Browse content similar to The Magic Box. Check below for episodes and series from the same categories and more!
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LIVELY TUNE PLAYS | 0:01:29 | 0:01:31 | |
-Good morning. -Good morning. | 0:01:54 | 0:01:56 | |
-Could I speak to Mrs Friese-Greene, please? -Was it about a room? | 0:01:56 | 0:02:00 | |
No. If she's not too busy, I'd like to see her. | 0:02:00 | 0:02:03 | |
-I'll find out. What name is it? -I'm her husband. | 0:02:03 | 0:02:06 | |
Oh, well, I'm sure she'll... | 0:02:07 | 0:02:09 | |
I'll go and see. | 0:02:09 | 0:02:11 | |
-Would you wait there, please? -Thank you. | 0:02:11 | 0:02:14 | |
CLOCK CHIMES GENTLY | 0:02:31 | 0:02:34 | |
Hello, Willie. | 0:02:37 | 0:02:39 | |
Hello, Edith. | 0:02:40 | 0:02:42 | |
-Are you feeling better? -I hope you don't mind my coming to see you here. -Of course not. | 0:02:42 | 0:02:48 | |
You see, there's a reason. | 0:02:48 | 0:02:50 | |
Let's sit down. | 0:02:51 | 0:02:53 | |
-The children were asking after you, Willie. -Were they? Bless them. | 0:02:55 | 0:02:59 | |
-How's Vincent's cold? -It's better now. | 0:02:59 | 0:03:02 | |
I must send him something. There's a nice letter from Claude. | 0:03:02 | 0:03:06 | |
-He is doing well, isn't he? -Yes. Are you sure you're well enough to be out? | 0:03:06 | 0:03:11 | |
You know what the doctor said. | 0:03:11 | 0:03:13 | |
I'm perfectly all right. I've never felt better. | 0:03:13 | 0:03:17 | |
Edith, I've got some news for you. | 0:03:18 | 0:03:21 | |
News? | 0:03:21 | 0:03:23 | |
Colour. There's no doubt about it this time. I've got it at last. | 0:03:24 | 0:03:28 | |
-The colours are better than I ever got them before. -That's wonderful. | 0:03:28 | 0:03:33 | |
It's true, Edith. You'll see. | 0:03:33 | 0:03:35 | |
I'm glad you're happy about it. | 0:03:35 | 0:03:37 | |
I knew you would be. That's why I came. | 0:03:37 | 0:03:40 | |
I wanted you to be the first to hear it. | 0:03:40 | 0:03:43 | |
You know what it'll mean, my dear, don't you? We can be together again, a home of our own. | 0:03:46 | 0:03:52 | |
Willie... | 0:03:52 | 0:03:54 | |
It wouldn't work. | 0:03:55 | 0:03:57 | |
We shall have all the money we need this time. This is the real thing. | 0:03:57 | 0:04:01 | |
It's practically perfect. There's a fortune in this. | 0:04:01 | 0:04:04 | |
Neither of us will ever have to work again. We shall be the idle rich. | 0:04:04 | 0:04:09 | |
SHE LAUGHS | 0:04:09 | 0:04:11 | |
You idle, Willie? | 0:04:11 | 0:04:13 | |
You're very beautiful, my dear. | 0:04:14 | 0:04:17 | |
Sorry to interrupt you, Edith. Would you check the luncheon menu? Chef's waiting. | 0:04:20 | 0:04:26 | |
Yes. | 0:04:26 | 0:04:28 | |
Sorry, Willie. | 0:04:28 | 0:04:30 | |
That's all right, my dear. | 0:04:30 | 0:04:33 | |
I've got rather a lot to do today myself. | 0:04:33 | 0:04:36 | |
There's a big film industry meeting on this afternoon. I must be there. | 0:04:36 | 0:04:40 | |
-Oughtn't you to rest instead of...? -No, this is something I must go to. | 0:04:40 | 0:04:44 | |
The film industry has grown so quickly. The people in it just don't realise how important it is. | 0:04:44 | 0:04:50 | |
If they're not careful, they're going to spoil it all. | 0:04:50 | 0:04:53 | |
Yes, of course. | 0:04:53 | 0:04:55 | |
Well, goodbye, Willie. | 0:04:55 | 0:04:57 | |
Goodbye. | 0:04:59 | 0:05:01 | |
Give my love to the children. | 0:05:02 | 0:05:04 | |
Yes, I will. | 0:05:04 | 0:05:07 | |
-Good morning. Thank you very much. -Not at all. | 0:05:09 | 0:05:13 | |
What a charming man! | 0:05:29 | 0:05:31 | |
I know. | 0:05:32 | 0:05:34 | |
-You're still very fond of him, aren't you? -Yes. | 0:05:35 | 0:05:38 | |
Why don't you go back to him? | 0:05:39 | 0:05:41 | |
Things are better left as they are. | 0:05:41 | 0:05:44 | |
And I should mind my own business. | 0:05:44 | 0:05:46 | |
There's nothing secret. Willie's not the sort of person who should have other people to worry about. | 0:05:46 | 0:05:52 | |
He must have been very handsome. | 0:05:52 | 0:05:54 | |
Yes, he was. | 0:05:55 | 0:05:58 | |
Successful. | 0:05:59 | 0:06:01 | |
At the time when I met him, I was working in a glove shop for 15 shillings a week. | 0:06:01 | 0:06:06 | |
I wanted security. | 0:06:09 | 0:06:11 | |
CHEERING | 0:06:27 | 0:06:29 | |
Come on, there's something I want to show you. | 0:06:33 | 0:06:36 | |
Look, this is it. | 0:07:00 | 0:07:02 | |
Come and see the thrill of the century - pictures that move. Come and have the thrill of a lifetime. | 0:07:02 | 0:07:08 | |
Admission - one penny. One copper coin. | 0:07:08 | 0:07:11 | |
A train entering a station so real that it'll terrify you! | 0:07:11 | 0:07:15 | |
BACKGROUND PIANO MUSIC | 0:07:15 | 0:07:17 | |
SCREAMS | 0:07:46 | 0:07:49 | |
-It's wonderful. -Did your Mr Friese-Greene really invent it? -Yeah, of course he did. | 0:07:54 | 0:08:00 | |
-Lots of other things too. You'd be amazed at all the patents he's got. He's a grand chap. -Is he married? | 0:08:00 | 0:08:06 | |
-He was. She died two years ago. -It must be very exciting to work for someone like that. -It is. | 0:08:06 | 0:08:11 | |
-Would you like to see the laboratory? I've got a key. -It's too late. -No, it isn't. Come on, we'll get a bus. | 0:08:11 | 0:08:17 | |
-Are you sure it's all right? -Yes, of course it is. Only, don't talk too loud. This way. | 0:08:27 | 0:08:33 | |
We have electric light in the lab. We need the current for our experiments. | 0:08:34 | 0:08:38 | |
Mind the steps. I'll put on the light. | 0:08:43 | 0:08:46 | |
Turn that light out! | 0:08:47 | 0:08:49 | |
Oh... | 0:08:51 | 0:08:53 | |
Turn it on again. | 0:08:53 | 0:08:55 | |
Hello, Jack. | 0:09:02 | 0:09:04 | |
I'm terribly sorry, sir. I had no idea you were still here. | 0:09:04 | 0:09:08 | |
-I just wanted to show someone the laboratory. -Oh, that's all right. | 0:09:08 | 0:09:12 | |
Someone? | 0:09:12 | 0:09:14 | |
Oh, I beg your pardon, sir. My fiancee Miss Jones and Miss Harrison. | 0:09:14 | 0:09:19 | |
-How do you do? -How do you do? -How do you do? Please come in. | 0:09:19 | 0:09:23 | |
-We're very sorry to intrude upon you like this. -We thought you'd be in bed. | 0:09:25 | 0:09:30 | |
Oh! No, no, you're not intruding. I'm very glad of an excuse to stop. | 0:09:30 | 0:09:35 | |
-Besides, this is Jack's laboratory just as much as it is mine, isn't it? -Oh... -Yes, of course it is. | 0:09:35 | 0:09:40 | |
-We work together very closely. -What were you doing in the dark? | 0:09:40 | 0:09:44 | |
-We're trying to design something to produce X-rays that doctors can use. -X-rays? | 0:09:44 | 0:09:50 | |
Hmm. Tell them about it, Jack. He's so much better at explaining things than I am. | 0:09:50 | 0:09:55 | |
-Well, sir... -And the press. Don't forget the press. Show them everything. -Yes, sir. | 0:09:55 | 0:10:00 | |
Well, er... There's the press. | 0:10:00 | 0:10:03 | |
Well, that's it. | 0:10:03 | 0:10:05 | |
-What does it do? -It prints without using ink. | 0:10:05 | 0:10:09 | |
-Oh. -Electrochemically. | 0:10:10 | 0:10:12 | |
What's this box? | 0:10:12 | 0:10:14 | |
-Don't touch that, please! -No, you mustn't touch that. May, come and look at the X-rays. | 0:10:14 | 0:10:19 | |
I'm sorry, I'm sure! | 0:10:19 | 0:10:21 | |
What is this? | 0:10:26 | 0:10:28 | |
A souvenir. It doesn't look much, but I wouldn't part with this for anything in the world. | 0:10:28 | 0:10:34 | |
-It's my first moving picture camera. -You've done so many things. | 0:10:34 | 0:10:37 | |
-When I was making this, I was single-minded. It was the only thing that mattered. -Isn't it any more? | 0:10:37 | 0:10:43 | |
I wanted to capture movement because movement is part of the beauty of things. | 0:10:43 | 0:10:48 | |
-Didn't it come right? -Yes, it came all right in a way. | 0:10:48 | 0:10:52 | |
But you see, I lost someone. | 0:10:52 | 0:10:54 | |
And I suppose I lost interest. | 0:10:54 | 0:10:56 | |
In the beauty of things? | 0:10:58 | 0:11:00 | |
Possibly. | 0:11:00 | 0:11:01 | |
No, it wasn't that. Of course it wasn't that. | 0:11:01 | 0:11:05 | |
I think that's something no-one quite loses. | 0:11:05 | 0:11:08 | |
Don't you? | 0:11:08 | 0:11:10 | |
'The following day, he came into the shop where I worked to buy some gloves. | 0:11:13 | 0:11:18 | |
'And he came in the day after that, | 0:11:18 | 0:11:20 | |
'and yet again two days later.' | 0:11:20 | 0:11:23 | |
Three pairs in four days. He's fond of gloves, isn't he, dear? | 0:11:23 | 0:11:27 | |
INAUDIBLE | 0:11:27 | 0:11:29 | |
-A glass of port? -No, thank you. | 0:11:50 | 0:11:52 | |
-That was a lovely dinner. -Good. Will you dine with me again? -Yes, Mr Friese-Greene, I'd like to. | 0:11:52 | 0:11:58 | |
-People call me Willie. Funny sound, isn't it? -Mr William Friese-Greene is very imposing. -That was the idea. | 0:11:58 | 0:12:04 | |
When I was a photographer, you had to impress the sitters. Willie Green wasn't enough. | 0:12:04 | 0:12:09 | |
I tacked my wife's name on to it and I put an E on to the Green just to make it balanced. | 0:12:09 | 0:12:14 | |
Do you know, when you came into the laboratory the other night, | 0:12:15 | 0:12:19 | |
I had the most discourteous idea about you. | 0:12:19 | 0:12:22 | |
I can imagine. We interrupted your work. | 0:12:22 | 0:12:26 | |
Oh, no, not that. I thought you were lonely. | 0:12:26 | 0:12:30 | |
That isn't discourteous. | 0:12:30 | 0:12:32 | |
Of someone young and attractive? Of course it is. | 0:12:32 | 0:12:35 | |
It was clever of you to see it. | 0:12:35 | 0:12:38 | |
That must be because you know about loneliness yourself. | 0:12:38 | 0:12:42 | |
Yes, that must be it. | 0:12:42 | 0:12:45 | |
-Your bill, sir. -Thank you. | 0:12:45 | 0:12:47 | |
'Three months later, we were married | 0:12:48 | 0:12:52 | |
'and at first, everything was perfect. | 0:12:52 | 0:12:55 | |
'You couldn't have found a happier married couple anywhere in the world. | 0:12:55 | 0:13:00 | |
'Willie's inventions brought in money and everything seemed secure.' | 0:13:00 | 0:13:04 | |
ENGINE BACKFIRES | 0:13:04 | 0:13:06 | |
'We bought a new house at Dovercourt and it was there that Claude, our first son, was born. | 0:13:06 | 0:13:12 | |
'Soon after, Willie began working on colour film. He spent all his time on those colour experiments. | 0:13:14 | 0:13:20 | |
'They became an obsession with him. | 0:13:20 | 0:13:23 | |
'Everything we had went into those experiments and a great deal we didn't have. | 0:13:23 | 0:13:29 | |
'As the family increased, we began to have money troubles, but Willie was single-minded. | 0:13:29 | 0:13:36 | |
