Greatest Film Scenes
and Moments



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

Great Expectations (1946, UK)

In David Lean's dramatic adaptation of Charles Dickens' novel:

  • the truly scary scene in the almost-silent, sweeping opening set in a shadowy graveyard in which young Pip (Anthony Wager) was suddenly confronted, with a brilliant whip-pan camera movement, by convict Abel Magwitch (Finlay Currie)

The Great Train Robbery (1903)

In Edwin S. Porter's pioneering film (in two versions, untinted and tinted):

  • the primitive elements of all films found in the first narrative (and Western) film only about 10 minutes long - composed of 14 scenes, with action sequences, cross-cutting, and panning
  • and the sensational, stunning close-up shot of a dark-hatted bandit firing directly into the camera (and into the audience!) with his six-shooter

The Great Ziegfeld (1936)

In director Robert Z. Leonard's and MGM's lengthy musical biography, a Best Picture winner:

  • the celebrated, moving telephone scene in which heartbroken Anna Held (Oscar-winning Luise Rainer), the first of womanizing impresario Florenz (Flo) Ziegfeld's (William Powell) wives, congratulated her ex-husband Flo on his re-marriage, after reading the World newspaper article headlined: "ZIEGFELD WEDS BILLIE BURKE; PRODUCER AND STAR IN SECRET CEREMONY AT HOBOKEN - Frohman Enraged at News of Romance, Friends Learn" - and she pretended to be happy for him: ("Hello, Flo... Yes. Here's Anna... I'm so happy for you today, I could not help calling you and congratulate you... Wonderful, Flo! Never better in my whole life!... I'm so excited about my new plans! I'm going to Paris. Yes, for a few weeks, and then I can get back, and then I'm doing a new show, and... Oh, it's all so wonderful! I'm so happy!... Yes... And I hope you are happy, too... Yes?... Oh, I'm so glad for you, Flo... Sounds funny for ex-husband and ex-wife to tell each other how happy they are, oui?... Yes, Flo... Goodbye, Flo... Goodbye..."); after her show of support, she collapsed sobbing
  • the amazing dance number by Ray Bolger (as Himself)
  • the famous scene of the lavish, elaborately-costumed, gargantuan, overly-long production number "A Pretty Girl is Like a Melody" filmed in one continuous shot and featured 180 performers - and the appearance of Audrey Dane (Virginia Bruce) - a Glorified Ziegfeld Girl, perched atop the giant revolving platform or pillar (a towering white staircase)
  • the closing segment "You Never Looked So Beautiful" with many poses by numerous chorines wearing extravagant costumes and headdresses, ending with a close-up of one of the models
  • the aging and seriously-ill Ziegfeld's final scene with his faithful butler Sidney (Ernest Cossart), after viewing his Ziegfeld Theatre sign from his window, about wanting to do an even more spectacular Follies show in the future: "I must do the biggest Follies of my whole life. I-..." but then, he realized that he was broke and only dreaming: "I can't laugh any more, Sidney, because I've been wrong. I've got nothing, nothing to leave anyone." When encouraged, Ziegfeld began to speak hopefully again, but then passed away in his arm-chair (as he recalled images, super-imposed atop his face, of his stage productions): "(You leave them) the memories of the finest things ever done on the stage... I've got to have more steps. I need more steps. I've got to get higher, higher!"); a white rose dropped from his right hand, signifying his death

The Greatest Show on Earth (1952)

In producer/director Cecil B. DeMille's undeserving, star-filled Technicolored Best Picture winning epic about the Ringling Bros. and Barnum & Bailey Circus - with three interwoven plot lines:

