
was a Hungarian but also
very much a European.
283
00:20:27,667 --> 00:20:30,167
And he went to university
in Prague, and Stuttgart.
284
00:20:31,000 --> 00:20:34,958
Then my father died
and my student years have finished.
285
00:20:35,167 --> 00:20:36,875
And I had nothing.
286
00:20:39,333 --> 00:20:42,083
And so I came to Berlin
287
00:20:42,250 --> 00:20:44,792
and I wanted to write.
288
00:20:44,833 --> 00:20:47,833
I sent film story after film story,
289
00:20:48,292 --> 00:20:51,208
and everything came back,
until one day,
290
00:20:51,625 --> 00:20:54,458
one story didn't come back.
291
00:20:55,333 --> 00:20:58,375
Emeric was eventually
hired by the script department
292
00:20:58,417 --> 00:21:00,000
of the famous UFA studios.
293
00:21:00,667 --> 00:21:03,333
This was the greatest
European studio of its era.
294
00:21:03,750 --> 00:21:06,542
It's the home of Fritz Lang
and German expressionism.
295
00:21:06,833 --> 00:21:09,167
And Emeric spent
several happy years there.
296
00:21:13,375 --> 00:21:16,667
Here he is in 1932, you can
glimpse him right on the set
297
00:21:16,875 --> 00:21:18,917
here of an UFA production
in Budapest.
298
00:21:25,292 --> 00:21:27,708
Emeric was however Jewish
299
00:21:28,250 --> 00:21:31,250
and the rise of the Nazis
forced him to flee Berlin.
300
00:21:32,000 --> 00:21:34,667
First for Paris
and then for London
301
00:21:34,875 --> 00:21:38,500
where he arrived in 1935
on a stateless passport.
302
00:21:42,000 --> 00:21:46,500
Emeric described his arrival in England
as like being born at the age of 33.
303
00:21:49,333 --> 00:21:51,208
He knew nothing about British life
304
00:21:51,458 --> 00:21:53,875
and he had to learn
the English language from scratch.
305
00:22:00,458 --> 00:22:02,458
Meeting Michael was
a great blessing for him
306
00:22:02,500 --> 00:22:05,042
because he was someone
who responded immediately
307
00:22:05,292 --> 00:22:07,000
to his novel script ideas.
308
00:22:08,667 --> 00:22:12,958
Do you think that it was
something specifically European
309
00:22:13,208 --> 00:22:16,167
or even Hungarian
that you responded to?
310
00:22:16,458 --> 00:22:19,958
No, it was a beautiful mind
I responded to.
311
00:22:20,625 --> 00:22:22,208
He didn't have to be Hungarian.
312
00:22:22,542 --> 00:22:27,542
I have never met a person
who not only understood
313
00:22:27,792 --> 00:22:29,458
what I was driving at
314
00:22:29,792 --> 00:22:34,250
but guessed already
half of it before I said it.
315
00:22:34,542 --> 00:22:35,625
That's Michael.
316
00:22:36,417 --> 00:22:41,833
I don't think that that happens
very often in one's lifetime, but this is
317
00:22:42,833 --> 00:22:43,833
how it...
318
00:22:43,875 --> 00:22:44,958
how I felt.
319
00:22:45,917 --> 00:22:48,458
The partners soon developed
the collaborative method that
320
00:22:48,500 --> 00:22:50,500
they would use for the next 20 years.
321
00:22:51,458 --> 00:22:53,708
Emeric would always
write the original script
322
00:22:53,750 --> 00:22:56,167
which established the shape of the scenes
323
00:22:56,417 --> 00:22:59,708
and the pair would then work
together on the dialogue.
324
00:23:00,333 --> 00:23:03,500
They were perfectly in tune
about what they wanted to express.
325
00:23:03,833 --> 00:23:04,917
And they never argued.
326
00:23:05,667 --> 00:23:07,417
Do we have a go at each other?
327
00:23:07,875 --> 00:23:09,167
Not really.
328
00:23:09,458 --> 00:23:12,667
No, we trust time.
329
00:23:14,250 --> 00:23:15,667
In a few hours time
330
00:23:18,125 --> 00:23:20,458
he sees that I was right.
331
00:23:23,583 --> 00:23:25,125
London is calling.
332
00:23:25,833 --> 00:23:27,875
London, calling to the world.
333
00:23:28,083 --> 00:23:30,333
Calling to a world at war.
334
00:23:32,458 --> 00:23:35,250
When Britain went to war
with Germany in 1939
335
00:23:35,458 --> 00:23:39,292
the film industry survived
by committing itself wholeheartedly
336
00:23:39,500 --> 00:23:40,500
to the war effort.
337
00:23:43,125 --> 00:23:45,583
These are not Hollywood sound effects.
338
00:23:45,667 --> 00:23:48,500
This is the music they play
every night in London,
339
00:23:48,792 --> 00:23:50,250
the symphony of war.
340
00:23:55,417 --> 00:23:56,792
For Powell and Pressburger
341
00:23:57,208 --> 00:24:00,708
this was the most important event
of their professional lives,
342
00:24:00,750 --> 00:24:02,625
giving a striking new depth
343
00:24:02,875 --> 00:24:04,750
and a sense of purpose to their work.
344
00:24:13,042 --> 00:24:14,958
So the curtain rises on Canada.
345
00:24:17,250 --> 00:24:18,292
Down!
346
00:24:23,500 --> 00:24:24,542
Swines!
347
00:24:24,583 --> 00:24:25,833
Filthy swine devils!
348
00:24:25,875 --> 00:24:26,875
Jahner!
349
00:24:30,458 --> 00:24:34,333
49th Parallel
tells
the story of six fugitive Nazis
350
00:24:34,500 --> 00:24:36,167
making their way across Canada.
351
00:24:37,417 --> 00:24:40,958
Every British film now
had a specific propaganda aim.
352
00:24:41,458 --> 00:24:43,000
And the intention here
353
00:24:43,167 --> 00:24:45,583
was to urge America into the war.
354
00:24:45,625 --> 00:24:46,958
Run, Les! Run!
355
00:24:47,125 --> 00:24:51,500
By bringing the horrors of the Nazi threat
right onto America's doorstep.
356
00:24:57,542 --> 00:24:59,792
It was a big idea for an epic picture.
357
00:25:00,500 --> 00:25:03,625
And in production terms
it was a huge enterprise.
358
00:25:06,417 --> 00:25:08,917
This brought out some of
the differences between the two men.
359
00:25:09,667 --> 00:25:12,417
Emeric was the genius
of story and structure,
360
00:25:12,917 --> 00:25:15,708
while Michael was the dynamo
and the man of action.
361
00:25:15,917 --> 00:25:18,542
Leading his crew to locations
all over Canada.
362
00:25:19,667 --> 00:25:22,292
I was moving against
the seasons all the time.
363
00:25:22,333 --> 00:25:25,583
Emeric was writing the script
back home in London
364
00:25:25,792 --> 00:25:28,125
and I was shooting a lot
of exteriors like this
365
00:25:28,250 --> 00:25:30,833
before the autumn came down.
366
00:25:32,917 --> 00:25:37,250
In one episode, the Nazi seek shelter
among a group of fellow Germans.
367
00:25:37,708 --> 00:25:40,208
A religious community of Hutterites.
368
00:25:40,250 --> 00:25:41,875
Germans!
369
00:25:42,625 --> 00:25:43,875
Brothers!
370
00:25:45,250 --> 00:25:49,625
I asked you to join with me
in paying homage to our glorious
Führer
.
371
00:25:50,750 --> 00:25:51,833
Heil Hitler!
372
00:25:52,000 --> 00:25:53,292
Heil Hitler!
373
00:25:54,250 --> 00:25:56,667
Now this film insists
on making a distinction
374
00:25:56,708 --> 00:25:59,250
between being a Nazi and being a German.
375
00:26:00,083 --> 00:26:01,583
This was very important to Emeric,
376
00:26:01,625 --> 00:26:04,083
who had spent so many
happy years in Germany
377
00:26:04,250 --> 00:26:06,042
and had so many German friends.
378
00:26:08,875 --> 00:26:11,708
We are not your brothers.
379
00:26:12,083 --> 00:26:15,958
Our children grew up against
new backgrounds, new horizons.
380
00:26:16,542 --> 00:26:18,958
And they are free!
381
00:26:20,042 --> 00:26:23,125
Free to grow up as children,
382
00:26:23,333 --> 00:26:27,958
free to run, to laugh
without being forced into uniforms.
383
00:26:28,000 --> 00:26:33,458
Without being forced to march up and down
the streets singing battle songs!
384
00:26:34,542 --> 00:26:37,417
So here is Emeric making
propaganda for the British.
385
00:26:37,917 --> 00:26:41,500
But instead of simplifying everything
like propaganda usually does.
386
00:26:41,958 --> 00:26:44,625
He's always seeking
to complicate our sympathies.
387
00:26:44,958 --> 00:26:46,458
You're Nazis aren't you?
388
00:26:47,833 --> 00:26:48,833
Aren't you?
389
00:26:48,958 --> 00:26:50,833
I should tell the police about you.
390
00:26:51,542 --> 00:26:53,625
Little girls should be
seen and not heard.
391
00:26:53,708 --> 00:26:55,542
- That'll do.
- What's the matter with you?
392
00:26:55,958 --> 00:26:57,000
That'll do.
393
00:26:57,042 --> 00:26:58,125
Vogel!
394
00:26:59,125 --> 00:27:00,208
Come along, Anna.
395
00:27:00,708 --> 00:27:01,833
I'll take you home.
396
00:27:02,625 --> 00:27:04,292
Herr Leutnant
, we can't let them go.
397
00:27:04,375 --> 00:27:06,042
I'd like to see what
you're going to do about it.
398
00:27:06,125 --> 00:27:07,750
- Vogel!
- Yes,
Herr Leutnant
?
399
00:27:08,000 --> 00:27:09,250
Have you forgotten who you are?
400
00:27:10,708 --> 00:27:12,458
I'll take her home,
Herr Leutnant
.
401
00:27:15,208 --> 00:27:18,500
Emeric even makes us
feel deeply for one of the Nazis,
402
00:27:18,625 --> 00:27:21,958
a baker when he starts to rebel
against his comrades.
403
00:27:22,750 --> 00:27:24,083
Engine Room Artificer Vogel.
404
00:27:28,583 --> 00:27:29,667
You're under arrest.
405
00:27:35,625 --> 00:27:38,375
You're accused of desertion
and treachery to the Third Reich.
406
00:27:39,208 --> 00:27:40,917
In the absence of
a properly constituted court,
407
00:27:41,000 --> 00:27:42,667
I assume authority
as your superior officer
408
00:27:42,708 --> 00:27:43,750
and sentence you to death.
409
00:27:44,667 --> 00:27:45,667
Have you anything to say?
410
00:27:53,042 --> 00:27:56,417
The sentence will be carried
out immediately in the name of the
Führer
.
411
00:28:00,417 --> 00:28:01,500
49TH PARALLEL IS WAR'S BEST FILM
412
00:28:01,542 --> 00:28:04,500
49th Parallel
ended up
a big commercial hit.
413
00:28:05,708 --> 00:28:09,042
And it won Emeric an Oscar too,
for best original story.
414
00:28:09,792 --> 00:28:11,792
Riding high on this success
415
00:28:12,000 --> 00:28:15,375
the partners now decided to form
their own production company,
416
00:28:15,667 --> 00:28:16,708
The Archers.
417
00:28:18,500 --> 00:28:21,583
Well as far as possible,
we tried to share everything.
418
00:28:21,875 --> 00:28:25,250
Of course, directing on the floor
that was entirely my job.
419
00:28:25,292 --> 00:28:28,500
But as far as we could,
we shared every decision, didn't we?
420
00:28:28,833 --> 00:28:29,833
Yes.
421
00:28:29,875 --> 00:28:32,458
Do you have anything to add to that,
Mr Pressburger? That can't be--
422
00:28:32,500 --> 00:28:33,792
Well, I don't think so.
423
00:28:34,042 --> 00:28:39,750
On the whole, as a simple answer,
I would say that Michael directed
424
00:28:40,792 --> 00:28:41,958
on his own.
425
00:28:42,083 --> 00:28:44,833
And I was more the writer.
426
00:28:45,375 --> 00:28:47,292
- And we produce together.
- Yes.
427
00:28:47,708 --> 00:28:50,625
The pair signed a production deal
with the Rank Organization.
428
00:28:50,750 --> 00:28:52,250
J. ARTHUR RANK
PRESENTS
429
00:28:52,292 --> 00:28:54,667
Which gave them the one thing
that they wanted most.
430
00:28:55,792 --> 00:28:58,667
The freedom to control their own work.
431
00:29:00,083 --> 00:29:03,500
Now, for me, one of the most
exciting things about The Archers
432
00:29:03,542 --> 00:29:08,458
is that they were like experimental
filmmakers working within the system.
433
00:29:08,750 --> 00:29:11,708
And it was Rank
who created the conditions for that.
434
00:29:15,792 --> 00:29:17,750
By now was 1942
435
00:29:18,500 --> 00:29:20,375
and the worst of the Blitz was over.
436
00:29:21,333 --> 00:29:24,167
But Britain was still
faring badly in the war.
437
00:29:24,792 --> 00:29:26,500
And it was at this delicate moment
438
00:29:26,792 --> 00:29:29,583
that Michael and Emeric
decided to make a film
439
00:29:29,917 --> 00:29:33,833
satirizing old-fashioned ideas
within the British military.
440
00:29:37,542 --> 00:29:41,458
As you would expect,
they met a lot of official opposition.
441
00:29:41,708 --> 00:29:45,500
Winston Churchill himself
was quite hostile to the idea.
442
00:29:46,000 --> 00:29:50,250
"I'm not prepared to allow propaganda
detrimental to the morale of the army.
443
00:29:50,667 --> 00:29:52,167
Who are the people behind it?"
444
00:29:52,667 --> 00:29:55,167
Churchill, such a wonderful leader,
445
00:29:55,250 --> 00:29:57,583
but he just wasn't a good film critic.
446
00:29:59,458 --> 00:30:01,833
It says a lot about
Powell and Pressburger's confidence
447
00:30:01,875 --> 00:30:04,583
and attitude to authority
that they went ahead
448
00:30:04,958 --> 00:30:06,292
and they made the picture anyway.
449
00:30:06,625 --> 00:30:08,833
This meant they would never get
their knighthoods, of course,
450
00:30:08,917 --> 00:30:11,750
but Britain was still a democracy
451
00:30:11,958 --> 00:30:14,750
and no one actually prevented
them from making the picture.
452
00:30:16,125 --> 00:30:20,417
The central figure of the film's
a British officer called Clive Candy.
453
00:30:21,125 --> 00:30:24,125
He was inspired by the cartoon character
of Colonel Blimp.
454
00:30:27,417 --> 00:30:30,792
You're an extremely
impudent young officer.
455
00:30:31,208 --> 00:30:36,333
But let me tell you that in 40 years time,
you'll be an old gentleman too.
456
00:30:36,750 --> 00:30:38,583
But over the course of two hours,
457
00:30:38,750 --> 00:30:42,250
this two-dimensional caricature
will be transformed
458
00:30:42,417 --> 00:30:44,958
into a rich and complex character.
459
00:30:45,125 --> 00:30:46,125
What's that?
460
00:30:46,583 --> 00:30:48,500
- VC, sir.
- Where did you get it?
461
00:30:48,792 --> 00:30:50,333
South Africa. Jordaan Siding.
462
00:30:51,333 --> 00:30:52,333
You're Candy!
463
00:30:52,417 --> 00:30:53,542
"Sugar" Candy.
464
00:30:53,625 --> 00:30:54,625
Yes, Sir.
465
00:30:55,292 --> 00:30:59,292
The film transports us
back 40 years to 1902
466
00:30:59,708 --> 00:31:02,000
when Candy was
a hot-tempered young officer.
467
00:31:06,917 --> 00:31:09,375
On a visit to Berlin,
he succeeds in insulting
468
00:31:09,417 --> 00:31:12,667
the whole of the German Imperial army.
469
00:31:12,708 --> 00:31:15,875
And as a consequence,
he must fight a duel.
470
00:31:15,958 --> 00:31:17,000
Duel?
471
00:31:20,625 --> 00:31:23,667
The duel is one of my favorite
Powell and Pressburger scenes.
472
00:31:23,750 --> 00:31:25,167
I wish I'd brought my uniform.
473
00:31:25,500 --> 00:31:29,333
Simply for the unique and
unexpected way that they present it.
474
00:31:29,375 --> 00:31:30,458
Would you undo your shirt?
475
00:31:30,750 --> 00:31:31,750
Thank you.
476
00:31:31,833 --> 00:31:35,375
More as a matter of etiquette
than a matter of combat.
477
00:31:35,417 --> 00:31:38,167
Do you want to roll up your sleeve
or will you rip it off?
478
00:31:38,458 --> 00:31:39,458
What's better?
479
00:31:39,500 --> 00:31:41,500
I am not permitted to give advice.
480
00:31:41,667 --> 00:31:42,708
I think I'll rip it.
481
00:31:42,750 --> 00:31:43,958
It is definitely better.
482
00:31:44,042 --> 00:31:45,250
Doctor your scissors, please.
483
00:31:45,333 --> 00:31:48,208
I see here that paragraph 133 says,
484
00:31:48,667 --> 00:31:52,208
"A few hours previous to the duel
it is advisable to take a bath."
485
00:31:52,417 --> 00:31:54,708
Only the principles, not the seconds.
486
00:32:02,333 --> 00:32:04,875
The scene also represents
the first encounter
487
00:32:05,167 --> 00:32:07,792
between the two central
characters of the story,
488
00:32:08,750 --> 00:32:12,792
Clive Candy and
Theo Kretschmar-Schuldorff.
489
00:32:13,875 --> 00:32:15,250
They have never met before
490
00:32:15,875 --> 00:32:18,667
but they must now do battle
on a point of honor.
491
00:32:18,833 --> 00:32:20,708
[Soldier speaks in German]
492
00:32:20,750 --> 00:32:22,625
Into fighting position, please.
493
00:32:26,167 --> 00:32:27,208
Afterwards
494
00:32:27,750 --> 00:32:29,708
they will become friends for life.
495
00:32:33,833 --> 00:32:34,833
Fertig?
496
00:32:36,833 --> 00:32:37,875
Ready?
497
00:32:38,833 --> 00:32:39,875
Los!
498
00:32:49,500 --> 00:32:51,167
Just as the duel begins,
499
00:32:52,083 --> 00:32:56,458
Michael has the audacity to start pulling
the camera back and up.
500
00:32:57,458 --> 00:33:00,417
It's an act of terrific bravado.
501
00:33:00,458 --> 00:33:02,292
After all this preparation
502
00:33:02,917 --> 00:33:05,875
to retreat from showing the actual fight.
503
00:33:09,167 --> 00:33:12,375
Only a very bold film director
would make that choice.
