Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Cabaret (1972)

In Bob Fosse's dark, classic, award-winning musical:

  • the opening dance number "Willkommen" introduced by Berlin's seedy Kit Kat Club's androgynous, leering, white-faced emcee/Master of Ceremonies (Joel Grey)
  • the seductive and wildly reckless American dancer/singer Sally Bowles' (Liza Minnelli) performance of "Mein Herr" wearing a black derby hat, mascara, black stockings, and a deep V-necked black costume
  • the duet of the MC and Sally singing "The Money Song"
  • the boarding house seduction scene between Sally and reserved, naive academic Ph.D student - an English language teacher named Brian Roberts (Michael York), when she placed his hand on her breast and asked: ("Doesn't my body drive you wild with desire? Doesn't it?... It does have a certain kind of style. I mean, look, it's very flat here, not much hips, and here...Maybe you just don't sleep with girls. (pause with no reply) Oh, you don't. Well, listen, we're practically living together, so if you only like boys, I mean, I wouldn't dream of pestering you. Well, do you sleep with girls or don't you?"); Brian admitted: "I do not sleep with girls. Let me be absolutely accurate."
  • the infamous, threesome sexual moment, during a weekend drinking binge with the two of them and rich, married, bi-sexual German playboy-baron Maximilian von Heune (Helmut Griem) when they danced slowly together in the living room of Maximilian's palatial country estate, and the record stopped with a potent silence
  • the scene of Brian's surprise revelation to Sally that he was bisexual, when he angrily shouted out: "Oh, screw Maximilian!" and Sally replied: "I do!" After a pained laugh, pause and smile, Brian added: "So do I."
  • the scene at an outdoor rural cafe in which a young, fresh-faced German blonde, blue-eyed, tenor-voiced boy (Oliver Collignon) sang "Tomorrow Belongs to Me" (voice of Mark Lambert) and the camera quickly revealed that he was a Hitler Youth wearing a brown uniform and his arm was wrapped with a Nazi swastika armband - and the patrons of the German beer garden stood and joined in the triumphant Nazi anthem as he gave a Hitler salute
  • Sally's defiant, show-stopping, belt-it-out rendition of "Cabaret": ("Life is a cabaret, old chum / Only a cabaret, old chum / And I love a cabaret!")
  • her vow to continue her destructive, decadent lifestyle after an abortion, as Brian returned to England
  • the Emcee's last song: "Farewell" (the final reprise of Willkommen), with a grin while asking: "Where are your troubles now?" before singing: "Auf wiedersehen! A bientot..." and a quick bow before disappearing behind a curtain - and the chilling final shot inside the cabaret, as the camera panned to the right along the twisted, mirrored mylar wall and settled on two Nazi swastika armbands worn by audience members (as the cymbal crashed after a long snare drum roll, and the credits began to scroll upward)







The Cabinet of Dr. Caligari (1920, Ger.)

In Robert Wiene's classic and influential silent film:

  • the expressionist cinematography and the distorted, jagged, angular sets
  • the tale (the film's entire story) told in flashback, by Francis (Friedrich Feher) - a tale of the strange sufferings and horrible events that he had experienced
  • the promotion of mad and sinister Dr. Caligari's (Werner Krauss) "spectacle" attraction at the fair with a life-sized poster - a sleeping somnambulist named Cesare (Conrad Veidt), who was revealed and awakened in a box-shaped cabinet or coffin, and prophetically told fortunes to audience members
  • the stabbing death of Francis' friend Alan (Hans Heinrich von Twardowski) by a shadowy figure
  • the abduction of Francis' 'fiancee' Jane Olsen (Lil Dagover) by Cesare, and the chase by a mob across rooftops and down alleyways
  • the shocking discovery by Francis that Dr. Caligari was the insane director of a mental institution, and that he was obsessed with imitating a 18th century mystic (of the same name) who sent out his somnambulist Cesare to commit murder
  • the twist ending -- the entire film (a framed story with a flashback) was made up from the mad ramblings and delusions of Francis, the mentally-ill narrator/story-teller of the film while he was seated in the asylum courtyard; Francis' doctor was the benevolent and respected Dr. Caligari!




Caddyshack (1980)

In Harold Ramis' much-loved golf comedy with many quotable lines of dialogue:

