Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

Dames (1934)

In Ray Enright's extravagant musical romance:

  • the astonishing Busby Berkeley production numbers, including the clever "I Only Have Eyes For You," in which Barbara Hemingway (Ruby Keeler) and musical producer Jimmy Higgens (Dick Powell) fell asleep aboard a subway train as he dreamt of repeated images of her face (chorus girls with large Keeler-face masks) and saw images of white-gowned chorus girls on a rotating white ferris wheel and multiple sets of stairs
  • the set ended with the chorus girls (with puzzle pieces strapped on their backs) coming together to form a huge jigsaw puzzle of Ruby's face
  • in the title number "Dames," close-ups of the faces of various 'dames' applying for work led to the camera voyeuristically following the chorus girls through a single day (including their waking, stretching, bathing, powdering, applying makeup, etc.), ending with an overhead kaleidoscope star-formation - in one sequence, the trick reverse-action camera made it appear that the tap-dancing chorines with black tights were flying straight up from the floor into the camera

Dances With Wolves (1990)

In star/director Kevin Costner's western Best Picture winner, his directorial debut film:

  • the opening Civil War battle scene in which injured Union Army Lieut. John Dunbar (Kevin Costner) made an attempted suicidal charge on horseback with his arms outstretched between opposing lines of Union and Confederate forces, and helped to defeat the Rebels - Dunbar lived triumphantly and unintentionally became a hero
  • the scene of Dunbar's appearance at his own request at Fort Hays before mentally-ill and suicidal Major Fambrough (Maury Chaykin) to seek a transfer, and his wish to be transferred: ("I've aIways wanted to see the frontier...Before it's gone"); and the granting of the wish with written permission by the Major: ("Sir Knight. I am sending you on a knight's errand. You wiII report to Captain CargiII at the furthermost outpost of the reaIm, Fort Sedgewick. My personaI seaI wiII assure your safety through many miIes of wiId and hostiIe country")
  • the scene of Dunbar's first encounter with white Sioux female Stands With A Fist (Mary McDonnell), the white adopted daughter of the tribe's medicine man Kicking Bird, who was bloodied while attempting suicide with a knife - in mourning for her husband: ("You need heIp. You're hurt. Let me heIp you. You're hurt"), and her panic at his help
  • the buffalo hunting scene
  • the scene of Dunbar chasing and frolicking with a wolf named Two Socks on the open prairie, and receiving the name 'Dances With Wolves' - the source of the film's title
  • the tearful, downbeat farewell scene of his departure from his adoptive Sioux tribe with Stands With a Fist, because of the threat and danger he posed living with them; from a clifftop, Wind in His Hair (Rodney A. Grant) shouted out a friendly goodbye: ("Dances With Wolves. l am Wind ln His Hair. Do you see that l am your friend? Can you see that you will always be my friend?")

Dangerous Liaisons (1988)

In director Stephen Frears' sexy period costume drama of 18th century one-upmanship, game-playing, seduction and romantic intrigue - adapted from the 1782 novel by Choderlos de Laclos, and remade as Milos Forman's Valmont (1989) and as Roger Kumble's Cruel Intentions (1999):

