Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

The Fabulous Baker Boys (1989)

In writer/director Steve Kloves' directorial debut film, about two struggling, Seattle-based piano-musicians with an outdated act (playing together on matching grand pianos):

  • the two "Fabulous Baker Boys": the two brothers (in fiction and real-life) - younger, carefree, womanizing piano lounge player Jack Baker (Jeff Bridges) and less-talented, older, married Frank Baker (Beau Bridges), who were in a restroom preparing for their two-person piano show at the Starfire Lounge - after 15 years of playing together; Jack sprayed Frank's hair with black, paint-like Crowning Glory's Miracle Hair to cover his bald spot and conceal his age (Jack: "This is paint, Frank!" - Frank: "No, it's a magical sheath that simulates a dazzling head of hair")
  • the sequence of their awful, painful auditions to potentially hire a female vocalist for their act to enliven their show - there were a total of 37 failed auditions, including Blanche "Monica" Moran (Jennifer Tilly) singing "Candyman", and other Bad Singers crooning "Up, Up and Away" and "Tiny Bubbles" - and more
Failing Auditioner Blanche "Monica" Moran ("Candyman")
Bad Singer
("Up, Up and Away")
Bad Singer
("Tiny Bubbles")
  • the audition of the 38th vocalist who arrived an hour and a half late - unrefined, gum-chewing, white-trashy, tough girl, ex-hooker/escort Susie Diamond (Michelle Pfeiffer), an amateur with no previous formal music training; she explained her entertainment experience ("The last couple of years, I've been on call for the Triple A Escort Service"); after meaningfully singing "More Than You Know" - she asked: "So?"
  • after Susie was hired, the montage of singing gigs - all the while showing the singer's improvement with tremendous stage presence and sex-appeal - unexpectedly entrancing audiences, and resulting in an increase in bookings and gigs for the trio, but then developing tensions that emerged in the group when Jack began dating Susie - endangering the relationship between the two brothers
  • the scene of Frank's upset that Jack was becoming emotionally involved with Susie - and his warning before a show: "Leave her alone. I mean it. Jack, this isn't a hatcheck girl you can leave behind at the Sheraton. You've got two shows a night with her!...I know trouble, and its name starts with an 'S'...You do me a favor, little brother. Stick to cocktail waitresses"; later after their show (during which they had lovingly called themselves "one big happy family" on stage, an argument developed between the two boys, and they insulted and threatened each other by tossing a kiwi and pineapple at each other in their hotel room; watching from an adjoining room, Susie noted: "It's the f--king Newlywed Game"
  • the New Year's Eve show scene (in Frank's absence) in which high-heeled, sensuous Susie Diamond, 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 Jack accompanied her and the camera executed a 360-degree circling around her
"Makin' Whoopee" Performance
  • the sex scene on New Year's Day (early morning) after the entire hotel ballroom was emptied following their show, and Jack and Susie were left alone - Jack's seduction of Susie -- he massaged her shoulders, disattached her red dress straps, and then unzipped the lower part of her dress, rubbed her back, and kissed her neck; when the front of her dress fell down, he grabbed her right breast (and the view of them faded when they sank down and began to have sex on a table)
  • the scene of an embarrassing, small-time telethon (to raise money for a new Lahuga High School gymnasium), that Frank had unfortunately signed them up to appear - for publicity; after the duo was given an impressive but incorrect intro: ("Well friends, we are very pleased to have with us two of the most respected men in the musical entertainment field. The Fabulous Bunker Boys! Come on out here guys. Hey, nice suits, fellas. Now, I know that a lot of you amateur musicians out there are gonna wanna rap with these guys, and don't worry, as soon as they're finished up here, they're gonna be manning the phones. Well, all right. What are we waitin' for? Take it away, guys!") - the two finally started to perform at 3 am - but then were almost immediately interrupted by the telethon host with an update on money totals ("Uh-oh, you know what that means, don't we? It's time to turn that big board over again. I'm afraid you guys will have to wait a few minutes") - Jack attacked the MC and charged out of the studio
  • outside, the two brothers vehemently argued with each other - Jack was incensed that his brother hadn't checked everything out, had 'kissed ass', had besmirched their dignity and turned them into "clowns"; Frank defended himself as the responsible and professional one -- "Don't you think I'd like to walk up to one of these assholes and blow smoke in his face? You're god damned right I would! But I can't. I have to be responsible, little brother. I have to make sure the numbers balance out in my favor at the end of each month so everyone else can go on living their lives"; when Jack walked away from the "speech," Frank made a major accusation against his brother: "You just had to do it, didn't you Jackie? You couldn't keep your cock in your pocket"; Jack retaliated: "Who I f--k and who I don't f--k is none of your f--king business! You got that!" - and then when the argument escalated, the two became physical with each other
  • the film's conclusion in Frank's home - the two brothers eventually ended up burying the hatchet, although Jack had decided to go his own way ("I'm not coming back, Frank...I just can't do it anymore. I've been lying to myself long enough") - they shared a drink together from a bottle that they had saved since their first professional engagement, then reminisced happily about one of their early gigs, and joined together to play a spirited, vocal version of: "You're Sixteen"

