Greatest Film Scenes
and Moments



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

In The Name of the Father (1993, UK/Ire.)

In director Jim Sheridan's political docudrama and courtroom biopic about injustice -- the true story of four wrongly-accused, convicted and imprisoned Irishmen (for 15 years) for an October 5, 1974 IRA plot to bomb a Guildford pub, who were used by the government as scapegoats:

  • the scene of the explosive terrorist bombing of the Guildford pub
  • the scene of imprisoned petty thief and ne'er-do-well Gerry Conlon (Daniel Day-Lewis), framed for the bombing along with his wrongly-imprisoned father Patrick "Giuseppe" Conlon (Pete Postlethwaite), and learning from a priest that Giuseppe passed away an hour earlier: ("Your father passed away an hour ago"); in honor of Giuseppe, the other prisoners lit pieces of paper and floated them down from outside their windows
  • the moment in the courtroom, when crusading defense lawyer Gareth Peirce (Emma Thompson) revealed that she had found a note attached to a file of police records for Gerry Conlon's alibi reading: "Not to be shown to the Defence"
  • the triumphant ending courtroom scene of the dismissal of charges against the prisoners, including Gerry Conlon - his exoneration and release, and his insistent pronouncement to exit from the front: "I'm a free man and I'm going out the front door..."
  • Gerry's determination to continue the defense of the innocence of his father "Giuseppe" Conlon who had died in prison (and was incarcerated with six other Conlon relatives, known collectively as the Maguire Seven) as he told the courtroom crowds outside - the film's final words: ("I'm an innocent man. I spent 15 years in prison for somethin' I didn't do. I watched my father die in a British prison for somethin' he didn't do. And this government still says he's guilty. I want to tell them that until my father is proved innocent, until all the people involved in this case are proved innocent, until the guilty ones are brought to justice, I will fight on in the name of my father and of the truth!")

In Which We Serve (1942, UK)

In director David Lean's and Noel Coward's morale-boosting war-time drama (Lean's first directorial credit), "the story of a ship", told in flashback:

  • the concluding sequence of the stalwart but depleted crew of the sunken British warship the HMS Torrin, after they had abandoned ship and were left to die on a life-raft during the Battle of Crete in 1941; the ship's Captain E. V Kinross (Noel Coward) offered "three cheers for the ship" as it sank; but then many more of the survivors were killed by strafing from passing German planes
  • the triumphant moment of the rescue of 90 remaining survivors by another British battleship
  • the last address - a final, very emotional teary goodbye delivered by the ship's captain in Alexandria, Egypt, to his crew: ("I have to say goodbye to the few of you who are left. We had so many talks, and this is our last. I've always tried to crack a joke or two before, and you've all been friendly and laughed at them. But today, I'm afraid I've run out of jokes; and I don't suppose any of us feels much like laughing. The Torrin has been in one scrap after another, but even when we've had men killed, the majority survived and brought the old ship back. Now, she lies in 1,500 fathoms. And with her, more than half our shipmates. If they had to die, what a grand way to go! For now they lie all together with the ship we loved and they're in very good company. We've lost her, but they're still with her. There may be less than half the Torrin left. But I feel that we'll all take up the battle with even stronger heart; each of us knows twice as much about fighting, and each of us has twice as good a reason to fight. You will all be sent to replace men who've been killed in other ships. And the next time you're in action, remember the Torrin. I should like to add that there isn't one of you that I wouldn't be proud and honoured to serve with again. Goodbye, good luck. And thank you all from the bottom of my heart..."); then he personally shook the hands of all crew members as they left
  • the Narrator's (Leslie Howard) final words, in voice-over, ending with a view of the British flag unfurled on another battleship, now commanded by Capt. Kinross who gave the command from the bridge for the firing of massive guns: "Open fire!": ("Here ends the story of a ship, but there will always be other ships, for we are an island race. Through all our centuries, the sea has ruled our destiny. There will always be other ships and men to sail in them. It is these men, in peace or war, to whom we owe so much. Above all victories, beyond all loss, in spite of changing values and a changing world, they give to us, their countrymen, eternal and indomitable pride...God bless our ships and all who sail in them")

