0:00:02 > 0:00:03# The night, the light
0:00:03 > 0:00:08# The long
0:00:10 > 0:00:17# The long and lonely night. #
0:00:17 > 0:00:22The night. Shakespeare called it "The Witching Time".
0:00:22 > 0:00:25It's when the ghosts come out, and the imaginings begin.
0:00:28 > 0:00:31The great American writer Mark Twain noted once
0:00:31 > 0:00:36that the human race is never quite sane in the night,
0:00:36 > 0:00:40which is perhaps why art is so interested in it.
0:00:47 > 0:00:51# Here comes the night
0:00:54 > 0:00:58# Here comes the night. #
0:01:13 > 0:01:16This is a film about the edgy relationship
0:01:16 > 0:01:19that art has with the night.
0:01:19 > 0:01:23It's edgy because art is generally about things you can see.
0:01:23 > 0:01:27And the night is not, generally, a good time for looking.
0:01:28 > 0:01:31Not in the traditional way, at least.
0:01:33 > 0:01:36Actually, night has turned out to be
0:01:36 > 0:01:39one of art's most productive times of day.
0:01:39 > 0:01:42Yes, you can't see as much in the dark,
0:01:42 > 0:01:46but what you can see has extra drama to it.
0:01:46 > 0:01:49Mystery, poetry,
0:01:49 > 0:01:51and even madness.
0:01:51 > 0:01:54# Here comes the night. #
0:01:54 > 0:01:56As Byron once put it,
0:01:56 > 0:02:00"Oh, glorious night! Thou wert not made for slumber!"
0:02:01 > 0:02:04Night is too good to sleep through.
0:02:04 > 0:02:10# Here comes the night. #
0:02:21 > 0:02:26Various excellent artists over the ages have tussled
0:02:26 > 0:02:31with the demanding light conditions of the night and its weighty implications.
0:02:31 > 0:02:34And they've done it in different ways.
0:02:34 > 0:02:40This remarkable desert sculpture here is called Sun Tunnels,
0:02:40 > 0:02:47and it was made in the 1970s by the American land artist Nancy Holt.
0:03:01 > 0:03:04Land art is very American.
0:03:04 > 0:03:09It's always really big, and seems to have, as its underlying ambition,
0:03:09 > 0:03:12the artistic conquest of the West.
0:03:15 > 0:03:20To find Sun Tunnels, you have to walk through the desert in Utah.
0:03:21 > 0:03:24Until eventually you stumble across them.
0:03:42 > 0:03:46Here in Utah, the desert seems to go on, and on, and on.
0:03:46 > 0:03:51There's no focus, no punctuation, except Sun Tunnels.
0:03:52 > 0:03:56Each of these huge tunnels points to a different direction
0:03:56 > 0:03:58in the story of the sun.
0:03:58 > 0:04:03So this one here, that points at the big summer sunrise.
0:04:05 > 0:04:11And this one at the winter sunrise, the winter solstice.
0:04:14 > 0:04:18You can see the sun coming down in the winter here.
0:04:21 > 0:04:24So this is good around Christmas time.
0:04:24 > 0:04:27But the one that interests us the most is this.
0:04:31 > 0:04:33The summer sunset.
0:04:34 > 0:04:38From here, you can see the coming of the night.
0:04:49 > 0:04:51The sun is setting.
0:04:51 > 0:04:54The witching time has arrived.
0:04:55 > 0:04:59For some, that means it's time for bed, but not for you and me.
0:05:02 > 0:05:04We are off exploring,
0:05:04 > 0:05:07because there's so much we need to clear up
0:05:07 > 0:05:10about art and the night.
0:05:14 > 0:05:17Why was this painted, for instance?
0:05:19 > 0:05:22And what in hell's name is going on here?
0:05:24 > 0:05:26Why did this happen?
0:05:29 > 0:05:31And this?
0:05:34 > 0:05:36Or this?
0:05:49 > 0:05:53The big problem with painting at night, obviously, is that you can't see what you're doing.
0:05:53 > 0:06:00In the days before electricity, artists who wanted to paint in the dark
0:06:00 > 0:06:04had to rely on candles, and flaming torches.
0:06:04 > 0:06:11And the light you get from a candle or a torch is flickery and unreliable.
0:06:11 > 0:06:17However, if clear observation isn't actually what you're after,
0:06:18 > 0:06:19that's less of a problem.
0:06:26 > 0:06:30If you're trying to imagine things rather than look at them,
0:06:30 > 0:06:33to see them with your mind's eye,
0:06:33 > 0:06:36then darkness comes into its own.
0:06:36 > 0:06:39And the night becomes your ally.
0:06:49 > 0:06:55The first pictures that human beings ever made were night pictures.
0:06:55 > 0:06:59Cave art, after all, was night art.
0:07:07 > 0:07:10Down in the caves, there was no natural light to rely on.
0:07:10 > 0:07:14You needed fiery torches to help you see.
0:07:14 > 0:07:21And when these torches flickered and spluttered in the dark,
0:07:21 > 0:07:25they cast mysterious shadows on the cave walls.
0:07:25 > 0:07:28Shadows which suggested things.
0:07:34 > 0:07:41Deep under the ground, there were no real horses or rhinos or antelopes to model for you.
0:07:43 > 0:07:45All this had to be imagined.
0:07:51 > 0:07:57So from the beginning, art had a relationship with the night that was crucial.
0:07:57 > 0:08:02Darkness, art, and the mysteries of the unknown seemed, from the beginning,
0:08:02 > 0:08:07to form a particularly productive threesome.
0:08:09 > 0:08:13The dark brought drama and intensity to our divine imaginings,
0:08:13 > 0:08:16and made them feel real.
0:08:16 > 0:08:21It blurred the divide between the religious dimension and the earthly one.
0:08:26 > 0:08:34One of the trickiest of the big religious scenes that art had to imagine was the Nativity,
0:08:34 > 0:08:37the birth of Jesus on Christmas Day.
0:08:37 > 0:08:41It was tricky because there's no description of it in the Bible.
0:08:41 > 0:08:47Just one line in Luke's Gospel about there being "no room at the inn",
0:08:47 > 0:08:50and Jesus "sleeping in a manger".
0:08:50 > 0:08:52And that's it.
0:08:52 > 0:08:57All the information we have about the most important birth in Christendom.
0:09:03 > 0:09:05Nobody anywhere mentions a stable.
0:09:06 > 0:09:10According to Matthew, Jesus was born in a house.
