Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Apollo 13 (1995)

In Ron Howard's epic film about the US space program:

  • two lines summed up the historical suspense during the failed and traumatic 1970 manned space flight mission to the moon when their capsule was stranded 200,000 miles from Earth:
    (1) head astronaut Jim Lovell's (Tom Hanks) memorable call to NASA's mission control room after an oxygen tank exploded on-board: "Houston, we have a problem"
    (2) coordinating Mission Controller Gene Kranz' (Ed Harris) ultimatum: "We've never lost an American in space, we're sure as hell not gonna lose one on my watch! Failure is not an option"
  • the triumphant arrival scene in which the assembled crowd (and families) nervously awaited the re-entry of the capsule


Applause (1929)

In this early landmark musical drama with innovative sound techniques and a constantly-moving camera, from director Rouben Mamoulian (his first sound film):

  • the realistic and cynical look at seamy backstage life - the chorus line of burlesque dancers in the Zenith Opera House composed of unattractive, pudgy and washed-up chorines rather than conventional cute blondes
  • real-life torch singer Helen Morgan as fading, and "washed-up" burlesque star Kitty Darling, the ailing, self-sacrificing mother of convent-bred 17 year-old daughter April Darling (Joan Peers)
  • Kitty's singing of the plaintive What Wouldn't I Do For That Man to a photograph of her unscrupulous, predatory, unfaithful and brutish "Bad Boy" lover and burlesque comic Hitch Nelson (Fuller Mellish, Jr.) - as he kissed another chorine down the hall - in a triangulated split-screen view
  • the scene of an embarrassed April's sight of her mother onstage during the burlesque show and hearing leering male audience spectators calling her 'washed-up' and April pleading: "Let's go away from here"
  • the scene of an all-night date with sailor suitor Tony (Henry Wadsworth) in which they sat on a steel girder - ending with their 'first love' kiss - and then their next date high atop a skyscraper while overlooking the New York buildings and sights below
  • the disturbing end scene in which April (after saying goodbye to Tony at the subway) forced herself to dance sordid burlesque (and vowed to give the crowd their 'money's worth': "I'll show them") in place of her mother (whom she told: "Nothing matters now but you, Mommy. We'll always have each other. Nothing is ever going to separate us again") -- she performed in front of leering, middle-aged men as her mother died of suicidal poisoning in the dressing room





Army of Darkness (1993)

In director Sam Raimi's third Evil Dead trilogy - an offbeat horror spoof:

  • the witty wisecracks by stranded-in-time, unbalanced hardware store S-Mart clerk Ash Williams (Bruce Campbell)
  • Ash's cutting off of his own possessed left hand with his chainsaw, followed by his time-warp transport to medieval 14th century England where he was thrown in a deadite pit (and saved himself with his retrieved chainsaw), followed by his intimidating speech about his "boomstick": ("This is my boomstick!...S-Mart's top of the line")
  • Ash's defeat of another old-hag "she-bitch" deadite with an over-the-shoulder shot
  • his struggle against tiny, mischievous versions of himself in a funny Gulliver's Travels-like segment set in a windmill
  • his fall onto a hotstove when he had to use a spatula to remove his face
  • his struggle against his own doppelganger evil self (that sprouted from his own shoulder after he swallowed one of the shard pieces), ending with his dissection of the double with his chainsaw and its burial
  • the scene of his recitation of the wrong magical words (forgetting the words: "Klaatu, Barada, Nikto" from The Day the Earth Stood Still (1951)) - and his battle with Ray Harryhausen-style "army of the dead" skeletons that emerged from the ground and were led by Ash's resurrected, zombie-doppelganger self
  • after vanquishing the deadites and returning to the present time, the scene of Ash defeating one more She-Demon (Patricia Tallman) in the Housewares Department of S-Mart - afterwards, an impressed co-worker (Angela Featherstone) embraced him, as Ash mused in voiceover: "Sure, I could have stayed in the past. I could have even been king. But in my own way, I am king." He then told the girl before he passionately kissed her: "Hail to the king, baby!"







