0:00:03 > 0:00:08In the 1950s, the famous newsreel company Pathe produced
0:00:08 > 0:00:11a major historical documentary series for British television.
0:00:11 > 0:00:15Made by the award-winning producer Peter Baylis
0:00:15 > 0:00:19and narrated by an illustrious line-up of celebrated actors,
0:00:19 > 0:00:24Time To Remember chronicled the social, cultural and political forces that shaped
0:00:24 > 0:00:26the first half of the 20th century.
0:00:27 > 0:00:34Baylis chose to include the stage and screen performers of the '20s and '30s in a number of episodes.
0:00:34 > 0:00:37The changing face of music hall and theatre
0:00:37 > 0:00:42coupled with the rise of cinema provides an intriguing perspective on a dynamic period.
0:00:49 > 0:00:53SINGING AND PIANO PLAYING
0:00:58 > 0:01:04Kings, faces, friends, places - years and moments are forgotten.
0:01:04 > 0:01:10Laughs, tears, songs, tears - memories are made of this.
0:01:31 > 0:01:34Lights. Cameras.
0:01:34 > 0:01:37Dancing.
0:01:38 > 0:01:43The 1920s was a golden age for the popular entertainment industry in Britain.
0:01:43 > 0:01:48The theatres packed them in with lavish musical spectaculars, romantic situation comedies,
0:01:48 > 0:01:50and outright farce.
0:01:50 > 0:01:52In the music halls,
0:01:52 > 0:01:57comedic acts shared a stage with the energetic antics of the song and dance merchants.
0:01:57 > 0:02:00Here, variety and ingenuity was the key.
0:02:02 > 0:02:08This was also the great era of the silent movie, where a grand gesture and dramatic expression said it all.
0:02:08 > 0:02:11And many of the music hall veterans and stage actors
0:02:11 > 0:02:15became the glamorous stars of this new industry.
0:02:15 > 0:02:21Time To Remember takes us behind the scenes in show business during the roaring '20s.
0:02:21 > 0:02:27Julian Wylie was a famous theatrical impresario in the early 20th century.
0:02:27 > 0:02:29Known in his day as The King Of Pantomime,
0:02:29 > 0:02:36Wylie and his partner James Tate were behind many of the most popular revues and musicals on Drury Lane.
0:02:36 > 0:02:41And Wylie also managed several of the biggest variety stars of the era.
0:02:42 > 0:02:46Pathe followed a day in the life of this busy producer
0:02:46 > 0:02:49as he prepared to stage his latest musical extravaganza.
0:02:49 > 0:02:53A new production entails 1,001 problems to be solved,
0:02:53 > 0:02:591,001 details to be attended to personally if the whole is to have unity.
0:02:59 > 0:03:04Attention to detail all along the line, from the first sketches and models
0:03:04 > 0:03:08to the last touches of the scene painter's brush - ideas into reality.
0:03:10 > 0:03:13And Mr Wylie had his girls to select,
0:03:13 > 0:03:17another task that only the producer can do.
0:03:17 > 0:03:22For so often is quality of showmanship judged by the faces and figures of the chorus.
0:03:22 > 0:03:25You and you... Not you.
0:03:25 > 0:03:28Mr Wylie had an eye for them.
0:03:33 > 0:03:35In such womb days of show business,
0:03:35 > 0:03:39plenty of activity to be found on the boards of London's West End, even at 10am.
0:03:42 > 0:03:45Yes, all over theatreland that morning,
0:03:45 > 0:03:49work-outs for the girls, physical jerks, drilling and discipline.
0:03:49 > 0:03:56Hour after hour of what it takes to make a dancer, even if she is only in the second line of the chorus.
0:04:06 > 0:04:10Big musicals had become very much the vogue in the '20s,
0:04:10 > 0:04:14and when you spoke of musicals you generally mentioned Jose Collins.
0:04:14 > 0:04:17What new piece of by-play have we here?
0:04:17 > 0:04:23Very much off the cuff one feels, ending as it does with the cast dissolving into laughter.
0:04:26 > 0:04:28But now for more serious stuff.
0:04:28 > 0:04:34Harry Welchman puts his individual touch on a dream sequence for Lady Of The Rose.
0:04:34 > 0:04:38Drury Lane, one feels certain. The apparition, Phyllis Dare.
0:04:46 > 0:04:52Nothing like putting it over big. A bit broad perhaps, but no doubt it'll be fine on the night.