0:09:10 > 0:09:15The other gospel writers ignore his birth entirely.
0:09:16 > 0:09:19No one tells us what baby Jesus looked like,
0:09:19 > 0:09:22or how we knew it was him.
0:09:23 > 0:09:26With no description to help,
0:09:26 > 0:09:29art was faced with the enormous responsibility
0:09:29 > 0:09:32of imagining it all from scratch.
0:09:38 > 0:09:44It wasn't until the 15th century, a millennium and a half after Jesus' death,
0:09:44 > 0:09:48that a Nativity began to emerge we can all recognise.
0:09:49 > 0:09:52The dark stable, the shepherds gathered round,
0:09:52 > 0:09:55an ox and an ass looking on,
0:09:55 > 0:09:59and the baby Jesus, at the centre of the action,
0:09:59 > 0:10:02glowing brightly like a brazier.
0:10:06 > 0:10:08This classic Nativity,
0:10:08 > 0:10:11the classic birth of Jesus,
0:10:11 > 0:10:14was described first by a woman.
0:10:15 > 0:10:17St Bridget of Sweden.
0:10:20 > 0:10:25St Bridget was a 14th century religious mystic who had visions.
0:10:25 > 0:10:31And in one of these visions, she saw the birth of Jesus, the Nativity.
0:10:31 > 0:10:37And what she saw was Mary giving birth to Jesus as she was praying.
0:10:37 > 0:10:42Not lying down, as you'd expect, but kneeling and praying.
0:10:45 > 0:10:50But the most interesting thing about Bridget's vision of the Nativity
0:10:50 > 0:10:53was what was happening to Jesus himself.
0:10:53 > 0:10:58According to Bridget, he was glowing, giving off his own light,
0:10:58 > 0:11:01just like this campfire here.
0:11:03 > 0:11:08The Bible doesn't say Jesus was born in the night.
0:11:08 > 0:11:12But the image of him glowing, giving off his own miraculous light,
0:11:12 > 0:11:15suggested a surrounding darkness.
0:11:16 > 0:11:20And thus, the Nativity became a night picture.
0:11:30 > 0:11:35Bridget's visions were amazingly helpful to artists.
0:11:35 > 0:11:39Not only did they have an image at last of what the Nativity looked like,
0:11:39 > 0:11:45but they no longer had to come up with clever ways of illuminating the baby Jesus.
0:11:45 > 0:11:50Because according to Bridget, Jesus illuminated himself.
0:11:54 > 0:11:58My favourite among the masters of the night scenes that followed
0:11:58 > 0:12:03was Georges de La Tour, a 17th century Frenchman
0:12:03 > 0:12:07with an appetite for candles and mysterious light effects.
0:12:11 > 0:12:16But the lessons of the Nativity weren't confined to religious art.
0:12:16 > 0:12:23Once the Nativity had been invented, it had a phenomenal impact.
0:12:23 > 0:12:29This image of a group of figures hunched around a miraculous light source
0:12:29 > 0:12:33seemed to infiltrate the artistic imagination,
0:12:33 > 0:12:36and popped up in such unexpected places.
0:12:40 > 0:12:43Look at this great Rembrandt, for instance.
0:12:43 > 0:12:46The Anatomy Lesson Of Dr Tulp.
0:12:48 > 0:12:53A doctor and his pupils are hunched over a corpse in the dark.
0:12:55 > 0:12:58Dr Tulp is dissecting a body.
0:13:04 > 0:13:09So why has Rembrandt borrowed the composition from a Nativity?
0:13:11 > 0:13:16And why is this corpse glowing so spookily in the dark?
0:13:20 > 0:13:24It's partly a way of getting round the lighting problems in the picture,
0:13:24 > 0:13:28having a handy corpse as your light source in the middle.
0:13:28 > 0:13:31But I think there's something more than that.
0:13:31 > 0:13:35I think Rembrandt is also trying to convey
0:13:35 > 0:13:43a sense of the miraculous taking place before us in this eerie nocturnal moment.
0:13:43 > 0:13:48Because science and magic had not yet sorted out their differences.
0:13:52 > 0:13:55And when Joseph Wright of Derby painted his famous family
0:13:55 > 0:13:59of nocturnal scientists hunched over a deadly experiment
0:13:59 > 0:14:04with a dying cockatoo and an air pump,
0:14:04 > 0:14:07he borrowed from the Nativity too.
0:14:18 > 0:14:22Another of the compelling things that happens at night, of course,
0:14:22 > 0:14:26is that the stars come out.
0:14:26 > 0:14:29# Catch a falling star And put it in your pocket
0:14:29 > 0:14:32# Never let it fade away
0:14:32 > 0:14:34# Catch a falling star
0:14:34 > 0:14:36# And put it in your pocket
0:14:36 > 0:14:39# Save it for a rainy day. #
0:14:41 > 0:14:45Stars are irresistible, aren't they?
0:14:45 > 0:14:50Shakespeare called them the "blessed candles of the night".
0:14:50 > 0:14:51And since we are in America,
0:14:51 > 0:14:54we should also quote that mighty Yankee poet,
0:14:54 > 0:14:58Henry Wadsworth Longfellow, who wrote,
0:14:58 > 0:15:03"Stars are the forget-me-nots of the angels."
0:15:03 > 0:15:07"The forget-me-nots of the angels", what a lovely thought.
0:15:07 > 0:15:09# Catch a falling star
0:15:09 > 0:15:11# And put it in your pocket
0:15:11 > 0:15:12# Save it for a rainy day. #
0:15:12 > 0:15:18The most devoted painter of the stars was that hardened lover of the witching hour,
0:15:18 > 0:15:20Vincent van Gogh.
0:15:20 > 0:15:28# Save it for a rainy day. #
0:15:28 > 0:15:30Van Gogh was obsessed with the night.
0:15:30 > 0:15:34A large chunk of his art is set in it.
0:15:34 > 0:15:39Mind you, not all of Vincent's night pictures look immediately like night pictures.
0:15:41 > 0:15:44These famous chairs, for instance.
0:15:44 > 0:15:46This one is Vincent's.
0:15:48 > 0:15:50And this one is Gauguin's.
0:15:50 > 0:15:53And both were painted at night.
0:15:55 > 0:15:57You can tell they are night pictures,
0:15:57 > 0:16:00because if you look above Gauguin's chair
0:16:00 > 0:16:02you can see burning gas light
0:16:02 > 0:16:07throwing strangely coloured shadows around the room.
