Greatest Film Scenes
and Moments



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

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!"

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

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?"

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 scene in which the divorcing couple of Lucy (Irene Dunne) and Jerry Warriner (Cary Grant) accidentally turned up with dates at the same nightclub
  • 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 scene of Lucy pretending to be Jerry's drunk sister at the home of his new fiancee - and her rowdy rendition (with uplifted skirt) of a vulgar nightclub routine and song, My Dreams Are Gone With the Wind
  • the image of the two of them riding motorcycles in evening dress
  • and the final connecting-bedrooms scene and the metaphoric image of reunited, male and female cuckoo-clock figurines entering the same opening

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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