'He had this mission in life. | 0:13:36 | 0:13:38 | |
'He lived in a world of lenses and arc lights and filters. | 0:13:38 | 0:13:43 | |
'And those, I found out, are very expensive things. | 0:13:43 | 0:13:47 | |
'We went bankrupt twice and had to take a smaller house in Brighton, | 0:13:47 | 0:13:51 | |
'but it was the same story there - debts all the time. | 0:13:51 | 0:13:55 | |
'We seemed to owe money to everyone, | 0:13:55 | 0:13:58 | |
'but Willie's colour experiments still went on. | 0:13:58 | 0:14:01 | |
'Not that I really minded. You see, we loved one another. | 0:14:01 | 0:14:05 | |
'I believed in what he was trying to do. In fact, I think I would have gone on with Willie for ever. | 0:14:05 | 0:14:12 | |
'Only, one day... It was soon after King Edward died. | 0:14:12 | 0:14:15 | |
'One day, something happened.' | 0:14:15 | 0:14:18 | |
Tea, Willie! | 0:14:18 | 0:14:20 | |
-Shall I turn on the other lights? -No, thank you, Kenneth. We can manage with these. | 0:14:20 | 0:14:25 | |
-Hello, boys. -ALL: Good afternoon, Father. | 0:14:25 | 0:14:28 | |
-God bless this food which now we take and make us good for Jesus' sake. -Amen. | 0:14:28 | 0:14:33 | |
Ah! Maurice... | 0:14:33 | 0:14:35 | |
-Amen. -ALL: Amen. | 0:14:35 | 0:14:38 | |
There you are, Maurice, all alive and kicking. | 0:14:38 | 0:14:41 | |
-Ants' eggs, fit as fleas now. -Put them on the floor until you've had your tea. | 0:14:41 | 0:14:46 | |
Mother, our christening mugs have gone again. | 0:14:46 | 0:14:50 | |
-Yes, Kenneth. -Have we lent them to Father's friend again? | 0:14:51 | 0:14:55 | |
Have we, dear? | 0:14:55 | 0:14:57 | |
Hmm? Oh, yes. An uncle of mine is very kindly looking after them for us. | 0:14:57 | 0:15:02 | |
Oh, I nearly forgot. Look, what do you think of this? | 0:15:02 | 0:15:07 | |
-What about that? -I say! -Look at that sage green. That's a difficult colour to get. -This one's pink. | 0:15:07 | 0:15:13 | |
Let me see. So it is. | 0:15:13 | 0:15:15 | |
-Mine's a beauty. Lovely. -It's those new filters. I must buy some more. | 0:15:15 | 0:15:19 | |
-Now get on with your tea, boys. -Yes, come along. Give them back. | 0:15:19 | 0:15:23 | |
-Mother? -Father, when can we have the money for our new railway season tickets? You said to remind you. | 0:15:23 | 0:15:29 | |
-So I did. Let me think. -When do they run out, Claude? -They ran out two weeks ago. | 0:15:29 | 0:15:34 | |
-How have you been going? -At this end, they never look at our tickets. | 0:15:34 | 0:15:38 | |
-At the other end, we get out before the train gets into the station. -While the train's moving? | 0:15:38 | 0:15:43 | |
It's quite safe, dear. I had a good look myself. | 0:15:43 | 0:15:46 | |
The train slows down almost to a standstill on the bend. | 0:15:46 | 0:15:50 | |
-There's practically no risk at all. I did it myself. -You did what? | 0:15:50 | 0:15:55 | |
-I don't see why we need tickets at all. -No, that would be cheating the railway company. | 0:15:55 | 0:16:00 | |
As soon as I get a cheque, the tickets will be renewed and backdated. Yes. | 0:16:00 | 0:16:05 | |
-Where's Graham? -He's not in yet. Now, Willie! | 0:16:05 | 0:16:08 | |
-Perhaps the ticket collector's caught him. -Quiet, Kenneth! | 0:16:08 | 0:16:11 | |
-Until they get their new tickets, I think they ought to walk to school. -Do you? Perhaps. -Oh, Father! | 0:16:11 | 0:16:18 | |
-BELL RINGS -That's Graham now. Kenneth, open the door. He's very late. Very late. | 0:16:18 | 0:16:23 | |
I must talk to that young man. Is that you, Graham? | 0:16:23 | 0:16:27 | |
Hello. You're late. I say, what's up? What's the matter? Good Lord, look at your face! | 0:16:27 | 0:16:32 | |
Look at your clothes! | 0:16:32 | 0:16:34 | |
Graham, what's happened? | 0:16:34 | 0:16:36 | |
No, dear, let me. Go back to your tea, Kenneth. | 0:16:36 | 0:16:40 | |
Go back to your tea, boys. | 0:16:40 | 0:16:42 | |
Was it a fight? | 0:17:13 | 0:17:15 | |
Yes, Father. | 0:17:15 | 0:17:18 | |
Did you win? | 0:17:18 | 0:17:20 | |
No, Father. | 0:17:20 | 0:17:22 | |
I expect you will next time. | 0:17:22 | 0:17:24 | |
Now, what about coming downstairs and having some tea? | 0:17:24 | 0:17:27 | |
I'm not very hungry... | 0:17:28 | 0:17:31 | |
thank you, Father. | 0:17:31 | 0:17:33 | |
What was it all about? | 0:17:39 | 0:17:41 | |
HE STARTS SOBBING | 0:17:43 | 0:17:46 | |
Graham... | 0:17:49 | 0:17:51 | |
Well, well, there now... | 0:17:53 | 0:17:55 | |
They have knocked you about! | 0:17:55 | 0:17:58 | |
Here... | 0:17:58 | 0:18:00 | |
Come over here and sit down. You're tired out. | 0:18:01 | 0:18:05 | |
It's not as bad as all that, is it? | 0:18:06 | 0:18:09 | |
Tell me all about it. | 0:18:12 | 0:18:14 | |
He... He said you were a liar and a thief. | 0:18:14 | 0:18:18 | |
Oh, did he? | 0:18:18 | 0:18:20 | |
-Yes. -Did he give any reason? | 0:18:20 | 0:18:23 | |
Yesterday, we were talking about moving pictures and I said you invented them. | 0:18:24 | 0:18:31 | |
Yes. | 0:18:31 | 0:18:33 | |
Well, this morning, he said he looked it up at home in an encyclopedia. | 0:18:33 | 0:18:39 | |
It said that Edison invented them. | 0:18:41 | 0:18:43 | |
You weren't mentioned at all. | 0:18:43 | 0:18:46 | |
And then he said that... | 0:18:47 | 0:18:49 | |
his father said that you owed everybody money and never paid. | 0:18:49 | 0:18:53 | |
And that made you a thief as well. | 0:18:55 | 0:18:57 | |
Oh. | 0:18:58 | 0:18:59 | |
You did invent the moving pictures, didn't you, Father? | 0:18:59 | 0:19:03 | |
Yes, I think I did. | 0:19:04 | 0:19:06 | |
I wasn't the only one, but I think I was the first. | 0:19:06 | 0:19:10 | |
Mine was the first patent, anyway. | 0:19:10 | 0:19:12 | |
There was a Frenchman called Le Prince a year or so before me | 0:19:12 | 0:19:16 | |
who produced a camera working on a different principle to mine, | 0:19:16 | 0:19:20 | |
but it's not like the one they use today and the one I invented is. | 0:19:20 | 0:19:24 | |
And in that sense, I was the first. | 0:19:24 | 0:19:28 | |
But the encyclopedia... | 0:19:28 | 0:19:30 | |
He said it didn't even mention your name. | 0:19:31 | 0:19:34 | |
Well... | 0:19:36 | 0:19:38 | |
Perhaps it isn't a very good encyclopedia. | 0:19:38 | 0:19:42 | |
That's what I said. | 0:19:42 | 0:19:44 | |
We do owe people money. Don't we, Father? | 0:19:47 | 0:19:51 | |
Yes. | 0:19:54 | 0:19:56 | |
I'm afraid we do. | 0:19:56 | 0:19:58 | |
But owing money isn't the same as being a thief. | 0:19:58 | 0:20:01 | |
Is it? | 0:20:01 | 0:20:04 | |
No. Not really. | 0:20:08 | 0:20:10 | |
Well... | 0:20:12 | 0:20:13 | |
Your face needs washing again, old chap. | 0:20:14 | 0:20:17 | |
You'd better tidy up a bit and come down and have your tea. | 0:20:17 | 0:20:21 | |
Ask Mother if there's a piece of cake. | 0:20:22 | 0:20:25 | |
All right, Father. | 0:20:25 | 0:20:27 | |
-Father... -Yes? | 0:20:33 | 0:20:36 | |
He was much bigger than I am | 0:20:36 | 0:20:38 | |
or I would have beaten him. | 0:20:38 | 0:20:40 | |
I know you would. Thank you, Graham. | 0:20:41 | 0:20:44 | |
Did you hear? | 0:20:54 | 0:20:56 | |
Yes, darling. | 0:20:56 | 0:20:58 | |
But you mustn't take any notice. | 0:20:58 | 0:21:00 | |
I think I'll go for a walk. | 0:21:00 | 0:21:02 | |
LAUGHTER Oh, give me that back, Claude! | 0:21:04 | 0:21:07 | |
No, I'm keeping it. | 0:21:07 | 0:21:09 | |
They could have mentioned my name, couldn't they? They could just have mentioned my name. | 0:21:13 | 0:21:18 | |
It wouldn't have hurt anybody. | 0:21:18 | 0:21:20 | |
'That night, I realised something that perhaps I had known for quite a long time, | 0:21:35 | 0:21:40 | |
'that although Willie might work as usual | 0:21:40 | 0:21:43 | |
'and make plans for the day when everything was going to be successful, | 0:21:43 | 0:21:48 | |
'that day was never going to come. | 0:21:48 | 0:21:50 | |
'We weren't going to be successful. We weren't going to be rich. | 0:21:50 | 0:21:54 | |
'As a family, we'd be lucky if we survived. | 0:21:54 | 0:21:57 | |
'It wasn't until 1915 that the inevitable happened.' | 0:21:59 | 0:22:03 | |
WHISTLING: "It's A Long Way To Tipperary" | 0:22:03 | 0:22:06 | |
-Mr Friese-Greene? -I'm Mrs Friese-Greene. Can I help you? | 0:22:08 | 0:22:12 | |
-I'm the broker's man. The landlord wants the rent. -Today my husband's in London, but he'll be back later. | 0:22:12 | 0:22:18 | |
-You're new, aren't you? -Yes, just helping out. | 0:22:18 | 0:22:21 | |
Your regular man's got the Spanish influenza. Very nasty thing, I'm told. | 0:22:21 | 0:22:26 | |
I like to save all the fuss I can. Makes things pleasanter all round. | 0:22:26 | 0:22:30 | |
You know the legal position. The landlord can seize goods to the value of the rent owing. | 0:22:30 | 0:22:35 | |
The law protects you too. Certain goods can't be seized - wearing apparel, bedding, ordinary fixtures. | 0:22:35 | 0:22:41 | |
If you had any crops growing in the garden ripe for picking, they wouldn't count. | 0:22:41 | 0:22:46 | |
What a nice, big sunny room this is! Property belonging to the ambassador of a foreign power is exempt. | 0:22:46 | 0:22:53 | |
We'll put it to the vote. Those in favour? | 0:22:53 | 0:22:55 | |
Against? Carried unanimously. We'll do it right away. | 0:22:55 | 0:22:59 | |
-Not you, Maurice. You're not old enough. -I want to. | 0:22:59 | 0:23:02 | |
-So do I. -You can't. You two stop here and look after Mother. | 0:23:02 | 0:23:06 | |
Let's take a peep upstairs, shall we? Pure formality, of course. | 0:23:06 | 0:23:10 | |
-These are three of my sons. -Really? Well behaved, I hope, ma'am. No practical jokes or funny business. | 0:23:10 | 0:23:15 | |
-No, there's no need to worry. -I'm glad of that. I've had some unpleasant experiences in my time. | 0:23:15 | 0:23:21 | |
-Age? -17. | 0:23:34 | 0:23:36 | |
-I didn't get it, son. -18. -18. | 0:23:36 | 0:23:39 | |
-And you? -18. -18. | 0:23:40 | 0:23:42 | |
-And you're 18? -Yes, sir. -All right, left turn. Next! | 0:23:42 | 0:23:47 | |
Age? | 0:23:47 | 0:23:49 | |
-That's your lot. -Don't we get uniforms? -All in good time. Report at the barracks tomorrow at 10.30. | 0:23:50 | 0:23:56 | |
Bring your shaving kit, soap, spare socks. Call me Sergeant. Got it? | 0:23:56 | 0:24:00 | |
- Yes, Sergeant. - Yes, Sergeant. | 0:24:00 | 0:24:02 | |
16, 17, 18, 19, 20, 21. | 0:24:02 | 0:24:06 | |
22 pounds and I have to give you five shillings for your fee. That's right, isn't it? | 0:24:06 | 0:24:12 | |
-You know your way about. There's your receipt. -Thank you. | 0:24:12 | 0:24:15 | |
-I thank you for your courtesy. Good afternoon to you, sir. -Goodbye. -Good day, sir. Good day, ma'am. | 0:24:15 | 0:24:21 | |
