Film Kisses of All Time
in Cinematic History
|Film Title/Year and Description of Kiss in Movie Scene|
Jules and Jim (1962, Fr.) (aka Jules et Jim)
Menage A Trois Kisses
Francois Truffaut's New Wave romantic drama, based on Henri-Pierre Roché's semi-autobiographical novel, told of a doomed love triangle from 1912 to the early 1930s between:
A kiss between Jim and Catherine was accompanied by dissolving images of Catherine in bed, and the narrator's words: "Their first kiss lasted all night." Although there was love between all of them, Catherine married Jules and they lived in an Austrian chalet by the Rhine countryside.
After the intervention of WWI, when the two men fought on opposite sides of the conflict, Jim reacquainted himself with Catherine and Jules, who now had a five year-old daughter named Sabine (Sabine Haudepin). However, the marriage was in disrepair, and Catherine was briefly romancing Jim. Jules even offered her a divorce if she'd marry Jim, so that they could all still be together, and he would share her vicariously.
As Catherine kissed husband Jules, they talked about their changing love:
Censored Underage Kisses
Director Stanley Kubrick's scandalous and controversial film based upon Vladimir Nabokov's novel was actually a comedic drama about a middle-aged man's pitiable obsession with a precocious teenaged girl (in the book, she was only a 12 year-old 'nymphet').
In a night-time scene set in Ramsdale, New Hampshire where devious boarder and teacher Humbert Humbert (James Mason) demonstrated his growing obsession with young nymphet Dolores 'Lolita' Haze (Sue Lyons), he played chess with her mother Charlotte Haze (Shelley Winters), when 'Lolita' strolled into the living room wearing a full length nightgown.
Charlotte was worried - symbolically: "You're going to take my Queen!" He replied, expectedly: "That is my intention, certainly." Lolita leaned on the arm of his chair next to him, and then murmured: "G'night." She kissed her mother on the cheek and then nuzzled cheek to cheek next to Humbert before leaving to go upstairs. Humbert immediately took Charlotte's Queen in his next move: "It had to happen sometime" - he quipped.
Humbert also received a goodbye hug and half-kiss in the upstairs hallway when Lolita was leaving for summer camp 200 miles away, when she memorably told him along with a half-wink: "Well, I guess I won't be seeing you again, huh?...Then I guess this is goodbye. Don't forget me." Soon after, to be near Charlotte's seductive child so that he could proceed with his nymphetomania, Humbert realized that he must marry Charlotte.
Charlotte's untimely death meant Humbert would be her sole guardian, and he drove the Haze station wagon to pick her up from summer camp. When he confessed his love for the not-so-naive Lolita, she responded: "You haven't even kissed me yet, have you?" After staying the night in a hotel, although Humbert slept on a separate cot, she initiated sex with him the following morning. She coquettishly suggested playing a game that she had learned at camp, while seductively twirling the hair on his head with her finger, but the screen discreetly faded to black (to blunt the story and please the censors).
Two For the Seesaw (1962)
Kisses To Prove Manhood After Being Accused of Being Queer
Director Robert Wise's psychological romantic drama was adapted from William Gibson's 1958 two-character Broadway play (originally starring Henry Fonda and Anne Bancroft).
Temporarily-unemployed, embittered, lonely and divorcing Nebraska lawyer Jerry Ryan (Robert Mitchum) struck up a conversation with candidly-liberated, Bronx-born, 29 year-old Jewish Greenwich Village professional dancer Gittel 'Mosca' Moscawitz (Shirley MacLaine).
In the middle of a lengthy discussion in her apartment about their lives, she asked whether he was "peculiar" or "queer" - he proved that he wasn't with a passionate smooch:
"The Right Size" Mouth Kiss
Ian Fleming's 1957 novel (his fifth) was the basis for this second James Bond spy-thriller in the series. The 007 agent, SPECTRE's target for killing Dr. No in the first film, was dispatched to Turkey.
Corporal Tatiana ("Tania") Romanova (Daniela Bianchi), a Soviet consulate cipher clerk, employed in a SPECTRE plot to kill Bond (Sean Connery), first encountered the 007 agent in his Istanbul, Turkey hotel suite one evening. She awaited him naked in bed (wearing only a sexy black velvet choker), and was pretending to defect and claimed she was in love with him.
