GREAT MOMENTS and SCENES FROM THE GREATEST FILMS An extensive collection of the most famous, distinguished, unforgettable or memorable images, scenes, sequences or performances, many from the greatest films of all time Part 34

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Private Benjamin (1980)	Best Actress-nominated Goldie Hawn as pampered, naive socialite Judy Benjamin, who randomly joined the Army after her husband Yale (Albert Brooks) died in bed on her wedding night; her hysterically clueless complaints to her harsh, strict commanding officer Capt. Doreen Lewis (Oscar-nominated Eileen Brennan): "See, I did join the Army, but I joined a different Army. I joined the one with the condos and the private rooms...To be truthful with you, I can't sleep in a room with 20 strangers...And I mean look at this place. The army couldn't afford drapes? I'll be up at the crack of dawn here!"; and Lewis' response to Pvt. Benjamin's complaints about the dirty bathroom -- forcing her to scrub them with nothing but her electric tooth-brush; the practical joke revenge against Lewis - blue dye in the shower nozzle, forcing her to wear clown-white makeup during the enlisted soldier graduation; Benjamin's single-handed capture of the entire Red team in an Army training exercise; her rebuffing a general's sexual advances; her marriage over the Army's objections to French artist Henri Alan Tremont (Armand Assante in his first major film role) - and the famous closing long shot of her walking away from the altar in her wedding dress when she discovered Henri's male chauvinism and unfaithfulness with his ex-lover, in Howard Zieff's comedy
The Private Life of Henry VIII (1933)	Anne of Cleves' (Elsa Lanchester) famous line: "The things I've done for England," and the unforgettable scene of despotic and gluttonous King Henry VIII (Oscar-winning Charles Laughton) at a banquet table devouring a chicken and tossing the remains over his shoulder, in director Alexander Korda's biographical/historical drama
Prizzi's Honor (1985)	A story of dim-witted, dutiful Brooklyn Mafia (Prizzi family) hitman Charley Partanna (Oscar-nominated Jack Nicholson), the grandson of Don Corrado Prizzi (William Hickey), who changes allegiances from his spurned, vengeful longtime sweetheart and cousin (and the don's daughter) Maerose Prizzi (Oscar-winning Anjelica Huston) by falling in love with beautiful blonde, non-Italian California hit-woman Irene Walker (Kathleen Turner) at a family wedding - he first views her in the church balcony and then dances with her at the reception; the scene of Charley's questioning of his black sheep, malevolently witty cousin Maerose about killing or marrying Irene: ("Do I ice her? Do I marry her? Which one of these?" and the reply: "Marry her, Charley. Just because she's a thief and a hitter doesn't mean she's not a good woman in all the other departments"); the scene in which the two lovers calmly discuss their dinner plans while disposing of the corpse of their latest victim; and the shocking moment when Charley settles the score with Irene by impaling her with a knife while she shoots at him, in Oscar-nominated director John Huston's dark romantic black comedy that was adapted from Richard Condon's early 80s novel
The Producers (1968)	Cash-hungry producer Max Bialystock's (Zero Mostel) romancing of rich little old ladies for their money ("...when you've got it, flaunt it!"), during a high energy, hysterical opening credits sequence ("Don't forget the check-y! Can't produce plays without check-y") in which Max plays ridiculous sex games (like "The Countess and the Chauffeur") with a spry Old Lady (85-year-old Estelle Winwood); Max's unsuccessful attempts to calm meek and neurotic accountant Leo Bloom's (Gene Wilder) hysteria: ( "I'm hysterical and I'm wet. I'm in pain and I'm wet, and I'm still hysterical"), and his clever scam to overproduce a "sure-fire flop" play; their promenade through the park (riding a carousel and renting a boat) - with the eruption of Lincoln Center's fountain; Max and Leo's meeting with goose-stepping, ex-Nazi WWII helmet-wearing Franz Liebkind (Kenneth Mars); Max's hiring of a "toy" -- a blonde, buxom, hip-swinging, Swedish-speaking secretary Ulla (Lee Meredith) whose "work" consists of go-go dancing for Max, and their recruitment of pompous, flamboyant, cross-dressing director Roger DeBris (Christopher Hewett) and his assistant/lover Carmen Giya (Andreas Voutsinas); the extensive auditions for the play Springtime for Hitler with deranged, middle-aged hippie Lorenzo St. Du Bois "L.S.D."'s (Dick Shawn) audition featuring the pathetic flower child love song "Love Power," and the premiere