Greatest Film Scenes
and Moments



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

Frankenstein (1931)

In James Whale's horror classic about a Monster:

  • the opening memorable, expressionistically-filmed grave-robbing sequence of brilliant medical scientist (but slightly insane and overwrought) Dr. Henry Frankenstein (Colin Clive) and his dwarfish, bumbling, hunchbacked assistant Fritz (Dwight Frye) watching a funeral, and then after the gravedigger had filled in the hole, digging it back up - to steal the newly-buried fresh male corpse and place it in a coffin for transportation - for an experiment that Frankenstein was conducting on the secrets of life
  • the next sequence in the Goldstadt Medical College, where Fritz snuck into an amphitheatre after a lecture, where two glass jars of brains were on display; he picked up the one labeled "Cerebrum - Normal Brain," but inadvertently dropped it when startled by the loud sound of a gong; the dim-witted Fritz desperately grabbed the other glass jar labeled "Dysfunctio Cerebri - Abnormal Brain."
  • the remarkable creation sequence in which the Monster's body (Boris Karloff), an incomplete, lifeless creation covered and stretched out in Dr. Frankenstein's laboratory on an operating table; the moveable platform with the body was raised to the open skylight at the rooftop of the tower where it could electrified by a lightning strike; after the table's descent back into the lab after jolts of lightning, Dr. Frankenstein delivered an hysterical reaction when the monster came to life: "Look! It's moving. It's alive. It's alive....It's alive, it's moving, it's alive, it's alive, it's alive, it's alive, it's alive! Oh - in the name of God. Now I know what it"
  • the first chilling appearance and unveiling of the Monster when the door slowly swung open, revealing a dark, lumpish silhouette in the doorway in a full figure shot; the bulky figure lurched clumsily into the room with halting steps, gradually revealing a bulky head and broad back - the Monster awkwardly moved into the room by backing in!; the hulking Monster then slowly turned around, and then provided a shadowy profile in the first chilling close-up look of his blankly expressionless, tabula rasa face
First Appearance of the Monster
  • the moving symbolic sequence, when Henry opened the ceiling's skylight above him, and the Monster saw sunlight for the first time and his face came alive; he slowly rose, faced the light, and pleaded and groped heaven-ward - he stretched out his long, huge, open, corpse-like, scarred hands to try and reach up and grasp the golden shaft of sunshine coming through the skylight
  • the scene in which the Monster played with a little eight year-old girl Maria (Marilyn Harris) by a lakeside, throwing flower petals in the water - but innocently murdered her by tossing her in the water when the petals ran out; she screamed out: " "No, you're hurting me. No!"; nonetheless, he enthusiastically threw her in the water - expecting that she, too, would float like the flower petals; she floundered and splashed in the water and quickly sank and drowned; as he staggered away from the lake, the Monster seemed to express some confusion, despair and remorse
  • the sequence of the Monster's approach toward Frankenstein's fiancee-bride Elizabeth (Mae Clarke) through the window of the Frankenstein mansion; she was wearing her beautiful wedding gown with a long train for their wedding day, seated - alone and helpless; she was horrified by his appearance and screamed loudly, the Monster was driven off by the screams and by Frankenstein and his servants who rushed to her aid
  • the townspeople's and Henry's pursuit of the Monster in the dark with torches; when Henry became separated from the mob, he came face to face with his hideous, angry creation on a rocky, hilltop outcropping; the Monster dragged Henry to a nearby windmill
  • the film's finale - the life and death struggle in a windmill between the Monster and its creator; after Henry was thrown to the ground outside the mill, the poor, tragic Monster waved his arms and ran around in a panic when the mill was set on fire; he let out frightened, high-pitched, quavering cries; he was crushed by a falling beam in the mill tower and pinned down, apparently perishing in the blazing fire and the collapsing, incinerated structure

Grave-Robbing

Fritz' Theft of an Abnormal Brain

"It's alive!"

