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Meet Marlene Dietrich. | 0:00:33 | 0:00:36 | |
She is Shanghai Lily, a professional user of men. | 0:00:36 | 0:00:42 | |
Alone in her compartment, she smokes a cigarette. | 0:00:42 | 0:00:45 | |
Her face is lit from above, as if from some celestial source. | 0:00:46 | 0:00:52 | |
She has just learned that the great love of her life is still | 0:00:52 | 0:00:55 | |
obsessed with her. | 0:00:55 | 0:00:57 | |
Is it the motion of the train that causes her hand to shake, | 0:00:57 | 0:01:01 | |
or her inner turmoil? | 0:01:01 | 0:01:02 | |
It doesn't matter. | 0:01:04 | 0:01:06 | |
Alone with her triumph, she transcends earthly concerns, | 0:01:06 | 0:01:10 | |
attaining what the Greeks called an apotheosis | 0:01:10 | 0:01:14 | |
the state of the divine. | 0:01:14 | 0:01:15 | |
She is a goddess. | 0:01:15 | 0:01:17 | |
The cinema was the new art form of the 20th century. | 0:01:28 | 0:01:31 | |
In its golden age, it was truly a mass entertainment. | 0:01:32 | 0:01:36 | |
Everybody could enter the temple, as if they were participating | 0:01:36 | 0:01:39 | |
in a new religion, drawn by the light that came from a projector. | 0:01:39 | 0:01:46 | |
Cinemas were built on a grand scale. | 0:01:50 | 0:01:54 | |
They were called Palaces, Alhambras, Regals, Forums. | 0:01:54 | 0:01:59 | |
They were the cathedrals of the movies. | 0:02:00 | 0:02:04 | |
The screen was like a vast altarpiece. | 0:02:05 | 0:02:08 | |
On it, the actors appeared bigger than life. | 0:02:08 | 0:02:12 | |
No longer men and women. Gods and goddesses. | 0:02:12 | 0:02:16 | |
When movie actresses faced a camera, they were lit, made up | 0:02:20 | 0:02:24 | |
and dressed to perfection. | 0:02:24 | 0:02:27 | |
They became an ideal of beauty. | 0:02:27 | 0:02:30 | |
It was as if they truly belonged to another world. | 0:02:30 | 0:02:33 | |
In mythology, gods do sometimes come down to earth. | 0:02:37 | 0:02:41 | |
Occasionally the cinema played with the idea. | 0:02:43 | 0:02:46 | |
In Down to Earth, Rita Hayworth plays Terpsichore, | 0:02:49 | 0:02:53 | |
muse of the dance. | 0:02:53 | 0:02:55 | |
She is shocked by how a Broadway producer | 0:02:55 | 0:02:57 | |
intends to portray her on stage. | 0:02:57 | 0:02:59 | |
Wait until you hear what's happening on Earth! | 0:02:59 | 0:03:02 | |
A mortal, Daniel Miller is presenting a musical | 0:03:02 | 0:03:05 | |
play about us, the nine muses. | 0:03:05 | 0:03:07 | |
She descends to Earth to put things right, and being divine, | 0:03:12 | 0:03:17 | |
she already knows the moves. | 0:03:17 | 0:03:19 | |
I need a goddess and a goddess comes down out of nowhere. | 0:03:23 | 0:03:26 | |
In One Touch of Venus, a window dresser inadvertently brings | 0:03:29 | 0:03:33 | |
to life a statue of the goddess of love. | 0:03:33 | 0:03:36 | |
Please, how can I fix this if you don't stand still? | 0:03:38 | 0:03:43 | |
As incarnated by Ava Gardner, she moves with extraordinary grace, | 0:03:48 | 0:03:53 | |
and speaks, too. | 0:03:53 | 0:03:54 | |
Oh, look, I don't understand any of this, who are you? | 0:03:54 | 0:03:57 | |
I am Venus, daughter of Jupiter, goddess of love | 0:03:57 | 0:04:00 | |
Oh, very glad to know you, | 0:04:00 | 0:04:02 | |
my name is Hatch, Eddie Hatch, display... | 0:04:02 | 0:04:04 | |
-Goddess of what?! -Love. | 0:04:04 | 0:04:07 | |
Goddesses suggest that an ideal world exists, | 0:04:36 | 0:04:40 | |
where choices are clear and wrongs are righted. | 0:04:40 | 0:04:43 | |
A world of certainties. | 0:04:43 | 0:04:45 | |
But Goddesses can also punish and destroy. | 0:04:47 | 0:04:50 | |
They can be jealous and spiteful. | 0:04:50 | 0:04:52 | |
In Mata Hari, the infamous spy is played by Greta Garbo. | 0:04:57 | 0:05:01 | |
Seducing a young pilot into treason, she makes him put out | 0:05:02 | 0:05:06 | |
the lights, with the last being the candle before the Virgin Mary. | 0:05:06 | 0:05:10 | |
-The Madonna's lamp? -Yes. | 0:05:13 | 0:05:15 | |
I couldn't do that. | 0:05:16 | 0:05:18 | |
You said I came first. | 0:05:18 | 0:05:20 | |
But don't you understand, that it's a holy lamp? | 0:05:20 | 0:05:22 | |
That I swore to keep it burning | 0:05:22 | 0:05:24 | |
You wouldn't do that for me? | 0:05:26 | 0:05:28 | |
Why, why do you ask me to? | 0:05:29 | 0:05:30 | |
To see if you love me as you say. | 0:05:32 | 0:05:34 | |
I do, but I do. | 0:05:34 | 0:05:35 | |
Well then, put it out... | 0:05:37 | 0:05:39 | |
..if you love me. | 0:05:40 | 0:05:42 | |
Garbo did inspire fanatical devotion. | 0:05:43 | 0:05:46 | |
She was said to have a "sensuousness that speaks to all men | 0:05:46 | 0:05:49 | |
"and women", and that, "She is all woman. | 0:05:49 | 0:05:53 | |
"All women." | 0:05:53 | 0:05:55 | |
In Mata Hari, Garbo even wears a headdress that mirrors | 0:05:57 | 0:06:00 | |
the one worn by the Madonna. | 0:06:00 | 0:06:02 | |
Her triumph has made her divine in her own right. | 0:06:03 | 0:06:06 | |
Forgive me. | 0:06:07 | 0:06:08 | |
Garbo belonged to MGM, the Hollywood studio which promised | 0:06:20 | 0:06:24 | |
"More stars than there are in heaven". | 0:06:24 | 0:06:27 | |
Actors under contract were groomed and protected by the studios, | 0:06:27 | 0:06:31 | |
controlling how they were portrayed in fan magazines. | 0:06:31 | 0:06:34 | |
Cinema-goers devoured these stories and formed cults around the stars. | 0:06:34 | 0:06:39 | |
A chosen few were venerated as though they were deities. | 0:06:39 | 0:06:44 | |
It wasn't like that in the first years of Hollywood. | 0:06:49 | 0:06:52 | |
The actors had faces, but no names. | 0:06:54 | 0:06:58 | |
Producers thought that giving them an identity | 0:06:58 | 0:07:00 | |
would hand them too much power. | 0:07:00 | 0:07:02 | |
But the public grew to love this actress, | 0:07:07 | 0:07:09 | |
here playing Kate in a very abridged version of The Taming of the Shrew. | 0:07:09 | 0:07:14 | |
They demanded to know who she was. | 0:07:14 | 0:07:16 | |
Eventually she was named Florence Lawrence. | 0:07:17 | 0:07:21 | |