Frank and Jack Baker Boys

Susie Diamond's Winning Audition ("More Than You Know")

Frank: "Leave her alone. I mean it"

Jack: "Go to bed, Frank, or this is gonna get ugly"



Sex Between Jack and Susie in Empty Ballroom


Ugly Telethon Incident



Vicious Brotherly Argument After Telethon

Ending: Reconciliation Between the Brothers

A Face in the Crowd (1957)

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

  • the early scene in which KGRK radio reporter/producer Marcia Jeffries (Patricia Neal) conducted her show ("A Face in the Crowd") from a jail-cell in rural Tawny Hawk County, in the fictional town of Pickett, in northeast Arkansas; one of the inmates had been incarcerated for one week for being "drunk and disorderly" - smiling, cornpone-spouting, back country Arkansas hobo Larry "Lonesome" Rhodes (Andy Griffith in his film debut); he spoke about his love for his guitar: "Ain't mamma a beauty? Oh, a guitar beats a woman every time! You know, I never have seen a woman I could trust like this old guitar. I love my mamma guitar. She's always there waitin' for me to pick her up and hold her. Never asks me for money or goes cheatin' around when I ain't lookin'. If she gets a little sour, why, I just give her a little twist like so and we're right back in tune together"; then, he was urged to sing "Free Man in the Mornin'" - it would mark the beginning of the discovery of his musical talent, bringing him from down-and-out drunkenness and obscurity to fame
  • afterwards, Rhodes was brought to Memphis, Tennessee to appear on TV, and introduced to bookish, well-educated staff writer Mel Miller (Walter Matthau)
  • in New York, Rhodes' commercial pitch for a product known as Vitajex - a dietary supplement to increase energy and sexual virility
  • the revealing bedroom scene, in which Rhodes became power-hungry in his quest to help Senator Worthington Fuller with his presidential campaign ("Fighters for Fuller"); he delivered a disturbing, arrogant power-trip confession to Marcia that his audience would sheepishly follow him anywhere, and be directed to wherever he wished: ("Oh, honey, if I ask 'em, they've gotta come. Believe me, they'd be afraid not to come. I could murder 'em, like guests....This whole 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 don't know it yet, but they're all gonna be 'Fighters for Fuller'. They're mine, I own 'em, they think like I do. Only, they're even more stupid than I am, so I've gotta 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")
"They're mine, I own 'em, they think like I do"
  • Rhodes' infatuation and elopement with a teenaged, 17 year-old baton twirler Betty Lou Fleckum (Lee Remick in her screen debut)
  • Rhodes' bold-faced statement: "I'm not just an entertainer. I'm an influence, a wielder of opinion, a force - a force!"
  • the brief sequence of Rhodes and Marcia boarding a train - and Marcia's dismay when she realized Rhodes' hypocrisy when he waved at the adoring crowds, and then turned away and muttered to himself: "Boy, I'm glad to shake that dump!"
  • the shocking scene in which the fraudulent megalomaniac and demagogue celebrity concluded his national TV show, thinking that his microphone had been cut off, and expressing his utter contempt for his mass audience by personally and nastily insulting them as stupid morons: ("I'm glad that's over. I'm gonna start shootin' people instead of ducks.... 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 for a fancy dinner party of political elites, where he found an empty room attended only by black butlers and servants (whom he begged to love him); he was bolstered by an 'applause machine' manned by Beanie (Rod Brasfield), but he began to realize that he was suffering a major downfall ("All of a sudden, I'm poison" - 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 at first 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 and duped: "Jump! Jump! Get out of my life! Get out of everybody's life - jump! Jump! Jump!"
On the Phone With Marcia, Who Encouraged: "Jump! Jump!"
Mel's Prediction of Rhodes' Comeback
Rhodes' Final Rant: "Because the people
listen to Lonesome Rhodes..."
  • the devastating conclusion in which Mel Miller 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 ranted on about himself: "Because the people listen to Lonesome Rhodes, because the people love Lonesome Rhodes, Lonesome Rhodes is the people, the people is Lonesome Rhodes"
  • in the conclusion, as Mel and Marcia entered a taxi, they looked up to the penthouse apartment where they could hear Rhodes as he pitifully called out to her on the street below: ("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!"); Mel commented that they both could now admit that they had been duped, but had become wise: "I don't think of him for a suicide....You were taken in, just like we were all taken in. But we get wise to him. That's our strength. We get wise to him"


"A guitar beats a woman every time!"

