Greatest Movie
Entrances of All-Time


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

The AristoCats (1970)

Thomas O'Malley (aka Abraham de Lacy Giuseppe Casey Thomas O'Malley)

Disney's animated feature film told about a Parisian diva who resided with a family of aristocratic cats in the early 20th century (year 1910). She was retired opera singer Madame Adelaide Bonfamille (Hermione Baddeley), who lived in her villa with Edgar Balthazar (Roddy Maude-Roxby), her English butler. The 'aristocats' she owned were:

  • beloved and pampered grayish-white mother cat Duchess (Eva Gabor)
  • three kittens (in descending order of age): Toulouse (Gary Dubin), Marie (Liz English), and the youngest Berlioz (Dean Clark)

When the Madame prepared her will with a lawyer, she named her cats as beneficiaries of her fortune following her death. But when the butler overheard her plans, he plotted to kill the cats, in order to cheat them and receive the inheritance. Edgar abandoned the cats (after drugging them) in the countryside, leaving them under a stone bridge.

In the morning, an independent-minded, carefree ginger-colored, feral alley-tomcat named Thomas O'Malley sauntered into view next to the riverbank, singing his own theme song: "Thomas O'Malley."

I like cheech-a-cheech-chee-roni Like they make at home
Or a healthy fish with a big backbone
I'm Abraham De Lacey Giuseppe Casey Thomas O'Malley
O'Malley, the alley cat!
I've got that wanderlust Gotta walk the scene
Gotta kick up highway dust Feel the grass that's green
Gotta strut them city streets Showin' off my éclat, yeah
Tellin' my friends of the social elite Or some cute cat I happen to meet
That I'm Abraham De Lacey Giuseppe Casey Thomas O'Malley
O'Malley the alley cat!

His introductory appearance aroused the attention of Duchess, who was impressed by his long name which she said "seems to cover all of Europe." Soon after, Thomas offered to help Duchess and her kittens to return to Paris and oust Edgar.

A Clockwork Orange (1971)

Alex de Large

The opening memorable image was an intimate closeup (known as the Kubrick stare) of the blue staring eyes and smirking face of ebullient young punker Alex de Large (Malcolm McDowell), wearing a bowler hat and with one false eyelash (upper and lower) adorning his right eye.

As the camera zoom pulled back slowly, accompanied by Walter Carlos' synthesized rendition of Purcell's Elegy on the Death of Queen Mary, the anti-hero character with the malevolent, menacing cold stare was shown sitting amidst his kingly court of teenaged gang of "droogs." He slowly drank milk and stared blankly forward.

As the full view of the milk bar emerged, the droogs were seen surrounded by unusual, plastic naked female mannequins that served as tables.

Alex narrated in voice-over:

There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, and we sat in the Korova Milkbar trying to make up our rassoodocks what to do with the evening.

Willy Wonka & the Chocolate Factory (1971)

Willy Wonka

Legendary chocolate maker Willy Wonka (Gene Wilder) made his entrance when he exited his gated factory, limping and heavily relying on his cane, as if he were a decrepit old man. As he approached the outer gate walking on a ceremonial red carpet, he stopped unsteadily, teetered and then suddenly collapsed, eliciting a gasp from the gathered crowd. The admirers appeared to be disappointed by the appearance of the frail, elderly gentleman - was this really Willy Wonka?

But then he performed a neat, perfectly-executed somersault with a spry flair and jumped up onto his feet - eliciting the crowd's applause and cheers. He was foreshadowing his own mischievous, cunning, enigmatic and secretive nature.

He greeted everyone: "Welcome my friends. Welcome to my chocolate factory."

Cabaret (1972)

The Emcee

The film opened on a twisted, mirrored surface as a drum-roll began. When the cymbals crashed, the Emcee (Joel Grey) popped into the frame from below -- a deathly-pale, pasty-white angular face, with ruby-red lipsticked lips, and a demonic, dangerously-mischievous grin formed on his face.

He greeted the patrons of the Kit Kat Club (and the movie audience) with the song Willkommen - in German, English and French: "Willkommen! Bienvenue! Welcome!"

The Emcee introduced himself as the host, and told them that while life was dreary and troublesome, there were no problems in the Cabaret as he revealed the all-girl band:

So life is disappointing? Forget it! In here, life is beautiful! The girls are beautiful! Even the orchestra is beautiful!

He then introduced the audience to the Cabaret Girls by name (one of whom was a man in drag), cracking a dirty joke:

Each and everyone a virgin -- You don't believe me? Well, do not take my word for it -- Go ahead, ask Helga!

He then warned that every hot night, they had to battle to keep the Girls from taking all of their clothes off, before gleefully confiding:

So don't go away. Who knows? Tonight we may lose the battle!

