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The cinema excites, inspires and influences people seeking escape from their usually dull lives. Hollywood booms in the 1920s, and its movies dominate European screens after the Second World War, bringing alluring images of America. Censorship is introduced after concerns are raised of cinema's perceived effect on morals. Television will however cut short cinema's future, in the west. Clips shown in this episode come from silent films (Salome, Raja Harishchandra, Cinderella, Son of the Sheik, Sherlock Jr. and Dr. Jekyll and Mr. Hyde), musicals (Achut Kanya, Sing As We Go, Flying Down to Rio, The Stars Shine, On the Town, Chandralekha and Mother India), propaganda films (Earth, The Sea Hawk, Know Your Enemy: Japan, The Fall of Berlin and Luciano Serra pilota), and films with allegorical messages (Les Visiteurs du Soir, Ladri di biciclette and Meet Mr. Lucifer). The introductory scene shows audience observing the first sound film, The Jazz Singer.
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00:00.
00:00.
01:03October 1927.
01:05Tonight, a new film will open in New York.
01:10A special audience has been invited to come and see it
01:13and experience a dramatic innovation
01:16that the producers hope will change the whole future of the cinema.
01:22The jazz singer starts without synchronised sound.
01:26The audience follows what the actors are saying from caption cards.
01:35Then halfway through comes the moment everyone's waiting for.
01:42Wait a minute.
01:43Wait a minute.
01:44You ain't heard nothing yet.
01:46Wait a minute, I tell you.
01:47You ain't heard nothing.
01:48You want to hear choo-choo-choo-choo?
01:50All right.
01:50Hold on.
01:51Hold on.
01:52No, listen.
01:58Choo-choo-choo-choo-choo.
01:59Goodbye.
02:01Choo-choo-choo-choo.
02:02Don't cry.
02:04The little choo-choo-choo-choo.
02:06That takes me away from you.
02:10You don't know just how sad it makes me.
02:12Kiss me pretty and there.
02:14Ow.
02:15Ow.
02:15The talking picture is an immediate sensation.
02:19It was just awe-inspiring to listen to Al Joseph singing on the film and also hear him.
02:27And a number of people just cheered and clapped too at that time when he did come on.
02:35Millions already go to the cinema as their main form of entertainment.
02:39With the arrival of sound, the mass appeal of the movies will grow.
02:45All over the world, more people will find an escape from their daily lives at the cinema.
02:50Film's ability to enthrall and entertain, to persuade and to seduce, will be greater than ever.
02:57I gotta fight.
03:09The first time people had paid to see pictures move was in Paris.
03:13just over 30 years before.
03:15At first they found it marvel enough to watch everyday domestic scenes.
03:25But the simple, close-to-home films were just the beginning.
03:33Audiences were at the start of an extraordinary journey.
03:36In the new century, the system of lights and lenses that started as a curiosity was to transport
03:42millions into a different world of the imagination.
03:48Films had their earliest impact in poor city neighbourhoods because they were cheap to watch.
03:56At first they were included between the acts at variety theatres, but soon the new movies became
04:03substitutes for what could still be seen live at a higher price.
04:09A new audience could afford to watch daring young women take risks on the trapeze.
04:21And magicians who made them gasp.
04:27As filmmakers mastered their craft, they found they could enhance that magic.
04:40By 1910, there were over 10,000 Nickelodeons across the United States and Europe.
04:46In America alone, 26 million people watched movies each week.
04:51Abe Lass went to Nickelodeons in New York.
04:55The silent movie house was the great escape.
04:59It was three for a dime.
05:02It was worth three million dollars rather than three cents.
05:07The excitement and the escape that it provided.
05:16It was a dimension of our lives which were pretty constricted and pretty limited
05:24and pretty unimaginative and pretty unromantic.
05:29And here we found everything.
05:34Films of the San Francisco earthquake were rushed to the Nickelodeons.
05:38At a time when few had travelled out of their own communities, they could see a wider world.
05:45But what people wanted most were stories.
05:49Melodramas and adventures with a beginning, a middle and an end.
06:02Caption cards were a problem for slow readers, or those who couldn't read at all.
06:08As a boy, Luigi Cavalieri helped run a projector in Rome.
06:20They were more like toys than projectors.
06:24They were simple devices, you worked by hand.
06:27There was a small crank that had to be turned.
06:29If it was a film with captions, you had to turn it slowly, otherwise nobody could read it.