Marcia's Discovery of "Lonesome" Rhodes' Talent

"Free Man in the Mornin'" Public Performance


Vitajex Commercial Pitch


Rhodes' Elopement with Majorette Betty Lou

"I'm a Force!"

Growing Popularity and Hypocrisy: "Boy I'm glad to shake that dump!"

Utter Contempt - Revealed with Microphone On

Leaving in a taxi with Mel: "We get wise to him"

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 Opening Sequence - A Faked Execution
of Fu Manchu (Christopher Lee)
  • the "vivid dream" later related by Fu Manchu's determined macho nemesis - Scotland Yard Ass't Commissioner Nigel 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 Muller (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 a disloyal and traitorous female by sadistic Lin Tang, who prepared to whip the woman's bare back; 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
Torture and Murder of Traitor by Lin Tang
  • 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)

Sir Dennis Nayland Smith (Nigel Green) with Red Prayer Scarf Worn by Fu Manchu's Followers

Fu Manchu


Kidnapping of Professor Muller


Fu Manchu's Hypnotizing of Professor Gaskell (Harry Brogan)

Fu Manchu's Threatening Radio Broadcast

Gassing and Airborne Extermination of Seacoast Essex Town of Fleetwick

Professor Gaskell's Self-Murder

Concluding Explosion of Fu Manchu's Hide-Out

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, weary, 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 things, 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 call-girl escort Jeannie, his divorcing 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 in Forst Home
  • 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
Maria and Dickie Face Off

"Dickie" Forst Dancing with Prostitute Jeannie

Freddie's (Fred Draper) Crude Comment to Jeannie: "Whaddya charge?"

Jeannie Rapp
(Gena Rowlands)


Jeannie Hugging Freddie: "Freddie, don't spoil it"


Dickie, Jeannie, and Freddie

Playboy-Hustler Chet With Middle-Aged Women, Including Dickie's Divorcing Wife Maria

Maria's Friend Louise Draper

Another Friend: Florence

Maria's Overdose After One-Night Stand with Chet

Maria Recovering with Chet

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, totalitarian 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 Family" TV show
Interactivity With the Show's "Cousins" -
Beeping Red Light
Society's "Newspaper"
  • 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, also 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 described 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 decided 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

Red Fire Truck in Firehouse


Fireman Guy Montag (Oskar Werner)

Martyrdom of "Book Lady"

Fireman with Wife Linda (Julie Christie)

The "Reading Scene"


Montag's Torching of His Own Home Before Becoming Fugitive

Four Firemen Flying During Search for Montag

Colony of Exiled "Book People"

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 during a speech: ("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")

Bush on 9/11 in Florida Elementary School

"Now Watch This Drive"

On-the-Street Interviews

Bush: 'Fool me once, shame on, shame on you. If fooled, you can't get fooled again'

Fantasia (1940)

In Disney's experimental film with many animated sequences beautifully integrating classical music and abstract images - and the first film to introduce 'stereo-like' Fantasound:

  • 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 6th Symphony (Pastoral Symphony), including a scene by the Brook with Centaurs and Centaurettes
  • Ponchielli's Dance of the Hours - including ostriches, hippos, elephants, and alligators, and most memorably the hippos in tutus (Hippo Ballet)
"The Rite of Spring"
(Age of Dinosaurs)
"Night on Bald Mountain"
"Ave Maria"
  • 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

"Chinese Dance"

"The Sorcerer's Apprentice"

"Pastoral Symphony"

"Dance of the Hours"