The Monster Reaching for Sunlight



Attack on Elizabeth


Townsfolk's and Henry's Pursuit of the Monster with Torches

Monster in Flaming Windmill

Freaks (1932)

In Tod Browning's severely-censored horror classic about a fiercely-loyal group of circus 'freaks':

  • 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"
Carnival Barker
Sight of Off-Screen Creature - Cleopatra (revealed at end)
  • 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 conjoined Siamese twins: Daisy and Violet Hilton, Prince Randian - the armless and legless "Living Torso" or "Larva Man", Johnny Eck the 'half-boy' (with nothing below his waist), the armless girl (the "Living Venus de Milo"), the bearded lady Olga Roderick, the "Bird Girl" (Elizabeth/Betty Green), and three 'pinheads' or microcephalics (including Schlitze); also in particular, the character of half-man/half-woman hermaphrodite Josephine-Joseph (as Herself/Himself)
  • the unusual sexual pairing of two midgets Hans (Harry Earles) and devoted Frieda (Daisy Earles); in one scene, fiancee Frieda rebuked Hans for smoking a large cigar ("You must not smoke such a big cigar") - implying in Freudian terms that he was too small to be enjoying a more manly phallic symbol. He tried to silence her: "I want no orders from a woman"
  • the most infamous 'Wedding Feast' scene that welcomed high-wire trapeze artist Cleopatra (Olga Baclanova), who had married gullible midget circus owner Hans; Hans was due to claim an inheritance, but Cleopatra's dastardly intention, plotted with her strong-man lover Hercules (Henry Victor), was simply to poison Hans to death for his money; during the banquet, after Hans had married Cleo, the freaks began an unforgettable chant before passing around a loving cup to accept her: "Gooble Gobble! We accept her, we accept her, one of us, one of us!"
  • Cleopatra's memorable speech to the 'freaks' - when she incurred the wrath of the tightly knit, loyal group of "nature's aberrations"; after being offered the loving cup, she rose stiffly from her chair, became extremely revolted by them, and exclaimed: "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 'Wedding Feast' Banquet Scene
"You dirty slimy FREAKS...You filth, make me one of you, will you?"
  • 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 (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
Revenge of 'Freaks' - Crawling in Mud with Knives
  • 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!")

Cleopatra with Strong-Man Hercules

Hans and Frieda


Hermaphrodite Josephine-Joseph

Conjoined Siamese Twins: Daisy/Violet Hilton

'Pinheads'

Schlitze

Bird Girl (Elizabeth/Betty Green) or Ostrich Woman

The "Living Torso"

Johnny Eck

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

In director Jean Renoir's Technicolored comedy/melodrama about the revival of the notorious dance known as the can-can in the 1880s at the Moulin Rouge:

  • the story: the exploits of fictional, womanizing, veteran impresario Henri 'Zizi' Danglard (Jean Gabin) - the struggling, in-debted owner of Le Paravent Chinois (Chinese Screen), featuring courtesan and Egyptian belly dancer 'La Belle Abbesse' (Maria Felix) - Danglard's own mistress (known as Lola De Castro)
  • the night scene of Danglard visiting a dance-hall/nightclub in Paris' older Montmartre district (where the old-fashioned and outdated working-class dance known as the can-can was still being performed), and becoming inspired to close down his Chinese Screen and open a new dance theatre on the site of the current failing club known as the White Queen - with a renamed and revived "French Can-Can" group of high-kicking choristers as headliners performing in his newly-built renamed club, the Moulin Rouge
  • the two love triangles that developed, with resultant jealousies, between Gabin and Nini (Françoise Arnoul) - a working girl (bakery shop and laundress) - and her other two lovers: her baker boyfriend-lover Paolo (Franco Pastorino), and her rich Middle Eastern suitor Prince Alexandre (Giani Esposito)
  • the amazing catfight between Lola and girl-turned-cancan star Nini
  • the sequence of Danglard's entreaties to Nini, his lead dancer, at her dressing room, of his love and begging her to appear for opening night as the star of his new show: ("I'll give you some good advice. If you want a lover, Alexandre's perfect. If you want a husband, marry Paulo. Choose between jewels and palaces or a happy retirement by the fireside, with honor and dignity, but I can't give you either! Do I look like Prince Charming? Only one thing matters to me - what I create. And what do I create? You! Her! There have been others before. There'll be others to come. In the end, you think it matters what you and I want? All that counts is what they want. We're at the service of the public. You know why it breaks my heart to see you go? They can smash the place to pieces for all I care! But the profession's losing a good trouper. I thought you were one of us. If not, get out!")
Danglard's Speech to Nini: "We're at the service of the public"
  • the visually-stunning and exciting 20 minute end scene of dancing choristers in the new Moulin Rouge dance-hall/nightclub in the final dance segment

Lola (Maria Felix) as Belly Dancer 'La Belle Abbesse'

