Greatest Film Scenes
and Moments



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

Children of Paradise (1945, Fr.) (aka Les Enfants du Paradis)

In Marcel Carne's dazzling and beautiful theatrical masterpiece set in early 19th century Paris and shot during the period of France's occupation by the Nazis, a tale of doomed love:

  • in the elaborate opening, the words of the carnival barker: ("Step right in! The Truth is here! Step right in and see! She will fill your thoughts, invade your dreams! See Naked Truth with your own eyes!"), and the rising of an actual theatre curtain to reveal the first view of the 'children of paradise' - the poor and rowdy playgoers in the audience who must watch from the top balcony galleries at a distance in the cheap seats
  • the scene of the pickpocketing of a crowd onlooker's gold watch, who falsely charged the female standing next to him - raven-haired, fickle and enigmatic, seraphim-like (or Garbo-like) beauty/courtesan Garance (Arletty) of committing the petty crime: ("She did it - it had to be you. Thief!"), although the real culprit was Pierre-Francois Lacenaire (Marcel Herrand); and the remarkable pantomime on an outdoor stage of introverted, delicate, moon-faced theater mime Baptiste Deburau (Jean-Louis Barrault), as the character of Pierrot, who had witnessed the theft ("I saw the whole thing"), and proved through a re-enactment that Garance was not the pickpocket. The scene ended with the victim's apology: "I'm sorry. Error is human," to Garance's relief: "May I go now?...Fine, because I prize my freedom" - and her gift of a thrown flower to Baptiste for his performance
  • and later, Baptiste's confessions of love to Garance: "Your heart beating against my hand...You were right, Garance. Love is so simple"; and also his declaration: "I'm shaking because I'm happy. Happy because you're here, near me. I love you. Garance, do you love me?" She responded: "You talk like a child. People love that way in books, in dreams. Not in real life." He thought otherwise: "Dreams, life - they're the same. Else life's not worth living"; and Baptiste's wish: "If only lovers lived together, the world would glow in splendor"

Chimes at Midnight (1965, Sp./Switz.) (aka Falstaff or Campanadas a Medianoche)

In Orson Welles' last classic masterpiece, his personal favorite film:

  • the portrayal of William Shakespeare's charismatic, corpulent thief/drunken scoundrel/adventurer Sir John/Jack Falstaff (Orson Welles)
  • the scene of the Battle of Shrewsbury (beginning with knights being lifted by pulley onto horseback) with inappropriately-heavy armored, tubby-shaped Falstaff hiding in the bushes and wading through the muddy battlefield while other armored men were swinging heavy weapons and slaughtering each other; Falstaff meekly watched and cheered from the side as Prince Hal (Keith Baxter), heir to the throne, and Henry "Hotspur" Percy sword-dueled to the death: (Henry: "O Harry, thou hast robbed me of my youth!"); Falstaff feigned his own death, and then opened up his helmet's visor and declared: "The better part of valor is discretion" - and then falsely took credit for killing Percy: "I swear I killed him"
  • Prince Hal's final betrayal and banishment of Falstaff (who fell to his knees) during the Prince's coronation ceremony to the status of a King (renamed Henry V, succeeding his father King Henry IV (John Gielgud)): (Falstaff: "My King! My Jove! I speak to thee my heart!" King: "I know thee not, old man. Fall to thy prayers! How ill white hairs become a fool and jester! I have long dream’d of such a kind of man, So surfeit-swell’d, so old and so profane. But, being awaked, I do despise my dream. Make less thy body hence, and more thy grace. Leave gormandizing, now the grave doth gape for thee thrice wider than for other men. Reply not to me with a fool-born jest. Presume not that I am the thing I was. For God doth know, so shall the world perceive, that I have turned away my former self. So will I those that kept me company. When thou dost hear I am as I have been, approach me, and thou shalt be as thou wast. The tutor and the feeder of my riots. Till then, I banish thee, on pain of death, as I have done the rest of my misleaders, not to come near our person by ten mile.")
  • in the ending, Falstaff's death from a "broken heart" in the Boar's Head Tavern, and his display in a oversized wooden coffin set up on a sled in the middle of the yard: (Pistol (Michael Aldridge): "The King has killed his heart"). Bardolph (Patrick Bedford) noted: "Would I were with him, wheresome'er he is, either in heaven or in hell."