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 (after an assassination attempt leaving the airport), was to be saved within one hour's time by a miniaturized team of specialists (four males and a female) engaged in a microscopic mission (after being injected inside Benes' body) inside a micro-sized nuclear-powered submarine, the USS Proteus
  • the sequence of the miniaturization of the submarine vessel to "about the size of a microbe" - before it was injected in the body; a POV shot from inside the vessel looked out to illustrate its shrinkage; and then the vessel was injected into the arterial bloodstream (via the carotid artery) - seen from various perspectives
The Miniaturized USS Proteus
Injected Into Benes' Bloodstream
  • 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 mission was to travel via the carotid artery to the location of the damage (the blood clot) - an attempt to dissolve the clot would be accomplished with a laser beam
The USS Proteus Mission
Inside the Patient's Body
The Life-Sized Model
  • 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 rescued her by pulling the seaweed-like antibodies from her body as they crystallized
The Attack of White Blood Cells - and The Rescue of Cora
  • 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 surviving crew who emerged from the tear duct of the patient's eye and reverted back to normal size almost immediately afterwards

The Patient


Miniaturization


Inside the Body


Saved Crew Ejected from Patient's Eye

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"
  • the scene of TV ad executive and disturbed, alcoholic husband Frank Whitaker (Dennis Quaid) breaking down, crying and confessing to his wife Cathy that he was having an affair and was in love with another man: ("Cathy, something's happened...I've fallen in love with someone who wants to be with me. Oh, Cathy, I-I-I just, I-I never knew what that felt. But I know that sounds so cruel, but, oh, God. Cathy, I tried. I tried so hard to make it go away. It, it, I thought that I could do it for you and for the kids. But I can't. I just, I can't. I can't"); Cathy responded simply that she assumed a divorce was the next inevitable step: ("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 sad scene of Raymond's polite response and rejection of her 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 Final Good-Bye

Awkward Lunch Date-Dance


Cathy's Farewell to Raymond: "You're so beautiful"


Husband Frank's Admission of Homosexuality to Cathy

Raymond: "I've learned my lesson about mixing in other worlds"

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
Tearjerking Death of Catherine - With Frederic
  • 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


Beginning of Doomed Romance

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 crime scene at which 7 months-pregnant Brainerd Minnesota's Chief of Police Marge Gunderson (Frances McDormand) doubled over, bent down, and supported herself on her knee as her morning sickness overwhelmed her instead of the tragedy of the roadside triple murder - as she stated: "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 was astonished and asked again: "Was he funny-lookin' apart from that?"
  • Marge's questioning of smarmy and snippy car salesman Jerry Lundegaard (William H. Macy) in his auto-sales 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, and her shocked realization: "Oh, for Pete's sake, he's fleeing the interview! He's fleeing the interview!" when she saw suspect Jerry escaping in a car outside the auto dealership
  • 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
The Wood Chipper
"There's more to life than a little money, you know"
  • 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...")

Opening Credits

Police Chief Marge's "Morning Sickness"


Questioning Two Hookers

Car Salesman Jerry Lundegaard
(William H. Macy)



"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, coming-of-age sex comedy, her directorial debut feature film (from a script by future film-maker Cameron Crowe) - the quintessential teen comedy and seminal high-school film of the 80s:

  • senior Brad Hamilton (Judge Reinhold) - skating through his last year of Ridgemont HS, and working entry level jobs at All-American Burger, then also fired at Captain Hook Fish & Chips, and finally employed at Mi-T-Mart (where he foiled a robbery heist by tossing a pot of hot coffee into the thief's face, retrieving the gun, and holding the man at gunpoint - and became a hero in Spicoli's eyes)
  • the HS and classroom scenes involving perpetually-stoned, often truant and tardy, happy-go-lucky, bleached-blonde California surfer slacker-dude Jeff Spicoli (Sean Penn); when he arrived at school, he tumbled out of his VW min-van (filled with pot-smoke), late for his American history class taught by Mr. Hand (Ray Walston) - and was kicked out for tardiness and for calling the teacher a "dick"; later, when Spicoli was late and had no excuse, Mr. Hand used his response for a lesson written on the chalkboard: "I Don't Know"; in another encounter, Spicoli ordered a double cheese and sausage pizza delivered to his desk by "Pizza Guy" delivery man (Taylor Negron) during a class lecture, causing outrage: (Mr. Hand: "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"); Mr. Hand confiscated the pizza pie and offered some of the pieces to other students
  • the scene of 'worldly', sexually-outspoken high-school, liberated sexpot Linda Barrett (Phoebe Cates) 'tutoring' sexually-inexperienced but curious 15 year-old friend Stacy Hamilton (Jennifer Jason Leigh) in the finer points of performing oral sex ("blow jobs"), by demonstrating with a carrot in the school cafeteria ("There's nothin' to it. It's so easy...Relax your throat muscles. Don't bite. And slide it in...Good. Push it slowly in and out. You got it"); the naive Stacy then asked: "When a guy has an orgasm, how much comes out?" Linda revealed her tendency to exaggerate: "A quart or so," but then claimed she was just kidding
Oral Sex Lesson - With Carrot
  • the scene of lecherous, smooth-talking, ticket-scalper Mike Damone's (Robert Romanus) 'five-point plan' to successfully make-out and score with girls, told "for free" to inexperienced and shy 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:

    (1) first, in a night scene in a dilapidated softball dugout with older 26 year-old home stereo salesman Ron Johnson (D.W. Brown) - during her painful and uncomfortable deflowering, Stacy (from her POV) looked up at the graffiti-covered ("SURF NAZIS") concrete walls
    (2) and second, her painful and quick impregnation by lecherous Mike Damone in her own poolhouse's changing room; after he kissed her and she was complimented, "You're really a good kisser," she asked: "You want to take off your clothes, Mike?" He responded: "You first." She decided: "Both of us at the same time." After stripping off her top and her panties and lying down on a sofa, he laid on top of her and quickly climaxed during love-less sex, causing her to ask: "Are you OK?" He said he had come, then hurriedly left ("See ya!") as she sat up and looked bewildered, used, unsatisfied and hurt
  • the dream-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'")
Pool Party Fantasy Scene with Linda
(Phoebe Cates)
  • at Stacy's house by the outdoor swimming pool, the slow-motion sequence of the emergence of red-bikinied Linda speaking seductively: "Hi, Brad! You know how cute I always thought you were," and the slow opening and shedding of her bright red-bikini top from the middle as she walked over to Stacy's brother senior-year Brad and toplessly kissed him (to the tune of The Cars' hit "Moving in Stereo") - often rated the best nudity scene in any film; it was revealed to be a fantasy mental disrobing; Brad was discovered pleasuring himself in a nearby pool-side bathroom by a shocked Linda ("Doesn't anybody f--king knock anymore?" he asked himself)

Brad (Judge Reinhold) in One of Many Lowly Jobs

Jeff Spicoli's Arrival at School in VW Van

Tardy for Mr. Hand's History Class

Delivery of Pizza to Spicoli in History Class

Mike Damone's 5-Point Plan

Stacy (Jennifer Jason Leigh): Sex in a Dugout


Stacy: Sex in Her Pool House with Mike Damone

Spicoli's Fantasy Surfing Interview

Linda Discovering Brad in Bathroom

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
Varla's Knife-Hurled Murder of Billie
  • 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

Racing Sports-Cars

Billie and Rosie's Cat-Fight

Tommy (Ray Barlow) and Linda (Susan Bernard) on Salt Flats

Gas Station Attendant: Staring at Varla's Chest

The Three Pussycats


Linda Kidnapped and Terrorized After Tommy's Murder

Varla's Murder of Wheel-Chaired "Old Man"

Vegetable's Knifing of Rosie

Varla vs. Kirk (Varla Run Down by Linda)

Varla Left Dead in the Desert

Fatal Attraction (1987)

In Adrian Lyne's cautionary horror-thriller about sexual carelessness, perfect for the AIDS-epidemic era:

  • the wild passionate sex scenes (in her kitchen, elevator and bedroom) over two days between mistress Alex Forrest (Glenn Close), a predatory literary book editor, and happily-married (for 9 years) yet philandering Manhattan lawyer/husband Dan Gallagher (Michael Douglas)
  • the scene of Alex's first hint of her possessiveness when he was leaving after love-making and she objected: "I don't think I like this...The way you run away after every time we make love...You're not gonna leave now...I mean it, I mean it!"
  • the nightmarish vindictiveness of the pathological, obsessive, and scorned woman through repeated discussions and other actions; Alex's increasingly-desperate tactics included slitting her wrists, claiming she was pregnant and didn't want an abortion ("I want this child. It has nothing to do with you. I want it whether you're gonna be a part of it or not...I was hoping that you would want to be a part of it...I'm 36 years old . It may be my last chance to have a child"), and numerous threats and demands; she asked Dan to hurt her: ("I'm not gonna be ignored, Dan...What are you so afraid of?...Go ahead, hit me. If you can't f--k me, why don't you just hit me?...Don't you ever pity me, you smug bastard...I won't allow you to treat me like some slut you can just bang a couple of times and throw in the garbage. I'm gonna be the mother of your child. I want a little respect") - and then when she threatened to tell his wife, he burst into anger: "You tell my wife, I'll kill you"; however at one earlier point, she had insinuated herself into Dan's life with an awkward visit to his wife Beth (Anne Archer) in their NYC apartment (to express an interest as a buyer)
"I'm pregnant, I'm going to have our child..."
"I'm not gonna be ignored, Dan"
"You tell my wife, I'll kill you!"
  • Alex's taped message filled with verbal abuse, 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")
  • the sequence of Beth's discovery of the family's pet bunny (named Whitly) boiling in a pot on the kitchen stove at their country Bedford home - the result of Alex's predatory revenge on six year-old daughter Ellen's (Ellen Hamilton Latzen), by making 'hare stew' (filmed with suspenseful cut-aways of the child running to the empty rabbit hutch)
Boiling Pot on Stove
Empty Rabbit Hutch
"Hare Stew"
  • the final brawling vengeance scene in the bathroom, when Dan came upon Beth being assaulted by Alex wielding a large kitchen knife; he grabbed her around the neck and submerged her in the bathtub to strangle and drown her; Alex's eyes turned white and she stopped struggling, but then suddenly and explosively, she jolted back to life - with a deep breath, she rose up resurrected from the bathtub to strike again, but was shot in the chest by Dan's wife Beth at the doorway
"Return From the Dead" Shock Ending

