Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Nineteen Eighty-Four (1984, UK)

In director Michael Radford's grim adaptation of George Orwell's classic novel:

  • the opening credits sequence of governmental propaganda films (featuring Big Brother - "played" by Bob Flag)
  • the screaming Two Minutes Hate
  • oppressed middle-class drone Winston Smith's (John Hurt) narration from his diary writing: "April the 4th, 1984. To the past, or to the future. To an age when thought is free. From the Age of Big Brother, from the Age of the Thought Police, from a dead man... greetings"
  • Winston's job at the Ministry of Information (ironically-titled) to alter the past by turning people into non-existent "unpersons"
  • Winston's oft-repeated dream of a green pasture with isolated trees on the horizon that was turned into a reality during an idyllic love affair with rebellious Julia (Suzanna Hamilton)
  • once found out, the excruciating torture/brain-washing of Winston administered by O'Brien (Richard Burton) in Room 101 with the notorious rat-cage torture: ("If you want a vision of the future, Winston, imagine a boot stamping on a human face -- forever")
  • the bleak ending in which Winston played chess with himself in the Chestnut Tree Cafe (as he admitted his crimes on a television screen), after having an unromantic encounter with Julia: ("Under the spreading chestnut tree / I sold you / You sold me") - he turned to the image of Big Brother and told it: "I love you"






Nine to Five (1980) (aka 9 to 5)

In director Colin Higgins' feminist-leaning workplace farcical comedy:

  • the catchy Oscar-nominated title song sung and written by Dolly Parton during the opening title credits montage (shot in downtown San Francisco)
  • male-dominated, married personal secretary Doralee Rhodes' (Dolly Parton in her film debut) threatening tirade to get her gun and fire at lecherous, chauvinistic and harrassing corporate boss Franklin Hart (Dabney Coleman) after being ogled one too many times: ("If you say another word about me or make another indecent proposal, I'm gonna get that gun of mine and I'm gonna change you from a rooster to a hen with one shot!")
  • the three "old fashioned ladies' pot party" in which Doralee, new secretary Judy Bernly (Jane Fonda), and senior office manager Violet Newstead (Lily Tomlin) fantasized about killing their boss in various ways, each one labeling him as "a lying, sexist, egotistical, hypocritical bigot":
    - Judy hunted him down with a rifle
    - Doralee hog-tied him and put him on a spit
    - and Violet portrayed Disney's Snow White and poisoned him with coffee
  • the scene of Violet - thinking she'd poisoned Hart with rat poisoning - stealing a corpse from the hospital
  • Hart held captive by the trio in a bizarre suspension system
  • Hart's reaction to his unwanted transfer: "Brazil?"
  • Hart's sycophantic assistant Roz's (Elizabeth Wilson) reaction to the triumphant, champagne drinking trio: "Holy merde!"
  • - and the film's final caption: "Franklin Hart was abducted by a tribe of Amazons in the Brazilian jungle and was never heard from again"







Ninotchka (1939)

In Ernst Lubitsch's sophisticated romantic comedy (with the tagline "Garbo LAUGHS!"):