  • the dancing gopher in the opening (and closing) credits sequence, to the tune of Kenny Loggins' song: "I'm Alright"
  • the memorable characters associated with the Bushwood Country Club, including its lunatic groundskeeper Carl Spackler (Bill Murray), with his fixation about destroying an intrusive gopher: ("I have to laugh, because I've often asked myself. My foe, my enemy, is an animal, and in order to conquer him, I have to think like an animal. And, whenever possible, to look like one. I've gotta get inside this dude's pelt and crawl around for a few days")
  • his boss Sandy's request - misinterpreted: "I want you to kill every golfer on the course" - with Carl's reply: "Check me if I'm wrong Sandy, but if I kill all the golfers, they're gonna lock me up and throw away the key." Sandy clarified: "Gophers, ya great git! Not golfers! The little brown furry rodents!"
  • Spackler's threat to the animal as he planted dynamite in the gopher's hole: ("Anybody home? Uh, hello, Mr. Gopher. Yeah, it's me, Mr. Squirrel. Yeah, hi. Uh, just a harmless squirrel, not a plastic explosive or anything, nothing to be worried about. I'm just here to make your last hours on earth as peaceful as possible...In the words of Jean Paul Sartre, 'Au revoir, gopher.' This is gonna be sweet")
  • speech-impaired, wacky Carl Spackler's recounting, to another incredulous caddy, of how he once caddied for the Dalai Lama in Tibet: ("So we finish 18, and he's gonna stiff me. And I say: 'Hey, Lama! Hey, how about a little somethin', you know, for the effort, you know.' And he says: 'Oh, uh, there won't be any money, but when you die, on your deathbed, you will receive total consciousness.' So I got that goin' for me, which is nice")
  • also, Spackler's "It's In the Hole!" Cinderella story when he pretended to be an announcer and player, imagining himself at Augusta in a championship Masters golf game, while he was actually practicing teeing off on rows of planted flowers: ("The crowd is standing on its feet here at Augusta, the normally reserved Augusta crowd, going wild, for this young Cinderella. He's come outta nowhere. He's got about 350 yards left. He's gonna hit about a 5-iron, I expect, don't you think? He's got a beautiful backswing -- that's -- oh, he got all of that one! He's gotta be pleased with that. The crowd is just on its feet here. He's the Cinderella boy, uh -- tears in his eyes I guess, as he lines up this last shot, he's got about 195 yards left. And he's got about a -- it looks like he's got about an 8-iron. This crowd has gone deathly silent, the Cinderella story, outta nowhere. A former greenskeeper and now, about to become the Masters champion. It looks like a mirac- it's in the hole! It's in the hole!")
  • the advice given by blindfolded golfer Ty Webb (Chevy Chase) to caddy Danny Noonan (Michael O'Keefe): ("I'm going to give you a little advice. There's a force in the universe that makes things happen. And all you have to do is get in touch with it. Stop thinking, let things happen, and be the ball!")
  • one of the golfers - elitist Judge Elihu Smails (Ted Knight), one of the club's co-founders, accompanied by his sex-loving, bra-less young blonde niece Lacy Underall (Cindy Morgan), who was judged by ogling males as "Madonna with meatballs"; Ty's awkwardly-delivered pick-up line to Lacy: ("What brings you to this nape of the woods, neck of the wape. How come you're here?"); and also Lacy's sex scene with Danny
  • the scene of the performance of a Busby Berkeley-style water ballet by golf caddies in the pool - and the scatological moment that a floating "Baby Ruth" candy bar thrown into the pool ("Doodie!") sent swimmers screaming from the water in a Jaws-inspired panic - and the shock and fainting caused when Spackler (after the pool was "scrubbed, sterilized and disinfected") ate the brown object and claimed: ("There it is! It's no big deal!")
  • the boorish, nouveau-riche, brash wisecracking loudmouth Al Czervik (Rodney Dangerfield in his feature film debut) and his many one-liners: ("Oh, this is the worst lookin' hat I ever saw. You buy a hat like this, I betcha get a free bowl of soup, huh? Oh, it looks good on you though!", or "Hey, you wanna make $14 dollars the hard way?", or after farting at the table during dinner: "Oh, (did) somebody step on a duck?", and his words to an older white-haired lady: "Oh, this is your wife, huh? A lovely lady. Hey baby, you're alright. You musta been somethin' before electricity," and "The last time I saw a mouth like that, it had a hook in it"), and his curtain-closing invitation: "Hey everybody, we're all gonna get laid!"











Caged Heat (1974)

In director Jonathan Demme's (The Silence of the Lambs (1991)) early trashy cult women-in-prison flick, and campy exploitation classic produced by B-movie king Roger Corman:

  • the character of McQueen (scream queen veteran Barbara Steele) - the wheelchair-bound, repressive, and semi-lesbian prison warden
  • various attractive and empowered cell-block prisoners, including Erica Gavin, Roberta Collins and Cheryl Rainbeaux Smith, often glimpsed in shower scenes
  • with expected exploitative scenes of sadistic torture, tongue-in-cheek humor, dirty catfights, rebellion and the requisite prison escape, etc.
  • the prison's perverted and twisted Dr. Randolph (Warren Miller), who performed full cavity searches, raped drugged prisoners - and took Polaroid pictures of one naked conquest, kleptomaniac Belle Tyson (Roberta Collins)



The Caine Mutiny (1954)

In director Edward Dmytryk's military drama:

  • the concluding scene of the by-the-book and paranoid Captain Queeg's (Humphrey Bogart) disintegration on the witness stand while nervously manipulating steel ball bearings in his hand
  • his incoherent, crazy and unhinged ramblings during the court-martial trial about disloyal officers and about the strawberry incident, after being broken down and cross-examined by lawyer Lt. Barney Greenwald (Jose Ferrer): ("Ah, but the strawberries! That's, that's where I had them. They laughed at me and made jokes, but I proved beyond the shadow of a doubt, and with, with geometric logic, that, that a duplicate key to the wardroom icebox did exist, and I've had produced that key if they hadn't pulled the Caine out of action. I, I know now they were only trying to protect some fellow officer. (He paused - looked at all the questioning faces that stared back at him, and realized that he had been ranting and raving) Naturally, I can only cover these things from memory. If I left anything out, why, just ask me specific questions and I'll be glad to answer them")

Cairo Station (1958, Egypt) (aka The Iron Gate, or Bab el Hadid)

In Youssef Chahine's breakthrough, daring crime melodrama (censored and banned for 12 years in its native Egypt for its lurid and provocative content), nominated as Best Foreign Language Film (Egypt's entry) - the first great Arab film:

  • the opening pre-credits, voice-over narration by news-agent Madbouli (Hassan el Baroudi) - amidst a montage of bustling, noisy locomotive trains coming and going with hundreds of travelers moving about: "This is Cairo Station, the heart of the capital. Every minute one train departs and every minute another one arrives. Thousands of people meet and bid farewell. People from North and South, natives and foreigners, people with and without jobs"
  • the depiction of a microcosm of Egyptian society in the course of a single day - the lives of three characters located at the Cairo train station, involved in a love triangle:
    - sexually-frustrated, degenerate and perverted Qinawi (director Chahine), a limping, impoverished newspaper vendor (residing in a ramshackle one-room shed near the station, plastered with cut-outs of pin-up girls on the wall), hired for work by Madbouli, and madly infatuated and obsessed with
    - feisty, sultry, and flirtatiously sexy Hanuma (Hend Rostrom), who illegally sold cold drinks from a bucket to train passengers - she was romantically engaged to
    - muscular and burly train porter Abu-Serih (Farid Shawqi), a union organizer pushing for better wages
  • the continual stalking of Hanuma by Qinawi - capped by finding her at a public outdoor fountain, where he gave her his mother's solid gold necklace ("It's your wedding present"); when she began to lead him on, he then proposed to her and described his fantasy of living with her as the perfect couple ("I'm asking you to marry me...I love you so much. I'll take good care of you...We'll get married and go back to my village. And I'll introduce you to everyone. You'll be the loveliest woman there...I'll build you a house by the sea...far from the crowds, and trains...We'll work the land, have some cows and live happily ever after"); finally, when she had enough, she rebuked him: ("Just like that?...Find yourself another girl...Why me?...The heat's gotten to your head. Have a cold drink....Serious? Come off it. A house? Cows? You call that serious? Don't have a penny to your name....Use your head. Look around. I work hard for a living selling drinks and you limp around the station selling newspapers. Get a grip on reality. I've had enough...You call your pennies a living? Look at Abu-Serih...I am marrying him. Can you compete with him, Gimpy?"); he demanded the necklace back: "You don't deserve it"
  • two other side stories: young ingenues - with the boyfriend about to leave for four years, and the ongoing newspaper tale of the brutal and unsolved murder (the "Rasheed Murder") of a young woman found nearby whose mutilated body was in a blood-stained trunk without head or arms; the murderer had used either a saw or a butcher's knife
  • the railway barn sequence, when Hanuma offered sex to Abu-Serih in the hay as she leaned back and displayed her voluptuous figure; anguished and jealous of their affection, Qinawi stood nearby outside and listened to the two making love - while clutching a Coke bottle in front of him; he turned away (paired with a sudden camera cut to a metaphoric shot of a sagging joint of a railway track under the weight of a moving train, signifying Qinawi's mental stress); he smashed his glass Coke bottle against the wall in torment
  • in the next ominous sequence, obviously inspired by the "Rasheed Murder" case, Qinawi purchased a long butcher knife from a vendor - and in a stunning scene with dramatic fast-edited shots (pre-dating the shower scene in Hitchcock's Psycho (1960)), he stabbed a woman in a dark warehouse that he thought was Hanuma, who had come to pick up her drink bucket; believing the female was dead, he then dragged and locked her body into a wooden crate-trunk that was supposed to contain Hanuma's trousseau for her impending wedding to Abu-Serih
  • the tense sequence as Qinawi watched the heavy wooden crate with the body of the female victim (with blood dripping out) carried by porters onto a train, when he feared that they would realize it carried a body -- in fact, the female victim was not dead, but discovered alive - and she was able to identify Qinawi as her assailant
Qinawi Holding Hanuma Captive With a Butcher Knife
  • in another stunnng sequence, Qinawi chased Hanuma in the railyard, and threatened to stab her in the head (and the two were almost run over by a train in reverse on the tracks), to keep a crowd from apprehending him; to subdue the insane man, his boss Madbouli was urged to come forward and promise that he could marry Hanuma: ("Why are you upset? I'll let you marry Hanuma. I've got your wedding present in my pocket. We'll have the wedding tonight, but first get off the rails. Qinawi, my son. Tonight is your wedding night. I'll be one of your witnesses. I'll throw a big wedding for you. I'm talking about your wedding, Qinawi. Don't you believe me? Let her lie here and rest for a while. Come along with me. Put on your wedding costume. It's your wedding, son. It'll be the best wedding ever. There will be music, lights, singing. Only the best for you. You'll be the groom, son. Come, put this on. Come on, that's my boy. Put your arms in the sleeves. There you go, fine. Fine, now the other sleeve. Stand tall, bridegroom. Qinawi, my son, the bridegroom") - Qinawi was tricked into putting on a strait-jacket before he realized what was happening - and he struggled as he was being led away













California Split (1974)

In Robert Altman's semi-improvised comedy film and quintessential gambling and buddy movie set in the 1970s:

