Greatest Film Scenes
and Moments



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

Casablanca (1942)

In Michael Curtiz' definitive and popular Best Picture-winning classic with many memorable sequences:

  • the first view of Rick Blaine (Humphrey Bogart) in his Cafe Americain nightclub playing chess by himself
  • the unexpected entrance of former love Ilsa (Ingrid Bergman) with her vulnerable beauty and her request of piano player Sam (Dooley Wilson) to once again play "As Time Goes By" - ("Play it once, Sam, for old times' sake...Play it, Sam. Play 'As Time Goes By.'...I'll hum it for you. Sing it, Sam")
  • Sam's rendition of the song and Rick's strident interruption and first glance at Ilsa: ("You must remember this A kiss is just a kiss A sigh is just a sigh The fundamental things apply As Time Goes By. And when two lovers woo They still say, 'I love you' On that you can rely No matter what the future brings As Time Goes By")
  • the images of Rick's masculine mannerisms and the self-pitying scene later that evening of Rick alone with a cigarette and a bottle asking Sam to play a repeat performance of "As Time Goes By": ("You played it for her, you can play it for me... If she can stand it, I can. Play it!")
  • the flashbacks to bittersweet memories of Paris: ("Not an easy day to forget.... I remember every detail. The Germans wore grey. You wore blue"), and their embrace at the window as the Germans approached: ("With the whole world crumbling we pick this time to fall in love....Was that cannon fire or is it my heart pounding?...I love you so much. And I hate this war so much. Oh, it's a crazy world. Anything can happen. If you shouldn't get away, I mean, if something should keep us apart, wherever they put you and wherever I'll be, I want you to know that...Kiss me. Kiss me as if it were the last time")
  • the ink of Ilsa's goodbye note being washed away in the rain - and then a return to the present, and Ilsa's unexpected appearance in the doorway in a shaft of light
  • Rick's nodding to the band leader to permit the playing of "The Marseillaise" - the French national anthem - and the memorable duel of national anthems with the crowd joining in to sing and drown out the Germans' anthem "Wacht am Rhein" - and Yvonne's proud reaction with tears in her eyes
  • the scene in which Ilsa speaks to Rick about the letters of transit: ("You want to feel sorry for yourself, don't you? With so much at stake, all you can think of is your own feeling. One woman has hurt you and you take your revenge on the rest of the world. You're a, you're a coward and a weakling. No. Oh Richard, I'm sorry. I'm sorry, but, but you, you are our last hope. If you don't help us, Victor Laszlo will die in Casablanca"), and then realizes she cannot shoot Rick, and they move together to embrace: ("Richard, I tried to stay away. I thought I would never see you again, that you were out of my life. The day you left Paris, if you knew what I went through. If you knew how much I loved you, how much I still love you"); soon after, she confesses: ("I can't fight it anymore. I ran away from you once. I can't do it again. Oh, I don't know what's right any longer. You have to think for both of us. For all of us")
  • Capt. Louis Renault's (Claude Rains) acceptance of his gambling winnings AFTER closing down the cafe, and his sarcastic exclamation: ("I'm shocked, shocked to find that gambling is going on in here")
  • the final farewell scene between trench-coated Rick and Ilsa on the rainy, foggy airstrip with "Here's lookin' at you, kid" and Rick's noble sacrifice to let Ilsa leave with her husband: ("If that plane leaves the ground and you're not with him, you'll regret it...Maybe not today, and maybe not tomorrow, but soon, and for the rest of your life...We'll always have Paris. We didn't have - we'd - we'd lost it until you came to Casablanca. We got it back last night...I've got a job to do too. Where I'm going, you can't follow. What I've got to do, you can't be any part of...Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now. Here's looking at you, kid.")
  • Renault's two pronouncements: "Major Strasser has been shot," and his tense pause before ordering: "Round up the usual suspects"
  • the camaraderie of Renault and Rick, and Rick's closing line to him: "Louis, I think this is the beginning of a beautiful friendship" as the two walk off the tarmac to an uncertain future