0:05:03 > 0:05:04Mr Wylie choosing voices.
0:05:04 > 0:05:07# Doh ray me fa so la ti doh! #
0:05:07 > 0:05:11And rejecting them. It takes time, not to mention luck.
0:05:12 > 0:05:15Julian Wylie is working with his principles.
0:05:15 > 0:05:22Carl Brisson, now there's a heart-throb for evenings and matinees - but especially matinees.
0:05:30 > 0:05:34The Hulberts of course, Jack and Cicely.
0:05:34 > 0:05:38And this might be any one of a dozen famous shows in preparation.
0:05:45 > 0:05:49Hoofers hard at it hoofing anywhere backstage in London that morning.
0:05:49 > 0:05:56Show business has always been a hard taskmaster, but never more so than in the '20s.
0:05:56 > 0:06:01Did you have to be better then to get to the top? Many think so.
0:06:09 > 0:06:13The traditional music hall play bill featured a range of performers,
0:06:13 > 0:06:16from comics to singers, acrobats to showgirls,
0:06:16 > 0:06:19but often the most popular were the speciality acts.
0:06:19 > 0:06:22Talent? Watch this for a drunk.
0:06:22 > 0:06:27The performer's name doesn't matter, for his ability and skill were shared by many in those rich days.
0:06:27 > 0:06:30LAUGHTER
0:06:47 > 0:06:50Well, have we advanced much since then?
0:06:50 > 0:06:52A leading question, one admits.
0:06:52 > 0:06:58Yet whatever the answer, one cannot deny the sweep and showmanship of the '20s.
0:06:58 > 0:07:04It was a sad era for many, a hard one for others, a gay time for a few,
0:07:04 > 0:07:11but amid the bright lights all asked for gaiety, humour and tuneful music, and no-one can deny that they got it.
0:07:25 > 0:07:30Like most forms of expression, the stage reflects the mood and spirit of the times,
0:07:30 > 0:07:33and this is what the times were like.
0:07:33 > 0:07:39Times a little unsure of themselves, but wherever they were going they were going there fast.
0:07:50 > 0:07:53Quick changes of scene and costume demanding rapid timing
0:07:53 > 0:07:57and the shedding and donning of clothes at breakneck speed.
0:07:57 > 0:08:03For those with the most time, the dressing room. For others with but seconds, the stage itself.
0:08:08 > 0:08:12Systematically the chorus prepares for the next headlong spurt,
0:08:12 > 0:08:14while the principals do their spots.
0:08:14 > 0:08:20The principals. Where again such magic as the dancing moods of Jack Buchanan and June
0:08:20 > 0:08:24has anyone since even been quite so debonair, quite so disarming?
0:08:24 > 0:08:26How effortless their efforts seemed.
0:08:49 > 0:08:52APPLAUSE
0:08:56 > 0:08:58The era of the musicals.
0:08:58 > 0:09:03From the princes and princesses to old Vienna and student Heidelberg,
0:09:03 > 0:09:09choruses of ladies-in-waiting, milkmaids, gypsies, or girlfriends of the Paris vagabonds.
0:09:09 > 0:09:14Incas or red-skinned maidens sweeping around the totem poles of Rose Marie.
0:09:14 > 0:09:19The costumes and settings might be different but the plots invariably much the same,
0:09:19 > 0:09:24whether with the Hapsburgs or the wide-hatted mustachios of Rio Rita,
0:09:24 > 0:09:28Spain, Algeria, Mexico, or Gay Paris.
0:09:49 > 0:09:54But the real innovation of the '20s was the bright sparkling musical of sophistication
0:09:54 > 0:09:57of the house parties, the Riviera and Berkeley Square.
0:09:57 > 0:10:03Slender plots, mere excuses for singing and dancing interlaced with shining bursts of rich comedy.
0:10:05 > 0:10:10Top hats and tails - long before Astaire popularised them in the screen musicals -
0:10:10 > 0:10:13steps and business from such as Herbert Mundin
0:10:13 > 0:10:16that held the freshness that only comes with real talent.
0:10:16 > 0:10:18Hollywood very soon wooed him away.
0:10:36 > 0:10:38Now daylight has gone and London lights are bright.
0:10:38 > 0:10:45Big shows and big names, together backstage in auditoriums, wake to life.
