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Best and Most Memorable Part 5 |
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Best and Most Memorable Part 5 |
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Note:
The films that are marked with a yellow star |
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Film Title |
Description of Kiss in Movie Scene |
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Lady and the Tramp (1955)
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At an outdoor Italian restaurant, cocker spaniel Lady, and mongrel Tramp shared a spaghetti dinner, while being serenaded by a waiter singing the love song ''Belle Notte''; they each started chewing on opposite ends of a spaghetti strand and were startled to meet in the middle - where they kissed; Lady blushed charmingly, as he nudged a meatball toward her as a symbol of his affection |
   
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Love is a Many-Splendored Thing (1955)
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Lovers Jennifer Jones (as beautiful widowed Eurasian doctor Han Suyin) and William Holden (as American newsman Mark Elliott) in Hong Kong joined their two cigarettes together as a symbol (he lighted hers - both a sublimation of their passion and a symbol of the sexual consummation of their love affair) as the Oscar-winning title tune swelled in the background, after she told him: "There's nothing stronger in the world than gentleness" |
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Picnic (1955)
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Outdoorsy, uninhibited drifter Hal Carter (William Holden) told pretty Kansas girl Madge Owens (Kim Novak) before kissing her: "Listen, baby. You're the only real thing I ever wanted. Ever! You're mine. I've gotta claim what's mine or I'll be nothin' as long as I live...You love me, you know it, you love me, you love me" before he rushed away to jump onto a passing train - Madge would make a romantically-inclined decision to board a bus to Tulsa and leave her boring and repressive Kansas town to join him | 
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Under a moonlit sky, after Judy (Natalie Wood) apologized to Jim (James Dean) for her earlier behavior that morning and the way she bowed to peer pressure: " I'm sorry. I'm sorry that I treated you mean today. You shouldn't believe what I say when I'm with the rest of the kids. Nobody, nobody acts sincere," he kissed her for the first time, sweetly on the side of her forehead. She asked: "Why did you do that?" He responded: "I felt like it." And she said lovingly: "Your lips are soft" |
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Kiss To Seal Love |
Later after getting to know each other better, Jim and Judy sealed their love with a passionate kiss (Jim: "Oh, wow...I'm not gonna be lonely any more, ever, ever. Not you or me." Judy: "I love somebody. All the time I've been looking for someone to love me, and now I love somebody, and it's so easy. Why is it easy now?" Jim: "I don't know. It is for me, too." Judy: "I love you, Jim. I really mean it.") |
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After banging out the tune Chopsticks on the piano with Marilyn Monroe, co-star Tom Ewell stopped and approached his musical partner with a romantic Charles Boyer-like accent: "Because now I'm going to take you in my arms and kiss you, very quickly and very hard" - but his lips never quite reached hers as expected. They fell backwards off the piano bench, leaving them sprawled on the floor ("What happened? I kinda lost track.") |
 
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In the film's famous seduction scene in Frances' (Grace Kelly) hotel suite, she had invited suspected cat burglar John Robie (Cary Grant) to join her and watch fireworks - the real fireworks exploded through the open doors in the background (over the water in the night sky), as other 'sexual' fireworks burst within the room; the metaphoric dialogue was exceptionally laced with playful sensuality; sitting alluringly on the couch, she forced Robie into admitting his passion for her; acting as a exploitative predator, she enticed and lured him into her arms by displaying her white strapless gown and his main weakness - her sparkling diamond necklace (and her bare decolletage and breasts) as the ultimate prize; the scene climaxed with an intercut montage of explosions of roman candles bursting in the night sky (and coming closer and closer into view) while she seduced him by plotting the robbery of the Sanford villa with him ("we'll do it together"); she had him admit that he was a thief, and then encouraged him to extol the beauty of both her diamonds (imitation) and her breasts ("Hold them"): "Give up, John. Admit who you are. Even in this light, I can tell where your eyes are looking. (He sits down.) Look, John. Hold them. Diamonds. Only thing in the world you can't resist. Then tell me you don't know what I'm talking about. (She kissed his fingers, one by one.) (She put her necklace in the palm of his hand.) Ever had a better offer in your whole life? One with everything?" John replied: "I've never had a crazier one." She responded: "Just as long as you're satisfied." John: "You know as well as I do this necklace is imitation." Frances: "Well, I'm not." (They kissed. The white-hot, orgasmic peak of the colorful fireworks exhibition burst in a vibrant closeup.) In another earlier scene, Robie was kissed by an assertive Frances (wearing a beautiful light blue gown) after walking her back to her hotel room door |
  
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This controversial film was marked with the scene of white-trash, 19 year-old 'baby doll' child bride "Baby Doll" Meighan (Carroll Baker) kissing vengeful Sicilian Silva Vacarro's (Eli Wallach) in a darkened adjoining room under a switched-off bare bulb as her sexually-frustrated husband Archie (Karl Malden) spoke on the phone closeby |
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Invasion of the Body Snatchers (1956)
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In the film's most memorable and frightening moment, Miles (Kevin McCarthy) took fiancee Becky (Dana Wynter) in his arms to kiss her, and then drew away from her unresponsive lips; in a tight closeup shot of her face, he looked into the blank, dark, expressionless and staring eyes, realizing with a look of utter fright that she was now one of "them" - her body had been invaded and snatched - from the kiss, he knew instantly that this was not Becky but a treacherous imposter and victim. His sweetheart of a moment ago now screamed to the pod-people searchers: "He's in here. He's in here. Get him. Get him." |
 
