Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Gallipoli (1981, Australia)

In director Peter Weir's anti-war and coming-of-age film set in May of 1915, with realistic World War I desert battle scenes during the Gallipoli Campaign in the Ottoman Empire (Turkey):

  • the characters of two young Australians who were both sprinters -- 18-year-old rural rancher and sprinter Archy Hamilton (Mark Lee) who was being trained by his uncle/coach Jack (Bill Kerr) - to run "as fast as a leopard", and unemployed, Irish ex-RR worker Frank Dunne (Mel Gibson)
  • Frank and Archy, after becoming acquainted when they competed in a running race at a local athletics carnival, prepared to enlist in the Australian Imperial Force (AIF), but after hopping a train and being left at an isolated train station, they had to trek across the wide expanse of desert to Perth on the West Coast (to enlist where the minimum age requirement of 21 wouldn't be enforced)
  • during their separate deployments, Archy (in the Light Horse) and Frank (in the infantry) - a few months later - coincidentally met during training exercises in the desert near the Pyramids outside Cairo, Egypt; one day, they engaged in a playful and friendly sprint toward the Great Pyramid of Giza - then climbed to its peak, and then as the sun set, they etched their names next to "Armee de Napoleon 1798" in the rock: "FRANK + ARCHY A.I.F. 1915"
  • toward the end of the film, the scene in which message running courier-soldier Frank was told by Division Commander General Gardner (Graham Dow) to report to Major Barton (Bill Hunter) on the trench lines and hold off on any further trench attacks: ("Tell Major Barton the attack is - no, just tell him that I'm reconsidering the whole situation")
  • the call of insane and arrogant Colonel Robinson (John Morris) to Major Barton to continue with the attack: "Your orders are to attack and you'll do so immediately. The British at Suvla must be allowed to get ashore. Is that clear? You are to push on"; although Barton complained: "It's cold-blooded murder," Robinson repeated: "I said push on"
  • as a result of the suicidal order, Major Barton decided to join his men in the attack: "Can't ask the men to do what I wouldn't do myself. All right, men, we're going. I want you all to remember who you are. You're the 10th Light Horse! Men from Western Australia. Don't forget it. Good luck"
  • there were a few moments of praying ("Though I walk through the valley of the shadow of death, I shall fear no evil, For Thou art with me, Thy rod and thy staff, they comfort me, My cup runneth over), writing goodbye letters, and leaving possessions behind (rings, watches, and Archy's sprinting medal, for example) to be sent to families after the suicidal attack
  • the preface to the ill-fated bayonet charge scene when Archy was chanting the mantra that his track coach and uncle Jack used while training him - to the tune of Tomaso Albinoni's mournful Adagio in G Minor for Strings and Organ: ("What are your legs? Springs, steel springs. What are they gonna do? They're gonna hurl me down the track. How fast can you run? As fast as a leopard. How fast are you gonna run? As fast as a leopard. Then let's see you do it...")
  • the scene of Frank's frantic and desperate rush back to bring news back to the front lines on the ANZAC (Australian/New Zealand forces) battlefield at Gallipoli - during the Battle of the Nek in August 1915, to cancel any more futile attacks; however, as Frank arrived and was crying out: "Gangway! Gangway! Urgent message! Gangway!" (the film's final lines), he was just a few moments too late before the third wave led by Major Barton from the trenches commenced, signaled by the sound of a whistle
  • Frank erupted with a scream of despairing anguish, knowing friend Archy and about 150 other companions were being senselessly killed by an impenetrable enemy position because of miscommunications and bad timing
Archy's Fateful Suicidal Charge
Before Attack, Archy in Trenches: "What are your legs? Springs..."
Frank's Anguish
Archy's Freeze-Frame Death
As He Ran Across No-Man's Land
  • and then the actual scene of Archy's death as he was shot by Turkish machine guns -- captured in freeze-frame death at film's end - against impenetrable Turkish trenches on the Anzac battlefield, after which the film faded to black

Sprinter Archy Hamilton (Mark Lee) - "As fast as a leopard"

Archy Coached by Uncle Jack (Bill Kerr)

Archy and Frank (Mel Gibson) Trekking Across Desert to Perth

Archy with Frank

Colonel Robinson (John Morris) Ordering Major Barton (Bill Hunter) to "Push On" and Attack in a Third Wave From the Trenches

Major Barton - Resigned to the Attack

Archie's Sprinting Medal Left Behind

Gandhi (1982, UK)

In director Richard Attenborough's Best Picture-winning biopic about India's spiritual and political leader in the 20th century:

  • the opening sequence of 79 year-old Mahatma Gandhi's (Ben Kingsley) sudden shooting assassination by bystander Nathuram Godse (Harsh Nayyar) who shot him in the chest at close range in late January 1948 - including his subsequent flower-draped corpse for his funeral procession (one of the most massive scenes ever filmed), attended by large numbers of worshippers; one Commentator (Shane Rimmer) remarked: "The object of this massive tribute died as he had always lived: A private man without wealth, without property, without official title or office. Mahatma Gandhi is not the commander of armies nor a ruler of vast lands. He could not boast any scientific achievement or artistic gift. Yet men, governments, dignitaries from all over the world have joined hands today to pay homage to this little brown man in the loincloth who led his country to freedom. In the words of General George C. Marshall, the American Secretary of State: 'Mahatma Gandhi has become the spokesman for the conscience of all mankind. He was a man who made humility and simple truth more powerful than empires.' And Albert Einstein added: 'Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth.'"
Gandhi's Funeral Procession - and Commentary
  • the many flashbacks of his life including Gandhi, a British-trained attorney, given racist treatment in 1893 when he was traveling in a compartment on a South African Railways train to Pretoria with a first-class ticket, and was asked: "Just what are you doing in this car, coolie?...There are no coloured attorneys in South Africa"; when Gandhi resisted, he was threatened: "Just move your black ass back to third class or I'll have you thrown off at the next station" - and he was literally dumped off at the next station
  • the sequence of another issue with racial discrimination when Gandhi escorted Rev. Charlie Andrews (Ian Charleson) from India along the street, and they were confronted by three white racist bullies, including young thug Colin (a young Daniel Day-Lewis); Gandhi bravely assured the Reverend as they were confronted by the gang with words from the New Testament: "Doesn't the New Testament say: 'If your enemy strikes you on the right cheek, offer him the left?'...I have thought about it a great deal and I suspect He meant you must show courage, be willing to take a blow, several blows, to show you will not strike back, nor will you be turned aside. And when you do that, it calls on something in human nature, something that makes his hatred for you decrease and his respect increase. I think Christ grasped that, and I have seen it work"; when he came upon the youth face-to-face, he asserted: "You'll find there's room for us all"
  • the scene of Gandhi's informal interview with NY Times reporter Vince Walker (Martin Sheen) during a visit to Gandhi's humble and diverse ashram (community), when Gandhi asserted his philosophy about resisting unjust laws: "There are unjust laws as there are unjust men"; when Walker queried: "You're a small minority to take on the South African government not to mention the British Empire," Gandhi predictably replied: "If you are a minority of one, the truth is the truth"
  • the sequence of Gandhi's rousing speech in which he advocated non-violent resistance to unjust South African laws: "...In this cause, I too am prepared to die. But, my friend, there is no cause for which I am prepared to kill. Whatever they do to us, we will attack no one, kill no one. But we will not give our fingerprints, not one of us. They will imprison us. They will fine us. They will seize our possessions. But they cannot take away our self-respect if we do not give it to them.... I am asking you to fight. To fight against their anger, not to provoke it. We will not strike a blow. But we will receive them. And through our pain, we will make them see their injustice. And it will hurt as all fighting hurts. But we cannot lose. We cannot. They may torture my body, break my bones, even kill me. Then, they will have my dead body, not my obedience. (applause) We are Hindu and Muslim, children of God, each one of us. Let us take a solemn oath in His name that, come what may, we will not submit to this law"
  • in a London conference Gandhi's harsh words against the British government represented by Mr. Kinnoch (Nigel Hawthorne), arguing for the British to leave India in order to establish Indian independence: "If you will excuse me, Your Excellency, it is our view that matters have gone beyond legislation. We think it is time you recognized that you are masters in someone else's home. Despite the best intentions of the best of you, you must, in the nature of things, humiliate us to control us....It is time you left...I beg you to accept that there is no people on Earth who would not prefer their own bad government to the good government of an alien power...In the end you will walk out because 100,000 Englishmen simply cannot control 350 million Indians if those Indians refuse to cooperate. And that is what we intend to achieve. Peaceful, nonviolent noncooperation till you yourself see the wisdom of leaving, Your Excellency"
  • the sequence of the brutal Amritsar Massacre in 1919, when troops of the British Indian Army commanded by Colonel Reginald Dyer (Edward Fox) fired their rifles into a crowd of Indians, assembled to peacefully protest, for about 10 minutes
The Massacre at Jallianwala Bagh,
Amritsar, India, April 1919
  • the historical depiction of speeches during the nonviolent "non-cooperation campaign," around 1921, when first Gandhi's wife Kasturba (Rohini Hattangady) and then Gandhi spoke - he exhorted Indians to burn English cloth as a protest: ("To gain independence we must prove worthy of it. There must be Hindu-Muslim unity always. Second: No Indian must be treated as the English treat us. We must remove untouchability from our hearts and from our lives. Third: We must defy the British. Not with violence that will inflame their will, but with a firmness that will open their eyes. English factories make the cloth that makes our poverty. All those who wish to make the English see bring me the cloth from Manchester and Leeds that you wear today and we will light a fire that will be seen in Delhi and in London. And if, like me, you are left with only one piece of homespun, wear it with dignity")
  • the sequence depicting the 1930 protest against the British-imposed salt tax with the highly symbolic Salt March and its subsequent beating by British police of hundreds of nonviolent protesters in Dharasana, witnessed and reported by NYT journalist Walker by phone: "'They walked both Hindu and Muslim alike with heads held high without any hope of escape from injury or death. It went on and on into the night.' Stop. 'Women carried the wounded and broken bodies from the road until they dropped from exhaustion.' Stop. 'But still, it went on and on. Whatever moral ascendancy the West held was lost here today. India is free for she has taken all that steel and cruelty can give and she has neither cringed nor retreated'"
The Salt March's Beating of Protestors
  • after religious tensions erupted when the Partition of India occurred, Gandhi (considered "the father of the nation"), declared a hunger strike, saying he would not eat until the fighting stopped ("An eye for an eye only ends up making the whole world blind...If we obtain our freedom by murder and bloodshed, I want no part of it....And I will fast as a penance for my part in arousing such emotions. And I will not stop until they stop...If I die, perhaps they will stop")


