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 the obscenity-laden family pizza dinner conversation during the Dukakis-Bush presidential campaigns ("I'm voting for Dukakis") in a suburban home among the members of the dysfunctional Darko family, including conservative mother Rose and father Eddie (Mary McDonnell and Holmes Osborne); also the title character Donnie Darko (Jake Gyllenhall) - a disturbed teenager with paranoid schizophrenia, who is saved from death when a detached jet engine crashed into his second-story bedroom while he is out sleep-walking - called away by Frank; and Donnie's many experiences of doomsday-countdown conversations with a weird and demonic 6-foot-tall rabbit Frank (James Duval) who predicts the end of the world in 28 days, 6 hours, 42 minutes and 12 seconds; also Donnie's worried thoughts about dying alone ("Every living creature on earth dies alone") - thoughts that are first whispered in his ear by elderly/senile neighbor Grandma Death (or Roberta Sparrow) (Patience Cleveland) who authored the book "The Philosophy of Time Travel"; the characters of two of Donnie's high-school teachers: beatnik English teacher Ms. Pomeroy (Drew Barrymore) who assigns Graham Greene's nihilistic The Destructors, and his science teacher Dr. Monnitoff (Noah Wyle) who discusses time-travel and wormhole theories with him; and Donnie's confrontation in class with his strict, censorship-promoting health teacher Kitty Farmer (Beth Grant) teaching about the lifeline continuum between FEAR and LOVE and supportive of the ideas of self-help guru and motivational speaker Jim Cunningham (Patrick Swayze) - revealed as a child pornographer; the scene of Donnie vigorously and intelligently discussing the sexual habits of Smurfs to his friends, his growing romantic relationship with 'new girl in town' girlfriend Gretchen Ross (Jena Malone) as a 'couple' going together, his therapy sessions with psychologist Dr. Lilian Thurman (Katharine Ross), and the performance of the dance group Sparkle Motion in a talent show; also, Donnie's visions of liquid spears or tubes of fluid light emanating from people's chests - indicating where they would walk; and the final time-loop sequence in which Donnie returns to an earlier date - October 2, 1988 - to change the course of history, in writer/director Richard Kelly's mystifying debut cult film, a psychological thriller re-released in 2004 with 20 minutes of added footage for a director's cut
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
Do the Right Thing (1989)	During the opening credits, Public Enemy's performance of the film's hard-edged anthem and title song "Fight the Power"; the scene of a complaint by militant activist neighborhood patron Buggin' Out (Giancarlo Esposito) that there were no pictures of 'brothers' on the "Wall of Fame" in a white-operated, Italian "Famous Pizzeria" restaurant owned by Sal (Oscar-nominated Danny Aiello), followed by his attempt to "boycott [Sal's] fat pasta ass"; also the tense scenes beginning with the brutal choke-hold police murder of Radio Raheem (Bill Nunn), the arrest of Buggin' Out, and pizza delivery boy Mookie's (Spike Lee) incitement of a fiery riot by hurling a trashcan through Sal's storefront window, causing further racial divide and police brutality; also the two contradictory quotations about violence and non-violence that end African-American writer/director Spike Lee's third (and breakout) feature film
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 (1931)	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; also the scene of Jekyll rescuing promiscuous Variety Music Hall barmaid Ivy Pearson (Miriam Hopkins) from one of her brutal 'callers', when she undresses to rest in her bed, removes her stockings and garters from each leg and then reclines on her bed totally nude, covering herself with her bedspread and bedsheets - she quickly embraces and kisses him, but they are interrupted by the appearance of Jekyll's upright colleague Dr. John Lanyon (Holmes Herbert) at the door - when Jekyll exits, Ivy seductively and rhythmically swings her leg back and forth next to the bed (with her garter and bare leg seen in closeup) -- to further entice Dr. Jekyll, as she entreats and invites him to return quickly: "Come back soon, won't you?....Soon...Come back"; as he leaves, a superimposed overlay of her swinging leg (with her whispered words) is seen over his descent of the stairs; also 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 Ivy - 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 agent 007 