Kitchen Sex

Elevator Sex

Apres-Sex


Alex's Slit Wrists

Alex Insinuating Herself into Dan's Life - Afternoon Tea Meeting with Beth


Beth's Fatal Gunshot

Father Goose (1964)

In director Ralph Nelson's romantic adventure comedy (Cary Grant's second-to-last film) - a comedy of the sexes between a boozy, slovenly and unkempt sailor and a prim and proper schoolmarm:

  • the character (against-type) of scruffy, whisky-swigging, unshaven sailor and beachcomber Walter Eckland (Cary Grant - in the only film in which he was unshaven throughout the entire story) on an isolated South Pacific island (Matalava Island) during WWII, serving as a 'volunteer' Allied coast watcher and plane spotter (code-named "Father Goose") for the Royal Navy and Commander Frank Houghton (aka "Big Bad Wolf") (Trevor Howard)
Walter Eckland with Schoolteacher Miss Freneau
To Her: "a frustrated spinster who can't find a husband"
To Him: "an undisciplined, self-indulgent escapist"
  • the comedic situations in which Walter was beset by French teacher Miss Catherine Freneau (Leslie Caron) and seven female schoolgirls, who were stranded on the island with him - she called him a "rude, foul-mouthed, drunken filthy beast", and "an undisciplined, self-indulgent escapist" while he called her "Miss Goody-Two-Shoes" and "a frustrated spinster who can't find a husband"

Eckland's Radio Contact with Comm. Frank Houghton (Trevor Howard)

Eckland with Seven Schoolgirls

The Appearance of a Japanese Enemy Patrol Boat

Father of the Bride (1950)

In director Vincente Minnelli's domestic comedy about a wedding ceremony:

  • the opening voice-over narration and flashback of harrassed father, Stanley Banks (Oscar-nominated Spencer Tracy), talking to the camera about the stresses before (and after) a lavish June 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 (three months before the nuptials) 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")

Stanley's Voice-Over Narrated Flashback

Stanley's "Man-to-Man" Talk with Fiancee Buckley

The Wedding Caterers

Wedding Nightmare

Kay's Post-Wedding Thank You Phone Call to Her Father

Fearless (1993)

In Peter Weir's emotionally provocative film, about the aftermath of a major plane crash, involving a surviving hero's journey of disconnected relations with family members and life itself:

  • 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 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, seen in a seemingly-serene Bakersfield cornfield when he appeared carrying a baby while walking and holding young boy Byron Hummel's (Daniel Cerny) hand
  • after the crash, the sequence of Max renting a car and driving from the crash site in Bakersfield to Los Angeles; at first, on a long stretch of deserted road, Max stopped his car, sat outside his car on the ground, and spat into the sand; then, he reached down and rubbed the developing mud between his tumb and forefinger; shortly later, he extended his head from the window and felt the breeze as he accelerated to over 80 mph
  • its tale of two survivors who became intertwined and bonded: Max and young guilt-stricken, depressed, semi-catatonic Roman Catholic mother Carla Rodrigo (Rosie Perez) who still believed in God but took the blame for her baby's death in the crash: ("You know He hurt me. He hurt me forever. But I still believe in Him")
Max's Delusional and Fearless Belief in His Own Invincibility
  • the scenes of Max's belief in his own invincibility and invulnerability - after being lured by a blinding light, he crossed a busy SF street into traffic (and after surviving, laid on his back and yelled up to God: "You can't do it! You wanna 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 - seen in flashback) - he convinced her to stage a bizarre experiment with her holding a toolbox in the backseat of his 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 then he deliberately crashed the car into a brick wall, thus becoming seriously injured and in intensive care in the hospital, where Carla visited him