The China Syndrome (1979)

In James Bridges' cautionary political thriller-drama, released only 12 days before a similar disaster scenario at Three Mile Island in Pennsylvania:

  • the scene of long-time, conscientious, hard-working Ventana (California) nuclear power plant engineer Jack Godell (Jack Lemmon) feeling an unusual vibration or "shudder" signaled by his shaking coffee cup: ("I know the vibration was not normal") and readings of high radiation on level 8 and faulty gauge readings, resulting in his impulsive decision to open up relief valves during an emergency shutdown (SCRAM) that caused extremely low and dangerous levels of coolant water in the reactor - that could have initiated a meltdown
  • the tense scene in which ambitious Channel 3 TV reporter Kimberly Wells (Jane Fonda) and her cameraman Richard Adams (Michael Douglas) were watching and secretly recording the developing crisis from the visitor's gallery
  • Jack's frantic phone call to alert Operations about evacuating the plant, after realizing the inherent danger: ("We have a serious condition. You get everybody into safety areas and make sure that they stay there"), and the all-clear sounded by Jack's co-worker Ted Spindler (Wilford Brimley) about the gauge readings:: ("It's coming up!") - resulting in obvious expressions of relief
  • the analysis of the problem: ("They might have come close to exposing the core" - "If that's true, then we came very close to The China Syndrome")
  • the thrilling and suspenseful concluding sequence of Jack pulling out a gun, evacuating the control room and locking himself inside and demanding to speak on live TV to Kimberly after realizing that a lethal meltdown might be triggered by going to full power again: ("a sudden surge could kick that off again"), and his resolve to report that there were numerous nuclear power plant violations, safety coverups and defects in the system that needed to be revealed
  • Jack's conversation with reporter Kimberly Wells from inside the locked control room when a SWAT team suddenly cut the broadcast signal, entered the control room and shot Jack dead
  • in the aftermath, a plant official's interpretation to the media about the situation and Jack's condition: "The public was never in any danger at any time... an emotionally-disturbed employee was humored just long enough to get the situation under control"
  • Kimberly's on-the-spot contradictory interview with a reluctant Ted Spindler, who praised Jack: "He said this plant ought to be shut down...Jack Goddell was my best friend. I mean, these guys are painting him as some kind of a looney. He wasn't a looney. He was the sanest man I ever knew in my life....I mean, he wouldn't have done what he did if there wasn't some - ..Jack Goddell wasn't that kind of guy. I didn't know all the particulars. He told me a few things. There's gonna be an investigation this time. And the truth will come out, and people will know that my good friend Jack Goddell wasn't a lunatic. He was a hero. Jack Goddell was a hero."
  • the final moments of the broadcast when a shaken Kimberly tried to summarize: "I met Jack Goddell two days ago, and I'm convinced that what happened tonight was not the act of a drunk or a crazy man. Jack Goddell was about to present evidence that he believed would show that this plant should be shut down. I'm sorry I'm not very objective. Let's just hope it doesn't end here. This is Kimberly Wells Live, Channel 3."

Chinatown (1974)

In director Roman Polanski's great neo-noir detective story set in the late 1930s Los Angeles - a dark tale of murder, incest, and water rights:

  • the night-time slitting of impulsive detective Jake Gittes' (Jack Nicholson) nose with a switchblade (by director Roman Polanski): ("You're a very nosy fellow, kitty-cat, huh? You know what happens to nosy fellows? Huh, no? Want to guess? Huh, no? OK. They lose their noses. (Jake's nose gushed blood after a sharp flick of the knife.) Next time you lose the whole thing. (I) cut if off and feed it to my goldfish. Understand? Understand!?"), and Gittes' sporting of a bandaged nose for the remainder of the film
  • Jake's lunch conversation at the Albacore Club with corrupt and perverse tycoon Noah Cross (John Huston), who repeatedly mispronounced his name and when he was told: ("You may think you know what you're dealing with, but believe me, you don't... 'Course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough")
  • the celebrated scene of beautiful and wealthy, troubled newly-widowed client Evelyn Mulwray (Faye Dunaway) repeatedly being slapped by Gittes and revealing the scandalous truth about the young and enigmatic Katherine (Belinda Palmer) that she was hiding: "She's my daughter... She's my sister. She's my daughter. My sister, my daughter ...She's my sister and my daughter!...My father and I - understand? Or is it too tough for you?"
  • another conversation between Gittes and Noah Cross, who explained his business aspirations and motivations - while denying his obvious greed and ruthlessness: ("The future, Mr. Gits - the future!...You see, Mr. Gittes, most people never have to face the fact that at the right time and the right place, they're capable of anything")
  • the tragic ending in Chinatown and confrontation between Cross, Gittes, and Evelyn, and the tragic shooting of Evelyn in the back of the head as she drove away in a car, and her daughter Katherine was shielded from viewing the gruesomeness by her incestuous father Noah: ("Lord, Oh Lord, don't look, don't look!")
  • the haunting closing line: "Forget it, Jake, it's Chinatown"

Cimarron (1931)

In this early RKO sound western and Best Picture/Production winner (undeserving) based on the best-selling Edna Ferber epic by director Wesley Ruggles, covering the time period from 1889 to 1929:

  • the breathtaking reenactment of the homesteaders' wild dash in the Oklahoma Land Rush of 1889, prefaced by the opening's second title screen: "In 1889, President Harrison opened the vast Indian Oklahoma Lands for white settlement... 2,000,000 acres free for the taking, poor and rich pouring in, swarming the border, waiting for the starting gun, at noon, April 22nd"
  • the relationship between ambitious adventurer Yancey Cravat (Richard Dix), a newspaper editor-publisher and progressive thinker, and his strong-willed wife Sabra (Irene Dunne) (often called "Sugar"), and Yancey's frequent wanderlust nomadic spirit that often led him to abandon his loving wife and family
  • the embarrassing, racist characterization (although common at the time) of the Cravat's uneducated black servant boy Isaiah (Eugene Jackson), whistling and shining shoes in the film's opening credits, and his main role to provide comic relief, and his joyful exclamation when Yancey pointed out an overflowing cart selling watermelons when they pulled into Osage, Oklahoma!: ("Yah sir, I'm sure glad I came to Oklahome!")
  • Yancey's courtroom defense of brothel madam Dixie Lee (Estelle Taylor) in the local town when she was accused of adultery, and his winning of her acquittal after a speech to the jury about how she should be judged for her actions and not her guilt: ("Why gentlemen, a thief or murderer may sin alone and is alone to blame, but this woman is not alone. Social order is her accomplice. If she is guilty, then all in this room are guilty")
  • the concluding reunion-reconciliation scene between Sabra and her lethally-injured husband Yancey after an act of heroic bravery in rescuing oil drillers, when they embraced and he passed away
  • the film's last image - the unveiling of a memorial statue (of Yancey?) - a commemorative tribute to Oklahoma's forefathers and pioneers (A.D. 1930)

The Cincinnati Kid (1965)

In Norman Jewison's Hustler-like high-stakes poker-gambling film:

  • the scene of the climactic and suspenseful showdown 5-card stud poker game between young poker player The Cincinnati Kid or Eric Stoner (Steve McQueen) and legendary champion card player Lancey Howard or "The Man" (Edward G. Robinson) - in which the Kid's full-house (with Aces and tens) was beaten by "The Man's" straight flush (when he turned over a Jack of Diamonds) - accentuated by closeups
  • the "Kid" admitted: "I'm through" although Lancey complimented him on a good game: ("You're good, kid, but as long as I'm around, you're second best. You might as well learn to live with it")