Gandhi's Assassination: "Oh God"

Gandhi Questioned on Train For Traveling With Ticket in First-Class Compartment

"Move your black ass back to third class..."

Dumped at Train Station


Gandhi to Bullies: "You'll find there's room for us all"

With NYT Reporter Vince Walker

Speech: "We will not submit to this law"

To the British government: "It is time you left"

"We must defy the British..."

Bonfire of British Cloth

News of Riots - Gandhi's Declaration of Hunger Strike Penance


Gandhi - Weakened and Fasting

The Gang's All Here (1943)

In director Busby Berkeley's musical (his sole Fox film, his first Technicolor film, and the first film that he both directed and choreographed); its simple plot of soldier boy-meets-chorus girl was overshadowed by complex and extravagant production numbers:

The Opening Sequence: "Brazil"
  • one of the most famous and amazing of Berkeley's production numbers was the six-minute long number that occurred in the film's opening; it began with a male singer Aloysio de Oliveira (his floating face was surrounded by black) crooning the Latin song "Brazil (Aquarela Do Brasil)"; as the camera pulled back, it was shown that he was on a docked ship at port, the S.S. Brazil; the next panning shot focused on the unloading of passengers who were disembarking down a gangplank, while a dockworker pushed a wagon-cart of burlap bags of SUGAR, and other roped bundles of merchandise (exports from Brazil) were lowered to the dock (including a large bundle of fruit) - the fruit was revealed to be, in a quick and invisible cut during a downward pan, on the head of Dorita (Carmen Miranda, the "Brazilian Bombshell"); the belly-dancer made her entrance wearing the fruit-bowl shaped hat, a red-and-white pom-pom outfit with a bare midriff, while also singing "Brazil" (backed by a mariachi band)
    - a marching band entered from off-stage, playing "Hail to the Chief"
    - a limousine pulled up next to the band, with a top-hatted, formally-clad city official coming up to Dorita and asking: "Got any coffee on ya?"; she smiled and replied: "Such a very handsome fellow. So you come to welcome me?"; he responded by offering her the keys to the city: "In the place of Fiorello, I present you with a key" [Note: Fiorello referred to Fiorello LaGuardia, NYC's mayor at the time]
    - another camera pull back revealed the entire scene was being performed on a Broadway nightclub stage in NYC, the Club New Yorker
    - Dorita began to sing a second song: "You Discover You're In New York"; during the second chorus of the song, Dorita walked off stage and into the nightclub
    - seven, stylishly black-clad chorines seated at tables in the club joined her (each of them sang one of two lines of the song), before the camera returned to Dorita who finished the song
    - meanwhile, the other chorus members took the stage and danced with her during the number's finale - Dorita disappeared behind a red curtain as the number concluded; the stage host joked about how the coffee Dorita had bestowed upon him would make him rich ("Now I can retire"), then greeted her back on stage to take a bow: "Well, there's your Good Neighbor Policy. C'mon honey, let's good neighbor it! There we are!"

  • the second major Berkeley production number was about 23 minutes into the film - a 7-minute long, bizarre and erotic musical number known as: "The Lady in the Tutti-Frutti Hat"
    - it began with an organ grinder, his monkey, and lots of fabric banana trees with more monkeys
    - dozens of bare-legged and bare-footed showgirls (with yellow turbans, black crop tops, and ruffled yellow miniskirts) lounged on a tropical South Seas island stage set, with their legs half-splayed open (filmed from a high-angle top view); they rushed to the shore to wave and greet Dorita, as she arrived on a banana cart pulled by two live gold-painted oxen
    - surrounded by the island girls, Dorita sang "The Lady in a Tutti Frutti Hat", and was soon joined by the chorus girls who surrounded her with a ring of bananas (that she played like a circular xylophone)
    - the chorus girls formed a chorus line, as they carried (and waved) surreal, oversized, erect six-foot tall bananas (major phallic symbols made of papier mache)
    - the bananas were arranged in two rows, and moved into various geometric patterns
    - seven of the girls laid down in a star formation with wide-open legs, holding inflatable, oversized strawberries - as a circle of bananas tipped forward and came together above them (an unabashed enactment of sex)
    - an undulating, waving motion was again made with the bananas, before much of the opening of the sequence was seen in reverse
    - the number concluded with about a dozen organ grinders (and monkeys), and the sight of an enormous fan of bananas coming out of the top of Dorita's headdress 30 feet into the air, and two rows of giant strawberries on either side of her
"The Polka Dot Polka"
  • the final balletic production number: "The Polka Dot Polka" began with a group of dancing children dressed in polka-dotted clothes
    - the song's basic lyrics were sung by showgirl Edith (Alice Faye): "The polka dance is gone, but the polka dot lives on"
    - chorus girls played with neon-lit hula hoops, first appearing as floating, disembodied floating heads against a blue curtained backdrop; and in the air, they slowly rotated the gigantic, neon polka-dot hoops, and then were seen with giant, green and pink cut-out circles or discs (a disorienting sequence later showed them moving in reverse)
    - a surrealistic kaleidoscopic camera view (seen from a top angle) topped off the finale with many abstract shapes and patterns
    - the disembodied heads of all the principal actors zoomed up and appeared one at a time in the middle of a polka dot, singing the movie's signature love song: "A Journey to a Star"









"The Lady in the Tutti Frutti Hat"


Finale: "A Journey to a Star"

Gangs of New York (2002)

In Martin Scorsese's historical epic about Manhattan's Five Points, a NY neighborhood in the mid 1800s:

  • the confrontational line-up scene on snowy streets between an Irish-Catholic immigrant gang dubbed the Dead Rabbits (led by 'Priest' Vallon (Liam Neeson)) against the Natives - the forces of the character of villainous leader Bill 'the Butcher' Cutting (Daniel Day-Lewis); Bill's derogatory comment about the opposing forces: ("Is this it, Priest? The Pope's new army? A few crusty bitches and a handful of ragtags?"); the Priest's forces responded with a show of force among the recruits: ("Now, now, Bill, you swore this was a battle between warriors, not a bunch of Miss Nancys. So warriors is what I brought. The O'Connell Guard. The Plug Uglies. The Shirt Tails. The Chichesters. The Forty Thieves")
Bill 'The Butcher' Cutting's (Daniel Day-Lewis) Irish-Catholic Nativist Immigrants vs. 'Priest' Vallon's (Liam Nesson) Dead Rabbits:
The Battle of the Points
  • Bill 'the Butcher's' speech (while holding out two knives in each hand) before commencing the bloody territorial Battle of the Points, fought on the snowy streets of the Five Points: ("On my challenge, by the ancient laws of combat, we have met at this chosen ground to settle for good and all, who holds sway over the Five Points: Us Natives, born right-wise to this fine land or the foreign hordes defiling it. By the ancient laws of combat, I accept the challenge of the so-called Natives. You plague our people at every turn. But from this day out, you shall plague us no more.")
  • the death of Vallon on the bloody battlefield, stabbed in the abdomen by Bill - witnessed by his young son Amsterdam (Leonardo di Caprio as adult), who returned 16 years later to seek revenge for the death of his father by ingratiating himself with Bill the Butcher
  • the scene of newly-arrived poor immigrants on the docks being conscripted to fight the Civil War, as coffins were being stacked up
  • Bill the Butcher's monologue (with a tattered US flag draped over his shoulder) about how violence and the "spectacle of fearsome acts" had allowed him to maintain his powerful grip: ("I'm 47. Forty-seven years old. You know how I stayed alive this long? All these years? Fear. The spectacle of fearsome acts. Somebody steals from me, I cut off his hands. He offends me, I cut out his tongue. He rises against me, I cut off his head, stick it on a pike and raise it high up so all in the streets can see. That's what preserves the order of things. Fear")
  • Bill's continuing monologue about knowing Amsterdam's father, claiming that his enemy Vallon was worthy of respect - because on one occasion, the Priest had beaten Bill, but let him survive in shame - to fight again with greater resolve: ("I killed the last honorable man 15 years ago....The Priest and me, we lived by the same principles. It was only faith divided us. (pointing to a scar) He give me this, you know. That was the finest beating I ever took. My face was pulp, my guts was pierced and my ribs was all mashed up. And when he came to finish me, I couldn't look him in the eye. He spared me because he wanted me to live in shame. This was a great man. A great man. So I cut out the eye that looked away. Sent it to him wrapped in blue paper. I would have cut 'em both out if I could have fought him blind. Then I rose back up again with a full heart and buried him in his own blood")
  • the scene of Amsterdam attempting to assassinate Bill with a knife, with Bill's counter-attack, striking Amsterdam in the abdomen and then acknowledging that he knew Amsterdam was "the son of Priest Vallon" - and then beating him up and terrorizing him in front of a cheering crowd and letting him live ("marked with shame - a freak worthy of Barnum's Muzeum of Wonders") - after burning his cheek with a hot blade: ("I want yous all to meet the son of Priest Vallon. I took him under my wing and see how I'm repaid?...Saves my life one day, so he can kill me the next like a sneak-thief, instead of fightin' like a man. A base defiler, unworthy of a noble name.... We need to tenderize this meat a little bit. All right, let's kiss good night to that pretty young face of yours. What'll it be, then? Rib or chop? Loin or shank?...He ain't earned a death. He ain't earned a death at my hands. No. He'll walk amongst you marked with shame - a freak worthy of Barnum's Museum of Wonders")
  • the climactic face-to-face confrontation between Bill and Amsterdam, interrupted by the quelling of draft riots by cannon fire from Union Army ships, and Bill's wound in the abdomen from cannon shrapnel ("Thank God. I die a true American"), and Amsterdam's further stabbing of Bill to end his life
  • the astonishing "time passage" finale of the Battery Park's development from 1863 to pre-9/11 New York City - with Amsterdam's concluding voice-over: ("It was four days and nights before the worst of the mob was finally put down. We never knew how many New Yorkers died that week before the city was finally delivered. My father told me we was all born of blood and tribulation. And so then too was our great city. But for those of us what lived and died in them furious days, it was like everything we knew was mightily swept away. And no matter what they did to build the city up again, for the rest of time, it would be like no one even knew we was ever here")

Amsterdam
(Leonardo di Caprio)


Civil War Coffins Stacked on Dock

The Butcher's Monologue About Fear

Assassination Attempt

Amsterdam's Fight to the Death with Bill

Graves of Cutting and 'Priest' Side by Side




Time Passage View of Battery Park to Present-Day New York

Garden State (2004)

In writer/star/director Zach Braff's twenty-something, Generation X, introspective debut film - a romantic comedy:

  • the character of mid-20s would-be LA actor/waiter, an estranged and lithium-fogged Andrew Largeman (Zach Braff), who returned to his high school and NJ home for his mother's funeral
  • Andrew's encounters with old school buddies - including stoned gravedigger Mark (Peter Sarsgaard), Kenny the Cop (Michael Weston), a millionaire classmate Jesse (Armando Riesco) who became rich after the invention of silent velcro, "fast food knight" Tim (Jim Parsons) who worked at Medieval Times, and local girl compulsive liar and epileptic Sam ("Samantha") (Natalie Portman) whom he met at a doctor's office waiting room
  • the creatively-filmed scene of Andrew's emotionally-numb and warped sense of participation with sexy Dana (Amy Ferguson) and others during a drug-induced spin-the-bottle party: ("This is gonna be a good night!")
  • the growing relationship between "Samantha" and Andrew when she embarrassed herself by telling him in her bedroom: "We're not gonna make out or anything"; then she backpedaled, apologized ("I just like totally ruined that moment, didn't I?...I am so lame... I'm sorry. Forget I just said that, that was dumb"), and then explained what she had to do to be original and restore herself: ("You know what I do when I feel completely unoriginal?... I make a noise or I do something that no one has ever done before. And then I can feel unique again even if it's only for like a second...You just witnessed a completely original moment in human history. It's refreshing. You should try it")
  • the scene of Andrew's confession that he was unable to cry: "I haven't cried since I was a little kid. I didn't cry at my mother's funeral. I tried, you know? I thought of all the saddest things I could think of. Like, things in movies, this, there's this image from Life Magazine that's always haunted me. I just focused in on it, you know? But nothing came. That actually made me sadder than anything... the fact that I just felt so numb"
  • the film's scenes of a visit to three unusual places: a Handi-World housewares store, an underground sex club in the basement of a hotel, and to a family led by Albert (Denis O'Hare) who lived in an abandoned, rickety boat perched on the edge of a stone quarry in Newark during a rainstorm - where the threesome (wearing garbage bags as raincoats and atop a derelict crane) screamed down into the "infinite abyss" of the quarry pit - as the camera zoomed backwards
Goodbye Scene at Airport
  • the final scene of 'goodbye' at the airport between Sam and Andrew (after only four days), when he spoke about putting an "ellipsis" on their relationship so he could figure out his own life; he left and boarded his plane, but then reconsidered and returned to her (finding her crying in a phone booth), explaining that he wanted to live his life from now on with her: ("Do you remember that idea I had about working stuff out on my own, and then finding you once I figured stuff out?...The ellipsis. It's dumb. It's dumb. It's an awful idea. And I'm not gonna do it, okay? 'Cause like you said, this is it. This is life and I'm in love with you, Samantha. I think that's the only thing I've ever been really sure of in my entire life. I'm really messed up right now, and I got a whole lotta stuff I gotta work out. But I don't want to waste any more of my life without you in it, okay?...And I think I can do this! I mean, I want to, I mean, we have to, right?") - the film ended with his uncertain words: "So what do we do? What do we do?"

Andrew Meeting with Sam ("Samantha") in Doctor's Office

Spin-the-Bottle Party

Being "Original"

Andrew's Confession of Inability to Cry

Visit to Stone Quarry

Gaslight (1944)

In George Cukor's dramatic mystery-thriller, based on the 1938 play by Patrick Hamilton:

  • the scene of the early train journey by Paula Alquist (Ingrid Bergman) to Lake Como, when she conversed with Miss Thwaites (Dame May Whitty) in a compartment - the garrulous Englishwoman loved murder mysteries, and was reminded of the 'real, live murder" that occurred in Paula's murdered aunt's London home ten years earlier: "It was a most mysterious case. They never found out who killed her. They never even found a motive"; the tragic recollection of the unsolved murder case where her Aunt Alquist was murdered was un-nerving to the meek and disconcerted Paula
  • the domination and slow destruction of wife Paula Alquist Anton's (Ingrid Bergman) sanity by her manipulative and greed-obsessed but charming husband Gregory Anton (Charles Boyer), during his surreptitious search for her aunt's valuable jewels, where they now lived in the London house - the ancestral home at 9 Thornton Square - that she had inherited from her dead aunt
  • the scene of Paula's discovery of an incriminating piece of evidence - one of her aunt's old letters inside a score, written by her aunt's murderer (Sergis Bauer) two days before the homicide; Gregory violently snatched the letter from her hands
  • Gregory's flirtations with young, teenaged Nancy Oliver (Angela Lansbury in her film debut), the recently-hired house-maid, to slowly, menacingly, and seductively drive his innocent young wife mad; in Paula's presence, he flirted with the maid (about her beat-policeman boyfriend) and suggested that the cheeky young girl help restore his wife's youthfulness: "I was wondering whether you might not care to pass some of your secrets on to your mistress and help her get rid of her pallor"
  • the beginning of Gregory's ploys to make Paula go crazy, including a missing family heirloom brooch in her purse, gaslights mysteriously dimming, footsteps from the third floor attic above, a missing framed picture (causing Paula fears that she was a kleptomaniac), etc., and her feelings of panic: "I hear noises and footsteps. I imagine things, that there are people over the house. I'm frightened, and of myself too"
  • the search through Paula's purse at the Dalroy's musical concert party and the discovery of Gregory's missing pocket watch in her handbag - causing Paula's serious breakdown when they returned home; Paula asked: "Gregory, are you trying to tell me I'm insane?...But that's what you think, isn't it? That's what you've been hinting and suggesting for months now, ever since the day I lost your brooch. That's when it all began. No, no, no, it began before that. The first day here when I found that letter" - but he denied that the letter even existed
  • in the ultimate conclusion, suspicious Scotland Yard detective Brian Cameron (Joseph Cotten) searched through Gregory's locked desk with Paula, where the letter from Sergis Bauer ten years earlier was hidden away: "I was right. There was a letter...I found this. But my husband said I dreamed. And now it's here. It's been here the whole time"; it clearly revealed that Gregory (aka Sergius Bauer) had in fact murdered Paula's aunt in the same home located at Number 9 Thornton Square in London, England
  • Cameron assured Paula: "You're not going out of your mind. You're slowly and systematically being driven out of your mind"; he had become convinced that Gregory spent his nights methodically hunting and searching through her aunt's possessions in search of her missing jewelry
Cameron: "You're not going out of your mind"
Vengeful Accusations Against Husband
  • Paula's final scene of psychological retribution - including her vengeful and scornful statement against her husband, who was tied by rope to a chair: "If I were not mad, I could have helped you. Whatever you had done, I could have pitied and protected you. But because I am mad, I hate you. Because I am mad, I have betrayed you. And because I'm mad, I'm rejoicing in my heart, without a shred of pity, without a shred of regret, watching you go with glory in my heart!"

