Greatest Film Moments and Scenes

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 35

R (continued)

Rebel Without a Cause (1955)

The scenes of red-jacketed Jim Stark (James Dean) exhibiting alienation and frustration with his parents - especially his agonized cry: "You're tearing me apart!" at the police station and Judy's (Natalie Wood) "dirty tramp" speech; Jim's first words to Judy in his neighborhood and her reply ("You live here, don't you?" -- "Who lives?"); the choreographed, tense knife-blade fight scene outside the planetarium between HS newcomer Jim and challenger Buzz (Corey Allen); the "chickie run" scene with Buzz's hot-rod car plunging over the cliff edge and Jim's offering of his outstretched hand to Judy; Jim's appeal to his parents following the tragedy ("They called me chicken") and his enraged reaction at his cowardly father ("Dad, stand up for me!"), Jim and Judy's first kiss; the scene of Jim, Judy, and misfit Plato (Sal Mineo) exploring a deserted mansion and an empty swimming pool, and the final tragic and violent scene at the planetarium, in director Nicholas Ray's seminal film about confused 50s youth

The Red Badge of Courage (1951)

The scene of the Union general promising to share supper with half a dozen different platoons after the upcoming battle, and the scene in which the Union officer back behind the line of fighting orders a suicide charge but calls his men cowards when they run, and the intensely realistic battle sequences, in director John Huston's historical epic based upon Stephen Crane's novel

Red Dust (1932)

The characters of sexy Saigon prostitute-on-the-run Vantine (Jean Harlow) and an equally sexy and unshaven Indochinese rubber plantation manager Dennis Carson (Clark Gable), Vantine's infamous nude bath in a rain barrel scene (when she requests both: "Gee, can't a girl take a bath in privacy?" and "Denny, scrub my back"), her bawdy humor including the cleaning of a parrot's cage scene, the love scene of Carson's rescue of virginal (but married) upper-class adulteress Barbara "Babs" Willis (Mary Astor) in his arms during a torrential rainstorm in the jungle - and their forbidden kiss that he takes from her once they reach shelter, and the final scene in which Vantine helps Carson recuperate from a gunshot wound (delivered by a jealous "Babs" involved in a love triangle) - she reads him a newspaper story about a rabbit that goes hippity-hop, hippity-hop, while he makes little walking motions with his fingers up her thigh as he moves his hand up her leg, in director Victor Fleming's romance drama

The Red House (1947)

The character of haunted, deeply-troubled and reclusive, wooden-legged farmer Pete Morgan (Edward G. Robinson) who accidentally murdered his former girlfriend and her husband in a 'red house' - and then raised their child since she was an infant - now 15 year-old adopted step-daughter Meg (Allene Roberts) without her knowing - and the scene of him talking to her while she's swimming and derangedly calling her "Jeanie": ("This is the way it could always be, Jeanie. We don't need anybody else"); and the scene of the scary walk in the woods in a rainstorm by her teenaged classmate Nath Storm (Lon McCallister) too close to the mysterious red house marked with a "No Trespassing" sign that holds secrets of the past, in Delmer Daves' gothic, low-budget horror noir-thriller with the chilling music of Miklos Rozsa

Red River (1948)

The scene of Tom Dunson's (John Wayne) tough challenge and statement of ground rules to his cowhands the night before the treacherous cattle drive up the Chisholm Trail ("There'll be no quitting along the way, not by me and not by you"), his order to foster son Matt (Montgomery Clift in his debut film role) - "Take 'em to Missouri, Matt!", the scene on the morning of the start of the epic cattle drive in which the camera pans 360 degrees around to view the herd and the cowboys and the quick-cutting montage of each of the cowboys crying out to get the doggies movin' ("Yee-Hah!"); the stupendous sequences of the cattle stampede and the Red River crossing; the homosexual-tinged scene between Cherry (John Ireland) and Matt when they compare each other's guns and shooting abilities; the funeral sequence in which a cloud passes over the sun and casts a shadow on the distant mountain, the mutinous confrontation between Matt and an enraged Tom Dunson on the trail; and the final savage, long-lasting brawl between them and their ultimate reconciliation through Tess Millay's (Joanne Dru) intervention, in Howard Hawks' great western classic similar to the story of Mutiny on the Bounty

