Greatest Film Scenes
and Moments



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

Alice Doesn't Live Here Anymore (1974)

In Martin Scorsese's dramatic film about female self-actualization that ultimately became a popular TV comedy series titled Alice:

  • the surrealistic Wizard of Oz prologue
  • the scene of recently-widowed, quietly-despairing, mid-30s New Mexico housewife Alice Hyatt (Oscar-winning Ellen Burstyn) in a hotel room in transit through the Southwest to California to find work - which she ultimately found in a Tucson, Arizona diner (Mel's Diner), with her precocious, complaining, often-bratty, "whining" young son Tommy (Alfred Lutter)
  • Alice's demand that Tommy write down his "problems" including things that were wrong with his life ("all the bad things")
  • the scenes with fellow waitresses: loopy Vera (Valerie Curtin) and foul-mouthed Flo (Oscar-nominated Diane Ladd), especially a scene of Flo and Ellen sunbathing: ("If you bend over, you'll get more tips") and also their talk in a toilet stall

Alice in Wonderland (1951)

In the animated Disney classic:

  • The White Rabbit's (voice of Bill Thompson) "I'm late" song, and his comical quip, "Don't just do something, stand there!"
  • Alice's many experiences when turning large and small
  • the Mad Hatter's (voice of Ed Wynn) Tea Party and "The Unbirthday Song"
  • all the fanciful characters (Tweedledee and Tweedledum, The Walrus and the Carpenter, The Lizard with a Ladder, The Talking Flowers, The Caterpillar, The Cheshire Cat, etc.)
  • the blustery, domineering Queen of Hearts' (voice of Verna Felton) constant bellowing of "Off with their heads!"

Alien (1979)

In director Ridley Scott's atmospheric sci-fi thriller:

  • the early scene of Nostromo crew member Kane (John Hurt) being attacked by the 'face-hugging' alien as he explored the alien ship - and later the attempt to surgically remove the parasitic Alien from Kane's face, spilling an acid-like substance
  • the horrifying, bloody, gory sequence revealing the birth of the sharp-toothed baby alien from the bursting chest of Kane and its scurrying across the floor
  • the life-and-death struggle with the relentless Alien
  • the scene of the bludgeoning of Ash (Ian Holm) revealing that he was an android/robot
  • the reactivation of Ash's severed head when he warned: "You still don't understand what you're dealing with"
  • the scene of crew-member Ripley's (Sigourney Weaver) question to "Mother" (the ship's computer) and its harsh answer: "Insure return of organism for analysis. All other considerations secondary. Crew expendable"
  • the Alien's head-splitting murder of crew member Brett (Harry Dean Stanton) when he searched for the crew's cat named Jones
  • and the final scene on the shuttle craft when the sole remaining Ripley - ready for hibernation and stripped down to mini-bikini panties and T-shirt - realized the Alien was still onboard, and how she carefully donned a spacesuit and fought the creature to the death by expelling it out of the airlock and incinerating it in the ship's engine blast

Aliens (1986)

In James Cameron's action/sci-fi blockbuster sequel:

  • in a reprised role (57 years after the original film), aggressive "Rambo-like" heroine Flight Officer Lt. Ellen Ripley's (Sigourney Weaver) nightmare in the film's opening of 'giving birth' to an Alien, after being rescued by a deep-salvage team
  • the scene of gung-ho Marine Private Hudson's (Bill Paxton) realization when the drop-ship from the USS Sulaco crashes on LV-426 when trying to pick up the first group of Marine survivors from alien attack: "That's it, man. Game over, man! Game over!"
  • the mother-daughter bond formed between Ripley and orphaned Newt (Carrie Henn)
  • Ripley's confrontation with the egg-laying Alien Queen mother/monster when saving Newt, when she torched the entire egg chamber with her flamethrower
  • and then later, the showdown scene when Ripley wore a walking, powered forklift/loader in the Sulaco's hangar, and she provided protection for surrogate daughter Newt with her threat to the Alien Queen: ("Get away from her, you bitch!") and aggressive, fisticuffs bitch-slap of the gargantuan stowaway Alien Queen with the mechanical claw-arm of the contraption
  • in the exciting climax, the tense moment when Ripley's ankle was grabbed by the screaming beast as she held onto the rung of the outer airlocked hatch ladder before expelling it into outer space

