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 37

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Saboteur (1942)

The opening spectacular scene of a self-immolating attempt to put out a factory fire, Barry Kane's (Robert Cummings) frantic grinding of his handcuffs with the fan belt of his car as another car approaches, the bizarre encounter with the Russell Bros. circus - a caravan of unusual freaks, the scene at the charity ball where an exit-escape is impossible, Kane's race to stop the sabotage of a ship launching at the Brooklyn Navy Yard and his wrestling with foreign saboteur Fry (Norman Lloyd), Patricia Martin's (Priscilla Lane) entrapment high in an office building and her SOS note (written in lipstick) sent fluttering into the wind, the pursuit scene across the movie theatre stage of Radio City Music Hall, and the frightening, harrowing scene high on the Statue of Liberty's torch when Fry's coat sleeve slowly rips away stitch by stitch and he falls to his death, in Alfred Hitchcock's exciting thriller

Sabrina (1954)

The tremendous beauty and charm of Long Island chauffeur's daughter Sabrina Fairchild (Audrey Hepburn), her snooping on the Larrabee's party on Long Island from a perch in a tree, her costumed Cinderella-like transformation after returning from Paris - when she is picked up at the railroad station by astounded ultra-rich playboy David Larrabee (William Holden), and her response to his question about where she's been all his life: "Right over the garage", in Billy Wilder's delightful romantic comedy

Safe (1995)

The portrayal of sexually-unfulfilled, affluent, zombie-like and bored San Fernando Valley housewife Carol White (Julianne Moore), a milk-a-holic, who became afflicted with a psycho-somatic, debilitating allergy to her environment (various pollutants, car exhaust, poisons, chemicals, the ozone, high-energy wires, additives-preservatives, pesticides, etc.) - with the scene of her choking on exhaust fumes from a truck; and her retreat from life to an expensive, New Mexic0 New Age center named Wrenwood - a non-profit desert community run by chemically-sensitive, opportunistic, HIV-positive Peter Dunning (Peter Friedman); the self-help group's daily mantra: "Give yourself to love!", and the film's final image of the vulnerable, self-effacing Carol attempting to find elusive liberation through self-love (addressing her mirror image with "I love you... I really love you... I love you...") as the sole occupant of a sterile, egg-like, hermetically-sealed igloo 'home' at Wrenwood, in director Todd Haynes' provocative and compelling drama

Safety Last (1923)

The Boy's (Harold Lloyd) daredevil climb up the side of an eight-story building, culminating in the famous iconic image of him hanging from the arms of a huge clock high above the busy street below, in this well-known romance comedy from co-directors Fred C. Newmeyer and Sam Taylor

Salvador (1986)

The heavy-drinking, joke-telling drive south in a Mustang convertible into politically-unstable El Salvador by two adventurers: sleazy, obnoxious freelance American photo-journalist Richard Boyle (Oscar-nominated James Woods) and his drug-taking DJ buddy Doctor Rock (James Belushi); the horrors of war (stinking piles of corpses of raped/murdered victims) that are uncovered when Boyle and John Cassidy (John Savage) find themselves shooting at the body dump; and the scene in a San Salvador cathedral when Boyle seeks redemption and forgiveness from a priest but realizes "that's gonna be a little tough" to change his ways, in director Oliver Stone's political thriller about the bloody 1980 civil war strife in Central America

Samson and Delilah (1950)

Hunk Samson's (Victor Mature) destruction of the Philistinian army with the jawbone of an ass in a savage battle scene, Delilah's (Hedy Lamarr) seduction of Samson and the shearing of his locks, and the spectacular scene of Samson's destruction of the temple, in Cecil B. DeMille's Biblical epic

San Francisco (1936)

The stunningly realistic 20-minute earthquake and fire sequence, with spectacular special effects (including the splitting apart of the earth and the fiery aftermath), ending with Blackie Norton (Clark Gable) and Father Tim Mullin (Spencer Tracy) finding Mary Blake (Jeanette MacDonald) on a hillside singing "Nearer My God to Thee," and Blackie confessing his thanks to God on his knees and reuniting with Mary as she sings "The Battle Hymn of the Republic" with the throngs of people, and the final scene (after "the fire's out") in which crowds gather on a hill to look down on the devastated city - with the dissolve from the ruined city to a view of the reconstructed city with the reprised sound of the title song "San Francisco", in director W.S. Van Dyke's dramatic disaster film

