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 (his directorial debut film) about hoods growing up in South Central LA:

  • the scene of divorced, strict and overbearing father Jason 'Furious' Styles (Laurence Fishburne), in South Central LA (the Crenshaw District) lecturing his underachieving, hot-tempered 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" - or decreasing property values: ("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 running back Ricky Baker (Morris Chestnut) at Crenshaw HS - the half-brother of aspiring gang-banger, Crip gang member and dope-dealer Darrin 'Doughboy' Baker (rap star Ice Cube), was gunned down by the Bloods rival gang in an alleyway - viewed by Tre in horror
  • the scene of Tre, contemplating seeking revenge on Ricky's murder by getting a .357 Magnum 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 and distraught single mother Brenda Baker (Tyra Ferrell), who afterwards learned that Ricky had scored high enough on his SATs to qualify for a USC scholarship
  • the last scene in which Doughboy (who had sought deadly revenge for Ricky's killing) told Tre that he truly understood why he didn't get involved in avenging Ricky's death, and his personal denouncement of TV news and its lack of care for the violence-ridden ghetto: ("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.") - Doughboy's prediction about the continuation of violence was accurate (he was gunned down two weeks later)

Tre Styles with Father Jason

"Gentrification" Speech

The Lethal Shooting of Ricky Baker
Contemplating Revenge
Single Mother with Corpse of Son Ricky

Tre with Doughboy

Bram Stoker's Dracula (1992)

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

  • the opening blood-drenched scene of Prince 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 thrust his sword into a stone cross that bled blood: ("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! (He drank blood that had spilled from the cross into the church's holy chalice) 'The blood is the life! And the blood, it shall be mine!'")
  • in Transylvania centuries later in the late 1800s, Count Dracula was portrayed as a pasty-faced, bouffant-coiffed, satin-robed nobleman; he delivered a welcome-greeting ("I am Drac-ula and I bid you welcome, Mr. Harker, to my house") to young London law clerk and real estate agent Jonathan Harker (Keanu Reeves), there to arrange a real estate acquisition in London; he spoke a memorable line of dialogue at the dinner table: "Come in. You will, l trust, excuse me that l do not join you. But l have already dined. And l 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 secretly licked Harker's blood off the sharp razor
"I am Drac-ula"
"Take care how you cut yourself. lt is more dangerous than you think."
Licking the bloody razor
  • the sequence of Harker being enticed, seduced, raped and fed upon by Dracula's three blood-thirsty seductive brides (Monica Bellucci, Michaela Bercu, and Florina Kendrick); in Harker's bedroom as he was retiring for the night, one of the undead Brides emerged from under his bed (Bellucci) and proceeded to rise up (half-naked, bare-breasted) and stroke his inner thighs; afterwards, all the brides surfaced up through the mattress; he was surrounded by the ravenous creatures as they tore at his clothes, and fed upon him (by licking him, and then biting down on his crotch with fanged teeth); the "devils of the pit" drained him of his blood to keep him weak
The Three Brides of Dracula
(Monica Bellucci)
(Florina Kendrick)
(Michaela Bercu)
  • the Brides were interrupted by the sudden appearance of Dracula himself, who jealously and strongly cautioned: "How dare you touch him! He belongs to me....Yes, I too can love. And I shall love again"; one of the Brides asked: "Are we to have nothing tonight?"; Harker saw Dracula give his brides a young baby to feast upon, and as he screamed in horror, Dracula let out a hideous laugh
  • in London, blood-red-eyed Prince Vlad's (also Gary Oldman) overwhelming temptation to suck the blood of Harker's bride-to-be Mina Murray (also Winona Ryder) - believing her to be the living image of his own long-lost reincarnated beloved bride Elisabeta: ("I know you. I have crossed oceans of time to find you"), during a London exhibition in a cinematheque of the new art of movies; he then saved her from an escaped wolf
  • the scene in which obsessed vampire hunter Dr. Abraham Van Helsing (Anthony Hopkins) and others discovered Mina's friend Lucy Westenra (Sadie Frost) was a vampyr - 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!")
Vampyr Lucy's Mercy Killing
  • the scene of Mina's feverish and passionate dream-longing for Dracula, and her subsequent love scene with a seductive 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")
  • after Van Helsing and others burst into the bedroom and saved Mina, Dracula transformed (with spectacular special-effects) into a monstrous werewolf creature on his hind-legs who threatened them, claiming: "She is now my bride" - but then after being shot in the chest, Dracula morphed again into a pack of rats that scurried away across the floor
  • the climactic ending scene in which Mina was hypnotized and made a decoy to follow Dracula and finish him off; dying, Dracula knew that his 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" (the film's final line of dialogue), she impaled Dracula in the heart with a sword, kissed him again, and then beheaded him to end his curse

