Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

Babe (1995)

In director Chris Noonan's Best Picture-nominated animal tale:

  • the remarkable talking animals (including the sheepdog, the duck, the elderly ewe, the trio of singing mice, and runty, orphaned piglet Babe)
  • the rousing storybook finale in which sheep-herding Babe was victorious (with the password Baah Ram Ewe) in the prestigious National Sheepdog Championships contest
  • the congratulatory words of kind-hearted, prideful owner Farmer Hoggett (James Cromwell): "That'll do, pig, that'll do"

Baby Doll (1956)

In director Elia Kazan's scandalous, pot-boiling, condemned and censored film (for its time) by the Legion of Decency:

  • the first sensational image of white-trash, 19 year-old 'baby doll' child bride "Baby Doll" Meighan (Oscar-nominated Carroll Baker) sucking her thumb in a childlike crib while being spied upon through a hole in the adjoining wall by sexually-frustrated husband Archie (Karl Malden)
  • vengeful Sicilian Silva Vacarro's (Eli Wallach in his screen debut) numerous seduction scenes of Baby Doll - in the back seat of a rusty, wheel-less Pierce-Arrow, in a double-seated swing in the yard, in an adjoining room where he kissed her under a switched-off bare bulb as Archie spoke on the phone nearby, and at the stark dinner table when they shared hunks of bread dipped in raw greens
  • Baby Doll's trip to town with Archie and her demands for an ice cream cone
  • in the child's nursery - the memorably lewd sight of Vacarro mounting and sitting astride a small wooden hobby horse - rhythmically rocking back and forth on the tiny toy whose head was hardly visible between his legs - he playfully gyrated back and forth to the raunchy accompaniment of the rock song "Shame on You"
  • Vacarro's attempt in the attic to get Baby Doll to sign papers against her husband regarding arson

Back Street (1932)

In director John Stahl's romantic, pre-Code 'weepie' melodrama of an ill-fated romance, extra-marital and sacrificial love, based upon Fannie Hurst's best-selling (and scandalous) 1931 novel (and remade in 1941 with Charles Boyer and Margaret Sullavan, and in 1961 with Susan Hayward and John Gavin):

  • the long-lasting relationship and steadfast love and devotion between 'mistress' Ray Schmidt (Irene Dunne) and her 'taken' man Walter Saxel (John Boles), a successful financier-banker, that lasted for their entire lifetimes
  • the early scenes depicted Ray's character as wild, flirtatious, free, independent and carefree (a "good-time girl" with multiple suitors); but after her initial romantic hook-up with Walter in turn of the century Cincinnati and subsequent separation (and a missed chance to meet his mother), they accidentally remet again five years later in New York when she surrendered to love, gave up her career and financial independence, and became the married man's permanent 'back street mistress' or make-believe wife - she was an alienated heroine outcast and kept tucked away joylessly in a cheap and tiny apartment while he was married to wife Corinne (Doris Lloyd) with two children
  • the pleasant visits when Walter enjoyed chocolate and gingerbread in Ray's apartment, although she mostly experienced shame, loneliness, anguish and the negation of her potential motherhood
  • the closing death sequence in Paris after Walter had suffered a stroke, and his last thoughts turned to Ray - he could only say her name during his requested final phone call with her before he died; she replied to him: "Walter... yes, I'm here! I'm listening...I can't hear you, dear. What are you trying to say to me?"; she intently listened (the phone receiver was set down) as Walter's son Richard "Dick (William Bakewell) reacted to the death: ("Dad, Dad! Nurse! Doctor!") and she heard the doctor's somber pronouncement: ("He's passed on"); Ray screamed out Walter's name in shock and begged: "Don't leave me!" and then collapsed to the floor
  • following Walter's death, the tearful Ray sat in mourning in her shabby Parisian apartment, next to Walter's portrait; Walter's son visited Ray, and was now very sympathetic to Ray's feelings of true love and her dire plight; he explained: "His last thoughts were of you, Mrs. Schmidt"; he was astonished to learn that she had been sustained or provided for by only $200/month ("You mean everything? Good heavens!"); because she was not in Walter's will, he promised to continue to provide for her well-being
  • the film's powerful visualization of a direct connection between Walter (represented by a head-shot of his portrait next to her) and Ray when she spoke to him about how nice Richard had been to her, and their missed opportunities together: "Your son is going to take care of me. He was so nice. He might have been my son, our son. I wonder, Walter, what would have happened if I'd met your mother that day in the park"; desperate to be with Walter, she retreated into fantasy and replayed in her mind that she had actually met his mother (Maude Turner Gordon) at a local band concert in the park, who greeted her warmly: "So you are Ray Schmidt. You are nice. My dear, you are all he said you were. And I hope you both will be very happy"
  • in the film's final moments, Ray was able to transcend time and any other barriers (social and physical) that stood between them -- she murmured: "I'm coming, Walter, I'm coming" and succumbed (by slowly bowing her head onto the table holding Walter's portrait)