Casino (1995)

In Martin Scorsese's mob film based on Nicholas Pileggi's non-fiction novel:

  • the opening pre-Saul Bass' credits sequence (his last work before he passed away) in which Jewish gambler Sam 'Ace' Rothstein (Robert De Niro) walks out of a casino and enters his parked car - and the slow-motion car explosion to Johann Sebastian Bach's Passion According to St. Matthew
  • the smooth sequence showing how everyone is watching everyone else ("In Vegas, everybody's got to watch everybody else") in the casino from the players to the dealers, to the boxmen, to the floormen, to the pit bosses, to the shift bosses, to the casino manager, to the security camera ("the eye in the sky")
  • the introduction of sexy prostitute/hustler Ginger McKenna (Sharon Stone) at a roulette table and Ace's first look at her by spying through the security camera
  • the quiet, faithful hang-dog character of Ace's right-hand man Billy Sherbert (Don Rickles in a serious role)
  • the disintegrating relationship between Ace and violent mob hit-man/enforcer "Nicky" Santoro (Joe Pesci) including their tense desert scene ("Normally, my prospects of comin' back alive from a meeting with Nicky were ninety-nine out of a hundred. But this time, when I heard him say, 'A couple a hundred yards down the road', I gave myself fifty-fifty")
  • the film's four very memorable violent sequences:
    - the scene in which a scam artist running a blackjack racket is tortured
    - the eye-popping scene in which the head of rival mob tough Tony Dogs (Carl Ciarfalio) is crushed in a vise during torture
    - the scene of Nicky and his brother Dominick (Philip Suriano) beaten up with metal baseball bats and then buried alive by Frank Marino (Frank Vincent)
    - and the rub-outs to silence potential witnesses (when the mob leaders are arraigned) including the loyal Andy Stone (Alan King, also in a serious role)
  • also, Ace and Ginger's disintegrating marriage, especially when a jealous Ace has her pimp ex-boyfriend Lester Diamond (James Woods) beaten up
  • Ace's final eulogy for Las Vegas casino life: ("The town will never be the same...Today, it looks like Disneyland")





Cat On A Hot Tin Roof (1958)

In Richard Brooks' powerful drama adapted from Tennessee Williams' Pulitzer Prize-winning play:

  • the frequent image of a sexually-frustrated and sensual Maggie "the Cat" (Elizabeth Taylor), usually in a slinky slip or white dress - fighting with presumed homosexual husband Brick (Paul Newman), an alcoholic ex-football player, when she describes her obsessed, passionate feelings for a husband who won't bed her or touch her: ("You know what I feel like? I feel all the time like a cat on a hot tin roof...Just stayin' on it, I guess. As long as she can") - he urges her: ("Then jump off the roof, Maggie, jump off it. Now cats jump off roofs and they land uninjured. Do it. Jump")
  • on his occasion of his 65th birthday, Big Daddy's (Burl Ives) confessional speech about "mendacity" to his drinking son Brick: ("Mendacity. What do you know about mendacity? I could write a book on it...Mendacity. Look at all the lies that I got to put up with. Pretenses. Hypocrisy. Pretendin' like I care for Big Mama, I haven't been able to stand that woman in forty years. Church! It bores me. But I go. And all those swindlin' lodges and social clubs and money-grabbin' auxiliaries. It's-it's got me on the number one sucker list. Boy, I've lived with mendacity. Now why can't you live with it? You've got to live with it. There's nothin' to live with but mendacity. Is there?")
  • the confrontational scene in the cellar and in the rain when Brick reveals to his "Big Daddy" that his father's medical reports are falsified and that he will be dying soon: ("Lies like birthday congratulations and many happy returns of the day when there won't be any..."); Brick's father then accuses his son of being an irresponsible, immature thirty-year old man; Brick admits his own self-disgust and self-deception, and that he is drunkenly drowning in self-pity regarding the suicidal death of his best friend and teammate Skipper
  • the final revelation that Maggie is pregnant with Brick's child: ('That girl's got life in her body'), and her subsequent reconciliation with Brick - to make the lie about her pregnancy really come true, as they approach their bedroom to make love, in the film's conclusion: ("Maggie, we are through with lies and liars in this house. Lock the door!")