Suicidal Wife Elisabeta

Dracula Denouncing God

Dracula Offering Brides an Infant

Prince Vlad Tempted to Suck Blood of Mina, Harker's Fiancee

Vlad Saving Mina from White Werewolf in Cinematheque

Mina Making Love to Dracula

Dracula Transformed into Grotesque Werewolf Creature and Rats!

Mina's Sword-Impalement and Beheading of Dracula

Braveheart (1995)

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

  • the sequence of the secret courtship, marriage, and consummation of naked love (in the moonlight) between future Scottish freedom-fighter William Wallace (Mel Gibson) and Murron MacClannough (Catherine McCormack), originally his childhood sweetheart
  • 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!)")
  • the sequence of charging British horsemen coming at the Scottish hordes, as Wallace held off his fighters for as long as possible by crying out "Hold!" until the moment when he yelled: "Now" - the men crouched down, grabbed pointed wooden spikes and raised them, and impaled the riders and their horses; brutal hand-to-hand combat followed, with bloody and lethal swordplay
  • after Wallace was defeated at the Battle of Falkirk, the brutal (heroic) execution scene after he was found guilty of high treason, and he courageously withstood torture ("I'm not dead yet") and then died for his cause at the Tower of London; first, he was stretched (partially hung with a rope by his neck), racked (or stretched in mid-air by ropes tied to his hands and feet), and then disemboweled ( "drawn and quartered") in a public display; showing continual resistance, he defiantly cried out his last word, not "Mercy" as he was commanded to beg, but: "FREEEEE-DOMMMMMM!"; the executioner was given the nod to kill him; he turned his head to the side - and had a vision of his already-murdered wife Murron (Catherine McCormack) - seen walking in the crowd as a ghost and smiling at him [Note: she had been publicly executed - her throat was slit - for assaulting an English soldier intent on rape one day after their marriage]; after he was beheaded with one swinging stroke of a sharp axe (off-screen), his death reunited him with her; the bloody rag he held clenched in his fist dropped to the ground
Execution Scene
  • 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")

"Sons of Scotland!"



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: a renegade ("free-lance") maintenance man Archibald "Harry" 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
Sam as Winged Superhero Warrior Envisioning Dream Girl
  • in an alley - Sam 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, the sequence of Sam's arrest and his strapped confinement in a torture chair in the middle of a circular platform within a domed building to be questioned and tortured by two torture agents as the spritely tune Brazil played; a white-coated technician wearing a pock-marked, smiling baby mask approached to administer torture - Sam recognized him as his friend Jack Lint (Michael Palin), accompanied by Deputy Minister of Information Mr. Helpmann (Peter Vaughan)
  • meanwhile, Sam fantasized that he was being rescued by commandos led by Tuttle, and escaping with Jill as they drove away from the city to a pastoral setting; however, his ideal perfect world was revealed to be a self-deluding illusion or fantasy - the green vista of a pastoral backdrop where he had escaped was covered over, and he was back in the domed torture chamber
  • the film's final lines came 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")
"He's gone"
  • the final view of Sam was as he was humming "Brazil" to himself - insanely lost in his inner world

Bureaucratic Error

Tuttle (Robert De Niro)

Sam's Battle With Giant Samurai

Plastic Surgeries

Restaurant Bombing

Desk Battle

Dream-Rescue by Tuttle (Robert De Niro)

Dream of Escaping with Jill

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?"
Visiting Tiffany's
  • 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")
The Taxi-Cab Ride and Abandonment of Cat
  • 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..."