All About Eve (1950)

In writer/director Joseph L. Mankiewicz' black-and-white, Best Picture-winning masterpiece - a cautionary drama about ambition and intrigue in the world of the American theater (Broadway and New York) - with barbed, sophisticated and witty dialogue in the screen play and flawless acting and direction:

  • the opening scene at an annual awards banquet for the presentation of the Sarah Siddons Award for Distinguished Achievement - to Eve Harrington (Oscar-nominated Anne Baxter); the scene was accompanied by the voice-over on an off-camera, muted voice: "And no brighter light has ever dazzled the eye than Eve Harrington. Eve. But more of Eve later, all about Eve, in fact"; shortly later, the voice described Eve as she accepted the award: "Eve. Eve the Golden Girl, the Cover Girl, the Girl Next Door, the Girl on the Moon. Time has been good to Eve. Life goes where she goes. She's the profiled, covered, revealed, reported. What she eats and what she wears and whom she knows and where she was, and when and where she's going. Eve. You all know All About Eve. What can there be to know that you don't know?"
  • the revelation of the individual behind the voice - cynical, caustic, acid-tongued New York drama critic Addison De Witt (Oscar-winning George Sanders), who then proceeded to introduce some of the film's main characters in attendance: Karen Richards (Celeste Holm), wife of playwright Lloyd Richards (Hugh Marlowe), Max Fabian (Gregory Ratoff), the theatrical producer of the play which had won the award for Eve, and famed Broadway actress Margo Channing (Oscar-nominated Bette Davis): "Margo Channing is a Star of the Theater. She made her first stage appearance, at the age of four, in Midsummer Night's Dream. She played a fairy and entered - quite unexpectedly - stark naked. She has been a Star ever since. Margo is a great Star. A true star. She never was or will be anything less or anything else"
  • the flashbacked plot, beginning with a backstage scene at a Broadway theatre of producer Max Fabian's play Aged in Wood, where mega-star Margo denounced her fans (autograph collectors): "Autograph fiends, they're not people. Those are little beasts that run around in packs like coyotes...They're nobody's fans. They're juvenile delinquent, they're mental defective, and nobody's audience. They never see a play or a movie even. They're never indoors long enough"
  • the scene of young adoring fan Eve in the alleyway next to the theatre ("the mousy one with the trench coat and a funny hat") being let in to be introduced to Margo (with unflattering cold cream on her face), and Margo's maid, friend and companion Birdie Coonan's (Thelma Ritter) negative reaction to Margo's put-on performance in Eve's presence: "When she gets like this - all of a sudden, she's playin' Hamlet's mother"
  • Eve's captivating hard-luck, melancholy tale of her life story to the dressing room audience, capped by Birdie's sarcastic comment: "What a story! Everything but the bloodhounds snappin' at her rear end"
  • Eve's staging of a welcome home (from Los Angeles) and belated birthday party ("a night to go down in history") for Margo's lover Bill Sampson (Gary Merrill), to be attended by all the leading lights of the New York theatrical world; Margo sensed Eve's conniving, and delivered her famous threat and premonition: "Fasten your seat belts, it's going to be a bumpy night"
"Fasten your seat belts, it's going to be a bumpy night"
"Miss Casswell is an actress - a graduate of the Copacabana School of Dramatic Art"
"Now go and make him happy"
  • at Margo's party, Addison De Witt's introduction of his protege/date of the moment, a bimbo date and so-called starlet-actress named Miss Casswell (Marilyn Monroe): "Miss Casswell is an actress - a graduate of the Copacabana School of Dramatic Art"; soon after, De Witt then pimped out Miss Caswell to producer Max Fabian: De Witt: "Now go and do yourself some good." Miss Casswell: "Why do they always look like unhappy rabbits?"
    De Witt: "Because that's what they are. Now go and make him happy"
  • Margo's outburst of dialogue during the party, especially directed toward Eve: "Didn't you know? We're all busy little bees, full of stings, making honey, day and night. (To Eve) Aren't we, honey?"
  • the scene of Margo's self-reflective moment about her real persona, full of weaknesses and vain insecurities about her increasing age, delivered in the back seat of a car; she described how she had been hardened and paid the price in human relationships, especially with Bill, by her successful exhibitionist career: ("The things you drop on your way up the ladder so you can move faster. You forget you'll need them again when you get back to being a woman")
  • just before Eve's opening performance after replacing Margo, De Witt's powerful scene of the denouncement and unmasking of her fraudulent duplicity - and the revelation of Eve's Machiavellian, cold-blooded, destructive plans to further her own ends, such as her efforts at seducing Bill, and entering into an "unholy alliance" with playwright Lloyd Richards: "To begin with, your name is not Eve Harrington. It's Gertrude Slescynski....San Francisco has no Shubert Theater. You've never been to San Francisco! That was a stupid lie, easy to expose, not worthy of you....You're an improbable person, Eve, and so am I. We have that in common. Also a contempt for humanity, an inability to love and be loved, insatiable ambition - and talent. We deserve each other...and you realize and you agree how completely you belong to me?"; when Eve protested that she couldn't go on stage after being devastated by his unmasking, De Witt thought otherwise: "Couldn't go on! You'll give the performance of your life"
  • and the final scene, following the Sarah Siddons awards banquet, of one of Eve's star-struck fans Phoebe (Barbara Bates) (another budding "Eve"), clutching Eve's award while bowing in front of a large four-mirrored cheval - she stepped forward and bowed, again and again and again, acknowledging imaginary applause from an audience during a curtain call