Cat People (1942)

In Jacques Tourneur's low-budget supernatural thriller:

  • the kitten-faced young bride and Balkan artist Irena Dubrovna (Simone Simon) who is haunted by her inner demons, who in one scene, claws the sofa with her nails
  • the two frightening, jealousy-caused, feline stalkings of rival female Alice Moore (Jane Randolph) for her architect husband's (Kent Smith) attention:
    - on a Central Park path at night (accentuated by the hissing, squealing air-brakes as a bus pulls abruptly into the screen)
    - a second similar scene in a YWCA indoor swimming pool when she terrorizes Moore - accompanied by growls and shadows of a black panther
  • the film's aftermath including the fate of psychiatrist Dr. Louis Judd's (Tom Conway) after kissing Irena



Catch-22 (1970)

In Mike Nichols' war comedy - a screen adaptation of Joseph Heller's 1961 satirical first novel about the absurdity of war, with numerous flashbacks and dream sequences:

  • WWII bombing mission bombardier Captain Yossarian (Alan Arkin) at a US Air Force base on the Mediterranean island of Pianosa, and his desperate claim that he was "insane" in order to be removed from combat, and his many absurd attempts to convince others that he was indeed crazy; however, he was trapped by Catch-22, explained by Dr. 'Doc' Daneeka (Jack Gilford) to Yossarian: (Doc: "Catch-22. Anyone who wants to get out of combat isn't really crazy, so I can't ground him." Yossarian: "OK, let me see if I've got this straight. In order to be grounded, I've got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I'm not crazy anymore, and I have to keep flying." Doc: "You've got it. That's Catch-22")
  • the egg scene, in which Col. Cathcart completely ignored a distressed airplane that landed and caught on fire, while listening to an inane, elaborate money-making black market scheme suggested by First Lt. Milo Minderbinder (Jon Voight) to sell fresh chicken eggs from Malta for a profit
  • the hallucinatory dream sequence of Nurse Duckett (Paula Prentiss) who climbed on a floating raft, called and waved to Yossarian: ("Over here, hurry up!"), and then removed her white gown to reveal full-frontal nudity, and tossed the garment into the water toward Yossarian who was struggling to swim to her, and as he grabbed the white garment, he awoke in a hospital bed
  • the absurd hospital scene, witnessed by Yossarian, in which two nurses, one of whom was Nurse Duckett, swapped the IV and urine bottles on a man in a full body cast, while distractedly speaking about cooking: ("It takes me 45 minutes to do this thing. First I sauté the chicken parts, then I put the raisins and the onions in") - and then left the room giggling
  • the milestone scene - the first US film to depict an individual (Martin Balsam as blustering Col. Cathcart) defecating on a toilet seat, and then unwinding a long piece of toilet tissue while nonchalantly talking to earnest Chaplain Capt. A.T. Tappman (Anthony Perkins) - reminiscent of President LBJ during the Vietnam War
  • during a medal presentation ceremony for bravery, Yossarian stood naked ("out of uniform") (because "a man was killed in his plane over Avignon last week and bled all over him" and all of his clothes and underwear were still in the laundry), when Brig. Gen. Dreedle (Orson Welles) reprimanded Yossarian's commanders: "What the hell do I care? If he wants to receive a medal without any clothes on, what the hell business is it of yours?" and then told Yossarian: "Here's your medal, Captain. You're a very weird person, Yossarian"
  • the final scene - Yossarian's escape from insanity and madness ("I can do it") - and the military base - by jumping out of a hospital window (after being stabbed in the back by an unknown assailant), running crazily and then furiously paddling away in an inflated yellow raft toward Sweden, as his buddies Maj. Danby (Richard Benjamin) and the Chaplain yelled back: "They'll catch you, they'll bring you back!", "This is insane," "You'll be on the run with no friends! You'll live in constant danger of betrayal!" and "You'll have to keep on your toes every minute"