06:35The children would shout,
06:37Go slower!
06:39And you had to, to make the children happy.
06:46Silent films were international.
06:48No matter where they were made, anyone could understand them.
06:53Before the First World War, films were being produced in 25 countries.
06:57Studios from Sweden to Italy, France to the United States,
07:02competing to supply one another's audiences.
07:05No one nation dominated.
07:11Filmmaking spread to India, as well as China and Japan.
07:15Based on a Hindu myth, the first Indian film was completed in Bombay in 1913.
07:35For Indian audiences, it could be disturbing to see the traditional stories of the gods,
07:40that they'd heard so often, taking place before their eyes.
07:44Rajam Ramanathan lived near Bangalore.
07:49It was as though God actually appeared in front of us.
07:52My grandmother would even pat her cheeks as penance whenever Krishna or Rama came onto the screen.
08:03We were fascinated by the cinema.
08:05It was amazing to see pictures dancing on the screen.
08:11It was our biggest excitement.
08:18Around the world, a generation of children were the first to grow up with the cinema.
08:23Elizabeth Finn was a regular at her local picture house in West London.
08:27The cinema was really an extension of our reading.
08:30It was stories.
08:32And it was great excitement.
08:36The biggest threat was, if you don't behave yourself,
08:40you won't be allowed to go to the pictures on Saturday.
08:49The music that accompanied the films was played by pianists like Rita Kay.
08:54Where I was sitting, I could only get a sort of a side view of the film.
09:00We did try to fit the scenes with the appropriate music
09:06to give you the feeling that it fitted.
09:10And, for instance, for a love theme, I would do something like this.
09:30Now, the next thing, I think, would be for a villain.
09:35There's always villains in the films, in the silent films.
09:50The short comedy films, we usually did something a bit jazzy,
09:57just to give you that little lift.
09:59Here goes.
10:09By the end of the First World War, Europe was exhausted,
10:13and the making of films had stopped.
10:15With so much to rebuild, films were a low priority.
10:21But in America, in the ideal climate of California,
10:25a powerful new force had been born in Hollywood.
10:33American filmmaking mushroom to supply the huge home market.
10:42New studios were built, and directors like D.W. Griffith
10:46made ever more expensive and spectacular films.
10:51Way Down East was filmed on location in 1920.
10:58Close-ups were used to increase the audience's emotional involvement.
11:20In the 1920s, the making of celluloid dreams was industrialised.
11:27Hollywood exported more and more of its pictures,
11:30and with them went American values and the American dream.
11:37Comedies like The Gold Rush with their visual humour could be appreciated everywhere.
11:50International audiences found it easy to identify with Charlie Chaplin's Little Tramp
11:54as he faced the uncertainties of life.
11:56We loved Charlie Chaplin, we adored him, and we literally were rolling on the floor with laughing,
12:04screaming with laughing.
12:05It was so funny.
12:09Crowds flocked to the cinemas on the basis of Chaplin's name alone.
12:14He became as popular in Europe as he was in the United States.
12:18He was mobbed when he came back to London in 1921.
12:26Oh, he was a great star then.
12:28Everybody said that as he was a British, so he was born in England,
12:32he should have been made a knight.
12:33And my mother said, I'd make him king.
12:36That year, Chaplin earned one and a half million dollars.
12:40This was a new sort of fame.
12:41He said, I am known in parts of the world that have never heard of Jesus Christ.
12:47Even in the new Soviet Union, Chaplin was a star.
12:50A Russian dance company paid him the compliment of mass imitation.
13:04And Hollywood's capacity to create stars was proof of the movie's new power.
13:09The studios used publicity in new ways to promote the actors they'd invested in.
13:16Millions of people were encouraged to follow the carefully orchestrated lives
13:20of a small group of actors and actresses.
13:29One couple became the ultimate symbol of glamour, living together at Pickfair, their estate in Beverly Hills.
13:35Each was already successful as an actor in their own right.
13:41When Douglas Fairbanks and Mary Pickford married, they were portrayed as a new form of royalty.
13:51Their lifestyle was beyond the aspirations of most of the audience.
13:55Lisetta Sallis was in Rome.
14:05All these American films were entertaining.
14:10At the same time, they made us feel backward, because the people in the films were wealthy,
14:16successful, happy and well-dressed.
14:21They made us feel wretched, because we were poorer and less elegant.
14:30But from the stars, people learnt how to behave, how to smoke a cigarette.
