Greatest Film Scenes
and Moments



F1

 





F
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

The Fabulous Baker Boys (1989)

In Steve Kloves' directorial debut film:

  • the New Year's Eve show scene in which high-heeled, sensuous ex-hooker/escort Susie Diamond (Michelle Pfeiffer), wearing a high-slit, slinky red dress, sang "Makin' Whoopee"; she slithered atop a slippery piano top (similar to Jessica Rabbit's sexy performance of "Why Don't You Do Right?" in Who Framed Roger Rabbit (1988)) as piano lounge singer Jack Baker (Jeff Bridges) accompanied her and the camera executed a 360-degree circling around her

A Face in the Crowd (1957)

In Elia Kazan's powerful political film about a demagogue:

  • the early scenes in which radio reporter/producer Marcia Jeffries (Patricia Neal) discovered and promoted, on a Memphis TV show, the musical talent of smiling, cornpone-spouting, back country Arkansas hobo Larry "Lonesome" Rhodes (Andy Griffith in his film debut), who was brought from down-and-out drunkenness and obscurity to fame, after she first heard him sing: "Free Man in the Morning" in a rural Arkansas jail-cell
  • Rhodes' infatuation and elopement with a teenaged, 17 year-old baton twirler Betty Lou Fleckum (Lee Remick in her screen debut)
  • Rhodes' disturbing and arrogant power-trip confession to Marcia that his audience would sheepishly follow him: ("This old country's just like my flock of sheep...Rednecks, crackers, hillbillies, houseprouds, shut-ins, pea-pickers, everybody that's got to jump when somebody else blows the whistle...They're mine, I own 'em, they think like I do. Or they're more stupid than I am, so I've got to think for 'em. Marcia, you just wait and see, I'm gonna be the power behind the president, and you'll be the power behind me. You made me, Marcia, you made me. I always say that. I owe it all to you. I owe it all to you. All to you")
  • the shocking scene in which the fraudulent megalomaniac and demagogue celebrity concluded his national TV show, thinking that his microphone was off, by expressing his utter contempt for his mass audience by personally and nastily insulting them as stupid morons: ("...To those morons out there? Shucks, I can take chicken fertilizer and sell it to them as caviar. I can make 'em eat dog food and think it’s steak. Sure, I've got 'em like this. You know what the public's like, a cage full of guinea pigs. Good night, you stupid idiots. Good night, you miserable slobs. They're a lot of trained seals. I toss 'em a dead fish and they'll flap their flippers")
  • the scene of rabble-rouser Rhodes, who was drunk and delusional in his penthouse, where he found an empty room attended only by black butlers and servants (whom he begged to love him); he began to realize that he was suffering a major downfall (although he claimed: "I'll have them eating out of my hands again, just like old times" and "I'm not through yet"); on the telephone speaking to Marcia in the TV studio (and not knowing that she was the one who kept his microphone on), he threatened to suicidally jump from his penthouse, and she encouraged him - with a scream of desperate hurt at being betrayed: "Jump! Jump! Get out of my life! Get out of everybody's life - jump! Jump! Jump!"
  • the devastating conclusion in which staff writer Mel Miller (Walter Matthau) predicted that Rhodes would have a comeback, of sorts: ("Suppose I tell you exactly what's gonna happen to you? You're gonna be back on television, only it won't be quite the same as it was before. There'll be a reasonable cooling-off period, and then somebody will say 'Why don't we try him again in an inexpensive format? People's memories aren't too long.' And you know, in a way, he'd be right. Some of the people forget, and some of them won't. Oh, you'll have a show. Maybe not the best hour, or the top ten. Maybe not even in the top 35. But you'll have a show, it just won't be quite the same as it was before. Then a couple of new fellas will come along and pretty soon, a lot of your fans will be flocking around them. And then, one day, someone will ask 'Whatever happened to what's his name? You know, the one who was so big, the number one fella a couple of years ago. He was famous, how can we forget a name like that? Oh, by the way, have you seen Barry Mills? I think he's the greatest thing since Will Rogers.'")
  • in the film's final moments, Rhodes pitifully called out to Marcia on the street below as she looked up, when she openly admitted with Mel that they had become 'wise to him': ("Come back, Marcia! Marcia! Come back! Don't leave me! Don't leave me! Don't leave me! Marcia! Don't leave me! Come back! Come back! Come back!")








The Face of Fu Manchu (1965, UK/W.Germ.)

In director Don Sharp's Bond-like action-crime drama (the best of the newest series of films), based upon pulp writer Sax Rohmer's novel about the fiendish Chinese villain - portrayed here and four more times by Christopher Lee from 1966 to 1969 [Note: Earlier actors who played the title character included Warner Oland (1929-1931), Boris Karloff (1932), and Henry Brandon in a 1940 serial]:

  • the opening titles sequence: in the early 1900s in British-ruled China, the courtyard execution of arch criminal Fu Manchu (Christopher Lee) by a face-up beheading, witnessed by his foreign captor and rival Sir Dennis Nayland Smith (Nigel Green); as a drum roll and ominous drum-beat signaled the slow entry of the prisoner, the sentence was read aloud by a robed Chinese official: "In the name of Imperial China, your presence is commanded here to witness an execution. Let the prisoner be brought forward. The prisoner before us - you have been tried and condemned of crimes almost without number. If it had not been for the tireless efforts of the foreigner who is with us today, you might still have escaped our vigilance. Your efforts to build an empire of crime have today brought you to the end you so richly deserve. Let all who envy your thirst for power take note of your fate. Executioner - in the name of Imperial China, death to Fu Manchu!"; thunder and lightning struck as the executioner readied himself to chop off Fu Manchu's head with one swift stroke of a long bladed sword
  • the "vivid dream" later related by Fu Manchu's determined macho nemesis - Scotland Yard Ass't Commissioner Smith - who suspected that Fu Manchu, part of the ongoing crime wave of the "Yellow Peril" in England was still alive - [Note: Fu Manchu had faked his death (with a hypnotized double), and was living in a throne-room lair twenty feet under the Thames River within London's intricate tunnels system]
  • the night-time kidnapping of German chemistry Professor Ernst Muller (Walter Rilla) and the killing of his driver-assistant Mathius (Jim Norton) in a church cemetery by Fu Manchu's Burmese Dacoit assassins - Kali-worshippers wearing red ceremonial Tibetan head bandanas or prayer scarves that functioned as strangulation devices; Muller was abducted because he knew how to distill a poisonous gas from the rare seeds of the "black hill poppy" harvested in Tibet
  • Fu Manchu's plot, aided by his evil daughter Lin Tang (Tsai Chin) and corrupt shipping exporter/importer Hanumon (Peter Mossbacher), was to release the poisonous gas to take over the world by creating "universal death"; after Fu Manchu kidnapped his daughter Maria (Karin Dor), Muller was blackmailed and forced to comply with all of Fu Manchu's demands
  • the girl-on-girl torture and murder sequence of the sadistic Lin Tang preparing to whip the bare back of a disloyal and traitorous female; the maniacal and sinister Fu Manchu restrained her ("For our purposes, I would prefer her body unmarked"); he ordered the victim to be untied and placed in a glass chamber that he flooded with water from the Thames River above - mercilessly drowning her
  • the scene of the extreme hypnotizing of Professor Gaskell (Harry Brogan), who had the written formula for creating the toxic gas; Fu Manchu appeared before him and commanded - with an upraised hand - for ten seconds: "Look at me. (Pause) Your will is subject now to mine. You will do only what I command you to do. Stand up. You will strike your hand against the wall, but you will feel no pain. You will obey me now, until death"
  • the scene of Fu Manchu's interrupted BBC-news radio announcement about his diabolical, tyrannical objective to institute a reign of terror - a "demonstration of power": "Attention! Attention! This is Fu Manchu. Stand by for an important message. I repeat, this is Fu Manchu. In a few days time, I shall speak again to this country and through it to the entire world. What I tell you to do then must be done immediately. Anyone who disobeys will perish. To show you that this is no idle threat, I give you this warning. Remember Fleetwick. I repeat - Remember Fleetwick. That is all"
  • the eerie and mysterious sequence of the gassing and airborne extermination of the entire seacoast Essex town of Fleetwick and its 3,000 inhabitants, after which Smith entered the area and found it littered with corpses, and Fu Manchu's additional broadcast: "Attention, this is Fu Manchu. This is Fu Manchu. Remember Fleetwick. What I have done there I can do again. You know now that I must be obeyed, that I am all-powerful. In two more days, I shall give my commands. They will be carried out at once or ten thousand shall die. Ten thousand. And one particular man. That is all"
  • the scene of the demise of Professor Gaskell who had complied with all of Fu Manchu's demands, and requested: "I'm tired, I want to sleep" - he was handed a dagger and instructed to kill himself: "My will is yours, even unto death" - and he thrust it into his heart
  • the concluding sequences: the discovery of the location of Fu Manchu's underground tunnel headquarters under the Thames River; when it was flooded, he and his daughter fled and hid out in a Tibetan monastery-palace (to resupply himself with the seeds of the "holy flower" - the poppy); a nitroglycerin explosion of the building was set by Smith and associates (who had infiltrated the compound disguised as yellow-hooded priests) - it detonated as they watched on horseback from a distance; the blast presumably killed the villain, although Fu Manchu's echoing voice-over was heard beneath a plume of black smoke: "The world shall hear from me again. The world shall hear from me again"(the film's final line of dialogue)














Faces (1968)

In writer/director John Cassavetes' stark and grainy looking, amateurish, ragged marriage drama (made with a hand-held camera in 16mm) about infidelity - a highly-influential, low-budget independent cinema verite film; it was an emotionally-intense work about all the resultant and tragic repercussions of a disintegrating, dead-end 14 year marriage and the struggle to find love:

  • the plot was told as an improvisational character study and "film within a film" with a highly individualistic style (including unscripted and often inaudible dialogue during conversations, and a seemingly-endless series of amorphous scenes with unpredictable climaxes)
  • the extended sequence of divorcing, middle-aged and drunken Richard "Dickie" Forst (John Marley) and his friend Freddie (Fred Draper) who were carousing with younger, high-class prostitute Jeannie Rapp (Gena Rowlands - Cassavetes' wife), the lead character, who they had just met in a bar; at her house after Dickie was dancing and singing "I Dream of Jeannie (With the Light Brown Hair)" with her, Freddie suddenly and jealously asked Jeannie how much she charged for a trick: "By the way, Jeannie, whaddya charge?"; his question immediately spoiled the mood, and although Jeannie went over and hugged him ("Oh no, Freddie, don't spoil it, Freddie, please"), he defended himself: "Spoil what? Honey, I'm game for anything. I just wanna know how much you charge. It's legitimate, isn't it? I know I have to pay. I'm not too schooled in these thngs, but I know that somewhere along the line, your little hand is gonna find its way to my pocket. You're shocked, aren't ya, old Dickie, old pal? What do you think she is? You think she's some clean towel that's never been used? My God, Dickie, you think you don't pay? How many times a week does Maria ask you for some money? Money, Charlie, is a necessity, and don't you think that you don't work for it and pay for it. My God, what, what is this? He thinks I'm insulting you. I'm offering you. Hell, look, what's the matter? If I went to one of those fancy restaurants, I'd probably tip the headwaiter, the waiter, the busboy, and a hundred bucks goes flyin' down the drain -- and I couldn't have any more fun than I could with Jeannie here"; Dickie became incensed, but he was calmed down by Jeannie, who also called out the "very sad" Freddie for being crude: "... you're a man who doesn't say what you mean very well. What you meant was this was a wonderful evening, and you enjoy my house and you like me. But like you said, you're crude"; Freddie apologized and said he was "only trying to be funny" - and soon left
  • meanwhile during Dickie's affair with escort Jeannie, his divorced wife Maria Forst (Lynn Carlin) was having a girls' night out at the Whiskey A Go-Go with three of her married, discontented female friends, where the group was seduced by uninhibited, flirtatious playboy-hustler Chet (Seymour Cassel) from Detroit; after they left the go-go club with Chet, they returned to Maria's home
  • Chet's bold assertions during an alcohol-fueled night with the nervously-laughing women at the Forst home that his basic goal in life was sex: "You have a few belts and go up to some chick's pad and make it, baby...Just make it, baby. You out-and-out lay down and..."
  • later, as Chet encouraged one of Maria's uptight friends, Louise Draper (Joanne Moore Jordan), to dance with him, he suddenly stated: "I think we're makin' fools of ourselves...I'm not criticizing; I'm just saying"; Louise took immediate personal offense: "I'm making a fool of myself?...Well, who are you to criticize me?...Well, you don't have to tell me I'm making a fool of myself. Look, I know how to dance, my way. I don't need you to tell me about it. I come from a musical background. I take care of a family of five. I have a college degree, and I don't need you to tell me I'm making a fool of myself...Don't touch me!" - and after slapping Chet, she angrily departed
  • in the next powerful sequence, Maria's pathetic, drunken and desperate, fat-faced, married friend Florence (Dorothy Gulliver) delivered a statement to Maria that dancing made her feel young: ("Oh, come on. Don't be tired. The evening's young, you know. You know, these dances, these wild crazy dances -- I think they've succeeded where science failed. 'Cause you know, I can go to a beauty parlor and sit there for hours having my hair done and my nails polished, but I don't feel any younger. I might look it. These dances, these wild crazy dances -- they do something to me inside. Well, to hell with Louie. Because, you know, one of these days I'm gonna croak. And I'm gonna flop down on the ground, and some goddamn preacher's gonna preach a goddamn sermon over my goddamn body!"); she ran over to Chet, flung herself at him, asked him for a dance, and when she fell on top of him and kept slobbering over him, she finally asked: "Would you kiss me?", he obligingly kissed her full on the mouth; afterwards, Chet agreed to drive Florence home, using Maria's car
Florence and Chet's Kiss
  • the tragic repercussions of the characters -- Maria had a one-night sexual stand with Chet, but afterwards the next morning, he found her on the floor of the bathroom where she had taken an overdose of sleeping pills; after calling the emergency squad, he attempted to keep her awake: "You gotta stay awake. Please. I don't want you to die. Please, lady. You gotta stay awake"; after he was able to revive her with some slaps, he apologized: "I didn't want to hit ya, but don't go to sleep on me. Oh! Come on, now. Cry. That's it. That's life, honey. Tears, tears of happiness, man. Just do it. Come on, now. Ohh...I caused you a lot of pain and a lot of grief and, and I almost killed ya. And I prayed, man. Oh, God, I prayed to God. I said, 'God, please, dear God, don't let anything happen to her, 'cause I love her so much, and I'll do anything you say, God.' And, man, I don't even believe in him, you know"
  • in the final devastating sequence, Dickie returned home from Jeannie - forcing Chet to flee out the window and onto the roof; Dickie turned to Maria and judged her with insults about being an adulteress: "I thought you just had problems. That's wonderful. That's, uh, something new. A noble adulteress...Rejected for the thousandth time in 14 years...All I have to do is find that 10-year-old rapist and kill him...You don't need me, you don't need any man...You get laid once and everything is solved! Get all the soldiers in Vietnam laid and the whole Middle East problem is solved! You want violence, huh? You want me to be violent? Is that it? You want me to slap you across the face every time you open your mouth?" - she responded by slapping him twice: "I hate my life. I just don't love you!"; as they sat in numbed silence at the top and bottom of the hallway staircase, they both smoked a cigarette, shared a lighter, and started coughing - the film ended with the ironic, accompanying Charlie Smalls song: Never Felt Like This Before