Her fame was short-lived, but the studios got the point. | 0:07:25 | 0:07:29 | |
The first actress created purely for the cinema had a very enticing name. | 0:07:29 | 0:07:34 | |
They called her Theda Bara. | 0:07:37 | 0:07:41 | |
They said it was an anagram of "Death Arab," | 0:07:43 | 0:07:46 | |
and that she had been born in the Sahara. | 0:07:46 | 0:07:48 | |
Actually, she was Theodosia Goodman, | 0:07:50 | 0:07:52 | |
from Ohio. | 0:07:52 | 0:07:54 | |
Bara's first screen character originated in a Pre-Raphaelite | 0:07:57 | 0:08:01 | |
painting called The Vampire. | 0:08:01 | 0:08:03 | |
In A Fool There Was, she was simply known as "The Vamp." | 0:08:10 | 0:08:14 | |
In this scene, Bara taunts a desperate lover, driving him | 0:08:16 | 0:08:21 | |
to suicide with a line that came a catch-phrase for years. | 0:08:21 | 0:08:25 | |
Bara was a goddess of destruction, like Astarte or Kali. | 0:08:30 | 0:08:35 | |
GUNSHOT | 0:08:36 | 0:08:37 | |
The great pioneer director, DW Griffith, looked for the opposite | 0:08:43 | 0:08:47 | |
of the vamp an embodiment of goodness, sacrifice, renunciation. | 0:08:47 | 0:08:54 | |
He found her in Lilian Gish. | 0:08:54 | 0:08:57 | |
And he saw how she should be filmed in close up, | 0:08:57 | 0:09:00 | |
and lit like a saint in a Renaissance painting. | 0:09:00 | 0:09:03 | |
In Orphans of the Storm, set during the French Revolution, Gish plays | 0:09:07 | 0:09:12 | |
a girl who is separated from her blind sister, | 0:09:12 | 0:09:15 | |
but believes she is close by. | 0:09:15 | 0:09:17 | |
In fact, the sister, played by real-life sibling, Dorothy Gish, | 0:09:22 | 0:09:26 | |
is in the street outside. | 0:09:26 | 0:09:28 | |
With one potent tear on her cheek, Lilian Gish goes beyond acting. | 0:09:31 | 0:09:37 | |
Like the Virgin Mary, she suffers for the sins of man. | 0:09:42 | 0:09:46 | |
I always saw myself as a painter. | 0:10:04 | 0:10:06 | |
And I had a canvas, instead of brushes and paints, | 0:10:06 | 0:10:11 | |
I only had this, face and body. | 0:10:11 | 0:10:13 | |
But I painted, I hoped, with emotion or with laughter, whatever, | 0:10:13 | 0:10:20 | |
truly enough to affect the people looking, so that they would | 0:10:21 | 0:10:26 | |
believe what I was trying to convey and never catch me acting. | 0:10:26 | 0:10:32 | |
In the silent era, not all | 0:10:37 | 0:10:40 | |
the inhabitants of Hollywood's Mount Olympus were as elevated as Gish. | 0:10:40 | 0:10:44 | |
Clara Bow was more of a nymph. | 0:10:44 | 0:10:47 | |
Her taste for men, on and off screen, was voracious. | 0:10:47 | 0:10:52 | |
Red haired, vivacious, vulgar, she was pronounced by | 0:10:52 | 0:10:57 | |
English writer Elinor Glyn to be the perfect embodiment of "it." | 0:10:57 | 0:11:01 | |
According to Glyn, "it" was that | 0:11:04 | 0:11:07 | |
"strange magnetism which attracts both sexes." | 0:11:07 | 0:11:10 | |
This could be seen in the film It, which starred Clara Bow | 0:11:16 | 0:11:21 | |
as a shopgirl, here flirting with her boss after an awkward date. | 0:11:21 | 0:11:26 | |
Uninhibited, high-spirited and divinely carefree, | 0:11:26 | 0:11:31 | |
she was a very 20s deity. | 0:11:31 | 0:11:34 | |
The first generation of goddesses were stars of the silent screen. | 0:11:48 | 0:11:53 | |
They were not invulnerable. | 0:11:53 | 0:11:55 | |
Clara Bow was one of many victims of the transition | 0:11:55 | 0:11:58 | |
to talking pictures at the end of the 20s. | 0:11:58 | 0:12:02 | |
Another was Gloria Swanson. | 0:12:05 | 0:12:09 | |
Here she is in Queen Kelly, playing a convent girl. | 0:12:09 | 0:12:12 | |
She was then powerful enough to have produced the film herself. | 0:12:12 | 0:12:16 | |
Years later, Queen Kelly was projected on a screen | 0:12:19 | 0:12:23 | |
in Billy Wilder's Sunset Boulevard. | 0:12:23 | 0:12:25 | |
Wilder slyly cast Swanson as a fictional former silent goddess, | 0:12:26 | 0:12:30 | |
Norma Desmond. | 0:12:30 | 0:12:31 | |
She hopes that her younger lover, a screenwriter | 0:12:33 | 0:12:36 | |
played by William Holden, will help her make a comeback. | 0:12:36 | 0:12:39 | |
Still wonderful, isn't it? And no dialogue. | 0:12:46 | 0:12:51 | |
We didn't need dialogue, we had faces. | 0:12:51 | 0:12:54 | |
There just aren't any faces like that anymore. Maybe one, Garbo. | 0:12:55 | 0:13:01 | |
Sweden, chill and remote, produced a different kind of goddess. | 0:13:07 | 0:13:13 | |
Greta Garbo could have been Freya, the Norse deity of love and war. | 0:13:13 | 0:13:18 | |
Her perfect features and gloomy introspection | 0:13:20 | 0:13:24 | |
were well-suited to a romantic cinema of tragedy and loneliness. | 0:13:24 | 0:13:28 | |
In Flesh And The Devil, John Gilbert plays a young Austrian officer | 0:13:39 | 0:13:44 | |
who sees the woman of his dreams alighting from a train. | 0:13:44 | 0:13:48 | |
It is of course, Greta Garbo, already aloof and removed. | 0:13:48 | 0:13:53 | |
When their eyes finally meet, the spark is lit. | 0:14:00 | 0:14:04 | |
Fortunately for the film-makers, the two actors really did become lovers. | 0:14:04 | 0:14:09 | |
As in so many films of this era, the intimacy of their encounter | 0:14:29 | 0:14:34 | |
is fuelled by the exchange of a cigarette. | 0:14:34 | 0:14:36 | |
In this world of mythical passions | 0:14:46 | 0:14:48 | |
and ever more sophisticated lighting, | 0:14:48 | 0:14:51 | |
the striking of a match signifies overwhelming desire. | 0:14:51 | 0:14:55 | |
Garbo had a curious way of being the aggressor in the love scenes. | 0:15:04 | 0:15:10 | |
She would take the man, and then she created her own brand of eroticism. | 0:15:10 | 0:15:18 | |
I remember seeing when she kissed Robert Taylor without using, | 0:15:18 | 0:15:22 | |
very imaginatively, without using her hands at all, | 0:15:22 | 0:15:25 | |
she just kissed him with small kisses all over his face. | 0:15:25 | 0:15:28 | |
Marguerite Gautier. | 0:15:38 | 0:15:39 | |
In Queen Christina, Garbo was at her most iconic as the defiant monarch | 0:16:08 | 0:16:13 | |
who abdicates her throne for her Spanish lover, | 0:16:13 | 0:16:16 | |
