The Naked City (1948)

In director Jules Dassin's hard-boiled urban docu-drama crime/noir film - this was the first studio feature shot on location in New York City - and the film that inspired the 50's ABC-TV series - with its famed ending quote delivered by Hellinger as an epitaph for the murdered woman: "There Are EIGHT MILLION Stories In The Naked City - This Has Been ONE Of Them":

• the opening scene with aerial views of New York City - accompanied by narration from the film's producer, journalist Mark Hellinger (who conducted six months of interviews with the NYPD to gather accurate details and characterizations)
• the manhunt for the brutal murderer of attractive, and promiscuous 26 year-old blonde fashion model Jean Dexter by veteran cop Det. Lt. Dan Muldoon (Barry Fitzgerald) and partner Det. Jimmy Halloran (Don Taylor)
• the emotional sequence at the City Morgue when Jean's parents - the Batorys (Adelaide Klein and Grover Burgess) identify her body
• and the film's memorable, thrilling, and heart-pounding climax in which wounded murder suspect Willie Garzah (aka Willie the Harmonica) (Ted de Corsia) runs through the Lower East Side tenements until being cornered on the Williamsburg Bridge where he climbs to the top of the bridge tower - and falls to his death

The Naked Gun: From the Files of Police Squad! (1988)

In co-directors Zucker, Abrahams, and Proft's gag-filled comedy:

• the many insanely silly scenes and dead-panned jokes, including the opening of a speeding LA cop car (shot behind the revolving cherry-top) down nighttime streets, into a carwash, and then barreling into a house - and a shower with naked women - and then down a rollercoaster before coming to a stop in front of a donut shop
• the scene of hapless crimefighter and lawman Lt. Frank Drebin's (Leslie Nielsen) visit to hospitalized and badly-wounded Det. Nordberg (O. J. Simpson) in his bed - and causing his bed to fold up on him, and making insensitive comments to his wife Wilma (Susan Beaublan) ("I wouldn't wait until the last minute to fill out those organ donor cards")
• Drebin's famous line of dialogue and double-entendre statement when Jane Spencer (Priscilla Presley) climbs a ladder: "Nice beaver!" to which a stuffed beaver is produced ("Thank you, I just had it stuffed")
• the scene of having safe sex with her with complete body condoms
• the look-alike Queen Elizabeth II character - whom an embarrassed Drebin ends up falling on
• the scenes at the ballgame with Drebin's awkward singing of the national anthem while impersonating opera singer Enrico Pallazzo
• the final scene at the top of the baseball stadium when Drebin slaps the back of recuperating, wheel-chaired partner Nordberg, sending him down the stadium steps and flipping him 360 degrees to the field below

The Naked Kiss (1964)

In writer/director Sam Fuller's unorthodox, bold and raw, feminist B-film and sordid melodrama - a treatise about the abuse and exploitation of women by perverse men and women:

• the violent opening scene of bald-headed call-girl Kelly (Constance Towers) beating her pimp with her handbag and spiked high-heeled shoes, taking $75 cash that belongs to her, and adjusting her wig and makeup
• her start of a new life in the suburban community of Grantville where she works as a pediatric nurse at an orphanage for handicapped children
• the outrageous musical number that Kelly sings to disabled kids on crutches
• and then later, the reformed prostitute's learning of the perverted hypocrisy of her bachelor fiancee J. L. Grant (Michael Dante) - the most respected and wealthy citizen of the community who is actually a 'child molester'
• Grant's accidental killing by being bashed with a phone receiver

The Naked Prey (1966)

In this adventure/chase film set in 19th century Africa co-directed by Cornel Wilde and Sven Persson:

• the excruciating scene of the torture and execution of arrogant members of an ivory hunting expedition by African tribesmen (the safari leader is staked to the ground in front of a cobra, while another is coated in pottery clay and slowly cooked over a rotisserie) - led by a warrior (Ken Gampu) after the white men refused to pay tribute to the tribal king (Morrison Gampu)
• the amazing race-for-his-life chase scene by the Man (a naked and unarmed safari tour leader/guide) (Cornel Wilde) as six tribe warriors give him a head start of 100 yards into the bush

The Naked Spur (1953)

In Anthony Mann's beautifully-filmed, stylistic, and moralistic 'adult' western:

• the portrayal by James Stewart of vengeful, tormented and embittered bounty hunter Howard Kemp in pursuit of murderer Ben Vandergroat (Robert Ryan) for the $5,000 reward money in the Colorado Rockies
• the conclusion in the midst of some roaring mountain rapids when the captured and ruthless outlaw is killed and a maniacal, savage Kemp vows his greater interest in the money to Lina Patch (Janet Leigh) as he reels in the dead body: "I'm takin' him back. It's what I came after and now I've got...He's gonna pay for my land... (the money) That's all I care about. That's all I've ever cared about"

