Greatest Film Moments and Scenes

GREAT MOMENTS and SCENES FROM THE GREATEST FILMS

An extensive collection of the most famous, distinguished, unforgettable or memorable images, scenes, sequences or performances, many from the greatest films of all time

Part 12

D (continued)
Donnie Darko (2001)	The early scene of a jet engine crashing into the suburban house of the teenaged, disturbed ("wacko") title character (Jake Gyllenhaal) in 1988 (during the Dukakis-Bush presidential campaigns), the sight of his room after the crash; also Donnie's subsequent time-travel visions, his doomsday conversations with weird demonic 6-foot-tall rabbit Frank (James Duval), and his violent and rebellious tendencies that worry his conservative mother and father (Mary McDonnell and Holmes Osborne), 'new girl in town' girlfriend Gretchen Ross (Jena Malone), his psychologist Dr. Lilian Thurman (Katharine Ross) and his beatnik English teacher Ms. Pomeroy (Drew Barrymore) who assigns Graham Greene's nihilistic The Destructors; also the scenes of the family pizza dinner ("I'm voting for Dukakis"), the vigorous discussion about the sexual habits of Smurfs, the first therapy session, the dance group Sparkle Motion and their "Star Search" performance, and the characters of Patrick Swayze as self-help guru Jim Cunningham - a motivational speaker ("control fear") with mock infomercials, and Grandma Death, in writer/director Richard Kelly's mystifying debut cult film, re-released in 2004 with 20 minutes of added footage
Don't Look Now (1973)	The early sudden scene (filmed with a Steadi-cam) of the tragic, drowning death of the red-raincoated Baxter daughter in a muddy fishpond in England; also the explicit, realistic love-making scene between art restoration expert John Baxter (Donald Sutherland) and wife Laura (Julie Christie) intercut with their post-coital dressing to go out - while on a recuperative vacation in Venice after their daughter's death; the repetitive thematic images of water, the color red, empty dining rooms, and shattered glass; and the bloody, shocking murderous conclusion in which John's neck is sliced by a small, red-hooded figure in a dark Venetian alleyway, in Nicolas Roeg's haunting and classic supernatural thriller based upon a Daphne du Maurier short story tale
A Double Life (1947)	The scene in which delirious Broadway matinee actor Anthony John (Oscar-winning Ronald Colman) strangles his mistress Pat (Shelley Winters), and the curtain-falling conclusion of Othello which blurs the boundary between art and life when he stabs himself to death on-stage, in George Cukor's noirish melodrama
Double Indemnity (1944)	The witty, hard-boiled screenplay with its flashback story; the introduction of blonde femme fatale Phyllis Dietrichson (Barbara Stanwyck) - first in a towel, and then as she descends a staircase flashing an engraved, gold ankle strap on her left ankle at insurance salesman Walter Neff (Fred MacMurray) standing below; the agent's sexual banter with Phyllis who coyly counters his advances in their classic double-entendre conversation about "speeding" and "traffic tickets"; the nerve-wracking murder (with the camera stationary on Phyllis' stoic face in the driver's seat) and post-murder car-sputtering scene; the scene in the hallway when Phyllis hides behind Neff's apartment door when claims adjuster Keyes (Edward G. Robinson) pays an unexpected visit; Keyes' dogged investigation of his colleague with a rapid-fire speech-monologue about suicide statistics and various ways to commit suicide - and his continued discussion about the "little man" inside him that senses fraud; the continued clandestine and furtive meetings and discussions at the supermarket between Neff and Phyllis; the deadly double-cross scene between the two conspirators in her living room ("We're both rotten" -- "Only you're a little more rotten") after which Phyllis wounded Neff and he taunted her to finish him off ("Maybe if I came a little closer?") - and his murder of her ("Goodbye, baby") with a point-blank gunshot during an embrace; and the final confrontation between Neff and Keyes as the insurance agent lies dying slumped in a doorway and is offered a light for his cigarette by Keyes (a reversal), in Billy Wilder's classic film noir scripted by Raymond Chandler
