Entrances of All-Time
|Movie Title/Year and Film Character with Scene Description|
Doc Hollywood (1991)
'Lou' / Vialula
In director Michael Caton-Jones' PG-13 rated romantic comedy, hot shot Washington DC emergency-room physician Dr. Benjamin Stone (Michael J. Fox) was planning to take up a cushy reconstructive plastic surgery business in the lucrative town of Beverly Hills in California.
On the way to his new work driving cross-country to the Los Angeles area, Stone careened off the road in his 1956 Porsche Speedster in the town of Grady, Missouri, and destroyed a white picket fence belonging to small-town judge Judge Evans (Roberts Blossom). Stuck in the town, he was ordered by the judge to work 32 hours of community service in the amiable, eccentric, and quaint burg. Dr. Stone feared his fate as he said to himself: "I'm in the Twilight Zone." He found a 'bed' for the night in the local clinic's operating room. Soon after, however, Stone was picked up by Mayor Nick Nicholson (David Ogden Stiers) and taken to his lakeside country lodge for the night.
A welcoming committee of ladies in the home, including the town's café proprieter/waitress Lillian (Frances Sternhagen) and her two friends Maddie (Helen Martin) and Violet (Amzie Strickland), offered him home-made meals, moonshine, and a friendship quilt for warmth - supposedly, a legend stated that "the first person to sleep under a friendship quilt will meet the one they're gonna marry." Stone immediately fell asleep and began to dream of a nude female swimming in a lake in golden sunlight.
The next morning near the cabin, while sitting next to a lake wrapped in the friendship quilt, he became entranced by the sight of attractive Lou (Julie Warner) who was skinny-dipping there. She emerged unabashedly from the water like the goddess Aphrodite in front of him, and greeted him with a friendly "hello." When he stuttered, she asked: "Is something wrong?" He said there was nothing wrong, adding: "I'm a doctor." She matter-of-factly replied: "If you're a doctor, I don't have anything you haven't seen before." As she walked away after putting on her dress, she added: "You can blink now." He soon learned she was a single parent and the town's ambulance driver.
Slowly, fish-out-of-water, big-city slicker Dr. Stone began to adapt to the slow-motion pace of the town and its quirky inhabitants, becoming the local practitioner at the town's hospital while falling in love with Lou.
Dr. Hannibal Lecter
This Best Picture winner was most memorable for novice FBI agent trainee Clarice Starling's (Jodie Foster) introduction scene to the notorious, satanic, cannibal-psychiatrist Hannibal Lecter (Anthony Hopkins).
She took a tense walk along a dank row of medieval, high-security underground prison cells on her left to meet him. Before seeing him for the first time, she was confronted by Lecter's neighboring cell-mate named Miggs (Stuart Rudin), who mashed his face against the bars and hissed charmingly with some verbal abuse: "I c-can sssmell your c--t!"
The brilliant Lecter was imprisoned in a windowless, glassed-in, dungeon-like cell, decorated with his own charcoal or crayon drawings of European cityscapes.
Filmed from her point of view, the notorious psychiatrist and insane criminal monster made a dramatic film entrance - he first appeared standing, ironically still and at attention in his cell, watching her with twinkling, chillingly-dead, blue eyes. His hair was closely-cropped and his head was tilted slightly in her direction. He urged, with a slightly mocking tone, to have the clever, intelligent, but inexperienced Clarice step closer to his cell to show him her ID credentials:
This was the follow-up film to James Cameron's original hit film The Terminator (1984).
In this classic film entrance, electrical arcs of blue-white light snapped and sparked behind two parked tractor-trailers in an all-night truck stop.
A global or spherical time-machine delivered the figure of a naked man, a Terminator (Arnold Schwarzenegger) - a replica of the Terminator model T-800 from the original film - with a muscle-bound frame and a perfect physique.
He scanned his surroundings without any emotion, and his computerized brain registered the results of a digitized, electronic scan of the Harley-Davidson motorcycles parked outside a bikers' hangout called The Corral.
In the amusing scene, he calmly strolled stark-naked into the country-western cafe to do further scans and make a MATCH for clothing, requesting calmly from the bearded pool player: "I need your clothes, your boots, and your motorcycle" before assaulting him and other resistant bikers. He engaged in a brief bar fight to obtain his needs.