Plans for the Moulin Rouge

The Real Moulin Rouge

Danglard with Nini


Rehearsals for the Can-Can Dancers

The French Connection (1971)

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

  • the exciting good cop/bad cop opening scene in Brooklyn with two NYPD cops pursuing their mark - a drug Pusher named Willy (Alan Weeks): racist Jimmy 'Popeye' Doyle (Gene Hackman) dressed as a Santa Claus and Buddy "Cloudy" 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 ya? 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 junk-house 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!"); after locating drugs stashed under the bar counter by running his hand along the bottom-side of the bar, he quizzically asks: "What is this? A f--kin' hospital here? Huh?"; he then threatened: ("We told you people we were comin' back. We're gonna keep comin' back here until you clean this bar up")
  • the police work that led to the stalking of a small business by a couple named Sal Boca (Tony Lo Bianco) and his wife Angie (Arlene Farber), who couldn't possibly support their lavish lifestyle (their business was only a "front") - and who were ultimately connected to an illicit French drug importer
  • the character of suave French drug kingpin Alain Charnier (Fernando Rey), aka Frog One, who played an elusive game of cat-and-mouse on a subway platform with Doyle - and ultimately escaped and waved from a departing subway car at his pursuer Doyle who was left on the platform
  • 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 'borrowed' Pontiac Le Mans below the L-tracks in Brooklyn of the BMT West End line), who was trying to keep pace with the hijacked, elevated subway train above him, as he drove 90mph and barely missed pedestrians and other vehicles; he half-collided with another car, dodged a mother and her baby carriage, and side-swiped a delivery van, all the while furiously honking the car's horn and frantically switching from his brake to accelerator
  • Doyle's killing of the hijacker Nicoli when he was gunned down at the top of the subway train station's stairs - an image that was the iconic promotional still used on posters advertising the film
  • the sequence of the search of a specially-designed Lincoln Continental Mark III car of French TV celebrity/star Henri Devereaux (Frederic de Pasquale), where ultimately the stash of heroin (white powder in bags) was located in the rocker panels
  • in the downbeat ending, the final unsuccessful pursuit of Charnier in an underground warehouse on Wards Island, when Doyle mistakenly shot federal narcotics agent Mulderig (Bill Hickman); the film's last line reflected the perturbed and frustrated cop's relentless obsession in his search for the elusive Charnier (who evidently slipped away and was never caught): "The son of a bitch is here. I saw him. I'm gonna get him"


'Popeye' Disguised as Santa Claus with Partner Russo With Pusher

Stalking Suspected Drug Smugglers


Shakedown in Black Bar


Cat-and-Mouse Game with Charnier

After Subway Chase, the Gunning Down of Nicoli

Searching the Undercarriage of Devereaux' Car for Heroin

Frenzy (1972)

In Alfred Hitchcock's first and only R-rated film (and the only film that showed nudity) - a typical thriller:

  • in the film's opening, a nude female body was floating face-down in the Thames River - the first seen "Necktie" victim
  • in the film's first major scene, the long and intense necktie rape-strangulation scene of ex-Mrs. Brenda Margaret Blaney (Barbara Leigh-Hunt), who was confronted by charming ladies man Mr. Bob Rusk (Barry Foster) in her office: "You're the one I wanted to see....I like you. You're my type of woman"; she suffered a brutal death (a montage composed of a flurry of brief shots); when she begged for her life, he tore off her dress and bra (exposing one breast), screamed at her: "Love me!...Women - they're all the same", and then revealed that he was the notorious Necktie Killer - an impotent serial killer; after a lengthy struggle, she was left dead with her twisted tongue hanging out
Bab's Necktie Rape-Strangulation Sequence
  • the brilliantly-executed, incredible staircase shot (a lengthy backwards tracking shot from Rusk's apartment) in which the camera slowly retreated from a closed doorway behind which another 'necktie' rape/strangulation murder was taking place of barmaid Barbara Jane ('Babs') Milligan (Anna Massey) - 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 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 of Babs in a state of rigor mortis) torn from his lapel while she struggled - Rusk had to snap 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 Chief Inspector Oxford (Alec McCowen) explained the breaking of the corpse's fingers in the truck while he was attempting to eat her 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 scene in Rusk's apartment bedroom where framed necktie-murderer Richard "Dick" Blaney (Jon Finch) had fled after escaping from prison to kill Rusk; he beat a figure under bedclothes (thinking it was Rusk) with a crowbar, until he realized that the body belonged to an anonymous nude female (Susan Travers) (another strangulation victim murdered earlier off-screen, with contorted features: rolled-back eyes and a curved tongue) when her arm with bracelets dangled off the side of the bed; Chief Inspector Oxford apprehended Blaney at the scene - who was now fully implicated, but then heard someone else lugging a large trunk up the stairs; both remained quiet as necktie murderer Bob Rusk was tricked into being cleverly apprehended after entering (with the damning evidence in his own bed). Oxford noted to Rusk in a clincher line of dialogue: "Mr. Rusk, you're not wearing your tie"