0:16:10 > 0:16:14Van Gogh and Gauguin had been smoking their pipes and reading.
0:16:16 > 0:16:18And now, perhaps, they've gone to bed.
0:16:18 > 0:16:24But their empty chairs are still full of their departed spirit.
0:16:24 > 0:16:28Blunt and earthy Vincent with his peasant chair.
0:16:28 > 0:16:33Smart and cultured Gauguin with his posh one.
0:16:37 > 0:16:41The mood of the empty chairs belongs to the night as well.
0:16:41 > 0:16:46It's an imaginative mood, contemplative, exploratory,
0:16:46 > 0:16:48and not altogether sane.
0:16:55 > 0:16:58Van Gogh's chairs were painted inside the famous house
0:16:58 > 0:17:02he shared with Gauguin in the little French town of Arles.
0:17:03 > 0:17:06The Yellow House.
0:17:07 > 0:17:10Vincent also painted the outside of it.
0:17:10 > 0:17:15And if you look carefully at the road in front of the house,
0:17:15 > 0:17:18you can see a big mound going down the middle.
0:17:22 > 0:17:26Roadworks. Van Gogh is painting roadworks.
0:17:26 > 0:17:30Why? Because these roadworks are special.
0:17:30 > 0:17:32They're putting in the gas.
0:17:32 > 0:17:37Just after he arrived in Arles, the town was connected to gas.
0:17:37 > 0:17:41And gas lighting was put in for the first time.
0:17:43 > 0:17:45Suddenly, Arles was lit up at nights.
0:17:47 > 0:17:51This twinkling cafe exterior shows the new gas lighting in action,
0:17:51 > 0:17:54conquering the night.
0:17:58 > 0:18:02Gas lighting was an interesting challenge to paint, of course.
0:18:02 > 0:18:06But the most significant thing about it was that it allowed Vincent
0:18:06 > 0:18:09to paint all night long if he wanted to.
0:18:09 > 0:18:13Not that he was a practical man by inclination.
0:18:13 > 0:18:15He wasn't that type.
0:18:15 > 0:18:19What Van Gogh liked about the night is that it affected him here,
0:18:19 > 0:18:22where it counts.
0:18:23 > 0:18:27If you look up from this famous cafe to the sky above,
0:18:27 > 0:18:32you'll see that it's full of glorious stars,
0:18:32 > 0:18:36painted so deliriously, so excitedly.
0:18:40 > 0:18:46That's where Van Gogh's heart really lay - up there, in the starry, starry night.
0:18:49 > 0:18:53There are actually two paintings by him called Starry Night.
0:18:53 > 0:18:57One is the famous one that Don McLean sang about.
0:18:57 > 0:19:01You can find that in The Museum Of Modern Art in New York.
0:19:06 > 0:19:09This Starry Night was painted in the asylum at Saint-Remy,
0:19:09 > 0:19:12where he was sent after his breakdown, after he cut off his ear.
0:19:12 > 0:19:17And there's definitely a sense of craziness about it,
0:19:17 > 0:19:19a drunken feeling,
0:19:19 > 0:19:24as if he's staring up at the stars and hallucinating.
0:19:34 > 0:19:38But I like Van Gogh's other Starry Night as well.
0:19:38 > 0:19:40The one in the Musee d'Orsay in Paris.
0:19:40 > 0:19:44It's quieter, more romantic.
0:19:44 > 0:19:47He painted it before the breakdown,
0:19:47 > 0:19:50when the night was still full of dreams.
0:19:54 > 0:20:00The river Rhone twinkling atmospherically beneath the gas lights.
0:20:00 > 0:20:03And those blessed candles of the night.
0:20:08 > 0:20:13Van Gogh didn't worship the stars only because they are so beautiful.
0:20:13 > 0:20:16They had a particular significance for him as well.
0:20:16 > 0:20:21He wrote about it in a letter to his brother Theo.
0:20:21 > 0:20:26"The stars", wrote Vincent, "Are the souls of dead poets."
0:20:29 > 0:20:33This is a portrait of the Belgian poet Eugene Bloch,
0:20:33 > 0:20:35a friend of Vincent's.
0:20:37 > 0:20:40And, as you can see, to show that he is a poet,
0:20:40 > 0:20:45Vincent has surrounded him with stars.
0:20:50 > 0:20:53When Van Gogh looked up at the night's sky,
0:20:53 > 0:20:55his saw Shakespeare up there,
0:20:55 > 0:20:58Byron, Milton, Longfellow,
0:20:58 > 0:21:01all shining among the stars.
0:21:01 > 0:21:03And he wanted to be up there with them.
0:21:03 > 0:21:07But to do that, he had to die first.
0:21:07 > 0:21:11So in this startling letter to his brother Theo,
0:21:11 > 0:21:15Van Gogh announces that there's no point hanging around,
0:21:15 > 0:21:18waiting for death.
0:21:18 > 0:21:21The quickest way to become a star
0:21:21 > 0:21:25and join the other poets is to commit suicide.
0:21:28 > 0:21:33And, of course, that's what he did. He killed himself to get to the stars.
0:21:33 > 0:21:37# Starry, starry night. #
0:21:46 > 0:21:50Another of Van Gogh's finest night paintings
0:21:50 > 0:21:52is this spooky cafe interior.
0:21:52 > 0:21:55The Night Cafe At Arles.
0:22:00 > 0:22:02The night cafe never closed.
0:22:02 > 0:22:07The drunks and the prostitutes would hang about in there all night long,
0:22:07 > 0:22:10and Vincent would often join them.
0:22:11 > 0:22:16A grim little billiard table in a terrible red interior
0:22:16 > 0:22:21that's throbbing with nocturnal anxiety.
0:22:24 > 0:22:29Van Gogh stayed up three nights running to paint his Night Cafe.
0:22:29 > 0:22:37But I don't think his neurotic cafe interior is the most famous all-night dive in art.
0:22:37 > 0:22:39Not quite.
0:22:42 > 0:22:46Even better known is this moody picture.
0:22:46 > 0:22:49The Nighthawks, by Edward Hopper.
0:22:54 > 0:22:58The Nighthawks is a view of an all-night diner,
0:22:58 > 0:23:01somewhere to go when everywhere else is closed.
0:23:10 > 0:23:13It's supposed to be a real place in Greenwich Village, New York,
0:23:13 > 0:23:15near where Hopper lived.
0:23:15 > 0:23:18But no one's ever been able to locate the actual diner.
0:23:18 > 0:23:22So I suspect it never really existed.