0:10:45 > 0:10:49At Wyndham's Theatre, Charles Laughton is in his dressing room setting about the long task
0:10:49 > 0:10:55of making up for his part in Edgar Wallace's Chicago gangster thriller On The Spot.
0:11:06 > 0:11:08Ten minutes, Mr Laughton.
0:11:08 > 0:11:13Stalls, circle and boxes filling all over theatreland.
0:11:15 > 0:11:20Behind the safety curtains, last-minute preparations and thrills that never die.
0:11:20 > 0:11:24The thrill of, "overture and beginners, please!"
0:11:27 > 0:11:31Mr Laughton now transformed Tony Perelli to the life.
0:11:31 > 0:11:35"I love Jimmy. Jimmy's a nice boy."
0:11:44 > 0:11:47All over town, the last prop's into place.
0:11:47 > 0:11:51Lights, music, and curtain up!
0:11:55 > 0:12:01Theatre and music hall performers played to packed houses in the first two decades of the century,
0:12:01 > 0:12:03but in the '20s, live entertainment was facing
0:12:03 > 0:12:07stiff competition from the growing popularity of moving pictures.
0:12:07 > 0:12:10By the end of the decade, many of the old music hall venues
0:12:10 > 0:12:15were being converted into cinemas to take advantage of burgeoning audiences.
0:12:17 > 0:12:20Moving pictures had fascinated the public
0:12:20 > 0:12:25since the days of the hand-cranked cinematograph projectors of the late 1800s.
0:12:25 > 0:12:30Despite the technical limitations of these early films, audiences weren't deterred.
0:12:33 > 0:12:37What did it matter what was on the screen, so long as it moved?
0:12:37 > 0:12:43And what did it matter if sometimes the lettering on the picture was unaccountably back-to-front?
0:12:43 > 0:12:45All part of the miracle.
0:12:50 > 0:12:54But it was in the '20s that silent cinema enjoyed its heyday.
0:12:54 > 0:12:59Time To Remember looked back at this era, making clever use of a 1928 British film
0:12:59 > 0:13:04to take its audience behind the scenes on a film set.
0:13:04 > 0:13:08Shooting Stars was the innovative directorial debut of Anthony Asquith.
0:13:08 > 0:13:13The story concerns a love triangle played out in a 1920s movie studio.
0:13:13 > 0:13:15It was one of the earliest motion pictures
0:13:15 > 0:13:20to reveal the inner workings of the movie industry, featuring a film within a film.
0:13:23 > 0:13:26I remember a time when we created our celluloid make-believe
0:13:26 > 0:13:29not with wide screen and silver stereophonic speech,
0:13:29 > 0:13:33but with a simple mime and golden silence.
0:13:33 > 0:13:36HAMMERING
0:13:39 > 0:13:42Yet even with the technical limitations of the '20s,
0:13:42 > 0:13:45the magic of the movie-maker was powerfully effective.
0:13:45 > 0:13:52The ingenious too were his devices - paper cathedral, or all done with mirrors.
0:13:56 > 0:14:03Elstree, by and large the Hollywood of Britain in the '20s, but without the palms and sun.
0:14:03 > 0:14:08But within its echoing tin-roofed stages you could make it whatever season you liked,
0:14:08 > 0:14:10notwithstanding the snow outside.
0:14:13 > 0:14:16The usual impression of shambles and chaos,
0:14:16 > 0:14:19with all seemingly at loggerheads,
0:14:19 > 0:14:23though, in fact, each is doing his job quite efficiently without fuss.
0:14:32 > 0:14:38Film studios never change in the essentials, unless of course the star is stamping off in high dudgeon.
0:14:38 > 0:14:41Or is it that she merely wants a cup of tea?
0:14:41 > 0:14:43Yes, probably the latter.
0:14:46 > 0:14:49Films being silent, there was no need of soundproofing,
0:14:49 > 0:14:54and one set rubbed shoulders with another without even a dividing wall.
0:14:54 > 0:14:57With more than one film in production at one and the same time,
0:14:57 > 0:15:01the resultant din was generally frightful.
0:15:05 > 0:15:09In those days, music was played off-set to put the players into the right mood.
0:15:09 > 0:15:11They didn't need to hear themselves speak.
0:15:14 > 0:15:21Yes, that's how it was around Elstree in the days of the silents, a pandemonium of noise.
0:15:23 > 0:15:28But the early film-makers weren't restricted to the studio set.
