711 lines
12 KiB
Text
711 lines
12 KiB
Text
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1
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00:00:00,680 --> 00:00:04,389
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Change nothing
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so that everything is different.
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2
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00:00:24,560 --> 00:00:27,120
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Don't show every side of things.
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3
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00:00:27,680 --> 00:00:30,672
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Allow yourself
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a margin of indefiniteness.
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4
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00:05:11,960 --> 00:05:16,272
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Histories of cinema,
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in the plural.
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5
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00:05:27,000 --> 00:05:29,719
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All the stories
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6
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00:05:30,680 --> 00:05:33,240
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that will be
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7
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00:05:34,560 --> 00:05:36,118
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that have been.
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8
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00:09:06,760 --> 00:09:10,878
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To tell the story of the last tycoon
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9
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00:09:12,480 --> 00:09:13,754
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Irving Thalberg.
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10
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00:09:17,000 --> 00:09:21,835
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A TV executive has, at most,
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200 films a year in his head.
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11
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00:09:23,160 --> 00:09:25,799
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Thalberg was the only person who,
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12
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00:09:26,000 --> 00:09:28,958
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every day, had 52 films in his head.
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13
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00:10:50,440 --> 00:10:51,839
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The foundation.
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14
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00:10:52,880 --> 00:10:54,598
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The founding father.
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15
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00:11:02,720 --> 00:11:04,119
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The only son.
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16
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00:11:10,200 --> 00:11:12,839
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This story had to pass by this:
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17
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00:11:14,960 --> 00:11:17,872
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A young body,
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fragile and beautiful,
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18
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00:11:29,160 --> 00:11:31,674
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as described
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F. Scott Fitzgerald -
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19
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00:11:32,000 --> 00:11:35,072
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so that this could exist:
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20
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00:11:38,160 --> 00:11:39,752
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The power of Hollywood.
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21
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00:13:22,800 --> 00:13:25,075
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The power of Babylon.
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22
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00:13:38,480 --> 00:13:39,879
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A dream factory.
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23
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00:13:43,320 --> 00:13:45,231
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History of cinema.
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24
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00:13:48,080 --> 00:13:51,470
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Newness of history.
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History of news.
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25
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00:15:59,920 --> 00:16:03,799
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What has gone through cinema
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and is still marked by it
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26
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00:16:04,000 --> 00:16:06,150
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can no longer enter anywhere else.
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27
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00:16:10,240 --> 00:16:12,196
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A dream factory.
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28
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00:16:22,800 --> 00:16:27,112
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Communism wore itself out
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trying to dream up such factories.
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29
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00:17:46,520 --> 00:17:50,638
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Married to one of
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the prettiest women alive.
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30
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00:18:07,440 --> 00:18:10,034
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Or to tell the story of Howard Hughes.
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31
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00:18:35,720 --> 00:18:37,517
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Braver than Mermoz,
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32
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00:18:38,200 --> 00:18:39,792
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richer than Rockefeller.
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33
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00:19:13,400 --> 00:19:16,790
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<i>Producer of Citizen Kane,
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president of TWA.</i>
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34
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00:19:17,800 --> 00:19:21,270
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As if Meli<6C>s ran Gallimard
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and the SNCF.
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35
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00:19:55,680 --> 00:19:57,398
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And before Hughes Aircraft
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36
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00:19:57,600 --> 00:20:02,116
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began fishing up CIA submarines
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from the bottom of the Pacific,
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37
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00:20:07,800 --> 00:20:11,793
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he forced RKO starlets
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to go on weekly limousine rides
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38
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00:20:16,560 --> 00:20:18,039
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at one mile an hour
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39
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00:20:22,640 --> 00:20:26,110
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so their breasts
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wouldn't bounce up and down.
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40
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00:20:35,640 --> 00:20:38,598
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His death, worse than anything
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41
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00:20:38,800 --> 00:20:41,519
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Defoe had imagined for Robinson.
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42
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00:23:06,840 --> 00:23:11,277
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To tell the stories
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of all the films never made...
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43
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00:24:08,240 --> 00:24:12,791
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To tell the stories
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of all the films never made...
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44
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00:25:52,200 --> 00:25:55,875
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To tell the stories
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of all the films never made,
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45
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00:26:02,360 --> 00:26:04,271
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rather than those that were.
