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 16

F (continued)
Funny Face (1957)	The discovery of Greenwich Village bookshop assistant Joe Stockton (Audrey Hepburn) as the new "Quality Woman" by fashion photographer Dick Avery (Fred Astaire), reportedly based on Richard Avedon, and "Think Pink" Quality Magazine fashion editor Maggie Prescott (Kay Thompson); the split-screen scene of the trio touring Paris and singing "Bonjour Paris", and taking pictures of Jo all over the "City of Lights," including the unforgettable image of her descending a long staircase in the Louvre in a bright red Givenchy gown; Astaire's performance of "Let's Kiss and Make Up" when he dances with his umbrella; and the soft-focus fairy-tale romantic scene of Dick and Jo (in a white wedding dress) singing and dancing to Gershwin's "He Loves and She Loves" in the country chapel garden, in Stanley Donen's romantic musical comedy
Funny Girl (1968)	The film's opening including comedian Fanny Brice's (Barbra Streisand in her debut screen performance) "Hello gorgeous" in front of a mirror, and the remarkable staging of the singing of "Don't Rain on My Parade" as she stands at the bow of a tugboat in New York City's harbor near the Statue of Liberty, and the singing of Brice's signature song "My Man" before a black backdrop in the film's finale, in William Wyler's musical biography of the famed Ziegfeld performer
The Furies (1950)	The scene in which feisty and rebellious daughter Vance Jeffords (Barbara Stanwyck) reacts to the news that her patriarchal, widowed cattle baron TC Jeffords (Walter Huston) (of "The Furies" ranch) will marry gold-digging San Francisco socialite Flo Burnett (Judith Anderson) - and her later revenge by a hurled pair of scissors causing disfigurement, and the dramatic hanging scene in which Jeffords asks Vance to plead for the life of her Mexican ranch-hand friend Juan Herrera (Gilbert Roland) for stealing horses - and Juan's refusal to have her humiliate herself as she kisses him goodbye: (Juan: "The kiss of a good friend" Vance: "Till our eyes next meet" Juan: "Till then") - and her harsh words to her father: "It's me you should have hung, because now I hate you in a way I didn't know a human could hate. Take a good long look at me, TC. You won't see me again until the day I take your world away from you", in Anthony Mann's dark and noirish psychological western
Fury (1936)	The scene in which Katherine Grant (Sylvia Sidney) sees her wrongly-accused fiancee Joe Wilson (Spencer Tracy) behind flaming jailbars in a prison that has been set on fire by a mob, Joe's sudden, shadowy reappearance at his brother's apartment and his memory ("I could smell myself burn"), and the moment after the reading of a special delivery letter in the trial when Katherine sees the mis-spelled word "mementum" - convincing her that Joe is still alive, in director Fritz Lang's crime drama (his first American film) with a message
G
Gallipoli (1981)	The realistic World War I desert battle scenes; the characters of two young Australian soldiers Frank Dunne (Mel Gibson) and Archy Hamilton (Mark Lee) etching their names next to Napoleon's in ancient Egyptian ruins; and the preface to the suicidal, ill-fated bayonet charge scene in which Archy chanted the mantra that his track coach and uncle Jack (Bill Kerr) used while training him: ("What are your legs? Springs, steel springs. What are they gonna do? Hurl me down the track. How fast can you run? As fast as a leopard. How fast are you gonna run? As fast as a leopard. Then let's see you do it..."); and then the actual scene as he is shot by Turkish machine guns - to Tomaso Albinoni's mournful Adagio in G Minor for Strings and Organ -- captured in freeze-frame death at film's end - against impenetrable Turkish trenches in 1915 on the Anzac battlefield, in director Peter Weir's anti-war film
Gandhi (1982)	The remarkable performance of Ben Kingsley as Indian spiritual leader Mahatma Gandhi; the opening scene of the sudden shooting assassination of 79 year-old Gandhi, and then flashbacks of his life including his use of passive, non-violent resistance in a speech to thousands: ("We must defy the British") and his exhortation to burn English cloth as a protest: ("...we will light a fire that will be seen in Delhi and in London. And if, like me, you are left with only one piece of homespun, wear it with dignity"), and the scene of the Salt March amidst his supporters ("the function of civil resistance is to provoke response"), in director Richard Attenborough's Best Picture-winning biopic
The Gang's All Here (1943)	The famous, most-amazing production number "The Lady in the Tutti-Frutti Hat" - in which dozens of chorus girls were choreographed to sway back and forth while carrying oversized bananas - with the entrance of Dorita (Carmen Miranda) wearing an over-sized headdress of fruits and flowers and carried on a fruit cart between rows of strawberries, in director Busby Berkeley's musical (his sole Fox film, and his first Technicolor film)