Sands of Iwo Jima (1949)

The scene in which Sergeant John M. Stryker (Oscar-nominated John Wayne) threatens to kill Pfc Conway (John Agar) ("That's just what I'll do. This mission is bigger than any individual") who wants to rescue wounded comrade Pfc. Bass (James Brown) calling "Corpsman" (but would tip off their whereabouts to the Japanese enemy) - "The only way you can stop me is to kill me"; Stryker's repeated phrase: "Saddle up!"; also the unexpected and random, unheroic death of Stryker who has just completed a strategic assault on the volcanic Japanese island of Iwo Jima (with the memorable flag-raising on Mount Suribachi) - he pauses to relax with a cigarette after having just told a fellow Marine: "I never felt so good in my life" and asking: "How about a cigarette?" - when he is shot and killed by a sniper, in director Allan Dwan's action-war film

Saturday Night Fever (1977)

Under the credits of this defining film, the swaggering footsteps of Italian Saturday night disco king Tony Manero (a star-making, Oscar-nominated role for John Travolta) walking down a Brooklyn sidewalk while swinging a paint can to the tune of "Stayin' Alive", Tony's amazing display of dancing style on a pulsating color-tiled dance floor of the 2001 Odyssey club, especially his brilliant solo "You Should Be Dancin'" with a soundtrack enhanced by the Bee Gees, the Night Fever line dance, and the contest scene with a white-suited, black-shirted Tony dancing next to partner Stephanie (Karen Lynn Gorney) to the tune of "More Than a Woman" to win the $500 prize, in director John Badham's 1970s disco dance classic

Saving Private Ryan (1998)

The film's opening with an American flag and the first word heard - "father" as an elderly man kneels at a tombstone while visiting the war dead; the gripping, documentary-style, graphically-bloody, visceral Allied D-Day landing on Omaha Beach (actually filmed on the coast of Ireland) in the opening half-hour (beginning with a close-up of shaking hands of a young soldier on a PT boat - later revealed as belonging to Oscar-nominated Tom Hanks' character Capt. John Miller); the mission of a unit of soldiers led by Miller to rescue the last Ryan son (the other three Sean, Peter, and Daniel had been killed), Miller's heroic, dying order to Private James Ryan (Matt Damon) with the terse words: "James, earn this. Earn it," and the scene 50 years later at Miller's grave as the older, teary-eyed Ryan asks his wife: "Am I a good man? Tell me that I have been a good man" and uncomprehending - she reassures him, and the final image of a back-lit American flag billowing in the wind, in Best Director-winning Steven Spielberg's WWII epic

Say Anything... (1989)

Lloyd Dobler's (John Cusack) replaying of Peter Gabriel's haunting "In Your Eyes" on a boom box (defiantly held high above his head) to serenade ex high-school brainy and beautiful girlfriend Diane Court (Ione Skye) outside her bedroom window at dusk, the scene of their three second kiss in the pouring rain, and the final scene on an airplane where flight-fearing Diane and a comforting Lloyd are awaiting the all-clear and safe 'ding' of the "Fasten Seatbelts" sign going off - and when it dings the screen cuts to black, in director/writer Cameron Crowe's teen romance (his directorial debut film)

Scarface, The Shame of the Nation (1932)

Reptilian maniac gangster Tony Camonte (Paul Muni) and his close and almost-incestuous relationship with his sister Cesca (Ann Dvorak), George Raft in his famous coin-flipping role as Guino Rinaldo, and the many murder/massacre scenes including gangster Gaffney's (Boris Karloff) execution in a bowling alley, the many X images signifying an impending murder, and Cesca and Tony's final death scenes in the shootout, in this brutally realistic crime-gangster film produced by Howard Hughes and directed by Howard Hawks

Scarface (1983)

The character of Cuban refugee turned coke addict Tony Montana (Al Pacino), the immigration interview, the shocking chain-saw dismemberment scene, the entrance scene of Tony's sexy but callous cokehead future wife Elvira Hancock (Michelle Pfeiffer) with a backless dress descending in an elevator; and the visceral shootout ending in which the Miami gangster faces overwhelming odds with his M16 assault rifle (and grenade launcher) at the top of the stairs - tempting the assassins raiding his mansion with: "Say hello to my leetle friend", in Brian De Palma's (and writer Oliver Stone's) bloody and violent remake

The Scarlet Pimpernel (1934)