and leaves Sweden for ever. | 0:16:16 | 0:16:19 | |
Her director, Rouben Mamoulian told her, | 0:16:27 | 0:16:31 | |
"I want your face to be a blank sheet of paper. | 0:16:31 | 0:16:34 | |
"I want the writing to be done by every member of the audience". | 0:16:34 | 0:16:38 | |
In a much imitated single shot, | 0:16:43 | 0:16:46 | |
Garbo's expression says everything and nothing. | 0:16:46 | 0:16:50 | |
It was an image for eternity. | 0:16:50 | 0:16:54 | |
Garbo made her last movie in 1941. | 0:17:05 | 0:17:08 | |
From then on, she was very seldom seen. | 0:17:08 | 0:17:11 | |
Her elusiveness guaranteed she would be remembered as a | 0:17:11 | 0:17:14 | |
screen goddess who was for ever young and beautiful. | 0:17:14 | 0:17:18 | |
Garbo's great rival came from Germany. | 0:17:27 | 0:17:30 | |
The famed Hollywood director Josef Von Sternberg went to | 0:17:30 | 0:17:33 | |
Berlin in 1929 to make The Blue Angel. | 0:17:33 | 0:17:36 | |
One look at party girl Marlene Dietrich | 0:17:37 | 0:17:40 | |
and he knew he had found his sleazy bar-room singer Lola Lola. | 0:17:40 | 0:17:46 | |
When his producer said she looked frightful and couldn't sing, | 0:17:48 | 0:17:52 | |
Von Sternberg gave her a screen test. | 0:17:52 | 0:17:55 | |
That's Von Sternberg's voice giving Dietrich instructions. | 0:17:59 | 0:18:03 | |
He was showing how expressive her face could be | 0:18:04 | 0:18:07 | |
with his lighting and her attitude. | 0:18:07 | 0:18:10 | |
In The Blue Angel, Dietrich performs a song that would become | 0:18:17 | 0:18:21 | |
her anthem, Falling In Love Again. | 0:18:21 | 0:18:24 | |
She sings it to Emil Jannings' besotted schoolteacher. | 0:18:24 | 0:18:28 | |
In the original German, the lyrics are actually saying, | 0:18:28 | 0:18:32 | |
"I live for sex, it's the way I'm made". | 0:18:32 | 0:18:36 | |
You've been warned. | 0:18:36 | 0:18:38 | |
When Paramount brought Dietrich to Hollywood, | 0:19:09 | 0:19:12 | |
Von Sternberg forced her to lose 30 pounds. | 0:19:12 | 0:19:15 | |
He re-designed her make-up, her clothing, her style, | 0:19:15 | 0:19:19 | |
the way she was lit - with a single light placed high up. | 0:19:19 | 0:19:23 | |
She was an extraordinary woman and she was a great beauty, | 0:19:26 | 0:19:31 | |
and she was a fine assistant, | 0:19:31 | 0:19:34 | |
and very easy to respond. | 0:19:34 | 0:19:37 | |
She responded beautifully and gave me an image very often | 0:19:37 | 0:19:43 | |
which was not only exactly as I wanted | 0:19:43 | 0:19:47 | |
but very often better than I wanted and she was...she was quite a gal. | 0:19:47 | 0:19:54 | |
Von Sternberg's films were rife with sexual ambivalence, revealing | 0:20:00 | 0:20:05 | |
his masochistic fascination with his enigmatic creation. | 0:20:05 | 0:20:09 | |
In Morocco, Dietrich performs a cabaret number | 0:20:09 | 0:20:12 | |
dressed in top hat and tails. | 0:20:12 | 0:20:14 | |
In a gesture shocking in its casualness, | 0:20:21 | 0:20:24 | |
Dietrich seizes a sly opportunity to kiss one of her own sex. | 0:20:24 | 0:20:29 | |
And the action couldn't be censored without cutting the whole scene. | 0:20:29 | 0:20:33 | |
May I have this? | 0:20:34 | 0:20:36 | |
Of course. | 0:20:36 | 0:20:38 | |
THE CROWD LAUGH | 0:20:43 | 0:20:45 | |
In Shanghai Express, Dietrich's only rival in exoticism | 0:21:06 | 0:21:11 | |
is the young courtesan played by Anna May Wong. | 0:21:11 | 0:21:16 | |
Born to a laundryman in Los Angeles, Wong was a rarity, | 0:21:17 | 0:21:22 | |
a screen goddess who was Chinese American. | 0:21:22 | 0:21:25 | |
One of her finest roles was actually in a British film called Piccadilly. | 0:21:35 | 0:21:39 | |
Wong played a dishwasher who finds stardom as an exotic dancer. | 0:21:39 | 0:21:44 | |
The English club manager succumbs to her charms. | 0:21:53 | 0:21:57 | |
But see how their kiss was considered too risque for the times. | 0:21:57 | 0:22:01 | |
Wong was doomed to play out her career | 0:22:17 | 0:22:20 | |
in a succession of oriental stereotypes. | 0:22:20 | 0:22:23 | |
As the Hollywood of the times saw it, screen goddesses had to | 0:22:23 | 0:22:26 | |
be all-American or all-European, and definitely white-skinned. | 0:22:26 | 0:22:32 | |
Dolores Del Rio was Mexican. | 0:22:40 | 0:22:44 | |
For all her beauty, she would be cast only for her exoticism. | 0:22:44 | 0:22:48 | |
Never more so than in King Vidor's Bird Of Paradise. | 0:22:48 | 0:22:53 | |
THEY DRUM AND CHANT | 0:22:53 | 0:22:55 | |
Del Rio plays a South Sea Islander. | 0:22:55 | 0:22:59 | |
Joel McCrea is the only American at the party. | 0:22:59 | 0:23:02 | |
She bewitches him. | 0:23:16 | 0:23:18 | |
His mission is to civilise her, but in the end he goes native. | 0:23:18 | 0:23:23 | |
A naked swimming scene portrays | 0:23:28 | 0:23:30 | |
Del Rio as innocent of the inhibitions of McCrea's world. | 0:23:30 | 0:23:35 | |
Once the moralising Hays Code was inflicted on Hollywood in 1934, | 0:23:40 | 0:23:44 | |
this scene was cut from the film. | 0:23:44 | 0:23:47 | |
Over in Europe, a naked swim would be the making of another legend - | 0:23:54 | 0:23:59 | |
the Austrian actress once called, | 0:23:59 | 0:24:01 | |
"The most beautiful woman in the world." Hedy Lamarr. | 0:24:01 | 0:24:05 | |
Ecstasy, a Czechoslovakian film, | 0:24:08 | 0:24:12 | |
made the 19-year-old Lamarr an overnight sensation. | 0:24:12 | 0:24:15 | |
The film caused outrage wherever it was shown. | 0:24:15 | 0:24:18 | |
Equally controversial were its daring scenes of sexual passion. | 0:24:22 | 0:24:28 | |
Little wonder Lamarr's millionaire husband, the first of five, | 0:24:28 | 0:24:32 | |
tried to have all copies of Ecstasy destroyed. | 0:24:32 | 0:24:35 | |
Lamarr was brought to Hollywood by MGM, | 0:24:56 | 0:24:59 | |
but the studio failed to find her a defining role. | 0:24:59 | 0:25:02 | |
# I'll have you all to myself | 0:25:05 | 0:25:09 | |
# Alone and apart...# | 0:25:09 | 0:25:11 | |
In this lavish number in Ziegfeld Girl, | 0:25:11 | 0:25:15 | |
she is simply presented as a goddess for all to adore. | 0:25:15 | 0:25:19 | |