Outside Tiffany's at Dawn

Eyeing Emily Failenson or 2E (Patricia Neal)

"Poor old cat"

"The mean reds"

Party Scene Vignettes

"Moon River"

Holly's Ex-Husband

Visit to Library

Halloween Masks


Cat Found - and Reconciliation in the Rain

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")

Principal Vernon

Escapist Dancing

Andy's Soliloquy

John and Claire

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

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

  • the film's first line of dialogue, the musings of a male speaker (voice-over and off-screen): "After all, I'm an asshole" - coming from the lips of young and vulgar Parisian thug and wanted car thief Michel Poiccard/alias Laszlo Kovacs (Jean-Paul Belmondo), who was reading a newspaper in Marseilles; he was smoking a cigarette, and traced his thumb over both closed lips (a trademark gesture)
  • the sequence (after stealing an automobile in Marseilles) of his murder of a motorcycle policeman in the countryside - with a magnification of his gun; shortly later, he read in a newspaper in Paris that he had been identified as the killer
  • his meeting up with flighty American girlfriend Patricia Franchini (Jean Seberg) from New York, an aspiring journalist who he had known for only a few weeks; he located her selling newspapers (the New York Herald Tribune) on a street in Paris, where he repeatedly flattered her looks and tried to convince her to join him in Rome: "Come with me to Rome? It's crazy but I love you. I wanted to see if I'd be glad to see you again" - as the camera followed behind them and overheard their conversation, and then they reversed themselves
  • while wandering around Paris later that day, the sequence of Michel 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; he reverently and simply whispered "Bogie" as he mimed his hero, blew out wispy smoke from his cigarette, and traced his thumb over both closed lips
  • the use of break-through jump cuts during the aimless discussion between Michel and Patricia while he drove his stolen convertible through Paris to take her to a lunchtime appointment (with the camera focusing from behind her for nearly the entire sequence); he kept pressuring to see her and make love and that he really needed her, when she asked: "Why are you so sad?"; in a dramatic tone, he told her: "Alas, alas, alas, I love a girl who has a nice neck, nice breasts, a nice voice, nice wrists, a nice forehead, nice knees, but she's such a coward!"
  • the lunchtime scene on an outside balcony in Montparnesse when Patricia told journalist Van Doude (Himself) about her personal unhappiness: "If I could dig a hole and hide in it, I would. I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy"
  • the over 20-minute scene of Patricia returning to her apartment and being surprised to find Michel there in her bed - where they chatted, flirted, smoked, and fought - often with wailing sirens heard through the open window and drowning out the character’s dialogue; he expressed dissatisfaction that she wouldn't commit to him and kept insisting on making love to her: "I want to sleep with you again because you're beautiful" - although she was more romantically inclined: "I want us to be like Romeo and Juliet"; they played a macabre game that he described: "I'll count to 8. If by 8 you haven't smiled, I'll strangle you"; she also divulged a possibility of her bearing his child: "I'm pregnant, Michel" - when he asked if it was his, she replied: "I think so" - he blamed her: "You should've been more careful!"; he alternated between insulting her looks and personality and praising her for her charming, pretty self - she responded: "Say what you like, I don't care"; eventually, she was worn down and made love to him
  • the brief scene of Patricia - after covering for Michel when asked by authorities about his whereabouts - phoning Inspector Vital to betray him to the police: "I've just seen the fellow you're looking for"; shortly after, she told Michel: "I don't want to be in love with you. That's why I called the police. I stayed with you to see if I was in love with you. Or if I wasn't. And since I'm being cruel to you, it proves I'm not in love with you"
  • the shoot-out ending: Michel was convinced and resigned to giving himself up: "I've had enough. I'm tired, I want to sleep...Damn the police, I'll save my neck" - but he fired a gun at police; return gunfire lethally wounded him and he jogged down a street holding his bloody lower back (with Patricia running after him); after a long tracking shot, he collapsed near the middle of an intersection; she ran up to his body, placed one hand over most of 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" or "You're a real louse (creep, scumbag, or bitch)" or possibly: "I am a real creep"; she asked a policeman: "What did he say?" just before he died; she was told: "He said you make him want to puke" (or she made him feel nauseated, disgusted, or sick: "He said you're a real creep (or bitch)" or "He said you're a real scumbag" or "He said you're a real louse")
The Shooting and Michel's Death
  • 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'?" "What's a 'louse'?" 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

Film Opening

Police Killer Identified

Car Ride with Patricia

In Her Apartment

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")

Locker-Room Address

Dedication of Award

The Bribe (1949)