Gangs of New York (2002)	The opening bloody battle sequence on snowy streets between an Irish gang (led by 'Priest' Vallon (Liam Neeson)) against the forces of the character of villainous Nativist leader Bill 'the Butcher' Cutting (Daniel Day-Lewis); the scene of newly-arrived poor immigrants being conscripted to fight the Civil War as dead soldiers' caskets are stacked on the docks; and the astonishing "time passage" finale of the Battery Park's development from 1863 to pre-9/11 New York City, depicted in Martin Scorsese's historical epic about Manhattan's Five Points
Garden State (2004)	Would-be LA actor/waiter, estranged and lithium-fogged Andrew Largeman's (Zach Braff) return to his high school NJ home for his mother's funeral, where he encounters old school buddies including stoned gravedigger Mark (Peter Sarsgaard), a cop, a millionaire classmate, a "fast food knight", and local girl compulsive liar and epileptic Sam or Samantha (Natalie Portman) at a doctor's office; the scene of Andrew's participation with Dana (Amy Ferguson) on his lap in the ecstasy-induced spin-the-bottle party; also the film's scenes of a visit to three unusual places: a Handi-World housewares store, an underground sex club in the basement of a hotel, and to a family who lives in an abandoned, rickety boat perched on the edge of a stone quarry during a rainstorm; and the final scene of 'goodbye' at the airport, in writer/star/director Zach Braff's twenty-something, Generation X, introspective debut film
Gaslight (1944)	The domination and slow destruction of wife Paula's (Ingrid Bergman) sanity by husband Gregory (Charles Boyer), his facial expression while describing the crown jewels, her experience of panic when the gaslights dim, the search through her purse at the Dalroy's musical party, his discovery of the prized jewelry, and her final scene of retribution including "...watching you go with glory in my heart", in George Cukor's dramatic thriller
The General (1927)	The many spectacular train chases, ground-breaking pursuit sequences and acrobatic stuntwork as Southern Confederate locomotive engineer Johnnie Gray (Buster Keaton) pursues his own hijacked train (The General), Johnnie's deadpan expressions and the perfectly timed and staged scene of Johnnie with a stumpy, snub-nosed howitzer cannon and his ride on the cowcatcher of the train as he flips away cross-ties strewn across the tracks; the most expensive sight gag in silent film history (filmed in a single take with an actual train - not a miniature) when the pursuit train confidently moves half-way across a burned-through bridge and it falls downwards - both the train and collapsing bridge plunge into the river, a mass of hurtling metal, exhaling/hissing smokestack steam, burning bridge logs, and a geyser of belching smoke; and the romantic relationship between Johnnie and lady-love Annabel (Marion Mack) - especially the scene when he finds her stoking the locomotive with toothpick-sized wood and half-playfully grabs for her by the neck, throttles and shakes her and then swiftly plants a small, loving kiss on her lips; and the almost-perfect image of his absent-minded ride on the General's driveshaft (alternately raising and lowering him), in actor / director Buster Keaton's silent action-comedy classic masterpiece set during the Civil War
Gentleman's Agreement (1947)	This tough expose of post-war anti-Semitism was presented through a story about a crusading, non-Jewish magazine writer Phil Green (Gregory Peck) who assumed a Jewish identity for six months to gather material, write a series of articles, and at first hand experience and understand discrimination and anti-Semitism - the confrontational scene of his checking into a luxury hotel where the clerk (Morgan Farley) refuses to answer Phil's direct questions about his bias: ("Look, I'm Jewish and you don't take Jews - that's it, isn't it?...If you don't accept Jews, say so!...Do you or don't you?"), in producer Darryl F. Zanuck's and director Elia Kazan's serious, preachy Best Picture-winning social drama
Ghost (1990)	The oft-repeated response "Ditto" of New York investment banker Sam Wheat (Patrick Swayze) to sculptor/artist girlfriend Molly Jensen (Demi Moore), when she tells him: "I really love you"; the scene of senseless violence in which Sam is mortally wounded and dies in Molly's arms and their bittersweet kiss (and goodbye: "See ya"); the scene of Sam's funeral, and the passionate pottery wheel scene to the tune of the Righteous Brothers' Unchained Melody in which spirit-ghost Sam reveals himself behind the grieving Molly as she sculpts clay; also the scene in which Oda Mae Brown (Whoopi Goldberg) convinced a bereaved Molly that her dead lover Sam was trying to contact her by using Sam's favorite expression: "Ditto"; and the finale in which Sam bid Molly goodbye before he passed on into The Light, in Jerry Zucker's romantic, supernatural chick-flick
