Best and Most Memorable
Film Kisses of All Time
in Cinematic History
Part 15
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Best and Most Memorable Part 15 |
Most of these scenes come from vintage, classic Hollywood films, rather than more recent films, and even stretch back to the scandalous The Kiss (1896)! Other discussions of notable romantic or sexual scenes (with more examples of great kissing scenes) may be found elsewhere in this site: Romance Films Genre, or Erotic/Sexual Films Genre, or the History of Sex in Cinema.  are the films that "The Greatest Films" site has selected as the 100 Greatest Films |
| (in chronological order by film title) Introduction | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 Part 21 | Part 22 | Part 23 | Part 24 | Part 25 |
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The Hunger (1983)
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Tony Scott's directorial debut film was this stylish, R-rated, erotic 80s vampire film; it included a controversial, soft-focus lesbian vampires scene (with kissing and nipple-sucking) in the sunlight of a late afternoon between seductively-elegant, centuries-old vampire queen Miriam Blaylock (Catherine Deneuve) and new healthy blood candidate/recruit, her latest courtship victim - the butchy longevity scientist Dr. Sarah Roberts (Susan Sarandon), the suspicious doctor asked: "Are you making a pass at me, Mrs. Blaylock?"; when she spilled a blood-red droplet of sherry on her white T-shirt, she was prompted to remove her clothing - leading to other Sapphic touches, love-bites, and the taking of the new lover by mingling with her blood; Miriam gave her a fatal bite with blood dripping from her lips, sending blood down the doctor's neck |
  
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Return of the Jedi (1983)
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At the 20 minute mark of this third film in the second trilogy, at night in the deserted throne room of vile, slug-like gangster Jabba the Hutt, a sole shadowy figure (dressed like bounty hunter Boushh from earlier) entered, lowered the carbonite-frozen Han Solo (Harrison Ford) from a wall in an alcove, melted the hard shell away with a decarbonization lever, and Han's lifeless body was freed but fell to the floor. He revived, but was suffering from hibernation sickness. When the bounty hunter took off his helmet to reveal himself after the temporarily-blinded Han asked: "Who are you?", Princess Leia's (Carrie Fisher) face was under the mask, responding: "Someone who loves you" - the helpless Han recognized her voice, and she briefly kissed him. This was the third kiss between the two - previously, they had often sparred with each other before falling in love. | 
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Risky Business (1983)
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An effective and well-received teen sex comedy, with affluent Chicagoan Joel Goodson (Tom Cruise in a star-making role) and heart-of-gold hooker Lana (Rebecca DeMornay) in their first steamy encounter as the patio doors flew open and she swept naked into his arms | 
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A romance reluctantly developed between boozy, playboyish, ex-astronaut Garrett Breedlove (Jack Nicholson) and his Houston neighbor - widowed, uptight, well-mannered and stiff Aurora Greenway (Shirley MacLaine); after they went out for a lunch date, they both rode in his silver Corvette as he drunkenly steered with his feet, sitting on the open roof and yelling: "Breedlove at the helm! Just keep pumping that throttle!"; soon after he cried "Fly me to the moon," he was projected from the car into the water of the Gulf of Mexico when she applied the brakes; although they kissed for the first time while knee-deep in the water, she fought back when his hand reached for her breast inside her blouse, and she accused him of ruining their time together by getting drunk, although he admitted: "you do bring out the devil in me" |  
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Soon after, however, Aurora (Shirley MacLaine) phoned neighbor Garrett (Jack Nicholson) and invited him to her bedroom in the evening to look at a Renoir painting as a pretext for sex (after fifteen years of celibacy): "I'm inviting you to come over and look at my Renoir"; he quickly interpreted her meaning: "You're inviting me to bed" and she responded: "Yes, it happens to be in my bedroom"; again, he cajoled and cackled: "Is the Renoir under the covers?"; after arriving, he joked: "Hi - I was doing laps when you called. Lucky for us, I only did eight"; after being shown the Renoir, he quipped: "I like the painting. I like everything in here. Relax, baby"; although she pulled away: "Just who do you think you're talking to like this? Don't you realize I'm a grandmother!" - they both clenched and kissed voraciously |  
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Romancing the Stone (1984)
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In the film's romantic finale,
daredevil drifter-mercenary Jack Colton (Michael Douglas) returned to
romance novelist Joan Wilder's (Kathleen Turner) Manhattan apartment after
having fetched the "stone" (a giant emerald) of the title to
buy a boat to sail around the world; wearing crocodile shoes, Jack told
her: "Yeah, that poor old yellow-tailed guy... developed a fatal
case of indigestion. He died right in my arms," to which Joan responded
dreamily: "I can't blame him. If I were to die, there's nowhere on
earth I'd rather be") followed by Jack's: "I even read one of
your books" - Joan smiled: "Then you know how they all end"
- culminating with their long, passionate kiss -- she had found her "Jesse"
(the hero of her romance novels) |
 
