GREAT MOMENTS and SCENES FROM THE GREATEST FILMS An extensive collection of the most famous, distinguished, unforgettable or memorable images, scenes, sequences or performances, many from the greatest films of all time Part 10

C (continued)
Crimes of Passion (1984)	The scenes of lonely, private investigator and security expert Bobby Grady's (John Laughlin) escape from a dull marriage into an obsessive, bump 'n grind relationship with a moonlighting, kinky LA prostitute named China Blue (Kathleen Turner) - who wears a platinum wig and by day works as a prim but workaholic fashion designer named Joanna Crane; in one memorable scene, she sucks on his bare toes and moves up his body toward his crotch, and later a dominatrix S & M scene in which Grady was handcuffed to a bed and then sodomized with his own nightstick; also notable are the scenes with deranged, stalking psychotic preacher believing he's China Blue's savior - the perverse Reverend Peter Shayne (Anthony Perkins) with a chrome-steel dildo ("superman") that was revealed from his bag and his strange erotic fantasies, in British director Ken Russell's neon-lit, dark, 'guilty pleasure' cult tale and erotic thriller
'Crocodile' Dundee (1986)	The scene in which Australian Outback ranger Michael (Mick) J. 'Crocodile' Dundee (Paul Hogan, co-nominated for Best Original Screenplay) rescues American reporter Sue Charlton (Hogan's real-life wife Linda Kozlowski) from a crocodile in the wild; and the fish-out-of-water sequences in New York City, including the memorable scene in which the leader of a street gang with a small switch-blade knife attempts to mug Dundee - the unflappable and chuckling 'Crocodile' man responds as he pulls out his large Bowie knife -- "THAT's a knife!", and then slashes the tough's jacket. After the gang flees, he says amiably to Sue: "Just kids having fun!", in the surprise sleeper hit and romantic comedy
Crouching Tiger, Hidden Dragon (2000, HK/US)	The many exciting, kinetic action sequences revolving around the mystical, legendary 400 year-old Excalibur-like sword named Green Destiny that was stolen by the 18 year-old district governor's daughter - the impetuous and headstrong masked thief Jen Yu (Zhang Ziyi) while apprenticing under the harsh tutelage of bitter, heartless and treacherous arch-criminal Jade Fox (Cheng Pei-pei); and after the theft, the gravity-defying pursuit of Jen up walls, across buildings and over rooftops by security officer and female warrior Yu Shu Lien (Michelle Yeoh); also the poignant, secret and unfulfilled romance between Yu Shu Lien and heroic spiritual master fighter Li Mu Bai (Chow Yun-Fat), who takes a fatherly scholar's interest in the petulant Jen, casually imparting advice during one fight: ("Real sharpness comes without effort. No growth, without assistance. No action, without reaction..."); the visually-stunning sword fight between Jen and Mu Bai on the top of a bamboo forest; also the "faithful heart makes wishes come true" speech by Jen's kind lover - a barbarian bandit named Lo "Dark Cloud" (Chang Chen); the climactic, artistic duel between Jen and Shu Lien in an empty dueling arena - brilliantly shot with overhead cameras; also the scene of Jen's rejection of her master teacher Jade Fox because she had outgrown her instruction, with Jade's response: "Believe me, I've a lesson or two left to teach you!"; and Jade Fox's final words after being executed by Li Mu Bai: "You know what poison is? An 8 year-old girl full of deceit. That's poison!...Jen...my only family...my only enemy..."; the tearjerking death of Li Mu Bai, poisoned by Jade Fox with the Purple Yin, and his final, long overdue declaration of his secret love for Yu Shu Lien with his dying breath: ("...I would rather be a ghost, drifting by your side as a condemned soul than enter heaven without you. Because of your love, I will never be a lonely spirit"), and the transcendent ending in which Jen jumps off Wudan Mountain, and floats softly downward to disappear into the mist, in Ang Lee's Best Picture-nominated martial arts/romantic film that won the Best Foreign Language Film Academy Award
The Crowd (1928)	The staircase scene when a young boy climbs claustrophobic, steep stairs and near the top learns that his father has died; the marvelous visuals capturing New York City's teeming streets, the enormous crowd shots, the sweeping camera sequence from outside a skyscraper up the face of the building and through a window and zeroing in on office worker John (James Murray) lost in a sea of desks, the romantic/courtship scenes between the two young lovers John and Mary (Eleanor Boardman) - especially in the funhouse sequence, the couple's reaction to the accidental death of their daughter - reflected on their horrified faces; the poignant scene of John with his young son on a railroad overpass when the boy restores his faith in himself, and the final sequence of the reconciled couple enjoying a comical vaudeville show as the camera pulls back and they become anonymous in the audience, in King Vidor's urban melodrama
