"IN GERMANY'S FILM INDUSTRY," "THEY WERE THE BEST AND THE BRIGHTEST," "TILL THEY WERE FORCED OUT." "Man:" "I'M FORBIDDEN TO WORK FOR ANY FILM STUDIO." "BUT THESE MEN AND WOMEN -- ACTORS, DIRECTORS, WRITERS," "PRODUCERS, COMPOSERS " " WEREN'T ABOUT TO STOP MAKING MOVIES." "THEY JUST HAD TO MAKE THEM SOMEWHERE ELSE." "Man:" "YOU HAVE TO ADJUST YOURSELF TO A NEW CULTURE." "AND WHEN THEY DID..." "I AM BIG." "IT'S THE PICTURES THAT GOT SMALL." "THEY GAVE AMERICA'S MOVIES A NEW WIT, STYLE AND LOOK." "Woman:" "FILM NOIR." "THEY WERE CINEMA'S EXILES." "NOW, WE TELL THEIR STORY..." "WE MUDDLED THROUGH." "SOME OF US MADE IT." ""FROM HITLER TO HOLLYWOOD."" ""CINEMA'S EXILES:" "FROM HITLER TO HOLLYWOOD"" "HAS BEEN PROVIDED BY" "THE NATIONAL ENDOWMENT FOR THE HUMANITIES." "THIS PROGRAM IS ALSO MADE POSSIBLE BY" "THE NATIONAL ENDOWMENT FOR THE ARTS," "BECAUSE A GREAT NATION DESERVES GREAT ART." "AND BY CONTRIBUTIONS TO YOUR PBS STATION" "FROM VIEWERS LIKE YOU." "# IT HAD TO BE YOU #" "# I WANDERED AROUND #" "Woman: "CASABLANCA" RECEIVED THE ACADEMY AWARD" "FOR BEST PICTURE IN 1943." "POWERED BY ROMANCE" "AND HATRED OF THE THIRD REICH," "IT REMAINS ONE OF THE GREAT MOVIE CLASSICS OF ALL TIME." "MOST OF "CASABLANCA'S" CAST," "AND MANY ON THE PRODUCTION TEAM," "WERE REFUGEES FROM ADOLF HITLER." "IN THE 1920s," "THEY HAD CREATED GERMAN CINEMA'S GOLDEN AGE." "NOW..." "THEY HAD TO LEAVE." "IN THE YEARS BETWEEN 1933 AND 1940, MORE THAN 800" "FILM PROFESSIONALS FLED NAZI EUROPE FOR HOLLYWOOD." "EACH OF THEM HAD BEEN FORCED" "TO MAKE DIFFICULT CHOICES ABOUT THE FUTURE " "WHERE TO GO..." "HOW TO MAKE A LIVING..." "HOW TO FIT IN..." "HOW TO BE AN ARTIST IN ANOTHER LAND." "SOME WOULD FAIL IN HOLLYWOOD." "BUT SOME WOULD CHANGE THE FACE OF AMERICAN CINEMA," "CREATING ENDURING CLASSICS OF HOLLYWOOD'S GOLDEN AGE " ""THE BRIDE OF FRANKENSTEIN."" ""THE ADVENTURES OF ROBIN HOOD."" ""NINOTCHKA."" ""DOUBLE INDEMNITY."" "I KILLED HIM FOR MONEY." ""HIGH NOON."" ""SOME LIKE IT HOT."" "AND "CASABLANCA."" "THE REICHSTAG AND I ARE SPEAKING NOTHG BUT ENGLISH NOW." "SO WE SHOULD FEEL AT HOME WHEN WE GET TO AMERICA." "A VERY NICE IDEA." "TO AMERICA." "TO AMERICA." "TO AMERICA." "IN THE YEARS FOLLOWING WORLD WAR I," "BERLIN WAS THE CULTURAL CAPITAL OF EUROPE " "A WONDERLAND OF AVANT-GARDE ART AND CULTURE." "AND GERMAN CINEMA WAS ABOUT TO PRESENT" "THE FUTURE OF FILM." "IN 1920, A SINGLE MOTION PICTURE BECAME THE TALK OF EUROPE." ""THE CABINET OF DR. CALIGARI."" "A SURREAL MASTERPIECE OF FANTASY" "AND TERROR " "NOTHING LIKE THIS HAD EVER BEEN SEEN BEFORE." "FILM WAS NOW EXPRESSING STATES OF MIND..." "OPERATING IN A NEW DIMENSION." ""THE CABINET OF DR. CALIGARI"" "MARKED THE BEGINNING OF WHAT WOULD COME TO BE KNOWN" "AS THE GOLDEN AGE OF GERMAN CINEMA." "THE PRODUCER WAS ERICH POMMER," "A 31-YEAR-OLD VISIONARY" "WHO DEMANDED INNOVATION FROM HIS FILMMAKERS," "AND PUSHED THEM TO EXPERIMENT WITH A NEW MEDIUM." "GERMANY HAD CREATED A NATIONAL FILM STUDIO" "AFTER WORLD WAR I." "BY THE EARLY 1920s," "ITS BEST FILM TALENTS WERE COLLECTED UNDER ONE ROOF" "CALLED "UFA" STUDIO, WITH ERICH POMMER IN CHARGE." "POMMER RECRUITED THE TOP DIRECTORS..." "FILM PIONEER JOE MAY" "FAMOUS FOR MAKING POPULAR BOX OFFICE ENTERTAINMENTS." "ERNST LUBITSCH, THE MAN" "WHO FIRST PUT GERMAN CINEMA ON THE WORLD MAP." "AND FRITZ LANG," ""A TRUE TALENT," SAID POMMER," ""MAKING A SERIOUS ATTEMPT" "TO DEVELOP A NEW STYLE OF MOTION PICTURE."" "Man:" "WHEN I STARTED THIS BUSINESS," "I WAS VERY CLOSE TO A MAN WHO YOU MAYBE KNOW" "BY NAME, ERICH POMMER." "WHEN I STARTED TO WORK FOR HIM," "HE SAID TO ME, "FRITZ, I GIVE YOU TWO ADVICES " ""IF YOU WANT TO MAKE MOTION PICTURES," ""YOU HAVE TO LEARN THE WAYS OF THE CAMERA." "BECAUSE WITH A CAMERA YOU ARE TELLING A STORY."" "SECOND ADVICE, NEVER START AN AFFAIR WITH AN ACTRESS." "Narrator:" "UFA UNVEILED FRITZ LANG'S" "SCIENCE FICTION EXTRAVAGANZA" ""METROPOLIS" IN 1927." "SET IN THE 21st CENTURY," ""METROPOLIS" PICTURED A WORLD" "CONTROLLED WITH ROBOT-LIKE PRECISION." "IT WOULD BE ONE OF ADOLF HITLER'S FAVORITE MOVIES." ""METROPOLIS" SHOWCASED THE WORLD-CLASS TALENT" "FLOURISHING AT UFA." "Man:" "YOU MUST REMEMBER THAT THERE WAS" "AN EARLY EXODUS FROM EUROPE, LONG BEFORE HITLER." "AMERICAN HEADS OF STUDIOS," "WHETHER IT WAS L.B. MAYER, OR MR. HARRY COHN," "THEY WERE SORT OF OUT THERE, TRYING TO, UH..." "TO FIND ORIGINAL TALENT." "AND THEY WOULD HIRE PEOPLE AND BRING THEM TO HOLLYWOOD." "PEOPLE LIKE LUBITSCH," "PEOPLE LIKE KARL FREUND " "IF THERE WAS AN ORIGINAL MIND, A PICTUREMAKER" "WITH A SLANT THAT DID NOT OCCUR TO THE HOLLYWOOD PEOPLE YET," "THEY WERE HIRED THEN BROUGHT OVER." "Man: "I THINK NEXT TO MY HOLLYWOOD YEARS," ""I WOULD SAY MY BERLIN YEARS, FROM 1923 TO 1933," ""WERE THE BEST OF MY LIFE." ""AND IT WAS ALL GEARED, MORE OR LESS, TO THE ARTS." ""BE IT FILM OR THEATER" ""OR OPERA OR EXHIBITIONS." "IT WAS ALL SOMEHOW IN THE AIR."" "Woman:" "NOW, BERLIN WAS A TREMENDOUS CITY." "I HAD NEVER BEEN AT THE OPERA," "SO TO GO TO THE OPERA, AND BEING INTRODUCED TO ALL OF THAT." "PEOPLE WERE ALWAYS ON THE STREETS AND THE NIGHT CLUBS," "AND IT WAS A VERY GAY CITY." "Narrator:" "ACTRESS LUPITA KOHNER AND HER HUSBAND PAUL," "FOREIGN SALES AGENT FOR UNIVERSAL STUDIOS," "HAD RECENTLY MOVED TO BERLIN FROM LOS ANGELES." "EVERY HOLLYWOOD STUDIO HAD AN OFFICE IN BERLIN " "GERMANY WAS A LUCRATIVE FILM MARKET." "BERLIN'S OPERA AND CONCERT HALLS" "OFFERED THE MUSIC OF VIENNESE COMPOSER" "ERICH WOLFGANG KORNGOLD," "KNOWN IN EUROPE AS "THE NEW MOZART."" "BERLIN'S CABARETS FEATURED" "THE SONGS OF COMPOSER FREDERICK HOLLANDER," "WHO WAS NOT ABOVE POKING FUN AT GERMAN SOCIETY..." "AND GERMAN POLITICS." "BERLIN'S CULTURAL LIFE WAS ELEVATED" "BY ITS JEWISH POPULATION." "ONE PERCENT OF GERMANY'S TOTAL CITIZENRY," "THEY COMPRISED 5% OF BERLIN'S INHABITANTS." "HOLDING POSITIONS OF PRESTIGE" "IN COMMERCE, AND ESPECIALLY THE ARTS." "WORLDLY, CULTURED, AND COSMOPOLITAN," "GERMANY'S JEWS WERE THE MOST SECULAR IN EUROPE." "FEW CONSIDERED THEMSELVES "RELIGIOUS."" "RUDI FEHR GREW UP IN BERLIN," "AN AMATEUR JAZZ PLAYER CONSIDERING A MUSICAL CAREER." "Man:" "PAUL WHITEMAN CAME TO BERLIN." "HE HAD COMMISSIONED GEORGE GERSHWIN" "TO WRITE THE "RHAPSODY IN BLUE."" "IN 1926, HE BROUGHT HIS ORCHESTRA TO EUROPE." "AND HE GAVE FOUR PERFORMANCES IN BERLIN," "OF WHICH I ATTENDED THREE." "I WASN'T " "ON A CLOUD, IT WAS JUST SO UNBELIEVABLE MUSIC I HEARD." "Narrator:" "THE YOUNG AND AMBITIOUS WERE DRAWN TO BERLIN." "MANY OF THEM ASPIRED TO CAREERS AS ACTORS, WRITERS," "AND DIRECTORS IN THE FILM INDUSTRY." "21-YEAR-OLD BILLY WILDER HAD COME TO BERLIN FROM VIENNA" "TO PROMOTE PAUL WHITEMAN'S EUROPEAN TOUR." "WHEN WHITEMAN LEFT, WILDER STAYED " "WRITING SCRIPTS IN HIS APARTMENT." "RUDI FEHR SET HIS MUSIC ASIDE TO BECOME A FILM EDITOR." "HENRY KOSTER FLIRTED WITH ACTING" "BEFORE STARTING TO WRITE SCREENPLAYS" "AT AGE 20." "FRANZ WAXMAN STUDIED AT THE BERLIN MUSIC CONSERVATORY" "AND MADE HIS LIVING IN A JAZZ BAND." "[ SINGING IN GERMAN ]" "Narrator:" "IN THE FALL OF 1929, BILLY WILDER" "AND ASPIRING FILMMAKERS" "ROBERT SIODMAK, HIS BROTHER CURT SIODMAK," "AND EDGAR G. ULMER" "MET IN A LOCAL BERLIN CAFE" "AND DECIDED TO MAKE A MOVIE TOGETHER." "PART DOCUMENTARY," "PART DRAMA, "PEOPLE ON SUNDAY"" "FOLLOWED FOUR YOUNG BERLINERS ON A SUNDAY OUTING." "THE CAMERA ASSISTANT HAD GROWN UP IN VIENNA." "HIS NAME WAS FRED ZINNEMANN." "Zinnemann:" "THIS IS WHERE I MET BILLY WILDER." "OUR FIRST FILM, WE DIDN'T KNOW ANYTHING," "AND THE DIRECTOR WAS" "ROBERT SIODMAK, WHO HAD ALSO NEVER" "MADE A MOVIE IN HIS LIFE." "AND THE FOUR OF US OR FIVE OF US" "TRIED TO MAKE A PICTURE WITH AMATEUR ACTORS" "AND NO MONEY." "[ SILENT FOOTAGE ]" "BILLY HAD WRITTEN A SCRIPT" "AND SIODMAK HAD PROMOTED WHATEVER MONEY THERE WAS." "MY CONTRIBUTION" "WAS SIMPLY WAS CARRYING THE CAMERA AROUND," "LOADING THE FILM, AND KEEPING FOCUS AS BEST I COULD." "Man: "'PEOPLE ON SUNDAY' IS AN