Unknown Speaker  00:07
Okay, for the sake of the tape, I should say that this is imaging black woman, Hollywood and the independence. The images that you'll see here for the most part fall into several different categories. The mulatto, the mammy, the vamp, which almost always was a light skinned beauty. High yeller? No, she was known as usually, the good woman was kind of an offshoot of the mini servant character and almost always dark skinned. He even looked a little bit like that mammy figure. I'll give you a definition of that a little bit later, but I'm sure you already know that. And the entertainer. What's important to remember is that these images of blacks appeared in Hollywood films before black actresses played the roles. That is they were played by whites in blackface. They were not invented by the filmmakers, not even DW Griffith invented these figures, the stereotypes. They were in the culture at the time. Now it's true that once they get on screen, they become etched in concrete for us. But nonetheless, these were already with us. There was in Hollywood a fascination very early on, with Mrs. stows novel Uncle Tom's Cabin. It had been over 24 different versions of Uncle Tom's Cabin made by Hollywood. These include includes short films, things like Topsy and Eva. There's a film called Uncle Tom's Cabana, a little animation. There are very serious Uncle Tom's cabins films. In fact, in 1903, you really see the first one it was put on screen, really like a film, a filmed play, that is, you see little tableaus but the Uncle Tom is there and played by a white actor in blackface. Now, what I have for you here in the first slide, I think is one version of Uncle Tom's Cabin. Now bear in mind that there had been four versions before Birth of a Nation in 1915. So this is, this is only one of those 19 three was the first 119 1019 13 and 1914 and this is the 1914. Thank you. Okay. Okay. Now what you see is Tom here, with his eyes to the heavens, and Cassie, who was a mulato, as was Liza, you remember Liza crossing the ice. And they're played both of these roles by white actors. The tragic stereotype comes directly from literature. She usually was she was tragic by virtue of being a product of miscegenation. By being almost white, yet still a slave and by not belonging to one race or the other. Birth of a Nation added another ship, the evil mulatto, that is one male and one female, Silas Lynch and Lydia Brown, who were tragic only to the extent that their black blood somehow made them inherently evil. Unfortunately, I don't have a slide to show you with those two. In the next slide, DW Griffis Birth of a Nation. You see the typical man he played by white actress Jenny Lee. She She looks like she's well Pat in there, as you can see, and she always was big woman, big boson and big everywhere else. A brand and head rag Obstet obstreperous and domineering. And you see her here, she's usually done domineering over males. And here she's telling off the northern servant of the honorable Austin Stoneman. In 1922, DW Griffith made one exciting night. And you see here on the right, the male character, Porter strong, who actually made his living in Hollywood by playing actors by playing roles in blackface.

Unknown Speaker  04:48
The servant the female character here, she has a bit of the upstairs made influence you notice. They are both both of these roles are played for Comic Relief. And you can see that the two of them, I don't know whether you can tell but but they are ancillary to the major plot of the film. But they are very typically frightened of anything that might be unexplained, the darkness, anything that comes along, you know these sort of ghostly figures, they are immediately terrified and the roles are played broadly for Comic Relief. This is actually a still photograph from another Uncle Tom's Cabin, which was still a silent film, but a black actor and actress as you can see both playing these roles and James below on the left, was the first black actor actually ballyhooed by Hollywood as the Uncle Tom and he traveled with the film. The only earlier black Uncle Tom was Sam Lucas. Here he is with James Lowe with Gertrude Howard as Chloe, and you can see that she's the mammy type here. But the consummate mammy was Hattie McDaniel, and in here's her famous role in which, for which she won the Academy Award for the Best Supporting Actress. She made about 200 films in Hollywood and was criticized for playing the mammy role or playing the servant. And her famous rejoinder to that was I'd rather be a maid in the movies for $7,000 A week than a maid in somebody's kitchen for $7. The role here is pretty much the same. She's with Ben Carter the next year on 1940 In Maryland, and she's not dressed too differently from the way she was in Gone with the Wind. Here she is in a publicity photo with Ben Carter in 1943. Well, that's okay. You can see enough of James Cagney I think to recognize and then Johnny come lately. And here she is with Shirley Temple in 1944. And with Jean crane in 1946 in marching now, there was another black woman actress who played these roles of following Hattie McDaniel, and, in fact, some of them in the 40s. At the time of McDaniels popularity, she did not play the mammy role. She was this mammy variant, but good maid. There are a number of the same characteristics or she although she was always much less obstreperous than Hattie McDaniel. This is her famous role is Delilah, in 1934. In Imitation of Life, where she played with Claudette Colbert, this is an adaptation of imitation of life by Fannie Hurst, which was an extremely popular, really feminist novel that show two women raising their daughters alone and coming together in an very interesting kind of experience. Now, in that novel, Miss B, and here you see her here played by Claudette Colbert. Miss B chooses the life that she's, in a sense forced into to become a woman alone working to support both her father and her daughter. But in the film, the great struggle is resolved when she gets the man and also gets the recipe from the beast, beavers Delilah her maiden, this is the famous sequence with Ned sparks. They've already made the money on the pancake recipe. And Miss B wants to give Delilah a home of her own and give her a percentage. But Delilah says No She just wants to be with Miss B. And she doesn't want to move out into her own home. And Ned's bark says once the pancake, always a pancake, which draws a great laugh from the crowd. The weavers went on to make a number of films pretty much in the same mold. Here she is in rainbow on the river in 1936 with Bodhi brain who was a child singing star.