The First Murder Victim

Backwards Tracking Shot After Babs' Murder

Rusk's Incriminating Initialed/Monogrammed Stickpin Clenched in Hand of Corpse in Back of Truck

Crunching on a Breadstick


Rusk's Last Victim

Capture of Necktie Killer by Inspector Oxford

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 Infamous Hawaiian Beach Love-making Scene
  • 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 (stabbing) murder 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
Prewitt's Death
Returning to Barracks in the Dark
Killed by Sentinel Guards
Warden's Epitaph
  • 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?"

Death of Maggio
(Frank Sinatra)


"Prew's" Taps for Maggio

Fugitive "Prew" with Hooker-Girlfriend Alma (Lorene) (Donna Reed)


Warden During Pearl Harbor Attack

Karen and Alma at Cruise-Ship Railing, Leaving Hawaii

Alma: "Robert E. Lee Prewitt. Isn't that a silly old name?"

Legend of Two Flower Leis in Water

From Russia With Love (1963)

In Terence Young's second Bond film (with Sean Connery as James Bond) - including all of the requisite Agent 007 Bond film elements, including the opening credits sequence:

  • the first view of evil, menacing SPECTRE No. 1 villain Ernst Stavro Blofeld (uncredited Anthony Dawson) - only his hands, in close-up seen petting a white Persian cat
  • the character of this film's pretty Bond girl -- Soviet defector/double agent Tatiana Romanova (Daniela Bianchi - Italy's 1960 Miss Universe runner-up); later, she would nakedly await 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 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)
  • 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
Bond vs. "Red" Grant
with a Garrote
Enemy Helicopter Crash
Death of Kelbb
  • the ending, marked by the death of Klebb (disguised as a Venice hotel maid) who first kicked and threatened Bond with her poisoned toe-spike, but 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


Opening Credits

Bond Villain: Ernst Stavro Blofeld, SPECTRE No. 1
(uncredited Anthony Dawson)


Catfight: Zora vs. Vida


Bond Girl: Tatiana Romanova (Daniela Bianchi)

Ending Clinch on Venetian Canal Gondola

The Front (1976)

In director Martin Ritt's dark comedy, with the backdrop of the Hollywood "Blacklisting Era" in the 1950s:

  • the silent opening credits with stark white-on-black titles
  • the film's tagline: "What if there were a list? A list that said: Our finest actors weren't allowed to act. Our best writers weren't allowed to write. Our funniest comedians weren't allowed to make us laugh. What would it be like if there were such a list? It would be like America in 1953"
  • 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, including Senator Joe McCarthy's wedding, bombing raids on Korea, and the use of a backyard air-raid shelter
  • the scene of blacklisted TV writer Alfred Miller (Michael Murphy), over a game of chess, explaining to his longtime friend, small-time bookie and NY deli clerk/cashier Howard Prince (Woody Allen in his first serious film role), that he had been blacklisted: "Howard, I can't work anymore...Blacklist...Howard, they won't buy my scripts. I'm on a blacklist. Do you know what that means? It's a list of names. The studios have 'em, the networks, the ad agencies. You're on the list, you're marked, you don't work...I'm a Communist sympathizer...it's not so popular anymore"
  • the request of Alfred that he use Howard's name on his scripts as a "front": "I need another name...Pseudonyms don't work. They know we're all changing our names. I need a real person now...someone they can believe and I can trust" - in exchange for a 10% cut; now, Howard needed to pose as the scriptwriter - "they're gonna want to meet the writer..so you're gonna have to go in there and really be the writer"
  • the scene at the TV studio when Howard first met producer Phil Sussman (Herschel Bernardi), and his idealistic production assistant Florence Barrett (Andrea Marcovicci), who instantly was impressed by his writing: "I really liked your script alot...Most of the stuff I read, I mean, yours had substance. It was about people"
  • the scene of an emergency in the middle of a dress rehearsal, when Sussman demanded that Howard immediately rewrite one of his scenes ("make it a firing squad" rather than a gas chamber) in his script, and placed him in a bare office with a typewriter; Howard protested to no avail: "I can't write except in my room"
  • the despairing character of unemployed and blacklisted TV comedy actor Hecky Brown (Zero Mostel) who eventually committed suicide by jumping from a hotel room window
  • the ending in which Howard Prince testified before 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 - 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