An Inconvenient Truth (2006)

In the harrowing, fact-based Best Documentary Feature Academy Award winner about the threat of global warming:

  • former Vice President Al Gore's (Himself) opening line: "I used to be the next President of the United States of America"
  • his masterful use of slides, computer graphs and photos - a multimedia lecture that he had delivered hundreds of times, to illustrate the disastrous results of global warming
  • his poignant recounting of the tragic lung-cancer death of his sister Nancy in their tobacco-growing Southern family - explaining how he wished that we could "connect the dots" more quickly
  • the short clip "Global Warming or: None Like It Hot" from the animated TV show Futurama, from an episode in which he guest-starred, about the effects of greenhouse gases
  • his descriptions, illustrated by before-and-after photographs of the effects of global warming on various landmarks, such as the mountain peaks of Mt. Kilimanjaro, and on glaciers at the poles
  • the famous scene in which he used a scissors-style fork lift to raise him up on the right side of a mammoth graphic to examine annual temperature and the drastically high rate of CO2 emissions levels for the past 650,000 years measured by Antarctic ice core samples
  • his ultimate conclusion: "This is really not a political issue so much as a moral issue"

The Incredible Shrinking Man (1957)

In director Jack Arnold's existential science-fiction film:

  • the sight of a shrunken, miniscule Robert Scott Carey (Grant Williams) after contaminating exposure to nuclear radiation/waste, when during a vacation off the California coast, his boat came into contact with a strange, misty white cloud above the water and covered his chest with white particles
  • the attack by his now-dangerous house cat, and his hiding for refuge in a doll house
  • his near-drowning when trapped in a flooded basement due to a busted water heater
  • his deadly battle with a giant spider, with a close-up of its voracious mouth
  • his snatching of stale cheese from a giant mousetrap
  • his memorable, concluding enlightened philosophical speech about being infinitesimal, as he stood before a window screen: ("I was continuing to shrink, to become... what? The infinitesimal? What was I? Still a human being? Or was I the man of the future? If there were other bursts of radiation, other clouds drifting across seas and continents, would other beings follow me into this vast new world? So close - the infinitesimal and the infinite. But suddenly, I knew they were really the two ends of the same concept. The unbelievably small and the unbelievably vast eventually meet - like the closing of a gigantic circle. I looked up, as if somehow I would grasp the heavens. The universe, worlds beyond number, God's silver tapestry spread across the night. And in that moment, I knew the answer to the riddle of the infinite. I had thought in terms of Man's own limited dimension. I had presumed upon nature that existence begins and ends is man's conception, not nature's. And I felt my body dwindling, melting, becoming nothing. My fears melted away and in their place came acceptance. All this vast majesty of creation, it had to mean something. And then I meant something, too. Yes, smaller than the smallest, I meant something, too. To God, there is no zero. I STILL EXIST!")

The Incredibles (2004)

In Pixar's Oscar-winning CGI animated film written and directed by Brad Bird:

  • the unique storyline premise of super-heroes being forced by the government into retirement and living out their quiet and private lives as a suburban family in a protection program
  • the family's characters: superstrong, red-suited and slobbish Mr. Incredible/Bob Parr (voice of Craig T. Nelson) and his stretchy wife ElastiGirl/Helen Parr (voice of Holly Hunter) who have three children, including the speedy Dash (voice of Spencer Fox) and the shy, invisible, force-field making teen Violet (voice of Sarah Vowell)
  • Bob Parr's revelation, after being fired and then receiving a video-tablet message from Mirage (voice of Elizabeth Peña), that he must return to crime-fighting and vigilantism as Mr. Incredible - as he remembered various exploits of his past illustrated in newspaper headlines and magazine covers
  • the character of Buddy Pine - originally Mr. Incredible's number one super-fan - who adopted the new name of Syndrome (voice of Jason Lee) when he became an arch-nemesis, because of Mr. Incredible's brush-off: ("I am your biggest fan...My name is not Buddy! I'm Syndrome, your nemesis...")
  • sassy super-hero costume fashion-designer Edna Mode (voice of Brad Bird) who created indestructible outfits for superheroes
  • the kinetic action sequences, including the one in which Mr. Incredible battled a savage tripod-like robot called the Omnidroid, and tried to defeat Syndrome on the remote tropical jungle island of Nomanisan
  • the humorous scene of Mr. Incredible's best friend - the ice-themed Frozone/Lucius Best (voice of Samuel L. Jackson), who kept calling out to his off-screen wife Honey (Kimberly Adair Clark): "Where's my Super-Suit?...The public is in danger...We are talking about the greater good!"
  • the revelation of baby Jack-Jack's shape-shifting powers when Syndrome tried to kidnap him
  • the final confrontation with Syndrome in Metroville, and the destruction of the improved Omnidroid robot

Independence Day (1996)

In Roland Emmerich's epic sci-fi blockbuster disaster film about an alien invasion - with great special effects:

  • the ominous words: "Time's up!", issued by MIT-educated computer expert David Levinson (Jeff Goldblum), on an evacuating Air Force One with the US President, that a coordinated attack by alien ships would commence shortly, with widespread panic, chaos, and destruction in US metropolitan areas
  • the unleashing of global destruction - with the incredible image of huge spaceships and alien vessels zapping and destroying major cities (i.e., New York and LA) with their firepower across the globe - causing the instantaneous elimination of skyscrapers, the tossing of vehicles, and great loss of life and property
  • an alien ship's destruction of the White House in DC
  • the scene of hot-shot Marine pilot Captain Steven Hiller (Will Smith) parachuting to the ground in Arizona near the Grand Canyon after successfully downing an alien spacecraft; as he approached the crash-landed ship, he taunted: ("That's what you'll get! Ha-ha! Look at you! Ship all banged up! Who's the man?! Huh? Who's the man?! Wait till I get another plane! I'm linin' all your friends up, right beside you! Where you at? Huh? Where you at?"); then he opened up the hatch and swiftly punched out the tentacled, monstrous injured alien pilot with the retort: ("Welcome to Earth!"); then he offered a one-liner as he began to smoke a congratulatory cigar for himself: "Now that's what I call a close encounter"
  • the sequence of President Thomas J. Whitmore's (Bill Pullman) psychic communication with the injured alien in Area 51 ("I know there is much we can learn from each other if we can negotiate a truce. We can find a way to coexist. Can there be a peace between us?") - and its dismaying message (conveyed telepathically through the vocal cords of Dr. Brackish Okun (Brent Spiner), one of the scientists: ("No peace...Die! Die!"); after blasting the alien with gunfire, Whitmore described the painful vision that he had - and his solution to the threat: ("I saw his thoughts. I saw what they're planning to do. They're like locusts. They're moving from planet to planet. Their whole civilization. After they've consumed every natural resource, they move on. And we're next -- Nuke 'em! Let's nuke the bastards!")
  • the President's rousing speech to US fighter pilot crews before the final attack on the aliens: ("Good morning. In less than an hour, aircraft from here will join others from around the world. And you will be launching the largest aerial battle in the history of mankind. Mankind - that word should have new meaning for all of us today. We can't be consumed by our petty differences anymore. We will be united in our common interests. Perhaps it's fate that today is the 4th of July, and you will once again be fighting for our freedom. Not from tyranny, oppression, or persecution, but from annihilation. We're fighting for our right to live, to exist. And should we win the day, the 4th of July will no longer be known as an American holiday, but as the day when the world declared in one voice: 'We will not go quietly into the night!' 'We will not vanish without a fight!' 'We're going to live on!' 'We're going to survive!' Today we celebrate our Independence Day!" (Cheers))
  • the sequence of the self-sacrifice of fighter pilot Russell Casse (Randy Quaid) who gave his life to defeat the alien threat: ("I told you I wouldn't let you down! Just keep those guys off me for a few more seconds, will ya?"); when his missile malfunctioned, he decided the only way remaining was to fly his nuclear bomb and virus-laden jet plane directly into the weapon port of the alien mothership; he told the command center before detonation: ("Do me a favor. Tell my children I love them very much. All right, you alien assholes! In the words of my generation, up yours!...(to the aliens) Hello boys! I'm back!") - the ultimate successful strategy used to save humankind