Cruel Intentions (1999)	The prolonged, wet, spit-swapping kiss scene between innocent Cecile Caldwell (Selma Blair) and manipulative Kathryn Merteuil (Sarah Michelle Gellar) in an update of the French Les Liaisons Dangereuses
The Crying Game (1992)	The scene of IRA volunteer soldier Fergus (Stephen Rea) visiting gorgeous-looking London hairdresser/nightclub singer Dil (Oscar-nominated Jaye Davidson) - known as the 'wee black chick' that Jody loved, to fulfill kidnapped/murdered British soldier Jody's (Forest Whitaker) dying wish - after kissing each other, there is the superbly unexpected moment of revelation when Dil's red kimono robe drops to the floor as the camera pans down to show off 'his' true gender and manhood, followed by his apology to the shocked Fergus: "You did know, didn't you?...I'm sorry. I thought you knew"; and the tearful "interrogation" scene between a gun-toting Dil and Fergus, whom Dil had tied to his bed after finding out he had been complicit in the murder of his ex-lover Jody, as the song "The Crying Game" played on Dil's tape deck - Fergus told Dil that he loved him, would do anything for him and would never leave him - with Dil responding, as he laid his head on Fergus' chest/shoulder: "I know you're lying, but it's nice to hear it"; also the scene of Dil's vengeful murder of Fergus' lover Jude (Miranda Richardson), when he accuses her of being implicated: "She was there, too, wasn't she? You used those tits and that ass to get him, didn't you?", in Irish writer/director Neil Jordan's jolting thriller
Cutter's Way (1981) (aka Cutter and Bone)	The amazing opening slow-motion sequence (under the credits, with music by Jack Nitzsche) of a Santa Barbara, CA main street Old Spanish Days Fiesta parade (that slowly changed from b/w to color) - with the camera following a blonde twirling in a white frilly dress - the sequence then wiped into a day and night-time shot of the exterior of a hotel (labeled El Encanto in neon) - to introduce one of the film's two main characters, with a side close-up of the chin-mustache of laconic yacht-salesman-beach-bum Richard Bone (Jeff Bridges) while he was touching up with a woman's electric shaver following hiring his gigolo services out to a blonde (Nina Van Pallandt), and afterwards witnessed a silhouetted figure wearing sun-glasses dumping 17 year-old sex-crime victim Vickie into a garbage can in a dark alley on a rainy night; and the scene of embittered, self-righteous, drunken, one-eyed, one-armed, one-legged, crazed and angry Vietnam vet Alexander Cutter (John Heard) crashing into his neighbor's car while returning home with an expired license, and later becoming completely obsessed over confronting the girl's killer - believing the real suspect to be elite and menacing oil businessmen J. J. Cord (Stephen Elliott); and the scene of Maureen "Mo" Cutter (Lisa Eichhorn) telling her disgruntled husband that his plan to blackmail/extort Cord regarding the girl's murder was itself a dumb crime: "You're not some saint avenging the sins of the Earth, you know. Alex. And if you are, what am I doing here? Oh, I know. I'm like your leg. Your leg! Sending messages to your brain when there's nothing there anymore" - before being viciously slapped; and the stunning concluding scene of Cutter riding heroically (and tragically) on a white stallion within Cord's guarded residential mansion during a large garden party - and lethally crashing into Cord's study window where Bone had just learned that Cord was the female's killer - inspiring the usually-uncommitted and reluctant Bone to take up the fight and shoot Cord with the weapon in Cutter's dead hand - to abruptly end the film, in Czech filmmaker Ivan Passer's crime thriller
Cyrano de Bergerac (1990, Fr.)	The scene of long-nosed, bulky swordsman Cyrano de Bergerac's (Oscar-nominated Gerard Depardieu) recitation of poetry to his love Roxane (Anne Brochet) on a balcony through the gallant but inarticulate soldier Christian de Neuvillette (Vincent Perez), in director Jean-Paul Rappeneau's romance drama
D
Dames (1934)	The astonishing Busby Berkeley production numbers, including the clever "I Only Have Eyes For You", in which Barbara Hemingway (Ruby Keeler) and musical producer Jimmy Higgens (Dick Powell) fall asleep aboard a subway train as he dreams of repeated images of her face (chorus girls with large Keeler-face masks) and sees images of white-gowned chorus girls on a rotating white ferris wheel and multiple sets of stairs - the set ends with the chorus girls (with puzzle pieces strapped on their backs) coming together to form a huge jigsaw puzzle of Ruby's face; in the title number "Dames", close-ups of the faces of various 'dames' applying for work leads to the camera voyeuristically following the chorus girls through a single day (including their waking, stretching, bathing, powdering, applying makeup, etc.), ending with an overhead kaleidoscope star-formation - and one sequence where the trick reverse-action camera makes it appear that the tap-dancing chorines with black tights are flying straight up from the floor into the camera, in Ray Enright's extravagant musical romance