Dickie, Jeannie, and Freddie

Chet

Louise

Florence


Maria's Overdose with Chet



Maria and Dickie Face Off

Fahrenheit 451 (1966, UK)

In Francois Truffaut's first color film, and his first (and only) English-language film, with a haunting thematic score by Bernard Herrmann - it was a screen adaptation of Ray Bradbury's classic 1953 science fiction book, a cautionary tale foretelling an ominous, dystopic future, with rows of identical, manicured suburban houses and obedient, conformist middle-class occupants:

  • the inventive opening credits sequence in which the titles were spoken, not written, by the off-screen voice-over of Alex Scott; on the screen during the sequence, 17 pastel-colored views of TV antennas were viewed, each one with a rapid zoom in (the first three are pictured below); the last four views of the 17 added a backdrop of houses (with antennas) set amongst trees or forests
The First Three 'Title Screens' (without text)
  • the main protagonist: Guy Montag (Oskar Werner), a system-enslaved Fireman, living in an oppressive and futuristic world where books and reading materials were banned and destroyed by groups of black-uniformed, helmeted Firemen with flamethrowers (alluding to the Nazis), and book readers were arrested
  • the striking emergence of a bright red firetruck from the firehouse's bright red entrance, with a wailing siren careening through the drab streets to a fire-burning; Firemen could both slide down and up a pole inside the firehouse (using a reversed-film special-effect trick)
  • throughout the film, close-ups of offending books included: Othello, Alice's Adventures in Wonderland & Through the Looking Glass, Vanity Fair, Madame Bovary, Mein Kampf, The Brothers Karamazov, Lolita, No Orchids for Miss Blandish, Justine, Jane Eyre, Rebus, The Catcher in the Rye, Don Juan, The Mystery of Jack the Ripper, Fathers and Sons, The Thief's Journal, A History of Torture, Tom Sawyer, and many more
  • Montag's marriage to soap-opera TV addict and pill-popping, long-haired drug-user Linda (Julie Christie), perpetually sedated; the satirical view of mind-numbing, participatory (or interactive) "The Family" TV shows (viewed on a "wall screen") that she often watched; the show's hosts personally asked questions of viewers and signaled input from audience "cousins" with a beeping red light
  • the clever image of the society's "newspaper" composed of wordless comic strips
  • the shocking scene of an elderly "Book Lady" (Bee Duffell) defending her decision to stand by her books: ("These books were alive; they spoke to me!"); she lit a match and set everything ablaze around her when she refused to have her books burned - she stood in the middle of the pyre and turned in circles as she was martyred by fire (with a beatific smile on her face)
  • the dual role of Julie Christie, as short-haired Clarisse - Montag's 20 year-old neighboring schoolteacher who was also an underground revolutionary, one of the "Book People" in favor of preserving books; upon first meeting her, Montag's description of the meaning of his tag: "Fahrenheit 451" -- "Fahrenheit 451 is the temperature at which book paper catches fire and starts to burn"; he also added his reason to work: "Well, it's a job just like any other. Good work with lots of variety. Monday, we burn Miller; Tuesday, Tolstoy; Wednesday, Walt Whitman; Friday, Faulkner; and Saturday and Sunday, Schopenhauer and Sartre. We burn them to ashes and then burn the ashes. That's our official motto"
  • with Clarisse's encouragement, the self-doubting, discontented and curious Montag's decision to read some of the illegal books he was burning, beginning with his confiscated copy of Dickens' David Copperfield
  • the so-called "reading scene" in Montag's living room, when he called Linda and her friends zombies: "You're nothing but zombies, all of you! Just like those husbands of yours you don't even know anymore. You're not living! You're just killing time!"; he forced them to listen as he read an excerpt from a book outloud; before he began, one housewife complained: "Oh, you mustn't. It's against the law"; during the reading, Doris (Ann Bell) began crying, while another rebuked Montag for reading from a filthy and sick book: "I knew that's what would happen. It's what I've always said. Life isn't like novels, Novels and Tears, Novels and Suicide, Novels are Sick! That was sheer cruelty, Montag. You're a cruel man"; another added: "All those words, idiotic words. Evil words that hurt people. Isn't there enough trouble as it is? Why disturb people with that sort of filth?"; as the women exited the home, Doris told Linda how she had recalled repressed feelings: "I can't bear to know those feelings. I'd forgotten all about those things"; Linda was more concerned about losing her friends: "They won't come back. I'll be all alone. I won't be popular anymore. They won't use me in 'The Family' anymore. And you made Doris cry!"
  • the existence of a colony of exiled revolutionaries ("Book People") living like a primitive tribe in the forest - each one memorizing a different chosen classic work of literature to preserve it, for example: "I am Plato's Republic. I recite myself for you whenever you like"
  • the sequence of Montag asking to quit his job, but Captain Beatty (Cyril Cusack) forced him to complete one last job - Montag exclaimed as they pulled up to a house: ("This is my house!"); the job was to incinerate books in his own house; in rebellion, Montag turned the flamethrower on his own home, and then on his colleagues and the Captain - and thus became a fugitive
  • the crude and disorienting special-effect of four firemen flying as they searched for Montag - inserted artificially in front of the landscape
  • the moving ending, when the rebels (including new convert Montag who was memorizing Poe's Tales of Mystery & Imagination, and Clarisse) wandered around in the snowy countryside outside of town, each one simultaneously reciting the memorized words of a cherished book - their voices overlapping