0:15:28 > 0:15:34The hand-cranked camera of the silent era allowed them to shoot certain scenes out on location.
0:15:34 > 0:15:36GUNSHOTS
0:15:36 > 0:15:39This, I should explain, was meant to be funny.
0:15:39 > 0:15:40And do you know, I think it was.
0:15:42 > 0:15:44GUNSHOT
0:15:45 > 0:15:47CONTINUED GUNSHOTS
0:15:54 > 0:15:59As the technology evolved, so did the ambition and ingenuity of the film-makers,
0:15:59 > 0:16:04who began producing pictures that were longer, featuring increasingly sophisticated stories
0:16:04 > 0:16:07and ever more complex special effects.
0:16:09 > 0:16:12Then The Fatal Sneeze.
0:16:12 > 0:16:15Put pepper into the old man's handkerchief,
0:16:15 > 0:16:17and let's see what happens.
0:16:17 > 0:16:20Whatever it is, lifelike,
0:16:20 > 0:16:22it's certain to be funny.
0:16:44 > 0:16:49Slapstick had always played well to audiences, but the hardships caused by the First World War
0:16:49 > 0:16:53and the tough economic climate of the late '20s
0:16:53 > 0:16:56created an even greater need for frivolity and escapism.
0:17:00 > 0:17:07But though life was tough for many, it was never like that in the movies, for there was real never-never land.
0:17:09 > 0:17:13There, the hero or the heroine generally woke up in a room like this,
0:17:13 > 0:17:18in a bed like this, seeming even a little bored perhaps
0:17:18 > 0:17:21at always having nothing but the best.
0:17:26 > 0:17:29In the movie world, life was one constant cocktail party.
0:17:29 > 0:17:32Interminable, yet apparently essential to the plot.
0:17:32 > 0:17:36Gracious living abounded on every side, dressing for dinner
0:17:36 > 0:17:39and every other meal around the clock, even if in the backwoods,
0:17:39 > 0:17:41or on the African veldt.
0:17:43 > 0:17:46Characters who must have been purblind,
0:17:46 > 0:17:52for so long did they spend in nightclubs and other haunts of creatures who shun the light.
0:17:52 > 0:17:55The allure of exotic climes and foreign cultures
0:17:55 > 0:17:58was also a huge draw to British audiences seeking escapism,
0:17:58 > 0:18:04and the stereotype of the racy Frenchwoman was reinforced in the popular cinema of the day.
0:18:06 > 0:18:08Visitors to Deauville in the '20s
0:18:08 > 0:18:13might have gathered the impression that it was rather a staid and respectable place. Ha-ha!
0:18:13 > 0:18:15But not so the Deauville of the silver screen.
0:18:15 > 0:18:18There it was downright dangerous to cross the road
0:18:18 > 0:18:24for fear of being run down by lovers driving desperately away from vengeful, irate husbands.
0:18:30 > 0:18:34This is probably the explanation why the British always believe
0:18:34 > 0:18:36that the French drive too fast.
0:18:38 > 0:18:42Without popular British conceptions of general French loose behaviour
0:18:42 > 0:18:46it is doubtful whether these productions could have survived at all.
0:18:46 > 0:18:49But to the British, a French woman on the screen, or off, was,
0:18:49 > 0:18:52"Oh, la la! Oui, oui!"
0:18:52 > 0:18:53And that was all.
0:18:53 > 0:18:55Not like British girls at all.
0:18:55 > 0:18:59The average English rose, screen variety, was a sort of tomboy.
0:18:59 > 0:19:02Indeed, just like Betty Balfour,
0:19:02 > 0:19:07warm-hearted and capable of expressing vivacious emotions,
0:19:07 > 0:19:11yet always knowing just exactly where Mother had advised her to stop,
0:19:11 > 0:19:13and to a hair's breadth.
0:19:20 > 0:19:25But then after all, the world in which she moved was a pretty dangerous place,
0:19:25 > 0:19:27grossly overpopulated with prowling wolves.
0:19:27 > 0:19:30A girl just had to be careful.
0:19:30 > 0:19:35Nevertheless, our tomboy was always seeking to give an impression of being anything but innocent,
0:19:35 > 0:19:38for otherwise, she ran the risk of seeming a bore.
0:19:38 > 0:19:42Those strange movements are meant to convey loose living.