14:38Audiences from Brazil to Germany studied the cars they drove
14:41and the luxurious homes they lived in.
14:46The cut of the stars' suits was scrutinized by tailors in Japan,
14:50so they could make the clothes customers now demanded.
15:01I remember the femme fatales thinking about their great loves and misfortunes.
15:07Many Italian girls tried to imitate them, to be femme fatales.
15:14Women followed the way the stars did their hair.
15:17Kathleen Green was growing up in South Wales.
15:21We all longed for golden curls, and I had a very short crop,
15:24which didn't suit me at all.
15:26So later on in life, I went for curls myself,
15:29and like a lot of other girls, we all had lots of curls,
15:33shoulder-length hair, and dressed ourselves up like the film stars.
15:38You're in my dreams, I'm jealous of you.
15:43Magazines suggested their readers could enter the glamorous world of the stars
15:47just by using the cosmetics they endorsed.
15:53In Britain, a cinema chain ran a contest with a film contract as first prize,
15:59but the road from Cricklewood, where the finals were held,
16:02to Hollywood was a long one.
16:10The winners did not find fame,
16:12but for a moment they could dream it was possible to appear opposite their idols.
16:28By the mid-1920s, Rudolf Valentino had emerged as the screen's greatest lover.
16:40For young men, his films gave unprecedented lessons in romantic behaviour.
16:46George Williams learnt about seduction at his local cinema in East London.
16:51What I did watch was the kissing technique of the hero with his girlfriend.
16:57I thought to myself I would pick up a few tips from this,
17:03of this sort of technique for later on,
17:06for the time when I got to fill up with football,
17:09and this might come in handy at a later date.
17:15In the film Sherlock Junior,
17:17Buster Keaton played a shy cinema projectionist,
17:20wanting to kiss his girlfriend, but unable to get up the courage.
17:25Like many in the real-life audiences,
17:27Keaton looked to the screen to learn how.
17:57Inside the cinemas, audiences were able to behave as they couldn't elsewhere.
18:02Franco Ricci was in Italy.
18:08We didn't have cars as they were very rare.
18:13It was risky to kiss someone in public,
18:15because you could be fined or even arrested for a simple kiss in the street.
18:22So our refuge was the cinema.
18:24And then, our refuge was the cinema.
18:33Take your girlie to the movies
18:37If you come to make love and hold
18:40There's no little brother there who always will
18:43You can say an awful lot in seven rills
18:47Take your lessons at the movies
18:50And have love scenes of your own
18:54When the picture's over and it's time to leave
18:57Don't forget to brush the powder off your sleeve
19:00Take your girlie to the movies
19:03If you come to make love and hold
19:10The advance of the movies seemed a threat
19:13To the many church groups and politicians
19:15Who wanted to be guardians of public decency
19:18They feared a mass moral rot was setting in
19:20In America, a commission was appointed under William Hayes
19:24To clean up the film industry's morals and standards
19:27Arthur Abeles' family ran a cinema
19:31They had the Hayes commission
19:33He used to be a postmaster general
19:36And he
19:38Drew up a list of things that you could and could not do
19:43One of the things was
19:45There could be no kisses
19:48With two people
19:49In bed together
19:51Even if they were husband and wife
19:53The man
19:55Always had to have
19:57One foot on the ground
20:01The removal of anything explicit
20:03Confused some young cinema goers
20:06Because there was one film
20:08And a man was seen coming out of this woman's bedroom
20:11And in the film it was the most awful fuss
20:14So we couldn't make out what the fuss was about
20:18And we decided between ourselves
20:20That he'd gone to bed with his boots on
20:22It must have been that
20:23Couldn't think of anything else to cause such a fuss
20:27Other countries followed
20:28Setting up boards of film censors
20:30To view each film before release
20:32And dictate changes
20:33Their detailed rulings
20:35Tried to eliminate any trace of eroticism
20:39But just occasionally
20:41Some directors proved
20:42They could obey all the censors' rules
20:44And still rouse the audience
21:12With the spread of radio in America
21:14In the late 1920s
21:15People had a new alternative to the movies
21:18And it was free
21:20Fearing people would now stay at home
21:22The film companies raced to perfect the invention
21:24Which they hoped would keep their audiences
21:27Films with sound
21:29When the first successful system was launched
21:32With the jazz singer in 1927
21:34The impact was as great as they'd hoped
21:36Not just in America
21:37But around the world
21:39On the stage, you know, with this show
21:41I'm going to sing it jazzy
21:42Now get this
21:43Blue style
21:45Smiling at me
21:46Me, me, me
21:47Little blue style
21:49U.I.T
21:50Do, do, do, do, do
21:54The singing, the music
21:56This voice coming from the screen
21:58The sound was so moving
22:03We kept saying to each other
22:04Let's watch it again
22:06Let's watch it again
22:09We watched the film two more times
22:12Do you like that, Mama?