Fahrenheit 9/11 (2004)

In Michael Moore's scathing documentary to indict President George W. Bush's failure to take immediate action, his implicit blame for not readying America for terrorist threats and his inept handling of the terrorist crisis, and his agenda to go to war in Afghanistan and Iraq:

  • memorable images included Bush's continued reading of the children's book My Pet Goat in a Florida elementary school after the first plane crashed into the World Trade Center (filmmaker Michael Moore narrated: "When informed of the first plane hitting the World Trade Center, where terrorists had struck just eight years prior, Mr. Bush decided to go ahead with his photo opportunity...") - and Moore's commentary about how President Bush might have been thinking about his business ties to the Bin Laden family: ("...a business relationship with the family of George W. Bush. Is that what he was thinking about? Because if the public knew this, it wouldn't look very good. Was he thinking, 'You know, I need a big black marker.'?")
  • the many self-incriminating Bush clips (such as when he demonstrated his golf swing - "Now watch this drive!" - immediately after calling on nations to stop terrorist killers, his stumbling through speeches and delivering such damning lines as: "What an impressive crowd: the haves, and the have-mores. Some people call you the elite, I call you my base")
  • the mall scenes in which Marine recruiters targeted minority teenagers for enrollment
  • the documentarian's concluding questioning of Democratic and Republican politicians about enrolling their sons for military duty, and the misleading statements by President Bush and his associates about the need for war (that prompted many lower class Americans to serve and sacrifice themselves in an unnecessary war), and Michael's Moore's final voice-over narration: ("Of course, not a single member of Congress wanted to sacrifice their child for the war in Iraq. And who could blame them? Who would want to give up their child? Would you? Would he? I've always been amazed that the very people forced to live in the worst parts of town, go to the worst schools, and who have it the hardest, are always the first to step up, to defend that very system. They serve so that we don't have to. They offer to give up their lives so that we can be free. It is remarkably their gift to us. And all they ask for in return is that we never send them into harm's way unless it's absolutely necessary. Will they ever trust us again?... George Orwell once wrote that it's not a matter of whether the war is not real, or if it is. Victory is not possible. The war is not meant to be won - it is meant to be continuous. A hierarchical society is only possible on the basis of poverty and ignorance. This new version is the past and no different past can ever have existed. In principle, the war effort is always planned to keep society on the brink of starvation. The war is waged by the ruling group against its own subjects and its object is not the victory over either Eurasia or East Asia but to keep the very structure of society intact")
  • the final quote: an ironic statement from President Bush: ("There's an old saying in Tennessee, I know it's in Texas, it's probably in Tennessee, that says, 'Fool me once, shame on, shame on you. If fooled, you can't get fooled again'") - Moore summarized: ("For once, we agreed")



Fantasia (1940)

In Disney's experimental film with many animated sequences beautifully integrating classical music and abstract images:

  • Tchaikovsky's The Nutcracker Suite including the "Dance of the Sugar Plum Fairies" and six red-topped mushrooms in "Chinese Dance"
  • Paul Dukas' classical The Sorcerer's Apprentice with apprentice Mickey Mouse in his master's wizard hat and the march of the relentless brooms carrying endless buckets of water - and his conducting of the stars in the sky
  • Stravinsky's The Rite of Spring depicting the beginnings of the cosmos, solar system, and the planet Earth and then life itself - with the Age of the Dinosaurs
  • Beethoven's Pastoral Symphony with its censored nymphs
  • Ponchielli's Dance of the Hours with hippos in tutus
  • Moussorgsky's dramatic Night on Bald Mountain - a celebration of evil during the night of the Witches' Sabbath
  • the final dawn of light segment of Schubert's Ave Maria




Fantastic Voyage (1966)

In Richard Fleischer's classic science-fiction adventure film (the most expensive of its time) - and the Oscar winner for Best Visual Effects:

  • the film's basic 'fantastic' premise - a nearly-dead, injured defecting Communist scientist Dr. Jan Benes (Jean Del Val), whose life was threatened by a blood clot in his brain - and a miniaturized team of specialists (four males and a female) engaged in a microscopic mission in the micro-sized nuclear-powered submarine USS Proteus after being injected inside his body to save him within one hour's time
  • the giant life-sized model of the interior circulatory system of the comatose patient, who was being monitored to precisely pinpoint the location of the submarine's 'fantastic voyage' inside of him
  • the memorable scene of antibodies or giant white blood cells (corpuscles) attacking curvaceous, 'scuba-diving' technical assistant Cora Peterson (Raquel Welch): ("They're tightening - I can't breathe"), and her return to the ship where the crew pulled the seaweed-like antibodies from her body as they crystallized
  • the discovery that the enemy saboteur in the group was the twitchy medical consultant Dr. Michaels (Donald Pleasence) - destroyed inside the Proteus by heroic Commander Charles Grant (Stephen Boyd), and the miraculous rescue of the remainder of the crew who emerged from the tear duct of the patient's eye and reverted back to normal size almost immediately afterwards