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46
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00:26:11,800 --> 00:26:14,268
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Those that were
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can be seen on TV.
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47
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00:26:14,480 --> 00:26:16,675
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Let's not exaggerate:
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48
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00:26:16,880 --> 00:26:19,997
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They're not even
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copies of reproductions.
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49
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00:27:19,800 --> 00:27:23,679
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<i>1940. Geneva.
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L'Ecole des femmes. Max Ophuls.</i>
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50
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00:27:55,080 --> 00:27:57,719
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He fell on Madeleine Ozeray's ass,
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51
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00:27:57,920 --> 00:28:01,799
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while the Germans were taking
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the French from behind
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52
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00:28:04,920 --> 00:28:07,718
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and while Louis Jouvet was giving up.
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53
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00:29:28,280 --> 00:29:31,078
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Theater is something
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too much known.
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54
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00:29:32,200 --> 00:29:34,839
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The cin<69>matographe, too unknown...
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55
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00:29:35,720 --> 00:29:36,675
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up to now.
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56
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00:31:29,680 --> 00:31:33,514
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History of cinema
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newness of history.
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57
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00:31:33,720 --> 00:31:35,438
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History of news.
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58
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00:31:37,160 --> 00:31:40,914
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Histories of cinema, with "s".
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59
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00:31:41,520 --> 00:31:43,033
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With SS.
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60
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00:32:21,160 --> 00:32:23,310
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1939, 1940, 1941...
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61
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00:32:23,720 --> 00:32:25,472
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Betrayal by radio,
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62
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00:32:26,200 --> 00:32:27,872
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but cinema keeps its word.
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63
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00:32:37,160 --> 00:32:41,358
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Because from Siegfried and M
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to the dictator and Lubitsch,
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64
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00:32:42,520 --> 00:32:43,873
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films were made.
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65
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00:32:48,960 --> 00:32:50,393
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1940, 1941.
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66
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00:32:51,240 --> 00:32:55,552
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Even scratched to death,
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a simple 35-millimeter rectangle
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67
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00:32:56,080 --> 00:32:58,640
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saves the honor of reality.
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68
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00:33:00,160 --> 00:33:01,991
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1941, 1942.
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69
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00:33:02,480 --> 00:33:05,517
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If poor images still strike
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70
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00:33:05,920 --> 00:33:09,276
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without anger or hatred,
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like a butcher,
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71
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00:33:10,280 --> 00:33:12,874
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it is because cinema is there:
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Silent film,
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72
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00:33:13,080 --> 00:33:16,959
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with its humble and formidable
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power of transfiguration.
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73
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00:33:19,080 --> 00:33:21,674
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1942, 1943, 1944.
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74
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00:33:23,040 --> 00:33:24,758
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That which plunges into the night
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75
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00:33:24,960 --> 00:33:27,793
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is the echo of what silence submerges.
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76
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00:33:29,960 --> 00:33:31,871
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What silence submerges
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77
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00:33:35,240 --> 00:33:38,915
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sustains in light
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that which plunges into the night.
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78
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00:35:43,160 --> 00:35:44,991
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Images and sounds,
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79
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00:35:54,320 --> 00:35:56,993
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like travelers whose paths cross
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80
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00:35:57,200 --> 00:35:59,156
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and who can no longer part ways.
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81
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00:36:35,240 --> 00:36:37,993
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To prove it, the masses like myths.
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82
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00:36:38,200 --> 00:36:40,236
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Cinema speaks to the masses.
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83
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00:36:41,400 --> 00:36:43,709
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But if the myth begins with Fantomas,
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84
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00:36:43,920 --> 00:36:45,512
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it ends with Christ.
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85
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00:36:46,520 --> 00:36:49,751
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What did those who listened
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to St. Bernard hear?
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86
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00:36:49,960 --> 00:36:51,996
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Not what he was saying?
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87
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00:36:52,200 --> 00:36:54,270
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Maybe. Probably.
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88
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00:36:55,920 --> 00:36:58,559
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How can we neglect what we learn
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89
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00:36:58,760 --> 00:37:02,548
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when that unknown voice
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plunges deep into our hearts?
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90
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00:37:35,480 --> 00:37:37,914
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What the news can teach us:
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91
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00:37:38,840 --> 00:37:41,673
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The birth of a nation,
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of hope,
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92
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00:37:48,760 --> 00:37:50,352
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of Rome, Open City.