The Ghost and Mrs. Muir (1947)	The scene in which ghostly sea captain and lover Daniel Gregg (Rex Harrison), Gull Cottage's former owner who had been haunting her bedroom and thoughts in his non-flesh-and-blood form, bid good-bye to Lucy Muir (Gene Tierney) while she slept, telling her that she must find her own way in life - and that she was only dreaming of a sea-captain haunting the house: ("You've made your choice, the only choice you could make. You've chosen life and that's as it should be. And that's why I'm going away, my dear. I can't help you now...You must make your own life amongst the living, and whether you meet fair winds or foul, find your own way to harbor in the end...It's been a dream, Lucia"); and the transcendent ending in which white-haired, elderly widow Lucy dies in her British seaside cottage's chair when captain Daniel Gregg (Rex Harrison), greets her with outstretched hands: "And now, you'll never be tired again, come Lucia, come my dear" - and - rejuvenated and young again, she walks off, hand-in-hand with him downstairs and through the front door into the afterlife, in the classic fantasy romance weepie from director Joseph L. Mankiewicz
Ghostbusters (1984)	The catchy theme tune: "Who ya gonna call? - Ghostbusters!", the unorthodox group of defrocked university parapsychologists: Dr. Peter Venkman (Bill Murray), Dr. Raymond Stantz (Dan Aykroyd), and Dr. Egon Spengler (Harold Ramis), who are in the offbeat business of supernatural extermination of poltergeists, spirits, ghosts, and other haunts; Venkman's one-liner exclamation of: "He slimed me!" after being covered in slime; the parody covers of various magazines proclaiming their heroic fame; two of their customers: possessed musician Dana Barrett (Sigourney Weaver) and her nerdy accountant neighbor Louis Tully (Rick Moranis) who realize that their apartment building (and her refrigerator) is a gateway for hell and an ancient god named Zool; the climax's legendary visual image of the menacing, 20-story-tall monster - a giant Stay Puft marshmallow man, in director Ivan Reitman's sci-fi fantasy comedy
Giant (1956)	The scene of Virginia belle Leslie's (Elizabeth Taylor) arrival at newly-wed husband Jordan 'Bick' Benedict's (Rock Hudson) sprawling Benedict Texas ranch ("Reata"), the scene of Texas tycoon Jett Rink's (James Dean in his last film appearance) ecstatic striking of oil as he is covered with the gushing liquid black gold, the spectacle of Rink's aging from a young man to a mumbling outcast and dissolute drunkard; and Bick's fist-fight with the bigoted Sarge's Place cafe owner who refuses to serve Latino customers while "The Yellow Rose of Texas" blares on the jukebox, in Best Director-winning George Stevens' grandiose epic
Gigi (1958)	The memorable performance of Maurice Chevalier (in a comeback role) as aging boulevardier Honore Lachaille singing "Thank Heaven for Little Girls", in director Vincente Minnelli's Best Picture-winning musical romance
Gilda (1946)	Gorgeous Gilda's (Rita Hayworth as the era's movie-star 'love goddess') first appearance as she sexily flips back her luxurious auburn hair and purrs an answer to a question from her casino-owning husband (George Macready) about her decency: "Me? (pause) Sure, I'm decent"; her oft-quoted one-liner: "If I'd been a ranch, they would've named me the Bar Nothing"; and her memorable striptease dance performance of "Put the Blame on Mame" - wearing a strapless, slinky black dress and removing her long black glove while singing "Put the Blame on Mame, boys", in Charles Vidor's noirish romantic drama-mystery
Gimme Shelter (1970)	Noted for the disturbing scene (in the finale) filmed during the Rolling Stones' final free rock concert show appearance in 1969 at the Altamont Speedway in California - with the shocking footage of the Hell's Angels' murder-stabbing of 18 year-old spectator Meredith Hunter near the stage where Mick Jagger was performing, and the scene in which Jagger is shown the footage of the murder in the editing room, in the Maysles Brothers' gripping musical documentary
The Girl Can't Help It (1956)	Any of the bosom-baring scenes with curvaceous Jerri Jordan (Jayne Mansfield) - especially when she provocatively leans forward to ask agent Tom Miller (Tom Ewell) about her readiness for motherhood, and her spectacular hip-swinging walk down the street (wearing a tight-fitting dress and broad-rimmed hat) and up her apartment stoop's steps past a milk bottle delivery man - with the milk in the bottle overflowing frothily from the top (accompanied by the film's theme song sung by Little Richard), in writer/director Frank Tashlin's comedy musical