Miss Thwaites (Dame May Whitty) and Murder Mysteries

Paula's Discovery of the Incriminating Letter From Sergis Bauer (aka Gregory Anton)

Gregory's Flirtations with Saucy Housemaid Nancy
(Angela Lansbury)


The Missing Framed Picture

Gregory with Wife Paula at Musical Concert



Going Crazy

The General (1927)

In actor / director Buster Keaton's silent action-comedy classic masterpiece set during the Civil War:

  • the early scene of Southern Confederate locomotive engineer Johnnie Gray (Buster Keaton) attempting to enlist in the army on the side of the South, but denied ("Don't enlist him. He is more valuable to the South as an engineer") - and his utter disappointment when told: "We can't use you"; not understanding the reason for his rejection, his lady-love fiancee Annabelle (Marion Mack) asked: "Why didn't you enlist?", he answered: "They wouldn't take me"; she thought he was lying about being unpatriotic and snubbed him: "Please don't lie - I don't want you to speak to me again until you are in uniform"; dejected, he sat on the engine's drive-shaft as it alternately moved up and down and entered an enclosure
Enlistment Failure
Snubbed by Annabelle
Dejected
  • about a year later, Annabelle's kidnapping by Northern-Union spies in the baggage car of a train, and the theft of a train being pulled by Johnnie's The General
  • the many spectacular train chases, ground-breaking pursuit sequences and acrobatic stuntwork as Southern locomotive engineer Johnnie Gray pursued his own hijacked train engine (The General) taken from Georgia through Tennessee to the North by Union forces
  • Johnnie's deadpan expressions and the perfectly timed and staged scenes of Johnnie pursuing his beloved train - on a Velocipede bicycle, a pump hand-car, on a cowcatcher as he flipped away RR cross-ties strewn across the tracks, and on a car with a stumpy, snub-nosed, unwieldly howitzer cannon
Pursuit of Stolen Train
On Pump Hand-Car
On Bicycle
On Cowcatcher
  • the scene of Johnnie's hiding in the Union Army's headquarters under a table, as the Union Generals discussed their plans for the campaign's launch of an attack the following day: "At nine o'clock tomorrow morning our supply trains will meet and unite with General Parker's army at the Rock River bridge. Then the army, backed by our supply trains, will advance for a surprise attack on the rebels' left flank. Once our trains and troops cross that bridge, nothing on earth can stop us" -- Johnnie's objective was clear - he must kidnap Annabelle and his train and take them back to the Confederate South
  • the most expensive sight gag in silent film history (filmed in a single take with an actual train - not a miniature) when the Union pursuit train The Texas confidently moved half-way across a burned-through Rock River bridge and it fell downwards - both the train and collapsing bridge plunged into the river, a mass of hurtling metal, exhaling/hissing smokestack steam, burning bridge logs, and a geyser of belching smoke
  • the romantic relationship between Johnnie and Annabelle that developed after rescuing her - especially the scene when he found her stoking the locomotive with toothpick-sized wood and half-playfully grabbed for her by the neck, throttled and shook her and then swiftly planted a small, loving kiss on her lips
  • in the conclusion, as a result of Johnnie's heroism, he was promoted to Lieutenant, and won the adoration of the worshipping Annabelle Lee; as they both sat on The General's connecting cross-bar between two wheels, he was forced to distractedly salute an unending parade of soldiers passing by with one hand - interupting his spooning (hugging and kissing) of his girlfriend; to solve the problem, Johnnie ingenuously re-positioned and adjusted himself (with Annabelle on his left) so that he could endlessly perform two simultaneous actions: romantically kissing Annabelle Lee and mechanistically and automatically saluting the passing soldiers with his right hand

Theft of Train and Kidnapping of Annabelle by Northern Spies


Johnnie Gray On Howitzer Cannon Car


Hiding Under Union Forces Table - Hearing Battle Plans

Bridge Collapse on The Texas



The Newly-Appointed Heroic Lieutenant Reconciling with Annabelle

Gentleman's Agreement (1947)

In producer Darryl F. Zanuck's and director Elia Kazan's serious, preachy Best Picture-winning social drama - a landmark film - and an historically-significant and tough expose of post-war anti-Semitism:

  • the introduction of the topic of anti-Semitism, in a breakfast scene, when recently-widowed, crusading, non-Jewish (Gentile) magazine writer Phil "Schuyler" Green (Gregory Peck) spoke to his innocent young son Tommy (Dean Stockwell) about prejudiced anti-Semite sentiment: "Oh, that's where some people don't like other people just because they're Jews"; when Tommy pressed: "Why? Are they bad?", he added: "Well, some are, sure and some aren't, it's just like everybody else"; ultimately, Phil couldn't really explain the reason for the hatred; shortly later, Tommy was taunted and assaulted by his playmates, who believed he was Jewish
  • the scene of novelist Phil speaking to his live-in mother Mrs. Green (Ann Revere) in their NYC apartment about how he was struggling with the approach to his next writing assignment for a national magazine known as Smith's Weekly; the expose would be about anti-Semitism; his idea was to try and capture the feelings of his long-time Jewish childhood friend Dave Goldman (John Garfield) on paper: ("Can I think my way into Dave's mind? He's the kind of fellow I'd be if I were a Jew, isn't he?...Whatever Dave feels now - indifference, outrage, contempt - would be the feelings of Dave not only as a Jew but the way I feel as a man, as an American, as a citizen. Is that right, Ma?...Hey, maybe I've broken this log jam, Ma, maybe this is it?") - but then he realized as he sat at his typewriter: ("There isn't any way you can tear open the secret heart of another human being")
  • in a breakthrough with his mother, Phil's decision to adopt an unorthodox approach in order to gather truthful material (in an unbiased way) for a series of articles ("I Was Jewish for Six Months"): he would assume a Jewish identity as Phil Greenberg for six months to experience at first hand discrimination and anti-Semitism: "I can just tell them I am and see what happens....Dark hair, dark eyes. Sure, so has Dave. So have a lot of guys who aren't Jewish. No accent, no mannerisms. Neither has Dave."
  • Phil's discussion with his bothered secretary Elaine Wales (June Havoc) (who was Jewish herself, but had changed her name from Estelle Walovsky to obtain employment); she couldn't believe that he was willing to give up his 'Christian' identity for eight weeks for the sake of a story, and he defended himself: ("Face me, now Miss Wales. Come on, now look at me. Same face, same eyes, same nose, same suit, same everything. Here. Take my hand. Feel it! Same flesh as yours, isn't it? No different today than it was yesterday, Miss Wales. The only thing that's different is the word Christian"); at one point, she described how even Smith's Weekly ("The great liberal magazine that fights injustice on all sides") revealed its own anti-Semite prejudice to her when she applied for a position; he also politely reprimanded her for using prejudiced words: "Now look, Miss Wales, we've got to be frank with each other. You have a right to know right now that words like yid and kike and kikey and nigger and coon make me kind of sick no matter who says them"
  • the confrontational scene of his checking into a high-class luxury hotel where it was suspected that Phil was Jewish (from his name) - the manager (Morgan Farley) directly asked: "In answer to your question. May I inquire, are you? - That is, uh, do you follow the Hebrew religion yourself, or is it that you just want to make sure?" - and then announced that there were no vacancies and refused to answer Phil's direct and simple questions about his bias on restricting guest clientele to Gentiles: ("Look, I'm Jewish and you don't take Jews - that's it, isn't it?...If you don't accept Jews, say so!...Do you or don't you?")
  • the arrival of Phil's Jewish friend Dave Coleman to temporarily live with Phil while looking for work, and Dave's reaction to the impact that Phil's effective yet unorthodox impersonation of being Jewish was having: "You crazy fool. And it's working?...You're not insulated yet, Phil. It's new every time so the impact must be quite a business on you!"; Phil responded: "You mean you get indifferent to it in time?"; Dave answered: "No, but you're concentrating a lifetime thing into a few weeks. You're making the thing happen every day, going out to meet it. The facts are no different, Phil, it just telescopes it, makes it hurt more"
Tense Words with Kathy Lacey About the
Pervasiveness of Anti-Semitism
  • the scene of Phil's conclusion about the pervasiveness of anti-Semitism among "good people" to his romantic interest, divorced schoolteacher Kathy Lacey (Dorothy McGuire), his publisher's niece, emphasizing that there was bigotry and prejucide among even the "good" and "nice" people; Phil's research caused slight tension between them when she told him: "You really do think I'm an anti-Semite"; he replied: ("No, it's just that I've come to see that lots of nice people who aren't, people who despise it and detest it and deplore it, and protest their own innocence, then help it along and wonder why it grows. People who would never beat up a Jew, a young kike or a child. People who think that anti-Semitism is something away off in some dark crackpot place with low-class morons. That's the biggest discovery I've made about this whole business. The good people, the nice people")