Dangerous Liaisons (1988)	The scene of aristocratic wealthy widow Marquise De Merteuil (Glenn Close) (calling herself a 'virtuoso of deceit') challenging devilish, rakish ex-lover Vicomte De Valmont (John Malkovich) to "Wa-a-a-a-r" and her bed for a night as the prize -- by seducing and 'deflowering' a teenaged bride-to-be virgin Cecile De Volanges (Uma Thurman) --- AND by corrupting the religiously-virtuous, married Madame De Tourvel (Michelle Pfieffer) - which he cruelly accomplishes in order to win, in director Stephen Frears' sexy period costume drama of 18th century one-upmanship, game-playing, seduction and romantic intrigue - adapted from the 1782 novel by Choderlos de Laclos, and remade as Milos Forman's Valmont (1989) and as Roger Kumble's Cruel Intentions (1999)
Dark Victory (1939)	The scene of socialite Judith Traherne's (Bette Davis) secret discovery in the doctor's office that her prognosis is negative, and the final tearjerking sequences when dwindling eyesight informs her that death is near and she sends her husband Dr. Steele (George Brent) off to a medical conference - and truly accepts her coming death: "You know I used to be afraid. I died a thousand times. When death really comes, it will come as an old friend, gently and quietly"; and the ending scene in which she plants hyacinth flowers in the garden with best friend Ann King (Geraldine Fitzgerald) and comforts her: "Don't, Ann. I'm happy, really I am. Now let me see, is there anything else? Oh yes, one more thing. When Michael runs Challenger in the National, oh, and he'll win - I'm sure he'll win - have a party and invite all our friends. Now let me see, silly old Alec, if he's back from Europe, Colonel Mantle and old Carrie and, oh yes, and don't forget dear old Dr. Parsons. Give them champagne and be gay. Be very very gay. I must go in now. Ann, please understand, no one must be here, no one - I must show him I can do it alone. Perhaps it will help him over some bad moments to remember it. Ann, be my best friend. Go now. Please" - she then greets her dogs in the house, and goes up the stairs toward her bedroom for the last time after telling her maid to let her die in peace: "Is that you, Martha? I don't want to be disturbed" - reaching total blindness and death, in director Edmund Goulding's ultimate tearjerker
Das Boot (1981, Ger.)	The memorable sequence when the World War II German U-boat captained by conscience-stricken, stoic Henrich Lehmann-Willenbrock (Jurgen Prochnow) torpedoes a British destroyer and the German sub crew watches helplessly as survivors scramble over the fiery wreckage, burn, scream for help, and drown; also the tense and claustrophobic scene (conveyed throughout the film by Steadicam moving camera shots through the narrow passageways and by tightly-composed shots) when the sub is surrounded by depth charges and must dive deeply - and there are the first indications that the submerged aging structure will start leaking due to the powerful underwater pressure, signaled by excruciating groans and moans and rivets popping and blasting like gunshots, in Wolfgang Petersen's harrowing and nerve-wracking thriller
David Copperfield (1935)	W.C. Field's definitive characterization of the indebted Micawber, and his denouncement of Uriah Heep (Roland Young), in director George Cukor's literary film of Charles Dickens' novel
Dawn of the Dead (1978)	The memorable scenes in which marauding, staggering, flesh-eating zombies in a deserted suburban Pittsburgh shopping mall relentlessly engage in attacks upon pregnant TV anchorwoman Francine (Gaylen Ross), her boyfriend - helicopter pilot/traffic reporter Stephen (David Emge), and two SWAT cops Roger and Peter (Scott Reiniger and Ken Foree); the biting social satire that equated zombies with consumers (as perky, goofy mall music plays, zombies stumble around on escalators, etc.); and the climactic band of bikers invasion, in George Romero's horror sequel to his Night of the Living Dead (1968)
A Day at the Races (1937)	The classic "Tootsie-Frootsie" ice cream scene in which vendor Tony (Chico Marx) sells racing tips to horse doctor Dr. Hugo Hackenbush (Groucho Marx), the scene in which Hackenbush plays half-deaf "Colonel Hawkins" of the Florida Medical Board to infuriate Whitmore (Leonard Ceeley); the two absurd medical examination scenes ("Just put the gown on, not the nurse") - first with Stuffy (Harpo Marx) and then with Mrs. Upjohn (Margaret Dumont), the famous one-liners: " Either he's dead or my watch has stopped!" - and "If I hold you any closer, I'll be in back of ya" - and the film's highlight - in which villainess Miss Nora "Flo" (Esther Muir) is wallpapered to the wall, in this Marx Brothers' madcap comedy
