Greatest Film Scenes
and Moments



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

The Fly (1958)

In director Kurt Neumann's original and chilling film:

  • the opening shocking scene of a factory's night watchman finding that Helene Delambre (Patricia Owens) had just crushed her scientist husband Andre's (David Hedison) head and arm in a giant metal hydraulic press
  • the rest of the story - in flashback - about how the husband was anatomically combined with a fly by his matter-transporting device - with the horrifying revelation when Helene screamed upon first viewing one of the fly's claws replacing one of his arms
  • the shocking view of his entire monstrous, twitching fly head revealed from under a draped black cloth (the kaleidoscopic point of view of her screaming was shot through the Fly's POV eye)
  • the climactic ending plea of the second entrapped fly (with a human head and fly body) in a spider's web crying: "Help me, please, help me!" to Andre's brother François Delambre (Vincent Price) - and the fly's merciful killing by being smashed with a rock by Inspector Charas (Herbert Marshall)

The Fly (1986)

In the superior and scary remake by master of horror David Cronenberg:

  • the gruesome scene when a baboon was teleported inside out during an experiment gone awry
  • shy scientist Seth Brundle's (Jeff Goldblum) first realization that he had become fused with a fly - the computer typed out: "FUSION OF BRUNDLE AND FLY AT MOLECULAR-GENETIC LEVEL" - and adoption of his new name "Brundlefly"
  • his displays of superhuman strength after a teleport session - breaking a competitor's arm during an arm-wrestling match - and then climbing up and down walls, etc.
  • a degenerating Seth's ear falling off in front of his girlfriend/lover/science reporter Veronica Quaife (Geena Davis), as he clutched her in fear and whispered: "I'm scared. Help me. Please"
  • Seth's videotaped explanation of vomiting during preparations for his breakfast
  • the scene in which Veronica experienced a nightmare of aborting a maggot
  • the scene in front of his bathroom mirror when slowly-degenerating and mutating Seth stored "relics" of his human body in the cabinet ("the Brundle Museum of Natural History")
  • his warning to Veronica in his 'insect politics' speech to leave and never come back because he might hurt her: ("You have to leave now, and never come back here. Have you ever heard of insect politics? Neither have I. Insects don't have politics. They're very brutal. No compassion, no compromise. We can't trust the insect. I'd like to become the first insect politician. You see, I'd like to, but, oh, I'm afraid, uh... I'm saying, I'm saying, I-I'm an insect who dreamt he was a man but he loved it. But now the dream is over and the insect is awake....I'm saying: 'I'll hurt you if you stay.'")
  • the scene of Seth's attack on Stathis Borans (John Getz) - using acidic digestive vomit to disintegrate his left hand and right foot
  • the final scene of the disfigured Brundlefly, after a failed transport and fusion with metal parts, wordlessly begging Veronica to kill his monstrous self with a shotgun - and her dropping to her knees after the deed was accomplished

Flying Down to Rio (1933)

In director Thornton Freeland's extravagant RKO musical:

  • the star-making dance "The Carioca" by Fred Ayres and Honey Hale (supporting players Fred Astaire and Ginger Rogers)
  • the memorable scene of sexy chorus girls dancing to the title song, while on airborne airplane wings

Footlight Parade (1933)

In director Lloyd Bacon's and Warner Bros' musical - the third backstage musical from Warner Bros in 1933 (after 42nd Street and Gold Diggers of 1933):

  • the famous number Sittin' on a Backyard Fence featuring chorines dressed in cat-suits
  • the many pre-Code jokes and risque situations, such as Nan Prescott's (Joan Blondell) quip at three o'clock in the morning to her roommate Vivian Rich (Claire Dodd), who was attempting to steal her drunken beau, theatrical producer Chester Kent (James Cagney) away from her - she kicked Vivian out the door: "Now you scram, before I wrap a chair around your neck!...Outside, countess. As long as they have sidewalks, you've got a job!"

