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 45

T (continued)

To Have And Have Not (1944)

The sizzling scenes between fishing boat skipper Harry Morgan or "Steve" (Humphrey Bogart) and the slinky, husky-voiced, young "Slim" (young 19 year-old Lauren Bacall in her film debut): with "Slim" delivering lines dripping with suggestiveness, such as "Anybody got a match?" and then while sitting on his lap and initiating kisses: "It's even better when you help" and the following come-on as she left his room: "You know how to whistle, don't you, Steve? You just put your lips together - and blow"; and the final tense showdown scene when Morgan lashes out at the authorities to secure Eddie's (Walter Brennan) release and safe passage for them and his boat ("You're both gonna take a beating 'til someone uses that phone. That means one of you's gonna take a beating for nothin'. I don't care which one it is"), in director Howard Hawks' adaptation (by William Faulkner) of an Ernest Hemingway novel

To Kill A Mockingbird (1962)

The opening credits sequence of a child's toy box and flashbacked memories to 1930s Alabama; the porch scene in which Atticus listens to the kids talking about their dead mother, heroic lawyer Atticus Finch's (Oscar-winning Gregory Peck) killing of a rabid dog on the street; his defense in a hot courtroom trial of a black man (Brock Peters) wrongly accused of the rape of a white woman; the scene of the blacks in the balcony of the courtroom standing to respectfully honor the defeated lawyer with Rev. Sykes' (William Walker) words to Finch's six year-old daughter Scout (Mary Badham): "Miss Jean Louise, stand up, your father's passin"; tomboy Scout's and ten year-old Jem's (Phillip Alford) scary walk home from a school pageant into the woods, the vicious attack upon them; and Scout's discovery of demonized neighbor Mr. Arthur "Boo" Radley (Robert Duvall in his film debut) behind their bedroom door ("Hey, Boo") and the taking of her guardian angel's hand, in director Robert Mulligan's great film adaptation (by Horton Foote) of Harper Lee's Pulitzer Prize-winning novel

To Live and Die in L.A. (1985)

The thrilling scene of the wrong-way freeway pursuit, in director William Friedkin's crime-thriller

Tom Jones (1963, UK)

The numerous inventive cinematographic tricks (old-time movie techniques such as a silent opening with titles, sped-up sequences, freeze-frames, screen wipes, jump cuts, actors making asides to the audience, titles over dialogue scenes, etc.), and the film's famous food-orgy, dining sequence - a gluttonous multi-course dinner meal with erotically sexual overtones between boyish rogue Tom Jones (Albert Finney) and a lusty Jenny Jones/Mrs. Waters (Joyce Redman), in director Tony Richardson's Best Picture-winning costumed historical adaptation of Henry Fielding's bawdy novel

Tombstone (1993)

The scene of consumptive gunfighter Doc Holliday (Val Kilmer) playing Chopin's Noctune #19 in E minor on an old saloon piano; the competitive twirling pistols and acrobatic coffee-cup scene between Johnny Ringo (Michael Biehn) and Holliday; and the final shootout at the OK Corral in 1881 led by Wyatt Earp (Kurt Russell) and his brothers Morgan (Bill Paxton) and Virgil (Sam Elliott), in director George P. Cosmatos' western

Tommy (1975, UK)

The pulsating production number during a pinball tournament in which 'deaf, dumb, and blind kid' pinball wizard Tommy Walker (R0ger Daltry), who sings "See me, feel me. Touch me, heal me", defeats the champion Pinball Wizard (Elton John) who wears skyscraper shoes; and Tina Turner's famous, scintillating performance as The Acid Queen, in the film dramatization of The Who's (and Peter Townshend) rock opera - a musical cult film by extravagant and excessive director Ken Russell

Tootsie (1982)

The scene in which unemployed actor George Fields (director Sydney Pollack) tells difficult actor Michael Dorsey (Dustin Hoffman) why he's being dropped from The Iceman Cometh: "Nobody will hire you...nobody in Hollywood wants to work with you, either!" and his advice: "You're too much trouble. Get some therapy"; the first appearance of Michael as Dorothy Michaels after George insists no one will hire him, to get cast on the daytime soap opera Southwest General - and his continuing marvelous cross-dressing impersonation of no-nonsense, alter-ego female Dorothy Michaels; the scene of Michael when caught by insecure Sandy Lester (Teri Garr) dressed in nothing but skimpy black briefs when he goes to try on her clothes, and then pretends he wants to have sex with her ("Sandy... I want you"); the scene of soap actress April Page (Geena Davis in her film debut), startling Dorothy by wearing nothing but skimpy underwear (later, in a classic moment, Dorothy makes a funny Freudian slip and tells her: "What kind of mother would I be if I didn't give my girls tits... tips?"); the scene of Dorothy coming onto his agent George Fields; the character of Les (Charles Durning in an against-type role) - the widower father of beautiful co-worker and soap star Julie Nichols (Oscar-winning Jessica Lange), who falls in love with Dorothy; the near-'lesbian' kiss and love scene between Julie and Dorothy; the live episode performance when Michael reveals his true identity by tearing off his wig and eyelashes to prove it - to the stunned shock of almost everyone (including his roommate Jeff's (Bill Murray) comment: "That's one nutty hospital"); and his final confession to Julie ("I was a better man with you, as a woman, than I ever was with a woman as a man"), in director Sydney Pollack's cross-dressing comedy