Blacklisted TV writer Alfred Miller (Michael Murphy) with Howard

Howard with Florence at TV Studio

Howard In a Bare Office with Typewriter

Blacklisted Hecky Brown's Suicide From Hotel Window

Howard Prince: "You can all go f--k yourselves!"

Howard Kissing Florence

Ending Credits

The Fugitive (1993)

In director Andrew Davis' suspenseful action-thriller - a production of the episodic ABC-TV series from 1963 to 1967 that earlier starred David Janssen as the wrongly-accused fugitive doctor, and his quest for a mysterious one-armed man who killed his wife:

  • the opening murder scene - Helen Kimble (Sela Ward), the wife of the "fugitive" character Dr. Richard Kimble (Harrison Ford), was assaulted and killed in her bedroom (seen in nightmarish flashbacks); as she passed away, she phoned 911 with the report of an assault in her house: "He's trying to kill me...Richard" - although her words were interpreted as damning and accusatory
The Murder of Helen Kimble
in Her Bedroom
Richard Kimble's Attempted CPR
  • the spectacular collision between the CORRECTIONS prison bus (transporting prisoners including the "fugitive" Kimble to death row for execution by lethal injection) and a train in the opening train wreck scene; fellow prisoners executing an escape attempt caused the bus to crash into a guard rail, roll down a steep road-side ravine, and settle on railroad tracks - in the path of an oncoming train; it slammed into the middle of the bus and sent the flaming metal carcass skidding along the tracks; Kimble (in a yellow prison suit) successfully jumped clear of the initial collision, but with his feet still shackled, he had to dodge part of a derailed train car that was still aimed straight at him
  • the reaction of federal Deputy US Marshal Samuel Gerard's (Tommy Lee Jones): "My, my, my, my, my. What a mess!" after he drove up to the scene
  • 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 Kimble 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!"; later, Gerard described: "He did a Peter Pan right here off of his dam!"
In Storm Drainage Pipe Over a Dam: "I didn't kill my wife"
  • the exciting finale in which Kimble battled, while eluding his police pursuit, the real villain - his own colleague Dr. Charles Nichols (Jeroen Krabbe); both Nichols and one-armed (with a mechanical prosthetic) ex-cop Frederick Sykes (Andreas Katsulas) (the actual hit-man) were eventually found to be guilty of killing Kimble's wife Helen (although Nichols' and Sykes' intended target was Kimble himself); Nichols sought revenge for Kimble's denouncement of his falsified drug research with switched samples and pathology reports in order to get FDA approval for a dangerous drug known as Provasic, and make millions from a deal with a pharmaceutical company)
Exciting Finale:
Gerard's Revealing Confessions to Richard
Richard, I know you're innocent!
I know about Frederick Sykes! I know about Dr. Charles Nichols!
Give it up. It's time to stop running!
  • in the end scene in the Chicago Hilton Hotel's corridors (near where the drug had been presented by Nichols during a pharmacon conference), Gerard realized that Kimble was innocent and yelled out: "Richard, I know you're innocent! I know about Frederick Sykes! I know about Dr. Charles Nichols! Richard, he borrowed your car the night of your wife's murder, he had your keys! No forced entry, Richard! He telephoned Sykes from your car, Richard! Richard, give it up! Richard, I'm either lying or I'm gonna shoot you, what do you think? Give it up, it's time to stop running!"; Kimble prevented Nichols from grabbing a gun and shooting at Gerard by whacking his legs and knocking him unconscious; after having surrendered, Kimble stated his long-held belief: "They killed my wife," and Gerard assured him: "I know it. But it's over now!"; and he was relieved himself: "Whew. You know, I'm glad. I need the rest"
  • the concluding scene of Kimble and Gerard seated in a car, when Kimble's handcuffs were removed; Kimble noted: "I thought you didn't care"; Gerard responded: "I don't. (laughter) Don't tell anybody, OK?"