Cinderella (1950)

In Disney's animated, mid-century, musical fantasy masterpiece:

  • the "once upon a time" storybook opening
  • Cinderella's (voice of Ilene Woods) nasty and ugly step-sisters Drizella (voice of Rhoda Williams) and Anastasia (voice of Lucille Bliss), who treated her like a scullery maid
  • with the help of her animal friends, including Jaq and mouse Gus (voice of Jimmy MacDonald), the creation of a pink ball gown from scraps of discarded fabric - and then after it was destroyed by her stepsisters, the fairy Godmother's (voice of Verna Felton) magical transformation of the dress into a beautiful, sparkling white ball gown
  • other transformations by the magical wand of the fairy Godmother: the pumpkin into a carriage, the mice into horses, the dog into a footman and horse Major into a coach-man driver, accompanied by the the fairy Godmother's singing of the Oscar-nominated song, "Bibbidy-Bobbidi-Boo" (aka The Magic Song) with nonsense lyrics
  • the funny scene of the step-sisters attempting to squeeze their oversized feet into the glass slipper, and then sabotaging Cinderella's chances of trying it on (by tripping the footman and smashing the slipper), but then Cinderella outwitted them, with the help of her animal friends to free her from the locked attic, by producing the second slipper (that she was wearing) that fit perfectly on her foot
  • and the "they lived happily ever after" ending - Cinderella riding off in a gold carriage with her new husband, the Prince (voice of William Phipps)

Cinema Paradiso (1988, It./Fr.) (aka Nuovo Cinema Paradiso)

In writer/director Giuseppe Tornatore's sentimental homage to the movies, and a look back to boyhood, that won the Oscar for Best Foreign Language Film:

  • the image of young Salvatore "Toto" Di Vita (Salvatore Cascio as child) peeking through a curtain during the projection of Verso La Vita (1936) in Cinema Paradiso, as the village priest Father Adelfio (Leopoldo Trieste) watched - and rang a bell (to alert the projectionist Alfredo (Philippe Noiret)) every time there was an image or scene that needed to be censored and deleted
  • the reprimand scene when young "Toto" was disciplined by his mother Maria (Pupella Maggio) for lying about the family's fifty lire of milk money: ("It got stolen") - and instead spending it at the theatre: ("You spent it at the movies...Movies, always movies!"); the young boy was saved from a beating by Alfredo, who covered up for him and claimed that the boy lost the money in the theatre (after being admitted for free)
  • the scene of teenaged projectionist Salvatore (nicknamed Toto) (Marco Leonardi as teenager) of the local Cinema Paradiso movie theatre being advised by his loving, blinded mentor/surrogate father Alfredo to leave the small Sicilian town of Giancaldo (and go to Rome), and to never return or look back: ("Get out of here. This land is cursed. Living here day after day. you think it's the center of the world. You believe nothing will ever change. Then you leave for a year or two. When you come back, everything's changed, the thread's broken. What you came to find isn't there. What was yours is gone. You have to go away for a long time, many years before you can come back and find your people. The land where you were born. But not now, it's not possible. Right now, you're more blind than I was....Life isn't like in the movies. Life is much harder. Get out of here! Go back to Rome. You're young and the world is yours. And I'm old. I don't want to hear you talk anymore. I want to hear others talking about you.")
  • further words of advice from Alfredo to Salvatore at the train station ready to depart the town: ("Don't come back. Don't think about us. Don't look back. Don't write. Don't give in to nostalgia. Forget us all. If you do and you come back, don't come see me. I won't let you in my house. Understand?"). Toto then thanked Alfredo: ("Thank you. For everything you've done for me.") Alfredo's last words were: ("Whatever you end up doing, love it. The way you loved the projection booth when you were a little squirt")
  • the euphoric scene of middle-aged, prominent Italian film director Salvatore Di Vita (Jacques Perrin) returning to his childhood, small-town Sicilian home of Giancaldo after 30 years to revisit the condemned Cinema Paradiso theatre in the town square (where he was a projectionist through his teenaged years), when it was destroyed to make way for a city parking lot
  • Salvatore's recalling of a short romance with a rich banker's pretty daughter, a blonde, blue-eyed classmate named Elena Mendola (Agnese Nano) - when he was keeping vigil outside her window for 100 nights, and then Elena's miraculous appearance after he had given up hope, when she came to him in the projectionist booth and kissed him lovingly - making him forget his responsibilities when the film reel ran out causing patrons to complain: ("The movie's over. Turn the lights on")
  • Elena's and Salvatore's reunion during a hot summer night when he was lying on his back and looking at the sky during the outdoor screening of Ulysses (1954) starring Kirk Douglas, imagining a Hollywood romance and kiss with Elena (one similar to all the scenes excised by the priest from the projected reels). He asked himself: ("When will this rotten summer end? In a film, it'd already be over. Fade-out: cut to storm. Wouldn't that be great?") The skies suddenly opened up with pouring rain as Elena appeared out of nowhere above him and began hungrily kissing him. Astonished, he asked: "Elena -- But when?" She told him: "Today. You can't imagine the excuses I made up to come here."
  • 30 years later in town to attend the funeral of his kind-hearted mentor/surrogate father Alfredo, his widow presented Salvatore with a gift of one last reel of film, which he took back with him to Rome and screened
  • the viewing of the reel, with all of the excised and censored kisses (presented in an amorous montage - two stills shown to the right) that the village priest Father Adelfio (Leopoldo Trieste) had ordered snipped from dozens of films shown there during Toto's childhood - the images brought tears to his eyes