The oft-repeated poem recited by Sir Percy Blakeney/The Pimpernel (Leslie Howard): "They seek him here. They seek him there. Those Frenchies seek him everywhere. Is he in Heaven? Is he in Hell? That damned elusive Pimpernel", in director Harold Young's historical adventure - adapted from Baroness Emmuska Orczy's 1905 novel of the same name

Scarlet Street (1945)

The tragic story of a meek, middle-aged cashier and unhappily-married, hen-pecked husband Christopher Cross (Edward G. Robinson) who unwittingly falls into a cruel trap set by cold-hearted femme fatale gold-digger Katherine "Kitty" March (Joan Bennett) and her abusive, slick and mercenary boyfriend Johnny (Dan Duryea), particularly obvious in the scene when she laughs at Cross for proposing marriage and reveals her true feelings, calls him an "idiot" ("I'm not crying, you fool, I'm laughing!...Oh you idiot! How could a man be so dumb?"), and orders him out -- leading him to commit murder in a jealous rage by stabbing her with an ice-pick - the film ends with him suffering humiliating disgrace, psychological torment and mental anguish (i.e., a failed suicide attempt by hanging and abject homelessness as he wanders the streets), in Fritz Lang's fatalistic film noir

Scary Movie (2000)

The crude, low-brow, semi-sexually-explicit, satirical, Airplane!-style jokes (skewering the slasher film genre, such as Scream (1996) and I Know What You Did Last Summer, and more), beginning with its well-advertised early scene of wet underwear-wearing Drew Decker (Carmen Electra) stabbed in the chest with a silicon-enhanced knife when pursued by a masked and hooded killer; the name of the school (B.A. Corpse High) and the female gym teacher (Ms. Mann), and the scene in a motion picture theater of the murder of an incessantly-talking female - not by the serial killer but by the entire audience - in Keenen Ivory Wayans' raunchy teen comedy

Scent of a Woman (1992)

Blind Lt. Col. Frank Slade's (Oscar-winning Al Pacino) musings about female breasts ("Tits. Hoo-hah! Big ones, little ones. Nipples staring right out at ya, like secret searchlights"), his graceful, sensuous tango dance scene with Donna (Gabrielle Anwar), the scene of his test drive of a Ferrari while Charlie (Chris O'Donnell) shouts directions, and Slade's dramatic speech to the student body of Baird College during Charlie's disciplinary hearing (including "This is such a crock of s--t!"), in director Martin Brest's coming-of-age drama

Schindler's List (1993)

The crisp black and white cinematography, the opening restaurant/cabaret scene in which would-be war profiteer Oskar Schindler (Liam Neeson) wheels and deals his way into the pocketbooks of SS officers in a Krakow nightclub, the interview scene with eighteen pretty secretaries, the many scenes of random and indiscriminate killings including the one-armed worker and the female construction engineer - usually at point-blank range with a gun, the stunning and brilliant performances by the three male leads - Schindler, Amon Goeth (Ralph Fiennes), and Itzhak Stern (Ben Kingsley), the brutal scene of the clearing and liquidation of the Krakow Ghetto, the image of a girl in a drab red coat walking amidst the murderous chaos (and later spotted on a cart piled with corpses), and the night-time follow-up hunt, the scene in which a shirtless, overweight Goeth fires his telescopic rifle from his villa's balcony perch above the Plaszow work camp at innocent prisoners, the hinge-making scene and its aftermath, Schindler's delivery of the speech about power with restraint, the disturbing confrontation of Goeth with his trembling housekeeper Helen Hirsch (Embeth Davidtz) in her basement living quarters, the scene of the winnowing out of the healthy from the unfit with prisoners running naked before doctors in the medical examination scene, the image of children hiding waist-deep in latrine excrement, Schindler's birthday celebration including a sustained kiss of a young Jewess, the exhumation and incineration of the corpses in graves, the labored compilation and typing of 'Schindler's List' by Stern as Schindler desperately paces the room - including Stern's eloquent summation: "The list is an absolute good. The list is life. All around its margins lies the gulf", the arrival of a boxcar of female workers at Auschwitz and the intense shower scene, Schindler's emotional final address to his factory workers following the war and his farewell to Stern: ("I didn't do enough"), and the final coda (in color) pairing real-life survivors with their counterpart actors-actresses as they place rocks on the real-life grave of Schindler, in Steven Spielberg's Best Picture-winning historical epic of the Holocaust