In Robert Z. Leonard's crime noir ("A Story of Love and Temptation") - a dark melodrama (with scenes often used in Dead Men Don't Wear Plaid (1982)):

  • the frequent voice-over narration during flashbacks of chain-smoking Federal secret service agent Rigby (Robert Taylor), a cold-hearted ex-war veteran, some of which appeared on his rain-streaked, hotel room window in Los Trancos on the island of Carlotta in Central America: "Well, here's the storm, right on schedule. Could be a break at that. Gives you time. Yeah, time to think. And how do you like your thoughts? How do you like finding out that maybe you've got a price tag, too, after all these years? How much do you cost, Rigby? How much for you? Or would you rather use another word for what you're selling out, one with a fancy necktie on it, say, honor? And what does that mean - honor? Same thing to everybody or different things to different people? Honor, just a word. Say it over often enough and it's not even a word anymore, just a sound - a sound without any meaning at all"
  • Rigby's objective while posing as a sports fisherman: the pursuit of smugglers involved in missing (or stolen) WWII aircraft engine parts, although Rigby became entranced and sidetracked by an irresistible femme fatale - sultry torch singer Elizabeth Hintten (Ava Gardner) after seeing her perform "Situation Wanted" in Pedro's nightclub - she was the wife of his initial prime suspect: ex-Air Force pilot Tugwell Hintten (John Hodiak) - first described by Rigby in voice-over: "Entertainer at Pedro's. Unknown quantity. Quantity unknown maybe, but one look and you thought you knew the quality"
  • Rigby later spoke to Elizabeth in her dressing room where her drunken and dissolute husband barged in and told him that she was off-limits before he passed out; Rigby helped her get him home; Rigby delivered a further voice-over assessment of Elizabeth: "There was something about her, a softness. You had to keep telling yourself it was a good routine, a very good routine...."
The Main Shady Characters
Elizabeth Hintten
(Ava Gardner)
Elizabeth with Drunken
Husband Tugwell Hintten
(John Hodiak)
(Vincent Price)
J.J. Bealer
(Charles Laughton)
  • the slovenly figure of J.J. Bealer (Charles Laughton) (nicknamed "the Pie Shaped Man") - a scruffy, unshaven, weasely, conniving fixer, ex-patriate, and gang emissary with sore feet, who offered Rigby a large cash "bribe" of $12,000 to keep out of the case: "Well, Mr. Rigby, it ain't going to be any walkover for her taking care of a sick man. She's gonna need help, cash help. A man with cash sure could set himself up in business with her and the man who gets there firstest - Eleven thousand, Mr. Rigby, top dollar for the job. Say? Who are you protecting? A bunch of dumb taxpayers who will get it in the neck anyhow? Get smart, Mr. Rigby. Everybody grafts nowadays. That's the way people operate. Twelve thousand, Mr. Rigby. I don't get a lot out of this. Every cent, every red cent, I need it. Say, you ain't giving me that business anymore, are ya? You aren't even talking to me. Why? Why ain't you brushing me off with your fast chatter? Well, why ain't you getting up and walking away? Something holding you? What, Mr. Rigby?"
  • the scene of the planned death of Rigby during a marlin fishing trip on a chartered boat with suave playboyish tourist and mine owner Carwood (Vincent Price) - in reality, a leering, diabolic racketeer-smuggling mastermind; young native guide and boatman Emilio Gomez (Tito Renaldo) was the one who lost his life in shark-infested waters when he dove in to rescue Rigby - who had been deliberately tossed into the water by Carwood at the wheel
  • the romantic kissing scene on a beach after a fun moonlight swim between Rigby and Elizabeth when they compared their natures: Elizabeth: "I'm spoiled. You're careful. We sound like a couple of Dick Tracy characters"; she asked about the previous women in his life when compared to herself: "Your girls, all plump and rosy?" - she complimented him as "a nice guy" - and was sorry he had been unlucky in love; and then she directly asked: "Rigby, why haven't you tried to kiss me?"; he accepted her invitation, but then she wanted to cool him off: "No, please, just once...maybe even that was too much. I think I'd better go home"; he grabbed her for another embrace: "Why not? Nobody's ever thought of a better way of saying good-night"; she rationalized: "It would just be an anti-climax. You see, you've already been kissed goodbye"; he replied that he wished he had known their first kiss was a 'goodbye' kiss ("When I kiss somebody goodbye, I like to know in advance. I do better"); before leaving, she told him: "It wouldn't have made any difference if you'd known. It wouldn't make me see you again"; in voice-over, Rigby noted: "Which way was it with her? Was it the way you wanted it to be, with her on the level, not knowing about him? Or was she just trying to play it smart? If that was it, she was making it. She got to ya. She got to ya good. You knew you should keep away from her"
  • the spectacular, visually-stunning finale - the film's highlight included a nighttime chase scene and shootout between Carwood and Rigby during a Fiesta de Carlotta fireworks celebration, in which Rigby gunned down Carwood in the abdomen in self-defense (amidst a shower of sparks)
  • in the film's conclusion, Rigby arrived at the now-widowed Elizabeth's home to romance her (and receive a kiss from her) - Carwood had killed her husband for talking too much; the wounded Bealer on the stairway saw the two kissing and asked Rigby: "What happened to Carwood? When you get around to it, Mr. Rigby, you might call a cop" - the film's final line