504
00:33:12,708 --> 00:33:15,500
But for Michael,
the fight itself is irrelevant.
505
00:33:16,667 --> 00:33:18,917
What matters is the meeting
between the two men
506
00:33:19,333 --> 00:33:21,250
and the relationship that comes out of it.
507
00:33:22,542 --> 00:33:24,875
This had a direct influence
on the way that I showed
508
00:33:24,917 --> 00:33:27,167
very little of
the big championship fight
509
00:33:27,208 --> 00:33:28,958
in my movie
Raging Bull.
510
00:33:29,583 --> 00:33:32,917
The long Steadicam shot of
Jake LaMotta's journey to the ring
511
00:33:32,958 --> 00:33:35,167
comes straight from
the duel scene in
Blimp.
512
00:34:02,500 --> 00:34:06,458
The important thing here
is the destructive road
513
00:34:06,833 --> 00:34:08,875
that Jake took to get to the fight
514
00:34:09,875 --> 00:34:11,375
rather than the fight itself.
515
00:34:14,250 --> 00:34:16,250
- Kretschmar-Schuldorff.
- Yes I know.
516
00:34:16,292 --> 00:34:18,625
After the duel,
Clive and Theo recover
517
00:34:18,667 --> 00:34:20,958
from their wounds in
the same nursing home.
518
00:34:21,000 --> 00:34:21,958
I'm very glad you've come.
519
00:34:22,042 --> 00:34:24,208
Where they both fall in love
with the same woman.
520
00:34:25,250 --> 00:34:26,625
Stop mooning about.
521
00:34:26,917 --> 00:34:29,667
- I'm not mooning about!
- Keep your hair on.
522
00:34:30,208 --> 00:34:33,000
I say, old girl, what's up?
523
00:34:33,250 --> 00:34:35,042
Edith? I say, what's the matter?
524
00:34:35,667 --> 00:34:40,458
I love your Miss Hunter.
525
00:34:47,000 --> 00:34:48,042
You're cuckoo.
526
00:34:48,500 --> 00:34:49,667
You cuckoo
527
00:34:50,333 --> 00:34:52,208
because Miss Hunter
528
00:34:53,458 --> 00:34:54,542
loves me.
529
00:34:56,542 --> 00:34:59,042
Clive turns out to be deeply romantic
530
00:34:59,375 --> 00:35:01,208
and hopelessly inhibited.
531
00:35:01,833 --> 00:35:02,875
A toast.
532
00:35:03,208 --> 00:35:06,875
Here's to the happiness of my fiance
who was never my fiance.
533
00:35:07,292 --> 00:35:10,708
And here's to the man who tried to kill me
before he was introduced to me
534
00:35:14,083 --> 00:35:17,625
- May I kiss the bride?
- Why ask? I did not ask.
535
00:35:21,292 --> 00:35:23,875
- Goodbye, Clive.
- Goodbye, Edith, old girl.
536
00:35:25,417 --> 00:35:28,792
He doesn't even realize
until too late that
537
00:35:29,042 --> 00:35:30,167
he is in love.
538
00:35:31,583 --> 00:35:33,625
I hope we'll meet again sometime.
539
00:35:33,917 --> 00:35:35,083
I'm sure we shall.
540
00:35:38,000 --> 00:35:41,167
And suddenly
he finds that his heart is broken.
541
00:35:43,875 --> 00:35:44,708
LION, EAST AFRICA, 1903
542
00:35:46,750 --> 00:35:47,792
WARTHOG, SUDAN, 1904
543
00:35:49,667 --> 00:35:50,542
RHINOCEROS, EAST AFRICA, 1905
544
00:35:50,875 --> 00:35:54,750
Many, many years of Candy's life
are simply written off
545
00:35:55,125 --> 00:35:57,792
because they are years without love.
546
00:36:00,917 --> 00:36:03,250
It is brutal, funny,
547
00:36:04,333 --> 00:36:05,458
and devastating.
548
00:36:28,250 --> 00:36:31,042
HUN, FLANDERS, 1918
549
00:36:31,083 --> 00:36:32,458
During the First World War
550
00:36:32,833 --> 00:36:35,792
Candy finds another woman
who is the spitting image
551
00:36:35,833 --> 00:36:37,292
of the Edith he has lost.
552
00:36:37,375 --> 00:36:38,375
Nurse?
553
00:36:38,500 --> 00:36:41,083
Do you know the name of the girl
sitting at the end of that table?
554
00:36:41,125 --> 00:36:42,167
Come on, Wynne.
555
00:36:50,958 --> 00:36:52,000
He marries her,
556
00:36:52,458 --> 00:36:56,375
and for a while achieves
a fragile happiness.
557
00:37:02,708 --> 00:37:03,708
Darling?
558
00:37:04,958 --> 00:37:06,000
Don't hum.
559
00:37:07,917 --> 00:37:08,958
Was I humming?
560
00:37:10,958 --> 00:37:12,458
It's a little habit you've got.
561
00:37:13,000 --> 00:37:14,542
There's something important here.
562
00:37:15,083 --> 00:37:16,792
Candy's professional life
563
00:37:16,875 --> 00:37:19,792
is mostly treated satirically
and ironically.
564
00:37:19,958 --> 00:37:21,417
What'll I do if I don't hum?
565
00:37:24,083 --> 00:37:25,875
But his emotional life
566
00:37:26,125 --> 00:37:29,958
is always rendered with sincerity
and tenderness.
567
00:37:47,500 --> 00:37:49,958
Perhaps the most audacious thing of all
568
00:37:50,042 --> 00:37:54,250
is the way that every
important woman in Candy's life
569
00:37:55,042 --> 00:37:58,042
is played by the same actress
Deborah Kerr.
570
00:37:59,042 --> 00:38:01,292
She is his first love, Edith.
571
00:38:02,000 --> 00:38:03,792
Then his wife Barbara.
572
00:38:04,625 --> 00:38:07,750
And then later
his young driver in World War II.
573
00:38:07,833 --> 00:38:09,667
Mind if we try and beat the lights, sir?
574
00:38:09,708 --> 00:38:12,167
This radical casting idea
came from Emeric.
575
00:38:12,208 --> 00:38:13,625
Come on, don't be all night.
576
00:38:13,708 --> 00:38:17,708
And it fills the film with
a constant sense of longing and loss.
577
00:38:19,875 --> 00:38:23,375
And Deborah Kerr was only 20 years old
when she set to work on this film,
578
00:38:23,708 --> 00:38:27,000
but she proved herself already
a master of her art.
579
00:38:29,375 --> 00:38:30,875
And Powell and Pressburger
580
00:38:31,583 --> 00:38:33,667
succeeded in what they
most loved to do.
581
00:38:34,833 --> 00:38:37,375
Take a big risk and bring it off.
582
00:38:40,250 --> 00:38:45,625
I was certainly influenced by
Blimp
when I came to make
The Age of Innocence,
583
00:38:45,875 --> 00:38:48,875
I'll write to you as soon as I'm settled
and let you know where I am.
584
00:38:48,917 --> 00:38:50,208
Oh, yes, that would be lovely.
585
00:38:50,625 --> 00:38:52,375
Well, I'll see you very soon in Paris.
586
00:38:53,125 --> 00:38:54,958
Oh, if you and May could come.
587
00:38:56,875 --> 00:38:59,875
Because I was drawn into
that film by the love story.
588
00:39:01,708 --> 00:39:05,375
An impossible love between two people
who aren't supposed to fall in love.
589
00:39:05,458 --> 00:39:06,708
Good night, Newland.
590
00:39:06,958 --> 00:39:08,833
Good night, Sillerton.
Good night, Larry.
591
00:39:10,250 --> 00:39:11,667
And it lasts for years.
592
00:39:13,583 --> 00:39:17,333
I believed it was
the same frustrated desire
593
00:39:17,750 --> 00:39:19,125
tinged with regret
594
00:39:20,000 --> 00:39:21,750
that I like so much in
Blimp.
595
00:39:26,500 --> 00:39:28,083
I think that's what attracted me.
596
00:39:28,542 --> 00:39:31,042
The fact that emotion is repressed
597
00:39:31,708 --> 00:39:33,458
and that reserve is a must.
598
00:39:35,000 --> 00:39:37,083
I was in love with her.
Your wife.
599
00:39:40,542 --> 00:39:41,958
She never told me.
600
00:39:42,167 --> 00:39:43,333
She never knew.
601
00:39:45,208 --> 00:39:47,333
But I seem to remem--
602
00:39:47,583 --> 00:39:50,958
Oh, Clive, that last day in Berlin,
when I told you
603
00:39:51,000 --> 00:39:52,583
you seemed genuinely happy.
604
00:39:52,667 --> 00:39:54,708
Dash it, I didn't know then.
605
00:39:55,292 --> 00:39:57,708
But on the train, I started to miss her.
606
00:39:58,333 --> 00:39:59,500
On the boat, it was worse.
607
00:39:59,583 --> 00:40:02,625
By the time I got back to London,
well, I'd got it properly.
608
00:40:03,125 --> 00:40:05,292
My Aunt Margaret got
onto the scent straight away.
609
00:40:05,333 --> 00:40:07,417
Women have a nose
for these sort of things.
610
00:40:08,333 --> 00:40:11,375
You may say that she was my ideal.
611
00:40:13,250 --> 00:40:14,250
Sir?
612
00:40:16,458 --> 00:40:18,875
Did you feel sympathetic
to Blimp as a character?
613
00:40:19,375 --> 00:40:21,625
Oh, yes, I identified completely with him.
614
00:40:22,125 --> 00:40:24,833
- Lots of things are exactly like me.
- Such as?
615
00:40:25,292 --> 00:40:26,875
Couldn't be more English.
616
00:40:28,333 --> 00:40:29,458
I was sentimental.
617
00:40:30,417 --> 00:40:31,417
And...
618
00:40:33,417 --> 00:40:34,708
love women and dogs.
619
00:40:35,125 --> 00:40:39,208
I'd always felt enormously sympathetic
with that kind of man.
620
00:40:39,667 --> 00:40:43,208
Honorable, puzzled, innocent.
621
00:40:43,917 --> 00:40:46,083
I see myself very much like that.
622
00:40:47,917 --> 00:40:52,708
Blimp
is Powell and Pressburger's
first really profound and personal film.
623
00:40:53,375 --> 00:40:54,375
And for me
624
00:40:54,792 --> 00:40:56,042
their first masterpiece.
625
00:40:57,708 --> 00:41:01,083
I've watched it so many times
that it's become part of my life.
626
00:41:01,333 --> 00:41:02,667
And the longer I live
627
00:41:03,958 --> 00:41:06,667
the stronger grows my sense
of what the characters are feeling.
628
00:41:08,167 --> 00:41:12,167
It's the film that says the most
to me about growing up,
629
00:41:13,125 --> 00:41:14,125
growing old
630
00:41:14,583 --> 00:41:17,667
and eventually,
having to let go.
631
00:41:25,667 --> 00:41:28,542
The Archer's next work,
A Canterbury Tale
632
00:41:29,167 --> 00:41:32,125
begins like a classic
'Merry England' film.
633
00:41:36,375 --> 00:41:39,000
With Chaucer's pilgrims
on the road to Canterbury.
634
00:41:41,792 --> 00:41:42,917
But then...
635
00:41:43,625 --> 00:41:44,875
a famous transition.
636
00:41:47,333 --> 00:41:50,792
The medieval falcon
turns into a modern Spitfire.
637
00:41:51,667 --> 00:41:53,292
The film that we are about to see
638
00:41:53,375 --> 00:41:57,042
suggests that a connection
to our history is crucial
639
00:41:57,417 --> 00:41:59,458
to our spiritual wellbeing.
640
00:42:02,125 --> 00:42:05,583
One of the propaganda tasks
at the time was to ask,
641
00:42:05,875 --> 00:42:07,208
what are we fighting for?
642
00:42:09,708 --> 00:42:13,708
And Powell and Pressburger now
sought their answers to that question
643
00:42:13,958 --> 00:42:17,792
in the history and traditions
of the English countryside.
644
00:42:18,958 --> 00:42:21,958
Why don't you keep your beastly carriers
off the Pilgrims Road?
645
00:42:22,750 --> 00:42:24,542
Michael loved his native Kent.
646
00:42:24,792 --> 00:42:27,083
He loved the people
and culture of England.
647
00:42:27,917 --> 00:42:30,500
And in this film,
he wanted to express all that.
648
00:42:30,625 --> 00:42:32,083
Eight o'clock, Bob.
649
00:42:37,167 --> 00:42:40,042
He had a specially deep feelings
for Canterbury Cathedral.
650
00:42:40,958 --> 00:42:44,750
That's where he had sung as a boy
in the King's School Choir.
651
00:42:45,542 --> 00:42:48,000
From the bend,
at the eastern edge of the hill,
652
00:42:48,750 --> 00:42:51,000
pilgrims saw Canterbury
for the first time.
653
00:42:51,167 --> 00:42:52,167
You've seen it?
654
00:42:52,708 --> 00:42:53,708
Yes.
655
00:42:55,375 --> 00:42:56,583
With a friend of mine.
656
00:42:56,875 --> 00:42:58,042
A boy or a girl?
657
00:42:58,542 --> 00:42:59,542
Boy.
658
00:42:59,667 --> 00:43:01,083
I hope he writes to you.
659
00:43:03,833 --> 00:43:04,833
No, he doesn't.
660
00:43:05,000 --> 00:43:07,708
Maybe the mail was lost
by enemy action.
661
00:43:09,000 --> 00:43:10,167
No, Bob.
662
00:43:11,125 --> 00:43:12,125
As it happens,
663
00:43:12,792 --> 00:43:14,458
he was lost by enemy action.
664
00:43:15,708 --> 00:43:16,708
He was a pilot.
665
00:43:17,792 --> 00:43:18,792
Shot down?
666
00:43:19,500 --> 00:43:20,500
Yes.
667
00:43:20,792 --> 00:43:21,792
I'm sorry.
668
00:43:26,917 --> 00:43:29,958
The central characters of the film are,
without knowing it,
669
00:43:30,625 --> 00:43:31,958
modern pilgrims.
670
00:43:32,542 --> 00:43:34,500
Each on their own journey to Canterbury.
671
00:43:36,000 --> 00:43:37,417
They're lost souls,
672
00:43:38,000 --> 00:43:40,375
all in some way adrift and bereft.
673
00:43:41,667 --> 00:43:45,375
All in need of a blessing
to heal and restore them.
674
00:43:47,417 --> 00:43:48,417
And here
675
00:43:48,542 --> 00:43:52,417
as the Land Girl Alison
walks in the Kent countryside
676
00:43:53,208 --> 00:43:55,000
the place starts to speak to her.
677
00:43:57,375 --> 00:44:00,583
She hears in the landscape,
the voices and the music
678
00:44:00,917 --> 00:44:02,125
of the old pilgrims.
679
00:44:03,000 --> 00:44:04,167
Her ancestors.
680
00:44:18,000 --> 00:44:20,208
If you stop, listen,
681
00:44:21,292 --> 00:44:22,292
pay attention,
682
00:44:23,000 --> 00:44:24,750
the past will speak to you.
683
00:44:25,917 --> 00:44:27,542
And the voices of the past
684
00:44:27,917 --> 00:44:31,125
will help you to make sense
of your life in the present.
685
00:44:32,375 --> 00:44:33,500
Glorious, isn't it?
686
00:44:38,667 --> 00:44:39,875
Is anybody there?
687
00:44:40,458 --> 00:44:42,208
Michael and Emeric are always trying
688
00:44:42,292 --> 00:44:46,125
to set traps to capture magic,
as Emeric puts it.
689
00:44:46,792 --> 00:44:50,750
They wanna go beyond the representation
of everyday experiences
690
00:44:50,792 --> 00:44:55,375
and find ways to communicate what
is deep and mysterious in our lives.
691
00:44:57,375 --> 00:45:01,917
There's a mysticism here that's quite
new in Powell and Pressburger's work.
692
00:45:01,958 --> 00:45:04,333
There are higher courts
than the local bench of magistrates.
693
00:45:06,208 --> 00:45:07,333
With a light touch
694
00:45:07,833 --> 00:45:10,583
they seek to conjure up
the world of the spirit.
695
00:45:11,625 --> 00:45:14,625
Pilgrims for Canterbury
all out and get your blessings.
696
00:45:14,667 --> 00:45:16,125
Rum sort of pilgrimage for you.
697
00:45:16,833 --> 00:45:19,958
Pilgrimage can be
either to receive a blessing
698
00:45:20,458 --> 00:45:21,583
or to do penance.
699
00:45:21,833 --> 00:45:22,833
I don't need either.
700
00:45:23,292 --> 00:45:24,542
Perhaps you are an instrument.
701
00:45:24,833 --> 00:45:26,083
Do I get a flaming sword?
702
00:45:27,500 --> 00:45:28,792
Nothing would surprise me.
703
00:45:31,917 --> 00:45:34,083
I'll believe that when I see
a halo around my head.
704
00:45:44,208 --> 00:45:46,417
You get a very good view
of the cathedral now.
705
00:46:13,208 --> 00:46:14,792
For all its strangeness,
706
00:46:15,667 --> 00:46:19,542
this is the most humble of
the famous Archers films.
707
00:46:19,583 --> 00:46:21,375
The most restrained and earnest,
708
00:46:21,917 --> 00:46:25,000
and the one most concerned
with ordinary lives.
709
00:46:31,042 --> 00:46:33,458
The central characters
are in the same condition
710
00:46:33,542 --> 00:46:36,208
that most of the audience
would have been in 1944.
711
00:46:37,042 --> 00:46:38,750
Separated from their loved ones.
712
00:46:40,042 --> 00:46:42,042
Dutifully putting up a brave front.
713
00:46:42,958 --> 00:46:44,167
But quietly,
714
00:46:45,042 --> 00:46:47,708
full of fear, loneliness and grief.
715
00:46:50,583 --> 00:46:53,167
One thing that the film
very much wants to do
716
00:46:53,375 --> 00:46:56,500
is offer consolation
to the suffering.
717
00:46:57,208 --> 00:46:59,333
And just when Alison is in despair,
718
00:47:00,125 --> 00:47:02,500
she gets the news that her fiance's father
719
00:47:02,583 --> 00:47:04,583
is in Canterbury looking for her.
720
00:47:04,625 --> 00:47:07,000
For over two weeks now,
he's waited for you here
721
00:47:07,042 --> 00:47:08,250
in Canterbury.
722
00:47:11,292 --> 00:47:12,292
Why?
723
00:47:12,333 --> 00:47:16,792
Because he has news, Miss Allison,
official news about Mr Geoffrey.
724
00:47:16,917 --> 00:47:18,083
He's in Gibraltar.
725
00:47:21,042 --> 00:47:22,042
Miss Alison.
726
00:47:31,875 --> 00:47:34,542
This is a film that says
that miracles do happen.
727
00:47:35,750 --> 00:47:37,542
I must open the windows.