Scream (1996)

The opening 12-minute prologue scene in which all-American, sweatered girl Casey Becker (Drew Barrymore in a very short cameo) is alone preparing pop-corn to watch a video when she receives an initially playful phone call (she is asked what her favorite scary movie is - and replies Halloween), and then the repeated terrifying calls turn obscene, threatening and ugly; when she demands to know what the caller wants, he simply replies: "To see your insides" - and she ends up slaughtered and hanging in the front yard; also the wise words about how to avoid being murdered by the knowledgeable video geek Randy Meeks (Jamie Kennedy): "You can never have sex...you can never drink or do drugs...and number three: never, ever, ever under any circumstances say, 'I'll be right back'", in Wes Craven's horror film spoof

The Sea Hawk (1940)

The action-filled sequences of sea battles and duels, and the dashing character of privateer "Sea Hawk" Capt. Geoffrey Thorpe (Errol Flynn), in one of the best pirate/swashbuckling adventure films ever made by director Michael Curtiz

The Searchers (1956)

The breathtaking cinematography of Monument Valley, Confederate soldier Ethan Edwards' (John Wayne) entrance on horseback to the frontier house with everyone watching from the homestead's porch; the unspoken love between Ethan and his brother's wife Martha (Dorothy Jordan); the pre-massacre image of Chief Scar (Henry Brandon) standing over young Debbie Edwards (Lana Wood), the scene of Ethan shooting out of the eyes of a dead Comanche to prevent him from entering the spirit world ("...has to wander forever between the winds"), his relentless search for his kidnapped niece Debbie and his ominous statement to fellow searchers after finding Lucy's mutilated body: "Long as you live, don't ever ask me more"; Ethan's oft-repeated: "That'll be the day," and the dramatic scene in which he catches Debbie (now Natalie Wood) five years later, scoops her into his arms and tells her: "Let's go home, Debbie"; and the final famous exit scene in which Ethan is framed and isolated by the silhouetted dark doorway (in front of the harsh outdoor sunshine) and watches as reunited friends and family enter the homestead, but he is left out, 'cursed' and doomed to wander - and so he turns and the door shuts behind him, in John Ford's classic and landmark western