Back to the Future (1985)

In director Robert Zemeckis' witty science fiction adventure comedy/fantasy film:

  • the scene of madly-eccentric, wild-eyed, crackpot scientist Dr. Emmett "Doc" Brown (Christopher Lloyd) and his first testing of his time-travel car at Twin Pines Mall in the early morning of October 26, 1985
  • the frizzy-haired Doc's unveiling of his time machine invention to "Marty" Seamus McFly (Michael J. Fox), his silver DeLorean car, powered up to 1.21 gigawatts of electricity with plutonium, stolen from Libyan terrorists
  • after witnessing Doc's dog Einstein's short one-minute time-travel trip into the future ("temporal displacement") in the parking lot (at 88 mph), Doc's ecstatic reaction
  • the scene of Doc Brown dangling from the courthouse-town hall in front of the clock face, when he attempted to reconnect the wires so that a bolt of electricity would flow into the flux capacitor of the speedy DeLorean, to send Marty back to the future
    [Note: the sequence paid obvious homage to the similar scene in Harold Lloyd's Safety Last (1923). Many did not notice the foreshadowing of the scene, in the film's opening, during a panning view of Doc's workshop, when there was a quick snapshot of a straw-hatted man holding onto the minute-hand of an AXIS clock-timepiece reading 7:53]

The Bad and the Beautiful (1952)

In director Vincente Minnelli's acerbic show-business related drama:

  • the night of the sneak preview of the B-grade horror film The Doom of the Cat Men, by egotistical film producer Jonathan Shields (Kirk Douglas) for studio executive Harry Pebbel (Walter Pidgeon), and the close-up view of the words on one of the patron's reaction-comment cards: "It Stinks"
  • the scene of Georgia's (Lana Turner) discovery of Jonathan's affair with starlet Lila (Elaine Stewart), when the young female's shadow on the staircase crossed over her while Georgia was hugging Jonathan
  • Jonathan's hateful diatribe against Georgia: ("Stop looking like that. Remember, I didn't ask you here. You couldn't stay where you belong, could you? You couldn't enjoy what I made possible for you. No. You'd rather have this. Well, congratulations, you've got it all laid out for you so you can wallow in pity for yourself. The betrayed woman. The wounded doe with all the drivel that goes with it going through your mind right now. Oh, he doesn't love me at all. He was lying. All those lovely moments, those tender words. He's lying. He's cheap and cruel. That low-woman Lila. Well, maybe I like Lilas. Maybe I like to be cheap once in a while. Maybe everybody does, or don't you remember? (She recoiled.) Get that look off your face! Who gave you the right to dig into me and turn me inside out and decide what I'm like. (He grabbed her by the hair.) How do you know how I feel about you, how deep it goes? Maybe I don't want anybody to own me. You or anybody. Get out! Get out! Get out!")
  • Georgia's reaction in an hysterical, screaming out-of-control car sequence
  • the final image of director Fred Amiel (Barry Sullivan), actress Georgia and screenwriter James Lee Bartlow (Dick Powell) eavesdropping together on one telephone receiver, listening to the trans-atlantic call between Pebbel and Shields

Bad Day at Black Rock (1955)

