Greatest Film Scenes
and Moments



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

Frankenstein (1931)

In James Whale's horror classic:

  • the opening memorable grave-robbing sequence with hunchback servant Fritz (Dwight Frye) helping to dig up bodies
  • the remarkable creation sequence in which the monster's body (Boris Karloff) was raised to the top of the tower where lightning electrified it, Dr. Frankenstein's (Colin Clive) hysterical reaction: "It's alive..." when the monster came to life ("Now I know what it feels like to be God")
  • the first chilling appearance of the monster when he backed in a doorway
  • the moving sequence in which the monster reached for the sunlight
  • the scene in which the monster played with a little eight year-old girl Maria by a lakeside, throwing flower petals in the water - but innocently murdered her by tossing her in the water when the petals ran out
  • Frankenstein's approach toward bride Elizabeth (Mae Clarke) through the window
  • the townspeople's pursuit of the monster in the dark with torches
  • the film's finale - the life and death struggle in the windmill between the monster and its creator

Freaks (1932)

In Tod Browning's severely-censored horror classic:

  • the opening sequence: a carnival barker (Murray Kinnell) enticed customers to enter his sideshow, and explained the freaks' code of honor: "We didn't lie to ya, folks. We told you we had living, breathing monstrosities. You laughed at them, shuddered at them and yet, but for the accident of birth, you might be even as they are. They did not ask to be brought into the world, but into the world they came. Their code is a law unto themselves. Offend one - and you offend them all"
  • the barker introduced the customers to an off-screen creature penned up in an enclosure, causing one of the women to scream at the sight of the hideous human monstrosity: "And now, folks, if you'll just step this way. You are about to witness the most amazing, the most astounding living monstrosity of all time. (woman's scream) Friends - she was once a beautiful woman. A royal prince shot himself for love of her. She was known as the Peacock of the Air" --- the sight of the creature was postponed until the film's conclusion
  • the many oddities and grotesque deformities of the freak circus side show members (the Siamese twins, a human skeleton, a bird woman, the larva man or living torso, the androgyne, the trunk man, the women without arms, the bearded woman, and the pinheads)
  • the wedding feast scene that welcomed trapeze artist Cleopatra (Olga Baclanova), who had married midget circus owner Hans (Harry Earles), with the passing of a loving-cup and the singing of the song to accept her: "Gooble Gobble! We accept her, we accept her, one of us, one of us!"
  • Cleopatra's memorable speech, rejecting the freaks: "You dirty slimy FREAKS...You filth, make me one of you, will you?"; then, she challenged her ashamed husband Hans: "Well, what are you going to do? What are you - a man or a baby?" - and then suggested giving him a childish horse-back ride: "What must I do? Must I play games with you? Must Mamma take you horsey-back ride?"; she carried him on her shoulders for a "horsey-back ride", with Hercules assisting in the humiliation: "Ha, ha, that's it! Horsey-back ride! Ha, ha, ha. Come, come, my little fly speck. Momma is going to take you horsey- back ride. Geddy-up! Geddy-up!"
  • the final stormy night sequence of the freaks making good on their threats as they crawled through the mud (some with knives in their mouths) to murder or emasculate muscleman Hercules (Henry Victor) (the film's dialogue and action were unclear on this point due to studio editing), and then pursue gold-digging Cleopatra to exact a horrible revenge on account of her treatment of Hans
  • in the conclusion - the sight of the sexy and tall, transformed Cleopatra as a legless, feathered mutant chicken with a scarred and bruised face, drooping and squawking mouth: (the barker introduced her: "How she got that way will never be known. Some say a jealous lover, others that it was the code of the freaks, others, the storm. Believe it or not, there she is!")

French Cancan (1954, Fr./It.) (aka Only the French Can)

In director Jean Renoir's comedy/drama:

  • the visually-stunning, colorful, high-kicking scene of choristers in the Parisian Moulin Rouge dance-hall/nightclub in the final dance scene

The French Connection (1971)

In William Friedkin's Best Picture-winning, fast-moving crime/action film, about the efforts of law enforcement to prevent the smuggling of $32 million worth of heroin into the city:

  • the exciting opening scene in Brooklyn with two NYPD cops pursuing their mark: racist Jimmy 'Popeye' Doyle (Gene Hackman) dressed as a Santa Claus and Russo (Roy Scheider) as a hot dog vendor - and the vicious interrogation by Doyle: ("Hey, s--thead. When's the last time you picked your feet? Huh?...I got a man in Poughkeepsie wants to talk to you. Have you ever been to Poughkeepsie? Huh? Have you ever been to Poughkeepsie? Come on, say it. Let me hear you say it, come on. Have you ever been to Poughkeepsie? You've been in Poughkeepsie, haven't you? I want to hear it! Come on! ...You've been there, right?...You sat on the edge of the bed, didn't ya? You took off your shoes, put your finger between your toes and picked your feet. Didn't ya? Now say it!...All right, you put a shiv in my partner. You know what that means, god damn it? All winter long, l gotta listen to him gripe about his bowling scores. Now, I'm gonna bust your ass for those three bags and I'm gonna nail you for picking your feet in Poughkeepsie")
  • the shocking for-its-time statement made by Doyle to his injured partner: (Doyle: "You dumb guinea!" Russo: "How the hell did I know he had a knife?" Doyle: "Never trust a nigger.")
  • the scene of Doyle's hassling and shaking-down a group of lined-up clients in a sleazy black bar: ("All right, Popeye's here! Get your hands on your heads. Get off the bar and get on the wall. Come on, Move, move!...We told you people we were comin' back. We're gonna keep comin' back here until you clean this bar up")
  • suave French drug kingpin Alain Charnier's (Fernando Rey) elusive cat-and-mouse game played on a subway platform - and his ultimate escape and wave from a subway car at his pursuer Doyle
  • the film's high-point and centerpiece -- the dazzlingly-edited scene of the frantic car pursuit of French smuggler and hired killer Pierre Nicoli (Marcel Bozzufi), Charnier's partner, by Doyle (in a civilian's stolen car below the L-tracks), who was trying to keep pace with the hijacked, elevated subway train above him, as he barely missed pedestrians and other vehicles
  • Doyle's killing of the hijacker Nicoli at the top of the subway train station's stairs
  • in the downbeat ending, the final unsuccessful pursuit of Charnier in an underground warehouse on Wards Island when Doyle mistakenly shot a federal narcotics agent

Frenzy (1972)

In Alfred Hitchcock's first R-rated film:

  • the long and intense necktie strangulation scene of Brenda Blaney (Barbara Leigh-Hunt)
  • the brilliantly-executed, incredible staircase shot (a lengthy backwards tracking shot) in which the camera slowly retreated from a closed doorway behind which a 'necktie' rape/strangulation murder was taking place - and then proceeded down the stairs and out into the brightly-lit street where pedestrians were unaware of the horrors inside
  • the tense scene of the killer Bob Rusk (Barry Foster) frantically searching through a stack of burlap potato sacks in the back of a moving, jostling and swerving truck to find his missing, incriminating initialed/monogrammed stickpin (clenched in a death grip by the nude corpse in a state of rigor mortis) torn from his lapel while his victim struggled - and his breaking of the corpse's clutching fingers to retrieve it
  • the scene of the Chief Inspector's wife Mrs. Oxford (Vivien Merchant) crunching on a breadstick as her husband (Alec McCowen) explained the breaking of the corpse's fingers in the truck while he attempted to eat an inedible 'gourmet' meal: ("Obviously he was looking for something....The corpse was deep in rigor mortis. He had to break the fingers of the right hand to retrieve what they held... It had to be something that would incriminate him. Something that he missed when he put the body on the truck. A monogrammed handkerchief, perhaps")
  • the final clever apprehension of the necktie murderer and the investigator's clincher line of dialogue: "Mr. Rusk, you're not wearing your tie"

From Here to Eternity (1953)

In Fred Zinnemann's provocative, Best Picture-winning adaptation of James Jones' 1951 novel - a hefty, 859-page smoldering tale; its sprawling and complex story-line about Army life with its bold and explicit script (with strong language, violence and raw sexual content) was at first considered unsuitable (and unfilmable) for the screen; the ground-breaking film's subjects (ill-suited for television) included prostitution, adultery, military injustice, corruption and violence, alcohol abuse, and murder:

  • the famous, erotic lovemaking scene - a horizontal embrace and wave-covering kiss in the Hawaiian beach surf as it broke over them during a secretive, torrid affair between career soldier First Sgt. Milton Warden (Burt Lancaster) and the base commander Captain Dana Holmes' (Philip Ober) neglected, promiscuous wife Karen Holmes (Deborah Kerr) - their bodies were tightly locked and intertwined in an embrace as they kissed each other and the white foaming waves poured over them; afterwards, she rose, pranced up the sand, and collapsed onto their blanket; Warden followed and stood above her, dropped to his knees, and found her lips in his, as she responded breathlessly - Karen: "I never knew it could be like this. Nobody ever kissed me the way you do." Warden: "Nobody?" Karen: "No, nobody."
  • the scene of the death of Private Angelo Maggio (Oscar-winning Frank Sinatra) in Robert E. Lee Prewitt's ("Prew") (Montgomery Clift) arms, after a month of abuse and repeated vicious beatings at the hands of sadistic, bullying, cruel stockade Sergeant "Fatso" Judson (Ernest Borgnine); after Maggio's escape from the stockade and just before dying, he warned Prewitt: "Fatso done it, Prew. He likes to whack me in the gut. He asked me if it hurts and I spit at him like always. Only yesterday it was bad. He hit me. He hit me. He hit me. Then I-I had to get out, Prew. I had to get out...They're gonna send me to the stockade, Prew? Watch out for Fatso. Watch out for Fatso"
  • the evening scene of lone Prewitt, in tribute to his deceased friend, playing a soulful "taps" (dubbed by Manny Klein) on the company's parade grounds; the camera found the somber, saddened faces of Warden and other soldiers in the barracks as they listened; tears streamed down Prewitt's cheeks
  • the vengeful manslaughter murder (by stabbing) of "Fatso" by Prewitt - after Fatso showed no pity over his dead friend Maggio's death: "Oh, the wop?...A real tough monkey"
  • the announcement of the attack on Pearl Harbor on December 7, 1941, when Sergeant Warden took charge and rallied his enlisted men to prepare to fight - barking commands and orders to the non-coms: "I want every man to get his rifle and go to his bunk and stay there. And I mean stay there...You'll get your ears shot off if you go outside. You wanna be heroes? You'll get plenty of chances. There'll probably be Japs in your lap before night. Now get movin'. We're wastin' time"
  • the macho moment when Warden took a charismatic, leadership role, held a heavy, repeating machine gun at his waist and fired at the planes streaming overhead above the barracks during the Pearl Harbor attack - one of his targets crashed in a ball of flames
  • the scene of Prewitt's ill-advised attempt to return to the barracks in the dark, when he left sympathetic hostess/hooker-girlfriend Alma (Lorene) (Oscar-winning Donna Reed), and was accidentally and tragically killed by sentinel guards who reacted nervously to him (thinking that he was a Japanese ground-based saboteur) when he failed to halt and identify himself
  • Sgt. Warden's reaction to the "good soldier's" demise with praise and a glorifying epitaph, and explained why he didn't stop: "He was always a hardhead, sir. But he was a good soldier. He loved the Army more than any soldier I ever knew." Warden grieved over Prewitt's dead body with a eulogy - he regretfully cursed Prew's perpetual stubbornness and overt individuality that indirectly led to his death - when he couldn't "play it smart": "You just couldn't play it smart, could ya? All ya had to do was box. But no, not you, you hard-head! Funny thing is, there ain't gonna be any boxin' championships this year"
  • the final scene of Karen and Alma leaning on the railing of a Matson ocean liner leaving wartime Hawaii for the mainland to find new lives - after lost and failed loves; on the deck as they forlornly looked back toward the receding island, Karen threw two flower leis into the water from the railing and then explained a legend: "If they float in toward shore you'll come back someday. If they float out to sea, you won't" - the flower leis floated away - they wouldn't be coming back
  • in the film's final lines, Alma spoke about Prewitt, her fiancee - she memorialized him and their aborted affair - and lied (or was deluded) about him when she described him as an idealized, tragic (and romantic) hero who was killed while defending Pearl Harbor - she mentioned his name: "He was named after a general - Robert E. Lee - Prewitt...Robert E. Lee Prewitt. Isn't that a silly old name?"