  • the three fantastic and extravagant finales (meticulously choreographed by Busby Berkeley) performed back-to-back at the conclusion (created as musical numbers or "prologues" for movie theatre owners to provide for their patrons before film shows):

    - the film's Honeymoon Hotel sequence that featured married (?) couples (all named Smith) preparing for the evening, along with hapless honeymooners Bea Thorn (Ruby Keeler) and Scotty Blair (Dick Powell) who had to put up with a lecherous 'Little Boy' (dwarf Billy Barty) who almost shared their wedding night - a segment that was heavily edited by censors

    - the 15-minute naughty pre-Code By a Waterfall featuring an elaborate aquacade of 100 bathing-suited girls/chorines (clothed to appear naked) performing amazingly intricate dances and artistic patterns in the water while shot kaleidoscopically from overhead - and then forming a revolving 70 foot high human wedding cake/fountain formation at the climax

    - the exotic Shanghai Lil (providing commentary on Paramount's Shanghai Lily character (Marlene Dietrich in Shanghai Express (1932) from the year before) with Ruby Keeler in Chinese makeup and a jet-black wig, portraying a prostitute in a backstreet opium den and brothel on the waterfront of Shanghai, and a tap-dancing sailor (Kent (James Cagney) was forced to play the lead male role because the main star was drunk) looking for his long-lost love Lil in the vice-ridden bar - featuring a fantastic tap-dance duet between the two across a bar counter.

  • the closing shots of an imperialistic US Navy drill and marching team, the Stars and Stripes flag, President Franklin D. Roosevelt, and the NRA's Blue Eagle

Forbidden Planet (1956)

In director Fred Wilcox' influential, classic science-fiction space adventure - the first science-fiction film in color and CinemaScope - and an adaptation of Shakespeare's The Tempest - a forerunner of the entire Star Trek (and Lost in Space) franchises:

  • on the distant star Altair-4 with green skies, the first appearance of the film's real star -- friendly Robby the Robot (voice by Marvin Miller) (who influenced and was the progenitor of many other future robotic creations), functioning as both a house servant and guard, and providing comic relief: ("Sorry miss, I was giving myself an oil job!")
  • the entrance of reclusive philologist Dr. Edward Morbius (Walter Pidgeon as Prospero) - and his lovely, doe-eyed and very naive 18 year-old daughter Altaira (Anne Francis as Miranda) - and upon seeing three crew members marveled: ("I've always so terribly wanted to meet a young man, and now three of them at once"), and who innocently asked after found swimming nude in a pool: ("What's a bathing suit?")
  • Altaira's kissing scene with Lt. Farman (Jack Kelly) - and after a few moments, her comment that she couldn't feel any "stimulation" - and the creepy subtext of the film - Dr. Morbius' incestuous feelings for Altaira
  • the scene of Morbius commanding Robby to kill Commander Adams with a laser, and Robby 'short-circuiting' - following one of Isaac Asimov's Three Laws of Robotics to never kill a human
  • Morbius' tour of "Krell wonders" to show some of the crew members a huge network of underground rooms and that were reportedly the remains of an advanced civilization from 2,000 centuries earlier, inhabited by a mighty race of beings who called themselves the Krells: ("In times long past, this planet was the home of a mighty and noble race of beings which called themselves the Krell. Ethically and technologically they were a million years ahead of humankind, for in unlocking the mysteries of nature, they had conquered even their baser selves. And when, in the course of eons, they had abolished sickness and insanity, crime and all injustice, they turned, still in high benevolence, outward towards space....The heights they had reached, but then, seemingly on the threshold of some supreme accomplishment, which was to have crowned their entire history, this all but divine race perished in a single night. In the 2,000 centuries since that unexplained catastrophe, even their cloud-piercing towers of glass and porcelain and adamantine steel have crumbled back into the soil of Altair-4 and nothing, absolutely nothing, remains above ground")
  • the scene of the night attack of the sinister, invisible Id monster ("the beast. The mindless primitive!...a living monster"), a giant biped monster with sloth-like claws, on the flying saucer-shaped United Planets space cruiser C57D
  • Morbius' face-to-face encounter with his own projected or externalized sub-conscious, the Id ("the elementary basis of the subconscious mind")
  • Morbius' explosive destruction of the 'forbidden planet' of Altair to prevent its terrible technology from being used again, and Commander Adams' (Leslie Nielsen) final words to Altaira (who was saved with the crew): ("Yes, Alta, your father, my shipmates, all the stored knowledge of the Krell. Five seconds, four, three, two, one. Alta, about a million years from now, the human race will have crawled up to where the Krell stood in their great moment of triumph and tragedy. And your father's name will shine again like a beacon in the galaxy. It's true, it will remind us that we are, after all, not God")