I won't say "au revoir". | 0:24:25 | 0:24:27 | |
HE CHUCKLES | 0:24:27 | 0:24:29 | |
Two pounds and eight shillings. | 0:24:29 | 0:24:33 | |
That's all that's left. You'd better keep it, dear. | 0:24:33 | 0:24:36 | |
Willie, where did you get this money? | 0:24:36 | 0:24:39 | |
You didn't borrow again? | 0:24:39 | 0:24:41 | |
My dear, I know nobody will lend me money any more. | 0:24:41 | 0:24:44 | |
-Willie, please tell me. -I sold something. It's not important. | 0:24:44 | 0:24:48 | |
What did you sell? | 0:24:48 | 0:24:50 | |
All right... | 0:24:51 | 0:24:53 | |
It was the old camera. | 0:24:54 | 0:24:57 | |
Oh, Willie! | 0:24:59 | 0:25:01 | |
It's done now. Anyhow, all my stuff's colour nowadays. I'm finished with black and white. | 0:25:02 | 0:25:07 | |
There, two pounds and eight shillings. There you are, my dear. | 0:25:07 | 0:25:11 | |
-Call me Sergeant! Got it? -Those boys are always playing soldiers! | 0:25:11 | 0:25:15 | |
Left, right, left, right, left, right, halt! | 0:25:15 | 0:25:19 | |
Left turn! | 0:25:19 | 0:25:21 | |
Not now, boys. | 0:25:21 | 0:25:23 | |
Squad, present boots! | 0:25:23 | 0:25:25 | |
Oh, no. | 0:25:31 | 0:25:33 | |
Claude! | 0:25:33 | 0:25:34 | |
Oh, no! | 0:25:36 | 0:25:38 | |
Oh, no! | 0:25:40 | 0:25:42 | |
BRASS BAND PLAYS | 0:25:48 | 0:25:51 | |
MUSIC: "Pack Up Your Troubles In Your Old Kit-Bag" | 0:25:54 | 0:25:57 | |
They'll send them back, won't they? | 0:27:06 | 0:27:09 | |
They must send them back when they know they're under age. | 0:27:09 | 0:27:13 | |
I must find their birth certificates. They're up here somewhere. | 0:27:15 | 0:27:19 | |
They had to grow up some time, dearest. | 0:27:21 | 0:27:24 | |
It's what they wanted to do. | 0:27:24 | 0:27:27 | |
It's not true. | 0:27:28 | 0:27:30 | |
-Darling... -It's not true. | 0:27:30 | 0:27:32 | |
I made Kenneth tell me, but I knew it already. | 0:27:34 | 0:27:38 | |
They went because they didn't want to be a burden to us any longer, | 0:27:39 | 0:27:43 | |
-so that we wouldn't have to feed and clothe them. -Oh, Edith! | 0:27:43 | 0:27:47 | |
It's the truth, Willie! And you'd have known it was the truth if you weren't so blind. | 0:27:47 | 0:27:52 | |
But you don't see other people. | 0:27:52 | 0:27:54 | |
You see colours, filters, little bits of machinery. | 0:27:54 | 0:27:57 | |
And that's the world for you. | 0:27:57 | 0:27:59 | |
What happens outside it is nothing. | 0:28:00 | 0:28:03 | |
Children who ask to be clothed and fed, greengrocers, landlords who want their money... | 0:28:03 | 0:28:09 | |
They're all the same to you. They're all creditors. | 0:28:09 | 0:28:12 | |
And all that matters is to keep them quiet, so that you can go on with your work. | 0:28:12 | 0:28:17 | |
That's not fair, Edith! | 0:28:17 | 0:28:19 | |
I don't care whether it's fair or not, Willie! | 0:28:19 | 0:28:22 | |
I've done with being fair. | 0:28:24 | 0:28:27 | |
-I've done! -SHE SOBS | 0:28:28 | 0:28:30 | |
Soon after that, I got a job and I took a place for the children and myself. | 0:28:36 | 0:28:42 | |
I knew that I had to leave him because he couldn't take the responsibility of us any longer. | 0:28:42 | 0:28:48 | |
Won't you ever go back to him? | 0:28:48 | 0:28:50 | |
-You see, I know the truth about Willie and me now. -The truth? | 0:28:52 | 0:28:56 | |
Look at the paper. There on the City page. | 0:28:56 | 0:28:58 | |
This big film meeting that he talked about. You heard what he said - he has to be there. | 0:28:58 | 0:29:04 | |
He doesn't have to be there. It doesn't matter if he's there or not. | 0:29:04 | 0:29:08 | |
Nobody knows him any more. | 0:29:08 | 0:29:10 | |
At least, nobody that matters. | 0:29:10 | 0:29:12 | |
Nobody cares for his opinion. | 0:29:13 | 0:29:16 | |
What Willie Greene thinks hasn't mattered for years. | 0:29:16 | 0:29:19 | |
But he doesn't know that. | 0:29:19 | 0:29:21 | |
He thinks he still belongs. | 0:29:21 | 0:29:24 | |
I think the truth is that when I first met him, his real life was already over. | 0:29:26 | 0:29:31 | |
I never knew the real Willie. | 0:29:33 | 0:29:35 | |
He was before my time. | 0:29:37 | 0:29:39 | |
I, um... I wish to impress upon you strongly | 0:29:39 | 0:29:44 | |
that there has been no behind-the-scenes attempt | 0:29:44 | 0:29:49 | |
to prejudice the results of our deliberations here today. | 0:29:49 | 0:29:53 | |
Now, the, um...the reason that we're met here today is so that the, uh...the cinema owners | 0:29:53 | 0:30:00 | |
and the people who rent and produce films can work out and agree a common policy | 0:30:00 | 0:30:05 | |
for the film industry as a whole. | 0:30:05 | 0:30:07 | |
Lord Beaverbrook, we're in the hands of foreigners. British screens must be used for British films. | 0:30:07 | 0:30:12 | |
Mr Chairman, nobody is more patriotic than I am, but our cinemas can't run without foreign films. | 0:30:12 | 0:30:18 | |
SHOUTING Sit down! | 0:30:18 | 0:30:20 | |
Mr Chairman, we're in this business to make money, not lose it. And don't you forget it! | 0:30:20 | 0:30:26 | |
It's going to end in a riot. You'll see. | 0:30:26 | 0:30:28 | |
Order! | 0:30:28 | 0:30:30 | |
Gentlemen, I propose that we forget the past. | 0:30:30 | 0:30:34 | |
If we forget the past, we shall perhaps be able to persuade some of these angry gentlemen | 0:30:34 | 0:30:40 | |
that the committee is not a bunch of crooks... | 0:30:40 | 0:30:43 | |
'Forget the past. Forget the past. | 0:30:43 | 0:30:45 | |
'Forget the past. Forget the past. Forget the past. | 0:30:45 | 0:30:50 | |
'Forget the past. Forget the past. | 0:30:50 | 0:30:53 | |
'Forget the past. Forget the past. Forget the past. | 0:30:53 | 0:30:57 | |
'Forget the past. Forget the past. | 0:30:57 | 0:31:00 | |
'Forget the past. Forget the past. Forget the past. Forget the past...' | 0:31:00 | 0:31:05 | |
One, two. | 0:31:05 | 0:31:07 | |
Three, four. | 0:31:07 | 0:31:10 | |
Good. | 0:31:10 | 0:31:12 | |
Six. | 0:31:12 | 0:31:13 | |
Perfectly...still...please. | 0:31:13 | 0:31:17 | |
Ten, eleven. | 0:31:17 | 0:31:19 | |
Twelve, thirteen. | 0:31:19 | 0:31:22 | |
Fourteen, fifteen. | 0:31:22 | 0:31:25 | |
Sixteen. Steady. | 0:31:25 | 0:31:27 | |
Eighteen, nineteen. | 0:31:27 | 0:31:30 | |
Twenty. Steady. | 0:31:30 | 0:31:33 | |
Twenty-two. Thank you, ladies and gentlemen. | 0:31:33 | 0:31:37 | |
-KNOCK AT DOOR Hurry up, hurry up! -Just a moment, sir. | 0:31:43 | 0:31:47 | |
-Now, is it finished? -I've only just put it in. -All right, all right. | 0:31:57 | 0:32:01 | |
Hmm. Uh-huh. | 0:32:01 | 0:32:03 | |
Yes, I'm a good photographer, the best in Bristol. | 0:32:03 | 0:32:07 | |
They all look terribly stiff, though, don't they, sir? | 0:32:07 | 0:32:10 | |
In Germany, they're working on a photographic plate with an exposure of less than one second. | 0:32:10 | 0:32:16 | |
-One second! What would Fox Talbot say to that? -Fox Talbot! | 0:32:16 | 0:32:19 | |
Why not send for some of this stuff, Mr Guttenberg, and see if it works? | 0:32:19 | 0:32:23 | |
If it does, people wouldn't have to keep so still. They could move. | 0:32:23 | 0:32:27 | |
If they move, they blur. What is this nonsense that you speak? | 0:32:27 | 0:32:31 | |
-I didn't mean... -Don't waste my time. There's the broom. Sweep up the darkroom floor. -Yes, Mr Guttenberg. | 0:32:31 | 0:32:37 | |
RINGS | 0:32:39 | 0:32:41 | |
-Good morning, my lady. -Mr Guttenberg, did you take that photograph? | 0:32:43 | 0:32:48 | |
-My lady? -Look at it, man, look at it! | 0:32:48 | 0:32:50 | |
This is your own work. Now then... | 0:32:50 | 0:32:53 | |
-No, no, no, my lady. -What's that? -That is not my work, my lady. | 0:32:53 | 0:32:57 | |
What nonsense! My daughter told me distinctly. This is her friend, Miss Helena Friese. | 0:32:57 | 0:33:02 | |
This is where the photograph was taken. It's excellent and I want my daughter photographed the same way. | 0:33:02 | 0:33:08 | |
My lady, I will take the photograph of your daughter, but this is not by me. I would have my name on it. | 0:33:08 | 0:33:13 | |
-Miss Friese told my daughter. -The composition is not such as I use. | 0:33:13 | 0:33:17 | |
Miss Friese told my daughter that she came here. I am not accustomed to having my word questioned. | 0:33:17 | 0:33:23 | |
I assure you, my lady... | 0:33:23 | 0:33:25 | |
Mr Guttenberg, what is this nonsense? Look! | 0:33:30 | 0:33:34 | |
That is the very background. | 0:33:34 | 0:33:36 | |
Ah, yes... | 0:33:37 | 0:33:39 | |
I think I understand. | 0:33:42 | 0:33:44 | |
Willie! | 0:33:45 | 0:33:47 | |
Willie! | 0:33:49 | 0:33:51 | |
Willie! | 0:33:53 | 0:33:54 | |
Yes, Mr Guttenberg? | 0:33:54 | 0:33:56 | |
-You permit, my lady? -What is the matter with you? | 0:33:57 | 0:34:01 | |
You took this? | 0:34:02 | 0:34:04 | |
Yes, Mr Guttenberg, I think I did. | 0:34:06 | 0:34:08 | |
I see. My lady, I apologise. This photograph was taken in my studios. | 0:34:08 | 0:34:13 | |
-That's what I said. -Sometimes my assistant takes unimportant sitters, children, domestic servants. | 0:34:13 | 0:34:19 | |
Miss Friese is neither a child nor a domestic servant. She is a friend of my daughter's from Switzerland. | 0:34:19 | 0:34:25 | |
-My lady, I did not mean... -I'm not interested in what you meant. | 0:34:25 | 0:34:29 | |
If this young man took this portrait, then he shall photograph my daughter. | 0:34:29 | 0:34:34 | |
She will be here for a sitting on Tuesday at three o'clock. Kindly see that everything is ready for her. | 0:34:34 | 0:34:40 | |
-Allow me. -Thank you. | 0:34:41 | 0:34:43 | |
If you make a good likeness, young man, I shall require you to photograph me. | 0:34:46 | 0:34:51 | |
Good morning. | 0:34:51 | 0:34:54 | |
Come here! | 0:35:02 | 0:35:03 | |
Well? | 0:35:12 | 0:35:14 | |
-Well, Mr Guttenberg... -Silence! -Yes, Mr Guttenberg. | 0:35:14 | 0:35:17 | |
This young Swiss lady, she's a friend of yours, eh? | 0:35:18 | 0:35:22 | |
Yes. | 0:35:23 | 0:35:25 | |
That's very nice. | 0:35:25 | 0:35:27 | |
She is pretty, you think? | 0:35:28 | 0:35:30 | |
Oh, yes, she is. But she's very delicate. She's been ill a lot. | 0:35:30 | 0:35:34 | |
Her mother died and she's living over here with relatives now. | 0:35:34 | 0:35:38 | |
You hope perhaps some day to marry her? | 0:35:38 | 0:35:41 | |
Well... | 0:35:41 | 0:35:43 | |
If you do not wish to beg your bread in the gutter, you will obey me when I speak! | 0:35:45 | 0:35:50 | |
You'll take no more photos in these studios that I do not order you to take! | 0:35:50 | 0:35:55 | |
I am the photographer here and if you will not obey me, you will go. | 0:35:55 | 0:36:00 | |
You understand? Speak! | 0:36:00 | 0:36:03 | |