of the show - with the opening, satirical title number Springtime for Hitler by a goose-stepping, black-booted Nazi chorus (filmed Busby Berkeley style in a revolving swastika formation from overhead) that sings and dances (with the lyrics: "Don't be stupid, be a smarty, Come and join the Nazi party!") - and the character of Hitler played by spaced-out, adult flower child LSD; the panic of Leo and Max realizing that their flop will be a big hit - and Leo's court defense ("Whom has he hurt?") of Max when charged with fraud, and their similarly fraudulent production of Prisoners of Love in Sing-Sing (with Max bellowing: "Sing it out, men! Higher, you animals, higher! We open in Leavenworth Saturday night"), and the affectionate tribute to Mostel in the end credits, listed only as "Zero", in Mel Brooks' farce
The Professional (aka Leon) (1994)	The redeeming but twisted father/daughter relationship between hitman-assassin Leon (Jean Reno) and protected 12 year-old, street-wise orphaned New York neighbor Mathilda (young Natalie Portman in her film debut); the scene of the killing of her family by corrupt New York cop and drug kingpin Norman Stansfield (Gary Oldman), and also of Mathilda learning how to "clean" (kill) a scoped target with a rifle from a rooftop, and the very bloody ending, in director Luc Besson's provocative action thriller
The Professionals (1966)	The four man mercenary team (Lee Marvin as munitions expert Henry "Rico" Fardan, Woody Strode as tracker and bow/arrow expert Jake Sharp, Robert Ryan as horse specialist Hans Ehrengard, and Burt Lancaster as dynamiter Bill Dolworth) assembled by Texas railroad tycoon/millionaire Joe Grant (Ralph Bellamy) to rescue "in one bold swift stroke" his 'kidnapped'(?) wife (Claudia Cardinale as Maria) from Mexican revolutionaries led by the guerrilla leader Jesus Raza (Jack Palance), notably Dolworth who explains his life's work: "I was born with a powerful passion to create. I can't write, I can't paint, can't make up a song..." ("So you explode things") "Well that's how the world was born. Biggest damn explosion you ever saw"; and the surprise plot-twist character reversal (Maria loves the Mexican outlaw, and is eventually allowed to return to Raza), with the curtain closing dialogue when Grant accuses Rico of negating their "bad deal" agreement: (Grant: "You bastard" Rico: "Yes, Sir. In my case, an accident of birth. But you, Sir, you're a self-made man"), in director Richard Brooks' western adventure (an Old West version of The Dirty Dozen (1967) and the precursor to The Wild Bunch (1969))
Psycho (1960)	The opening shots with a view of 1960s Phoenix as the camera above the city slowly descends into the window of a motel (not the first in the film); the furtive love-making scene with secretary Marion Crane (Oscar-nominated Janet Leigh) in white bra and half-slip; the tense shots of Marion's face and the puzzled look on her boss' face as she pauses at a stoplight; the tracking shot in Marion's apartment linking her packed suitcase to the envelope stuffed with money; the scene of the state trooper's interrogation of Marion on the side of the road; the first sight of the Bates Motel seen through a rainy windshield; the haunted-looking Gothic house behind the motel; the back parlor scene of proprietor Norman's (Anthony Perkins) conversation with Marion amidst his stuffed birds; Norman's perverse peeping through a hole in the wall at Marion undressing; the shocking, carefully-edited shower murder scene of the major star in the first third of the film - with the violin-screeching soundtrack of Bernard Herrmann, the ting-ting-ting sound as the shower curtain rings pull off the rod, the image of bloodied water spiraling down the drain that dissolves into a close-up of dead Marion's stationary open eye, and Norman's laborious clean-up of the murder scene and the car's slow descent into the swamp; private investigator Arbogast's (Martin Balsam) murder at the top of the staircase and the high-angle overhead shot of his unbalanced fall backwards down the entire length of stairs - and the relentless stabbing that he suffers from Norman's "mother" after hitting the floor; the Sheriff's (John McIntire) line of dialogue about who is buried in Greenlawn Cemetery; Lila's shocking, revealing, fruit-cellar discovery scene when she turns a chair holding an elderly woman and sees Norman's mummified "mother" under the swinging light - casting ghastly images onto the wall, and she responds with a shriek; and the next-to-last image of a psychotically-crazed Norman wrapped in a blanket with his Mother's voice-over (the film's final line: "Why, she wouldn't even harm a fly..."), in Alfred Hitchcock's ground-breaking horror thriller