In John Sturges' masterpiece about racial prejudice:

  • the credits sequence with the Streamliner diesel train racing across the arid desert
  • the image of well-dressed Macreedy (Spencer Tracy) as a one-armed unwelcome stranger in a hostile, claustrophobic Western town
  • his visit to Adobe Flat (home of a Japanese farmer/war hero named Komoko)
  • thug Coley's (Ernest Borgnine) daredevil pursuit of Macreedy's Jeep in the desert
  • the fight scene in Sam's greasy-spoon Bar and Grill when a taunted and fed-up Macreedy, who was called "a yellow-bellied Jap lover" retorted back: ("You're not only wrong, you're wrong at the top of your voice") and then subdued Coley with one swift karate-chop across the neck, and further chops
  • after fighting Coley, Macreedy took the downed man's knife and confronted ringleader Reno Smith (Robert Ryan): ("You killed Komoko, Smith, and sooner or later you're gonna go up for it. Not because you killed him, because I think in a town like this, you can get away with it. But because you didn't have guts enough to do it alone. You put your trust in guys like this - and Hector here - not the most dependable of God's creatures. And one of these days, they're gonna catch on that you're playin' 'em for a sap. And then what are ya gonna do? Peel 'em off, one by one? And in the meantime, one of 'em's gonna crack and when they do, you're gonna go down - but hard. 'Cause they got somethin' on ya, Smith. Something to use when the goin' gets tough. (He tossed the switchblade at Smith.) And it's gettin' tougher every minute")
  • the night-time deadly struggle between Macreedy and Reno Smith and Macreedy's inventive making of a Molotov cocktail, thrown at Reno and setting him on fire

Badlands (1973)

In the debut film of 29 year-old director Terrence Malick:

  • the opening voice-over, monotone narration of South Dakotan, magazine-addicted, 15 year-old teenager Holly Sargis (Sissy Spacek), who was baton-twirling in the street: ("My mother died of pneumonia when I was just a kid. My father had kept their wedding cake in the freezer for ten whole years. After the funeral, he gave it to the yardman. He tried to act cheerful, but he could never be consoled by the little stranger he found in his house. Then, one day, hoping to begin a new life away from the scene of all his memories, he moved us from Texas to Ft. Dupree, South Dakota. Little did I realize that what began in the alleys and backways of this quiet town would end in the Badlands of Montana")
  • the introduction to Holly's unstable, garbage collector boyfriend - a charismatic, James Dean look-alike named Kit Carruthers (Martin Sheen)
  • the image-filled torching of Holly's house after the killing of her widowed father (Warren Oates) by Kit, and their faking of a fiery suicide
  • Kit's execution of a basketball
  • their killing spree and flight through the Badlands and into the wild frontier of Montana, and later into Canada
  • their final dance in their Cadillac's headlights (to the tune of Nat King Cole singing A Blossom Fell on the radio), when Kit told Holly: "Boy, if I could sing a song like that, I mean, if I could sing a song about the way I feel right now, it'd be a hit."
  • Kit's leading of troopers and a Sheriff on a chase and his eventual capture and idolization

Bambi (1942)

In Disney's classic feature-length animation:

  • the visually-beautiful and musically-expressive animated Disney classic based on the Felix Salten story, with cute and lovable rabbit Thumper and bashful, loveable skunk Flower
  • the coming-of-age scene of young stripling Bambi stumbling over his shadow and having trouble with his footing when taught how to walk/run/hurdle by Thumper
  • Bambi's first visit to the meadow
  • his lesson on how to slide across the ice - and ending up spread-eagled
  • wise old Owl's humorous sex-education speech on the power of falling in love ("twitterpatted")
  • the traumatic, off-screen (sound of gunshot) death of Bambi's mother by Man - a hunter in a snow-covered meadow and the small fawn's fearful cries of "Mother, where are you?" during a raging snowstorm
  • the buck's fateful message about her death to Bambi: ("Your mother can't be with you anymore") - one of the saddest sequences in film history
  • Bambi's fight with a rival deer for doe Faline
  • the scene of protecting Faline from a pack of mad dogs
  • the scene of the hunters' return, when three fearful pheasants cornered in the tall grass were worried about their predicament; the most scared one exclaimed: "Listen, he's coming...He's coming closer!...We'd better fly"; others whispered: "Hush. Be quiet...Be calm. Don't get excited"; there was a warning and a plea: "No, no, don't fly. Whatever you do, don't fly!" - but the fearful pheasant did fly upwards as it shouted out: ("He's almost here. I can't stand it any longer!") - and was shot down; the lifeless body tumbled to the ground, followed by a flurry of feathers - and scattering of all the other animals
  • the chaotic destruction of the forest by fire, and the portrayal of the helplessness of the animals caught in the conflagration
  • the final scene of a grown Bambi proudly taking his place and standing with his 'Prince of the Forest' father, silhouetted against the sky