0:19:45 > 0:19:49By this, she shocks and disgusts her faithful boyfriend.
0:19:49 > 0:19:54Why she had to do this was obscure, but it's in the script.
0:19:54 > 0:20:00Father Gordon Harker too is not a little disgruntled by his daughter's apparent risque behaviour.
0:20:00 > 0:20:04The young man seeking to pass, by the way, is Claude Hulbert.
0:20:04 > 0:20:07Sooner or later, the tomboy's famed immorality
0:20:07 > 0:20:13gets her into a twin-bedded cabin with - yes, indeed - the champion wolf of the whole pack.
0:20:18 > 0:20:22At this point, with no escape possible through the porthole,
0:20:22 > 0:20:24she realises that she's in a situation
0:20:24 > 0:20:28that even she might not be able to handle. Yes, a pretty tricky dilemma.
0:20:42 > 0:20:45But of course, she gets out of it somehow and rejoins her faithful,
0:20:45 > 0:20:49prepared at last to go just that hair's breadth further.
0:20:54 > 0:20:56Did the movies reflect life?
0:20:56 > 0:21:01Well, not all perhaps, but there were many that did their best.
0:21:05 > 0:21:10The '20s will be remembered, amongst other things, for the climax of civil strife in Ireland.
0:21:10 > 0:21:16The arrest of husband, brother or son was too frequent an event in that unhappy land...
0:21:22 > 0:21:24..a theme the movies rose to.
0:21:24 > 0:21:26The Informer.
0:21:26 > 0:21:30The German film director Arthur Robison gave the screen a brilliant
0:21:30 > 0:21:32mirror-like representation of life in the Troubles.
0:21:32 > 0:21:35The powerful realism of the German cinema
0:21:35 > 0:21:39had at last infiltrated into British studios with good effect.
0:21:39 > 0:21:42If you can't beat 'em, import their best talents.
0:21:54 > 0:21:58The informer, Gypo Nolan - interpreted by Lars Hanson -
0:21:58 > 0:22:05reveals his crime to his girl, played by that stunning German actress Lya De Putti.
0:22:16 > 0:22:22His betrayed friend shot while trying to escape, Gypo Nolan goes to comfort the bereaved mother.
0:22:22 > 0:22:26At her home, he accidentally drops the money, which proves his guilt.
0:22:41 > 0:22:46Finally, the dying Nolan in church, seeking and finding the mother's forgiveness for his crime.
0:22:53 > 0:22:57A different movie from the usual run-of-the-mill, a movie in which something of the reality,
0:22:57 > 0:23:03something of the tragic poetry of the strife-torn Emerald Isle found its way onto the screen.
0:23:03 > 0:23:09Serious, gritty movies occupy an important place in silent cinema history.
0:23:09 > 0:23:12But for most film fans of the period, the appeal of the silver screen
0:23:12 > 0:23:17was its offer of escape to more exciting worlds, populated by impossibly glamorous stars.
0:23:17 > 0:23:23By the 1920s, the great silent movie actors had already become global icons.
0:23:25 > 0:23:281920. I remember all the excitement when into a British port
0:23:28 > 0:23:33sailed a couple that all the world seemed crazy to meet.
0:23:33 > 0:23:37Idols of the silver screen have always provided a great attraction,
0:23:37 > 0:23:42but no subsequent display of fan worship has ever quite come up to what those two received.
0:23:42 > 0:23:46A golden-haired little Hollywood actress and her romantic,
0:23:46 > 0:23:51acrobatic husband, Mary Pickford and Douglas Fairbanks.
0:23:51 > 0:23:55Douglas Senior, to be exact.
0:23:55 > 0:23:59London, Paris, every European capital was their oyster.
0:24:04 > 0:24:08And wherever they went, it was flowers and general hysteria.
0:24:08 > 0:24:10In such a new medium as the cinema was then,
0:24:10 > 0:24:15these two were the first real stars in the whole bright firmament.
0:24:15 > 0:24:20And the lure of the stage and screen celebrities of the '20s and '30s sustained.
0:24:20 > 0:24:23Time To Remember includes several short clips of the stars of the era,
0:24:23 > 0:24:27often in informal situations, off-set.
0:24:27 > 0:24:33Tallulah Bankhead, celebrated American actress, wit and bon vivant.
0:24:35 > 0:24:39The great playwright Noel Coward and his rival, Somerset Maugham,
0:24:39 > 0:24:43reputedly the highest-paid writer of the time.