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Sixteen Candles (1984)
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In the conclusion of this writer/director John Hughes coming-of-age romantic teen comedy, 16 year old virginal high school sophomore Samantha "Sam" Baker (Molly Ringwald) finally kissed the object of her affectionate infatuations -- class-hunk senior Jake Ryan (Michael Schoeffling); the kiss occurred over a birthday cake with 16 burning candles after a disastrous birthday-day; their dialogue was short and sweet before the kiss: Samantha: "Thanks for getting my undies back." Jake: "Thanks for comin' over." Samantha: "Thanks for coming to get me." Jake: "Happy Birthday, Samantha. Make a wish." Samantha: "It already came true." (They both slowly leaned forward to each other and kissed) | 
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In a touching love scene in the Tiki Motel (with background piano music) in the year 1984, strong female character Sarah Connor (Linda Hamilton) kissed time traveling protector Kyle Reese (Michael Biehn) who had journeyed back from the future year of 2029 to save and love her; he had volunteered with future resistance leader John Connor (who was fighting against the robots in the year 2029) to go back in time to protect her; he said he had only her torn and faded picture given to him by John: ("I came across time for you, Sarah. I love you. I've always loved you"); after kissing, they procreated together and produced a son (the future leader John Connor!) |
 
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The Breakfast Club (1985)
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John Hughes' influential and classic, dialogue-rich coming-of-age teen film told about five teenagers who were forced to serve out a Saturday detention together at Shermer High School; each of the five individuals represented different stereotypical characters or cliques; by film's end as they left the detention session, letter-jacketed varsity wrestler/"jock" athlete Andrew Clark (Emilio Estevez) was kissing troubled, self-proclaimed liar and kleptomaniac misfit and outcast Allison Reynolds (Ally Sheedy), and trouble-making and rebellious John Bender (Judd Nelson) was kissing popular, spoiled, pampered and virginal "princess" Claire Standish (Molly Ringwald) |   |
Desert Hearts (1985)
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This ground-breaking low-budget film was a seminal gay film from first-time director Donna Deitch - it was the first full-length lesbian-themed feature film written and directed by a woman; it told about a thirty-ish prim and meek literature professor from NYC named Vivian Bell (Helen Shaver) in the late 50s seeking a divorce outside of Reno at a ranch; there, she slowly explored a romantic and intimate lesbian relationship with the ranch owner's beautiful step-daughter - a lusty, free-spirited casino worker named Cay (Patricia Charbonneau in her first film role); this led to their first kiss in a rainstorm, and later a non-exploitatively-filmed love scene in a hotel room that was shot in real-time; reportedly, it was the first mainstream lesbian movie to end positively; this film won a Grand Jury Prize at Sundance in 1986 | 
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My Beautiful Laundrette (1985, UK)
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In director Stephen Frears' subversive drama, two men engaged in a cross-racial, forbidden homosexual relationship in Thatcher's England -- South London laundry businessman Omar (Gordon Warnecke) from a Pakistani-immigrant family and his old Anglo-Saxon school friend Johnny (Daniel Day-Lewis), an ex-National Front member and blonde street punk; in the film's most erotically passionate love scene, the two embraced each other in the back manager's room of the laundromat (Johnny slipped his hand beneath Omar's shirt and dribbled champagne from his mouth into Omar's mouth) to celebrate the laundromat's grand opening |
 