The Prosthetic Arm of the One-Armed Killer

Wrongly Accused and Convicted Husband
Richard Kimble




The Train-Bus Collision - Jumping to Safety

Sam Gerard: "What a mess!"


Kimble - Apprehended But Soon To Be Freed


Ending Scene - Removal of Kimble's Handcuffs

Full Metal Jacket (1987)

In Stanley Kubrick's searing war film in two parts: first, the exploits of a recruited young Marine Corps soldier during dehumanizing South Carolina boot-camp training on Parris Island in the late 1960s, and second, the nightmarish, violent front lines within Hue City - a cool, unemotional look at urban warfare on the eve of the 1968 Tet Offensive at the turning point of the war:

  • the striking opening credits sequence of Marine recruits having their heads shaved on Parris Island, to the tune of the country song "Hello Vietnam," performed by Johnny Wright
  • '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, brutal, demanding 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; also the sequence of Catholic-believing Hartman backhandedly slapping Joker's face when he said he didn't believe in the Virgin Mary - the impertinent Joker was forced to change his answer: "Now you do love the Virgin Mary, don't you?" - but Joker stubbornly refused to bend, stating: "The Private believes that any answer he gives is wrong, and the Senior Drill Instructor will beat him harder if he reverses himself, sir"; impressed by the courage and "guts" of his convictions, Hartman immediately promoted Joker to squad leader, but Joker's added duty was to become the personal instructor of overweight recruit Private 'Gomer Pyle' (Vincent D'Onofrio)
  • the scenes on the extremely physically-challenging obstacle course, when Private 'Gomer Pyle' couldn't keep up due to his physical condition and weight; to ridicule him, Sgt. Hartman forced Pyle to walk behind the platoon with his pants around his ankles while sucking his thumb
  • 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 gory scene of insanely-disturbed Private 'Gomer Pyle' going crazy in the barracks' latrine after being abused by Hartman and his fellow Marine roommates; in the middle of the night, he was ranting about his loaded M-14 rifle (with live ammunition) in the bathroom, while rehearsing one of his training routines: "This is my rifle. There are many like it, but this one is mine. My rifle is my best friend"; Sgt. Hartman heard the commotion and rushed in, asking Private "Joker" on duty: "What is this Mickey Mouse s--t? What in the name of Jesus H. Christ are you animals doing in my head? Why is Private Pyle out of his bunk after lights out? Why is Private Pyle holding that weapon? Why aren't you stomping Private Pyle's guts out?"; "Joker" replied that the gun's magazine was fully "locked and loaded"; Hartman demanded that Pyle surrender his rifle and then insulted him when he didn't comply: "I want that weapon and I want it now. You will place that rifle on the deck at your feet and step back away from it.(yelling) What is your major malfunction, numb-nuts? Didn't Mommy and Daddy show you enough attention when you were a child?"; holding his rifle at waist level, Pyle murdered Hartman (filmed in slow-motion) by blasting him in the chest at close range
Pyle Murdering Gunnery Sgt. Hartman

  • shortly after, when Pyle had decided to not kill Joker, Pyle backed up, dropped down on one of the bathroom toilet seats, put the gun to his mouth, and suicidally pulled the trigger; he blew his head off, splattering the wall behind him with his brains and blood; the bloody death scene slowly faded to black
  • 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 Made 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?"); however, the prostitute was part of a set-up to distract Joker and his partner combat photographer Rafterman (Kevyn Major Howard) so that the latter's camera could be stolen by her accomplice (Nguyen Hue Phong)
  • the scene of the combat unit's dangerous search for a deadly sniper amongst the ruins of factory buildings; when Joker located the sniper on an upper floor, his rifle jammed and he was trapped behind a concrete column; his pal Rafterman shot and lethally wounded the sniper who then begged "Shoot me!" - surprisingly, the VC Sniper was a teenaged female (Ngoc Le) (who moments earlier had killed Texan recruit "Cowboy" (Arliss Howard) who had died in Joker's arms); although hesitant, Joker was initiated into the exclusive club of those who exhibited the "thousand yard stare" when he performed his first kill - the mercy-killing of the sniper
The VC Sniper - and Joker's Mercy-Killing
  • the final scene of the surviving troop members of the unit singing "The Mickey Mouse Club" theme song as they marched through burned-out ruins of flaming buildings