In the next scene, a direct cut, the Terminator was already outside - from a boots-eye view. To the tune of George Thorogood's "Bad to the Bone," the camera panned up showing him fully dressed after 'borrowing' leather clothes from a bruised biker.
He snatched a shotgun and sunglasses from another biker before cruising away.
As in the first film, there were two back-to-back entrances from the future.
A blue-white glare and more crackling electrical arcs appeared in the air. Another menacing, lean naked cyborg - the second Terminator time traveler, a newer T-1000 model sent from the future, attacked an investigating policeman.
He then changed into the man's uniform and sat in his squad car, searching on the computer for the object of his mission - John Connor (Edward Furlong), living with his foster parents in Reseda, California.
29 year-old Sarah Connor (Linda Hamilton) was revealed in sharp contrast to her character from the first film. She was more tough and vigilant, and shown as a muscle-bound warrior-woman.
Now in the year 1995, she was first seen doing sweaty pull-ups in her Pescadero State Hospital cell, where her doctor, Dr. Peter Silberman (Earl Boen) introduced her to his pre-med students through her door's window. She greeted him with the intriguing question: "How's the knee?" (it was learned that she had stabbed him in the kneecap with his pen a few weeks earlier).
Sarah had been institutionalized for acting delusional and insane over thoughts of an impending nuclear apocalypse (flash-forwarded and seen in 1997). She had been arrested for attempting to blow-up Cyberdyne Systems (and its SkyNet labs) that she forecast would lead to the world's annihilation.
The premise of the action-adventure film was that the wealthy entrepreneur and InGen Corporation CEO John Hammond (Richard Attenborough) of a wild dinosaur theme park off the coast of Costa Rica needed approval for its opening. A group of scientists and investors were helicoptered to the biological preserve, where they boarded jeeps for a tour.
The view of the first dinosaur was delayed with added suspense - with reaction shots of the faces of paleontologist Dr. Alan Grant (Sam Neill) and his girlfriend/paleobotanist Dr. Ellie Sattler (Laura Dern). They stood up in the jeep and marveled at the sight of a lumbering beast - off-screen.
Finally, the camera revealed the first wondrous sight in the park of a tall, long-necked, vegetarian/herbivore Brachiosaurus (or Brontosaurus) chewing on high tree-branches.
The T. Rex
The entrance of the monstrous T. Rex was prefaced by the chaining of the leg of a bleating goat to a stake in the middle of a field in order to tempt the dinosaur to appear.
Later, during a nighttime torrential rainstorm, there were ominous booms heard - possibly the power coming back on-line, or the thunderous footsteps of the approaching monster. Two plastic water glasses on the dashboard of the jeep displayed vibrating water ripples.
The goat suddenly stopped bleating and had disappeared from the stake, causing teenage computer hacker Lex (Arianna Richards) to wonder: "Where's the goat?"
That cued a disembodied goat leg to startlingly drop onto the Plexiglass roof of the Explorer jeep. Off to the side of the road, the T. Rex appeared, gulping down the goat in a single swallow.
The T. Rex, sensing more prey, then proceeded to harrass the two jeeps, dominantly staking its claim by roaring frighteningly.
Steven Spielberg's unanimously-praised historical epic presented an uncompromising view of the Holocaust. In the opening sequence set in a Krakow hotel room, a mysterious, unknown man (with face unrevealed) poured himself a drink, laid out ties on various silk suits on his bed, chose a fancy cufflink, knotted his tie, dressed himself in impeccable fashion with a folded handkerchief in the pocket of his double-breasted suit, counted out lots of money from his bureau for the evening, and pinned, in close-up, a gold, Nazi Party button (with swastika or Hakenkreuz) on his lapel.
The camera followed from behind the slickly-dressed gentleman as he entered a swanky nightclub in the Nazi-occupied city of Krakow and slipped bank notes, the first of many bribes, to Martin, the maitre d' (the film's co-producer Branko Lustig, an Auschwitz survivor) for placement at a fancy table. The handsome, majestic, lavish-spending, slickly-dressed, man-about-town playboy with an eye for the ladies was the authoritative, aristocratic-looking Oskar Schindler (Liam Neeson), not yet identified by name. The first view of Schindler's face was from the side after he had been seated. He was a would-be war profiteer who was about to wheel and deal his way into the pocketbooks of SS officers.