Yes, Mr Guttenberg. | 0:36:04 | 0:36:06 | |
Helena! | 0:36:10 | 0:36:12 | |
Willie! | 0:36:13 | 0:36:15 | |
-Hello. -Hello. | 0:36:17 | 0:36:19 | |
-Mrs Joster says you're better today. -Oh, yes. I'll soon be very strong. -Good. | 0:36:19 | 0:36:24 | |
-What have you got there? -You look absolutely perfect like that. | 0:36:24 | 0:36:28 | |
I'd like to photograph you just as you are now on this wicker couch. | 0:36:28 | 0:36:32 | |
-Oh, Willie, you can't take the couch to the studio. -No, I can't take you any more either. | 0:36:32 | 0:36:37 | |
-Lady Pond came to see Mr Guttenberg and showed him that photograph I took of you. -Willie, I am sorry. | 0:36:37 | 0:36:43 | |
Was he very angry? | 0:36:43 | 0:36:45 | |
He was a bit upset. Do you know, Helena, sometimes I almost think he must be jealous. | 0:36:45 | 0:36:51 | |
Why do you smile? | 0:36:54 | 0:36:56 | |
Oh, Willie, it's so like you. It's obvious to everyone. | 0:36:56 | 0:37:00 | |
-What do you mean? -That you are a better photographer than Mr Guttenberg and he knows it. | 0:37:00 | 0:37:05 | |
Do you really think that? | 0:37:06 | 0:37:09 | |
Oh, this is for you. | 0:37:13 | 0:37:16 | |
-Thank you, Willie. And the other one? -That's just a German book on lenses. | 0:37:16 | 0:37:20 | |
-I wondered if you'd translate some of it for me? -Of course, but I have something for you too. | 0:37:20 | 0:37:26 | |
-Thank you very... -Look. | 0:37:26 | 0:37:28 | |
"The Englishwoman's Domestic Magazine." | 0:37:28 | 0:37:31 | |
That must be very interesting. Thank you. | 0:37:31 | 0:37:34 | |
Oh, no, not to read. Look, someone has made little drawings in it. | 0:37:34 | 0:37:38 | |
Look. | 0:37:38 | 0:37:40 | |
By Jove! | 0:37:41 | 0:37:43 | |
Do that again. | 0:37:43 | 0:37:46 | |
-Isn't that wonderful? -I thought it might interest you. -This is much more than interesting. | 0:37:49 | 0:37:54 | |
This demonstrates the most amazing principle - persistence of vision. | 0:37:54 | 0:37:58 | |
-Is it new? -No, it's as old as the hills. The Romans knew about this. | 0:37:58 | 0:38:02 | |
When you see those pictures apparently moving, | 0:38:02 | 0:38:05 | |
the nerves at the back of the eye, the retina, are flashing each picture into the brain. | 0:38:05 | 0:38:10 | |
But the brain retains each picture a fraction of a second after it's flicked past the eye, | 0:38:10 | 0:38:15 | |
so if you remove one picture, the brain still has an image of it a fraction of a second later. | 0:38:15 | 0:38:20 | |
-If you replace it with a slightly different picture, it will seem like the same one moving. Simple? -Yes. | 0:38:20 | 0:38:26 | |
If it's ever possible to make a camera to photograph movement, this is the principle that will be used. | 0:38:26 | 0:38:32 | |
-Willie... -Hmm? | 0:38:33 | 0:38:35 | |
Why do you work for Mr Guttenberg? | 0:38:35 | 0:38:38 | |
Why? | 0:38:38 | 0:38:40 | |
Yes. Why? | 0:38:40 | 0:38:41 | |
You are an experimenter. | 0:38:41 | 0:38:44 | |
-Somebody who tries out new things. -I've got to earn a living. | 0:38:44 | 0:38:48 | |
-Then why don't you open a studio yourself? -Oh... -No, Willie, I'm serious. | 0:38:48 | 0:38:53 | |
-And annoy old Guttenberg? That'd be wonderful. -Why not? -Money. I haven't got a farthing. | 0:38:53 | 0:38:58 | |
-There's the money your grandfather left. -I don't think that'd be enough. -Are you sure? -I don't... | 0:38:58 | 0:39:03 | |
I don't know. I must think about that. | 0:39:03 | 0:39:06 | |
You are a wonderful photographer. All you need is a little courage. | 0:39:06 | 0:39:10 | |
You'd give me that, wouldn't you? | 0:39:10 | 0:39:12 | |
Do you know, I believe you're right! | 0:39:13 | 0:39:16 | |
But I shall have to choose the right moment. | 0:39:16 | 0:39:19 | |
Moments of importance choose themselves. | 0:39:19 | 0:39:22 | |
The sun's just touching your hair. | 0:39:24 | 0:39:26 | |
It's perfect. | 0:39:26 | 0:39:28 | |
-I don't want my picture taken! -Come along, Victoria. Do be a good girl. | 0:39:29 | 0:39:33 | |
-Turn round, dear. -I don't want my photograph taken! | 0:39:33 | 0:39:37 | |
Oh, now, come along, Victoria. | 0:39:37 | 0:39:40 | |
-Do turn round. -But she'll be so disappointed. She wants to see the dickybird. | 0:39:40 | 0:39:45 | |
Yes, show her the dickybird. | 0:39:45 | 0:39:48 | |
That's the idea. Now, you hold her there gently but firmly. A little lower. That's the idea. | 0:39:48 | 0:39:54 | |
Now, quite comfy. Now, Nanny, are you comfy too? | 0:39:54 | 0:39:58 | |
There now, Nanny look at Victoria. Harry, look at me. | 0:39:58 | 0:40:01 | |
Now, where's the dickybird? Oh, he's fine. He's all ready to pop out. | 0:40:01 | 0:40:05 | |
He's very quick, so you must watch very carefully. | 0:40:05 | 0:40:09 | |
-Now then, quite happy, quite still...? -One moment. | 0:40:09 | 0:40:13 | |
-Now. -I said, "One moment!" | 0:40:13 | 0:40:15 | |
The girl holds her rag. We cannot have that rubbish in the picture. | 0:40:15 | 0:40:19 | |
-Most of it is not in the picture. I can paint it out. -What is this nonsense? -She won't pose without it. | 0:40:19 | 0:40:25 | |
With children, one has to be firm. Gentle, but firm. See! | 0:40:25 | 0:40:29 | |
Oh, no, please, Mr Gutten... | 0:40:29 | 0:40:32 | |
Now, little girl, give that to me. | 0:40:33 | 0:40:35 | |
-Give that to me. -No, don't! | 0:40:35 | 0:40:37 | |
-SHE CRIES -You beast! | 0:40:40 | 0:40:43 | |
Aagh! | 0:40:43 | 0:40:44 | |
Oh! | 0:40:44 | 0:40:45 | |
Oh, Harry, you come here! You are a bad boy! | 0:40:45 | 0:40:49 | |
SHOUTING AND CRYING | 0:40:49 | 0:40:51 | |
Victoria, let go! Harry, how dare you! | 0:40:51 | 0:40:53 | |
I don't know what's come over them. They're so good as a rule. Behave yourself, Harry. | 0:40:53 | 0:40:58 | |
Victoria, do stop crying. It's all right. | 0:40:58 | 0:41:01 | |
HARRY SCREAMS I think I'll have to take them home. | 0:41:01 | 0:41:04 | |
-Now come along. -But the photograph... The photograph. | 0:41:04 | 0:41:08 | |
SCREAMING AND CRYING CONTINUES | 0:41:08 | 0:41:10 | |
Such children... | 0:41:13 | 0:41:15 | |
..should be beaten soundly | 0:41:16 | 0:41:18 | |
for wasting the time! | 0:41:18 | 0:41:21 | |
You are a clumsy fool now, aren't you? | 0:41:28 | 0:41:31 | |
You're stupid too. You're always talking about your experience, | 0:41:31 | 0:41:35 | |
but you haven't even realised yet that some people don't like being photographed. | 0:41:35 | 0:41:40 | |
-I will not be spoken to like this. I am the photographer here. -No, you're a clumsy fool, Mr Guttenberg. | 0:41:40 | 0:41:45 | |
-And you're no photographer. -How dare you speak to me like this! You are finished. -I'm telling you the truth. | 0:41:45 | 0:41:51 | |
You're finished, finished! | 0:41:51 | 0:41:54 | |
You're wrong, Mr Guttenberg. I'm only just beginning. | 0:41:54 | 0:41:57 | |
BELLS RING | 0:41:57 | 0:41:59 | |
Your wife has a list of the things she needs. If the child is to be born here, call the midwife for tomorrow. | 0:42:32 | 0:42:38 | |
-Tell me this evening what you've decided, so I may make the necessary arrangements. -I will, Doctor. | 0:42:38 | 0:42:43 | |
-Look after yourself too. Are there no relations or friends who might help? -No, not here. | 0:42:43 | 0:42:48 | |
-Let me know what you've decided. -Of course. Thank you, Doctor. | 0:42:48 | 0:42:52 | |
-Goodbye. -Goodbye. | 0:42:52 | 0:42:54 | |
Oh, it's cold enough to snow! | 0:42:54 | 0:42:57 | |
-Not a very cheerful man, the doctor. -No. | 0:43:12 | 0:43:16 | |
When the shop bell went, I thought it might be a customer. | 0:43:16 | 0:43:21 | |
There hasn't been a customer for two days. | 0:43:21 | 0:43:23 | |
I don't mind going into the infirmary. | 0:43:27 | 0:43:30 | |
-No, no. -But if it's better for the baby? -No. | 0:43:30 | 0:43:33 | |
I've seen inside that place. | 0:43:33 | 0:43:35 | |
-Is this the doctor's list? -Yes. | 0:43:36 | 0:43:38 | |
Darling, I've got to go out now. I shan't be long. Will you be all right? | 0:43:49 | 0:43:54 | |
-Yes. -Are you sure? | 0:43:54 | 0:43:56 | |
Yes. | 0:43:56 | 0:43:58 | |
Goodbye. | 0:43:59 | 0:44:00 | |
-Good afternoon. -Hello, Mr Friese-Greene. -How's the rheumatism? | 0:44:43 | 0:44:47 | |
Darling... | 0:44:58 | 0:45:00 | |
-Helena! -Hmm? | 0:45:00 | 0:45:02 | |
-Look. -What? | 0:45:02 | 0:45:04 | |
All the things the doctor ordered. | 0:45:04 | 0:45:07 | |
But Willie, how? | 0:45:09 | 0:45:11 | |
I went to see the bank manager. He said I was a steady young fellow and he gave me the key to the safe. | 0:45:11 | 0:45:17 | |
-Oh, Willie! -I'm going to make you some hot milk right away. | 0:45:17 | 0:45:20 | |
DOORBELL RINGS | 0:45:20 | 0:45:22 | |
Good afternoon, madam. | 0:45:29 | 0:45:31 | |
-Good afternoon. I wish to have a photograph taken. -Certainly, madam. | 0:45:31 | 0:45:36 | |
Let me see. What day would you care to make an appointment? | 0:45:36 | 0:45:39 | |
-I rather want it done today. -Today? -Yes. | 0:45:39 | 0:45:42 | |
I must have the finished portraits by tomorrow. I'm leaving for India to join my husband the day after. | 0:45:42 | 0:45:48 | |
-My sister wants a likeness of me as a keepsake. -I see. | 0:45:48 | 0:45:51 | |
-If you're not able to do it, I shall go elsewhere. -No, madam, I quite understand. | 0:45:51 | 0:45:56 | |
Would you kindly step into the studio? Thank you. | 0:45:56 | 0:45:59 | |
Would you care to sit down and tidy your hair? | 0:46:00 | 0:46:03 | |
May I take your cape? | 0:46:03 | 0:46:05 | |
Would you like me to remove my hat? | 0:46:06 | 0:46:09 | |
I don't think so. No, it makes the most charming frame for the face. | 0:46:09 | 0:46:13 | |
Excuse me one moment, please. | 0:46:13 | 0:46:16 | |
-Darling, a customer! -Oh, Willie, how wonderful! | 0:46:21 | 0:46:24 | |
-But I've got no plates. -What do you mean? -Nothing. Don't worry. | 0:46:24 | 0:46:28 | |
-Thank you, Mr Friese-Greene. I can collect those photographs tomorrow morning? -Certainly. | 0:47:12 | 0:47:18 | |
-I wonder if I might have your name and address just for the books? -Of course. | 0:47:18 | 0:47:22 | |
-Mrs Stukely. -Mrs Stukely... -Yes. | 0:47:22 | 0:47:26 | |
The Copse. | 0:47:26 | 0:47:28 | |
-The Copse. -Wells Road. | 0:47:28 | 0:47:31 | |
Wells Road? | 0:47:31 | 0:47:33 | |
-And I see that it's usual to leave a deposit. -Just a professional custom. A guinea or something like that. | 0:47:33 | 0:47:39 | |
-A guinea? -I never charge for the sitting, of course. -No, of course. | 0:47:39 | 0:47:43 | |
-Well, then... -Thank you very much, Mrs Stukely. -First thing tomorrow morning? -Yes. Good afternoon, madam. | 0:47:43 | 0:47:49 | |
Good afternoon. | 0:47:49 | 0:47:51 | |
KNOCK AT DOOR | 0:48:11 | 0:48:13 | |