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93
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00:37:50,560 --> 00:37:53,870
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The cin<69>matographe
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never meant to create an event,
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|
|
94
|
|||
|
|
00:37:54,080 --> 00:37:55,274
|
|||
|
|
but a vision.
|
|||
|
|
|
|||
|
|
95
|
|||
|
|
00:38:10,680 --> 00:38:12,272
|
|||
|
|
Because the screen
|
|||
|
|
|
|||
|
|
96
|
|||
|
|
00:38:12,480 --> 00:38:13,959
|
|||
|
|
is the same white canvas
|
|||
|
|
|
|||
|
|
97
|
|||
|
|
00:38:14,160 --> 00:38:16,151
|
|||
|
|
as the Samaritan's shirt.
|
|||
|
|
|
|||
|
|
98
|
|||
|
|
00:38:24,440 --> 00:38:28,149
|
|||
|
|
What Arnold and Richter's
|
|||
|
|
cameras preserve,
|
|||
|
|
|
|||
|
|
99
|
|||
|
|
00:38:28,840 --> 00:38:32,515
|
|||
|
|
so as not to be outdone
|
|||
|
|
by nightmares and dreams,
|
|||
|
|
|
|||
|
|
100
|
|||
|
|
00:38:33,080 --> 00:38:37,392
|
|||
|
|
will not be shown on a screen,
|
|||
|
|
but on a shroud.
|
|||
|
|
|
|||
|
|
101
|
|||
|
|
00:38:44,800 --> 00:38:47,109
|
|||
|
|
If the deaths of Puig and the N<>gus,
|
|||
|
|
|
|||
|
|
102
|
|||
|
|
00:38:47,320 --> 00:38:49,311
|
|||
|
|
of Captain Bo<42>eldieu,
|
|||
|
|
|
|||
|
|
103
|
|||
|
|
00:38:49,760 --> 00:38:52,479
|
|||
|
|
and of the little bunny
|
|||
|
|
were inaudible,
|
|||
|
|
|
|||
|
|
104
|
|||
|
|
00:38:53,280 --> 00:38:56,955
|
|||
|
|
it is because life never rendered
|
|||
|
|
what it stole from film.
|
|||
|
|
|
|||
|
|
105
|
|||
|
|
00:38:58,360 --> 00:39:02,069
|
|||
|
|
Forgetting extermination
|
|||
|
|
is part of extermination.
|
|||
|
|
|
|||
|
|
106
|
|||
|
|
00:39:35,400 --> 00:39:36,879
|
|||
|
|
Histories of cinema,
|
|||
|
|
|
|||
|
|
107
|
|||
|
|
00:39:37,680 --> 00:39:39,910
|
|||
|
|
stories without speech,
|
|||
|
|
|
|||
|
|
108
|
|||
|
|
00:39:40,560 --> 00:39:42,710
|
|||
|
|
stories of the night.
|
|||
|
|
|
|||
|
|
109
|
|||
|
|
00:40:12,040 --> 00:40:14,474
|
|||
|
|
For nearly 50 years, in the dark,
|
|||
|
|
|
|||
|
|
110
|
|||
|
|
00:40:14,680 --> 00:40:19,151
|
|||
|
|
moviegoers burn imagination
|
|||
|
|
to heat up reality.
|
|||
|
|
|
|||
|
|
111
|
|||
|
|
00:40:19,760 --> 00:40:21,830
|
|||
|
|
Now reality is seeking revenge.
|
|||
|
|
|
|||
|
|
112
|
|||
|
|
00:40:22,040 --> 00:40:24,873
|
|||
|
|
It wants real tears, real blood.
|
|||
|
|
|
|||
|
|
113
|
|||
|
|
00:40:32,480 --> 00:40:33,674
|
|||
|
|
From Vienna to Madrid,
|
|||
|
|
|
|||
|
|
114
|
|||
|
|
00:40:33,880 --> 00:40:35,108
|
|||
|
|
from Siodmak to Capra,
|
|||
|
|
|
|||
|
|
115
|
|||
|
|
00:40:35,320 --> 00:40:37,675
|
|||
|
|
from Paris
|
|||
|
|
to Los Angeles and Moscow,
|
|||
|
|
|
|||
|
|
116
|
|||
|
|
00:40:37,880 --> 00:40:40,189
|
|||
|
|
from Renoir
|
|||
|
|
to Malraux and Dovjenko -
|
|||
|
|
|
|||
|
|
117
|
|||
|
|
00:40:40,400 --> 00:40:44,757
|
|||
|
|
great fiction directors
|
|||
|
|
couldn't control the vengeance
|
|||
|
|
|
|||
|
|
118
|
|||
|
|
00:40:45,520 --> 00:40:48,159
|
|||
|
|
which they had directed over and over.