  • the scene of the wager between aristocratic wealthy widow Marquise Isabelle De Merteuil (Glenn Close) (calling herself a 'virtuoso of deceit') in her challenge with devilish, rakish ex-lover Vicomte De Valmont (John Malkovich) - she declared "Wa-a-a-a-r" and offered her bed for a night as the prize if Valmont could:
    - seduce and 'deflower' a teenaged bride-to-be virgin Cecile De Volanges (Uma Thurman), engaged to Merteuil's ex-lover the Comte de Bastide (by providing her with sexual lessons every night
    - corrupt the religiously-virtuous, married Madame De Tourvel (Michelle Pfeiffer)
  • Valmont's cruel accomplishment of both challenges in order to win at all costs (the guilt-ridden Cecile miscarried Valmont's child, and Tourvel retired in poor health to a convent)
  • the deceitful Valmont apathetically and coldly dumped Tourvel with the shocking excuse: "It's beyond my control...My love had great difficulty outlasting your virtue. It's beyond my control...There's a woman. Not Emilie, another woman. A woman I adore. And I am afraid she is insisting that I give you up. It's beyond my control"
  • Valmont's demands of Merteuil after winning the wager: "But of course, the best thing about it is, I am now in a position to be able to claim my reward" - but she denied his claims, calling their arrangement "null and void" because Valmont didn't have written proof
  • the next scene of the discussion of their previous love, when she asked Valmont: ("Have you forgotten what it's like to make a woman happy? And to be made happy yourself?...We loved each other once, didn't we? I think it was love And you made me very happy"); Valmont replied: ("And I could again. We just untied the knot. It was never broken"); she responded: ("Illusions, of course, are by their nature sweet") - although he retorted that he wanted to be with her: ("I have no illusions. I lost them on my travels. Now, I want to come home. As for this present infatuation, it won't last but for the moment, it is beyond my control")
  • the duel between Cecile's music teacher Le Chevalier Raphael Danceny (Keanu Reeves) and Valmont, ending with the latter's death
  • the final images of the disgraced Merteuil

The Dark Knight (2008)

In director Christopher Nolan's violence and action-packed superhero, comic-book film:

  • the exciting opening sequence of the mob-owned, Gotham City bank robbery by clown-faced criminals - with the Joker (Oscar-winning Heath Ledger) revealing himself with a painted clown face (with a grinning red scar-smile) when he removed his mask in front of a bank employee on the floor after killing off all of his accomplices: ("What do you believe in? Huh, what do you believe in? I believe whatever doesn't kill you simply makes you... stranger")
  • the Joker's meeting with underworld mob bosses (Salvatore Maroni (Eric Roberts), The Chechan (Ritchie Coster), and Gambol (Michael Jai White) an African-American gang leader), and his demonstration of a lethal pencil trick, when he slammed a thug's head into the upright writing utensil: ("How about a magic trick? I'm gonna make this pencil disappear. Ta-daaaa! It's gone!")
  • the Joker's negotiation with the mob bosses, who had been emasculated by Batman, that he would offer to "Kill the Batman" for them, in exchange for half of the bank robbery money: ("Let's wind the clocks back a year. These cops and lawyers wouldn't dare cross any of you. I mean, what happened? Did your balls drop off? Hmm? You see a guy like me....A guy like me. Look, listen. I know why you choose to have your little group therapy sessions in broad daylight. I know why you're afraid to go out at night. The Batman. You see, Batman has shown Gotham your true colors, unfortunately...It's simple. We, uh, kill the Batman")
  • the scene of Batman (Christian Bale) landing on the Scarecrow's (Dr. Jonathan Crane, Cillian Murphy) van and flattening it
  • the sight of a semi-trailer doing a somersault on a NY city street (and the Bat-pod doing its own wall flip) during a frenetic chase scene
  • every scene in which the Joker threatened victims with his knife and told them how he acquired his own facial scars from his abusive father -- including his intimidation of Rachel Dawes (Maggie Gyllenhaal) at Bruce Wayne's penthouse during a fundraiser: ("Well, hello beautiful! You must be Harvey's squeeze! And you are beautiful. Well, you look nervous. Is it the scars? You want to know how I got 'em?"); he 'let her go' from the side of the skyscraper, forcing Batman to swoop down and rescue her
  • the scene of the Joker (dressed as a nurse in a white uniform) blowing up Gotham General Hospital by setting off various explosions - remotely
  • the Joker's two confrontation scenes with Batman:
    - in the police interrogation room when he said laughingly: ("I don't want to kill you. What would I do without you?...You complete me")
    - and while hanging upside down, he also stated his feelings about the battle for Gotham's soul: ("You truly are incorruptible, aren't you? Huh? You won't kill me out of some misplaced sense of self-righteousness. And I won't kill you because you're just too much fun. I think you and I are destined to do this forever...")
  • the scene of crazed district attorney Harvey Dent (aka Two-Face, with a disfigured face) (Aaron Eckhart), now corrupted and vengeful (and lured to the dark side by the Joker), terrorizing with a coin toss about everyone's fate - and Batman's rescue by hurling himself at Dent and tackling him off the side of the building, where he fell to his death
  • Lt. James Gordon's (Gary Oldman) and Batman's realization about how Batman would purposely take the blame and Dent would be lauded as a hero, because the citizenry of Gotham would lose hope if they knew how Dent's heroic goodness had been brought down by the Joker: ("They must never know what he did...the Joker cannot win"); Batman explained how he must sacrifice himself: ("Gotham needs its true hero....You either die a hero, or you live long enough to see yourself become the villain. I can do those things because I'm not a hero, not like Dent. I killed those people. That's what I can be....I'm whatever Gotham needs me to be")
  • the final scenes of Lt. Gordon's eulogy for Harvey Dent, and Batman escaping as a hunted fugitive as his Bat-Signal was destroyed by an axe wielded by Lt. Gordon: (Batman's voice-over: "You'll hunt me. You'll condemn me. Set the dogs on me. Because that's what needs to happen. Because sometimes the truth isn't good enough. Sometimes people deserve more. Sometimes people deserve to have their faith rewarded")
  • Lt. Gordon's delivery of a final voice-over regarding Batman's fate, when he watched Batman flee and disappear into the darkness, to escape on his Bat-pod: ("Because we have to chase him") from a massive police sweep with dogs, but to rise another day although "he didn't do anything wrong": ("Because he's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight")