The Champ (1931)

In King Vidor's emotional father-son tearjerker:

  • the two major tear-inducing scenes:
    - the jail scene in which drunken and incarcerated Andy 'Champ' Purcell (Oscar-winning Wallace Berry) reluctantly disowns his young, adoring and devoted son Dink (Jackie Cooper) to send him away to live with his mother ("I'm tired of feeding you, let her feed you for awhile. I don't like ya anymore, you're hanging around to every place that I go, and I don't like it, that's all") as the bawling boy begs: "I wanna stay with you"
    - the climactic scene after a boxing bout in which the down-and-out ex-heavyweight boxing 'Champ' wins the match, but dies with Dink by his side in the locker room as he implores: "Keep your chin up, don't cry, come on, give your old man a smile, keep it..."

Champion (1949)

In director Mark Robson's (and producer Stanley Kramer) archetypal, film-noirish sports film, one of the best films about boxing and prize fighting, and a cautionary tale about its main protagonist:

  • the character of brutal, arrogant, deceptive and savage prizefighter Michael 'Midge' Kelly (Oscar-nominated Kirk Douglas), and the intense scenes of his training (a pre-Rocky sequence) and boxing matches
  • Midge's affair and break-up with cheating, gold-digging, tough blonde Gracie Diamond (Marilyn Maxwell), boxer Johnny Dunne's (John Daheim) opportunistic girlfriend, who was demanding that they get married - and his blunt admission: ("You got as much chance of marrying me tomorrow as today. And that's no chance at all because, uh, guess what, I'm already married...I ain't kiddin'. I'm not kiddin' ya.") She retaliated: "You've been takin' me for a sucker all this time" but then begged to be with him: "You're not gonna shake me now" although he immediately dumped her: ("You'd better promote yourself another meal ticket...Why don't you call up Johnny Dunne?") and he physically threatened her to not make a stink: ("Oh no, you're gonna be a good little girl, 'cause if you aren't, I'll put ya in the hospital for a long, long time")
  • the night before the climactic boxing match ending, the scene of Midge's conjugal rape of his estranged, abandoned and wary wife Emma Bryce (Ruth Roman) when he pushed himself on her and dared her to kiss him: ("You always take off every time I come near ya....You still hate me, don't ya?...You're afraid of me...Then kiss me goodbye!...Afraid?"); after they kissed, he noted: ("It's still there, isn't it?...You're my wife") and the screen went to black
  • the brutal confrontation in the locker room before the final fight when Midge's brother Connie Kelly (Arthur Kennedy), who was dating Emma, accused Midge of being cold-blooded and taking advantage of Emma: "You're no different. You're only worse. Your blood has turned cold...My number finally came up too, didn't it? And Emma, once wasn't enough for ya. You couldn't let her live and be happy, could ya? Why did you do it!? Because you were bored? Your chance to prove to yourself that you were really the champion? Ya stink! Ya stink from corruption. You're worse than a murderer. You're a grave-robber!"
  • the concluding and exciting 12-round boxing fight between perennial challenger Johnny Dunne and Midge - who was punished and refused to quit after 11 rounds and won a knock-out in the final round with "raw courage" and a surge of angry energy after eyeing the jeering crowd (and hearing a ringside announcer's assessment of the end of his career: "I think it's all over. Kelly's through, he's all through. He's totally washed up, he's finished. We're getting a new champion tonight!")
  • Midge's triumphant glory speech to himself and trainer Tommy Haley (Paul Stewart) in the locker room following his ferocious victory: ("Did you hear that crowd? For the first time in my life, people cheering for me. Were you deaf? Did ya hear 'em? We're not hitchhiking any more. We're riding!")
  • Midge's collapse and expiration in the locker room of a cerebral hemorrhage- and an announcement of the diagnosis: ("He's dead. Brain hemorrhage")
  • the back-handed, complimentary eulogy for Midge, delivered to a reporter by Connie with Emma next to him, who were now free to marry - after seeking a divorce in Reno: "You want a statement from me, huh? All right. I'll give ya a statement. He was a champion. He went out like a champion. He was a credit to the fight game, to the very end" - the film's final line of dialogue