# Safe in my heart | 0:25:19 | 0:25:22 | |
# Out of a dream of you... # | 0:25:22 | 0:25:28 | |
But Lamarr had brains as well as beauty. | 0:25:28 | 0:25:31 | |
Probably her greatest achievement | 0:25:31 | 0:25:33 | |
was collaborating on a revolutionary radio technology, | 0:25:33 | 0:25:36 | |
which paved the way for today's mobile phones. | 0:25:36 | 0:25:39 | |
Some Hollywood stars shone most brightly in the wilder years | 0:25:49 | 0:25:53 | |
before 1934 when the Hays Code imposed its rules of decency. | 0:25:53 | 0:25:58 | |
The rigid censorship greatly limited the freedom of expression | 0:26:01 | 0:26:04 | |
of American filmmakers. | 0:26:04 | 0:26:07 | |
One who made her mark before its imposition was Mae West. | 0:26:07 | 0:26:12 | |
She wrote her own scripts, shimmied around in outlandish costumes, | 0:26:12 | 0:26:17 | |
even chose her leading man. | 0:26:17 | 0:26:19 | |
Here it's a young Cary Grant. | 0:26:19 | 0:26:22 | |
Her verbal playfulness was worthy of Oscar Wilde. | 0:26:22 | 0:26:26 | |
Come here, dear. | 0:26:26 | 0:26:27 | |
I haven't had you alone all evening with all those people. | 0:26:27 | 0:26:30 | |
Well, my public. | 0:26:30 | 0:26:32 | |
THEY LAUGH | 0:26:32 | 0:26:34 | |
Let me take a good look at you. | 0:26:34 | 0:26:36 | |
Ah, you were wonderful tonight. | 0:26:40 | 0:26:41 | |
I'm always wonderful at night. | 0:26:41 | 0:26:43 | |
THEY LAUGH | 0:26:43 | 0:26:44 | |
Yes, but tonight you were especially good. | 0:26:44 | 0:26:47 | |
Well, when I'm good, I'm very good, but when I'm bad...I'm better. | 0:26:47 | 0:26:52 | |
If Mae West belonged to the bar-room and the sideshow, | 0:26:52 | 0:26:56 | |
her sister in the night-club and cocktail lounge was Jean Harlow. | 0:26:56 | 0:27:01 | |
Harlow personified the hot blonde. | 0:27:02 | 0:27:05 | |
In Howard Hughes' World War One flying epic, Hell's Angels, | 0:27:05 | 0:27:10 | |
one line was enough to make her famous. | 0:27:10 | 0:27:13 | |
Would you be shocked if I put on something more comfortable? | 0:27:13 | 0:27:16 | |
I'll try to survive. | 0:27:16 | 0:27:17 | |
Such carnal directness made Harlow an instant star. | 0:27:29 | 0:27:33 | |
She was dubbed "The Blonde Bombshell". | 0:27:33 | 0:27:37 | |
She had the physical confidence that was the mark of a true goddess. | 0:27:37 | 0:27:41 | |
In Red Dust, she sparred brilliantly with the last word in | 0:27:43 | 0:27:47 | |
American masculinity, Clark Gable. | 0:27:47 | 0:27:50 | |
How many times have I told you to let down those curtains? | 0:27:50 | 0:27:53 | |
Why? They've all gone off to work. | 0:27:53 | 0:27:55 | |
You heard me, let em' down! | 0:27:56 | 0:27:58 | |
What's the matter? Afraid I'll shock the duchess? | 0:28:00 | 0:28:03 | |
Don't you suppose she's ever seen a French postcard? | 0:28:03 | 0:28:07 | |
Naked bathing was a speciality of pre-Hays Code Hollywood. | 0:28:08 | 0:28:12 | |
Get out of there! What's the idea? | 0:28:16 | 0:28:20 | |
What? | 0:28:20 | 0:28:21 | |
Getting in that barrel. | 0:28:21 | 0:28:22 | |
Oh, I don't know. Maybe I'm going over Niagara Falls. | 0:28:22 | 0:28:26 | |
Jean Harlow died shockingly young of kidney failure at 26. | 0:28:30 | 0:28:35 | |
But her youthful potency survives, | 0:28:35 | 0:28:38 | |
wittily encapsulated in the closing scene of Dinner At Eight. | 0:28:38 | 0:28:42 | |
I was reading a book the other day. | 0:28:44 | 0:28:46 | |
Reading a book? | 0:28:46 | 0:28:48 | |
Yes, it's all about civilisation or something, a nutty kind of a book! | 0:28:48 | 0:28:52 | |
Do you know that the guy says that machinery is going to take | 0:28:52 | 0:28:55 | |
the place of every profession? | 0:28:55 | 0:28:56 | |
Oh, my dear, that's something you need never worry about. | 0:28:56 | 0:29:00 | |
Unlike Harlow, there were stars whose careers endured, | 0:29:04 | 0:29:08 | |
even through the decades of the Hays Code. | 0:29:08 | 0:29:11 | |
Bette Davis and Joan Crawford were said to be screen rivals. | 0:29:17 | 0:29:21 | |
Their currency was power and willpower. | 0:29:21 | 0:29:26 | |
Bette Davis was a supreme technician of screen acting, | 0:29:28 | 0:29:32 | |
the accomplished manipulator of what Graham Greene called, | 0:29:32 | 0:29:35 | |
"A corrupt and phosphorescent prettiness." | 0:29:35 | 0:29:38 | |
Why don't you lay off that stuff? | 0:29:42 | 0:29:44 | |
Because I'd rather be drunk than sober. | 0:29:44 | 0:29:46 | |
In her first Oscar-winning role, | 0:29:46 | 0:29:48 | |
she played to perfection a downfallen actress ruined by drink. | 0:29:48 | 0:29:53 | |
Her bitterness and self-pity are her undoing, | 0:29:53 | 0:29:56 | |
but Davis is magnificent in her fury. | 0:29:56 | 0:30:00 | |
Take a look at yourself, take a good look. | 0:30:00 | 0:30:02 | |
Drunken, ill kept, the only feeling you could arouse in a main is pity. | 0:30:02 | 0:30:06 | |
Pity? PITY? | 0:30:06 | 0:30:09 | |
You dare feel sorry for me, with your fat little soul and your smug face. | 0:30:09 | 0:30:13 | |
Picking your way so cautiously through a pest hell existence. | 0:30:13 | 0:30:16 | |
Well, I've lived more in a day than you'll ever dare live. | 0:30:16 | 0:30:20 | |
Pity for me, that's very funny, | 0:30:20 | 0:30:22 | |
because I've never had any for men like you! | 0:30:22 | 0:30:25 | |
'I've often wondered why I had such...enjoyment...' | 0:30:25 | 0:30:29 | |
SHE LAUGHS | 0:30:29 | 0:30:31 | |
..From playing these women. | 0:30:31 | 0:30:34 | |
But they are meatier from the standpoint of your craft, | 0:30:34 | 0:30:38 | |
but they are also enjoyable, enjoyable to play. | 0:30:38 | 0:30:43 | |
So I always, as I grew older, | 0:30:43 | 0:30:45 | |
wondered if this was really in my nature, way underneath. | 0:30:45 | 0:30:49 | |
I've never given a definite statement on this fact yet. | 0:30:49 | 0:30:52 | |
The kid, Junior that is, will be down in a minute | 0:30:54 | 0:30:56 | |
unless you'd like to take her drink up to her. | 0:30:56 | 0:30:59 | |
As fading actress Margot Channing, in All About Eve, Davis found | 0:30:59 | 0:31:04 | |