Unknown Speaker  09:37
She is with Carole Lombard and this one made for each other and a publicity still here in her famous servant outfit. Notice the thing in nails she could hardly wash many dishes with those with that kind of manicure, but the role she played fit that dishwashing background. This is a woman now aimed lowest Gardella and as late as 1933. She was playing Mammy in stand up and cheer that is a white singer playing the role of a black woman in films. And she was billed in that film, not under her own name, but as Naomi. And here is butterfly McQueen, who is still alive and well and living in New York in her famous role as pricy which is a variant of the servant role, but with butterfly McQueen's own unique capabilities, her talents, that special voice that she had. Here she is in a scene with Gregory Peck and duel in the sun. Now there are a whole series of black women who came into films via another medium who had been popular or who had begun careers in the theater on stage or in nightclubs. This is not a main McKinney. And when King Vidor was ready to make his first talking film, he selected an all black film, he was very interested in making an all black cast film. He had to convince the studio and in fact put his own money into it in order to make this film. And he found on May McKinney in the Cotton Club Chorus Line, she was 16 years old. And here she is with Daniel Haynes in hallelujah film which has become a film classic actually. And here she is, you can probably tell that she is the vamp and she is light skinned and has very little moral sense. This is not necessarily immoral, but certainly am moral. And she usually as the vamp does something to seduce the good young man. And she doesn't win out in this but the seduction takes place. And the triangle here is with the grid, black woman. And it's played in this film by Victoria spy v. And of course everything comes down. All right, because we're on a mannequin and gets killed before the end of the film. There was another all black cast film made in Hollywood that same year. Some directors were convinced that although white actors were having problems making the transition to sound, that the resonance of black voices would be much better for talkies. And this is this actor's first roll on the right. We're not going to talk about him today. But this is step in Fetchit in hearts and Dixie, and this is the good woman here dressed pretty much the way the original man he was. And she literally works herself to death for her husband. Now, this I just want to show you that night I mean, Kenny actually had a brief role with a an important black actor. It was not this film was not made in America was made in England. And this is Paul ropes and in Sanders of the river. But notice the native garb which recalls a sort of classic, The Tarzan, African in 1940 in 1940, known known Amina Kenny is bad woman again, in a film called Pinky with Jean crane. And she's also with Frederico. Neil in this film in a bit roll after 1934 and the Imitation of Life, in which a black woman played the role of the tragic mulatto. Hello, there.