ASTONISHING MOTION PICTURE." ""THE CAMERA TECHNIQUE BREAKS" ""EVERY RULE OF ORDINARY FILM PHOTOGRAPHY." ""THIS FILM IS REVOLUTIONARY." "ITS DIRECTOR, ROBERT SIODMAK, WILL BE A NAME TO BE WATCHED."" "Narrator:" "ERICH POMMER QUICKLY RECOGNIZED THE APPEAL" "OF THE AVANT-GARDE PICTURE." "WITHIN WEEKS," ""PEOPLE ON SUNDAY" CREATORS" "ROBERT SIODMAK, CURT SIODMAK, AND BILLY WILDER," "WOULD BE WORKING FOR ERICH POMMER AT UFA." "EDGAR G. ULMER AND FRED ZINNEMANN" "WOULD LEAVE FOR AMERICA." ""ASPHALT" WAS ONE OF THE LAST PICTURES PRODUCED" "BY ERICH POMMER IN GERMANY'S SILENT ERA." "BY THE TIME IT WENT INTO PRODUCTION," "DIRECTOR JOE MAY HAD OVER 60 FILM CREDITS" "TO HIS NAME." ""ASPHALT" WAS A SLEEKLY DESIGNED STORY" "OF CRIME AND SEDUCTION." "WITHIN A MATTER OF YEARS," "GERMAN CINEMA'S EXPRESSIVE USE OF LIGHT AND SHADOW" "WOULD HELP DEFINE TWO IMPORTANT HOLLYWOOD GENRE..." "THE HORROR PICTURE," "AND THE GRITTY URBAN STORIES CALLED "FILM NOIR."" "JOE MAY WAS A MASTER OF VISUAL STORYTELLING." "AT AGE 49, HE WAS ONE OF" "GERMANY'S MOST ILLUSTRIOUS DIRECTORS." "ERICH POMMER WAS WORLD-RENOWNED." ""ASPHALT" WAS ONE OF HIS LAST SILENT FILMS." "WHEN HE PUT TOGETHER THE DARING NEW SOUND PICTURE" ""THE BLUE ANGEL,"" "HE HIRED FREDERICK HOLLANDER TO WRITE THE SCORE," "AND FRANZ WAXMAN AS THE ORCHESTRATOR." "[ MAN SPEAKING GERMAN ]" "[ SPEAKING GERMAN ]" "[ SINGING IN GERMAN ]" "Narrator:" "POMMER HIRED 28-YEAR-OLD ACTRESS" "MARLENE DIETRICH FOR THE FEMALE LEAD," "OPPOSITE EMIL JANNINGS, GERMANY'S BIGGEST STAR." "[ SINGING "ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT" ]" "Narrator: "THE BLUE ANGEL" MADE MARLENE DIETRICH A MOVIE STAR," "AND LAUNCHED COMPOSER" "FREDERICK HOLLANDER'S FILM CAREER." "HER SUCCESS LANDED DIETRICH A CONTRACT" "WITH PARAMOUNT PICTURES." "SHE LEFT FOR AMERICA THE NIGHT" ""THE BLUE ANGEL" PREMIERED IN BERLIN," "APRIL 1, 1930." "[ APPLAUSE ]" "BY SEPTEMBER, WITH FINANCIAL DEPRESSION SWEEPING EUROPE," "UNEMPLOYMENT IN GERMANY WAS 18%," "INCREASING ALLEGIANCE TO ADOLF HITLER'S NAZI PARTY." "ANIMOSITY TOWARDS GERMANY'S JEWISH POPULATION WAS BUILDING." "FIFTY YEARS EARLIER, GERMAN CHANCELLOR" "OTTO von BISMARCK OBSERVED THAT" "GERMANY'S JEWS BROUGHT THE COUNTRY" ""A CERTAIN CHAMPAGNE SPARKLE" "WHICH MUST NOT BE UNDERESTIMATED."" "NOW, SAID HITLER, THEY WERE THE CAUSE OF GERMANY'S PROBLEMS." "GERMANY'S POLITICAL DISINTEGRATION" "COINCIDED WITH THE MAKING OF FRITZ LANG'S NEXT PICTURE," ""M," THE MURDERERS AMONG US." "[ SPEAKING GERMAN ]" "Girl:" "ELSIE BECKMANN." "ELSIE!" "ELSIE?" "ELSIE!" "ELSIE!" "ELSIE!" "[ SPEAKING GERMAN ]" "Narrator:" "LANG SET "M" IN 1930s BERLIN," "USING IT TO COMMENT ON" "THE LAWLESSNESS GRIPPING GERMANY." "LANG WAS 41 YEARS OLD," "NOW GERMANY'S MOST FAMOUS DIRECTOR." "HE CAST 27-YEAR-OLD STAGE ACTOR PETER LORRE IN THE LEADING ROLE." "[ SPEAKING GERMAN ]" ""M" WAS PETER LORRE'S FIRST MAJOR PICTURE." "HIS PERFORMANCE WAS FOLLOWED BY DOZENS OF OFFERS." "[ LORRE WHISTLING "IN THE HALL OF THE MOUNTAIN KING" ]" "[ CHANTING ]" "Kohner:" "ALL OF A SUDDEN, EVERYBODY WAS A NAZI " "NAZI, NAZIS EVERYWHERE, LIKE MUSHROOMS," "THEY JUST CAME UP, YOU KNOW." "OVERNIGHT, THERE WAS A SWASTIKA FLAG IN EVERY WINDOW," "EXCEPT OURS." "WE DIDN'T REALIZE THE SERIOUSNESS OF IT." "BUT ONE NIGHT, INSTEAD OF TAKING A TAXI," "WE TOOK THE UNDERGROUND," "AND THERE WE SAW A YOUNG MAN BEING BEATEN" "BY ABOUT 12 NAZIS IN UNIFORM," "AND THE MOTHER, THIS OLD LADY, WAS HUGGING HIM AND PLEADING," "AND THERE WE WERE, UNABLE TO DO A THING." "Narrator:" "ON JANUARY 30, 1933," "ADOLF HITLER BECAME CHANCELLOR OF GERMANY." "THAT EVENING," "HITLER'S SUPPORTERS CELEBRATED WITH A TORCHLIGHT PARADE." "28-YEAR-OLD HENRY KOSTER" "WAS WALKING TO DINNER THAT EVENING." "THE HIGHLY REGARDED WRITER OF ROMANTIC COMEDIES" "HAD RECENTLY COMPLETED HIS FIRST DIRECTING ASSIGNMENT." "Man: "THAT WAS A TERRIBLE NIGHT." ""WE HAD A REGULAR TABLE IN A RESTAURANT" ""WHERE WE ALL MET AFTER WE CAME FROM THE STUDIO." ""I WENT OVER TO MY TABLE," ""AND THE OTHERS ASKED ME NOT TO SIT DOWN." ""THEY WERE WORRIED THAT THEY'D SIT DOWN WITH A JEWISH DIRECTOR." "I COULDN'T BELIEVE THAT."" "Narrator:" "THREE WEEKS LATER, A FIRE OF UNCERTAIN ORIGIN" "DESTROYED THE REICHSTAG, GERMANY'S PARLIAMENT BUILDING." "ADOLF HITLER DECLARED A NATIONAL EMERGENCY." "HE SENT OPPONENTS OF HIS NAZI REGIME" "TO NEWLY CREATED CONCENTRATION CAMPS," "AND ESTABLISHED MARTIAL LAW." "THOUSANDS WERE ARRESTED," "TORTURED, AND BEATEN." "51 WERE MURDERED." "WRITER BILLY WILDER HEADED FOR SAFETY IN PARIS." "ONE OF HIS FRIENDS HAD BEEN ARRESTED." ""IT WASN'T MY IDEA TO LEAVE," HE SAID." ""IT WAS HITLER'S."" ""PEOPLE ON SUNDAY" DIRECTOR ROBERT SIODMAK'S NEW FILM" "WAS PULLED FROM THE THEATERS AFTER THE REICHSTAG FIRE." "HUNTED BY STORM TROOPERS, SIODMAK ALSO LEFT." "ACTOR PETER LORRE WAS SHOOTING A FILM IN VIENNA" "WHEN UFA ASKED HIM TO RETURN." "HE REPORTEDLY WIRED BACK," ""THERE IS NOT ENOUGH SPACE IN GERMANY FOR TWO MURDERERS."" "WALKING HOME FROM WORK, COMPOSER FRANZ WAXMAN" "WAS DRAGGED INTO A BERLIN ALLEY AND BEATEN." "THAT NIGHT, HE AND HIS FIANCEE PACKED THEIR BAGS" "AND BOARDED A TRAIN FOR PARIS." "WAITING TO WITHDRAW HIS MONEY AT THE BANK," "DIRECTOR HENRY KOSTER FOUGHT WITH AN SS OFFICER." "KOSTER FLED THE BANK AND RUSHED TO THE TRAIN STATION." "WARNED THAT STORM TROOPERS" "HAD DESTROYED HIS APARTMENT WHILE HE WAS AWAY," "COMPOSER FREDERICK HOLLANDER AND HIS WIFE HEIDI" "ESCAPED BY TRAIN TO PARIS." "JUST ONE BLOCK FROM THE ARC de TRIOMPHE," "HOLLANDER, LORRE, WAXMAN, AND WILDER" "TOOK ROOMS AT A REFUGEE HOTEL." "HOLLANDER DESCRIBED THE ROOMS AS," ""SMALL BUT DIRTY, DIRTY BUT CHEAP."" "HENRY KOSTER WAS A FEW STREETS AWAY." "[ SPEAKING GERMAN ]" "IN BERLIN, PROPAGANDA MINISTER JOSEPH GOEBBELS" "ANNOUNCED A BOYCOTT OF JEWISH BUSINESSES." "LATER THAT DAY," "WRITER CURT SIODMAK HEARD GOEBBELS SPEAK" "TO A LESS ENTHUSIASTIC AUDIENCE." "Goebbels:" "HEIL!" "HEIL!" "HEIL!" "Man: "I WENT TO THE BERLIN KAISERHOF HOTEL" ""ON DR. GOEBBELS'S INVITATION." ""EVERYBODY IN THE FILM INDUSTRY WAS THERE." ""FRITZ LANG, JOE MAY," ""LOTS OF WRITERS AND PRODUCERS," ""AND ALSO ERICH POMMER." ""GOEBBELS ANNOUNCED THAT HE WAS TAKING OVER THE FILM INDUSTRY." ""HE SAID, 'THE WORLD IS NOT AS IT IS PICTURED" ""IN THE BRAIN OF A JEWISH FILM DIRECTOR.'" ""THEN HE MENTIONED THE FILMS HE ADMIRED " "TWELVE PICTURES, AND ELEVEN WERE MADE BY JEWS."" "Narrator:" "THE UFA BOARD OF DIRECTORS" "MET THE NEXT DAY," "AND TARGETING THEIR HIGHEST PROFILE JEWISH EMPLOYEES," "FIRED THEM." "IN THE COURSE OF AN HOUR," "UFA LOST MANY OF ITS BEST TALENTS," "INCLUDING PRODUCER ERICH POMMER." "Kohner:" "IT HAPPENED TOO FAST, VERY FAST." "AND STILL PEOPLE DIDN'T THINK" "THAT IT WOULD LAST VERY LONG, YOU KNOW?" "THEY COULD HAVE GOTTEN OUT THEN." "BUT, OH, NO, THIS IS GOING TO LAST A COUPLE OF MONTHS," "IT WILL BE OVER, AND BERLIN WILL BE" "LIKE ALWAYS." "PEOPLE DISAPPEAR..." "THEY GOT THEM AT 3:00 IN THE MORNING OUT OF BED," "YOU NEVER HEARD FROM THEM." "Curt Siodmak:" ""THIS LETTER CAME TODAY." ""I AM FORBIDDEN TO WORK" ""FOR ANY FILM STUDIO." ""WHERE CAN I GO?" ""I DON'T SPEAK ANY OTHER LANGUAGE" ""WELL ENOUGH TO WRITE IN IT." "WHERE CAN I GO WITH A PREGNANT WIFE AND NO MONEY?"" "Narrator:" "IN THE DAYS, WEEKS, AND MONTHS THAT FOLLOWED," "THE MEN AND WOMEN WHO HAD CREATED" "GERMAN CINEMA'S GOLDEN AGE WOULD FLEE INTO EXILE." ""IT WAS THE DARK TIME," SAID PLAYWRIGHT BERTOLT BRECHT." ""WHEN WE WERE CHANGING COUNTRIES MORE OFTEN THAN OUR SHOES."" "EXILE WAS THE GREAT EQUALIZER." "THE ESTABLISHED AND THE FAMOUS" "SHARED THE SAME FATE" "AS THE YOUNG AND UP-AND-COMING." "MOST OF THE EXILES WERE JEWISH." "EXTREMELY FEW WOULD EMIGRATE WHO WERE NOT." "COMPOSER FREDERICK HOLLANDER WOULD START A NOVEL " ""THOSE TORN FROM EARTH."" "Man: "THE TRAIN HAD LEFT THE SUBURBS OF BERLIN," ""ITS SPEED INCREASING." ""THE TRAIN SWAYED." ""THE WHEELS BABBLED." ""'IT'S NO USE, IT'S NO USE, IT'S NO