her defining role, boldly fighting her corner against upstarts and age. | 0:31:04 | 0:31:09 | |
We know you, we've seen you like this before. | 0:31:09 | 0:31:12 | |
Is it over or is it just beginning? | 0:31:12 | 0:31:14 | |
She remains as ever the mistress of timing, whether sober... | 0:31:17 | 0:31:22 | |
Fasten your seatbelts, it's going to be a bumpy night | 0:31:24 | 0:31:29 | |
..Or drunk. | 0:31:29 | 0:31:30 | |
Don't get up, and please stop acting as if I were the Queen Mother. | 0:31:30 | 0:31:35 | |
I'm sorry, I didn't... | 0:31:35 | 0:31:36 | |
Outside of a beehive, Margot, | 0:31:36 | 0:31:38 | |
your behaviour would hardly be considered queenly or motherly. | 0:31:38 | 0:31:41 | |
You're in a beehive, pal, didn't you know? | 0:31:41 | 0:31:43 | |
We're all busy little bees, full of stings, | 0:31:43 | 0:31:46 | |
making honey day and night, aren't we, honey? | 0:31:46 | 0:31:49 | |
I'm sure you must get very bored by the constant fiction that you | 0:31:54 | 0:31:58 | |
and Bet Davis are positively daggers drawn. | 0:31:58 | 0:32:00 | |
She'd kill you if she heard you say "Bet." | 0:32:00 | 0:32:02 | |
She's a fascinating actress, Bette Davis. | 0:32:02 | 0:32:05 | |
There's some truth in the charge that artists were manufactured... | 0:32:05 | 0:32:09 | |
You manufacture toys, you don't manufacture stars. | 0:32:09 | 0:32:13 | |
You can't turn them out. There were...nowadays, you see them, | 0:32:13 | 0:32:17 | |
they're all out of the same cookie cutter, you know? | 0:32:17 | 0:32:19 | |
Joan Crawford longed for stardom, and it showed. | 0:32:19 | 0:32:24 | |
If Bette Davis' forte was anger, hers was ambition. | 0:32:24 | 0:32:28 | |
I wish I were free tonight. | 0:32:30 | 0:32:32 | |
In her early roles, this could be tempered with a certain sweetness, | 0:32:32 | 0:32:36 | |
as in Grand Hotel, where her eager, good-hearted stenographer | 0:32:36 | 0:32:40 | |
is flattered by John Barrymore's invitation. | 0:32:40 | 0:32:43 | |
What time tomorrow? | 0:32:45 | 0:32:46 | |
5.00. Downstairs. | 0:32:46 | 0:32:48 | |
Where downstairs? | 0:32:48 | 0:32:49 | |
In the funny yellow room where they dance. | 0:32:49 | 0:32:52 | |
-SHE LAUGHS -You're funny. | 0:32:52 | 0:32:54 | |
Tomorrow? | 0:32:56 | 0:32:58 | |
Of course. | 0:32:58 | 0:32:59 | |
Really? | 0:32:59 | 0:33:01 | |
We'll...dance, hmm? | 0:33:02 | 0:33:05 | |
All right, we'll dance, hmm? | 0:33:05 | 0:33:08 | |
Like Davis, Joan Crawford transformed her image | 0:33:11 | 0:33:14 | |
in tune with her advancing age. | 0:33:14 | 0:33:17 | |
In All About Eve, Davis is usurped by a younger woman. | 0:33:17 | 0:33:21 | |
Mildred Pierce runs on parallel lines. | 0:33:23 | 0:33:26 | |
Crawford's thrusting shoulder pads | 0:33:28 | 0:33:30 | |
and imperious cheekbones were on full display. | 0:33:30 | 0:33:33 | |
She played the self-made business woman fighting the brattish daughter | 0:33:37 | 0:33:41 | |
and lounge-lizard lover who drag her down. | 0:33:41 | 0:33:44 | |
Crawford's mask-like face expressed sacrifice as few others could. | 0:33:47 | 0:33:52 | |
We weren't expecting you, Mildred, obviously. | 0:33:52 | 0:33:55 | |
It's just as well you know. I'm glad you know. | 0:33:57 | 0:34:01 | |
How long as this been going on? | 0:34:02 | 0:34:04 | |
Since I came home and even before. | 0:34:05 | 0:34:08 | |
He never loved you, it's always been me. | 0:34:08 | 0:34:10 | |
I've got what I wanted. | 0:34:10 | 0:34:13 | |
Monty's going to divorce you and marry me. | 0:34:13 | 0:34:15 | |
No, Veda. | 0:34:15 | 0:34:17 | |
And there's nothing you can do about it. | 0:34:18 | 0:34:20 | |
# You must remember this | 0:34:24 | 0:34:28 | |
# A kiss is just a kiss | 0:34:28 | 0:34:30 | |
# A sigh is just a sigh...# | 0:34:30 | 0:34:34 | |
Ingrid Berman was another kind of goddess altogether. | 0:34:35 | 0:34:40 | |
# As time goes by...# | 0:34:40 | 0:34:43 | |
In Casablanca, she played Elsa, | 0:34:43 | 0:34:45 | |
a noble, troubled woman displaced by World War Two. | 0:34:45 | 0:34:49 | |
She's haunted by the song which evokes her great lost love. | 0:34:49 | 0:34:54 | |
The man in her thoughts, Humphrey Bogart's Rick, arrives on cue. | 0:34:54 | 0:34:59 | |
# No matter what the future brings | 0:34:59 | 0:35:03 | |
# As time goes by... # | 0:35:03 | 0:35:06 | |
Sam, I thought I told you never to play... | 0:35:06 | 0:35:09 | |
When the Swedish Bergman came to Hollywood, | 0:35:20 | 0:35:23 | |
she felt her only image was herself. | 0:35:23 | 0:35:26 | |
She refused to be re-modelled, and quickly tired of | 0:35:26 | 0:35:30 | |
the rigid conventions of the Hollywood dream factory. | 0:35:30 | 0:35:34 | |
They became terribly glossy, and the censorship was so hard on us | 0:35:34 | 0:35:40 | |
that you couldn't do anything that was really down to earth. | 0:35:40 | 0:35:44 | |
And I happened to see a picture called Rome, Open City, | 0:35:44 | 0:35:48 | |
and it so struck me, it so moved me, and it was the real feeling. | 0:35:48 | 0:35:56 | |
Roberto Rossellini's Rome, Open City revealed unflinchingly | 0:35:57 | 0:36:02 | |
the terrible consequences of the Nazi occupation. | 0:36:02 | 0:36:06 | |
Francesco! Francesco! | 0:36:06 | 0:36:08 | |
Pina! Pina! | 0:36:10 | 0:36:13 | |
Pina! Pina! | 0:36:13 | 0:36:15 | |
The film starred Rossellini's muse and lover, Anna Magnani, | 0:36:15 | 0:36:20 | |
and scenes like this made her a cinema icon. | 0:36:20 | 0:36:23 | |
Her reckless defiance of the enemy was a far cry | 0:36:26 | 0:36:29 | |
from the romantic view of the resistance depicted in Casablanca. | 0:36:29 | 0:36:33 | |
Francesco! | 0:36:33 | 0:36:36 | |
Francesco! | 0:36:36 | 0:36:38 | |
SHOUTING | 0:36:38 | 0:36:39 | |
GUNSHOTS FIRED | 0:36:39 | 0:36:41 | |
Mama! Mama! | 0:36:41 | 0:36:44 | |
THE CHILD WAILS | 0:36:44 | 0:36:46 | |
As if to confirm her divine status, | 0:36:49 | 0:36:52 | |
Magnani dies in the priest's arms, as in a Pieta. | 0:36:52 | 0:36:56 | |
Impulsively, Bergman wrote to Rossellini, offering her services. | 0:37:01 | 0:37:06 | |
He cast her in Stromboli as a Lithuanian refugee | 0:37:06 | 0:37:10 | |