Top Gun (1986)

The sensational aerobatic flying sequences and dogfights of fliers in the US Navy's elite (Top Gun) Fighter Weapon School near San Diego, and the character of hotshot and arrogant fighter pilot Pete 'Maverick' Mitchell (Tom Cruise) and his famous catchphrase: "I feel the need, the need for speed" and his competition with Lt. Tom 'Iceman' Kazanski (Val Kilmer): "You can be my wingman anytime"; Maverick's love affair with pretty civilian instructor Charlotte 'Charlie' Blackwood (Kelly McGillis) while the entire film is basically about male bonding and machismo (high-fives, shower scenes); and the emotional scene of the death of Lt. Nick 'Goose' Bradshaw (Anthony Edwards) in Maverick's arms following a tailspin and botched ejection, in director Tony Scott's jingoistic action film

Top Hat (1935)

The early scene of Jerry Travers' (Fred Astaire) disturbing hotel room tap-dance "No Strings" - in which he slaps the walls - that upsets sleeping Dale Tremont (Ginger Rogers) in a room below - and his ability to put both Dale and Horace Hardwick (Edward Everett Horton) back to sleep; the delightfully dreamy song-dance: "Isn't This a Lovely Day (To Be Caught in the Rain)?" in a sheltering band shell during a shower; the backdrop of an art-deco Venice with fabulous sets; Jerry's firing of his cane as a gun to creatively shoot down his chorus during "Top Hat, White Tie and Tails" (Astaire's signature number); and the most memorable Astaire-Rogers duet ever -- Gershwin's "Cheek to Cheek" (with the famous opening lyric "Heaven, I'm in Heaven...") with Rogers dancing in a gown made of ostrich feathers, in director Mark Sandrich's Depression-Era musical/dance classic (with an Irving Berlin score) - a tale of mistaken identity

Topaz (1969)

The thought-provoking epilogue sequence - the headlines of a newspaper proclaiming the end of the Cuban Missile Crisis, then a superimposed montage of characters followed by the final image of the newspaper discarded on a park bench near the Arc de Triomphe, in Alfred Hitchcock's political/spy thriller

Torn Curtain (1966)

The lengthy murder sequence in a farmhouse kitchen involving the difficult killing of a Soviet agent - German "bodyguard" Hermann Gromek (Wolfgang Keiling) - using a soup kettle, a butcher knife, and finally a gas oven, by American physicist and secret double agent Prof. Michael Armstrong (Paul Newman), in Alfred Hitchcock's mid-60s political/spy thriller

Total Recall (1990)

The amazing special effects, production and art design; the scene of construction worker Doug Quaid (Arnold Schwarzenegger) taking a vacation by a strange travel agency named Rekall, Inc. - a 'virtual' trip to the planet of Mars - with the sales pitch from Bob McClane (Ray Baker) that actually reveals the film's plot ("By the time the trip is over, you get the girl, kill the bad guys and save the entire planet"); the early scene in which he defends himself from his treacherous, attacking agent wife Lori (Sharon Stone); the scene of the subway shoot-out in which widescreen scans show skeletal shapes and weapons; the segment in which Doug extracts a large bugging device from his brain via his nostril; and the scene on Mars in a bar when confronted by mutants and a three-breasted hooker named Mary (Lycia Naff); also the later scene in which Doug mercilessly shoots his conniving wife in the head - with the one-liner: "Consider that a divorce"; and the scene in which Quaid appears to be killed by gunfire from evil mercenary Vilos Colhaagen's (Ronny Cox) thugs - but he laughs and is revealed to be only a deceptive hologram as he shoots them from behind; also the film's ending when Colhaagen, Quaid, and beautiful love interest Melina (Rachel Ticotin) are spewed out into the airless atmosphere of the reddish planet of Mars - and their eyes bulge and faces swell due to the lack of oxygen; and the film's ambiguous ending in which the scene fades to a brilliant white as Melina and Quaid kiss -- was everything a psychotic delusion, a dream, the result of psychological trauma, or an implant - or did he get lobotomized?, in Paul Verhoeven's big-budget, violent science-fiction action thriller based on Philip K. Dick's story We Can Remember it For You Wholesale