  • the opening, voice-over narration (by director DeMille) about the "Greatest Show on Earth": ("We bring you the circus - the Pied Piper whose magic tunes greet children of all ages from six to 60, into a tinsel and spun-candy world of reckless beauty and mounting laughter, whirling thrills; of rhythm, excitement and grace; of daring and blaring and dance; of high-stepping horses and high-flying stars. But behind all this, the circus is a massive machine whose very life depends on discipline and motion and speed. A mechanized army on wheels, that rolls over any obstacle in its path, that meets calamity again and again, but always comes up smiling. A place where disaster and tragedy stalk the big top, haunt the backyard, and ride the circus train. Where death is constantly watching for one frayed rope, one weak link, or one trace of fear. A fierce, primitive fighting force that smashes relentlessly forward against impossible odds. That is the circus. And this is the story of the biggest of the big tops, and of the men and women who fight to make it 'The Greatest Show on Earth.'")
  • the revelation of the character of makeup-wearing Buttons the Clown (James Stewart) with a dark secret to hide about his past life as a medical doctor who 'mercy-killed' his wife, and his early hints: "They say each man kills the thing he loves. A coward does it with a kiss, a brave man with a sword," and his demonstrated skill in bandage wrapping that he claimed he learned as "a pharmacist's mate"
  • Buttons' discussion about his loss of love to trapeze artist Holly (Betty Hutton): ("Clowns are funny people, Holly, they only love once"), with her response: ("All men aren't that way, even if they act like clowns")
  • to save the circus financially, the circus manager Brad Braden's (Charlton Heston) hiring of world-class trapeze artist The Great Sebastian (Cornel Wilde), known as "the debonair King of the Air" - and his dramatic entrance in a speeding sports car with a police escort; also, the competitive romantic triangle that soon developed between Holly, Brad, and the womanizing Sebastian
  • the scene of Sebastian's high-flying fall during his circus act - without a safety net - causing serious injuries to himself - and his request to Braden: ("Walk me off. Do not rob me of my exit")
  • the scene of the spectacular circus train wreck, the film's catastrophic highlight, sending train cars off the tracks releasing wild animals from their smashed cages, with Buttons revealing his secret past in order to perform a life-saving blood transfusion between Sebastian and the critically-injured Brad
  • the triumphant and exciting ending, when a circus parade led by Holly, who had taken charge, promoted the improvised, open-air circus (without a tent) for the town: ("They made it! Listen to that band!"), due to the loss of property in the train wreck; and Holly's sensational singing of a chorus of "The Greatest Show on Earth", with Brad proudly looking on: ("Come to the circus! Come on along and see. Hooray for lions and the camels. You'll have fun and look at all the other mammals. Come see the clowns, who play their part. They'll wear a smile that hides a broken heart. Tremendous, stupendous, the circus show shall be. The Bengal tiger and the lion. The trapeze artist does a leap that's death-defyin'. A land of mirth, your money's worth. Come on along to the circus - the greatest show on earth!")
  • the rousing final words of the midway barker (Edmond O'Brien): ("That's all, ladies and gentlemen, that's all. Come again to the greatest show on earth. Bring the children. Bring the old folks. You can shake the sawdust off your feet, but you can't shake it outta your heart. Come again, folks. 'The Greatest Show on Earth.' Come again")

Greed (1924)

In Erich von Stroheim's severely-edited classic masterpiece:

  • the self-taught San Francisco dentist John McTeague's (Gibson Gowland) lustful look as he bent over and shamefully kissed the ether-anesthetized, helpless patient Trina Sieppe (ZaSu Pitts) in his dental chair
  • McTeague's and Trina's wedding scene with the ominous view of a funeral procession outside the window
  • the portrayal of a crazed, avarice-affected couple, especially Trina's obsession with gold coins, and her sleeping with gold coins in her bed
  • the scene of his biting her fingers - and eventually murdering his wife Trina by striking her to death
  • the classic finale of a deadly and murderous confrontation in the parched, scorching Death Valley desert between fugitive McTeague and his former friend Marcus Schouler (Jean Hersholt), and McTeague's discovery that he had no water and was handcuffed to Schouler - the money that caused all the trouble scattered about on the cracked earth/sand
  • the final extreme long shot of McTeague in the desert wasteland - with no water or horse, and handcuffed to a corpse

The Green Mile (1999)

In director Frank Darabont's fantasy drama/prison film:

  • the flashbacked scenes in which illiterate, mystical child/giant and faith healer - black condemned convict John Coffey (Michael Clarke Duncan) - resurrected Mr. Jingles - the small brown mouse (by blowing life into it in his hands) - causing a bright glow to emanate
  • the healing of Louisiana death row prison guard Paul Edgecomb's (Tom Hanks) urinary infection and the brain tumor of Warden Hal Moores' (James Cromwell) wife Melinda (Patricia Clarkson)
  • the scene of the botched, deliberately-sabotaged execution of Eduard Delacroix (Michael Jeter), when his flesh was literally fried and caught on fire as he slowly and painfully died; mean-spirited, vengeful guard Percy Wetmore (Doug Hutchinson) had deliberately not wet the sponge used to quickly and efficiently conduct the electricity into Delacroix' body
  • the execution of the doomed and noble Coffey by the electric chair (for an alleged crime he didn't commit) - and the moment Coffey shared his gifted power with Paul as he was being electrocuted -- and sang "Heaven, I'm in heaven... heaven... heaven..." - from the movie Top Hat
  • the bittersweet ending in which Edgecomb, now a 108 year-old man (Dabbs Greer) in a retirement home and bestowed with the 'gift of life', where every day he still fed a piece of toast to gray-haired Jingles; and his speech about outliving all of his friends and families, regarded as his punishment: ("I'm 108 years old, Elaine. I was 44 the year that John Coffey walked the Green Mile. You mustn't blame John. He couldn't help what happened. He was just a force of nature. Oh, I've lived to see some amazing things, Ellie. Another century come to pass. But I've, I've had to see my friends and loved ones die off through the years. Hal and Melinda, Brutus Howell, my wife, my boy. And you, Elaine. You'll die, too. And my curse is knowing that I'll be there to see it. It's my atonement, you see. It's my punishment for letting John Coffey ride the lightnin'. For killin' a miracle of God...You'll be gone like all the others. I'll have to stay. Oh, I'll die eventually. Of that I'm sure. I have no illusions of immortality. But I will have wished for death long before death finds me. In truth, I wish for it already...I lie in bed most nights thinkin' about it. And I wait. I think about all the people I've loved, now long gone. I think about my beautiful Jan, how I lost her so many years ago. And I think about all of us walkin' our own Green Mile, each in our own time. But one thought more than any other keeps me awake most nights. If he could make a mouse live so long, how much longer do I have? We each owe a death. There are no exceptions. But, oh, God, sometimes, the Green Mile seems so long")

Gremlins (1984)

In Joe Dante's mischievous fantasy comedy executive-produced by Steven Spielberg:

  • the first appearance in a Christmas-gift box of a Chinatown (NY) pet known as a mogwai in the American suburb of Kingston Falls: the elfin-eared, wide-eyed, tune-trilling, four-toed, fuzzy, brown and white fur-ball (a Mogwai) named Gizmo (voice of Howie Mandel), presented to Billy Peltzer (Zach Galligan) by his struggling inventor-father Randall (Hoyt Axton)
  • the three important rules that the Chinese junk store owner Mr. Wing's (Keye Luke) grandson (John Louie) warned about: ("There's three rules you've gotta follow...Keep him out of the light. He hates bright lights, especially sunlight. It'll kill him. And keep him away from water. Don't get him wet. But the most important rule, the rule you can never forget. No matter how much he cries, no matter how much he begs, never, never feed him after midnight"); Randall later re-emphasized the rules: ("There's some things I forgot to tell you guys, and they're really important. Number one, he hates bright lights. We know that. But you gotta keep him out of the sunlight. Sunlight'll kill him. Number two, keep him away from water. Don't give him any water to drink. And whatever you do, don't give him a bath. And probably the most important thing, don't ever feed him after midnight")
  • the scene of Gizmo multiplying into five more creatures that popped out of his back, when Billy's friend Pete (Corey Feldman) accidentally spilled water on him: ("One, two, three, four, five new ones...Look, that one's got a cute stripe on its head") - not knowing what they had unleashed
  • the film's last half - the Mogwai morphing into hateful, predatory green beasties that raised hell in the town after being exposed to light and getting wet (the snowplow, the death of dog-hating, bitchy spinster Mrs. Deagle (Polly Holliday) by jet propulsion from her gremlin-modified, sabotaged stairlift up her bannister, through the skylight, and headfirst into snow, etc.)
  • the tragic story that Kate Beringer (Phoebe Cates) told her teenaged boyfriend Billy, a bank clerk, of how she found out that there was no Santa Claus - when her father died one evening dressed as Santa Claus: ("...He was dressed in a Santa Claus suit. He'd been climbing down the chimney... his arms loaded with presents. He was gonna surprise us. He slipped and broke his neck. He died instantly. And that's how I found out there was no Santa Claus")
  • the raucous and destructive group of theater-attending Gremlins during a showing of the animated Snow White and the Seven Dwarfs
  • the ending - the destruction of the aggressive and threatening reptilian Stripe, with Gizmo's assistance, by exposing Stripe to sunlight and melting him
  • Randall's narrated warning in the last lines of the film ("Well, that's the story. So if your air conditioner goes on the fritz or your washing machine blows up or your video recorder conks out, before you call the repairman, turn on all the lights, check all the closets and cupboards, look under all the beds, 'cause you never can tell, there just might be a gremlin in your house")