James Bond's (Sean Connery) name across a casino's gaming room table to beautiful, defeated chemin de fer 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, venomous tarantula crawling up Bond's arm; and the great entrance scene of a sexy, white bikini-clad conch-hunter Honey Ryder (Ursula Andress) with a thigh-high knife emerging from the warm Jamaican water singing the calypso song "Underneath the Mango Tree" and shaking herself dry; and Bond's response to a horrified Ryder after he has killed one of villainous Dr. No's (Joseph Wiseman) armed guards on the island by knifing him in the back: "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 scenes of many semi-incestuous couplings between uninhibited, naturally buxom Isabelle (Eva Green) and her fellow cineastes - an American cinema student Matthew (Michael Pitt) and her possessive, brooding twin brother Theo (Louis Garrel); with frequent total nudity during the trio's sexual games in the bedroom and bathroom, interwoven with play-acted homages and clips to classic moments in cinema (Queen Christina, Blonde Venus, Scarface, Top Hat, etc.); 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) (aka Bande à Part) with Anna Karina and her two suitors) - beating the film's time of 9:45, followed by Matthew's acceptance (and a clip of the "One of us" scene from Freaks (1932)), and the threesome's sharing of a bathtub (with their faces reflected in three separate mirrors) and sleeping nakedly-intertwined in an indoor tent; also the concluding self-destructive streak exhibited by Isabelle (in homage to Bresson's Mouchette (1967) about an abused girl), in director Bernardo Bertolucci's NC-17 rated film of sexually-explicit 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 was told as a long flashback (Bob: "I was once a shameless full-time dope fiend"), beginning and ending in an ambulance, narrated by young and smart junkie leader Bob Hughes (Matt Dillon); he described his life with three other drug-addicted, doped-up 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 and addiction; the group of losers included Bob, his girlfriend/wife Dianne (Kelly Lynch), their sweet-natured friend Rick (James LeGros), and his teenaged blonde, runaway/drifter-girlfriend Nadine (Heather Graham) ("She was a piece of work. She had no record, just a smile"); 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 a getaway car, with his voice-over and floating, rotating snowflake-images of a cow, a tree, a house, a dog, and a plane on the window glass: "Upon entering my vein, the drug would start a warm itch 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 whole 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 belief in 30-day hex-superstitions/curses about No Dogs and Never Put a Hat on a Bed; also the tragic scene of Dianne and Bob visiting his heartbroken, scolding mother (Grace Zabriskie) when she lowered the blinds and locked doors when he came to get some clothes ("He is a thief and a dope fiend, and that is more important to him than I am"), and the scene of Bob and Dianne struggling to smuggle Nadine's drug-overdosed, stiffened corpse in a blue garment bag out of their motel room and into the trunk of their car - during a deputy sheriff's convention - so Bob can bury the body in the woods, and the resolution with Bob turning himself into an authorized methodone treatment program to go straight - and breaking up the family - although he was eventually shot by a drug-demanding kid-pusher wearing a mask in the final scene and taken away on a stretcher and placed in an ambulance, as he mused, in voice-over: "I was still alive. I hope they can keep me alive," while there were homemade Super-8 shots of Bob and his friends from earlier, happier times in the credits, 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
The Duchess (2008)	The many lavish but tragic scenes of witty and attractive aristocrat Georgiana Spencer (Keira Knightley), who was set up and then trapped in an arranged marriage at age 17 with emotionally-distant and callous but regal and powerful Duke of Devonshire William Cavendish (Ralph Fiennes) by her calculating mother (Charlotte Rampling) to become the Duchess of Devonshire in 1774; and her telling, gasping question she asked when told she was engaged: "He loves me?...I have only met him twice"; also the long tracking shot back from her face as she proceeded into her marriage (and the title screen); also the scene of her conjugal loss of virginity to her loathsome husband (with his sole contractual intention to produce a male