The Circus (1928)

In director/actor Charlie Chaplin's early and captivating award-winning silent film:

  • the brilliantly-choreographed scene of the Tramp (Charlie Chaplin) eluding a real pickpocket and cop in the hall of mirrors (Mirror Maze), after being mistaken by the police as the pickpocket-crook
  • his antics in a circus environment where he inadvertently became part of the show as a prop man
  • his eating of a hotdog from the extended hand of a baby in its father's arms
  • the scenes of being locked in a cage with a sleeping lion (and a barking dog outside)
  • the tightrope act attempt with a wild monkey on his head and biting his nose
  • the classic memorable finale in which The Tramp walked in the opposite direction away from the departing circus

Citizen Kane (1941)

In one of filmdom's most celebrated films with many landmark cinematic techniques (including dramatic lighting and deep-focus), from co-writer/actor/director Orson Welles:

  • the opening prologue including the shot of media tycoon Charles Foster Kane's (Orson Welles) estate of Xanadu and the uttering of the mysterious word "R-o-s-e-b-u-d" by the giant rubbery lips of a dying, mustached man as a crystal globe/ball of a snowy scene (of a snow-covered house) fell from his hand and shattered
  • the "March of Time" newsreel sequence
  • the scene in the smoky projection room where shafts of light came from the projection booth and the reporters were told to investigate the enigmatic meaning of Kane's last word
  • the deep-focus scene as young Kane played in the snow outside and his future guardian talked to his parents inside
  • the clever transition when a picture of a newspaper staff came to life
  • the Walter P. Thatcher library flashback sequence
  • the famous breakfast montage scene that symbolized the deterioration of Kane's marriage
  • the dolly shot/dissolve into the skylight of Susan Alexander's (Dorothy Comingore) nightclub
  • Kane's explanation to his accountant: "You're right, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in 60 years"
  • Bernstein's (Everett Sloane) speech about his memory of a girl with a white dress and a parasol ("A fellow will remember a lot of things you wouldn't think he'd remember. You take me. One day, back in 1896, I was crossing over to Jersey on the ferry. And as we pulled out, there was another ferry pulling in. And on it there was a girl waiting to get off. A white dress she had on. She was carrying a white parasol. I only saw her for one second. She didn't see me at all. But I'll bet a month hasn't gone by since that I hadn't thought of that girl")
  • Kane's memorable political speech
  • the memorable boom shot upward to two stage hands who commented on Susan's disastrous operatic debut
  • Kane's firing of Jedediah Leland (Joseph Cotten) and his finishing of the negative review of his wife's performance
  • the images of Xanadu's huge fireplace and Susan hunched over a crossword puzzle
  • the startling jump cut to a screaming bird
  • the scene of Kane's angry furniture-destroying rage after Susan's departure
  • his stumbling walk through the mirrored hall
  • the panoramic view of Kane's basement warehouse
  • the final fadeout scene from the time the reporters started up the stairs to a shot that closed in on the incineration of the sled in the furnace -- (revealing the meaning of "Rosebud") - and the smoke rising toward the sky