Public Enemy (1931)	Brutal, cocky gangster Tom Powers' (James Cagney) infamous, argumentative breakfast scene when he stuffs half a grapefruit in the face of annoying mistress Kitty (Mae Clarke) after telling her: "I wish you was a wishing well, so that I could tie a bucket to ya and sink ya", the scene of the off-screen execution of a horse, the climactic shoot-out scene in which Tom slaughters and eliminates his rival gang as the camera deliberately remains on the outside of the building while a barrage of shots and moaning screams of the wounded and dying are heard from inside, his wounding on a rainy street; and his bandaged body's special delivery to his home - propped up like a mummy at the doorstep of his mother's (Beryl Mercer) house and his face-first fall forward (while a scratchy phonograph record plays the upbeat tune I'm Forever Blowing Bubbles, plays on the Victrola phonograph on the soundtrack) in the final horrifying scene, in director William Wellman's gritty gangster classic
Pulp Fiction (1994)	The opening credits sequence including the coffee shop scene with a pair of hold-up artists Honey Bunny (Amanda Plummer) and Pumpkin (Tim Roth), the skillful interweaving of three major story lines throughout the film; the casual conversation between two low-life, black-clad hit men Vincent Vega (Oscar-nominated John Travolta) and Jules Winnfield (Samuel L. Jackson) about the strange names given to Parisian McDonald's menu items such as a QuarterPounder with cheese ("a Royale with cheese") and a Big Mac ("Le Big Mac") - and their discussion about gangster boss Marsellus Wallace's (Ving Rhames) jealous attitude toward anyone giving his wife Mia (Oscar-nominated Uma Thurman) a foot massage; the paraphrased recitation of Ezekiel 25:17 - "the path of the righteous man..." before executions; the scene between Vincent and Mia in retro-fifties era diner Jack Rabbit Slims (with the headwaiter impersonating Ed Sullivan) - and their hip-swiveling twist dance the Batusi (a dance invented for the mid-60s Batman TV series) to a Chuck Berry tune; Mia's overdose after snorting heroin and the subsequent frantic recovery scene in which her heart (marked with a red dot) is directly injected with an adrenaline-filled needle; the character of Butch Coolidge (Bruce Willis) and the scene with two hillbillies; and the absurd scenes of the blood-drenched car's grisly insides when Vincent accidentally shoots back-seat passenger Marvin (Phil LaMarr) at point-blank range and "clean-up" specialist the Wolf (Harvey Keitel) is called upon, in co-writer and director Quentin Tarantino's great tri-story classic with witty dialogue and heart-stopping violence
The Purple Rose of Cairo (1985)	The surprise scene in which the handsome fictional adventure hero Tom Baxter (Jeff Daniels) of the 30s black and white film 'The Purple Rose of Cairo' steps out of the screen and speaks to audience member and New Jersey waitress Cecilia (Mia Farrow) - who has an abusive husband Monk (Danny Aiello); Tom's innocence about real life (he's never made love, seen a pregnant woman, etc.); the seduction of Cecilia by selfish and deceptive actor Gil Shepherd (also Jeff Daniels) attempting to reject the fictional character for the real man (so his acting career could be saved from the scandal); Tom's bringing of Cecilia into the film world; and the dark downbeat conclusion in which wounded and forsaken Cecilia finds further comfort at the movie theatre while watching the Fred Astaire/Ginger Rogers film Top Hat (1935) as they sing/dance "Cheek to Cheek" (I'm in Heaven), in writer/director Woody Allen's comedic Depression-era ode - a 'film within a film'
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Queen Christina (1933)	Scenes of Queen Christina's (Greta Garbo) impersonation of a young boy and her revelation to Don Antonio (John Gilbert), their clandestine love affair in the inn, her "memorization" of all the items in the inn bedroom scene, the Queen's silencing of a threatening mob by appearing at the top of the outdoor stairs, the abdication scene, and the lengthy, slow-tracking-in final image of the proud, unblinking Queen's enigmatic face at the bow of her ship as she sails off to Spain to face her destiny in the film's final image, in director Rouben Mamoulian's classic historical-romance drama