Struggling Magazine Writer Phil Green with Mother

Decision to Assume Jewish Identity


Speaking to Secretary Elaine Wales


Rejected as Jew at Hotel

Dave: "You're concentrating a lifetime thing into a few weeks"

Gentleman Jim (1942)

In Raoul Walsh's entertaining, highly-fictionalized sports biography of a famous heavyweight boxer, based loosely upon James J. Corbett's own autobiography The Roar of the Crowd:

  • the character of James "Gentleman Jim" J. Corbett (Errol Flynn), and the path of his career from a poor, brawling Irish family to a lowly job as a bank clerk, then an amateur boxer, and onto the professional level in the 1890s ("the Naughty Nineties") in turn-of-the-century San Francisco - in the early days of bare-knuckled boxing
  • Gentleman Jim's on-again/off-again romance with SF socialite love interest Victoria Ware (Alexis Smith), an ambivalent patrician belle and heiress who believed he had a large ego, although she supported him
  • the challenge match between the brash, extroverted, stylish and charming Gentleman Jim against brutish John L. Sullivan (Ward Bond) in an 1892 championship match, revealed in an exciting, action-packed sequence of 21 rounds, and ending with Corbett's knockout victory in the last round; Corbett succeeded by using "scientific" boxing techniques - he was the first to "dance" around the ring with elusive and fancy footwork
"Gentleman Jim" Corbett's Legendary
Match Against John Sullivan
  • the concluding celebratory victory party scene in Corbett's 2nd floor hotel suite, where Vickie presented him with a large gift box; he joked: "For me? It can't be lilies 'cause I'm still here"; when he opened the box, it was revealed that she had bought him a huge hat to fit his swelled head: "Well, it wouldn't take many of those to make a dozen. How'd you guess my size?"
  • the appearance of formally dressed, defeated opponent Sullivan, who crashed the party unexpectedly; Corbett was presented with Sullivan's championship belt ("I've had it for a long time, take good care of it, will ya?"), and then Corbett was gracious to the loser: "The first time I saw you fight I was just a bit of a kid. There wasn't a man alive who could have stood up to you then. And tonight, well, I was just mighty glad that you weren't the John L. Sullivan of ten years ago"; appreciative of the compliment, Sullivan responded: "Is that what you're thinkin' now...That's a fine decent thing for you to say, Jim. I don't know how we might have come out, oh, say, eight or ten tears ago. I... maybe I was faster then. If I was, tonight, you're the fastest thing on two feet. Sure, it was like tryin' to hit a ghost"; Sullivan also mentioned how it was as tough to win as to lose: "I don't know much about this, uh, gentleman stuff they're hangin' out about ya. But maybe you're bringin' somethin' new to the fight game. Somethin' it needs and never got from fellas like me. I don't know. But I do know this. Though it's tough to be a good loser, it's a lot tougher to be a good winner"; Corbett replied: "Thanks again, John. I hope that when my time comes, I can go out with my head just as high as yours. There'll never be another John L. Sullivan"
  • in the film's final moments, Victoria came to Corbett outside, where he was thinking again about Sullivan's fate: "I can see him now walking back to his room, alone, lying there all night and thinking: 'What's the use of ever getting up again?' John L. He'll never thump another bar and shout: 'I can lick any man in the world.' He must be lost"; but then they began talking about their own relationship when she was impressed by his sensitivity to Sullivan; she confessed her love for him: ("Well, you like me all right and...Yes, I like you. I think you like me more than I like you. But it wouldn't surprise me if, if I loved you more than you love me...And then again, I may be wrong")
  • and then, when he teased her after her confession of love, he suddenly agreed with a kiss: ("You're gonna make a marvelous Corbett!"); when she countered: "A fine way for a gentleman to behave," he replied: "Oh, darling. That gentleman stuff never fooled you, did it? I'm no gentleman" - and she added with another kiss initiated by her: "In that case, I'm no lady"
Victoria Ware (Alexis Smith) to Corbett:
"But it wouldn't surprise me if,
if I loved you more than you love me..."

As Swaggering Genteel Gentleman Jim
(Errol Flynn)


As Rowdy Prize-Fighting Boxer

Taunting John L. Sullivan for a Match

Challenge to John L. Sullivan

Post-Championship Match Party: Victoria's Gift of an Oversized Hat


At Party: Sullivan Arrived to Offer Congratulations and His Championship Belt

Gertrud (1964, Denmark)

In Carl Dreyer's deliberately-paced, meditative romantic drama, the director's final completed feature film (noted for very lengthy takes and lots of dialogue) - a profound masterpiece about the search for ideal love without compromise by a woman who had four suitors during her lifetime:

  • the dilemma and distress facing ex-opera singer Gertrud Kanning (Nina Pens Rode) of her loneliness and emptiness in a crumbling and loveless marriage; in their claustrophobic apartment in Copenhagen, she told her career-minded husband - a middle-aged lawyer and politician Gustav Kanning (Bendt Rothe), that she was leaving him (and wished to separate and file for a divorce), because of their loss of love for each other, and that she had found love with another unnamed man; she expressed her main complaint about his emphasis on work, and her need to place love first and foremost: ("The man I'm with must be completely mine. I must come before everything. I don't want to be an occasional plaything"); Gustav replied: "Yes, but sweet Gertrud, love alone is not enough in a man's life. That would be ridiculous for a man"; she reminded him: "See for yourself how little I mean to you and how insignificant the void becomes when I leave now"
  • the scene of a romantic rendezvous in a park on a bench near a lake (where there was a statue of Aphrodite), filmed with a moving camera, as Gertrud approached with anticipation to speak to her lover Erland Jansson (Baard Owe), a promising young composer; she told him of her plan to leave her husband, before they departed for his place to make love for the first time; she undressed (seen in shadow) as he played a piano piece
  • the sequence of Gertrud's warning by her ex-lover, poet Gabriel Lidman (Ebbe Rode) - who had attended a courtesan's party the night before, and overheard philandering Erland Jansson bragging that Gertrud was his "latest conquest": ("In this mixed company, in this atmosphere of drinking, playing and whoring around, he spoke aloud of his latest conquest. And he named her, her beloved name")
  • the second sequence in the park between Erland Jansson and Gertrud when she told him of her complete love, but he confessed that they could not run away together because he had already impregnated another woman - she was stunned
  • the long sequence between Gertrud and ex-lover Gabriel - when he pleaded with her in her drawing room to come back to him: ("You taught me love is everything. We shouldn't be alone. I have been alone much too much. We shouldn't be just one of many. We need to be one of two") - but she declined his offer when she became realistic about their future together: "Nothing's ever like one thinks"
  • in the poignant conclusion, 30 years into the future, the uncompromising white-haired Gertrud (exiled in Paris and single), who believed in absolute and idealistic love, had lived out her life mostly in solitude and seclusion in the country: ("Yes, I live here like a hermit, forgotten, erased. I like it that way. I need solitude - solitude and freedom"); she reflected on her life with her old, polite and gallant psychologist friend Axel Nygren (Axel Strøbye); he asked for all his old letters back and burned them in the fireplace; she read outloud a poem she had written when she was 16: "'Just look at me. Am I beautiful? No, but I have loved. Just look at me. Am I young? No, but I have loved. Just look at me. Do I live? No, but I have loved.' Sixteen-year-old Gertrud - my gospel according to love"; Axel reminded her of what she had said: "There's nothing else in life but love. Nothing. Nothing else. Do you still stand by those words? Do you regret them?" - she replied: "No, I don't regret them. I stand by what I said. There's nothing else in life, but youth and love, unending tenderness and quiet happiness, Axel"
  • in the final moments of the film, she admitted she had already bought her "resting place" gravesite under a mulberry tree; she described the two words that she had ordered for her headstone: ("...just two words, amor omnia...Love is all"); as they rose, she added: "The gardener has been told that only grass shall grow on my grave and in springtime I shall have anemones. You'll come by one day, pick an anemone and think of me. Take it as a word of love that was thought, but never spoken. Now you'd better go, otherwise we'll end up by running off to Paris. One day your visit will be only a memory as all the other memories I cherish. Sometimes I bring forth the memories and lose myself in them. I feel as if I am gazing at a fire about to be extinguished. Thank you, Axel. Thanks for visiting. Thank you for your book"; they shook hands as he replied: "Goodbye, Gertrud" - twice, they waved to each other from a distance; once she closed her door, the camera remained focused on the outside of her door before a fade to black
Thirty Years Into the Future -
A Bittersweet Reunion With Old Friend Axel