City Lights (1931)

In this memorable Charlie Chaplin silent film:

  • the Tramp's (Charlie Chaplin) mocking of talkies in the opening scene - his unsuccessful attempts to extricate himself from the lap of a large marble statue - with a giant sword catching the seat of his pants
  • the Tramp's encounters with a drunken millionaire who repeatedly attempted suicide
  • the scene of the Tramp admiring a store window - and just missing falling into a freight elevator hole behind him
  • the marvelous pantomime of the prize fight episode in which the Tramp tried to raise money for a beautiful blind flower girl's (Virginia Cherrill) operation by entering the boxing ring in a balletic bout that he believed had been fixed - danced around the ring to evade his opponent
  • the slapstick scene when the blind flower girl was knitting and she pulled a thread from the Tramp's vest and completely unraveled it
  • the hilarious spaghetti-confetti sequence in which the Tramp confused the spaghetti on his plate with strings of streamers
  • the tearful, sentimental ending when the Tramp first saw the blind girl - now with restored sight in the flower shop window of her successful business
  • the moment that she took pity on a trampish beggar - and simultaneously realized that he was her unlikely benefactor-savior when she had a moment of hand-held recognition - this was followed by a closeup of the Tramp's face and smile (with a rose stem in his mouth) after she identified him

Cleopatra (1934)

In director Cecil B. DeMille's classic:

  • Queen of Egypt Cleopatra's (midriff-bearing Claudette Colbert) seduction of both Caesar (Warren Williams) and Marc Antony (Henry Wilcoxon)
  • the infamous barge/bordello scene (the prelude to the seduction of Antony) that began with near-naked dancing girls accompanying an ox (with a dancer riding upon it and stroking its side) - and the remarkable sequence in which 'clams' that were hauled up in a net were revealed to be more dancing-girls wrapped in seaweed, followed by leopard-skinned animals/girls led by trainers with whips - and more!
  • and in the film's conclusion when wearing a low-cut black gown - Cleopatra's memorable request for a basket: ("Now give me the basket - it holds victory"). After reaching in, she removed a real, one-foot long snake/asp and applied it to her naked breast in one of the most memorable suicidal death scenes in film history. She was bitten, and then expired while sitting on the throne. She sat immobile and defeated there as her kingdom was conquered

Cleopatra (1963)

In this expensive, over-budget sumptuous epic by director Joseph L. Mankiewicz, causing scandal when Burton and Taylor became scandalously and romantically involved with each other during filming:

  • Queen of Egypt Cleopatra's (Elizabeth Taylor) seduction of Roman leader Julius Caesar (Rex Harrison)
  • the pageantry of the spectacular, lavish triumphant entrance scene of Queen Cleopatra into the Eternal City of Rome to meet with her husband Caesar, prefaced by a bare-breasted (with pasties) dancing girl
  • the elaborately-costumed Queen's riding at the climax of the procession on a giant black Sphinx behind a processional of tribal dancers and chariots
  • the love affair between Marc Antony (Richard Burton) and Cleopatra

Clerks (1994)

In this low-budget foul-mouthed comedy by writer/director Kevin Smith:

  • a foul-mouthed comedy with some outrageous laughs about two clerks in Asbury Park, NJ stores: convenience store clerk Dante Hicks (Brian O'Halloran) and his grungy anti-social video-store clerk friend Randal Graves (Jeff Anderson)
  • the anti-smoking diatribe of a Chewlies Gum Representative (Scott Schiaffo) speaking to a convenience store customer, arguing that for his health's sake, he should buy gum instead of cigarettes and save his money: ("This is where you're heading. Cruddy lung, smoking through a hole in your throat. Do you really want that?"), and then his more general rant against the cancer-causing smoking industry: ("You're spending what? Twenty, maybe thirty dollars a week on your cigarettes?...Fifty-three dollars a week on cigarettes! Come on! Would you give somebody that much money each week to kill you? 'Cause that's what you're doing now, by paying for this so-called privilege to smoke... It's that kinda mentality that allows the cancer-producing industry to thrive. 'Course we're all gonna die some day. But do we have to pay for it? Do we have to actually throw hard-earned dollars down on the counter and say, 'Please Mr. Merchant-of-Death, sir, please, sell me something that'll stink up my breath and my clothes and fry my lungs'? ...Yeah. Yeah, and now here comes the speech about how he's just doing his job by following orders. Friends, let me tell you about another group of hate mongers that were just following orders. They were called Nazis!...Yeah, and they practically wiped an entire nation of people off the Earth just like your cigarettes are doing now")
  • the "I'm 37!?" scene when Dante's girlfriend Veronica (Marilyn Ghigliotti) told her shocked boyfriend the honest truth about her sexual history, that she delivered 37 instances of fellatio: (Dante: "...I understood that you had sex with three different guys and that's all you said!...How many?...How many d--ks have you sucked?" and Veronica's reply: "Something like - 36..." and including him, it was 37)
  • the appalling scene in which clerk Randal phone-ordered X-rated stock (with really filthy titles like "Cum Clean," "All Tit-F--king, Volume 8," "I Need Your C--k," "Ass-Worshipping Rim-Jobbers," "My C--t Needs Shafts," etc.) from his distributor in front of a customer at the counter - a Mom (Connie O'Connor) and her young daughter who wished to purchase "Happy Scrappy Hero Pup"
  • Randal's ludicrous Star Wars: Return of the Jedi (1983) dialogue with Dante about the ethics of the destruction of the second Death Star when innocent independent contractors lost their lives - the ending of the film: ("Something just never sat right with me that second time around. I could never put my finger on it, but something just wasn't right....The first Death Star was manned by the lmperial Army. The only people on board were Storm Troopers, dignitaries, lmperialists....So when they blew it up, no problem. Evil's punished....") - the second time around, when independent contractors were working on the uncompleted Death Star, they became innocent victims: ("...the second time around, it wasn't even done being built yet. It was still under construction....all those innocent contractors brought in to do the job are killed, casualties of a war they had nothin' to do with....Look, you're a roofer. Some juicy government contract comes your way. You got a wife and kids, the two-story in suburbia. This is a government contract which means all sorts of benefits. Along come these left-wing militants who blast everything within a three-mile radius with their lasers. You didn't ask for that. You had no personal politics. You're just trying to scrape out a living")
  • the "We're so Advanced" diatribe delivered by Randal to Dante about working in a low-level convenience store job: ("Jesus, nobody twisted your arm to be here. You're here of your own volition. You like to think the weight of the world rests on your shoulder, like this place would fall apart if Dante wasn't here. Jesus, you over-compensate for havin' what's basically a monkey's job. You push f--kin' buttons! Anybody could waltz in here and do our jobs. You, you're so obsessed with making it seem so much more epic, so much more important than it really is. Christ, you work in a convenience store, Dante, and badly I might add. I work in a s--tty video store, badly as well. You know, that guy Jay's got it right, man, he has no delusions about what he does. Us - we like to make ourselves seem so much more important than the people that come in here to buy a paper or God forbid, cigarettes. We look down on them as if we're so advanced. Well, if we're so f--kin' advanced, what are we doin' working here?")

(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
| 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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