Down and Out in Beverly Hills (1986)	During the opening credits, the brilliant use of The Talking Heads' Once in a Lifetime ("And you may find yourself in a beautiful house, with a beautiful Wife / And you may ask yourself / Well, how did I get here?") which intercut scenes of real-life Los Angeles homeless with charismatic, iconoclastic, charming but disheveled vagrant Jerry Baskin (Nick Nolte); the scene of Jerry attempting suicide by drowning in the Whiteman family's pool after his little beloved dog Kerouac abandons him, and his subsequent rescue ("Call 911!") and insinuation into the Whiteman's Beverly Hills household by "giving them everything they wanted"; the many scene-stealing scenes of neurotic family dog Matisse (black-and-white border collie Mike the Dog); Jerry's seduction of sexually-repressed, spaced-out Barbara Whiteman (Bette Midler), whose ecstatic screaming reverberates around the neighborhood (Matisse convulses and pants, the phallic cable antenna vibrates, the sprinklers erupt, etc.) and Barbara's post-coital singing of You Belong to Me afterwards; millionaire coat-hanger manufacturer Dave Whiteman's (Richard Dreyfuss) initial bonding with Jerry that sours because of Jerry's (1) seduction of Mexican maid Carmen (Elizabeth Peña) whom Dave was also having an affair with, (2) encouragement of androgynous, sexually-confused and obsessive son Max (Evan Richards) to come out to him, and (3) sexual relations with anorexic college student Jenny Whiteman (Tracy Nelson); and the wild, climactic New Year's Eve party as next door neighbor and record producer Orvis Goodnight (Little Richard) performs Tutti Frutti on the piano, Jerry's decision to leave (Dave: "You lied" Jerry: "What did you want to hear, Dave? REAL heartbreak? REAL sorrow?") and the family inviting him to stay, and the haunting final shot of an unsure Dave joining the rest of his family back to the house to the book-ended strains of Once in a Lifetime, in writer/director Paul Mazursky's R-rated comedy (Disney's first, for its new Touchstone division) -- a comedic remake of Jean Renoir's classic Boudu Sauvé des Eaux (1932), aka Boudu Saved From Drowning
Dr. Jekyll and Mr. Hyde (1932)	The long, subjective opening sequence in which Dr. Henry Jekyll (Fredric March) travels to a lecture and speaks about separating the two natures of man and releasing the good evil in a man's soul, the first transformation scene of Dr. Jekyll drinking a potion in his laboratory and his amazing change into the frightening Mr. Hyde - a bullying, jagged-toothed, sexually libidinous, bedeviled creature, his grotesque exclamation in front of a mirror: "Free - free at last" as the camera spins around, the scenes in which he taunts and brutally forces his affections ("You'll come with me", "Just as I want", and "What I want, I get!") on a promiscuous Variety Music Hall barmaid Ivy Pearson (Miriam Hopkins) - telling her as she cowers from him: "I"ll show you what horror means...", and the final scene of his death when his changes from the forbidding Hyde back into Jekyll, in Rouben Mamoulian's spine-tingling horror film
Dr. No (1962)	The trademark introduction of James Bond's (Sean Connery) name across a casino's gaming room baccarat table to beautiful, defeated gambler Sylvia Trench (Eunice Gayson): "Bond, James Bond," John Barry's distinctive theme music; Bond's typical conversation with his flirtatious boss' secretary Miss Moneypenny (Lois Maxwell): (Bond: "What gives?" Moneypenny: "Me - given an ounce of encouragement"); the scene of a giant hairy tarantula crawling up Bond's arm; and the great entrance scene of a sexy, white bikini-clad conch-hunter Honeychile Ryder (Ursula Andress) with a thigh-high knife emerging from the warm Jamaican water singing "Underneath the Mango Tree" and shaking herself dry; and Bond's response to a horrified Ryder after he has killed a thug with a machine gun on the island: "Because I had to", in Terence Young's first Bond film about British agent 007
Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964)	The opening sequence of a jet aircraft refueling in mid-air - looking like a sexual act, Gen. Jack Ripper's (Sterling Hayden) babbling about "precious bodily fluids," the American President Merkin Muffley's (Peter Sellers) hot-line phone call (a monologue) to the Soviet premier to explain the erroneous bombing attack, the priceless dialogue in the War Room, militarist Gen. "Buck" Turgidson's (George C. Scott) dalliance with his Playmate 'secretary' and his cold calculations about nuclear destruction and the lone bomber's chances against Soviet defenses, "Buck's" scuffle in the War Room with the Soviet Ambassador de Sadesky (Peter Bull) that concludes with Muffley's line: "Gentlemen, you can't fight in here. This is the War Room," the scene of the