0:23:26 > 0:23:30I reckon it's an imaginary diner, thought up in the dark,
0:23:30 > 0:23:34and based on the real ones that Hopper remembered.
0:23:41 > 0:23:44Hopper was a voyeur by instinct.
0:23:44 > 0:23:46He used to travel to work on the El train,
0:23:46 > 0:23:49the elevated one that's high up in the street.
0:23:49 > 0:23:55As it went past the buildings, he'd catch glimpses of people's rooms flashing by.
0:23:57 > 0:24:00Offices, bedrooms, private spaces,
0:24:00 > 0:24:06inside which complete strangers would be going about their daily lives,
0:24:06 > 0:24:09unaware they were being watched.
0:24:13 > 0:24:16I suppose part of it must have been erotic,
0:24:16 > 0:24:19a Peeping-Tom atmosphere.
0:24:19 > 0:24:23But by the time he painted Nighthawks, Hopper was in his 60s.
0:24:23 > 0:24:29So I don't imagine there were huge erotic fires burning in him by then.
0:24:29 > 0:24:36I think he was super sensitive to atmospheres and emotionally nosy.
0:24:37 > 0:24:42Hopper admitted he was influenced by Van Gogh's Night Cafe,
0:24:42 > 0:24:47and also by a spooky short story by Ernest Hemingway,
0:24:47 > 0:24:49called The Killers.
0:24:59 > 0:25:05The Killers is set in Chicago during Prohibition, the gangster era.
0:25:05 > 0:25:08Two hit men walk into an all-night diner
0:25:08 > 0:25:12and ask about a retired boxer who usually eats there.
0:25:15 > 0:25:20They are obviously here to kill the boxer, but why, we never find out.
0:25:23 > 0:25:27Perhaps the boxer didn't throw a fight he was supposed to throw.
0:25:27 > 0:25:32Hemingway tells us nothing, so you start to imagine everything.
0:25:32 > 0:25:35And that's what Hopper does in his painting as well.
0:25:37 > 0:25:40We are on the outside looking in.
0:25:40 > 0:25:43We are the voyeurs again.
0:25:43 > 0:25:46Inside are four people in the diner -
0:25:46 > 0:25:48three men and a woman.
0:25:49 > 0:25:54Two of the men are customers, gangster types.
0:25:54 > 0:25:58One has his back to us in a sinister fashion.
0:26:00 > 0:26:03The other guy gave the picture its name.
0:26:03 > 0:26:09His hooked nose reminded Hopper's wife of the bird of prey.
0:26:14 > 0:26:18The broad, who looks as if she's seeing plenty of life,
0:26:18 > 0:26:22is eating a sandwich, and behind the counter,
0:26:22 > 0:26:25the guy who works in the diner is making the coffee or something.
0:26:26 > 0:26:31In the Hemingway story, the owner of the diner is actually the hero,
0:26:31 > 0:26:36because he knows where the boxer lives, but doesn't tell the two hit men.
0:26:38 > 0:26:42Beak Nose over here seems to be with the broad,
0:26:42 > 0:26:46and he's looking tough, smoking a cigarette.
0:26:46 > 0:26:49But it's the other man, the one with his back to us,
0:26:49 > 0:26:53who feels most sinister,
0:26:53 > 0:26:54and dangerous.
0:27:03 > 0:27:07Nighthawks is like a still from a gangster movie.
0:27:07 > 0:27:11Even the shape of the canvas is cinematic.
0:27:12 > 0:27:15But where films have beginnings, middles and ends,
0:27:15 > 0:27:17this painting doesn't.
0:27:17 > 0:27:21It's a movie still without the movie.
0:27:21 > 0:27:24A screen grab that says nothing and everything.
0:27:28 > 0:27:32Who is the broad? Who's the guy with her?
0:27:32 > 0:27:35Who is the man with his back turned?
0:27:35 > 0:27:37And what are they all doing?
0:27:37 > 0:27:42We'll never know. And we'll never stop wanting to know either.
0:27:45 > 0:27:49Hopper had a thing about architecture,
0:27:49 > 0:27:53about American buildings and their moods.
0:27:53 > 0:27:56In Nighthawks, the people are tiny,
0:27:56 > 0:27:58but the setting is big.
0:27:58 > 0:28:02And it's the setting that creates that disturbing atmosphere.
0:28:06 > 0:28:09Hopper, as I said, was a late developer.
0:28:09 > 0:28:14The first picture that got him noticed was painted when he was already 43.
0:28:14 > 0:28:17The House By The Railroad, it was called.
0:28:17 > 0:28:19The first picture ever bought
0:28:19 > 0:28:23by The Museum Of Modern Art in New York, in 1925.
0:28:26 > 0:28:31It shows an eerie Gothic mansion, standing on its own,
0:28:31 > 0:28:34looming over a passing railroad.
0:28:40 > 0:28:44It's just a building, but it's strangely unforgettable.
0:28:44 > 0:28:48When Hitchcock, who very much admired Hopper's art,
0:28:48 > 0:28:51was making his most disturbing movie, Psycho,
0:28:51 > 0:28:56he modelled the spooky Bates Mansion, where all the slashing and murdering takes place,
0:28:56 > 0:29:00on Hopper's House By The Railroad.
0:29:00 > 0:29:02WOMAN SCREAMING
0:29:02 > 0:29:08And then later, that classic TV ghost series, The Addams Family,
0:29:08 > 0:29:12was also set in a house inspired directly by the Hopper house.
0:29:18 > 0:29:21Architecture played a crucial role too
0:29:21 > 0:29:25in the nocturnal imaginings of the Surrealists.
0:29:28 > 0:29:34Surrealism is packed with spooky buildings and eerie brumes.
0:29:37 > 0:29:42Really famous pictures, like that clever Salvador Dali interior
0:29:42 > 0:29:45made up of bits of Mae West's face.
0:29:46 > 0:29:48And look at Rene Magritte.
0:29:48 > 0:29:53So much of Magritte's art is set in claustrophobic spaces
0:29:53 > 0:29:57and mysterious, nocturnal houses.
0:30:05 > 0:30:09All this dark, surrealist house symbolism
0:30:09 > 0:30:13was inspired by this momentous tome,
0:30:13 > 0:30:19The Interpretation Of Dreams, by Sigmund Freud.
0:30:19 > 0:30:24According to Freud, our dreams are the doors to our unconscious.
0:30:24 > 0:30:26Understand our dreams,
0:30:30 > 0:30:32and you understand us.