Gertrud Divorcing Her Husband Gustav


Romantic Rendezvous in Park Between Gertrud and Erland


Undressing in Shadows at Erland's Place

Deserted by Erland


Gertrud with Ex-Lover Gabriel

Ghost (1990)

In Jerry Zucker's romantic, supernatural chick-flick about a supernatural love affair between a sculptor/artist and a NY investment banker:

  • the sexual, hypnotically-spinning, non-nude pottery wheel love scene; a 45 rpm record was loaded in a jukebox; girlfriend Molly Jensen (Demi Moore) sensuously molded, formed and sculpted a phallic-shaped clay object to the tune of "Unchained Melody" (the 1965 recording by the Righteous Brothers) when she couldn't sleep at 2 am; her shirtless lover Sam Wheat (Patrick Swayze) kissed Molly as he was seated behind her; he assisted her in reshaping a collapsed piece of pottery (her failed "masterpiece") by putting his hands together with hers, as she instructed: "Put your hands here. Now get them wet. Let the clay slide between your fingers"; the sequence continued with their extended love-making and kissing ("hunger for your love") in their darkened apartment
The Pottery Wheel Love Scene
  • the oft-repeated response "Ditto" when Molly told him: "I really love you"
  • the scene of senseless violence in which Sam was mortally wounded and died in his beloved Molly's arms in an alleyway after a serious and unexpected incident
  • the scene of Sam's funeral
  • the miraculous sequence in which Sam came back as a spirit to warn her about a threat to her endangered life; while she was seated at her pottery wheel, she spoke to herself about how she was still reeling from his death: "...I broke into tears. It's like I think about you every minute. It's like I can still feel you"; the recently-murdered ghost-spirit Sam was crouched next to her, and tried to reveal himself behind the grieving Molly as she sculpted clay; he reassured her: "I'm here, Mol"; she sensed his presence and asked: "Sam?"
  • the scene in which spiritualist Oda Mae Brown (Whoopi Goldberg) convinced a bereaved Molly that her dead lover Sam was trying to contact her by speaking: "Molly, you in danger girl," and using Sam's favorite expression: "Ditto"
  • in the finale's bittersweet, tear-jerking farewell scene, Sam became visible to the grieving Molly; he explicitly told her about his love and gave her his last goodbye - within the light, before he passed on into the light of heaven: Molly: "Sam?" Sam: "Molly." Molly: "I can hear you. Oh, God." (They kissed. He bid goodbye to spiritualist Oda Mae (Whoopi Goldberg).) Sam: "I love you, Molly. I've always loved you." Molly (tearfully): "Ditto." Sam: "It's amazing, Molly. The love inside, you take it with you. See ya." Molly: (responding likewise) "See ya. Bye"

Sam's Shocking Murder

Sensing Sam at Pottery Wheel



A Bittersweet Farewell

The Ghost and Mrs. Muir (1947)

In the classic fantasy romance weepie, set at the turn of the century, from director Joseph L. Mankiewicz, with exceptional Academy Award-nominated cinematography by Charles Lang Jr.:

  • the beautiful seaside locale - the picturesque English coastal village of Whitecliff-by-the-Sea, where young, strong-willed, and widowed Lucy Muir (Gene Tierney) moved with her 9 year-old daughter Anna (Natalie Wood), into a residence known as Gull Cottage
  • the sequence of Lucy's first sighting of a spiritual presence in the house, who was attempting to scare her with lightning strikes, gusts of wind and rain; she challenged the ghost to speak: ("Are you afraid to speak up? Is that all you're good for, to frighten women? Well, I'm not afraid of you. Whoever heard of a cowardly ghost?"); the cantankerous sea captain Daniel Gregg (Rex Harrison), Gull Cottage's ghostly former owner who, four years earlier, had allegedly committed suicide (it was actually an accidental gas asphyxiation), finally responded: "Light the candle. Go ahead, light it"; he revealed that he had scared off other renters or buyers, because he wanted to turn the house into "a home for retired seamen"
  • the bargain negotiated between the Captain and Lucy - he said she could stay in his home ("You may stay, on trial") but she had to keep his presence a secret from Anna ("She's much too young to see ghosts"), and to only stay in his/her bedroom: "Leave me bedroom as it is and I'll promise not to go into any other room in the house. And your brat need never know anything about me"; however, the Captain also made it clear they would have to sleep in the same bedroom - his bedroom; he told her: "All you see is an illusion. It's like a blasted lantern slide", and insisted that his painted self-portrait had to be hung in the bedroom
  • the scenes of their growing bonding and loving relationship, as Captain Gregg continually haunted Lucy's bedroom and thoughts in his non-flesh-and-blood form
  • the farewell scene when the Captain bid Lucy good-bye while she slept, telling her that she must find her own way in life - and that she was only dreaming of a sea-captain haunting the house; his decision to leave her life came after she declared her intention to marry childrens' book author Miles Fairley (George Sanders) (pen-name "Uncle Neddy"), a smooth-talking, slimy cad: (Daniel: "You've made your choice, the only choice you could make. You've chosen life and that's as it should be. And that's why I'm going away, my dear. I can't help you now...You must make your own life amongst the living, and whether you meet fair winds or foul, find your own way to harbor in the end...It's been a dream, Lucia")
  • the revelation that the womanizing, deceitful Miles Fairley was already married with a family of two children
  • the transcendent, sappy ending in which white-haired, elderly widow Lucy died in her British seaside cottage's chair; immediately, captain Daniel Gregg appeared and beckoned to her; he greeted her with outstretched hands to help her from the chair: "And now, you'll never be tired again, come Lucia, come my dear"
Reunited in Death in the Transcendent Ending
  • and then in the conclusion, rejuvenated and young again, Lucy walked off, hand-in-hand with him downstairs and through the front door into the afterlife


Arrival at Whitecliff

Appearance of Captain Gregg

Bargain Between Lucy and the Captain

Always in Her Thoughts

Daniel: "I'm going away, my dear"

Ghost Busters (1984)

In director Ivan Reitman's sci-fi fantasy comedy, with the catchy theme tune: "Who ya gonna call? - Ghostbusters!" and the film's logo: a red-lined "No Ghosts" sign, about a trio of eccentric parapsychologists called upon to investigate hauntings in various NYC locations:

  • the unorthodox group of three defrocked, eccentric, Columbia University parapsychologists: Dr. Peter Venkman (Bill Murray), Dr. Raymond Stantz (Dan Aykroyd), and Dr. Egon Spengler (Harold Ramis), who were in the offbeat business of supernatural extermination of poltergeists, spirits, ghosts, and other haunts, using proton pack weapons
  • the scene of Venkman conducting an ESP test (to identify symbols on 80 cards) with two paid student volunteers, and always accepting whatever answer the cute female (Jennifer Runyon) provided ("Incredible! Five for five. You can't see these, can you?...You're not cheating me, are you?"), but electrically shocking her male counterpart for every response
  • the trio's first encounter with ghosts in the New York Public Library stacks, when Ray calmly noted the purplish librarian ghost (Alice Drummond) before them: "A full torso apparition, and it's real" - he suggested: "We've got to make contact. One of us should actually try to speak to her"; Peter Venkman volunteered and approached the figure: "Hello, I'm Peter. Where are you from? Originally"; the gray-haired ghost turned and shushed him, with her finger to her lips. When that didn't work, Ray decided to take charge and yelled: "Ready? Get her!"; suddenly, the library worker turned toward them, and was transformed into a screaming spectral hag (with effective special effects) - a great scare!
The Librarian Ghost
  • the confrontation with a green ghost in a hotel corridor, when Raymond zapped it with his proton pack gun; Venkman came face to face with the creature, that covered him in ectoplasm during an attack; he delivered a one-liner exclamation of: "He slimed me!" after being covered in slime
  • the parody covers of various magazines proclaiming their heroic fame
  • Venkman's statement - a paraphrasing of the famous Latin phrase: "We came, we saw, we kicked its ass" - spoken to the Hotel Manager (Michael Ensign) about capturing their first ghost Slimer in a box: ("What you had there was what we refer to as a focused, non-terminal repeating phantasm, or a class-five full-roaming vapor. Real nasty one too") - however, the manager refused to pay a special offered price of $5,000 for entrapment and storage of the beast
  • the City Hall scene of EPA lawyer Walter Peck (William Atherton) accusing the Ghostbusters in front of mayor Lenny Clotchof (David Margulies) of being con-men and of causing an explosion: ("These men are consummate snowball artists. They use sense and nerve gases to induce hallucinations. People think they're seeing ghosts, and they call these bozos who conveniently show up to deal with the problem with a fake electronic light show"); when Raymond retorted to Peck: ("Everything was fine with our system until the power grid was shut off by dickless here"), Venkman confirmed: ("Yes, it's true. This man has no dick")
  • two of the Ghostbusters' customers who became involved with the demons: cellist musician Dana Barrett (Sigourney Weaver) (possessed by ancient demi-god Zuul (the "Gatekeeper")) and her nerdy accountant neighbor Louis Tully (Rick Moranis) (possessed by the "Keymaster") who realized that their apartment building (and her refrigerator) had become a gateway for hell
  • Venkman's seduction by the possessed Dana, who proposed: "I want you inside me" - and when he refused ("No, I can't - it sounds like you got at least two people in there already. It might be a little crowded"), she levitated above her bed; later, he described her: "I find her interesting because she's a client and because she sleeps above her covers... four feet above her covers"
  • the scene of the Ghostbusters confronted by the monstrous god Gozer in the shape of a woman, the Gozerian (voice of Paddi Edwards, and portrayed by supermodel Slavitza Jovan) atop the skyscraper; Ray threatened Gozer: "As a duly designated representative of the city, county and state of New York, I order you to cease any and all supernatural activity and return forthwith to your place of origin or to the nearest convenient parallel dimension"; Gozer angrily responded: "Are you a god?...Then die," blasting them with lightning bolts from her fingertips; fourth Ghostbuster Winston Zeddmore (Ernie Hudson) angrily chastised Raymond for his stupidity for blasting Gozer: "Ray, when someone asks you if you're a God, you say YES!", followed by Venkman's threat: "All right. This chick is toast...Let's show this prehistoric bitch how we do things downtown" - and the Ghostbusters, with full strength, neutronized the "nimble little minx," explaining her extermination as "a complete particle reversal"
Confronting the Monstrous God Gozer
  • the climax's legendary visual image of the evil, menacing, 20-story-tall monstrous 'destructor' - a giant, 100 foot tall Stay Puft Marshmallow Man, selectively imagined to be harmless by Raymond: ("I tried to think of the most harmless thing. Something I loved from my childhood. Something that could never, ever possibly destroy us. Mr. Stay Puft") - Venkman's reaction: "Mother pus-bucket!"