Far From Heaven (2002)

In Todd Haynes' emotional romantic melodrama with stunning cinematography - filmed in homage to Douglas Sirk's 50's melodramas (i.e., All That Heaven Allows (1955)):

  • the scene of late 50s 'perfect world' Connecticut suburban, unhappily married housewife Cathy Whitaker (Julianne Moore), and her socially-taboo consolation found with her handsome, well-educated black gardener Raymond Deagan (Dennis Haysbert) - especially their very awkward and uncomfortable drink-lunch/dance date at a 'colored' diner/restaurant when he toasted: "Here's to being the only one"
  • inevitably, the scene of Cathy's awkward admission and farewell to Raymond that their relationship and clandestine love affair - even as friends - wasn't workable or 'plausible': "It isn't plausible for me to be friends with you." Her last touching words were: "You're so beautiful"
  • Cathy's subsequent discovery that her ad exec husband Frank (Dennis Quaid) was in a homosexual relationship when he broke down and admitted the affair to her - and her reply: "I, um, assume then, you'll be wanting a divorce"
  • now-single Cathy's meeting again with Raymond, after learning that he was moving from Hartford to Baltimore due to violence against himself and his family: ("Things are pretty well finished for me here") - and her suggestion that maybe they could start a life together in the future in a new place: ("Perhaps sometime in the future after you’re settled, I could, perhaps I could come for a visit, see Baltimore. You see, I, well, it seems as if I'm to be single again."); and the scene of Raymond's polite response and rejection of the invitation: ("I'm just not sure that would be a wise idea after well, everything that's....I've learned my lesson about mixing in other worlds. I've seen the sparks fly, all kinds. Have a proud life, a splendid life, will you do that? (He kissed her hand) Goodbye, Cathy.")
  • the very poignant final scene, in which Cathy was able to give a heartfelt but silent goodbye wave to Raymond a few weeks later, departing from the platform of the train station on a southbound train






A Farewell to Arms (1932)

In director Frank Borzage's romantic war melodrama:

  • the doomed romance of World War I officer and ambulance driver Lt. Frederic Henry (Gary Cooper) and British nurse Catherine Barkley (Helen Hayes), who fell in love and produced a love child (while he was wounded and under her care in Milan) - with an impressive subjective camera close-up shot of her kissing him when he first arrived in the hospital
  • later, correspondence to the front (the news of the child) was circumvented by Henry's jealous friend Major Rinaldi (Adolphe Menjou) - leading to the film's dramatic conclusion in which Catherine died in her hospital bed in a maternity ward in Switzerland after her baby died -- with Frederic by her side
  • her tearjerking death occurred in his arms as he professed his undying love and she told him she wasn't afraid - the moment of her passing coincided with the declaration of the Armistice
  • after her death, he carried her in his arms to the window and affirmed: "Peace, peace" - as white doves flew into the air and the screen faded to black



Fargo (1996)

In the Coen Brothers' masterpiece:

  • the opening credits sequence with images (beautifully filmed by Roger Deakins) of a frozen, snow-blanketed North Dakota and a car (with another car in tow) emerging in the white-out conditions and making its way along the deserted highway
  • the scene in which pregnant, Minnesota police chief Marge Gunderson (Frances McDormand) bent over with "morning sickness" and almost barfed at the scene of a roadside triple murder: ("I just think I'm gonna barf")
  • Marge's interrogation of two dim-witted hookers (Larissa Kokernot and Melissa Peterman) at the Lakeside Club to learn what the suspects looked like, with one of them describing a "funny looking" uncircumcised male: ("The little guy was kinda funny-Iookin'...I don't know. Just funny-Iookin'...I couldn't really say. He wasn't circumcised")
  • Marge's questioning of smarmy and snippy car salesman Jerry Lundegaard (William H. Macy) in his autosales office: ("Ma'am, I answered your question. I answered the darn... I'm cooperating here, and there's, there's no, uhm...Well, heck! If you wanna, if you wanna play games here. I'm workin' with ya on this thing here, but, OK, I'll do a damn lot count...Yah, right now. You're darned tootin'. If it's so damned important to ya") - but then fled from the showroom
  • the violent money-drop scene when Carl was shot in the cheek by a dying Wade Gustafson (Harve Presnell)
  • the infamous body disposal scene in which Marge slowly edged her way around a lakeside cabin to discover a mad Grimsrud (Peter Stormare) supplying his wood chipper with the body of his kidnapping accomplice Carl (Steve Buscemi) - with only one shoeless leg/foot left to be shredded
  • in the patrol car, Marge's chastisement to the captured criminal: ("So that was Mrs. Lundegaard on the floor in there. And I guess that was your accomplice in the wood chipper. And those three people in Brainerd. And for what? For a little bit of money. There's more to life than a little money, you know. Don't you know that? And here ya are, and it's a beautiful day. Well, I just don't understand it.")
  • the satisfying epilogue between Marge and her loving husband Norm (John Carroll Lynch) anticipating a hopeful future: ("We're doing pretty good...Two more months...")






Fast and Furry-ous (1949) (animated short)

In Charles ("Chuck") M. Jones' landmark, short animated cartoon/film - the first in a long series of similar Road Runner films that lasted almost 20 years; intended to be a one-time only appearance, their popularity called for another cartoon produced three years later, Beep, Beep (1952), and then a series of cartoons for many years:

  • the characters of the Road Runner ("Meep, Meep" or "Beep, Beep") ("Accelerati Incredibulis") and the Coyote ("Carnivorous Vulgaris"), always introduced in freeze-frame, with their varying fictitious scientific names (in parentheses)
  • the cartoons' setting was always the American Southwest, with the hapless Coyote devising various vain, and often ingenious schemes to catch the non-combative, clever and speedy Road Runner - who zoomed along the winding roads through the desert landscapes

Fast Times at Ridgemont High (1982)

In Amy Heckerling's cult teen comedy, her directorial debut feature film (from a script by Cameron Crowe) - the quintessential teen comedy of the 80s:

  • the scene of 'worldly', sexually-outspoken high-school sexpot Linda Barrett (Phoebe Cates) 'tutoring' sexually-inexperienced but curious friend Stacy Hamilton (Jennifer Jason Leigh) in the finer points of performing oral sex, by demonstrating with a carrot in the school cafeteria ("There's nothing to it, it's so easy")
  • the classroom scenes involving perpetually-stoned, often truant and tardy, bleached-blonde California surfer dude Jeff Spicoli (Sean Penn) and American history teacher Mr. Hand (Ray Walston) - and the ordering of a pizza delivered to Jeff's desk during a class lecture, causing outrage: ("Am I hallucinating here? Just what in the hell do you think you're doing?" - Spicoli's laid-back response: "Learning about Cuba, and having some food")
  • the scene of lecherous, smooth-talking Mike Damone's (Robert Romanus) 'five-point plan' to successfully make-out and score with girls, told for free to inexperienced Mark "Rat" Ratner (Brian Backer): ("All right, now pay attention. First of all, Rat, you never let on how much you like a girl. 'Oh, Debbie. Hi.' Two, you always call the shots. 'Kiss me. You won't regret it.' Now three, act like wherever you are, that's the place to be. 'Isn't this great?' Four, when ordering food, you find out what she wants, then order for the both of ya. It's a classy move. 'Now, the lady will have the linguini and white clam sauce, and a Coke with no ice.' And five, now this is the most important, Rat. When it comes down to makin' out, whenever possible, put on side one of Led Zeppelin IV")
  • the two uncomfortable, awkward and devastating scenes of Stacy's sexual initiation - first, in a night scene in a baseball dugout with older stereo salesman Ron Johnson (D.W. Brown) - as Stacy (from her POV) looked up at the graffiti on the walls above her, and second, her painful and quick impregnation by lecherous Mike Damone (Robert Romanus) in a poolhouse changing room
  • the fantasy sequence of Jeff's surfing interview with sportscaster Stu Nahan - and his fantasy dream of glory and fame as a championship-winning, world-class surfer - while surrounded by two bikinied babes, and his line: ("Well Stu, I'll tell ya, surfing's not a sport, it's a way of life. No hobby. It's a way of lookin' at that wave and sayin', 'Hey bud, let's party! Ha, ha, ha'")
  • the slow-motion sequence of the emergence of red-bikinied Linda from an outdoor swimming pool and the slow opening and shedding of her bathing suit top from the middle (a fantasy mental disrobing by self-pleasuring Brad (Judge Reinhold) in a nearby bathroom) - often rated the best nudity scene in any film






Faster, Pussycat! Kill! Kill! (1965)

In 'King of Nudies' director Russ Meyer's hard-core, low-budget, sex-ploitational cult film - a pro-feminist 'female empowerment' short epic popular with male audiences in grindhouse theatres, for its overly dramatic, trashy, semi-fantastical violent content (although with no overt nudity or extreme bloodshed!):

  • the narrator's (John Furlong) opening (voice-over) monologue: "Ladies and gentlemen. Welcome to violence, the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains - sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn't only destroy, it creates and molds as well. Let's examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female, the surface shiny and silken, the body yielding yet wanton. But a word of caution: handle with care and don't drop your guard. This rapacious new breed prowls both alone and in packs, operating at any level, any time, anywhere, and with anybody. Who are they? One might be your secretary, your doctor's receptionist, or a dancer in a go-go club!"
  • the three main stars: buxom go-go dancers by night, who went on a murderous desert rampage by day in hot-rod sports cars:
    - the vivacious, hip-swiveling, bi-sexual blonde Billie (Lori Williams)
    - the masochistic and lesbian-leaning Rosie (Haji)
    - the villainous, tough, black-haired, masculine-acting, black leather-clad dominatrix lesbian bad-girl and skilled karate expert Varla (Tura Satana), with dominatrix boots, black bangs and cat-eye makeup, a tight totally-black outfit with significant breast-cleavage exposure, Kabuki-styled eyebrows
Varla
Rosie
Billie
  • the 'cat-fight' at a lake between Billie and Rosie, first in the water and then nearby, including throwing sand in each other's faces
  • the encounter with a young couple on the salt flats: Tommy (Ray Barlow) and his timid, naive bikini-clad girlfriend Linda (Susan Bernard, December 1966 Playmate); cleancut racer boyfriend Tommy competed in a drag race on the salt flat race track against Varla and the others (and he lost when she cheated and he was run off the track by Varla and spun out); afterwards, Varla karate-chopped Tommy in the neck and lethally back-crunched and spine-cracked him, while Linda was kidnapped, drugged and taken hostage-captive after witnessing the murder.
  • the gas station dialogue when the dumb attendant (Mickey Foxx) (while cleaning Varla's windshield) said he wanted to 'see' America - as he stared down at Varla's bounteous chest: "Just passing through, huh? Boy, that motor's sure hot! You gals really must have been moving on these little machines. Yes, sir, the thrill of the open road. New places, new people, and new sights of interest. Now that's what I believe in, seeing America first!"; Varla memorably growled back: "You won't find it down there, Columbus!"
  • Varla's threat to her evil companions that they were not only witnesses but accomplices to Tommy's murder, when Billie retorted back: "Oh, you're cute. Like a velvet glove cast in iron. And like the gas chamber, Varla, a real fun gal!"
  • the sequence of the trio's arrival (with hostage Linda) at the dilapidated ranch of a crippled, wheel-chair bound rich "old man" (Stuart Lancaster), the father of muscle-bound, dim-witted Vegetable (aka "Veggie") (Dennis Busch) and his more normal older son Kirk (Paul Trinka); the girls' intent was to steal the lascivious old man's alleged inheritance money hidden somewhere at the ranch
  • the scene of Billie's attempted seduction of the shirtless and clueless Vegetable, who was lifting weights, when she frustratingly yelled at him: "What you need now is a playmate. I may not be much in the muscle department, but I got a few things goin' for me too, you know. What you need is a manager. Yeah! Ten percent of your action be enough for anyone. I never took no course in anatomy, but from what I can see, you got two of everything - and some left over. I don't know what you're trainin' for, but as far as I'm concerned, you're ready. Look, me Jane, you Tarzan. Now why don't you drop that tree you're holding and let's grab a vine and swing a little, huh?"
  • the demise of Billie after she told the others that she was through with killing and that she was leaving them: ("Well, I hate to break up the act, girls, but I always did want to do a single. See you in church, huh?"); as she was walking away, Varla threw Rosie's switchblade knife a long-distance into her back as she cried out: "Much later, filly!" - Billie staggered and arched backward before falling dead to the ground; Varla also ran down the old man in his wheelchair with her car and killed him (revealing the money hidden in the seat), because he was a witness to Billie's death
  • when Rosie went to retrieve her knife from Billie's back, Vegetable assumed that she was responsible for Billie's death ("I'll give you the knife") and he knifed her to death - with three vicious stabs to her abdomen - she fell dead at his feet ("Your knife is yours to keep now"); when Varla saw her girlfriend Rosie dead with stab wounds, she vengefully ran down Vegetable and partially crushed him with her car against a wooden fence
  • in the film's violent conclusion out in the desert, during hand-to-hand combat between Varla and Kirk, Varla was gaining the upper-hand until Linda smashed into her with the ranch's jeep-truck and she soon died (with a clenched fist in the air about to strike); afterwards, Linda cried out hysterically: "I killed her like she was an animal. Like she was nothing!" - Kirk responded: "She was nothing, nothing human! A real Jekyll and Hyde. You saved my life, so stop cryin', huh?" As they were leaving, Linda asked: "Are you gonna just leave her there?", Kirk coldly replied: "Well, she's not goin' anywhere" - the film's last line