0:30:33 > 0:30:40And houses, rooms are particularly significant.
0:30:45 > 0:30:48I'm a little shaky on my Freudian symbolism.
0:30:48 > 0:30:51It's not a speciality.
0:30:52 > 0:30:56But as I understand it, according to Freud,
0:30:56 > 0:31:01the house represents us in our architectural form.
0:31:01 > 0:31:03It's our little kingdom.
0:31:03 > 0:31:08A surrogate womb in which we shelter from the world.
0:31:08 > 0:31:13And in that house, the terrors and yearnings of our childhood
0:31:13 > 0:31:17play out an endless game of hide and seek.
0:31:21 > 0:31:28Freud claimed that specific bits of a house have specific meanings.
0:31:28 > 0:31:33In a man's dream, a room always represents a woman,
0:31:33 > 0:31:37because there's always an opening through which you can enter.
0:31:40 > 0:31:44So Salvador Dali is having a whole lot of fun, isn't he,
0:31:44 > 0:31:47imagining Mae West like this.
0:31:48 > 0:31:52Fireplaces represent women too.
0:31:52 > 0:31:54And, as for trains...
0:31:55 > 0:31:57Well, what do you think?
0:32:02 > 0:32:06Going up a staircase, meanwhile, in a dream
0:32:06 > 0:32:10represents an unconscious yearning for sex,
0:32:10 > 0:32:14with all this rhythmic climbing.
0:32:18 > 0:32:24Heaven only knows, therefore, what's going on in this disturbing Surrealist masterpiece,
0:32:24 > 0:32:28Eine Kleine Nachtmusik,
0:32:28 > 0:32:30painted in New York in 1943
0:32:30 > 0:32:33by Dorothea Tanning.
0:32:36 > 0:32:39Tanning was American.
0:32:39 > 0:32:44She was born in 1910 in Galesburg, Illinois,
0:32:44 > 0:32:46a quintessential small town.
0:32:46 > 0:32:54"In Galesburg, Illinois", she later complained, "Nothing ever happened, except the wallpaper".
0:32:57 > 0:33:01Her childhood was repressed and tedious.
0:33:01 > 0:33:05And it wasn't till she fetched up in New York and discovered Surrealism
0:33:05 > 0:33:09that Dorothea Tanning found her real self.
0:33:10 > 0:33:17This is her with the cavalier top and the tendrils and that pet monster.
0:33:22 > 0:33:26You know, she's still alive. 101 years old.
0:33:26 > 0:33:30Whatever it was she took to get in touch with her subconscious
0:33:30 > 0:33:32should be sold in chemists.
0:33:32 > 0:33:35But she's never spelt out what her art is about.
0:33:35 > 0:33:42Never really explained what's going on in these disturbing night fantasies of hers.
0:33:45 > 0:33:48Her masterpiece, Eine Kleine Nachtmusik,
0:33:48 > 0:33:50got its title from Mozart,
0:33:50 > 0:33:52and its mood from a nightmare.
0:33:55 > 0:33:59We're in a hotel corridor by the staircase.
0:34:00 > 0:34:03Two young girls are on the landing.
0:34:03 > 0:34:06Or is it the same girl, before and after?
0:34:08 > 0:34:11Or maybe, one of them is a doll and the other one is real.
0:34:13 > 0:34:17The only thing we can be sure of is that all the little girls
0:34:17 > 0:34:19are Dorothea Tanning.
0:34:39 > 0:34:45The entire picture reeks of subconscious anxiety.
0:34:45 > 0:34:50That big sunflower at the top of the stairs is particularly sinister.
0:34:50 > 0:34:55Somehow you know it's a masculine presence,
0:34:55 > 0:34:59because sunflowers are so tall and looming.
0:35:04 > 0:35:07Something dark is being remembered here.
0:35:07 > 0:35:10Some traumatic childhood encounter.
0:35:11 > 0:35:16These are mysteries from the deepest reaches of the feminine psyche.
0:35:16 > 0:35:19And I'm clearly not qualified to understand them.
0:35:19 > 0:35:24But I do know this is what the night brings out in art.
0:35:43 > 0:35:47# There's a moon out tonight
0:35:47 > 0:35:49# Whoa-oh-oh ooh
0:35:49 > 0:35:51# Let's go strollin'
0:35:51 > 0:35:54# There's a girl in my heart
0:35:54 > 0:35:56# Whoa-oh-oh ooh
0:35:56 > 0:35:59# Whose heart I've stolen
0:35:59 > 0:36:01# There's a moon out tonight
0:36:01 > 0:36:03# Whoa-oh-oh ooh
0:36:03 > 0:36:07# Let's go strollin' through the park. #
0:36:07 > 0:36:13There's a crucial component of the night we haven't dealt with yet.
0:36:13 > 0:36:17I've been putting it off, because, like a lot of people,
0:36:17 > 0:36:20I find myself affected by it.
0:36:24 > 0:36:26It's the moon, of course.
0:36:26 > 0:36:30When there's a big full moon, I don't sleep well,
0:36:30 > 0:36:33my thoughts get anxious, and things feel problematic.
0:36:37 > 0:36:43We've never quite decided if the moon is a good thing or a bad one.
0:36:43 > 0:36:46On one side, you get the werewolves and the witches,
0:36:46 > 0:36:48the moon that drives you mad.
0:36:48 > 0:36:50WOLF HOWLING
0:36:50 > 0:36:53The word lunatic actually comes from 'luna',
0:36:53 > 0:36:55meaning the moon.
0:36:55 > 0:36:57On the other side,
0:36:57 > 0:37:02moonlight is the perfect accompaniment for romance,
0:37:02 > 0:37:05famously magical and seductive.
0:37:05 > 0:37:13# There's a moon out tonight. #
0:37:17 > 0:37:20Art has been affected by the moon as well.
0:37:20 > 0:37:25And art too has never quite decided which moon it prefers,
0:37:25 > 0:37:29the dark and crazy one that turns us into werewolves,
0:37:29 > 0:37:33or the delicate and magical one that goes so well
0:37:33 > 0:37:36with an evening of romance.
0:37:36 > 0:37:40Personally, I've had enough darkness for the time being.
0:37:40 > 0:37:44Right now, I'm ready for some enchantment and beauty.
0:37:44 > 0:37:49I'm ready for Velazquez's Immaculate Conception.
0:37:59 > 0:38:04I don't know how well versed you are in the Catholic mysteries,
0:38:04 > 0:38:10so the first thing I should clear up here is what the Immaculate Conception actually means.