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A Nightmare on Elm Street 2: Freddy's Revenge (1985)
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In the second film in the long-running horror film franchise, girlfriend Lisa Webber (Kim Myers) assured possessed boyfriend Jesse Walsh (Mark Patton) that he needn't feel overtaken by demonic, gloved killer Freddy Krueger (Robert Englund); she urged him to fight back against his nightmares and bad dreams: "You created him. You can destroy him...He is living off of your fear...He doesn't even exist"; during a final showdown against Freddy in an abandoned Springwood power plant, she spoke directly to Jesse inside of him: "Jesse, I know you're in there. Stop him!" When she was grabbed and Freddy threatened to kill her, she vowed: "I love you, Jesse," to weaken Freddy's power; while ignoring his maniacal threats and assertions that Jesse was dead, she thwarted the killer with a firm and angry statement, "I am not afraid of you. He's in there and I want him back. I'm gonna take him away from you, and you are gonna go straight back to hell, you son-of-a-bitch!...Come back to me, Jesse. I love you. Come back to me." To help him fight Freddy from the inside, through the power of love, she strengthened Jesse as Freddy lost control: "He can't hold you, Jesse. He's losing his grip. You can get out"; she grabbed Freddy, removed his hat, stroked his head, pressed her lips toward him and kissed him, even as Freddy asserted: "He'll die with both of us." He pushed her away, as the pipes and railings in the factory caught on fire, and he was consumed in the flames, melting his flesh and causing his demise. Afterwards, the charred corpse suddenly moved -- and Jesse emerged from Freddy's blackened and singed ashes. |  
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The Sure Thing (1985)
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After college freshman Walter "Gib" Gibson (John Cusack) shared a cross-country journey experience with smart, seemingly-incompatible coed Alison Bradbury (Daphne Zuniga) while he was on his way to meet a "sure thing" dream date in Los Angeles -- a sexy "blonde in a string bikini" (Nicollette Sheridan), they both returned to the East Coast school after Christmas vacation, where an English essay he had written titled The Sure Thing was read outloud by his teacher; at that moment, Alison realized that he didn't sleep with his "sure thing" as he explained to her: "She wasn't my type" - and they shared a curtain-closing, feel-good ending kiss under the stars |
 
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Witness (1985)
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City detective John Book (Harrison Ford), while investigating a murder in a Philadelphia train station witnessed by a young Amish boy named Samuel (Luke Haas), began to establish a romantic relationship with the boy's widowed mother Rachel (Kelly McGillis); there were a few erotically-charged scenes in the midst of their cultural differences, such as in the barn illuminated by a car's headlights when they danced together to the radio playing Sam Cooke's (What A) Wonderful World, Rachel's discovery that Book was watching her bare-breasted bathing, and their deeply passionate kiss in the twilight | 
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Hannah and Her Sisters (1986)
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When Lee (Barbara Hershey) and her sister Hannah's (Mia Farrow) husband Elliot (Michael Caine) were left alone, he was overcome with desire and lusting over the beautiful young woman; although in voice-over, he had been pondering a plan to cautiously seduce her with a book of poetry, he suddenly grabbed Lee and kissed her wildly, unable to control his lustful passion, while babbling: "Lee! Lee! Lee, I'm in love with you!" - he kissed her again - ruining his plans for subtlety and leaving Lee shocked and flabbergasted at him | 
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Introduction: What makes
a memorable screen kiss? Is it the passion, the circumstances, the buildup,
the dialogue, the unpredictability, the awkwardness, the sexiness or
eroticism, the cinematography, the unique quality...? Although any list
of the best, most romantic, and most indelible kisses through film history
is difficult to create, there are a number of kissing scenes in movies
that are unforgettable and deserve special mention. 