|
|||
|
|
|
|||
|
|
119
|
|||
|
|
00:42:05,120 --> 00:42:07,076
|
|||
|
|
The poor cinema of news
|
|||
|
|
|
|||
|
|
120
|
|||
|
|
00:42:07,280 --> 00:42:10,431
|
|||
|
|
must clear the blood and tears
|
|||
|
|
of all suspicion
|
|||
|
|
|
|||
|
|
121
|
|||
|
|
00:42:10,640 --> 00:42:13,359
|
|||
|
|
as streets are cleaned too late,
|
|||
|
|
|
|||
|
|
122
|
|||
|
|
00:42:13,880 --> 00:42:16,519
|
|||
|
|
after the army
|
|||
|
|
has fired at the masses.
|
|||
|
|
|
|||
|
|
123
|
|||
|
|
00:42:34,320 --> 00:42:35,673
|
|||
|
|
What there is of cinema
|
|||
|
|
|
|||
|
|
124
|
|||
|
|
00:42:35,880 --> 00:42:38,678
|
|||
|
|
in wartime newsreels
|
|||
|
|
says nothing.
|
|||
|
|
|
|||
|
|
125
|
|||
|
|
00:42:38,880 --> 00:42:40,393
|
|||
|
|
It does not judge.
|
|||
|
|
|
|||
|
|
126
|
|||
|
|
00:42:53,520 --> 00:42:55,351
|
|||
|
|
No close-ups.
|
|||
|
|
|
|||
|
|
127
|
|||
|
|
00:42:55,560 --> 00:42:57,437
|
|||
|
|
Suffering is not a star.
|
|||
|
|
|
|||
|
|
128
|
|||
|
|
00:43:02,080 --> 00:43:06,392
|
|||
|
|
Nor is the burned-down church
|
|||
|
|
or the bombed-out countryside.
|
|||
|
|
|
|||
|
|
129
|
|||
|
|
00:44:02,600 --> 00:44:06,388
|
|||
|
|
The spirits of Flaherty and Epstein
|
|||
|
|
took over.
|
|||
|
|
|
|||
|
|
130
|
|||
|
|
00:44:06,600 --> 00:44:10,878
|
|||
|
|
Daumier and Rembrandt,
|
|||
|
|
with his terrifying black and white.
|
|||
|
|
|
|||
|
|
131
|
|||
|
|
00:44:52,600 --> 00:44:54,033
|
|||
|
|
A few pans,
|
|||
|
|
|
|||
|
|
132
|
|||
|
|
00:44:54,240 --> 00:44:59,075
|
|||
|
|
an occasional high angle, for a mother
|
|||
|
|
mourning her murdered child.
|
|||
|
|
|
|||
|
|
133
|
|||
|
|
00:45:45,400 --> 00:45:48,153
|
|||
|
|
It is because this time alone
|
|||
|
|
|
|||
|
|
134
|
|||
|
|
00:45:48,840 --> 00:45:53,197
|
|||
|
|
the only veritable popular art form
|
|||
|
|
rejoins painting,
|
|||
|
|
|
|||
|
|
135
|
|||
|
|
00:45:53,400 --> 00:45:55,118
|
|||
|
|
that is: Art.
|
|||
|
|
|
|||
|
|
136
|
|||
|
|
00:45:55,320 --> 00:45:58,392
|
|||
|
|
That is: What is reborn
|
|||
|
|
from what was burned.
|
|||
|
|
|
|||
|
|
137
|
|||
|
|
00:46:26,640 --> 00:46:30,474
|
|||
|
|
We've forgotten that village,
|
|||
|
|
its white walls and olive trees,
|
|||
|
|
|
|||
|
|
138
|
|||
|
|
00:46:30,680 --> 00:46:32,432
|
|||
|
|
but we remember Picasso,
|
|||
|
|
|
|||
|
|
139
|
|||
|
|
00:46:32,920 --> 00:46:34,558
|
|||
|
|
that is: Guernica.