With sharp observational skills, he watched as SS Officers at another table were photographed - he sized up the power elite in his high-stakes gamble to cultivate their friendship. He noticed a conspicuously-empty table in the front of the club with a "RESERVE" card on it. With a hand held up with a wad of bills, the bon-vivant bought a round of premium drinks for the top brass (and their female companion) who soon occupy the front-and-center table, and persuaded them with intimidating charm to join him at his table for more drinks. The group of people surrounding Schindler swelled to include many more SS officers paired up with cabaret entertainers/dancers - the gracious host purchased endless plates of food, caviar, and French wines for the rowdy guests in his party. Schindler's self-promotion was successful - the separate tables in the club merged into one.
Soon, the scheming and manipulative Schindler prominently insinuated himself and became the center of the party - he rubbed shoulders with everyone in the room to make a name for himself - the first step in his pragmatic business scheme to become a war profiteer and capitalize on the changing political environment.
Even a top colonel, Scherner, who was later brought to the RESERVE table, gravitated to him. The maitre d' authoritatively announced the name of the flamboyant man: "That's Oskar Schindler!" Schindler had his pictures taken (with a big camera with garish flashbulb) with all the top brass, the showgirls, and other women surrounding him.
Ed Wood (1994)
The first view of washed-up, aging horror star Bela Lugosi (Martin Landau) found him lying in a coffin in the Hollywood Mortuary. He was trying it out for his latest touring production of Dracula.
He was complaining to the salesman:
He angrily climbed out of the constrictive coffin and stomped away from the store.
The Mask (1994)
In a jaw-dropping scene under the opening credits, timid bank teller Stanley Ipkiss' (Jim Carrey) first spotted bank customer Tina Carlyle (Cameron Diaz in a star-making entrance in her screen debut) - in the bank's lobby, running in from a drenching rainstorm. Stanley's work buddy Charlie (Richard Jeni) tipped him off: "Hold the phone. Killer at 3 o'clock." The entrance was so epic that it reportedly launched her entire film career.
Wearing a low-cut, shape-hugging red dress under a black jacket, she paused to bend down to adjust her lacy footwear before straightening up as the camera slowly panned up her body. The image revealed her curvaceous and shiny upper chest before she enticingly shook her rain-drenched mane of long blonde hair back and forth. She was at the bank to open a new account - and as she entered a bank office, she removed her jacket and sat at Stanley's deskside, where she touched his tie and flirted with him. The camera took full advantage of views of her breast cleavage. In fact, she was there to set up Stanley as a patsy and was using a hidden camera to take pictures of the vault -- her gangster-boyfriend was planning a bank heist.
Later in the film, Tina made a second eye-catching entrance as a sexy blonde night-club singer at the Coco Bongo Club. When the curtain parted, she pointed at the audience, then slinkily walked down steps, took a microphone, and sexily sang "Ain't I Good to You?" to the star-struck patrons.
French Kiss (1995)
Toronto physician Charlie Brewster (Timothy Hutton) told his fiancee, neurotic and jilted teacher Kate (Meg Ryan), that during a business trip to a medical conference in Paris, he'd met and fallen in love with a French "god-dess" - and the wedding was off.
Although she feared flying, she flew to Paris to win him back - and on the plane met an overbearing French petty crook-hustler named Luc Teyssier (Kevin Kline), who eventually became her love interest.
First though, at the swanky Hotel George V where Charlie was staying, Kate saw Charlie making out in the hotel's descending glass elevator with his new love - the devastatingly sexy, long-haired French beauty Juliette (Suzan Anbeh), who wore a low-cut, short red dress.
Menacing music underscored Kate's dismay at how gorgeous the woman was. As they romantically held each other and kissed passionately, Kate finally fainted from the shock.
In the pre-title credits sequence of this 17th official Bond film, British secret agent 006 Alec Trevelyan (Sean Bean) worked alongside British agent 007 James Bond (Pierce Brosnan) during an assignment to destroy a Soviet nerve gas factory at the Arkangel Chemical Weapons Facility, but the mission went awry and Trevelyan was executed (he called out: "For England, James" as Russian General Ouromov (Gottfried John) pulled the trigger).