Force of Evil (1948)

In Abraham Polonsky's film noir crime drama, his debut film:

  • the opening, silky-smooth voice-over of young, successful, and on-the-make Wall Street lawyer Joe Morse (John Garfield) during a high-angle camera view of towering skyscrapers surrounding St. Andrew's Church near Wall Street - he described how his principal client was Joe Tucker (Roy Roberts), the boss of a numbers racket: ("This is Wall Street and today was important because tomorrow, July Fourth, I intended to make my first million dollars, an exciting day in any man's life. Temporarily, the enterprise was slightly illegal. You see I was the lawyer for the numbers racket")
  • Joe's threatening discussion with his estranged, very honest older brother Leo (Thomas Gomez) who had a small "numbers bank" of his own, urging him to give in and join his corrupt corporation: "Now, you listen to me! Something very serious is about to happen to your business. You're one of 20 or 30 numbers banks in the city - one of the smaller ones. Suppose a combine moves in. Suppose it organizes and merges these banks, eliminating the little ones, like yours. You're listening now, aren't ya? Suppose it reduces the overhead - legal fees, bail bonds. Supposing it reduces the cost and guarantees the profits. A man like you would be out of business, wouldn't you? You couldn't compete, could you? But suppose you had a brother, and this brother made your bank the number-one bank in the combination, in the merger, in the corporation...In return for the organization and service, in return for taking you into the combination, The corporation gets 2/3 of the profits and you get 1/3" - but Leo refused the proposed alliance deal: "Do you know what that is, Joe? Blackmail! That's what it is! Blackmail! My own brother blackmailing me!"; Joe angrily responded, calling his brother a "small man" for not wanting it
  • the long take of Joe's seductive discussion in the back seat of a taxi with Leo's young secretary-bookkeeper Doris Lowry (Beatrice Pearson), when she described him: "You're a strange man, and a very evil one.."; he replied: "And you're a sweet child, and you want me to be wicked to you...Make a pass for you, bowl you over, sweep you up, take the childishness out of you, and give you money and sin. That's real wickedness"; she countered: "What are you trying to make me think, Mr. Morse? What are you trying to make me think about myself - and you?"; when she added: "I know it's not wicked to give and want nothing back," Joe described his determined ideas about ambition and getting pleasure from taking from others: "It's perversion. Don't you see what it is? It's not natural. To go to great expense for something you want, that's natural. To reach out to take it, that's human, that's natural. But to get your pleasure from not taking, from cheating yourself deliberately like my brother did today, from not getting, from not taking. Don't you see what a black thing that is for a man to do? How it is to hate yourself and your brother, make him feel that he's guilty, that, that I'm guilty? Just to live and be guilty"
  • Joe's walk in a deserted Wall Street (amidst towering buildings) and his realization that he had become indebted to the syndicated mob for life, and was one of its corrupted victims
  • the scene of Doris and Joe reading startling newspaper headlines that Leo had been kidnapped and his meek bookkeeper Freddy Bauer (Howland Chamberlin) had been killed
  • in the conclusion, Joe's search for Leo - passing factories and a meat-packing area, ending with his running down a great stone staircase - almost a descent into hell - from Riverside Drive down to the rocks by the Hudson River lighthouse under the George Washington Bridge, where he found the dumped body of Leo; he described his descent in voice-over, and how he would now turn himself in to the city's new special prosecutor Link Hall: ("I wanted to find Leo, to see him once more. It was morning by then, dawn, and naturally I was feeling very bad there as I went down there. I just kept going down and down there. It was like going down to the bottom of the world to find my brother. I found my brother's body at the bottom there, where they had thrown it away on the rocks by the river, like an old, dirty rag nobody wants. He was dead, and I felt I had killed him. I turned back to give myself up to Hall, because if a man's life can be lived so long and come out this way, like rubbish, then something was horrible and had to be ended one way or another, and I decided to help")