Gladiator (2000)	The scenes of the condemned, enslaved and vengeful Colosseum gladiator named "The Spaniard" (Russell Crowe), who has been trained by slave owner Proximo (Oliver Reed), who identifies himself before power-hungry Emperor Commodus (Joaquin Phoenix) - first with "My name is Gladiator", and then when confronted, removes his helmet and defiantly speaks: "My name is Maximus Decimus Meridius...And I will have my vengeance, in this life or the next"; the Emperor's twisted and incestuous relationship with his sister Lucilla (Connie Nielsen) while she romances Maximus; and further the hellish action sequences of battle in the Colosseum (with tigers - often digitized) when Commodus exclaims: "At my signal, unleash hell" - in which Maximus defies the Emperor's thumbs-down decision to kill his wounded opponent; and Maximus' wreaking of vengeance on Commodus by killing him; also his own climactic death scene in the area - and his last moments - with Lucilla by his side - as he experiences visions of his family in the afterlife, in Ridley Scott's Best Picture-winning swords-and-sandals epic
Glengarry Glen Ross (1992)	The opening scene of consulting super-salesman Blake's (Alec Baldwin) rousing, motivational, in-your-face, foul-mouthed ultimatum speech toward Premiere Properties real estate agency salesmen in their grungy office, telling them: "I'm here on a mission of mercy...only one thing counts in this life - get them to sign on the line which is dotted," with his display of the letters ABC on a blackboard (signifying Always Be Closing), and his description of the monthly sales contest ("We're adding a little something to this month's sales contest. As you all know, the first prize is a Cadillac Eldorado. Anybody wanna see second prize? Second prize is a set of steak knives. Third prize is 'You're fired'"); the characters of profanity-spewing, hotshot salesman Ricky Roma (Oscar-nominated Al Pacino) (with his raunchy dialogue about a female customer's crumbcake), Kevin Spacey's role as John Williamson - the iron-fisted, inept boss of the salesmen, and tired, desperate old-timer Shelley 'the Machine' Levine (Jack Lemmon); and the rapid-fire, cleverly convoluted dialogue, in director James Foley's film adapted from scripter David Mamet's real estate stage play
Glory (1989)	The scene when angry runaway Trip (Oscar-winning Denzel Washington), one of the black soldiers in the 54th Regiment of the Massachusetts Volunteer Infantry (the first black fighting regiment in US history), is tied to a cart-wheel and bull-whipped on false charges of desertion and his back is scarred from the repeated lashings - with his steely defiant look (with one tear on his cheek) at white commanding officer Col. Robert Gould Shaw (Matthew Broderick); and the unit's pre-battle campfire spiritual scene in which ex-gravedigger Sgt. Major Rawlins (Morgan Freeman) leads the soldiers in prayer and singing - including Trip's confession ("Y'all's the only-est family I got. I love the 54th"), followed by their doomed, suicidal, bloodbath, nighttime assault against Fort Wagner in South Carolina (prefaced by the battle-cry "Give 'em hell, 54!"), also the final shot of Shaw's burial in a mass grave with his soldiers (including Trip) - and the end credits shot of "The Robert Gould Shaw and 54th Regiment Memorial" relief sculpture by August Saint-Gaudens, in Edward Zwick's Civil War historical epic
Go (1999)	The artful depiction of a drug deal told from three different perspectives or points-of-view Pulp Fiction-style in a 24-hour period; the scene of LA grocery clerk Ronna Martin's (Sarah Polley) picking up drugs-for-sale from menacing bare-chested drug-dealer Todd Gaines (Timothy Olyphant) in his apartment on Christmas Eve - where she must remove her shirt to prove she's not wired; and the drug-deal-gone-bad scene of Ronna selling shoplifted over-the counter drugs (allergy medicine and baby aspirin) to unsuspecting teens in a van at a Rave who believe they are getting high on Ecstasy ("I think I feel something"); Marcus' (Taye Diggs) bragging about the benefits of prolonged Tantric sex; the shocking scene of Ronna's sports-car injury in a parking lot; the lengthy diner conversation about the comic strip Family Circus; and the crazy misadventure scenes in Las Vegas including the aborted Crazy Horse strip club "champagne" lap dance ("Hands!"), and the shooting and car chase sequence to the tune of Steppenwolf's 'Magic Carpet Ride', in Doug Liman's kinetic and adrenaline-rushing non-linear black comedy