22:15I'm glad of it
22:16I'd rather please you
22:18Than anybody I know
22:20Oh, darling
22:21The days of one international screen language were over
22:25And even in Britain
22:26People who thought they shared the same language were surprised
22:30Oh, I'm going to steal something
22:32We'd not heard American accents
22:34We couldn't understand them at first
22:37After a while we got used to it
22:39And then we all, we all said, oh yeah
22:42And says you
22:43And you ain't heard nothing yet
22:45We were all doing this sort of thing
22:47We got used to it
22:48But it was as strange to us at the beginning
22:51As a foreign language
22:54Rita Kay in Scotland
22:56Became a casualty of progress
22:58When the talkies arrived
23:00This was a terrible blow for all musicians
23:03Including myself
23:05Because virtually I was only 18 then
23:10When the talkies took over
23:13In my cinema
23:15And I felt I had only just got started
23:20I had only just done a few years
23:22And I felt really lost
23:26And didn't really know what was going to happen
23:29With the talkies putting us all out of work
23:36But there were other jobs to be had
23:38In the lavish new cinemas that were now being built
23:40John Anderson worked in Boston
23:45Friday, Saturday, Sunday
23:46There were an enormous number of people
23:48That came into the Metropolitan Theatre
23:50Because it was a show place of New England
23:52And they had a staff of probably
23:5530 or 40 ushers in the theatre
23:58It was just awe-inspiring to see the theatre itself
24:01Look up at the beautiful paintings
24:03On the stage there was a painting of an Egyptian queen
24:07And it was rumoured that she had a diamond in her head
24:21Films were more popular than ever
24:23In Britain, the distributors also encouraged the construction
24:26Of new, larger cinemas equipped for sound
24:31By 1930, 25 million Britons were going to the cinema each week
24:38Britain's super-cinema is the Gaumont State at Kilburn
24:41Built to provide millions of Londoners and visitors from all over the world
24:45With the last word in luxurious entertainment
24:48Inside the main entrance hall is the first wonder
24:50A magnificent candelabra
24:52A replica of the electrical fitting in the ballroom at Buckingham Palace
24:59At the grandest picture palaces
25:01Audiences entered a fantasy world even before the film began
25:04Many walked on carpet for the first time
25:09The new cinemas were the most advanced buildings of their age
25:12They took a respectable place in the centre of every city and town
25:22In other parts of the world, films were finding new audiences
25:27In India, country people were reached by travelling cinemas
25:30That came to their villages
25:36We'd go by bullet cart
25:38We had a large family and all of us would go together
25:45The cinema tents had open corners
25:47Where you could sometimes sneak in without paying for a ticket
25:52In a country where audiences spoke so many different languages
25:55The most popular Indian films were a long succession of songs
25:59One after the other
26:00That everyone could enjoy
26:12In the west, sound also changed cinema news
26:16Audiences began to rely on the newsreels as a major source of news and information
26:21That rivaled the newspapers
26:25British newsreels in the 1930s
26:27Sometimes reported a gloomy tale of industrial collapse
26:31His Majesty's visit to South Wales is not only a promise of new life
26:35But a gesture of sympathy
26:36With men and women who for years have borne bravely the misery and sufferings of unemployment
26:41But in the main features that followed on the same screens
26:44Audiences looked for release and optimism
26:51In Britain, as the textile industry was laid low
26:53Lancashire's working class heroine, Gracie Fields
26:56Appeared in Sing As We Go
26:58An uplifting story of self-help
27:05It's no good
27:06We'll have to pack up
27:09Well, Grace, this lot's not the song and dance, though, to you
27:12Oh, no, it hasn't, Longface
27:13Come on, lads and lasses, let's lead the mill in good style
27:16Sing As We Go
27:17Sing As We Go
27:32By the end of the film, the magic of cinema ensured that the workers had all got their jobs back
27:37Sing As We Go
27:41Sing As We Go
27:48As The United States lived through the worst days of the Depression and millions were out of work, many cinemas
27:55struggled to keep open
27:58The Abiless Family Cinema was in New York's Bronx
28:03All around our cinema, there were breadlines
28:06Nobody had any money
28:09So we had to attract them with gifts, things like that
28:12But the only way, really, to get people into a cinema, and they'll come, whether they're broke or they're not