From Russia With Love (1963)

In Terence Young's second Bond film:

  • all of the requisite Agent 007 James Bond (Sean Connery) elements, including the opening credits sequence
  • the gypsy cat-fight between two jealous women: Zora (Martine Beswick) in green, and Vida (Aliza Gur) in red, who were both interested in the same man - son of gypsy chief Vavra (Francis de Wolff)
  • pretty Bond girl -- Soviet defector/double agent Tatiana Romanova (Daniela Bianchi (Italy's 1960 Miss Universe runner-up)), nakedly awaiting Bond in bed in his hotel suite, with a close-up of her red lips - and wearing only a sexy black velvet choker
  • the menacing figure of ex-KGB agent/assassin Rosa Klebb (SPECTRE # 3) (Lotte Lenya) with a poisonous toe-spiked shoe
  • the amazingly-edited, prolonged, vicious and choreographed train fight scene in the film's climax in a tiny sleeper compartment aboard the Orient Express train between Bond and ruthlessly-evil SPECTRE assassin Donald "Red" Grant (Robert Shaw); after Grant tried to strangle Bond with his garrote wire from his wrist-watch, Bond stabbed Grant in the shoulder with his flat throwing knife, and then strangled him with his own garrote
  • the death-defying chase between Bond and an enemy helicopter (throwing hand-grenades), in which Bond (with his rifle) caused the helicopter to explode and crash, killing its two occupants
  • the ending, marked by the killing of Klebb (Klebb, disguised as a Venice hotel maid, kicked and threatened Bond with her poisoned toe-spike, when Bond pinned her to the wall with a chair, and Tania shot the "horrible woman" dead - as Bond quipped: "She's had her kicks")
  • and the final image of Bond sailing away with Tania while relaxing on a Venetian water-taxi gondola in a canal

The Front (1976)

In director Martin Ritt's dark comedy:

  • the silent opening credits with stark white-on-black titles
  • the opening newsreel montage depicting the 1950's to the tune of Frank Sinatra's "Young at Heart", intercut with HUAC and McCarthy-era footage
  • the despairing character of unemployed and blacklisted TV comedy actor Hecky Brown (played by Zero Mostel) who eventually committed suicide by jumping from a hotel room window
  • the ending in which Howard Prince (Woody Allen) told the HUAC committee: "I don't recognize the right of this committee to ask me these kind of questions. And furthermore, you can all go f--k yourselves"
  • the final sequence set at the train station, accompanied again by Frank Sinatra's rendition of Young at Heart playing on the soundtrack, when Howard kissed girlfriend Florence Barrett (Andrea Marcovicci) - revealing he was handcuffed to an officer and surrounded by crowds waving signs of support, as he boarded a train bound for federal prison
  • the closing scene and credits (shown to the sounds of Frank Sinatra's "Young at Heart") in which most of the cast and crew (including the director) were accompanied by their real-life dates of blacklisting

The Fugitive (1993)

In director Andrew Davis' suspenseful action-thriller - a production of the popular TV series about Kimble's man-hunt quest for a mysterious one-armed man who killed his wife:

  • the spectacular collision between the prison bus and a train in the opening train wreck scene, federal Deputy US Marshal Samuel Gerard's (Tommy Lee Jones) reaction: "My, my, my, my, my. What a mess!"
  • Gerard's pursuit instructions to his men to catch a fugitive: ("Listen up, ladies and gentlemen. Our fugitive has been on the run for 90 minutes. Average foot speed over uneven ground, barring injury, is four miles an hour. That gives us a radius of - six miles. What I want out of each and every one of you is a hard-target search of every gas station, residence, warehouse, farmhouse, henhouse, outhouse and doghouse in that area. Checkpoints go up at 15 miles. Your fugitive's name is Dr. Richard Kimble - Go get him!")
  • the chase sequences and the unforgettable dive of wrongly-accused murder suspect/fugitive Dr. Richard Kimble (Harrison Ford) from the end of a drainage pipe and down into a cascading waterfall as he shouted back to the uncaring deputy - "I didn't kill my wife!"
  • the exciting finale in which Kimble battled the real villain Charles Nichols (Jeroen Krabbe) while eluding his police pursuit

Full Metal Jacket (1987)

In Stanley Kubrick's searing war film:

  • the striking opening credits sequence of Marine recruits having their heads shaved on Parris Island, and 'Private Joker's' (Matthew Modine) voice-over narration throughout the film - and his helmet labeled "Born to Kill"
  • the training scene of their first meeting with their foul-mouthed drill instructor Gunnery Sergeant Hartman (real-life DI R. Lee Ermey) spewing one-liners: ("I am Gunnery Sergeant Hartman, your Senior Drill Instructor. From now on, you will speak only when spoken to, and the first and last words out of your filthy sewers will be: 'Sir!' Do you maggots understand that?...Bulls--t, I can't hear you. Sound off like you gotta pair...If you ladies leave my island, if you survive recruit training, you will be a weapon, you will be a minister of death, praying for war. But until that day, you are pukes! You're the lowest form of life on Earth. You are not even human f--kin' beings! You are nothing but unorganized grab-asstic pieces of amphibian s--t! Because I am hard, you will not like me. But the more you hate me, the more you will learn. I am hard, but I am fair! There is no racial bigotry here! I do not look down on niggers, kikes, wops or greasers. Here you are all equally worthless! And my orders are to weed out all non-hackers who do not pack the gear to serve in my beloved Corps! Do you maggots understand that?...Bulls--t, I can't hear you...")
  • Hartman's demands to Joker to show his "war face" and that the recruits go to bed with their rifles, and his recitation of a US Marine Corps love poem
  • Hartman's speech about the great Marine marksmen of the past (including mass murderer Charles Whitman and JFK assassin Lee Harvey Oswald) - "Those individuals showed what one motivated Marine and his rifle can do"
  • the scenes on the obstacle course
  • the gory scene of insanely-disturbed Private 'Gomer Pyle' (Vincent D'Onofrio) going crazy in the barracks' latrine after being abused by Hartman and his fellow Marine roommates and ending his own painful life by blowing his brains out on a toilet seat
  • the film's next second-half transition - the striking entrance of a hip-swiveling, mini-skirted Vietnamese prostitute/hooker (Papillon Soo) in Da Nang (viewed from behind as she walked down the Saigon street) to the tune of Nancy Sinatra's feminist song: "These Boots Are Make For Walkin'" - and then propositioned two GI soldiers-clients at a cafe: ("You got girlfriend (in) Vietnam?...Well, baby. Me so horny. Me so horny. Me love you long time. You party?")
  • the final scene of the surviving troop members singing "The Mickey Mouse Club Song" as they passed by burning buildings

The Full Monty (1997, UK)

In director Peter Cattaneo's international buddy comedy about unemployed steel workers becoming a male striptease act:

  • the attempted suicide scene of depressed ex-steel mill security guard Lomper (Steve Huison) in his smoke-filled car
  • the famous short dole queue scene - a Chippendales-style, feel-good moment in which unemployed working-class men heard Donna Summer's Hot Stuff on the radio and rhythmically started moving - ultimately devising a get-rich-quick scheme for Gary "Gaz" Schofield (Robert Carlyle) (who needed money for child support for his son Nathan) and the entire group to make money
  • in the finale, the actual amusing stripping scene on-stage of the stripper group - dubbed "Hard Steel" - during a rendition of Tom Jones' You Can Leave Your Hat On, when they went "the full monty" by pulling off their red g-string thongs (with hat cover-up) to the delight of many screaming female fans - ending in a freeze-frame

Funny Face (1957)

In Stanley Donen's romantic musical comedy, a filmed version of the 1927 George Gershwin Broadway musical:

  • the opening energetic production number "Think Pink," performed in the offices of Quality Magazine by fashion editor Maggie Prescott (Kay Thompson), her office staff, and many fashion models
  • the character of fashion photographer Dick Avery (Fred Astaire) (reportedly based on Richard Avedon) and his discovery of shy and withdrawn Greenwich Village bookshop clerk-assistant Jo Stockton (Audrey Hepburn)
  • Avery's promotion of Jo to his magazine associates, Maggie and Dovitch (Alex Gerry), that Jo was the new "Quality Woman", although Maggie was very reluctant - and held her magnifying glass up to an enlarged picture of Jo: ("Look at her. I think her face is perfectly funny. The 'Quality Woman' must have grace, elegance and pizzazz"); Avery responded: ("This is the first time I've ever seen you lack imagination. Every girl on every page in 'Quality' has grace, elegance and pizzazz. Now, what's wrong with bringing out a girl who has character, spirit and intelligence?")
  • the scene in which Jo first appeared on a runway - with widespread acclaim: ("Beautiful. I don't believe it"), but Jo admits: "It feels wonderful, but it's not me"
  • the split-screen scene of the trio of Maggie, Dick, and Jo touring Paris, and the taking of pictures all over "The City of Lights" at famous landmarks, including her unforgettable grand entrance - descending a long staircase in the Louvre in a bright red Givenchy gown - and their singing of "Bonjour Paris"
  • the scene of the disastrous gala, when Jo and Dick were arguing backstage - and the curtain was opened after Maggie's introduction: ("I'm certain you'll not be disappointed. She is a rare creature chosen from hundreds for her appearance, her grace, her poise, and her ineffable charm...May I present the Quality Woman!"), revealing disaster - an overturned fountain and flooding water leak
  • Astaire's performance of "Let's Kiss and Make Up" when he danced with his umbrella
  • the soft-focus fairy-tale romantic scene of Dick and Jo (in a white wedding dress fashion gown), in the film's final scene, singing and dancing to Gershwin's "S'Wonderful" in the country chapel garden

