Entrances of All-Time
|Movie Title/Year and Film Character with Scene Description|
While an unsuspecting Marion Crane (Janet Leigh) showered in her Bates Motel room, a shadowy, grey tall figure entered the bathroom. Just as the shower curtain completely filled the screen - with the camera positioned just inside the tub, the silhouetted, opaque-outlined figure whipped aside (or tears open) the curtain barrier.
The outline of the figure's dark face, the whites of its eyes, and tight hair bun were all that was visible - "Mrs. Bates" wielded a menacing, phallic-like butcher knife high in the air - at first, it appeared to be stab, stab, stab us - the victimized viewer!
The piercing, shrieking, and screaming of the violin strings of Bernard Herrmann's shrill music played a large part in creating sheer terror during the horrific scene - the string instruments started 'screaming' before Marion's own shrieks.
Marion turned, screamed (her wide-open, contorted mouth in gigantic close-up), and vainly resisted as she shielded her breasts, while the large knife repeatedly rose and fell in a machine-like fashion.
After "Mother" had disposed of Marion, she turned abruptly and left her to die on the floor of the bath tub.
The build-up to the introduction of the famous secret agent James Bond (Sean Connery) in the fancy gambling casino, Le Cercle (Les Ambassadeurs, London) Club, was established with over a dozen different camera angles before Bond's face was actually seen.
He was playing cards at one of the chemin de fer gaming tables against a beautiful, wealthy and sexy brunette who was losing named Sylvia Trench (Eunice Gayson). Their conversation was memorable:
In the film's most unforgettable sequence, Bond awakened to the sound of a girl's voice singing the calypso song "Underneath the Mango Tree."
And then on the beach rising Venus-like from the water
with giant seashells, Bond had his first view of Honey Ryder (Ursula
Andress), an innocent, voluptuous island girl/diver wearing a sexy,
white bikini and hunting knife.
At a desolate Harith well at Masruh (belonging to a rival Bedouin tribe), Tafas drew up water at the start of one of the longest, most memorable screen entrances in film history.
A dust cloud and then a tiny ghostly speck appeared through shimmering, mirage-like heat waves on the desert horizon - Lawrence (Peter O'Toole) feared it was "Turks." The ominous image, more mirage than real, steadily enlarged and grew into a human being as it came closer and closer.
Tafas, Lawrence's escort, was shot down in cold-blood by the black-robed Bedouin for drinking at the well owned by a rival tribe. Through this ugly, ferocious act of ancient Bedouin tribal warfare, a fearless Lawrence was introduced to black-clad Sheik Sherif Ali Ibn el Kharish (Omar Sharif) on camel-back.
Their conversation was brief:
Dolores 'Lolita' Haze
Middle-aged Professor Humbert Humbert's (James Mason) first look at young nymphet Lolita's (Sue Lyon) youthful figure was impossible for him to forget. She wore a two-piece skimpy, flower-patterned bikini, and she sported heart-shaped sunglasses and a broad-brimmed, feathered straw hat while sunning herself on a blanket laid on the rear lawn.
Her mother Charlotte Haze (Shelley Winters) continued babbling on, oblivious to Humbert's smitten, bedazzled look and immediate infatuation:
Humbert quickly reconsidered her offer to rent a room for "something nominal, let's say, uh, two hundred a month... including meals, and uh, late snacks, etcetera...uh, you couldn't find better value in West Ramsdale."
Charlotte was curious about what clinched the deal for him to move into the house: "What was the decisive factor? Uh, my garden?"
Avoiding the truth, Humbert replied, tongue-in-cheek with a clever double entendre: "I think it was your cherry pies!" The scene ended on another long stare from Lolita.
President Muffley (Peter Sellers) consulted with Dr. Strangelove (Peter Sellers in his third role), a wheelchair-bound German (ex-Nazi) nuclear scientist and U.S. weapons strategist/director of weapons research and development, about the Doomsday Machine.
Strangelove whined with a German accent: "A moment please, Mr. President" as his dark shape was wheeled into view.
With thick dark sunglasses, Strangelove also had a black-gloved mechanical, robotic right hand which shakily held his cigarette.
At the Fountainbleau Hotel in Miami, James Bond (Sean Connery) was keeping an eye on rich, greedy, gold-smuggling villain Auric Goldfinger (Gert Frobe). He first angered Goldfinger by disrupting and ruining his card-shark scam against a gin-rummy opponent.
While he was seducing and romancing Goldfinger's pretty blonde assistant/escort Jill Masterson (Shirley Eaton) in his hotel suite, Bond momentarily went to the refrigerator for more Dom Perignon champagne ("passion juice").
He was knocked unconscious with a karate-chop to the neck from behind (a hand was first seen).
It was delivered from a shadowy figure wearing a bowler-hat -- the signature look of Goldfinger's mute Korean henchman Oddjob (Harold Sakata).
The most improbably-named Bond girl in the history of the film series was introduced in this memorable entrance scene.
Appearing first as a blur above a tranquilized Bond (Sean Connery) onboard Goldfinger's jet on its way to Baltimore, Bond asked: "Who are you?"
She introduced herself, purring above him:
She was villainous Goldfinger's personal jet pilot. She told him to quit being so forward: "You can turn off the charm. I'm immune," hinting at her lesbian-leanings.
Mary Poppins (1964)
During the opening credits, nanny Mary Poppins (Julie Andrews) floated into 1910 London on a cloud with her umbrella, as she applied makeup. However, she wouldn't make her real entrance into the film until about 20 minutes later.
The Banks household had experienced six nannies in the last four months for their two disobediently playful children (Jane and Michael). The head of the household, stern and fastidious banker Mr. Banks (David Tomlinson), placed a new advertisement in The Times for a nanny that was "firm, respectable, no-nonsense."
The two children wrote their own letter/advertisement with their recommendations for "The Perfect Nanny":
Mr. Banks tore up their version, but the pieces of paper floated up the chimney into the air. Soon after, a strong wind blew away all of the nanny candidates queued up at their front door to answer the ad - and Mary Poppins mysteriously floated down with upturned umbrella to replace them.
The children witnessed her entrance from the window:
In the much-heralded, breathtaking opening sequence of this film, after sweeping aerial views of the snow-covered mountains and valleys, the camera moved over the European landscape and village until it discovered an open, green area nestled between the peaks.
It moved closer and zoomed into the green field, where it suddenly found a happy and joyous Maria (Julie Andrews), a novice Salzburg Austrian nun, walking across the wide expanse of land.
With open-armed appreciation of the beauty of the surrounding majestic peaks and vistas of the Austrian Alps, she twirled and sang the title song: "The Hills Are Alive With the Sound of Music."
(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