1
00:00:00,680 --> 00:00:04,389
Change nothing
so that everything is different.

2
00:00:24,560 --> 00:00:27,120
Don't show every side of things.

3
00:00:27,680 --> 00:00:30,672
Allow yourself
a margin of indefiniteness.

4
00:05:11,960 --> 00:05:16,272
Histories of cinema,
in the plural.

5
00:05:27,000 --> 00:05:29,719
All the stories

6
00:05:30,680 --> 00:05:33,240
that will be

7
00:05:34,560 --> 00:05:36,118
that have been.

8
00:09:06,760 --> 00:09:10,878
To tell the story of the last tycoon

9
00:09:12,480 --> 00:09:13,754
Irving Thalberg.

10
00:09:17,000 --> 00:09:21,835
A TV executive has, at most,
200 films a year in his head.

11
00:09:23,160 --> 00:09:25,799
Thalberg was the only person who,

12
00:09:26,000 --> 00:09:28,958
every day, had 52 films in his head.

13
00:10:50,440 --> 00:10:51,839
The foundation.

14
00:10:52,880 --> 00:10:54,598
The founding father.

15
00:11:02,720 --> 00:11:04,119
The only son.

16
00:11:10,200 --> 00:11:12,839
This story had to pass by this:

17
00:11:14,960 --> 00:11:17,872
A young body,
fragile and beautiful,

18
00:11:29,160 --> 00:11:31,674
as described
F. Scott Fitzgerald -

19
00:11:32,000 --> 00:11:35,072
so that this could exist:

20
00:11:38,160 --> 00:11:39,752
The power of Hollywood.

21
00:13:22,800 --> 00:13:25,075
The power of Babylon.

22
00:13:38,480 --> 00:13:39,879
A dream factory.

23
00:13:43,320 --> 00:13:45,231
History of cinema.

24
00:13:48,080 --> 00:13:51,470
Newness of history.
History of news.

25
00:15:59,920 --> 00:16:03,799
What has gone through cinema
and is still marked by it

26
00:16:04,000 --> 00:16:06,150
can no longer enter anywhere else.

27
00:16:10,240 --> 00:16:12,196
A dream factory.

28
00:16:22,800 --> 00:16:27,112
Communism wore itself out
trying to dream up such factories.

29
00:17:46,520 --> 00:17:50,638
Married to one of
the prettiest women alive.

30
00:18:07,440 --> 00:18:10,034
Or to tell the story of Howard Hughes.

31
00:18:35,720 --> 00:18:37,517
Braver than Mermoz,

32
00:18:38,200 --> 00:18:39,792
richer than Rockefeller.

33
00:19:13,400 --> 00:19:16,790
<i>Producer of Citizen Kane,
president of TWA.</i>

34
00:19:17,800 --> 00:19:21,270
As if Meliès ran Gallimard
and the SNCF.

35
00:19:55,680 --> 00:19:57,398
And before Hughes Aircraft

36
00:19:57,600 --> 00:20:02,116
began fishing up CIA submarines
from the bottom of the Pacific,

37
00:20:07,800 --> 00:20:11,793
he forced RKO starlets
to go on weekly limousine rides

38
00:20:16,560 --> 00:20:18,039
at one mile an hour

39
00:20:22,640 --> 00:20:26,110
so their breasts
wouldn't bounce up and down.

40
00:20:35,640 --> 00:20:38,598
His death, worse than anything

41
00:20:38,800 --> 00:20:41,519
Defoe had imagined for Robinson.

42
00:23:06,840 --> 00:23:11,277
To tell the stories
of all the films never made...

43
00:24:08,240 --> 00:24:12,791
To tell the stories
of all the films never made...

44
00:25:52,200 --> 00:25:55,875
To tell the stories
of all the films never made,

45
00:26:02,360 --> 00:26:04,271
rather than those that were.

46
00:26:11,800 --> 00:26:14,268
Those that were
can be seen on TV.

47
00:26:14,480 --> 00:26:16,675
Let's not exaggerate:

48
00:26:16,880 --> 00:26:19,997
They're not even
copies of reproductions.

