Greatest Film Scenes
and Moments



B7

 





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

Broadcast News (1987)

In James L. Brooks' romantic comedy/satire of TV news:

  • the ironic prologue illustrating the formative childhoods of the Oscar-nominated trio of future broadcast news professionals:
    - the good-looking, airhead news anchor Tom Grunick (William Hurt) ("What can you do with yourself when all you can do is look good")
    - the insecure, serious, intelligent news reporter Aaron Altman (Albert Brooks) who graduated high school at 15
    - the fussy, driven, and strident network news producer Jane Craig (Holly Hunter) with a wordy argumentative discussion with her father over the word 'obsessive'
  • the classic scene in which wacky news assistant director Blair Litton (Joan Cusack) painfully rushed to get a finished tape to the control booth in time for broadcast - running into a garbage can and a file cart, slipping on papers under an opened file drawer, jumping over a toddler and her mother, and slamming into a hallway water fountain
  • the scene of quick-thinking Jane cleverly feeding Tom information via his earpiece during a special live news report on a Libyan attack on US bases in Sicily, and Tom's gleeful reaction of thanks to Jane afterwards at her desk: ("You're an amazing woman. What a feeling having you inside my head... It's like indescribable -- you knew just when to feed me the next line, you knew the second before I needed it. There was like a rhythm we got into... it was like great sex!")
  • the scene of Jennifer Mack (Lois Chiles) playfully asking nude Tom about his prominent penis shadow in silhouette after sleeping with him: "Do you do bunny rabbits?" - after he told her about her open clothes closet: "You can see everything you have"
  • the famous scene of uncharismatic, nervous Aaron's debut attempt at anchoring the weekend news when he sweat profusely ("flop sweat") while a producer commented: "This is more than Nixon ever sweated" - and Aaron's aside as the news went to a commercial after he reported: "...at least 22 people dead" - I wish I were one of them"
  • the scene of Tom and Jane's passionate outdoor kiss when he suggested sex to her in obvious terms: "I've been wondering what it'd be like to be inside all that energy"
  • the scene of Aaron's desperate attempt to dissuade Jane from a relationship with media-friendly Tom by comparing him to the devil: "Tom, while being a very nice guy, is the devil...I'm semi-serious here...He will be attractive, he'll be nice and helpful...He'll never do an evil thing. He'll never deliberately hurt a living thing. He'll just bit by little bit lower our standards where they're important. Just a tiny little bit. Just coax along. Flash over substance...And he'll get all the great women" - when Jane accused Aaron of being the devil, he countered that her assertion was impossible: ("You know I'm not...Because I think we have the kind of friendship where if I were the Devil, you'd be the only one I would tell...Give me this. He personifies everything you've been fighting against - And I'm in love with you. How do ya like that? I buried the lead")
  • shortly later as they part, the scene of Aaron's bitter, sour-grapes prediction of Jane's future when she asked what would happen to their relationship as friends: "Anyway, I'll be walking along with my wife and my two lovely children and we'll bump into you. And my youngest son will say something, and I will tell him it's not nice to make fun of single, fat ladies"
  • the anguish and anger Jane felt when she realized Tom unethically faked tears in a cutaway shot for an interview - "It made me...ILL...You can get fired for things like that...(Tom's retort: "I've gotten promoted for things like that!") You totally crossed the line"
  • Jane's confrontation with Tom at the airport, telling him that they were so mismatched that she would not join him for a vacation during her time-off
  • the poignant epilogue in which Jane, Tom and Aaron -- both men happily married with others (and Jane in a relationship) -- caught up about things seven years later
  • the pull-back shot of Jane and Aaron in the rain under a gazebo











The Broadway Melody (1929)

In director Harry Beaumont's Best Picture-winning backstage dance/musical:

  • the various musical numbers, including: "You Were Meant For Me," the title tune: "Broadway Melody," and "The Wedding of the Painted Doll"


Broadway Melody of 1938 (1937)