  • the camaraderie of the two compulsive poker players/casino gamblers: extroverted, wise-cracking and free-spirited Charlie Waters (Elliott Gould) and introverted "California Inquire" magazine writer William "Bill" Denny (George Segal), who perpetually played at gambling venues - casinos, racetracks, boxing matches, private poker parlors, etc.
  • the scene when the two (who were accused of colluding with each other at a poker table) were thought to be cheating by irate fellow player Lew (Edward Walsh), with Charlie telling off the angry player after winning the game with a debatable card - a Joker that was dealt off the table's edge: "The man doesn't know how to play poker. The man is bad. He's a complete asshole. We all know that, right? The man goes broke, he can't handle it. The man is on tilt. You wanna hear any more?"
  • and shortly later, Charlie and Bill's meeting up in a bar where Bill challenged Charlie to a wager: "20 dollars says you can't name the Seven Dwarfs." When Charlie could only name three correctly: Doc, Dopey, and Grumpy, Bill claimed that he could name "all seven like a gatling gun," but then named only four: -- Sleepy, Grumpy, Doc, Dopey. Charlie confusingly suggested: "Dumbo...Dumbo wasn't in that cast?" Bill confirmed: "No Dumbo. Dumbo flew." Charlie called the name game a tie: "We both lose, huh?" And then Charlie mumbled on about race relations and the animated film: "A lot of black folks thought that was bad news, you know, seein' a black crow sing about a big flyin' elephant, what's that? It's taboo. No black crows"; they became a team after leaving, but they were both attacked and robbed by Lew and some thugs - and Charlie was kicked in the groin
  • Charlie's two roommates: professional escorts/hookers Barbara Miller (Ann Prentiss) and Susan Peters (Gwen Welles), and their main breakfast food items in the house -- beer and cereal (Froot Loops and Lucky Charms)
  • the next day, the nighttime scene after a winning boxing match bet in which Charlie brazenly and successfully negotiated with a black robber wielding a gun and threatening to shoot, to take only half of his recent winnings: ("Wait a second, you're not blowin' nothin', now. I don't believe it, two nights in a row, right, we're gonna get robbed...Here's $780, man. That's it. You got half, and we're takin' half. Now take the money and run. Go ahead. $780 man, don't think about it. Take the money and go. Get out of here, you f--kin' bum, get out of here, man")
  • Charlie's 'eye-for-an-eye' revenge against Lew, who was seen entering a public restroom at a race track; Charlie was the first to be punched and his bloodied nose was broken: ("That's the greatest punch I';ve ever been hit with"), but he was able to beat up Lew, kick him in the ribs, and rob him, and then told other men as they entered: ("You better call an ambulance. The man lost the last race, and he tried to kill himself")
  • Charlie and Bill's arrival in Reno, Nevada for a concluding series of high-stakes gambling competitions - beginning with a poker game sequence (with a $2,000 buy-in), where Charlie sized up the competition by closely observing the personalities of the players - a bald guy, a guy with a Cowboy hat, a curly-haired Kid, an older Doctor with specs, a man wearing a Red Coat nicknamed Mr. Cha-Cha, an Invisible Man's "empty chair" (revealed later to be the chair of "Amarillo Slim"), a Mississippi man with a deep drawl ("the best in the game"), and a Chinaman, etc.; the Reno barmaid (Barbara Ruick) who had overheard the analysis complimented Charlie: "You did very well"
  • the series of games that Bill won - including poker against "Amarillo Slim," blackjack, roulette ("26!!"), and craps (although Bill ended up sitting alone - exhausted, drained, apathetic and looking lost, while Charlie was exuberant as he cashed in at the Cashier window); afterwards, the two evenly split Bill's winnings of $82,000, as Charlie sarcastically asked his pal: "Do you always take a big win this hard?" Bill reiterated that there was "no special feeling"
  • Charlie's ending joke: "If it takes a watermelon five minutes to water, how long will it take a sweetpea to pee? As long as it takes a pair of dice to crap," followed by his assessment of the big win: "Don’t mean a f--kin' thing, does it?" Bill hinted with a serious look that they should quit and go their separate ways: "Charlie, I have to go home." Charlie queried: "Oh yeah? Where do you live?" Bill left: "I'll see ya."









The Cameraman (1928)

In co-director/actor Buster Keaton's great comedy, his first film with a major studio:

  • the character of photographer Buster (Buster Keaton himself) who became a newsreel-cameraman to win over pretty MGM secretary Sally (Marceline Day)
  • the embarrassing screening of Buster's first test film reel - a series of double-exposed footage that showed a battleship floating down a street, and pedestrians being run over by buses and cars
  • the famous, fully-improvised, pantomimed one-man baseball game (filmed at Yankee Stadium)
  • the classic, small-scale changing-room bathhouse scene: in the crowded men's locker room of a public swimming pool, Buster was confronted in one of the tiny cubicle-booths by a burly man (Edward Brophy) who wasn't willing to compromise and share the small space; when Buster asserted: "This is my dressing room!", the man threatened: "Shut up... or it'll be your coffin!"; Buster was forced into a corner, became entangled in the man's suspenders and clothing, and eventually ended up on the man's back, who complained: "Will you keep out of my undershirt?"
  • the funny visual sight of Buster exiting the bath-house dressing room, wearing an oversized, ill-fitting bathing costume, and losing his suit in the public pool after attempting to impress Sally with a fancy dive (and staying underwater to hide being naked), including diving deep to avoid Sally's request: "Let's get out of here and go walking on the beach"





Camille (1936)

In George Cukor's superb romantic drama - one of filmdom's greatest classics with Garbo's best performance, with wonderful romantic dialogue and soft-focus cinematography:

  • the scene of Baron de Varville (Henry Daniell) playing the piano to torture courtesan La Dame Aux Camelias ("Lady of the Camellias") Marguerite Gautier (Greta Garbo) with his knowledge of her arranged tryst with a young Armand Duval (Robert Taylor)
  • the lovely pastoral sequence with Armand
  • Marguerite's encounter with Armand's father (Lionel Barrymore) when he asked her to stop ruining his son
  • Camille's decision to break off her relationship
  • her weeping while writing a farewell to Armand
  • the final, beautiful deathbed scene, dying in her lover's arms, when she told him: ("Perhaps it's better if I live in your heart, where the world can't see me. If I'm dead, there'll be no staying of our love")
  • Armand's words when he realized she was dead: ("Marguerite. Marguerite! No, don't leave me. Marguerite come back")




The Cannonball Run (1981)

In director Hal Needham's classic, illegal cross-country car race film - an iconic early non-PC 80s movie - with an all-star cast of caricatured, daredevil drivers in one or two-person crews:

  • the modified 20th Century Fox logo in the film's opening - a police car chasing a red sports-car into the logo's monument
  • the all-star cast of caricatured individuals - daredevil drivers in one or two-person crews: Dom DeLuise as Victor Prinzim/Captain Chaos and Burt Reynolds as ambulance driver J.J. McClure, Jackie Chan as Japanese high-tech/martial-arts expert in a Subaru, Jamie Farr as an Arab sheik in a Rolls-Royce, Dean Martin and Sammy Davis, Jr. as two disguised drunken priests Jamie Blake and Fenderbaum in a red Ferrari, a country-boy duo of "stuttering" Mel Tillis and beer-guzzling Terry Bradshaw in an "Hawaiian Tropic" Chevrolet stock car, and Bond's Roger Moore as Seymour Goldfarb Jr. in an Aston Martin
  • the vacuous, brain-dead and vapid environmentalist/reporter Pamela Glover (Farrah Fawcett), conspicuously braless throughout the movie, who thought "cannonballers" were a bowling team, and told race representative Arthur J. Foyt (George Furth) about her love for trees and everything natural: ("I love anybody who loves trees....You know what I like best about trees?...That you can lie under them on a moonlit night with the breeze blowing, ball your brains out"); when J.J. McClure met her for the first time, he tried to guess her name: "Melissande, Juliet, Betty" and then decided: "I'll just call you Beauty, okay?" after which she dumbly asked: "Are you one of those volleyballers?"
  • the series of cop encounters when two sexy Lamborghini babes in tight pants-suits with zipper fronts were stopped in their car for speeding, and busty, cleavage-revealing driver Marcie Thatcher (Adrienne Barbeau) used her sex appeal with male cops to be released without charges, but then was strictly treated by a female cop (Valerie Perrine): ("Well, hello, Hotpants! I don't suppose you have a driver's license tucked down in there somewhere, do you?")
  • the closing credits - composed of wacky and very funny out-takes




A Canterbury Tale (1944, UK)

In Michael Powell's and Emeric Pressburger's drama, an eccentric and lyrical UK film set not in the 14th century, but in wartime Britain in 1943:

  • the opening voice-over quote from the prologue of Geoffrey Chaucer's original manuscript: "When that April with his showers sweet, the drought of March hath pierced to the root and bathed every vein in such liqueur from which virtue engendered is the flower. When Zephyrus seek with his swete breath inspired hath in every holt and heath the tender croppes, and the young sun hath in the Ram his half cours y-ronne. And smale foweles maken melody that slepen all the night with open eye - so priketh them nature in their corages - then longen folk to go on pilgrimages and palmers for to seken stranger strands to distant shrines known in sundry lands. And especially from every shire's end of England to Canterbury they wend, the holy blissful martyr for to seek that them hath helpen when that they were weak"
  • the astonishing match-cut camera shot (an influence or inspiration for Stanley Kubrick's similar match-cut in 2001: A Space Odyssey (1968) ?) when an ape tossed a bone into the air and it became an orbiting spacecraft) - in this instance, a nobleman-falconer (James Sadler) removed the hood from a prized bird, and released it into the wide-open sky; it immediately soared into the air - and the time frame shifted 600 years into the future, with the bird transformed into a RAF Spitfire plane, and the falconer now a British soldier in WWII wearing a tin hat - (the narrator spoke in voice-over: "600 years have passed. What would they see, Dan Chaucer and his goodly company today? The hills and valleys are the same. Gone are the forests since the enclosures came. Hedgerows have sprung. The land is under plow and orchards bloom with blossom on the bough. Sussex and Kent are like a garden fair but sheep still graze upon the ridges there. The Pilgrims' Way still winds above the weald through wood and break and many a fertile field. But though so little's changed since Chaucer's day, another kind of pilgrim walks the way")
  • this was a contemporary tale of three pilgrims on a modern-day pilgrimage, enroute to Canterbury; they arrived on a train (during a blackout) in the small Kent town of Chillingbourne in S. England:
    (1) Alison Smith (Sheila Sim) a London department store salesgirl about to become a "Land Girl" in the Women's Land Army
    (2) US Army Sgt. Bob Johnson (John Sweet), a GI serviceman on leave
    (3) Peter Gibbs (Dennis Price), a drafted Englishman and cynical former cinema-organist who gave up his music school dreams
  • the scene of a strange nocturnal "Glue Man" who poured sticky glue into Alison's hair - she was his 11th victim; as they investigated the incident, they became suspicious of the eccentric local magistrate, Thomas Colpeper JP (Eric Portman), also a farmer whom Alison was to begin working with
  • Colpeper's confession that he was the Glue Man - with good intentions - to assure that local girls wouldn't go out at night with GIs and forsake their husbands and boyfriends, and to hopefully guarantee that they would learn about the area's history, subsequently, the group made a study of the history of the area and tales of The Pilgrim's Way
  • the scene of Colpeper's lantern-slide lecture, when he told the audience, in a mesmerizing monologue, that they must take their own pilgrimage to learn about their past: "Let me remind you that as much as 600 years ago, doctors and lawyers and clerks and merchants were passing through here on the old road which we call the Pilgrims' Way...These ancient pilgrims came to Canterbury to ask for a blessing or to do penance. You, I hope, are on your way to secure blessings for the future.... Well, there are more ways than one of getting close to your ancestors. Follow the old road, and as you walk, think of them and of the old England. They climbed Chillingbourne Hill, just as you. They sweated and paused for breath just as you did today. And when you see the bluebells in the spring and the wild thyme, and the broom and the heather, you're only seeing what their eyes saw. You ford the same rivers. The same birds are singing. When you lie flat on your back and rest, and watch the clouds sailing, as I often do, you're so close to those other people, that you can hear the thrumming of the hoofs of their horses, and the sound of the wheels on the road, and their laughter and talk, and the music of the instruments they carried. And when I turn the bend in the road, where they too saw the towers of Canterbury, I feel I've only to turn my head, to see them on the road behind me"
  • by the film's conclusion, once the three pilgrims had reached Canterbury (in a modern-day pilgrimage) about a ten minute journey away by train, each of them miraculously received a blessing in Canterbury and were changed forever:
    - both Alison and Bob, who feared that their missing fiancee/girlfriend was dead, located their loved ones
    - and Peter Gibbs played a Bach piece on the organ in Canterbury's mystical cathedral, during a processional
  • in the final shot, the cathedral bells rang after the assembled parishioners in the Canterbury Cathedral sang the old hymn, "Onward Christian Soldiers"