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

S
Saboteur (1942)	The opening spectacular scene of a self-immolating attempt to put out a factory fire, Barry Kane's (Robert Cummings) frantic grinding of his handcuffs with the fan belt of his car as another car approaches, the bizarre encounter with the Russell Bros. circus - a caravan of unusual freaks, the scene at the charity ball where an exit-escape is impossible, Kane's race to stop the sabotage of a ship launching at the Brooklyn Navy Yard and his wrestling with foreign saboteur Fry (Norman Lloyd), Patricia Martin's (Priscilla Lane) entrapment high in an office building and her SOS note (written in lipstick) sent fluttering into the wind, the pursuit scene across the movie theatre stage of Radio City Music Hall, and the frightening, harrowing scene high on the Statue of Liberty's torch when Fry's coat sleeve slowly rips away stitch by stitch and he falls to his death, in Alfred Hitchcock's exciting thriller
Sabrina (1954)	The tremendous beauty and charm of Long Island chauffeur's daughter Sabrina Fairchild (Audrey Hepburn), her snooping on the Larrabee's party on Long Island from a perch in a tree, her costumed Cinderella-like transformation after returning from Paris - when she is picked up at the railroad station by astounded ultra-rich playboy David Larrabee (William Holden), and her response to his question about where she's been all his life: "Right over the garage", in Billy Wilder's delightful romantic comedy
Safe (1995)	The portrayal of sexually-unfulfilled, affluent, zombie-like and bored San Fernando Valley housewife Carol White (Julianne Moore), a milk-a-holic, who became afflicted with a psycho-somatic, debilitating allergy to her environment (various pollutants, car exhaust, poisons, chemicals, the ozone, high-energy wires, additives-preservatives, pesticides, etc.) - with the scene of her choking on exhaust fumes from a truck; and her retreat from life to an expensive, New Mexic0 New Age center named Wrenwood - a non-profit desert community run by chemically-sensitive, opportunistic, HIV-positive Peter Dunning (Peter Friedman); the self-help group's daily mantra: "Give yourself to love!", and the film's final image of the vulnerable, self-effacing Carol attempting to find elusive liberation through self-love (addressing her mirror image with "I love you... I really love you... I love you...") as the sole occupant of a sterile, egg-like, hermetically-sealed igloo 'home' at Wrenwood, in director Todd Haynes' provocative and compelling drama
Safety Last (1923)	The Boy's (Harold Lloyd) daredevil climb up the side of an eight-story building, culminating in the famous iconic image of him hanging from the arms of a huge clock high above the busy street below, in this well-known romance comedy from co-directors Fred C. Newmeyer and Sam Taylor
Salvador (1986)	The heavy-drinking, joke-telling drive south in a Mustang convertible into politically-unstable El Salvador by two adventurers: sleazy, obnoxious freelance American photo-journalist Richard Boyle (Oscar-nominated James Woods) and his drug-taking DJ buddy Doctor Rock (James Belushi); the horrors of war (stinking piles of corpses of raped/murdered victims) that are uncovered when Boyle and John Cassidy (John Savage) find themselves shooting at the body dump; and the scene in a San Salvador cathedral when Boyle seeks redemption and forgiveness from a priest but realizes "that's gonna be a little tough" to change his ways, in director Oliver Stone's political thriller about the bloody 1980 civil war strife in Central America
Samson and Delilah (1950)	Hunk Samson's (Victor Mature) destruction of the Philistinian army with the jawbone of an ass in a savage battle scene, Delilah's (Hedy Lamarr) seduction of Samson and the shearing of his locks, and the spectacular scene of Samson's destruction of the temple, in Cecil B. DeMille's Biblical epic
San Francisco (1936)	The stunningly realistic 20-minute earthquake and fire sequence, with spectacular special effects (including the splitting apart of the earth and the fiery aftermath), ending with Blackie Norton (Clark Gable) and Father Tim Mullin (Spencer Tracy) finding Mary Blake (Jeanette MacDonald) on a hillside singing "Nearer My God to Thee," and Blackie confessing his thanks to God on his knees and reuniting with Mary as she sings "The Battle Hymn of the Republic" with the throngs of people, and the final scene (after "the fire's out") in which crowds gather on a hill to look down on the devastated city - with the dissolve from the ruined city to a view of the reconstructed city with the reprised sound of the title song "San Francisco", in director W.S. Van Dyke's dramatic disaster film
Sands of Iwo Jima (1949)	The scene in which Sergeant John M. Stryker (Oscar-nominated John Wayne) threatens to kill Pfc Conway (John Agar) ("That's just what I'll do. This mission is bigger than any individual") who wants to rescue wounded comrade Pfc. Bass (James Brown) calling "Corpsman" (but would tip off their whereabouts to the Japanese enemy) - "The only way you can stop me is to kill me"; Stryker's repeated phrase: "Saddle up!"; also the unexpected and random, unheroic death of Stryker who has just completed a strategic assault on the volcanic Japanese island of Iwo Jima (with the memorable flag-raising on Mount Suribachi) - he pauses to relax with a cigarette after having just told a fellow Marine: "I never felt so good in my life" and asking: "How about a cigarette?" - when he is shot and killed by a sniper, in director Allan Dwan's action-war film