Touch Of Evil (1958)

The continuous-action, spectacular 3-minute and 20 second tracking crane shot following a car loaded with dynamite crossing the US/Mexico border in the film's credits/opening (appearing only in the 1958 verson, not in the restored version) as a newly-married couple Susan and narcotics agent Mike Vargas (Janet Leigh and Charlton Heston) walk to the border crossing and kiss - as the car explodes, the first appearance (a low-angled shot) of a grotesque, cigar-smoking, candy-chewing bloated local detective Hank Quinlan (Orson Welles) as he rolls out of his car at the scene of the car bombing; the image of acid splashed on a peeling poster on a crumbling wall of stripper performer Zita (an echo of her death in the burning car explosion); the appearance of cigar-smoking Mexican gypsy Tanya (Marlene Dietrich) in a memorable cameo (To Quinlan: "You're a mess, honey"); Susan's scenes of terror - first in a motel room in town by a peeping tom with a flashlight, and then in a deserted motel room as she is attacked by thugs; the scene of planted evidence in a bathroom (in the film's second, long unedited scene); Quinlan's chilling killing of Uncle Joe Grandi (Akim Tamiroff) in a hotel room next to a semi-unconscious Susan; and the gripping climax when Quinlan hears the echo of his own voice as it is recorded on a transmitter held by Mike under a bridge; and the final image of Quinlan lying dead and floating whale-like in dark canal gutter water and garbage - and Tanya's epitaph for him: "He was some kind of a man", in Orson Welles' masterpiece (considered the last classic film noir)

The Towering Inferno (1974)

The epic film about the world's tallest 138 story Glass Tower - a San Francisco skyscraper - on fire, with an all-star cast (among others, Paul Newman and Steve McQueen - with his prescient words as police chief Michael O'Hallorhan: "You know we got lucky tonight, body count's less then 200. Someday you're gonna kill 10,000 in one of these firetraps"); the exciting scene of the rescue of the trapped occupants of the stalled exterior glass-walled scenic elevator, in John Guillermin's and Irwin Allen's Best Picture-nominated disaster film classic

Toy Story (1995)

The bedroom setting of a boy named Andy where toys come to life when humans aren't there, including all the old favorites: (Mr. Potato Head (voice of Don Rickles), Slinky Dog (voice of Jim Varney), Hamm the Pig (voice of John Ratzenberger) and Bo Peep (voice of Annie Potts)), and the instant jealousy and dislike that once-favored, pull-string cowboy toy Woody (voice of Tom Hanks) has for a neophyte toy - the egotistical space-suited action figure Buzz Lightyear (voice of Tim Allen) ("The word I am searching for, I can't say because there are pre-school toys present") - introduced on Andy's birthday; Buzz's catchphrase: "To infinity, and beyond!"; non-flying Woody's continued insistence that Buzz can't fly while Buzz takes an amazing flight around the room (without actually flying) and remarks: "Can!" -- with Woody's muttered retort: "That wasn't flying! That was falling, with style!"; the character of mean-spirited, braces-wearing toy abuser and torturer Sid Phillips (voice of Erik von Detten): ("He tortures toys -- just for FUN!"); the scene of Woody and Buzz getting trapped inside Sid's house where they encounter "mutant" toys, and Sid's come-uppance when the toys are animated and come to life to scare him: (Woody: "So play NICE!"), and Woody and Buzz using a firecracker to catch up to the moving van (Woody: "We're flying!" Buzz: "This isn't flying! This is falling, with style!"), in the landmark CGI Pixar-Disney film from director John Lasseter - the first feature film made entirely by computer-generation

Toy Story 2 (1999)