Unknown Speaker  13:53
Let's see if I can go back one and see Yeah. This is Freddie Washington, playing with Louise beavers, who was her mother in imitation of life as the the young woman who wants desperately to pass and who rejects her race and her mother and her mother literally dies of a broken heart. That was the last time that a black woman actually was offered the role as the tragic malaria. This is a publicity still a fairly Washington. She also had a roll again with Paul Robeson in an independently made film, The Emperor Jones in 1933. Most of these very talented women were not able to sustain a real career in film, even if the film they made was extremely well received. Because the color problem and Lena Horne tell some interesting stories about that herself here's Pinky with Jane crane, a white actress playing the role of the tragic mulatto, with Ethel Waters so that Freddy Washington Nord anonyme, McKinney was able to get that job. She is again in the pinkie row. Ever waters came into film. She already had a reputation in the theater and on the musical stage. So she was a known quantity when she came into Hollywood, but she still was forced to play some of these major roles. Here she is with Jeanette MacDonald and a film called Cairo in 1942. But she played herself in Stage Door Canteen in 1943. And here she is as the good woman in the ultimate triangle with Lena Horn playing the bad woman, the vamp, and the battle here is over. Eddie Anderson, who was known in with Jack Benny as Rochester. Sorry, I want to go forward on it. EFA waters, went back to the theater, and made the member of the weighing on stage an extremely popular piece with Julie Harris. And they both took it to Hollywood. What's interesting about that particular film is that ever waters, because of her reputation, was able to make changes to insist on changes in the script, and talk to Carson McCullers about it and was able to change the character. She played in member of the wedding, she wanted the woman not to be a drinker, and not to be lustful, and she isn't if you've seen that film, and here she is with your Bryner and Joanne Woodward and adaptation of Sound and the Fury fourtner novel in 1959. No, Lena Horne was the first black woman to manage a contract with a major studio in Hollywood. I don't know whether you've seen her one woman show but she she's gotten a lot of this lot of these feelings about these experiences off her chest by talking about them with audiences. And one of the things that upset her most was when they were going to do a remake of Showboat. She said here I was under contract. I got on the boat train and went west and expected that I was going to be the tragic mulatto in the remake of showboat, and they had already hired Ava Gardner to do it. I think that's one of the things that she found extremely hard to accept. Here she is in the Duchess of Idaho. One of the ways that they handle Lena Horne in Hollywood was she said to pose her up against an alabaster tiller, where she could sing and have her scenes that when the film went south, they could just excise her scenes from the film. She's not the only actress who had that experience. But in 1943, she made two films both starring roles and here she is in cabin in the sky with Eddie Anderson. And here she is with Vance Waller and stormy weather. And her star in that film was Bill Bojangles Robinson. She was also in 1944 in the Ziegfeld Follies, in a 1945 and Broadway rhythm with Eddie Anderson. And here she is not posed against the pillar, but you can see that whole nightclub scene could be lifted out.

Unknown Speaker  18:50
And here in his latest 1969 She is still somewhat the tragic ladder although the love affair is consummated here, but it's okay, because the gunfighter dies. So there's no really no big problem about it. This is Dorothy Dandridge, one of the most beautiful women in Hollywood films in the 40s, late 40s and early 50s. She also came from the musical stage, and she is one of the few who actually received an Oscar nomination for a major role that is the starring female role not Best Supporting Actress. And I'm sure you know that no black actress has received an Oscar for the outstanding West actress role. Here Dorothy Dandridge is with the Nikolas brothers, one of whom she married in 98, this is 9041 sunvalley serenade and she's with We have Armstrong here and pillar to post in 1946. And in bright row with a very young Harry Belafonte his his first film, neither of these is a stereotypical role very unusual. They're both young school teachers. Well, I shouldn't say not stereotypical, he's the principal, and she's the teacher. So you can you can draw your conclusions about that one. But this is the role for which she was nominated as Best Actress, Carmen Jones, in 1954. And she is with Belafonte and Joe Adams in this film. Oh, she's with two other important actresses who also had had gone on to have roles in film. Diane Carroll over here on my right, and Pearl Bailey, is deadly in this film. You know, it was an adaptation of the opera Carmen, which had been made into a stage play as Carmen Jones and musical and then was adapted by Premier to film. Most of the singing roles were dubbed, Pearl Bailey is the only one who sings in her own voice in this film. And this is Ireland in the sun. Now there's an act there are two interracial love affairs or seem to be love affairs in this film. One is Harry Belafonte and Joan Fontaine, and he's made comments about how he could hardly touch her in the film. But John Justin, the British actor and Dorothy Dandridge actually have a relationship, marry, and live we think, as in Hollywood happily ever after. But the saving grace and all of this, of course, is that it's really an island. It doesn't have anything to do with mainland USA. That may have been why it was acceptable. Here she is in Porgy and Bess with Sidney Poitier and into mango with Curt Jurgens. But here she's the savage beauty or the kind of native Vamp I should say Donald Bogle, the black film critic whose work has, I think, been around for enough time now for people to get these five stereotypes in their minds. He called his historical interpretation of film, blacks and film, Tom's combs, mulatos, mammies and bucks. And he he discusses Dorothy Dandridge as a woman who, in a sense, lived out this problem of the tragic mulatto in her own life. She died very young, in her early 40s, from an overdose of sleeping pills. And I think that one of the major problems in her life was what to do with this career, which seemed to be going somewhere and never quite did. Other entertainers that came in to film Hazel Scott is here with Lena Horn, and Hazel Scott was usually posed with her piano, as horn was with her alabaster pillar. And here's the great Katherine Dunham, who also came into a couple of films but played in general played herself.