In director Roy Del Ruth's backstage dance/musical from MGM:

  • the memorable star-making scene, in one of the film's many subplots, of 15-year-old Betty Clayton (Judy Garland in her MGM feature film debut) in bobby socks singing "Dear Mr. Gable" to the "King of Hollywood" Clark Gable's photograph in the bedroom of her mother Alice's (Sophie Tucker) boarding house
  • she wrote him a love letter (sung to the tune of "You Made Me Love You") - "Dear Mr. Gable, I am writing this to you, and I hope that you will read it so you’ll know…"

Broadway Melody of 1940 (1940)

In director Norman Taurog's MGM musical:

  • one of the last extravagant B/W musical production numbers - the flawless tap dance sequence of Eleanor Powell and Fred Astaire (their only teaming) to Cole Porter's "Begin the Beguine" - filmed almost entirely with one crane shot

Brokeback Mountain (2005)

In Best Director-winning Ang Lee's landmark love story and favored 2005 Best Picture nominee:

  • the poignant love story between two married bi-sexual Wyoming cowboys Ennis Del Mar (Best Actor-nominated Heath Ledger) and Jack Twist (Best Supporting Actor-nominated Jake Gyllenhaal)
  • their first meeting as an innocently exuberant skinny-dip into a pond
  • their initial confusion about their attraction over a campfire
  • Jack's awkward declaration of his true love for Ennis: ("The truth is... sometimes I miss you so much I can hardly stand it...")
  • Ennis' chilling story about the cruel murder of a suspected gay cowboy
  • their eventually strained marriages -- Ennis to fragile, waifish Alma (Best Supporting Actress-nominated Michelle Williams) and Jack to tomboyish rodeo queen Lureen Newsome (Anne Hathaway)
  • Jack's final frustrated ultimatum speech to Ennis: ("Tell ya what. We coulda had a good life together! F--kin' real good life! Had us a place of our own. But you didn't want it, Ennis! So what we got now is Brokeback Mountain! Everything's built on that! That's ALL we got, boy! F--kin' ALL! So, I hope you know that. If you don't never know the rest! You count the damn few times that we have been together in nearly 20 years, and you measure the short f--kin' leash you keep me on, then, you ask me 'bout Mexico! And you tell me you'll KILL me for needin' somethin' that I don't hardly NEVER get! YOU HAVE NO IDEA HOW BAD IT GETS! And I'm not you, I can't make it on a couple of high-altitude f--ks once or twice a year! YOU ARE TOO MUCH FOR ME, ENNIS! You son of a whoreson bitch! I wish I knew how to quit you!") and Ennis' sobbed response: ("Well, why don't you? Why don't you just let me be, huh? It's because of you, Jack, that I'm like this! I ain't got nothing, and I'm, I'm nowhere... Get the f--k off me!...Sorry I can't stand much anymore, Jack")
  • much later in the film during their reunion four years later, the two hugged each other tightly -- Ennis, nervously looking around, then forcefully grabbed Jack and pushed him into a secluded spot by stairs where they kissed hungrily - while Ennis' wife Alma accidentally spied on their embracing passion from above and turned away
  • the scene of Ennis visiting Jack's parents some time after his death, and his first discovery of the blood-stained shirts in Jack's childhood bedroom closet. The shirts belonged to himself and ex-lover Jack from when they fought together years earlier on Brokeback Mountain (Jack had died while changing a tire that exploded, although Ennis imagined it as a gay-bashing incident in a field) - Ennis held the shirts to his face and breathed in their scent
  • the melodramatic ending, in which Ennis once again saw their two old shirts (hanging in the back of a closet in the trailer of his father). The two shirts were both together on one hanger, intertwined - Jack's blood-stained shirt was tucked inside of Ennis's - he also saw a postcard of Brokeback Mountain tacked next to the shirts and straightened it - he tearfully and regretfully cried about their forbidden homosexual love affair: ("Jack, I swear...")