0:38:10 > 0:38:14It's an image of the Virgin Mary, Jesus' mother,
0:38:14 > 0:38:18that's found in Catholic art, particularly in Spain.
0:38:19 > 0:38:22A lot of people think the Immaculate Conception
0:38:22 > 0:38:25represents Mary as a virgin.
0:38:26 > 0:38:31Because Jesus was the son of God, he was conceived immaculately.
0:38:33 > 0:38:35But that's wrong.
0:38:35 > 0:38:36Mary is immaculate.
0:38:36 > 0:38:40Not because she was a virgin when she gave birth to Jesus,
0:38:40 > 0:38:45but because she herself was born without sin.
0:38:45 > 0:38:49Only the second woman in history to be born that way.
0:38:51 > 0:38:54Mary was exempted from sinfulness
0:38:54 > 0:38:57because she was the mother of Jesus,
0:38:57 > 0:39:00and had to be born spotless, pure.
0:39:00 > 0:39:05And that is what the Immaculate Conception represents.
0:39:11 > 0:39:13That's a complicated idea, isn't it?
0:39:13 > 0:39:15So imagine if you're a painter,
0:39:15 > 0:39:18back in the 12th or 13th centuries,
0:39:18 > 0:39:23who's been told to paint a picture of the Virgin Mary as the Immaculate Conception,
0:39:23 > 0:39:27as a woman born without sin.
0:39:27 > 0:39:31How do you represent an idea as abstract as that?
0:39:31 > 0:39:33It puzzled art for centuries,
0:39:33 > 0:39:38and it wasn't until the Baroque Age that a solution was finally found.
0:39:38 > 0:39:40And it involved the moon.
0:39:40 > 0:39:42SONG: "Moonlight Sonata"
0:39:46 > 0:39:50This beautiful image of Mary was inspired by a passage in Revelation,
0:39:50 > 0:39:55the last book of the Bible, written by St John the Divine.
0:39:55 > 0:39:58"And there appeared a great wonder in heaven",
0:39:58 > 0:40:01wrote St John, Chapter 12, Verse one.
0:40:02 > 0:40:05"A woman with the moon under her feet,
0:40:05 > 0:40:09"and upon her head a crown of 12 stars."
0:40:09 > 0:40:12SONG: "Moonlight Sonata"
0:40:20 > 0:40:24St John doesn't actually say his vision was the Virgin Mary,
0:40:24 > 0:40:27but that's how it came to be understood.
0:40:27 > 0:40:32And the first painter to popularise this image of the Immaculate Conception
0:40:32 > 0:40:37was a Spanish artist from Seville called Francisco Pacheco.
0:40:37 > 0:40:40And it was Pacheco's daughter, Juana,
0:40:40 > 0:40:45who posed for the beautiful young Mary standing on the moon,
0:40:45 > 0:40:48surrounded by stars.
0:40:51 > 0:40:55The greatest of all Spanish Baroque painters, Velazquez,
0:40:55 > 0:40:57was Pacheco's pupil.
0:40:59 > 0:41:02Velazquez married Juana, Pacheco's daughter,
0:41:02 > 0:41:07and when he too came to paint the Immaculate Conception,
0:41:07 > 0:41:10he used her as his model as well.
0:41:10 > 0:41:15You can find her today in the National Gallery in London.
0:41:16 > 0:41:19And Velazquez's St John is there as well,
0:41:19 > 0:41:21writing his Revelations,
0:41:21 > 0:41:26and gazing up and seeing the Virgin Mary on the moon,
0:41:26 > 0:41:29so enchanting, so beautiful,
0:41:29 > 0:41:30so touchable.
0:41:37 > 0:41:40TRAIN WHISTLES
0:41:52 > 0:41:55Trains at night are so haunting.
0:41:55 > 0:41:58My father worked on the railways.
0:41:58 > 0:42:03And I can remember lying awake at night listening to the steam trains rattling past.
0:42:03 > 0:42:06In art too, trains have played a huge part.
0:42:08 > 0:42:11I can't think of a single artwork that involved a car,
0:42:11 > 0:42:14but I can think of plenty involving trains.
0:42:20 > 0:42:26# Train I ride is 16 coaches long. #
0:42:26 > 0:42:28What is it about steam trains?
0:42:28 > 0:42:31Why are they so haunting?
0:42:31 > 0:42:35# Train I ride is 16 coaches long
0:42:39 > 0:42:42# Well, that long black train
0:42:42 > 0:42:44# Got my baby and gone. #
0:42:46 > 0:42:50I think it's the fact they are such an all-round experience.
0:42:50 > 0:42:55You see them, you hear them, you smell them.
0:42:55 > 0:42:58And if you add the night to the mix,
0:42:58 > 0:43:02that sense of mystery, of going somewhere,
0:43:02 > 0:43:06you have something that sneaks into your imagination
0:43:06 > 0:43:09and refuses to leave.
0:43:12 > 0:43:16Here in America, the greatest lover of the train at night
0:43:16 > 0:43:20was an obsessed photographer called O. Winston Link,
0:43:20 > 0:43:23the Rembrandt of the locomotive.
0:43:26 > 0:43:30Link trained as an engineer.
0:43:30 > 0:43:34His father taught woodwork at a local school,
0:43:34 > 0:43:37and when little Winston was a kid,
0:43:37 > 0:43:41he'd make things with his father's equipment.
0:43:41 > 0:43:46And he developed an emotional relationship with machinery.
0:43:50 > 0:43:53Link loved the way that machines work,
0:43:53 > 0:43:58and how they achieve things that human beings on their own never could.
0:43:58 > 0:44:02In particular, he loved trains,
0:44:02 > 0:44:06and the way they made possible the conquest of America.
0:44:06 > 0:44:09TRAIN WHISTLES
0:44:14 > 0:44:19He began photographing trains in the 1950s.
0:44:19 > 0:44:22He'd trained as a commercial photographer,
0:44:22 > 0:44:25specialising in difficult shots -
0:44:25 > 0:44:28speeding jets, droplets of falling milk.
0:44:28 > 0:44:31But his passion was steam trains,
0:44:31 > 0:44:35and he set out to photograph the last ones in America.
0:44:41 > 0:44:46The steam trains' final stronghold was the Norfolk and Western line.
0:44:47 > 0:44:49Link discovered it just in time.
