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Here Be Light/Tie Script 1 07 466 FILM: BOOK Film: Book 2 Films of Peace and War Edited by Robert Hughes Associate Editors: Stanley Brown, Carlos Clarens Grove Press, Inc. New York Copyright 1962 by Robert Hughes "The Real Thing" Copyright 1962 by Herbert Gold; "Designing Pacifist Films" Copyright 1962 by Paul Goodman. All Rights Reserved Library of Congress Catalog Card Number: 59-5411 First Printing Manufactured hi the United States of America Contents ROBERT HUGHES: Murder/A "Wg problem" .... 7 I. THREE ON TARGET: 1945-1959 HERBERT GOLD: The Real Thing 19 JOHN HUSTON: The Cowage of the Men 22 NORMAN MCLAREN: Living with Neighbours .... 36 ALAIN RESNAIS: Hiroshima Mon Amour 49 II. THE BOMB, THE U.S., THE U.S.S.R., AND THE U.N. DONALD RICHIE: "Mono No Aware"/Hiroshima in Film 67 COLIN YOUNG: Nobody Dies/Patriotism in Hollywood 87 NEIL MORRIS: The Uses oj History/Eastern Europe . in THOROLD DICKINSON: Films to Unite the Nations . 147 HI. THE ISSUE: QUESTIONS AND ANSWERS ON PEACE AND WAR Guroo ARISTARCO, CLAUDE AUTANT-LARA, ROBERT BRESSON, NOEL BURCH, ANDR CAYAITTE, SAMUEL FULLER, SERGEI GERASIMOV, JEAN-LUC GODARD, RICHARD GRIFFITH, ALEXANDER HAMMID, KURT HOFFMANN, STANLEY KAUFFMANN, STANLEY KRA- MER, LEN LYE, ROGER MANVELL, Louis MARCOREL- LES, MARSHALL MCLUHAN, ARTHUR MILLER, ROBERT OSBORN, GIAN-LUIGI POLIDORO, HERBERT READ, JEAN RENOIR, TONY RICHARDSON, PAUL ROTHA, DORE SCHARY, GEORGE STONEY, FRANCOIS TRUF- FAUT, ARCHER WINSTEN, ROBERT WISE 154 PAUL GOODMAN: Designing Pacifist Films 195 IV. TWO "BANNED" DOCUMENTS JOHN HUSTON: Let There Be Light/Tie script . 205 JEAN CAYROL: Night and Fog (Nuit et Brouillard)/r*e script for Alain Resnais* film 234 Copyright 1962 by Robert Hughes 1 "The Real Thing" Copyright 1962 by1 Herbert Gold; Paul Goodman. "Designing Pacifist Films"ms" Copyright 196219 by All Rights Reserved Library of Congress Catalog Card Number: 59-54" First Printing Manufactured in the United States of America Contents ROBERT HUGHES: Murder/A "big problem" .... 7 I. THREE ON TARGET: 1945-1959 HERBERT GOLD: The Real Thing 19 JOHN HUSTON: The Courage of the Men 22 NORMAN MCLAREN: Living with Neighbours .... 36 ALAIN RESNAIS: Hiroshima Mon Amour 49 II. THE BOMB, THE U.S., THE U.S.S.R., AND THE U.N. DONALD RICHIE: "Mono No Aware"/Hiroshima in Film 67 COLIN YOUNG: Nobody Dies/Patriotism in Hollywood 87 NEIL MORRIS: The Uses of History/Eastern Europe . in THOROLD DICKINSON: Films to Unite the Nations . 147 III. THE ISSUE: QUESTIONS AND ANSWERS ON PEACE AND WAR GUIDO ARISTARCO, CLAUDE AUTANT-LARA, ROBERT BRESSON, NOEL BURCH, ANDRE CAYAITTE, SAMUEL FULLER, SERGEI GERASIMOV, JEAN-LUC GODARD, RICHARD GRIFFITH, ALEXANDER HAMMID, KURT HOFFMANN, STANLEY KAUFFMANN, STANLEY KRA- MER, LEN LYE, ROGER MANVELL, Louis MARCOREL- LES, MARSHALL McLuHAN, ARTHUR MILLER, ROBERT OSBORN, GlAN-LuiGI POLIDORO, HERBERT READ, JEAN RENOIR, TONY RICHARDSON, PAUL ROTHA, DORE SCHARY, GEORGE SlONEY, FRANCOIS TRUF- FAUT, ARCHER WINSTEN, ROBERT WISE 154 PAUL GOODMAN: Designing Pacifist Films 195 IV. TWO "BANNED" DOCUMENTS JOHN HUSTON: Let There Be "Light/The script . 