-Hello. I was just closing up. -Those plates, I want to redeem one box. | 0:48:13 | 0:48:17 | |
-But you've only just put them in. -I've just had a customer. She paid. I've got enough for one box. | 0:48:17 | 0:48:23 | |
I can't split up the pledge like that. It means altering my book. | 0:48:23 | 0:48:26 | |
I thought those were all the plates you had. How did you do the job? | 0:48:26 | 0:48:31 | |
I just pretended to do it. When she comes back, I'll tell the lady I had an accident. | 0:48:31 | 0:48:36 | |
Then I'll take her properly. She'll get her photographs if you'll let me have one box. Please, just one box. | 0:48:36 | 0:48:42 | |
If you were half as good at getting customers as you are at getting round me, you wouldn't be in here at all. | 0:48:42 | 0:48:48 | |
-All right, give us the ticket. -Thank you. | 0:48:48 | 0:48:51 | |
It's all right, darling. I've got the plates back! Darling... | 0:49:04 | 0:49:08 | |
Quick, get the doctor. | 0:49:08 | 0:49:11 | |
Anything I can do? No. | 0:49:11 | 0:49:14 | |
HORSE NEIGHS | 0:49:20 | 0:49:22 | |
BABY CRIES | 0:50:13 | 0:50:15 | |
CRYING CONTINUES | 0:50:16 | 0:50:18 | |
-Well, Mr Friese-Greene, you're a father. -I know. | 0:50:31 | 0:50:34 | |
-Is Helena all right? -She's had a bad time. You'll have to look after her. It's a girl. -That's wonderful. | 0:50:34 | 0:50:40 | |
Some people always seem to want the first one to be a boy, but I always say that girls bring good fortune. | 0:50:40 | 0:50:46 | |
-Congratulations, Mr Friese-Greene. -Thank you, Doctor, very much. -I hope I'm right about the good fortune. | 0:50:46 | 0:50:52 | |
DOORBELL RINGS | 0:50:52 | 0:50:56 | |
Doctor, I think you are! | 0:50:59 | 0:51:01 | |
-Good morning. -Mr Friese-Greene, I want my family photographed. -Certainly, sir. All together? | 0:51:01 | 0:51:07 | |
-All together and separately. Eight photographs in all. -We've decided to start a family Bible. | 0:51:07 | 0:51:12 | |
-Splendid. I know exactly how you feel, sir. I'm a family man myself. Will you step this way? -Come on. | 0:51:12 | 0:51:18 | |
Hold it. | 0:51:20 | 0:51:22 | |
Quite still, all of you. | 0:51:22 | 0:51:24 | |
You have a very charming daughter, Mr Friese-Greene. | 0:51:51 | 0:51:55 | |
And I have a very clever husband. | 0:51:55 | 0:51:57 | |
# He's gone away! Oh, where is he? He's gone away! Oh, where is he? | 0:52:09 | 0:52:13 | |
# He's gone away! Oh, where is he? | 0:52:13 | 0:52:15 | |
# Oh, where is he? Oh, where is he...? | 0:52:15 | 0:52:18 | |
# No sign of him, no sign of him that I can see | 0:52:20 | 0:52:24 | |
# Oh, where is he? | 0:52:24 | 0:52:26 | |
-# Oh, where... -Oh, where... -Oh, where is he...? | 0:52:26 | 0:52:30 | |
PIANO MUSIC | 0:52:30 | 0:52:32 | |
# My true love has forsaken me | 0:52:32 | 0:52:35 | |
# Where can he be? Where can he be? | 0:52:35 | 0:52:38 | |
# Oh, whe-e-ere can he be? | 0:52:38 | 0:52:42 | |
# Tell us, tell us | 0:52:44 | 0:52:46 | |
# Where, oh, where is he? | 0:52:46 | 0:52:49 | |
# I know not, I know not Do... # | 0:52:49 | 0:52:53 | |
Early, Mr Friese-Greene. You came in a little too soon. | 0:52:53 | 0:52:58 | |
Only just a little, but it makes all the difference. | 0:52:58 | 0:53:01 | |
"Brum-da-dum, brum-da-dum, I know not..." Simple? | 0:53:01 | 0:53:05 | |
Couldn't be simpler. Let's try it again, shall we? Letter... Letter F. | 0:53:05 | 0:53:10 | |
# Tell us, tell us | 0:53:11 | 0:53:13 | |
# Where, oh, where is he? | 0:53:13 | 0:53:17 | |
# I know not, I know not | 0:53:18 | 0:53:20 | |
# Do not ask of me | 0:53:20 | 0:53:24 | |
# Sorry words we hear him speaking High and low we have been seeking | 0:53:26 | 0:53:30 | |
# Sorry words we hear him speaking High and low we have been seeking... # | 0:53:30 | 0:53:34 | |
THEY SING IN HARMONY | 0:53:34 | 0:53:36 | |
# High and low | 0:53:36 | 0:53:38 | |
# High and low | 0:53:39 | 0:53:42 | |
# Sorry words we hear him speaking... # | 0:53:42 | 0:53:45 | |
Ladies and gentlemen, I've just received a most important piece of news. | 0:53:46 | 0:53:51 | |
I have to tell you that for our performance of this great work, | 0:53:51 | 0:53:55 | |
no less a person than Sir Arthur Sullivan himself has consented to come down to Bath to conduct us. | 0:53:55 | 0:54:01 | |
Ladies and gentlemen, I'm sure you're aware of the signal honour that is being conferred upon us. | 0:54:05 | 0:54:11 | |
We must see that Bath does its best to rise to this momentous occasion. | 0:54:11 | 0:54:15 | |
As time is very short, | 0:54:15 | 0:54:18 | |
I suggest that Mrs Claire and Mrs Friese-Greene of the ladies' committee go at once | 0:54:18 | 0:54:23 | |
into the question of special dresses for this concert. | 0:54:23 | 0:54:27 | |
Is that agreeable? | 0:54:27 | 0:54:29 | |
The general committee will notify you in due course of the other arrangements. | 0:54:29 | 0:54:34 | |
Mr Friese-Greene, our only male soloist, watch Sir Arthur's baton... | 0:54:34 | 0:54:39 | |
LAUGHTER | 0:54:39 | 0:54:41 | |
That will be all. | 0:54:41 | 0:54:43 | |
-Well, well, well, Helena! It's up to the pair of us. We shall need your help, Mr Friese-Greene. -Of course. | 0:54:47 | 0:54:53 | |
-We must talk about it this evening. -You'll have to excuse me. I promised to look in on Rudge. | 0:54:53 | 0:54:58 | |
-Do you think you and Mrs Claire...? -Willie, not tonight, surely! | 0:54:58 | 0:55:02 | |
-I did say I'd look in. We've got the new machine assembled. -If I were you, I'd be jealous of Mr Rudge. | 0:55:02 | 0:55:08 | |
-Oh, I am. But don't be too late. -No, no, I'll be home almost as soon as you are. | 0:55:08 | 0:55:13 | |
-Goodbye, love. Mrs Claire. -Goodbye. | 0:55:13 | 0:55:15 | |
-Oh, it's so exciting, isn't it? -It is. | 0:55:15 | 0:55:18 | |
You're right about that condenser lens, Willie. It does make a difference. | 0:55:30 | 0:55:34 | |
In fact, I think we might re-design the optical system completely. | 0:55:34 | 0:55:39 | |
-Isn't that going to be rather expensive? -Yes, I dare say. | 0:55:39 | 0:55:42 | |
But I think we ought to try it. | 0:55:42 | 0:55:44 | |
-Glass of port, Willie? -Yes, please. | 0:55:47 | 0:55:50 | |
By the way, I saw Fox Talbot today. He wants to meet you. | 0:55:51 | 0:55:55 | |
Fox Talbot? | 0:55:56 | 0:55:58 | |
Helena! | 0:56:03 | 0:56:05 | |
Helena! | 0:56:05 | 0:56:07 | |
-Helena... -Oh, Willie, you just came in at the right time. | 0:56:07 | 0:56:11 | |
-Mrs Claire must go now and we can't decide on the colour for the sashes. -For the concert. | 0:56:11 | 0:56:16 | |
-What colour are the dresses? -White. -Darling, should it be red or blue? | 0:56:16 | 0:56:20 | |
-Or do you think this is rather nice? -Let me see. | 0:56:20 | 0:56:23 | |
-Well, forgive me. You could hardly do better than that with white, could you? -Wine. Of course! | 0:56:23 | 0:56:29 | |
Helena, you have a brilliant husband and so artistic too. The wine it shall be. | 0:56:29 | 0:56:34 | |
-I must get back to Mr Claire. Goodbye, my dear. -Allow me. -Good night. I'll see you tomorrow. -Yes. | 0:56:34 | 0:56:39 | |
-I'm so glad you're here to guide us. It's a tremendous responsibility on your wife and me. -Yes, indeed. | 0:56:39 | 0:56:45 | |
-I'll see myself out. -Are you quite sure? -Yes. -Good night, Mrs Claire. | 0:56:45 | 0:56:49 | |
-Wonderful news. -Isn't it? -No, not the concert. Rudge has some really big news. | 0:56:49 | 0:56:54 | |
He's going to stay with Fox Talbot and I'm invited over on the 20th. | 0:56:54 | 0:56:58 | |
Darling, Fox Talbot is the man who actually invented photography. Isn't it wonderful? | 0:56:58 | 0:57:04 | |
But Willie, the concert is on the 20th. | 0:57:04 | 0:57:06 | |
Oh... Oh, yes. | 0:57:06 | 0:57:09 | |
That'll be all right. Fox Talbot's place isn't very far out. | 0:57:09 | 0:57:13 | |
I'll hire a carriage to take me there and bring me back. | 0:57:13 | 0:57:17 | |
I'll be there in plenty of time for the concert. I'll go straight to the Assembly Rooms. | 0:57:17 | 0:57:22 | |
I'm actually going to meet Fox Talbot. I can't believe it. | 0:57:22 | 0:57:25 | |
MURMUR OF CONVERSATION | 0:57:48 | 0:57:50 | |
Mr Friese-Greene, sir. | 0:57:50 | 0:57:52 | |
CONVERSATION CONTINUES | 0:57:52 | 0:57:54 | |
-Yes, indeed. -Ah, Willie! | 0:58:04 | 0:58:06 | |
-This is Mr Friese-Greene whom I spoke to you about, Fox Talbot. -Oh, yes. How do you do? | 0:58:06 | 0:58:12 | |
I was just telling Rudge here how interesting I find this Phantoscope. | 0:58:12 | 0:58:16 | |
He tells me that quite a lot of the work on it was yours. It's very interesting. | 0:58:16 | 0:58:21 | |
Your problem is that the images, although presented in succession, | 0:58:31 | 0:58:35 | |
-are not presented separately in succession, so they blur. -Yes. | 0:58:35 | 0:58:39 | |
That is because the divisions between the pictures pass | 0:58:39 | 0:58:43 | |
at the same speed as the pictures themselves. | 0:58:43 | 0:58:46 | |
-You want some sort of intermittent action. -That's what Friese-Greene has been on to me about. | 0:58:46 | 0:58:52 | |
I'm going to the concert now, Maggie. Ethel is sound asleep. I don't think she will wake. | 0:58:52 | 0:58:57 | |
-Thank you, ma'am. The master will return before the concert? -No, he will dress at the Assembly Rooms. | 0:58:57 | 0:59:03 | |
-You do look lovely. I hope everything goes all right. -Yes, it will. Good night, Maggie. | 0:59:03 | 0:59:08 | |
What I've been thinking of is something that could pass in front of the lens, stop, be exposed, | 0:59:08 | 0:59:13 | |
-then go on to make way for another piece to be exposed. -Paper perhaps. | 0:59:13 | 0:59:17 | |
-That's possible. People in London could help him. -I tell Willie, for this work, he ought to be in London. | 0:59:17 | 0:59:23 | |
BUZZ OF CONVERSATION | 0:59:23 | 0:59:25 | |
She's wearing a very odd style, you see. | 0:59:25 | 0:59:28 | |
PLAYS INTRODUCTION | 0:59:57 | 1:00:00 | |
CHOIR STARTS SINGING | 1:00:02 | 1:00:04 | |
I see a face and it is alive. I photograph it and I have a likeness, but something has gone. | 1:00:13 | 1:00:18 | |
Human beings are not still. Their movements are part of them. | 1:00:18 | 1:00:22 | |
SOLOIST SINGS | 1:00:22 | 1:00:24 | |
CHOIR SINGS IN HARMONY | 1:00:29 | 1:00:32 | |
# Such cruel words this day profane | 1:00:35 | 1:00:38 | |
# Such cruel words this day profane | 1:00:38 | 1:00:42 | |
-# Watching... -Watching -And waiting... -Waiting... # | 1:00:42 | 1:00:45 | |
SINGING IN HARMONY CONTINUES | 1:00:45 | 1:00:48 | |
# Such cruel words this day profane | 1:00:55 | 1:00:59 | |
# Such cruel words this day profane... # | 1:00:59 | 1:01:02 | |
PIANO INTERLUDE | 1:01:03 | 1:01:05 | |
