Greatest Film Scenes
and Moments



G (continued)

The Girl Can't Help It (1956)

In writer/director Frank Tashlin's and Fox's satirical comedy musical:

  • any of the exaggerated visual gag scenes with curvaceous blonde bimbo Jerri Jordan (Jayne Mansfield), the girlfriend/fiancee of retired ex-slot machine gangster Marty "Fats" Murdock (Edmond O'Brien), who wants her to become a rock 'n' roll star in six weeks ("What we're talkin' about is already built!")
  • her spectacular hip-swinging walk down the street (wearing a tight-fitting dark blue dress and broad-rimmed hat), causing ice in a delivery truck to melt - and her swiveling moves up an apartment stoop's steps past a milk bottle delivery man - with the milk in the bottle overflowing frothily from the top (accompanied by the film's title theme song sung by Little Richard)
  • the scene at breakfast when she provocatively leans forward to tell her recently-hired alcoholic press agent Tom Miller (Tom Ewell) about her readiness for motherhood: "But everyone figures me for a sexpot, no one thinks I'm equipped for motherhood!"

Gladiator (2000)

In Ridley Scott's Best Picture-winning swords-and-sandals epic:

  • the scenes of the condemned, enslaved Colosseum gladiator named "The Spaniard" (Russell Crowe), who had been trained by slave owner Proximo (Oliver Reed), who identifies himself before power-hungry Emperor Commodus (Joaquin Phoenix) - first with "My name is Gladiator"
  • and then when confronted, removes his helmet and defiantly speaks about his revenge: "My name is Maximus Decimus Meridius...And I will have my vengeance, in this life or the next"
  • the Emperor's twisted and incestuous relationship with his sister Lucilla (Connie Nielsen) while she romances Maximus
  • and further the hellish action sequences of battle in the Colosseum (with chained tigers - often digitized) when Commodus exclaims: "At my signal, unleash hell" - in which Maximus defies the Emperor's thumbs-down decision to kill his wounded opponent Tigris
  • mortally-wounded Maximus' wreaking of vengeance on Commodus by killing him during one-on-one combat
  • his own climactic death scene in the area - and his last moments - with Lucilla by his side - as he experiences visions of his family in the afterlife

Glengarry Glen Ross (1992)

In director James Foley's film adapted from scripter David Mamet's real estate stage play with many rapid-fire, cleverly convoluted, foul-mouthed lines of dialogue:

  • the opening scene of consulting super-salesman Blake's (Alec Baldwin) rousing, motivational, in-your-face, foul-mouthed ultimatum speech toward Premiere Properties real estate agency salesmen in their grungy office, telling them: "I'm here on a mission of mercy...only one thing counts in this life - get them to sign on the line which is dotted," with his display of the letters ABC on a blackboard (signifying Always Be Closing)
  • his description of the monthly sales contest ("We're adding a little something to this month's sales contest. As you all know, the first prize is a Cadillac Eldorado. Anybody wanna see second prize? Second prize is a set of steak knives. Third prize is 'You're fired'")
  • the characters of profanity-spewing, hotshot salesman Ricky Roma (Oscar-nominated Al Pacino) (with his raunchy dialogue about a female customer's crumbcake), Kevin Spacey's role as John Williamson - the iron-fisted, inept boss of the salesmen, and tired, desperate old-timer Shelley 'the Machine' Levene (Jack Lemmon)
  • also Roma's scornful insult toward Williamson after a failed real-estate deal: "Where did you learn your trade, you stupid f--king cunt, you idiot? Who ever told you that you could work with men?"

Glory (1989)

In Edward Zwick's Civil War historical epic:

  • the scene when angry runaway Trip (Oscar-winning Denzel Washington), one of the black soldiers in the 54th Regiment of the Massachusetts Volunteer Infantry (the first black fighting regiment in US history), is tied to a cart-wheel and bull-whipped on false charges of desertion and his back is scarred from the repeated lashings - with his steely defiant look (with one tear on his cheek) at white commanding officer Col. Robert Gould Shaw (Matthew Broderick)
  • the confrontation between ex-gravedigger Sgt. Major Rawlins (Morgan Freeman) and the angry Trip: (Trip: "So the white man give you a couple ot stripes, next thing you know, you hollerin' and orderin' everybody around like you the massa himself. Nigger, you ain't nothin' but the white man's dog." Rawlins: "And what are you? So full of hate you just wanna go out and fight everybody, 'cause you've been whipped and chased by hounds. Well, that might not be livin', but it sure as hell ain't dyin'. And dying's what these white boys been doin' for goin' on three years now. Dyin' by the thousands. Dyin' for you, fool! I know, 'cause l dug the graves. And all the time I'm diggin', I'm asking myself, 'When?' When, O Lord, is it gonna be our time?' Time's comin' when we're gonna have to ante up. Ante up and kick in like men. Like men! You watch who you call a nigger. If there's any niggers around here, it's you. Smart-mouth, stupid-ass, swamp-runnin' nigger. If you ain't careful, that's all you ever gonna be")
  • the unit's pre-battle campfire spiritual scene in which Sgt. Major Rawlins leads the soldiers in prayer and singing - including Trip's confession ("Y'all's the only-est family I got. I love the 54th")
  • their doomed, suicidal, bloodbath, nighttime assault against Fort Wagner in South Carolina (prefaced by the battle-cry "Give 'em hell, 54!")
  • the final shot of Shaw's burial in a mass beach grave with his soldiers (including Trip next to him)
  • the end credits shot of "The Robert Gould Shaw and 54th Regiment Memorial" relief sculpture by August Saint-Gaudens