The Biased ESP Test



Ghost Attack, Spewing Ectoplasm: "He slimed me"

Ghost Containment Box

"We came, we saw, we kicked its ass"

"This man has no dick"

Seduced by Dana Possessed by Zuul

Dana Levitating

Louis Tully Possessed by the "Keymaster"

Giant (1956)

In Best Director-winning George Stevens' grandiose epic western about a family over a 25 year period:

  • the 1920s scene of Virginia socialite belle Leslie Lynnton's (Elizabeth Taylor) arrival at newly-wed, wealthy Texas rancher-husband Jordan 'Bick' Benedict's (Rock Hudson) sprawling Benedict Texas ranch ("Reata")
  • the characters of Bick's older sister Luz Benedict (Mercedes McCambridge), known for being a tough, cattle-driving spinster: (Adarene Clinch: "Aw, Luz, why everybody in the county knows you'd rather herd cattle than make love!" Luz: "Well, there's one thing you gotta say for cattle: You put your brand on one of them, you're gonna know where it's at!") and her uneducated, laconic Texas ranch-hand cowboy Jett Rink (James Dean in his last film appearance), in an iconic pose - sitting in the back of a black convertible with his feet up during an outdoor BBQ
At the Outdoor BBQ
'Bick' Benedict and
Leslie Lynnton
Luz Benedict
Jett Rink
  • the scene of newly-made tycoon Jett Rink's striking of oil on his own small piece of land (Little Reata) as he was covered with the gushing liquid black gold, and still covered in crude oil, his boastful, resentful statements to the Benedict family about how he would be richer than them: ("My well came in, Bick, ha, ha, ha....Everybody thought l had a duster. Y'all thought ol' Spindletop Burke and Burnett was all the oil there was, didn't ya? But l'm here to tell you it ain't, boy. lt's here. And there ain't a dang thing you gonna do about it. My well came in big, so big, Bick. And there's more down there, and there's bigger wells. l'm rich, Bick! l'm a rich one. l'm a rich boy. Me - l'm gonna have more money than you ever thought you could have. You and all the rest of you stinkin' sons of Benedicts")
  • Jett's inappropriate behavior and pass toward Leslie: ("My, you sure do look pretty, Miss Leslie. You always did look pretty. Just pretty now, and good enough to eat") - ending in a few punches exchanged between Bick and Jett (who exclaimed: "You're touchy, Bick. Touchy as an old cook"), before he drove off; Bick's friend remarked: "You should have shot that fella a long time ago. Now he's too rich to kill"
  • the spectacle of Rink's aging from a young man to a mumbling outcast and dissolute drunkard (known as "Mr Texas"), especially during the celebratory scene to commemorate the opening of his new airport and hotel in Hermosa, Texas, and the scene of Rink drunkenly sobbing in the empty banquet room, and rambling about his unrequited love for Leslie: ("Pretty Leslie. Wonderful, beautiful girl bride! Poor boy. Rich. Rich Mrs. Benedict. She's beautiful. Lovely. The woman a man wants. A woman a man has got to have, too!")
  • Bick's fist-fight with Sarge (Mickey Simpson), the bigoted cafe owner of Sarge's Place who refused to serve an elderly Latino couple while "The Yellow Rose of Texas" blared on the jukebox


Arrival at the Benedict Ranch (Reata) in Texas

Striking It Rich with Oil

Inappropriate Behavior Toward Leslie

Drunken Jett in New Hotel Banquet Room

Bick's Fist-Fight with Bigoted Cafe Owner

Gigi (1958)

In director Vincente Minnelli's Best Picture-winning musical romance set at turn-of-the-century Paris - winning all nine of its Academy Award nominations:

  • the film's opening in 1900 Paris: the introduction to aging, charming boulevardier, lover of beauty and fashion, and womanizing Honore Lachaille (Maurice Chevalier in a comeback role) who spoke directly to the camera: "Bonjour, monsieur. Bonjour, madame and company. Good afternoon. As you see, this lovely city all around us is Paris. And this lovely park is, of course, the Bois de Boulogne. Pardon me. Who am l? Well, allow me to introduce myself. l am Honor Lachaille. Born: Paris. Date: Not lately. This is 1900 so let's just say not in this century. Circumstances: Comfortable. Profession: Lover and collector of beautiful things. Not antiques, mind you. Younger things. Yes, definitely younger. Married? What for? Now, please don't misunderstand. Like everywhere else, most people in Paris get married. But not all. There are some who will not marry and some who do not marry. But here in Paris, those who will not are usually men and those who do not are usually women"; he was strolling along the Bois de Bologne; after sitting down, he noticed lots of young girls playing, prompting him to sing a memorable song about the splendor of youth: "Thank Heaven for Little Girls"
"Thank Heaven for Little Girls"
  • after singing the song, he spoke about one particular young school-girl named Gigi Alvarez, playing nearby with her classmates: "This story is about a little girl. lt could be any one of those girls playing there. But it isn't. lt's about one in particular. That one. Her name is Gigi"
  • the main character: the carefree, courtesan-trained Gilberte ("Gigi") Alvarez (Leslie Caron), who would become involved in a romantic affair with Honore's young wealthy nephew Gaston Lachaille (Louis Jourdan), a playboy
  • the duet: "I Remember It Well" between Honore and Parisian courtesan Madame Alvarez (Hermione Gingold), Gigi's grandmother and guardian - singing about their long-time-ago romance
  • Gigi's liveliest and best song (and dance): "The Night They Invented Champagne"
  • the scenes of Gigi being sent to her regal great Aunt Alicia (Isabel Jeans), Mme. Alvarez's sister, to be groomed as a courtesan to learn etiquette and charm, where she sang: "The Parisians" - her concerns about the love-obsessed Parisians: "I don't understand the Parisians Thinking love so miraculous and grand, but they rave about it and won't live without it, I don't understand the Parisians!"
  • the scene of great Aunt Alicia's astonishment when Madame Alvarez passed on Gigi's ultimate decision to her - a rejection of the proposal to be a kept mistress of Gaston: "She doesn't want to"; Alicia reacted to the news with dismay: "Such stupidity is without equal in the entire history of human relations. lt must be your fault. lt must be. You must've emphasized all of the difficulties instead of the delights. What did you say to the little monster?...What did you say to her? Did you tell her about love, travel, moonlight, ltaly? About hummingbirds in all the flowers and making love in a gardenia-scented garden?...lt's incredible. lncredible! Where is she? Perhaps l should talk to her again and tell her what she's missing. lt's the glory of romance, forgetting everything in the arms of the man who adores you, listening to the music of love in an eternal spring...You're a fool! And your granddaughter takes after you. Oh, when l think of the time and effort l've lavished on that idiotic child!"
  • in a subsequent scene, Gaston arrived to meet with Gigi who had changed her mind - and she told him simply: "Gaston, l have been thinking. l'd rather be miserable with you than without you" - she would be with him, although she would remain unsure about the mistress arrangement
Gigi to Gaston: "I'd rather be miserable with you than without you"
"Gigi"
Gaston: "Give me the infinite joy of bestowing on me Gigi's hand in marriage?"
  • the scene of Gaston's realization of his growing love for "Gigi" - exemplified by his singing of "Gigi"; he decided to return to Gigi's apartment in formal wear and ask permission from Mme. Alvarez for her hand in marriage ("Madame, will you do me the honor, the favor, give me the infinite joy of bestowing on me Gigi's hand in marriage?") in place of the courtesan/mistress arrangement; Gigi heard the proposal and came to Gaston's side; the last spoken word was Mme's reaction: "Thank heaven"