British RAF attache Capt. Lionel Mandrake (Peter Sellers) not having enough spare change to telephone the White House to save the world and Col. "Bat" Guano's (Keenan Wynn) refusal to shoot at a Coca Cola machine for fear of retribution by the company, sinister and mad German scientist Dr. Strangelove's (Peter Sellers) uncontrollable mechanical-arm Nazi salute (and his wrestling with his own gloved hand), his giggling pleasure as he describes his duty to populate the human race with women (at a ratio of 10 females to one male) in deep underground, mine-shaft caverns, and his ultimate exclamation: "Mein Fuhrer, I can walk!", Peter Sellers playing three marvelous and distinctive roles, Commander T. J. "King" Kong's (Slim Pickens) patriotic speech ("I'd say that you're all in line for some important promotions an' personal citations when this thing's over with") and the image of Kong rodeo-riding the nuclear bomb like a bucking bronco toward its target and crying "Yaahooo," "and the finale with multiple H-bomb mushroom clouds blossoming to Vera Lynn's rendition of "We'll Meet Again" ("We'll meet again / Don't know where, don't know when / But I know we'll meet again / Some sunny day") in Stanley Kubrick's black comedy satire
Dracula (1931)	An atmospheric Transylvania opening - Dracula's (Bela Lugosi) entrance on a long staircase below a gigantic web and his lilting accent ("I am...Dracula", and "I never drink - wine", and his response to wolves howling: "Listen to them. Children of the night. What music they make"), and the crazed slave Renfield (Dwight Frye) giggling like an idiot among the coffins in the hold of the ship, in the original horror film from Tod Browning
The Dreamers (2003, Fr/It/UK)	The many menage-a-trois, incestuous couplings between uninhibited, naturally buxom Isabelle (Eva Green) and her fellow cineastes - an American cinema student Matthew (Michael Pitt) and her twin brother Theo (Louis Garrel); with frequent total nudity during the trio's sexual games, interwoven with play-acted homages and clips to classic moments in cinema; also the memorable scene of the trio's 9:28 minute dash through the Louvre (in homage to a similar scene in Godard's Band of Outsiders (1964) with Anna Karina and her two suitors) followed by Matthew's acceptance (and a clip from Freaks (1932)), and the threesome's sharing of a bathtub, in director Bernardo Bertolucci's NC-17 rated film of sexual discovery and intimacy set in the summer in Paris in 1968
Dressed to Kill (1980)	The slow-motion opening sado-masochistic sexual fantasy sequence in which upper-class New Yorker and frustrated wife Kate Miller (Angie Dickinson) pleasures herself in the soapy shower; the brilliant 10-minute sequence in the Metropolitan Museum of Art of Kate's cat-and-mouse flirting with a nameless stranger and her taxi-cab seduction en route to his apartment; and the horrific murder sequence in the elevator of a high-rise apartment building when she is murdered by a black-coated woman (her transsexual psychologist Dr. Robert Elliott (Michael Caine)) in a blonde wig and dark glasses wielding a sharp razor, and the remarkably tense finale, in Brian De Palma's erotic Hitchcockian thriller
Driving Miss Daisy (1989)	The scene of dedicated black ex-chauffeur Hoke Colburn (Oscar-nominated Morgan Freeman) trailing (for six days) stubborn Jewish ex-schoolteacher Daisy Werthan (Oscar-winning Jessica Tandy) in the car as she walks to the supermarket and refuses to ride (Daisy: "What are you doing?" Hoke: "I'm tryin' to drive you to the store!") -- "...the same time it took the Lord to make the world"; also the scene of the death of black maid Idella (Esther Rolle) watching The Edge of Night on TV (the camera views the peas she had been shucking from pods bouncing on the floor at her feet); and the discussion between Daisy and Hoke about his having to stop the car to go to the bathroom ("make water") during one of their trips - despite her objections; and the scene of Daisy teaching the illiterate Hoke about the connection between letters and words; also one of the last scenes in which a mentally-dislocated Daisy tells Hoke: "Hoke...you're my best friend...no, really, you are", and then takes his hand in hers; and the final Thanksgiving scene in a nursing home in which an enfeebled 93 year-old Daisy was spoon-fed her Thanksgiving pie by Hoke, in director Bruce Beresford's Best Picture-winning drama