Fatal Attraction (1987)

In Adrian Lyne's cautionary thriller about sexual carelessness:

  • the wild passionate sex scenes (in her kitchen, elevator and bedroom) over two days between mistress Alex Forrest (Glenn Close), a predatory book editor, and happily-married yet philandering lawyer/husband Dan Gallagher (Michael Douglas)
  • the nightmarish vindictiveness of the pathological, obsessive, and scorned woman through discussions ("I'm not gonna be ignored") and a taped message labeled "Play me" that Dan listened to: ("So you're scared of me, aren't ya?...Why you gutless, heartless, spineless f--king son of a bitch, I hate you. You deserve everything you get")
  • wife Beth's (Anne Archer) discovery of the family's pet bunny boiling in a pot on the kitchen stove
  • the final, knife-wielding vengeance scene in the bathroom and Alex' jolting resurrection from the bathtub, followed by her death from Beth's gunshot





Father Goose (1964)

In director Ralph Nelson's romantic adventure comedy (Cary Grant's second-to-last film):

  • the character (against-type) of scruffy, whisky-swigging, unshaven sailor Walter Eckland (Cary Grant - in the only film in which he was unshaven throughout the entire story) on an isolated South Pacific island during WWII, serving as a 'volunteer' coast watcher and plane spotter (code-named "Father Goose") for the Royal Navy and Commander Frank Houghton (aka "Big Bad Wolf") (Trevor Howard)
  • the comedic situations in which Walter was beset by French teacher Miss Catherine Freneau (Leslie Caron) and seven female schoolgirls - who called him a "rude, foul-mouthed, drunken filthy beast"

Father of the Bride (1950)

In director Vincente Minnelli's domestic comedy:

  • the opening voice-over narration and flashback of harrassed father, Stanley Banks (Oscar-nominated Spencer Tracy), talking to the camera about the stresses and aftermath of a wedding for his daughter Kay (Elizabeth Taylor), and his recollections of how she had grown up so fast to become engaged - with an extravagant marriage ceremony imminent: ("I would like to say a few words about weddings. I've just been through one. Not my own, my daughter's. Someday in the far future, I may be able to remember it with tender indulgence, but not now. I always used to think that marriage was a simple affair. Boy and girl meet, they fall in love, get married, they have babies. Eventually the babies grow up, meet other babies, and they fall in love and get married, and so on and on and on. Looked at that way, it's not only simple, it's downright monotonous. But I was wrong. I figured without the wedding")
  • Stanley's desire to "get a peek at this Superman," her fiancee, Buckley Dunstan (Don Taylor) and the lengthy, one-sided "man-to-man" financial talk they had to determine if Buckley could suitably support Kay
  • the scene of Stanley facing his daughter's overbearing caterers: ("An experienced caterer can make you ashamed of your house in fifteen minutes")
  • the segment of his nightmarish vision of what might happen at a disastrous wedding ceremony (he imagined himself appearing late, in tatters, and not able to walk down the springy and rubbery aisle, as his daughter screamed)
  • his midnight snack kitchen scene with his daughter over a bottle of milk, when she told him, "Nothing ever fazes you, does it?"
  • Stanley's confusion and regret about losing his daughter: ("What's it going to be like to come home and not find her. Not to hear her voice calling 'Hi Pops' as I come in. I suddenly realized what I was doing. I was giving up Kay. Something inside me was beginning to hurt")
  • the tearjerking scene of Kay's post-wedding phone call (on her way to her honeymoon) to lovingly say 'thank you' to her father: ("And Pops, you've been just wonderful. I love you. I love you very much. Bye bye")
  • Stanley's memorable last line: ("Nothing's really changed, has it? You know what they say: 'My son's my son until he gets him a wife, but my daughter's my daughter all of her life.' All of our life")




Fearless (1993)

In Peter Weir's emotionally provocative film:

  • the vivid recreation of the grisly crash of an airliner (from the point of view inside the plane when it shredded upon impact) - with bodies still strapped in their seats, and fire racing through the fuselage
  • the eerie opening scene in a seemingly-serene cornfield, when after the ill-fated flight from San Francisco to Houston, serene SF architect Max Klein (Jeff Bridges) mystically transcended and invincibly survived in a light-colored linen suit, when he appeared carrying a baby while walking from the cornfield and holding young boy Byron Hummel's (Daniel Cerny) hand
  • its tale of two survivors who became intertwined: Max and young guilt-stricken, depressed, semi-catatonic Roman Catholic mother Carla Rodrigo (Rosie Perez) who still believed in God: ("You know He hurt me. He hurt me forever. But I still believe in Him")
  • the scenes of Max's belief in his own invincibility and invulnerability - crossing a busy highway into traffic (and after surviving, lying on his back and yelling up to God: "You can't do it! You want to kill me, but you can't!"), and during a panic attack, Max's climb out onto a tall building's ledge above the street - seemingly fearless and overcoming his phobia about heights
  • the concluding bizarre sequence in which Max risked his life to attempt to prove that Carla was not at fault for her baby's death in the plane crash (when she let go of him) - by staging a bizarre experiment with her holding a toolbox in the backseat of a car: ("I want you to pretend that this is your baby. Pretend it's Bubble. OK? Now this is your chance to hold on tight to save him. OK? OK? Hold on to Bubble! As tight as you can! Pray to God to give you the strength to save your baby. Hold on to your baby! Holy Mary, Mother of God! Pray for us now and at the hour of our death!") - and deliberately crashing the car into a brick wall, thus becoming seriously injured and in intensive care in the hospital, where Carla visited him