Cape Fear (1962)

In director J. Lee Thompson's suspenseful and intense late b/w film noir from James Webb's screenplay, based on John D. MacDonald's novel "The Executioners":

  • the moody music by Bernard Herrmann - under the opening credits
  • the evil, intimidating, vengeful and insolent character of cigar-smoking, Panama hat-wearing psychopath Max Cady (Robert Mitchum), first exemplified when he walked inside a Southern courtroom and as he ascended the stairs ignored a woman who dropped a book in front of him
  • the many chilling moments in which the sexually-predatory Cady pursued and stalked the female family members of lawyer Sam Bowden (Gregory Peck) intent on raping them
  • his poisoning of the family dog Marilyn with strychnine (mid-barking, the dog let out a long whine)
  • his menacing of young teenaged daughter Nancy Bowden (Lori Martin) at her school
  • his sexually threatening of both females on a houseboat on Cape Fear River
  • the deeply frightening scene in which the bare-chested ex-con threatened to force Sam's wife Peggy (Polly Bergen) to have consensual sex with him in order to save the rape of her daughter: ("You proposition me. You, instead of Nancy, and I'll agree never to see you again. All right? Listen, unless, of course, you want it. Now that's how you give your consent") - and then after creating a diversion, went after young Nancy. Although the young girl defended herself with a fireplace poker, she was no match against his powerful grip - he gagged her mouth and dragged her outside, and was about to rape her when she was saved by her father
  • the climactic conclusion when Sam saved Nancy, fought bare-fisted against Cady, overpowered him, held him at gunpoint, and decided to not kill him: ("We're gonna take good care of you. We're gonna nurse you back to health. And you're strong, Cady. You're gonna live a long life - in a cage! That's where you belong. And that's where you're going. And this time, for life! Bang your head against the walls. Count the years, the months, the hours, until the day you rot!")





Cape Fear (1991)

In Martin Scorsese's remake of the original 1962 film with Robert Mitchum:

  • the portrayal of vengeful psychotic Max Cady (Robert De Niro) threatening lawyer Sam Bowden (Nick Nolte) and his wife Leigh (Jessica Lange) and daughter
  • Max's confrontation on the street with Sam Bowden as he drove along in an open convertible
  • the scene of Cady handcuffing the hands of law clerk Lori Davis (Illeana Douglas) behind her back, then viciously biting off a chunk of her cheek and savagely raping and beating her - sending her to the hospital with a mauled face and broken arm
  • another brutal and unsettling scene, in which Cady strangled Sam's hired private investigator Claude Kersek (Joe Don Baker) with a garrotte, and shot him in the head as he struggled (blood showered onto both of them), and then spoke into his ear: "How about that present that you like, you white-trash piece of s--t"
  • the tense and very disturbing, repellent yet fascinating scene when he posed as a drama teacher on the set of a play in the school's auditorium and then proceeded to verbally and physically seduce (she sucked on his thumb) and kiss the rebellious, naive, sexually-curious and troubled fifteen-year old daughter Danielle (Juliette Lewis) - with her dual responses of fear and excitement
  • the climactic houseboat confrontation on Cape Fear River when Cady was handcuffed to their houseboat and drowned while speaking madly in tongues when the boat sank





Captain Blood (1935)

In Michael Curtiz' tremendous swashbuckler adventure film:

  • the romance between Capt. Peter Blood (Errol Flynn in a star-making role) and the lovely Arabella Bishop (Olivia de Havilland) - the stars' first romantic teaming
  • the exciting naval battle sequences and bombardments
  • the trademark sword duel to the death between Capt. Blood and French pirate Levasseur (Basil Rathbone) on the beach

Captain America: Civil War (2016)

In co-directors Anthony and Joe Russo's superhero action film based upon Marvel Comics characters:

  • the central airport fight sequence in which most of the superheroes participated as combatants: the opposing forces were led by Tony Stark/Iron Man (Robert Downey, Jr.) and by Captain America/Steve Rogers (Chris Evans)

Captains Courageous (1937)

In Victor Fleming's adventure/drama:

  • Portuguese fisherman Manuel's (Spencer Tracy) playing and singing (a song to a fish: "don't cry") with a hurdy-gurdy on the deck of his ship
  • his rescue, care and education of a spoiled rich kid Harvey (Freddie Bartholomew) (his "leetle feesh")
  • the sequences of the schooner race
  • Manuel's tragic death scene as he drowned in the waves, and his tearful goodbye to Harvey: ("Now listen to me, leetle feesh. I go now...We had good times together, eh, leetle feesh? We laugh. We sing. So you smile now...Manuel - he be watching you. You be best fisherman ever lived")
  • the poignant memorial service scene with Harvey's father (Melvyn Douglas) comforting his son in the final shot - silently, arm in arm, the two watched wreaths float away together in the outgoing tide


The Caretakers (1963)

In Hall Bartlett's melo-dramatic chronicling of a revolutionary new, experimental, social reform treatment method for the mentally-ill:

  • the opening scene of guilt-ridden housewife Lorna Melford (Polly Bergen) walking down a street, entering a movie-theater (showing West Side Story) and having an hysterical, nervous breakdown up on stage in front of the audience and the screened newsreel, where she was wrestled by two men and hospitalized
  • the efforts of well-meaning, compassionate and caring Dr. Donovan MacLeod (Robert Stack) to care for mentally-ill females to be treated with respect, without punishment or incarceration in the Canterbury State Hospital; he opposed harsh treatment for newly-admitted patients, such as Lorna, and urged for her transfer to his "borderline" counseling program immediately: ("A girl is committed to us for help and what do we do? In less than an hour, we take away her identity, put her in an isolated room, and scare the hell out of her...You put a frightened child in a closet and tell her not to be afraid?")
  • Lorna's long suffering and confused husband Jim Melford (Robert Vaughn)
  • the shocking scene of Lorna's electroconvulsive shock therapy - who was held down on a table while the dosage meter went to high
  • the sequences of the 'borderline' ward engaged in group therapy and the problems of the various patients, including senile Irene (Ellen Corby) with a toy doll, man-hating, sexual tease and cynical ex-prostitute Marion (Janis Paige), childlike and pretty Connie (Sharon Hugueny), and severely-troubled mute Edna (Barbara Barrie) - including the troubling scene of the killing of a pet parakeet released from its cage
  • the scenes of opposition from mean head nurse Lucretia Terry (Joan Crawford), who in one scene (dressed in a black leotard) taught self-defense judo in a huge gymnasium to her nurses in order to defend themselves, and argued for less freedoms for the patients: ("As you can see, size or brute strength mean absolutely nothing against judo. That's why I insist my nurses keep themselves in top physical condition. You must be able to protect yourself against the possible attack by a patient - male or female. And remember this, never trust a patient. Never turn your back on them. They're different from you. They think differently. They act differently. I will not tolerate brutality or cruelty. Neither will I tolerate laxity or carelessness. From the very beginning, the patient must know that you are in control. You have the power to make them obey the rules of this institution, and believe me, they will respect your strength"); she mentioned that the nurses on MacLeod's "dangerous ward" needed extra vigilance and training
  • the climactic scene during a therapy session when pyromaniac Edna threatened to burn the hospital down, but was embraced by Lorna (who told her: "We want you, Edna") and treated sympathetically; Edna responded haltingly and spoke with a few words: ("Good, so good"), after which Lorna congratulated her with another hug: "You talked, Edna!"; and then Marion complimented Dr. MacLeod on his work: "You were right all the time"
  • the freeze-framed ending, atop a view of Dr. MacLeod: "WE ARE THE CARETAKERS OF THEIR HOPE - THEIR FUTURE", and the final scene of patients entering the newly-opened Canterbury Day Hospital - evidence of the success of Dr. MacLeod's treatment program, accompanied by cast credits pictured one-by-one









Carlito's Way (1993)

In director Brian de Palma's gangster film, told in flashback:

  • the beginning credits sequence of wounded Puerto Rican drug-dealing criminal Carlito Brigante (Al Pacino), on a Grand Central Station train platform after being shot, being wheeled on a stretcher - with his lengthy voice-over - before the film's major flashback on his life: ("Somebody's pullin' me close to the ground. I can sense, but I can't see. I ain't panicked. I been here before. Same as when I got popped on 104th Street. Don't take me to no hospital, please. F--kin' emergency rooms don't save nobody. Son of a bitches always pop you at midnight when all they got is a Chinese intern with a dull spoon. Oh, look at these suckers scramblin' around. What for? My Puerto Rican ass ain't supposed to have made it this far. Most of my crew got washed a long time ago. Don't worry. My heart, it don't ever quit. I ain't ready to check out...")
  • the confrontation one night in Carlito's nightclub/restaurant "Club Paradise" between insistent, obnoxious Bronx punk Benny Blanco (John Leguizamo) and Carlito, when Benny desired to have Steffie (Ingrid Rogers), now the girlfriend of Carlito's lawyer Dave Kleinfeld (Sean Penn); Carlito harshly insulted Benny and refused his offer of champagne: ("Maybe I don't give a s--t. Maybe I don't remember the last time I blew my nose either....What, you think you're like me? You ain't like me, motherf--ker. You're a punk. I've been with made people, connected people. Who you been with? Chain-snatchin', jive-ass, maricn motherf--kers. Why don't you get lost? Go ahead, snatch a purse. Take a f--kin' walk")
  • after Benny was dragged from the club, Carlito's ultimatum: ("OK, Benny Blanco from the Bronx. The chick Steffie belongs to the club. And if I ever, I mean if I ever see you here again, you die, just like that"). Blanco threatened: ("You're over, man. You're f--kin' in the history books. That's where you are, man. So you might as well f--kin' kill me now, 'cause if I ever see you again, I swear to God, I'm gonna f--kin' kill you"), and in retaliation was pushed down a long flight of stairs
  • in the next moment, Carlito spoke in voice-over about his poor judgment in dealing with Benny: ("Dumb move, man. Dumb move. But it's like them old reflexes comin' back. I know what's supposed to happen now. Benny's gotta go down. And if I don't do it, they're gonna say: 'Carlito, he's flaky, man. Slacked-out. A used-to-be bad guy. Joint got to Carlito.' The street is watchin'. She is watchin' all the time"); although tempted to kill Benny in the alleyway, Carlito decided in the end to let him go: ("Let him go. Get him outta here") - followed by more of his voice-over: ("Any other time, that punk would die, but I can't do that s--t no more. Don't want to burn nobody, even when I know I should. That ain't me now. All I want is to get my $75 grand and get out")
  • the cat-and-mouse chase through the subway and Grand Central Station before Carlito was shot dead on the train platform by Benny Blanco in the stomach: ("Hey, remember me, Benny Blanco from the Bronx?) and died in ballet dancer/stripper Gail's (Penelope Ann Miller) arms; at the time of Carlito's demise, Gail begged over his body: ("Charlie. Don't leave me, Charlie. Not yet, Charlie. Don't leave me, Charlie. Don't go, Charlie. Oh, Charlie. Charlie, please don't leave me. Charlie, don't go. No Charlie, you can't do this to me. Oh, God. Don't leave me...")
  • Carlito's voice-over at the time of his death - although his eyes were open for a short while as he was taken away on a stretcher bound for the hospital, with his dream of "Escape to Paradise" (as he looked up at a billboard with a Caribbean beach depicting a band and a woman dancing before a sunset, that in his mind came to life) just before the end-credits: ("...Sorry, boys, all the stitches in the world can't sew me together again. Lay down. Lay down. Gonna stretch me out in Fernandez Funeral Home on 109th St. Always knew I'd make a stop there, but a lot later than a whole gang of people thought. Last of the Mo-Ricans. Well, maybe not the last. Gail's gonna be a good mom. New, improved Carlito Brigante. Hope she uses the money to get out. No room in this city for big hearts like hers. Sorry, baby. I tried the best I could. Honest. Can't come with me on this trip, though. Gettin' the shakes now. Last call for drinks. Bar's closin' down. Sun's out. Where we goin' for breakfast? Don't wanna go far. Rough night. (His eyes slowly closed) Tired baby, tired.")