28:19broke, is a good film
28:28Few American films dealt with the gritty reality of everyday life
28:44During the Depression, Hollywood turned out spectaculars that were more lavish and fantastical than ever
28:58Flying down the Rio is memorable to me because of the girls on the wings of the airplane
29:04And I don't think I had enough sense at that time to realize the impossibility of such a thing
29:23Films with a more serious intent were made by the totalitarian governments in Europe during the 1930s
29:34Soviet cinema audiences were shown films with a direct political message
29:38Feature films celebrated the achievements of communism
29:54In Earth, farmers greeted the arrival in their village of one of the film's heroes, a tractor
30:13When the Nazis took control in Germany, they knew that film could help establish a new national self-confidence
30:23Propaganda chief Joseph Goebbels believed musicals could be German-made, the German way
30:31Though he also commissioned documentaries and propaganda, he thought well-made escapist entertainment was the priority
30:59In the late 1930s, the Italian dictator Mussolini took an increasing interest in films
31:04He financed Chinichitta, a new studio complex in Rome, and the government took control over production
31:10Films supported fascist values
31:14Luciana Serra, pilot, told the story of a gallant but effective Italian pilot
31:19One of a series of heroes who were building the new Italian Empire
31:30By the outbreak of the Second World War, all sides realised their battles had to be fought on the screen
31:36too
31:36So great had the influence of the movies become
31:40As Hitler seized more of Europe, one of the first German measures was to ban British and American films
31:47After the fall of France, German-made films were shown in Paris
32:06In one of them, German girls were seen dancing the can-can
32:27But during the occupation, the French were allowed to go on making some films themselves
32:31At a time when Germans made frequent identity checks, Michel Lequin was in the resistance
32:37And usually kept away from cinemas
32:39I avoided places where you could be trapped
32:44Because there were sometimes raids, especially in the cinemas that young people went to
32:51Late in the war, I saw a film which made a great impact on me, The Night Visitors
33:05Not only for me, but for all of us from that generation
33:08Who were, at least in our hearts, resisting
33:16To German censors, the French-made film seemed an innocent love story set in the Middle Ages
33:27The devil arrives in France and tries to persuade a woman to forsake her love
33:36We heard the devil exclaim
33:39But, yes!
33:41The diseases, the war, with its beautiful pleasures
33:45Sickness, war, plague, famine, it's always me
33:48It's always me!
33:51I understand!
33:52I understand with an idiot
33:56But to the French who saw it, it was a parable of French defiance
34:05It was obviously Nazism and Hitler faced by the resistance.
34:18With Britain under aerial attack and the threat of invasion, the British government worked
34:23with producers to get approved messages across.
34:27And films used history to boost morale.
34:36And now, my loyal subjects, a grave duty confronts us all.
34:41To prepare our nation for a war that none of us wants, least of all your Queen.
34:47We have tried by all means in our power to avert this war.
34:51We have no quarrel with the people of Spain or of any other country.
34:54But when the ruthless ambition of a man threaten to engulf the world, it becomes the solemn
34:59obligation of all free men to affirm that the earth belongs not to any one man, but to all
35:06men.
35:06And that freedom is the deed entitled to the soil on which we exist.
35:12Firm in this faith, we shall now make ready to meet the great armada that Philip sends
35:17against us.
35:18To this end, I pledge you ships, ships worthy of our seamen, a mighty fleet hewn out of the
35:26forests of England, a navy foremost in the world, not only in our time, but for generations
35:34to come.
35:39Ina Turnbull was in London during the war.
35:42The cinema gave us an escape from the raids, the war, the humdrum existence.
35:49And once you're in the cinema, you forgot everything.
35:53You just sat there relaxed and sat back and you lost yourself in the film.
36:01There was one particular film we did see, Gone with the Wind.
36:06And this was his first epic film to ride over here.
36:10And then we came home and we got bombed out.
36:15And we thought that was a huge joke, my sister.
36:18That was absolutely hilarious to think that we'd just seen Gone with the Wind.
36:22And our house had gone with the wind.
36:25We thought it was hilarious.