Federal agent Rigby (Robert Taylor)

Rigby Offered 'Bribe' by Bealer

Carwood On Boat After Shark Attack on Emilio

Rigby with Elizabeth After Moonlight Swim

Climactic Shoot-out Between Rigby and Carwood

Rigby with Elizabeth in the Finale

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 (a Queen, a King, an Archbishop, the Devil, a Ballerina who only danced to Mendelssohn's "Spring Song", and a Mermaid) to Dr. Frankenstein ("There is a pleasing variety about my exhibits")
  • 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 lessons in 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, when the crazed doctor promised to make a life-sized "friend" for the Monster, who exclaimed with a smile: "Woman. Friend! Yes, I want Friend like me!"; the Monster expressed his self-knowledge about his creation by Henry: "I know. Made me from dead. I love dead. Hate living"; as he handled a skull, the Monster repeated Pretorius' promise: "Woman. Friend. Wife"
  • the classic scene of the reanimation or creation/"birth" of the Bride (Elsa Lanchester) with cracks of lightning bolts (Frankenstein: "She's alive, alive!"), and the revealing moment when her eyes opened - seen in a slit in her bandaging; 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")
Frankenstein's Bride
  • 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"

Dr. Pretorius

The Six Homunculi Specimens

Hungry Frankenstein Appearing to Gypsies

Smoking with the Blind Hermet

"Yes, I want Friend Like Me"

The Bride Unwrapped

The Bridge on the River Kwai (1957)

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

  • the opening title sequence 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) about Camp 16 in the jungle: ("There is no barbed wire. No stockade. No watchtower. They are not necessary. 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, about whether officers should work along with the other men - after Nicholson called his attention to Article 27 of the Geneva Convention and insisted: ("Belligerents may employ as workmen prisoners of war who are physically fit, other than officers...") - Saito responded harshly with a slap: "You speak to me of Code? What 'Code'? The coward's code! What do you know of the soldier's code? Of bushido? Nothing! You are unworthy of command!"; Nicholson persisted and refused to comply: "My officers will not do manual labour"; Saito also stated: "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 ("I have been thinking the matter over and have decided to put majors and above on administrative duties, leaving only the junior officers to lend a hand") regarding the labor required to build a bridge over the River Kwai to connect the rail-line from Bangkok to Rangoon; Nicholson promptly refused: "I'm afraid not. The Convention's quite clear on that point"
  • the triumphant scene of Nicholson's removal from a sweat-box and his unsteady walk on his own rubbery legs to speak to Saito, who had given in and declared - "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"; Nicholson had won his freedom from the hot torture oven as a mass rush of troops congratulated him: ("He's done it!") after he had forced Saito to accept his terms
  • during the building of the bridge, Nicholson's discussion with Major Clipton (James Donald) - expressing his delusionary belief that he was serving a higher good and purpose: "A good idea? Take another look. You don't agree that the men's morale is high? Discipline has been restored? Their condition has been improved? Are they a happier lot or aren't they?... They feed better and they are no longer abused or maltreated... Honestly, Clipton, there are times when I don't understand you at all"; Clipton believed otherwise: "The fact is, what we're doing could be construed as - forgive me, sir, collaboration with the enemy, perhaps even treasonable activity... must we work so well? Must we build them a better bridge than they could have built for themselves?"; Nicholson ended the conversation with his statement of pride in the bridge: "Would you have it said that our chaps can't do a proper job? Don't you realize how important it is to show these people that they can't break us in body or in spirit. Take a good look, Clipton. One day the war will be over. I hope that the people who use this bridge in years to come will remember how it was built, and who built it. Not a gang of slaves, but soldiers. British soldiers, Clipton, even in captivity....You're a fine doctor, Clipton, but you've a lot to learn about the army"
  • the sequence of Nicholson and Saito meeting mid-span on the beautifully engineered, completed bridge as the sun set, exchanging views and reflecting on its magnificent beauty: Nicholson: "I've been thinking. Tomorrow it will be 28 years to the day that I've been in the service, 28 years in peace and war. I don't suppose I've been at home more than ten months in all that time. Still, it's been a good life. I love India. I wouldn't have had it any other way. But there are times when suddenly you realize you're nearer the end than the beginning. And you wonder, you ask yourself, what the sum total of your life represents, what difference your being there at any time made to anything, or if it made any difference at all really. Particularly in comparison with other men's careers. I don't know whether that kind of thinking is very healthy, but I must admit I've had some thoughts on those lines from time to time"
  • the suspenseful finale including Nicholson's discovery of dynamite wires that had been secretly planted by his Allied forces
  • 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
"What have I done?"
  • the climactic destruction of the railroad bridge and train