Drugstore Cowboy (1989)	The plot told in flashback ("I was once a shameless full-time dope fiend") about four drug-addicted teen junkies (considered a "family") who criminally robbed pharmacies of prescription drugs in the early 70s mostly in the area around Portland, Oregon to supply their ever-increasing habits of dope usage: young and smart leader Bob Hughes (Matt Dillon), his wife Dianne (Kelly Lynch), their sweet-natured friend Rick (James LeGros), and his teenaged blonde, runaway/drifter-girlfriend Nadine (Heather Graham); with memorable lines of dialogue about how they were turned on more by drugs than sex: (Dianne: "You never f--k me, and I always have to drive", and Bob: "Most people don't know how they are going to feel from one moment to the next, but a dope fiend has a pretty good idea. All you've got to do is look at the labels on the little bottles"); also the scene of Bob's hallucinatory experience after shooting up his arm in the back seat of the getaway car, with his voice-over and floating images: "Upon entering my vein, the drug would start a warm edge that would surge along until the brain consumed it in a gentle explosion. It began in the back of the neck and rose rapidly until I felt such pleasure that the world sympathized and took on a soft, lofty appeal"; also his conversation about how the two younger members of the "family," Rick and Nadine, were brought up as amoral "TV babies": ("All these kids, they're all TV babies. Watching people killing and f--king each other on the boob tube for so long, it's all they know. Hell, they think it's legal. They think it's the right thing to do") and their 30-day hex-superstitions about No Dogs and Never Put a Hat on a Bed; also the tragic scene of Bob visiting his heartbroken mother (Grace Zabriskie) when she lowered the blinds and locked doors, and the scene of Bob and Dianne struggling to get Nadine's drug-overdosed corpse out of their motel room and into the trunk of their car -- during a deputy sheriff's convention, and the resolution with Bob turning himself into an authorized methodone treatment program and breaking up the family, in director Gus Van Sant's realistic cult film
Drums Along the Mohawk (1939)	The scene of Mrs. Sarah McKlennar (Edna May Oliver) refusing to leave her bed during an Indian attack, and the lengthy scene in the action-filled ending in which Gil Martin (Henry Fonda) - after having been given permission to go by his beautiful wife Lana (Claudette Colbert): "I'm not afraid, I want you to go" - outrunning three Indians in hot pursuit while racing for help (with just a hand axe) to save the besieged fort, after which he was reunited with his exhausted but relieved wife Lana (Claudette Colbert), in John Ford's historical adventure film
Duck Soup (1933)	The many satirical, anarchic scenes that ridicule pomp, government, and authority, the opening coronation scene and Freedonian inauguration of President Rufus T. Firefly (Groucho Marx), Firefly's familiar teasing of millionaire widow Mrs. Teasdale (Margaret Dumont), the lampooning Cabinet meeting scene, the two lemonade stand scenes including a classic hat-switching sequence with the sidewalk vendor and Pinkie (Harpo) barefooted and paddling in the lemonade tank; the inventive, celebrated reflected mirror-image (pantomime) scene with all three brothers identically dressed in nightshirt and cap and duplicating each other's movements; Pinkie's sight-gags and the revelation of his tattoos (especially the one of a doghouse on his stomach - complete with the head of a real live, barking dog that peeps out), the parody of the Paul Revere ride, Groucho's retort to Ambassador Trentino (Louis Calhen) about war ("Go, and never darken my towels again!"), and the final battle sequence (with Firefly walking around blindly with a flower vase on his head paint-decorated with features of his 'Groucho' face), in this classic Marx Brothers anti-war comedy film
Duel in the Sun (1946)	The gathering of ranchers at the cattle baron's ranch to resist the railroads, the memorable death scene when dying wife Laura Belle (Lillian Gish) was told of her husband Senator McCanles' (Lionel Barrymore) past indiscretion; all of the scenes of the sexy, sultry half-breed Pearl (Jennifer Jones, producer David O. Selznick's wife) with dangerous brother Lewt McCanles (Gregory Peck); Pearl's prayer session with the hellfire preacher Sin Killer (Walter Huston); and the infamous, bloody "lust in the dust" and "duel in the sun" final shootout scene between Pearl and Lewt as they die in each other's arms ("You double-crossin' bob-cat!"), in King Vidor's over-the-top epic Technicolored western