Napoleon (1927, Fr.) - the 3-part (triptych) wide screen in the conclusion of this landmark epic silent film, by director Abel Gance

The Narrow Margin (1952)

In director Richard Fleischer's noirish crime-drama, followed by director Peter Hyams' inferior remake Narrow Margin (1990) starring Gene Hackman and Anne Archer:

• the claustrophobic, tense atmosphere aboard the moving, confining transcontinental Golden West Limited train (from Chicago to L.A.) with the plotline of the escort of widowed gun moll and grand jury witness Mrs. Frankie Neall (Marie Windsor) by incorruptible Detective Sgt. Walter Brown (Charles McGraw)
• the surprise character twists and secret identities
• the vicious fight scene in a cramped men's room
• the climactic scene in which Brown's love interest - a golden-haired mother named Ann Sinclair (Jacqueline White) [the real Mrs. Frankie Neill] (with her son Tommy (Gordon Gebert)) was mistakenly (?) being held hostage by a mob hitman
• Brown's using the reflection of another train's window to gun down the hitman without compromising her safety

Nashville (1975)

In director Robert Altman's country-western character study:

• the miraculous interweaving and crisscrossing of the lives and destinies of 24 different characters in a free-flowing tapestry or kaleidoscope - especially in the opening sequences
• the scene of folk singer Tom (Keith Carradine) seductively singing "I'm Easy" to a crowd - with the camera slowly showing the face of aroused audience member and married gospel singer Linnea (Lily Tomlin) in the back
• the humiliating bump-and-grind strip scene in which a humiliated and desperate wannabe Sueleen (Gwen Welles) pulls socks-padding out of her bra and then strips topless (and finally bottomless) to satiate the crowd
• the scene of star singer Barbara Jean's (Oscar-nominated Ronee Blakley) breakdown
• the unseen presidential candidate
• the concluding tragic and shocking sequence at a country music festival/political rally at the Parthenon in which Barbara Jean has just finished performing "My Idaho Home" and then is assassinated
• her quick replacement with unknown performer Albuquerque (Barbara Harris) who calms the crowd with "It Don't Worry Me"

(National Lampoon's) Animal House (1978)

In John Landis' classic frat house comedy:

• the character of Faber College's animalistic John "Bluto" Blutarsky (John Belushi) - with numerous belches and slobbish behavior (such as crushing beer cans on his head)
• his progress through the cafeteria lunch room counter piling up food on his tray and sucking down a plate of Jell-O in one gulp
• Bluto's guess-what-I-am-impersonation of a zit when he punches his cheeks to send food in all directions ("I'm a zit. Geddit?")
• the cafeteria's food fight scene and Bluto's battle cry ("Food fight!")
• the wild "Toga, Toga, Toga" party scene in Delta House at Faber College
• Bluto's challenge to his fellow frat brothers to join him ("Did you say over? Nothing is over until we decide it is. Was it over when the Germans bombed Pearl Harbor? Hell no!...It ain't over now. Cause when the goin' gets tough, the tough get goin'. Who's with me? Let's go. Come on!") to seek revenge on Dean Wormer (John Vernon) and the clean-cut Omegas
• the voyeuristic Peeping Tom scene outside the window of self-pleasuring Mandy Pepperidge's (Mary Louise Weller) sorority house causing Bluto's ladder to fall backwards
• the ruinous homecoming parade

National Lampoon's Christmas Vacation (1989)

In director Jeremiah S. Chechik's slapstick-filled comedy with outrageous sight gags:

• the scene in which family head Clark Griswold (Chevy Chase) has waxed his sled with a revolutionary grease - and his unexpected streak of fire in the snow
• the electrocution of the cat during the lighting of the Christmas tree

National Velvet (1944)

In director Clarence Brown's animal-related children's film:

• the youthful glow of a violet-eyed, 12-year-old Velvet (Elizabeth Taylor in her first starring role)
• Velvet's supportive mother (Oscar-winning Anne Revere)
• the scenes of English ex-jockey Mike Taylor (Mickey Rooney) teaching Velvet how to ride
• the exciting climactic Grand National Steeplechase horse racing sequence

The Natural (1984)

In Barry Levinson's allegorical baseball film based on Bernard Malamud's story and with Randy Newman's soaring score:

• the beautiful sun-setting scene of pitcher Roy Hobbs' (Robert Redford) three strike-out pitches thrown as a wager to Babe Ruth-like slugger "The Whammer" (Joe Don Baker)
• the shocking scene of the shooting (with a silver bullet) of Roy by deranged funeral-clad Harriet Bird (Barbara Hershey) in her hotel room after asking him: "Will you be the best there ever was in the game?"
• 16 years later, middle-aged rookie Roy's first batting practice (where he repeatedly knocks balls into the stands)
• his knocking the cover off the ball as lightning strikes to get a triple when he substitutes for Bump Bailey (Michael Madsen) in his first major-league at bat for the New York Knights against the Phillies
• his magical "Wonderboy" bat (reminiscent of Arthurian legend with a lightning bolt inscribed on it and carved out of a tree struck by lightning)
• the ending of his long slump in Chicago with the appearance of the pure "lady in the white dress" in the stands - ex-girlfriend Iris Gaines (Glenn Close) - who stands up just before he slugs a tremendous blast of a home-run that shatters the giant clock on the scoreboard in Wrigley Field (it ends the game although the Cubs should still have a turn to bat the bottom of the inning)
• Iris' visit to Roy in the maternity ward of the hospital and their discussion about having two lives ("The life we learn with and the life we live with after that")
• the last game of the World Series playoffs in the bottom of the ninth when (without his "Wonderboy" bat - after he shattered it hitting a foul ball, and then requested of the batboy: "Go pick me out a winner, Bobby" - the Savoy Special) Roy (inspired by a note written by Iris about fathering a child years earlier) hits the giant set of lights - to win the series for his team
• the cascade of exploding floodlights and showering electrical sparks
• the final (tacked-on) concluding scene of a redeemed Roy with Iris and their 16 year old son playing catch on the farm

Natural Born Killers (1994)

In Oliver Stone's visually-riveting (MTV-style and color-switching), controversial and brutal film about two serial killer-lovers and media sensationalism (from a Quentin Tarantino original script):

• the flashback of the abusive family life of Mallory Knox (Juliette Lewis) - portrayed as a situation-comedy parody called "I Love Mallory" (with a canned laughter track) featuring comic Rodney Dangerfield as Mallory's perverted, beer-drinking dad Ed
• the scene of Mickey (Woody Harrelson) killing Mallory's family (her father was drowned in the fishtank)
• the violent, cross-country (Route 666) Southwestern random killing spree of the white-trash outlaws and their pursuit by slimy Detective Jack Scagnetti (Tom Sizemore)
• the Drug Zone arrest scene shot entirely in flourescent green
• the prison interview between Mickey and TV tabloid show host/reporter Wayne Gale (Robert Downey, Jr.), who made them famous celebrities for his sensationalist "American Maniacs" show, when Mickey admits to his one true calling in life: "S--t man, I'm a natural born killer"
• the incredibly violent live interview/prison riot-escape scene
• the controversial see-through view of the bullet hole in the right hand of Gale
• the shocking ending when the two outlaws in a rural setting shoot Gale - broadcast live on camera

The Navigator (1924)

In Buster Keaton's classic comedy:

• the story of well-to-do Rollo Treadway and girlfriend Betsy O'Brien (Buster Keaton and Kathryn McGuire) on a deserted and adrift yacht (the S.S. Navigator)
• with numerous and elaborate sight gags including his encounter with a toy cannon tied to his leg, his accidental hitting of a lever sending the galley's interior cabin rotating and tossing them around like within a dryer, efforts to make breakfast (and coffee), boil an egg, set up a folding deck chair, race around the deck, shuffle a wet deck of playing cards
• the scene of underwater diving and a swordfish duel
• the mistaking of fireworks for candles
• a swinging-portrait on a nail mistaken for a ghost
• the climactic finale - the routing of an attack by a tribe of island cannibals

Near Dark (1987)

In Kathryn Bigelow's directorial debut, low-budget vampire-western horror film:

• the famous setpiece in which wise-cracking, vicious desperado-like, outlaw 'rebel' vampire Severen (Bill Paxton) (dressed like rock singer Jim Morrison) - a part of a vampire family led by Jesse Hooker (Lance Henriksen) that travels the countryside in a blacked-out Winnebago van and conducts raids on bikes - engages in a blood-lusting, drawn-out roadhouse diner fight with hicks
• in the massacre, he slits the bartender's throat with his boot's spurs and hisses: "Finger lickin' good"
• the skin sizzling, blistering and smoking effects that sunlight has on exposed vampire-skin
• the choreographed shoot-out scene in which dreaded shafts of light caused by bullets do considerable damage