Foreign Correspondent (1940)

In Alfred Hitchcock's political thriller set just before the outbreak of war on the Continent:

  • the assassination scene in Amsterdam when Dutch statesman Van Meer (a doppelganger) was shot in the face as he mounted the steep stairs in the rain by a photographer with a gun; and the image of a sea of bobbing black umbrellas revealing the escape route of the assassin
  • the windmill set (including the sounds of the wind in the sails and the wooden gears) and the mystery of the blades turning the wrong direction, signaling a Nazi airplane to land, to pick up the kidnapped Dutch statesman
  • the tense scene atop Westminster Cathedral's bell tower as contract killer Rowley (Edmund Gwenn) cajoled reporter Johnny Jones/Huntley Haverstock (Joel McCrea) and readied to push him off, but ended up tumbling to his own death
  • the spectacularly convincing trans-atlantic plane crash disaster from the cockpit's point of view; and the subsequent sequence of the few survivors clinging to the plane's fuselage and crowded wing, and villain Stephen Fisher's (Herbert Marshall) heroic sacrifice and drowning in order to save the others in the turbulent waters
  • the final, provocative radio appeal (a tacked-on propagandistic ending) from London (during a bombing) by reporter Jones, who was begging for America to end its neutral stance: ("It's death coming to London...It's too late to do anything here now except stand in the dark and let them come. It's as if the lights were all out everywhere, except in America. Keep those lights burning there! Cover them with steel! Ring them with guns! Build a canopy of battleships and bombing planes around them! Hello, America! Hang on to your lights. They're the only lights left in the world")

Forrest Gump (1994)

In Robert Zemeckis' Best Picture-winning tearjerker comedy:

  • the sequences of big-hearted dullard Forrest Gump's (Oscar-winning Tom Hanks) flashbacks while sitting on a city bus-stop bench, and his simple-minded statement to a listener: ("My mama always said, life was like a box of chocolates. You never know what you're gonna get")
  • his recollected uplifting moments including when young, innocent and crippled Forrest Gump (Michael Conner Humphreys) quickly ran away (with young Jenny yelling: "Run, Forrest, Run"!) -- twice -- from mean schoolmates when his leg braces fell off - and when he streaked ahead into a football game as a running star
  • Forrest's transforming progression through the decades (as a war hero, shrimp tycoon, and father)
  • Bubba Blue's short speech about all the ways that shrimp ("the fruit of the sea") could be prepared
  • the computerized special-effects and imaging that put intellectually-challenged Forrest Gump into comedic situations with historical events (i.e., Gov. Wallace's stand-off in Little Rock, and his assassination attempt) and with Presidents and other celebrities (JFK - with his plea: "I gotta pee", LBJ, Nixon, Elvis Presley, John Lennon)
  • Forrest's reunion scene with true love Jenny Curran (Robin Wright) in Washington DC's reflecting pool
  • Forrest's ping-pong prowess
  • the scene of Forrest's first meeting with young Forrest, Jr. (Haley Joel Osment) and being told that he was the father of Jenny's very normal child: ("You're his daddy, Forrest") and her reassurances: ("You didn't do anything wrong") followed by his reply: ("He's the most beautiful thing I've ever seen") - and the scene of them happily watching Sesame Street's Bert and Ernie on TV together
  • Forrest's moving, tear-jerking eulogy-meditation for his newly-wed bride Jenny at her gravesite under a tree after she died of the AIDS virus: ("You died on a Saturday morning. And I had you placed here under our tree. And I had that house of your father's bulldozed to the ground. Mama always said that dyin' was a part of life. I sure wish it wasn't. Little Forrest is doin' just fine. About to start school again soon, and I make his breakfast, lunch, and dinner every day. I make sure he combs his hair and brushes his teeth every day. Teach him how to play ping-pong. He's really good...We fish a lot. And every night, we read a book. He's so smart, Jenny. You'd be so proud of him. I am. He wrote you a letter. And he says I can't read it. I'm not supposed to, so I'll just leave it here for you. I don't know if Mama was right or if it's Lieutenant Dan. I don't know if we each have a destiny, or if we're all just floatin' around accidental-like on a breeze. But I-I think maybe it's both. Maybe both is happening at the same time. But I miss you, Jenny. If there's anything you need, I won't be far away")
  • the floating feather uplifted into the sky at the conclusion