49
00:27:19,800 --> 00:27:23,679
<i>1940. Geneva.
L'Ecole des femmes. Max Ophuls.</i>

50
00:27:55,080 --> 00:27:57,719
He fell on Madeleine Ozeray's ass,

51
00:27:57,920 --> 00:28:01,799
while the Germans were taking
the French from behind

52
00:28:04,920 --> 00:28:07,718
and while Louis Jouvet was giving up.

53
00:29:28,280 --> 00:29:31,078
Theater is something
too much known.

54
00:29:32,200 --> 00:29:34,839
The cinématographe, too unknown...

55
00:29:35,720 --> 00:29:36,675
up to now.

56
00:31:29,680 --> 00:31:33,514
History of cinema
newness of history.

57
00:31:33,720 --> 00:31:35,438
History of news.

58
00:31:37,160 --> 00:31:40,914
Histories of cinema, with "s".

59
00:31:41,520 --> 00:31:43,033
With SS.

60
00:32:21,160 --> 00:32:23,310
1939, 1940, 1941...

61
00:32:23,720 --> 00:32:25,472
Betrayal by radio,

62
00:32:26,200 --> 00:32:27,872
but cinema keeps its word.

63
00:32:37,160 --> 00:32:41,358
Because from Siegfried and M
to the dictator and Lubitsch,

64
00:32:42,520 --> 00:32:43,873
films were made.

65
00:32:48,960 --> 00:32:50,393
1940, 1941.

66
00:32:51,240 --> 00:32:55,552
Even scratched to death,
a simple 35-millimeter rectangle

67
00:32:56,080 --> 00:32:58,640
saves the honor of reality.

68
00:33:00,160 --> 00:33:01,991
1941, 1942.

69
00:33:02,480 --> 00:33:05,517
If poor images still strike

70
00:33:05,920 --> 00:33:09,276
without anger or hatred,
like a butcher,

71
00:33:10,280 --> 00:33:12,874
it is because cinema is there:
Silent film,

72
00:33:13,080 --> 00:33:16,959
with its humble and formidable
power of transfiguration.

73
00:33:19,080 --> 00:33:21,674
1942, 1943, 1944.

74
00:33:23,040 --> 00:33:24,758
That which plunges into the night

75
00:33:24,960 --> 00:33:27,793
is the echo of what silence submerges.

76
00:33:29,960 --> 00:33:31,871
What silence submerges

77
00:33:35,240 --> 00:33:38,915
sustains in light
that which plunges into the night.

78
00:35:43,160 --> 00:35:44,991
Images and sounds,

79
00:35:54,320 --> 00:35:56,993
like travelers whose paths cross

80
00:35:57,200 --> 00:35:59,156
and who can no longer part ways.

81
00:36:35,240 --> 00:36:37,993
To prove it, the masses like myths.

82
00:36:38,200 --> 00:36:40,236
Cinema speaks to the masses.

83
00:36:41,400 --> 00:36:43,709
But if the myth begins with Fantomas,

84
00:36:43,920 --> 00:36:45,512
it ends with Christ.

85
00:36:46,520 --> 00:36:49,751
What did those who listened
to St. Bernard hear?

86
00:36:49,960 --> 00:36:51,996
Not what he was saying?

87
00:36:52,200 --> 00:36:54,270
Maybe. Probably.

88
00:36:55,920 --> 00:36:58,559
How can we neglect what we learn

89
00:36:58,760 --> 00:37:02,548
when that unknown voice
plunges deep into our hearts?

90
00:37:35,480 --> 00:37:37,914
What the news can teach us:

91
00:37:38,840 --> 00:37:41,673
The birth of a nation,
of hope,

92
00:37:48,760 --> 00:37:50,352
of Rome, Open City.

93
00:37:50,560 --> 00:37:53,870
The cinématographe
never meant to create an event,

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 Négus,

102
00:38:47,320 --> 00:38:49,311
of Captain Boïeldieu,

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!