  • a sophisticated romantic comedy, advertised as the first in which "Garbo LAUGHS"
  • the scene of somber and dour Russian commissar Nina "Ninotchka" Ivanovna Yakushova's (Greta Garbo) arrival at the train station (after being dispatched from Moscow), where she was met by a trio of Russian delegates/comrades (Sig Rumann, Felix Bressart, and Alexander Granach), who apologized for not bringing flowers because they didn't know she was female - and she sternly and unsmilingly cautioned them to downplay her sexuality and not act gallantly: "Don't make an issue of my womanhood. We're here for work. All of us. Let's not waste any time. Shall we go?" - and she refused to have a porter carry her bags; as she walked off, she told them the news: "The last mass trials have been a great success. There are going to be fewer but better Russians"
  • the scene of her meeting with dashing Count Leon d'Algout (Melvyn Douglas), when all she wanted was assistance in holding her unfolded map of Paris to go to the Eiffel Tower to learn about it from a "technical standpoint"; point-blank, she told him: "I am interested only in the shortest distance between these two points. Must you flirt?...Suppress it!"
  • the first instance of Ninotchka saying her famous line after being introduced to Leon's elderly, dignified butler Gaston (Richard Carle): "The day will come when you'll be free. Go to bed, little father. We want to be alone"
  • the second instance in the film in which Garbo stated her famous wish to be alone: "We want to be left alone"
  • the famous "execution" scene
  • the stinging repartee between Grand Duchess Swana (Ina Claire) and Ninotchka
  • her response to Leon's request for feedback when he asked: "Ninotchka, you like me just a little bit?" - and her reply: "Your general appearance is not distasteful...The whites of your eyes are clear. Your cornea is excellent"; and then her denial of his feelings of love: "Love is a romantic designation for a most ordinary biological - or, shall we say, chemical - process. A lot of nonsense is talked and written about it"
  • Leon's failed attempt to arouse emotion in Ninotchka: "Love isn't so simple, Ninotchka. Ninotchka, why do doves bill and coo? Why do snails, the coldest of all creatures, circle interminably around each other? Why do moths fly hundreds of miles to find their mates? Why do flowers slowly open their petals? Oh, Ninotchka, Ninotchka, surely you feel some slight symptom of the divine passion? A general warmth in the palms of your hands, a strange heaviness in your limbs, a burning of the lips that isn't thirst but something a thousand times more tantalizing, more exalting, than thirst" - and her cold reply: "You are very talkative"
  • the celebrated cafe scene of dashing Count Leon d'Algout (Melvyn Douglas) attempting to melt somber and dour Russian commissar Nina "Ninotchka" Ivanovna Yakushova's (Greta Garbo) icy, stony-faced, humorless, impassive exterior and have her "laugh from the heart" by telling her dumb jokes and stories in a restaurant; when that utterly failed and she remained stone-faced without any reaction, he leaned backward on the shaky table behind him and accidentally toppled over in his chair, causing everything to crash to the floor. He finally succeeded in making her laugh uproariously and uncontrollably. She howled, threw her head back, and collapsed across the table, pounding it with her hand. Leon slowly got up from the floor, recomposed himself, and sat next to her. And then he recovered and broke down into howling laughter with her. He saw the humor of the situation and joined in everyone's laughter at his own expense
  • the last image of Kopalski picketing the restaurant with a sandwich board that read: "Buljanoff and Kranoff Unfair to Kopalski"






Nixon (1995)

In Oliver Stone's documentary-drama with homage paid to Citizen Kane (1941) with its flashback structure, dinner-table scene and newsreels:

  • the recreation of the 1960 Presidential television debate between Richard M. Nixon (Oscar-nominated Anthony Hopkins) and John F. Kennedy (Himself)
  • the scene of Nixon noisily playing "Happy Days Are Here Again" on the piano and calling his wife Pat (Oscar-nominated Joan Allen) a "cocksucker" when she complained about political life (and then suggested a divorce) after he lost to incumbent Pat Brown in California during the gubernatorial race in 1962: ("It's over, Dick....I have always stood by you. I campaigned for you when I was pregnant. During Checkers, when Ike wanted you out, I told you to fight. This is different, Dick. You've changed. Life is tough and it is unfair and sometimes you forget that in your self-pity. You forget sometimes, Dick that I had a life before you - before California...You've changed. You've grown more bitter, like you're at war with the world. You weren't that way before. I'm 50 years old now, Dick. How many millions of miles have I traveled? How many millions of peoples' hands have I shaked that I just don't like? How many thank-you notes have I written? It's as if I, I don't know, just went to sleep a long time ago and missed the years between. I've had enough...I want a divorce...This isn't political, Dick. This is our life")
  • Nixon's press conference, when he promised to never run again after his defeat in 1962: ("...But as I leave you, I-I want you to know. Just think what you're gonna be missing. You won't have Nixon to kick around anymore"), to prevent a divorce from Pat
  • the famous televised "I am not a crook" speech to the nation: ("...Because people have gotta know whether or not their president is a crook. Well, I am not a crook. I've earned everything I have....She doesn't have a mink coat, but she does have a respectable Republican cloth coat")
  • the scene in which a resigning and sobbing President Nixon prays with Secretary of State Henry Kissinger (Paul Sorvino): "What have I done wrong? I opened China. I made peace with Russia. I ended the war. I did what I thought was right. Ah... God, why do they hate me so? Is unbelievable. It is insane. Oh, M-Mom, I'm sorry. God, please forgive me, God. I really didn't mean it. I didn't know what to do. I don't know why this is happening to me. I can't believe..."
  • and his poignant late-night conversation with a portrait of Kennedy: "When they look at you, they see what they want to be. When they look at me, they see what they ARE..."
  • his sweaty, final farewell and impromptu speech to his assembled White House staff, including a tribute to his mother: ("Nobody will ever write a book, probably, about my mother. Well, I guess all of you would say this about your mother. My mother was a saint....Yes, she will have no books written about her. But she was a saint...the greatness comes, not when things go always good for you but the greatness comes when you're really tested, when you take some knocks, some disappointments, when sadness comes. Because only if you've been in the deepest valley can you ever know how magnificent it is to be on the highest mountain...Remember, always give your best. Never get discouraged. Never be petty. Always remember, others may hate you. But those who hate you don't win unless you hate them. And then, you destroy yourself. And so we leave with high hopes and good spirits and with deep humility. And I say to each and every one of you, not only will we always remember you but always you will be in our hearts. And you'll be in our prayers")