All Quiet On The Western Front (1930)

In this Best Picture-winning war film from award-winning director Lewis Milestone:

  • the realistic battle sequences of World War I including rows of infantrymen instantaneously being mowed down by machine gun fire as the camera moved sideways across them and showed the remains of one unfortunate soldier (his hands grabbed barbed wire)
  • the scene of soldier Paul (Lew Ayres) stabbing a Frenchman in a panic and being trapped in the bomb crater with the slowly dying man and attempting to give him water to drink
  • the scene of Paul's return to his school to tell the students of his disillusionment with war
  • the death scene of experienced platoon leader Katczinsky (Louis Wolheim) when Paul discovered that his friend was dead
  • and Paul's death to the sound of the whine of a French sniper's bullet as his hand reached out to touch a beautiful butterfly from the shell-hole trench
  • also the film's final image of ghostly soldiers marching away, while superimposed over a dark, battle-scarred hillside covered with a sea of white crosses

All That Heaven Allows (1955)

In Douglas Sirk's melodramatic, glossy Technicolored soap opera about a doomed May-December relationship in the Eisenhower Era of the mid-1950s, in suburban New England:

  • the opening, symbolic, high-angle camera shot under the opening title credits - a piercing, stiff spire of a New England church rising above the town
  • the gossip-mongering, scandalizing subject among the 'ideal' Americana town's snobby and judgmental upper crust: the troubling relationship between fortyish, middle-class, affluent widow Cary Scott (Jane Wyman) and her handsome, younger back-to-nature, non-conformist gardener Ron Kirby (Rock Hudson)
  • the decisive scene with Ron when Cary suggested that they suspend their love affair due to repressive community pressure and ostracizing (about her socially unacceptable choice): "Ron, we're gonna have to wait to get married. Well... to give the children a chance to get used to the idea. They'll feel differently when they know you better....I'm just asking you to be patient. It's only a question of time....Right now everybody's talking about us - we're a local sensation. And like Sara said, if the people get used to seeing us together, then maybe they'll accept us...It's only for a little while, and it would make things so much easier" - but Ron was resistant to her suggestion about having their lives ruled by others: "I'm sorry Cary, but it wouldn't work. I can't live that way. You knew that from the beginning....God knows I love you, but I won't let Ned nor Kay nor anyone else run our lives. Cary, don't you see we could never be happy if we did?... Cary, you're the one that made it a question of choosing. So you're the one that'll have to choose" - she made a quick decision: "All right. It's all over"
  • the earlier discussion by Cary's self-centered daughter Kay (Gloria Talbott) of the "old Egyptian custom" of entombing widows: "Of walling up the widow alive in the funeral chamber of her dead husband along with all of his other possessions. The theory being that she was a possession too, so she was supposed to journey into death with him. And the community saw to it that she did. Course that doesn't happen anymore" - although Cary retorted: "Doesn't it? Well, perhaps not in Egypt" - and later, the paired metaphoric shot of Cary appearing isolated, 'entombed' and trapped inside her house as she looked out of her window at Chrismas festivities
  • shortly later, the scene of Cary being presented with a Christmas gift from her grown college-aged children, Ned (William Reynolds) and Kay - an ironic consolation prize and substitute for having lost the love of her life, and to keep her company: a brand new table-model TV set (adorned with red ribbons) - it was chosen to keep her company - she saw her chilling, glassy reflection framed (enclosed and trapped) on the TV screen as the salesman pointed at it and told her: "All you have to do is turn that dial and you have all the company you want right there on the screen - drama, comedy, life's parade at your fingertips"