USE, IT'S NO USE.'" ""THE TRAIN TORE." ""FLEW AROUND THE CURVES." ""STATIONS SIGNALED BY FLOWING LIGHTS." ""THE IRON BARS SCREECHED." "THE EMIGRANT TRAIN."" "Narrator:" "THOSE LEAVING GERMANY" "WERE ALLOWED TO CARRY ONLY A SMALL SUM OF MONEY." "DIRECTOR JOE MAY LEFT WITH VERY LITTLE," "EXCEPT THE JEWELS HIS WIFE, ACTRESS MIA MAY," "COULD CAMOUFLAGE AND SNEAK ACROSS THE BORDER." "DIRECTOR FRITZ LANG'S LATEST FILM" "WAS BANNED AS A THREAT TO LAW, ORDER, AND PUBLIC SAFETY." "LANG, TOO, WOULD LEAVE." "ERICH POMMER HAD FORESEEN THE TROUBLE " "A JOB AWAITED HIM IN PARIS." "Man: "FEAR, NOTHING IS MORE ALIVE THAN FRIGHT " " COMMON," ""ORDINARY FRIGHT." ""WHY DIDN'T THEY LEAVE THINGS ALONE?" "BEFORE THIS, EVERYTHING WAS CAREFREE."" "Narrator:" "MANY OF THOSE FORCED FROM BERLIN" "WOULD FLEE TO PARIS." "BY MAY 1933," "THEIR NUMBERS WARRANTED COMMENT FROM THE NEW YORK TIMES." "Man: "SO MUCH TURBULENT POLITICAL WATER" ""HAS FLOWED BY IN RECENT WEEKS" ""THAT A FLOOD IS ABOUT THE ONLY WAY TO DESCRIBE IT." ""AND IT HAS WASHED UP THE GERMAN FILM INDUSTRY" "VERY EFFICIENTLY."" "Narrator:" "MONEY WAS TIGHT." "THEIR GERMAN BANK ACCOUNTS HAD BEEN FROZEN." "COURIERS BRAVE ENOUGH TO SMUGGLE LARGE SUMS ACROSS THE BORDER" "WERE HARD TO FIND." "22-YEAR-OLD LUPITA KOHNER WAS ONE OF THE FEW." "SHE WOULD ACCOMPANY HER HUSBAND PAUL" "ON HIS BUSINESS TRIPS..." "AND SMUGGLE CASH TO WAITING REFUGEES." "Kohner:" "WE WERE GOING TO PARIS." "AND I ALWAYS WAS KNITTING, KNITTING." "AND I WAS KNITTING A SWEATER, HE SAID, "DARLING..." "I HAVE TO TAKE SOME MONEY FOR SOMEBODY THERE."" "AND I SAID, "OKAY."" "I PUT THE MONEY, AND ROLLED THE WOOL AROUND IT, YOU KNOW." "WHEN THEY CAME IN, I WAS KNITTING." "THEN WE GOT TO PARIS, AND IN THE MORNING," "THERE'S MR. SPIEGEL -- SAM SPIEGEL." "AND HE SAID, "DARLING..." "THEY'RE HERE FOR THE MONEY."" "AND I SAID, "OH, GOODNESS, YOU'LL HAVE TO WAIT."" "SO I UNRAVEL THE WHOLE THING," "TO GET THE MONEY FOR MR. SPIEGEL." "Narrator:" "ERICH POMMER HAD BEEN HIRED" "BY FOX EUROPA, AN AMERICAN FILM COMPANY." "HE PUT THREE PICTURES INTO PRODUCTION," "AND HIRED HIS FORMER UFA EMPLOYEES TO WORK WITH HIM." "DIRECTORS FRITZ LANG AND JOE MAY..." "COMPOSERS FRANZ WAXMAN AND WERNER RICHARD HEYMANN..." "WRITERS BILLY WILDER AND WALTER REISCH..." "CINEMATOGRAPHER RUDY MATE." "THE CITY WAS FLOODED WITH EXILES FROM THE GERMAN CINEMA." "BY NOW, THE EXILES'S SCREEN CREDITS" "HAD BEEN REMOVED FROM THEIR PICTURES IN GERMANY." "FROM PARIS," "THEY WOULD RELOCATE TO LONDON AND VIENNA." "A LUCKY FEW RECEIVED OFFERS FROM HOLLYWOOD." "DIRECTOR JOE MAY WAS ONE OF THE FIRST TO ARRIVE" "IN LOS ANGELES." "HE HAD BEEN HIRED TO DIRECT A MUSICAL COMEDY" "STARRING GLORIA SWANSON." "BUT THE MOVIE FAILED AT THE BOX OFFICE." "IT WOULD BE SEVERAL YEARS" "BEFORE HE WAS SIGNED TO ANOTHER PICTURE." "BUT HE DID FIND BILLY WILDER A JOB " "CONVINCING COLUMBIA PICTURES" "TO BUY ONE OF WILDER'S STORIES." "WILDER LEFT FOR AMERICA" "IN JANUARY 1934." "HE CHOSE A BRITISH LINE," "TO BEGIN LEARNING THE LANGUAGE." "HE RENTED A ROOM" "FROM JOE AND MIA MAY." "OTHER REFUGEES WOULD FIND TEMPORARY LODGING" "AT MARLENE DIETRICH'S." "BY THE SUMMER, ERICH POMMER AND FRANZ WAXMAN" "WERE ON THEIR WAY TO AMERICA." "COMPOSER FREDERICK HOLLANDER HAD LEFT THE YEAR BEFORE." "Hollander:" ""IT SEEMED UNBELIEVABLE" ""TO SAIL IN A FLOATING CITY" ""ACROSS A SUNNY OCEAN..." ""AND THEN POURED ONTO FOREIGN SOIL" ""TO EXPLORE SKYSCRAPER MOUNTAINS," ""SIREN-LOUD CANYONS." ""AND NOW TO RUSH THROUGH WILD, EXTRAVAGANT AVENUES" ""BORDERED BY LITTLE, PINK," ""SUGAR-STUCCO BUNGALOWS IN A TWO-SEATER..." ""A GIFT TOO GREAT TO GRASP," "AND THE DAY BUT TWELVE HOURS."" "Narrator:" "HOLLANDER'S YOUNGER COLLEAGUE," "FRANZ WAXMAN, ENTERED THE UNITED STATES" "WITH A SHORT-TERM CONTRACT" "FROM FOX, AND A LIMITED VISA." "WHEN HIS PAPERS EXPIRED," "WAXMAN WOULD HAVE TO RETURN TO EUROPE." "BUT HE AND HIS NEW BRIDE, ELISE," "WANTED TO STAY." "PEOPLE BEGAN TO ARRIVE WHO WERE REFUGEES," "WHO WERE IN FLIGHT." "AND SO IT WAS KIND OF NORMAL FOR MY MOTHER " "SUNDAY WAS THE DAY WHERE NOBODY WORKED," "SO SHE WOULD INVITE THEM TO TEA." "Narrator:" "SCREENWRITER SALKA VIERTEL" "HAD ARRIVED FROM BERLIN IN 1928." "HER HOME IN SANTA MONICA, BLOCKS FROM THE OCEAN," "BECAME A GATHERING PLACE FOR EUROPE'S EXILES" "AND HOLLYWOOD'S FILM COMMUNITY." "[ LAUGHTER ]" "AT ONE OF HER PARTIES," "FRANZ WAXMAN GOT THE LUCKY BREAK HE NEEDED " "A JOB SCORING UNIVERSAL PICTURES'S" ""THE BRIDE OF FRANKENSTEIN."" "[ FILM SCORE PLAYING ]" "WAXMAN'S SCORE HUMANIZED FRANKENSTEIN'S MONSTER." "[ BLEATING IN BACKGROUND ]" "[ MONSTER GROWLING ]" "[ BLEATING ]" "Narrator:" "MUSIC WAS THE EMIGRES'S" "FIRST SIGNIFICANT CONTRIBUTION TO AMERICAN CINEMA." "THEIR SCORES ADDED ROMANCE" "AND INTRIGUE..." "TENSION AND HUMOR." "Monster:" "FRIEND?" "[ STIFLED SCREAM ]" "FRIEND?" "[ SCREAMING ]" "Narrator:" "FRANZ WAXMAN WOULD BE THE FIRST OF HITLER'S EXILES" "TO FIND A SUCCESSFUL HOLLYWOOD CAREER." "144 FILMS, 2 ACADEMY AWARDS." "HE MADE A PHOTO ALBUM OF HIS LIFE IN CALIFORNIA," "AND SENT IT TO HIS PARENTS BACK IN GERMANY." "HE WAS 29." "DIRECTOR FRITZ LANG WAS IN HIS MID-40s." "HE WAS INTERNATIONALLY FAMOUS," "HAD ARRIVED IN LOS ANGELES WITH A CONTRACT FROM MGM." "BUT THE STUDIO HAD NO WORK FOR HIM." "TO PASS THE TIME," "HE TOOK TRIPS AROUND THE AMERICAN WEST." "LANG HAD SIGNED WITH" "THE CLASSIEST STUDIO IN HOLLYWOOD." "HE SUBMITTED SEVERAL STORY IDEAS," "ALL OF WHICH MGM REJECTED." "IN GERMANY," "NEARLY EVERY PICTURE HE HAD PROPOSED" "HAD BEEN PUT INTO PRODUCTION." "[ FANFARE, LEO ROARING ]" "FINALLY, FRITZ LANG WOULD SHOOT HIS FIRST AMERICAN PICTURE..." ""FURY," STARRING SPENCER TRACY AND SYLVIA SIDNEY," "WAS THE STORY OF A MAN" "WHOSE CHANCE TRIP THROUGH A SMALL TOWN" "RESULTS IN AN ACCUSATION OF MURDER." "LANG HAD EXAMINED MOB RULE IN HIS GERMAN PICTURES." "HERE, THOSE CONCERNS" "WERE AMERICANIZED." "HEY, JAILER, JAILER," "COME HERE, WILL YOU!" "HEY, JAILER!" "JAILER!" "Narrator:" "FRITZ LANG HAD NOT BEEN POPULAR" "WITH FILM CREWS IN GERMANY." "HIS SCRIPTS DICTATED THE ACTORS'S EVERY MOVE," "EVERY GESTURE." "HIS PRODUCTIONS WERE METICULOUSLY PREPARED." "EVERY DETAIL ON THE SET, EVERY CAMERA ANGLE," "HAD TO BE ARRANGED TO HIS EXACTING SPECIFICATIONS." "Man:" "WE IN HOLLYWOOD SAY THAT THE SCRIPT IS A BLUEPRINT." "I THINK A SCRIPT IS MORE " "I THINK THAT THE DIRECTOR, THE ACTOR, THE CAMERAMAN" "HAVE TO BE SERVANTS ON THE SCRIPT." "I PREPARE MY DIRECTIONS ON THE DESK." "I HATE TO CHANGE ANYTHING IN THE SCRIPT ON THE STAGE." "GENERALLY, I'M NOT CHANGING ANYTHING." "[ MOB CHANTING "YO-HO!" ]" "Narrator:" "THE RESULTS LANG ACHIEVED ON THE SCREEN" "TOOK THEIR TOLL ON THE CAST AND CREW," "JUST AS THEY HAD IN GERMANY." "HE CALLED 18-HOUR SHOOTING DAYS," "DEMANDED ENDLESS RETAKES." "SPENCER TRACY WAS SAID TO DESPISE HIM." "MGM FIRED LANG" "ON THE LAST DAY OF SHOOTING." "HE HAD MADE ENEMIES." "ORDER IN THE COURT!" "Narrator:" "HE HAD ALSO GOADED SPENCER TRACY" "INTO HIS FINEST PERFORMANCE TO DATE..." "YOUR HONOR, I AM JOSEPH WILSON." "TAKE YOUR SEAT!" "GO ON." "I KNOW THAT BY COMING HERE," "I SAVED THE LIVES OF THESE 22 PEOPLE." "BUT THAT ISN'T WHY I'M HERE." "I DON'T CARE ANYTHING ABOUT SAVING THEM " "THEY'RE MURDERERS." "I KNOW THE LAW SAYS THEY'RE NOT, BECAUSE I'M STILL ALIVE," "BUT THAT'S NOT THEIR FAULT." "AND THE LAW DOESN'T KNOW" "THAT A LOT OF THINGS THAT WERE VERY IMPORTANT TO ME " "SILLY THINGS, MAYBE, LIKE A BELIEF IN JUSTICE," "AND AN IDEA THAT MEN WERE CIVILIZED," "AND A FEELING IN PRIDE THAT THIS COUNTRY OF MINE" "WAS DIFFERENT FROM ALL OTHERS..." "THE LAW DOESN'T KNOW THAT THOSE THINGS" "WERE BURNED TO DEATH WITHIN ME THAT NIGHT." "Narrator:" "LANG CONTINUED TO ALIENATE" "THE PRODUCERS WHO HIRED HIM." "IT WOULD TAKE HIM FIVE YEARS TO ACCOMMODATE HIMSELF" "TO THE HIERARCHY OF HOLLYWOOD'S STUDIO SYSTEM." "Lang:" "WE ALL WERE USED TO WORK IN A QUITE DIFFERENT WAY." "YOU HAVE TO ADJUST YOURSELF TO A NEW