Dinner Scene

Released Triumphant: "He's Done It!"

Building the Bridge - a Good Idea?

Nicholson Meeting Saito on Completed Bridge

The Bridges of Madison County (1995)

In actor/director Clint Eastwood's tearjerking romantic melodrama, based on Robert James Waller's best-seller, and similar in plot to The Rose Tattoo (1955):

  • the opening sequence of two adult siblings, Michael and Carolyn Johnson (Victor Slezak and Annie Corley) going through the safe-deposit box possessions of their deceased Iowa farmhouse mother Francesca Johnson (Meryl Streep), including her contradictory instructions - her decision to be cremated with her ashes thrown off the Roseman covered bridge; they also were shocked to see photos and discover a letter (one of a series of letters) sent to her by National Geographic photographer Robert Kincaid (Clint Eastwood): "I struggIe to .put it together in a way that aIIows me to continue knowing that we're on separate roads. But then, I Iook through the Iens of my camera and you're there. I start to write an articIe and I find myseIf writing it to you. It's cIear to me now that we have been moving towards each other towards those four days, aII of our Iives"
  • the various flashbacked scenes in the idyllic four-day love affair in the mid-1960s in Winterset (Madison County), Iowa between middle-aged, 45 year-old, married Italian war bride Francesca Johnson and lean and lanky, rugged-faced, visiting globe-traveling Robert Kincaid who was photographing bridges in the area
  • the last sequence - the lingering glance between married Iowa farmwife Francesca, seated in her husband's truck, and Robert Kincaid 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")
  • the sequence of 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'")

Opening Sequence


Pivotal Decision

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 Two Illicit Lovers
Removing Soot From Eye
Laura and Alec
Confession of Love
  • 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

Final Goodbye


"Thank you for coming back to me"