Arsenal (1929, Soviet Union) (aka Арсенал)

In writer-director Aleksandr Dovzhenko's avante-garde, visually expressionistic, beautifully-edited anti-war drama set during the aftermath of the Great War and the Russian Civil War, aka January Uprising in Kiev in 1918:

  • the opening sequence illustrating the bleak and stark aspects of war - the sight of a tree stump and barbed wire under a gray and cloudy sky - then instantly exploded
  • the mini-montages and simple inter-titles amidst stillness - a grief-stricken mother in a deserted village whose three sons had perished in battle: "A mother had three sons," "There was a war", and "The mother doesn't have three sons (any more)"
  • the lengthy, single-shot scene of a smug police officer, non-chalantly strolling down a dirt lane, and fondling the covered breasts of a peasant woman (with a bowed head) who stood motionless without response
  • the analogous connection sequence of an old woman (dying of exhaustion) sowing seeds in a dirt field and collapsing - juxtaposed with the image of oblivious Tsar Nicholas penning a letter in St. Petersburg: ("Today I shot a crow. Splendid weather. Nikky") - the symbolic implication was that the war had forced the woman into poverty and she was the crow that was shot; also, the view of a man brutally beating and kicking his emaciated and stubborn horse (the horse berated its owner: "You're hitting the wrong one, Ivan"), and juxtaposed at the same time, a frustrated mother was violently beating her starving, crying children
  • the Great War montage scene of an officer shooting (in the back) a soldier that refused to fight anymore; the two were seen as silhouettes (with extreme backlighting)
  • the images of the ironic, grim and torturous death of a soldier going insane as he succumbed to the crazed effects of laughing-gas
  • the film's centerpiece in its second part: the January uprising or rebellion of Kiev workers in an arsenal factory and their political unrest against the central ruling Ukranian Parliament, seen through the eyes of returning Ukranian soldier and bearded munitions worker Tymish Stoyan (Semyon Svashenko)
  • the scene of a dead comrade soldier's end of life horse ride (after nine years away at war fighting for the revolution) - his corpse was strapped onto a horse-drawn cart, and there was a frantic attempt to return the soldier home for burial, while his mother stood by his open grave (in the snow) awaiting his arrival; the horses even spoke about their important mission to return him as quickly as possible: "We know it. We're flying like the wind!"; when they arrived at the open grave site, one of the soldiers told the mother: "Here he is mother, and there's no time for explanations. We live and we die for the revolution"
  • and the climactic firing squad sequence and "Superman image" - the execution of the Bolshevik hero Tymish at point-blank range (with his taunting of the Ukrainian nationalist shooters by baring his chest and his miraculous survival and refusal to die)









Arsenic and Old Lace (1944)

In director Frank Capra's classic screwball comedy:

  • Mortimer's (Cary Grant) two loveable aunts Martha and Abby (Josephine Hull and Jean Adair) who revealed their secret poisoning of male callers with elderberry wine assisted by Teddy for burial in the cellar
  • the opening of the window seat-box twice by Mortimer - and a double-take before realizing a dead body was in there
  • "Teddy Roosevelt" Brewster's (John Alexander) charges up the staircase as if fighting to Spanish-American War
  • the insane pair of Jonathan (Raymond Massey) and his assistant Dr. Einstein (Peter Lorre)



Arthur (1981)

In director Steve Gordon's romantic comedy:

  • alcoholic, spoiled millionaire playboy womanizer Arthur Bach's (Dudley Moore) sudden realization in the Plaza why his successful advances toward Gloria (Anne De Salvo) were so successful - ("You're a hooker? Jesus, I forgot! I just thought I was doing great with you")
  • Arthur's announcement: "I'm gonna take a bath" - with faithful, wise, and loyal but sarcastic valet Hobson's (Oscar-winning John Gielgud) response: "I'll alert the media"; when Arthur added: "Do you want to run my bath for me?" Hobson said: "That's what I live for" - and then quipped: "Perhaps you'd like me to come in there and wash your dick for you, you little s--t?"
  • the image of Arthur in a bubble bath sipping a martini, with Hobson at his side, who noted: "Bathing is a lonely business"
  • Arthur's strained dinner with lovestruck fiancee Susan Johnson (Jill Eikenberry) - the daughter of a tycoon, and his saving of lower-class shoplifter and Queens waitress Linda Marolla (Liza Minnelli) - whom he later fell in love with; Hobson joked with Linda: "Thank you for a memorable afternoon. Usually, one must go to a bowling alley to meet a woman of your stature"
  • Arthur's care for his dying butler - with Hobson reassuring him that death wasn't frightening, and his final words: "Arthur, you're a good son"
  • the finale with Arthur's request to his limousine driver Bitterman: ("Bitterman! Do you want to double your salary?...Then, open that door!")