Forty Guns (1957)

In maverick director Sam Fuller's unusually weird, unorthodox b/w widescreen B-western with Freudian overtones:

  • the character of ruthless, whip-wielding Arizona cattle-queen rancher Jessica Drummond (Barbara Stanwyck) with black skin-tight 'Zorro'-like outfits and riding on a white stallion, and usually accompanied by an armed posse of '40 guns' ("forty dragoons") riding after her or joining her at an elongated dinner table
  • the film's kinky love theme: "High Ridin' Woman (With a Whip)"
  • the remarkable scene of tough ex-marshal/gunslinger Griff Bonnell (Barry Sullivan) marching up the main street in Cochise County, Arizona to confront armed and drunken troublemaker Brockie Drummond (John Ericson), Jessica's brother - and with his cold stare hypnotizing Brockie so he could pistol-whip him to the ground
  • the film's innuendo-laden sexual dialogue such as Wes Bonnell's (Gene Barry) remarks about the town gunsmith's busty blonde daughter Louvenia Spanger (Eve Brent): "She even looks good in overalls...Built like a 40-40. I'd like to stay around long enough to clean her rifle"
  • the scene of future town marshall Wes flirting with Louvenia in the gunsmith shop (he blatantly stroked a rifle butt as she took his measurements for a gun order): (Wes: "How long will it take to make this rifle for me?" Louvenia: "A long time. You'd have to come in every day for a fittin'."); then he took another gun and romantically stared at her - down the gun's bore: ("This is pretty good work, never saw any better. Yeah, this kind of rifle's worth hangin' around for") - and then kissed her: Wes: "I never kissed a gunsmith before." Louvenia: "Any recoil?"
  • the scene of Griff giving a smirking warning when Jessica asked to feel his gun for curiosity's sake: "It might go off in your face" - and her reply: "I'll take a chance" - and her obvious stroking of his gun for a few moments
  • the tornado scene with Jessica dragged behind her horse
  • the finale in which Jessica was cruelly held captive hostage and used as a shield by her crazy brother Brockie, who dared Griff to shoot - and he did! Brockie was fired upon by Bonnell and Jessica was wounded, while Brockie was cold-bloodedly murdered with multiple shots (as Brockie cried out: "Mr. Bonnell, I'm killed!") - afterwards, Bonnell delivered a cold assessment for Jessica as he strolled by: "Get a doctor. She'll live"

42nd Street (1933)

In Lloyd Bacon's classic backstage musical with crisp dialogue and performances:

  • the first of Busby Berkeley's films with chorus girls as kaleidoscopic patterns in the movie musical that invented all the cliches
  • the most notable scene in which the show's director Julian Marsh (Warner Baxter) coaxed understudy chorus girl Peggy Sawyer (Ruby Keeler) onto the stage from the wings on the opening night to replace the show's star Dorothy Brock (Bebe Daniels) -- with the famous words: "And Sawyer, you're going out a youngster, but you've got to come back a star"
  • the film's three production numbers in the finale:

    - "Shuffle Off to Broadway" in which the observation deck on the caboose of the newlyweds' train opened up into the interior of the train

    - "I'm Young and Healthy" with circles and lines of endlessly-reproduced chorus girls