Unknown Speaker  23:27
That's a shot of Katherine Dunham in here is earth a kid whose first film was in the 50s called new faces. And Eartha Kitt did have a fairly well not a long career, but she did at least have a career in film. She's when she's in another caster here, which was originally about a Polish woman and was became in film, a black experience. Here she is with Sammy Davis Jr. and with Nat King Cole in St. Louis Blues. This is Diane Carroll and she was in the film Carmen Jones, but here she is, in a brief role in Porgy and Bess. And here she is in the split with Jim Brown during the period that we now call the blaxploitation period of the seven days. And this is what most people think was her best role in 1973. In the film Claudine, with James Earl Jones. Now some women came from just from the theater to Hollywood and ruby Dee is one of these. She traveled, in fact, in classical theater, and in in I remember seeing her in one of the great plays very early in the 50s. She was in a number of films here she is with the real Jackie Robinson in the Jackie Robinson story in 1950. And with this young man in take a giant step in 1960 A and in the the adaptation of Lorraine Hansberry is A Raisin in the Sun with Claudia McNeil who had come over from the theater. And here she is with Diana sands in that, that same film. She also played and Gone are the days with her husband, Ossie Davis is an adaptation of Pearlie victorious his play and in uptight with Julian Mayfield, and she worked on the script of this film. And one of the things that we don't get to see very often is black women actually being involved in the screenwriting process, or in directing her she is in bucking the preacher with Sidney Poitier and Harry Belafonte. What are the things that nobody complained about was noted that she wasn't in films with these very attractive men, but that she never really got close to them. That is the so called romantic scenes, never including any real romance. Now, there are others who came from the theater into film. And let me make a gigantic leap backwards here to tell you that Evelyn prayer was one of the stars of the Lafayette players in Harlem. And during that early period, Oscar Mia show, made films on the East Coast using those dramatic actors and actresses who were in close proximity to him and his shooting, because he was the only black filmmaker who started as an independent stayed as an independent, but whose career actually went over two decades, from the early 20s to the 40s. And Oscar me show was smart enough to use some of these people who had experience in the theater, not necessarily before the camera, but then Michaud didn't have any experience before the camera either. He just jumped into it. And when the Johnson brothers began making their films as early as 1916, and asked him for this novel, The homesteader he wanted to direct it even though he had never directed a film before. When they said no, he said, then I'll make my own films. And that's what he did. And this is Evelyn prayer in the homesteader. And here she is in the brute with another actor from the Lafayette players in this is Lauren, she Renault and Anita Busch, who started her own theatre company also appeared in films in a in two films that were made by an independent white film company. The Norman motion picture manufacturing company in of all places, Jacksonville, Florida. In the 20s, they made on about a half a dozen all black cast films, and Anita Busch was the star of two of them. One the Crimson skull and the other one, the Bulldog.

Unknown Speaker  28:07
Now, there were other companies that starred blacks in all black cast films, especially for black audiences in segregated theaters. And this is the Herald Picture Company, which was located in New York City. And this one is with Sheila guys, and was made in 1947. It's called Miracle in Harlem. Although Michelle attempted to show a, an alternative experience, that is a black experience that was alternative to what Hollywood was showing. He also used some of the, the notions of Hollywood. So here you have the woman that he billed as the CPMA West, the Freeman in a film called The Underworld, which he made in 1936. And new show wanted to show a really to depict mainly middle class characters and attractive black characters, was himself accused of doing some stereotyping. And here is his, what he called his, his Negro Harlow, Ethel, Moses in a publicity shot. And actually, I never saw a film with fmoS that looked anything like that. She played a school teacher in his film called God stepchildren in the 40s. And she wasn't draped this way. I can tell you, what you can see that that he is in his own way conforming to what was the notion of women in Hollywood films. This is a shot from Julie dashes film illusions. There are among the black independents, a group of very interesting black women who are Making films on both coasts, New York as well as Los Angeles. Julie dash is one from UCLA. And this is her film called illusions. What's interesting about this film is that there are two women who are central to it, the protagonist and this young woman who is a blues singer. And the notion in that film is that black women can control their own lives, even though they're exploited by the Hollywood system. This is a shot from a Yoko Qin zero who's makes her films in New York, this film is called hairpiece. And it's a short animated film, which has to do with the way in which black women have wanted to conform. And to make their hair behave the way Whitehair behaves in quotes. But the the end of the film is to show the variety of black female beauty which you see here. Better yet, I'm not going to show you any more slides, I want you to see the film, the film a different image, as I told you was completed in 1982. And it is a provocative account of a young black woman and her friendship with a young black man, which is threatened by his capitulation to peer pressure into the culture of sexism and racism. Now, she's gonna run the film, it's under an hour. And I'd like you, I'd like to hear some of your responses to that.

