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, and as 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!")








Faces (1968)

In writer/director John Cassavetes' stark and grainy looking, amateurish, ragged film (made with a hand-held camera in 16mm) about infidelity - a highly-influential, low-budget independent cinema verite film:

  • the plot told as an improvisational character study and "film within a film" with a highly individualistic style (including unscripted and often inaudible dialogue)
  • the lead character - high-class prostitute Jeannie Rapp (Gena Rowlands - Cassavetes' wife), engaged in an affair with married, middle-aged and drunken Richard "Dickie" Forst (John Marley), with all of its resultant, tragic repercussions

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









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



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):

  • 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






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 wood chipper 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 leg of his kidnapping accomplice Carl (Steve Buscemi)
  • 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 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






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