The amazing opening sequence in which Buzz Lightyear (voice of Tim Allen) flies through an alien world, defeats thousands of robots at once and is destroyed by his Darth Vader-like arch-nemesis, Emperor Zurg (voice of Andrew Stanton) -- all revealed to be in a video game that dinosaur Rex (voice of Wallace Shawn) is playing; Woody's (voice of Tom Hanks) nightmare of being discarded and thrown into the garbage after having his arm torn; the scene of Woody's theft by greedy Toy Barn owner Al McWhiggin (voice of Wayne Knight) during a garage sale; the scene of Woody's fellow toys attempting to safely cross a busy street to rescue him; Woody's finding that he was a collector's item - part of a set of toys called the Roundup Gang, that included a cowgirl named Jessie (voice of Joan Cusack), a horse named Bullseye and a prospector named Stinky Pete (voice of Kelsey Grammer), and the fact that he starred in a black-and-white TV puppet show in the '50s called Woody's Roundup; the enchanting sequence in which The Cleaner fixes Woody to pristine condition; the appearance of dozens of Barbies partying, featuring Tour Guide Barbie (voice of Jodi Benson); the scene of Buzz's visit to the "Buzz Lightyear" aisle in Roy's Toy Barn; Jessie's heartbreaking story - told in flashback - of being abandoned under a bed by former owner Emily (to the Oscar-nominated ballad "When She Loved Me" sung by Sarah McLachlan); Woody's choice - to live forever as an exhibit in a Tokyo toy museum or to face inevitable death as a child's toy -- with his decision made when his television counterpart sings "You've Got a Friend In Me"; the revelation of Stinky Pete's villainy with his angry speech betraying his jealousy and bitterness about never being bought nor cared about; and Woody's rescue of Jessie from an airplane bound for Tokyo; with the finale in which the penguin squeeze toy Wheezy (voice of Joe Ranft) belts out, Vegas-style (with Robert Goulet's voice): "You've Got a Friend In Me", accompanied by a trio of Barbie backup singers, in director John Lasseter's superior sequel to the CGI classic

The Treasure of the Sierra Madre (1948)

The early cameo by director John Huston as a white-suited American in Tampico and drifter Fred C. Dobbs' (Humphrey Bogart) thrice-asked request of him: "Hey mister, could you stake a fellow American to a meal?; old and grizzly prospector Howard's (Walter Huston) recounting of tales of gold-seeking to greedy gold seeker Dobbs at the flophouse; and the scene of gleeful Howard's dancing of a jig upon the discovery of gold and his exclamation: "Up there!"; the scene of Mexican bandits confronting the gold-seekers when Dobbs asks where their Federales badges are - and Gold Hat's (Alfonso Bedoya) answer: "Badges? We ain't got no badges! We don't need no badges. I don't have to show you any stinkin' badges!", the demise of the crazed and paranoid Dobbs - his confrontation with the bandits and his death scene; and in the conclusion, crazy Howard's ironic, last bitter but boisterous laugh with youthful Curtin (Tim Holt) as he recognizes the cosmic humor in how the gold dust blows back into the desert sand and exclaims: "The gold has gone back to where we found it!...", in Best Director-winning John Huston's tale of avarice among gold prospectors in Mexico (based upon B. Traven's novel)

A Tree Grows in Brooklyn (1945)

The scene in a tenement window in turn-of-the-century Brooklyn in which improvident Irish singing waiter Johnny Nolan (Oscar-winning James Dunn) tells his young 12 year-old daughter Francie (Special Oscar-winning Peggy Ann Garner) that she needn't worry that the neighbors have killed a tree nearby, with an optimistic tone: ("They didn't kill it, why they could cut that old tree right down to the ground and a root would push up someplace else in the cement. You wait until springtime, my darlin', you'll see"), and the Christmas-time, bedtime scene when Johnny - a loser due to his drinking and irresponsibility - encourages Francie's aspirations to grow up and be a writer, then watches her fall asleep, faces the truth and decides to go find a real job - and never comes home again, in director Elia Kazan's coming of age drama (his first feature film)

The Trial (1962, Fr/W. Germ/It)

The stunningly directed, visually-rich, imaginative and surreal nightmare surrounding a persecuted clerk named Joseph K (Anthony Perkins) - confronted by police and told he has been placed on trial for an undefined, never-explained crime, in Orson Welles' psychological drama - an adaptation of Franz Kafka's novel

Triumph of the Will (1935, Ger.)

The spectacular scenes of the Nazi leader's 1934 Nuremberg rally/convention held for his political party - with the remarkable visual scene of the god-like descent of his plane from the clouds and his climactic speech to cheering throngs of followers, and the final image of a swastika super-imposed on marching soldiers, in Leni Riefenstahl's influential yet infamous propagandistic documentary film that glorified Hitler and his regime

TRON (1982)

The first true CGI-animated film, in which a computer programmer/hacker Kevin Flynn/Clu (Jeff Bridges) is literally transported ('digitalized'), by malevolent Master Control Program or "MCP" (voice of David Warner), into the grid-lined, neon-glowing, 3-D pixelized world inside an evil corporation's mainframe ENCOM computer where programs live and work, featuring such astounding scenes as the breathtaking, gladitorial competitive race in the arena - the light cycle sequence between curved racing pods; also the startling, brain-spewing death of evil overlord Sark (Warner) killed by gladiator/hero Tron (Bruce Boxleitner) in a duel; the dramatic kiss between Flynn and feminine computer programmer Yori (Cindy Morgan); and the final liberation of the system (causing landscapes to burst out in full luminous intensity and color), in Walt Disney Production's visually-astonishing, state of the art (at its time) landmark film with Wendy Carlos' unique score