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

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

  • 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 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!")
El Jefe
El Jefe's Impregnated Daughter
  • 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 for the $1 million bounty (actually $10,000)
  • the sequences of Bennie's road trip in his beat-up car through the Mexican underworld with earthy brothel prostitute/girlfriend Elita (Isela Vega) (Alfredo was one of her clients) - a cheap motel maid, who told him that Alfredo was already dead and buried a week earlier after a drunk-driving accident!
  • all of the scenes with Elita: their love-making scene after which he discovered pubic crabs in his crotch, and their quiet and tender picnic scene off the road as they rested together against a tree and discussed their future together; she asked: "We'll marry some day in a church?"; then later, she again pressed him: "Have you really thought about marrying me? I mean, seriously? Have you?...How come you've never asked me?"; he replied that he didn't know; she asked him to repeat his marital request and he did: "Will you marry me?" and she began crying
  • the off-road sequence when the two were accosted by a pair of passing bikers (Kris Kristofferson and Donnie Fritts), and Elita was taken off into the underbrush to be stripped of her blouse and sexually assaulted - (Bennie reacted: "You two guys are definitely on my s--t list...I'm gonna kill you one day, you gringo son-of-a-bitch!"); shortly later, Bennie was able to defend against them and shot both of the bikers dead; afterwards, Bennie was determined to get the bounty money for their future married life ("You're gonna take me to find Alfredo. And that's our ticket outta here") - although she was less certain: ("Jesus, I don't know how you can get money from a dead body, I mean, I don't believe those people and what they say"); Bennie replied: "I'll take 'em proof, his head"; she was ready to break up with him: "I'll take you to him and then I'm gonna go, you know. Cause I figure everything is gonna be over with us. I don't want any more of that...Jesus, just being together is, is enough!", but Bennie disagreed: "No, it's not, baby! It takes pan, bread - denero"
  • the hotel room scene that night as she took a cleansing shower, Bennie tenderly declared to Elita before kissing and embracing her: "I love you"
  • Bennie's persistent quest to go to the cemetery, desecrate Alfredo's grave, dig up the coffin, and decapitate the body's head; after opening the coffin, Bennie was struck from behind with a shovel and the screen went black; he awakened half-buried in the dirt and shockingly discovered Elita's dead body by his side, and Alfredo's head missing
  • the sequence of Bennie's retrieval of the decomposing, separated head in a blood-stained burlap bag (with flies buzzing around it); he threw the sack into the passenger seat of his dusty red and white car; there were further macabre scenes of Bennie intimately befriending, conversing and asking questions of the head ("Al")
  • in the concluding sequence, Bennie's return of Alfredo's head in the sack to El Jefe in his hacienda, in exchange for a 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"
  • in the final minute, Bennie was murdered by El Jefe's hired thugs as his car sped away from the hacienda and crashed through the compound's gate; there was a close-up of the smoking barrel of a machine-gun used to kill Bennie - an enduring ending image (before the credits)

Bennie (Warren Oates)

Road Trip: Bennie and Elita - Marriage Talk

Sexual Assault

Hotel Room Shower

Half-Buried in Grave with Dead Elita

The Head of Alfredo Garcia in Burlap Bag

Bennie's Confrontation with El Jefe

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)
  • the sequence of 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 that she learned from a bartender -- she held an olive on the flat part of her hand, tapped her hand, and then caught the airborne olive in her mouth; walking by, the unsuspecting David slipped and took a pratfall on the olive she just dropped on the floor
  • 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
  • the sequence of their drive to her Aunt Elizabeth's (May Robson) farm in Westlake, Connecticut, with her 3 year-old pet leopard (named Baby) in the back seat - and along the way after Susan rear-ended a truck carrying a load of chickens, Baby got away and attacked the fluttering poultry (off-screen); covered with chicken feathers, David fumed - annoyed that he had to pay for Baby's expensive meal - "an assortment of ducks and chickens, not to mention a couple of swans" that cost him $150
  • the funny scene of David purchasing 30 lbs. of raw sirloin steak (in once piece) at a market from a bewildered butcher for the hungry animal
  • the famous sequence of fluffy negligee-wearing David's exclamation in front of Aunt Elizabeth as he jumped into the air: "Because I just went gay all of a sudden"
  • the long chase in the woods after escaped Baby: Susan carried a butterfly net while David was prepared with a rope and croquet mallet; they found Baby sitting on a neighbor's roof - to calm the tame leopard and attract him down off the roof, they serenaded Baby with his favorite and fondest song, "I Can't Give You Anything But Love, Baby"
  • the major incarceration scene in adjacent jail cells in the Westlake City Jail where Susan pretended to be a gangster moll (a member of the 'leopard gang,' infamous for robberies and other criminal activities)
  • the frightening presence of another, wild, angry, and spitting wild leopard (not Baby but a murderous escaped animal from the circus) that Susan dragged into the jailhouse at the end of a rope; stepping in front of her with a chair, David heroically defended her from the vicious leopard and chased it into an empty jail cell
  • 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")

Covering Up Susan's Ripped Dress

Baby in the Back Seat

"I just went gay all of a sudden"

Serenading Baby


Collapse of Brontosaurus Skeleton

(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

Previous Page Next Page