Bananas (1971)

In actor/director Woody Allen's early anarchic slapstick comedy:

  • the opening scene of the play-by-play commentary of a Latin-American president's "live, on-the-spot assassination", in the Republic of San Marcos, on the outdoor palace steps for ABC's Wide World of Sports - provided by sportscaster announcer Howard Cosell (Himself), as he asked the dying leader: "Well, of course, you're upset, and that's understandable under the circumstances. l guess now you'll have to announce your retirement"
  • the scenes of clumsy, anxiety-ridden nerd Fielding Mellish (Woody Allen) serving as a guinea-pig for his company's strange inventions as a consumer product tester with a malfunctioning, sedentary exercise-machine ("The Execu-cisor")
  • aspiring playboy Fielding's nervous purchase of a porno magazine (camouflaged by other more intellectual publications such as Time Magazine, Commentary, Saturday Review, and Newsweek) and his embarrassment when a shop dealer made it obvious to other respectable, disapproving customers that he was purchasing a pornographic magazine and his cringing when his order was screamed out by the clerk: ("Hey Ralph? How much is a copy of Orgasm?...Orgasm. This man wants to buy a copy. How much is it?"); Fielding stuttered: "Doing a sociological study on perversion. l'm up to advanced child molesting"
  • Fielding's unsuccessful attempt and cowardice to protect an old woman during a subway mugging by two thugs (including a young Sylvester Stallone in his screen debut)
  • his breakup with red-headed radical Nancy (Louise Lasser) and his whining: (Fielding: "How am I immature?" Nancy: "Well...intellectually, emotionally and sexually." Fielding: "Yeah, but in what other ways?")
  • the scenes of Fielding's involvement as a fake-bearded revolutionary guerrilla in a tiny Latin American banana republic of San Marcos as the guest of dictator Gen. Emilio M. Vargas (Carlos Montalban)
  • the scene of nebbish Fielding viewing a half-naked woman clutching her left breast and crying out: "I got bitten by a snake" - after he had learned about first-aid treatment for snakebite: ("In the event of snake-bite, you make an incision and you suck out the poison - remember, you suck out the poison"); with a huge grin on his face, he pursued her greedily and lasciviously, and was followed by the rest of the rebel camp
  • the scene of a dinner toast when he tensely began chewing on his glass
  • his to-go ordering of almost one thousand grilled cheese sandwiches and seven hundred cups of coffee for his troops at a lunch counter during a South American revolution before being installed as El Presidente
  • the grossly inappropriate speech to upper class dignitaries given by Fielding, now El Presidente of San Marcos and wearing a ridiculous fake red beard, at a high society fundraiser: "Uh, we have more locusts than...uh, locusts of all races and creeds. These, these locusts, incidentally, are available at popular prices. And so, by the way, are most of the women of San Marcos..."
  • his US trial scene in which he cross-examined himself and objected to the judge during his trial for treason in the US: ("l object, Your Honor. This trial is a travesty. lt's a travesty of a mockery of a sham of a mockery of a travesty of two mockeries of a sham. l move for a mistrial. Do you realize there's not a single homosexual on that jury")
  • the closing televised Fielding Mellish Honeymoon Night broadcast (on Wide World of Sports) that was viewed as a boxing match by commentator Howard Cosell, in which Nancy admitted: "Well, Howard, it all went by so fast. I just had no idea that it would be so quick, really. I was expecting a longer bout... Well, as you know, l'm extraordinarily ticklish so l had a kind of a rough time there. l couldn't stop laughing...And you know, l thought it would really get in my way. But l really trained well for this and l think it sort of held me, so there really wasn't any time that l didn't feel in complete control." Then she added: "The timing was a little off, but l think he'll be fine. I mean, he's not the worst l've had. Not the best, but not the worst."