Opening Title Credits: Head Shavings For New Recruits



Boot Camp Training with Sgt. Hartman

Hartman's Backhanded Slapping of Joker For Not Believing in the Virgin Mary


Pyle's Failures on the Obstacle Course



Private Pyle's Suicide

"Me So Horny" Prostitute in Da Nang


Combat in Vietnam

The Mickey Mouse Club Theme Song

The Full Monty (1997, UK)

In director Peter Cattaneo's international buddy comedy about six unemployed workers (mostly steel factory employees in the town of Sheffield, South Yorkshire) becoming a male striptease act, featuring "the full monty" (complete nudity):

  • the inspiration to assemble a local stripper group of men and put on a profitable show, after Sheffield resident Gary "Gaz" Schofield (Robert Carlyle) (a divorced father who needed money for child support for his son Nathan) saw a poster for a Chippendales' styled act at a local club filled with women
  • the attempted suicide scene of depressed ex-steel mill security guard Lomper (Steve Huison) in his smoke-filled car, before being recruited to be a member of the strip act being formed
  • the famous short dole queue scene at a job center - a 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 "Gaz" and the entire group to make money
Job Center Line-Dancing
  • the stripper audition scene when anatomically well-endowed but uncoordinated candidate Guy (Hugo Speer) dropped his pants and Gaz observed: "Gentleman, the lunch box has landed"
Audition: Guy with Pants Down: "The Lunchbox Has Landed"
  • their practice rehearsals when the clutzy would-be dancers worked on their bump and grind act; and fat Dave Horsefall's (Mark Addy) concerns about his out-of-shape figure: ("I mean, what if next Friday, 400 women turn around and say: 'He's too fat, he's too old, and he's a pigeon-chested little tosser. What happens then, eh?...Bullocks to your personality. This is what they're looking at, right?. And I tell you summat, mates. Anti-wrinkle cream there may be, but anti-fat-bastard cream, there is none")
  • in the finale, the actual amusing stripping scene on-stage of the stripper group - dubbed "Hot Metal: We Dare to Be Bare" - 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

The Inspiration: A One-Night Chippendale-like Act


Lomper's Attempted Suicide

Dave's Worries About the Performance



The Finale: The Full Monty Show

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) (representing Harper's Bazaar editor Diana Vreeland), her office staff, and many fashion models - and the lyrics: "To the women everywhere. Banish the black, burn the blue, and bury the beige. From now on, girls, Think pink!...Red is dead, blue is through, green's obscene, brown's taboo. And there is not the slightest excuse for plum, or puce or chartreuse -- Think pink!"
"Think Pink"
Fashion Editor Maggie Prescott
  • the character of fashion photographer Dick Avery (Fred Astaire, 58 years old) (reportedly representing Richard Avedon) and his discovery of shy and withdrawn bookshop clerk-assistant Jo Stockton (Audrey Hepburn, 28 years old) in Greenwich Village - a used book-shop known as Embryo Concepts; Avery mistakenly pushed a book-shelf ladder holding Jo when the Quality Magazine crew arrived to use the bookshop as a backdrop for a fashion shoot; she vehemently objected to their unauthorized intrusive presence
  • 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 musical sequence in Avery's reddish-tinted dark-room (illuminated by a single red lightbulb) where Jo found herself hiding; he photographed and printed her picture and sang "Funny Face" to her to assure her: "Frankly dear, your modesty reveals to me, Self-appraisal often makes us saddened, and if I add your Funny Face appeals to me, please don't think I've suddenly gone mad. You have all the qualities of Peter Pan, I'd go far before I'd find a sweeter Pan. I love your Funny Face, your sunny Funny Face. Though you're a cutie with more than beauty, you've got alot of pers-o-nal-i-ty for me..."
  • the scene in which Jo first appeared on a runway - with widespread acclaim: ("Beautiful. I don't believe it"), but Jo admitted: "It feels wonderful, but it's not me"
  • the split-screen scene of the trio of Maggie, Dick, and Jo touring Paris (a parody of Cinerama travelogues), and the taking of pictures all over "The City of Lights" at famous landmarks while they were singing "Bonjour Paris" - culminating with a visit to the Eiffel Tower
  • Jo's unforgettable grand entrance - photographed in a bright red Givenchy gown (with a red chiffon scarf) as she descended a long set of stairs in the Louvre, in front of the statue of Winged Victory of Samothrace
Musical Tour of Parisian Landmarks
"Bonjour Paris"
Split-Screen
Ascending Eiffel Tower Elevator
  • the pairing of Avery and Jo in one of the loveliest song-and-dance numbers ever performed in film - "He Loves and She Loves" - filmed in soft-focus and danced in the green countryside at the Chantilly churchyard near Paris (with Hepburn in a white wedding dress).
  • 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
  • Avery's apologetic heartfelt performance when he sang "Let's Kiss and Make Up" to Jo, and then danced with his umbrella
Two Similar Settings
"He Loves and She Loves"
"S'Wonderful"
  • the soft-focus fairy-tale romantic scene of Dick and Jo (again 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