0:44:49 > 0:44:54The five years he spent photographing the Norfolk and Western,
0:44:54 > 0:44:58from 1955 to 1960,
0:44:58 > 0:45:02were the final five years of the steam age.
0:45:06 > 0:45:11Taking his photographs at night was hugely problematic,
0:45:11 > 0:45:13but also very necessary.
0:45:16 > 0:45:20"I can't move the sun," Link explained later,
0:45:20 > 0:45:23"And it's always in the wrong place."
0:45:23 > 0:45:27"But I can create my own environment through lighting."
0:45:37 > 0:45:42Lighting a moving train at night was immensely difficult.
0:45:42 > 0:45:47Link spent months and months working out how to do it.
0:45:47 > 0:45:54In the end, he rigged up a complex system of flashbulbs,
0:45:54 > 0:45:57which he triggered in multiple sequences when the train appeared.
0:45:57 > 0:46:02Just one of these flashbulb rigs produced the equivalent
0:46:02 > 0:46:08of 50,000 domestic light bulbs, all going off at once.
0:46:08 > 0:46:11But that was what was needed to light a train.
0:46:15 > 0:46:18Each light bulb could only be used once.
0:46:18 > 0:46:24So every O. Winston Link photograph is a risk that's being taken,
0:46:24 > 0:46:26and a risk that's paid off.
0:46:28 > 0:46:30I met him once.
0:46:30 > 0:46:33He came over to England for the first show of his work.
0:46:33 > 0:46:35Such a lovely old boy.
0:46:35 > 0:46:40A 70-year-old schoolkid in love with trains.
0:46:40 > 0:46:42But, of course, the extraordinary thing about his work
0:46:42 > 0:46:45is how strange it is,
0:46:45 > 0:46:46how surreal.
0:46:51 > 0:46:56A typical small town in America with a train going down the middle of it.
0:46:56 > 0:47:00An old man fills up a car,
0:47:00 > 0:47:01and there's the train.
0:47:01 > 0:47:04# People get ready
0:47:04 > 0:47:05# There's a train a-coming. #
0:47:05 > 0:47:09A couple cuddle at a drive-in
0:47:09 > 0:47:11as the train steams past.
0:47:13 > 0:47:16In the daytime, all this might have indeed
0:47:16 > 0:47:20added up to a record of a passing age.
0:47:20 > 0:47:23But at night, in small-town America,
0:47:23 > 0:47:26this isn't a record.
0:47:26 > 0:47:27It's a haunting.
0:47:27 > 0:47:31# You just thank the Lord. #
0:47:45 > 0:47:49Matthew, Chapter 27, Verse 45.
0:47:49 > 0:47:55"Now from the sixth hour there was darkness all over the land unto the ninth hour."
0:47:55 > 0:47:59"And about the ninth hour, Jesus cried with a loud voice,"
0:47:59 > 0:48:03"'My God, my God, why hast thou forsaken me?'"
0:48:19 > 0:48:22Pain, illness, suffering.
0:48:22 > 0:48:26They are at home in the dark, aren't they?
0:48:26 > 0:48:29When things always seem worse,
0:48:29 > 0:48:31and the imaginings begin.
0:48:46 > 0:48:50My own mother gave me some excellent advice once.
0:48:50 > 0:48:55She said, "Never make an important decision in the middle of the night,"
0:48:55 > 0:48:58"because you can't think clearly in the night,"
0:48:58 > 0:49:02"and you start to imagine things."
0:49:10 > 0:49:15This is the Isenheim Altarpiece.
0:49:15 > 0:49:18It was painted in about 1515
0:49:18 > 0:49:21by Matthias Grunewald.
0:49:21 > 0:49:25It's one of the greatest of all crucifixions,
0:49:25 > 0:49:29and, as you can see, it's set in the dark.
0:49:35 > 0:49:37Christ on the cross,
0:49:37 > 0:49:42surrounded by an impenetrable blackness.
0:49:42 > 0:49:44Violated,
0:49:45 > 0:49:47brutalised,
0:49:49 > 0:49:51deep in pain.
0:49:53 > 0:49:56This isn't actually night time though.
0:49:56 > 0:49:59That passage in the Bible by St Matthew
0:49:59 > 0:50:02about Christ's final moments on the cross
0:50:02 > 0:50:05describes a darkness that fell
0:50:05 > 0:50:09between the hours of six and nine.
0:50:09 > 0:50:11So we are not looking at the night here,
0:50:11 > 0:50:14we are looking at an eclipse.
0:50:21 > 0:50:27Grunewald saw exactly such an eclipse in real life in 1502.
0:50:27 > 0:50:32They say the memory of it haunted his art from then on.
0:50:32 > 0:50:37And all this deep blackness gives his great masterpiece
0:50:37 > 0:50:40extra scariness and intensity.
0:50:46 > 0:50:51He painted it for a religious order called the Antonites.
0:50:51 > 0:50:57The Antonites were monks who specialised in caring for the sick,
0:50:57 > 0:51:02and particularly, for those poor, poor wretches
0:51:02 > 0:51:07who suffered from one of the most terrible of all mediaeval diseases,
0:51:07 > 0:51:10St Anthony's Fire.
0:51:14 > 0:51:19St Anthony's Fire, or Ergotism, to give it its technical name,
0:51:19 > 0:51:22is a wicked, wicked illness.
0:51:22 > 0:51:26Caused by a fungus that grows on wet rye,
0:51:26 > 0:51:33so it erupts when the world is damp and mouldy, and hungry.
0:51:33 > 0:51:38The symptoms of St Anthony's Fire were really scary.
0:51:38 > 0:51:42The victims would feel as if their skin was burning.
0:51:42 > 0:51:48And sometimes the pain of this fire inside them was so terrible,
0:51:48 > 0:51:51they'd chop off their own fingers to get rid of it.
0:51:55 > 0:51:59Their flesh would erupt as well in mysterious sores,
0:51:59 > 0:52:03like the ones that Grunewald depicts on Christ's body.
0:52:04 > 0:52:09There's no mention in the Bible of Jesus suffering from St Anthony's Fire.
0:52:09 > 0:52:15It's an invention of Grunewald's, added specially for the Antonites.
0:52:16 > 0:52:20St Anthony's Fire didn't just attack your body.
0:52:20 > 0:52:26The rye fungus that caused it got to your mind as well.
0:52:26 > 0:52:30Its chemical composition was almost identical with LSD.
0:52:30 > 0:52:34So you started to hallucinate with it and see things.
0:52:39 > 0:52:41Some thought they could fly.