Unknown Speaker  31:52
Before I do that, do you have any questions about this sort of history of the world in three minutes? I just wanted to give you a sense, I know that that most of these are probably images that you have seen so many times before. That seeing them again is not going to change your, your your worldview. But yeah, do you have any questions?

Unknown Speaker  32:19
hairpieces or yoga, chin Zerah ch e f CI RA

Unknown Speaker  32:26
in a yoga is in Brooklyn. She's She's made several very interesting films, and we thought was going to end up getting a lot of money. Because she was picked up by Robert Redford to go out to Sundance and do some writing. And we thought that when she finished that script that you know, the 5 million bucks was going to be in her lap. And it is still not forthcoming. She's done another really lovely film on Seville, the dance teacher who was her teacher, a number of these women are extremely talented. She is a yoga is herself a dancer. But this animated film is is wonderful. I've shown it so many times. And even the men enjoy it. Because it does not eliminate men from this this picture. Yeah.

Unknown Speaker  33:24
Have you seen it? Well, the black filmmaker Foundation in New York did distributed now younger, maybe distributing it herself. But yeah, I give I give you what, whatever information I can about that. I do have any other questions. Okay, I wanted to say one thing about Louise beavers. You see her almost always in these, you know what, whatever she is with the kind of loyalty to the white mistress. But there was a film that was made in the 40s by a white filmmaker in Atlanta. And I've just turned up this film. What's exciting about this whole area is that some of these films are just surfacing. In films that we haven't seen, since they were stone, you know, the year they were released. And this film was called reform school. And Louise beavers becomes the director of this school. She runs this operation of these young men. And there is no big love business. There's no romance to it. She is like the warden. And she solves the problems of these kids. Now at the same time, she was in Hollywood, doing these things with the aprons and the head rags. She was actually having an opportunity with these independent films, to star in a film and show the kind of roles she could actually play that had something to do with what real women did. Okay here is a different image? guys what's up Day Is my Savior. Right You Right Evening She is where she is a seat

Unknown Speaker  47:17
mother needs to be he needs to be more macho

Unknown Speaker  47:25
eBooks are moving in that direction on this

Unknown Speaker  47:33
way because these are not always like to not say that was the case when she started out it was one of the big

Unknown Speaker  47:55
things and she and she was writing much more into the future

Unknown Speaker  48:02
anticipated and that it literally took on a life of its own so what was going on up there is something that had to be said as she was writing

Unknown Speaker  48:14
she had an enrichment

Unknown Speaker  48:20
know but it's it was the her first attempt at that kind of more narrative is the first car

Unknown Speaker  48:32
it was sort of my lap and see me

Unknown Speaker  48:37
think about that just did what the nurse she could have called your children come back to you

Unknown Speaker  48:47
it really is from the perspective of these women are very concerned with the way in which the female child grows

Unknown Speaker  49:00
up and this is

Unknown Speaker  49:05
the harshness of the experience and I made a video on my challenges is going to she was pregnant they thought for sure sounds just now there aren't some of the some of the women working we're doing some really kind of add on guard. You know this is

Unknown Speaker  49:56
this is fairly traditionally inclusive But but they range in, in variety just as the individual students heavily calm to family centers in New York

Unknown Speaker  50:18
has done some very interesting

Unknown Speaker  50:19
animals and I taught at Brown to give a slaughter a few years ago and some of you know that you'd be interested in reaction this was a group of women they knew in Zagreb connected with the University for a very young very articulate

Unknown Speaker  50:38
in terms of science and comes with understanding

Unknown Speaker  50:46
and they are made up by chemists in various areas of social science and they like this kind of conditions for the protagonist in

Unknown Speaker  51:09
schools and around is

Unknown Speaker  51:12
a widely used quite light field and she's philosophy

Unknown Speaker  51:20
and she's married to an artist who's completely

Unknown Speaker  51:25
certainly the antithesis of her in

Unknown Speaker  51:27
terms of music three fold

Unknown Speaker  51:39
increase in the number and they know how about money they don't want to get out there's no urban violence or anything else to it and they were it was extraordinary it just appeared

