Greatest Movie
Entrances of All-Time


1950-1955


The Greatest Movie Entrances of All-Time
Movie Title/Year and Film Character with Scene Description
Screenshots

D.O.A. (1950)

Frank Bigelow

In the striking opening sequence during the credits, one of the greatest of all time, an individual was followed by the camera - face unseen - as he determinedly proceeded down the long hallway into the homicide division office of a police station. He was there to seek the "man in charge" and to report a murder ("I want to report a murder") to the homicide chief.

He was asked the location of the murder and when asked: "Who was murdered?" the camera finally revealed the protagonist: small-town accountant Frank Bigelow (Edmond O'Brien), his face sweaty, his tie loosened and collar disheveled, and his suit caked with dirt.

Frank paused for a long minute, and answered shakily: "I was."

He then related, in flashback, how he had awakened and discovered that he'd been poisoned by a "luminous toxin" called iridium and had a week to live due to the radiation poisoning - only a short time to try to untangle the events behind his imminent demise.



Rashomon (1950, Jp.)

The 'Raped' Wife

In Akira Kurosawa's landmark film in cinematic history, set in 12th century feudal Japan, a 'raped' wife (Machiko Kyō) was one of the four main characters who all told incompatible, contradictory tales of the same 'rape' and murder.

She was first (chronologically) seen concealed under a large hat and veil. The rapist/bandit Tajōmaru (Toshirō Mifune) watched from the dense forest as she was being led on a horse by her samurai husband (Masayuki Mori).

When the bandit glimpsed her bare feet and the camera panned up to partially reveal her face through the open veil, he was awestruck by the sight. He recalled:

I caught a glimpse and then she was gone. Maybe that's why I thought I saw a goddess. At that moment, I decided to capture her, even if I had to kill her man, but if I could have her without killing, all the better.

The bandit began to chase after them to confront them. He lied to the husband and led him into the woods where he attacked him (and tied him to a pine tree).

He returned to the wife where he watched as she fully opened her veil to him, and then told her that her husband had taken sick.

When she looked at him with "frozen eyes," he changed his feelings about her husband: "I envied the man and I suddenly hated him."




Sunset Boulevard (1950)

Joe Gillis

Norma Desmond

The film opened with a voice-over narration read cynically and crisply in a film-noirish style, by a dead man - hack screenwriter Joe Gillis (William Holden).

Motorcycle officers, followed by police cars with sirens blaring, rushed to a mansion in Beverly Hills where they found a dead body floating face down in a swimming pool.

...You see, the body of a young man was found floating in the pool of her mansion - with two shots in his back and one in his stomach. Nobody important, really. Just a movie writer with a couple of 'B' pictures to his credit. The poor dope! He always wanted a pool. Well, in the end, he got himself a pool - only the price turned out to be a little high.

Shortly afterwards, in a flashbacked scene set six months earlier, Joe had met has-been, reclusive silent film idol Norma Desmond (Gloria Swanson) in her decaying mansion. She was wearing black house pajamas with a leopard-patterned scarf wrapped like a turban around her head.

He mocked her: "You used to be big." She replied: "I am big. It's the pictures that got small."


The Day The Earth Stood Still (1951)

Gort

After a huge flying saucer landed on the mall in Washington, DC in 1951, a humanoid alien visitor Klaatu (Michael Rennie) emerged down a ramp.

The strange visitor was followed to everyone's amazement by his 10 foot tall menacing robot protector named Gort - who had the ability to zap (melt) weapons or tanks with the disintegration laser beam-ray behind his visor.

[The film was remade in 2008 by director Scott Derrickson, starring Keanu Reeves as Klaatu.]


Strangers on a Train (1951)

Bruno Anthony
Guy Haines

The opening sequence introduced the duality of the two 'strangers on a train' and a plan to "swap murders" - the two characters were:

  • the villainous psychotic playboy character Bruno Anthony (Robert Walker)
  • professional tennis ace Guy Haines (Farley Granger)

They had a 'chance' meeting on a train enroute from Washington DC - it was a cleverly-choreographed sequence in which the two sets of the strangers' shoes were highlighted before they met.



Singin' in the Rain (1952)

Dancer

In an extraordinary scene, while Don Lockwood (Gene Kelly) was singing and dancing to a fantasy number - a 'show within a show' titled "Broadway Rhythm," a woman's long shapely leg abruptly appeared on the screen. It was dangling and balancing the straw hat from his head on an upturned foot.

His eyes and the camera followed the leg up to the figure of a seductive Dancer (Cyd Charisse), a gangster's moll with a Cleopatra haircut. Wisps of cigarette smoke emanated from her mouth - while her striking leg raised almost 90 degrees, tantalizingly.

He had met the girl of his dreams, a beautiful, bewitching exotic nightclub performer and city vamp, looking like vixenous silent star Louise Brooks. She was wearing a short, gloriously sexy green dress with matching green high-heels, and had a long cigarette holder in her hand. She left the table where her silver dollar-flipping, scar-faced gangster boyfriend (resembling actor George Raft in Scarface: The Shame of the Nation (1932)) sat with two mugs.

She danced provocatively around him, shaking her hips and blowing cigarette smoke in his face. She removed his glasses and hat, steamed up the glasses with her breath and wiped them on her thigh, and then kicked away both his hat and glasses. She placed her long cigarette holder in his mouth.

They continued dancing sensuously close together, and she began to kiss him. But she was lured away by the sight of a thick, sparkling diamond bracelet, held out by her gangster boyfriend's hand.




Gentlemen Prefer Blondes (1953)

Lorelei Lee
Dorothy Shaw

Marilyn Monroe (as Lorelei Lee) and Jane Russell (as Dorothy Shaw) burst onto the screen in sparkly red and white costumes (against a blue backdrop).

There were singing the opening number: (We're Just) Two Little Girls From Little Rock.

Rear Window (1954)

Lisa Carol Fremont

Photographer L. B. "Jeff" Jefferies (James Stewart) was dozing off in his apartment, immobilized with a cast on his broken leg.

Earlier in the film, he had talked to his sharp-tongued, visiting nurse-therapist Stella (Thelma Ritter) about his girlfriend/fashion model-designer Lisa Carol Fremont (Grace Kelly). He was complaining about how she was too much of a "Park Avenue" woman - too rich, "too perfect," spoiled, sophisticated and incompatible for his lifestyle as a globe-trotting, high-risk, ultra-masculine photographer.

In her famed film entrance, Lisa's shadow was first visible as it slowly rose up on Jeff's face as she approached (seen in close-up from his POV), bent over, and then lovingly kissed him.

She roused and awakened him from his sleep - very stylish, elegant (with bright red lipstick and pearls), lovely, and blonde.


The Night of the Hunter (1955)

Rev. Harry Powell

This mid-50s noir had one of the creepiest introductions in film history.

The camera tracked a Model T driven down a country road by a sinister, crazed, malevolent, black-cloaked, wide-brimmed and hatted 'Preacher' Harry Powell (Robert Mitchum), one of the 'false prophets.'

In a chilling, perversely evil and memorable monologue to the Lord, the killer-evangelist with borderline sanity, glanced heavenward and delivered an insane prayer:

Well now, what's it to be Lord? Another widow? How many has it been? Six? Twelve? I disremember. You say the word, Lord, I'm on my way...You always send me money to go forth and preach your Word. The widow with a little wad of bills hid away in a sugar bowl. Lord, I am tired. Sometimes I wonder if you really understand. Not that You mind the killin's. Yore Book is full of killin's. But there are things you do hate Lord: perfume-smellin' things, lacy things, things with curly hair.


Greatest Movie Entrances of All-Time
(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


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