After being introduced, he complimented her on her beauty, but she confessed: "I think my mouth is too big." Bond replied, before kissing her: "No, it's the right size. For me, that is." There was a large close-up of her inviting red lipsticked lips, behind which she slightly moved her tongue.
Bond approached for a kiss, and afterwards as they continued kissing, he asked: "Yes. Is it here?...The decoding machine. The Lektor." In regards to the cryptographic device, she replied: "Must we talk about it now?"
He nuzzled her neck and persisted: "Or is it at the Russian Consulate?" She was frustrated by his single-minded approach: "Why don't you ask me that later?", and hugged him.
When he told her: "I hope you're not disappointed," she promised as she sank back on the pillow: "I will tell you in the morning." He swooped in for another kiss. He was unaware that the two of them were being filmed by SPECTRE assassin Donald "Red" Grant (Robert Shaw) and evil SPECTRE No. 3 Colonel Rosa Klebb (Lotte Lenya) through a one-way mirror at the head of the bed to create a sex scandal.
Andy Warhol's 54 minute underground 16 mm. experimental film consisted entirely of a series or montage of shorter (approx. 3 minute) films spliced together of various couples (of various sexes) kissing.
Each segment was filmed in long takes. Sometimes the gender of a kisser was undetermined.
Persuasive, Manly Heterosexual Kisses
Ian Fleming's 1959 novel (his seventh) was the basis for this third James Bond spy-thriller in the series.
Lesbian-leaning blonde Pussy Galore (Honor Blackman), aptly named, was the personal pilot for gold-obsessed villain Auric Goldfinger (Gert Frobe). She was one of a team of all-female pilots dubbed Pussy Galore's Flying Circus. She often took a stance with her hands on hips, and when she took agent 007 James Bond (Sean Connery) on a tour of Goldfinger's compound and horse stable, he decided to offer his manly charms to her:
She took his arm and flipped him onto the hay, and then commanded: "Get up!" He up-ended her, and she landed next to him. He responded: "Certainly," stood up, and extended his hand to her, and then flipped her a short distance further into more hay, while quipping: "There, now let's both play."
She briefly held him off by wrestling against him, but then surrendered herself to his overpowering male sex appeal as he lowered himself down onto her and kissed her.
By film's end after she had helped save Bond and defeated Goldfinger's mad plot, they parachuted together to safety from a crashing jet plane due to rapid decompression (after Goldfinger's death when sucked out a window). Bond told her that she shouldn't signal for help from a search helicopter as he pulled her onto the ground: "Oh no, you don't! This is no time to be rescued." He covered the two of them with the parachute - for privacy's sake, as they kissed some more.
Catatonic, Passionless Honeymoon Kiss
Winston Graham's 1961 English novel was the basis for director Alfred Hitchcock's psychosexual suspense-thriller, a tale of sexual perversity and obsession, about a suicidal and troubled female suffering from compulsive kleptomania and sexual frigidity (and problems with the color red), caused by a traumatic event from her past.
In a hotly debated scene, frigid con artist/thief Marnie/Mary Edgar (icy blonde Tippi Hedren) was on a honeymoon cruise to Fiji, after a hasty (blackmailed) marriage to her boss and new husband Mark Rutland (James Bond co-star Sean Connery). Sharing a cabin together, she was locked up in the bathroom for over 45 minutes, and Mark thought they were off to a "dangerously poor start." When she appeared, he said she looked "sexy" with her face cleaned. But she was unwilling to kiss him when he turned her mouth toward him - she ran off: "I can't! I can't! I can't!...If you touch me again, I'll die!" She explained that she thought marriage was degrading and animalistic:
Although he gave his word that he wouldn't demand sex from her (and that they would sleep in separate beds), he was - after a few days - unable to hold back his desire to sleep with her and have sex ("I very much want to go to bed") - and he ripped off Marnie's nightgown one evening (the silky garment fell to her feet). But then he stumbled out with an apology ("I'm sorry, Marnie"), and covered her nakedness with his robe.