The Quiet Man (1952)	The incredible color cinematography and the lush green countryside of Ireland, the fairy tale romance of Sean Thornton (John Wayne) and red-haired Mary Kate Danaher (Maureen O'Hara) - especially his first sight of her as she tends a flock of sheep in an emerald-green grassy area, their kissing scene in his new cottage, Michaeleen Flynn's (Barry Fitzgerald) horse stopping (from habit) in front of Cohan's Pub, the sensual romantic scene in the drenching rain at a church graveyard, their quiet tender scene in front of the golden glow of the hearth, Sean's pursuit of Mary Kate at the train station after which he drags her five miles across the fields with a crowd of spectators following, the lengthy, epic brawl/fist-fight scene in the Irish village between Sean and Will Danaher (Victor McLaglen), the scene of Will's reluctant release of Mary Kate's dowry, and the final scene of Mary Kate whispering a sexy secret in Sean's ear, in Best-Director winning John Ford's romance comedy
Quiz Show (1994)	The fixed 50s NBC-TV game show "Twenty-One" with host Jack Barry (Christopher McDonald) and the authentic period design of the studio, and the prominent product placement of sponsor Geritol ("America's #1 tonic. Geritol, the fast-acting, high-potency tonic, that helps you feel... stronger... fast... ") above and between the two isolation booths; the character of Jewish working class, geeky contestant Herb Stempel (John Turturro) and his victimized anguish at being instructed to miss an easy question (regarding the well-known film Marty (1955)) to hand a victory (in exchange for $70 grand) to popular, WASP-ish bachelor "Twenty-One" contestant Charles Van Doren (Ralph Fiennes) - English teacher at Columbia University and son of ethical and disapproving poet Mark Van Doren (Paul Scofield); the Senate trial scenes in which Herb explains how he was coached in acting for the fixed game show; the revelation of proof to Harvard law graduate and federal investigator Richard 'Dick' Goodwin (Rob Morrow) that Van Doren was pre-supplied with answers; the scene of Van Doren (shot from behind with a smash-zoom) deliberately losing to earn a lucrative regular spot on NBC Today; the powerful line by smug Geritol president Martin Rittenhome (Martin Scorsese) to Federal investigator Dick Goodwin about the popularity of quiz shows: "You see, the audience didn't tune in to watch some amazing display of intellectual ability. They just wanted to watch the money"; the character of slimeball producer Dan Enright (David Paymer); and the subtly accusatory, slow-motion end credits showing a 50s television audience mindlessly laughing and applauding as Bobby Darin's "Mack the Knife" plays, in director Robert Redford's morality play about the quiz show scandals of the 1950's
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Raging Bull (1980)	The opening credits sequence (in semi-color) of middle-weight Jake LaMotta (Robert DeNiro) shadow-boxing in a boxing ring, Jake's remarkable physical transformation throughout the film as he gains 50 lbs., the brutal and graphic boxing sequences (often in slow-motion with the spray of blood onto the audience and the violent sounds of impact), the memorable tracking shot that follows Jake from the locker room through the crowd and into the ring, Jake's taunt to Sugar Ray: "You never got me down, Ray!", the open-air city swimming pool scene with Jake's first view and lustful attraction toward fifteen-year old, blonde "neighborhood girl" Vickie (20 year old Cathy Moriarty), the scenes with manager-brother Joey (Joe Pesci) - especially Jake's relentless questioning when he suspiciously asks: "You f--ked my wife?", the home movies sequence, the scene of Jake's imprisonment in the stockade in Dade County when he slams his head, fists, and then his arms into the cinder-block cell wall ("Why? Why? Why?...Why'd you do it? Why? You're so stupid"), and Jake's pitiful end as an overweight and bloated night-club emcee - including his recitation of Brando's famous On the Waterfront "I coulda been a contender" speech in the taxi-cab scene, in this black and white masterpiece (by cinematographer Michael Chapman) from director Martin Scorsese that was adapted from LaMotta's 1970 autobiography
Raiders of the Lost Ark (1981)	1930s archaeology professor Indiana Jones' (Harrison Ford) signature image: a brown leather flight jacket, a bullwhip and a snappy fedora; the stimulating opening sequence in a booby-trapped jungle cave (the "Give me the whip" and "Throw me the idol" moment and the fate of traitorous Satipo) featuring an immense rolling boulder and pursuit by a tribe of cannibals in a tropical setting toward an awaiting escape plane; the exciting scenes in which Indy is dropped down into an ancient tomb full of asps (and his exclamation: "Snakes, why'd it have to be snakes?") - and his exciting pursuit on horseback of a Nazi truck caravan; his calm execution (with one shot from a gun) of a