Go (1999)

In Doug Liman's kinetic and adrenaline-rushing non-linear black comedy:

  • the artful depiction of a drug deal told from three different perspectives or points-of-view Pulp Fiction-style in a 24-hour period
  • the scene of LA grocery clerk Ronna Martin's (Sarah Polley) picking up drugs-for-sale from menacing bare-chested drug-dealer Todd Gaines (Timothy Olyphant) in his apartment on Christmas Eve - where she must remove her shirt to prove she's not wired
  • the drug-deal-gone-bad scene of Ronna selling shoplifted over-the counter drugs (allergy medicine and baby aspirin) to unsuspecting teens in a van at a Rave who believe they are getting high on Ecstasy ("I think I feel something")
  • Marcus' (Taye Diggs) bragging about the benefits of prolonged Tantric sex
  • the shocking scene of Ronna's sports-car injury in a parking lot
  • the lengthy diner conversation about the comic strip Family Circus
  • the crazy misadventure scenes in Las Vegas, including the aborted Crazy Horse strip club "champagne" lap dance ("Hands!"), and the shooting and car chase sequence to the tune of Steppenwolf's 'Magic Carpet Ride'

The Godfather (1972)

In Francis Ford Coppola's great Best Picture-winning gangster film - the first in a trilogy:

  • the ever-present Nino Rota score
  • Marlon Brando's portrayal of the aging Mafia patriarch Don Vito Corleone (stroking a cat in his arms), especially in his opening scenes in his dark indoors study 'holding court' during his only daughter Connie's (Talia Shire) outdoor wedding celebration
  • Bonasera's (Salvatore Corsitti) first line ("I believe in America") and his request for just punishment for his daughter's brutal rape; the scene included Corleone's chilling response to the supplicant: (" you come to me and you say - 'Don Corleone, give me justice.' But you don't ask with respect. You don't offer friendship. You don't even think to call me Godfather. Instead, you come into my house on the day my daughter is to be married, and you, uh, ask me to do murder for money")
  • also, outsider son Michael's (Al Pacino) delivery of the famous line: "My father made him an offer he couldn't refuse," and soon after Don Corleone's similar line: "I'm gonna make him an offer he can't refuse"
  • the shocking scene of Hollywood producer Jack Woltz's (John Marley) waking up in his satiny silk-sheeted bed soaked in blood and ripping off the sheets to discover the bloody and severed head of Khartoum - his cherished and prized racehorse
  • Michael's rescue of his father in an unguarded hospital ("I'm with you now")
  • the numerous violent scenes including the toll-booth killing of Sonny (James Caan), Michael's decision to murder two rivals - and the actual tense scene of the cold-blooded assassination of Solozzo (Al Lettieri) and corrupt cop McCluskey (Sterling Hayden) in an Italian neighborhood restaurant set-up
  • the faithful character of consiglieri Tom Hagen (Robert Duvall)
  • Michael's short exile in Italy when he takes a new bride - a peasant girl named Apollonia (Simonetta Stefanelli) followed shortly by her car bombing death
  • the sequence of all the Mafia's Family heads at a summit meeting where Don Vito Corleone opposes dealing with narcotics
  • the scene of Michael's negotiation with Moe Greene (Alex Rocco) in Las Vegas to buy him out while his older weakling brother Fredo (John Cazale) chooses sides - and Michael's chilling reminder: "Fredo, you're my older brother, and I love you, but don't ever take sides with anyone against the family again. Ever!"
  • the garden scene between Michael and his father
  • the Godfather's fatal heart attack in a tomato garden with his grandson and his wheezing collapse to the ground
  • the scenes showing the bloody passage of power to Michael - a cross-cut, contrapuntal scene between the baptism of Michael's nephew (in the moment after Michael renounces Satan, Moe Greene is shot in the eye through his black-framed glasses) and a blood-letting massacre of his gangland rivals
  • the scene of Tessio's (Abe Vigoda) plea for a pardon after setting Michael up
  • the famous ending scene in which Michael lies to his wife Kay Adams (Diane Keaton) ("Don't ask me about my business, Kay") and the study/office door is shut to close her out as he is pronounced the new "Don Corleone"