Unknown Speaker  52:02
because they they didn't feel anything that

Unknown Speaker  52:08
prevents your to be read by perhaps any woman or as someone who says find any money you know what I would say to him, What exactly did you say what is your spirit says because very they are very well when it comes to politics sexual Yeah, I took two bites on this one by Charles Murray which is really interesting interpretations of experimental science so, I think you mentioned the Shogun

Unknown Speaker  53:44
film studios,

Unknown Speaker  53:47
in your report in December for one of your people quite Yes, you know, sort of from UCLA. And they smoked here with a talk through a way and I actually understood what was going on. But I had an interpreter and like, explain to them, asking them

Unknown Speaker  54:11
absolutely. I couldn't get any sort of audience response, but all we did was a flaw. And then they got up and they went back to getting your shooting or whatever else. They were doing the studio, and I have to see three films and the various stages of production. And it was kind of a whole day extraordinary experience. I never had any sense of what was going on. But I showed it next thing, students, three students there I actually got some response, but they're going to use to react, used to get a classroom students to sort of interact And so it's quite a third time I show that it really was significant they were no more human form than the audience so they were they were very open to see if I'm adventurous in the mornings here to just release relation she looked at me and I was wrong are still so many schools that one has to implement you do exist in society unless more people change and I'm being persuaded by that to make a change certify

Unknown Speaker  57:21
to the only way to change things is a grounded person those episodes differently and then others might follow suit and you might be able to find along the way like those the five teams in front of us and stuff just to comment on what we learned

Unknown Speaker  57:40
is that maybe fortunately, she can show that side,

Unknown Speaker  57:43
anybody's does have to make a compromise but that she can judge who she can show that side to him that she can possibly make influence on people's lives

Unknown Speaker  57:54
to change

Unknown Speaker  57:55
perception especially. In terms of fair, I think that it's similar to some other cultures and stuff but this is not necessarily the way to always look at things with some sort of changes. In our situation, Christ crisis and

Unknown Speaker  58:22
I just there's a sense of understanding, you know, the panelists, and so, some of these things, that Malthus was really trying to deal with him, he can begin to resist that. I really want to send that to you soon. Because wrap him up and he deserves his friend, which I think is that that the trust will support those friends Yes.

Unknown Speaker  58:56
Set up so that you can only get that from my master class we have to be

Unknown Speaker  59:18
invaded in society. This news was the first person to do to do that in our institute of the Indian society. Everything is a lot of perseverance, protagonists sets with their legs spread out that she understands what route policy means. How I'm starting to develop me to me there's a half a dozen that is really expanding to full mental activity. I don't think he's trying to insert his thoughts and women else's experiences that's the beginning. That's part of

Unknown Speaker  1:00:37
it. I think you're right. I think that when we when we all read Invisible Man, you know, we all saw it is a wonderful statement about men in our society, but to include us as humans, no human is really what the Invisible Man is. And I was thinking about it yesterday, because it seemed to me at first, she's busy, you know, playing in your car to her, she may be concentrating on something, but she's not concentrating. You know, there's a time when she begins to do that. And then you see her through this with general understanding, I think the right person No, not in the beginning.

Unknown Speaker  1:01:23
It's very serious that she'll say, Yes, I understand

Unknown Speaker  1:01:29
our wishes, we're doing them and he's got a jogger, who's from those cards while he's playing there. And she's still with this notion of solitaire and you know, this idea that she can do it all herself. And the thing I think that that it's so important to realize is, you know, what she says about now is that it's that time they actually do make it to communicate with each other. She does that friendship between what she sees and so on. So, you know, this kind of opening up now, I've shown this to students, and I want you to know that they want to relate and they interpret and many of us try to interpret that last year you know, the freeze frame at the end of the young man each other that's clearly an indication that there isn't an alarm when we get together so you know, there's a small sense of the sort of Hollywood stuff I mean, we can neatly you got to get rid of what's wrong so that I think this is very open I don't think those problems are

Unknown Speaker  1:02:54
solved yet.

Unknown Speaker  1:03:17
Yeah, let me write it out for you I was looking for Oh, you got this part. That was tough. The first one

Unknown Speaker  1:03:31
and I do have

Unknown Speaker  1:03:34
back in my room. I have heard

Unknown Speaker  1:03:36
address and phone number. Oh, so you can you can do that but it's back if Okay, so if you like, do you want to give me I could call you on the morning but I could.

Unknown Speaker  1:03:53
I could get to you. I can find a larger Oh, okay, because I'm going to give her distributed