The Grifters (1990)

In Stephen Frears' modern crime neo-noir based upon Jim Thompson's novel:

  • small-time, nickel-and-dime crook Roy Dillon's (John Cusack) bar scam (ordering a drink with a neatly-folded $20 and then paying with a neatly-folded $10 bill)
  • the scene of race-track hustler Lilly Dillon's (Anjelica Huston) visit to her Baltimore-based bookie boss Bobo Justus (Pat Hingle) who demonstrated his punishment for disloyalty - an 'oranges-in-a-towel' beating and a burning cigar applied to her hand
  • sexy vixen Myra Langtry's (Annette Bening) naked seduction of Roy in a hallway
  • Lilly's last deadly confrontation with her estranged son Roy, when she desperately begged for money: ("I need this money! I can't run without money! And if I can't run, I'm dead!...I want that money, Roy, I need it. Now, what do I have to do to get it? You mean you won't give it to me, Roy? Will you or won't you? What can I do to get it? Is there nothing I can do?") - and then after seductively kissing him with a fateful incestuous kiss, Lilly swung a suitcase full of cash at her son's head as he was drinking water from a glass. The glass smashed and cut an artery in his neck - and he profusely bled to death on the floor in front of her! She gathered up the strewn cash, descended in a caged elevator, and calmly drove away

Groundhog Day (1993)

In writer Danny Rubin and director Harold Ramis' science fiction/romantic comedy:

  • the fascinating, existentialist premise of the film: "What would you do if you were stuck in one place, and every day was exactly the same and nothing you did mattered?"
  • the innumerable times that Pittsburgh weather forecaster Phil Connors (Bill Murray) awakened on the morning of February 2nd at 6 am in Punxsutawney, Pennsylvania (for the annual Groundhog Day festival) to the tune of his clock radio playing Sonny and Cher's I Got You, Babe
  • the scenes of his annoyance, boredom, exhilaration, and self-destructive despair over the repetitive day
  • the 4th waking in which Connors again met Ned Ryerson - known as "Needlenose Ned" or "Ned the Head" (Stephen Tobolowsky) on the street - and this time punched him to the ground
  • Phil's many repetitive daily chores (catching a boy falling out of a tree, saving the mayor from choking during dinner, and rescuing a homeless bum during a cold night)
  • his successful suicides and self-destructive behavior (driving off a cliff, electrocution with a toaster, stepping in front of a moving truck, jumping off a building, stuffing his face with food, robbing a bank's cash delivery, etc.) -- and his reawakening at 6:00 AM after each of them (Phil's reaction: "Aw, nuts")
  • Phil's line: "I'm a God. I'm not the God, I don't think..."
  • his wooing-seducing of his film producer Rita (Andie MacDowell) after learning her likes (19th century French poetry and a sweet vermouth on the rocks with a twist) and dislikes to become her ideal man after repeated dates -- and her emphatic rejection of him when she realized he had rehearsed every part of the date
  • Phil's reformation and acceptance of his situation and becoming a better person, telling her: "No matter what happens tomorrow, or for the rest of my life, I'm happy NOW, because I love you"
  • his awakening with her on the morning of February 3rd, sobbing happily: "Do you know what today is?...Today is tomorrow! It happened!" and her response to his kisses: "Oh, Phil, why weren't you like this last night? You just fell asleep" - he replied - "It was the end of a very long day! Is there anything I can do for you today?"
  • his final words to Rita in front of the outdoor steps: "It's so beautiful! Let's live here. (They kissed) We'll rent to start"

Guess Who's Coming to Dinner (1967)

In Stanley Kramer's family drama on the controversial subject of inter-racial marriage:

  • the scene of liberal, upper-class mother Christina Drayton's (Katharine Hepburn) stunned first look at Dr. John Prentice (Sidney Poitier) - the black fiancee of her daughter Joey (Katharine Houghton) who had known him for only 10 days, and then her halting welcome: "I'm so pleased to meet you"; when John suggested that Christina sit down before she fell down, Joey added: "He thinks you're gonna faint because he's a Negro"
  • the scene of John Prentice honestly telling his future in-laws that he would not marry their daughter if they disapproved: ("Unless you two approve, and without any reservations at all, there won't be any marriage...It's not just that our color difference doesn't matter to her. It's that she doesn't seem to think there is any difference....Joanna is very close to both of you. If, by marrying me, she damaged her relationship with either of you, the pain of it would be too much for her. I wouldn't know how to deal with that kind of situation. In any case, I wouIdn't even want to try")
  • the driveway scene in which art gallery owner Christina dismissed the derogatory, bigoted and disapproving comments of high-society employee Hilary St. George (Virginia Christine) after she had just met John Prentice; Christina gave her instructions that ended with her firing: ("You must try not to worry about it. Now I have some instructions for you. I want you to go straight back to the gallery. Start your motor. When you get to the gaIlery, tell Jennifer she will be Iooking after things temporarily. She's to give me a ring if there's anything she can't deaI with herseIf. Then go into the office and make out a check for cash for the sum of $5,000 dollars. Then carefully, but carefully, Hilary, remove absoluteIy everything that might subsequently remind me that you had ever been there, incIuding that yellow thing with the bIue bulbs which you have such an affection for. Then take the check for $5,000 which I feel you deserve, and get permanentIy Iost. It's not that I don't want to know you, Hilary, although I don't. It's just that I'm afraid we're not really the sort of people that you can afford to be associated with. Don't speak Hilary, just -- go")
  • the powerful scene of John's frank discussion with his own father (Roy E. Glenn) about their differing views on race and how they had lived in very different generations; he asserted that his father thought of himself as a black man, while John thought of himself as a man: ("You are 30 years oIder than I am. You and your whoIe Iousy generation believes the way it was for you is the way it's got to be! And not until your whoIe generation has Iain down and died wilI the deadweight of you be off our backs! You understand? You've got to get off my back. Dad. Dad. You're my father. I'm your son. I Iove you. I aIways have and I aIways wllI. But you think of yourseIf as a coIored man. l think of myseIf as a man")
  • the concluding scene of crusading newspaper publisher Matt Drayton's (Spencer Tracy in his final screen appearance) blessing of their future marriage, by citing the one most important criteria for marriage - two people who fall in love with each other - similar to his love for his own wife Christina: ("...I know exactIy how he feels about her. And there is nothing, absoIuteIy nothing that your son feeIs for my daughter that I didn't feeI for Christina. Old? Yes. Burnt out? Certainly. But l can tell you the memories are stllI there -- cIear, intact, indestructibIe. And they'll be there if l live to be 110. Where John made his mistake, I think, was attaching so much importance to what her mother and I might think. Because in the final anaIysis, it doesn't matter a damn what we think. The onIy thing that matters is what they feeI and how much they feeI for each other. And if it's haIf of what we feIt, that's everything....Anybody couId make a case, and a hell of a good case, against your getting married. The arguments are so obvious that nobody has to make them. But you're two wonderfuI peopIe who happened to fall in Iove and happen to have a pigmentation probIem. And l think that now, no matter what kind of a case some bastard couId make against your getting married, there wouId be onIy one thing worse. And that wouId be if knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married. (pause) WelI, Tillie, when the hell are we gonna get some dinner?")