Fiery Plane Crash

Max Klein's Plane Crash Survival in Cornfield

Liberated and Euphoric Drive to LA

Guilt-Ridden Carla Rodrigo (Rosie Perez)




Staged Do-Over Experiment with Carla, Ending With Crash into Brick Wall

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 set during the mid-1800s in Transylvania:

  • the opening animated title sequence in which the MGM lion roared and then turned into a green vampire/ghoul face with fangs and blood dripping from its mouth
  • the wintry arrival of elderly bat-vampire hunter Professor Abronsius (Jack MacGowran) and his dim-witted apprentice Alfred (Roman Polanski) in the small distant village of Transylvania in Eastern Europe, with crucifix stakes and a mallet; most of the main characters were introduced in the inn, including local Jewish tavern-keeper Yoine Shagal (Alfie Bass), and his beautiful young daughter Sarah Shagal (Sharon Tate in her feature film debut)
  • the flirtatious sequence in the tavern when Sarah spoke to Alfred and told him about her boredom: "l just don't know what to do with myself. l get so bored. You can't imagine how bored l get"; she complained that she was "locked up" and her room was "full of garlic" - her father's protective defense to ward off vampires; when she asked Alfred: "You don't mind if I have a quick one?" - Alfred was taken aback and thought she was propositioning him, but she was only asking about taking a bath and having him provide her with hot water
  • the scene of Sarah bathing alone in a tub in the tavern, when she was attacked by the local undead vampire lord Count Von Krolock (Ferdy Mayne, also the Narrator) who descended through the ceiling and signaled his appearance by snowflakes dropping down upon her; he lasciviously approached her with his pointed fangs, bit into her neck, and covered her mouth to prevent screaming; Alfred looked through the keyhole and saw the mouth-bloodied Count assaulting Sarah - who soon after disappeared through the large hole in the ceiling with him
Sarah Bathing in the Tavern:
Attacked and Abducted by the Count Who Broke Through The Ceiling
  • the sequence of Shagal attempting to rescue his kidnapped daughter that evening; however, by morning, Sarah's father had been captured and transformed into a vampire himself (with numerous fang-bite marks on his legs and arms draining him of his blood)
  • shortly later, the lecherous, vampirish Shagal humorously attacked his pretty maidservant Magda (Fiona Lewis) who vainly tried to protect herself with a cross, when he quipped that the crucifix wouldn't work on a Jew: ("Oy vey, have you got the wrong vampire")
  • the second bath scene of the kidnapped Sarah oblivious to danger when Alfred kissed her gently, and then suggested saving and warning her to follow after him ("l'm going to save you. We'll go away together...You must follow me, I beseech you"), but all she wanted to do was attend the midnight ball and wear her beautiful red gown; suddenly she vanished
  • the great midnight ball-dance hosted by Count Von Krolock - a scene in which the vampirish guests danced a minuet and only the interloping humans Alfred and Abronsius (including Sarah, who was not yet fully transformed) were reflected in a mirror
The Count's Midnight Ball-Dance
  • the Narrator's final lines (in voice-over), as Professor Abronsius, his apprentice Alfred and Sarah (now fully 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 transformed - she 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")

Opening Logo

Sarah to Alfred: "I get so bored"

