Greatest Film Scenes
and Moments



B (continued)
Title Screen
Movie Title/Year and Scene Descriptions

Boyz n The Hood (1991)

In Oscar-nominated John Singleton's drama about hoods growing up in South Central LA:

  • the scene of divorced, strict and overbearing father Jason 'Furious' Styles (Laurence Fishburne) lecturing his underachieving son Tre Styles (Cuba Gooding, Jr.) about how any punk kid could have sex: ("Well, remember this: Any fool with a dick can make a baby, but only a real man can raise his children")
  • the scene of a lengthy, enlightening discussion led by Tre's father to Ricky, Tre and other neighbors who gathered around - about "gentrification": ("Gentrification. It's what happens when the property value of a certain area is brought down. You listening?...They bring the property value down. They can buy the land at a lower price. Then they move all the people out, raise the property value and sell it at a profit. Now, what we need to do is we need to keep everything in our neighborhood, everything, black. Black-owned with black money. Just like the Jews, the Italians, the Mexicans and the Koreans do")
  • the conclusion of the impromptu lecture when Tre's father was questioned about the real cause of lower property values - their self-destructive neighborhood: ("If you want to talk about, uh, guns, why is it that there's a gun shop on almost every corner in this community?... I'll tell you why. For the same reason that there's a liquor store on almost every corner in the black community. Why? They want us to kill ourselves. You go out to Beverly Hills, you don't see that s--t. But they want to us to kill ourselves. Yeah, the best way you can destroy a people - you take away their ability to reproduce themselves. Who is it that's dyin' out here on these streets every night? Y'all...Young brothers like yourselves")
  • the climactic scene when promising football star Ricky Baker (Morris Chestnut), the half-brother of aspiring gang-banger and dope-dealer Darrin 'Doughboy' Baker (rap star Ice Cube), was gunned down by a rival gang in an alleyway - viewed by Tre in horror
  • the scene of Tre, contemplating seeking revenge by getting a gun and loading it - and thereby jeopardizing his entire future, before being confronted by his father: ("Tre, what are you doing? Huh? Oh, oh, you bad, now, huh? You bad. You gotta shoot somebody now, huh? Well, here I am. Come on, shoot me. You bad, right? Look, I'm sorry about your friend. My heart goes out to his mother and his family, but that's their problem, Tre. You my son. You my problem. Now I want you to give me the gun. Oh, I see, you wanna end up like little Chris in a wheelchair. Right? No, no, you want to end up like Doughboy, huh? No? GIVE ME THE MOTHERF--KIN' GUN, TRE. You're my only son, and I'm not gonna lose you to no bulls--t, you hear? I love you, man")
  • the crushing scene in which Tre and Doughboy took Ricky's (Morris Chestnut) lifeless body home to his hysterical mother Brenda Baker (Tyra Ferrell)
  • the last scene in which Doughboy told Tre that he understood why he didn't get involved in avenging Ricky's death, and his personal denouncement of TV news: ("I know why you got out of the car last night. You shouldn't have been there in the first place. You don't want that s--t to come back to haunt you. I ain't been up this early in a long time. Turned on the TV this morning. Had this s--t on about how we're living in a violent, a violent world. Showed all these foreign places. How foreigners live and all. I started thinkin', man. Either they don't know, don't show or don't care about what's goin' on in the 'hood. They had all this foreign s--t. They didn't have s--t on my brother, man. I ain't got no brother. Got no mother, neither. She loved that fool more than she love me.")

Bram Stoker's Dracula (1992)

In Francis Ford Coppola's faithful adaptation of the Transylvanian Dracula vampire tale:

  • the opening scene of Vlad (The Impaler) Dracula (Gary Oldman), a member of the Sacred Order of the Dragon, who was introduced by a Narrator, about how he had returned in the year 1462 from a victorious battle against the Turks and found his dead suicidal wife Elisabeta (Winona Ryder) on the church altar - she had falsely believed he had died, killed herself, and was damned for taking her own soul - Dracula angrily denounced God and vowed to seek revenge, as he drank blood from the church's holy chalice: ("Sacrilege! ls this my reward for defending God's church?...l renounce Him! I renounce God and all you hypocrites who feed off Him! If my beloved burns in Hell, so shall I. I, Dracula, Commander of Transylvania, shall arise from my own death, to avenge hers with all the powers of Darkness! 'The blood is the life, and the blood, it shall be mine!")
  • in Transylvania, Count Dracula's welcome-greeting of London real estate agent Jonathan Harker (Keanu Reeves), there to arrange a real estate acquisition in London, and his memorable line of dialogue at the dinner table: "I have already dined, and I never drink wine"
  • Dracula's orgasmic expression when he saw Harker cut himself and draw blood while shaving - his rapture at the sound of wolves ("Listen to them. The children of the night. What sweet music they make!"), and afterwards the Count's licking of Harker's blood off the sharp razor
  • the scene of Harker being raped and fed upon by Dracula's blood-thirsty seductive brides
  • Dracula's overwhelming temptation to suck the blood of Harker's bride-to-be Mina Murray (Winona Ryder) - believing her to be the living image of his own long-lost reincarnated beloved bride Elisabeta: ("I have crossed oceans of time to find you"), during a London exhibition of the new art of movies
  • the special-effects scenes of Dracula's transformation and emergence as a beastly werewolf and then into a pack of rats that scurried away across the floor
  • the scene in which vampire hunter Dr. Abraham Van Helsing (Anthony Hopkins) and others discovered Mina's friend Lucy Westenra (Sadie Frost) was a vampire - and coaxed her back into her coffin, and in a mercy killing stabbed her through the heart and beheaded her: ("I cast you out, the Prince of Darkness, into Hell! A moment's courage, and it is done. Take the stake in your left hand, place the point over the heart. Then in God's name, strike. Do it now!")
  • the scene of Mina's feverish and passionate dream-longing for Dracula, and her subsequent love scene with Dracula in bed in which she drank the blood of Dracula's chest wound, and they spoke of being united forever:
    Mina: Oh yes, my love. You've found me...l have wanted this to happen. l know that now. l want to be with you always....l love you. Oh, God, forgive me, l do. l want to be what you are, see what you see, love what you love.
    Dracula: To walk with me, you must die to your breathing life and be reborn to mine.
    Mina: You are my love and my life always.
    Dracula: Then, l give you life eternal, everlasting love, the power of the storm, and the beasts of the earth. Walk with me to be my loving wife forever.
    Mina: l will. Yes. Yes.
    Dracula: Oh, Mina, drink and join me in eternal life. No, l cannot let this be.
    Mina: Please, l don't care. Make me yours.
    Dracula: You will be cursed as l am to walk in the shadow of death for all eternity. l love you too much to condemn you.
    Mina: Then take me away from all this death.
  • the ending scene in which Dracula knew the end was near: ("Where is my God? He has forsaken me. lt is finished"); Mina pledged her love and kissed him: ("Oh, my love, my love"); in voice-over, Mina spoke: "There, in the presence of God, I understood at last how my love could release us all from the powers of darkness. Our love is stronger than death." After his request: "Give me peace," she impaled Dracula in the heart with a sword, kissed him again, and then beheaded him to end his curse

Braveheart (1995)

In Mel Gibson's own Best Picture-winning warrior epic about the 13th century historical Scottish figure:

  • the secret courtship, marriage, and consummation of love (in the moonlight) between future Scottish freedom-fighter William Wallace (Mel Gibson) and Murron MacClannough (Catherine McCormack)
  • the legendary face-painted Scottish hero's fight against the English in the awesome battle of Stirling Bridge after he rallied his men by riding in front of them on horseback: ("Sons of Scotland! I am William Wallace....Yes, I've heard. Kills men by the hundreds. And if he were here, he'd consume the English with fireballs from his eyes, and bolts of lightning from his arse. (Laughter) I am William Wallace! And I see a whole army of my country men, here, in defiance of tyranny. You've come to fight as free men, and free men you are. What will you do with that freedom? Will you fight? ...Aye, fight and you may die, run and you'll live, at least a while. And dying in your beds many years from now, would you be willing to trade all the days from this day to that for one chance, just one chance to come back here and tell our enemies that they may take our lives, but they'll never take our freedom! Alba gu bra! (Scotland forever!)")
  • his cry of "Freedom" (rather than "Mercy") during a brutal execution scene (for high treason) in which he was partially hung, racked, disemboweled (or "drawn and quartered"), and beheaded (offscreen) - while reuniting with his already-murdered wife (who was publicly executed, her throat was slit, for assaulting an English soldier intent on rape) seen walking in the crowd
  • the last lines of the film, William Wallace's voice-over - about the victorious Scots under the leadership of Robert the Bruce (Angus Macfadyen): ("In the Year of our Lord 1314, patriots of Scotland - starving and outnumbered - charged the fields of Bannockburn. They fought like warrior poets; they fought like Scotsmen, and won their freedom")

Brazil (1985, UK)

In Terry Gilliam's futuristic fantasy:

  • the inventive opening scene ("Somewhere in the 20th Century") envisioning the stylized world of an alternative future with ductworks advertised on television by a slick salesman and a chorus: ("Central Services. We do the work, you do the pleasure. Hi, there. I want to talk to you about ducts. Do your ducts seem old-fashioned, out-of-date? Central Services' new duct designs are now available in hundreds of different colors to suit your individual tastes. Hurry now, while stocks last, to your nearest Central Services showroom. Designer colors to suit your demanding taste") - interrupted by a violent explosion
  • the scene of anti-terrorists, on Christmas Eve, falsely accusing and brutally assaulting the innocent Buttle family due to a dead beetle - causing a print-out to read Buttle instead of the real terrorist: maintenance man Tuttle (Robert De Niro) - a perfect example of technological-automation gone wacky and oppressive bureaucratic muddling in the society's Ministry of Information, exemplified by this exchange: ("That is your receipt for your husband, thank you, and this is my receipt for your receipt")
  • Harry Tuttle's encounter with middle-management, civil servant worker in the dull bureaucracy Sam Lowry (Jonathan Pryce), to fix his ducts, and explaining how he hated paper-work: ("I couldn't stand the paperwork. Listen, this whole system of yours could be on fire, and I couldn't even turn on a kitchen tap without filling out a 27B-stroke6. Bloody paperwork... I came into this game for the action, the excitement. Go anywhere, travel light. Get in, get out, wherever there's trouble. A man alone. Now, they've got the whole country sectioned off. Can't make a move without a form")
  • a fantasizing Sam - with recurring dreams of soaring as a superhero with metal mechanical wings toward a mysterious Jill Layton (Kim Greist) in the clouds - in real-life a tough truck driver and a member of the underground resistance movement, and rescuing-saving her from a giant, Samurai warrior
  • in an alley - battling baby-faced mutants and a giant Samurai Warrior comprised of bureaucratic paraphernalia
  • the grotesque plastic surgery of Sam's narcissistic socialite mother Ida (Katherine Helmond), and another face-disfigured, bandaged client Mrs. Shirley Terrain (Barbara Hicks) who told Sam: ("My complication had a little complication, but Dr. Chapman says I'll soon be up and bounding about like a young gazelle")
  • the scene of the terrorist bombing of a high-class restaurant as patrons continued to consume their meals
  • in his new cramped office, Sam's battle with his moving desk
  • in the downbeat conclusion, Sam's arrest and his strapped confinement in a torture chair within a domed building to be questioned and tortured by his friend Jack Lint (Michael Palin), (with his fantasizing that he was being rescued by commandos led by Tuttle, and escaping with Jill to a pastoral setting), and the film's final lines at the moment of his demise: (Mr. Helpmann: "He's got away from us, Jack." Jack Lint: Afraid you're right, Mr. Helpmann. He's gone")

Breakfast at Tiffany's (1961)

In Blake Edwards' 60s comedy:

  • a spirited and radiant New York call girl socialite - Holly Golightly (Audrey Hepburn), a gold-digging prostitute wearing a sculpted black Givenchy evening gown and sunglasses and standing outside the locked Tiffany's jewelry store on Fifth Avenue in Manhattan in the film's opening credits sequence - window-shopping while eating her breakfast from a to-go white paper bag (coffee in a polystyrene cup and a dry pastry or croissant); after a night on the town, she was enroute, via walking, to her NY brownstone where she often plied clients
  • the iconic view of Holly loudly whistling for a cab outside her brownstone for her neighbor: aspiring writer (with writer's block) Paul Varjak (George Peppard) - he was amazed ("I never could do that"); and then she met the woman exiting the cab: a wealthy married 'decorator' Emily Eustace (nicknamed 2E) Failenson (Patricia Neal) - Paul was her 'kept man'; Holly lowered her sunglasses to get a closer look
  • Holly's description of her tabby Cat (Orangey), and why she couldn't commit to giving it a name - when speaking to Paul: "Poor old cat. Poor slob. Poor slob without a name. The way I look at it, I don't have the right to give him one. We don't belong to each other. We just took up by the river one day. I don't even want to own anything until I can find a place where me and things go together. I'm not sure where that is, but I know what it's like. It's like Tiffany's...I'm crazy about Tiffany's"
  • the same scene of Holly's advice to Paul who urged him to overcome the fearful and horrible 'mean reds' - by a trip to Tiffany's: ("You know those days when you get the mean reds?... The blues are because you're getting fat or maybe it's been raining too long. You're just sad, that's all. The mean reds are horrible. Suddenly you're afraid and you don't know what you're afraid of. Do you ever get that feeling?...Well, when I get it, the only thing that does any good is to jump into a cab and go to Tiffany's. Calms me down right away. The quietness and the proud look of it. Nothing very bad could happen to you there. If I could find a real-life place that made me feel like Tiffany's, then, then I'd buy some furniture and give the Cat a name")
  • the crowded apartment cocktail party scene in Holly's cramped one-bedroom brownstone on Manhattan's East Side with loud mambo music; before the party really started, Paul listened to Holly's self-important agent O.J. Berman (Martin Balsam) ask a question about his client: "Is she or isn't she?...A phony"; after Paul answered: "I don't think so", Berman continued: "Well, you're wrong, she is. But on the other hand, you're right, because she's a real phony. You know why? Because she honestly believes all this phony junk that she believes in. I mean it. Now look, I like the kid. I mean, I sincerely like the kid. I do. I mean, I'm sensitive, that's why. I mean, you gotta be sensitive to like the kid, you know what I mean? It's what you call a touch, a streak of the poet, you know what I mean?"; Berman then took credit for discovering Holly, for giving her class after a year-long effort to smooth out Holly's accent, and described how she often acted impulsively (and skipped her screen test)
  • brief party scene vignettes included: Holly's Cat jumping on a guest's back, Holly setting the purple hat of a guest on fire with her long cigarette holder (while somebody else doused it with their drink), Holly's neighbor Paul placing his cold drink glass against the naked back of a blonde and then having his drink stolen by Holly, the delivery of "reinforcements" (more booze and food), lots of over-imbibing and smoking, the incensed complaining of upstairs bucktoothed Japanese photographer-neighbor Mr. Yunioshi (Mickey Rooney in a controversial buffoonish, racist role) who phoned (Holly's phone was hidden in a closed suitcase) and threatened to call the police, soused red-haired model Mag Wildwood (Dorothy Whitney) reprimanding a rich male for flirting with Holly ("To think I'd find a beau of mine, mousin' after a piece of cheap Hollywood trash...You know what's gonna happen to you? I am gonna march you over to the zoo and feed you to the yak. Just as soon as I finish this drink") - and then collapsing face-first onto the floor as Holly cried out a warning: "Timber!", the sounds of a siren marking the arrival of NYPD officers who passed Holly (she directed them upstairs) walking away on the arm of Mag's millionaire beau, and the discovery behind a shower curtain of O.J. Berman kissing a sexy blonde (Thayer Burton) who had earlier identified herself to him as "Irving"
  • the simple scene of Holly strumming a guitar and singing Johnny Mercer's Oscar-winning song "Moon River" on her fire escape landing
  • Holly's reacquaintance with her ex-husband, Texan Doc Golightly (Buddy Ebsen), who incessantly called her Lula Mae - they had been married (now annulled) when she was only 15 years old; in the scene at a bus station, Holly explained why their love hadn't worked and why she wasn't going back with him to Texas: "It's a mistake you always made, Doc, trying to love a wild thing. You were always luggin' home wild things. Once it was a hawk with a broken wing and another time it was a full-grown wildcat with a broken leg. Remember?... You mustn't give your heart to a wild thing. The more you do, the stronger they get. Until they're strong enough to run into the woods or fly into a tree. And then to a higher tree and then to the sky"; when he departed broken-hearted, she admitted to Paul: "I am still Lula Mae. Fourteen years old, stealing turkey eggs and running through a briar patch. But now I call it having the mean reds. Well, it's still too early to go to Tiffany's. I guess the next best thing is a drink"
  • the sequences of Holly and Paul fulfilling Holly's idea: "We can spend a whole day doing things we've never done before. We'll take turns. First something you've never done, then me" - beginning with their magical visit to Tiffany's - where she exulted as they entered: "Don't you just love it?...Tiffany's. Isn't it wonderful? You see what I mean how nothing bad could ever happen to you in a place like this? It isn't that I give a hoot about jewelery, except diamonds, of course - like that!"; however, his offer of buying her a present for $10 or less made their choices "limited"; the two rejected a $6.75 sterling silver telephone dialer; Paul suggested a ring in his pocket from a Cracker Jack box, that could be engraved with initials at Tiffany's - Holly was pleased that the salesman (John McGiver) was accommodating - she kissed him, and then told Paul: "Didn't I tell you this was a lovely place?"
  • their visit to a public library, where Paul showed her how to find his published book in the card catalogue from five years earlier: "Varjak, Paul. Nine Lives"; after retrieving the book, Holly bragged to the librarian-clerk that Paul was the author, and foolishly suggested that he autograph the book, although the clerk vehemently objected: "What are you doing? Stop that! You're defacing public property"
  • the scene in the local Carter's 5-10-25 store of Holly demonstrating her love of shop-lifting: ("Hey, did you ever steal anything from a five-and-ten, when you were a kid, I mean?...I used to. I still do every now and then, sort of to keep my hand in. Come on. Don't be chicken. Anyway, you've never done it, and it's your turn"; the two wore Halloween masks and exited the store without paying, and she yelled "Boo!" at a cop on the corner as they ran across the street
  • their slow-kiss, after they returned to Holly's apartment and removed their masks; and shortly afterwards, Paul found Holly in the library, where she was reading a book about South America; he professed his love ("Holly, I love you"), but she stubbornly admitted instead that she was determined to marry José da Silva Pereira (Vilallonga), a wealthy South American politician ("I thought if I'm going to marry a South American, I'd better find out something about the country...Well, my dear, you won't believe this, but it turns out not only is he handsome and wildly rich, he's absolutely cuckoo for me")
  • the film's final scene in a cab during a downpour; Holly stubbornly insisted to Paul that she would still travel to NYC's Idylwild Airport and fly to Brazil (even though Jose had decided to break up with her through a letter delivered by his cousin, to protect his reputation) - Paul read the letter outloud, with its final line: ("I have my family to protect and my name and I am a coward where these institutions enter. Forget me, beautiful child. And may God be with you. Jose")
  • in a heartbreaking moment, she decided to abandon her nameless Cat by letting it out the taxi's back door: "I'm like cat, here. We're a couple of no-name slobs. We belong to nobody. And nobody belongs to us. We don't even belong to each other. Stop the cab. What do you think? This ought to be the right kind of place for a tough guy like you. Garbage cans, rats galore. Scram! I said take off! Beat it! Let's go!"
  • the sequence of Paul's angry lecture at Holly after ordering the cab to pull over and stop: "You know what's wrong with you, Miss Whoever-you-are? You're chicken. You've got no guts. You're afraid to stick out your chin and say, 'Okay, life's a fact.' People do fall in love. People do belong to each other because that's the only chance anybody's got for real happiness. You call yourself a free spirit, a wild thing. And you're terrified somebody's gonna stick you in a cage. Well, baby, you're already in that cage. You built it yourself. And it's not bounded in the west by Tulip, Texas or on the east by Somaliland. It's wherever you go. Because no matter where you run, you just end up running into yourself" - he tossed the engraved Cracker Jack ring at her ("Here. I've been carrying this thing around for months. I don't want it any more"), and left the cab to find Cat
  • in the film's final moments, with a sudden change of heart, Holly put on the ring, exited the cab and ran back down the rain-soaked street, joyously located Cat, and was reunited with both Cat and Paul in an alleyway - she kissed Paul with the Cat squeezed in-between them - her last line: "Cat! Cat! Oh, Cat... ohh..."