The Red Shoes (1948)

The magnificent color cinematography, the film's magical highlight - the 20-minute stylized "Red Shoes" ballet (based upon Hans Christian Andersen's children's story) with young, red-headed prima ballerina Victoria (Vicky) Page's (Moira Shearer) performance as a dancer who died because of her obsessive need to dance with her shoes; the image of the audience becoming a roaring ocean coastline behind the conductor-composer Julian Craster (Marius Goring), the Svengali-like ballet producer and impresario Boris Lermontov (Anton Walbrook) and his jealousy over the romance between Vicky and her husband Julian; the painful struggle and choice between career (ballet) and love; and the melodramatic tragic death scene when she falls to her death just before an encore concert presentation of The Red Shoes ballet - the controlling red shoes willfilly take her to a balcony overlook and forcefully pull her off (into the path of an oncoming train on the tracks below), followed by a closeup of her bloody legs (and tights) and feet wearing the shoes; when she requests that Julian remove her red ballet shoes, she dies; and the film's final images of the ballet being performed as planned without her (with a spotlight shining on the floor where she would have been dancing) and the announcement "There will be no performance of The Red Shoes tonight", in Michael Powell and Emeric Pressburger's masterpiece - the best ballet film ever made

The Remains of the Day (1993)

The stunning scene in which rigidly polite British butler Stevens (Anthony Hopkins) is reluctant to reveal the book he is reading (a simple love story) to flirtatious housekeeper Miss Kenton (Emma Thompson) with a look of rapt longing and desire on his face; and the final scene of urgent, but unfulfilled and repressed longing and love between them in which Kenton, now Mrs. Benn, leaves on a trolley car - with their lingering handshake in the rain, and Stevens finally showing the outward emotion of regret, sobbing in his car during a rainstorm - the splattering raindrops on the windshield obscuring his own tears, in producer Ismail Merchant's and director James Ivory's film about a proper English butler (adapted from Kazuo Ishiguro's 1988 novel)

Repo Man (1984)

The iconic 'Holy Grail' existence of a glowing white-light thing (a weapons-grade plutonium neutron bomb or the remains of four aliens?) in the trunk of a 1964 Chevy Malibu - that causes a highway motorcycle patrol officer in the film's opening to immediately vaporize down to his semi-melted leather boots, in director/scriptwriter Alex Cox's debut cult film about car repossession in Los Angeles

Repulsion (1965, UK)

The progression of the increasing insanity of sexually repressed beautician Carol (Catherine Deneuve) accompanied by the sounds of a ticking clock and dripping faucet, and two disturbing scenes of rape (one hallucinatory and one real) - with her retaliatory slashing out with a razor and murdering her landlord (Patrick Wymark) in the second instance; also her brutal murder of Michael (Ian Hendry) by beating him with a candlestick and immersing his body in a bathtub full of water, and the equally startling hallucinatory images of cracks appearing in the wall and grasping phantom hands reaching out at her, as well as shots of plates of rotting food with flies; also the thematic zoom-out and zoom-in on Carol's eye during the opening credits and at film's end, in director Roman Polanski's psychological thriller (his first English language film)

Requiem for a Dream (2000)

The inventive, rapid and stylistic jump cuts, split screens, extreme closeups, assaultive audio, and distorted images in the unrated (originally rated NC-17) film's tense and final 15 minutes (assembled in a montage) to illustrate how lives were utterly shattered and affected by diet pills and stronger drugs; the scenes of crazed, crash-dieting and addicted, lonely widow Sara (Oscar-nominated Ellen Burstyn) in her Brighton Beach apartment losing touch with reality and hallucinating that her carnivorous refrigerator has broken free from the wall and attacked her, while she starred in a TV game show wearing her favorite red dress, and suffered electr0-shock therapy; and the harrowing scene of heroin-addicted Harry Goldfarb (Jared Leto) having his painfully-infected arm amputated (due to intravenous injections) while his girlfriend Marion (Jennifer Connelly) prostituted herself in a decadent lesbian orgy to raise money to support her addiction, in Darren Aronofsky's unforgettable anti-drug cautionary tale