728
00:47:39,125 --> 00:47:40,750
And at the end of your pilgrimage,
729
00:47:42,250 --> 00:47:44,625
you may indeed receive a blessing.
730
00:48:02,375 --> 00:48:06,500
The film finishes with a whole regiment
of troops marching into the cathedral.
731
00:48:07,417 --> 00:48:09,000
They're about to go overseas
732
00:48:09,042 --> 00:48:11,958
and we don't know how many
of them will come back.
733
00:48:18,250 --> 00:48:19,625
Here, perhaps
734
00:48:20,042 --> 00:48:22,083
Canterbury Cathedral represents
735
00:48:22,333 --> 00:48:26,208
embattled Britain herself
as a place worth protecting.
736
00:48:26,542 --> 00:48:28,583
A place worth fighting for.
737
00:48:42,250 --> 00:48:45,917
Powell and Pressburger are preachers
as much as propagandists in this film.
738
00:48:46,833 --> 00:48:49,583
The result was their first flop.
739
00:48:50,125 --> 00:48:53,292
The film is just too strange
and elusive for a mass audience.
740
00:49:01,042 --> 00:49:03,500
But the partners were
unshaken by this setback.
741
00:49:03,750 --> 00:49:06,000
There was a period of
profound trust between them
742
00:49:06,083 --> 00:49:08,667
and they knew exactly
where they were going next.
743
00:49:09,667 --> 00:49:13,250
When Joan was only one year old,
she already knew where she was going.
744
00:49:13,458 --> 00:49:15,375
Going right, left.
745
00:49:15,792 --> 00:49:17,167
No, straight on.
746
00:49:19,125 --> 00:49:22,000
With
I Know Where I'm Going
we know right away
747
00:49:22,042 --> 00:49:23,667
that we're going to enjoy ourselves.
748
00:49:24,917 --> 00:49:27,792
By now it was clear that the Allies
were going to win the war
749
00:49:27,833 --> 00:49:31,042
and Michael and Emeric were
able to relax a little.
750
00:49:31,083 --> 00:49:33,250
Allowing their sense of humor to bloom.
751
00:49:33,458 --> 00:49:34,875
She's 25 now.
752
00:49:35,042 --> 00:49:37,125
And in one thing, she's never changed,
753
00:49:37,542 --> 00:49:39,375
she still knows where she's going.
754
00:49:39,583 --> 00:49:40,958
Good evening, Miss Webster.
755
00:49:41,750 --> 00:49:42,917
Good evening, Leon.
756
00:49:45,375 --> 00:49:46,417
Hello, darling.
757
00:49:46,792 --> 00:49:48,708
We're introduced to
a new kind of character
758
00:49:48,750 --> 00:49:50,958
in the shape of Joan Webster
759
00:49:51,000 --> 00:49:52,083
Daddy?
760
00:49:52,208 --> 00:49:53,292
I'm going to be married.
761
00:49:53,917 --> 00:49:54,917
What?
762
00:49:55,167 --> 00:49:56,958
- Your table, Miss Webster.
- Thank you, Fred.
763
00:50:00,792 --> 00:50:02,792
Let's go in, darling. Bring a drink.
764
00:50:04,375 --> 00:50:07,583
It's the first Archers film
to place a woman front and center
765
00:50:07,833 --> 00:50:12,125
and she is perhaps not a million miles
away from Wendy Green,
766
00:50:12,417 --> 00:50:16,333
the woman who Emeric had avidly courted
and recently married.
767
00:50:17,042 --> 00:50:19,375
Wendy, it seems was strong-willed,
768
00:50:19,458 --> 00:50:22,125
sophisticated and materialistic.
769
00:50:22,292 --> 00:50:25,208
Charged to your account
madam, of course.
770
00:50:27,042 --> 00:50:30,583
Perhaps that's why the script seemed
to flow so easily for Emeric.
771
00:50:30,833 --> 00:50:33,500
He drafted the whole thing out
in less than a week.
772
00:50:33,542 --> 00:50:35,167
Lady Bellinger's car!
773
00:50:35,500 --> 00:50:38,042
Joans story begins with a journey north.
774
00:50:43,333 --> 00:50:45,958
You can't marry
Consolidated Chemical Industries.
775
00:50:46,500 --> 00:50:47,833
Can't I?
776
00:50:48,833 --> 00:50:51,292
She's on her way
to a small Scottish island
777
00:50:51,333 --> 00:50:54,083
where she is due to
wed Sir Robert Bellinger,
778
00:50:54,375 --> 00:50:58,208
the wealthy head
of Consolidated Chemical Industries.
779
00:51:03,125 --> 00:51:04,875
Do you, Joan Webster
780
00:51:05,333 --> 00:51:07,917
take Consolidated Chemical Industries
781
00:51:07,958 --> 00:51:10,083
to be your lawful wedded husband?
782
00:51:10,167 --> 00:51:12,417
- I do.
-
Glasgow Central!
783
00:51:12,625 --> 00:51:13,917
Oh! Yes?
784
00:51:13,958 --> 00:51:16,917
There's a gentleman to meet you.
And the stationmaster's with him.
785
00:51:18,208 --> 00:51:20,167
You'll need all your time
to get to Buchanan Street.
786
00:51:20,208 --> 00:51:22,083
Now, The Archers are
really having fun here.
787
00:51:22,833 --> 00:51:23,875
Watch that top hat.
788
00:51:33,083 --> 00:51:37,208
This journey north was perhaps
a gift that Emeric gave to Michael
789
00:51:37,250 --> 00:51:41,000
because it was a journey
that Michael loved to make himself.
790
00:51:41,500 --> 00:51:44,208
Scotland was his favorite place
to be in the world.
791
00:51:44,250 --> 00:51:46,125
And whenever he finished shooting a film,
792
00:51:46,583 --> 00:51:49,750
he would refresh himself
by going on hiking trips there.
793
00:51:52,792 --> 00:51:54,458
Hear ye!
794
00:51:54,625 --> 00:51:55,750
For Joan Webster,
795
00:51:56,042 --> 00:51:59,417
the Western Isles turn out to be
a challenging proposition.
796
00:51:59,667 --> 00:52:00,833
Bad luck, no crossing today.
797
00:52:01,167 --> 00:52:04,250
She'll spend much of the film
trying to get a boat to the island
798
00:52:04,292 --> 00:52:05,625
where her fiance is waiting.
799
00:52:05,708 --> 00:52:08,083
Would you like to wait up at the house?
I know the people.
800
00:52:08,125 --> 00:52:09,250
Thank you.
801
00:52:09,292 --> 00:52:11,208
But it's been arranged for
the boat to meet me here
802
00:52:11,250 --> 00:52:12,750
and I better be here to meet it.
803
00:52:14,208 --> 00:52:15,208
Good.
804
00:52:19,542 --> 00:52:22,125
If my boat doesn't come,
will you take me?
805
00:52:22,417 --> 00:52:24,125
No, I will not, m'lady.
806
00:52:24,958 --> 00:52:28,917
In just three or four
intensely atmospheric shots
807
00:52:29,667 --> 00:52:34,292
we get a pungent sense of
how alien the place is to her.
808
00:52:34,333 --> 00:52:36,958
You'll see a wee gate,
up the brae.
809
00:52:37,000 --> 00:52:41,625
Joan must accept the hospitality
of the locals until the weather improves.
810
00:52:42,542 --> 00:52:47,292
And they turn out to be a bunch
of eccentric and independent people
811
00:52:47,500 --> 00:52:51,458
whose outlook on life is
very different from her own.
812
00:52:51,542 --> 00:52:52,833
I was just going down to get you.
813
00:52:52,875 --> 00:52:55,083
Come on in, we've lit the fire.
You met the Colonel I see.
814
00:52:55,125 --> 00:52:57,750
I've had that exceptional pleasure.
My name's Barnstable.
815
00:52:57,833 --> 00:52:59,375
Colonel Barnstable,
the greatest hawk trainer--
816
00:52:59,417 --> 00:53:01,750
Falconer, my dear Torquil!
817
00:53:01,792 --> 00:53:03,917
The greatest falconer
in the Western Isles.
818
00:53:04,000 --> 00:53:05,500
In the world, old boy.
819
00:53:06,458 --> 00:53:08,542
Although it's a comedy and romance,
820
00:53:08,667 --> 00:53:10,542
it's also a film about values.
821
00:53:10,917 --> 00:53:14,708
And these feisty characters
stand for all sorts of qualities
822
00:53:14,833 --> 00:53:17,000
that Michael and Emeric
liked and believed in.
823
00:53:18,375 --> 00:53:21,000
- Catriona!
- There's the dear girl now.
824
00:53:21,333 --> 00:53:24,083
Courage, kindness and generosity,
825
00:53:24,125 --> 00:53:26,125
warmth and good fellowship.
826
00:53:26,167 --> 00:53:27,458
Torquil!
827
00:53:28,167 --> 00:53:30,792
[They speak Gaelic]
828
00:53:30,833 --> 00:53:32,583
Mrs Potts!
829
00:53:33,167 --> 00:53:36,667
The character who most fully
embodies all of these qualities
830
00:53:36,958 --> 00:53:37,958
is Torquil.
831
00:53:38,292 --> 00:53:40,083
He's a naval officer on leave.
832
00:53:40,500 --> 00:53:41,958
Have you got a match
or a lighter?
833
00:53:44,667 --> 00:53:45,667
Thanks.
834
00:53:46,083 --> 00:53:50,125
He clearly represents a terrible threat
to Joan's marriage plans.
835
00:53:50,208 --> 00:53:52,208
And the question of the film becomes,
836
00:53:52,667 --> 00:53:53,833
can she resist him?
837
00:53:55,625 --> 00:53:56,667
Thank you.
838
00:53:57,250 --> 00:54:00,917
What stands in Torquil's way,
of course, is Sir Robert Bellinger.
839
00:54:01,333 --> 00:54:03,333
Hello, my dear.
Robert speaking.
840
00:54:03,375 --> 00:54:05,375
Cartier delivered the ring, I hope.
841
00:54:05,667 --> 00:54:08,750
Of course, Robert, everything was lovely.
842
00:54:08,792 --> 00:54:11,625
Now, listen, Joan, write down a
telephone number. Are you ready?
843
00:54:11,958 --> 00:54:13,417
2-36.
You got it?
844
00:54:14,000 --> 00:54:17,250
It's the Robinson's number.
They've rented the castle at Sorn.
845
00:54:17,542 --> 00:54:20,958
They're the only people worthwhile
knowing around here. Over.
846
00:54:21,625 --> 00:54:23,250
And when we meet his friends,
847
00:54:23,583 --> 00:54:26,000
the Robinsons, they are superior
848
00:54:26,167 --> 00:54:28,667
and sensitive and self-regarding.
849
00:54:28,833 --> 00:54:29,958
Let's have a look at you.
850
00:54:31,583 --> 00:54:33,542
Oh yes, you pass.
851
00:54:33,833 --> 00:54:36,458
You're going to marry
Sir Robert Bellinger, aren't you?
852
00:54:36,500 --> 00:54:37,792
Yes. Do you mind?
853
00:54:37,833 --> 00:54:38,833
I don't mind.
854
00:54:40,250 --> 00:54:41,542
He's rich, isn't he?
855
00:54:41,583 --> 00:54:43,958
Well, I haven't counted his money.
856
00:54:44,042 --> 00:54:45,042
Are you rich?
857
00:54:46,208 --> 00:54:47,292
No.
858
00:54:49,833 --> 00:54:53,250
Coming after
A Canterbury Tale
Emeric called this film
859
00:54:53,458 --> 00:54:57,708
the second episode in The Archer's
crusade against materialism.
860
00:54:58,083 --> 00:55:00,250
People around here
are very poor, I suppose.
861
00:55:00,292 --> 00:55:02,958
- Not poor. They just haven't got money.
- It's the same thing.
862
00:55:03,042 --> 00:55:04,625
Oh, no, something quite different.
863
00:55:10,292 --> 00:55:11,333
Better?
864
00:55:17,958 --> 00:55:20,250
The longer that Joan
spends with Torquil
865
00:55:20,625 --> 00:55:23,875
the more she falls under the spell
of this man and his world.
866
00:55:24,208 --> 00:55:25,250
Careful.
867
00:55:32,417 --> 00:55:35,458
That's a fine song.
Nut Brown Maiden.
Do you know it?
868
00:55:36,583 --> 00:55:37,583
Tune up, my boys!
869
00:55:37,750 --> 00:55:39,250
My favorite part is where Torquil
870
00:55:40,000 --> 00:55:41,750
recites the words of a song.
871
00:55:41,792 --> 00:55:44,083
"Ho ro my nut-brown maiden,
872
00:55:44,583 --> 00:55:46,250
Hee ree my nut-brown maiden,
873
00:55:46,958 --> 00:55:49,750
Ho ro ro ro maiden,
874
00:55:50,083 --> 00:55:51,500
You're the maid for me."
875
00:56:03,083 --> 00:56:05,667
Now, this is a film that you
show to someone you care about
876
00:56:05,875 --> 00:56:10,000
as a way of possibly trying to say
something that you can't put into words.
877
00:56:10,417 --> 00:56:12,375
Share the experience so to speak.
878
00:56:12,708 --> 00:56:15,708
And I know I'm not the only person
to have done that.
879
00:56:17,042 --> 00:56:18,667
It's a film that seems to
880
00:56:19,208 --> 00:56:22,292
cast a spell over many
romantic relationships.
881
00:56:22,458 --> 00:56:25,208
Is it not enough that you've been told
that you cannot sail today?
882
00:56:25,250 --> 00:56:27,375
Do you think you know better than
folk who have lived here all their lives?
883
00:56:27,458 --> 00:56:29,958
Ruairidh said it was going down.
Kenny said so too.
884
00:56:30,000 --> 00:56:32,583
What do you expect Kenny to say?
You bought him, did you not?
885
00:56:32,625 --> 00:56:33,958
There's no need to shout at me!
886
00:56:34,000 --> 00:56:36,333
Oh, go ahead, then!
887
00:56:37,042 --> 00:56:38,375
And drown yourself!
888
00:56:39,625 --> 00:56:41,500
She's running away from you.
889
00:56:44,583 --> 00:56:46,083
Say that again.
890
00:56:53,500 --> 00:56:57,708
In the end, we find Joan and Torquil
together in a small boat.
891
00:56:57,792 --> 00:56:59,917
Get down under the hood
and hang on!
892
00:57:06,000 --> 00:57:08,208
Oh! My dress!
893
00:57:11,917 --> 00:57:13,792
Don't mess about! Bail!
894
00:57:15,083 --> 00:57:17,708
The motor has gone,
the weather is evil
895
00:57:18,208 --> 00:57:22,083
and they're heading towards
a terrible whirlpool, Corryvreckan.
896
00:57:23,583 --> 00:57:26,000
This is a film about
love as a force of nature
897
00:57:26,083 --> 00:57:28,583
that can knock your life
completely off course.
898
00:57:29,792 --> 00:57:33,333
And Joan's fate seems to lie,
not just in the hands of Torquil
899
00:57:34,250 --> 00:57:36,208
but in the hands of the nature gods.
900
00:57:49,875 --> 00:57:52,875
The film has something which
is rather unusual for The Archers,
901
00:57:53,625 --> 00:57:55,375
a conventional happy ending.
902
00:57:56,458 --> 00:57:59,542
But this romance is
a truly enchanted creation.
903
00:58:00,625 --> 00:58:04,250
In my view, it's one of the most
beautiful love stories ever made.
904
00:58:05,625 --> 00:58:06,667
Hoy!
905
00:58:06,792 --> 00:58:07,958
Hoy!
906
00:58:09,917 --> 00:58:12,958
It is also a mystical poem
on the natural world.
907
00:58:13,333 --> 00:58:15,875
And a sermon on correct values.
908
00:58:19,792 --> 00:58:22,125
By now, the whole country was
starting to think about
909
00:58:22,167 --> 00:58:24,375
what kind of place Britain should become
910
00:58:24,417 --> 00:58:26,167
once the hostilities were over.
911
00:58:27,458 --> 00:58:31,750
And Michael and Emeric used this
film to offer the idealistic proposal
912
00:58:32,042 --> 00:58:33,375
that it might become a nation
913
00:58:33,583 --> 00:58:35,917
that values people according
to their character
914
00:58:36,583 --> 00:58:37,708
rather than their money.
915
00:58:38,542 --> 00:58:39,875
MINISTRY OF INFORMATION
916
00:58:39,917 --> 00:58:41,333
FILM DIVISION, THEATRE
917
00:58:41,375 --> 00:58:44,083
The themes of all The Archers
films during the war years
918
00:58:44,125 --> 00:58:46,875
had to be agreed with
the Ministry of Information.
919
00:58:47,792 --> 00:58:50,750
Well, the Ministry of Information
had a films division.
920
00:58:50,958 --> 00:58:52,417
Jack Beddington was
the head of it.
921
00:58:52,500 --> 00:58:56,833
And no film could be made during
the wartime without their approval.
922
00:58:56,875 --> 00:58:59,750
And Jack Beddington asked us
to come and meet him
923
00:59:00,083 --> 00:59:01,333
and said,
924
00:59:01,708 --> 00:59:03,042
while we were losing the war,
925
00:59:03,125 --> 00:59:06,708
our relations with the Americans
were very good,
926
00:59:06,917 --> 00:59:09,167
but now we're winning the war
they're not so good.
927
00:59:11,208 --> 00:59:16,250
So he said, would you two consider
writing an original film and making
928
00:59:16,292 --> 00:59:20,542
an original film about Anglo-American
relations, to improve them?
929
00:59:22,000 --> 00:59:24,625
The Archer's response
is not a combat film
930
00:59:24,958 --> 00:59:26,958
but a poetic fantasy.
931
00:59:27,417 --> 00:59:29,708
You seem like a nice girl.
I can't give you my position.
932
00:59:29,750 --> 00:59:31,500
Instruments gone, crew gone too.
933
00:59:31,542 --> 00:59:34,042
All except Bob, here,
my sparks, he's dead.
934
00:59:34,125 --> 00:59:35,542
The rest bailed out on my orders.
935
00:59:35,583 --> 00:59:37,292
Time 0335, you get that?
936
00:59:37,333 --> 00:59:40,958
In the first scene we meet Peter,
played by David Niven.
937
00:59:41,292 --> 00:59:44,042
We've had it.
And I'd rather jump than fry.
938
00:59:44,375 --> 00:59:46,125
After the first 1000 feet
what's the difference?
939
00:59:46,208 --> 00:59:47,667
I shan't know anything anyway,
940
00:59:48,417 --> 00:59:50,000
I say, I hope I haven't frightened you.
941
00:59:51,667 --> 00:59:54,125
- No, I'm not frightened.
- Good girl.
942
00:59:54,333 --> 00:59:59,208
From the cockpit of his doomed plane
he speaks to June, played by Kim Hunter.