36:27Faced with disaster, the family were behaving with the chin-up spirit wartime films conveyed.
36:33Your plans may often go wrong, let them hear your voice.
36:38You'll find that rhythm and song, make the world rejoice.
36:43Make life go with the swing, love had trouble and sing.
36:48Tra-la-la-la-la-la-la-la-la, count your blessings and smile.
36:53Feature films were produced to encourage Anglo-American cooperation.
36:58Just a few more, one or two more, and the roll's complete.
37:04Here stands all of England.
37:08The guy in the sky, the boy on the farm,
37:11And the man on the street.
37:18We would like to ask you why we're gathered here.
37:23The reason you've been invited
37:26Is to show the world that we're united.
37:37In America, cinemas were used to help pay for the war.
37:41War bonds were sold from booths in the lobby.
37:45All of Hollywood stars helped put across the message.
37:48Today, bonds of freedom, that's what I'm selling any bonds today.
37:54Scrape up the most you can.
37:56Here comes the freedom man.
37:58Asking you to buy your share of freedom today.
38:03Many stamps today.
38:05Give titties.
38:06We'll be blessed.
38:30The star's ability to influence how women looked was harnessed to a new purpose.
38:37Oh, so you really have another eye, Miss Veronica Lake.
38:41And you got to change your hairdo?
38:43Oh no, not that way.
38:46Better call in a hairdresser.
38:50Yes, it's the last we'll be seeing of the famous peekaboo bang.
38:53The reason?
38:54By request to the War Woman Power Commission.
38:56In war plants all over the country, women have taken over many of the machines.
39:02Time is wasted sweeping back dangling locks.
39:05Danger, too, lurks in the hang-down hairdo.
39:08So war-working women follow Veronica Lake's suit.
39:11It's back to grandma's styles once more with the upsweep.
39:15Women let their hair down once, but like Veronica, never again.
39:20At least, not for the duration.
39:28And in the American army, in the movie age, films were used as the best way of motivating troops as
39:34they left for the war zones.
39:45As film projectionist at his unit, Psylocke showed Know Your Enemy, Japan.
39:51Let me tell you, it was one of the most flamboyant films I think I've ever watched, as far as
40:00painting another people as absolutely merciless and ruthless.
40:06And its intent was to make us hate the Japanese.
40:12They were our enemy.
40:14And we were supposed to destroy them.
40:24He has been trained to be a soldier almost from birth.
40:27And into his tough little mind has been drilled and hammered the fanatical belief that Japanese are descendants of gods.
40:33And destined to rule the earth and all who live on it.
40:38To this end, treachery, brutality, rape and torture are all justified if used against non-Japanese.
40:45It really did leave an impression on me.
40:47Because I was really indoctrinated.
40:51And indoctrinated very well.
40:56When American troops came home from Europe and the Pacific at the end of the war, Hollywood stars were deployed
41:01to greet them, including Marlene Dietrich.
41:10In Europe, the jubilation of the coming of peace was followed by shortages and austerity.
41:17In damaged Italian towns where people were homeless and hungry, the Allies helped the cinemas reopen and supplied films that
41:25showed a better world.
41:30After the war, everybody was demoralized.
41:34We needed an escape from all that misery.
41:37So the cinema was very important for everyone.
41:42Once again, after another war, it was American film studios that were booming.
41:48In much of Europe, film production had been brought to a halt.
41:51But on both sides of the Atlantic, more people wanted to go to the cinema than ever before.
41:56In 1946, 90 million Americans went each week.
42:03The same American films filled the void in Europe.
42:06In Britain, admissions topped 31 million a week.
42:13During the war, the enemy and occupied countries had been starved of American films.
42:18Now they could see all the epics and musicals they'd missed.
42:21Hollywood and the American government ensured they were available.
42:25In 1947, 600 American films were distributed in Italy.
42:30But only 65 Italian films were made.
42:37European politicians and trade unions complained about an American invasion.
42:44Personalities who claimed the limelight in the week's news were found in Paris.
42:48A film workers' demonstration disturbed the calm of the French capital Sunday.
42:52The film workers claimed that the agreement permitting American films to enter France is killing French productions.
42:59European governments tried to help their own film industries.
43:03Italian filmmakers dealt with the grim social problems of the time.
43:22But the realistic films many post-war directors wanted to make weren't usually what the audience wanted to see.
43:30Even bad American movies were better than Italian films.