The Day The Earth Stood Still (1951)	The film's intriguing title sequence of an approach into the earth's atmosphere; and the initial spaceship landing in Washington DC - causing a panic and troop deployment, the emergence of a humanoid, pacifist alien emissary named Klaatu (Michael Rennie) and a giant robot (Gort) from the vessel; Gort's laser-beam, death-ray vision to melt weapons and a tank; the scene of Helen Benson (Patricia Neal) delivering the command of three words - "Klaatu barada nikto" - to the menacing Gort as he looms above her - to prevent the killer robot from destroying the planet after Klaatu has been shot by troops - afterwards, the robot carries her in his arms into the spaceship; and the film's final scene, with soft-spoken extra-terrestrial Klaatu's pro-disarmament address to scientists and other top leaders: "...but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple. Join us and live in peace or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you," in Robert Wise's seminal science-fiction film
Days of Heaven (1978)	The breath-taking visual images and cinematography of Oscar-winning Nestor Almendros - especially the migrant workers' train ride to the fields - including the sight of the train crossing a scaffold bridge, and the wheat field sequence at dawn's light as the priest blesses the harvest before tractors and threshers move in from a hilltop and migrant workers gather the wheat, in director/writer Terrence Malick's beautiful love-triangle drama set in the WWI-era
Days of Wine and Roses (1962)	Alcoholic, San Francisco advertising executive Joe Clay's (Oscar-nominated Jack Lemmon) enticement of non-drinking secretary Kirsten Arnesen (Lee Remick) with chocolate-flavored alcoholic Brandy Alexanders; the scene of a desperate Joe madly tearing apart his father-in-law's greenhouse to search for a hidden bottle, Joe's honest assessment of how alcoholism makes his marriage relationship a "threesome" - "Now look at me. I'm a bum. Look at me. Look at you. You're a bum. Look at you. And look at us. Look at us. C'mon, look at us. See? A couple of bums"; his experiences detoxifying in a hospital ward; his recitation of poetic words to mutually-boozing wife Kirsten: "They are not long the days of wine and roses...Out of a misty dream our paths emerge for a while, then close within a dream," and the film's ambiguous ending when his wife wanders off and a huge flashing neon "Bar" sign beckons him, in Blake Edwards' devastating cautioning tragedy
Dead End (1937)	The memorable scenes of wealthy, sinister gangster Baby Face Martin (Humphrey Bogart) returning to his old New York City (East River) neighborhood encountering his mother (Marjorie Main) in a slum building - she calls him a "no-good tramp" and a "dirty yellow dog" and repudiates him with a harsh slap across the face, and his horrified reaction to his old girlfriend Francey (Claire Trevor) who has become a ravaged prostitute, and the memorable debut of the Dead End Kids (including Huntz Hall and Leo Gorcey), in William Wyler's adaptation of Lillian Hellman's classic play
Dead Man Walking (1995)	The flashback scene of the murders of a teen couple by death row inmate Matthew Poncelet (Sean Penn), and the chilling death scene in which the convicted criminal is strapped into a cross-shaped apparatus in preparation for his lethal injection execution in the death chamber - while victims' families and comforting Louisiana nun Sister Helen Prejean (Oscar-winning Susan Sarandon) witness the capital punishment behind a glass window: ("I want the last face you see in this world to be the face of love, so you look at me when they do this thing. I'll be the face of love for you"), in Tim Robbins' anti-death penalty drama
Dead Poets Society (1989)	Eccentric, unorthodox 1959 Vermont prep school English teacher John Keating's (Robin Williams) cries of his motto "Carpe Diem" to his staid Welton Academy boarding school students ("Listen, you hear it? - - Carpe - - hear it? - - Carpe, carpe diem, seize the day boys, make your lives extraordinary"), and the scene in which the dedicated but dismissed teacher is paid tribute by his former pupils (including tongue-tied betrayer Todd Anderson (Ethan Hawke)) as they stand on their desks and emotionally chant: "O Captain! My Captain!", in Peter Weir's film
Death in Venice (1971) (aka Morte a Venezia)	The beautifully shot, quiet and lonely death scene of aging, avant-garde German composer Gustav von Aschenbach (Dirk Bogarde) slumped on a deck chair on a Venice beach (accompanied by music from a Gustav Mahler symphony) dying of heart failure with dark hair dye dripping down his sweaty, chalk-white face, while lovingly watching an angelic-looking teenaged boy named Tadzio (Bjorn Andresen) on the beach who points out toward the horizon of the ocean - Gustav's expression mixed contentment, pain, and acceptance, in director Luchino Visconti's stylistically lavish adaptation of Thomas Mann's novel - a tale of sexual obsession
The Deep (1977)	The memorable, underwater scuba diving images of sunken treasure diver Gail (Jacqueline Bisset) in a revealing white, clingy see-through T-shirt, in director Peter Yates' sea adventure