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

T (continued)
To Have And Have Not (1944)	The sizzling scenes between fishing boat skipper Harry Morgan or "Steve" (Humphrey Bogart) and the slinky, husky-voiced, young "Slim" (young 19 year-old Lauren Bacall in her film debut): with "Slim" delivering lines dripping with suggestiveness, such as "Anybody got a match?" and then while sitting on his lap and initiating kisses: "It's even better when you help" and the following come-on as she left his room: "You know how to whistle, don't you, Steve? You just put your lips together - and blow"; and the final tense showdown scene when Morgan lashes out at the authorities to secure Eddie's (Walter Brennan) release and safe passage for them and his boat ("You're both gonna take a beating 'til someone uses that phone. That means one of you's gonna take a beating for nothin'. I don't care which one it is"), in director Howard Hawks' adaptation (by William Faulkner) of an Ernest Hemingway novel
To Kill A Mockingbird (1962)	The opening credits sequence of a child's toy box and flashbacked memories to 1930s Alabama; the porch scene in which Atticus listens to the kids talking about their dead mother, heroic lawyer Atticus Finch's (Oscar-winning Gregory Peck) killing of a rabid dog on the street; his defense in a hot courtroom trial of a black man (Brock Peters) wrongly accused of the rape of a white woman; the scene of the blacks in the balcony of the courtroom standing to respectfully honor the defeated lawyer with Rev. Sykes' (William Walker) words to Finch's six year-old daughter Scout (Mary Badham): "Miss Jean Louise, stand up, your father's passin"; tomboy Scout's and ten year-old Jem's (Phillip Alford) scary walk home from a school pageant into the woods, the vicious attack upon them; and Scout's discovery of demonized neighbor Mr. Arthur "Boo" Radley (Robert Duvall in his film debut) behind their bedroom door ("Hey, Boo") and the taking of her guardian angel's hand, in director Robert Mulligan's great film adaptation (by Horton Foote) of Harper Lee's Pulitzer Prize-winning novel
To Live and Die in L.A. (1985)	The thrilling scene of the wrong-way freeway pursuit, in director William Friedkin's crime-thriller
Tom Jones (1963, UK)	The numerous inventive cinematographic tricks (old-time movie techniques such as a silent opening with titles, sped-up sequences, freeze-frames, screen wipes, jump cuts, actors making asides to the audience, titles over dialogue scenes, etc.), and the film's famous food-orgy, dining sequence - a gluttonous multi-course dinner meal with erotically sexual overtones between boyish rogue Tom Jones (Albert Finney) and a lusty Jenny Jones/Mrs. Waters (Joyce Redman), in director Tony Richardson's Best Picture-winning costumed historical adaptation of Henry Fielding's bawdy novel
Tombstone (1993)	The scene of consumptive gunfighter Doc Holliday (Val Kilmer) playing Chopin's Noctune #19 in E minor on an old saloon piano; the competitive twirling pistols and acrobatic coffee-cup scene between Johnny Ringo (Michael Biehn) and Holliday; and the final shootout at the OK Corral in 1881 led by Wyatt Earp (Kurt Russell) and his brothers Morgan (Bill Paxton) and Virgil (Sam Elliott), in director George P. Cosmatos' western
Tommy (1975, UK)	The pulsating production number during a pinball tournament in which 'deaf, dumb, and blind kid' pinball wizard Tommy Walker (R0ger Daltry), who sings "See me, feel me. Touch me, heal me", defeats the champion Pinball Wizard (Elton John) who wears skyscraper shoes; and Tina Turner's famous, scintillating performance as The Acid Queen, in the film dramatization of The Who's (and Peter Townshend) rock opera - a musical cult film by extravagant and excessive director Ken Russell
Tootsie (1982)	The scene in which unemployed actor George Fields (director Sydney Pollack) tells difficult actor Michael Dorsey (Dustin Hoffman) why he's being dropped from The Iceman Cometh: "Nobody will hire you...nobody in Hollywood wants to work with you, either!" and his advice: "You're too much trouble. Get some therapy"; the first appearance of Michael as Dorothy Michaels after George insists no one will hire him, to get cast on the daytime soap opera Southwest General - and his continuing marvelous cross-dressing impersonation of no-nonsense, alter-ego female Dorothy Michaels; the scene of Michael when caught by insecure Sandy Lester (Teri Garr) dressed in nothing but skimpy black briefs when he goes to try on her clothes, and then pretends he wants to have sex with her ("Sandy... I want you"); the scene of soap actress April Page (Geena Davis in her film debut), startling Dorothy by wearing nothing but skimpy underwear (later, in a classic moment, Dorothy makes a funny Freudian slip and tells her: "What kind of mother would I be if I didn't give my girls tits... tips?"); the scene of Dorothy coming onto his agent George Fields; the character of Les (Charles Durning in an against-type role) - the widower father of beautiful co-worker and soap star Julie Nichols (Oscar-winning Jessica Lange), who falls in love with Dorothy; the near-'lesbian' kiss and love scene between Julie and Dorothy; the live episode performance when Michael reveals his true identity by tearing off his wig and eyelashes to prove it - to the stunned shock of almost everyone (including his roommate Jeff's (Bill Murray) comment: "That's one nutty hospital"); and his final confession to Julie ("I was a better man with you, as a woman, than I ever was with a woman as a man"), in director Sydney Pollack's cross-dressing comedy