MENTALITY," "TO A NEW CULTURE." "I DON'T THINK THAT EVER ANYBODY BECAME ANYTHING" "WITHOUT FIGHTING FOR IT." "I HAD ALWAYS TO FIGHT FOR IT." "Narrator:" "HE TOOK A JOB DIRECTING A WESTERN" "FOR 20th CENTURY FOX," "AND ARRIVED ON THE SET WEARING COWBOY BOOTS," "NOT GERMAN JODHPURS." "HE TRADED HIS CUSTOMARY MONOCLE FOR EYEGLASSES." "HE FOLLOWED STUDIO RULES." "AT THE END OF FILMING," "FOX OFFERED LANG A SECOND PICTURE." "COMPOSER FREDERICK HOLLANDER" "HAD LEFT A SUCCESSFUL 20-YEAR MUSIC CAREER BEHIND." "HE WROTE HIS EX-WIFE," "BACK IN BERLIN." "Man:" "DEAR BLANDINE," "FOR EVERYONE WHO DOESN'T ARRIVE WITH AN INTERNATIONAL NAME," "THIS "GOLDEN HOLLYWOOD" IS A HELL." "I COULD CONVINCE MYSELF TO FORGET" "THAT I WAS ONCE SIGNIFICANT AND SUCCESSFUL," "BUT THAT ISN'T THE ESSENTIAL THING." "YOU CAN'T JUST SHAKE OFF YOUR HOMELAND" "AND CAST DOWN THE SAME STRONG ROOTS AGAIN SOMEWHERE ELSE." "I NEVER FOUGHT SO HARD." "EVEN WHEN I STARTED AT THE VERY BEGINNING" "FOR THE FIRST TIME." "Narrator:" "BOX OFFICE" "WAS THE MEASURE OF SUCCESS IN HOLLYWOOD." "THE STUDIO EXECUTIVES," "MANY OF THEM IMMIGRANTS FROM GERMANY" "AND CENTRAL EUROPE," "PUT FEW EXILES UNDER CONTRACT," "HIRING ONLY THOSE" "WHO COULD INCREASE THEIR EARNINGS " "AT HOME, AND OVERSEAS." "WHILE WARNER BROS." "STOPPED DISTRIBUTING THEIR PICTURES" "TO NAZI GERMANY IN 1935," "MGM AND PARAMOUNT CONTINUED TO DO SO" "UNTIL 1940, REMOVING JEWISH NAMES FROM FILM CREDITS" "TO GET PAST GERMAN CENSORS." "MARLENE DIETRICH WAS NOW IN THE PROCESS" "OF BECOMING AN AMERICAN CITIZEN." "CONSCIOUS THAT HER MOTHER AND SISTER" "REMAINED IN GERMANY," "SHE QUIETLY OFFERED HELP TO NEEDY REFUGEES." "SHE PAID FOR TICKETS TO AMERICA," "PROVIDED NEW ARRIVALS WITH NEEDED CASH" "AND A PLACE TO STAY." "WITH ERNST LUBITSCH," "SHE SECRETLY FUNDED AN UNDERGROUND RAILROAD" "FOR FORMER COLLEAGUES AND THEIR FAMILIES" "STRANDED IN GERMANY." "MONEY WIRED FROM HOLLYWOOD" "PAID FOR SAFE PASSAGE TO SWITZERLAND," "THEN TO AMERICA." "LUBITSCH WOULD SPEARHEAD RELIEF EFFORTS IN HOLLYWOOD," "CREATING A SAFETY NET FOR THE EXILES," "INSIDE THE ESTABLISHED GERMAN-SPEAKING COMMUNITY." "PAUL KOHNER, NOW A TALENT AGENT IN LOS ANGELES," "PUSHED THE STUDIOS TO GIVE JOBS TO THE RECENT ARRIVALS." "HE AND HIS WIFE, LUPITA," "RAISED MONEY TO HELP THEM SETTLE IN." "Lupita Kohner:" "THEY LEFT EVERYTHING BEHIND." "ALL THEIR BELONGINGS -- EVERYTHING, LEFT BEHIND." "ALL YOUR POSSESSIONS." "YOU CANNOT JUST TAKE IT AND GO." "IT'S NOT THE SAME AS YOU GO BY CHOICE ON A VISIT" "AND YOU LIKE TO STAY." "BUT THESE PEOPLE..." "FORCED." "I REMEMBER ONE LADY SAYS," ""IT'S EVERYDAY SUNNY."" "THEY EVEN MISS THE WINTER," "THE COLD, THE SNOW." "THEY SAID, "IT'S ALWAYS SUMMER HERE," YOU KNOW?" "IT CAME AS A COMPLETE, COMPLETE CHANGE." "Narrator:" "FILM EDITOR RUDI FEHR" "HAD ARRIVED IN THE SPRING OF 1936." "Man:" "I HAD WORKED IN LONDON BEFORE," "I HAD WORKED IN VIENNA " "ANYPLACE WHERE I COULD WORK." "BUT I FELT THAT" "I HAD TO GO TO A PLACE WHERE I CAN MAKE A LIVING," "'CAUSE ONCE HITLER IS IN," "HE'S GOING TO BE IN FOR A NUMBER OF YEARS." "SO I WENT TO AMERICA," "AND I ARRIVED IN NEW YORK ON MAY 1, 1936." "WHAT A BEAUTIFUL..." "EXPERIENCE," "I CRIED LIKE A BABY WHEN I SAW THE STATUE OF LIBERTY." "I REALLY DID -- IT WAS WONDERFUL." "Narrator:" "DIRECTOR HENRI KOSTER," "AFTER ONE YEAR IN FRANCE," "LOOKED FOR WORK IN A COUNTRY" "WHERE HE SPOKE THE LANGUAGE." "HE WAS HIRED ON A PROJECT IN VIENNA" "BY JOSEPH PASTERNAK," "A PRODUCER FOR UNIVERSAL PICTURES IN EUROPE." "THE FILM FEATURED ANOTHER BERLIN EXILE," "THE WELL KNOWN" "HUNGARIAN COMIC ACTOR, S.Z. SAKALL." "AT JOSEPH PASTERNAK'S RECOMMENDATION," "UNIVERSAL PICTURES INVITED KOSTER TO HOLLYWOOD" "ON A TRIAL BASIS." "THE TIMING WAS FORTUNATE..." "JEWS WOULD BE BANNED FROM WORKING" "IN THE AUSTRIAN FILM INDUSTRY IN 1936." "KOSTER AND HIS WIFE, KITTY," "JOINED THE PASTERNAKS FOR THE JOURNEY" "TO LOS ANGELES." "GERMAN CINEMA'S OUTCAST FILMMAKERS" "WERE ARRIVING IN AMERICA," "INCLUDING THE STAR OF "M."" "PETER LORRE HAD BEEN BEST KNOWN" "IN GERMANY FOR PLAYING A PSYCHOTIC MURDERER." "YOU LET HIM GET AWAY!" "I'LL FIND HIM!" "I'D KNOW HIM ANYWHERE!" "Narrator:" "IN HOLLYWOOD, 20th CENTURY FOX CAST HIM AS A CLEVER UNDERCOVER AGENT " "KENTARO MOTO." "LORRE MADE EIGHT "MR. MOTO" PICTURES" "IN TWO YEARS." "WHEN THE SERIES" "HAD RUN ITS COURSE," "DIRECTOR JOHN HUSTON SELECTED LORRE" "FOR A FEATURED ROLE IN THE FILM" "LORRE WOULD CONSIDER ONE OF HIS BEST " ""THE MALTESE FALCON."" "WILL YOU COME IN, MR. CAIRO." "WILL YOU SIT DOWN," "MR. CAIRO?" "THANK YOU, SIR." "NOW, WHAT CAN I DO FOR YOU, MR. CAIRO?" "MAY A STRANGER OFFER CONDOLENCES" "FOR YOUR PARTNER'S UNFORTUNATE DEATH." "THANKS." "IS THERE, MR. SPADE, AS THE NEWSPAPERS IMPLY," "A CERTAIN RELATIONSHIP BETWEEN THAT UNFORTUNATE HAPPENING" "AND THE DEATH A LITTLE LATER OF THE MAN THURSBY?" "I BEG YOUR PARDON " " NO." "MORE THAN IDLE CURIOSITY PROMPTED MY QUESTION." "SEE, MR. SPADE, I'M TRYING TO RECOVER..." "ORNAMENT THAT, SHALL WE SAY, HAS BEEN MISLAID?" "UH-HUH?" "I THOUGHT AND HOPED YOU COULD ASSIST ME." "THE ORNAMENT IS A STATUETTE " "BLACK FIGURE OF A BIRD." "I AM PREPARED TO PAY," "ON BEHALF OF THE FIGURE'S RIGHTFUL OWNER," "THE SUM OF $5,000 FOR ITS RECOVERY." "I'M PREPARED TO PROMISE THAT, UH..." "WHAT IS THE PHRASE " ""NO QUESTIONS WILL BE ASKED."" "Narrator:" "PETER LORRE HAD ARRIVED IN LOS ANGELES" "ONE OF EUROPE'S" "MOST RECOGNIZED ACTORS." "TO EXPAND HIS CHOICE OF ROLES," "HE WORKED TO LOSE HIS VIENNESE ACCENT," "AND LEARN AMERICAN SLANG." "LORRE LIKED EVERYTHING" "ABOUT SOUTHERN CALIFORNIA " "THE PARTIES ON THE BEACH," "THE CASUAL LIFESTYLE," "THE PEOPLE," "THE CLIMATE." "FOR OTHER EXILES," "THE HOLLYWOOD CULTURE -- OR LACK OF IT " "HAD COME AS A SHOCK." "SEEKING NEWS FROM EUROPE," "THEY MADE TELEPHONE CALLS BACK HOME," "READ GERMAN-LANGUAGE JOURNALS" "OUT OF NEW YORK." "Viertel:" "DON'T FORGET THAT, IN AMERICA," "PEOPLE WERE FAIRLY OBLIVIOUS OF THE REAL TRAGEDY" "OF HITLER COMING TO POWER." "AND THE EMIGRES," "ONE OF THE REASONS THEY STUCK TOGETHER" "IS THEY COULD TALK ABOUT WHO WAS SURVIVING," "WHO WAS GETTING OUT, WHO NEEDED HELP," "AND WHAT WAS HAPPENING TO THEIR COUNTRY." "[ TYPEWRITER CLACKING ]" "Narrator:" "FROM VIENNA," "EXILED REPORTER PAUL E. MARKUS" "COLLECTED NEWS OF THE SCATTERED FILM INDUSTRY." "HE DISTRIBUTED REGULAR REPORTS" "TO SUBSCRIBERS IN EUROPE" "AND AMERICA." "Man:" "PETER LORRE'S FIRST U.S. PRODUCTION" "HAS BEEN FORBIDDEN IN PRAGUE." "KARL FREUND LEFT METRO" "AND WENT TO FOX." "OSCAR HOMOLKA IS TO LEAVE FOR THE U.S. SHORTLY." "FELIX JOACHIMSON CHANGED HIS NAME" "TO FELIX JACKSON." "WALTER REISCH IS GOING TO AMERICA" "AT THE BEGINNING OF NEXT WEEK." "IT'S TIME WE PUT AN END TO THIS!" "[ CHEERING ]" "NOW, THIS FOREST IS WIDE " "IT CAN SHELTER AND CLOTHE AND FEED" "A BAND OF GOOD, DETERMINED MEN," "GOOD SWORDSMEN, GOOD ARCHERS, GOOD FIGHTERS." "MEN, IF YOU'RE WILLING TO FIGHT FOR OUR PEOPLE, I WANT YOU." "ARE YOU WITH ME?" "[ CHEERING ]" "Narrator:" "VIENNESE COMPOSER ERICH WOLFGANG KORNGOLD" "TRAVELLED FREQUENTLY BETWEEN EUROPE AND AMERICA." "HE WAS AN ACCLAIMED COMPOSER" "FOR OPERA AND ORCHESTRA IN VIENNA." "IN HOLLYWOOD, HE COMPOSED FOR MOTION PICTURES." "IN THE FALL OF 1938," "WARNER BROS." "INVITED KORNGOLD TO HOLLYWOOD" "TO SCORE "THE ADVENTURES OF ROBIN HOOD."" "HE WENT TO SCREEN THE FILM," "AND THEN REFUSED." ""I AM NOT A MUSICAL ILLUSTRATOR" "FOR A 90% ACTION PICTURE," HE SAID." "OBLIVIOUS TO POLITICS," "HE DECIDED TO RETURN TO VIENNA." "WHAT WARNER BROS." "COULD NOT CONVINCE KORNGOLD TO DO," "THE NAZIS COULD." "WHILE HE WAS PACKING, AUSTRIA CAME UNDER NAZI CONTROL." "THE KORNGOLDS" "WOULD STAY IN CALIFORNIA." "THE THIRD REICH DID NOT WAIT LONG" "TO SEIZE KORNGOLD'S HOUSE AND BAN HIS MUSIC." "HIS LYRICIST THREW HIMSELF OUT A WINDOW." "HIS CHILDREN'S PEDIATRICIAN COMMITTED SUICIDE" "WITH AN OVERDOSE OF PILLS." ""WE THOUGHT OF OURSELVES AS VIENNESE,"" "SAID