Reservoir Dogs (1992)

The opening credits in which the jewel robbery gang (composed of five total strangers) walks toward the camera to the tune of "Little Green Bag"; the breakfast table conversation of the group of criminals about Madonna's "Like a Virgin" and tipping in the opening scene, the final de-briefing scene (in an abandoned L.A. warehouse) before the failed jewelry heist when the gang members decide to adopt anonymous pseudonyms of color-coded names (Brown, White, Blonde, Blue, Orange, and Pink), and the violent and menacing torture scene following the robbery in their hideout in which suspicious, psychotic gang member Mr. Blonde (Michael Madsen) excises the ear of a cop-hostage Marvin Nash (Kirk Baltz) (accompanied by the Stealer's Wheel song on the radio Stuck in the Middle With You) and then douses his victim with gasoline, and Mr. Orange (Tim Roth) painfully bleeds to death from a bullet in the stomach; and the Mexican stand-off and shoot-out scene, in writer Quentin Tarantino's debut directorial film about a crime-gone-wrong

Return of the Jedi (1983)

The passionate and exciting scene of Luke Skywalker's (Mark Hamill) lightsaber duel with his own father - Darth Vader (voice by James Earl Jones), in the final episode of the Star Wars trilogy's science-fiction space adventure - by director Richard Marquand

Reversal of Fortune (1990)

Jeremy Irons' Oscar-winning portrayal of the cryptic, social-climbing, upper-class aristocrat Claus von Bulow, who is suspected of attempting to murder his American heiress-wife Sunny (Glenn Close) with an injection of a lethal dose of insulin; the lunch meeting scene at a posh restaurant when von Bulow notes how the trial ("the unpleasantness") has elevated his seating status; the famous, brilliantly shot exchange between Harvard defense lawyer/attorney Alan Dershowitz (Ron Silver) and Von Bulow - his face half-hidden in the back seat of his dark limousine (Alan: "You're a very strange man" - Claus: "You have no idea"); the flashback narration by a comatose Sunny of her disintegrating marriage with Claus, and the two versions of Sunny's lapse into a coma in her bathroom - one proving Claus innocent, the other guilty; and the darkly comic ending when Claus asks for a bottle of insulin from a checkout girl (Constance Shulman) who recognizes him from a magazine, in director Barbet Schroeder's crime procedural based on Dershowitz's non-fiction book

Ride the High Country (1962)

The classic farewell and death scene of Steve (Joel McCrea) in which he says "...So long, partner", in Sam Peckinpah's classic revisionistic western - his feature film directorial debut

Rififi (1954, Fr.)

The elaborate, 28-minute heist sequence, without dialogue or background music, in director Jules Dassin's quintessential crime-caper film

The Right Stuff (1983)

The scene of the seven pioneering Project Mercury astronauts walking down a tunnel toward launch, and the many exhilarating flying sequences; also the iconic image of laconic, 'right stuff' test pilot Chuck Yeager (Oscar-nominated Sam Shepard) on horseback next to the X-1 on the runway -- the plane that he flew in 1947 to break the sound barrier, in director Philip Kaufman's adaptation of Tom Wolfe's best-selling non-fiction novel

The Ring (2002)

The disturbing film's plot about a videotape that once played would give the viewer only seven days to live - and the character of investigative reporter Rachel Keller (Naomi Watts) watching and trying to understand the tape; the images on the tape of a ghostly and undead girl named Samara climbing out of a well (her mother drowned her in a well), and the extremely scary scene of Samara crawling out of the TV screen; also the cutaway flashback scene when Katie's (Amber Tamblyn) mother (Lindsay Frost) tells Rachel how she discovered her daughter in a closet, in director Gore Verbinski's remake of Hideo Nakata's equally effective Ringu (1998, Jp.)