Band of Outsiders (1964, Fr.) (aka Bande à Part)

In Jean-Luc Godard's quirky and experimental Nouvelle Vague (French New Wave) crime drama (described by the narrator's pitch: "A few clues for latecomers: Several weeks ago... A pile of money... An English class... A house by the river... A romantic young girl..."):

  • the film's love triangle between two young Parisian aspiring low-life criminals: intellectual dreamer Franz (Sami Frey), vulgar opportunist Arthur (Claude Brasseur), and beautiful ingenue Odile (Anna Karina)
  • the two men's play-acting or pantomiming of a shootout in the street between Billy the Kid and Sheriff Pat Garrett after which overacting Arthur rolled around on the pavement pretending painful agony
  • the intense, 90-second, half-hearted face-off/shootout with drawn guns filmed at mid-distance on the front lawn after a bungled robbery attempt at the villa of Odile's own Aunt Victoria (Louisa Colpeyn)
  • the scene in the English class in which the teacher (Daniele Girard) read French passages from Romeo and Juliet and assigned the students to re-translate back into English - while Arthur kept slipping love notes to Odile
  • the sequence of Franz and Arthur reading aloud gruesome crime stories in a tabloid - ending with an account of tribal slaughter in Rwanda
  • the celebrated scene of the three running through the Louvre in nine minutes and 45 seconds, breaking the world record "previously set by Jimmy Johnson of San Francisco" by two seconds (repeated in Bertolucci's The Dreamers (2003))
  • the "minute of silence" scene in a cafe (a soundless interlude that was actually 36 seconds) (Franz: "A minute of silence can last a long time... a whole eternity")
  • the impromptu scene of the trio of characters each separately line-dancing the Madison in a half-empty restaurant (copied in Tarantino's Pulp Fiction (1994))

The Band Wagon (1953)

In director Vincente Minnelli's great movie musical:

  • the 8-minute, dreamy, film-noir, pulp B-movie, jazz-dance spoof on Mickey Spillane's "The Girl Hunt Ballet" in the film's climactic performance of long-legged femme fatale Gaby Gerard (Cyd Charisse) and Tony Hunter (Fred Astaire)
  • the sublime Astaire-Charisse love duet in Central Park titled "Dancing in the Dark"
  • the elegant soft-shoe dance of tuxedoed, top-hatted Tony and pretentious producer-director Jeffrey Cordova (Jack Buchanan) to the tune: "I Guess I'll Have to Change My Plan"

The Bank Dick (1940)

In one of W.C. Fields' classic comedies:

  • the words of advice given by Lompoc resident Egbert Souse (W.C. Fields) to his future son-in-law Og Oggilby (Grady Sutton) - "Surely, don't be a luddie-duddie, don't be a moon-calf, don't be a jabbernow, you're not those, are you?"
  • the scene when Egbert was hired as a vigilant bank security dick - he choked a young boy in a cowboy outfit waving a toy gun - believing that he was a holdup man - as the bratty boy walked out of the bank, he ridiculed the guard's shiny, bulbous red nose: "Mommy, doesn't that man have a funny nose?" His mother chided him for making fun: "You mustn't make fun of the gentleman, Clifford. You'd like to have a nose like that full of nickels, wouldn't you?"
  • Egbert's Black Pussy Cat Cafe drinking routine
  • Souse's use of a Mickey Finn to hold off effeminate, inquisitive and persistent bank examiner J. Pinkerton Snoopington (Franklin Pangborn)
  • and his memorable, zany, slapstick getaway car chase scene as a "hostage" with a terrified robber - it was a superbly-timed chase - the cars (Souse's car was followed by the local police, the bank president, and a representative from the movie company) zoomed and circled around, barely avoiding crashing into each other or other obstacles in the path - the getaway car careened through streets, over ditches (over the heads of ditchdiggers), around curves and up a mountainside, missing collisions at every turn with the pursuit vehicles. When asked by the thug in the back seat to give him the wheel, Egbert matter-of-factly pulled it off the steering column and gave it to him; when the robber was struck unconscious and apprehended, Sousè was an unlikely hero once again for thwarting another heist

Barbarella (1968, Fr./It.)