KORNGOLD'S WIFE, LUZI." ""HITLER MADE US JEWISH."" "FROM THIS NIGHT ON," "I USE EVERY MEANS IN MY POWER TO FIGHT YOU." "[ PEOPLE YELLING ]" "Narrator:" "KORNGOLD WENT TO WORK" "ON WARNER BROS.' GRAND FAIRY TALE" "ABOUT A COUNTRY SEIZED BY A PRETENDER TO THE THRONE" "AND THE PRINCIPLED MAN" "WHO DEFIES HIM." ""THE ADVENTURES OF ROBIN HOOD" SALUTED COURAGE" "IN THE FACE OF EVIL." "IN EUROPE, HITLER EXPANDED HIS TERRITORY," "CONVINCING MANY MORE FILM PROFESSIONALS" "TO LEAVE FOR HOLLYWOOD." "ACTORS HEDY LAMAR, PAUL HENREID," "AND FELIX BRESSART." "COMPOSERS ERNEST GOLD" "AND HANS SALTER." "CINEMATOGRAPHERS RUDI MATE" "AND FRANZ PLANER." "Woman: "THE EXODUS HAD BEGUN." ""THERE WAS NOT A DAY THAT I DID NOT GET LETTERS" ""ASKING FOR HELP," ""AND I BESIEGED MY AMERICAN FRIENDS" ""FOR AFFIDAVITS." ""NOT ONLY INDIVIDUALS," ""BUT ALSO CAUSES NEEDED FINANCIAL SUPPORT," "AND HOLLYWOOD WAS LEADING IN GENEROSITY."" "Man:" "WE HAD THIS THING" "WHICH WAS FOUNDED BY LUBITSCH" "AND BY AN AGENT BY THE NAME OF PAUL KOHNER." "IT WAS CALLED THE EUROPEAN FILM FUND," "AND THE IDEA THERE WAS THAT" "WHEREVER THE JOB GAVE A CERTAIN PERCENTAGE" "OF WHAT HE GOT BY THE WEEK INTO THAT KITTY," "AND WE HELPED THE ONES WHO COULD NOT GET THE JOB." "Woman:" "THE EUROPEAN FILM FUND WAS FOUNDED," "AND EVERY EUROPEAN THAT WAS WORKING," "THEY GAVE PART OF THE SALARY TO THE FILM FUND." "AND, OF COURSE, MR. LUBITSCH, HE WAS THE BIG NAME," "BUT THE HARD WORK WAS DONE BY PAUL," "WHO WENT TO EVERY STUDIO AND BEGGED THEM" "TO GIVE THESE PEOPLE A CONTRACT FOR SIX MONTHS." "Narrator:" "EDITOR RUDI FEHR HAD COME TO HOLLYWOOD" "WITH LETTERS OF INTRODUCTION." "Man:" "EXACTLY FIVE WEEKS FROM THE DAY I ARRIVED IN THIS TOWN," "I COME BACK TO MY LITTLE APARTMENT" "NEAR WILSHIRE BOULEVARD WEAR THE AMBASSADOR HOTEL IS," "ONE-ROOM PLACE." "AND THERE WERE THREE MESSAGES SORT OF ROLLED UP" "AND PUSHED UP IN MY MAILBOX " ""CALL MGM."" ""CALL FRITZ LANG AT UNITED ARTISTS."" ""CALL HENRY BLANKE AT WARNER BROS." " "ALL IN ONE HOUR." "OF COURSE, METRO WAS THE PLACE TO WORK." "MONTAGES WERE VERY IMPORTANT IN THOSE DAYS." "THE GUY CALLED ME AND SAID," ""I READ IN YOUR resumé THAT YOU HAVE DONE MONTAGES." "WOULD YOU BE INTERESTED IN DOING SOME FROM MGM?"" "I SAID, "OF COURSE I WOULD BE."" "Narrator:" "HENRY KOSTER HAD A ONE-PICTURE CONTRACT." "Man: "DEAR GABRIEL," ""I AM WRITING THE SCRIPT FOR MY FIRST FILM," ""'THREE LITTLE SISTERS.'" ""YOU CAN IMAGINE WHAT AN EFFORT I AM MAKING" ""BECAUSE I KNOW THAT MY WHOLE FUTURE HERE" "IS DEPENDENT ON MY FIRST FILM."" "THERE HE IS!" "WHERE?" "WHERE?" "OVER THERE." "ARE YOU SURE?" "IN THE GRAY SUIT." "DADDY." "DADDY!" "[ GASPS ]" "[ PLATES CLATTER ]" "[ ALL YELLING ]" "Narrator: "THREE SMART GIRLS"" "SECURED HENRY KOSTER'S FUTURE" "AND LAUNCHED DEANNA DURBIN'S FILM CAREER." "A SMASH HIT," "IT KEPT UNIVERSAL PICTURES FROM BANKRUPTCY." "UNIVERSAL OFFERED KOSTER A LONG-TERM CONTRACT." "HE WAS THE FIRST DIRECTOR AMONG THE EXILES" "TO MAKE IT IN HOLLYWOOD." "JOSEPH PASTERNAK," "HAVING BROUGHT KOSTER TO AMERICA," "NOW SPONSORED" "S.Z. SAKALL AND THE POPULAR HUNGARIAN" "CAME TO HOLLYWOOD WITH HIS WIFE, BOZSI." "Woman: "DEAR FAMILY." ""IN MY LAST LETTER, I TOLD YOU ABOUT" ""OUR SAFE ARRIVAL." ""NOW, I'D LIKE TO WRITE ABOUT" ""THE LOVELY PARTY AT JOE PASTERNAK'S HOME." ""THE GARDEN WAS CROWDED WITH HOLLYWOOD NOTABLES " ""ACTORS," ""WRITERS, JOURNALISTS OF BOTH SEXES." ""THE GREATEST SURPRISE FOR ME" ""WAS TO SEE JOE'S OWN PRIVATE SWIMMING POOL." ""I HAD NEVER SEEN SUCH A THING BEFORE" ""IN A PRIVATE HOUSE." ""I THINK JOE MUST BE THE ONLY PERSON" ""TO HAVE ONE IN HOLLYWOOD." "BOZSI SAKALL."" "Narrator:" "THANKS TO" "THE GERMAN-SPEAKING COMMUNITY," "ARRIVING EXILES WERE INTRODUCED INTO THE HOLLYWOOD MAINSTREAM." "BILLY WILDER MET OTHER WRITERS AND A FEW STUDIO PRODUCERS." "THE MORE HIS ENGLISH IMPROVED," "THE MORE HE COULD SHARE HIS SENSE OF HUMOR." "AFTER TWO YEARS," "HE HAD HIS FIRST CONTRACT," "WRITING FOR THE MOST SUCCESSFUL BERLINER" "WORKING IN HOLLYWOOD -- DIRECTOR ERNST LUBITSCH." "LUBITSCH, SO THAT THERE ARE NO MISUNDERSTANDINGS," "WAS PRIMARILY THE BEST WRITER THAT EVER LIVED." "HE NEVER TOOK CREDIT, AND HE WOULD SIT WITH US" "FOR FOUR HOURS, AND BY THE TIME WE WERE THROUGH" "INVENTING NEW THINGS" "OR SHOWING US THE DIRECTION IN WHICH TO GO," "IT WAS A WHOLE DIFFERENT AND TEN-TIMES-AS-GOOD A SCENE" "AS WHAT YOU STARTED WITH." "THIS MAN WITH A VERY HEAVY ACCENT," "MUCH THICKER THAN MINE," "BUT HE WAS A SPECIALIST IN DIALOGUE." "THAT'S WHAT IT WAS ALL ABOUT." "HOW ARE THINGS IN MOSCOW?" "VERY GOOD." "THE LAST MASS TRIALS WERE A GREAT SUCCESS." "THEY'RE ARE GOING TO BE FEWER BUT BETTER RUSSIANS." "WHAT'S THAT?" "IT'S A HAT, COMRADE." "A WOMAN'S HAT." "HOW CAN SUCH A CIVILIZATION SURVIVE" "WHEN SHE PERMITS THEIR WOMEN TO PUT THINGS LIKE THAT" "ON THEIR HEADS?" "WON'T BE LONG NOW, COMRADES." "Narrator:" "LUBITSCH LOADED "NINOTCHKA" WITH EMIGRE TALENT." "GRETA GARBO'S THREE RUSSIAN COMRADES" "WERE JEWISH ACTORS FROM GERMANY AND AUSTRIA." "THE FORMER UFA MUSIC DIRECTOR, WERNER RICHARD HEYMANN," "WROTE THE SCORE." "BILLY WILDER WAS ON THE WRITING TEAM." ""NINOTCHKA" WAS HIS NINTH WRITING CREDIT IN HOLLYWOOD." "IN THREE YEARS, HE WOULD BE DIRECTING." "NOT EVERYONE WAS AS FORTUNATE." "GERMAN SET DESIGNERS WERE WORLD-FAMOUS," "GERMAN FILM EDITORS WORLD-RENOWNED." "TO WORK IN HOLLYWOOD, THEY WOULD HAVE TO JOIN A UNION." "BUT THE UNIONS SHUT THEM OUT." "EXPERIENCED GERMAN CAMERAMEN WERE REFUSED MEMBERSHIP" "BY THE CINEMATOGRAPHERS SOCIETY." "ONE-TIME CAMERA ASSISTANT FRED ZINNEMANN" "BECAME A DIRECTOR'S ASSISTANT." "THE FEW WOMEN WHO HAD" "WORKED BEHIND THE CAMERA IN GERMAN CINEMA" "FOUND HOLLYWOOD EQUALLY UNWELCOMING." "FOR EVERY EXILED FILM PROFESSIONAL" "WHO FOUND A JOB IN THE INDUSTRY, TWO OR THREE WOULD FAIL," "FORCED TO LOOK ELSEWHERE FOR WORK." "MANY OF THOSE" "WHO DID RECEIVE CONTRACTS HAD THEIR START" "WITH LOW-BUDGET" "B PICTURES." "WE'VE COME TO HAVE OUR FORTUNES TOLD." "CAN YOU REALLY READ THE FUTURE?" "I WILL NOT DISAPPOINT YOU, MY LADY." "WILL YOU STEP INSIDE, PLEASE?" "DO YOU MIND IF I GO IN FIRST?" "NO, NO, GO RIGHT AHEAD." "GO ON, SILLY." "Narrator:" "THE AMERICAN FILM CAREER OF CURT SIODMAK," "WRITER OF "THE WOLF MAN," BEGAN IN B PICTURES." "SIODMAK WOULD SCRIPT 20 HORROR FILMS IN HOLLYWOOD." ""THE WOLF MAN" WAS AMONG HIS BEST." "IT WAS AN ALLEGORY ABOUT ADOLF HITLER" "AND THE GERMAN PEOPLE." "TAKE THIS CHARM." "THE PENTAGRAM, THE SIGN OF THE WOLF." "IT CAN BREAK THE EVIL SPELL." "EVIL SPELL, PENTAGRAM, WOLF MAN!" "I'M SICK OF THE WHOLE THING." "I'M GOING TO GET OUT OF HERE." "WHOEVER IS BITTEN BY A WEREWOLF AND LIVES" "BECOMES A WEREWOLF HIMSELF." "OH, QUIT HANDING ME THAT." "YOU'RE JUST WASTING YOUR TIME." "THE WOLF BIT YOU, DIDN'T IT?" "Salter: "TO BE CANDID ABOUT IT, A LOT OF THESE FILMS" ""WERE REALLY NOT GOOD." ""YOU HAD TO CREATE THE HORROR WITH THE MUSIC," ""CREATE THE TENSION THAT WAS OTHERWISE" "NOT THERE ON THE SCREEN."" "Narrator:" "THE EXILES CONTRIBUTED A DISTINCTIVE STYLE" "TO THE HORROR GENRE." "CINEMATOGRAPHER KARL FREUND HAD PAVED THE WAY," "INTRODUCING GERMAN LIGHTING AND CAMERA TECHNIQUES." "DIRECTOR EDGAR G. ULMER" "BROUGHT HIS TRAINING IN ART DIRECTION" "AND SET DESIGN." "SHE WAS NEVER VERY STRONG, YOU KNOW." "Narrator: "THE CABINET OF DR. CALIGARI"" "HAD NOT BEEN SUCCESSFUL AT THE AMERICAN BOX OFFICE," "BUT THESE PICTURES WERE." "WHY IS SHE..." "WHY IS SHE LIKE THIS?" "IS SHE NOT BEAUTIFUL?" "I WANTED TO HAVE HER BEAUTY ALWAYS." "Narrator:" "FOR ONE DIRECTOR," "B MOVIES MARKED THE END OF A CAREER." "JOE MAY NEVER WAS ABLE TO ACCOMMODATE HIMSELF" "TO THE HOLLYWOOD SYSTEM." "WELL, HE WAS TOO DIFFICULT." "HE WAS VERY STUBBORN." "HE WAS A BIG SHOT IN EUROPE AND, YOU KNOW, THEY WERE..." "LIKE GODS THEN." "AND HE COULD NOT ADJUST." "Narrator:" "DURING HIS FIRST YEARS IN HOLLYWOOD," "MAY HAD CONTRIBUTED TO THE EUROPEAN FILM FUND." "NOW HE WAS A RECIPIENT." "MAY