The Tiger of Eschnapur (1959, W.Germ/Fr./It.)

The Indian Tomb (1959, W. Germ/Fr./It.)

The Tiger of Eschnapur (1959, W.Germ/Fr./It.) (aka Der Tiger von Eschnapur)
The Indian Tomb (1959, W. Germ./Fr./It.) (aka Das Indische Grabmal)

In director Fritz Lang's Technicolored romantic adventure drama - a two-part Indian epic, composed of The Tiger of Eschnapur (1959, W.Germ./Fr./It.) (aka Der Tiger von Eschnapur) and The Indian Tomb (1959, W. Germ/Fr./It.) (aka Das Indische Grabmal) - both were edited into American-International's 92-minute Journey to the Lost City (1960) for its US release - a comic-bookish precursor to the Indiana Jones franchise:

[Note: Screenshots for the two lengthy dance sequences were derived from the original films, not the 1960 compilation. The dance scenes in the 1960 compilation were heavily edited and censored by the Hays Office.]

In both films, the star performer was Seetha (Debra Paget), a beautiful, half-white (Irish) handmaiden and sacred temple dancer - the love-object of two competing males in the mystical province of Eschnapur: German architect Harold Berger (Paul Hubschmid), who was in the town to build schools, hospitals, a temple and a dam, and the local wicked, tyrannical, aristocratic Maharaja Chandra (Walther Reyer), while the Maharaja's scheming, treacherous brother Prince Ramigani (René Deltgen) was conspiring to steal the ruler's throne.

In the story, Chandra had hired Harold's brother-in-law Dr. Walter Rhode (Claus Holm) to build a giant tomb for Seetha, who had run off with Harold in the first film. In the second film, Chandra's dastardly plan was to bury Seetha alive in the tomb on the night of her wedding!

In The Tiger of Eschnapur (1959, W.Germ/Fr./It.), Seetha descended stairs, wearing a gold headdress, bangles, and a gold-colored dance costume that bared her belly. She performed a ritualistic dance in front of sacred priests and the giant stone statue of the goddess Shiva with voluminous breasts. At one point, she writhed her body in the huge outstretched right hand palm of the statue.

The Tiger of Eschnapur (1959, W.Germ/Fr./It.)

In the second film, Seetha performed a second time - a sexy, mesmerizing, sinuous, near-naked (stripteasing), exotic temple dance (in a three-piece, glued-on, strategically-placed, scanty jewel-encrusted white bikini) to prove her innocence before temple priests in a cave - again directly in front of Shiva - the enormous, half-naked stone temple goddess.

  • the snake dance began when Seetha moved her hands from inside her blue robe, in front of a gigantic hooded cobra (obviously fake) - pretending them to be snake heads, with two green rings (snake eyes) on each of her hands; after discarding her robe, she attempted to provocatively charm the ropy, long phallic-shaped creature with her entrancing dance; at the conclusion of her dance, she tripped and before being bitten by the disapproving cobra, Chandra stepped in and crushed the snake

The Indian Tomb (1959, W. Germ/Fr./It.)