43:36I always dreamed about America, and anyone like me who dreamed about America has said,
43:41I was born in a village, but I have to go to America.
43:45I didn't know how to make this dream come true, but it was important to state, I must go to
43:50America.
43:55For Europeans, Hollywood films, with their stars and big budgets, were as hypnotic as ever.
44:05American musicals of the late 1940s were aggressive displays of American values.
44:12We've sailed the seas and we've been the world over.
44:15We've been to Mandalay.
44:16We've seen the sphinx and seen the cliffs of Dover.
44:19But we can safely say the most fabulous sight is New York in the light of the day.
44:23Our only day.
44:24New York, New York, a wonderful town.
44:27The branches up and the battering down.
44:29The people right in the hole in the ground.
44:31New York, New York, in the wonderful town.
44:34New York, New York, in the east, Soviet bloc audiences were often films that could be as spectacular as Hollywood's.
44:50New York, New York, in the east, Soviet bloc audiences were often films that could be as spectacular as Hollywood's.
45:04But the stars were different.
45:23In America, a great social transformation was underway.
45:27Suburbs were springing up and a new way of life came with them.
45:32The fact that families had more money and time to use their leisure in other ways led to a decline
45:38in cinema going.
45:40Arthur Abeles was now a film distributor, facing falling audiences.
45:45People got out of the habit of going twice a week with the family and they became selective.
45:57We had the onslaught of television which absolutely made everybody afraid of what was happening and what was going to
46:07happen.
46:12A feature film, Meet Mr. Lucifer, attempted to deride the rival that was coming into people's homes.
46:26Holy fly! There's a devil in it!
46:28It's hardly been a century when I haven't thought up some mechanical device to make the human race utterly miserable.
46:34There are lots of people waiting to be made miserable.
46:37Down Peniscope!
46:41Wouldn't it be wonderful if we could have?
46:49And what?
46:52A television set.
46:54It did all sorts of things to regain audiences.
46:58All sorts of things that you couldn't get on television.
47:03The main one being 3D.
47:07It really didn't establish itself because of those damn glasses you had to wear, driving everybody crazy.
47:23Cinemas tried changing the shape of the picture to see if that would help.
47:28As I was saying, this motion picture was photographed in the grandeur of Cinemascope and in gorgeous, lifelike color by
47:37Deluxe.
47:48Cinemascope was launched just when television was growing fastest.
48:00Fewer people went to the cinema each year in America and Europe.
48:04From 31 million in 1946, British audiences dropped to 10 million a week in 1960 and carried on downwards.
48:18Thousands of cinemas were demolished or converted to other uses, leaving only memories.
48:24Well, that's the place where we saw our favourite film stars and our favourite films.
48:31As I say, we went there to see Charlie.
48:36We went there to see Winkle, as we called him, Harold Lloyd.
48:39We went there to see Mary Pickford.
48:41That was the place where they lived.
48:43And now I got thrilled as I pass it now.
48:47It was a great experience.
48:53It was everything.
48:56It was about how to live, how to talk and walk, how to be courted, how to approach your first
49:02love.
49:03For me, it's been everything.
49:07I have beautiful memories.
49:10Sometimes I don't even remember what I did yesterday.
49:12But I remember these scenes.
49:14I will remember them forever.
49:25But in places where Western living standards were an inaccessible dream, cinema's appeal was as strong as ever and its
49:32place in national life just as important.
49:36A growing audience watched films all over South America, China and the rest of Asia.
49:44In India, travelling tent cinemas took films out to villages still unreached by television.
49:52People with few other diversions looked at them for their main entertainment.
50:04Popular Indian films stayed away from reality.
50:08They supplied sex, sentimentality and, increasingly, spectacle.
50:14Chandralekar, made in 1948, was the first in a succession of new Indian blockbusters.
50:28India had great national stars who set fashion and styles of behaviour millions followed.
50:47The national film industry grew, centred in Bombay.
50:51The studios worked frenetically to supply the established formula of songs and glamour which their audiences demanded.
51:08By 1960, India had overtaken the United States and was making more films than any other country in the world
51:15and drawing the largest audiences.
51:30cinema was continuing to change people's aspirations.
51:35In much of the world, the power of the moving image on the big screen was still unrivaled.
51:41And 좋은статочно from unrivaled.Allah
51:59azonans Try
52:00Island Bugha
52:00Hallo Ethiopia
52:07Go
52:08tua
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