know i understand. i understand completely. audrey hepburn is just this light. her subtleties were astounding to me. fred darling, i m so glad you could come. just the way that she spoke and the way she was always elegantly self-deprecating. i m trying to save, but i m not very good at it. there s not a bad audrey hepburn film. there just isn t. two drifters off to see the world in moon river, audrey hepburn is sitting on the fire escape and singing it in this very tender way, and you feel she s sort of this lost soul, trying to grapple about who she is in the world. moon river and me what was amazing about audrey
e leej yak feeling to it. the end to the traditional movie west is coming and this film is kind of a monument to that. how many of you did they hire? enough. the western becomes dark by the end of classical hollywood. you see such a change in the united states culture, and i think the western shows that. these films take a more psychological look at the western mold. what did you say his name was? the man with the silver-knobbed whip? i said liberty valance. but if that s what you got to do, you better start packing a handgun. a gun? i don t want a gun. i don t want to kill him. i want to put him in jail. oh. the man who shot liberty valance is john ford s last great western. yet, it s so different than what preceded. pilgrim, you ve got to cock it first. i forgot.
you re very glad when you wake up just as you re about to drop through the trap on the gallows. hitchcock has several years where he has a purple patch of like all classics, and he s like, well, i ve done vertigo. i ve done north by northwest. that s my massive hit. now i m going to do a film for me. and that film is psycho. for alfred hitchcock to make psycho, imagine if today steven spielberg announced that his next film would be the bride of chucky. it was that shocking, and paramount wouldn t make it. he ended up paying for it himself basically. at the time people thought hitchcock had thrown his career away. sam, this is the last time. for what? for this. psycho starts out as a definitive film noir from the beginning of the film. a woman is having an illicit affair. she steals money from her office to go meet the guy and run away. that s film noir. marian, what in the world
you from husband and. everybody going in probably knew that it ended with a shoot-out but they were not speccing it to end with a violent heavy thudding machine gunning moment. hey. the movie lets you love bonnie and clyde. and then watch them get destroyed. the french have been having deep dark thoughts about the social logical and psychological significance of the film and its success. generally, they are not very interested in what it tells about the 1930s. rather they call it a reflection of the horror, the violence, the emptiness of the american soul today. . hello darkness my hold friend of all these kinds of movies that were beginning to break through the system, the graduate became the movie for a
me. or his refusal to do what s expected of him. don t you ever talk that way to me. the warden in the film is played by strother martin. it s one of the great ten-line performances in movies. what we ve got here failure to communicate. and it really feels like a 60s line where you know, just in one moment, kids and adults could see the generation gap and see each other on the other side. sorry, luke. just doing my job. you got to appreciate that. ah. calling it your job don t make it right, boss. i still think he s the last of the old movie stars when he starts the 60s, he s up against the likes of carry grant and john wayne and marlon brando and by the end of the 60s, he s up against the likes of steve mcqueen and sean connery. and for mcqueen, i think new man was sort of a target.