943
00:59:59,458 --> 01:00:01,750
Are you in love with anybody?
No, no, don't answer that.
944
01:00:02,250 --> 01:00:03,917
I could love a man like you, Peter.
945
01:00:04,000 --> 01:00:06,333
I love you, June, you're life
and I'm leaving you.
946
01:00:06,583 --> 01:00:08,500
Peter is hurtling towards death
947
01:00:08,583 --> 01:00:10,750
and falling in love,
at the same time.
948
01:00:10,833 --> 01:00:12,833
I'm signing off now, June.
Goodbye.
949
01:00:12,917 --> 01:00:13,917
Goodbye, June.
950
01:00:13,958 --> 01:00:16,708
Hello, G for George. Hello G-George.
951
01:00:16,958 --> 01:00:18,333
Hello G-George?
952
01:00:18,833 --> 01:00:19,833
Hel--
953
01:00:24,792 --> 01:00:26,792
So long, Bob,
I'll see you in a minute.
954
01:00:26,833 --> 01:00:29,833
You know what we wear
by now. Proper wings!
955
01:00:30,708 --> 01:00:32,583
This is an emphatic expression
956
01:00:32,792 --> 01:00:37,833
of why Powell and Pressburger
were not documentary filmmakers.
957
01:00:40,417 --> 01:00:43,583
They wanted to achieve
the kind of heightened intensity
958
01:00:43,917 --> 01:00:46,500
that is only possible
through artifice.
959
01:00:50,000 --> 01:00:54,167
Peter washes up on a deserted shore
with no idea where he is.
960
01:00:56,917 --> 01:01:00,333
He miraculously meets June
cycling along the beach.
961
01:01:00,750 --> 01:01:01,792
Hello.
962
01:01:02,333 --> 01:01:03,875
Hello yourself. What's wrong?
963
01:01:04,292 --> 01:01:08,208
And the couple are instantly
certain of their love for each other.
964
01:01:08,375 --> 01:01:09,417
You're June.
965
01:01:17,167 --> 01:01:18,250
You're Peter.
966
01:01:22,208 --> 01:01:26,042
The trouble is that according
to divine calculations,
967
01:01:26,083 --> 01:01:27,333
Peter ought to be dead.
968
01:01:28,083 --> 01:01:31,167
91,716 invoiced
969
01:01:31,458 --> 01:01:35,042
91,715 checked in.
970
01:01:35,333 --> 01:01:37,500
- Conductor 71?
-
Madame
,
971
01:01:37,625 --> 01:01:39,000
it could have
happened to anybody.
972
01:01:39,042 --> 01:01:40,083
How did it happen?
973
01:01:40,167 --> 01:01:43,292
Everything was calculated
except for this accursed fog.
974
01:01:43,333 --> 01:01:47,208
The pilot jumped, he got lost in the fog,
I missed him.
975
01:01:48,000 --> 01:01:52,250
The heavenly conductor is now ordered
to go back to Earth,
976
01:01:52,292 --> 01:01:55,625
find Peter and rectify his mistake.
977
01:01:56,000 --> 01:01:59,125
By the way,
Monsieur
, when you see Peter,
would you give him a message for me?
978
01:01:59,167 --> 01:02:02,417
- Avec plaisir.
- Just say, “What ho.”
979
01:02:03,000 --> 01:02:04,042
Bon.
980
01:02:17,875 --> 01:02:22,542
One is starved for Technicolor up there.
981
01:02:26,083 --> 01:02:29,125
What a night for love.
982
01:02:33,625 --> 01:02:37,792
The idea of the two worlds was
Emeric's most audacious concept yet.
983
01:02:38,000 --> 01:02:40,542
And he made a bold decision
about color too
984
01:02:40,958 --> 01:02:45,667
when he decided that the other world
should be a rather dry, bureaucratic,
985
01:02:46,208 --> 01:02:47,792
monochrome sort of place.
986
01:02:48,125 --> 01:02:50,500
Whereas this world is the colorful one.
987
01:02:51,792 --> 01:02:55,125
The home of fire and passion,
beauty, and poetry.
988
01:02:55,750 --> 01:02:59,417
Peter's problem is that he's not sure
which world he belongs in anymore.
989
01:02:59,542 --> 01:03:03,125
Will he be allowed to live out
his love for June here on Earth
990
01:03:03,500 --> 01:03:05,750
or will he have to move on
to the other world.
991
01:03:06,333 --> 01:03:07,333
In short,
992
01:03:08,125 --> 01:03:09,583
does he belong among the living,
993
01:03:10,625 --> 01:03:11,708
or the dead?
994
01:03:13,208 --> 01:03:15,958
He's having a series
of highly organized hallucinations
995
01:03:16,250 --> 01:03:18,958
comparable to an experience
of actual life.
996
01:03:19,000 --> 01:03:22,250
A combination of vision
of hearing and of idea.
997
01:03:22,542 --> 01:03:25,500
The film marked a big moment
for Powell Pressburger
998
01:03:25,542 --> 01:03:29,333
because this is where they threw off
entirely the shackles of realism
999
01:03:30,625 --> 01:03:33,083
and happily embraced surrealism.
1000
01:03:57,250 --> 01:03:58,542
Doc, he's here! June!
1001
01:04:00,333 --> 01:04:03,042
Michael, always loved
the idea of the film director
1002
01:04:03,125 --> 01:04:05,458
as a magician with a box of tricks.
1003
01:04:06,208 --> 01:04:07,208
Doc?
1004
01:04:10,667 --> 01:04:13,542
Reveling in old-style effects
and illusions
1005
01:04:13,875 --> 01:04:17,042
It's as though he's remembering
his youth in silent movies,
1006
01:04:17,208 --> 01:04:20,458
working with Rex Ingram
at the Victorine studios.
1007
01:04:26,042 --> 01:04:29,750
The Rex Ingram influence
gave the film its scale too,
1008
01:04:30,667 --> 01:04:33,167
making it ambitious
as well as adventurous.
1009
01:04:33,583 --> 01:04:34,667
Come back!
1010
01:04:35,792 --> 01:04:38,500
Peter! Peter! Come back!
1011
01:04:39,625 --> 01:04:43,792
The film needed marvels of set design
and cinematography in order to succeed.
1012
01:04:44,708 --> 01:04:48,000
But by now, The Archers
had evolved into a big family
1013
01:04:48,042 --> 01:04:50,292
of highly skilled technicians.
1014
01:04:51,333 --> 01:04:55,500
One of the most important members of
the team was art director Alfred Junger,
1015
01:04:55,917 --> 01:04:57,375
a design wizard
1016
01:04:57,417 --> 01:05:01,500
who also had the practical skills
of an engineer or an architect.
1017
01:05:17,667 --> 01:05:22,292
We had the greatest film art director
that I think has ever lived.
1018
01:05:22,708 --> 01:05:27,792
He goes back, you see, to the early days
of Fritz Lang and
Metropolis
1019
01:05:27,917 --> 01:05:31,792
and when we asked him to do things
like the moving stairway
1020
01:05:31,875 --> 01:05:34,250
that all had to be
worked out in perspective
1021
01:05:34,292 --> 01:05:36,417
and shot practically
all the same day.
1022
01:05:36,708 --> 01:05:39,333
Because end of the war,
we didn't have enough steel
1023
01:05:39,375 --> 01:05:41,292
and we didn't have enough
electric power
1024
01:05:41,333 --> 01:05:43,667
to work that staircase all the time.
1025
01:05:43,833 --> 01:05:47,792
So all the shots up the staircase
or shots down the staircase,
1026
01:05:47,833 --> 01:05:50,458
were all worked out in perspective
on the drawing board.
1027
01:05:51,125 --> 01:05:54,542
I think it's a very important point
with all these people
1028
01:05:54,583 --> 01:05:57,875
they are all, not only
marvelous technicians,
1029
01:05:58,125 --> 01:05:59,458
but they are all people
1030
01:06:00,667 --> 01:06:02,750
who loved solving problems.
1031
01:06:04,792 --> 01:06:05,917
And we loved setting them!
1032
01:06:06,042 --> 01:06:07,500
There are a great number of,
1033
01:06:07,792 --> 01:06:12,000
there are a great number of people who
are very happy when there are no problems,
1034
01:06:12,333 --> 01:06:15,708
but there are some
who adore problems.
1035
01:06:15,750 --> 01:06:18,917
And we had this big team
around us by now, you know
1036
01:06:19,500 --> 01:06:22,500
who just came saying,
"What's the problem?"
1037
01:06:23,417 --> 01:06:25,792
How do you work with actors,
Mr Powell, on the set?
1038
01:06:25,958 --> 01:06:29,167
I just start the day saying
I've been thinking about this sequence,
1039
01:06:29,208 --> 01:06:30,458
I suggest we do this,
1040
01:06:30,750 --> 01:06:32,000
what do you think?
1041
01:06:32,042 --> 01:06:34,292
And they usually say they
want to do something different.
1042
01:06:35,125 --> 01:06:36,417
So then we argue.
1043
01:06:37,458 --> 01:06:38,708
Not for long.
1044
01:06:39,417 --> 01:06:42,417
David Niven, just heaven to work with.
1045
01:06:43,042 --> 01:06:47,458
And very punctilious.
David always leaves at 10 to 6, exactly.
1046
01:06:48,292 --> 01:06:49,875
Even if you're in
the middle of a shot
1047
01:06:50,042 --> 01:06:52,750
comes up and says,
"Sorry, old man, gotta go, you know!"
1048
01:06:52,875 --> 01:06:54,750
- And he's gone!
-
Oh really?
1049
01:07:04,125 --> 01:07:08,208
It was Michael who decided that
everything that Peter experiences
1050
01:07:08,250 --> 01:07:11,375
must be based on solid medical evidence.
1051
01:07:13,417 --> 01:07:19,000
And all the visual fireworks of the film
are underpinned by a very serious purpose.
1052
01:07:20,042 --> 01:07:24,542
They are means by which Michael can take
his camera inside a tormented psyche
1053
01:07:24,667 --> 01:07:25,750
and tell a story
1054
01:07:26,000 --> 01:07:28,833
about the mental damage
done by war.
1055
01:07:43,000 --> 01:07:45,500
He's haunted by these visions of the dead
1056
01:07:45,583 --> 01:07:49,208
flowing into the other world
in an unending stream
1057
01:07:53,083 --> 01:07:56,000
and he's uncertain how
he himself was spared.
1058
01:07:58,167 --> 01:08:01,083
These days, we might call it
survivor's guilt.
1059
01:08:04,208 --> 01:08:05,833
This was a time right after the war
1060
01:08:05,875 --> 01:08:09,792
when the primary trend in movies
was the emergence of film noir.
1061
01:08:10,833 --> 01:08:12,667
Bitter cynical movies, usually,
1062
01:08:13,042 --> 01:08:16,000
where the characters
are doomed from the start.
1063
01:08:16,833 --> 01:08:18,417
Peter. Peter!
1064
01:08:19,458 --> 01:08:22,417
Powell and Pressburger went
against the grain of all of that.
1065
01:08:27,208 --> 01:08:31,167
In all their major pictures of
the war years, they seek to offer help,
1066
01:08:32,167 --> 01:08:35,625
consolation, and
the possibility of renewal.
1067
01:08:38,167 --> 01:08:42,625
In
A Matter of Life and Death
what they offer is a vision of love.
1068
01:08:48,417 --> 01:08:49,542
Permit me.
1069
01:08:50,375 --> 01:08:55,792
The hard won triumph of love,
surviving all and conquering all.
1070
01:08:58,667 --> 01:09:01,333
That's it, the only real bit
of evidence we have.
1071
01:09:02,583 --> 01:09:05,667
Quick. We must not keep
the court waiting.
1072
01:09:06,708 --> 01:09:09,250
One of the film's most beautiful conceits
1073
01:09:09,542 --> 01:09:12,500
is that despite the epic scale
of the imagery,
1074
01:09:12,667 --> 01:09:15,417
the proof of love is the tiniest thing.
1075
01:09:15,875 --> 01:09:19,042
A single tear gathered on a rose.
1076
01:09:27,250 --> 01:09:28,375
Goodbye, darling.
1077
01:09:30,625 --> 01:09:32,750
And June provides a second proof
1078
01:09:33,125 --> 01:09:36,458
when she willingly takes Peter's place
on the stairway to heaven
1079
01:09:37,458 --> 01:09:41,167
showing that she's prepared
to give up her life for his.
1080
01:09:46,000 --> 01:09:48,125
In this moment of self sacrifice
1081
01:09:48,167 --> 01:09:50,375
the moral of the film is bluntly stated.
1082
01:09:53,583 --> 01:09:57,292
Yes, Mr Farlan, nothing is stronger
than the law in the universe,
1083
01:09:57,333 --> 01:10:00,208
but on Earth,
nothing is stronger than love.
1084
01:10:07,250 --> 01:10:10,125
We cling together in the face of power
1085
01:10:11,042 --> 01:10:12,250
and in the face of death.
1086
01:10:13,500 --> 01:10:17,000
The single tear on the rose
weighs more heavy
1087
01:10:17,625 --> 01:10:19,042
than the battalions of heaven.
1088
01:10:26,917 --> 01:10:30,458
Outside the Empire, thousands of
Londoners crowding the approaches
1089
01:10:30,542 --> 01:10:32,750
to see the Royal Family
and also the many film stars
1090
01:10:32,792 --> 01:10:36,167
and notabilities attending
the Royal Command Film Performance.
1091
01:10:37,042 --> 01:10:40,375
A Matter of Life and Death
represents
Powell and Pressburger
1092
01:10:40,417 --> 01:10:41,958
at the peak of their powers.
1093
01:10:42,125 --> 01:10:45,958
And it was chosen for the first-ever
Royal Film Performance.
1094
01:10:46,250 --> 01:10:49,708
So great was the throng that the arrival
of the Royal Family was delayed.
1095
01:10:49,792 --> 01:10:52,042
And when they did reach their objective,
there was barely room
1096
01:10:52,083 --> 01:10:54,500
for them to make their way
through the crowd into the cinema.
1097
01:11:06,250 --> 01:11:09,417
The Archers were on top of the world
but it was 1946 now
1098
01:11:09,708 --> 01:11:12,667
and there was suddenly
no war effort to serve anymore.
1099
01:11:15,333 --> 01:11:18,083
Emeric no longer had the impetus
which had driven him on
1100
01:11:18,167 --> 01:11:20,292
to write one original story after another.
1101
01:11:21,125 --> 01:11:23,458
And this left The Archers
with a big dilemma.
1102
01:11:24,250 --> 01:11:26,750
What sort of films should
they now be making?
1103
01:11:27,292 --> 01:11:31,375
We suddenly felt now
we have made several of our films
1104
01:11:33,500 --> 01:11:35,875
isn't there the time now
1105
01:11:37,083 --> 01:11:42,292
to make a film which has
absolutely nothing to do with war?
1106
01:11:53,333 --> 01:11:58,292
Black Narcissus
marked a whole new
direction in Powell Pressburger's work.
1107
01:11:58,667 --> 01:12:01,500
It was their first
non-original story
1108
01:12:01,958 --> 01:12:04,250
and it was a post-war escape
1109
01:12:04,958 --> 01:12:07,792
into a different and a distant world.
1110
01:12:16,708 --> 01:12:20,375
Rumer Godden's novel depicts
the trials and tribulations
1111
01:12:20,708 --> 01:12:22,625
of a small group of nuns trying
1112
01:12:22,667 --> 01:12:25,333
to establish a convent
in the Himalayas.
1113
01:12:30,417 --> 01:12:33,625
The atmosphere seems to agitate the senses
1114
01:12:33,958 --> 01:12:36,125
and the nuns find themselves troubled
1115
01:12:36,375 --> 01:12:39,875
by dangerous temptations
and simmering conflicts.
1116
01:12:42,667 --> 01:12:47,292
I found myself in the Himalayas
making a film about nuns.
1117
01:12:47,625 --> 01:12:51,833
And our mountains were painted on glass.
1118
01:12:56,125 --> 01:12:58,333
Since the whole film is set in India
1119
01:12:58,417 --> 01:13:02,000
It was a startlingly bold decision
when Michael decided
1120
01:13:02,042 --> 01:13:03,708
to shoot everything in England,
1121
01:13:04,625 --> 01:13:08,708
using ingenious sets,
trick shots, match shots
1122
01:13:09,125 --> 01:13:11,375
all to recreate the Himalayan setting.
1123
01:13:20,292 --> 01:13:22,833
Partly this was a practical choice
1124
01:13:22,958 --> 01:13:27,792
because everything to do with filmmaking
was so much less mobile, in those days.
1125
01:13:28,792 --> 01:13:31,750
Everything had to be fully
visualized in advance
1126
01:13:32,000 --> 01:13:35,250
and very little could
be spontaneous or improvised.
1127
01:13:40,083 --> 01:13:42,750
Black Narcissus
made a virtue of this
1128
01:13:43,083 --> 01:13:46,167
by making each shot into
a production in itself.
1129
01:13:47,000 --> 01:13:50,458
A painterly composition in which
every aspect of the image
1130
01:13:50,583 --> 01:13:52,583
is meticulously controlled.
1131
01:13:55,500 --> 01:13:59,208
This is truly a cinema
of beautifully wrought imagemaking.
1132
01:14:00,625 --> 01:14:04,208
And it gives the film the vividness
and the intensity
1133
01:14:04,292 --> 01:14:05,875
of an hallucination.
1134
01:14:10,833 --> 01:14:12,625
The cameraman was Jack Cardiff.
1135
01:14:13,333 --> 01:14:15,792
And here he consciously
drew on the example
1136
01:14:15,833 --> 01:14:18,083
of artists like
Rembrandt and Vermeer.
1137
01:14:19,125 --> 01:14:22,958
There's something special about his
very English sense of Technicolor too.
1138
01:14:23,250 --> 01:14:25,875
The nuns were very deliberately
dressed in white,
1139
01:14:26,167 --> 01:14:31,958
or off white robes, then surrounded by
cool tones of stone, and green and blue.
1140
01:14:32,292 --> 01:14:34,792
So that when you see a hot color like red,
1141
01:14:35,542 --> 01:14:36,917
it really jumps out at you.
1142
01:14:37,875 --> 01:14:42,333
I still remember the first time I saw
the film in a nitrate color print.
1143
01:14:45,250 --> 01:14:48,333
When the rhododendrons exploded
onto the screen it was almost
1144
01:14:48,625 --> 01:14:49,958
a physical shock.
1145
01:14:53,292 --> 01:14:55,292
I'm not sure if I know another film
1146
01:14:55,667 --> 01:14:57,750
where the color
contributes so much
1147
01:14:57,833 --> 01:14:59,958
to the story and the
emotion of a picture.
1148
01:15:01,667 --> 01:15:04,625
Now, right at the center
of all the elaborate design
1149
01:15:04,792 --> 01:15:06,208
is human faces.