As Good As It Gets (1997)

In co-writer/director James Brooks' romantic comedy:

  • the scene of reclusive, vicious-spirited, obsessive-compulsive novelist Melvin Udall (Oscar-winning Jack Nicholson) in his customary Greenwich Village cafe-restaurant when he made an offhand joke - a really mean and offensive remark about Brooklynite single mother/waitress Carol Connelly's (Oscar-winning Helen Hunt) asthmatic son Spencer (Jesse James); when ordering his breakfast of slightly-unhealthy ingredients: ("You're gonna die soon with that diet - you know that") - she raged at Melvin when he joked: "We're all gonna die soon, you will, I will, and it sure sounds like your son will"; she spoke harshly to him: "If you ever mention my son again, you will never be able to eat here again, do you understand? Give me some sign you understand, or leave now! Do you understand me? You crazy f--k! Do you?"
  • the scene of Melvin reluctantly befriending the Pomeranian dog Verdell of his gay artist-painter neighbor Simon Nye (Greg Kinnear), who was hospitalized, and his attempt to feed it in his living room
  • and later after Melvin paid for a specialist to treat Carol's ill son (so that she could continue to wait on him) - her further anger at him when she rushed to his apartment in a rainstorm in the middle of the night (causing her thin blouse to be soaked to the skin and see-through) and vowed never to have sex with him, believing he had an ulterior motive beyond returning to the restaurant and serving him breakfast: ("I'm not gonna sleep with you! I will never sleep with you, never, ever! Not ever!") - he responded: "Well, I'm sorry, but, uhm, we don't open for the 'no sex oaths' until 9 am"
  • the masterfully funny scene of Melvin and Carol's dinner date in a Baltimore, Maryland seafood restaurant ("Do they serve hardshells?"), and his beating around the bush to finally offer complimentary words to her: "You make me want to be a better man"; after a long pause, she responded: "That's maybe the best compliment of my life" - he explained further: "Well, maybe I overshot a little, because I was aiming at just enough to keep you from walkin' out"
  • Melvin's long confession of love to Carol on the street: ("I might be the only person on the face of the earth that knows you're the greatest woman on earth. I might be the only one who appreciates how amazing you are in every single thing that you do, and how you are with Spencer, 'Spence,' and in every single thought that you have, and how you say what you mean, and how you almost always mean something that's all about being straight and good. I think most people miss that about you, and I watch them, wondering how they can watch you bring their food, and clear their tables and never get that they just met the greatest woman alive. And the fact that I get it makes me feel good, about me. Is that something that's bad to be around? "), and after she replied no, Melvin warned: "I'm gonna grab ya" - and gave her a final clinch on the street






The Asphalt Jungle (1950)

In director John Huston's crime caper:

  • the scene of mastermind criminal Doc's (Sam Jaffe) explanation of his proposed robbery
  • the realistic depiction of all the criminals and their motivations in the crime
  • the actual jewel robbery and the clinically-delineated details of the tense heist (the nitro bottle, the alarm system)
  • the minor memorable cameo role of a blonde, voluptuous mistress Angela (Marilyn Monroe) with corrupt lawyer Emmerich (Louis Calhern) - noted for his line: "Crime is only a left-handed form of human endeavor"
  • Doc's being caught by police because he obsessively (and voyeuristically) watched a young girl dance to jukebox music that delayed his departure
  • the final scene of a bleeding Dix Handley (Sterling Hayden) stumbling from his car into Hickory Wood Farm - a sunny, Kentucky horse pasture




Assault on Precinct 13 (1976)

In John Carpenter's gripping, cult classic horror-action film:

  • a gang sniper's infamous shooting of a defenseless little girl named Kathy (Kim Richards) at an ice cream van (as she complained to her father about the erring ice-cream man: "I wanted vanilla twist!")
  • the long siege and first attack on an abandoned Los Angeles police station by a violent, multi-racial urban street gang with silencer guns

L'Atalante (1934, Fr.)