All That Jazz (1979)

In director/co-writer Bob Fosse's kinetic musical:

  • the cleverly-edited opening sequence of New York choreographer-director Joe Gideon's (Roy Scheider) waking in the morning (with dosages of dexedrine, alka-seltzer, eyedrops, etc.) and the repetition of his rousing stock phrase in front of the mirror: "It's showtime, folks!"
  • the full-stage 'cattle-call' audition dance number set to George Benson's "On Broadway"
  • the erotic, sweaty and sensual Air-Rotica rehearsal scene with the bizarre number "Take Off With Us" featuring sexy and half-naked Sandahl Bergman ("Going all the way, Won't you climb aboard?")
  • the impromptu top hat song-and-dance act "Everything Old Is New Again" performed in Joe's apartment by his girlfriend/lover Kate Jagger (Ann Reinking, Fosse's real-life lover essentially playing herself) and pre-teen daughter Michelle Gideon (Erzsebet Foldi)
  • the heart attack scene (with an angel of Death appearance by flirtatious Angelique (Jessica Lange) while Gideon was preparing for the theatre production of Chicago)
  • the spectacular finale with its wild, imaginatively-surreal hallucinations that were experienced by drug-addicted Gideon as he underwent open-heart cardiac surgery with chorus girls dancing around his bed, while he and television host O'Connor Flood (Ben Vereen) sang "Bye Bye Life" to a heavenly studio audience in a dance-musical number

All The King's Men (1949)

In director/writer Robert Rossen's Best Picture-winning political drama:

  • Willie Stark's (Oscar-winning Broderick Crawford) no-notes rousing, half-drunken campaign speech for governor at the Upton Fairgrounds barbecue: ("Now, listen to me, you hicks...")
  • his assassination scene on the steps of the state capital building when shot twice by the embittered and vengeful young Dr. Stanton, the nephew of the judge whose career Willie had ruined
  • Willie's last words: ("Could have been whole world - Willie Stark. The whole world - Willie Stark. Why does he do it to me - Willie Stark? Why?")

All the President's Men (1976)

In Alan Pakula's Best Picture-nominated political film:

  • the opening police call ("Car 727. Car 727. Open door at the Watergate office building. Possible burglary")
  • the statement by Deep Throat - delivered in the shadows: "Just follow the money"
  • the night scene at editor Ben Bradlee's (Oscar-winning Jason Robards, Jr.) house when Washington Post reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) divulged the news from Deep Throat (Hal Holbrook) that "everyone is involved"
  • Bradlee's final words of advice to his reporters: "Nothing's riding on this except the, uh, First Amendment, freedom of the press, and maybe the future of the country. Not that any of that matters, but if you guys f--k up again, I'm going to get mad. Goodnight" - and his go-ahead for his reporters to print their story
  • the opening and then compelling final scene in which they typed (a closeup of typewriter keys banging on paper) in their news office while in the foreground - a TV broadcast Nixon's 1972 second inauguration, 21-gun salute and oath of office - and then another teletype report of August 9, 1974 - "NIXON RESIGNS..."

