1:05:01
One of they daft collectors offered
me five pounds for a guillemot's egg.
1:05:08
I know just where it is.
1:05:15
(Christie) As we move
into the final sequence,
1:05:19
we're moving back into melodrama,
1:05:21
because the figure of Peter Manson,
who has lost his son,
1:05:25
is not a figure who is going to
move into the future.
1:05:28
He belongs too much to the island.
1:05:32
He opposed his son's wish to leave
1:05:35
and now he's going to
make a gesture
1:05:37
which will lead to his own death.
1:05:40
He claims that he's going to go
and find an egg
1:05:43
because one of the economic features
of island life
1:05:47
was that islanders
were often commissioned
1:05:50
to find rare eggs for egg collectors
1:05:53
and he thinks he should
make some money before he leaves.
1:05:57
But the larger movement of the film,
1:06:00
the sense of its tragic conclusion,
1:06:02
means that he's going to his death as
we see him head up this Ionely road.
1:06:06
It's an astonishing shot:
As this tiny figure disappears,
1:06:09
his dog breaks free,
1:06:11
and races after him.
1:06:19
Michael Powell knew, as he finished
his film, that there was no guarantee
1:06:24
that the film would achieve
any kind of immortality,
1:06:30
although it had meant so much
to him and the team who made it.
1:06:32
And he wrote at the end of his book,
1:06:34
a book written to ensure that
the film reached a wider public,
1:06:37
about an old cook
in their family,
1:06:41
who had the perfect answer
to those who wanted the last word.
1:06:45
(Day-Lewis) We once had an old cook,
1:06:48
a great hand at elaborate pastries.
1:06:51
I watched her in the kitchen putting
the final touches to a huge pie.
1:06:54
Vine leaves, scrolls
and curly bits of pastry,
1:06:58
all brushed over with a feather
dipped in yolk of egg.