Indiana Jones and the Kingdom of the Crystal Skull (2008)

In the fourth entry in the action-sci-fi-adventure series, directed by Steven Spielberg:

  • the exciting opening sequence of kidnapped, globe-trotting archaeologist Indiana Jones (Harrison Ford) fighting off enemy Soviet agents and successfully escaping on a rocket sled from Warehouse 51, a military storage facility in the Nevada desert, propelling him through a tunnel to the outside
  • the moment that adventurous archeologist Indiana Jones realized that he was in the middle of a mock-model home-community populated with plastic dummies, during secret nuclear bomb testing in the Nevada desert in the late 50s, when he heard a warning: ("All personnel, it is now one minute to zero time. Put on goggles or turn away. Do not remove goggles or face burst until 10 seconds after first light"); as he heard the countdown, he rushed to escape by hiding inside a lead-lined refrigerator
  • the impact of the nuclear blast, sending Indy inside the refrigerator a long distance from the target, and the awe-inspiring sight of him silhouetted against the image of the nuclear explosion
  • the sequence of 'greaser' "Mutt" Williams (Shia LaBeouf) and Indiana fleeing on a motorcycle from a 50s style diner, pursued by two KGB agents in the streets of the town during an anti-Red student rally where Indiana taught at Marshall College, and into the college campus and the school's library
  • the shock of Indiana in Peru when the Russians revealed Mutt's mother was Indiana's old girlfriend/lover Marion Ravenwood (Karen Allen) - ("Marion Ravenwood is your mother?") - and then a second revelation, when both were caught in quicksand, that Mutt's real-name was Henry Jones III - Mutt was his own biological son! ("His name is Henry!...He's your son...Henry Jones the Third")
  • the spectacular chase sequence of "Mutt" in a sword duel with villainous Russian-KGB operative Dr. Irina Spalko (Cate Blanchett), while both were atop Jeeps racing side-by-side through the jungle, as everyone struggled to get possession of the crystal skull in a burlap bag
  • the demise of Russian Colonel Antonin Dovchenko (Igor Jijikine) - devoured in a mound of giant flesh-eating siafu ants
  • the exciting conclusion in the Mayan temple's inner chamber where 13 aliens ("inter-dimensional beings") with crystal skeletons (arranged in a circle) were seated; and the entrance of lead psychic Dr. Spalko and her henchmen with the retrieved telepathic crystal skull that was restored onto the spinal cord of one of the aliens; and Irina's insistent demand to have knowledge: ("Tell me everything you know. I want to know everything. I want to know...I want to know. I want to know. Tell me. I'm ready. I want to know. I can see!") - followed by her death from an overwhelming overload of knowledge, when her eyes and brain ignited and exploded, and her body disintegrated into pieces as it was absorbed into the portal; and the subsequent sequence of Dr. Spalko's remains and those of other henchmen taken into a spinning vortex - sucking them into a giant spaceship (in another dimension?) above them
  • and after Indy and his friends escaped from the crumbling temple, their view from afar of the temple collapsing; the whirling, spinning flying saucer created a vortex in its ascension, and the valley floor was covered over by Amazonian waters

Indiana Jones and the Last Crusade (1989)

In Steven Spielberg's third action-adventure film in the series franchise:

  • the amazing stuntwork during the "Young Indiana Jones" prologue sequence (with River Phoenix playing a teenaged Indiana Jones as a Boy Scout, and showing early antecedents in 1912 of his use of a whip, the reason for his chin scar, etc.), in which Indy fought throughout a passing circus train against cave robbers who had acquired the famed Cross of Coronado, a gold crucifix
  • the exciting speed-boat chase scene in Venice in the late 1930s, with grown-up Indiana Jones (Harrison Ford) and his father's flirtatious Austrian art professor/colleague, Dr. Elsa Schneider (Alison Doody), fleeing from machine-gun fire delivered by a secret society - members of the Brotherhood of the Cruciform Sword, who thought he was looking for the Holy Grail (the ancient cup used by Jesus at the Last Supper); Indy claimed otherwise: ("I didn't come for the Cup of Christ. I came to find my father."
  • the rat-infested catacombs and sewers under Venice
  • the many chase sequences (with a train, zeppelin, boat, airplane - through a tunnel!, motorcycle, etc.)
  • the amusing and witty repartee between Indy and his father Dr. Henry Jones (Sean Connery), a professor of antiquity - including such lines as: "We named the dog Indiana," and Indy's retort to his dad: "Don't call me Junior"
  • the scene of Indy and his father tied up and about to be consumed by fire in Castle Brunwald (a secret base for the Nazis) on the German-Austrian border, and their successful escaped
  • the moment that Indy (disguised as a Third Reich officer) accidentally came face-to-face in a crowd of Nazis at a Berlin book-burning rally, with Hitler (Michael Sheard) himself - and surprisingly had Henry's Grail diary autographed by the Fuhrer
  • the scene onboard a Zeppelin in which Indy disguised himself as a white-coated ticker-taker, and punched out brutal SS Colonel Vogel (Michael Byrne) in pursuit - and then told the other astonished passengers: "No ticket!"
  • their search for the Holy Grail and combat against the Nazis, including the scene-stealing moment when Indy's father chased a flock of white seagulls along a beach shoreline with his opening/closing umbrella as an unlikely weapon - and the technique inadvertently caused a strafing Luftwaffe enemy Nazi plane to be blinded and crash
  • the major battle with a giant Nazi armored tank commandeered by Nazi Colonel Vogel, and the astonished words of Henry when the tank carrying Indy went over a steep cliff edge (taking Vogel to his death) and he believed his son was dead: "I've lost him" - but Indiana had survived and showed up, peering over the edge with everyone else
  • the final, supernatural showdown in the Middle Eastern Canyon of the Crescent Moon where the Jones' had to encounter and evade three booby traps before they could find the sacred cup
  • the climactic scene in which Nazi sympathizer Walter Donovan (Julian Glover) was tricked by Dr. Elsa Schneider, already revealed as an undercover Nazi agent, into drinking from a false Holy Grail, causing him to age rapidly and disintegrate into dust -- and the guardian Grail Knight's (Robert Eddison) calm observation: "He chose... poorly"

Indiscreet (1958, UK)

In director Stanley Donen's sophisticated romantic comedy:

  • the split-screen telephone conversation (pre-dating the Doris Day/Rock Hudson Pillow Talk (1959) by almost a year) in different hotel rooms between avowed, good-looking international financier Philip Adams (Cary Grant) - unhappily married and separated from his estranged wife and unable to get a divorce - and rich, successful, middle-aged London stage actress Anna Kalman (Ingrid Bergman)
  • over a game of pool, the scene of Philip explaining to Anna's brother-in-law Alfred Munson (Cecil Parker) his rationale for pretending that he was a married man (but was not), to purportedly make himself more of a "challenge" for some women because he would then be regarded as unavailable - a unique form of chivalry: ("Let's just take a, well, a usual case. A man meets a woman. He's attracted to her. He courts her. They're old enough, and she, uh, favors him. Eventually she'd like to get married. He then says I am not the marrying kind. Do you admire such a man?...Well, I, too, don't care to be married. On the other hand, I don't care to give up women....Now, since I have no intention of getting married, I feel honor-bound to declare myself in the beginning...Certainly before the favors. That's where the honor comes in. Now, how do I declare myself? By saying I will never marry? What woman really believes that? If anything, it's a challenge to them....Well, I say I am married. I'm married, and I can't get a divorce. Now our position is clear. There can't be any misunderstanding later...Well, it is reasonable"); but then, Philip added that he also felt true love for Anna: ("And whether you believe it or not, I love Anna. I love Anna as I've never loved before. But I wouldn't marry any woman if you held a gun to my head")
  • the scene of Anna's expression of anger and humiliation to Alfred and his wife Margaret (Phyllis Calvert) (Anna's sister) at being deceived about Philip's marital status - the film's main plot twist: ("I was down on my knees asking his forgiveness because I asked him to marry me. On my knees! How dare he make love to me and not be a married man!"); she slammed the door shut to her bedroom and threw her perfume bottle through her mirror (off-screen)
  • Alfred's remark about the irony of the revelation: ("It's all very strange. It was perfectly all right when he was married, when you'd think that it wouldn't be. And now that we know that he's single, when it should be all right, if you know what I mean, well, it isn't. Do you follow me?")
  • the film's final consoling lines by Philip to a vengeful and tearful Anna after he had proposed to her, but she had decided that she wanted to remain 'unmarried' to him ("I mean we'll go on as before") - she didn't believe they were fated for marriage; however, because he was so emotionally shocked at her decision, he was able to get her to change her mind: ("That's the most improper thing I've ever heard.... I can hardly believe my ears....I didn't think you were capable of it....We're not married....But you didn't know I wasn't married.... I knew you didn't know. What's the matter with you? How could you ask me to do such a thing? Haven't you been following what I've been saying? Oh, I tell you, women are not the sensitive sex. That's one of the great delusions of literature. Men are the true romanticists....Don't cry, Anna, I-I love you. Everything will be all right. You'll like being married. You will. You'll see. Yes")