Almost Famous (2000)

In director/writer Cameron Crowe's semi-autobiographical film:

  • the uplifting scene of the Stillwater band (mythical) on their tour bus singing along to Elton John's "Tiny Dancer" playing on the radio
  • the scene on Stillwater's chartered airplane when lead guitarist Russell Hammond (Billy Crudup) began singing Buddy Holly's "Peggy Sue" when the aircraft hit heavy turbulence

Alphaville (1965, Fr./It.) (aka Alphaville, Une Etrange Aventure De Lemmy Caution)

In French New Wave director Jean Luc-Godard's post-apocalyptic, science-fiction film (with gangster and expressionistic film noir characteristics) - a recreation of the Orpheus and Eurydice myth, and also George Orwell's novel 1984, with themes of dehumanization, political and totalitarian repression and artificial intelligence, and a precursor to Logan's Run (1976) and Blade Runner (1982):

  • the plot: American, chisel-faced trench-coated gumshoe detective and secret agent Lemmy Caution (Eddie Constantine) traveled inter-galactically from the Outlands (in his white Ford Galaxie - actually a Ford Mustang) to the automated city of Alphaville - the capital of a dystopic, totalitarian state on the futuristic inter-galactic planet; Caution posed as journalist Ivan Johnson from the Figaro-Pravda newspaper
  • the sign on the suburban outskirts of Alphaville as Caution drove in: "Silence. Logic. Security. Prudence"
  • Alphaville was led by an almost-human supercomputer called Alpha-60 (with a synthetic droning voice provided by director Godard with a dry, slow, gutteral or raspy sound); it was described as such by fellow Agent X21 Henry Dickson (Akim Tamirof) under a bare light bulb: "A giant computer, like they used to have in big business...Alpha-60 is one hundred and fifty light years more powerful"; the computer had a devastating effect on the dehumanized, tattoo-identified inhabitants - they were completely complacent and apathetic, due to mind-altering drugs and the outlawing of emotions, love, crying, and conscience; "Their ideal here, in Alphaville is a technocracy, like that of termites and ants...Probably one hundred and fifty light years ago... two hundred. There were artists in the ant society. Artists, novelists, musicians, painters. Today, no more"
  • Lemmy Caution's mission: to bring back and/or assassinate evil scientist Professor Von Braun (Howard Vernon) (aka Leonard Nosferatu) who was responsible for creating the fascist Alpha-60 computer that ruled the state-run technocracy
  • the often-flashing image of two equations: E = mc² and E = hf - symbols of the absolute science that served as the foundation of Alphaville, and the ever-recurring circular imagery (i.e., the staircase, Caution's hotel suite, the city of Paris itself, and Alpha-60's own quote: "Time is like a circle which turns endlessly")
  • the absurdist execution sequence - a capital punishment ceremony (designed as a sporting event) to eliminate condemned individuals because "they behaved illogically"; for the crime of expressing grief ("He wept when his wife died"), a male prisoner was executed when shot on a diving board above a large pool; afterwards, four predatory female models with knives jumped in or swam toward the body to stab it, while some performed synchronized-swimming acrobatics
  • the interview sequence, when newcomer Lemmy was interrogated by Alpha-60, with rotating microphones around his head (and views of a blinking light and a rotating fan behind a metal grating); during the harsh questioning when the computer heard Lemmy respond: "In my opinion, in love there is no mystery," it accused him of lying: "You are not telling the truth...You are hiding certain things, but I do not know yet what they are"
  • the lethal female seductress (prostitute) characters, one of whom (Valérie Boisgel) introduced herself as: "I'm a seductress, third class"; when he looked behind her hair on her neck, he discovered a tattoo marking
  • the confrontation between Lemmy and the Alpha-60 computer, when he asked it to find the answer to his riddle: "Something which never changes, day or night. The past represents its future, it advances in a straight line, yet it ends by coming full circle" - the computer answered: "Several of my circuits... ...are looking for the solution to your riddle. I will find it"; Caution then responded: "If you find it, you will destroy yourself simultaneously, because you will become my kin, my brother"; he was able to destroy the computer with his poetic question
  • the use of reverse negatives in the climax of the film (symbolizing the life-changing transformation or reversal from the oppressive conditions of Alphaville)
  • the sequence of the escape of Caution and lover Natacha Von Braun (Anna Karina) from Alphaville; in the ending sequence, Lemmy and Natacha drove away to escape to freedom from Alphaville: (Lemmy's voice-over) "Not all the inhabitants died, but all were stricken. Those not asphyxiated by the absence of light circled crazily, like ants. It was 23:15, Oceanic Time when Natacha and I left Alphaville by the peripheral roads. A night drive across inter-sidereal space, and we'd be home"; he cautioned her to not look or go back (similar to the Biblical story of Lot and his wife); and he suggested that the inhabitants of Alphaville might recover and eventually "be happy"