massive, black-garbed, Arabian swordsman (stuntman Terry Richards) exhibiting spectacular swordsplay in a bazaar, and the spectacular finale when the Ark of the Covenant (reportedly containing fragments of the Ten Commandments) is opened by the Nazis and the horrors of hell are released while nearby Jones is tied to a pole with sharp-witted love interest Marion Ravenwood (Karen Allen), and the deeply ironic final shot (homage to a similar closing Citizen Kane (1941) "toss that junk" scene) in which a warehouseman pushes the crated Ark down a long aisle formed by huge stacks of similar crates in an enormous government warehouse, in director Steven Spielberg's rousing blockbuster adventure-serial film filled with comic-book style, cliffhangers and many great action stunts
Rain Man (1988)	The tremendous characterization of idiot savant autistic Raymond (Oscar-winning Dustin Hoffman) - his accurate visual count of the number of toothpicks spilled out of a box (246), and his memorable quotes ("I get my underwear at K-Mart in Cincinnati, Ohio", "K-Mart sucks," "Four minutes to Wapner" (referring to Judge Wapner of The People's Court TV show that aired in the 80s), and "Qantas never crashed"), the memorable cross-country trip with slick, car-dealing brother Charlie ("main man") (Tom Cruise), their gambling experiences in Las Vegas, the scene of Raymond's first gentle (and "wet") kiss from Susanna (Valeria Golina) in an elevator, and Charlie's teaching Raymond how to dance; the brothers' discussion about Abbott and Costello's 'Who's On First?' comedy routine that Raymond doesn't understand, and their emotional farewell scene at an Amtrak train station - especially when they touch heads together and the camera slowly zooms in on the moment, in Barry Levinson's bittersweet comedy/drama
Raising Arizona (1987)	The opening sequence (before the credits) of petty crook H.I. "Hi" McDunnough's (Nicolas Cage) multiple returns to prison, his quick courtship/marriage to prison officer/photographer Edwina "Ed" (Holly Hunter), and the loss of their happy "salad days" in a desert trailer with the news of her barren infertility ("Edwina's insides were a rocky place where my seed could find no purchase"); the birth of the Arizona quints and the childless couple's execution of a plan to kidnap one of them; H.I.'s loud, boorish, slob ex-prison cellmates Gale Snoats (John Goodman) and his brother Evelle (William Forsythe); the slapstick caper in which H.I. (with a stocking over his head) robs a convenience store of its cash -- along with Huggies diapers; also the hilarious scene the morning after the crime of unfinished-furniture magnate/father Nathan Arizona Sr. (Trey Wilson) being questioned by the press, cops, and the FBI while being fingerprinted: "Damn it, are you boys gonna chase down yer leads, or you gonna sit around drinkin' coffee in the one house in the state where I know my boy ain't at?!"; and the frightening character -- "Biker of the Apocalypse" bounty hunter Leonard Smalls (Randall 'Tex' Cobb); and the final battle between a vastly overmatched H.I. and Leonard -- H.I. kills him by accidentally pulling a pin from Leonard's grenade bandolero; also the scene in which H.I. and Ed return the baby (T.J. Kuhn); and H.I.'s concluding dream of the future ("...This whole dream, was it wishful thinking? Was I just fleein' reality, like I know I'm liable to do? But me'n Ed, we can be good, too... and it seemed real. It seemed like us. And it seemed like, well... our home...") in the Coen Brothers' wild, fast-paced, Looney Tune-like screwball comedy/fantasy
Rambling Rose (1991)	The realistic scene when the sexually-uninhibited Rose (Laura Dern) teaches 13 year old Buddy Hillyer (Lukas Haas) about the facts of life by letting him touch her in bed, in director Martha Coolidge's coming-of-age drama
Random Harvest (1942)	The marriage proposal scene between Charles (Ronald Colman) and former wife/secretary Paula (Greer Garson) ("My life began with you") during a picnic, and the final revelatory scene at the cottage in which amnesiac Charles unravels clues and responds to being called "Smithie, oh Smithie, oh darling" - embracing and kissing his long-lost love, in director Mervyn LeRoy's romance drama
Rashomon (1950, Jp.)	The mysterious 12th century medieval story of a criminal incident that took place in the woods -- bandit Tajomaru's (Toshiro Mifune) alleged rape of Masako (Machiko Kyo) and murder of her samurai husband (Masayuki Mori), as witnessed (in flashbacks) by four individuals (the bandit, the woman, the dead man through a medium's testimony, and a woodcutter (Takeshi Shimura)) from different points of view, in director Akira Kurosawa's cinematic masterpiece about the nature of truth - the winner of the Best Foreign Language Film Oscar in 1951