Funny Girl (1968)

In William Wyler's musical biography of the famed Ziegfeld performer:

  • the film's opening including film star/comedian Fanny Brice's (Barbra Streisand in her debut screen performance) entrance as a figure in a leopard-skin-patterned outfit, who walked up to the street-side marquee of the New Amsterdam Theatre, where the "Ziegfeld Follies" show starring Fanny Brice was being featured. After a moment of reflection upon herself, she proceeded to the backstage entrance and delivered her famous line as she turned and looked into a mirror: "Hello, gorgeous"
  • the remarkable staging of the singing of "Don't Rain on My Parade" - ending with Fanny standing on the bow of a tugboat in New York City's harbor near the Statue of Liberty
  • the singing of Brice's signature song, "My Man" before a black backdrop in the film's finale: ("Oh my man, I love him so, he'll never know. All my life is just despair but I don't care. When he takes me in his arms, the world is bright, alright. What's the difference if I say I'll go away when I know I'll come back on my knees someday? For whatever my man is, I am his forever more!")

The Furies (1950)

In Anthony Mann's dark and noirish psychological western:

  • the close, semi-romantic relationship between feisty, strong-willed and rebellious daughter Vance Jeffords (Barbara Stanwyck), and her childhood friend and confidant, Mexican ranch-hand friend Juan Herrera (Gilbert Roland), while also intimately involved with Rip Darrow (Wendell Corey)
  • the scene in which Vance reacted to the news, told to her by gold-digging, haughty San Francisco socialite Flo Burnett (Judith Anderson), that her widowed cattle baron father T.C. Jeffords (Walter Huston) (of "The Furies" ranch) would marry her the following week, and meanwhile, the room of her deceased mother would be prepared for her for her return: ("Ah, then, your father hasn't told you...why he's journeying to San Francisco with me. We're to be married there. While we're away, this room will be done over completely, and then I think the room will suit me just perfectly"); Vance stood, thought about it, and then asked accusingly and resentfully: "Why do you marry?...You want his money and you know it"; Flo reacted: ("A woman of my age can get very lonely. And I find TC companionable...I once married for love. The marriage failed for the lack of money. Money makes life soothing. I mean to have it. If some term me an adventuress, why I suppose that's what I am")
  • in reaction to the idea that the Furies ranch would be taken over with Flo's management as a result of marriage to her father, Vance sought jealous revenge against Flo by hurling a pair of scissors at her face, causing disfigurement and injury to her right eye; Vance's father warned his daughter: "If she dies, I'll kill you. Get out!"
  • taking his own revenge, T.C. was determined to get at Vance: ("She's a cancer to be cut out") - and when she fled to the Herrera squatter family's home, there was a shoot-out, and the Herreras surrendered; Vance offered to plead for Juan's life who was threatened with hanging (for theft of Furies' horses and cattle), but he refused to have her humiliate herself: ("You will not humble yourself"); before his execution, she kissed him goodbye, using oft-repeated farewell words between them, before he was executed: (Juan: "The kiss of a good friend." Vance: "Till our eyes next meet." Juan: "Till then")
  • following the cruel hanging, Vance delivered a vengeful, harsh warning to her father that she would now ruin him: ("Do you want me to beg? Do you want me on my knees to you for his life?...You're old and you're getting foolish, and you've made a mistake. It's me you should have hung, because now I hate you in a way I didn't know a human could hate. Take a good long look at me, TC. You won't see me again until the day I take your world away from you")
  • the scene of T.C.'s vain request, since he was broke, for Flo to return all the money and things he had given her, in order to save the Furies, and her rationalization to refuse him: ("If I gave you the money, and you saved yourself with it now, you'd get rid of me....You'd get rid of me because you can't bear anything ugly. You don't see your face when you look at me, Temple, but I see it....If you saved yourself now, you'd find another woman - one that wasn't marked, one who didn't drink too much, quite possibly one who was rich. In any event, you'd get rid of me, for this face. I'd find no one else. I'm bound to be lonely. Money is the only thing that makes loneliness bearable, to some slight degree. So I must refuse you, Temple. I must keep the money I have. And if that isn't sporting of me, I can't help that.")
  • and later, Vance's cunning swindling of her own father to take over the Furies, as she had promised, and TC's congratulatory and proud praise for his daughter: ("She's smart, and she's a beauty, and she's full of lickin' fire. She's one in a nation. And I'll tell ya, no one could have bettered her but TC Jeffords....And so the Furies is in your hands. Man, I suppose that's where she best be."); he realized he would have to start all over again: "I'm back to scratch. That's when I had my fun, starting from scratch"
  • the final scene in which the bereaved mother (Blancha Yurka) of Juan Herrera gunned down T.C. on the main street, just after he had signed the Furies deed "Paid in Full" over to his daughter; his last words before slumping dead in the arms of Vance: "There'll never be another like me"