The Godfather, Part II (1974)

In Best Director-winning Francis Ford Coppola's superior Best Picture-winning sequel:

  • the numerous flashbacks - including the early scene of young orphaned Vito Andolini (Oreste Baldini) arriving at Ellis Island and looking out at the Statue of Liberty
  • the assassination attempt in Michael Corleone's (Al Pacino) bedroom
  • Jewish mobster Hyman Roth's (Lee Strasberg) sixty-seventh birthday celebration on the open-air terrace of his Capri Hotel in Havana, Cuba as they symbolically cut up a cake of Cuba
  • an older Michael's forcible delivery of the kiss of death on New Year's Eve - Sicilian-style - to his brother Fredo (John Cazale) as he has discovered that his own brother has betrayed him: "I know it was you, Fredo. You broke my heart, You broke my heart"
  • and later, Fredo's last meeting with Michael who asserts "I've always taken care of you, Fredo" as Fredo complains: "I'm your older brother, Mike, and I was stepped over...I'm smart and I want respect!" - before Michael decides: "You're nothing to me now. You're not a brother, You're not a friend, I don't want to know you or what you do..." before Fredo's execution in a boat on the lake while he fishes and recites a "Hail Mary"
  • Vito Corleone's (Robert DeNiro) run across the rooftops to pursue and eventually kill Don "The Black Hand" Fanucci (Gaston Moschin) in cold blood
  • his return to his brownstone tenement's front stoop where he calmly holds his crying baby Michael in his arms
  • the scene of Kay's (Diane Keaton) "aborted child" speech
  • the brooding image of Michael in the boathouse with a flashback of the Corleone family around the dining room table in happier days
  • the final devastating shot of the prematurely-old Michael sitting quietly and introspectively on a Tahoe estate lawn chair as the cold winter approaches

The Gods Must Be Crazy (1981, S. Africa)

In this sleeper hit from director/actor/writer/producer Jamie Uys:

  • the careless discarding of a Coke bottle from an airplane and its discovery by Xixo (N'xau), a Junt-wasi tribesman from the African Kalahari Desert - who assumes it is a gift from the gods
  • the aftermath - anger, jealousy, and greed among his tribe
  • his journey to return the peculiar glass object back to the gods - by finding the edge of the world (a cliff above the clouds) and throwing back the offensive object

Going Places (1974) (aka Les Valseuses, Fr.)

In Bertrand Blier's French-style Easy Rider road film (the title literally meant: "testicles"):

  • the misogynistic and offensive characters of small-time bohemian crooks sought by the police: Jean-Claude (Gérard Depardieu) and Pierrot (Patrick Dewaere) who were both obsessed with abusive sex during a wild, aimless journey in the French countryside in the company of beautician Marie-Ange (Miou-Miou) - a young hostage that they want to cure of frigidity
  • the arrival of recently-released, empowered ex-convict Jeanne Pirolle (Jeanne Moreau) who taught the two men - in a three-way - about love, before committing suicide in their hotel room

Gold Diggers of 1933 (1933)

In this opulent, fabulous musical from director Mervyn LeRoy with large-scale Busby Berkeley production numbers at the height of his creative genius in the early 30s:

  • the sight of Fay (Ginger Rogers) wearing a skimpy, coin-covered costume and singing in pig-Latin with other coin-covered chorines dancing to We're In the Money with massive money-related sets and over-sized coins
  • the elaborate Shadow Waltz production number in which neon-lighted dancers created elaborate geometric shapes -- highlighted by a gigantic violin formed by the dancers in an overhead shot, complete with a strumming bow and violins illuminated by neon tubing
  • also the naughty pre-Code Petting in the Park number featuring straw-hatted men romancing chorines on a lawn - with the camera leering at their crossed legs and petticoats, followed by a drenching rainstorm forcing the chorines to provocatively strip in silhouette behind a transparent screen as a lascivious, leering young boy (midget Billy Barty) pulled up the screen
  • the finale of Carol King (Joan Blondell) saluting the unemployed, poverty-stricken war veterans with other affected tenement housewives in Remember My Forgotten Man - concluding with silhouettes of marching soldiers

Gold Diggers of 1935 (1935)

In this Busby Berkeley choreographed-directed film with two major production numbers:

  • a moonlight ride in a motorboat, while the tune The Words Are in My Heart was sung by Dick Powell to Gloria Stuart, featured 56 mostly-blonde evening-gowned chorines pretending to 'play' waltzing/dancing white baby-grand pianos (the lightweight piano shells were moved around by black-clad men manuevering the pianos on their backs while following tape markings on the shiny black floor) that formed geometric arrangements and ultimately came together to form one giant piano top
  • the inventive, show-stopping, tap-dancing climactic finale The Lullaby of Broadway - a film within a film - and a day in the life of the Great White Way of New York, with its opening shot (in a dark frame) of a lit, approaching, disembodied, singing, and upturned face followed by a famous dissolve (into an aerial shot of Manhattan) - and then a mordant and cautionary tale of life (and death by falling from a skyscraper balcony) in the hedonistic night-time city

The Golden Compass (2007)

In writer/director Chris Weitz's fantasy film filled with incredible Visual Effects (it was the winner of the Academy Award for Best Visual Effects), adapted from the first novel of Phillip Pullman's 1995 His Dark Materials trilogy:

  • the main character of brave, justice-seeking 12 year-old orphan Lyra Belacqua (Dakota Blue Richards), a student at Jordan College boarding school, compelled to journey to the North to follow her adventurous 'uncle' Lord Asriel (Daniel Craig) and to learn of the fate of kidnapped children by government thugs called Gobblers (later revealed to be headed by an organization called the General Oblation Board - or G-O-B - led by Mrs. Coulter)
  • the film's concept that each person has an accompanying daemon or soul (in the form of an animal), especially Lyra's form-changing one (a bird, an ermine or ferret, a wood mouse, a moth, and a striped cat) and evil villainess Mrs. Coulter's (Nicole Kidman) orange-haired monkey
  • Lyra's possession of an alethiometer (or Golden Compass) - the dazzling, last remaining 'truth-telling device' with spinning dials and strange pictorial symbols around its edges
  • the monumental single-combat, vicious fight-to-the-death between armoured warrior ice-bear Iorek Byrnison (voice of Ian McKellen) (the rightful-heir to the throne, but exiled) and king Ragnard Sturlusson (voice of Ian McShane)
  • also the terrifying scene of Lyra being threatened with having her daemon Pan (voice of Freddie Highmore) separated from her in an intercission machine (a silver guillotine) within an authoritarian Magisterium research station in the North
  • the confession of Mrs. Coulter that Lyra was her daughter and Asriel was her father

The Gold Rush (1925)

In Charlie Chaplin's early silent classic:

  • the Tramp's (Charlie Chaplin) trademark look: mustache, baggy pants, bowler hat, cane, but set in the Alaskan gold fields of 1898
  • the scene in which another marooned, starving cabin mate Big Jim McKay (Mack Swain) during a blizzard hallucinates that the Tramp is a giant chicken and chases him with a gun
  • the scene of the teetering cabin on the edge of a crevasse
  • the inventive pantomime scene of the Thanksgiving Day feast of the Tramp cooking and eating a "gourmet" boiled boot - treating the laces like spaghetti and the sole like a delicate piece of fish with bones (nails) that are daintily sucked
  • the dance scene with dance-hall girl Georgia Hale (the Girl) in the saloon with a dog's rope serving as a makeshift belt
  • the imaginary New Year's Eve dinner party in which he turns a pair of fork-pricked, crusty dinner rolls into dancers in the "Dance of the Rolls"
  • the scene of the lonely Tramp's hearing (in profile) of the singing of "Auld Lang Syne" and knowing that no one will come to his party
  • the closing accidental rendezvous with Georgia (in steerage) and the Tramp (in first class) with the tables-turned

Goldfinger (1964)

In director Guy Hamilton's first Bond action film:

  • the pre-title credits opening scene in which non-chalant 007 agent James Bond (Sean Connery) removes his dry-suit gear (after setting charges along a set of NITRO tanks) and is wearing a white dinner jacket with a red flower
  • the striking image of the naked corpse of betrayed master villain Auric Goldfinger's (Gert Frobe) escort Jill Masterson (Shirley Eaton), painted gold and lying on Bond's hotel suite bed
  • Bond's amazing Aston-Martin vehicle with oil slick, machine guns and passenger ejection seat
  • Oriental henchman Oddjob's (Harold Sakata) razor-sharp, lethal boomeranging bowler hat demonstration at the golf club
  • the sequence of Bond's spread-eagled torture on a gold table with an industrial laser beam inching towards his crotch as Bond quips: "Do you expect me to talk?" and Goldfinger's famed reply: "No, Mr. Bond, I expect you to die!"
  • Bond's introduction to Goldfinger's improbably-named personal jet pilot Pussy Galore (Honor Blackman), who made a memorable entrance by blurringly appearing above him, with Bond's incredulous reply after she introduced herself: "I must be dreaming"
  • the shocking, electrocution demise of Oddjob inside Fort Knox's vault ("He blew a fuse")
  • the final sequence of Goldfinger's death when he was sucked out of an airplane window

(alphabetical by film title)

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

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