1150
01:15:06,708 --> 01:15:11,125
In particular, the face of Deborah Kerr
who plays Sister Clodagh.
1151
01:15:12,250 --> 01:15:16,625
And standing in contrast
and in opposition to Sister Clodagh
1152
01:15:17,000 --> 01:15:20,083
is Sister Ruth played by Kathleen Byron.
1153
01:15:22,042 --> 01:15:24,958
David Farrar is
the unsettling presence who...
1154
01:15:25,000 --> 01:15:25,917
Thank you.
1155
01:15:25,958 --> 01:15:29,417
Stirs up a feverish rivalry
between the two women.
1156
01:15:30,417 --> 01:15:32,750
I've noticed you're very pleased
to see him yourself.
1157
01:15:37,125 --> 01:15:40,208
If that was in your mind, it's better said
I think you're out of your senses.
1158
01:15:42,375 --> 01:15:44,042
In a bold move for those times,
1159
01:15:44,292 --> 01:15:47,208
Ferrar is presented very much
from the women's point of view
1160
01:15:47,250 --> 01:15:48,875
as a male sex object.
1161
01:15:49,958 --> 01:15:54,250
The result is a classic struggle
between flesh and the spirit.
1162
01:16:01,000 --> 01:16:02,417
You can't order me about
1163
01:16:02,458 --> 01:16:04,542
you have nothing to do
with me anymore.
1164
01:16:06,250 --> 01:16:09,750
When Sister Ruth puts on
a red dress and red lipstick,
1165
01:16:10,000 --> 01:16:11,625
it's both a brazen act
1166
01:16:12,500 --> 01:16:14,625
and a visual shock.
1167
01:16:16,250 --> 01:16:19,167
Sex erupts into the story
through the use of color.
1168
01:16:24,625 --> 01:16:28,292
These images were regarded
as shockingly erotic in the 1940s,
1169
01:16:29,833 --> 01:16:33,125
when my friends and I first
saw the film, it was on TV.
1170
01:16:33,167 --> 01:16:34,667
We saw it in black and white
1171
01:16:34,958 --> 01:16:37,542
in a version that had been
censored by the Catholic Church,
1172
01:16:37,833 --> 01:16:39,333
but we were still kind of taken
1173
01:16:39,667 --> 01:16:42,667
and kind of amazed by the
psychosexual energy of the film
1174
01:16:42,708 --> 01:16:46,917
that was inherent in the images
that we were allowed to see.
1175
01:17:00,917 --> 01:17:03,625
- Ayah, wake up!
- Oh, what is it? What is it?
1176
01:17:04,333 --> 01:17:05,500
It's Sister Ruth!
1177
01:17:05,542 --> 01:17:07,167
Stop her! She's gone mad!
1178
01:17:07,417 --> 01:17:08,750
Go and talk to Sister Clodagh.
1179
01:17:09,042 --> 01:17:11,083
She brought you here.
She can get you back again.
1180
01:17:11,500 --> 01:17:12,792
Sister Clodagh, Sister Clodagh!
1181
01:17:12,833 --> 01:17:15,458
- You know what she says about you?
- Whatever she said, it was true.
1182
01:17:15,500 --> 01:17:18,417
- You say that because you love her!
- I don't love anyone!
1183
01:17:19,083 --> 01:17:21,417
Clodagh...
1184
01:17:21,500 --> 01:17:23,667
At the climax of Ruth's madness,
1185
01:17:23,708 --> 01:17:27,833
she faints, she blacks out and
the whole screen is flooded with red.
1186
01:17:28,958 --> 01:17:33,042
It's a terrific way of putting into images
the intensity of her passion.
1187
01:17:33,208 --> 01:17:34,875
Red, burning desire.
1188
01:17:40,875 --> 01:17:43,875
More than any of
Powell Pressburger's previous films,
1189
01:17:43,917 --> 01:17:47,750
this one was an expressionistic exercise
in high style.
1190
01:17:52,292 --> 01:17:55,250
And the sequence which
most interested Michael
1191
01:17:55,542 --> 01:17:58,750
was a ten minute experiment
in what he called
1192
01:17:59,083 --> 01:18:00,625
"composed film."
1193
01:18:03,500 --> 01:18:07,125
It's a carefully choreographed
sequence of pure action,
1194
01:18:07,625 --> 01:18:10,375
no dialogue at all
for the whole ten minutes.
1195
01:18:34,500 --> 01:18:36,958
The idea was that music
would take the lead
1196
01:18:37,000 --> 01:18:38,875
dictating the character's movements,
1197
01:18:38,917 --> 01:18:42,750
expressing their thoughts and feelings
more vividly than words ever could.
1198
01:18:54,292 --> 01:18:56,000
The music was written first
1199
01:18:56,458 --> 01:18:58,250
and then the sequence was shot
1200
01:18:58,500 --> 01:18:59,750
step by step
1201
01:19:00,417 --> 01:19:01,542
so that each shot
1202
01:19:02,167 --> 01:19:04,042
fitted the music, exactly.
1203
01:19:06,500 --> 01:19:10,042
Everything fits together
into a single organic whole.
1204
01:19:11,125 --> 01:19:13,208
It turns the melodrama into opera.
1205
01:19:29,000 --> 01:19:31,417
It worked, it worked!
1206
01:19:31,917 --> 01:19:33,667
I could hardly believe my eyes.
1207
01:19:34,250 --> 01:19:37,542
Filmmaking was never the same
for me again after that.
1208
01:19:37,875 --> 01:19:40,750
And when
Red Shoes
came up
the year following,
1209
01:19:40,917 --> 01:19:44,125
we worked out the whole ballet
to be a composed film.
1210
01:19:46,958 --> 01:19:51,750
The Red Shoes
is a story of a girl
torn between art and love.
1211
01:19:53,167 --> 01:19:55,750
Vicky Page is an ambitious
young ballerina
1212
01:19:55,792 --> 01:19:59,542
who's taken up by
the great impresario Lermontov.
1213
01:20:00,458 --> 01:20:04,208
But when she falls in love
with the composer Julian Craster
1214
01:20:04,292 --> 01:20:05,917
her life gets ripped in two.
1215
01:20:07,208 --> 01:20:09,167
This was a project with a long history.
1216
01:20:09,958 --> 01:20:14,333
Emeric had first written a script for
a ballet film back in the 1930s.
1217
01:20:14,958 --> 01:20:18,250
But the main thing that Michael
was looking for now in his script
1218
01:20:18,708 --> 01:20:20,917
was opportunities to experiment.
1219
01:20:24,000 --> 01:20:27,292
His first radical decision
was that he would only do the film
1220
01:20:27,333 --> 01:20:32,292
if Vicky Page was played by a real
ballerina rather than an actress.
1221
01:20:33,000 --> 01:20:35,417
It was a tall order
to find a great dancer
1222
01:20:35,500 --> 01:20:38,458
who could also act well enough
to carry a big movie.
1223
01:20:47,208 --> 01:20:51,000
But he eventually found everything
that he wanted in Moira Shearer.
1224
01:20:53,000 --> 01:20:55,500
The only trouble was that
she didn't want to do the film,
1225
01:20:55,833 --> 01:20:58,250
and it took about a year
to convince her.
1226
01:20:58,875 --> 01:21:01,958
She was very much a part of
the ballet culture of her time.
1227
01:21:02,000 --> 01:21:04,000
And she always thought that dancing
1228
01:21:04,542 --> 01:21:07,292
was a much higher art
than making movies.
1229
01:21:12,458 --> 01:21:13,500
Good luck!
1230
01:21:13,792 --> 01:21:14,792
Good luck.
1231
01:21:15,125 --> 01:21:19,000
The bravest idea of the film
was to place at the heart of it,
1232
01:21:19,917 --> 01:21:21,167
an original ballet.
1233
01:21:21,792 --> 01:21:22,833
All right, Ivan.
1234
01:21:24,042 --> 01:21:25,250
Time to go down, Craster.
1235
01:21:25,292 --> 01:21:27,125
- Good luck, Mr Craster.
- Thank you, Mr Lermontov.
1236
01:21:27,167 --> 01:21:28,417
- Nervous?
- No.
1237
01:21:28,500 --> 01:21:29,542
Come on!
1238
01:21:30,708 --> 01:21:33,375
Stopping the story of a movie
for over 15 minutes
1239
01:21:33,458 --> 01:21:35,583
to present a full length ballet?
1240
01:21:35,958 --> 01:21:37,958
This was a huge risk they were taking.
1241
01:21:40,292 --> 01:21:42,375
Nobody had ever done
such a thing before
1242
01:21:42,417 --> 01:21:46,000
and no one had any idea how
audiences were going to react.
1243
01:21:51,167 --> 01:21:55,500
The Ballet of The Red Shoes
is based
on a Hans Andersen fairytale
1244
01:21:55,583 --> 01:21:57,667
about a girl who is mad to dance.
1245
01:21:59,583 --> 01:22:03,167
The magical red shoes allow her
to fulfill her dreams.
1246
01:22:03,875 --> 01:22:06,042
But when she wants to stop dancing,
1247
01:22:06,333 --> 01:22:07,625
the shoes won't let her.
1248
01:22:14,917 --> 01:22:19,375
This ballet was the part of the film
that excited Michael most of all.
1249
01:22:21,708 --> 01:22:24,042
Released from the constraints of dialogue
1250
01:22:24,208 --> 01:22:26,625
he could really go to town
with experimentation,
1251
01:22:26,958 --> 01:22:30,250
working freely with music, light, images,
1252
01:22:30,458 --> 01:22:32,042
movement, energy.
1253
01:22:34,708 --> 01:22:36,667
The most radical part
of his conception
1254
01:22:36,708 --> 01:22:38,958
was to represent the ballet,
1255
01:22:39,208 --> 01:22:41,083
not as a theater audience would see it,
1256
01:22:41,333 --> 01:22:44,792
but as the dancer would experience it
inside her head.
1257
01:22:48,167 --> 01:22:51,792
Michael used the body
and the physicality of the dancer
1258
01:22:51,917 --> 01:22:54,083
to express the inner life of the dancer.
1259
01:22:57,375 --> 01:23:02,125
He used physical action to
represent psychological pain.
1260
01:23:03,750 --> 01:23:05,500
And that subjective approach
1261
01:23:06,417 --> 01:23:08,000
had a very big influence on
1262
01:23:08,125 --> 01:23:11,167
what I did with the boxing scenes
in
Raging Bull
.
1263
01:23:14,042 --> 01:23:16,333
When I watched De Niro
doing his moves,
1264
01:23:16,375 --> 01:23:19,292
I saw that it was dance,
it was choreography.
1265
01:23:20,500 --> 01:23:24,292
I also realized that I should stay
in the ring as much as possible.
1266
01:23:24,375 --> 01:23:26,792
And stay inside the fighter's head.
1267
01:23:27,292 --> 01:23:29,333
See and hear it from his point of view.
1268
01:23:29,417 --> 01:23:32,750
...a right to the jaw, a hard left-hand
to the body thrown by LaMotta.
1269
01:23:33,583 --> 01:23:34,917
Round eight and it's anybody's...
1270
01:23:35,000 --> 01:23:37,833
That way you get
the impression of the fight,
1271
01:23:39,000 --> 01:23:41,833
the battle, the struggle,
the suffering.
1272
01:23:43,500 --> 01:23:46,083
But you're also free to do whatever
you want visually,
1273
01:23:46,292 --> 01:23:48,167
to communicate what Jake is feeling.
1274
01:23:48,208 --> 01:23:51,083
A hard left hand to the body,
Robinson is driven out of the ring...
1275
01:23:51,667 --> 01:23:53,792
How he perceives things in the ring.
1276
01:23:55,000 --> 01:23:56,625
Which makes it very personal.
1277
01:24:08,542 --> 01:24:10,708
LaMotta has taken charge of the fight,
1278
01:24:10,750 --> 01:24:13,750
the undefeated Sugar Ray,
his winning ways are in jeopardy.
1279
01:24:13,792 --> 01:24:15,000
LaMotta coming at him again.
1280
01:24:15,292 --> 01:24:16,875
LaMotta, feigning left hand...
1281
01:24:18,542 --> 01:24:20,542
At the end of the ballet of
The Red Shoes
,
1282
01:24:20,625 --> 01:24:23,083
the dancer's passion
carries her to her doom.
1283
01:24:27,042 --> 01:24:30,500
The ballet is an ecstatic celebration
of the glory of art.
1284
01:24:31,000 --> 01:24:33,750
But it also says
that being an artist
1285
01:24:34,750 --> 01:24:35,750
will destroy you.
1286
01:24:40,208 --> 01:24:43,917
It says that a true artist makes art
1287
01:24:44,375 --> 01:24:45,750
not because they want to
1288
01:24:46,708 --> 01:24:48,500
but because they have to.
1289
01:24:49,458 --> 01:24:52,417
It's not a choice, but a compulsion.
1290
01:24:55,458 --> 01:25:00,250
Of course, what made
Red Shoes
unique was that it was about art
1291
01:25:00,292 --> 01:25:01,833
and nothing but art.
1292
01:25:01,917 --> 01:25:04,292
And nothing but art,
the best of art, would do.
1293
01:25:06,542 --> 01:25:09,000
There's something of
both Michael and Emeric
1294
01:25:09,042 --> 01:25:12,500
in the film's most obsessive character,
Boris Lermontov
1295
01:25:14,792 --> 01:25:19,292
Powell Pressburger films
often deal with egocentric, volatile
1296
01:25:19,542 --> 01:25:21,417
addictive personalities.
1297
01:25:22,417 --> 01:25:25,833
But these characters speak to me
and it may be obvious that many
1298
01:25:25,917 --> 01:25:29,458
of the characters that I'm drawn to
are influenced by Powell's heroes.
1299
01:25:30,375 --> 01:25:34,917
They too are antiheroes,
broken people driven by conflicts.
1300
01:25:35,167 --> 01:25:37,500
Strangely, I can even see
1301
01:25:37,875 --> 01:25:41,083
something of an affinity between
Lermontov and Travis,
1302
01:25:41,125 --> 01:25:42,875
Travis Bickle in
Taxi Driver
1303
01:25:43,042 --> 01:25:45,708
because they're both characters
on the edge of things.
1304
01:25:45,958 --> 01:25:48,625
Listening, observing other people
1305
01:25:49,000 --> 01:25:51,000
always on the verge of exploding.
1306
01:26:40,833 --> 01:26:42,292
Good evening, Mr Craster.
1307
01:26:43,250 --> 01:26:45,458
Won't they be missing you
at the Covent Garden tonight?
1308
01:26:45,542 --> 01:26:47,417
[She speaks French]
1309
01:26:47,667 --> 01:26:49,750
Oh, for God's sake,
leave me alone, both of you.
1310
01:26:49,917 --> 01:26:52,750
Please Julian, wait until
after the performance.
1311
01:26:53,083 --> 01:26:54,333
It'll be too late then.
1312
01:26:54,417 --> 01:26:56,708
You are already too late, Mr Craster.
1313
01:26:57,667 --> 01:26:58,875
Tell him why you've left him.
1314
01:26:58,958 --> 01:27:00,875
- I haven't left him.
- Oh, yes, you have left him.
1315
01:27:00,917 --> 01:27:03,667
Nobody can have two lives
and your life is dancing.
1316
01:27:03,833 --> 01:27:07,333
What makes the drama of
The Red Shoes
so compelling to me is the fact
1317
01:27:07,375 --> 01:27:12,042
that all three of the main characters
are driven and tortured people.
1318
01:27:12,917 --> 01:27:14,167
Well, Vicky...
1319
01:27:14,625 --> 01:27:16,167
I love you, Julian.
1320
01:27:16,333 --> 01:27:17,667
Nobody but you.
1321
01:27:21,458 --> 01:27:22,833
But you love that more.
1322
01:27:24,042 --> 01:27:25,208
I don't know!
1323
01:27:25,542 --> 01:27:26,708
I don't know...
1324
01:27:29,375 --> 01:27:32,500
if you go with him now,
I will never take you back. Never!
1325
01:27:34,292 --> 01:27:35,917
Do you want to destroy our love?
1326
01:27:36,042 --> 01:27:38,083
Adolescent nonsense!
1327
01:27:39,042 --> 01:27:42,250
Alright, go then, go with him!
1328
01:27:42,292 --> 01:27:45,000
Be a faithful housewife!
1329
01:27:45,667 --> 01:27:48,292
Of course, a scene like this
is very risky.
1330
01:27:48,792 --> 01:27:51,208
The performances are pushed to the extreme
1331
01:27:52,125 --> 01:27:55,667
and it's easy to regard the whole thing
as trashy, pulp material.
1332
01:27:57,458 --> 01:28:01,583
But I see it as an impulsive and
instinctive heightening of reality.
1333
01:28:02,000 --> 01:28:03,625
Life is so unimportant.
1334
01:28:06,250 --> 01:28:10,708
And from now onwards, you will dance!
1335
01:28:11,708 --> 01:28:13,542
Like nobody ever before.
1336
01:28:23,792 --> 01:28:27,667
Eventually life and art come together
1337
01:28:28,208 --> 01:28:31,500
and the red shoes acquire
the same power in life
1338
01:28:32,250 --> 01:28:33,500
that they had in the ballet.
1339
01:28:36,500 --> 01:28:41,167
I will never forget that most vivid image
of Moira Shearer's eyes.
1340
01:28:41,417 --> 01:28:43,458
When the shoes begin to take her away.
1341
01:28:48,250 --> 01:28:50,125
Her face, grotesque,
1342
01:28:52,333 --> 01:28:55,042
echoes of an ancient tragic mask.
1343
01:28:59,583 --> 01:29:02,417
It's so bold and flamboyant and extreme.
1344
01:29:02,583 --> 01:29:06,833
I liked, I like that it sometimes
seems out of control.
1345
01:29:07,875 --> 01:29:10,000
Not the emotions of the characters,
1346
01:29:10,042 --> 01:29:12,500
but the emotions of the people
who made the film.
1347
01:29:12,708 --> 01:29:14,250
Their passion's out of control.
1348
01:29:15,208 --> 01:29:18,208
And their total commitment
to their fairytale story
1349
01:29:18,250 --> 01:29:20,583
creates an unforgettable climax.
1350
01:29:22,500 --> 01:29:23,625
No!
1351
01:29:30,917 --> 01:29:34,792
Why do you think it was so important for
you to show somebody dying for their art?
1352
01:29:35,042 --> 01:29:37,042
I think because I would do it myself.
1353
01:29:37,708 --> 01:29:39,208
- Really?
- Mm.
1354
01:29:42,958 --> 01:29:43,958
You don’t believe me.
1355
01:29:46,875 --> 01:29:50,250
When the executives of Rank
saw
The Red Shoes
, they hated it.
1356
01:29:50,917 --> 01:29:54,667
The company was increasingly in the hands
of bureaucrats and money men
1357
01:29:54,958 --> 01:29:58,542
who saw it as a disastrously
uncommercial art movie.