Rio Bravo (1959)

The wordless, two and a half-minute opening scene in which all the major characters (the small-town sheriff John T. Chance (John Wayne), his alcoholic future deputy Dude (Dean Martin), and the brutish murderous antagonist Joe Burdett (Claude Akins) in jail) are introduced; the interactions between the characters including attractive, independent and alluring stagecoach passenger Feathers (Angie Dickinson), toothless cripple sidekick Stumpy (Walter Brennan), and baby-faced young gunslinger Colorado (Ricky Nelson); and the climactic front porch shoot-out scene, in Howard Hawks' western - conceived as a rebuking response to Fred Zinnemann's High Noon (1952) and its main character Marshal Will Kane (Gary Cooper)

Risky Business (1983)

The opening fantasy-dream sequence in which college-bound Joel Goodsen (Tom Cruise) sees a strange young girl (Francine Locke credited as "Shower Girl") soaping up in a steamy shower in his neighbor's house - and her non-chalant request: "I want you to wash my back" - making him three hours late for his college boards tests; the famed scene of his floor-sliding entrance into the living room while solo dancing and wearing white socks, a pink-striped shirt, and tight underwear, and lip-synching to the tune of Bob Seger's "Old Time Rock & Roll"; Miles' (Curtis Armstrong) repeated advice to Joel when his parents are away: "Every now and then say, 'What the f--k.' 'What the f--k' gives you freedom. Freedom brings opportunity. Opportunity makes your future"; the scene of sexy call-girl Lana's (Rebecca DeMornay) first arrival at the house when the wind blows the living room's patio doors open and they make love on the staircase; and Joel and Lana's love-making during a ride on the CTA elevated subway - both backed by the electronic score of Tangerine Dream; Joel's cool Ray-Ban sunglasses, and Joel's successful dealing in "human fulfillment" and free enterprise in the Future Enterprisers organization, in writer/director Paul Brickman's debut film

A River Runs Through It (1992)

The story of two brothers (studious and intellectual Norman (Craig Sheffer) and rebellious Paul (Brad Pitt)) growing up in Montana in the 1920s; the mystical cinematographic beauty of the entire picturesque and poetic film (shot by Academy Award-winning Philippe Rousselot) - especially the thrilling Big Blackfoot River fly-fishing scenes with the lyrical voice-over narration: ("In our family, there was no clear division between religion and fly-fishing" and "It was a world with the dew still on it"), in director Robert Redford's adaptation of Norman Maclean's novel

The Road Warrior (1982) (aka Mad Max 2, 1981, Aus.)

The sequel to the grim revenge/action film Mad Max (1979), with the opening and closing images of lone cop road warrior Max (Mel Gibson) standing as a lone figure on a highway amidst visions of a post-apocalyptic violent world; the looney sidekick character of the Gyro Captain (Bruce Spence); the brutal rape scene viewed from afar when a group of townsfolk attempt to find a truck to haul an oil tank to freedom and are set upon by the bikers; Max, driving a semi-trailer fuel-oil tanker in an escape attempt, was pursued and viciously attacked at breakneck speed by a convoy of bizarre vehicles, souped-up cars and motorcycles, and a marauding savage band of punkish desert vandals in the post-apocalypse future; the nomadic warriors flung grappling hooks at the truck, and shot arrows from crossbows at it while leaping from vehicle to vehicle, and a fire-bombing gyroplane hovered above the action; the climax occurred when the 40-foot tanker crashed into Lord Humungus' (Kjell Nilsson) car -- also killing Wez (Vernon Wells), who was clinging to the fender of the tanker -- and the tanker rolled over onto its side, in George Miller's exciting apocalyptic adventure film sequel

The Roaring Twenties (1939)

The Prohibition montage, the characterization of rough gangster Eddie Bartlett (James Cagney), the scene of the gang's robbery of a shipment of government-confiscated liquor, and the film's ending -- Eddie's memorable death scene (evoking Michelangelo's Pieta) in the snow on the steps of a church in the arms of Panama Smith (Gladys George) and her epitaph: "He used to be a big shot", in director Raoul Walsh's documentary style crime-gangster film

The Robe (1953)

The first film released in widescreen CinemaScope, from 20th Century Fox - a stirring religious epic, by director Henry Koster

Created in 1996-2008 © by Tim Dirks. All rights reserved.