who attempts to make a new life on the volcanic island. | 0:37:10 | 0:37:13 | |
VOLCANO ROARS | 0:37:21 | 0:37:24 | |
The goddess, now deprived of her make-up and hair stylists, | 0:37:27 | 0:37:31 | |
found reality with a vengeance. | 0:37:31 | 0:37:34 | |
Enough. | 0:37:34 | 0:37:36 | |
Enough! | 0:37:36 | 0:37:39 | |
During the filming, director and star became lovers. | 0:37:39 | 0:37:44 | |
When the already married Bergman also became pregnant, | 0:37:46 | 0:37:50 | |
she was exiled from Hollywood. | 0:37:50 | 0:37:53 | |
An American senator called her, "A powerful influence for evil." | 0:37:53 | 0:37:57 | |
But she stuck with Rossellini and had a further two children with him. | 0:38:00 | 0:38:05 | |
Ironically, the rejected Anna Magnani, | 0:38:10 | 0:38:14 | |
no Madonna in her own private life, went on to be embraced by Hollywood. | 0:38:14 | 0:38:19 | |
She won an Oscar in 1956 for The Rose Tattoo. | 0:38:19 | 0:38:23 | |
The aftermath of war introduced a new kind of American film. | 0:38:35 | 0:38:39 | |
Dark thrillers dubbed film noir. | 0:38:39 | 0:38:43 | |
They brought to the screen a dangerous type of goddess. | 0:38:43 | 0:38:47 | |
One liberated and toughened by the absence of men | 0:38:47 | 0:38:50 | |
fighting for their country. | 0:38:50 | 0:38:52 | |
In Double Indemnity, Fred McMurray's insurance man | 0:38:54 | 0:38:58 | |
is seduced by Barbara Stanwyck's glamour, and her fast wit. | 0:38:58 | 0:39:02 | |
There's a speed limit on this date Mr Neff. 45 miles an hour. | 0:39:02 | 0:39:06 | |
How fast was I going, Officer? | 0:39:06 | 0:39:08 | |
I'd say around 90. | 0:39:08 | 0:39:09 | |
Suppose you get down off your motorcycle and give me a ticket. | 0:39:09 | 0:39:12 | |
Suppose I let you off with a warning this time. | 0:39:12 | 0:39:14 | |
Suppose it doesn't take. | 0:39:14 | 0:39:16 | |
Suppose I have to whack you over the knuckles. | 0:39:16 | 0:39:18 | |
Suppose I start crying and put my head on your shoulder. | 0:39:18 | 0:39:21 | |
Suppose you try putting it on my husband's shoulder. | 0:39:21 | 0:39:24 | |
That tears it. | 0:39:24 | 0:39:25 | |
Well, speaking of horses, I like to play them myself, | 0:39:25 | 0:39:31 | |
but I like to see them work out a little first. | 0:39:31 | 0:39:33 | |
See if they're front runners or come from behind. | 0:39:33 | 0:39:36 | |
Find out what their whole card is. | 0:39:36 | 0:39:39 | |
In The Big Sleep, Lauren Bacall gives | 0:39:39 | 0:39:42 | |
Humphrey Bogart as good as she gets. | 0:39:42 | 0:39:45 | |
I'd say you don't like to be rated, you like to get out in front, | 0:39:45 | 0:39:49 | |
open up a lead, take a little breather in the back stretch | 0:39:49 | 0:39:53 | |
and then come home free. | 0:39:53 | 0:39:55 | |
You don't like to be rated yourself. | 0:39:56 | 0:39:59 | |
I haven't met anyone yet that could do it. Any suggestions? | 0:39:59 | 0:40:02 | |
Hell, I can't tell until I've seen you over a distance of ground. | 0:40:04 | 0:40:08 | |
You've got a touch of class but I don't know how far you can go. | 0:40:08 | 0:40:12 | |
A lot depends on who's in the saddle. | 0:40:12 | 0:40:15 | |
But no-one could match the actress dubbed "The Love Goddess" - | 0:40:16 | 0:40:20 | |
Rita Hayworth, as Gilda, the woman no man can resist. | 0:40:20 | 0:40:25 | |
Would you like perhaps a tiny drink of Ambrosia, | 0:40:25 | 0:40:29 | |
suitable only for a goddess? | 0:40:29 | 0:40:31 | |
No, thank you. | 0:40:31 | 0:40:33 | |
# One night she started to shim and shake | 0:40:33 | 0:40:37 | |
# That brought on the Frisco quake | 0:40:37 | 0:40:40 | |
# So you can...# | 0:40:40 | 0:40:42 | |
For the number Put The Blame On Mame, about a woman with the power | 0:40:42 | 0:40:46 | |
to cause natural disasters, Hayworth was dressed to kill in black satin. | 0:40:46 | 0:40:51 | |
# They once had a shootin' | 0:40:51 | 0:40:54 | |
# Up in the Klondike | 0:40:54 | 0:40:56 | |
# When they got Dan McGrew...# | 0:40:56 | 0:41:00 | |
To underline her sexual supremacy, | 0:41:00 | 0:41:03 | |
she removes a single glove as only a screen goddess can. | 0:41:03 | 0:41:09 | |
# That's the story that went around | 0:41:09 | 0:41:12 | |
# But here's the real lowdown | 0:41:12 | 0:41:15 | |
# Put the blame on Mame, boy | 0:41:17 | 0:41:21 | |
# Put the blame on Mame... # | 0:41:21 | 0:41:23 | |
"There never was a woman like Gilda," the poster announced. | 0:41:23 | 0:41:28 | |
Such adoration came at a price. | 0:41:28 | 0:41:31 | |
Rita Hayworth famously sighed, | 0:41:31 | 0:41:34 | |
"Most men fell in love with Gilda and woke up with me." | 0:41:34 | 0:41:38 | |
This photograph of her was one of the most popular wartime pin-ups. | 0:41:42 | 0:41:46 | |
Scientists testing an atomic bomb even pasted it on the casing. | 0:41:52 | 0:41:57 | |
When Hayworth was told about it, she wept. | 0:41:57 | 0:42:01 | |
She had no desire to be a goddess of destruction. | 0:42:01 | 0:42:04 | |
In the 1950s, the focus of glamour | 0:42:13 | 0:42:16 | |
shifted from the Hollywood Hills to the shores of the Mediterranean, | 0:42:16 | 0:42:19 | |
the world of European chic and the International Jet Set. | 0:42:19 | 0:42:24 | |
A new bolder breed of European goddesses | 0:42:28 | 0:42:31 | |
were trailed by a circus of hack journalists and news cameras. | 0:42:31 | 0:42:34 | |
Federico Fellini called | 0:42:40 | 0:42:42 | |
the snapping, flashing photographers paparazzi. | 0:42:42 | 0:42:46 | |
They first appeared in his sardonic view of the new hedonism, | 0:42:46 | 0:42:49 | |
La Dolce Vita. | 0:42:49 | 0:42:51 | |
PHOTOGRAPHERS CLAMOUR | 0:42:51 | 0:42:54 | |
Anita Ekberg parodied herself as a publicity crazy Swedish star | 0:42:54 | 0:42:59 | |
arriving in Rome and soaking up attention. | 0:42:59 | 0:43:02 | |
The stars were just as much on stage in their private lives | 0:43:05 | 0:43:10 | |
as they were on the set. | 0:43:10 | 0:43:12 | |
And at press conferences, they needed to know their lines. | 0:43:12 | 0:43:16 | |
Please, miss. Dormi con pigiama o camicia da notte? | 0:43:16 | 0:43:19 | |