    - the "42nd Street" production number in which Peggy and Billy Lawler (Dick Powell) peek over the top of the skyscraper and Peggy's performance of a clumsy and heavy-footed tap-dance

For Whom the Bell Tolls (1943)

In director Sam Wood's romantic war drama:

  • the famous scene in a sleeping bag under the stars between American mercenary Robert Jordan (Gary Cooper) fighting on the side of the Republicans in Spain and blue-eyed, short-haired Maria (Ingrid Bergman) with their subsequent kissing scene: ("I'd like - I don't know how to kiss, or I would kiss you. Where do the noses go?")
  • the conclusion with ill-fated hero Jordan's final soliloquy to Maria when he chose to be left behind to meet his certain death: ("You go now, Maria...what I do now I do alone. I couldn't do it if you were here...There's no good-bye, Maria, because we're not apart")
  • the smoky machine-gun fire and a bell tolling his fate in the dissolve ending

The Fountain (2006)

In Darren Aronofsky's profoundly meditative and metaphysical, 3-pronged (past, present, and future) sci-fi drama about immortality:

  • the early scene of the couple: Izzy Creo (Rachel Weisz, the director's real-life wife) and husband Tom (Hugh Jackman) viewing the stars on a snowy rooftop ("it's actually a nebula wrapped around a dying star. That's what makes it look gold...The Mayans called it was their underworld...a place that dead souls go to be reborn")
  • the hospital scene in which cancer-suffering and dying patient Izzy told her cancer-drug developer/researcher husband (who somewhat ignored her in search for a cure) that she wanted him to finish the last and ninth chapter of her writings titled "The Fountain" about the search for eternal life in New Spain by conquistadors
  • Tomas as a Spanish explorer (also Hugh Jackman) was sent by his 16th century Queen Isabel (also Rachel Weisz) - she had accepted her impending death: "Death was (the)...road to awe" and "I'm not afraid anymore, Tommy"
  • the masterful way in which all of the parallel stories came together - the deliverance of Spain from bondage, acceptance of the thought: "Together we will live forever," and the space journey of balding 26th century immortal cosmonaut (also Jackman) with the Tree of Life, in a bubble enroute in the lotus position to the nebula they saw in the sky (the Mayans believed the dying star was actually the origin of life) after finding the gateway to life

The Four Feathers (1939, UK)

In director Zoltan Korda's classic adventure epic, with phenomenal color cinematography:

  • the character of British military officer Lieut. Harry Faversham (John Clements), who sought to redeem himself of condemnation and accusations of cowardice (after resigning his commission, and receiving three white feathers from his fellow officers, Captain John Durrance (Ralph Richardson) and Lieutenants Peter Burroughs (Donald Gray) and Willoughby (Jack Allen) and a fourth feather representing his fiancee Ethne Burroughs (June Duprez)) - he secretly disguised himself as a mute native Senghali tribesman (with a branded forehead) to help rescue his former comrades in a late 1890s battle in Egypt and the Sudan
  • the magnificent panoramic battle scenes - especially the attack of the savage Dervishes (pejoratively labeled Fuzzy Wuzzies) against the British lines

The Four Horsemen of the Apocalypse (1921)

In director Rex Ingram's war drama:

  • Argentinian Julio's (Rudolph Valentino) sexy (but forbidden) tango dance scene in a smoke-filled Argentinian cantina

The 400 Blows (1959, Fr.) (aka Les Quatre Cents Coups)

In critic-turned-director Francois Truffaut's innovative New Wave film (his feature film debut):

  • the definitive and original, but ambiguous freeze-frame ending, one of the most famous freeze-frame shots in cinematic history
  • it occurred in the conclusion of a lengthy sequence after young 12 year-old boy Antoine Doinel (Jean-Pierre Léaud) had escaped from a reformatory during a football game, and ran along the streets and onto an empty beach at Normandy
  • the final image - Antoine stopped, turned, and looked tellingly at the camera as it zoomed in on his face - and then the image was unexpectedly frozen in time - he was trapped or caught between the land and sea, and between his past and future (as "Fin" appeared on-screen)