R (continued)
Rebel Without a Cause (1955)	The scenes of red-jacketed Jim Stark (James Dean) exhibiting alienation and frustration with his parents - especially his agonized cry: "You're tearing me apart!" at the police station and Judy's (Natalie Wood) "dirty tramp" speech; Jim's first words to Judy in his neighborhood and her reply ("You live here, don't you?" -- "Who lives?"); the choreographed, tense knife-blade fight scene outside the planetarium between HS newcomer Jim and challenger Buzz (Corey Allen); the "chickie run" scene with Buzz's hot-rod car plunging over the cliff edge and Jim's offering of his outstretched hand to Judy; Jim's appeal to his parents following the tragedy ("They called me chicken") and his enraged reaction at his cowardly father ("Dad, stand up for me!"), Jim and Judy's first kiss; the scene of Jim, Judy, and misfit Plato (Sal Mineo) exploring a deserted mansion and an empty swimming pool, and the final tragic and violent scene at the planetarium, in director Nicholas Ray's seminal film about confused 50s youth
The Red Badge of Courage (1951)	The scene of the Union general promising to share supper with half a dozen different platoons after the upcoming battle, and the scene in which the Union officer back behind the line of fighting orders a suicide charge but calls his men cowards when they run, and the intensely realistic battle sequences, in director John Huston's historical epic based upon Stephen Crane's novel
Red Dust (1932)	The characters of sexy Saigon prostitute-on-the-run Vantine (Jean Harlow) and an equally sexy and unshaven Indochinese rubber plantation manager Dennis Carson (Clark Gable), Vantine's infamous nude bath in a rain barrel scene (when she requests both: "Gee, can't a girl take a bath in privacy?" and "Denny, scrub my back"), her bawdy humor including the cleaning of a parrot's cage scene, the love scene of Carson's rescue of virginal (but married) upper-class adulteress Barbara "Babs" Willis (Mary Astor) in his arms during a torrential rainstorm in the jungle - and their forbidden kiss that he takes from her once they reach shelter, and the final scene in which Vantine helps Carson recuperate from a gunshot wound (delivered by a jealous "Babs" involved in a love triangle) - she reads him a newspaper story about a rabbit that goes hippity-hop, hippity-hop, while he makes little walking motions with his fingers up her thigh as he moves his hand up her leg, in director Victor Fleming's romance drama
The Red House (1947)	The character of haunted, deeply-troubled and reclusive, wooden-legged farmer Pete Morgan (Edward G. Robinson) who accidentally murdered his former girlfriend and her husband in a 'red house' - and then raised their child since she was an infant - now 15 year-old adopted step-daughter Meg (Allene Roberts) without her knowing - and the scene of him talking to her while she's swimming and derangedly calling her "Jeanie": ("This is the way it could always be, Jeanie. We don't need anybody else"); and the scene of the scary walk in the woods in a rainstorm by her teenaged classmate Nath Storm (Lon McCallister) too close to the mysterious red house marked with a "No Trespassing" sign that holds secrets of the past, in Delmer Daves' gothic, low-budget horror noir-thriller with the chilling music of Miklos Rozsa
Red River (1948)	The scene of Tom Dunson's (John Wayne) tough challenge and statement of ground rules to his cowhands the night before the treacherous cattle drive up the Chisholm Trail ("There'll be no quitting along the way, not by me and not by you"), his order to foster son Matt (Montgomery Clift in his debut film role) - "Take 'em to Missouri, Matt!", the scene on the morning of the start of the epic cattle drive in which the camera pans 360 degrees around to view the herd and the cowboys and the quick-cutting montage of each of the cowboys crying out to get the doggies movin' ("Yee-Hah!"); the stupendous sequences of the cattle stampede and the Red River crossing; the homosexual-tinged scene between Cherry (John Ireland) and Matt when they compare each other's guns and shooting abilities; the funeral sequence in which a cloud passes over the sun and casts a shadow on the distant mountain, the mutinous confrontation between Matt and an enraged Tom Dunson on the trail; and the final savage, long-lasting brawl between them and their ultimate reconciliation through Tess Millay's (Joanne Dru) intervention, in Howard Hawks' great western classic similar to the story of Mutiny on the Bounty