Top Gun (1986)	The sensational aerobatic flying sequences and dogfights of fliers in the US Navy's elite (Top Gun) Fighter Weapon School near San Diego, and the character of hotshot and arrogant fighter pilot Pete 'Maverick' Mitchell (Tom Cruise) and his famous catchphrase: "I feel the need, the need for speed" and his competition with Lt. Tom 'Iceman' Kazanski (Val Kilmer): "You can be my wingman anytime"; Maverick's love affair with pretty civilian instructor Charlotte 'Charlie' Blackwood (Kelly McGillis) while the entire film is basically about male bonding and machismo (high-fives, shower scenes); and the emotional scene of the death of Lt. Nick 'Goose' Bradshaw (Anthony Edwards) in Maverick's arms following a tailspin and botched ejection, in director Tony Scott's jingoistic action film
Top Hat (1935)	The early scene of Jerry Travers' (Fred Astaire) disturbing hotel room tap-dance "No Strings" - in which he slaps the walls - that upsets sleeping Dale Tremont (Ginger Rogers) in a room below - and his ability to put both Dale and Horace Hardwick (Edward Everett Horton) back to sleep; the delightfully dreamy song-dance: "Isn't This a Lovely Day (To Be Caught in the Rain)?" in a sheltering band shell during a shower; the backdrop of an art-deco Venice with fabulous sets; Jerry's firing of his cane as a gun to creatively shoot down his chorus during "Top Hat, White Tie and Tails" (Astaire's signature number); and the most memorable Astaire-Rogers duet ever -- Gershwin's "Cheek to Cheek" (with the famous opening lyric "Heaven, I'm in Heaven...") with Rogers dancing in a gown made of ostrich feathers, in director Mark Sandrich's Depression-Era musical/dance classic (with an Irving Berlin score) - a tale of mistaken identity
Topaz (1969)	The thought-provoking epilogue sequence - the headlines of a newspaper proclaiming the end of the Cuban Missile Crisis, then a superimposed montage of characters followed by the final image of the newspaper discarded on a park bench near the Arc de Triomphe, in Alfred Hitchcock's political/spy thriller
Torn Curtain (1966)	The lengthy murder sequence in a farmhouse kitchen involving the difficult killing of a Soviet agent - German "bodyguard" Hermann Gromek (Wolfgang Keiling) - using a soup kettle, a butcher knife, and finally a gas oven, by American physicist and secret double agent Prof. Michael Armstrong (Paul Newman), in Alfred Hitchcock's mid-60s political/spy thriller
Total Recall (1990)	The amazing special effects, production and art design; the scene of construction worker Doug Quaid (Arnold Schwarzenegger) taking a vacation by a strange travel agency named Rekall, Inc. - a 'virtual' trip to the planet of Mars - with the sales pitch from Bob McClane (Ray Baker) that actually reveals the film's plot ("By the time the trip is over, you get the girl, kill the bad guys and save the entire planet"); the early scene in which he defends himself from his treacherous, attacking agent wife Lori (Sharon Stone); the scene of the subway shoot-out in which widescreen scans show skeletal shapes and weapons; the segment in which Doug extracts a large bugging device from his brain via his nostril; and the scene on Mars in a bar when confronted by mutants and a three-breasted hooker named Mary (Lycia Naff); also the later scene in which Doug mercilessly shoots his conniving wife in the head - with the one-liner: "Consider that a divorce"; and the scene in which Quaid appears to be killed by gunfire from evil mercenary Vilos Colhaagen's (Ronny Cox) thugs - but he laughs and is revealed to be only a deceptive hologram as he shoots them from behind; also the film's ending when Colhaagen, Quaid, and beautiful love interest Melina (Rachel Ticotin) are spewed out into the airless atmosphere of the reddish planet of Mars - and their eyes bulge and faces swell due to the lack of oxygen; and the film's ambiguous ending in which the scene fades to a brilliant white as Melina and Quaid kiss -- was everything a psychotic delusion, a dream, the result of psychological trauma, or an implant - or did he get lobotomized?, in Paul Verhoeven's big-budget, violent science-fiction action thriller based on Philip K. Dick's story We Can Remember it For You Wholesale