Dumb and Dumber (1994)	The scene of Lloyd Christmas' (Jim Carrey) run out of an airport's jetway and flip onto the tarmac; the imbecilic Lloyd's sentimentally-happy response after pursuing married dream girl Mary Swanson (Lauren Holly) from Providence to Aspen in a customized sheep-dog van after she tells him that their chances are "one in a million" - "So you're saying there's a chance?!"; the sight of Harry Dunne (Jeff Daniels) and Lloyd in bright orange and powder blue tuxedos; also idiotic Lloyd's wild chopsocky fantasy in a restaurant, defending the honor of his dream date and culminating in ripping the heart out of a chef's chest; the excruciatingly-funny yet gross scene of Harry's extreme agony on the toilet while suffering a reaction to a large dose of a laxative put in his drink by Lloyd; and the famous scene in which brain-dead Harry exclaims: "Ooh, look, frost" to Mary as they ride on a ski-lift chair - and his tongue becomes fused to the frozen metal frame pole - and the hilarious scene as they pry him free while his tongue stretches elastically
Dumbo (1941)	The scenes of Dumbo's loving relation with his mother Mrs. Jumbo after his delivery by a stork - and their traumatic separation when his mother was caged and shackled and labeled as a 'mad elephant' when she had attacked a bratty boy who was tormenting him by pulling his large ears; also the touching scene of lonely Dumbo's brief visit with his confined mother and her comforting of the distressed young elephant by stroking him with her trunk extended from her large cage (and swinging him back and forth) during the song "Baby Mine"; also the surrealistic "Pink Elephants on Parade" animation dance sequence, and the sassy crows' song: "When I See An Elephant Fly", in Disney's animated classic
E
E.T. - The Extra-Terrestrial (1982)	The opening scene of extraterrestrials surprised by a crew of botanists in a California forest, young Elliott's (Henry Thomas) discovery of E.T. - a wise creature from outer space 3 million light years away and stranded on Earth; impish Gertie's (Drew Barrymore) startling first look at E.T.; E.T.'s amusing experiences with suburban living; the famous lines of dialogue: "ET phone home" and "Ouch"; the magical, transcendent soaring bicycle scene as the kids escape on bicycles from ominous adults and E.T. lifts them off the street and over a police barricade to fly - photographed and silhouetted against a giant silvery moon in the night sky - with Elliott's scream of delight at the view; the overwrought scene of E.T.'s near-fatal death (when his heart flatlines) alongside Elliott - and his resurrection, and his farewell to his friends before returning home in a spaceship (his advice to young Gertie: "B. Good", followed by her good-bye kiss on E.T.'s forehead, and his glowing finger as he touched Elliott's forehead: "I'll be right here"), in Steven Spielberg's classic about an alien creature
East of Eden (1955)	The opening scene of Cal Trask (James Dean) following a dark-shrouded figure - his mother Kate (Jo Van Fleet) in 1917 Monterey, his learning the truth from Sam (Burl Ives) about his "no-good" mother - a whorehouse madam, Cal's first entry into his mother's bordello; the lettuce field and Ferris wheel-carnival scenes when vulnerable and troubled Cal struggles to express his longing for his sensible twin brother Aron's (Richard Davalos) girlfriend-fiancee Abra (Julie Harris) as she confesses her conflicted-in-love feelings for him - but after a kiss pulls back ("I love Aron, I do, really I do"); the spurned birthday gift scene with stern, Bible-reading, lettuce-growing father Adam (Raymond Massey) rejecting Cal's present of earnings from an investment in bean futures to help relieve his father's dour financial state - and Cal's subsequent breakdown; the scene under a willow tree outside the house when Abra comforts Cal but is rebuked by Aron; the scene of Cal bringing Aron to his mother ("Mother, this is your other son Aron"), and the emotional finale following Adam's stroke - including Abra's words about not loving her son Cal to Adam's bed-ridden figure: ("It's awful not to be loved"); and Cal's ultimate reconciliation with his father, in Elia Kazan's 'Cain and Abel'-like drama adapted from John Steinbeck's novel about California lettuce growers in the early 20th century