Fury (1936)

In director Fritz Lang's crime drama (his first American film) with a message about the dangers of mob violence:

  • the predicament: gas station manager Joe Wilson (Spencer Tracy) was wrongly-accused and arrested by Deputy "Bugs" Meyers (Walter Brennan) on child kidnapping charges in a different state - and jailed, because of circumstantial evidence - he had in his possession a $5 bill from the ransom money
  • the scene in which Joe's fiancee Katherine Grant (Sylvia Sidney) saw him behind flaming jailbars in a cell in the small midwestern town of Strand, that had been set on fire by a raging lynch mob, with Joe inside and screaming for his life; she fainted from fright
  • Joe had escaped death, revealed when he made a sudden, shadowy reappearance in a doorway at the apartment of his brothers Charlie (Frank Albertson) and Tom (George Walcott), where he recalled his escape from the jail when it was dynamited: ("I could smell myself burn"); he vowed to avenge his wrong-doing with a vengeful frame-up of the lynchers, while everyone continued to presume that he was dead: ("I'm burned to death by a mob of animals. I'm legally dead and they're legally murderers. That I'm alive's not their fault. But I know 'em. I know a lot of 'em and they'll hang for it, accordin' to the law which says if you kill somebody, you gotta be killed yourself. But I'll give 'em the chance they didn't give me. They'll get a legal trial in a legal courtroom. They'll have a legal judge and a legal defense. They'll get a legal sentence and a legal DEATH!")
  • he hid out during the trial as multiple lynch mob suspects (accused of Joe's first-degree murder) perjured themselves with dubious alibis; meanwhile, the real criminal kidnappers were caught, implying that Wilson was innocent all along
  • the moment after the reading of a special delivery letter (from an anonymous person) in the trial when Katherine saw the mis-spelled word "mementum" instead of momentum - convincing her that Joe was still alive
  • the prosecuting D.A. Adams (Walter Abel) projected newsreel film (via movie projector) to provide "stop-action" conclusive film evidence to identify the twenty-two individuals in the lynch mob who were complicit and guilty of the crime of the jail 'murder', after they had already given perjured testimony; newspaper headlines heralded: "IDENTITY OF 22 PROVED," "MOVIES IDENTIFY DEFENDANTS IN WILSON LYNCHING TRIAL," and "22 FACE DEATH"
  • the climactic ending scene when Joe realized that his frame-up had gone far enough and that he had become a vindictive, one-man 'lynch mob' himself; he strode into the courtroom and addressed Judge Daniel Hopkins (Frederick Burton) just before guilty verdicts were to be read for the 22 convicted individuals - in the film's final lines of dialogue: "I know that by coming here, I saved the lives of these twenty-two people, but that isn't why I'm here. I don't care anything about saving them. They're murderers. I know the law says they're not because I'm still alive, but that's not their fault. And the law doesn't know that a lot of things that were very important to me, silly things maybe, like a belief in justice, and an idea that men were civilized, and a feeling of pride that this country of mine was different from all others. The law doesn't know that those things were burned to death within me that night. I came here today for my own sake. I couldn't stand it anymore. I couldn't stop thinking about them with every step and every breath I took, and I didn't believe Katherine when she said... Katherine is the young lady who was going to marry me. Maybe someday after I've paid for what I did, they'll be a chance to begin again, and then maybe Katherine and I..." - he turned to kiss and embrace Katherine as the film ended on a hopeful and optimistic note

(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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