heir) when he took a scissors to her complicated bodice, and the scene of her seductive Sapphic experimental initiation to pleasurable love-making by her personal friend and her husband's live-in mistress/divorcee Lady Bess Foster (Hayley Atwell); also the scene of her passionate kiss with rising politician and childhood sweetheart Charles Grey (Dominic Cooper), admitting: "I feel I've done some things in life too late and others too early"; and her proposal of a "deal" with her husband when she asked permission to take her own lover to make her happy, followed by the Duke's forcible and angry conjugal rape of Georgiana - the one act of sexual intercourse that produced a boy between them; also the latter scenes of a secret love affair with Charles, and after giving birth to their love-child - the tear-jerking scene of having to give up her infant daughter named Eliza to the Grey family, and the final caption that with Georgiana's blessing, Bess went on to marry the Duke and become the next Duchess of Devonshire, in director Saul Dibb's exquisitely sad costume drama of 18th century life adapted from Amanda Foreman's biography "Georgiana, Duchess of Devonshire"
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) with his own late arrival, 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
Ed Wood (1994)	The perceptive look at schlock film-making through the eyes of optimistic, determined, passionate and ever-enthusiastic film director Edward D. Wood, Jr. (Johnny Depp), in the making of three Z-grade films: Glen or Glenda? (about his own secret cross-dressing transvestism and his fetish for angora sweaters and lacy undergarments, as he told the Screen Classics' producer Georgie Weiss (Mike Starr) about his 'special qualifications' to direct: "I like to dress in women's clothing... I love women. Wearing their clothes makes me feel closer to them"), Bride of the Monster (with a recital of Lugosi's famous speech: "Home? I have no home. Hunted, despised, living like an animal! The jungle is my home. But I will show the world that I can be its master! I will perfect my own race of people. A race of atomic supermen which will conquer the world!"), and Plan 9 From Outer Space ("This is the one I'll be remembered for"); the scene of Wood's revelation to his first girlfriend Dolores Fuller (Sarah Jessica Parker) that he was a transvestite and her violent reaction: ("How long have you been doing this?...Jesus Christ, and you never told me?...What kind of sick mind operates like that?...This is our life! It's so embarrassing!"); the portrayal of morphine-addicted ("with a demoral chaser"), outcast Universal horror star Bela Lugosi (Oscar-winning Martin Landau) - his exclamation about Vampira appearing on TV ("I think she's a honey. Look at those jugs!") and especially the night scene when the aging star thrashed around in two feet of water in a pretend fight with an unmotorized, inanimate giant octopus to please his director, and the entire assortment of misfit freaks in Wood's traveling group of eccentric actors including horror-film TV hostess Vampira (Lisa Marie), charlatan psychic Criswell (Jeffrey Jones), massive Swedish wrestler-turned-actor Tor Johnson (George "The Animal" Steele), and aspiring transsexual Bunny Breckinridge (Bill Murray) - especially the pool baptism scene in which all of them were immersed to secure film funding from a Beverly Hills Baptist church; and the tender scene in which Wood confessed his love of wearing women's clothing to new girlfriend and future wife Kathy O'Hara (Patricia Arquette) while stuck inside a stalled carnival Spook House ride: ("I like to wear women's clothes. Panties, brassieres, sweaters, pumps. It's just something I do. And I can't believe I'm telling you this, but I really like you, and I don't want it getting in the way down the road"); and the scene of Wood's short 'fictional' conversation at Musso & Frank Grill with his auteur-hero Orson Welles (played by Vincent D'Onofrio, but Welles' trademark voice was dubbed by Maurice LaMarche) about how a director must stick to his vision ("Ed... Visions are worth fighting for. Why spend your life making someone else's dreams?", and his subsequent words to his backers: "We are gonna finish this picture just the way I want it because you cannot compromise an artist's vision"), in Tim Burton's biopic of the reportedly 'worst director' of all time during the late 1950s
The Elephant Man (1980)	The character of sensitive and cultivated, but hideously-deformed, child-like 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