Touch Of Evil (1958)	The continuous-action, spectacular 3-minute and 20 second tracking crane shot following a car loaded with dynamite crossing the US/Mexico border in the film's credits/opening (appearing only in the 1958 verson, not in the restored version) as a newly-married couple Susan and narcotics agent Mike Vargas (Janet Leigh and Charlton Heston) walk to the border crossing and kiss - as the car explodes, the first appearance (a low-angled shot) of a grotesque, cigar-smoking, candy-chewing bloated local detective Hank Quinlan (Orson Welles) as he rolls out of his car at the scene of the car bombing; the image of acid splashed on a peeling poster on a crumbling wall of stripper performer Zita (an echo of her death in the burning car explosion); the appearance of cigar-smoking Mexican gypsy Tanya (Marlene Dietrich) in a memorable cameo (To Quinlan: "You're a mess, honey"); Susan's scenes of terror - first in a motel room in town by a peeping tom with a flashlight, and then in a deserted motel room as she is attacked by thugs; the scene of planted evidence in a bathroom (in the film's second, long unedited scene); Quinlan's chilling killing of Uncle Joe Grandi (Akim Tamiroff) in a hotel room next to a semi-unconscious Susan; and the gripping climax when Quinlan hears the echo of his own voice as it is recorded on a transmitter held by Mike under a bridge; and the final image of Quinlan lying dead and floating whale-like in dark canal gutter water and garbage - and Tanya's epitaph for him: "He was some kind of a man", in Orson Welles' masterpiece (considered the last classic film noir)
The Towering Inferno (1974)	The epic film about the world's tallest 138 story Glass Tower - a San Francisco skyscraper - on fire, with an all-star cast (among others, Paul Newman and Steve McQueen - with his prescient words as police chief Michael O'Hallorhan: "You know we got lucky tonight, body count's less then 200. Someday you're gonna kill 10,000 in one of these firetraps"); the exciting scene of the rescue of the trapped occupants of the stalled exterior glass-walled scenic elevator, in John Guillermin's and Irwin Allen's Best Picture-nominated disaster film classic
Toy Story (1995)	The bedroom setting of a boy named Andy where toys come to life when humans aren't there, including all the old favorites: (Mr. Potato Head (voice of Don Rickles), Slinky Dog (voice of Jim Varney), Hamm the Pig (voice of John Ratzenberger) and Bo Peep (voice of Annie Potts)), and the instant jealousy and dislike that once-favored, pull-string cowboy toy Woody (voice of Tom Hanks) has for a neophyte toy - the egotistical space-suited action figure Buzz Lightyear (voice of Tim Allen) ("The word I am searching for, I can't say because there are pre-school toys present") - introduced on Andy's birthday; Buzz's catchphrase: "To infinity, and beyond!"; non-flying Woody's continued insistence that Buzz can't fly while Buzz takes an amazing flight around the room (without actually flying) and remarks: "Can!" -- with Woody's muttered retort: "That wasn't flying! That was falling, with style!"; the character of mean-spirited, braces-wearing toy abuser and torturer Sid Phillips (voice of Erik von Detten): ("He tortures toys -- just for FUN!"); the scene of Woody and Buzz getting trapped inside Sid's house where they encounter "mutant" toys, and Sid's come-uppance when the toys are animated and come to life to scare him: (Woody: "So play NICE!"), and Woody and Buzz using a firecracker to catch up to the moving van (Woody: "We're flying!" Buzz: "This isn't flying! This is falling, with style!"), in the landmark CGI Pixar-Disney film from director John Lasseter - the first feature film made entirely by computer-generation
Toy Story 2 (1999)	The amazing opening sequence in which Buzz Lightyear (voice of Tim Allen) flies through an alien world, defeats thousands of robots at once and is destroyed by his Darth Vader-like arch-nemesis, Emperor Zurg (voice of Andrew Stanton) -- all revealed to be in a video game that dinosaur Rex (voice of Wallace Shawn) is playing; Woody's (voice of Tom Hanks) nightmare of being discarded and thrown into the garbage after having his arm torn; the scene of Woody's theft by greedy Toy Barn owner Al McWhiggin (voice of Wayne Knight) during a garage sale; the scene of Woody's fellow toys attempting to safely cross a busy street to rescue him; Woody's finding that he was a collector's item - part of a set of toys called the Roundup Gang, that included a cowgirl named Jessie (voice of Joan Cusack), a horse named Bullseye and a prospector named Stinky Pete (voice of Kelsey Grammer), and the fact that he starred in a black-and-white TV puppet show in the '50s called Woody's Roundup; the enchanting sequence in which The Cleaner fixes Woody to pristine condition; the appearance of dozens of Barbies