QUIT THE FILM BUSINESS." "HE OPENED A VIENNESE RESTAURANT" "WITH FUNDS RAISED FROM THE EXILE COMMUNITY." "HIS WIFE, MIA," "HAVING LIVED A LIFE OF PRIVILEGE IN BERLIN," "WAS THE COOK." "I THINK IT WAS VERY ROUGH ON THE WOMAN." "ALL THESE LADIES WERE LADIES OF LEISURE." "THEY WERE OUT, THEY WERE ENTERTAINING," "AND THEY HAD LOTS OF HELP." "NOW THEY CAME HERE." "IT MUST HAVE BEEN VERY HARD" "AND VERY, VERY LONELY FOR THEM, YOU KNOW?" "YOU CANNOT ALWAYS ADJUST." "IF YOU'RE YOUNG, IT'S A DIFFERENT THING." "BUT THIS WAS PEOPLE NOT SO YOUNG ANYMORE" "THAT HAD HAD EVERYTHING." "[ LAUGHS ]" "YES." "Narrator:" "ACTRESS HEDY LAMARR HAD COME TO HOLLYWOOD IN 1937." "SHE CLAIMED TO HAVE ESCAPED VIENNA" "IN THE MIDDLE OF THE NIGHT, DISGUISED AS HER MAID." "IN PARIS, LOUIS B. MAYER OFFERED HER A CONTRACT," "AND THE FORMER HEIDI KIESLER ARRIVED IN AMERICA" "AS HEDY LAMARR." "SHE WAS QUICKLY CAST IN HER FIRST HOLLYWOOD PICTURE" "OPPOSITE CHARLES BOYER." "WANT TO DANCE?" "YES." "Narrator:" "THE YEAR WAS 1938," "THE HEIGHT OF HOLLYWOOD'S GOLDEN AGE," "THE HEYDAY OF THE STUDIO SYSTEM." "THE NEXT YEAR, 1939, RKO STUDIOS'S" ""HUNCHBACK OF NOTRE DAME" WAS SELECTED TO OPEN" "THE FIRST EVER INTERNATIONAL FILM FESTIVAL" "IN CANNES, FRANCE." "[ BELLS TOLLING ]" "Narrator:" "IT WOULD BE THE ONLY PICTURE" "SCREENED IN CANNES THAT YEAR." "WHEN NEWS ARRIVED THAT HITLER HAD INVADED POLAND," "THE FESTIVAL WAS CANCELED." "THE GERMAN ARMY'S BLITZKRIEG TACTICS" "WOULD PUT POLAND UNDER NAZI CONTROL," "DEVASTATE WARSAW," "AND BRING EUROPE INTO WAR." "EUROPEANS DESPERATE TO REACH THE UNITED STATES" "WERE NOW REQUIRED" "TO OBTAIN PROOF OF FINANCIAL SUPPORT" "IN ORDER TO ENTER THE COUNTRY." "PAUL AND LUPITA KOHNER SPONSORED FORMER COLLEAGUES." "ERICH WOLFGANG KORNGOLD TOOK RESPONSIBILITY" "FOR SO MANY REFUGEES," "THE AUTHORITIES FINALLY REJECTED HIM AS A SPONSOR." "FRANZ WAXMAN WROTE A LETTER FOR A MAN HE HAD NEVER MET" "WHO HAD SEEN HIS NAME ON A FILM CREDIT." "Man: "THE EUROPEAN COLONY IS GROWING DAILY" ""BY CONTINUOUS ARRIVALS OF DIRECTORS, ACTORS," ""AND WRITERS WHO USED TO WORK IN FRANCE" ""UNTIL THE COLLAPSE." ""A LOT IS DONE FOR THEM" ""BY THE VARIOUS CHARITY ORGANIZATIONS," ""AND YOU CAN IMAGINE THAT YOU SEE HERE NOW" ""MORE MISERY THAN EVER BEFORE." "ERICH POMMER."" "Narrator:" "ERICH POMMER WOULD HIMSELF STRUGGLE." "TO SUPPORT THEMSELVES, POMMER AND HIS WIFE" "HAND-PAINTED FINE CHINA FOR FANCIER SHOPS IN LOS ANGELES." "Viertel: "I TOOK MY MOTHER FOR A DRIVE" ""IN THE OPEN CAR ALONG THE PACIFIC," ""AND WE'D LISTEN TO THE SUNDAY CONCERT FROM NEW YORK" ""WHICH CAME OVER THE RADIO." ""ARTHUR RUBINSTEIN IS JUST FINISHING" ""THE FIRST MOVEMENT OF THE TCHAIKOVSKY" ""PIANO CONCERTO NUMBER ONE." ""THEN THE BROADCAST WAS INTERRUPTED" ""AND THE ANNOUNCER SAID THAT EARLY IN THE MORNING," ""JAPANESE AIRPLANES AND SUBMARINES" ""HAD ATTACKED AND SUNK" "THE AMERICAN FLEET IN PEARL HARBOR."" "Narrator:" "THE WAR IMPOSED A CURFEW ON MANY EXILES," "HENRY KOSTER AMONG THEM." "Man: "I HAD NOT BECOME A CITIZEN YET." ""AS A CONSEQUENCE, I WAS NOT ALLOWED TO GO OUT" ""AFTER 8:00 AT NIGHT." ""EVERY NIGHT, MR. CHARLES LAUGHTON" ""CAME TO ME AND MY WIFE, PEGGY, AND HE WOULD SIT WITH US." ""LAUGHTON, WHO WAS GOING ON TOUR," ""READ TO ME FROM THE BIBLE, FROM SHAKESPEARE," ""AND FROM 'ALICE IN WONDERLAND.'" ""HE ATE WITH US, AND WE HAD JOKES," "AND WE DISCUSSED FILMS, AND IT WAS JUST MARVELOUS."" "Narrator:" "THOSE WHO HAD BECOME CITIZENS" "OR CAME FROM OCCUPIED COUNTRIES" "HAD MORE FREEDOM." "AT THE HOLLYWOOD CANTEEN, MOVIE STARS" "ENTERTAINED TROOPS ON LEAVE." "TO MARLENE DIETRICH WENT THE HONOR OF KISSING" "THE ONE MILLIONTH GUEST." "AWAY FROM THE CANTEEN, HEDY LAMARR SOLD WAR BONDS." "#" "FRANZ WAXMAN AND FREDERICK HOLLANDER" "BECAME AIR RAID WARDENS." "THREE WEEKS AFTER AMERICA ENTERED THE WAR," "PRODUCTION WRAPPED ON THE ERNST LUBITSCH PICTURE," ""TO BE OR NOT TO BE"" "SET IN NAZI-OCCUPIED WARSAW." "To be or not to be." "POLISH EXILE RUDOLPH MATE WAS THE CINEMATOGRAPHER." "LUBITSCH AGAIN ASKED WERNER RICHARD HEYMANN" "TO WRITE THE SCORE," "AGAIN CAST EXILED ACTORS IN FEATURED ROLES." "Man:" "UNHAPPY POLAND." "ATTACKED WITHOUT A WORD OF WARNING" "BY A RUTHLESS CONQUEROR." "WARSAW DESTROYED" "FOR THE SAKE OF DESTRUCTION." "THE CURTAIN HAD FALLEN ON THE POLISH DRAMA," "A TRAGEDY WITH NO RELIEF IN SIGHT." "THERE WAS A NAZI TANK AGAINST EVERY POLISH HOPE," "AND THE PEOPLE" "WERE STUNNED AND HELPLESS." "Narrator:" "ERNST LUBITSCH WAS NOW FAMOUS FOR MAKING" "WITTY, SOPHISTICATED COMEDIES." "THE THIRD REICH HAD STRIPPED LUBITSCH OF HIS CITIZENSHIP." ""TO BE OR NOT TO BE," HIS MOST PERSONAL FILM," "HAD LITTLE IN COMMON WITH A TYPICAL LUBITSCH PICTURE." "Man: "I WAS TIRED OF TWO ESTABLISHED," ""RECOGNIZED RECIPES " ""DRAMA WITH COMEDY RELIEF AND COMEDY WITH DRAMATIC RELIEF." ""I MADE UP MY MIND TO MAKE A PICTURE WITH NO ATTEMPT" "TO RELIEVE ANYBODY FROM ANYTHING AT ANY TIME."" "WHAT WAS THE LADY'S NAME?" "MRS. TURA." "HER HUSBAND IS THAT GREAT," "GREAT POLISH ACTOR, JOSEPH TURA." "YOU'VE PROBABLY HEARD OF HIM." "OH, YES." "AS A MATTER OF FACT, I SAW HIM ON THE STAGE" "WHEN I WAS IN WARSAW ONCE BEFORE THE WAR." "REALLY?" "WHAT HE DID TO SHAKESPEARE," "WE ARE DOING NOW TO POLAND." "SOME MONTHS AGO, VARIOUS PERSONS APPEARED" "IN THE FEDERAL COURTS OF NEW YORK CITY..." "Narrator:" "WARNER BROS." "HAD BEEN THE FIRST STUDIO" "TO MAKE AN ANTI-NAZI FILM." "GERMANS MUST SAVE AMERICA FROM THE CHAOS" "THAT BREEDS IN DEMOCRACY AND RACIAL EQUALITY!" "Narrator:" "FOR EXILED ACTORS CAST IN" ""CONFESSIONS OF A NAZI SPY," PLAYING NAZIS" "AND GESTAPO OFFICERS" "WAS A CRUEL IRONY." "IT ALSO MEANT WORK." "[ APPLAUSE ]" "AFTER PEARL HARBOR, HOLLYWOOD BECAME" "PART OF THE WAR EFFORT." "ANTI-NAZI FILMS" "WERE NOW GOOD BOX OFFICE." "THE STUDIOS WOULD PRODUCE 160 ANTI-NAZI PICTURES" "DURING THE WAR YEARS." "THE EXILES WORKED ON MORE THAN A THIRD." "[ PEOPLE CHATTERING ]" "PRODUCTION ON THE ANTI-NAZI PICTURE" "THAT REMAINS ONE OF AMERICA'S FAVORITE FILM ROMANCES" "BEGAN ON MAY 25, 1942." "MANY OF THE DAY PLAYERS AND FEATURED ACTORS" "HAD ESCAPED FROM ADOLF HITLER." "AMONG THEM," "PETER LORRE, CONRAD VEIDT, AND PAUL HENREID." "I'VE NEVER ACCEPTED THAT PRIVILEGE." "Narrator:" "CONRAD VEIDT HAD CATAPULTED TO FAME" "IN 1919" "IN "THE CABINET OF DR. CALIGARI."" "YOU WERE NOT ALWAYS SO CAREFULLY NEUTRAL." "WE HAVE A COMPLETE DOSSIER ON YOU." "Narrator:" "A MAJOR STAR IN GERMANY AND OUTSPOKEN ANTI-NAZI," "HE LEFT GERMANY FOR ENGLAND IN MAY 1933." "WHAT YOU DID IN PARIS, MR. BLAINE," "AND ALSO WE KNOW WHY YOU LEFT PARIS." "MONSIEUR BLAINE, I WONDER IF I COULD TALK TO YOU?" "Narrator: "CASABLANCA'S" ELEGANT RESISTANCE FIGHTER," "AUSTRIAN PAUL HENREID, WOULD HAVE HAD TO JOIN" "THE NAZI ACTORS' GUILD TO WORK IN BERLIN." "HE REFUSED AND WAS BLACKLISTED." "A LUCKY BREAK TOOK HIM TO LONDON." "YOU DESPISE ME, DON'T YOU?" "WELL, IF I GAVE YOU ANY THOUGHT," "I PROBABLY WOULD." "Narrator:" "PETER LORRE HAD OVERCOME THE BIGGEST CHALLENGE" "FACING ACTORS FROM ABROAD." "BY 1942, LITTLE REMAINED OF HIS ACCENT." "THAT'S NOT SO BAD." "THROUGH WAYS OF MY OWN, I PROVIDE THEM WITH EXIT VISAS." "CARL, SIT DOWN." "HAVE A BRANDY WITH US." "ILKA GRUNING AND LUDWIG STOSSEL" "HAD BEEN PROMINENT BERLIN ACTORS." "SHE RAN THE SECOND-LARGEST ACTING SCHOOL IN BERLIN." "STOSSEL HAD BEEN IMPRISONED IN AUSTRIA" "SEVERAL TIMES BEFORE HIS ESCAPE." "IN EUROPE," "S.Z. SAKALL HAD DRAWN CROWDS." "TO AMERICA." "TO AMERICA." "Narrator:" "IN AMERICA, HE MISSED THE ATTENTION." "LIEBCHEN, SWEETNESS HEART, WHAT WATCH?" "TEN WATCH." "SUCH MUCH?" "YOU WILL GET ALONG BEAUTIFULLY IN AMERICA." "MAY WE SEE YOUR PAPERS?" "I DON'T THINK I HAVE THEM ON ME." "Narrator:" "MOST OF "CASABLANCA'S" CAST" "HAD LEFT BEHIND A CELEBRITY THEY COULD NEVER RECLAIM." "PAUL ANDOR, WITH BIT PARTS IN MORE THAN 20 ANTI-NAZI PICTURES IN HOLLYWOOD," "HAD BEEN A SUCCESSFUL" "BERLIN ACTOR SINCE 1917." "[ GUNSHOT ]" "I BEG OF