The Godfather (1972)	The ever-present Nino Rota score; Marlon Brando's portrayal of the aging Mafia patriarch Don Vito Corleone (stroking a cat in his arms), especially in his opening scenes in his dark indoors study 'holding court' during his only daughter Connie's (Talia Shire) outdoor wedding celebration, including Bonasera's (Salvatore Corsitti) first line ("I believe in America") and his request for just punishment for his daughter's brutal rape; the scene included Corleone's chilling response to the supplicant: ("...now you come to me and you say - 'Don Corleone, give me justice.' But you don't ask with respect. You don't offer friendship. You don't even think to call me Godfather. Instead, you come into my house on the day my daughter is to be married, and you, uh, ask me to do murder for money"); also, outsider son Michael's (Al Pacino) delivery of the famous line: "My father made him an offer he couldn't refuse," and soon after Don Corleone's similar line: "I'm gonna make him an offer he can't refuse," the shocking scene of Hollywood producer Jack Woltz's (John Marley) waking up in his satiny silk-sheeted bed soaked in blood and ripping off the sheets to discover the bloody and severed head of Khartoum - his cherished and prized racehorse, Michael's rescue of his father in an unguarded hospital ("I'm with you now"), the numerous violent scenes including the toll-booth killing of Sonny (James Caan), Michael's decision to murder two rivals - and the actual tense scene of the cold-blooded assassination of Solozzo (Al Lettieri) and corrupt cop McCluskey (Sterling Hayden) in an Italian neighborhood restaurant set-up; the faithful character of consiglieri Tom Hagen (Robert Duvall); Michael's short exile in Italy when he takes a new bride - a peasant girl named Apollonia (Simonetta Stefanelli) followed shortly by her car bombing death, the sequence of all the Mafia's Family heads at a summit meeting where Don Vito Corleone opposes dealing with narcotics, the scene of Michael's negotiation with Moe Greene (Alex Rocco) in Las Vegas to buy him out while his older weakling brother Fredo (John Cazale) chooses sides - and Michael's chilling reminder: "Fredo, you're my older brother, and I love you, but don't ever take sides with anyone against the family again. Ever!", the garden scene between Michael and his father, the Godfather's fatal heart attack in a tomato garden with his grandson and his wheezing collapse to the ground, the scenes showing the bloody passage of power to Michael - a cross-cut, contrapuntal scene between the baptism of Michael's nephew (in the moment after Michael renounces Satan, Moe Greene is shot in the eye through his black-framed glasses) and a blood-letting massacre of his gangland rivals, the scene of Tessio's (Abe Vigoda) plea for a pardon after setting Michael up, and the famous ending scene in which Michael lies to his wife Kay Adams (Diane Keaton) and the study/office door is shut to close her out, in Francis Ford Coppola's great Best Picture-winning gangster film - the first in a trilogy
The Godfather, Part II (1974)	The numerous flashbacks - including the early scene of young orphaned Vito Andolini (Oreste Baldini) arriving at Ellis Island and looking out at the Statue of Liberty, the assassination attempt in Michael Corleone's (Al Pacino) bedroom; Jewish mobster Hyman Roth's (Lee Strasberg) sixty-seventh birthday celebration on the open-air terrace of his Capri Hotel in Havana, Cuba as they symbolically cut up a cake of Cuba; Vito Corleone's (Robert DeNiro) run across the rooftops to pursue and eventually kill Don "The Black Hand" Fanucci (Gaston Moschin) in cold blood; his return to his brownstone tenement's front stoop where he calmly holds his crying baby Michael in his arms; an older Michael's forcible delivery of the kiss of death on New Year's Eve - Sicilian-style - to his brother Fredo (John Cazale) as he has discovered that his own brother has betrayed him: "I know it was you, Fredo. You broke my heart, You broke my heart" - and later Fredo's last meeting with Michael who asserts "I've always taken care of you, Fredo" as Fredo complains: "I'm your older brother, Mike, and I was stepped over...I'm smart and I want respect!" - before Michael decides: "You're not a brother, You're not a friend, I don't want to know you or what you do..." before Fredo's execution in a boat on the lake while he fishes and recites a "Hail Mary"; the scene of Kay's (Diane Keaton) "aborted child" speech; the brooding image of Michael in the boathouse with a flashback of the Corleone family around the dining room table in happier days, and the final devastating shot of the prematurely-old Michael sitting quietly and introspectively on a Tahoe estate lawn chair as the cold winter approaches, in Best Director-winning Francis Ford Coppola's superior Best Picture-winning sequel