Bookshop Clerk Jo Stockton (Audrey Hepburn)

Avery's Promotion of Jo


Dark Room Song and Dance: "Funny Face"

Jo's First Runway Appearance: "It's not me"

Louvre Grand Entrance

The Disastrous Gala

"Let's Kiss and Make Up" - With Umbrella

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"
Fanny Brice: "Hello Gorgeous"
  • the scene of aspiring, gifted rags-to-riches performer Fanny Brice seen in flashback and singing "I'm the Greatest Star" during an audition - to convince others that she was going to be the next big star even though she wasn't one of the "beautiful girls" - she was a Jewish girl from the Lower East Side of NY - she delivered the performance as she was shown the door: ("Well, I'm miffed. 'Cause I'm - the greatest star. I am by far, but no one knows it. Wait - they're gonna hear a voice, a silver flute. They'll cheer each toot, hey, she's terrific!, when I expose it...When you're gifted, then you're gifted. These are facts, I've got no axe to grind! Ay! What are ya, blind? In all of the world so far, I'm the greatest star! No autographs, please. Huh? What? What did she say? You think beautiful girls are gonna stay in style forever? I should say not! Any minute now, they're gonna be out! Finished! Then it'll be my turn!")
  • Fanny's humorous and clumsy participation (and sabotage) of a roller-skating stage number ("Roller Skate Rag") with other skating chorus girls in her debut performance at Keeney's Music Hall, after which she solo-performed and took center-stage for the song: "I'd Rather Be Blue Over You"
  • Fanny's opening night performance in Florenz Ziegfeld's Follies at the New Amsterdam Theatre, when she appeared - in the lavish wedding finale "Beautiful Bride", in an unplanned act as a bride pretending to be pregnant ("in the family way") with a pillow stuffed under her wedding gown
Three of the Greatest Hits
"People"
"Funny Girl"
"My Man"
  • Fanny's performance of the chart-topping, mega-smash hit song "People," Streisand's signature song, a song of emotional longing performed after speaking backstage with seductive suitor Nick Arnstein (Omar Sharif), an entrepreneurish gambler, who told her about his lack of commitment and his many conquests: ("Oh, thousands...all gorgeous...That way, I don't get too involved. I like to feel free"); after her song, he walked her to her car and kissed her, after telling her: "I never have definite plans. They make me feel too tied down. But I'll call you. Goodbye"
  • 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 compelling, on-stage 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!")


Fanny's "I'm the Greatest Star" Audition


Roller-Skating Sequence and "I'd Rather Be Blue Over You"

Fanny in Ziegfeld's Follies

Fanny Brice with Nick Arnstein (Omar Sharif)


"Don't Rain on My Parade"

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 be marrying Flo the following week, and meanwhile, the room of her deceased mother would be prepared for Flo's 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 her 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 retaliate against 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")
Juan Herrera's Hanging by Vengeful T.C.
  • 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"


Vance Jeffords (Barbara Stanwyck) with Juan Herrera (Gilbert Roland)


The News of Flo Marrying Vance's Widowed, Wealthy Father T.C. Jeffords

Scissors Hurled into Flo's Face

Flo's Disfigurement - and Her Firm Refusal to Return Money Given to Her by T.C.


T.C's Death in Vance's Arms

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"
Joe's Appearance at Trial of 22 Lynch Mob Members
Who "Murdered" Joe
Newsreel Evidence to Identify Guilty
Joe Speaking to Judge Before Guilty Verdict
  • 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


Katherine's Fearful View of Her Wrongly-Accused Fiancee Joe 'Dying' in a Flaming Jail

Thought to be Dead, Joe's Sudden Reappearance

Joe's Vow to Seek Revenge


Special Delivery Letter - A Clue That Joe Was Alive

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

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

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