  • The Film's Ending Words

  • Natacha's pleadings: "You're looking at me with an odd face...You're waiting for me to say something...I don't know what to say. They're words I don't know. I wasn't taught them. Help me"; he responded that she must find the words on her own: "Impossible, Princess. You must get there yourself. Then you'll be saved. If you don't, you're as lost as the dead of Alphaville"; the film closed with Natacha's halting, unfamiliar three saving words expressed to Lemmy: "I... you... love. I love you" - and a smile came over her face

Amadeus (1984)

In Oscar-winning director Milos Forman's opulent, historical epic/costume drama based on Peter Shaffer's extravagant 1980 Broadway play:

  • the opening suicide scene in which envious Austrian court composer Antonio Salieri (Oscar-winner F. Murray Abraham) attempted suicide - driven by guilt - by slashing his wrists when believing that he had killed rival composer Wolfgang Amadeus Mozart (Oscar nominee Tom Hulce)
  • in flashback, Salieri's memory of being awed by the child prodigy Mozart when he first examined Mozart's sheet music for Serenade for Thirteen Wind Instruments and was amazed by its genius: ("Extraordinary! On the page it looked nothing! The beginning simple, almost comic. Just a pulse. Bassoons, basset horns - like a rusty squeezebox. And then, suddenly, high above it, an oboe. A single note, hanging there, unwavering. Until a clarinet took it over, sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I had never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God")
  • the dining room sequence of Salieri's voyeuristic watching (while hiding) of the boisterous couple: the amorous, crude and bawdy, lecherous, hyena-laughing, giggling childish musical prodigy and Constanze (Elizabeth Berridge); he saw Mozart grab Constanze and drag her under the table with him; Mozart playfully spoke with her: "Ssik, Kiss, Ym, my, ssa. Kiss my ass"; he seriously proposed marriage to her ("Em-yrram!"), but when she refused, he replied that he loved her ("Uoy-evol-I-tub"); when he then told her to eat his shit ("Tihs-ym-tae") while kissing her bounteous cleavage, she called him a "filthy fiend"; it was unnerving for Salieri to hear the supposedly 'dignified' and virtuous musician drunkenly using lewd scatological humor while chasing after Constanze
  • Mozart's sudden transformation from boor to artistic genius at the piano (he later stated: "I am a vulgar man, but I assure you, my music is not")
  • Mozart's constant embarrassment of Salieri (i.e., improving a march that Salieri had composed, literally farting in Salieri's face, seducing Salieri's object of lust, etc.)
  • Salieri's bitter rejection of God as he growled sarcastically: "Graci, maestro" to a crucifix -- out of jealousy at Mozart (because God had given a "creature" such talent and left him only as a self-proclaimed "mediocrity"), and his plan to kill Mozart by discrediting him
  • the characters of flippant, tone-deaf Emperor Joseph II (Jeffrey Jones) (and his frequent utterance: "Well, there it is"), and Mozart's somber, critical father Leopold (Roy Dotrice) - and his stranglehold on Mozart's emotions and sanity even after his death (inspiring Mozart to compose Don Giovanni)
  • Salieri's appropriation of Leopold's identity (appearing with a chilling black, frowning mask that Leopold had worn during a costume party)
  • Mozart's lingering death in bed of liver disease while Salieri took down musical dictation as Mozart composed his final Requiem Mass
  • Mozart's unceremonious corpse-dumping in a mass pauper's grave
  • the final, downbeat ending in which a half-insane Salieri proclaimed himself as the King of Mediocrities and "absolves" his fellow asylum patients: ("Mediocrities everywhere... I absolve you... I absolve you... I absolve you... I absolve you... I absolve you all...!")