Carnal Knowledge (1971)

In director Mike Nichols' controversial and bittersweet drama:

  • the sexual fumblings and escapades of the threesome courtship of young 1940s Amherst College roommates: the predatory Jonathan Fuerst (Jack Nicholson) and naive Sandy (singer Art Garfunkel) with delicate WASP coed sweetheart Susan (Candice Bergen) (who eventually married), and the continuing account of their failed relationships with the opposite sex as they approached middle-age
  • the bedroom-shower sequence revealing the vulnerability of cynical stockbroker Jonathan's unfulfilled, big-breasted actress-mistress-wife Bobbie (Ann-Margret), a TV model and his live-in mistress, whom he at first desired for her voluptuousness: ("I took one look at the tits on her, and I knew I'd never have trouble again"); and her unhappiness with him: ("I wanna get married" and "the reason I sleep all day is 'cause I can't stand my life...I need a life")
  • his verbal demolishing of Bobbie and her uselessness: ("You want a job? I got a job for ya. Fix up this pigsty!...For God's sake, I'd almost marry you if you'd leave me....Answer me, you ball-busting, castrating, son of a cunt bitch! Is this an ultimatum or not?"); afterwards, a naked Bobbie sat up against a blank wall (filmed from the chest up), lost in her own thoughts of depression, and soon after took an overdose of pills
  • Jonathan's slide-show lecture of his sexual conquests and the women in his life (titled "Ballbusters on Parade!")
  • Jonathan's dysfunctional-impotence finding solace in the final scene with paid prostitute Louise (Rita Moreno) as he was sexually massaged and reassured, while reclining back on a couch. He commanded her to recite a carefully-worded script while kneeling between his legs. He yelled at her: "God-damn it! You're doing it all wrong" when she deviated. She reassured him as she stroked his thighs: "I don't think we're gonna have any trouble tonight." She called him "a real man, a kind man" and then went on: ("...And who is better, more beautiful, more powerful, more perfect... you're getting hard... more strong, more masculine, extraordinary, more... bust. It's rising, it's rising... more virile, domineering, more irresistible. It's up - in the air...)








Carrie (1976)

In Brian De Palma's classic horror film adapted from a Stephen King novel:

  • the scene of a terrified Carrie's (Sissy Spacek) first menstruation in a high school locker-shower room
  • the scene of Carrie's religiously-fanatical mother Margaret White (Piper Laurie) warning Carrie about boys and prohibiting her from going to her prom: ("Boys. Yes, boys come next. After the blood, the boys come. Like sniffing dogs...grinning and slobbering, trying to find out where the smell comes from, where the smell is. That smell!")
  • the much-celebrated, exhilarating prom sequence in which the camera circled counterclockwise around Carrie and dream date Tommy (William Katt) as they moved in the opposite direction
  • Carrie's bloody high school prom experience as she was crowned prom queen and then cruelly doused by pig's blood in a bucket from above. In her mind, she heard tauntings: "They're gonna laugh at you," and "Plug it up!", and in her view (spinning around), she imagined the prom-goers laughing and jeering at her. Feeling humiliated, she sought psycho-kinetic, murderous revenge against the prom-goers (shown in split-screen). Seeking retribution, she caused the prom's exit doors to slam shut, and the lights to pop. An emergency fire hose snaked into mid-air and doused the party-goers, causing chaos, confusion, and bodies careening around the dance floor. Some were electrocuted (Mr. Fromm (Sydney Lassick)), crushed by falling rafters (Miss Collins (Betty Buckley)), trampled, or burned to death in the resulting fire
  • outside the school gym as Carrie walked home, she overturned a car attempting to hit her, driven by mean Billy Nolan (John Travolta) and Chris Hargensen (Nancy Allen), and she caused the flipped, rolled-over car to burst into flames
  • upon her return home, Carrie's murder of her ultra-religious, psychotic mother Margaret in an ecstatic crucifixion-death scene - crucified by flying cutlery and kitchenware
  • the recurring nightmare - shock second ending in which Carrie's classmate Sue Snell (Amy Irving) went to put the flowers on the grave. Suddenly Carrie's bloody hand burst out of the ground at her from beyond the grave and grabbed her arm to pull her down into hell with her - the white-clad young girl screamed and suddenly woke up while recuperating in her bed at home, still screaming hysterically and being grabbed and held by her reassuring mother (Priscilla Pointer) ("It's all right, I'm here") as she experienced more nightmares









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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