Charade (1963)

In this Hitchcock-like thriller and mystery-romance by director Stanley Donen, a tale about the search for missing and stolen gold treasure worth $250,000 by the survivors of WWII who were in the Office of Strategic Services (OSS) together, and were now threatening the newly-widowed and estranged wife of one of the accomplices:

  • in the opening, the tongue-in-cheek sequence set at a swanky ski resort at Mont d’ Arbois in Megeve, Switzerland, in which a gun was pointed at lovely Regina ("Reggie") Lambert (Audrey Hepburn) - held in the grip of the young son of her friend - it was a water pistol!
  • the scene of the funeral of Reggie's husband Charles, when three strange men sternly paid their respects by staring into the casket to assure themselves that the man was dead
  • Reggie's reaction to CIA agent Mr. Hamilton Bartholomew's (Walter Matthau) warning at the American Embassy that the men were probably coming after her: ("If you're trying to frighten me, you're doing a first-rate job!")
  • the often witty (and goofy) dialogues between "Reggie" and charming American Peter Joshua (Cary Grant), such as: (Reggie: "Do you know what's wrong with you?" Peter: "No, what?" Reggie: "Absolutely nothing")
  • the violent fight scene on a slippery Paris rooftop (with a backdrop of neon lights) between Peter and hook-handed Herman Scobie (George Kennedy)
  • Reggie's visit to a kindly rare stamp dealer Mr. Felix (Paul Bonifas) who revealed that the stamps torn off an envelope (addressed to her from her husband) were extremely valuable - in addition to the slightly earlier scene when accomplice Tex (James Coburn) suddenly realized (in a creatively-filmed sequence) at a Thursday outdoor stamp fair market that Charles must have bought expensive rare stamps there and placed them on an envelope to hide his $250,000 worth of treasure
  • the concluding tense chase through the streets of Paris and onto Metro cars and stations - when Reggie was pursued by the enigmatic "Adam Canfield" (one of Peter's four aliases or identities)
  • the stand-off and final revelations that Mr. Bartholomew was one of the accomplices (named Carson Dyle) who had murdered the others, and that "Adam" - sitting at a desk in the Treasury Department at the American Embassy, was none other than undercover agent Mr. Brian Cruikshank
  • their closing discussion about marriage was interspersed with his demands for the hidden fortune (stamps):
    - Reggie: "...Marriage license! Did you say marriage license?"
    - Cruikshank: "Now don't change the subject. Just give me the stamps."
    - Reggie: "Oh, I love you, Adam... Alex... Peter... Brian... (his identities were seen in split-screen) Whatever your name is. Oh, I love you. I hope we have a lot of boys and we can name them all after you."
    - Cruikshank: "Well, before we start that, may I have the stamps?"








The Charge of the Light Brigade (1936)

In director Michael Curtiz' stirring war-adventure epic film inspired by Alfred Lord Tennyson's epic poem of the 1856 battle in the Crimean War ("one of the most distinguished events in history conspicuous for sheer valor"):