Ratatouille (2007)	The early sequence of a gun-toting granny battling against a rat infestation in her country home; also blue French chef country rat Remy's (voice of Patton Oswalt) visualization of taste to his older indiscriminate red-colored brother Emile (voice of Peter Sohn) ("Each flavor was totally unique, BUT... combine one flavor with another, and... something NEW was created"); also the scene of Remy convincing fired, non-culinary-skilled garbage boy Alfredo Linguini (voice of Lou Romano) (revealed later to be famed but deceased master chef Gusteau's son) to not drown him in a glass bottle, but to have them team up together (Linguini: "I can't cook but you can, right?") - and then Remy's new dubbed name "Little Chef" because he pulled on Linguini's hair (while hiding in the young man's toque hat) to direct his motions like a puppeteer in order to teach him how to cook; and the publication of snobbish, hard-to-please and harsh food critic Anton Ego's (voice of Peter O'Toole) glowing, self-actualizing review of restaurant Gusteau's cuisine (the traditional dish of ratatouille) (..."Last night, I experienced something new, an extraordinary meal from a singularly unexpected source") prepared by Remy - reminding him of eating the dish as a boy, and the final shot of Linguini and Remy's new bistro named "Ratatouille" in the city of Paris, in director Brad Bird's computer-animated Pixar film - the winner of the Best Animated Feature Film Oscar
ReAnimator (1985)	A combination mad zombie and mad scientist film (and a retelling of the original Frankenstein films), from a series of stories by H.P. Lovecraft, with Jeffrey Combs as medical student and mad scientist Herbert West, and Barbara Crampton as Megan Halsey, with the most infamous scene of Megan on the gurney with Dr. Hill's (David Gale) 'undead' head next to her - and her near-rape by the severed head (!), and the battle scene in the hospital morgue with reactivated corpses and body parts flying everywhere, in director Stuart Gordon's cult comedy-horror film
Rear Window (1954)	The scene of high-fashion model and girlfriend Lisa Carol Fremont (Grace Kelly) glamorously performing in front of photographer L.B. "Jeff" Jefferies (James Stewart), the confined Jeff's "peeping tom" static camera point-of-view from his Greenwich Village apartment's rear window, the varied lives of apartment neighbors, the discovery of the poisoned dog, the suspenseful scene of Lisa's tense exploration and search of suspected murderer Lars' (Raymond Burr) apartment just before he returns - and Jefferies as he watches powerlessly and helplessly from across the courtyard when she is trapped, Lars' following of the sight-line of the signal sent by Lisa (behind her back) to Jefferies in his apartment, and the tension-filled finale in which Jeff is confronted by the killer in his own apartment and fends him off with a flash camera; also the ending shot of a pants-wearing Lisa reading Harper's Bazaar, and the deeply ironic final shot of a window shade being pulled down on a voyeuristic film audience, in Alfred Hitchcock's voyeuristic thriller
Rebecca (1940)	The opening scene of the revelation of the ruins of Manderley as the second Mrs. De Winter (Joan Fontaine) in voice-over describes her flashbacked dream ("Last night, I dreamt I went to Manderley again"), and the scene of wealthy Mr. Maxim de Winter (Laurence Olivier) contemplating suicide; the first appearance of the stern and unsmiling housekeeper Mrs. Danvers (Judith Anderson); the chilling scene of Mrs. Danvers touring the closed-off room of Rebecca with the second Mrs. De Winter and showing her clothes and furnishings - while caressing Rebecca's things with a lesbian-fetish interest; the radiant new bride gliding down the stairs in Rebecca's dress for the costume ball and being told harshly by Maxim to take the dress off; the scene of Mrs. Danvers urging the second Mrs. De Winter to jump to her death from the window; the haunted Mr. De Winter's dramatic revelation that Maxim despised Rebecca ("You thought I loved Rebecca? You thought that? I hated her!") and the dramatic confession by Maxim that her body would be found ("I put it there"), his torment (by guilt, not love), and his reenactment of Rebecca's death in the boat house; and in the final sequence the death of Mrs. Danvers in Rebecca's bedroom and the movement of destructive flames approaching an embroidered, monogrammed "R" on the pillowcase, in Alfred Hitchcock's Best Picture-winning first American film

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