In director Jean Vigo's only full-length feature film (and his last film before his death in 1934 at the age of 29), a poetically-told, lyrical, sensual, visually-rich, sometimes playful drama, and a down-to-earth, simple story about a newly-married couple struggling with and adjusting to their wedded relationship:

  • the two honeymooners in a recent marriage and living temporarily on the dingy river barge the L'Atalante: the over-controlling barge captain Jean (Jean Dasté), and the lovely Juliette (Dita Parlo) - an innocent, cheerful, free-spirited small-town French peasant girl
  • the lovely, playful scene of a curious Juliette's visit to the cabin of her husband's entertaining, tattooed crew mate Père Jules (Michel Simon) who owned numerous stray cats - where she was shown many of his gadgets, trinkets, treasures and inventions, including a giant seashell, wind-up music boxes, a Japanese hand-fan, a dead friend's hand kept in a jar, and a marionette conductor - transporting her to different exotic worlds
  • the temporary separation of the newlywed lovers against stubborn Jean's wishes, going their separate ways when the bored, capricious and melancholic Juliette went off to window shop and to see Parisian nightlife, while Jean remained on the barge - and then cast off without her, literally deserting her on shore
  • the heralded sequence of broken-hearted, sad and depressed Jean attempting to acquire a vision of Juliette (according to a folk tale), by diving overboard into the Seine River's water during a dreamlike visual interlude underwater; he had a fanciful, unobtainable vision of his smiling wife Juliette in her white bridal gown underwater (in a super-imposed image)
  • and the exquisite and erotic love scene (filmed in a paralleling montage with intercutting and super-imposed images) of the lonely husband and wife restlessly tossing and turning sleeplessly on separate beds (on the barge, and in a seedy Parisian hotel) - each was thinking of, desiring and nakedly longing for the other (signaled by self-caressing and fondling); while he arched his back and stiffly sat up on his bed, she placed her hand under her nightshirt to touch her breast; the sequence of erotic desire within their fantasy imaginations was heightened by the editing - that matched up or mirrored their movements to make them appear together and realistically reacting to each other.









Atlantic City (1980, or 1981)

In director Louis Malle's drama:

  • the voyeuristic scene (to the sound of a cassette tape playing Bellini's operatic Norma) during the film's opening title credits of seafood counter (oyster bar) casino worker Sally Matthews (Susan Sarandon) (who dreamt of being a croupier in Monte Carlo), after work in a white tank top, rinsing her arms, throat and breasts with lemon juice at her kitchen sink to remove the fishy smell - while being watched in her apartment window from across the way by aging, numbers runner and petty crook Lou Pascal (Burt Lancaster)
  • Lou's reminiscence about the old days to Sally's husband Dave Matthews (Robert Joy) during a lengthy boardwalk stroll together: "Yes, it used to be beautiful - what with the rackets, whoring, guns. Sometimes, things would happen. I'd have to kill a few people. I'd feel bad for awhile but I'd jump into the ocean, swim way out. Come back in feelin' nice and clean, start all over again....The Atlantic Ocean was somethin' then. Yes, you should have seen the Atlantic Ocean in those days"
  • the motel room scene after Lou's self-defense killing of two gangland hoods on a sidewalk to protect Sally (during a sour drug deal) - when he admitted to her that he had an exaggerated life, and his own surprise at his prowess in saving her: "Hey!...I never killed anybody in my life...But I did tonight. You saw it"; and his proposal to Sally to run off to Florida with him: ("I'll buy ya new clothes, I'll show ya off...Just let the boys see how well I turned out")
  • Lou's gleeful response to the TV news story of the two Atlantic City murders he just committed: "Hey, that's me!...We'll stop on the way down and buy all the newspapers. This story is going to be big all over the country: 'Gangland slaying rips apart Atlantic City!'"
  • in the final sequence after parting from Sally (knowing she wouldn't accompany him to Florida, but preferred France), Lou took a taxi back to Atlantic City for a final promenade down the Boardwalk with his broken-down, middle-aged, invalid gangster widow-friend Grace Pinza (Kate Reid) - with a panning shot up to a view of a crane and wrecker's ball smashing into an apartment during the closing credits, accompanied by discordant jazz music





Atonement (2007, US/UK)

In director Joe Wright's epic film of thwarted romance:

  • the three scenes of fantasy-prone 13 year-old Briony Tallis (Saoirse Ronan) witnessing and misunderstanding sex:
    (1) between lithe older sister Cecilia Tallis (Keira Knightley) and her 'secret' boyfriend, servant/cook son Robbie Turner (James McAvoy) when Cecilia was at an outdoor fountain and dove underwater to retrieve a broken piece of a family heirloom vase - and emerged almost naked in front of Robbie with her soaked and transparent dress, and
    (2) their passionate love-making scene against the stacks in the library, and
    (3) the 'rape' scene between house-guest Paul Marshall (Benedict Cumberpatch) and her 15 year-old cousin Lola Quincey (Juno Temple) - all acts Briony misunderstood with unfortunate circumstances, by wrongly accusing Robbie of 'raping' Lola
  • the bravura extended tracking shot (5 minutes and 30 seconds) of Robbie walking along the French beach during the Dunkirk evacuation - where stranded show horses were being executed, as the camera glided down the beach (amidst a beached barge and a spinning ferris wheel) and then around a choir of wounded infantrymen, and ended finally in a bar
  • at film's end, the interview scene with older, terminally-ill (with vascular dementia) novelist Briony (Vanessa Redgrave) about her latest and last book - an autobiographical work titled Atonement - when she confessed as an act of penance that much of the end portion of the novel was fabricated about their reconciliation, since both Robbie and Cecilia died during the war
  • the final idealized scene of the lovers cavorting on the beach near a beach house, as Briony stated: "So in the book, I wanted to give Robbie and Cecilia what they lost out on in life. I'd like to think this isn't weakness or evasion, but a final act of kindness. I gave them their happiness"





Audition (1999, Jp./S.Kor.) (aka Odishon)

In director Takashi Miike's horrific romantic drama:

  • the scene with the suddenly-lurching big burlap sack in the center of a living room as a phone rang, and during a flashback, the contents revealed to be a man who was missing both feet, his tongue, one ear and three fingers on his right hand. He crawled out of the sack and begged for food from seemingly-demure and dutifully-humble 21 year-old 'auditioned' bride-to-be Asami Yamazaki (Eihi Shiina), who obliged by vomiting into a silver dog dish and placing it on the floor in front of him. The man stuck his face into the bowl of vomit and hungrily ate it
  • the latter scenes of sadistic, torture and dismemberment revenge that Asami exacted on middle-aged widower Aoyama (Ryo Ishibashi) with syringes, acupuncture needles, and piano wire



Austin Powers: International Man of Mystery (1997)

In this fast-paced comedy (filled with gags, both verbal and visual) - the first of the PG-rated series of James Bond spoofs with Mike Myers:

  • the cryogenically-frozen 60s British spy Austin Powers (Mike Myers) who battled his villainous arch-enemy Dr. Evil (Myers also) 30 years later; planning to hold the world hostage, Dr. Evil offered an initial inflation-challenged ransom of "One... MEEE-llion dollars!" for a nuclear warhead, not realizing that this amount of ransom wasn't as threatening in the 1990s as it was in the 1960s; his henchman Number 2 (Robert Wagner) suggested: "Don't you think we should ask for more than a million dollars? A million dollars isn't exactly a lot of money these days"; Dr. Evil upwardly revised his ransom to $100 billion dollars!
  • Evil's bizarre relationship with resentful cloned son Scott Evil (Seth Green), and after first meeting him asking repeatedly: "Can I have a hug?"; including the scene in which he kept shushing Scott: ("Let me tell you a little story about a man named Sh!")
  • the inappropriate Family Counseling speech by Evil to his therapist: ("The details of my life are quite inconsequential... very well, where do I begin?...At the age of fourteen a Zoroastrian named Vilma ritualistically shaved my testicles. There really is nothing like a shorn scrotum... it's breathtaking - I highly suggest you try it")
  • during a cataloguing of Austin Powers' possessions and embarrassed by the presence of Vanessa Kensington, his denial that a Swedish-made penis enlarger pump was his: ("That's not mine...I don't even know what this is. This sort of thing ain't my bag, baby"), even though a book authored by him on the subject was revealed
  • Dr. Evil's "fem-bots" with guns in the tops of their bikinis who attempted to seduce Austin Powers; he was able to outwit and defeat the seductive android females by performing a sexy, gyrating strip-tease "Dance of Death" (down to Union Jack red underwear and hairy chest) to the tune of "I Touch Myself" - causing them to short-circuit with sexual electricity as their heads twitched violently and then exploded
  • in a classic honeymoon scene, Austin Powers cavorted naked with glamorous "shagadelic" agent Vanessa Kensington (Elizabeth Hurley) with their private parts teasingly hidden by strategically-placed objects
  • catchphrases such as: "Bee-have", "Sake it to me baby!", "Yeah, baby, yeah", "Do I make you horny, baby?" and "Shall we shag now or shall we shag later?"