The Informer (1935)

In director John Ford's political drama:

  • the tense atmospheric scenes of shadowed, fog-filled Irish streets
  • the scene of a "wanted" poster (advertising the reward) clinging to Gypo Nolan's (Oscar-winning Victor McLaglen) leg as he walked down a Dublin street - foreshadowing his traitorous betrayal of his best friend Frankie McPhillip (Wallace Ford) to the fearsome 'Black and Tans' for twenty pounds
  • the poignant scene when Gypo bumped into a man and slowly realized that he was blind
  • the scene when the coins fell to the floor from Gypo's pocket during the wake for Frankie
  • drunken Gypo's examination by the IRA 'kangaroo court' and his confession about the identity of the informer, repeatedly claiming he didn't know what he was doing: ("I'm all mixed up. I don't know what I'm doing. I'm drunk....I don't know what I'm doing, that's all...I didn't know what I was doing. Do you see what I mean?...Isn't there a man here that can tell me why I did it?")
  • the dramatic climax - a mortally-wounded Gypo stumbled into a church where he pleaded for forgiveness from the dead man's mother Mrs. McPhillip (Una O'Connor) who was praying and sitting in the front pew: ("Twas I informed on your son, Mrs. McPhillip. Forgive me"; he was told: ("Aye, Gypo, I forgive ya. You didn't know what you were doin'. You didn't know what you were doin'."); and then with his arms outstretched and facing a life-sized crucifix, Gypo cried out: ("Frankie! Frankie! Your mother forgives me") and fell dead at the front of the church

Inglourious Basterds (2009)

In Quentin Tarantino's WWII war-time revenge fantasy about the end of the Third Reich:

  • the farmhouse scene in which SS Colonel Hans Landa (Christoph Waltz), with the unofficial title "The Jew Hunter," spoke to pipe-smoking French dairy farmer Perrier LaPadite (Denis Menochet) about his goal of searching for Jews, suspecting that the farmer was sheltering enemies of the state by hiding the Jewish Dreyfus family somewhere on his property: ("...a German soldier conducts a search of a house suspected of hiding Jews. Where does the hawk look? He looks in the barn, he looks in the attic, he looks in the cellar, he looks everywhere he would hide, but there's so many places it would never occur to a hawk to hide. However, the reason the Führer's brought me off my Alps in Austria and placed me in French cow country today is because it does occur to me. Because I'm aware what tremendous feats human beings are capable of once they abandon dignity")

Inherit the Wind (1960)

In director Stanley Kramer's great courtroom drama:

  • the hoopla surrounding the infamous "Monkey Trial" reenactment, with two unforgettable lawyers upstaging each other - Henry Drummond (Spencer Tracy) and Matthew Brady (Fredric March)
  • the scene of Brady's testimony on the stand and Drummond's questioning of the scientific authority of the Bible: ("The Bible is a book. It's a good book. But it is not the only book."...So, you, Matthew Harrison Brady, through oratory or legislature or whatever, you pass on God's orders to the rest of the world! Well, meet the Prophet from Nebraska! Is that the way of things?! Is that the way of things?! God tells Brady what is good! To be against Brady is to be against God!")
  • the dramatic moment that Matthew Brady was forced to exasperatingly declare his beliefs, and he lost his composure on the stand: ("All of you know -- what I said was -- what I believe -- I believe in the truth of the book of Genesis! Exodus! Leviticus! Numbers! Deuteronomy! Joshua! Judges! Ruth! 1st Samuel! 2nd Samuel! 1st Kings! 2nd Kings! Isaiah! Jeremiah! Lamentations! Ezekiel --")
  • in the final scene in the courtroom, Drummond saw copies of Darwin and the Bible on the bench - he held up Darwin's volume of Origin of Species in one hand, and the Bible in his other hand - thoughtfully weighing them and balancing them against each other in the air; then, with a half-smile and shrug, he clapped them against each other, and then carried them together in one arm as he exited the courtroom, while an acappella voice (of Leslie Uggams) sang the stirring The Battle Hymn of the Republic

The Innocents (1961, UK)

In Jack Clayton's scary melodrama with a co-adapted script (by Truman Capote) of Henry James' classic The Turn of the Screw:

  • the film's atmospheric opening with the Uncle's words: "Do you have an imagination?"
  • the repeated images/sounds of death and decay
  • the 'ghostly' ethereal appearances of a mysterious man and woman (Quint and Miss Jessel) seen by sexually-repressed and slightly deranged Bly House Victorian governess Miss Giddens (Deborah Kerr)
  • the first passionate kiss between Miss Giddens and young 'ghostly' Miles (Martin Stephens) - the orphaned, seemingly 'innocent' nephew of wealthy Bly House estate owner (Michael Redgrave); their kiss came after she escorted him to bed and he suddenly sat up and put his arms around her neck, asking: "Kiss me Goodnight, Miss Giddens"; her belief was that Miles was the reincarnation of the previous governess Miss Jessel's (Clytie Jessop) violently murdered Irish groom and estate's valet Peter Quint (Peter Wyngarde)
  • Miles' eerie recitation of a poem, beginning: "What shall I sing to my lord from my window?..."
  • the frenzied concluding sequence in a hot and humid greenhouse, when Miss Giddens saw an apparition of Quint reflected in a window, but Miles denied her assertions, screamed at her, and accused her of being mad: (" are... a damned hussy, a damned dirty-minded hag! You never fooled us. We always knew") - with a cackling laugh
  • and then in the garden, Miss Giddens grabbed Miles when he stumbled to the ground, hugged him and tried to reassure him: ("Oh, it wasn't you. That voice, those words, they weren't yours"); she begged him to admit that the ghost of the dead Quint existed and was present there with them, and then shook him: ("Say it now, now while I'm holding you. Say his name, and it will all be over...The man who taught you. The man you've been meeting, that you've never stopped meeting... His name, Miles. His name, Miles...Tell me his name! You must tell me his name!...Look...look! Look!...He's here! For the last time, he's here...he's here, and you must say his name!"); he yelled back at her and ran off: "You're wrong, you're insane, you're're insane, you're insane...He's dead!"
  • the ending - Miss Giddens ran to Miles, cradled his fainting body in her arms, assuring him and believing that he was finally freed from Quint: ("He's gone, Miles. You're safe. You're free. I have you. He's lost you forever"); but then she realized that he had died: ("Miles? Miles! Miles! Oh! Oh, no."); sobbing, she leaned over and kissed him

(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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