The Red Shoes (1948)	The magnificent color cinematography, the film's magical highlight - the 20-minute stylized "Red Shoes" ballet (based upon Hans Christian Andersen's children's story) with young, red-headed prima ballerina Victoria (Vicky) Page's (Moira Shearer) performance as a dancer who died because of her obsessive need to dance with her shoes; the image of the audience becoming a roaring ocean coastline behind the conductor-composer Julian Craster (Marius Goring), the Svengali-like ballet producer and impresario Boris Lermontov (Anton Walbrook) and his jealousy over the romance between Vicky and her husband Julian; the painful struggle and choice between career (ballet) and love; and the melodramatic tragic death scene when she falls to her death just before an encore concert presentation of The Red Shoes ballet - the controlling red shoes willfilly take her to a balcony overlook and forcefully pull her off (into the path of an oncoming train on the tracks below), followed by a closeup of her bloody legs (and tights) and feet wearing the shoes; when she requests that Julian remove her red ballet shoes, she dies; and the film's final images of the ballet being performed as planned without her (with a spotlight shining on the floor where she would have been dancing) and the announcement "There will be no performance of The Red Shoes tonight", in Michael Powell and Emeric Pressburger's masterpiece - the best ballet film ever made
The Remains of the Day (1993)	The stunning scene in which rigidly polite British butler Stevens (Anthony Hopkins) is reluctant to reveal the book he is reading (a simple love story) to flirtatious housekeeper Miss Kenton (Emma Thompson) with a look of rapt longing and desire on his face; and the final scene of urgent, but unfulfilled and repressed longing and love between them in which Kenton, now Mrs. Benn, leaves on a trolley car - with their lingering handshake in the rain, and Stevens finally showing the outward emotion of regret, sobbing in his car during a rainstorm - the splattering raindrops on the windshield obscuring his own tears, in producer Ismail Merchant's and director James Ivory's film about a proper English butler (adapted from Kazuo Ishiguro's 1988 novel)
Repo Man (1984)	The iconic 'Holy Grail' existence of a glowing white-light thing (a weapons-grade plutonium neutron bomb or the remains of four aliens?) in the trunk of a 1964 Chevy Malibu - that causes a highway motorcycle patrol officer in the film's opening to immediately vaporize down to his semi-melted leather boots, in director/scriptwriter Alex Cox's debut cult film about car repossession in Los Angeles
Repulsion (1965, UK)	The progression of the increasing insanity of sexually repressed beautician Carol (Catherine Deneuve) accompanied by the sounds of a ticking clock and dripping faucet, and two disturbing scenes of rape (one hallucinatory and one real) - with her retaliatory slashing out with a razor and murdering her landlord (Patrick Wymark) in the second instance; also her brutal murder of Michael (Ian Hendry) by beating him with a candlestick and immersing his body in a bathtub full of water, and the equally startling hallucinatory images of cracks appearing in the wall and grasping phantom hands reaching out at her, as well as shots of plates of rotting food with flies; also the thematic zoom-out and zoom-in on Carol's eye during the opening credits and at film's end, in director Roman Polanski's psychological thriller (his first English language film)
Requiem for a Dream (2000)	The inventive, rapid and stylistic jump cuts, split screens, extreme closeups, assaultive audio, and distorted images in the unrated (originally rated NC-17) film's tense and final 15 minutes (assembled in a montage) to illustrate how lives were utterly shattered and affected by diet pills and stronger drugs; the scenes of crazed, crash-dieting and addicted, lonely widow Sara (Oscar-nominated Ellen Burstyn) in her Brighton Beach apartment losing touch with reality and hallucinating that her carnivorous refrigerator has broken free from the wall and attacked her, while she starred in a TV game show wearing her favorite red dress, and suffered electr0-shock therapy; and the harrowing scene of heroin-addicted Harry Goldfarb (Jared Leto) having his painfully-infected arm amputated (due to intravenous injections) while his girlfriend Marion (Jennifer Connelly) prostituted herself in a decadent lesbian orgy to raise money to support her addiction, in Darren Aronofsky's unforgettable anti-drug cautionary tale