How do you sleep? With pyjamas or night gown? | 0:43:19 | 0:43:23 | |
Night. I sleep only in two drops of French perfume. | 0:43:23 | 0:43:28 | |
One who rose to the challenge | 0:43:28 | 0:43:30 | |
was the irrepressible French sex-kitten, Brigitte Bardot. | 0:43:30 | 0:43:35 | |
You've been called the world's sex symbol, | 0:43:35 | 0:43:38 | |
is this the way you want to be known? | 0:43:38 | 0:43:40 | |
Is this what you hope the future will bring for you | 0:43:40 | 0:43:42 | |
as an actress, or would you like to do something else? | 0:43:42 | 0:43:44 | |
I want to be myself. | 0:43:44 | 0:43:46 | |
And what is yourself? | 0:43:46 | 0:43:47 | |
Look. | 0:43:47 | 0:43:48 | |
In And God Created Woman, Bardot was the embodiment of appetite. | 0:43:57 | 0:44:04 | |
Dancing to a sweatier rhythm than any Hollywood goddess, | 0:44:04 | 0:44:08 | |
she taunted and teased her admirers. | 0:44:08 | 0:44:11 | |
From Italy came Sophia Loren, | 0:44:25 | 0:44:28 | |
who combined a regal air with a sense of mischief. | 0:44:28 | 0:44:32 | |
In It Started in Naples, even that veteran of | 0:44:32 | 0:44:36 | |
Hollywood masculinity Clark Cable was there to approve. | 0:44:36 | 0:44:40 | |
What do you enjoy most about now being a world famous beauty? | 0:44:48 | 0:44:52 | |
Men's admiration. | 0:44:55 | 0:44:57 | |
Maybe I didn't understand the question? | 0:44:59 | 0:45:01 | |
Yes, indeed you did! I was waiting for you to go on. | 0:45:01 | 0:45:05 | |
Europe became a source of fascination to American stars. | 0:45:09 | 0:45:13 | |
Like Orson Welles, | 0:45:13 | 0:45:15 | |
Ava Gardner was a regular on Spain's bullfighting circuit. | 0:45:15 | 0:45:20 | |
Not for nothing did fellow aficionado Ernest Hemingway | 0:45:21 | 0:45:25 | |
call her, "The most beautiful animal in the world." | 0:45:25 | 0:45:29 | |
She was very much at home appearing in a film set in Spain. | 0:45:32 | 0:45:36 | |
In Pandora And The Flying Dutchman, | 0:45:40 | 0:45:42 | |
Gardner's as much a fury as a goddess. | 0:45:42 | 0:45:45 | |
She plays a wilful adventuress who challenges | 0:45:45 | 0:45:49 | |
her racing driver suitor to make a sacrifice. | 0:45:49 | 0:45:52 | |
If I were to ask you, Stephen, | 0:45:53 | 0:45:55 | |
would you push this car off the cliff and into the sea? | 0:45:55 | 0:45:58 | |
Yes. | 0:46:03 | 0:46:04 | |
Do it, Stephen. | 0:46:07 | 0:46:09 | |
In her triumph, Pandora's face becomes the landscape itself, | 0:46:28 | 0:46:33 | |
dominating her admirer. | 0:46:33 | 0:46:35 | |
When do you want to marry me, Stephen? | 0:46:35 | 0:46:37 | |
Tomorrow? | 0:46:38 | 0:46:40 | |
Meanwhile, another American screen goddess | 0:46:44 | 0:46:47 | |
was waiting for her European moment. | 0:46:47 | 0:46:49 | |
In Alfred Hitchcock's Rear Window, | 0:46:51 | 0:46:54 | |
James Stewart is housebound in a plaster cast. | 0:46:54 | 0:46:57 | |
The woman in his life appears to him like an angel. | 0:46:59 | 0:47:03 | |
A slow-motion kiss underlines the bestowing of a divine grace. | 0:47:05 | 0:47:10 | |
How's your leg? | 0:47:16 | 0:47:18 | |
Hurts a little. | 0:47:18 | 0:47:20 | |
And your stomach? | 0:47:20 | 0:47:22 | |
Empty as a football. | 0:47:22 | 0:47:23 | |
And your love life? | 0:47:26 | 0:47:28 | |
Not too active. | 0:47:28 | 0:47:30 | |
Anything else bothering you? | 0:47:31 | 0:47:34 | |
Mmm-hmm, who are you? | 0:47:34 | 0:47:37 | |
Grace Kelly really did walk in beauty. She was untouchable. | 0:47:39 | 0:47:45 | |
She might have been a goddess come to earth. | 0:47:45 | 0:47:48 | |
Can we be sure she wasn't? | 0:47:48 | 0:47:50 | |
Kelly's career had a perfect Hollywood ending. | 0:47:59 | 0:48:02 | |
She married into Monaco's royalty | 0:48:02 | 0:48:05 | |
and left the movies for an alternative Olympus. | 0:48:05 | 0:48:08 | |
Nothing so much became her stardom as the leaving of it. | 0:48:08 | 0:48:12 | |
With Grace Kelly out of the picture, | 0:48:19 | 0:48:21 | |
Hollywood cherished another ethereal goddess, Audrey Hepburn. | 0:48:21 | 0:48:26 | |
Her gamine looks suggested an eternal youthfulness, | 0:48:26 | 0:48:30 | |
and her slim figure was made for fashion. | 0:48:30 | 0:48:33 | |
She was European, and was the irresistible face of European chic. | 0:48:33 | 0:48:38 | |
In Breakfast at Tiffany's, | 0:48:40 | 0:48:42 | |
she lives in New York but wear Paris clothes, by Hubert de Givenchy. | 0:48:42 | 0:48:47 | |
Taxi! | 0:48:47 | 0:48:49 | |
She's both other-worldly and street smart. | 0:48:49 | 0:48:52 | |
SHE WHISTLES LOUDLY | 0:48:53 | 0:48:55 | |
-I never could do that. -It's easy. | 0:48:55 | 0:48:58 | |
In the 1950s, the dream factory that was Hollywood | 0:49:10 | 0:49:14 | |
still produced screen goddesses. | 0:49:14 | 0:49:17 | |
But these deities would see out the studio system | 0:49:17 | 0:49:21 | |
that nurtured and groomed them. | 0:49:21 | 0:49:23 | |
In the case of one actress, she even helped to destroy it. | 0:49:23 | 0:49:27 | |
In George Stevens' A Place In The Sun, Elizabeth Taylor was cast | 0:49:34 | 0:49:39 | |
as the rich girl who falls for the ambitious but poor Montgomery Clift. | 0:49:39 | 0:49:44 | |
Behind her remarkable beauty, | 0:49:44 | 0:49:47 | |
Taylor revealed an engaging emotional vulnerability. | 0:49:47 | 0:49:50 | |
I tell you why. I love...are they watching us? | 0:49:52 | 0:49:58 | |
I love you too. It scares me... | 0:50:01 | 0:50:04 | |
But it is a wonderful feeling. | 0:50:08 | 0:50:10 | |
It's wonderful that you're here. I can hold you. I can see you. | 0:50:10 | 0:50:15 | |
I can hold you next to me. | 0:50:15 | 0:50:16 | |
But what's it going to be like next week? | 0:50:16 | 0:50:19 | |
That quality did not last long. | 0:50:19 | 0:50:22 | |
Taylor's adulthood, a series of bad marriages and messy divorces, | 0:50:22 | 0:50:27 | |
parallelled her screen career. | 0:50:27 | 0:50:28 | |
Girlish freshness gave way to a jaded voluptuousness. | 0:50:29 | 0:50:33 | |
But she was, without question, a star. | 0:50:40 | 0:50:44 | |
A goddess who knew her worth. | 0:50:44 | 0:50:47 | |