The Breakfast Club (1985)

In John Hughes' quintessential, dialogue-rich teen comedy:

  • in the opening to the tune of Simple Minds' anthemic 1980's song "Don't You (Forget About Me)", student Brian Johnson's narration about serving an all-day Saturday detention in Shermer (IL) High School's library with four other teenaged high-school students - stereotypical characters from diverse backgrounds, who were being disciplined by principal Mr. Richard Vernon (Paul Gleason), and forced to write an essay reflecting on who they thought they were and what they did wrong: ("Saturday, March 24, 1984. Shermer High School, Shermer, Illinois 60062. Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did was wrong. But we think you're crazy to make us write an essay telling you who we think we are. What do you care? You see us as you want to see us - in the simplest terms, in the most convenient definitions. You see us as a brain, an athlete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at 7:00 this morning. We were brainwashed")
    - athletic wrestling jock Andrew 'Andy' Clark (Emilio Estevez)
    - brainy nerd Brian Ralph Johnson (Anthony Michael Hall)
    - arrogant rebel and James Dean-like loner John Bender (Judd Nelson)
    - popular red-headed WASP "princess" Claire Standish (Molly Ringwald)
    - outcast recluse and insecure neurotic Allison Reynolds (Ally Sheedy)
  • Mr. Vernon's strict welcoming speech to the disciplined students at 7:06 am, before their almost 9 hours of detention, when he described the restrictions and rules of the day, and their assignment: ("Ponder the error of your ways. You may not talk. You will not move from these seats. And you will not sleep. We are going to write an essay of no less than a thousand words describing to me who you think you are....Maybe you'll learn a little something about yourself. Maybe you'll even decide whether or not you'd care to return"), interrupted by John Bender's impertinent question: ("Does Barry Manilow know that you raid his wardrobe?"), and Vernon's punishment and threat: ("I'll give you the answer to that question, Mr. Bender, next Saturday. Don't mess with the bull, young man - you'll get the horns"):
  • the escapist dancing to break the boredom by the teens, who also experienced a series of honest, realistic conversations
  • the poignant scene of Andy's soliloquy-description of the reason for his detention - his brutal bullying and abuse-humiliation of nerdy Larry Lester (by taping his buns together) in order to please his father: ("And the bizarre thing is, that I did it for my old man. I tortured this poor kid because I wanted him to think that I was cool")
  • the scene of Allison using her dandruff to provide snow for a drawing she made
  • the romance that blossomed between Claire and John culminating in a passionate kiss and her giving him one of her earrings to wear
  • John's triumphant fist pump (basking in the love of Claire) as he walked across the football field, while "Don't You (Forget About Me)" plays again at the film's end
  • the restatement of the letter written by Brian for everyone - left for Mr. Vernon to read, in the closing voice-over narration (in Brian's voice): ("Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you're crazy to make us write an essay telling you who we think we are. You see us as you want to see us - in the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain...and an athlete... and a basket case...a princess...and a criminal. Does that answer your question? Sincerely yours, the Breakfast Club")

Breathless (1960, Fr.) (aka A Bout de Souffle)

French director Jean-Luc Godard's landmark New Wave film, his first feature film:

  • the image of young Parisian thug and car thief Michel Poiccard/Laszlo Kovacs (Jean-Paul Belmondo) pausing outside of a movie theatre and looking dreamily in a mirror, as he gazed at a poster for the film The Harder They Fall with a picture of star idol Humphrey Bogart
  • his simple reverent whisper of "Bogie" as he mimed his hero, blew out wispy smoke from his cigarette, and traced his thumb over both closed lips
  • Michel's musing: "So I'm a son of a bitch"
  • the use of break-through jump cuts in the aimless "Why are you unhappy?" discussion between Michel and flighty American girlfriend Patricia Franchini (Jean Seberg) while driving a stolen convertible through Paris (with the camera focusing from behind on her for nearly the entire sequence)
  • the scene of Patricia telling journalist Van Doude (Himself) in English: "I don't know if I'm unhappy because I'm not free, or I'm not free because I'm unhappy"
  • the over 20-minute scene of Patricia returning to her apartment to find Michel in her bed where they talked, flirted, smoked, fought, and made love - often with wailing sirens heard through the open window and drowning out the character’s dialogue
  • the brief shoot-out ending when a surprised Michel was gunned down by the police after Patricia (for no particular reason) betrayed his whereabouts with a phone call to the authorities
  • after staggering down the street lethally wounded (with Patricia running after him), Michel collapsed near the middle of an intersection; she ran up to his body, placed one hand over her face and looked down at him; after making grotesque and grimacing faces, he uttered these last icy words to her: (there are many different translated versions of the French phrase: "C'est pas vraiment degueulasse"): "Makes me want to puke" (he called her a 'real scumbag' or 'a little bitch', or he said: "I am a real creep") - she asked a policeman: "What did he say?", and was told: "He said you make him want to puke" (or she made him feel nauseated, disgusted, or sick, or he said: "You're a real creep (or bitch)" or "You're a real scumbag")
  • in the ending, she stared directly at the camera and responded by imitating Michel, but again asking impassively what the words meant: "What's that mean, puke?" (or "What's a 'creep'?" or "'A little what?' I don't understand"), as she ran her thumb across her upper lower lip; she then abruptly turned around - from the camera, audience, everyone, and the film ended with blackness

Brian's Song (1971) (TV)

In this made-for-TV sports movie, a true inspirational story about the inter-racial friendship between two football teammates:

  • Gale Sayer's (Billy Dee Williams) haltingly spoken locker-room address to his fellow players on fellow Chicago Bears teammate Brian Piccolo's (James Caan) cancer, breaking down into uncontrollable sobs that caused him to prematurely end his speech: ("Uhm, you uh, all know that we hand out a game ball to the outstanding player. Well, I'd like to change that. We just got word that Brian Piccolo is - that's he's sick, very sick. And, uh, it looks like, uhm, he might never play football again, or, uh, a long time. And, I think we should dedicate ourselves to, uh, give our maximum effort to win this game and give the game ball to 'Pic'. We can all sign it. And take it up. Aw, sh -- Oh, my God")
  • the tearjerking ending scene in which Gale Sayers accepted the George S. Halas Award for Courage and dedicated it to his cancer-stricken teammate Brian Piccolo: ("I'd like to say a few words about a guy I know, a friend of mine. His name is Brian Piccolo, and he has the heart of a giant and that rare form of courage which allows him to kid himself and his opponent - cancer. He has a mental attitude which makes me proud to have a friend who spells out 'courage' 24 hours a day every day of his life. Now you flatter me by giving me this award. But I say to you here and now, Brian Piccolo is the man of courage who should receive the George S. Halas award. It's mine tonight and Brian Piccolo's tomorrow. I love Brian Piccolo. And I'd like all of you to love him, too. And tonight, (when) you hit your knees - please ask God to love him")

The Bribe (1949)

In Robert Z. Leonard's crime noir:

  • the voice-over narration of chain-smoking Federal agent Rigby (Robert Taylor) during flashbacks, some of which appeared on his rain-streaked, hotel room window
  • the scene of the proposed death of Rigby during a fishing trip - although young native guide Emilio Gomez (Tito Renaldo) was killed instead in shark-infested waters
  • the romantic scene on a beach after a moonlight swim between Rigby and femme fatale nightclub torch singer Elizabeth Hintten (Ava Gardner)
  • the spectacular finale - a shootout between racketeer-smuggling leader and playboy Carwood (Vincent Price) and Rigby during a fiesta fireworks celebration in which Rigby gunned Carwood down in self-defense

Bride of Frankenstein (1935)

In James Whale's superior sequel to his 1931 classic:

  • the scene of the first appearance of the Monster (Boris Karloff) chest-deep in water when he emerged from the dark shadows under the burnt-down windmill - surviving from the original Frankenstein (1931) film
  • the scene of the great mad and demented scientist Dr. Pretorius (Ernest Thesiger), Dr. Henry Frankenstein's (Colin Clive) former mentor, coercing Henry into creating an artificial bride for the Monster
  • the unveiling of Dr. Pretorius' bell-jars with six small homunculi specimens (the Queen, the King, the Archbishop, the Devil, a Ballerina and a Mermaid) to Dr. Frankenstein
  • the Monster's appearance when hungry to a family of gypsies roasting meat on a campfire spit (and burning his hands in the hot fire), and his pursuit by townspeople through surrealistic woods and settings
  • the Monster's attraction to the blind hermit's (O. P. Heggie) refuge when he heard the hermit playing a violin, and the hermit taught the Monster how to eat, drink, smoke, and play music ("We are friends, you and I"); and the tremendous pathos in the characterization of the Monster (with facial expressions, gutteral responses, and actually words of dialogue)
  • the Monster's scene with Pretorius in the crypt/mausoleum
  • the classic scene of the creation/"birth" of the Bride (Elsa Lanchester) with lightning bolts (Frankenstein: "She's alive, alive!"), and the unveiling of her face with the unwinding of bandages, revealing a wild electrified hairdo and jerky twitching movements
  • the great movie moment of the Monster meeting his bride when she let go with a piercing shriek of rejection and revulsion -- and the Monster despaired: ("She hate me, like others")
  • the climactic scene when the Monster decided to spare Henry (and Elizabeth (Valerie Hobson)) by permitting them to rush to safety outside, but planned on killing himself, the Bride, and Dr. Pretorius by pulling a level to set off an explosive: ("Yes, go! You live! Go! (To Pretorius) You stay! We belong dead!"); explosions rocked the stone-tower and rubble buried everyone inside alive, while on a hillside closeby, Elizabeth and Henry happily embraced as he offered comforting words to her: "Darling. Darling"

The Bridge on the River Kwai (1957)

In David Lean's Best Picture-winning war epic:

  • the opening scene of the British soldiers' arrogant march into the sweltering jungle prison camp to the whistling tune of the "Colonel Bogey March"
  • Japanese Colonel Saito's (Sessue Hayakawa) opening words to the POWs and their British Colonel Nicholson (Alec Guinness): ("We are an island in the jungle. Escape is impossible. You would die. Today you rest. Tomorrow you will begin. Let me remind you of General Yamashita's motto: 'Be happy in your work.' Dismissed!")
  • the battle to a standoff throughout the film of the two stubborn wills of indomitable British Colonel Nicholson and the Japanese Colonel Saito, who insisted: ("Do not speak to me of rules. This is war. This is not a game of cricket")
  • the late night supper scene in which camp commandant Saito invited Nicholson into his quarters for a meal, and offered a compromise
  • the triumphant scene of Nicholson's release from a sweat-box and his unsteady walk on his own rubbery legs - winning his freedom from the hot torture oven as a mass rush of troops congratulated him: ("He's done it!"), and forcing Saito to accept his terms: ("You and your officers may return to your quarters. As part of this amnesty, it will not be necessary for officers to do manual labor")
  • the suspenseful finale including Nicholson's discovery of dynamite wires
  • the unbearable tension as the Japanese troop train was heard approaching the bridge and the commandos prepared to blow up the bridge
  • Nicholson's attempt to save his bridge, the utterance of his moral dilemma ("What have I done?"), and his falling on the dynamite plunger
  • the climactic destruction of the railroad bridge and train

The Bridges of Madison County (1995)

In actor/director Clint Eastwood's tearjerking romantic drama:

  • the lingering glance between married Iowa farmwife Francesca Johnson (Meryl Streep), seated in her husband's truck, and National Geographic photographer Robert Kincaid (Clint Eastwood) following their four-day love affair, as he stood in the street a short distance away on a rainy afternoon: (Francesca in voice-over: "For a moment, I didn't know where I was. And for a split second, the thought crossed my mind that he really didn't want me. That it was easy to walk away")
  • at a red stoplight behind Robert's truck (from Washington State), she noticed that Robert leaned over in his truck's cab and retrieved something from his glove-box: (she remembered, in voice-over: "8 days ago, he'd done that, and his arm had brushed across my leg. A week ago I'd been in Des Moines, buying a new dress")
  • Francesca's heartbreaking, pivotal, and fateful, cross-roads decision to remain with her husband in their truck instead of jumping out (although she partially turned the truck's doorknob), and her thoughts after watching Robert's truck turn left and drive away forever: ("Oh, no. The words were inside of me. I was wrong, Robert, I was wrong to stay, but I can't go. Let me tell you again why I can't go. Tell me again why I should go. I heard his voice coming back to me: 'This kind of certainty comes but once in a lifetime.'")

Brief Encounter (1945/1946, UK)

In one of the greatest tearjerker films of all time by young director David Lean:

  • the heartbreaking circumstances of two doomed, ill-fated lovers: middle-class housewife Laura (Celia Johnson) and doctor Alec (Trevor Howard) in their weekly meetings
  • their first encounter at the Milford Junction train station when he removed engine soot from her eye
  • the soundtrack of Rachmaninoff's Piano Concerto No. 2
  • the scene after a boatride when they confessed their love to each other but Laura cautioned: "We mustn't behave like this..."
  • Laura's fantasy - viewed in the train window - of being with Alex in romantic settings
  • their aborted attempt at a tryst to consummate their affair, when it was interrupted
  • Alec's profession of love: ("I love you, Laura. I shall love you always until the end of my life")
  • the scene of their final day together when they were interrupted by friend Dolly Messiter (Everley Gregg) during their last, painful, repressed goodbye (both at the start and end of the film) as Alec gently placed his hand on her shoulder and disappeared forever (on a medical journey to Africa): ("I felt the touch of his hand on my shoulder for a moment. And then he walked away, away out of my life forever...Dolly still went on talking, but I wasn't listening to her. I was listening to the sound of his train starting. And it did. I said to myself: 'He didn't go. At the last minute his courage failed him; he couldn't have gone. Any minute now, he'll come back into the refreshment room pretending he's forgotten something.' I prayed for him to do that, just so that I could see him again, for an instant. (pause) But the minutes went by...")
  • the anguished Laura's near-suicide attempt (with a mad, self-destructive urge signified by a tilted camera) when she jumped up abruptly from the table and rushed outside the tea room to the rail platform. Her internal state was externalized and stylized as disorienting and unbalanced. At the edge of the platform as the train screeched through, she contemplated throwing herself under the passing train, but lacked the courage to do so
  • the final scene in the company of her understanding and thankful husband Fred Jesson (Cyril Raymond), when he asked her: ("Whatever your dream was, it wasn't a very happy one, was it?...Is there anything I can do to help?...You've been a long way away....Thank you for coming back to me"), and she responded by weeping in his arms

Bring Me the Head of Alfredo Garcia (1974, US/Mex.)

In Sam Peckinpah's under-rated, nihilistic classic western:

  • the opening scene of the pregnant teenaged daughter Theresa (Janine Maldonado) of vicious, vengeful and wealthy Mexican landowner El Jefe (Emilio Fernandez) - who was stripped to the waist and had her arm broken to divulge who impregnated her: ("Quien es el padre? Who is the father?"); the scandal caused El Jefe to viciously attack her, and offer a $1 million dollar bounty for the "head" of the man she claimed was responsible - Alfredo Garcia: ("I will pay one million dollars. Bring me the head of Alfredo Garcia!")
  • the tale of the haunting, violent quest of penniless, hustling, seedy American bar-room pianist Bennie (Warren Oates) to find the 'head' of Alfredo Garcia (already dead and buried a week earlier after a drunk-driving accident!) for the $1 million bounty, and his road trip through the Mexican underworld with earthy brothel prostitute/girlfriend Elita (Isela Vega) who was Alfredo's ex-girlfriend
  • the quiet and tender picnic scene between Bennie and Elita off the road under a tree as they discussed their future and possible marriage: ("Will you marry me?")
  • Bennie's retrieval of the decapitated and decomposing head of Alfredo "Al" Garcia and stashed in a blood-stained burlap bag (with flies buzzing around it) that he threw into the passenger seat of his dusty red and white car, and the macabre scenes of Bennie intimately befriending, conversing and asking questions of the head
  • in the concluding sequence, Bennie's return of Alfredo's head in the sack to El Jefe in his hacienda, in exchange for the case of money. El Jefe apathetically told him: "Don't forget to take that and throw it to the pigs." Bennie was disgusted by all the killing: ("Sixteen people are dead because of him and you. And me. And one of 'em was a damn good friend of mine!"). Theresa strongly urged him to kill her father: "Kill him" - and in the apocalyptic bloody confrontation, El Jefe and his hacienda bodyguards were shot and killed. As Bennie left, he took the sack: ("Come on, Al, we're goin' home"), and told Theresa: "You take care of the boy and I'll take care of the father"
  • the enduring ending image (before the credits) - a close-up of the smoking barrel of a machine-gun used by El Jefe's hired thugs to kill Bennie after his car sped away from the hacienda and crashed through the compound's gate

Bringing Up Baby (1938)

In Howard Hawks' classic and definitive screwball comedy:

  • the comedic antics and "misadventures" between shy paleontologist David Huxley (Cary Grant) and scatter-brained, fast-talking eccentric heiress Susan Vance (Katharine Hepburn)
  • David's opening golf game with Mr. Peabody continuously interrupted by her playing his golf ball and driving away in his battered car
  • Susan's olive game
  • the scene of David's torn tuxedo and her ripped evening dress including their rapid exit from a supper club as he walked in unison close behind her, covered her posterior and saved her reputation
  • David's confessional scene to Susan: "I'm strangely drawn toward you..." after which he sprawled face-first onto the ground
  • pet leopard Baby's chicken coop meal
  • fluffy negligee-wearing David's exclamation in front of Aunt Elizabeth (May Robson) as he jumped into the air: "Because I just went gay all of a sudden"
  • the long search in the woods for Baby with a butterfly net
  • the major incarceration scene in the jail cells where Susan pretended to be a gangster moll and the appearance of a leopard (not Baby but a murderous escaped animal from the circus)
  • the finale - the return of the missing dog-buried bone and the swaying, crumbling destruction of the reconstructed brontosaurus skeleton as Susan and David dangled from it - she apologized: ("Oh David, look what I've done. Oh, I'm so sorry. Oh, oh, David, can you ever forgive me? You can and you still love me...You do, oh David"), and he replied during their final kiss and embrace: ("Oh, dear. Oh, my. Hmmm")

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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