# He's gone away! Oh, where is he? He's gone away! Oh, where is he? | 1:01:05 | 1:01:10 | |
# He's gone away! Oh, where is he? Oh, where is he? Oh, where is he? | 1:01:10 | 1:01:14 | |
# No sign of him that I can see | 1:01:16 | 1:01:19 | |
-# That I can see -Oh, where is he? | 1:01:19 | 1:01:21 | |
-# Oh, where... -Where is he? # | 1:01:21 | 1:01:24 | |
Your husband hasn't come. Who is going to do the solo? | 1:01:24 | 1:01:28 | |
# My true love has forsaken me | 1:01:28 | 1:01:31 | |
# Where can he be? Where can he be? | 1:01:31 | 1:01:34 | |
# Oh, whe-e-ere can he be? | 1:01:34 | 1:01:38 | |
-# Tell us! -Tell us! -Tell us! -Tell us! | 1:01:40 | 1:01:42 | |
# Where, oh, where, oh, where is he? | 1:01:42 | 1:01:46 | |
# I know not, I know not | 1:01:46 | 1:01:50 | |
# Do not ask of me... # | 1:01:50 | 1:01:53 | |
WHISPERED MUTTERING | 1:01:53 | 1:01:55 | |
PIANO PLAYS | 1:01:58 | 1:02:00 | |
# Watching, waiting | 1:02:02 | 1:02:05 | |
# Sorry words we hear him speaking High and low we have been seeking... # | 1:02:06 | 1:02:11 | |
I want to make a camera that will photograph movement. | 1:02:12 | 1:02:16 | |
Oh, I'm so sorry. I've been talking too much. | 1:02:18 | 1:02:22 | |
No, no, no, most interesting, Mr Friese-Greene. | 1:02:22 | 1:02:25 | |
-You won't mind me giving you a word of advice? -No, indeed, sir. | 1:02:25 | 1:02:30 | |
The original thinker, the innovator mustn't mind seeming a little foolish to his contemporaries. | 1:02:30 | 1:02:36 | |
-He must always look to his star. -I understand. | 1:02:36 | 1:02:40 | |
In the end, he may still fail. That's unimportant. | 1:02:40 | 1:02:43 | |
If he's true to himself, he won't be too unhappy or embittered, even in failure, | 1:02:43 | 1:02:48 | |
and will still speak for what's good. | 1:02:48 | 1:02:51 | |
-You remember that, young man. -Yes. | 1:02:51 | 1:02:54 | |
SOUND OF HOOVES APPROACHING | 1:03:18 | 1:03:20 | |
DOOR CLOSES | 1:03:25 | 1:03:27 | |
BELL RINGS | 1:03:28 | 1:03:31 | |
Helena! | 1:03:36 | 1:03:38 | |
-Darling! -Willie... -I've got so much to tell you and I don't know where to begin. | 1:03:39 | 1:03:44 | |
Sit down, keep calm and I'll try and tell you all about it. Now, where to begin, where? | 1:03:44 | 1:03:50 | |
The laboratory, absolutely amazing, as big as all these rooms in one with everything you could wish for. | 1:03:50 | 1:03:56 | |
-Must have cost thousands! And Fox Talbot, the man himself. -Willie... -I can't tell you how exciting it was. | 1:03:56 | 1:04:02 | |
We talked and talked. He was really interested in my ideas, the man who invented photography. | 1:04:02 | 1:04:07 | |
I was so proud. But one thing sticks out a mile. | 1:04:07 | 1:04:10 | |
Making pictures move will be a bigger job than ever I dreamed of. | 1:04:10 | 1:04:14 | |
There are problems I hadn't even thought of. We've got to get rid of glass. Glass plates are no good. | 1:04:14 | 1:04:20 | |
We must find something entirely different. We have to go to London. | 1:04:20 | 1:04:24 | |
Yes, London. You see, the instrument makers alone, the finest craftsmen on Earth. | 1:04:24 | 1:04:29 | |
-Do you realise I've never even been to the Photographic Society? -Willie! | 1:04:29 | 1:04:34 | |
Darling, let me finish. I'll tell you how it can be done. I thought it all over in the cab. | 1:04:34 | 1:04:39 | |
You remember that chap Arthur Collings, the one who wanted me to go into partnership in London? | 1:04:39 | 1:04:44 | |
Only yesterday, isn't it strange, he wrote to me again - Collings. | 1:04:44 | 1:04:48 | |
Friese-Greene and Collings, London. Wouldn't it be wonderful? I'll put everything into this. Everything... | 1:04:48 | 1:04:55 | |
What's the time? | 1:05:02 | 1:05:04 | |
Oh, my dear! | 1:05:06 | 1:05:08 | |
Oh, my darling! | 1:05:08 | 1:05:10 | |
SOBBING Oh, Willie, you are detestable! | 1:05:10 | 1:05:14 | |
You promised to be there. Faithfully, you promised. I was so ashamed. | 1:05:14 | 1:05:19 | |
You think of nobody but yourself. The whole world can wait if you have other things to do! | 1:05:19 | 1:05:25 | |
As long as Willie Greene is happy, nothing matters. | 1:05:25 | 1:05:28 | |
You are a child, a stupid, clumsy child! | 1:05:28 | 1:05:32 | |
Darling! | 1:05:36 | 1:05:38 | |
Dearest, I know it's no use apologising, but I would like to try to explain. | 1:06:07 | 1:06:12 | |
You see, I just didn't think. | 1:06:12 | 1:06:14 | |
That sounds horribly selfish, I know, but it's the truth. | 1:06:14 | 1:06:20 | |
I know how it happened. | 1:06:21 | 1:06:23 | |
You see, I've never met men like that before. | 1:06:23 | 1:06:26 | |
Talking to them, all the problems in my mind that had seemed like blurred images before, | 1:06:26 | 1:06:32 | |
they suddenly stood out in sharp focus. | 1:06:32 | 1:06:36 | |
It was like coming out of a fog into the sunlight. | 1:06:37 | 1:06:41 | |
I suppose I just got carried away and I forgot everything. | 1:06:42 | 1:06:46 | |
I forgot the concert. That's how it was. | 1:06:46 | 1:06:49 | |
I forgot your new dress. | 1:06:49 | 1:06:51 | |
And I even...forgot you. | 1:06:52 | 1:06:55 | |
It will seem strange in London after here. | 1:07:08 | 1:07:12 | |
-Good morning, Miss Tagg. -Good morning, Mr Friese-Greene. -Where's Mr Collings? -He's in Piccadilly. | 1:07:41 | 1:07:47 | |
-Harold's taking Colonel Parker now. -Good. Good. | 1:07:47 | 1:07:50 | |
Oh, Mr Friese-Greene... | 1:07:50 | 1:07:53 | |
-Good morning, Harold. -Good morning, Mr Friese-Greene. -Good morning, Colonel. -What's that? | 1:07:53 | 1:07:59 | |
Mr Friese-Greene, Mr Collings said to remind you not to forget | 1:08:07 | 1:08:10 | |
about tonight for you and Mrs Friese-Greene. | 1:08:10 | 1:08:13 | |
-Eight o'clock, evening dress. -Isn't that lovely? These instrument makers... -Mr Friese-Greene... | 1:08:13 | 1:08:19 | |
The idea behind this machine is that in this camera I'll build, instead of pulling the paper through, | 1:08:19 | 1:08:24 | |
I can perforate the edges with these punches and roll it through, then it shouldn't tear so easily. | 1:08:24 | 1:08:30 | |
-I think it'll work. -Very clever. Mr Collings said not to forget about tonight. -Tonight? I won't forget. | 1:08:30 | 1:08:36 | |
-Isn't it a lovely piece of work, Miss Tagg? -Yes, it's wonderful. | 1:08:36 | 1:08:40 | |
A toast to Friese-Greene & Collings and the second year of our partnership. | 1:08:42 | 1:08:47 | |
-May it continue to prosper! -I hope so. | 1:08:47 | 1:08:50 | |
-Ladies, we've got a little surprise for you. -And what is it? | 1:08:50 | 1:08:54 | |
-We're going to open two new studios. -That's grand! | 1:08:54 | 1:08:57 | |
-Willie, you didn't tell me. -We wanted to keep it a surprise. | 1:08:57 | 1:09:00 | |
We only completed today, my love. | 1:09:00 | 1:09:03 | |
-How wonderful! Where are they going to be? -Grosvenor Street and Sloane Street. Why? I'll tell you. | 1:09:03 | 1:09:09 | |
Mrs Willie, your husband is a very clever chap. | 1:09:09 | 1:09:11 | |
He comes to London hardly able to find his way from Leicester Square to Hyde Park Corner. | 1:09:11 | 1:09:17 | |
He's on his way to being the most fashionable photographer in London. | 1:09:17 | 1:09:21 | |
If it's going to be the thing to have Friese-Greene on your pictures, we'll make it easy. | 1:09:21 | 1:09:26 | |
-Expensive, but easy. We'll make a fortune. -That's right. -Willie can't be in four studios at once. | 1:09:26 | 1:09:31 | |
-He'll just do the important sitters, the titled ones. The rest, he'll supervise. -Not all the time. | 1:09:31 | 1:09:37 | |
Don't forget my experimental work. That's part of the agreement too. | 1:09:37 | 1:09:41 | |
Of course. But you'll soon be making so much money, you won't be bothering with experiments. | 1:09:41 | 1:09:46 | |
-That's right, isn't it, Mrs Willie? -That's right. -Waiter, fill up the glasses. We'll order some dinner. | 1:09:46 | 1:09:52 | |
That's celluloid, Mr Friese-Greene. | 1:09:54 | 1:09:57 | |
I want this in very thin strips, about a 64th of an inch. | 1:09:57 | 1:10:00 | |
-We can't get it that thin. -If you can't, I will. Let me have some of the stuff. | 1:10:00 | 1:10:05 | |
I had an appointment with Mr Friese-Greene at three o'clock. I've been waiting half an hour. | 1:10:05 | 1:10:10 | |
-This is most aggravating. Where is Mr Friese-Greene? -Mr Collings, he must be at one of the other studios. | 1:10:10 | 1:10:17 | |
-Where is Mr Friese-Greene? -I'm sorry, Mr Collings. I don't know. | 1:10:17 | 1:10:20 | |
-Where is Mr Friese-Greene? -I haven't seen him, Mr Collings. | 1:10:20 | 1:10:24 | |
-You were told to find out where he was going. -When I asked him, he only smiled. | 1:10:24 | 1:10:29 | |
-The Viscountess has been waiting for 25 minutes. Try Piccadilly. -He told them he was here. -What? | 1:10:29 | 1:10:34 | |
We're trying to find out where Mr Friese-Greene is, my lady. | 1:10:34 | 1:10:38 | |
-Where is this fellow? -Miss Tagg! | 1:10:38 | 1:10:40 | |
-It's absolutely disgusting. -I agree, my lord. Find out what's happened to Mr Friese-Greene. -Nobody knows. | 1:10:40 | 1:10:46 | |
Nearly right, Bob. Put plenty in this time. | 1:10:52 | 1:10:55 | |
-It smells just like... -Yes, stir it up, stir it up. | 1:10:57 | 1:11:00 | |
Now, Mrs Friese-Greene, I must be getting on my rounds. | 1:11:02 | 1:11:06 | |
-It was very good of you to call, Doctor. -It's a pleasure, ma'am. | 1:11:06 | 1:11:10 | |
Remember what I told you. You're very delicate. You always have been. | 1:11:10 | 1:11:14 | |
You need plenty of rest and, above all, no worry. | 1:11:14 | 1:11:17 | |
Leave the worrying to your husband. | 1:11:17 | 1:11:19 | |
I'll remember, Doctor. | 1:11:19 | 1:11:21 | |
Doctor, don't mention anything to him about... | 1:11:21 | 1:11:24 | |
Well, about what you've just said. It will only upset him. | 1:11:24 | 1:11:28 | |
I won't have to as long as you do as I tell you. | 1:11:28 | 1:11:31 | |
Forgive me, what is that strange smell? | 1:11:32 | 1:11:35 | |
Oh, it's only my husband. He's got his laboratory down in the basement. | 1:11:36 | 1:11:41 | |
Oh. I thought he was a photographer? | 1:11:41 | 1:11:43 | |
Well, give him my kind regards. | 1:11:48 | 1:11:51 | |
BELL RINGS I will. Will you excuse me? | 1:11:51 | 1:11:53 | |
Hello, Mrs Willie. Where is he? All right, I know. Pardon me. | 1:11:53 | 1:11:57 | |
My husband's partner. | 1:11:59 | 1:12:01 | |
Indeed. | 1:12:01 | 1:12:03 | |
Well, goodbye, Mrs Friese-Greene. | 1:12:03 | 1:12:05 | |
Don't be ridiculous. I can't be everywhere at once. I've told you how important this work is to me. | 1:12:08 | 1:12:14 | |
Let me tell you something. I've reasoned, I've pleaded with you. | 1:12:14 | 1:12:18 | |