1358
01:29:59,167 --> 01:30:00,292
'RED SHOES' GETS ROUSING WELCOME
FROM N.Y. CRITICS
1359
01:30:00,333 --> 01:30:03,708
It was two Americans,
Bob Benjamin and Arthur Krim
1360
01:30:04,333 --> 01:30:06,708
who transformed the fortunes
of the picture
1361
01:30:07,083 --> 01:30:10,333
by running it continuously
in a single theater in New York.
1362
01:30:10,375 --> 01:30:11,792
THE RED SHOES ARE STILL DANCING
ON BROADWAY AFTER 2 YEARS!
1363
01:30:11,833 --> 01:30:15,833
From there, he went on to become
The Archers' most popular film.
1364
01:30:15,958 --> 01:30:18,750
One of the greatest
and most successful pictures ever made.
1365
01:30:20,417 --> 01:30:24,125
For me, it's the ultimate
subversive commercial movie.
1366
01:30:25,042 --> 01:30:27,292
It's the epitome of everything
that I admire most
1367
01:30:27,375 --> 01:30:28,583
about Powell and Pressburger.
1368
01:30:29,958 --> 01:30:32,958
It is utterly satisfying
as popular entertainment
1369
01:30:33,333 --> 01:30:36,292
but also wildly
inventive, profound,
1370
01:30:36,333 --> 01:30:39,292
complex and not
at all comforting.
1371
01:30:41,000 --> 01:30:44,083
It's a film that has been
gloriously vindicated by history.
1372
01:30:44,958 --> 01:30:46,833
But back in 1949
1373
01:30:46,875 --> 01:30:50,708
Michael and Emeric were so disgusted
by the way that Rank treated the picture
1374
01:30:51,458 --> 01:30:53,167
that they split from the company.
1375
01:30:56,042 --> 01:30:59,875
They crossed over to London Films and
linked up once again with Alex Korda.
1376
01:31:00,375 --> 01:31:03,625
Alex was the most pleasant,
1377
01:31:03,667 --> 01:31:05,833
fun-loving creature
1378
01:31:06,292 --> 01:31:08,083
who could charm money out,
1379
01:31:08,167 --> 01:31:12,375
not only those who had the money,
but strangely,
1380
01:31:13,083 --> 01:31:16,458
also of people, some people
who had no money at all.
1381
01:31:16,500 --> 01:31:18,917
Which, of course, ended in disaster.
1382
01:31:25,750 --> 01:31:29,167
The Small Back Room
was the first film
they made under their new deal.
1383
01:31:30,000 --> 01:31:33,042
And it represented another
startling change in direction.
1384
01:31:33,917 --> 01:31:37,708
Having just made
a huge Technicolor masterpiece,
1385
01:31:37,917 --> 01:31:40,917
Michael now decided, naturally,
that he wanted to make
1386
01:31:41,458 --> 01:31:42,833
a small black and white picture.
1387
01:31:43,917 --> 01:31:47,000
"I needed to escape
from romance into reality"
1388
01:31:47,250 --> 01:31:48,250
is how he put it.
1389
01:31:52,167 --> 01:31:54,375
The reality, of course,
is what The Archers
1390
01:31:54,417 --> 01:31:56,042
were always accused of avoiding.
1391
01:31:56,125 --> 01:31:58,583
So they now faced up
squarely to their critics
1392
01:31:58,750 --> 01:32:03,083
by taking a journey through
a bleak succession of blacked-out streets,
1393
01:32:03,375 --> 01:32:04,708
crowded pubs,
1394
01:32:04,958 --> 01:32:06,333
desolate flats
1395
01:32:06,625 --> 01:32:08,333
and stuffy offices.
1396
01:32:09,875 --> 01:32:12,042
What excited Michael most
about the film though,
1397
01:32:12,083 --> 01:32:14,708
was the troubled psychology
of the characters,
1398
01:32:15,333 --> 01:32:18,000
drawn from Nigel Balchin's
original novel.
1399
01:32:19,917 --> 01:32:20,958
I must have a drink.
1400
01:32:22,083 --> 01:32:23,375
Ask me to have a drink, woman.
1401
01:32:23,625 --> 01:32:24,750
Have a drink, Sammy.
1402
01:32:26,500 --> 01:32:27,500
Whiskey?
1403
01:32:30,583 --> 01:32:34,458
No, thanks, Susan.
I'll have some of my nice medicine.
1404
01:32:37,708 --> 01:32:41,917
Sammy, the central character
is a munitions expert
1405
01:32:42,000 --> 01:32:45,292
who's lost a foot,
and now wears a prosthetic.
1406
01:32:46,375 --> 01:32:48,083
Why don't you take the thing off?
1407
01:32:50,375 --> 01:32:51,583
You know that helps.
1408
01:32:52,000 --> 01:32:53,042
No.
1409
01:32:56,083 --> 01:32:57,333
You do when you're alone.
1410
01:32:58,333 --> 01:33:00,208
Why will you keep it on when I'm here?
1411
01:33:07,583 --> 01:33:09,042
It's all right now.
1412
01:33:10,250 --> 01:33:14,292
You must realize that you can have ideas
that'll win the war four times over...
1413
01:33:14,500 --> 01:33:17,458
but it still won't do anybody any good
unless you can sell them.
1414
01:33:17,917 --> 01:33:20,792
We're not in a university department now.
1415
01:33:20,833 --> 01:33:23,417
No, nor in an advertising agency,
where you belong.
1416
01:33:23,667 --> 01:33:24,667
Now look here, Sammy,
1417
01:33:24,875 --> 01:33:27,917
You may think you're a great big scientist
and I'm just a commercial stooge...
1418
01:33:27,958 --> 01:33:30,542
But the plain fact is if you make
a mess of things, I have to clear it up.
1419
01:33:30,583 --> 01:33:31,625
And the equally plain fact
1420
01:33:31,667 --> 01:33:34,375
is the stuff you build a reputation on
comes chiefly out of my head!
1421
01:33:34,417 --> 01:33:37,667
I'm not a politician or a salesman,
but neither am I a kid of ten.
1422
01:33:42,958 --> 01:33:45,375
Sammy's frequently in physical pain
1423
01:33:45,667 --> 01:33:49,500
and this feeds a craving for whiskey
that he struggles to control.
1424
01:33:49,542 --> 01:33:50,583
Sammy?
1425
01:33:53,417 --> 01:33:56,917
You could run the section yourself.
Even Pinker says so.
1426
01:33:57,333 --> 01:33:58,875
But you just won't face things.
1427
01:33:59,583 --> 01:34:02,583
You go on being sorry for yourself
with everything in the world to live for.
1428
01:34:03,458 --> 01:34:05,792
But what's so special about
only having one foot?
1429
01:34:05,833 --> 01:34:07,500
You just haven't got the guts!
1430
01:34:08,792 --> 01:34:11,333
- Will you shut up?
- Every word I said is true.
1431
01:34:11,708 --> 01:34:14,042
Oh, Sammy, you're such a fool.
1432
01:34:15,208 --> 01:34:16,917
Why don't you pull yourself together, Sue?
1433
01:34:17,375 --> 01:34:19,042
You're making an ass of yourself.
1434
01:34:22,333 --> 01:34:25,292
Next time you just decide to go home
when we're out together
1435
01:34:26,000 --> 01:34:27,833
I'd be obliged if you'd tell me.
1436
01:34:30,208 --> 01:34:33,292
The Archers demonstrated here
that if they chose
1437
01:34:33,708 --> 01:34:35,292
they could do heartfelt work
1438
01:34:35,750 --> 01:34:37,750
in the British realist tradition.
1439
01:34:38,583 --> 01:34:41,875
Reining in their instincts
for fantasy and comedy
1440
01:34:42,125 --> 01:34:44,958
and focusing instead on
the emotional truth
1441
01:34:45,083 --> 01:34:46,708
of a complicated love story.
1442
01:34:50,875 --> 01:34:54,292
I've been thinking, if you really think
I'm such a poor sap as you said tonight...
1443
01:34:55,458 --> 01:34:57,083
we'd better get out of
each other's way.
1444
01:34:59,250 --> 01:35:01,167
The same thought had occurred to me.
1445
01:35:07,375 --> 01:35:10,333
The finished film is
full of anger, and anguish
1446
01:35:11,083 --> 01:35:12,208
and the critics loved it.
1447
01:35:12,250 --> 01:35:14,417
Well, get out of it!
1448
01:35:17,750 --> 01:35:21,167
The only trouble was that
audiences just weren't interested.
1449
01:35:22,875 --> 01:35:24,292
They didn't want grim stories
1450
01:35:24,333 --> 01:35:26,917
which harked back to
the miseries of the war years.
1451
01:35:28,917 --> 01:35:30,750
So instead of being a new beginning,
1452
01:35:31,542 --> 01:35:34,708
The Small Back Room
proved to be a dead end.
1453
01:35:41,250 --> 01:35:42,833
In characteristic fashion,
1454
01:35:43,333 --> 01:35:47,000
the pair now bounced from
the bleakest picture they had ever made
1455
01:35:47,083 --> 01:35:49,083
into their most frivolous film to date.
1456
01:35:53,792 --> 01:35:57,208
Alexander Korda had directed
a very profitable version
1457
01:35:57,250 --> 01:36:00,417
of
The Scarlet Pimpernel
back in the 1930s.
1458
01:36:01,708 --> 01:36:05,792
And he now wanted it remade
as a Technicolor spectacular.
1459
01:36:08,583 --> 01:36:10,958
Sam Goldwyn would bring in
the Hollywood money.
1460
01:36:11,167 --> 01:36:14,292
And for the first time in their
partnership, Powell and Pressburger
1461
01:36:14,375 --> 01:36:17,500
found themselves doing something
that neither of them wanted to do,
1462
01:36:17,708 --> 01:36:20,208
a remake of a worn out classic.
1463
01:36:20,500 --> 01:36:23,500
Nobody can help you,
not even your government.
1464
01:36:25,583 --> 01:36:26,875
Now, what do you say?
1465
01:36:31,250 --> 01:36:32,958
You seem to have
thought of everything.
1466
01:36:34,375 --> 01:36:36,208
Nothing is left of me now, but to say...
1467
01:36:39,125 --> 01:36:40,250
congratulations.
1468
01:36:41,375 --> 01:36:42,792
You're very kind, Sir Percy.
1469
01:36:43,167 --> 01:36:47,292
They decided that the only thing to do
with the corny old Pimpernel story
1470
01:36:47,542 --> 01:36:50,542
was to transform it into
an exuberant entertainment
1471
01:36:50,750 --> 01:36:53,375
by filling it with comedy and music.
1472
01:37:00,500 --> 01:37:03,125
There's an impudent cinematic joke
when Cyril Cusack
1473
01:37:03,208 --> 01:37:05,333
finds himself sneezing uncontrollably,
1474
01:37:05,375 --> 01:37:07,542
and when he sneezes,
they cut to fireworks.
1475
01:37:08,125 --> 01:37:10,167
It's the most startling
imagery and editing,
1476
01:37:10,208 --> 01:37:11,667
it's got nothing to
do with the story.
1477
01:37:11,708 --> 01:37:12,750
I mean, it's not as though
1478
01:37:12,792 --> 01:37:14,917
there are fireworks going on
outside the walls in the movie.
1479
01:37:14,958 --> 01:37:18,000
It's simply a visual metaphor
coming right out of the blue.
1480
01:37:18,375 --> 01:37:21,167
You know, I think you--
Actually, you could trace it back
1481
01:37:21,500 --> 01:37:23,708
to early silent films
1482
01:37:23,917 --> 01:37:27,000
where often you could see
what a person's hearing.
1483
01:37:36,875 --> 01:37:39,000
Or it's like an experiment
in avant garde film
1484
01:37:39,042 --> 01:37:40,917
where anything can happen with images.
1485
01:37:41,042 --> 01:37:43,458
But for Michael and Emeric
to be doing this here
1486
01:37:43,875 --> 01:37:44,917
in the middle of a drama,
1487
01:37:45,625 --> 01:37:49,167
for me, it represents their pure enjoyment
in just making movies.
1488
01:37:51,125 --> 01:37:52,792
But back in 1950
1489
01:37:53,000 --> 01:37:55,542
you didn't make fun of the plot
in an adventure story.
1490
01:37:56,083 --> 01:37:58,500
And Sam Goldwyn hated them for it.
1491
01:37:58,750 --> 01:38:03,000
All he wanted was a color version
of the original picture.
1492
01:38:03,750 --> 01:38:07,917
So they had to do reshoots and re-edits
And the result was a miserable
1493
01:38:08,292 --> 01:38:10,708
compromise which satisfied nobody.
1494
01:38:15,833 --> 01:38:18,000
In the same difficult year of 1950,
1495
01:38:18,125 --> 01:38:21,625
They entered into another co-production
with another big Hollywood producer,
1496
01:38:21,708 --> 01:38:23,125
David Selznick.
1497
01:38:24,333 --> 01:38:27,125
This time, the film was
Gone to Earth
,
1498
01:38:27,750 --> 01:38:30,375
a steamy tale of Shropshire folk
1499
01:38:30,750 --> 01:38:32,625
based on a novel by Mary Webb.
1500
01:38:34,167 --> 01:38:36,500
Selznick wanted the movie
to be a showcase
1501
01:38:36,542 --> 01:38:38,458
for his new wife Jennifer Jones,
1502
01:38:38,750 --> 01:38:40,500
who turned out to be terrific.
1503
01:38:41,500 --> 01:38:44,083
We were delighted to have Jennifer Jones.
1504
01:38:44,250 --> 01:38:46,542
Not so delighted with Selznick.
1505
01:38:47,125 --> 01:38:48,792
He was madly in love with her.
1506
01:38:49,292 --> 01:38:51,792
And intensely possessive.
1507
01:38:52,292 --> 01:38:54,708
And also afraid to come on the set
when she was there
1508
01:38:54,750 --> 01:38:56,458
because she would throw something at him.
1509
01:38:56,917 --> 01:38:58,958
And so you can,
1510
01:38:59,000 --> 01:39:02,875
you were continually conscious of
a glaring eyeball from behind the set.
1511
01:39:03,417 --> 01:39:06,542
Gone to earth!
1512
01:39:06,667 --> 01:39:09,417
Gone to Earth
is a kind of
gothic masterpiece.
1513
01:39:09,833 --> 01:39:12,375
It's full of Michael's
deep feeling for the land,
1514
01:39:12,583 --> 01:39:16,583
the natural world
and the rituals of English country life.
1515
01:39:42,042 --> 01:39:43,667
"When at once, a little of midnight
1516
01:39:44,583 --> 01:39:48,167
climbed to the steepest stones on
the top of God's little mountain.
1517
01:39:50,500 --> 01:39:52,833
lay your shawl on the devil's chair
1518
01:39:54,083 --> 01:39:55,375
and walk around it.
1519
01:39:58,667 --> 01:39:59,875
Ask your wish."
1520
01:40:01,125 --> 01:40:03,250
If I be to go to
"Hunter's Spinney..."
1521
01:40:04,458 --> 01:40:05,750
If I be to go...
1522
01:40:06,958 --> 01:40:08,833
let me hear the fairy music.
1523
01:40:55,125 --> 01:40:58,958
Jennifer Jones' character Hazel
is a wild thing
1524
01:40:59,375 --> 01:41:01,542
in a world of traps and snares.
1525
01:41:04,208 --> 01:41:05,458
They're after us, Foxy.
1526
01:41:13,167 --> 01:41:14,250
Which way are they headin'?
1527
01:41:14,333 --> 01:41:15,958
"Hunter's Spinney"! This way!
1528
01:41:16,125 --> 01:41:18,542
- They'll pull you down!
- Drop it, they'll pull you down!
1529
01:41:19,208 --> 01:41:21,167
Give her to me, you little fool,
give her to me!
1530
01:41:21,875 --> 01:41:27,375
Gone to earth!
1531
01:41:27,458 --> 01:41:31,833
The trouble was that Selznick then refused
to accept the film that they delivered.
1532
01:41:32,208 --> 01:41:35,208
At the end, his conception of the film...
1533
01:41:36,167 --> 01:41:37,167
was different.
1534
01:41:37,542 --> 01:41:40,208
And he wanted us to make changes
and we didn't.
1535
01:41:40,292 --> 01:41:42,792
And he had the film for North America.
1536
01:41:42,833 --> 01:41:45,375
So he shot extra scenes with Jennifer,
1537
01:41:45,458 --> 01:41:47,667
I think Rouben Mamoulian shot them.
1538
01:41:48,708 --> 01:41:54,333
Selznick ended up suing them and releasing
his own version called
The Wild Heart
.
1539
01:41:54,833 --> 01:41:56,333
So The Archer's two attempts
1540
01:41:56,375 --> 01:41:58,750
to make commercial pictures
with Hollywood producers
1541
01:41:59,167 --> 01:42:03,125
both turned into a shambles
of recrimination and lawsuits.
1542
01:42:04,208 --> 01:42:07,875
The switch from wartime idealism
to peacetime commercialism
1543
01:42:08,083 --> 01:42:10,250
was proving to be very tough.
1544
01:42:11,583 --> 01:42:14,500
Creatively speaking,
everything was going awry
1545
01:42:14,792 --> 01:42:19,625
and the partners urgently needed to get
back to making their own kind of pictures.
1546
01:42:24,042 --> 01:42:27,042
It was the conductor Mr Thomas Beecham
1547
01:42:27,083 --> 01:42:30,833
who proposed a film of Offenbach's opera,
TALES OF HOFFMANN
.
1548
01:42:31,625 --> 01:42:33,542
And Emeric seized on the idea.
1549
01:42:34,417 --> 01:42:36,833
Music was always his first love
among the arts.
1550
01:42:37,750 --> 01:42:42,375
Emeric also found a fellow spirit
in the German writer Hoffmann.
1551
01:42:42,500 --> 01:42:47,292
They had a shared taste for the magical,
the morbid and the fantastical.
1552
01:42:49,500 --> 01:42:54,625
In the first tale, Hoffmann falls in
love with a mechanical doll, Olympia.
1553
01:42:56,208 --> 01:42:58,458
That young fellow there, I vow
1554
01:42:58,500 --> 01:43:00,542
Very soon will pop the question
1555
01:43:00,583 --> 01:43:05,625
My friend indeed
1556
01:43:27,667 --> 01:43:29,292
What excited Michael here
1557
01:43:29,583 --> 01:43:33,292
was the radical idea of
rethinking opera as cinema
1558
01:43:33,875 --> 01:43:36,208
by transforming it into dance.
1559
01:43:36,375 --> 01:43:39,667
Birds in woodland ways
Are winging...
1560
01:43:39,708 --> 01:43:42,708
He cast dancers, rather
than singers, in key parts.
1561
01:43:43,542 --> 01:43:45,667
This brought the stories to life visually
1562
01:43:46,083 --> 01:43:49,667
and drove the production
towards Michael's ideal of a film
1563
01:43:49,750 --> 01:43:51,500
in which everything is choreographed.