0:24:45 > 0:24:50Scottish music hall stalwart Sir Harry Lauder.
0:24:50 > 0:24:57Actress Sybil Thorndike, whose career took off after being talent spotted by George Bernard Shaw.
0:25:02 > 0:25:08Russian prima ballerina Anna Pavlova, feted for her showpiece role The Dying Swan.
0:25:11 > 0:25:18Acclaimed Italian tenor Enrico Caruso, shortly before his death in 1920.
0:25:20 > 0:25:23And an off-duty Charlie Chaplin.
0:25:26 > 0:25:30In 1926, the public's devotion to their movie stars was encapsulated
0:25:30 > 0:25:35in the reaction to the death of one of Hollywood's greatest idols.
0:25:35 > 0:25:38I remember that he was called Rudolph Valentino,
0:25:38 > 0:25:40not the name he was born with.
0:25:40 > 0:25:46He was the Sheik Ahmed Ben Hassan, who whipped her to his tent,
0:25:46 > 0:25:49though what happened there afterwards was always left vague.
0:25:49 > 0:25:54He was the screen idol of millions, of just how many millions
0:25:54 > 0:26:00we were only to find out when one day in 1926, unexpectedly he died.
0:26:00 > 0:26:03Famous friends such as Douglas Fairbanks walked with the coffin.
0:26:03 > 0:26:09And for untold numbers of the world's women, it was as though their own hearts had stopped.
0:26:15 > 0:26:20Even stars like Pola Negri broke down and wept.
0:26:20 > 0:26:23In respect, we will gloss over the riots in America
0:26:23 > 0:26:29in which women fought with the police at his lying in state and move on to his funeral,
0:26:29 > 0:26:31where 100,000 lined the route.
0:26:31 > 0:26:34Somewhere in that 100,000 was a mysterious lady in black
0:26:34 > 0:26:40who for the rest of her life was to place flowers upon Valentino's grave,
0:26:40 > 0:26:47symbolising the millions of lonely ladies who had been mentally placing flowers on that grave ever since.
0:26:47 > 0:26:52The passing of the silent movie industry's greatest star would come to mark the end of an era,
0:26:52 > 0:26:57because within a year, talking pictures had exploded onto the big screen.
0:26:57 > 0:26:59A new age in cinema had arrived.
0:26:59 > 0:27:03Britain's first talkie was Blackmail,
0:27:03 > 0:27:06directed by a 29-year-old Alfred Hitchcock.
0:27:06 > 0:27:10Originally shot as a silent picture, it was restaged to include dialogue,
0:27:10 > 0:27:15sound effects and a musical score, before it premiered in 1929.
0:27:15 > 0:27:18But there's one thing you seem to have forgotten.
0:27:18 > 0:27:23Before we get to any hanging, I shall have quite a lot to say.
0:27:23 > 0:27:26Blackmail was hugely popular with audiences and critics alike,
0:27:26 > 0:27:30and its success helped to spur the growth of talking pictures
0:27:30 > 0:27:32in the early '30s.
0:27:32 > 0:27:36It was a long way up to heaven.
0:27:36 > 0:27:38It was worth the climb.
0:27:39 > 0:27:44Time To Remember chronicled a momentous period in the history of popular entertainment,
0:27:44 > 0:27:47when live performance in the theatre and music hall
0:27:47 > 0:27:51faced powerful competition from the growing popularity of the cinema.
0:27:51 > 0:27:54New styles of entertainment delighted millions,
0:27:54 > 0:28:00and the fortunes of some of the era's greatest stars were transformed by the arrival of new technologies
0:28:00 > 0:28:06that added sound to the silver screen and gave voice to some of the great icons of the silent era.
0:28:18 > 0:28:24Serious drama, farce, light-hearted musicals, the '20s held them all.
0:28:24 > 0:28:30And because many of those who entertained us then do so no longer, the world is a poorer place,
0:28:30 > 0:28:33because in their talent, they all believed in that old cliche
0:28:33 > 0:28:37that there is indeed no business like show business.
0:28:37 > 0:28:39And there isn't, is there?
0:28:39 > 0:28:40APPLAUSE
0:28:59 > 0:29:02Subtitles by Red Bee Media Ltd
0:29:02 > 0:29:05E-mail subtitling@bbc.co.uk