She demanded the unprecedented sum of 1 million to play Cleopatra. | 0:50:47 | 0:50:53 | |
When Cleopatra arrives in Rome, Taylor's equally famous co-star | 0:51:07 | 0:51:11 | |
and lover, Richard Burton, is as much in awe as everyone on the set. | 0:51:11 | 0:51:17 | |
These crowds and monuments were not created by a computer. | 0:51:17 | 0:51:22 | |
But the scene also symbolises the triumph of | 0:51:25 | 0:51:28 | |
an extravagant star over an ailing studio system. | 0:51:28 | 0:51:32 | |
Cleopatra was an epic out of control. | 0:51:44 | 0:51:47 | |
Filming in Britain had to be abandoned when Taylor fell ill. | 0:51:47 | 0:51:51 | |
The sets were demolished. | 0:51:54 | 0:51:56 | |
As production began over again in Rome, | 0:51:56 | 0:52:00 | |
the budget soared from 2 million to 44 million. | 0:52:00 | 0:52:05 | |
While Cleopatra was draining 20th Century Fox's resources, | 0:52:08 | 0:52:12 | |
the studio's last great sensation, Marilyn Monroe, | 0:52:12 | 0:52:16 | |
died in Hollywood in 1962. | 0:52:16 | 0:52:19 | |
Monroe is seen today as a victim of her screen persona, | 0:52:24 | 0:52:28 | |
struggling to bridge the gap between her sex bomb image | 0:52:28 | 0:52:32 | |
and her aspirations to be a serious actress. | 0:52:32 | 0:52:34 | |
Monroe's films played with the discrepancy between her | 0:52:40 | 0:52:43 | |
apparent innocence and the effect she had on men. | 0:52:43 | 0:52:47 | |
The iconic moment comes in The Seven Year Itch | 0:52:48 | 0:52:52 | |
when her skirt lifts up, and director Billy Wilder juxtaposes | 0:52:52 | 0:52:56 | |
her child-like rapture with an older man's lascivious response. | 0:52:56 | 0:53:01 | |
It sort of cools the ankles, doesn't it? | 0:53:01 | 0:53:03 | |
Well, what do you think would be fun to do now? | 0:53:03 | 0:53:06 | |
I don't know, it's getting pretty late. | 0:53:06 | 0:53:08 | |
It's not that late. | 0:53:08 | 0:53:09 | |
The thing is I have this big day tomorrow, | 0:53:09 | 0:53:11 | |
I really have to get to sleep. | 0:53:11 | 0:53:13 | |
What's the big day tomorrow? | 0:53:13 | 0:53:14 | |
Tomorrow I'm on television. You remember, I told you about it? | 0:53:14 | 0:53:17 | |
The Dazzledent hour. | 0:53:17 | 0:53:18 | |
Oooh, here comes another one! | 0:53:20 | 0:53:21 | |
She had no handle on life, but by God she had some other things, | 0:53:27 | 0:53:33 | |
that if you knew what they were, | 0:53:33 | 0:53:36 | |
we could sell that patent to DuPont and they could manufacture it. | 0:53:36 | 0:53:39 | |
Because one would think it's not that difficult, | 0:53:39 | 0:53:42 | |
maybe it's tough to have another, to make another Garbo. | 0:53:42 | 0:53:46 | |
But it should be easy, a blonde small girl with a sweet face. | 0:53:46 | 0:53:53 | |
My God, there should be thousands of them! | 0:53:53 | 0:53:55 | |
They come from all over the world. | 0:53:55 | 0:53:58 | |
Doesn't make a Monroe. | 0:53:58 | 0:54:00 | |
Some stars began their careers swimming naked, | 0:54:05 | 0:54:09 | |
that's how Marilyn Monroe ended hers. | 0:54:09 | 0:54:12 | |
In this scene from the unfinished film Something's Got To Give. | 0:54:12 | 0:54:16 | |
DOORBELL RINGS | 0:54:19 | 0:54:21 | |
Get back in! | 0:54:21 | 0:54:23 | |
Monroe's irresistible charm takes us | 0:54:23 | 0:54:25 | |
back to the uninhibited days of pre-Hays Code Hollywood. | 0:54:25 | 0:54:29 | |
Come on, the water's so refreshing. | 0:54:29 | 0:54:32 | |
You know, once you've finished doing...you know. | 0:54:32 | 0:54:35 | |
She died in mysterious circumstances a few months after | 0:54:37 | 0:54:40 | |
these images were filmed. | 0:54:40 | 0:54:42 | |
Marilyn Monroe was not just a screen goddess. | 0:55:05 | 0:55:08 | |
She's become an icon for the whole world. | 0:55:08 | 0:55:12 | |
She gained immortality | 0:55:12 | 0:55:14 | |
while the old Hollywood studio system went into terminal decline. | 0:55:14 | 0:55:18 | |
The reign of the screen goddess came to an end. | 0:55:20 | 0:55:24 | |
Many of their temples closed. | 0:55:25 | 0:55:29 | |
This one became a bingo hall. | 0:55:29 | 0:55:31 | |
The post-studio era of the 1960s gave us | 0:55:39 | 0:55:43 | |
female stars cut from a different cloth. | 0:55:43 | 0:55:46 | |
They wanted to appear natural, to avoid looking manufactured. | 0:55:46 | 0:55:51 | |
Even to venture off the screen into the real world of politics. | 0:55:51 | 0:55:56 | |
They were no longer mysterious and untouchable. | 0:55:59 | 0:56:03 | |
But have we seen the last of the screen goddesses? | 0:56:14 | 0:56:17 | |
To answer the question, | 0:56:22 | 0:56:23 | |
we have to go back into the vaults of film history. | 0:56:23 | 0:56:27 | |
There lies a chance of resurrection. | 0:56:27 | 0:56:30 | |
It happened in the case of a silent star who refused to play | 0:56:31 | 0:56:34 | |
the Hollywood game and faded into obscurity. | 0:56:34 | 0:56:38 | |
Decades later, as modern cinema began, | 0:56:38 | 0:56:42 | |
Louise Brooks was rediscovered, | 0:56:42 | 0:56:45 | |
and elevated to the status of a cult icon. | 0:56:45 | 0:56:48 | |
In 1929, the German director, GW Pabst, | 0:56:53 | 0:56:57 | |
cast her in the lead role of Lulu in Pandora's Box. | 0:56:57 | 0:57:01 | |
With her miraculous combination of innocence and perversity, | 0:57:03 | 0:57:07 | |
Brooks was perfect as Lulu. | 0:57:07 | 0:57:09 | |
No dialogue, but an extraordinary face. | 0:57:09 | 0:57:14 | |
On the screen, Louise Brooks simply exists. | 0:57:14 | 0:57:19 | |
In Pandora's Box, Lulu brings down all who fall for her. | 0:57:36 | 0:57:42 | |
Here she fights to regain a lover who plans to marry another woman. | 0:57:42 | 0:57:46 | |
With the arrival of the shocked bride-to-be, Brooks completes | 0:58:05 | 0:58:09 | |
her seduction with a devastating smile of erotic triumph. | 0:58:09 | 0:58:14 | |
Nobody can resist the magnetism of her eyes. | 0:58:19 | 0:58:23 | |
This is the ultimate quality of a screen goddess. | 0:58:24 | 0:58:28 | |
When she is before us, we adore. | 0:58:28 | 0:58:31 | |
Subtitles by Red Bee Media Ltd | 0:58:55 | 0:58:58 |