205 JEAN CAYROL: Night and Fog (Nuit et Brouillard)/T*6 script for Alain Resnais' film 234 Copyright 1962 by Robert Hughes "The Real Thing" Copyright 1962 by Herbert Gold; "Designing Pacifist Films" Copyright 1962 by Paul Goodman. All Rights Reserved Library of Congress Catalog Card Number: 59-5411 First Printing Manufactured in the United States of America Contents ROBERT HUGHES: Murder/A "big problem" .... 7 I. THREE ON TARGET: 1945 - 1959 HERBERT GOLD: The Real Thing 19 JOHN HUSTON: The Courage of the Men 22 NORMAN MCLAREN: Living with Neighbours .... 36 ALAIN RESNAIS: Hiroshima Mon Amour 49 II. THE BOMB, THE U.S., THE U.S.S.R., AND THE U.N. DONALD RICHIE: "Mono No Aware"/Hiroshima in Film 67 COLIN YOUNG: Nobody Dies/Patriotism in Hollywood 87 NEIL MORRIS: The Uses of History/Eastern Europe . in THOROLD DICKINSON: Films to Unite the Nations . 147 III. THE ISSUE: QUESTIONS AND ANSWERS ON PEACE AND WAR Guroo ARISTARCO, CLAUDE AUTANT-LARA, ROBERT BRESSON, NOEL BURCH, ANDR CAYAUTE, SAMUEL FULLER, SERGEI GERASIMOV, JEAN-LUC GODARD, RICHARD GRIFFITH, ALEXANDER HAMMED, KURT HOFFMANN, STANLEY KAUFFMANN, STANLEY KRA- MER, LEN LYE, ROGER MANVELL, Louis MARCOREL- LES, MARSHALL McLuHAN, ARTHUR MILLER, ROBERT OSBORN, GlAN-LuiGI POLIDORO, HERBERT READ, JEAN RENOIR, TONY RICHARDSON, PAUL ROTHA, DORE SCHARY, GEORGE STONEY, FRANCOIS TRUF- FAUT, ARCHER WINSTEN, ROBERT WISE 154 PAUL GOODMAN: Designing Pacifist Films 195 IV. TWO "BANNED" DOCUMENTS JOHN HUSTON: Let There Be TL,ight/The script . 205 JEAN CAYROL: Night and Fog (Nuit et Brouillard)/TAe script for Alain Resnais* film 234 Copyright 1962 by Robert Hughes "The Real Thing" Copyright 1962 by Herbert Gold; "Designing Pacifist Films" Copyright 1962 by Paul Goodman. All Rights Reserved Library of Congress Catalog Card Number: 595411 First Printing Manufactured in the United States of America Contents ROBERT HUGHES: Murder/A "big problem" .... 7 - I. THREE ON TARGET: 1945 1959 HERBERT GOLD: The Real Thing 19 JOHN HUSTON: The Courage of the Men 22 NORMAN MCLAREN: Living with Neighbours .... 36 ALAIN RESNAIS: Hiroshima Mon Amour 49 II. THE BOMB, THE U.S., THE U.S.S.R., AND THE U.N. DONALD RICHIE: "Mono No Aware"/Hiroshima in Film 67 COLIN YOUNG: Nobody Dies/Patriotism in Hollywood 87 NEIL MORRIS: The Uses of History/Eastern Europe . in THOROLD DICKINSON: Films to Unite the Nations . 147 III. THE ISSUE: QUESTIONS AND ANSWERS ON PEACE AND WAR Gumo ARISTARCO, CLAUDE AUTANT-LARA, ROBERT BRESSON, NOEL BURCH, ANDR CAYA/TTE, SAMUEL FULLER, SERGEI GERASIMOV, JEAN-LUC GODARD, RICHARD GRIFFITH, ALEXANDER HAMMID, KURT HOFFMANN, STANLEY KAUFFMANN, STANLEY KRA- MER, LEN LYE, ROGER MANVELL, Louis MARCOREL- LES, MARSHALL MCLUHAN, ARTHUR MILLER, ROBERT OSBORN, GIAN-LUIGI POLIDORO, HERBERT READ, JEAN RENOIR, TONY RICHARDSON, PAUL ROTHA, DORE SCHARY, GEORGE STONEY, FRANCOIS TRUF- FAUT, ARCHER WINSTEN, ROBERT WISE 154 PAUL GOODMAN: Designing Pacifist Films 195 IV. TWO "BANNED" DOCUMENTS JOHN HUSTON: Let There Be Light/The script . 