Dark Victory (1939)

In director Edmund Goulding's ultimate tearjerker:

  • the scene of socialite Judith Traherne's (Bette Davis) secret discovery in the doctor's office that her prognosis was negative
  • the final tearjerking sequences when dwindling eyesight informed her that death was near and she sent her husband Dr. Steele (George Brent) off to a medical conference - and truly accepted her coming death: ("You know I used to be afraid. I died a thousand times. When death really comes, it will come as an old friend, gently and quietly")
  • the ending scene in which she planted hyacinth flowers in the garden with best friend Ann King (Geraldine Fitzgerald) and comforted her: ("Don't, Ann. I'm happy, really I am. Now let me see, is there anything else? Oh yes, one more thing. When Michael runs Challenger in the National, oh, and he'll win - I'm sure he'll win - have a party and invite all our friends. Now let me see, silly old Alec, if he's back from Europe, Colonel Mantle and old Carrie and, oh yes, and don't forget dear old Dr. Parsons. Give them champagne and be gay. Be very very gay. I must go in now. Ann, please understand, no one must be here, no one - I must show him I can do it alone. Perhaps it will help him over some bad moments to remember it. Ann, be my best friend. Go now. Please")
  • Judith's greeting of her dogs in the house, before going up the stairs toward her bedroom for the last time after telling her maid to let her die in peace: ("Is that you, Martha? I don't want to be disturbed") - reaching total blindness and death

Das Boot (1981, W. Ger.) (aka The Boat)

In Wolfgang Petersen's harrowing and nerve-wracking, claustrophobic thriller, conveyed by a Steadicam moving camera through the narrow passageways and by tightly-composed shots:

  • the memorable sequence when the World War II German U-boat, captained by conscience-stricken, embittered, stoic Henrich Lehmann-Willenbrock (Jurgen Prochnow), torpedoed a British convoy tanker; later, the German sub crew watched the enemy tanker still afloat, as helpless survivors scrambled over the fiery wreckage, burned, screamed for help, and drowned - and some of the sailors swam toward them
  • the tense scene when the alarm was sounded, orders were shouted ("Get into diving positions!"), and the sub was forced to dive - although it was only a practice dive
  • the real scene of a deep emergency free-fall dive when the malfunctioning, aging sub was surrounded by British ships and the crew raced through the narrow tube to their stations as the sub dove deep - and there were the first indications that the submerged aging structure was no longer functioning properly - it was feared that it would start leaking due to the powerful underwater pressure, signaled by excruciating groans and moans and rivets popping and blasting like gunshots
  • the crew was able to get the sub's engines running in order to rise from a dangerous depth of 280 metres just before their oxygen ran out - and the crew's jubilation: ("They're going. I've never heard such sweet music in all my life...They're running! They won't catch us this time. Not this time!...They haven't spotted us. They're snoring in their bunks. They're drinking in the bar. Celebrating our sinking! Not yet, my friends!")

David Copperfield (1935, UK)

In director George Cukor's literary film of Charles Dickens' novel:

  • W.C. Field's definitive characterization of the always-in-debt Mr. Micawber
  • his denouncement of Uriah Heep (Roland Young)

Dawn of the Dead (1978, It./US)

In George Romero's horror sequel to his Night of the Living Dead (1968):

  • the memorable scenes in which marauding, staggering, flesh-eating zombies in a deserted suburban Pittsburgh shopping mall relentlessly engaged in attacks upon the living survivors: pregnant TV anchorwoman Francine (Gaylen Ross), her boyfriend, helicopter pilot/traffic reporter Stephen (David Emge), and two SWAT cops Roger and Peter (Scott Reiniger and Ken Foree)
  • the biting social satire that equated zombies with consumers (as perky, goofy mall music played, zombies stumbled around on escalators, etc.)
  • the climactic band of about a few dozen bikers in a motorcycle gang that attacked the mall and the zombies inside, and when outnumbered by the hungry creatures, their eviscerated bloody flesh was fought over
  • the death of Stephen, when he was bitten in the leg and neck inside an elevator - and hours later when the doors opened, his reanimated zombie corpse joined the army of undead

A Day at the Races (1937)

In this Marx Brothers' madcap comedy:

  • the classic "Tootsie-Frootsie" ice cream scene in which vendor Tony (Chico Marx) sold racing tips to horse doctor Dr. Hugo Hackenbush (Groucho Marx)
  • the scene in which Hackenbush played half-deaf "Colonel Hawkins" of the Florida Medical Board to infuriate Whitmore (Leonard Ceeley)
  • the two absurd medical examination scenes: ("Just put the gown on, not the nurse") - first with Stuffy (Harpo Marx) and then with Mrs. Upjohn (Margaret Dumont)
  • the famous one-liners: "Either he's dead or my watch has stopped!" - and "If I hold you any closer, I'll be in back of ya"
  • the film's highlight in which villainess Miss Nora "Flo" (Esther Muir) was wallpapered to the wall
  • the conclusion in which race horse Hi Hat burst into a sprinkler-soaked sanitarium and rescued the "Hackenbush team" of doctors during their exam of Mrs. Upjohn before they were apprehended
  • the steeplechase Big Race slapstick sequence


The Day The Earth Stood Still (1951)

In Robert Wise's seminal science-fiction film:

  • the film's intriguing title sequence of an approach into the earth's atmosphere
  • the initial spaceship landing in Washington DC - causing a panic and troop deployment
  • the emergence of a humanoid, pacifist alien emissary named Klaatu (Michael Rennie) and a giant robot (Gort) from the vessel
  • Gort's laser-beam, death-ray vision to melt weapons and a tank
  • the scene of Helen Benson (Patricia Neal) delivering the command of three words - "Klaatu barada nikto" - to the menacing Gort as he loomed above her - to prevent the killer robot from destroying the planet after Klaatu had been shot by troops; afterwards, the robot carried Helen in his arms into the spaceship
  • the film's final scene, with soft-spoken extra-terrestrial Klaatu's pro-disarmament address to scientists and other top leaders: ("...but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple. Join us and live in peace or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you")

Days of Heaven (1978)

In director/writer Terrence Malick's beautiful love-triangle drama set in the WWI-era:

  • the breath-taking visual images and cinematography of Oscar-winning Nestor Almendros
  • to the tune of Leo Kottke's acoustical guitar "Enderlin," a steam locomotive carrying migrant workers crossed a high suspension/trestle scaffold bridge, silhouetted against the partly cloudy blue sky - with the view of the original threesome of the film sitting atop the train as it journeyed through Midwest farmlands and America's heartland with dozens of other would-be harvest hands, including: ex-apple juggler Bill (Richard Gere), Bill's girlfriend Abby (Brooke Adams) posing as Bill's sister, and Bill's young sister Linda (Linda Manz) who narrated (in voice-over): ("Me and my brother, it just used to be me and my brother, we used to do things together. We used to have fun. We used to roam the streets. There was people suffering of pain and hunger. Some people their tongues were hangin' out of their mouth...In fact, all three of us been goin' places, lookin' for things, searchin' for things, goin' on adventures. They told everybody they were brother and sister. My brother didn't want nobody to know. You know how people are. You tell 'em somethin' - they start talkin'")
  • Linda's voice-over reflections about a fiery apocalypse that would consume everything in its path, unless one was judged to be good and saved by God's mercy in heaven: ("...the whole Earth is goin' up in flame. Flames will come out of here and there and they'll just rise up. The mountains are gonna go up in big flames, the water's gonna rise in flames. There's gonna be creatures runnin' every which way, some of them burnt, half of their wings burnin'. People are gonna be screamin' and hollerin' for help. See, the people that have been good - they're gonna go to heaven and escape all that fire. But if you've been bad, God don't even hear you. He don't even hear ya talkin'")
  • the arrival of horse-pulled wagons across the golden plains at sunset, bound for a wheat farm on the flat landscape of the Panhandle - and the sight of an entrance archway amidst immense fields of golden wheat, and an imposing farm house standing three stories tall in the distance as a lone fixture.
  • the wheat field sequence at dawn's light as the priest blessed the harvest ("For a thousand years in thy sight are but as yesterday when it is past, and as a watch in the night. As soon as thou scatters them"), before tractors and threshers moved in from a hilltop and migrant workers gathered the wheat
  • the devastating scene of the arrival of locusts, signaling workers into the fields with shovels, branches, noisemakers and other swatters to scare off the invaders - to kill them, smoke them out, collect them by the bushel-full, and burn them in a bonfire, although their deafening sounds and implacable, gnawing and devouring mandibles had already done damage

Days of Wine and Roses (1962)

In Blake Edwards' devastating cautionary tragedy about a self-destructive couple due to alcohol:

  • the elevator scene of alcoholic, San Francisco advertising PR executive Joe Clay (Oscar-nominated Jack Lemmon) making a face behind pretty, Encyclopedia-reading secretary Kirsten Arnesen (Lee Remick), after she had slapped him in the face, when he insulted her about her 'special qualifications' for her job: ("What special qualifications do you feel that you have for a job that allows you to sit around all day and chat with the boss? I heard about your job. Maybe answer a few personal letters for him and accompany him to parties? Hmm? You spend half your working day reading a book while two typists who get less money than you do all the work? Hmm? ...I'll tell you what special qualifications you have. You're pretty. That's what 'special qualifications' you have. And that old lech loves to have you around to look at and lean on when he gets drunk, like he did last night. And who knows what else. That's what 'special qualifications' you have")
  • Joe's enticement: ("It's special, for you. It's chocolate. Go on, try it") of tee-totaling, chocolate-addicted Kirsten with a chocolate-flavored (with crème de cacao) Brandy Alexander cocktail at dinner: ("Oh, it's good, it is")
  • when invited to Kirsten's second-floor apartment ("the roach kingdom") for a "home-cooked meal", Joe's toast to her: ("To men of principle, wherever they may be") while spraying roach killer and threatening the pests: ("Cockroaches. Come out, wherever you are...You're gonna go to cockroach heaven")
  • the abrupt visit of neighbor Dottie (Maxine Stuart) who complained about the cockroach spraying: ("Oh, well, now, you ought not to do that. I mean, you get 'em all stirred up, and what's the good? Now you made a mess. You gotta think about other people, you know. Well, I mean, look, look, I don't like to complain, but, I mean, this is ridiculous. They don't bother anybody. They don't destroy anything. You know they're there. You leave 'em alone, they leave you alone. You lock up what you don't want crawled over, and that's that. But all of a sudden, you start spraying that stuff on the walls, and look at the mess"); when they ducked away, Kirsten laughed and joked with Joe - with a warning: "You've undermined the whole base of metabolism of the building" and that the cockroaches would track him down: "You'll be a goner!"
  • while drinking one night together by the SF Bay, Kirsten told boozing Joe about a dream she had of being murdered, and the fact that her father was very private and uncommunicative during her upbringing; then, she recited poetic words to him: "They are not long the days of wine and roses: Out of a misty dream, our path emerges for a while, then closes within a dream"
  • the scene of Joe's honest assessment to his mutually-boozing wife Kirsten of how alcoholism had made their marriage relationship a "threesome" - after he had looked at his reflection in the Union Square Bar window: ("And I thought, 'I wonder who that bum is.' And then I saw it was me. Now, look at me, I'm a bum. Now, look at me, look at you. You're a bum! Look at you. And look at us. Look at us, come on! Look at us. (He dragged her to a mirror) See? A couple of bums. Now, look! You've gotta listen to me. It came to me all of a sudden. I saw the whole thing. You know why I've been fired from five jobs in four years, and it's not politics, like we always say. It's not office politics or jealousy or any of that stuff. It's booze! It's booze!...We have more than a couple of drinks, we get drunk! And we stay drunk most of the time")
  • the 'bender' scene of a desperate Joe madly tearing apart his father-in-law's greenhouse-nursery to search for a hidden bottle of liquor
  • his experiences detoxifying and suffering delirium tremens in a hospital ward, while confined in a strait-jacket
  • the film's ending when Kirsten (sober for only two days) attempted a reconciliation (but admitted she was uncertain that she could conquer her alcoholism), and Joe (now sober for a year) told her in very clear terms: ("I'm afraid of you. I'm an alcoholic, I can't take a drink. And I'm afraid of what we'd do to each other....You and I were a couple of drunks on the sea of booze, and the boat sank. I got ahold of something that kept me from going under. And I'm not gonna let go of it. Not for you, not for anyone. If you want to grab on, grab on. But there's just room for you and me, no threesome")
  • in the ambiguous ending, Kirsten wandered off after their failure to come together, and Joe told their young daughter Debbie (Debbie Megowan) that she might not return: ("Honey, Mommy's sick. And she has to get well before she can come home"); however, a huge flashing neon "BAR" sign reflection from outside also beckoned Joe

Dead End (1937)

In William Wyler's urban drama - an adaptation of Lillian Hellman's classic play:

  • the memorable sequences of wealthy, sinister, gang-war gangster "Baby Face" Martin's (Humphrey Bogart) return to his old New York City (East River) slum neighborhood on the East Side
  • the memorable debut of the gang of Dead End Kids (including Huntz Hall and Leo Gorcey)
  • Baby Face's 'tricks of the trade' advice to the gang about a fight at 4 o'clock: ("Get there early, earlier than you said, see? Then they won't be ready for ya...And get yourself some old electric bulbs and throw 'em. Then you throw a couple of milk bottles, see? When some of the other kids get hurt, then you charge 'em, but not before, see?...Listen, kid, when you fight, the idea is to win. It don't matter how. And in gang fightin', you take out the tough guys first. And a stocking full of sand and rocks is good for that. And if that don't work, a knife will")
  • Martin's devastating, tearjerking encounter with his mother (Marjorie Main) on the stairway of her slum building, when she called him a "no-good tramp" and a "dirty yellow dog"; when he asked: "Mom, ain't you glad to see me?", she repudiated him with a harsh slap across the face ("That's how glad I am"); she told him: "Don't call me Mom. You ain't no son of mine. What do you want from me now?", and urged him to go: "...then get out of here before I crack your face again! Get out of here...Yeah, you're a killer all right. You're a murderer. You're a butcher, sure. Why don't you leave me forget you? Ain't I got troubles enough with the cops and newspapers botherin' me?...Just leave us alone. You never brought nothin' but trouble. Just stay away and leave us alone and die. But leave us alone")
  • Martin's meeting with his old girlfriend Francey (Claire Trevor) - he had come back for her, and his horrified reaction when he realized that she had become a ravaged, syphilitic prostitute - she told him: "I wouldn't be good for ya...It's a dream. I'm having a dream. What I wanted for so long. I'm tired. I'm sick. Can't you see it? Look at me good. You've been lookin' at me like I used to be....Well, what did ya expect?"; when he felt pity for her, he reached for a wad of bills: "Here. It's hot. Be careful where you spend it. And keep your lips buttoned up"; then, as she left, but turned back, she asked for a kiss on the cheek: "For old times' sake, will you do me a favor? Please. Will you kiss me here? Just for old times' sake? Thanks"

Dead Man Walking (1995)

In Tim Robbins' anti-death penalty drama:

  • the flashback scene of the murders of a teen couple by death row inmate and convicted criminal Matthew Poncelet (Sean Penn)
  • comforting nun Sister Helen Prejean's (Oscar-winning Susan Sarandon) poignant words to Matthew before he took a walk to the execution room: ("Look, I want the last thing you see in this world to be a face of love, so you look at me when they do this thing. You look at me. I'll be the face of love for you")
  • the tearjerking ending and chilling death scene, including Matthew's last words before he died from lethal injection while strapped on a cross-shaped gurney, as victims' families and the comforting nun witnessed the capital punishment behind a glass window: ("Mr. Delacroix, l don't want to leave this world with any hate in my heart. l ask your forgiveness for what l done. lt was a terrible thing l done in taking your son away from you...Mr. and Mrs. Percy. l hope my death gives you some relief. l just wanna say l think killin' is wrong no matter who does it. Whether it's me or y'all or your government...")

Dead Poets Society (1989)

In Peter Weir's dramatic film about educational inspiration:

  • eccentric, unorthodox 1959 Vermont prep school English teacher John Keating's (Robin Williams) lesson on the motto: "Carpe Diem" to his staid Welton Academy boarding school students ("Listen, you hear it? - - Carpe - - hear it? - - Carpe, carpe diem, seize the day boys, make your lives extraordinary") as they stood in front of old pictures of the school's athletic teams (and the camera panned across the faces of the now-deceased lads)
  • the scene in which the dedicated but dismissed teacher was paid tribute by his former pupils (including tongue-tied betrayer Todd Anderson (Ethan Hawke)) as they stood on their desks, defied authority and emotionally chanted: "O Captain! My Captain!" (taken from Walt Whitman's poem about Abraham Lincoln), as Keating thanked the students from the doorway: "Thank you boys, thank you"

Death in Venice (1971, It.) (aka Morte a Venezia)

In director Luchino Visconti's stylistically lavish adaptation of Thomas Mann's novel - a tale of sexual obsession:

  • the beautifully shot, quiet and lonely death scene of aging, avant-garde German composer Gustav von Aschenbach (Dirk Bogarde) slumped on a deck chair on a Venice beach (accompanied by the Adagietto from Gustav Mahler's Fifth Symphony) dying of heart failure (other causes could be cholera, or suicide) with dark hair dye dripping down his sweaty, chalk-white face and cheeks, while lovingly watching an angelic-looking teenaged boy named Tadzio (Bjorn Andresen) on the beach who pointed out toward the horizon of the ocean - Gustav's expression mixed contentment, pain, and acceptance

(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

Previous Page Next Page