Saturday Night Fever (1977)	Under the credits of this defining film, the swaggering footsteps of Italian Saturday night disco king Tony Manero (a star-making, Oscar-nominated role for John Travolta) walking down a Brooklyn sidewalk while swinging a paint can to the tune of "Stayin' Alive", Tony's amazing display of dancing style on a pulsating color-tiled dance floor of the 2001 Odyssey club, especially his brilliant solo "You Should Be Dancin'" with a soundtrack enhanced by the Bee Gees, the Night Fever line dance, and the contest scene with a white-suited, black-shirted Tony dancing next to partner Stephanie (Karen Lynn Gorney) to the tune of "More Than a Woman" to win the $500 prize, in director John Badham's 1970s disco dance classic
Saving Private Ryan (1998)	The film's opening with an American flag and the first word heard - "father" as an elderly man kneels at a tombstone while visiting the war dead; the gripping, documentary-style, graphically-bloody, visceral Allied D-Day landing on Omaha Beach (actually filmed on the coast of Ireland) in the opening half-hour (beginning with a close-up of shaking hands of a young soldier on a PT boat - later revealed as belonging to Oscar-nominated Tom Hanks' character Capt. John Miller); the mission of a unit of soldiers led by Miller to rescue the last Ryan son (the other three Sean, Peter, and Daniel had been killed), Miller's heroic, dying order to Private James Ryan (Matt Damon) with the terse words: "James, earn this. Earn it," and the scene 50 years later at Miller's grave as the older, teary-eyed Ryan asks his wife: "Am I a good man? Tell me that I have been a good man" and uncomprehending - she reassures him, and the final image of a back-lit American flag billowing in the wind, in Best Director-winning Steven Spielberg's WWII epic
Say Anything... (1989)	Lloyd Dobler's (John Cusack) replaying of Peter Gabriel's haunting "In Your Eyes" on a boom box (defiantly held high above his head) to serenade ex high-school brainy and beautiful girlfriend Diane Court (Ione Skye) outside her bedroom window at dusk, the scene of their three second kiss in the pouring rain, and the final scene on an airplane where flight-fearing Diane and a comforting Lloyd are awaiting the all-clear and safe 'ding' of the "Fasten Seatbelts" sign going off - and when it dings the screen cuts to black, in director/writer Cameron Crowe's teen romance (his directorial debut film)
Scarface, The Shame of the Nation (1932)	Reptilian maniac gangster Tony Camonte (Paul Muni) and his close and almost-incestuous relationship with his sister Cesca (Ann Dvorak), George Raft in his famous coin-flipping role as Guino Rinaldo, and the many murder/massacre scenes including gangster Gaffney's (Boris Karloff) execution in a bowling alley, the many X images signifying an impending murder, and Cesca and Tony's final death scenes in the shootout, in this brutally realistic crime-gangster film produced by Howard Hughes and directed by Howard Hawks
Scarface (1983)	The character of Cuban refugee turned coke addict Tony Montana (Al Pacino), the immigration interview, the shocking chain-saw dismemberment scene, the entrance scene of Tony's sexy but callous cokehead future wife Elvira Hancock (Michelle Pfeiffer) with a backless dress descending in an elevator; and the visceral shootout ending in which the Miami gangster faces overwhelming odds with his M16 assault rifle (and grenade launcher) at the top of the stairs - tempting the assassins raiding his mansion with: "Say hello to my leetle friend", in Brian De Palma's (and writer Oliver Stone's) bloody and violent remake
The Scarlet Pimpernel (1934)	The oft-repeated poem recited by Sir Percy Blakeney/The Pimpernel (Leslie Howard): "They seek him here. They seek him there. Those Frenchies seek him everywhere. Is he in Heaven? Is he in Hell? That damned elusive Pimpernel", in director Harold Young's historical adventure - adapted from Baroness Emmuska Orczy's 1905 novel of the same name
Scarlet Street (1945)	The tragic story of a meek, middle-aged cashier and unhappily-married, hen-pecked husband Christopher Cross (Edward G. Robinson) who unwittingly falls into a cruel trap set by cold-hearted femme fatale gold-digger Katherine "Kitty" March (Joan Bennett) and her abusive, slick and mercenary boyfriend Johnny (Dan Duryea), particularly obvious in the scene when she laughs at Cross for proposing marriage and reveals her true feelings, calls him an "idiot" ("I'm not crying, you fool, I'm laughing!...Oh you idiot! How could a man be so dumb?"), and orders him out -- leading him to commit murder in a jealous rage by stabbing her with an ice-pick - the film ends with him suffering humiliating disgrace, psychological torment and mental anguish (i.e., a failed suicide attempt by hanging and abject homelessness as he wanders the streets), in Fritz Lang's fatalistic film noir
Scary Movie (2000)	The crude, low-brow, semi-sexually-explicit, satirical, Airplane!-style jokes (skewering the slasher film genre, such as Scream (1996) and I Know What You Did Last Summer, and more), beginning with its well-advertised early scene of wet underwear-wearing Drew Decker (Carmen Electra) stabbed in the chest with a silicon-enhanced knife when pursued by a masked and hooded killer; the name of the school (B.A. Corpse High) and the female gym teacher (Ms. Mann), and the scene in a motion picture theater of the murder of an incessantly-talking female - not by the serial killer but by the entire audience - in Keenen Ivory Wayans' raunchy teen comedy