Four Weddings and a Funeral (1994, UK)

In Mike Newell's surprise British hit about an on-again/off-again romance between a Britisher and an American female - who often met at weddings (and one funeral):

  • the opening scene, with a barrage of many F-words, of bachelor Charles (Hugh Grant) and Scarlett (Charlotte Coleman) waking up and realizing that they were late to a wedding
  • the scene of Charles seated at a wedding table with many of his ex-girlfriends - squirming and cringing while listening to their recollections
  • the first kisses between Charles and American girl Carrie (Andie MacDowell) in her room, when she showed him different kinds of kisses (from pecks to open-mouthed) - after explaining: ("So I noticed the bride and groom didn't kiss in the church which is kind of strange. Where I come from, kissing is very big...I always worry I'll go too far, you know, in the heat of the moment") - and then after a very passionate kiss, he remarked to her: ("That might be taking it a little far")
  • the scene, after Charles and Carrie slept together (a one night stand), when she asked: ("When were you thinking of announcing the engagement?...I assumed since we slept together and everything, we'd be getting married") - but then admitted her joke - and his expression of relief: ("God! For a moment there, I thought I was in Fatal Attraction. I thought you were Glenn Close and I was gonna get home and find my pet rabbit on the stove")
  • the scene of an inept, fumbling, malaprop-spouting vicar (Rowan Atkinson) reciting the vows for the "awful-wedded" marital couple in the second of the film's four weddings
  • the scene of the charming Carrie discussing her prolific sexual history with Charles, who hilariously recounted her experiences with 33 sexual partners - he was designated as # 32 (one before her fiancee), after which she summarized her recounting: ("...So there you go, less than Madonna, more than Princess Di - I hope")
  • the stuttering, nervous and hesitant 'romantic' declaration of Charles' love for Carrie after she had bought a wedding dress: ("Uhm, look. Sorry, sorry. Uh, I just, uhm, well, this is a really stupid question and, uhm, particularly in view of our recent shopping excursion, but, uh, I just wondered, if by any chance, uhm, ah, I mean obviously not because I am just some git who's only slept with nine people, but-but I-I just wondered...uhh. I really feel, short, to recap in a slightly clearer version, uh, in the words of David Cassidy in fact, uhm, while he was still with the Partridge Family, uh, 'I think I love you,' and uh, I-I, uh, just wondered by any chance, you wouldn't like to... Umm...Uh...Uh...No, no, no, of course not...Uhm, I'm an idiot, ha, he's not... Excellent, excellent, fantastic...lovely to see you, sorry to disturb...Better get on...Well, I thought it over a lot, you know, I wanted to get it just right. Important to have said it, I think...Said, uh, you know, what I, what I just said about, uh, David Cassidy") - she kissed him: ("You're lovely")
  • the film's highlight - Matthew's (John Hannah) poignant reading of W. H. Auden's Funeral Blues at the moving funeral of "splendid bugger" Gareth (Simon Callow): ("'Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum, Bring out the coffin, let the mourners come. Let the aeroplanes circle, moaning overhead, Scribbling on the sky the message: He is Dead. Put crepe bows 'round the white necks of the public doves, Let traffic policemen wear black cotton gloves. He was my North, my South, my East and West. My working week and my Sunday rest. My noon, my midnight, my talk, my song, I thought that love would last forever: I was wrong. The stars are not wanted now, put out every one. Pack up the moon and dismantle the sun. Pour away the ocean and sweep up the wood, For nothing now can ever come to any good.'")
  • the final scene of Charles, after his own aborted 'fourth' wedding ceremony that he had called off with Henrietta (Anna Chancellor), and finally declaring his utter and true love for Carrie in the rain: (Carrie: "Is it still raining? I hadn't noticed") and awkwardly not asking for her hand in marriage - with Carrie's response: "I do," accompanied by a kiss and a lightning bolt in the sky

(alphabetical by film title)

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

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