Amélie (2001, Fr.) (aka Le Fabuleux Destin d'Amélie Poulain)

In the whimsical charming French film from director Jean-Pierre Jeunet:

  • the film's dizzying, hilarious, fast-paced, quick-cut introduction surveying the title character Amelie's (Audrey Tautou) life from actual conception, through her mother's growing pregnancy (in time-lapse), to adulthood
  • the scene of Amelie's cherubic-faced discovery of an old tin box, hidden in her apartment bathroom's wall behind a dislodged tile, that was filled with a schoolboy's long-forgotten toys, treasures, and mementos from 40 years earlier: ("Only the discoverer of Tutankhamen's tomb would know how she felt upon finding this treasure hidden by a little boy 40 years earlier")
  • Amelie's epiphany ("a dazzling idea") while lying in bed that she would return the box to its owner, do good deeds, help others find true happiness, and straighten out their lives: ("Wherever he was, she would find the box's owner and give him back his treasure. If he was touched, she'd become a regular do-gooder. If not, too bad")
  • the moment that an embarrassed Amelie literally melted off the screen onto the floor
Amelie's Three Kisses - A Kissing Game
  • the scene of Amelie's tender greeting of quirky true love Nino Quincampoix (Mathieu Kassovitz) in her apartment, first kissing him on one cheek and then the other, and on his left eye - after they stared awkwardly at each other for a few moments; then, she pointed to her lips and he gave her reciprocal kisses on her face

American Beauty (1999)

In Sam Mendes' Academy Award-winning Best Picture:

  • Lester Burnham's (Oscar-winning Kevin Spacey) opening voice-over as he masturbated in the shower: "My name is Lester Burnham. I'm 42 years-old. In less than a year, I'll be dead. Of course I don't know that yet, and in a way, I am dead already...Look at me, jerking off in the shower...This will be the high point of my day; it's all downhill from here"
  • the stark dinner table scene in which Lester non-chalantly told his family he had quit his job: ("...and then I told my boss to go f--k himself, and then I blackmailed him for almost $60,000. Pass the asparagus")
  • the digitally-created fresh rose petals - fantasies in the mind of Lester - that often covered the seductive image of high school teen blonde vamp Angela Hayes (Mena Suvari)
  • the videotaped image (made by next-door drug pusher Ricky Fitts (Wes Bentley)) of an empty plastic bag swirling around and around in the wind in an empty parking lot and his revelation: ("And that's the day I knew there was this entire life behind things, and... this incredibly benevolent force, that wanted me to know there was no reason to be afraid, ever")
  • the scene at the fast-food burger joint: ("Smile! You're at Mr. Smiley's") when Lester served his adulterous wife Carolyn (Annette Bening) when she was with her trysting partner Buddy 'The King' Kane (Peter Gallagher)
  • the actual seduction scene of the vulnerable, seemingly-slutty and surprisingly virginal Angela, when Lester opened her blouse and removed her pants, but it was aborted when she confessed: "This is my first time...I'm sorry. I still want to do it"
  • the shocking ending in which Lester was shot in the back of the head by homosexual neighbor - retired Marine Col. Fitts (Chris Cooper)

American Graffiti (1973)

In director George Lucas' homage to his teenage years:

  • the recreation of the feel, landscape, and sounds of the early 60s and small-town America, especially the vintage cars and dragsters, drive-ins (Mel's), an almost non-stop rock soundtrack, teenage activities (hot rod cruisin' and makin' out), and characteristic hair and clothing styles
  • the moment at a stoplight when a pretty blonde driver, a mysterious dream girl (unknown actress Suzanne Somers) in a white '56 Thunderbird mouthed the words "I Love You" behind her closed car window to enthralled Curtis Henderson (Richard Dreyfuss) adjacent to her on the strip. He quickly rolled down his window and asked as she pulled away: "What did you say? Wait! What did you say? What did you say?" He then begged driver friend Steve (Ron Howard) and his girlfriend Laurie (Cindy Williams) to follow the T-Bird: ("I just saw a vision, I saw a goddess. Come on, you gotta catch up to her...Laurie, I'm tellin' you, this was the most perfect, dazzling creature I've ever seen...Come on, she spoke to me. She spoke to me right through the window. I think she said: 'I love you.' That means nothing to you people? You have no romance, no soul? She's someone wants me, someone roaming the streets wants me. Will ya turn the corner?")

(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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