Easy Rider (1969)	The scenes of two doped-up hippies Billy (Dennis Hopper) and Wyatt/Captain America (Peter Fonda) riding high-handled motorcycles cross-country (eastward) to the sounds of 60s acid-rock 'n' roll accompanied by the Byrds' song: "I Wasn't Born to Follow"; the scene of the visit to the commune followed by skinny-dipping; their arrest for parading without a permit, their jailing, and their meeting up with civil rights lawyer George Hanson (Jack Nicholson); and the priceless image of George riding on the back of a motorcycle with a football helmet (to the tune of "If You Want to Be A Bird"), and his frequent exclamation of "Nik-nik-nik-f-f-f-Indians!" accompanied by his elbow flapping on his side like a chicken when toasting and taking a drink; the scene of George's first sampling of marijuana and his 'stoned' theories at the campfire about UFO's, alien Venutians on Earth and freedom; the scene at the local cafe/diner where they witness "country witticisms" from good ol' boys; the hallucinatory-LSD scene in a New Orleans cemetery during Mardi Gras; also the final campire scene when Wyatt tells Billy: "We blew it"; and the unexpected brutal ending at the hands of rednecks in a pickup truck for both riders - instigated by Billy's rebellious middle-finger gesture toward the Southerners - with the pull-back shot of the camera rising high into the sky to view the wreckage, in actor/director Dennis Hopper's independent classic road film
Ecstasy (1933) (aka Extase)	The scandalous scenes of a naked Eva (Hedy Lamarr (real-name Hedwig Kiesler)), allegedly the first nude appearance in cinematic history, with her prancing about, swimming, and running through the woods, and closeups of Eva's convincing face during the lovemaking scenes, in this censored Czechoslovakian film
Edward Scissorhands (1990)	The image of the high-on-the-hill castle/mansion (with topiary gardens) overlooking the pastel-colored suburban neighborhood; the dinner meal scene at the house of Bill and Avon lady Peg Boggs (Alan Arkin and Dianne Wiest), with white-faced hedge sculptor/guest Frankenstein-like Edward Scissorhands (Johnny Depp) attempting to eat with his unique scissor-hands; the scene in which Edward - created by his reclusive inventor 'father' (Vincent Price in his last film role), carves beautiful ice sculptures to woo blonde teen cheerleader/daughter Kim Boggs (Winona Ryder) as she joyously dances under the wintry rain of chipped, frozen snow flakes accompanied by Danny Elfman's score; the heart-breaking scene in which The Inventor died before he could install real hands on Edward; also the tearjerking farewell scene between Edward and Kim after the death of her scheming, jealous and insensitive boyfriend Jim (Anthony Michael Hall); and the explanation by an older Kim at the film's conclusion (the film's entire story was told in flashback) at the bedside of her grand-daughter (Gina Gallagher) about where snow comes from and how she knew that Edward was still alive creating ice sculptures and causing snow showers: ("I don't know. Not for sure. But I believe he is. You see, before he came down here, it never snowed. And afterwards, it did. If he weren't up there now, I don't think it would be snowing. Sometimes... you can still catch me dancing in it"), and the film's final flashback of a younger Kim dancing in the snowflakes, in Tim Burton's enchanting 'Beauty and the Beast' fantasy
The Elephant Man (1980)	The character of sensitive and cultivated, but hideously-deformed John Merrick (John Hurt); Merrick's stirring cry to an angry mob: "I AM NOT AN ANIMAL! I...AM...A HUMAN BEING! I AM A MAN", the amazing scene in which London surgeon - Dr. Frederick Treves (Anthony Hopkins) listens to Merrick movingly recite a psalm and the camera pans slowly toward a closeup of his tear-filled eye; also the scene of Merrick showing the doctor a picture of his pretty mother ("with the face of an angel") - and Merrick's poignant comment: "I'm sure I must have been a great disappointment to her...I've tried so hard to be good"; the scene in which famous stage actress Madge Kendal (Anne Bancroft) visits the disfigured Merrick and they perform a Shakespearean scene together, and the scene of Merrick's last night of his life when he is taken to a magical, pantomime performance in the theatre; and the scene of Merrick's demise on a bed after gazing at his mother's picture on his bedside table as a slight breeze billows the curtains softly over his face - he stretches out for peaceful, suicidal death in sleep (his normal position for sleeping was sitting up - lying down would suffocate him and prove fatal), followed by a montage of his spirit passing into eternity, accompanied by Samuel Barber's haunting Adagio for Strings., in David Lynch's dark and affecting biopic