Gun Crazy (1949) (aka Deadly is the Female)

In director Joseph H. Lewis' supercharged, low-budget film-noir:

  • the opening scene of 14 year-old Bart Tare (Rusty Tamblyn) stealing a pearl-handled gun from a hardware store display window and then falling down in a mud puddle at the feet of the local sheriff
  • the entrance of blonde sharpshooter Annie Laurie Starr (Peggy Cummins) at Packet's sideshow Carnival
  • the contest/duel between gun-fixated Bart Tare (John Dall) and the markswoman - after they first sized each other up like dogs in heat, and then each one shot at matches stuck in a crown worn on the other's head
  • the blackmailing scene of Annie Laurie seductively tempting Bart to pursue more crime with her; she told him: "Bart, I want things, a lot of things, big things. I don't want to be afraid of life or anything else. I want a guy with spirit and guts. A guy who can laugh at anything, who will do anything, a guy who can kick over the traces and win the world for me...You better kiss me goodbye, Bart (she dropped onto the bed and reclined back), because I won't be here when you get back. Come on, Bart, let's finish it the way we started it, on the level" - she was able to get him to agree to more holdups - portrayed as a series of small stick-ups and robberies - of their hotel, a liquor store, another store clerk, and a gas station
  • the unedited, virtuoso, single-shot uninterrupted (long take) robbery scene of a Hampton Bank by the two bank robbers, dressed in their Western showbiz outfits with guns; it was cleverly filmed from the back-seat of their robbery car (a stolen Cadillac); the scene extended from the time of their drive into town and up to the bank, including getaway driver Laurie's distraction of a cop (Robert Osterloh) on the sidewalk during the robbery; when Bart emerged with an alarm bell ringing, Laurie karate-chopped the policeman in the neck to knock him down and render him unconscious, and the two escaped - with the camera still filming the long-take from behind their shoulders inside the car!
  • the scene of their next robbery's getaway of the Rangers and Growers Exchange, as they were pursued by a siren-screaming police car giving chase, Laurie insisted that Bart (in the back seat) shoot back: "Shoot. Why don't you shoot? Shoot! Shoot, do you hear me?" - he lied to her about killing their pursuer (he only shot out one of the car's tires), and a grin slowly widened across her mouth
  • the final pursuit in the swamps before their demise, when Bart was compelled to shoot his insane, aggressive lover as a mercy killing; mistakenly believing that Bart had fired on them, a barrage of police gunfire abruptly cut Bart down; with poetic justice, he fell next to her; their bodies lay united together - with Bart on his back and Laurie on her side; the film's sad theme song mournfully played one last time, as the two representatives of the law looked down at their fallen bodies in the heavenly shroud, and the camera pulled back and then up above their soggy, yet romantic grave; the final words of film dialogue were: Unidentified policeman: "You all right, Sheriff?" Clyde: "Yeah, yeah, we're all right"

Gunga Din (1939)

In director George Stevens' legendary adventure film:

  • the scene of Sgt. Cutter (Cary Grant) dangling a man out a window as he was commanded: "Take your hands off that man"
  • the image and character of loyal, spindly-legged Indian water carrier Gunga Din (Sam Jaffe)
  • the memorable scene of Gunga Din's bugle warning, just in time to sound the alarm to warn approaching British forces that they were about to be ambushed by the Thuggees - yet as he blew the bugle, he was shot dead
  • Gunga Din's sacrificial death warranted his induction into the British army as a corporal during his funeral ceremony, marked by the posthumous reading of a tribute to him - (the last stanza of Rudyard Kipling's classic poem): ("Yes, Din! Din! Din! You Lazarushian-leather Gunga Din! Tho' I've belted you and flayed you By the living God that made you You're a better man than I am, Gunga Din!")
  • the last image of the film - the smiling spirit of Gunga Din in uniform and giving a salute - superimposed over the numerous funeral pyres

The Guns of Navarone (1961)

In J. Lee Thompson's old-fashioned WWII action/adventure blockbuster film about an Allied commando team with a mission to neutralize a German fortress threatening Allied naval ships:

  • the tense scene of the team of commandos on a dilapidated Greek fishing vessel interrogated and inspected by a Nazi Germany patrol boat, and their destruction of the enemy boat and its crew
  • the climactic destruction of the two German super-gun emplacements (on the Mediterranean Greek island of Navarone in a lofty impenetrable fortress cave above the Aegean Sea), by the placement of explosives on the rail of an ammunitions hoist-elevator, with fire spewing from the front of the cave entrance after detonation

Gypsy (1962)

In director Mervyn LeRoy's and Warners' musical biographical drama - a screen version of the 1959 Broadway musical play (starring Ethel Merman), with a Jule Styne-Stephen Sondheim score, and based upon Gypsy Rose Lee's memoirs:

  • the depiction of the lives of ecdysiast-actress Louise Hovick (aka Gypsy Rose Lee) (Natalie Wood), her younger sister June Hovick (Suzanne Cupito/Morgan Brittany) as younger 'Baby' June, Ann Jillian (as older 'Dainty' June), and their bullying and domineering stage mother 'Mama Rose' (Rosalind Russell, singing voice of Lisa Kirk)
  • the funny "You Gotta Have A Gimmick" song by Minsky's burlesque house strippers (Roxanne Arlen, Betty Bruce and Faith Dane) to fresh-faced, naive Louise on how to be a successful stripper and get applause: ("...If you wanna make it Twinkle while you shake it If you wanna grind it Wait till you refined it If you wanna bump it Bump it with a trumpet So get yourself a gimmick And you too can be a star!")
  • Louise's debut stage performance, introduced as "Gypsy Rose Lee," and her nervous appearance on stage before an all-male audience in an elegant blue dress - and using Mama's vaudeville trademarks (her tentative singing of "Let Me Entertain You") as Mama stood and coached off-stage and yelled tips; Gypsy teasingly removed a long white glove as she sang: "We'll have a real good time"
  • the montage of future performances, exhibiting Gypsy's significantly improved stage show by incorporating more of a deeply sensual subtext, more stylish peekaboo stripping and costuming, and asking the audience her trademark line: ("Hello everybody, my name is Gypsy! What's YOURS?"); the montage ended with Gypsy's introduction at Minsky's - headlined by "The Queen of Striptease" who again performed: "Let Me Entertain You" - "We'll have a real good time!" - with a semi strip-tease behind a curtain
  • the confrontational scene afterwards in a dressing room of Louise telling off her brutal, tormenting and enslaving mother Rose, who called her less talented - naming her "a circus freak, this year's novelty act"; Louse asserted herself and demanded to be left alone: ("I said, turn it off! Nobody laughs at me! Because I laugh first. At me! Me, from Seattle! Me, with no education. Me, with no talent, as you kept reminding me my whole life! Well, Mama, look at me now! I'm a STAR! Look! Look how I live! Look at my friends! Look where I'm going! I'm not staying in burlesque! I'm moving! Maybe up, maybe down! But wherever it is, I'm enjoying it! I'm having the time of my life, because for the first time, it IS my life! And I LOVE it! I love every second of it, and I'll be DAMNED if you're gonna take it away from me! I am GYPSY ROSE LEE! And I love her. And if you don't you can just clear out now!")
  • the concluding scene on the stage of the deserted theater, of Mama's Rose's monologue about how she should take the credit for making the no-talent Louise into a star - followed by her own performance - singing "Everything's Coming Up Roses": (" have no talents - not what I call talent, Miss Gypsy Rose Lee. I made you, I made you and you want to know why? You want to know what I did it for? Because I was born too soon and started too late, that's why! What I got in me, I could have been better than any of ya. What I got in me, what I've been holdin' down inside of me - if I ever let it go, there wouldn't have been signs big enough! There wouldn't been lights bright enough! Here she is, boys. Here she is, world. Here's Rose! 'Curtain Up', 'Light the Lights', 'Play it, boys.' You either got it, or you ain't, and boys, I got it."); then she broke into a chorus: ("This time, boys, I'm taking the bows. And everything's coming up Rose. Everything's coming up Roses, Everything's coming up Roses, this time for me...")
  • on stage, after her song, Mama Rose was interrupted by Louise applauding from the side, who complimented her: ("You'd really have been something, Mother...If you had had someone to push you like I did"; Mama replied: "If I could've been, I would've been. That's show business."); both admitted that their lives were motivated by being "noticed" - Louise held out her arms to hug her mother, to be reconciled: ("OK, Mama, OK Rose"); Louise offered her mink so that her mother could accompany her to a party, and Mama quipped: ("Say, this looks better on me than it does on you. Funny how we can wear the same size." Louise: "Especially in mink")
  • the film's ending, with Mama describing a dream - and the two cheerily walking off together arm in arm: ("I had a dream last night. It was a big poster of a mother and daughter. You know, like the cover of that ladies' magazine... only it was you and me, wearing exactly the same gown. It was an ad for Minsky, and the headline said: 'Madame Rose - and Her Daughter Gypsy!'")

(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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