He slowly drew her forward and hungrily kissed and embraced her - they were amorous advances which she did not return, as she rigidly stared ahead passively and coldly in a frozen, paralyzed, catatonic state.
She laid down on the bed and allowed him to lie on top of her and have her (his and her faces filled the entire screen and then the camera panned away to a porthole), but with no emotion nor passion for her, leaving the question open as to whether she wanted to have sex but was frigid, or was being passively raped.
The Umbrellas of Cherbourg (1964, W. Germ/Fr.), (aka Les Parapluies de Cherbourg or Die Regenschirme von Cherbourg)
Lovely, Vibrant, Colorful and Lyrical Kisses
In this heartbreaking and tragic cinematic opera/love story about star-crossed lovers set in 1957 Normandy, France, all of the dialogue was sung with a memorable musical score by composer Michel Legrand (including the ubiquitous love theme "I Will Wait for You").
In the film, the two lovers in the French port of Cherbourg were:
Before he left on a train to fight in the Algerian War and not return for two years, the couple spent their last night together in the town of Cherbourg, where they professed their teenaged, emotional love in wonderful duet-singing while sitting in a cafe and walking arm in arm in the street:
When she confided that she was afraid, he confessed his love for her and they kissed again in front of a mirror in his aunt's apartment. They made love (and she became pregnant and gave birth during his time of service), and the love-sick Genevieve bid him farewell at the train station.
In the film's poignant and bittersweet conclusion five years later, the two married individuals (to different partners) had a chance meeting at his Esso gas station in Cherbourg - where Guy saw his daughter Francoise for the first time.
Young Love in a Gazebo: "Whee!" Kiss
Producer/director Robert Wise and 20th Century Fox musical has become one of the most favorite, beloved films of moviegoers. It is a joyous, uplifting, three-hour adaptation of Richard Rodgers and Oscar Hammerstein II's 1959 hit Broadway stage musical (that starred Mary Martin).
Young adolescents met in the bluish light of the evening, in the garden near the pavilion:
She had snuck outdoors to meet her shy boyfriend who was waiting for her. They sang of their innocent young, adolescent love on the brink of adulthood: "Sixteen Going on Seventeen," especially since Liesl was only 16, but was wishing to assert herself.
Thunder, lightning and rain forced them into the shelter of the gazebo where they continued singing and dancing in a magical sequence.
At the conclusion of their duet, they finally kissed just once to their mutual surprise - in reaction, Rolf raced rapturously from the gazebo, while Liesl exclaimed triumphantly with her arms outstretched: "Whee!"
"Can This Be Happening to Me?" Kiss
The second major kiss in the beloved musical was between the two main adult characters, also in the gazebo. After breaking off his engagement with wealthy Austrian Baroness Elsa Schraeder (Eleanor Parker), widowed father Captain Von Trapp (Christopher Plummer) followed after despairing and confused postulant nun/governess Maria (Julie Andrews) by the pavilion and asked two questions:
According to Maria, she "had an obligation to fulfill and I came back to fulfill it...And I missed the children." He explained that "nothing was the same" when she was away and "it'll be all wrong again" after she leaves again. He attempted to persuade her to change her mind and stay longer. And then he told her that his engagement to the Baroness was off:
He held her tenderly by the chin and drew her lips nearer for a kiss. Relieved, Maria had her prayers answered:
As they were reunited and now free to express their love, they both sang: "Something Good" - about being rewarded for something good they did in the past. Soon after, they were married.
(in chronological order by film title)
Introduction | 1896-1925 | 1926-1927 | 1928-1932 | 1933-1936 | 1937-1939 | 1940-1941
1942-1943 | 1944-1946 | 1947-1951 | 1952-1954 | 1955 - 1 | 1955 - 2 | 1956-1958 | 1959-1961
1962-1965 | 1966-1968 | 1969-1971 | 1972-1976 | 1977-1981 | 1982
1983-1984 | 1985-1986 | 1987 | 1988 | 1989-1990 | 1991 | 1992-1993 | 1994
1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006-2007 | 2008 | 2009-