0:52:41 > 0:52:45Others felt they were drowning.
0:52:45 > 0:52:49Terrible monsters would appear before their eyes.
0:52:49 > 0:52:53Burning flesh, gangrenous skin.
0:52:53 > 0:52:57The darkest imaginings.
0:52:57 > 0:53:02All this Grunewald sought to evoke here.
0:53:07 > 0:53:11But he hasn't done it to scare us. That's not the point.
0:53:11 > 0:53:17The thing to grasp about this momentous and darkly magnificent altarpiece
0:53:17 > 0:53:22is that it wasn't produced to terrify all those poor sufferers
0:53:22 > 0:53:27burning with St Anthony's Fire who came here to look at it.
0:53:27 > 0:53:31This was painted to give them all hope.
0:53:34 > 0:53:42Grunewald's message is that no one's suffering will ever be a match for Christ's.
0:53:42 > 0:53:44No one, however ill they are,
0:53:44 > 0:53:48will ever go through what Christ had to go through
0:53:48 > 0:53:51when he came down to Earth and suffered so much
0:53:51 > 0:53:54to save us from our sins,
0:53:54 > 0:53:57and to give us hope.
0:53:58 > 0:54:01It's a big, big message.
0:54:01 > 0:54:07Any big messages always feel bigger still in the dark.
0:54:16 > 0:54:20The morning sticks its nose above the horizon.
0:54:20 > 0:54:22The witching time is nearly ended.
0:54:24 > 0:54:29It's been a busy old night, but we're nearly there.
0:54:29 > 0:54:33There's just one more thing we need to clear up before the day breaks.
0:54:33 > 0:54:36We need to work out
0:54:36 > 0:54:39when this picture was painted.
0:54:41 > 0:54:44It's one of art's most iconic images.
0:54:44 > 0:54:47Impression Sunrise, by Claude Monet.
0:54:49 > 0:54:52The picture which gave its name to Impressionism.
0:54:57 > 0:55:01I did a series recently about the Impressionists,
0:55:01 > 0:55:04and this picture puzzled the hell out of me.
0:55:04 > 0:55:08Not because it gave its name to Impressionism, that's all fine.
0:55:08 > 0:55:11But because I was never completely certain
0:55:11 > 0:55:14what time of day it actually shows.
0:55:16 > 0:55:22In the first Impressionist exhibition of 1874, when it was unveiled,
0:55:22 > 0:55:26it was called Impression Sunrise, as you'd expect.
0:55:26 > 0:55:30But in later exhibitions, where it popped up often,
0:55:30 > 0:55:32it was called Impression Sunset.
0:55:34 > 0:55:37A title which many believed was the right one.
0:55:46 > 0:55:48So what do you think?
0:55:48 > 0:55:51Sunset or sunrise?
0:55:51 > 0:55:55Here at Sun Tunnels, the sunrise is just a few moments away.
0:55:55 > 0:55:58So let's sort it out once and for all, shall we?
0:55:58 > 0:56:01Did Monet paint a sunrise or a sunset?
0:56:09 > 0:56:13It was painted in Le Havre, the French port where Monet grew up.
0:56:13 > 0:56:15Somewhere on the docks.
0:56:15 > 0:56:18And this is a map of the location.
0:56:18 > 0:56:21So, obviously, that's East and that's West.
0:56:21 > 0:56:26So it was either painted about here, looking that way,
0:56:26 > 0:56:31or it was painted about here, looking that way.
0:56:43 > 0:56:48To settle it, once and for all, I went back to Le Havre, down to the docks.
0:56:48 > 0:56:51And I set up two cameras in the two places
0:56:51 > 0:56:55from which Impressionism's most famous picture might have been painted.
0:56:55 > 0:56:58So camera one over here recorded the sunset.
0:56:58 > 0:57:01Camera two over here, the sunrise.
0:57:01 > 0:57:05And then we watched it all unfold, as Monet must have seen it.
0:57:05 > 0:57:07So let's see what happens.
0:57:14 > 0:57:166:30 in the evening,
0:57:16 > 0:57:20and on the sunset camera, the port is closing down.
0:57:22 > 0:57:26On the sunrise camera, it's 6:30 in the morning,
0:57:26 > 0:57:31and a red glow tells you the sun is breaking.
0:57:31 > 0:57:35Back at the sunset camera, the sun's descent has speeded up.
0:57:36 > 0:57:38On the morning camera,
0:57:38 > 0:57:42a great big ship has parked itself in the middle of the view,
0:57:42 > 0:57:46but you can still see the sun rising behind it.
0:57:47 > 0:57:517:15pm, and on the sunset camera,
0:57:51 > 0:57:56the poor old sun just about makes it round the big skyscraper.
0:57:56 > 0:57:59Hurrah!
0:57:59 > 0:58:02On the sunrise camera, it's 7:15 AM,
0:58:02 > 0:58:06and the sun is pretty much where Monet painted it,
0:58:06 > 0:58:10and everything here looks very familiar.
0:58:23 > 0:58:26It was definitely the sunrise, wasn't it?
0:58:26 > 0:58:30The colour, the proportions, that glow in the sky.
0:58:30 > 0:58:33It all feels right.
0:58:33 > 0:58:36So irrefutable TV proof at last
0:58:36 > 0:58:41that Impression Sunrise actually shows a sunrise.
0:58:43 > 0:58:48So here at Sun Tunnels, the moment has also arrived as well.
0:58:48 > 0:58:50The night's finally over.
0:58:50 > 0:58:52The day is upon us. Just look at it.
0:58:55 > 0:59:01Someone once called this the "Stonehenge of the Aquarian Age",
0:59:01 > 0:59:04because it's so elemental,
0:59:04 > 0:59:06so basic and sacred.
0:59:10 > 0:59:15You know that book, 1,001 Things To Do Before You Die?
0:59:15 > 0:59:19Trust me, watching the night coming to an end at Sun Tunnels
0:59:19 > 0:59:22should be one of them.
0:59:22 > 0:59:24SONG: "Paint It Black"
0:59:24 > 0:59:30# I see a red door and I want it painted black
0:59:30 > 0:59:36# No colours anymore I want them to turn black
0:59:36 > 0:59:40# I see the girls walk by dressed in their summer clothes
0:59:40 > 0:59:46# I have to turn my head until my darkness goes. #
0:59:46 > 0:59:49Subtitles by Red Bee Media Ltd
0:59:49 > 0:59:52E-mail subtitling@bbc.co.uk