Introduction of Honore Lachaille
(Maurice Chevalier)


"That one - Her name is Gigi"

"The Parisians"

"I Remember It Well"


"The Night They Invented Champagne"


"I'm Glad I'm Not Young Any More"


Gigi's Decision to Not Be A Courtesan: "She Doesn't Want to"

Gilda (1946)

In Charles Vidor's noirish romantic drama-mystery, suggestive with themes that included implied impotence, misogyny and homosexuality, although camouflaged by euphemisms and innuendo to bypass the Production Code - also with a strange, tawdry, aberrant romantic triangle (menage a trois) between the three main characters:

  • the opening homoerotic sequence beginning with a voice-over by down-on-his-luck, oily-haired gambling drifter Johnny Farrell (Glenn Ford), who was engaged in a crooked game of craps (with loaded dice) with American sailors in a waterfront dive: "To me a dollar was a dollar in any language. It was my first night in the Argentine and I didn't know much about the local citizens. But I knew about American sailors, and I knew I'd better get out of there"
  • the disagreeable, crippled South American casino-owning Ballin Mundson (George Macready) saved Farrell from retailation by the angry, swindled sailors; Mundson wielded his ebony cane and its protruding stiletto dagger (a perverse, compensating Freudian phallic substitute): "It is a most faithful, obedient friend. It is silent when I wish to be silent. It talks when I wish to talk" - and shortly later, Farrell convinced Mundson that his cheating and gambling skills would be perfect for being hired as a croupier-manager to run the illegal casino of the tungsten baron-billionaire: "I'll be better if you had me on your side..."
  • one of filmdom's best-known film entrances, when the gorgeous Gilda (Rita Hayworth as the era's movie-star 'love goddess'), an exuberantly healthy American in her inner bedroom suite - was singing along to a phonograph recording of "Put the Blame on Mame"; she was introduced by her mobster-husband Ballin Mundson: (Mundson: "Gilda, are you decent?" Gilda: "Me?" - she gave a long, sensual look at Johnny, Mundson's recently-hired casino manager, and pulled up one side of her strapless dress as she added: "Sure, I'm decent"); she threw back her head and tossed her thick mane of hair in a blatantly sexual response; she was also the ex-wife of Johnny - who was entrusted as a bodyguard to watch over her trampy behavior in the casino
Johnny's Introduction to Gilda (Rita Hayworth)
by Her Husband Ballin Mundson
"Gilda, are you decent?"
"Me? Sure, I'm decent"
  • to torture and inflame Johnny's jealous passions, two-timing Gilda danced and flirted with good-looking Latin male escort Gabe Evans (Robert Scott) - and when dragged from the casino dance floor by Johnny (who had warned her earlier: "Pardon me, but your husband is showing"), Gilda delivered her most famous one-liner: "Didn't you hear about me, Gabe? If I'd been a ranch, they would've named me the Bar Nothing"
  • her two renditions of "Put the Blame on Mame" - the lyrics of the song, filled with double entendres, described a dangerous, threatening kind of woman who was often blamed - unfairly and illegitimately - by men
    (1) at five o'clock one morning, Johnny was awakened in the upper casino office by the wafting sounds of white-dressed Gilda below seated on a card table, strumming and singing a sad version of Put The Blame on Mame, while accompanying herself with a guitar
    (2) a memorable, bawdy glove-striptease dance before a large live casino audience (backed by an orchestra), as she was swathed in a slinky black satin dress displaying bare upper arms and shoulders; she beckoned with extended arms toward the lusting men in the audience and peeled off one of her long, elbow-length black satin gloves as she sang the torchy defiant number - keeping the casino audience (and viewers) in suspense - wondering whether the strapless gown would remain suspended on her frame; to proceed further with undressing after receiving accolades and encore-applause, Gilda flung her second glove toward the hungering audience; as she started to shed her strapless dress, she entreated two gentlemen volunteers for assistance ("I'm not very good at zippers, but maybe if I had some help") before she was dragged off the stage and Johnny struck Gilda across the face
  • the scene in which Gilda asked expectantly of Johnny: "Got a light?" - he turned and stood there with the lighter flame burning for her
  • Gilda's passionate confession of love for Johnny: "Hate is a very exciting emotion. Haven't you noticed? Very exciting. I hate you too, Johnny. I hate you so much, I think I'm gonna die from it. Darling. (She fell into his arms and they kissed) I think I'm gonna die from it"
  • the film's twisting conclusion, when Mundson disappeared and was presumed dead (in a suicidal airplane crash, possibly faked), and Gilda and Farrell resumed their dangerous affair while Farrell ran the casino; Johnny replaced Mundson as Gilda's emotionally-abusive husband in a continuing love-hate relationship - - but then Mundson vengefully returned after three months, and when he was just about to gun down both Farrell and Gilda, he was stabbed in the back (with his own cane) by Uncle Pio (Steven Geray), the aging, white-coated washroom attendant of the casino's nightclub - murder charges were dropped when the death was judged to be "justifiable homicide"
  • the film's final line of dialogue was spoken by Gilda to Johnny: "Johnny, let's go home. Let's go home"

Introduction of Gambler Johnny Farrell (Glenn Ford)


Saved by Casino Owner Ballin Mundson

Gilda: "If I'd been a ranch, they would've named me the Bar Nothing"

Strumming "Put the Blame on Mame"


Gilda's Famous Strip-Tease

Gilda to Johnny: "Got a light?"

"I hate you too, Johnny"

"Johnny, let's go home"

Gimme Shelter (1970)

In the Maysles Brother's (Albert and David) haunting and gripping concert documentary film that covered the 1969 British rockers' Rolling Stones tour that captured, in its finale, the stabbing to death on December 6th of fan Meredith Hunter (who waved a gun) by Hell's Angels "security" (who were paid with beer) at Altamont Speedway during the Altamont Free Concert near San Francisco:

  • the disturbing sequence (in the finale) filmed during the Rolling Stones' final free rock concert show appearance in early December 1969 - as the crowd increasingly became jittery, out-of control, and fights broke out during Mick Jagger's singing of "Sympathy for the Devil", he cautioned the audience: "Uh, I mean, people, who's fighting, what for? Who's fighting and what for? Why are we fighting? Why are we fighting? We don't want to fight. Come on! Do we want... Who wants to fight? Who is it?...Look, that guy there, if he doesn't stop it, man... Listen, either those cats cool it, man, or we don't play"; as a doctor and ambulance was being summoned, Jagger continued to try to calm the listeners: "All I can ask you, San Francisco, is like the whole thing. Like, this could be the most beautiful evening we've had for this winter, you know, and we've really... Why don't... Don't let's f--k it up, man. Come on, let's get it together. I can't do any more than just ask you, beg you, just to keep it together. You can do it. It's within your power. Everyone, everyone, Hell's Angels, everybody, let's just keep ourselves together. You know, if we, if we are all one, let's show we're all one"
  • as Jagger proceeded to his final song: "Under My Thumb" - another violent scuffle broke out; the Hell's Angels - who had been hired locally to provide security, became involved in quelling the disturbance, as the Rolling Stones abruptly stopped their performance; Jagger spoke out again: "Hey, man, look. We're splitting. If those cats can't... If you people... We're splitting if those cats don't stop beatin' everybody up in sight. I want 'em out of the way, man. I don't like you..."
  • the next sequence was within an editing room where Jagger was being shown (on a small monitor) shocking footage of a murder committed in the crowd very near the stage - Hell's Angel Alan Passaro (as Himself) back-stabbed 18 year-old drugged-up spectator Meredith Hunter (as Himself) (who was wielding a long-barreled .22 revolver gun) - identified because he was wearing a bright lime-green suit
  • the use of freeze-frames highlighted the violence caught on film:
    - "Can you roll back on that, David?...Can you see what was happening there?"
    - "No, you couldn't see anything, well, it was another, it's another scuffle, it was..."
    - "There's the Angel right there with a knife."
    - "Where's the gun?"
    - "I'll roll it back, and you'll see it against the girl's crocheted dress."
    - "Right there, isn't it?"
    - "Oh, it was so horrible."
  • the film ended with an interview with Altamont witnesses, who claimed that the victim suffered a couple of stab wounds in his back and one in his ear; he was pronounced dead at 6:20 by the time a doctor arrived; the girl with the crocheted dress, Meredith's girlfriend (Patty Bredehoft as Herself) had to be consoled as she cried: "I don't want him to die! Don't let him die, please!"; a helicopter lifted away with the body, as the film returned briefly to the concert, the evacuation of the Stones, Jagger's sober departure from the editing room, and views of crowds arriving for the concert

Hell's Angels as Security

Mick Jagger: "Sympathy for the Devil" and "Under My Thumb"

The Stabbing Victim (in Green)



The Stabbing Incident, Viewed by Jagger in an Editing Room

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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