2nd Bath Scene: Sarah in the Count's Castle - Warned by Alfred

The Rescued Sarah (Now a Fully-Realized Vampire) Biting into Alfred's Neck

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 at Shermer High: ("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"); he had cleverly set up his Emulator II+ synthesizer to deliver convincing fart and vomit sound effects
  • after showering (with his hair wrapped inside a towel spiral on his head), Ferris continued his monologue - breaking the 4th Wall and speaking to the camera/audience: ("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) monotonously calling student names alphabetically from his attendance roll, and repeatedly asking for "Bueller? Bueller? Bueller?..."; there was a view of Ferris' empty chair, and fellow student Simone Adamley (Kristy Swanson) gave a confused excuse about how Ferris was sick: ("Uhm, 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"); she responded to his thank you with the oft-quoted, cheerful: "No problem whatsoever"
  • and shortly later, the teacher's boring lecture to his half-asleep students on the Hawley-Smoot Tariff Act, when he would repeatedly pause for them to fill in the blank answer: ("Anyone? Anyone?"): "In 1930, the Republican-controlled House of Representatives, in an effort to alleviate the effects of the --- Anyone? Anyone? --- the Great Depression, passed the --- Anyone? Anyone? The tariff bill? The Hawley-Smoot Tariff Act? Which, anyone? Raised or lowered? --- raised tariffs, in an effort to collect more revenue for the federal government. Did it work? Anyone? Anyone know the effects? It did not work, and the United States sank deeper into the Great Depression. Today we have a similar debate over this. Anyone know what this is? Class? Anyone? Anyone? Anyone seen this before? The Laffer Curve. Anyone know what this says? It says that at this point on the revenue curve, you will get exactly the same amount of revenue as at this point. This is very controversial. Does anyone know what Vice President Bush called this in 1980? Anyone? Something D-O-O economics. Voodoo economics"
Economics Teacher: "Bueller? Bueller? Bueller?"
Bueller's Empty Chair
Simone:
"Uhm, he's sick..."
  • 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 Ed Rooney receiving what he believed was a crank phone call from Ferris, but it was actually being made by Ferris' friend Cameron Frye (Alan Ruck), who was impersonating Ferris' girlfriend Sloane's (Mia Sara) 'father' Mr. Peterson - it was a fake request to excuse Sloane from school due to her grandmother's death, so she could join them for a day off in downtown Chicago; Rooney was fooled into delivering a sarcastic and insulting response: ("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...")
  • Ferris' impersonation of Sloane's father, when he picked girlfriend Sloane up from the front of the school, driving Cameron's father's 'borrowed' 1961 red Ferrari 250 GT convertible - while he was suspiciously watched from afar by Rooney standing on the school steps; Ferris asked Sloane: "Do you have a kiss for Daddy?" - and engaged in a long, deep and passionate kiss - to Rooney's consternation
  • 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, and then hid in her bedroom and called police
Police Station Conversation
Ferris' Sister Jeanie
(Jennifer Grey)
Boy in Police Station
(Charlie Sheen)
  • after being brought to the police station, Jeanie's reluctant conversation with drugged-up juvenile delinquent stranger (Charlie Sheen), 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 someone (possibly Ferris!) brought a threat: ("If you say Ferris Bueller, you lose a testicle"), and he replied: "Oh, you know him?" - she clenched her fist
  • the brief sequence of Ferris' cute, sun-glasses wearing girlfriend Sloane Peterson (with Ferris and Cameron ducking down to hide), sending a mouthed Hi and Kiss to Ferris' father Mr. Bueller (Lyman Ward) who had done a double-take - he was seated in the back seat of a nearby taxi-cab also caught in traffic; when Ferris asked what his father was doing, Sloane exaggerated: "He's licking the glass and making obscene gestures with his hands" - before she broke into hysterics
  • Ferris' day off from high school in downtown Chicago with his friends Cameron Frye and girlfriend Sloane, including Ferris' unexpected announcement from the top of a Von Steuben Day 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 Wayne Newton's Danke Shein, Ferris segued into the playing and lip-synching of The Beatles' Twist and Shout, inspiring the large crowd to join in dancing
  • during the rolling credits, prefaced by Ferris' repeat statement ("Yep, I said it before and I'll say it again. Life moves pretty fast. You don't stop and look around once in awhile, you could miss it"), the sequence of a humiliated Rooney - completely defeated, dirtied, battered and disheveled - he was picked up and riding in the back of a school bus full of students; his bespectacled blonde seat-mate asked: "I bet you never smelled a real school-bus before," and then reached into her pocket and offered him a warm, melting red gummy bear: "A gummy bear? They've been in my pocket. They're real warm and soft"; he looked up and saw graffiti that read: "ROONEY EATS IT!!", and a notebook cover with a scrawled: "SAVE FERRIS"
  • and the curtain-closing post-credits appearance of Ferris from his bathroom telling the audience (fourth wall) to leave: "You're still here? It's over! Go home. Go!"

Ferris Bueller's Malingering Lesson

Opening Monologue


Dean of Students Ed Rooney with Secretary Grace


Crank Phone Call to Rooney From Ferris' Friend Cameron

"Do you have a kiss for Daddy?"

Jeanie Karate-Kicking Intruder Rooney in the Face

Sloane's Flirtatious Hi and Lip-Kiss Toward Ferris' Father in a Nearby Taxi Cab


Skipping School in Downtown Chicago (Street Parade Sequence: Twist and Shout)

Rolling Credits: Rooney on School Bus Offered Red Gummy Bear

Post Credits: "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

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