  • the gallant character of Major Geoffrey Vickers (Errol Flynn) - a dedicated officer in the British Army (the 27th Bengal Lancers) stationed in India during the mid 19th Century, who saved the life of local Amir Surat Khan (C. Henry Gordon) of Suristan during a leopard hunt
  • the love triangle between Major Vickers, Geoffrey's fiancee Elsa Campbell (Olivia de Havilland, in her 2nd of 8 films with Flynn), and his impulsive younger brother Captain Perry Vickers (Patric Knowles)
  • Vickers' words of encouragement to his men before leading the "charge of the light brigade" against Khan's stronghold near Balaklava in 1856: ("Surat Khan is on the field with the opposing Russian forces. The same Surat Khan who massacred the women and children of Chukoti. Our chance has come! Show no mercy! Let no power on Earth stop you! Prove to the world that no man could kill women and children and live to boast of it! Men of the Twenty-Seventh. Our objective is Surat Khan! Forward!")
  • the famous, suicidally-doomed death charge - with Max Steiner's four-beat bass changing in tempo with the pace of the charge and its fatal aftermath (for both dozens of horses and six hundred Lancers in the Light Brigade), when Khan and Vickers were killed in the attack (when shot and mortally wounded on his horse by Khan, Vickers threw a spear and impaled the evil ruler in the chest, and while dying, watched as others threw spears into the Khan's body)




Chariots of Fire (1981, UK)

In Hugh Hudson's Best Picture-winning British drama:

  • the opening sequence -- the eulogizing words of elderly Lord Andrew Lindsay (Nigel Havers), a former Cambridge student runner from many decades earlier who ran with his Jewish classmate Harold Abrahams (Ben Cross), and was now speaking in London in 1978: ("Let us praise famous men and our fathers that begat us. All these men were honoured in their generations and were a glory in their days. We are here today to give thanks for the life of Harold Abrahams. To honour the legend. Now there are just two of us - young Aubrey Montague and myself - who can close our eyes and remember those few young men with hope in our hearts and wings on our heels")
  • the credits sequence followed - a cross-fading shot into a lyrical, often-imitated tracking shot of Olympic runners in slow-motion (first viewing their legs) in the surf on the edge of a beach preparing for the 1924 Summer Olympics competition in Paris - underscored by Vangelis' score, to introduce the unidentified main characters
  • the scene of Gilbert and Sullivan soprano singer Sybil Gordon (Alice Krige) speaking with Harold Abrahams about the absurdity of how upset he was for losing in a race, and was even considering quitting running altogether: (Sybil: "You were marvelous. He was more marvelous, that's all....Well, if you can't take a beating, perhaps it's for the best." Harold: "I don't run to take beatings, I run to win. If I can't win, I won't run"); she concluded: "If you don't run, you can't win"
  • devout, Scottish evangelical Christian Eric Liddell's (Ian Charleson) pre-race sermon at the Church of Scotland in Paris, as a divinity student quoting from Isaiah 40 - delivered on what would have been race day for him, although his religious convictions prohibited him from participating: ("Behold, the nations are as a drop in the bucket and are counted as the small dust in the balance. All nations before him are as nothing. They are counted to him less than nothing - and vanity. He bringeth the princes to nothing. He maketh the judges of the Earth as a vanity. Hast thou not known? Hast thou not heard that the everlasting God, the Lord, the creator of the ends of the Earth fainteth not, neither is weary?...He giveth power to the faint. And to them that have no strength, he increaseth might. But they that wait upon the Lord shall renew their strength. They shall mount up with wings as eagles. They shall run and not be weary. They shall walk and not faint")
  • the finale race with the crowds cheering and applauding wildly Eric Liddell who was running in the 400 metre finals held on a Thursday, after his teammate Lord Andrew Lindsay yielded his place to Liddell; the ultimate outcome was that Liddell came in first when he broke through the race tape and won the gold medal, defeating his favored American competitors; he was heard in ecstatic voice-over during the race speaking to Jenny (Cheryl Campbell), his devout sister: ("I believe God made me for a purpose, but He also made me fast. And when I run I feel His pleasure")







Charly (1968)

In director Ralph Nelson's soap-opera-ish adaptation of Daniel Keyes' Flowers for Algernon, a sci-fi drama:

  • the transformation of 30 year old bakery worker Charly Gordon (Best Actor winning Cliff Robertson) with an IQ of 59 into a supergenius via a science experiment and radical brain surgery, although at first, Charly worried about his lack of progress: ("Did that operation make me dumber?")
  • the scenes in which Charly repeatedly competes in maze races and loses to laboratory mouse Algernon: ("He beat me. I didn't know mice are so smart...How would you feel if you was dumber than a mouse?...I ain't racing that Algernon no more. I'm sick of being beaten by a mouse, and people laughing at me"), but then finally his ecstatic joy when he beats laboratory mouse Algernon ("I beat him, I creamed him")
  • Charly's disproportionate, stunted emotional growth ("Emotionally, he's still a child, frightened, insecure") compared to his intellectual development and advancement over his own special-ed teacher Alice Kinnian (Claire Bloom): ("Student surpasses the teacher"), demonstrated by his punctuation of the phrase: ("That, that is, is. That, that is not, is not. Is that it? It is")
  • his primitively-displayed nude abstract drawings of Alice, and Charly's seduction and sexual-rape assault of her, when she fights back, slaps him, and insults him: ("You think anyone would ever want you? You stupid moron!")
  • the long montage sequence in which Alice eventually falls in love with a transformed Charly ("I'm back"), sleeps with him in a shared sleeping bag in the outdoors, and runs and romps through the trees with him, when he proposes marriage in voice-over: (Charly: "Marry me, Alice." Alice: "Charly, I could never keep up with you, and I don't want to hold you back. And I don't want to be left behind." Charly: "Einstein had a wife..."), and their child-like playfulness on a children's playground
  • the convention scene in which Charly is shown off to an audience as an advancement in science, as he - in counter-point - explains what he sees about the promise of the future in various areas, including modern science, modern art, foreign policy, today's youth, today's religion, the standard of living, education, the world's future, and the coming generation: ("Rampant technology, conscience by computer... Dispassionate draftsmen...Brave new weapons...Joyless, guideless....Preachment by popularity polls.... A TV in every room...A TV in every room... Brave new hates, brave new bombs, brave new wars.... Test-tube conception, laboratory birth, TV education, brave new dreams, brave new hates, brave new wars; a beautifully purposeless process of society suicide. (Silence) Any more questions?")
  • Charly's sorrowful announcement to the audience that he knows his newfound intelligence and the success of his operation is only temporary and is beginning to reverse itself, and he will be regressing: ("Algernon showed me. The answer to the question, 'Charly Gordon' is: Charly Gordon is a fellow who will very shortly be what he used to be") - and then holds out in the palm of his hand the lifeless body of Algernon, fearing the same thing will happen to him (and is soon haunted by appearances of his former pre-operative self)
  • his subdued farewell scene to Alice, refusing her request to marry him: ("Marry me. (No response) All right, don't marry me"). He replied: "Motion carried." When she requested remaining with him: ("But I'm gonna stay, right here. Whenever you feel like telling me to go, just tell me so. I'll go, I'll leave"), he simply asked her to leave ("Leave, please leave")
  • the tearjerking freeze-frame shot of Charly, once again mentally retarded but smiling and care-free, playing with other children on a see-saw








Chicken Run (2000, UK)

In Aardman Studio's claymation film:

  • the repeated attempts of fiesty heroine Ginger (voice of Julie Sawalha) to escape from the 'concentration camp' chicken coop (with barbed wire and a high fence) of evil, money-hungry Mrs. Tweedy (voice of Miranda Richardson)
  • dim-witted Babs' (voice of Jane Horrocks) statement: "I don't want to be a pie! I don't like gravy"
  • the entrance of swaggering, smooth-talking American rooster Rocky (voice of Mel Gibson), who falsely claimed he could fly: ("The name's Rocky. Rocky the Rhode Island Red. Rhodes for short...Catchy, ain't it?"), and his explanation of why he came to England: ("Why, all the beautiful English chicks, of course")
  • Rocky's daring rescue of Ginger from the Tweedy's Rube Goldberg-like chicken pie-making machine, when they were both in danger of becoming chicken pie ingredients: ("It's like an oven in here")
  • the crowd-pleasing climax when Mrs. Tweedy, clinging to a rope of Christmas lights attached to a chicken-shaped flying aircraft (the Old Crate), swiped her axe at Ginger -- momentarily, it seemed as if Ginger had been beheaded, but revealed she'd ducked and tricked Tweedy into severing the line, causing Mrs. Tweedy to plunge head-first into a vent of her own pie-making machine -- as her hen-pecked husband (voice of Tony Haygarth) smugly told her: "I told you they was organized!" - and the explosion of the entire machine from a build-up of pressure
  • in the end credits, the chicken-and-egg debate between two black-marketing rats Nick (voice of Timothy Spall) and Fetcher (voice of Phil Daniels): (Fetcher: "If you don't have a chicken, where are you gonna get an egg?" Nick: "From the chicken that comes from the egg." Fetcher: "Yeah, but you have to have an egg to have a chicken." Nick: "Yeah, but you've got to get the chicken first to get the egg, and then you get the egg...")








Un Chien Andalou (1929, Fr.) (aka An Andalusian Dog) (short)

In Luis Bunuel's short surrealistic film of unexplained imagery ("Once upon a time"), created in collaboration with artist Salvador Dali:

  • the shocking and disturbing opening sequence when a young man - after seeing a cloud sliver slicing across a full moon - slices a woman's (Simone Mareuil) wide-opened eye (in closeup, it's actually a calf''s eye) in half with a sharp-edged straight razor
  • the image of ants coming out of a hole in a man's hand
  • the dismembered hand lying in the street
  • the grabbing of the breasts of a woman through her clothes (and then of her naked breasts directly when the clothes disappear) - and the man's fantasizing that the breasts are her bare buttocks
  • a decomposed and rotting donkey on a grand piano
  • the final image of a couple half-buried on a beach in sand up to their elbows (and probably dead)




Children of Men (2006)

In director Alfonso Cuarón’s bleak but visually-brilliant science-fiction chase-thriller:

  • the opening scene of white-collar government bureaucrat and ex-activist Theo Faron (Clive Owen) on his way to work on London's Fleet Street in fascist-run, terrorist-riddled England in the dystopic year 2027 - in the midst of a civil war - when a suicide bomber blast occurred a few steps away
  • during the film's long and heroic journey to the utopian Human Project on the coast to protect a miraculously-pregnant woman, the scene of the terrifying road-ambush scene - filmed from the POV inside the car in a long unbroken shot - when Theo's estranged ex-lover/wife Julian Taylor (Julianne Moore), the leader of the insurgent underground Fishes revolutionary group, was shot in the neck and died shortly after
  • the scene of African fugee (short for refugee) Kee (Claire-Hope Ashitey) revealing to Theo her extended pregnant belly (the first pregnancy in the world in about 18 years) and telling him that she trusted him
  • their thrilling escape from the 'safe house' when Theo attempted to jump-start their vehicle by coasting downhill
  • their seeking of refuge at the hidden-in-the-woods home of Theo's long-haired, dope-smoking hippie friend Jasper Palmer (Michael Caine) - and the scene of Jasper's execution (after he had euthanized his catatonic wife with a Quietus suicide-kit) with his "pull my finger" joke
  • the amazing, single-shot scene of Theo assisting Kee in the birth of her baby girl in a crumbling, cold Bexhill apartment building in the refugee camp and internment center area
  • the film's most magical moment when Theo and Kee (with her crying baby in her arms) descended the stairs in the midst of a bloody siege and uprising (filmed continuously with a hand-held camera) surrounding a Bexhill apartment building - and the British soldiers and other combatants stood back momentarily in quiet awe
  • the hopeful final scene in which Theo (wounded during the skirmish) slumped over in a rowboat and died at the same moment that they reached the buoy rendezvous point with the Human Project's ship Tomorrow's appearance in the fog







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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