I've tried to be understanding, but enough's enough. | 1:12:18 | 1:12:21 | |
Eight cancellations in 48 hours, including that duchess and a Russian princess! | 1:12:21 | 1:12:26 | |
-I couldn't have made a decent portrait of her anyway! -You're ruining the business. -Rubbish! | 1:12:26 | 1:12:31 | |
I'm a businessman. I won't be losing money while you do crackpot experiments like this. Do you hear? | 1:12:31 | 1:12:37 | |
Yes, I hear. Give that to me. Let me tell you something, Mr Collings. You big businessmen are all the same. | 1:12:37 | 1:12:43 | |
Just because you can read a profit and loss account, | 1:12:43 | 1:12:46 | |
you think you can tell the rest of the world what to do. | 1:12:46 | 1:12:49 | |
Anything that isn't busy making money for you is a waste of time. | 1:12:49 | 1:12:53 | |
Anything you can't understand is a crackpot experiment, | 1:12:53 | 1:12:57 | |
but if it weren't for them and the people who make them, | 1:12:57 | 1:13:00 | |
-most businessmen wouldn't exist at all, except as market place pedlars. -That's enough. | 1:13:00 | 1:13:05 | |
-Oh, I'm a pedlar, am I? -Yes! | 1:13:05 | 1:13:07 | |
And I've got some work to do, real work. Get out of my way! | 1:13:07 | 1:13:11 | |
I can see it's hopeless. I'm dissolving the partnership. | 1:13:11 | 1:13:15 | |
-But Arthur, why? -I can't afford it. Look at that lot! | 1:13:15 | 1:13:19 | |
Bills for all this rubbish, but charged to the business. | 1:13:19 | 1:13:23 | |
I'm not stingy, but I'm not a fool either. I've had enough. | 1:13:23 | 1:13:26 | |
-There's £1,200 owing there. Pay it out of your own pocket. I'm going to see a lawyer. -Oh, Arthur! | 1:13:26 | 1:13:32 | |
Well! | 1:13:34 | 1:13:35 | |
That's that. | 1:13:37 | 1:13:39 | |
-Can we pay them? -£1,200? Just about, but there's as much again to come in. | 1:13:41 | 1:13:45 | |
And so much still to be done. | 1:13:45 | 1:13:48 | |
-I can't stop now, Helena. I can't. -Of course you can't, but the money... | 1:13:48 | 1:13:53 | |
We'll find the money somehow. We'll find a way. | 1:13:53 | 1:13:56 | |
Yes. | 1:13:57 | 1:13:58 | |
-Willie... -Hmm? | 1:14:01 | 1:14:03 | |
We own this house, don't we? | 1:14:05 | 1:14:07 | |
Of course, Mr Friese-Greene. | 1:14:11 | 1:14:13 | |
We never mind an overdraft secured against bricks and mortar. | 1:14:13 | 1:14:17 | |
That's a very nice house you've got. If you'd mind just signing there at the bottom... | 1:14:17 | 1:14:23 | |
Are you opening another branch? | 1:14:24 | 1:14:26 | |
Tom, it's got to fit much more snugly into the ratchet. We're getting too much play there. | 1:14:26 | 1:14:31 | |
As you're my only relative in London, Alfred, I thought of you. | 1:14:31 | 1:14:35 | |
-Shall we make money out of it? -We're certain to. There's nothing else like it. -I suppose not. | 1:14:35 | 1:14:40 | |
But do you think people really want to see moving pictures? | 1:14:40 | 1:14:44 | |
INAUDIBLE | 1:14:51 | 1:14:53 | |
Here we are, Mr Friese-Greene. Finished at last. | 1:15:14 | 1:15:17 | |
You've done a good job here, Tom. | 1:15:24 | 1:15:26 | |
-I think it's pretty fair, sir. -How's the celluloid going? | 1:15:26 | 1:15:30 | |
Terrible stuff. Makes the most awful smell. My wife can't stand it, so I had to fit up a lab in the city. | 1:15:30 | 1:15:36 | |
-Do you think it will work? -I don't know, Mr Lege. | 1:15:36 | 1:15:39 | |
To tell you the truth, I've put so much into this, I hardly have the courage to make the test. | 1:15:39 | 1:15:44 | |
-Ah, well... -Oh, by the way, Mr Friese-Greene, the account... | 1:15:46 | 1:15:50 | |
Just send it to me at the lab - 24 Brooke Street, Holborn. Thanks, Tom. Good day, Mr Lege. | 1:15:50 | 1:15:55 | |
Good day, Mr Friese-Greene. | 1:15:55 | 1:15:58 | |
CHURCH BELLS RING | 1:16:00 | 1:16:02 | |
Come along, Ethel. We're just going. | 1:16:06 | 1:16:09 | |
You're not ready. Aren't you coming to church? | 1:16:21 | 1:16:24 | |
-No, not this Sunday. -Don't you feel well? -Yes, I feel all right. I just don't feel like going to church. | 1:16:24 | 1:16:30 | |
I may see Cousin Alfred. | 1:16:30 | 1:16:32 | |
-Oh, dear. Has he written again? -No, I just invited him to come for a stroll in the park. | 1:16:32 | 1:16:37 | |
You invited HIM? | 1:16:37 | 1:16:40 | |
Yes, just to keep him in touch with progress and so forth. | 1:16:40 | 1:16:44 | |
Oh, well... | 1:16:46 | 1:16:48 | |
-Have you got the prayer books? -Yes. -Don't be late for lunch. | 1:16:55 | 1:16:58 | |
No, no. Goodbye. Enjoy yourselves. | 1:16:58 | 1:17:01 | |
-We are going to church, Willie! -What? Oh, yes. Goodbye. | 1:17:01 | 1:17:04 | |
FRONT DOOR CLOSES | 1:17:10 | 1:17:12 | |
Bertie, we're going to meet your Uncle Willie. Ten to one he's after money again. | 1:18:13 | 1:18:18 | |
I don't want you repeating anything you've heard me say to your mother. | 1:18:18 | 1:18:22 | |
Put your cap on straight. Walk like a little gentleman. And keep your mouth shut. | 1:18:22 | 1:18:27 | |
-Hello, Cousin Willie. What have you got there? What are you turning that handle for? -Just an experiment. | 1:18:41 | 1:18:47 | |
-How are you, Cousin Alfred? -Not so badly, thanks. -Hello, Bertie. -Is that the new camera? | 1:18:47 | 1:18:52 | |
-Yes. I thought you'd like to see it first. -Does it work? -I don't know. It may want some more work. | 1:18:52 | 1:18:58 | |
-More work? That'll mean more money, I suppose. -Well, yes, possibly. | 1:18:58 | 1:19:03 | |
-I want to take some pictures of the parade. Would you bring the tripod? -I don't mind doing that. | 1:19:03 | 1:19:08 | |
Mind your fingers. | 1:19:08 | 1:19:10 | |
BELL CHIMES | 1:19:17 | 1:19:19 | |
BELL CHIMES | 1:21:22 | 1:21:24 | |
-Hello. -Hello, Charlie. -Well, everything's quiet, nothing to report. | 1:21:30 | 1:21:35 | |
-Who won the skittles? -Sergeant Prescott. -Oh. | 1:21:35 | 1:21:38 | |
-What's that light on there? -I don't know. It's been on all evening. | 1:21:38 | 1:21:43 | |
-Oh. -Well, I'll be getting along now. | 1:21:43 | 1:21:45 | |
LOUD MIAOW | 1:23:07 | 1:23:09 | |
-Now then, where are you off to? -Come quickly. Come and see. | 1:23:09 | 1:23:13 | |
-Just a minute. What is all this? -I've got something to show you. You must come and see. | 1:23:13 | 1:23:18 | |
-Something you've done? -Yes, come on and I'll show you. | 1:23:18 | 1:23:21 | |
It's only a little way. I've only just this minute done it. | 1:23:21 | 1:23:25 | |
I was frightened out of my wits, but I've done it. | 1:23:25 | 1:23:28 | |
It's very foolish of me, but I've got to show someone. | 1:23:28 | 1:23:31 | |
Cousin Alfred didn't even know what I was doing. He just stared and said, "What have you got there?" | 1:23:31 | 1:23:37 | |
There he is. You can see him almost as if he were alive! | 1:23:37 | 1:23:41 | |
Here we are now. | 1:23:41 | 1:23:43 | |
-It's upstairs. -Just a minute... | 1:23:45 | 1:23:48 | |
-What? -Are you... | 1:23:48 | 1:23:50 | |
Are you the owner of these premises? | 1:23:50 | 1:23:52 | |
-No, I'm just one of the tenants. I'm the one that makes the smells. Friese-Greene's my name. -I see. | 1:23:52 | 1:23:58 | |
Is there...anyone else on the premises? | 1:23:59 | 1:24:02 | |
No, not at night. I'm here on my own. | 1:24:02 | 1:24:05 | |
Oh, I see. | 1:24:05 | 1:24:07 | |
You lead the way, Mr Friese-Greene. | 1:24:07 | 1:24:10 | |
It's not far up. | 1:24:10 | 1:24:12 | |
Where is it? | 1:24:41 | 1:24:43 | |
-Where's what? -What you've done. -Just sit down there. You'll see. | 1:24:43 | 1:24:48 | |
Now then, would you mind turning out your lamp? | 1:25:05 | 1:25:08 | |
Good. Now, watch that white sheet. | 1:25:14 | 1:25:17 | |
That was Hyde Park. | 1:26:30 | 1:26:32 | |
I recognised it. | 1:26:33 | 1:26:36 | |
Where's it come from? Where's it gone to? | 1:26:45 | 1:26:48 | |
It's all here. Here, look. | 1:26:48 | 1:26:50 | |
That's where the Hyde Park you saw is. | 1:26:50 | 1:26:53 | |
-Like a magic lantern. -But it moved. -Yes, it moved, didn't it? | 1:26:55 | 1:26:59 | |
Look at this strip of celluloid film. It's taken me years to get to that, years. | 1:26:59 | 1:27:05 | |
That's the secret - dozens of snapshots of Hyde Park. | 1:27:05 | 1:27:08 | |
Only, in one picture, the carriage is here, the next, it's here, the next, it's here and so on. | 1:27:08 | 1:27:15 | |
Look at the mechanism. The film, that's what it's called, comes from this spool over these rollers... | 1:27:15 | 1:27:21 | |
That's the tension. ..on to this second spool down here. | 1:27:21 | 1:27:24 | |
Now look in the middle. It's a bit like a magic lantern. | 1:27:24 | 1:27:27 | |
But instead of one picture at a time, you see eight or more pictures every second. | 1:27:27 | 1:27:33 | |
That's what you see on that sheet there - eight pictures every second | 1:27:33 | 1:27:37 | |
and they all merge together into one moving, living picture! See? | 1:27:37 | 1:27:42 | |
Of course, there's a bit more to it than that. | 1:27:43 | 1:27:47 | |
I'm not saying it's perfect. Far from it. | 1:27:47 | 1:27:50 | |
But it works. God be praised, it works, doesn't it? You can see that. | 1:27:50 | 1:27:54 | |
You know, it's a quite extraordinary feeling, | 1:27:58 | 1:28:02 | |
something you've been wondering about and reading about for 15 years | 1:28:02 | 1:28:07 | |
and then all of a sudden, it's there! | 1:28:07 | 1:28:11 | |
It's in your hands. | 1:28:11 | 1:28:13 | |
With a life of its own. | 1:28:14 | 1:28:17 | |
You must be...a very happy man, Mr...Friese-Greene. | 1:28:21 | 1:28:27 | |
Darling... | 1:28:49 | 1:28:50 | |
Darling... | 1:28:50 | 1:28:52 | |
It works. | 1:28:55 | 1:28:57 | |
Yes. It works! | 1:28:57 | 1:29:00 | |
A moving picture on a sheet! | 1:29:02 | 1:29:05 | |
Old Alfred and his boy, bless him, walking in Hyde Park! | 1:29:05 | 1:29:09 | |
Oh, my dear! | 1:29:11 | 1:29:13 | |
Of course, it's only a beginning, but it does work. You do get movement. | 1:29:13 | 1:29:18 | |
All the people in the world will want to see moving pictures because movement is life. | 1:29:18 | 1:29:23 | |
Listen to me. All the people in the world. In a couple of years' time, we'll be millionaires! Millionaires! | 1:29:23 | 1:29:29 | |
Mr Friese-Greene, this invention of yours may be very ingenious. | 1:29:35 | 1:29:39 | |
But the fact remains that you cannot pay your debts. | 1:29:39 | 1:29:42 | |
Everybody wanted their money back at once. They wouldn't give me time. | 1:29:42 | 1:29:47 | |
Time? | 1:29:47 | 1:29:48 | |
Yes, time to develop the camera commercially. | 1:29:48 | 1:29:51 | |
But these heavy expenditures went on long after you'd sold your rights and the patent. | 1:29:51 | 1:29:57 | |