In director Roger Vadim's psychedelic cult classic and sexual satire:

  • the infamous, teasing, slow-motion opening credits sequence that stripped 41st century comic-strip heroine Barbarella (Jane Fonda) of her space-suit outfit, while weightless in space
  • the unusual elbow-sex scene and sexploits with a hairy primitive (her reaction to physical love: "But no one's done it for hundreds of centuries!"), a blind winged angel Pygar (John Phillip Law) ("An angel doesn't make love - an angel is love") and a lesbian evil Black Queen (Anita Pallenberg) ("You are very pretty, Pretty-Pretty")
  • Barbarella's attack by battling mechanical, razor-toothed robot devil dolls
  • Barbarella's escape from being pecked to death by songbirds-parakeets ("This is really a much too poetic way to die!")
  • the "exaltation transference pill" (or sex pill) scene between goofy revolutionary Dildano (David Hemmings) and Barbarella, when he proposed taking the pill rather than the old-fashioned way - (which caused their hair to curl after joining hands for awhile)
  • Durand Durand's (Milo O'Shea) unsuccessful attempt to kill Barbarella with pleasure by orgasmically "playing" her with a euphemistic pipe organ ("Sonata for Execution of Various Young Women"): ("When we reach the crescendo, you will die of pleasure. Your end will be swift, but sweet, very sweet") and his aghast reaction to her defeating the machine by overheating it: ("What is this? I don't believe it. It couldn't be. Wretched girl. What have you done to my excessive machine? You've undone it. You've undone me. Look! Energy cables are shrinking. You've turned them into faggots. You've burned out the excessive machine. You've blown all its fuses....You've exhausted its power. It couldn't keep up with you. Incredible! What kind of girl are you? Have you no shame? Shame! Shame on you! You'll pay for this! I've got something for you. You'll wish you had died of pleasure. Now you shall learn the wisdom of the lash")

The Barretts of Wimpole Street (1934)

In director Sidney A. Franklin's historical romance based on the successful stage drama:

  • the climactic scene in which poet Elizabeth Barrett (Norma Shearer) struggled out of the tyrannical grasp of her domineering father (Charles Laughton)

Barry Lyndon (1975, UK)

In director Stanley Kubrick's three-hour visually-stunning costume drama (with astonishing, gorgeous candlelit cinematography by John Alcott, oil painting-like tableauxs, and superb costuming) adapted from William Makepeace Thackeray's 1844 novel with stately voice-over narration by Michael Hordern:

  • the film's second dueling scene of impetuous and jealous young Irish rogue Redmond Barry (Ryan O'Neal) against competing suitor Captain John Quin (Leonard Rossiter) for the affection of his cousin Nora Brady (Gay Hamilton) - with Barry's stubborn assertion: ("I'm not sorry and I'll not apologize")
  • the bare fist-fight between Barry and a burly fellow soldier Poole (Pat Roach)
  • the battle scene of British soldiers marching toward the French troops in rows and being mowed down - with the death of Barry's friend Captain Grogan (Godfrey Quigley) in a muddy ditch
  • the brief affair between Barry and a young, pretty Prussian war bride and peasant mother Lieschen (Diana Korner)
  • Barry's admission of spying for Prussian Captain Potzdorf (Hardy Krüger) to nobleman Chevalier de Balibari (Patrick Magee): ("I have a confession to make to you. I'm an Irishman...")
  • the seduction scene of Barry's first flirtatious meeting with Lady Lyndon (Marisa Berenson) during a gamester session, lit only with candlelight, casting a reddish glow
  • the scene of Barry's detestable step-son Lord Bullingdon (Leon Vitali) accusing his father of abuse toward the Lyndon family during an afternoon concert in the drawing room: ("...his brutal and ungentlemen-like behavior, his open infidelity, his shameless robberies and swindling of my property, and yours") and Barry's brawling retaliation
  • the sad death scene of Barry's son Bryan (David Morley) after being thrown from a horse - with his parents at his bedside
  • the film's lengthy third duel scene of Barry vs. his stepson ("I have not received satisfaction")
  • the final shot of Lady Lyndon reacting to Barry's name as she signed his yearly annuity/bribe (to stay away)