1564
01:44:11,208 --> 01:44:13,250
The whole thing was shot
like a silent movie
1565
01:44:13,292 --> 01:44:15,333
with music always played back on the set.
1566
01:44:15,500 --> 01:44:17,458
So the performers and the crew
1567
01:44:17,917 --> 01:44:19,625
were all under the spell of it.
1568
01:44:23,458 --> 01:44:27,500
Of course, movement itself is central
to the art of motion pictures.
1569
01:44:27,750 --> 01:44:29,708
I love the way a camera can move.
1570
01:44:30,292 --> 01:44:32,458
I love cutting from
one movement to another.
1571
01:44:33,208 --> 01:44:36,875
And in those special moments
when everything is moving just right,
1572
01:44:38,250 --> 01:44:40,792
whether you're on the set
or you're in the editing room,
1573
01:44:41,000 --> 01:44:43,792
you feel possessed by
a very powerful energy.
1574
01:44:47,167 --> 01:44:49,750
When I'm asked out of all movies,
what is your favorite scene?
1575
01:44:50,917 --> 01:44:52,792
I always think about the sword fight
1576
01:44:52,917 --> 01:44:54,958
in the Gondola in
Hoffmann
.
1577
01:45:06,708 --> 01:45:09,000
It's so supple and fluid.
1578
01:45:10,167 --> 01:45:13,458
Thoroughly, physical
and entirely dreamlike.
1579
01:45:16,167 --> 01:45:17,625
There's no sound effects at all.
1580
01:45:19,208 --> 01:45:20,583
It's both very immediate
1581
01:45:21,792 --> 01:45:22,792
and very distant.
1582
01:45:29,542 --> 01:45:32,042
And it's something that
no other art form can do.
1583
01:45:33,000 --> 01:45:34,042
It's pure film.
1584
01:45:50,833 --> 01:45:55,208
Practically every technique known
to movies is employed in
Hoffmann
1585
01:45:55,375 --> 01:45:59,708
and there's absolutely no respect
for conventional continuity.
1586
01:46:06,167 --> 01:46:08,083
The film keeps surpassing itself
1587
01:46:08,167 --> 01:46:10,583
with the surreal and surprising
nature of its imagery.
1588
01:46:11,292 --> 01:46:16,000
You get broad theatrical effects
combined with perfect cinematic detail.
1589
01:46:16,833 --> 01:46:19,167
Like the movement of Olympia's eyes here.
1590
01:46:23,375 --> 01:46:26,125
And the eyes are choreographed too,
just like everything else.
1591
01:46:28,458 --> 01:46:31,542
I always noticed that,
particularly with Robert Helpmann's eyes
1592
01:46:32,250 --> 01:46:33,292
just a glance
1593
01:46:33,750 --> 01:46:35,750
and it's as if he danced five steps.
1594
01:46:39,208 --> 01:46:42,625
One of Michael's favorite mantras was
"All Art is One".
1595
01:46:43,458 --> 01:46:45,000
Because he believed that in a film,
1596
01:46:45,208 --> 01:46:49,458
you could bring together literature,
music, dance, drama and design
1597
01:46:49,875 --> 01:46:54,667
to create a kind of total cinema that
would transcend the traditional arts.
1598
01:46:57,500 --> 01:47:00,708
The Tales of Hoffmann
is the closest
that he got to achieving that.
1599
01:47:04,000 --> 01:47:08,917
It also represented the fulfillment
of all his most adventurous ideas.
1600
01:47:09,875 --> 01:47:13,000
I mean, the whole thing
is both a composed film
1601
01:47:13,292 --> 01:47:16,208
like the 10 minute experiment
in
Black Narcissus
1602
01:47:16,542 --> 01:47:21,333
and a surreal psychodrama,
like the ballet in
The Red Shoes
.
1603
01:47:23,542 --> 01:47:26,792
The result is a film that
performs like a symphony.
1604
01:47:26,833 --> 01:47:29,125
You can watch it over and over again,
1605
01:47:29,292 --> 01:47:31,250
discovering new things each time.
1606
01:47:34,417 --> 01:47:37,750
It's as close to pure expression
as cinema can get.
1607
01:47:37,958 --> 01:47:39,750
Just image after image
1608
01:47:39,833 --> 01:47:43,542
designed to communicate feelings
in a very explicit way.
1609
01:48:06,083 --> 01:48:08,250
History was made
in New York last weekend,
1610
01:48:08,292 --> 01:48:10,792
as for the first time,
the Metropolitan Opera House
1611
01:48:10,833 --> 01:48:12,250
was turned into a cinema.
1612
01:48:12,792 --> 01:48:14,875
And the reason was
Tales of Hoffmann
,
1613
01:48:15,083 --> 01:48:18,667
a new British picture from London Films,
given its world premiere
1614
01:48:18,708 --> 01:48:21,542
at a gala social occasion
in aid of the Red Cross.
1615
01:48:24,292 --> 01:48:26,250
After the big premiere in New York,
1616
01:48:26,875 --> 01:48:31,083
Powell and Pressburger got a letter of
congratulations from one of their heroes,
1617
01:48:31,292 --> 01:48:32,458
Cecil B DeMille.
1618
01:48:32,500 --> 01:48:34,375
I THANK YOU FOR OUSTANDING
COURAGE AND ARTISTRY
1619
01:48:36,875 --> 01:48:40,125
But a painful controversy developed when
the film was shown at Cannes,
1620
01:48:40,875 --> 01:48:44,375
Alex Korda thought the third act
was slow and dull
1621
01:48:44,583 --> 01:48:45,833
and it ought to be cut out.
1622
01:48:46,667 --> 01:48:48,625
Michael adamantly refused,
1623
01:48:49,000 --> 01:48:51,000
but he felt that Emeric
was siding with Korda.
1624
01:48:51,500 --> 01:48:52,625
And he took this badly.
1625
01:48:53,333 --> 01:48:55,875
It was the last time that Michael
would work with Korda.
1626
01:48:56,708 --> 01:48:57,792
Or worse than that,
1627
01:48:58,417 --> 01:49:03,333
it shook the firm foundations of trust
between him and Emeric.
1628
01:49:07,292 --> 01:49:09,708
There was now a grim period
of three years
1629
01:49:09,750 --> 01:49:12,750
during which the partners
didn't make a single film together.
1630
01:49:14,250 --> 01:49:16,708
Michael was full of ambitious ideas,
1631
01:49:16,917 --> 01:49:18,958
but he insisted on creative freedom.
1632
01:49:20,292 --> 01:49:21,625
And who would give him that now
1633
01:49:21,667 --> 01:49:24,417
that he's burned his bridges
with Korda and Rank?
1634
01:49:29,417 --> 01:49:33,792
Frustrated and restless, he spent
a lot of time traveling the world.
1635
01:49:35,333 --> 01:49:37,417
He was a celebrity, an important man,
1636
01:49:37,458 --> 01:49:40,917
but he was not sure what to do
with himself anymore.
1637
01:49:42,083 --> 01:49:44,792
Michael dreamed of adventurous
productions with great artists,
1638
01:49:44,833 --> 01:49:46,292
maybe financed by television.
1639
01:49:46,958 --> 01:49:49,208
And one idea was a story from the Odyssey
1640
01:49:49,292 --> 01:49:52,333
starring Orson Welles with
a libretto by Dylan Thomas,
1641
01:49:52,667 --> 01:49:54,083
and music by Stravinsky.
1642
01:49:56,292 --> 01:49:58,375
Emeric was always
the more practical of the two.
1643
01:49:58,417 --> 01:50:01,000
He went back to Korda
to direct a film on his own.
1644
01:50:01,667 --> 01:50:04,917
This was a tale for children called
Twice Upon a Time
.
1645
01:50:05,750 --> 01:50:07,208
But it was not a success.
1646
01:50:09,583 --> 01:50:13,417
The shaken and embattled partnership
tried to recover their momentum
1647
01:50:13,708 --> 01:50:15,333
with all kinds of new projects.
1648
01:50:16,250 --> 01:50:18,083
But they couldn't get anything
off the ground.
1649
01:50:22,083 --> 01:50:24,542
There just wasn't much money around
for British film production
1650
01:50:24,625 --> 01:50:26,250
in the early fifties, and it was hard
1651
01:50:26,542 --> 01:50:29,417
to make any kind of deal without
losing their independence.
1652
01:50:29,708 --> 01:50:32,292
I mean, you want to make a picture
and you want to get the money,
1653
01:50:32,375 --> 01:50:35,542
well, you know, you go everywhere you talk
to everybody, you do what you can.
1654
01:50:35,583 --> 01:50:38,625
But Michael and Emeric weren't used
to working that way.
1655
01:50:39,375 --> 01:50:41,333
They wanted to hang on
to their independence
1656
01:50:41,542 --> 01:50:42,917
and they suffered because of it.
1657
01:50:45,125 --> 01:50:48,917
The stress and strain seemed to drag
the two men in opposite directions,
1658
01:50:49,208 --> 01:50:52,292
with Michael becoming
more idealistic and combative
1659
01:50:52,333 --> 01:50:56,750
while Emeric grew
more disappointed and frustrated.
1660
01:50:58,750 --> 01:51:02,958
Eventually they scraped together
the wherewithal to make
Oh... Rosalinda!!
1661
01:51:03,458 --> 01:51:05,542
An updating of
Die Fledermaus
1662
01:51:05,708 --> 01:51:07,875
set in contemporary Vienna.
1663
01:51:08,500 --> 01:51:12,042
The slogan of the movie suited
their mood at the time:
1664
01:51:12,375 --> 01:51:15,250
"The situation is hopeless
but not serious."
1665
01:51:15,708 --> 01:51:16,792
It seems to me
1666
01:51:17,750 --> 01:51:18,792
with great respect
1667
01:51:18,958 --> 01:51:21,750
to have happened like this!
1668
01:51:29,167 --> 01:51:32,958
The film starts off promisingly with
an utterly distinctive design
1669
01:51:33,333 --> 01:51:36,250
and some characteristically
ambitious ideas.
1670
01:51:38,708 --> 01:51:41,458
But it never quite lives up
to that early promise.
1671
01:51:58,250 --> 01:51:59,667
Rosalinda!
1672
01:52:00,500 --> 01:52:04,042
It is not a composed film,
like their best musical works,
1673
01:52:04,500 --> 01:52:06,958
but something looser and less disciplined.
1674
01:52:07,292 --> 01:52:09,125
And I think they never
really had the money
1675
01:52:09,167 --> 01:52:12,042
that they needed to carry through
their ideas with conviction
1676
01:52:15,417 --> 01:52:19,500
and the champagne that the film offers
mostly turns out to be flat
1677
01:52:19,708 --> 01:52:20,958
rather than sparkling.
1678
01:52:24,417 --> 01:52:26,750
The British public,
certainly disappointed Emeric
1679
01:52:26,792 --> 01:52:29,917
by refusing to share his very
European taste for operetta.
1680
01:52:30,875 --> 01:52:34,833
And the partners were by now desperately
in need of some kind of success.
1681
01:52:36,917 --> 01:52:40,250
The next job they took on was
an old-fashioned war movie called
1682
01:52:40,708 --> 01:52:42,167
The Battle of the River Plate.
1683
01:52:43,958 --> 01:52:46,708
Michael had a great time shooting it
because he was allowed
1684
01:52:46,750 --> 01:52:49,042
to take command of
a large fleet of warships
1685
01:52:49,333 --> 01:52:52,792
in order to get the film's
magnificent shots of ships at sea.
1686
01:53:03,208 --> 01:53:06,500
What gave the images their
spectacular impact on the screen
1687
01:53:06,917 --> 01:53:10,458
was the fact that they were shot in
the new widescreen format of VistaVision
1688
01:53:10,583 --> 01:53:12,667
which was like the IMAX of its day.
1689
01:53:13,750 --> 01:53:16,167
You sat in the cinema and
you felt like you were on the deck
1690
01:53:16,250 --> 01:53:17,292
of one of those ships.
1691
01:53:20,208 --> 01:53:22,625
The scale and clarity of it was magical.
1692
01:53:29,667 --> 01:53:33,250
And out of nowhere, the pair
suddenly had a box office hit again.
1693
01:53:33,583 --> 01:53:37,042
The Empire Theater in Leicester Square
was the magnet that drew a vast crowd
1694
01:53:37,125 --> 01:53:39,542
of Londoners who came
to see all they could
1695
01:53:39,583 --> 01:53:41,583
of those attending
the Royal Film Performance.
1696
01:53:41,917 --> 01:53:44,083
Young French star Brigitte Bardot,
for example.
1697
01:53:46,000 --> 01:53:49,917
And Mrs Arthur Miller, who you probably
know even better as Marilyn Monroe.
1698
01:53:51,292 --> 01:53:53,208
Her Majesty talking with Miss Monroe
1699
01:53:53,292 --> 01:53:55,375
remarks that they were
neighbors at Windsor.
1700
01:53:56,000 --> 01:53:58,292
Dramatically speaking, for the first time,
1701
01:53:58,875 --> 01:54:00,917
they had made
a very conventional movie.
1702
01:54:01,917 --> 01:54:04,208
With nothing surprising or new about it.
1703
01:54:06,417 --> 01:54:09,958
...it's suicide,
she’s tearing herself apart!
1704
01:54:11,292 --> 01:54:13,250
The twilight of the gods.
1705
01:54:15,917 --> 01:54:17,625
But the success of
River Plate
1706
01:54:17,875 --> 01:54:20,792
meant that they suddenly
had standing in the industry again
1707
01:54:21,083 --> 01:54:24,417
and Rank offered them
a five-year contract for seven films.
1708
01:54:25,542 --> 01:54:27,750
Emeric was eager to accept,
but Michael feared that
1709
01:54:27,792 --> 01:54:31,750
they would end up making mediocre pictures
full of mediocre contract players.
1710
01:54:32,042 --> 01:54:35,875
And he couldn't stomach the idea of
giving up their dreams and their autonomy.
1711
01:54:37,167 --> 01:54:40,250
Eventually he agreed to do
just one film for Rank
1712
01:54:40,375 --> 01:54:43,375
and this would be
Ill Met by Moonlight
.
1713
01:54:54,000 --> 01:54:56,458
The subject might have been
a great one for The Archers.
1714
01:54:56,792 --> 01:54:59,542
It was based on the true story
of Paddy Leigh Fermor,
1715
01:54:59,958 --> 01:55:01,333
a very British hero,
1716
01:55:01,958 --> 01:55:03,333
a gentleman amateur,
1717
01:55:04,167 --> 01:55:08,125
who managed to kidnap a German general
on Crete during World War II.
1718
01:55:14,792 --> 01:55:15,833
Come on!
1719
01:55:23,208 --> 01:55:25,792
The problem with the film is that
Emeric wanted to tell the story
1720
01:55:25,833 --> 01:55:28,000
in a downbeat documentary way,
1721
01:55:28,208 --> 01:55:30,833
while Michael wanted to make
a big romantic picture.
1722
01:55:45,667 --> 01:55:50,250
Once again, the VistaVision camera
afforded some big beautiful images.
1723
01:55:50,500 --> 01:55:54,250
But at its heart, the film was confused
and it was uninspired.
1724
01:56:01,833 --> 01:56:05,208
Michael felt that Emeric
had become tired and timid
1725
01:56:05,458 --> 01:56:08,083
and that he had lost
all his fire and ambition.
1726
01:56:08,958 --> 01:56:11,167
Emeric felt that Michael had gone mad
1727
01:56:11,458 --> 01:56:14,583
and become wildly unreasonable
about everything.
1728
01:56:16,250 --> 01:56:20,583
Michael hated Rank's choice
of Dirk Bogarde as the lead.
1729
01:56:21,625 --> 01:56:22,958
Come on, flash the signal.
1730
01:56:23,000 --> 01:56:24,208
Sugar baker, SB.
1731
01:56:24,542 --> 01:56:25,792
How do I flash "sugar baker"?
1732
01:56:27,583 --> 01:56:29,208
Don't you know the Morse code?
1733
01:56:29,250 --> 01:56:30,958
Me? But don't you...
1734
01:56:31,292 --> 01:56:32,292
No.
1735
01:56:33,917 --> 01:56:34,917
So...
1736
01:56:36,417 --> 01:56:37,667
Do you know the Morse code?
1737
01:56:38,167 --> 01:56:39,167
But of course.
1738
01:56:40,875 --> 01:56:42,542
Aren't you professional soldiers?
1739
01:56:42,833 --> 01:56:43,833
Good lord, no.
1740
01:56:44,333 --> 01:56:45,333
The Major here?
1741
01:56:45,792 --> 01:56:48,625
No, an amateur, distinguished
amateur, but still an amateur.
1742
01:56:49,667 --> 01:56:52,292
Michael was refused permission
to shoot in Crete,
1743
01:56:52,500 --> 01:56:54,625
and had to make the film
in France instead.
1744
01:56:57,250 --> 01:57:00,708
Everything added up to make a weary
and troubled production
1745
01:57:00,917 --> 01:57:02,792
that no one really believed in.
1746
01:57:04,833 --> 01:57:07,042
When Michael saw the film 30 years later,
1747
01:57:07,208 --> 01:57:09,500
even he was surprised
by how poor it was.
1748
01:57:10,250 --> 01:57:13,750
He felt the acting was mediocre,
the camera work a mistake.
1749
01:57:14,042 --> 01:57:18,667
And even in 1957, the whole thing
must have looked painfully old-fashioned.
1750
01:57:18,792 --> 01:57:21,542
"The script was underwritten,
and weak on action", he said
1751
01:57:21,708 --> 01:57:23,167
"the gags were unoriginal
1752
01:57:23,333 --> 01:57:24,667
and the surprises,
1753
01:57:24,708 --> 01:57:26,125
not surprising."
1754
01:57:29,583 --> 01:57:32,458
During the editing
the Powell and Pressburger team
1755
01:57:32,500 --> 01:57:36,167
faced up to the fact that they
no longer saw things in the same way,
1756
01:57:36,375 --> 01:57:38,917
and decided to dissolve their partnership.
1757
01:57:42,667 --> 01:57:45,000
I didn't like being tied
down to the facts.
1758
01:57:45,375 --> 01:57:49,583
Yes, I read that you resisted
that sort of realism and wanted to--
1759
01:57:49,750 --> 01:57:52,583
-
Bit more imagination in it.
- Oh, yes. And...
1760
01:57:52,875 --> 01:57:55,875
and so we sort of naturally
drifted apart on this.
1761
01:57:56,833 --> 01:57:58,417
On this idea.
1762
01:57:58,500 --> 01:58:01,125
You didn't have a sort of
hammer and tongs argument and...
1763
01:58:01,167 --> 01:58:02,250
No, no.
1764
01:58:02,375 --> 01:58:06,000
Throwing down the gauntlet for realism
and you marching off in a huff about...
1765
01:58:06,333 --> 01:58:10,542
No, it was just a rather sad mutual gap.