The Fearless Vampire Killers (1967) (aka Dance of the Vampires or Pardon Me...But Your Teeth Are in My Neck)

In director Roman Polanski's vampire horror comedy-spoof:

  • the opening in which the MGM lion roared and then turned into a green vampire/ghoul face with fangs and blood dripping from its mouth
  • the humorous scene of inn-keeper Shagal, a Jewish vampire, attacking a young woman who vainly tried to protect herself with a cross, when he quipped: ("Oy vey, have you got the wrong vampire")
  • the scene of the tavern keeper's daughter Sarah Shagal (Sharon Tate) bathing in a tub within the castle of the local vampire lord Count Von Krolock (Ferdy Mayne), and her obliviousness to danger when apprentice vampire hunter Alfred (Roman Polanski) attempted to save and warn her ("l'm going to save you. We`ll go away together") by following him, but all she wanted was to attend the midnight ball wearing her beautiful dress
  • Sarah's vampire biting by Count Krolock, who descended through the ceiling
  • the great midnight ball-dance scene in which the vampirish guests danced a minuet and only the interloping humans (including Sarah) were reflected in a mirror
  • the Narrator's final lines (in voice-over), as vampire hunter Professor Abronsius (Jack MacGowran), his apprentice Alfred, and Sarah (now vampirized) escaped the ball and castle, and fled in the snow in a horse-drawn sleigh, but were unaware that Sarah had been infected - and bit into Alfred's neck: ("That night, fleeing from Transylvania, Professor Abronsius never guessed he was carrying away with him the very evil he had wished to destroy. Thanks to him, this evil would at last be able to spread across the world")





Ferris Bueller's Day Off (1986)

In John Hughes' cult comedy hit about one high school student's one last day of cutting class (after faking illness) and enjoying life on the streets of Chicago:

  • the opening scene of malingering rich-kid, trouble-making student Ferris Bueller (Matthew Broderick) describing (with graphics) how to fool parents and skip a day of school ("The key to faking out the parents is the clammy hands. It's a good non-specific symptom. I'm a big believer in it. A lot of people will tell you that a good phony fever is a dead lock, but, uh, you get a nervous mother, you could wind up in a doctor's office. That's worse than school. You fake a stomach cramp, and when you're bent over, moaning and wailing, you lick your palms. It's a little childish and stupid, but then, so is high school. Life moves pretty fast. If you don't stop and look around once in awhile, you could miss it.")
  • and after showering (with his hair wrapped inside a towel spiral on his head), Ferris continued his monologue: ("It's not that I condone fascism or any 'ism' for that matter. Ism's, in my opinion, are not good. A person should not believe in an 'ism,' he should believe in himself. I quote John Lennon: 'I don't believe in Beatles. I just believe in me.' A good point there. After all, he was the walrus. I could be the walrus. I'd still have to bum rides off of people")
  • the scene of Economics teacher (Ben Stein) calling attendance roll repeatedly: ("Bueller? Bueller? Bueller?"), and after a view of Ferris' empty chair, fellow student Simone (Kristy Swanson) gave a confused excuse about how Ferris was sick: ("He's sick. My best friend's sister's boyfriend's brother's girlfriend heard from this guy who knows this kid who's going with the girl who saw Ferris pass out at 31 Flavours last night. I guess it's pretty serious")
  • the scene in Dean of Students Ed Rooney's (Jeffrey Jones) office, who explained how dangerous Ferris was: ("I don't trust this kid any further than I can throw him...What is so dangerous about a character like Ferris Bueller is he gives good kids bad ideas...The last thing I need at this point in my career is 1500 Ferris Bueller disciples running around these halls. He jeopardizes my ability to effectively govern this student body") - and then his secretary Grace (Edie McClurg) explained how popular Ferris was: ("He makes you look like an ass is what he does, Ed...Oh, well, he's very popular, Ed. The sportos, the motorheads, geeks, sluts, bloods, wasteoids, dweebies, dickheads - they all adore him. They think he's a righteous dude")
  • the scene of Dean of Students Ed Rooney receiving what he believed was a crank phone call from Ferris but it was actually from Ferris' girlfriend's 'father' (actually Ferris' friend Cameron Frye (Alan Ruck)) asking for her to be excused - and his sarcastic and insulting tone: ("Tell you what, dipshit, you don't like my policies you can just come on down and smooch my big ol' white butt!...Pucker up, buttercup!") until another phone call was received and announced by Grace: ("Ferris Bueller's on line two...")
  • the scene of Rooney trying to catch Ferris at home and being confronted by the slobbering family Rotweiler - and then Ferris' sister Jeanie (Jennifer Grey) who was also skipping class and had returned home - when she came face-to-face with him in the kitchen, thinking he was a prowler, she karate-kicked him in the face three times
  • Jeanie's reluctant conversation with drugged-up juvenile delinquent stranger (Charlie Sheen) at the police station, about her frustrations with Ferris always getting away with things: ("All right, you want to know what's wrong?...In a nutshell, I hate my brother. How's that?...See, I went home to confirm that the s--thead was ditching school and when I was there, a guy broke into the house. I called the cops, and they picked me up for making a phony phone call...Why should he get to ditch when everybody else has to go?"); when he offered advice: ("Your problem is you...You ought to spend a little more time dealing with yourself, a little less time worrying about what your brother does - that's just an opinion"), she snapped back: ("What are you, a psychiatrist?...Why don't you keep your opinions to yourself?"); his suggestion to speak to somebody (Ferris!) brought a threat: ("If you say Ferris Bueller, you lose a testicle"), and he replied: "Oh, you know him?" - she clenched her fist
  • Ferris' day off from high school in downtown Chicago with his friends Cameron Frye (driving Cameron's father's 'borrowed' 1961 red Ferrari 250 GT convertible) and with cute girlfriend Sloane Peterson (Mia Sara)
  • Ferris' unexpected announcement from the top of a Von Steuben parade float ("Ladies and gentlemen, you're such a wonderful crowd, we'd like to play a little tune for you. It's one of my personal favorites and I'd like to dedicate it to a young man who doesn't think he's seen anything good today - Cameron Frye, this one's for you"); after the lip-synching of Danke Shein, Ferris segued into the playing and lip-synching of The Beatles' Twist and Shout, inspiring the large crowd to join in dancing
  • the curtain-closing post-credits appearance of Ferris from the bathroom telling the audience (fourth wall) to leave: "You're still here? It's over! Go home. Go!"












100's of the GREATEST SCENES AND MOMENTS
(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

Previous Page Next Page