Later in the film, however, Trevelyan revealed himself as the villainous head of the Janus group in a St. Petersburg, Russia scrapyard littered with broken-down statues and busts of former Soviet leaders. Within the maze of bronze objects, a dark and backlit figure emerged:
Bond was shocked as he looked upon the half-scarred face of traitorous defector Alec Trevelyan who had faked his own death ("Back from the dead"), and sneered as he greeted his former friend who was so doggedly loyal to MI6 and its missions.
Richard III (1995, US/UK)
King Richard III
In the modern day setting of late 1930s fascist England, murderously power-lusting Richard of Gloucester (Ian McKellan) made a dramatic entrance in the opening of the film.
He was breathing heavily through a gas mask like Darth Vader in Star Wars (1977).
It was a time of civil war between the house of York (Richard's side) and the house of Lancaster, when he drove a tank through Lancaster headquarters and killed King Henry VI (Edward Jewesbury) and his son with point-blank gunshots.
Detective Lt. William Somerset
Before the opening credits, the first scene introduced the meticulous character of retiring veteran Det. Lt. William Somerset (Morgan Freeman) going about his orderly and precise morning routine in his furnished bachelor apartment.
He carefully tied his tie in front of a mirror, then methodically picked up his keys, gold homicide badge, switchblade knife, pen, and glasses case -- all laid out in a row.
He removed a fleck from his sportscoat before picking it up from his neatly-made bed, and then shut off the light on his nightstand where there was a wooden, pyramidical metronome (used as a sleep aid to drown the city's noise by its rhythmic ticking, and a symbol of the passing of time).
Sociopathic serial killer John Doe (an unbilled Kevin Spacey) voluntarily turned himself in at the police station in a startling, last-reel revelation.
He walked in, yelled out repeatedly to rookie Detective David Mills (Brad Pitt): "DETECTIVE!" and then admitted:
Obviously he had just committed another crime because his shirt was spattered with blood.
With his hands out, he was surrounded by cops with guns drawn as he was ordered to kneel and then lie prostrate on the floor. As he obeyed and was lying on the floor, he calmly asked: "I'd like to speak to my lawyer, please." He had also cut off the tips of his fingers, making it impossible to find any usable prints in his apartment.
Toy Story (1995)
John Lasseter's and Pixar's/Disney's remarkable film was the first computer-animated full-length feature, about toys that came to life when humans weren't around.
Cowboy doll Woody (voice of Tom Hanks) with a pull-string voice worried that he was being replaced by "a surprise present" pulled out from a closet during human boy Andy Davis' (voice of John Morris) birthday party being held downstairs. All of the worried older toys were conducting reconnaisance to learn about the identity of Andy's new presents. Andy's friends rushed upstairs into his bedroom, where they pushed Woody off the bed, and deposited the packaging of Andy's new toy on the bed - but then everyone was interrupted and called downstairs.
About 15 minutes into the animation, the first full view of the new toy occurred. Woody climbed up onto Andy's bed just as the camera panned up the toy's stout legs - standing tall in front of Woody. Andy had received a jut-jawed, macho spaceman action figure (with a plastic bubble helmet) named Buzz Lightyear (voice of Tim Allen), who believed he was an actual space ranger.
Woody watched as Buzz scanned Andy's room (reflected through his helmet) and then unsuccessfully tried to contact Star Command:
When there was no answer, Buzz turned and saw the damaged toy packaging of his spaceship on Andy's bed, and exclaimed: "My ship! Blast! This'll take weeks to repair." Then he made a entry in his Mission Log about his mission:
Buzz thought he was on a mission from the Intergalactic Alliance, where he was stationed in the Gamma Quadrant of Sector 4. He was planning to return to his home planet. Suddenly - after the words "intelligent life," Woody popped into his view from the side.
(chronological, by film title)
Introduction | 1920s-1935 | 1936-1939 | 1940-1945 | 1946-1949 | 1950-1955 | 1956-1959 | 1960-1965 | 1966-1969
1970-1975 | 1976-1979 | 1980-1985 | 1986-1989 | 1990-1995 | 1996-1999 | 2000-2005 | 2006-Present