205 JEAN CAYROL: Night and Fog (Nuit et Brouillard)/TAe script for Alain Resnais' film 234 The films from which six stills have been taken may not be obvious from their context in the book: page 103, Fuller's China Gate <2oth Century-Fox) ; page 108, Foreman's The Guns of Navarone (Columbia) ; The Fountain page 148, Lye's of Hope (U.N.) ; page 159, Autant-Lara's Kill Thou Shalt Not (Zebra Films) ; and page 178, Wajda's Ashes and Diamonds (Films Polski). Sources of other stills, in order, Universal- International Artists (page 9) ; United (pages 9, 93, 190) ; Columbia Pictures (page 13); Museum of Modern Art (pages 26, 27); National Film Board of Canada (pages 38, 40, 45); Donald Richie (pages 73, 79, 82); British Film Institute (pages 115, 120); Contemporary Films, London Office (pages 126, 128) ; French Film (page 163) ; Continental Films (page 184); Times Film Corp. (page 192). The stills from Hiro- shima Mon Amour were taken from a positive print of the film thanks to Zenith International; those from Let There Be Light and Night and Fog were shot from the screen by Gideon Bachmann and Harvey Zucker, respectively. MURDER: A "BIG PROBLEM" Robert Hughes Art and ideas come out of the passion and torment of experience; it is impossible to have a real relationship to the first if one's aim is to be protected from the second. James Baldwin, in Daedalus, Spring, 1960. All but a few Americans have been spared the experience of seeing either Alain Resnais' Night and Fog or John Huston's Let There Be Light. Resnais' film, which he himself still regards as his best work and which Francois Truffaut refers to elsewhere in this book as "the greatest film ever made," is surely the only movie to present the nightmare universe of the concentration camps without numbing its audience to their horror. But until 1962, seven years after its completion, Night and Fog was regarded by every distributor in America as too risky, too much for the public. And Let There Be Light, certainly one of Huston's best, and abundantly praised by James Agee, is still banned by the Pentagon, forbidden any public showing. Seventeen years after the War Department commissioned this theatrical short to show the public that emotional casualties were not madmen, we are still being denied the chance to face the facts, its anguished faces of men whose minds, temporarily at least, cracked in the outrage of warfare. In the case of Night and Fog we were being "protected" by show-businessmen; with Let There Be Light it is still a combination of militarists and psychiatrists. Too strong medicine, they say. An apt reference. But who's sick here anyway? And what kind of pills would you prescribe? Tranquilizers, nurse. Strait jacket. Take her out once a week and see Caligari revamped. 8 / Film: Book 2 Some small progress has been made since the part-time work on this book began in 1959. Let There Be Light now at least can be read; and it doesn't require leaving the country to see Night and Fog. But the term "anti-war" continues to be used by critics and public alike to describe just about any film involving war which is not an outright commercial for the military. Thus the motive behind the book is still partly semantic. And it should be seen in some per- spective: as from 1959, when Bridge on the River Kwai, Paths of Glory and then, and I quote "if you never see another movie" (and you just might decide not to) On the Beach were on the scene, each almost universally praised as great anti-war films. Now each took considerable courage to make, and each is made with deftness and skill.
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