Barton Fink (1991)

In this Coen Brothers classic:

  • the scene of eccentric movie studio mogul Jack Lipnick (Michael Lerner) first asking wiry-haired, thick-framed black-eyeglass-wearing New York playwright Barton Fink (John Turturro): ("Can you tell a story? Can you make us laugh, make us cry, make us want to break out in song?"); then he offers a contract with Capitol Pictures, asking the East Coast writer to compromise by giving him a film script for a "wrestling picture with Wallace Beery" within a week: ("We do not make B-pictures here at Capitol. Put a stop to that rumor right now!...The important thing is we all want it to have that Barton Fink feeling. I guess we all have that Barton Fink feeling, but since you're Barton Fink, I'm assuming you have it in spades")
  • Barton's condescending and lengthy rant about theater to his traveling, door-to-door insurance salesman/psychotic homicidal neighbor Charlie Meadows (John Goodman) whom he called a "real man": ("Strange as it may seem, Charlie, I guess I write about people like you - the average working stiff, the common man....There's a few people in New York, hopefully our numbers are growing, who feel we have an opportunity now to forge something real out of everyday experience, create a theater for the masses based on a few simple truths, not on some shopworn abstractions about drama that don't hold true today if they ever did...We all have stories! The hopes and dreams of the common man are as noble as those of any king. The stuff of life. Why shouldn't it be the stuff of theater? God dammit. Why should that be such a hard pill to swallow? Don't call it new theater, Charlie. Call it real theater. Call it our theater!... many writers do everything in their power to insulate themselves from the common man, from where they live, from where they trade, from where they fight and love and converse and, and, so, naturally, their work suffers and regresses into empty formalism and - well, I'm spouting off again, but to put it in your language, the theater becomes as phony as a $3 dollar bill.")
  • the scene of Barton Fink (with mosquito bites all over his face and suffering from terminal writer's block) consulting with producer Ben Geisler (Tony Shalhoub) for advice, and learning to his consternation that Lipnick had unfortunately taken an interest in the picture: ("I don't know what the hell you said to Lipnick, but the son of a bitch likes you. Do you understand that, Fink? He likes you! He's taken a interest. Never make Lipnick like you. Never!...Are you deaf? He likes you. He's taken a interest. What the hell did you say to him?...Well, he's taken a interest. That means he'll make your life hell")
  • the fiery scene in which Fink's neighbor Charlie, now revealed to be serial killer Karl "Madman" Mundt, returned to the rundown Hotel Earle in Hollywood of 1942, emerged from a flaming elevator, shot two cops waiting for him there as he ran down the flaming corridor screaming out with his shotgun: ("Look upon me. I'll show you the life of the mind!") - then whistled before exclaiming to Barton: "Brother, is it hot!"
  • the last scene in which the bewildered playwright, suffering criticism, denigration, and ridicule from the studio and Lipnick ("You ain't no writer, Fink. You're a god-damn write-off!...You swell-headed hypocrite!"), found himself walking along a beach with Meadows' brown paper-wrapped parcel-box. There, he met a bathing beauty (Isabelle Townsend) - his dream girl from a picture on the wall of his surreal hotel room #621 with peeling wallpaper. After she greeted him with "It's a beautiful day," he responded: "Yes, it is." Then after telling her he didn't know the contents of the box, he complimented her: "You're very beautiful. Are you in pictures?" to which she responded: "Don't be silly"

(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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