partying, featuring Tour Guide Barbie (voice of Jodi Benson); the scene of Buzz's visit to the "Buzz Lightyear" aisle in Roy's Toy Barn; Jessie's heartbreaking story - told in flashback - of being abandoned under a bed by former owner Emily (to the Oscar-nominated ballad "When She Loved Me" sung by Sarah McLachlan); Woody's choice - to live forever as an exhibit in a Tokyo toy museum or to face inevitable death as a child's toy -- with his decision made when his television counterpart sings "You've Got a Friend In Me"; the revelation of Stinky Pete's villainy with his angry speech betraying his jealousy and bitterness about never being bought nor cared about; and Woody's rescue of Jessie from an airplane bound for Tokyo; with the finale in which the penguin squeeze toy Wheezy (voice of Joe Ranft) belts out, Vegas-style (with Robert Goulet's voice): "You've Got a Friend In Me", accompanied by a trio of Barbie backup singers, in director John Lasseter's superior sequel to the CGI classic
The Treasure of the Sierra Madre (1948)	The early cameo by director John Huston as a white-suited American in Tampico and drifter Fred C. Dobbs' (Humphrey Bogart) thrice-asked request of him: "Hey mister, could you stake a fellow American to a meal?; old and grizzly prospector Howard's (Walter Huston) recounting of tales of gold-seeking to greedy gold seeker Dobbs at the flophouse; and the scene of gleeful Howard's dancing of a jig upon the discovery of gold and his exclamation: "Up there!"; the scene of Mexican bandits confronting the gold-seekers when Dobbs asks where their Federales badges are - and Gold Hat's (Alfonso Bedoya) answer: "Badges? We ain't got no badges! We don't need no badges. I don't have to show you any stinkin' badges!", the demise of the crazed and paranoid Dobbs - his confrontation with the bandits and his death scene; and in the conclusion, crazy Howard's ironic, last bitter but boisterous laugh with youthful Curtin (Tim Holt) as he recognizes the cosmic humor in how the gold dust blows back into the desert sand and exclaims: "The gold has gone back to where we found it!...", in Best Director-winning John Huston's tale of avarice among gold prospectors in Mexico (based upon B. Traven's novel)
A Tree Grows in Brooklyn (1945)	The scene in a tenement window in turn-of-the-century Brooklyn in which improvident Irish singing waiter Johnny Nolan (Oscar-winning James Dunn) tells his young 12 year-old daughter Francie (Special Oscar-winning Peggy Ann Garner) that she needn't worry that the neighbors have killed a tree nearby, with an optimistic tone: ("They didn't kill it, why they could cut that old tree right down to the ground and a root would push up someplace else in the cement. You wait until springtime, my darlin', you'll see"), and the Christmas-time, bedtime scene when Johnny - a loser due to his drinking and irresponsibility - encourages Francie's aspirations to grow up and be a writer, then watches her fall asleep, faces the truth and decides to go find a real job - and never comes home again, in director Elia Kazan's coming of age drama (his first feature film)
The Trial (1962, Fr/W. Germ/It)	The stunningly directed, visually-rich, imaginative and surreal nightmare surrounding a persecuted clerk named Joseph K (Anthony Perkins) - confronted by police and told he has been placed on trial for an undefined, never-explained crime, in Orson Welles' psychological drama - an adaptation of Franz Kafka's novel
Triumph of the Will (1935, Ger.)	The spectacular scenes of the Nazi leader's 1934 Nuremberg rally/convention held for his political party - with the remarkable visual scene of the god-like descent of his plane from the clouds and his climactic speech to cheering throngs of followers, and the final image of a swastika super-imposed on marching soldiers, in Leni Riefenstahl's influential yet infamous propagandistic documentary film that glorified Hitler and his regime
TRON (1982)	The first true CGI-animated film, in which a computer programmer/hacker Kevin Flynn/Clu (Jeff Bridges) is literally transported ('digitalized'), by malevolent Master Control Program or "MCP" (voice of David Warner), into the grid-lined, neon-glowing, 3-D pixelized world inside an evil corporation's mainframe ENCOM computer where programs live and work, featuring such astounding scenes as the breathtaking, gladitorial competitive race in the arena - the light cycle sequence between curved racing pods; also the startling, brain-spewing death of evil overlord Sark (Warner) killed by gladiator/hero Tron (Bruce Boxleitner) in a duel; the dramatic kiss between Flynn and feminine computer programmer Yori (Cindy Morgan); and the final liberation of the system (causing landscapes to burst out in full luminous intensity and color), in Walt Disney Production's visually-astonishing, state of the art (at its time) landmark film with Wendy Carlos' unique score