I've already told you. The work could not stop. I had to carry on. | 1:29:57 | 1:30:01 | |
I don't pretend to be a businessman. All I know is that people will want to see moving pictures. | 1:30:01 | 1:30:07 | |
Mr Friese-Greene, this is an accounting and we are concerned with facts, | 1:30:07 | 1:30:12 | |
not with your faith in a camera. | 1:30:12 | 1:30:14 | |
Now... | 1:30:14 | 1:30:16 | |
How do you explain this? | 1:30:16 | 1:30:18 | |
Very well, madam, if you make a decision within the next 48 hours, | 1:30:18 | 1:30:22 | |
I'm sure our client will let you have the house on those terms. | 1:30:22 | 1:30:26 | |
-Thank you. May I keep the keys for the present? -Yes, madam, by all means. -Thank you very much. | 1:30:26 | 1:30:32 | |
Madam! | 1:30:36 | 1:30:37 | |
Madam! | 1:30:38 | 1:30:40 | |
Mr Wilson! Mr Wilson! | 1:30:41 | 1:30:43 | |
I think I ought to warn you now that your heart is in a very serious condition. | 1:30:48 | 1:30:53 | |
Tell me, Doctor, what this means exactly. | 1:30:57 | 1:31:00 | |
Well, it means that there is very little that medicine can do for you. | 1:31:01 | 1:31:05 | |
The cure is mainly in your own hands. | 1:31:05 | 1:31:08 | |
-I see. -If you were my patient, you would go straight to your bed and stay there for at least a year. | 1:31:08 | 1:31:13 | |
Your own doctor will advise you, of course. | 1:31:13 | 1:31:16 | |
Perhaps you will be kind enough to give him this. | 1:31:16 | 1:31:19 | |
I had an opportunity of examining you during an attack. This will be helpful to him. | 1:31:19 | 1:31:24 | |
Wait a minute. Mrs Smith, will you call a four-wheeler for this lady? | 1:31:24 | 1:31:28 | |
Helena, I've got a nice cup of tea for you. | 1:32:02 | 1:32:05 | |
Thank you. | 1:32:05 | 1:32:07 | |
How did it go? | 1:32:07 | 1:32:09 | |
Not very well, but it's all over. | 1:32:09 | 1:32:12 | |
This house is to be sold on the 7th. | 1:32:13 | 1:32:15 | |
Has everything gone? | 1:32:20 | 1:32:22 | |
Yes, the studios, | 1:32:22 | 1:32:25 | |
the house, everything. | 1:32:25 | 1:32:27 | |
Cheer up, my dear. It's not as bad as all that, is it? | 1:32:30 | 1:32:34 | |
Aren't you having any tea? | 1:32:39 | 1:32:41 | |
No, thank you. | 1:32:41 | 1:32:43 | |
There's a little whisky left on the shelf over there. | 1:32:43 | 1:32:47 | |
Yes, that's a good idea. | 1:32:47 | 1:32:49 | |
We'll have to find some rooms somewhere. | 1:32:53 | 1:32:57 | |
What about a place to work? | 1:32:57 | 1:32:59 | |
I'm bankrupt now, you see. | 1:32:59 | 1:33:02 | |
That means nobody will let me have a place without cash in advance and I haven't any cash. | 1:33:02 | 1:33:07 | |
I'll just have to find someone to give me a job. | 1:33:08 | 1:33:12 | |
I could get a place, Willie. | 1:33:12 | 1:33:14 | |
How do you mean? | 1:33:14 | 1:33:17 | |
I am not bankrupt. I have seen a house in Chelsea. | 1:33:17 | 1:33:20 | |
The ground floor would make a studio. There are three rooms that we could sub-let. | 1:33:20 | 1:33:25 | |
But Helena, who is going to lend us money? | 1:33:25 | 1:33:28 | |
We've got the money. | 1:33:28 | 1:33:30 | |
I sold the jewellery you gave me and I had a little put by too for a rainy day. | 1:33:32 | 1:33:38 | |
And now it's the rainy day, isn't it? | 1:33:39 | 1:33:42 | |
Oh, no. No, darling. | 1:33:42 | 1:33:44 | |
You mustn't stop me. I have made up my mind. | 1:33:44 | 1:33:48 | |
I thought it might be the laboratory. | 1:34:04 | 1:34:07 | |
There's space, all the space in the world. | 1:34:14 | 1:34:18 | |
No running water, though. Yes, there is, the very thing. | 1:34:18 | 1:34:22 | |
I'll put a sink in there. I'll put the shelves over there | 1:34:22 | 1:34:25 | |
and the cupboards for the chemicals and the books. | 1:34:25 | 1:34:28 | |
We'll run a bench along there and another bench here down the middle. | 1:34:28 | 1:34:32 | |
When these skylights are clean, there'll be all the light in the world. | 1:34:32 | 1:34:37 | |
Willie, I nearly forgot. | 1:34:37 | 1:34:39 | |
I bought you a present. | 1:34:39 | 1:34:41 | |
You did what? | 1:34:41 | 1:34:43 | |
It's your birthday. | 1:34:43 | 1:34:45 | |
By Jove, so it is! | 1:34:45 | 1:34:47 | |
I saw it in the place where I sold the jewellery. | 1:34:47 | 1:34:50 | |
I remembered you saying before this trouble started that it was something you wanted. | 1:34:50 | 1:34:55 | |
A prism, darling! Look... | 1:34:55 | 1:34:57 | |
Oh, there's no light now. Never mind. | 1:34:57 | 1:35:00 | |
I'll show you... But dearest, these things are expensive. | 1:35:00 | 1:35:04 | |
I spoke softly to the man. | 1:35:04 | 1:35:07 | |
It's the most wonderful present. | 1:35:10 | 1:35:13 | |
-Willie... -Hmm? | 1:35:16 | 1:35:18 | |
Do you remember the night of the Choral Society concert | 1:35:19 | 1:35:23 | |
when you went to see Fox Talbot? | 1:35:23 | 1:35:26 | |
Will I ever forget? I don't think they ever forgave me. | 1:35:27 | 1:35:30 | |
No, they didn't. | 1:35:30 | 1:35:32 | |
But I wasn't thinking of the concert. | 1:35:33 | 1:35:36 | |
It was something you told me much later that I always remember. | 1:35:36 | 1:35:41 | |
Something Fox Talbot said. | 1:35:42 | 1:35:44 | |
It was about inventors. | 1:35:44 | 1:35:46 | |
Oh, yes. The inventor must never mind seeming a little foolish to his contemporaries. | 1:35:46 | 1:35:52 | |
-Hmm? He must always look to his star. -Mm-hm. | 1:35:52 | 1:35:56 | |
In the end, he may still fail, but this is unimportant. | 1:35:57 | 1:36:02 | |
If he is true to himself, | 1:36:02 | 1:36:04 | |
he will not be too unhappy | 1:36:04 | 1:36:07 | |
or embittered, even in failure... | 1:36:07 | 1:36:10 | |
..and will still speak for what is good. | 1:36:11 | 1:36:14 | |
You won't forget that, Willie, will you? | 1:36:16 | 1:36:20 | |
ANIMATED CONVERSATION | 1:36:22 | 1:36:24 | |
GAVEL BANGS | 1:36:29 | 1:36:31 | |
CONVERSATION CONTINUES | 1:36:32 | 1:36:34 | |
Gentlemen, please! GAVEL BANGS | 1:36:37 | 1:36:40 | |
Gentlemen, please! | 1:36:40 | 1:36:42 | |
Order, order! | 1:36:42 | 1:36:44 | |
Gentlemen! | 1:36:44 | 1:36:46 | |
I don't think that any useful purpose can be served by prolonging this meeting. | 1:36:48 | 1:36:54 | |
-Mr Chairman! -I therefore propose... -Mr Chairman, could I...? | 1:36:54 | 1:36:58 | |
Let the old man speak. Give them time to simmer down. | 1:36:58 | 1:37:03 | |
Will you come up to the platform, please? I'm afraid you can't be heard there. | 1:37:03 | 1:37:08 | |
Gentlemen, I... | 1:37:15 | 1:37:17 | |
-Just speak up a little louder, will you, please? -Oh, yes. | 1:37:17 | 1:37:21 | |
Gentlemen, I am not a businessman. No... | 1:37:21 | 1:37:24 | |
-Well, sit down then. -You know, when this business was a fairground sideshow, | 1:37:24 | 1:37:29 | |
I suppose you could only speak of it in terms of pounds, shillings and pence. | 1:37:29 | 1:37:34 | |
-Oh, sit down! -Only a few of us could see then | 1:37:34 | 1:37:38 | |
it would become a sort of universal language. | 1:37:38 | 1:37:42 | |
And it has become that, you see. | 1:37:42 | 1:37:45 | |
And this universal language that could say great things... | 1:37:45 | 1:37:52 | |
Oh, dear, it so often babbles and drivels so foolishly... | 1:37:53 | 1:37:59 | |
It does, you know. ..that in time, the world will, well, it will tire of it. | 1:37:59 | 1:38:05 | |
Rubbish! | 1:38:05 | 1:38:06 | |
If the film does not grow up with its audience, then it will die. | 1:38:06 | 1:38:10 | |
You know, | 1:38:10 | 1:38:13 | |
it's only in the nursery that children fight and destroy the things in their hands. | 1:38:13 | 1:38:20 | |
The film is in your hands | 1:38:21 | 1:38:24 | |
and you may not behave like children. | 1:38:24 | 1:38:28 | |
You must not destroy it! | 1:38:28 | 1:38:30 | |
Don't! | 1:38:30 | 1:38:32 | |
It's... It's very easy to be good businessmen. | 1:38:38 | 1:38:42 | |
It's so difficult to grow up. | 1:38:43 | 1:38:46 | |
So difficult. | 1:38:46 | 1:38:48 | |
And so...I ask you... | 1:38:51 | 1:38:56 | |
I...ask you | 1:38:56 | 1:39:00 | |
to work together. | 1:39:00 | 1:39:02 | |
Yes. | 1:39:02 | 1:39:03 | |
-MUTTERING -All my life, gentlemen, | 1:39:03 | 1:39:07 | |
I have tried. | 1:39:07 | 1:39:09 | |
There's so much to hope for. | 1:39:11 | 1:39:14 | |
So much. | 1:39:14 | 1:39:16 | |
I have tried. | 1:39:17 | 1:39:19 | |
Are you all right, sir? | 1:39:19 | 1:39:22 | |
Hmm? | 1:39:23 | 1:39:24 | |
Oh, I'm perfectly all right. | 1:39:24 | 1:39:27 | |
Perfectly... | 1:39:27 | 1:39:29 | |
There's something I wanted to say to my wife. | 1:39:30 | 1:39:34 | |
Something I wanted... to say to my wife. | 1:39:35 | 1:39:38 | |
GAVEL BANGS | 1:39:40 | 1:39:42 | |
In view of that appeal, I think we might make some endeavour to adjust our differences | 1:39:42 | 1:39:49 | |
and seek a solution of the problem... | 1:39:49 | 1:39:52 | |
-Can I get you a glass of water, sir? -I'm perfectly all right. | 1:39:52 | 1:39:55 | |
After all, each of us seeks the same end - a prosperous industry. I would urge you... | 1:39:55 | 1:40:02 | |
'The children were asking after you, Willie.' | 1:40:02 | 1:40:05 | |
'But you did invent the moving pictures, didn't you, Father?' | 1:40:05 | 1:40:09 | |
HELENA: 'You are an experimenter, somebody who tries out new things. | 1:40:09 | 1:40:13 | |
'All you need is just a little courage.' | 1:40:13 | 1:40:16 | |
'Squad, present boots!' | 1:40:16 | 1:40:18 | |
'They'll send them back, won't they? | 1:40:18 | 1:40:21 | |
'They must send them back when they know they're under age.' | 1:40:21 | 1:40:25 | |
'You are a child, a stupid, clumsy child!' | 1:40:25 | 1:40:29 | |
'It's the truth, Willie!' | 1:40:30 | 1:40:32 | |
'But the encyclopedia... | 1:40:32 | 1:40:34 | |
'He said it didn't even mention your name.' | 1:40:35 | 1:40:39 | |
POLICEMAN: 'You must be a very happy man, Mr Friese-Greene.' | 1:40:40 | 1:40:45 | |
ANXIOUS MUTTERING | 1:40:56 | 1:40:58 | |
Do you know his name? | 1:41:13 | 1:41:15 | |
-I'm afraid he's dead. -Poor old chap. -We must notify the police. | 1:41:15 | 1:41:19 | |
-What about his family? Does anybody know where he lives? -No, I'll try and find out. | 1:41:19 | 1:41:24 | |
Let me see. There must be some identification. | 1:41:24 | 1:41:27 | |
Would you take that, please? | 1:41:28 | 1:41:30 | |
Here we are. "Mr W Friese-Greene." | 1:41:30 | 1:41:33 | |
Hear, hear! Hear, hear! APPLAUSE | 1:41:36 | 1:41:39 | |
Pawn ticket for some cuff links. | 1:41:43 | 1:41:45 | |
A prism. | 1:41:51 | 1:41:53 | |
One and ten pence. | 1:42:01 | 1:42:03 | |
Just the price of a seat at the pictures. | 1:42:03 | 1:42:06 | |
Subtitles by Red Bee Media Ltd | 1:43:07 | 1:43:10 |