|
|||
|
|
|
|||
|
|
140
|
|||
|
|
00:46:44,120 --> 00:46:48,511
|
|||
|
|
We've forgotten Valentin Feldman,
|
|||
|
|
killed in '43,
|
|||
|
|
|
|||
|
|
141
|
|||
|
|
00:46:49,320 --> 00:46:52,437
|
|||
|
|
but we remember
|
|||
|
|
at least one other prisoner,
|
|||
|
|
|
|||
|
|
142
|
|||
|
|
00:46:52,640 --> 00:46:54,119
|
|||
|
|
that is: Goya.
|
|||
|
|
|
|||
|
|
143
|
|||
|
|
00:46:55,160 --> 00:46:59,915
|
|||
|
|
And if George Stevens hadn't used
|
|||
|
|
the first 16-mm color film
|
|||
|
|
|
|||
|
|
144
|
|||
|
|
00:47:00,280 --> 00:47:02,396
|
|||
|
|
in Auschwitz and Ravensbruck,
|
|||
|
|
|
|||
|
|
145
|
|||
|
|
00:47:04,040 --> 00:47:08,192
|
|||
|
|
Elizabeth Taylor would never
|
|||
|
|
have found a place in the sun.
|
|||
|
|
|
|||
|
|
146
|
|||
|
|
00:47:18,920 --> 00:47:20,638
|
|||
|
|
1939, 1944.
|
|||
|
|
|
|||
|
|
147
|
|||
|
|
00:47:21,760 --> 00:47:24,832
|
|||
|
|
Martyrdom and resurrection
|
|||
|
|
of the documentary.
|
|||
|
|
|
|||
|
|
148
|
|||
|
|
00:47:28,600 --> 00:47:32,673
|
|||
|
|
How marvelous to be able to look at
|
|||
|
|
what we cannot see.
|
|||
|
|
|
|||
|
|
149
|
|||
|
|
00:47:33,040 --> 00:47:35,918
|
|||
|
|
What a miracle for our blind eyes.
|
|||
|
|
|
|||
|
|
150
|
|||
|
|
00:47:41,600 --> 00:47:42,749
|
|||
|
|
Besides that,
|
|||
|
|
|
|||
|
|
151
|
|||
|
|
00:47:42,960 --> 00:47:44,552
|
|||
|
|
cinema is an industry.
|
|||
|
|
|
|||
|
|
152
|
|||
|
|
00:47:45,000 --> 00:47:47,560
|
|||
|
|
And if World War I allowed
|
|||
|
|
|
|||
|
|
153
|
|||
|
|
00:47:47,760 --> 00:47:50,228
|
|||
|
|
American cinema
|
|||
|
|
to ruin French cinema,
|
|||
|
|
|
|||
|
|
154
|
|||
|
|
00:47:50,680 --> 00:47:52,352
|
|||
|
|
with the advent of television,
|
|||
|
|
|
|||
|
|
155
|
|||
|
|
00:47:52,560 --> 00:47:54,437
|
|||
|
|
World War II allowed it to finance,
|
|||
|
|
|
|||
|
|
156
|
|||
|
|
00:47:55,120 --> 00:47:57,395
|
|||
|
|
that is, to ruin, European cinema.
|
|||
|
|
|
|||
|
|
157
|
|||
|
|
00:48:15,200 --> 00:48:17,634
|
|||
|
|
"Do you have two hands?"
|
|||
|
|
Asks the blind man.
|
|||
|
|
|
|||
|
|
158
|
|||
|
|
00:48:28,320 --> 00:48:31,232
|
|||
|
|
But looking won't reassure me.
|
|||
|
|
|
|||
|
|
159
|
|||
|
|
00:48:31,960 --> 00:48:35,430
|
|||
|
|
Why trust my eyes, if I have doubts?
|
|||
|
|
|
|||
|
|
160
|
|||
|
|
00:48:36,120 --> 00:48:38,793
|
|||
|
|
Why check my eyes
|
|||
|
|
|
|||
|
|
161
|
|||
|
|
00:48:39,000 --> 00:48:41,355
|
|||
|
|
to see whether I see my hands?
|
|||
|
|
|
|||
|
|
162
|
|||
|
|
00:49:56,880 --> 00:49:58,518
|
|||
|
|
Help!
|
|||
|
|
|