Reservoir Dogs (1992)	The opening credits in which the jewel robbery gang (composed of five total strangers) walks toward the camera to the tune of "Little Green Bag"; the breakfast table conversation of the group of criminals about Madonna's "Like a Virgin" and tipping in the opening scene, the final de-briefing scene (in an abandoned L.A. warehouse) before the failed jewelry heist when the gang members decide to adopt anonymous pseudonyms of color-coded names (Brown, White, Blonde, Blue, Orange, and Pink), and the violent and menacing torture scene following the robbery in their hideout in which suspicious, psychotic gang member Mr. Blonde (Michael Madsen) excises the ear of a cop-hostage Marvin Nash (Kirk Baltz) (accompanied by the Stealer's Wheel song on the radio Stuck in the Middle With You) and then douses his victim with gasoline, and Mr. Orange (Tim Roth) painfully bleeds to death from a bullet in the stomach; and the Mexican stand-off and shoot-out scene, in writer Quentin Tarantino's debut directorial film about a crime-gone-wrong
Return of the Jedi (1983)	The passionate and exciting scene of Luke Skywalker's (Mark Hamill) lightsaber duel with his own father - Darth Vader (voice by James Earl Jones), in the final episode of the Star Wars trilogy's science-fiction space adventure - by director Richard Marquand
Reversal of Fortune (1990)	Jeremy Irons' Oscar-winning portrayal of the cryptic, social-climbing, upper-class aristocrat Claus von Bulow, who is suspected of attempting to murder his American heiress-wife Sunny (Glenn Close) with an injection of a lethal dose of insulin; the lunch meeting scene at a posh restaurant when von Bulow notes how the trial ("the unpleasantness") has elevated his seating status; the famous, brilliantly shot exchange between Harvard defense lawyer/attorney Alan Dershowitz (Ron Silver) and Von Bulow - his face half-hidden in the back seat of his dark limousine (Alan: "You're a very strange man" - Claus: "You have no idea"); the flashback narration by a comatose Sunny of her disintegrating marriage with Claus, and the two versions of Sunny's lapse into a coma in her bathroom - one proving Claus innocent, the other guilty; and the darkly comic ending when Claus asks for a bottle of insulin from a checkout girl (Constance Shulman) who recognizes him from a magazine, in director Barbet Schroeder's crime procedural based on Dershowitz's non-fiction book
Ride the High Country (1962)	The classic farewell and death scene of Steve (Joel McCrea) in which he says "...So long, partner", in Sam Peckinpah's classic revisionistic western - his feature film directorial debut
Rififi (1954, Fr.)	The elaborate, 28-minute heist sequence, without dialogue or background music, in director Jules Dassin's quintessential crime-caper film
The Right Stuff (1983)	The scene of the seven pioneering Project Mercury astronauts walking down a tunnel toward launch, and the many exhilarating flying sequences; also the iconic image of laconic, 'right stuff' test pilot Chuck Yeager (Oscar-nominated Sam Shepard) on horseback next to the X-1 on the runway -- the plane that he flew in 1947 to break the sound barrier, in director Philip Kaufman's adaptation of Tom Wolfe's best-selling non-fiction novel
The Ring (2002)	The disturbing film's plot about a videotape that once played would give the viewer only seven days to live - and the character of investigative reporter Rachel Keller (Naomi Watts) watching and trying to understand the tape; the images on the tape of a ghostly and undead girl named Samara climbing out of a well (her mother drowned her in a well), and the extremely scary scene of Samara crawling out of the TV screen; also the cutaway flashback scene when Katie's (Amber Tamblyn) mother (Lindsay Frost) tells Rachel how she discovered her daughter in a closet, in director Gore Verbinski's remake of Hideo Nakata's equally effective Ringu (1998, Jp.)