Scent of a Woman (1992)	Blind Lt. Col. Frank Slade's (Oscar-winning Al Pacino) musings about female breasts ("Tits. Hoo-hah! Big ones, little ones. Nipples staring right out at ya, like secret searchlights"), his graceful, sensuous tango dance scene with Donna (Gabrielle Anwar), the scene of his test drive of a Ferrari while Charlie (Chris O'Donnell) shouts directions, and Slade's dramatic speech to the student body of Baird College during Charlie's disciplinary hearing (including "This is such a crock of s--t!"), in director Martin Brest's coming-of-age drama
Schindler's List (1993)	The crisp black and white cinematography, the opening restaurant/cabaret scene in which would-be war profiteer Oskar Schindler (Liam Neeson) wheels and deals his way into the pocketbooks of SS officers in a Krakow nightclub, the interview scene with eighteen pretty secretaries, the many scenes of random and indiscriminate killings including the one-armed worker and the female construction engineer - usually at point-blank range with a gun, the stunning and brilliant performances by the three male leads - Schindler, Amon Goeth (Ralph Fiennes), and Itzhak Stern (Ben Kingsley), the brutal scene of the clearing and liquidation of the Krakow Ghetto, the image of a girl in a drab red coat walking amidst the murderous chaos (and later spotted on a cart piled with corpses), and the night-time follow-up hunt, the scene in which a shirtless, overweight Goeth fires his telescopic rifle from his villa's balcony perch above the Plaszow work camp at innocent prisoners, the hinge-making scene and its aftermath, Schindler's delivery of the speech about power with restraint, the disturbing confrontation of Goeth with his trembling housekeeper Helen Hirsch (Embeth Davidtz) in her basement living quarters, the scene of the winnowing out of the healthy from the unfit with prisoners running naked before doctors in the medical examination scene, the image of children hiding waist-deep in latrine excrement, Schindler's birthday celebration including a sustained kiss of a young Jewess, the exhumation and incineration of the corpses in graves, the labored compilation and typing of 'Schindler's List' by Stern as Schindler desperately paces the room - including Stern's eloquent summation: "The list is an absolute good. The list is life. All around its margins lies the gulf", the arrival of a boxcar of female workers at Auschwitz and the intense shower scene, Schindler's emotional final address to his factory workers following the war and his farewell to Stern: ("I didn't do enough"), and the final coda (in color) pairing real-life survivors with their counterpart actors-actresses as they place rocks on the real-life grave of Schindler, in Steven Spielberg's Best Picture-winning historical epic of the Holocaust
Scream (1996)	The opening 12-minute prologue scene in which all-American, sweatered girl Casey Becker (Drew Barrymore in a very short cameo) is alone preparing pop-corn to watch a video when she receives an initially playful phone call (she is asked what her favorite scary movie is - and replies Halloween), and then the repeated terrifying calls turn obscene, threatening and ugly; when she demands to know what the caller wants, he simply replies: "To see your insides" - and she ends up slaughtered and hanging in the front yard; also the wise words about how to avoid being murdered by the knowledgeable video geek Randy Meeks (Jamie Kennedy): "You can never have sex...you can never drink or do drugs...and number three: never, ever, ever under any circumstances say, 'I'll be right back'", in Wes Craven's horror film spoof
The Sea Hawk (1940)	The action-filled sequences of sea battles and duels, and the dashing character of privateer "Sea Hawk" Capt. Geoffrey Thorpe (Errol Flynn), in one of the best pirate/swashbuckling adventure films ever made by director Michael Curtiz
The Searchers (1956)	The breathtaking cinematography of Monument Valley, Confederate soldier Ethan Edwards' (John Wayne) entrance on horseback to the frontier house with everyone watching from the homestead's porch; the unspoken love between Ethan and his brother's wife Martha (Dorothy Jordan); the pre-massacre image of Chief Scar (Henry Brandon) standing over young Debbie Edwards (Lana Wood), the scene of Ethan shooting out of the eyes of a dead Comanche to prevent him from entering the spirit world ("...has to wander forever between the winds"), his relentless search for his kidnapped niece Debbie and his ominous statement to fellow searchers after finding Lucy's mutilated body: "Long as you live, don't ever ask me more"; Ethan's oft-repeated: "That'll be the day," and the dramatic scene in which he catches Debbie (now Natalie Wood) five years later, scoops her into his arms and tells her: "Let's go home, Debbie"; and the final famous exit scene in which Ethan is framed and isolated by the silhouetted dark doorway (in front of the harsh outdoor sunshine) and watches as reunited friends and family enter the homestead, but he is left out, 'cursed' and doomed to wander - and so he turns and the door shuts behind him, in John Ford's classic and landmark western