1766
01:58:11,500 --> 01:58:13,042
You can't have
a mutual gap, can you?
1767
01:58:13,417 --> 01:58:17,208
A sad gap which opened
between two loving people.
1768
01:58:18,292 --> 01:58:20,833
This is the way Emeric summed up
the partnership once.
1769
01:58:21,583 --> 01:58:25,250
"I always had the feeling that we were
amateurs in a world of professionals.
1770
01:58:25,458 --> 01:58:28,458
Amateurs stand so much closer
to what they are doing
1771
01:58:28,583 --> 01:58:30,292
and they are driven by enthusiasm,
1772
01:58:30,667 --> 01:58:34,708
which is so much more forceful than
what professionals are driven by."
1773
01:58:36,542 --> 01:58:40,625
People are always asking us how
we managed to work together for so long.
1774
01:58:40,667 --> 01:58:42,208
Something like eighteen years.
1775
01:58:43,500 --> 01:58:44,625
The answer is
1776
01:58:45,500 --> 01:58:46,542
love.
1777
01:58:47,583 --> 01:58:49,333
You can't have a collaboration
1778
01:58:50,083 --> 01:58:51,125
in anything
1779
01:58:51,625 --> 01:58:52,708
without love.
1780
01:58:55,000 --> 01:58:57,542
Emeric and Michael
always remained good friends
1781
01:58:57,583 --> 01:59:00,500
and neither man ever said
a bad word about the other.
1782
01:59:01,625 --> 01:59:06,583
I started to write novels.
Very, very few of them, only two.
1783
01:59:06,750 --> 01:59:07,750
And...
1784
01:59:08,208 --> 01:59:10,833
well, I think nice novels.
1785
01:59:16,750 --> 01:59:18,792
Mark, what a beautiful little boy.
1786
01:59:19,042 --> 01:59:20,042
Who is he?
1787
01:59:20,833 --> 01:59:21,833
Me.
1788
01:59:23,500 --> 01:59:24,667
Course it is.
1789
01:59:25,000 --> 01:59:26,208
Then who took this film?
1790
01:59:28,250 --> 01:59:29,250
My father.
1791
01:59:31,250 --> 01:59:34,500
Michael went on to make one more
great film without Emeric.
1792
01:59:34,958 --> 01:59:36,333
Ah! What's that?
1793
01:59:41,583 --> 01:59:43,375
That was
Peeping Tom
.
1794
01:59:44,208 --> 01:59:48,542
And for me, it represents Michael's
determination to keep on experimenting.
1795
01:59:51,125 --> 01:59:52,292
Mark, what are you doing?
1796
01:59:52,417 --> 01:59:54,250
Wanted to photograph you watching.
1797
01:59:54,458 --> 01:59:55,458
No, no!
1798
01:59:56,583 --> 01:59:58,958
Michael even included
himself in this story
1799
01:59:59,000 --> 02:00:00,917
casting himself as
the bullying father
1800
02:00:00,958 --> 02:00:04,417
who terrifies his own child
in order to study his fear.
1801
02:00:08,292 --> 02:00:09,292
What's he doing?
1802
02:00:11,583 --> 02:00:12,792
Giving me a present.
1803
02:00:14,417 --> 02:00:15,417
What is it?
1804
02:00:17,167 --> 02:00:18,292
Can't you guess?
1805
02:00:21,917 --> 02:00:23,000
A camera.
1806
02:00:27,375 --> 02:00:29,125
That child grows up to be a killer.
1807
02:00:29,292 --> 02:00:31,542
And what's most unsettling about it,
1808
02:00:31,667 --> 02:00:34,250
of course, is that he's
shown sympathetically.
1809
02:00:34,375 --> 02:00:36,542
As a shy and suffering person.
1810
02:00:36,625 --> 02:00:37,625
Switch it off, Mark!
1811
02:00:40,125 --> 02:00:41,500
Mark, switch it off!
1812
02:00:41,750 --> 02:00:44,542
His trouble is that he is not
at home in this world
1813
02:00:45,375 --> 02:00:47,500
and he feels truly alive and whole
1814
02:00:47,625 --> 02:00:52,042
only in the images he creates
built from the destruction of others.
1815
02:00:53,958 --> 02:00:57,250
Every night you switch on
that film machine.
1816
02:00:59,167 --> 02:01:02,833
What are these films
you can't wait to look at?
1817
02:01:04,750 --> 02:01:06,458
What's the film you're showing now?
1818
02:01:08,500 --> 02:01:10,583
Take me to your cinema.
1819
02:01:11,375 --> 02:01:12,375
Yes.
1820
02:01:14,208 --> 02:01:16,708
The atmosphere that
permeates the whole film
1821
02:01:16,750 --> 02:01:19,125
is one of overwhelming sadness.
1822
02:01:22,042 --> 02:01:23,917
What am I seeing, Mark?
1823
02:01:28,792 --> 02:01:30,125
Why don't you answer?
1824
02:01:36,583 --> 02:01:37,583
Oh!
1825
02:01:40,417 --> 02:01:41,417
It's no good.
1826
02:01:42,333 --> 02:01:44,167
I was afraid it wouldn't be.
1827
02:01:44,875 --> 02:01:45,875
What?
1828
02:01:46,208 --> 02:01:47,875
The lights fade too soon.
1829
02:01:48,500 --> 02:01:51,125
It's a very disturbing
and transgressive film,
1830
02:01:51,542 --> 02:01:53,458
but it's also very moving because
1831
02:01:53,625 --> 02:01:57,250
at the heart of it
is this radical compassion,
1832
02:01:58,208 --> 02:02:00,208
it asks you to feel for someone
1833
02:02:00,250 --> 02:02:02,000
who is a madman and a murderer.
1834
02:02:02,042 --> 02:02:03,750
What do you think you've spoiled?
1835
02:02:04,625 --> 02:02:05,708
An opportunity.
1836
02:02:07,417 --> 02:02:09,167
Now, I have to find another one.
1837
02:02:14,500 --> 02:02:15,583
Watch them, Helen.
1838
02:02:16,375 --> 02:02:17,750
Watch them, say goodbye,
1839
02:02:18,417 --> 02:02:19,458
one by one.
1840
02:02:20,167 --> 02:02:21,750
I have timed it so often.
1841
02:02:30,833 --> 02:02:31,708
Helen!
1842
02:02:31,875 --> 02:02:32,875
Helen!
1843
02:02:33,250 --> 02:02:34,250
I'm afraid.
1844
02:02:34,875 --> 02:02:36,750
No, no, Mark!
1845
02:02:40,500 --> 02:02:41,583
And I'm glad...
1846
02:02:42,583 --> 02:02:43,583
I'm afraid.
1847
02:02:46,458 --> 02:02:49,417
"I was shocked to the core
to find a director of his standing
1848
02:02:49,458 --> 02:02:54,208
befouling the screen
with such perverted nonsense."
1849
02:02:54,542 --> 02:02:59,292
"The word for Michael Powell's
Peeping Tom
is, quite simply, nasty."
1850
02:02:59,625 --> 02:03:03,167
"
Peeping Tom
stinks more than
anything else in British films
1851
02:03:03,208 --> 02:03:05,083
since
The Stranglers of Bombay
."
1852
02:03:05,667 --> 02:03:09,042
"The only really satisfactory way
to dispose of
Peeping Tom
1853
02:03:09,125 --> 02:03:12,625
would be to shovel it up and flush it
swiftly down the nearest sewer."
1854
02:03:13,333 --> 02:03:15,583
I believed in the film,
they didn't.
1855
02:03:16,500 --> 02:03:18,500
It vanished for 20 years.
1856
02:03:19,292 --> 02:03:20,667
And I vanished with it.
1857
02:03:21,417 --> 02:03:23,042
I was no longer bankable.
1858
02:03:23,375 --> 02:03:24,917
I was too independent.
1859
02:03:25,458 --> 02:03:26,958
I wanted my own way.
1860
02:03:28,125 --> 02:03:31,667
The other thing that counted against
Michael was the fact that by now
1861
02:03:32,167 --> 02:03:33,583
it was the 60s.
1862
02:03:34,000 --> 02:03:35,542
Tony Richardson, Karel Reisz,
1863
02:03:35,583 --> 02:03:37,958
Lindsay Anderson were
making fresh energetic,
1864
02:03:38,083 --> 02:03:41,500
a kind of classic films which drew
on the documentary tradition
1865
02:03:41,708 --> 02:03:44,000
and the ideas of
the European New Wave.
1866
02:03:45,333 --> 02:03:47,542
This is Ron, I want a word with you!
1867
02:03:47,583 --> 02:03:51,542
For these young men,
Michael represented ancient history.
1868
02:03:52,750 --> 02:03:54,792
- Give me my money back!
- Call it!
1869
02:04:00,500 --> 02:04:01,500
Cut!
1870
02:04:01,750 --> 02:04:03,792
I go out of frame,
you don't follow me at all?
1871
02:04:03,875 --> 02:04:06,542
- No, we don't follow you.
- Oh, it’s alright then. Alright, good.
1872
02:04:06,583 --> 02:04:07,667
Oh, sorry...
1873
02:04:07,708 --> 02:04:11,625
No, I had a feeling in that take
that I was opening my mouth
1874
02:04:11,750 --> 02:04:15,542
and licking my lips a little too much.
I suddenly found myself doing that.
1875
02:04:15,583 --> 02:04:17,667
- Yes, do it again.
- Would you like to take another?
1876
02:04:17,708 --> 02:04:18,667
Action!
1877
02:04:18,750 --> 02:04:20,917
After much struggle,
he managed to put together
1878
02:04:20,958 --> 02:04:22,833
two low budget pictures in Australia.
1879
02:04:23,542 --> 02:04:25,708
Mrs Ryan, I want a word with you!
1880
02:04:25,875 --> 02:04:26,875
I want a word...
1881
02:04:26,958 --> 02:04:28,042
Including this one
1882
02:04:28,083 --> 02:04:31,167
Age of Consent
with Helen Mirren
and James Mason.
1883
02:04:31,375 --> 02:04:34,167
- Give me that money back, it’s mine!
- You stole it from me!
1884
02:04:38,292 --> 02:04:39,333
Cut!
1885
02:04:39,417 --> 02:04:42,833
It never became a real tug of war,
with both of you tugging.
1886
02:04:43,083 --> 02:04:47,500
If it really is a tug of war, so that your
life is depending on the bag.
1887
02:04:47,542 --> 02:04:49,875
And if you lose the bag,
you've gone, you know.
1888
02:04:50,292 --> 02:04:51,292
Cora!
1889
02:04:52,042 --> 02:04:53,083
Action now.
1890
02:05:01,292 --> 02:05:02,292
Cut!
1891
02:05:02,333 --> 02:05:03,708
It was wonderful, darling.
1892
02:05:04,042 --> 02:05:05,208
Marvellous. Are you alright?
1893
02:05:05,625 --> 02:05:06,875
It was very clever.
1894
02:05:10,667 --> 02:05:11,875
Everybody happy?
1895
02:05:13,042 --> 02:05:16,458
He had no way of knowing it,
but this would be his last feature film.
1896
02:05:17,625 --> 02:05:20,250
He was never able to raise
the money to make another one.
1897
02:05:23,000 --> 02:05:24,000
She's dead.
1898
02:05:27,958 --> 02:05:29,042
Grandma?
1899
02:05:31,208 --> 02:05:33,667
Of course, it was during the very years
1900
02:05:33,750 --> 02:05:36,458
that Michael was struggling
and sinking into obscurity
1901
02:05:36,917 --> 02:05:39,750
that people like me
and Francis Coppola were discovering
1902
02:05:39,833 --> 02:05:41,625
his work on the other side
of the Atlantic.
1903
02:05:43,750 --> 02:05:47,042
And our great fortune was that we were
watching the Powell Pressburger films
1904
02:05:47,125 --> 02:05:49,500
without any cultural baggage.
1905
02:05:49,875 --> 02:05:52,917
We had no prejudices based on
when they were made
1906
02:05:53,125 --> 02:05:54,708
or how they were received.
1907
02:05:54,875 --> 02:05:56,875
We just saw them as enjoyable films
1908
02:05:57,042 --> 02:05:59,000
and sometimes wonderful works of art.
1909
02:05:59,833 --> 02:06:04,333
We watched all types of British films,
whether it was Grierson or Jennings,
1910
02:06:04,833 --> 02:06:08,000
David Lean or Carol Reed,
Hitchcock or Powell and Pressburger.
1911
02:06:08,167 --> 02:06:11,250
And we didn't think of any one style
as better than the others.
1912
02:06:11,458 --> 02:06:16,042
For us, they all reflected
different aspects of one people.
1913
02:06:16,750 --> 02:06:17,750
The British.
1914
02:06:18,500 --> 02:06:20,375
And we were open to all of it.
1915
02:06:22,208 --> 02:06:23,708
When I got to know Michael well,
1916
02:06:23,958 --> 02:06:28,500
he certainly seemed to me imbued
with the spirit and the soul of Britain.
1917
02:06:29,417 --> 02:06:32,375
And it was my great good fortune
in the 1980s
1918
02:06:32,583 --> 02:06:35,500
to finally see him and Emeric rediscovered
1919
02:06:35,833 --> 02:06:38,125
and reassessed in Britain too.
1920
02:06:39,333 --> 02:06:43,125
I can't begin to describe
how touched
1921
02:06:43,417 --> 02:06:47,583
and how happy I am
to be presenting this award tonight.
1922
02:06:48,000 --> 02:06:53,833
An award which I feel very deeply
is long, long overdue.
1923
02:06:56,625 --> 02:06:58,167
These two giants of the cinema
1924
02:06:58,208 --> 02:07:01,333
who had pretty much disappeared
into oblivion for 20 years
1925
02:07:02,042 --> 02:07:05,667
were finally granted the honor
and respect that they deserved.
1926
02:07:07,542 --> 02:07:09,875
In 1984, Michael got married
1927
02:07:09,958 --> 02:07:12,833
to my longtime film editor,
Thelma Schoonmaker,
1928
02:07:13,375 --> 02:07:15,625
who's edited all my films
since
Raging Bull
.
1929
02:07:16,167 --> 02:07:19,125
They lived here in New York
and Michael became a constant friend
1930
02:07:19,375 --> 02:07:21,500
and a constant presence in my life.
1931
02:07:22,333 --> 02:07:25,208
He was a guy who hadn't made
a picture in 25-30 years.
1932
02:07:25,250 --> 02:07:27,958
But every day he was planning one.
1933
02:07:30,333 --> 02:07:35,042
When I went through difficult times,
he was a tremendous support.
1934
02:07:36,083 --> 02:07:38,500
I remember when I was finishing
The King of Comedy
1935
02:07:38,750 --> 02:07:41,000
I was at a very low point.
1936
02:07:41,750 --> 02:07:45,083
But Michael somehow seemed to understand
everything I was going through.
1937
02:07:45,708 --> 02:07:46,792
He never...
1938
02:07:47,167 --> 02:07:48,333
he was never intrusive.
1939
02:07:49,208 --> 02:07:51,458
But he was able to talk to me personally
1940
02:07:51,792 --> 02:07:55,750
from the experience that he had
of a very long creative life.
1941
02:07:56,125 --> 02:07:58,333
And his voice was very different from
1942
02:07:58,708 --> 02:08:01,000
the voices of the others
around me at the time.
1943
02:08:02,042 --> 02:08:05,083
He had a spirit that
was always strong
1944
02:08:05,250 --> 02:08:06,542
and uncompromised.
1945
02:08:07,250 --> 02:08:09,583
Even when he seemed
to be a forgotten man.
1946
02:08:10,458 --> 02:08:14,042
That spirit supported me
in periods of doubt
1947
02:08:14,458 --> 02:08:15,500
and desolation.
1948
02:08:18,250 --> 02:08:19,667
I look back on it now
1949
02:08:19,708 --> 02:08:22,292
and I find it extraordinary that
I knew Michael Powell personally
1950
02:08:22,333 --> 02:08:23,750
for 16 years.
1951
02:08:23,792 --> 02:08:26,958
And he was not only
a support but a guide.
1952
02:08:27,208 --> 02:08:31,750
Pushing me along, giving me confidence,
keeping me bold in my own work.
1953
02:08:31,792 --> 02:08:33,167
It's OK, fellas, no problem.
1954
02:08:34,500 --> 02:08:37,208
This one's gone. What?
OK, yeah.
1955
02:08:37,958 --> 02:08:40,750
I'll never be able to
fully understand or express
1956
02:08:41,542 --> 02:08:44,667
why he meant so much to me
and why he'll always be with me.
1957
02:08:48,875 --> 02:08:50,208
And that current of thought
1958
02:08:50,250 --> 02:08:53,167
always leads back to those
films he made with Emeric.
1959
02:08:54,542 --> 02:08:56,000
I'm signing off now, June.
1960
02:08:56,042 --> 02:08:57,583
Goodbye, goodbye June.
1961
02:08:57,667 --> 02:09:00,583
Hello, G for George.
Hello, G-George?
1962
02:09:00,625 --> 02:09:01,667
Hello G-George?
1963
02:09:01,750 --> 02:09:04,750
David Niven saying goodbye
to Kim Hunter over the radio
1964
02:09:05,042 --> 02:09:07,042
in
A Matter of Life and Death
.
1965
02:09:14,458 --> 02:09:15,583
Let it ring.
1966
02:09:15,792 --> 02:09:20,250
The intensely erotic scenes between
Kathleen Byron and David Farrar
1967
02:09:20,667 --> 02:09:22,125
in
The Small Back Room
.
1968
02:09:29,083 --> 02:09:31,792
The camera moving up
and away from the duel
1969
02:09:32,042 --> 02:09:33,708
in
The Life and Death of Colonel Blimp
.
1970
02:09:42,250 --> 02:09:45,792
Certain films, you simply run
all the time and you live with them.
1971
02:09:46,958 --> 02:09:49,625
As you grow older,
they grow deeper.
1972
02:09:50,583 --> 02:09:52,375
I'm not sure how it happens, but it does.
1973
02:09:54,458 --> 02:09:57,333
For me, that body of work
is a wondrous presence,
1974
02:09:57,750 --> 02:09:59,625
a constant source of energy,
1975
02:10:00,083 --> 02:10:01,167
and a reminder
1976
02:10:01,458 --> 02:10:04,833
of what life and art
are all about.
1977
02:10:22,500 --> 02:10:23,625
When you look back
1978
02:10:23,667 --> 02:10:26,042
do you think that somehow
or other, the British
1979
02:10:26,625 --> 02:10:30,750
didn't appreciate you both
as much as they might have?
1980
02:10:33,250 --> 02:10:36,042
When did the British
ever appreciate their great men?
1981
02:10:40,000 --> 02:10:41,000
Cut.
1982
02:10:41,083 --> 02:10:43,333
I hope this will,
this will be cut.
1983
02:10:45,667 --> 02:10:48,875
MADE IN ENGLAND