YOU, MONSIEUR..." "Narrator:" "CURT BOIS, A MOVIE STAR." "THIS PLACE IS FULL OF VULTURES, VULTURES EVERYWHERE." "Narrator:" "TRUDE BERLINER, A STAGE PERFORMER." "WILL YOU ASK RICK IF HE HAS DRINK WITH US?" "MADAME, HE NEVER DRINKS WITH CUSTOMERS." "NEVER." "BUT CAN'T YOU MAKE IT JUST A LITTLE MORE?" "PLEASE?" "Narrator:" "LOTTE PALFI, A SUCCESSFUL STAGE ACTRESS." "DIAMONDS EVERYWHERE." "2,400." "[ SPEAKING FRENCH ]" "MARCEL DALIO, A WELL-KNOWN ACTOR IN FRANCE." "SACHA!" "AS WAS HIS WIFE, MADELEINE LEBEAU." "PUT UP A WHOLE ROW OF THEM, SACHA." "STARTING HERE AND ENDING HERE." "WE'LL BEGIN WITH TWO." "[ SPEAKING FRENCH ]" "[ SPEAKING FRENCH ]" "NON, NON, NON, UNE MINUTE." "Narrator:" "THE NAZI OFFICER WAS PLAYED BY" "HANS VON TWARDOWSKI, WHO HAD COSTARRED IN" ""THE CABINET OF DR. CALIGARI."" "[ WOMAN SPEAKING FRENCH ]" "I DON'T LIKE DISTURBANCES IN MY PLACE," "SO EITHER LAY OFF POLITICS OR GET OUT." "[ MEN SINGING "WACHT AM RHEIN" ]" "PLAY "LA MARSEILLAISE." PLAY IT." "[ MEN CONTINUE SINGING ]" "# ALLONS ENFANTS DE LA PATRIE #" "# LE JOUR DE GLOIRE EST ARRIVE #" "[ "WACHT AM RHEIN AND "LA MARSEILLAISE" OVERLAP ]" "[ GERMANS STOP SINGING ]" "# ENTENDEZ VOUS DANS LES CAMPAGNES #" "# MUGIR CES FORCES SOLDATS?" "#" "# ILS VIENNENT JUSQUE DANS VOS BRAS #" "# EGORGER VOS FILS, VOS COMPAGNES #" "# AUX ARMES, CITOYENS #" "Narrator: "CASABLANCA'S" CAST HAD COME OFF THE BEST STAGES" "AND OUT OF THE BEST CINEMA IN THE WORLD." "FOR MANY OF THEM," "PRODUCTION LASTED LESS THAN A WEEK." "WHEN THE PICTURE WRAPPED, CAST AND CREW PAID 1%" "OF THEIR EARNINGS INTO THE EUROPEAN FILM FUND." ""YOU PAID IN,"" "SAID PAUL ANDOR," ""FOR THE NEXT GUYS WHO WERE COMING ALONG."" "ALL OF THOSE PEOPLE WERE HELPED BY " "BY THEIR SYMPATHY AND BY THE HELP OF " "OF THE AMERICAN INDUSTRY," "AND THEN THEY GOT WEEKLY SALARIES, VERY SMALL," "BUT SOMEHOW WE -- WE MUDDLED THROUGH." "SOME OF US MADE IT, SOME OF US FELL BY THE WAYSIDE." "GREAT MANY OF THEM WENT BACK TO EUROPE IN '45." "IT WAS ESPECIALLY VERY DIFFICULT FOR WRITERS" "BECAUSE I WAS A WRITER, I STILL AM," "BUT AT THAT TIME, I WAS ONLY A WRITER," ""ONLY," BY THAT I MEAN IT'S THE MOST IMPORTANT THING" "IN PICTURE MAKING, BUT THE LANGUAGE IS YOUR " "IS YOUR TOOL, RIGHT?" "IF YOU CAN'T WRITE IN ENGLISH " "I SUFFERED FOR A YEAR AND A HALF OR TWO YEARS" "LEARNING ENGLISH SO I COULD WRITE SOMETHING." "Fred Astaire: # WE JOINED THE NAVY TO SEE THE WORLD #" "Koster: "I MET A MOVIE ACTRESS" ""WHO SAID SHE WOULD TEACH ME ENGLISH." ""SHE SAID, 'DO YOU KNOW FOLLOW THE FLEET?" ""'IF ANYBODY WANTS TO LEARN A LANGUAGE," ""'YOU SHOULD LEARN TO SING SOME SONGS" ""WITH A LOT OF WORDS IN THEM.'" "HENRY KOSTER."" "Astaire: # BUT WE DIDN'T DO #" "# AND WE DIDN'T DIE #" "# WE WERE MUCH TOO BUSY LOOKING AT THE OCEAN #" "# AND THE SKY, AND WHAT DID WE SEE?" "#" "# WE SAW THE SEA #" "# WE SAW THE ATLANTIC AND THE PACIFIC #" "# BUT THE PACIFIC ISN'T TERRIFIC #" "# AND THE ATLANTIC ISN'T WHAT IT'S CRACKED UP TO BE #" "Narrator:" "EACH OF THE EXILES HAD A STRATEGY" "FOR MASTERING THE LANGUAGE." "LANGUAGE WAS THE GREATEST OBSTACLE" "TO GETTING WORK IN HOLLYWOOD." "[ SPEAKING GERMAN ]" "Translator:" "WHEN I GOT TO AMERICA," "I REALIZED I HAD TO LEARN THE LANGUAGE FAST." "I REFUSED TO SPEAK GERMAN, WATCHED MOVIES," "READ NEWSPAPERS, AND, ESPECIALLY," "SOMETHING THAT DIDN'T EXIST IN EUROPE," "COMIC STRIPS." "NOT ONLY DID IT TELL ME ABOUT LANGUAGE," "BUT ALSO ABOUT THE CULTURE." "Narrator:" "SOME ADAPTED MORE EASILY THAN OTHERS." "BY THE EARLY '40s, HOLLYWOOD WAS HOME" "TO SO MANY GERMAN IMMIGRANTS, REFUGEES," "AND EXILES THAT LOS ANGLES" "CAME TO BE KNOWN AS "WEIMAR ON THE PACIFIC."" "Woman: "THE NICEST THING" ""IS THAT NO ONE IS ASKING US" ""IF WE ARE JEWS OR CHRISTIANS." ""HOWEVER, I HAVE NOTICED THAT PEOPLE" ""DON'T REALLY LIKE GERMANS HERE." ""WE ARE TRYING TO SPEAK AS LITTLE GERMAN" ""AS POSSIBLE ON THE STREETS" ""BECAUSE THE AMERICANS ARE NOT SYMPATHETIC" ""TOWARDS THE GERMANS." "KITTY KOSTER."" "[ ALARM BLARING ]" "Narrator:" "FRED ZINNEMANN" "HAD BEEN DIRECTING SHORTS AND B PICTURES FOR MGM." "HE RECEIVED HIS BIG BREAK IN 1944." "WITH "THE SEVENTH CROSS," STARRING SPENCER TRACY," "HE WAS PLACED ON" "THE A-LIST OF HOLLYWOOD DIRECTORS." "ZINNEMANN HAD LAST SEEN HIS PARENTS" "IN 1932 IN VIENNA." "IN 1938, OSKAR AND ANNA ZINNEMANN" "LEFT AUSTRIA FOR POLAND," "BELIEVING THEY WOULD BE SAFER." "FOR YEARS, FRED ZINNEMANN HAD TRIED TO GET THEM OUT." "HE LAST HEARD FROM HIS FATHER IN AUGUST 1942," "HIS MOTHER IN THE SUMMER OF 1943." "DIRECTOR ROBERT SIODMAK HAD LEFT FRANCE AUGUST 31, 1939." "[ SPEAKING GERMAN ]" "Translator:" "I STARTED MY CAREER THREE TIMES FROM SCRATCH." "I LEFT GERMANY ONE DAY AFTER HITLER CAME TO POWER." "I LEFT FRANCE ONE DAY BEFORE WAR BROKE OUT," "AND HOLLYWOOD ONE YEAR BEFORE CINEMASCOPE." "Narrator:" "BEFORE LEAVING FRANCE, ROBERT SIODMAK HAD BECOME" "ONE OF THE MOST SUCCESSFUL DIRECTORS" "WORKING IN PARIS." "WITH HELP FROM HIS BROTHER, CURT," "HE FOUND WORK IN HOLLYWOOD." "AFTER DIRECTING SEVERAL B MOVIES," "HE RECEIVED A SEVEN-YEAR CONTRACT" "WITH UNIVERSAL PICTURES." "THERE, HE MADE A STRING OF FILMS" "ABOUT THE DARK SIDE OF HUMAN NATURE." "THEIR STORY LINES ABOUT OBSESSION, BETRAYAL, AND DESPAIR" "WERE KNOWN FOR THEIR STYLIZED ATMOSPHERES," "SNAPPY DIALOGUE, AND DESPERATE CHARACTERS." "MOVIE CRITICS IN FRANCE CALLED THEM "BLACK PICTURES" " "FILM NOIR." "FILM NOIR IS CONSIDERED A UNIQUELY AMERICAN GENRE," "BUT IT WAS VERY MUCH THE PRODUCT" "OF EXILED FILMMAKERS." "WITH THEIR DISTINCTIVELY GERMAN LIGHTING STYLE" "AND URBAN SETTINGS, THESE PICTURES ASSUME" "THE ABSOLUTE CORRUPTION OF SOCIETY" "AND EVERYONE IN IT." "[ TRAIN RUMBLING ]" "[ CAR HORN HONKING ]" "[ BRAKES SQUEALING ]" "Man:" "I KILLED DIETRICHSON." "YES, I KILLED HIM." "I KILLED HIM FOR MONEY AND FOR A WOMAN" "AND I DIDN'T GET THE MONEY AND..." "I DIDN'T GET THE WOMAN." "PRETTY, ISN'T IT?" "Narrator: "DOUBLE INDEMNITY"" "WAS BILLY WILDER'S FIRST FILM NOIR." "TO SCORE IT, WILDER HIRED HUNGARIAN EXILE MIKLOS ROZSA." "PARAMOUNT'S MUSIC DIRECTOR CALLED ROZSA TO HIS OFFICE" "AFTER HEARING THE SCORE." ""HE EXPLAINED THAT THE MUSIC WAS VERY BAD." ""HE TOLD ME IT BELONGED IN CARNEGIE HALL." ""I THANKED HIM," ""BUT HE SAID HE HADN'T MEANT IT AS A COMPLIMENT." ""HE THEN ASKED WHY I HADN'T WRITTEN SOMETHING ATTRACTIVE," ""TO WHICH I REPLIED THAT BILLY WILDER'S FILM" "WAS ABOUT UGLY PEOPLE DOING VICIOUS THINGS TO EACH OTHER."" "[ DOOR OPENS ]" "[ DOOR CLOSES ]" "Narrator:" "FILM NOIR WAS THE EXILES'" "MAJOR CONTRIBUTION TO AMERICAN CINEMA" "IN THE 1940s." "PRACTICALLY EVERY EXILED COMPOSER AND DIRECTOR" "HAD FILM NOIR PICTURES" "TO HIS NAME." "THESE TRANSPLANTED FILMMAKERS BROUGHT THEIR" "INDUSTRIAL-GRADE CYNICISM ABOUT HUMAN NATURE" "TO A GENRE OF FILM" "THAT PROVED HIGHLY SUCCESSFUL IN THE AMERICAN MARKETPLACE." "[ GUNFIRE ]" "IN JANUARY 1945," "THE RUSSIANS BEGAN THEIR FINAL ASSAULT ON BERLIN." "IN APRIL," "ADOLF HITLER COMMITTED SUICIDE." "ON MAY 7, THE GERMAN ARMY SURRENDERED TO THE ALLIES." "THE UNITED STATES ARMY HIRED BILLY WILDER" "TO DOCUMENT THE HORROR" "OF THE NAZI CONCENTRATION CAMPS." "EVERY EXILE HAD LOST FRIENDS, FAMILY," "OR BOTH." "BILLY WILDER LOST 3/4 OF HIS RELATIVES, INCLUDING HIS MOTHER," "IN AUSCHWITZ." "DIRECTOR FRED ZINNEMANN'S PARENTS" "WERE STILL WAITING FOR VISAS" "WHEN THEY WERE TAKEN TO THE CAMPS." "ACTOR S.Z. SAKALL LOST HIS THREE SISTERS." "COMPOSER FRANZ WAXMAN" "LOST HIS BROTHER." "ACTRESS LOTTE PALFI'S MOTHER REFUSED TO LEAVE POLAND." "SHE COULDN'T BELIEVE THAT A COUNTRY OF POETS" "AND PHILOSOPHERS WOULD DO SUCH TERRIBLE THINGS." "SHE DIED, TOO." "Man:" "NO NIGHTMARES EVER HAUNTED" "THOSE WHO LIVED NEAR CONCENTRATION CAMPS." "THE CRIES AND MOANS OF THE TORTURED WERE NO DOUBT" "BELIEVED TO BE THE WAILING OF THE WIND." "Narrator:" "PLAYWRIGHT BERTOLT BRECHT WROTE A VERSE" "FOR HIS FRIEND SALKA VIERTEL" "WHO WAS MOURNING THE LOSS OF HER BROTHER." "THE NEXT