Rio Bravo (1959)	The wordless, two and a half-minute opening scene in which all the major characters (the small-town sheriff John T. Chance (John Wayne), his alcoholic future deputy Dude (Dean Martin), and the brutish murderous antagonist Joe Burdett (Claude Akins) in jail) are introduced; the interactions between the characters including attractive, independent and alluring stagecoach passenger Feathers (Angie Dickinson), toothless cripple sidekick Stumpy (Walter Brennan), and baby-faced young gunslinger Colorado (Ricky Nelson); and the climactic front porch shoot-out scene, in Howard Hawks' western - conceived as a rebuking response to Fred Zinnemann's High Noon (1952) and its main character Marshal Will Kane (Gary Cooper)
Risky Business (1983)	The opening fantasy-dream sequence in which college-bound Joel Goodsen (Tom Cruise) sees a strange young girl (Francine Locke credited as "Shower Girl") soaping up in a steamy shower in his neighbor's house - and her non-chalant request: "I want you to wash my back" - making him three hours late for his college boards tests; the famed scene of his floor-sliding entrance into the living room while solo dancing and wearing white socks, a pink-striped shirt, and tight underwear, and lip-synching to the tune of Bob Seger's "Old Time Rock & Roll"; Miles' (Curtis Armstrong) repeated advice to Joel when his parents are away: "Every now and then say, 'What the f--k.' 'What the f--k' gives you freedom. Freedom brings opportunity. Opportunity makes your future"; the scene of sexy call-girl Lana's (Rebecca DeMornay) first arrival at the house when the wind blows the living room's patio doors open and they make love on the staircase; and Joel and Lana's love-making during a ride on the CTA elevated subway - both backed by the electronic score of Tangerine Dream; Joel's cool Ray-Ban sunglasses, and Joel's successful dealing in "human fulfillment" and free enterprise in the Future Enterprisers organization, in writer/director Paul Brickman's debut film
A River Runs Through It (1992)	The story of two brothers (studious and intellectual Norman (Craig Sheffer) and rebellious Paul (Brad Pitt)) growing up in Montana in the 1920s; the mystical cinematographic beauty of the entire picturesque and poetic film (shot by Academy Award-winning Philippe Rousselot) - especially the thrilling Big Blackfoot River fly-fishing scenes with the lyrical voice-over narration: ("In our family, there was no clear division between religion and fly-fishing" and "It was a world with the dew still on it"), in director Robert Redford's adaptation of Norman Maclean's novel
The Road Warrior (1982) (aka Mad Max 2, 1981, Aus.)	The sequel to the grim revenge/action film Mad Max (1979), with the opening and closing images of lone cop road warrior Max (Mel Gibson) standing as a lone figure on a highway amidst visions of a post-apocalyptic violent world; the looney sidekick character of the Gyro Captain (Bruce Spence); the brutal rape scene viewed from afar when a group of townsfolk attempt to find a truck to haul an oil tank to freedom and are set upon by the bikers; Max, driving a semi-trailer fuel-oil tanker in an escape attempt, was pursued and viciously attacked at breakneck speed by a convoy of bizarre vehicles, souped-up cars and motorcycles, and a marauding savage band of punkish desert vandals in the post-apocalypse future; the nomadic warriors flung grappling hooks at the truck, and shot arrows from crossbows at it while leaping from vehicle to vehicle, and a fire-bombing gyroplane hovered above the action; the climax occurred when the 40-foot tanker crashed into Lord Humungus' (Kjell Nilsson) car -- also killing Wez (Vernon Wells), who was clinging to the fender of the tanker -- and the tanker rolled over onto its side, in George Miller's exciting apocalyptic adventure film sequel
The Roaring Twenties (1939)	The Prohibition montage, the characterization of rough gangster Eddie Bartlett (James Cagney), the scene of the gang's robbery of a shipment of government-confiscated liquor, and the film's ending -- Eddie's memorable death scene (evoking Michelangelo's Pieta) in the snow on the steps of a church in the arms of Panama Smith (Gladys George) and her epitaph: "He used to be a big shot", in director Raoul Walsh's documentary style crime-gangster film
The Robe (1953)	The first film released in widescreen CinemaScope, from 20th Century Fox - a stirring religious epic, by director Henry Koster