Broken Blossoms (1919)

In this silent film melodramatic classic from D.W. Griffith:

  • the sensitive and frail teenage Cockney waif Lucy Burrows (Lillian Gish)
  • the scenes of her forced smile by pushing up the ends of her mouth with her fingers
  • the unforgettable death scene as her brutal and bigoted father Battling Burrows (Donald Crisp) savagely broke down the door as she cowered in a closet twisting to avoid him and later received the fatal blows
  • Lucy's death on her pillow while clutching her doll (her link to the Yellow Man) with a final finger-smile (her link to her father): (title-card) "Dying, she gives her last little smile to the world that has been so unkind"




The Brood (1979, Canada)

In writer/director David Cronenberg's horror classic:

  • the therapeutic treatment termed psychoplasmics in the Somafree Institute of controversial Dr. Hal Raglan (Oliver Reed), and his treatment of a self-obsessed, psychotic patient named Nola Carveth (Samantha Eggar)
  • the vengeful mutant dwarf children (the brood) - offspring of Nola Carveth - who would murderously attack and psychically respond to Nola's anger
  • the mutants' murder of teacher Ruth Mayer (Susan Hogan) in front of her class
  • the hideous scene of Nola ripping open her own uterus (baby or egg sac) from an external psycho-plasmically induced womb (kept sitting on her lap) and then licking the bloody afterbirth off of her own monstrous, hideous demon-creature-baby
  • Nola's ex-husband Frank's (Art Hindle) final deadly confrontation with his ex-wife Nola after she gave birth, and her strangulation
  • the broods' attack of Raglan - killing him, and of Nola's pale, terrified and catatonic daughter Candice Carveth (Cindy Hinds) as she hid in a closet - they broke through the door behind her. With the death of their psychic mother, however, the brood died off and Candice was saved
  • the last ominous image of the film - a close-up sight of a raised, red sore (or wheal) growing on Candice's arm as Frank drove away with her - she had undoubtedly inherited her mother's cursed abilities to manifest the pain inside of her








The Browning Version (1951, UK)

In director Anthony Asquith's drama - an adaptation of Terrence Rattigan's one-act play:

  • the scene of a heart-touching, "delightful" parting gift given by a English public school student named Taplow (Brian Smith) - a second-hand book of Robert Browning's translation of Agamemnon (hence the film's title) - to under-appreciated, chilly, and strict veteran Greek Classics schoolmaster Andrew "Crock" Crocker-Harris (Michael Redgrave) - his favorite play, and personally-inscribed (translated: "God from afar looks graciously upon a gentle master")! Crock was overcome with emotion for the thoughtful, completely-unexpected present and began crying, and then excused himself for his "little exhibition of weakness"
  • his cheating, unfaithful and embittered, young and vibrant wife Millie (Jean Kent), in a known affair with Crock's colleague - science teacher Frank Hunter, and Millie's attempt to downplay the goodwill gift as bribery
  • the scene of Crock's apologetic farewell epiphany speech to a British boarding school audience - a confessional ultimately speaking from his anguished and pained heart about his failures, after he began with a long-winded, poorly received start to his speech: ("You must excuse me. I had prepared a speech, but I find now that I have nothing to say. Or rather, I have three very small words, but they are most deeply felt. They are these: I am sorry. I am sorry because I have failed to give you what you had the right to demand of me as your teacher: sympathy, encouragement, and humanity. I'm sorry because I have deserved the nickname of Himmler. And because, by so doing, I have degraded the noblest calling that a man can follow - the care and molding of the young. I claim no excuses. When I came here, I-I knew what I had to do, and I have not done it. I have failed. And miserably failed. But I can only hope that you and the countless others who have gone before, will find it in your hearts to forgive me for having let you down. I shall not find it so easy to forgive myself. That is all. Goodbye") - after a long pause, there was thunderous applause from the seated audience




Bugsy (1991)

In Barry Levinson's complex gangster biopic:

  • the scene in which psychopathic, larger-than-life, East Coast 40s Jewish gangster Benjamin 'Bugsy' Siegel (Oscar-nominated Warren Beatty) first met sassy, slinky, and leggy B-movie starlet Virginia "Flamingo" Hill (Annette Bening, who engaged in an off-screen romance with Beatty, leading to their real-life marriage in 1992)
  • their meeting - shot in front of an artificial backdrop on the set of a Hollywood film when he lit her cigarette and they verbally jousted together: (Virginia: "The way you were staring at me, I thought you were gonna ask me for something a little more exciting" Bugsy: "Like what?" Virginia: "Use your imagination" Bugsy: "I'm using it" Virginia: "Let me know when you're finished") -- when she turned away to leave, she urged him: "Why don't you run outside and jerk yourself a soda?"
  • the scene in which they first kissed - silhouetted in the light behind the screen of his projected screen-acting test when she told him: "Do you always talk this much before you do it?"
  • the brutal scene during a dinner date with Virginia in which Siegel humiliated cheating crime associate Jack Dragna (Richard Sarafian) for skimming funds: ("Did you think you could steal from ME?"), and sadistically made him crawl on the floor and bark like a dog: ("Now bark like the dog that you wish that you were decent enough to be") and then squeal like a pig: ("Now let me hear you oink like the treacherous, devious pig that you are")
  • Siegel's gluttonous food binge at the dinner table - and loving attention and passionate kisses all over his face by his sexually-charged moll
  • the scene of the visionary and grandiose Bugsy having a "religious epiphany" in the desert about building a casino ("the single best idea I ever had")
  • the memorable scene in which adulterous family man Bugsy (in a ridiculous chef's hat) was in his East Coast home hosting three different groups: his wife Esta (Wendy Phillips) and two children celebrating daughter Millicent's (Stefanie Mason) birthday, his trusted foul-mouthed associate Mickey Cohen (Harvey Keitel) on the phone as he jealously sought to know mistress Virginia's whereabouts in California, and his New York gangster associates being convinced to provide $1 million in funding for his flamboyant dream to build a casino in the Nevada desert
  • the striking scene in a restaurant's women's room of Bugsy avoiding admitting that he wanted a divorce from his stunned wife Esta: ("You want a divorce, don't you?")
  • the final scene of Bugsy's multiple-gunshot murder by a sniper/hitman outside of his Beverly Hills home while he was in his living room reading an LA Times newspaper and sentimentally watching a projected film reel of his own awful Hollywood screen test







Bull Durham (1988)

In writer/director Ron Shelton's feature debut, a popular sports/baseball film:

  • the opening line "I believe in the church of baseball" followed by a lengthy speech, delivered by sexy sports groupie Annie Savoy (Susan Sarandon): regarding her beloved team - the Durham Bulls of North Carolina; the camera panned over framed sports pictures in her house, and then found her putting on makeup in front of a mirror at her dresser. She described her belief in "The Church of Baseball" as she was preparing to leave her house and walk downtown to the local Durham Bulls ballgame: ("I believe in the Church of Baseball. I've tried all the major religions and most of the minor ones. I've worshipped Buddha, Allah, Brahma, Vishnu, Siva, trees, mushrooms, and Isadora Duncan. I know things. For instance, there are 108 beads in a Catholic rosary and there are 108 stitches in a baseball. When I learned that, I gave Jesus a chance. (sigh) But it just didn't work out between us. The Lord laid too much guilt on me. I prefer metaphysics to theology. You see, there's no guilt in baseball, and it's never borin' (giggle) - which makes it like sex. There's never been a ballplayer slept with me who didn't have the best year of his career. Makin' love is like hitting a baseball, you just gotta relax and concentrate. Besides, I'd never sleep with a player hitting under .250, unless he had a lot of RBIs or was a great glove man up the middle....")
  • the classic, philosophical speech of veteran journeyman baseball catcher Crash Davis' (Kevin Costner) beliefs to Annie when he was in her living room with fellow dating prospect and moronic ballplayer Nuke LaLoosh (Tim Robbins) and she proposed to "hook up with one guy a season": ("Well, I believe in the soul, the cock, the pussy, the small of a woman's back, the hangin' curveball, high fiber, good Scotch, that the novels of Susan Sontag are self-indulgent, over-rated crap. I believe Lee Harvey Oswald acted alone. I believe there oughta be a constitutional amendment outlawing AstroTurf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve. And I believe in long, slow, deep, soft, wet kisses that last three days. Good-night.") - and Annie's breathless reply: "Oh my!"
  • the inspired rained-out scene in which the team's players at midnight played in the muddy, water-soaked ball field
  • the entire infield meeting on the pitcher's mound to discuss wedding gifts for the upcoming marriage of the team's devout Christian, Jimmy (William O'Leary) to amoral groupie Millie (Jenny Robertson), punctuated by irate fast-talking coach Larry Hockett's (Robert Wuhl) suggestion: ("...candlesticks always make a nice gift, and uh, maybe you could find out where she's registered and maybe a place-setting or maybe a silverware pattern")
  • also the scene of erratic "Nuke" Laloosh knocking down the bull mascot twice and also hitting the public address announcer
  • the scene of veteran catcher Crash Davis teaching Nuke the lyrics to his butchered version of "Try a Little Tenderness" on the team bus (instead of "Young girls they do get wearied" he sings: "Young girls they do get woolly")
  • Nuke's interview with TV reporter Raye Anne in a baseball stadium, using words Crash had taught him: ("...Anyway, a good friend of mine used to say, 'This is a very simple game. You throw the ball, you catch the ball. You hit the ball. Sometimes you win, sometimes you lose. Sometimes it rains.' Think about that for a while")





Bullitt (1968)

In this classic car-chase/cop film by director Peter Yates:

  • the spectacular, ten-minute car chase sequence filmed with hand-held cameras over streets and hills of San Francisco between police lieutenant Bullitt's (Steve McQueen) '68 Ford Mustang GT and the hit men's '68 Dodge Charger


Bus Stop (1956)

In Joshua Logan's romantic comedy:

  • would-be saloon singer (or chanteuse) Cherie's (pronounced Cherry) (Marilyn Monroe) singing of an off-key, inept, but innocently sensual rendition of "That Old Black Magic" in the Blue Dragon Club - a run-down honky-tonk night-club in Phoenix. At the end of the number, she turned a red spotlight on herself to look "aflame."
  • Cherie's first introduction to naive yet stubborn love-struck cowboy Beauregard 'Bo' Decker (Don Murray) from a ranch in Montana, and in the Phoenix area for a rodeo, who tried to win her over with a memorized speech describing his intention to find an "angel" to marry: ("My name is Beauregard Decker, Ma'am. I'm 21 years old and I own my own ranch up in Timber Hill, Montana, where I got a fine herd of Hereford cattle, a dozen horses and the finest sheep and hogs and chickens in the country. Now I come down for the rodeo tomorrow with the idea in mind of findin' me an angel and you're it. Now I don't have a whole lot of time for sweet talkin' around the bush so I would be much obliged if you would just step outside with me into the fresh air"); she politely declined his invitation: ("We're not allowed to go out with the customers, but you could buy me a drink if you wanted. I'm so dry I'm spittin' cotton")
  • the scene where Bo cluelessly quoted the Gettysburg Address as Cherie was lying in bed in her boardinghouse bedroom - apparently naked beneath her sheets
  • Cherie's conversation with fellow bus traveler Elma (Hope Lange), a diner waitress, about her beliefs concerning love and the kind of man she was looking for: ("Maybe I don't know what love is...I want a guy I can look up to, and admire. But I don't want him to browbeat me. I want a guy who'll be sweet with me, but I don't want him to baby me either...")
  • Bo's sincere profession of love and marriage to Cherie in the film's conclusion, when he asserted that he loved her just the way she was: "Well, I've been thinkin' about them other fellas, Cherry. And well, what I mean is, I like you the way you are, so what do I care how you got that way?" She gave a heartwarming reply when touched by his sweetness: "Bo, that's the sweetest, tenderest thing anyone ever said to me"