Mean Streets (1973)

Johnny Boy

The film opened with the memorable, sub-titled introduction of the film's main characters, including the one filmed in telephoto.

It showed Johnny Boy (Robert De Niro) blowing up a mailbox with a homemade bomb - and losing his porkpie hat as he shuffled away from the blast.

The Texas Chainsaw Massacre (1974)


In Tobe Hooper's classic slasher film set in Travis County Texas, there was the first and sudden appearance of chainsaw-wielding redneck killer Leatherface (Gunnar Hansen) in his "House of Horror" inhabited by his family of cannibalistic psychopaths.

It was justifiably one of the scariest, most memorable appearances in film history.

When Kirk (William Vail) entered the unlocked front door of a deserted-looking clapboard house, he repeatedly called out: "Hello, hello...Anybody home?" He heard squealing noises and saw a open doorway in the hall beyond which was a red-colored wall covered with skulls and bones.

There, he was immediately and surprisingly attacked by a lunging, apron-wearing, skin-masked Leatherface who clobbered him in the head with a large mallet or sledgehammer - his legs kicked and twitched during a wild convulsive seizure as he was dragged into the killer's lair - and its steel-metal door was forcibly slammed shut.

Jaws (1975)


The film's most memorable entrance scene, besides the first appearance of the shark, occurred in a meeting among the town's elders in a crowded Amity City schoolroom (dubbed the "council's chambers" by the mayor), during a discussion about closing the beaches of the picturesque resort town after a bloody shark attack.

The room had a long, semi-circular desk at the front of the room, and a blank blackboard stood behind rows of chairs at the back. Police Chief Brody (Roy Scheider) disagreed with the Mayor (Murray Hamilton), who only wanted the beaches closed for 24 hours.

Suddenly, master fisherman Quint (Robert Shaw), an eccentric, grizzled shark-hunter, made a dramatic entrance by silencing the commotion of the meeting. The colorful old sea salt with a brogue-accent scraped his fingernails - on a disembodied arm - irritatingly across the blackboard at the back of the audience to get everybody's attention. The chalkboard had a drawn/doodled outline of a Great White Shark with a human being in its tooth-rimmed mouth.

As the camera slowly panned toward him while he munched on a salty cracker, the foul-mouthed charterboat captain proposed to rid the town of the menacing, deadly shark - for $10,000. He drawled:

You all know me. You know how I earn a livin'. I'll catch this bird for ya, but it ain't gonna be easy. Bad fish! Not like goin' down to the pond chasing bluegills or tommycats. This shark will swallow you whole....

Jaws (1975)

The Great White Shark

Delaying a glimpse of the dangerous great white shark was employed in this film - a full view of the shark was not provided until over an hour into the film (although there were a few brief glimpses earlier).

Out on the open ocean, Police Chief Brody (Roy Scheider) was given distasteful tasks, such as "chumming" (throwing spoiled, bloody meat - shark bait - over the side of the boat) to attract the shark. As the chief scooped out bucketfuls of bloody slop, humorously griping to his mates: "Come down and chum some of this s--t," a monstrous shark rose out of the water and nearly took his hand off.

This was the film's first full glimpse of the shark, an hour and twenty minutes into the film - a truly spine-tingling moment. Brody could not believe the size of the creature, and with a classic, practical understatement, went inside the cabin where he told Quint (Robert Shaw) his assessment:

You're gonna need a bigger boat.

The Rocky Horror Picture Show (1975)

Dr. Frank N. Furter

An engaged young couple Brad (Barry Bostwick) and Janet (Susan Sarandon) mistakenly ended up in a large castle after getting a flat tire in the middle of a rainy night while returning from a friend's wedding.

There, after a group of conventioneers from the planet Transsexual finished a rendition of the Time Warp, a black-cloaked figure descended in an elevator behind them, tapping one sequin-encrusted high-heeled boot. Brad tried to reassure Janet: "I'm here, there's nothing to worry about."

When the elevator opened behind the couple, the figure in the elevator turned, causing Janet to scream and faint at the sight of the heavily-made up character.

As a greeting, mad transexual transvestite Dr. Frank N. Furter (Tim Curry) sang: "How ya do-a" to Brad. Then, he strutted boldly forward through a gauntlet lineup of the revelers.

On a stage in front of a banner reading ANNUAL TRANSYLVANIAN CONVENTION, he dropped his black cloak to reveal his sexy, skimpy, cross-dressed outfit: a pearl necklace, a leather draw-string vest, a tight corset (with leather bikini briefs), fishnet stockings, black garters, and high-heeled boots. He then seductively sang the campy classic:

"I'm a sweet transvestite... from Transssssexual Transylvania-hah-hah!"

He invited the young couple to his lab for the unveiling of his creation - the perfect humanoid man named Rocky Horror.

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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