Awaara (1951, India) (aka Tramp, or The Vagabond)

In director Raj Kapoor's acclaimed, blockbuster Hindi-language social drama and musical love story (one of the most successful Bollywood films ever made), commentary focused upon fate and nature (Does fateful predestination or predetermination of social classes exist? If one was once a thief, was one always a thief?):

  • the main characters in a triangle of relationships: embittered Judge Raghunath (Prithviraj Kapoor, the director's real-life father), his estranged criminal son Raj (director Raj Kapoor) - the "Awara" of the film's title who was struggling to reform himself, and Raj's school friend turned love interest Rita (Nargis) - a Ward (or guardian) of the Judge
  • the sparks of love and misunderstanding between Raj and Rita - especially in the scene of Rita changing her clothes on the beach just after swimming, when she claimed that gentlemen wouldn't stare: ("Gentlemen don't barge in when ladies are changing dresses. Don't you know that?"); when he asked about her label for him ("I'm no gentleman"), she teasingly called him junglee ("a savage") and claimed: "I'm not about to give in to your type" - he was deeply offended by her label for him, and roughly grabbed and slapped her: "Savage? I'm a penniless, uneducated tramp! I don't fit into high society. How dare I maul your fragile body with my beastly hands. I told Ma that childhood friends, like childhood days, are gone, never to return. Good of you to have told me my class"; she apologized: "It was a joke, don't get angry," surrendered to him, and they hugged
  • the 12-minute long musical dream sequence about the uplifting power of love, and a tug-of war for Raj's soul, set in a heaven-and-hell scenario; heroine Rita was in heavenly clouds singing a love song beckoning to Raj below to join with her and be saved: ("Without you, this moonlight is like fire. Do come....The flute is not melodious without you. This life of mine is a melody of pain. Do come"), while in the dark fires of Hell below, Raj sang: ("This is not life. This is not life. I am burning alive in this fire of life. The arrows of fire run through me. I don't want this hell; I want the flower, the love, the friend. I want the spring..."); he struggled to climb and crawl up steps to be united with an overjoyed Rita (Rita: "My foreigner has returned home. The thirst in my eyes is quenched. You are the pearl of my heart. You are the light of my eyes. You are the remembrance of my childhood. My foreigner has returned home. Now don't go away breaking my heart. Don't leave me crying. You are under the oath of my tears") and they walked together on a circular ascending pathway and then along a glittering, meandering trail; suddenly, Raj's father appeared with a gigantic knife - and Raj immediately fell back to hell as he cried out: "Rita!" - Raj awoke from his dream, screaming for his mother Leela (Leela Chitnis): "Mother, Mother, save me, Mother!"
  • the final sequence - Raj was reconciled with his Judge father and accepted as his legitimate son, Raj was imprisoned in jail for three years for the self-defense murder of bandit Jagga (K.N. Singh) (who had originally sullied Leela's name after kidnapping her, and created doubts in the Judge's mind about their unborn son Raj at the time), and there was hope for a future together for Raj and Rita (they hugged each other through the jail cell bars)







Away From Her (2006, Canada/UK/US)

In 28 year-old actor/writer Sarah Polley's marital drama - her remarkable debut feature film:

  • the film's opening scene of the closeness in the long-term relationship of 44 years - exemplified by cross-country skiing in secluded, rural northern Ontario, Canada - between devoted retired college professor Grant Andersson (Gordon Pinsent) and his beloved, increasingly-disoriented, silver-haired wife Fiona (Best Actress-nominated 65 year-old Julie Christie) who was on the verge of Alzheimer's disease
  • Grant's frequent recollections of a younger 18 year-old Fiona (Stacey LaBerge) and how she proposed to him: (voice-over: "I never wanted to be away from her. She had the spark of life")
  • the scenes of an introductory tour of the Meadowlake retirement center by its chirpy, smooth-talking director Madeleine Montpellier (Wendy Crewson) and the steadfast visits (after an initial 30 days of absence) of Grant to see Fiona - although she became increasingly attached and doting to mute, wheelchair-bound patient Aubrey Bark (Michael Murphy) and told persistent, slightly jealous and bewildered visitor Grant: "He doesn't confuse me at all" - possibly she was giving her husband 'punishment' for his extra-marital indiscretions with students during the early years of their marriage
  • the scenes in the nursing home during Grant's frequent visits when he spoke to sympathetic, friendly and plain-spoken nurse Kristy (Kristen Thomson) who offered her pager number, and with an understanding punk teenager named Monica (Nina Dobrev) who was visiting her grandfather, complimenting Grant during a visit about his devotion: "I should be so lucky"
  • the scene of Grant reading to Fiona from the book "Letters From Iceland"
  • the final scene of unconditional love when Fiona briefly remembered her husband and his self-less care for her: ("I'm a very lucky woman") - after he had begun an affair with Aubrey's abrasive, pragmatic and outspoken wife Marian (Olympia Dukakis) - as the camera spun around the embracing couple to the tune of K.D. Lang singing Neil Young's "Helpless"







The Awful Truth (1937)

In director Leo McCarey's great screwball comedy - one of the best of all time:

  • the divorce proceedings of a couple: Lucy (Irene Dunne) and Jerry Warriner (Cary Grant), to take effect after a 90-day waiting period - and the settlement of one final matter in the courtroom: a custody battle over their dog Mr. Smith or "Smitty" (Asta of the Thin Man series); with the fox terrier dog present in the court, the "final decision" of custody was left up to the dog who was placed equi-distant from them and caught in a dilemma - with calls and pathetic entreaties from both sides for the dog's affection, Mr. Smith swiveled his head back and forth between his two owners, and eventually jumped in Lucy's lap when tempted by its favorite squeeze toy (a Chihuahua's head)
  • the sequence of Jerry hiding behind Lucy's apartment door as she greeted her neighbor-suitor, Oklahoma native Daniel Leeson (Ralph Bellamy) who read her a sugary love poem he had written ("Oh, you would make my life divine
    If you would change your name to mine") - while Jerry tickled her in the side with a pencil as she listened and tried to maintain her composure
  • the disruption scene of Jerry barging in on Lucy's vocal recital and accidentally tipping back in his chair and noisily falling to the floor
  • the nightclub scene when the couples accidentally turned up with separate dates: Lucy with Dan, and Jerry with singer Dixie Belle Lee (Joyce Compton)
  • the sequence often known as the "two men in a bedroom farce" regarding dual derby hats and their clever dog "Smitty" - when both Lucy's French singing teacher and love interest Armand Duvalle (Alexander D'Arcy) and Jerry had arrived at her apartment and were kept separated; the dog - in a game of hide and seek, persistently kept retrieving and bringing out Duvalle's incriminating derby hat from behind a flower arrangement and a mirror where Lucy had stashed it; Lucy struggled to conceal its whereabouts behind the couch; as Jerry was leaving, he put on what he thought was his derby hat - but the over-sized hat descended down over his ears; quizzically, he looked at himself in another mirror: "Well that's funny, I only bought the hat an hour ago and look at it"; she suggested: "Did you have a haircut, maybe?...Well, maybe you had it on backwards. Put it on the other way around... it is a little roomy, but maybe they're wearing them that way this year"
  • the scene of Lucy pretending to be Jerry's drunk sister at the home of his new fiancee, heiress and debutante Barbara Vance (Molly Lamont) - and Lucy's rowdy rendition (with uplifted skirt) of a vulgar nightclub routine and song, My Dreams Are Gone With the Wind, in order to sabotage Jerry's relationship
  • the image of the stranded couple being transported on cops' motorcycles in evening dress
  • and the final connecting-bedrooms scene in her Aunt's rustic cabin, where the door between their rooms had a weakened and faulty latch and kept opening (on their last night before the 90 day waiting period expired)
  • the metaphoric sexually-tinged, suggestive image at the film's fade-out of reunited, male and female cuckoo-clock figurines (stand-ins for Lucy and Jerry) entering the same opening, after the two had reconciled and realized "the awful truth" that they were irresistible to each other










100's of the GREATEST SCENES AND MOMENTS
(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
M4
| 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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