Butch Cassidy and the Sundance Kid (1969)

In George Roy Hill's comedy-western:

  • the amusing banter throughout the film between two western legendary, train-robbing anti-hero outlaws Butch (Paul Newman) and Sundance (Robert Redford)
  • Butch's swift crotch kick at brutish Bowie-knife-wielding gang member Harvey Logan (Ted Cassidy) (who had been distracted and exclaimed: "Rules - in a knife fight? No rules!")
  • the gang's many train and bank robberies together including one with too much dynamite detonated: ("...Think you used enough dynamite there, Butch?") and another with clever ventriloquism to trick railroad employee Woodcock (George Furth) into opening the train door
  • the sexy and surprising scene of Sundance's visit to schoolmarm Etta's (Katharine Ross) farmhouse bedroom when he ordered her to unbutton her blouse and undress in front of him at gunpoint
  • the lyrical musical interlude sequence of Butch riding a bicycle with Etta and "Raindrops Keep Fallin' On My Head"
  • the long, relentless pursuit sequence by a mysterious posse and Butch's repeated question: "Who are those guys?"
  • when cornered on a dead-end cliff, Sundance's admission: "I can't swim" (with Butch's guffawing retort: "Why, you crazy, the fall'll probably kill ya") and their big jump off a steep canyon ledge into a fast-moving river below while yelling a long and drawn out: "AWWWWW S-----T"
  • the final sequence in which the wounded and doomed heroes joked and daydreamed: ("For a moment there, I thought we were in trouble") and then were caught at the point of death as Yanqui banditos in a freeze-framed shootout in Bolivia (turning from color to sepia-toned)






Bye Bye Birdie (1963)

In director George Sidney's adaptation of the Broadway musical hit:

  • the opening, star-making credits sequence - erotic, nubile, vibrant 16 year-old high-schooler Kim McAfee's (22 year-old Ann-Margret) blue-screen performance when she sang the title song in a wind tunnel
  • Kim's excitement upon learning, through a long-distance phone call, that Elvis Presley-styled pop star Conrad Birdie (Jesse Pearson) was coming to her hometown, and that she had been selected from all the teenagers in the US in the fan club to be kissed by the singing idol on The Ed Sullivan Show in a few days
  • the split-screen gossipy musical telephone sequence (with live action and animation) titled "The Telephone Hour" - about the recent "pinning" of Kim and boyfriend Hugo Peabody (singing idol Bobby Rydell)
  • the appearance of beer-drinking hillbilly Conrad Birdie that caused swooning chaos among teens upon his arrival in the midwestern town of Sweet Apple, Ohio
  • press agent and songwriter Albert Peterson's (Dick Van Dyke) singing performance to his secretary-fiancee Rosie DeLeon (Janet Leigh) of "Put on a Happy Face" in the McAfee's backyard, and his wooing of Rosie
  • Kim's father Harry McAfee (Paul Lynde) and his singing of "Kids" in the family kitchen with the familiar lyric: "What's the matter with kids today?"
  • in the conclusion, Rosie schemed with Albert to slip an amphetamine into the milk glass of a Russian ballet conductor (to speed up his next-to-last performance on The Ed Sullivan TV show), to allow time for their Birdie finale on the show. Kim's jealous boyfriend Hugo wrecked the broadcast scene by punching Birdie in the face, before the singer was able to plant "one last kiss" on Kim and sing Albert's composed song
  • the denouement tied up all loose ends: Hugo won back Kim's love, and recently-married Mae (to bartender-widower Mr. Maude (Milton Frome)) gave her blessing for Albert and Rosie to finally marry







100's of the GREATEST SCENES AND MOMENTS
(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
M4
| 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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