MORNING," "HE SLIPPED THE POEM UNDER HER DOOR." "Man: "I KNOW, OF COURSE, IT'S SIMPLY LUCK" ""THAT I'VE SURVIVED SO MANY FRIENDS." ""BUT LAST NIGHT IN A DREAM, I HEARD THOSE FRIENDS SAY" ""'SURVIVAL OF THE FITTEST.'" "AND I HATED MYSELF."" "Narrator:" "BILLY WILDER HAD BEEN IN BERLIN" "WITH THE ARMY AFTER THE SURRENDER." "HE LEFT WITH A FILM IN MIND." "HE ASKED FREDERICK HOLLANDER" "TO WRITE THE SONGS, CAST MARLENE DIETRICH" "AS THE FEMALE LEAD." "NOW TAKE ME, MISS FROST." "BOMBED OUT A DOZEN TIMES, EVERYTHING CAVED IN" "AND PULLED OUT FROM UNDER ME " "MY COUNTRY, MY POSSESSIONS, MY BELIEFS." "YET, SOMEHOW, I KEPT GOING." "MONTHS AND MONTHS IN AIR RAID SHELTERS," "CRAMMED IN WITH 5,000 OTHER PEOPLE." "I KEPT GOING." "WHAT DO YOU THINK IT WAS LIKE TO BE A WOMAN IN THIS TOWN" "WHEN THE RUSSIANS FIRST SWEPT IN?" "I KEPT GOING." "IT WAS A LIVING HELL." "AND THEN I FOUND A MAN, AND THROUGH THAT MAN" "A ROOF AND A JOB AND FOOD AND..." "AND I'M NOT GOING TO LOSE HIM." "WHAT HAS ALL THIS TO DO WITH ME?" "A LITTLE." "YOU SEE, YOU WANT THE SAME MAN." "COME ON." "I TOLD YOU YOU'D NEED A HANDKERCHIEF." "Man:" "COMING FROM THE OUTSIDE" "MADE BILLY WILDER -- AND, I THINK, FRITZ LANG " "MADE HIM SEE AMERICA" "WITH MUCH MORE SOCIALLY CRITICAL EYES." "BILLY WILDER WAS A SOCIAL CRITIC IN EVERYTHING THAT HE DID," "BUT HE SAW LIFE HUMOROUSLY." "WHATEVER HIS SOCIAL CRITICISM WAS," "IT WAS SOCIAL CRITICISM THAT YOU LIKED TO LOOK AT," "THAT YOU WERE SEDUCED BY." "# YOU LIKE MY FIRST EDITION?" "#" "# IT'S YOURS #" "# THAT'S HOW I AM #" "# A SIMPLE DEFINITION #" "# YOU TAKE ART #" "# I TAKE SPAM #" "# TO YOU FOR YOUR K-RATION #" "# COMPASSION #" "# AND MAYBE #" "# YOUR INKLING, A TWINKLING #" "# OF REAL SYMPATHY #" "# I AM SELLING OUT #" "# TAKE ALL I'VE GOT #" "# AMBITIONS, CONVICTIONS #" "# THE WORKS #" "# WHY NOT?" "#" "# ENJOY THESE GOODS #" "# FOR BOY, THESE GOODS #" "# ARE HOT #" "[ CHEERS AND APPLAUSE ]" "[ TRAIN WHISTLE BLOWS ]" "Man:" "I DIDN'T LOOK AT IT AS A COWBOY MOVIE." "TO ME, IT WAS A FILM THAT HAD TO DO WITH COMMITMENT." "IT ILLUSTRATED THE SAYING "IN MAN'S CHARACTER" "IS HIS DESTINY."" "IT JUST HAPPENED TO BE A WESTERN BACKGROUND." "WHY ARE YOU STOPPING?" "IT'S NO GOOD, I'VE GOT TO GO BACK, AMY." "WHY?" "THIS IS CRAZY, I HAVEN'T EVEN GOT ANY GUNS." "THEN LET'S GO ON, HURRY." "NO." "THAT'S WHAT I'VE BEEN THINKING." "THEY'RE MAKING ME RUN." "I'VE NEVER RUN FROM ANYBODY BEFORE." "I DON'T UNDERSTAND ANY OF THIS." "WELL, I HAVEN'T GOT TIME TO TELL YOU." "THEN DON'T GO BACK, WILL." "I'VE GOT TO, THAT'S THE WHOLE THING." "Narrator:" "FRED ZINNEMANN MADE SEVERAL PICTURES" "ABOUT CONSCIENCE AND CHARACTER." ""'HIGH NOON,'" HE SAID, "WAS THE FILM ABOUT A TOWN" "WHERE DEMOCRACY HAD GONE SOFT."" "PLAYWRIGHT BERTOLT BRECHT HAD RETURNED TO BERLIN." "IN 1950," "HE WROTE A POEM TO HIS GOOD FRIEND," "PETER LORRE." "Brecht: "LISTEN." ""WE ARE CALLING YOU BACK." ""DRIVEN OUT, YOU MUST NOW RETURN." ""THE COUNTRY OUT OF WHICH YOU WERE DRIVEN" ""FLOWED ONCE WITH MILK AND HONEY." ""YOU ARE BEING CALLED BACK" ""TO A COUNTRY THAT HAS BEEN DESTROYED," ""AND WE HAVE NOTHING MORE TO OFFER YOU" ""THAN THE FACT THAT YOU ARE NEEDED." ""POOR OR RICH, SICK OR HEALTHY," "FORGET EVERYTHING AND COME."" "Kohner:" "EVERYTHING WAS DIFFERENT AFTER THE WAR." "THEY HAD DREAMS OF GOING BACK AND THE SAME" "LIFE THEY WERE LIVING, THE SAME POSITION." "AND THAT DIDN'T EXIST ANYMORE." "Narrator:" "MOST OF THOSE WHO HAD GONE BACK TO BERLIN," "LIKE PETER LORRE, WOULD RETURN TO HOLLYWOOD." "AMERICA WAS NOW HOME." "FOR THE MOST PART," "THE HOLOCAUST HAD NOT MADE THEM MORE RELIGIOUS." "MOST WERE AS SECULAR AS THEY HAD BEEN IN BERLIN." "BY THE 1950s," "THE EXILES HAD ACHIEVED A DEGREE OF PROFESSIONAL SUCCESS" "AND SOCIAL ACCEPTANCE THAT WOULD HAVE BEEN" "UNIMAGINABLE WHEN THEY FIRST ARRIVED IN HOLLYWOOD." "WELL, ANYWAY, I WAS WALKING DOWN ALONG THE STREET" "AND I HEARD THIS VOICE SAYING," ""GOOD EVENING, MR. DOWD."" "WELL, I TURNED AROUND," "AND HERE WAS THIS BIG SIX-FOOT RABBIT" "LEANING UP AGAINST THE LAMP POST." "I THOUGHT NOTHING OF THAT BECAUSE WHEN YOU'VE" "LIVED IN A TOWN AS LONG AS I'VE LIVED IN THIS ONE," "YOU GET USED TO THE FACT THAT EVERYBODY KNOWS YOUR NAME." "DIRECTED BY HENRY KOSTER, "HARVEY" WAS NOMINATED" "FOR TWO ACADEMY AWARDS IN 1951." "IN THEIR CAREERS, THE EXILES WOULD CLAIM" "OVER 150 OSCAR NOMINATIONS" "AND TAKE HOME MORE THAN 20 ACADEMY AWARDS." "Fehr:" "IT'S A WONDERFUL EXPERIENCE" "TO WORK ON A GOOD FILM." "AFTER "PRIZZI'S HONOR,"" "THE GENTLEMAN WHO RUNS THE ACADEMY" "COMES TO ME AND SAYS, "HAVE YOU LOOKED AT THE NOMINATIONS YET?"" "I SAID, "NO."" ""LOOK UNDER EDITORS."" "AND THERE WERE OUR NAMES, MINE AND MY DAUGHTER." "I WAS SO CHOKED UP I COULDN'T TALK FOR AWHILE." "IT MEANS A LOT." "Narrator:" "FRITZ LANG WAS NEVER NOMINATED" "FOR AN ACADEMY AWARD, BUT HIS PICTURES," "MANY OF THEM URBAN THRILLERS ABOUT POWER AND VIOLENCE," "MADE MONEY." "[ GUNSHOT ]" "Lang:" "I THINK" "IN OUR TIMES" "THERE IS NO MORE FEAR" "OF PUNISHMENT AFTER DEATH." "THAT THE BELIEF IN HELL" "AND BRIMSTONE IS NOT THREATENING ANYMORE." "SO WHAT DOES THE MODERN HUMAN BEING FEAR?" "PAIN." "PHYSICAL PAIN." "WHAT CREATES PHYSICAL PAIN?" "VIOLENCE." "THEREFORE, VIOLENCE HAS BECOME" "A VERY IMPORTANT FACTOR" "IN WRITING A SCRIPT." "IT'LL BURN FOR A LONG TIME, VINCE." "IT DOESN'T LOOK BAD NOW, BUT IN THE MORNING," "YOUR FACE WILL BE LIKE MINE." "LOOK AT IT." "IT ISN'T PRETTY, IS IT?" "YOU'LL WALK THROUGH SIDE STREETS AND ALLEYS" "SO PEOPLE WON'T STARE AT YOU." "BUT YOU'RE LUCKY." "IT WON'T BE FOR LONG." "Narrator: "THE BIG HEAT" CAPPED FRITZ LANG'S" "AMERICAN CAREER." "IT WAS ONE OF HIS BEST." "BUT NONE OF THE PICTURES HE DIRECTED IN HOLLYWOOD" "RIVALED THE FILMS HE HAD MADE IN GERMANY." "Man:" "I THINK THERE ARE PEOPLE" "WHO ASSIMILATE MORE QUICKLY THAN OTHERS." "I THINK, FRITZ LANG," "IT WAS ALWAYS THE SHADOW OF GERMANY BEHIND HIM." "I THINK BILLY WILDER FELL IN LOVE WITH AMERICA," "THE BAD PARTS AND THE GOOD PARTS." "I LIKE PICTURES WHICH MAKE THE PEOPLE SIT UP AND NOTICE." "I JUST MADE PICTURES THAT I WOULD HAVE" "LIKED TO SEE." "AND IF I WAS LUCKY, IT COINCIDED WITH" "THE TASTE OF THE AUDIENCE." "WAIT A MINUTE, HAVEN'T I SEEN YOU BEFORE?" "I KNOW YOUR FACE." "GET OUT, OR SHALL I CALL MY SERVANT?" "YOU'RE NORMA DESMOND." "YOU USED TO BE IN SILENT PICTURES." "YOU USED TO BE BIG." "I AM BIG." "IT'S THE PICTURES THAT GOT SMALL." "UH-HUH." "I KNEW THERE WAS SOMETHING WRONG." "Narrator:" "BILLY WILDER EARNED 23 OSCAR NOMINATIONS" "IN HIS CAREER AND WON SIX ACADEMY AWARDS." "HIS WAS THE QUINTESSENTIAL EXILE STORY." "IN HIS 30s, HE LEARNED TO WORK THE HOLLYWOOD STUDIO SYSTEM." "IN MIDDLE AGE, HE BECAME IT." "HE WAS NOT ALONE." "THEY WERE ONE OF" "THE LARGEST GROUPS OF PROFESSIONALS" "FORCED INTO EXILE" "AFTER 1933 " "NEARLY 800." "MOST BECAME AMERICAN CITIZENS." "ABSENT THE NAZIS," "SOME WOULD SURELY HAVE MIGRATED ANYWAY," "BUT HITLER MULTIPLIED THAT NUMBER" "MANY TIMES OVER." "THEY MOVED INTO" "THE AMERICAN CULTURE AND THEY GIFTED THAT CULTURE" "WITH REMARKABLE CONTRIBUTIONS TO ITS CINEMA." "THEIR MOVIES NUMBER AMONG" "THE MOST MEMORABLE CLASSICS OF THE AMERICAN SCREEN." "Kohner:" "YOU NEVER FORGET WHERE YOU WERE BORN" "OR YOUR CHILDHOOD." "AS YOU GET OLDER, IT GETS" "STRONGER IN YOU." "BUT THEN IT COMES A TIME WHERE THERE IS A CHANGE." "YOU LOOK BACK," "YOU HAVE THE MEMORIES FROM ONE, THE LOVE FOR ONE," "AND THE LOVE FROM THE SECOND, YOU KNOW?" "AND YOU APPRECIATE THE COUNTRY YOU'RE IN." "BECAUSE THERE IS ANOTHER LIFE." "TO FIND OUT MORE" "ABOUT "CINEMA'S EXILES:" "FROM HITLER TO HOLLYWOOD,"" "VISIT pbs.org." "MAJOR FUNDING FOR" ""CINEMA'S EXILES:" "FROM HITLER TO HOLLYWOOD"" "HAS BEEN PROVIDED BY" "THE NATIONAL ENDOWMENT FOR THE HUMANITIES." "THIS PROGRAM IS ALSO MADE POSSIBLE BY" "THE NATIONAL ENDOWMENT FOR THE ARTS," "BECAUSE A GREAT NATION DESERVES GREAT ART." "AND BY CONTRIBUTIONS TO YOUR PBS STATION" "FROM VIEWERS LIKE YOU."