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An Affair to Remember (1957)
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This romantic tearjerking melodrama of star-crossed lovers ended with the scene of the revelation to wealthy playboy bachelor Nickie Ferrante (Cary Grant) of Terry McKay's (Deborah Kerr) devastating, terrible secret of why she couldn't keep her fateful appointment atop the Empire State Building (after meeting six months earlier on an ocean cruise); the scene included his accusatory conversation with her as she was supine on a couch and his ultimate discovery that she had bought his painting ("Why didn't you tell me? If it had to happen to one of us, why did it have to be you?") - leading to their tearful reunion, her explanation ("I was looking up - it was the nearest thing to heaven. You were there"), and their kiss in the conclusion when she finally told him: "Don't worry, darling...if you can paint, I can walk. Anything can happen" |
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The film opened with its most famous sequence - an audacious, incredible, breathtaking, three-minute, uninterrupted crane tracking shot following a convertible (with a timed explosive placed in its trunk) through a squalid Mexican border town. The camera descended and picked up another cheerful couple, Ramon Miguel "Mike" Vargas (Charlton Heston), a handsome, Mexico City narcotics investigator (of the Pan-American Narcotics Commission) with his voluptuous blonde, honeymooning American bride Susan Vargas (Janet Leigh), who were walking down the street and into the US (this was the first time they had crossed the border together), and exchanging intimacies. As the inter-racial newlyweds kissed, the sound of the explosion of the detonated car overlapped on the soundtrack, and they turned their faces toward the blast - the "very bad" incident violently disrupted and fragmented their relationship for the remainder of the film |
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In the first major kissing sequence, Scottie Ferguson (James Stewart) and Madeleine (Kim Novak) embraced by water's edge in a perfect synthesis of both death and erotic romance within their relationship; they kissed passionately after Madeleine said: "I'm so afraid. Don't leave me. Stay with me." The ocean waves crashed on the rocks behind them, as Scottie responded: "All the time." He vowed to protect her from harm (and thereby possess and identify with her, even if it meant personal annihilation due to her death wishes); they again clung to each other and kissed passionately as the turbulent waves once more crashed melodramatically into the rocks behind them - the climactic scene faded to black; they kissed again, just before she ran off and apparently fell from the top of the bell-tower to her death; in another memorable sequence, when Judy (also Kim Novak) had finally made the full transformation into Scottie's image of Madeleine, the camera focused on Scottie pacing around before she emerged from the bathroom - his hopeful eyes were filled with wonder and emotion in an unforgettable image, as he saw the reborn reincarnation of his lost love; the ghostly figure appeared bathed in the eerie green-tinged neon light reflected from the hotel sign outside the window - her metaphysical, spiritual figure assumed solid shape as she moved out of the ghostly green light and crossed the floor to him, to surrender to him; they embraced and kissed passionately, as the camera panned and swirled completely around them, causing the walls of the room to appear to turn and change |
  
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This film had a long series of seduction scenes during a cross-crountry train ride between a mysterious, ambiguous, baffling woman named Eve Kendall (Eva Marie Saint) and a handsome ad executive named Roger Thornhill (Cary Grant) - unattached and on the make; when he wasn't avoiding capture, she encouraged him in a playful manner to kiss her. She surrendered entirely to him (although he ominously held her head in his hands), even though he was basically a stranger to her -- |
 
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Pillow Talk (1959)
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As part of his seduction ploy of his neighbor, Rock Hudson (as Brad Allen with alias of Rex Stetson, a wealthy and naive Texan) teased Doris Day (as interior decorator Jan Morrow) with the idea that he might be gay - an ironic fact due to Hudson's later revelation about his real-life; when she challenged him to demonstrate his romantic interest - finally, his kiss was sensational |
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In a memorable, racy seduction scene (dripping with sexual innuendo and imagery) on the yacht of a rich oilman, Sugar (Marilyn Monroe) was assuringly told by the impersonating Joe/Josephine (Tony Curtis) that she had nothing to worry about being completely alone with him there - he had a complex about women and couldn't get excited about them; he explained that he couldn't fall in love anymore - he was basically impotent because Mother Nature threw him "a dirty curve" - so she accepted the challenge to be the aggressor after he successfully convinced her to help him overcome his insensitivity and mental block toward sex; she planted a kiss after asking: "Have you ever tried American girls?" Another attempt was made by Sugar who asked: "I may not be Dr. Freud or a Mayo brother, or one of those French upstairs girls, but could I take another crack at it?" Joe replied: "All right, if you insist" (They kissed deeply accompanied by a phallic image - his foot rose at the end of the sofa behind her.) She kept offering torrid kisses: "You're not giving yourself a chance. Don't fight it. Re-lax" |
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In a vengeful act, one of preacher Elmer Gantry's (Burt Lancaster) old girlfriends - minister's daughter-turned-prostitute Lulu Bains (Shirley Jones) set him up and framed him with photographs taken in a compromising situation to ruin his reputation - and then accepted a charitable handout of cash that she placed in her garter |
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Created in 1996-2008 © by Tim Dirks. All rights reserved.
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. 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)!
are the films that "The Greatest Films" site has selected as the 