No Country For Old Men (2007)

In the Coen Brothers' dark Best Picture-winning crime drama:

  • the strangulation murder of a young deputy (Zach Hopkins) by a handcuffed amoral, thrill-killer Anton Chigurh (Javier Bardem), using his handcuffs as a garrote from behind. After the killing, he reacted with a grinning, satisfied exhalation, and then walked away from the bloody, scuffed-up floor from the flailing boots of the struggling man
  • the infamous coin-toss wager scene in which Chigurh threateningly offered a Texaco gas station manager an enigmatic choice, in a cat-and-mouse conversation: ("What's the most you've ever lost in a coin toss?...The most you ever lost in a coin toss....Call it...Yes...Just call it....You need to call it. I can't call it for you. It wouldn't be fair....You've been putting it up your whole life - you just didn't know it. You know what date is on this coin?... 1958. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails. And you have to say. Call it....Everything...You stand to win everything, call it.")
  • the concluding scene in which the evil and remorseless killer Chigurh confronted Vietnam veteran and Texas resident Llewelyn Moss's (Josh Brolin) young and innocent wife Carla Jean (Kelly Macdonald) in her bedroom, before her murder (off-screen): ("I knew this wasn't done with. I ain't got the money. What little I had is long gone and there's bills a-plenty to pay yet. I buried my mother today. Ain't paid for that neither....I need to sit down. You got no cause to hurt me...You don't have to do this...I knowed you was crazy when I saw you sitting there. I knowed exactly what was in store for me... I ain't gonna call it...The coin don't have no say - it's just you.")
  • the ending sequence - retired Sheriff Ed Tom Bell (Tommy Lee Jones) sorrowfully recollected a second dream about his father to his wife Loretta (Tess Harper) - a metaphor for mortality in life: ("..The second one, it was like we was both back in older times and I was on horseback goin' through the mountains of a night. Goin' through this pass in the mountains. It was cold and there was snow on the ground and he rode past me and kept on goin'. Never said nothin' goin' by - just rode on past. And he had his blanket wrapped around him and his head down. When he rode past, I seen he was carryin' fire in a horn the way people used to do, and I-I could see the horn from the light inside of it - about the color of the moon. And in the dream I knew that he was goin' on ahead and he was fixin' to make a fire somewhere out there in all that dark and all that cold. And I knew that whenever I got there, he'd be there. And then I woke up")





No Way Out (1987)

In Roger Donaldson's twisting political thriller (an update of the 1946 Kenneth Fearing potboiler The Big Clock, originally adapted for the big screen as The Big Clock (1948) and starring Ray Milland):

  • one of the most infamous sex scenes of all time - the passionate love scene in the back seat of a limousine between Lt. Commander Tom Farrell (Kevin Costner) and the Defense Secretary David Brice (Gene Hackman) mistress Susan Atwell (Sean Young) - punctuated by a glimpse of the Washington Monument
  • the scene of Brice's accidental murder of Atwell who fell from her second floor balcony
  • the surprising suicide of scheming, yet loyal aide Scott Pritchard (Will Patton) when his superior Brice tried to make him the fall guy in the murder of Susan Atwell
  • the devious trick-surprise ending revealing Farrell's true loyalty (to the KGB) as fabled mole/spy 'Yuri'



Noah's Ark (1928)

In this melodramatic epic, a silent film (part-talkie) directed by Michael Curtiz:

  • the intercut sequences of the Biblical story of the 'Great Flood', with a climactic flood sequence - that mixed minatures, double-exposures, and the full-scale destruction of actual sets
  • in a scene reminiscent of Cecil B. DeMille's earlier Biblical epic The Ten Commandments (1923), Noah (Paul McAllister) went on a mountain trek where in one dramatic scene he experienced a burning bush and the creation of giant tablets on a mountainside with flaming letters warning of a Flood ("to destroy all flesh"), and his commission by God to build an Ark
  • just before the flood, the scene of virginal Miriam's (Dolores Costello) sacrifice by King Nephilu (Noah Beery) of Akkad - as the archer drew back his bow, he was struck by lightning
  • a fierce storm and another lightning bolt that destroyed the temple and torrents of water caused a massive flood that ravaged everything





Norma Rae (1979)

In director Martin Ritt's social drama:

  • the inspirational scene in which small-town Alabama cotton mill union organizer Norma Rae (Oscar-winning Sally Field) held up above her head a hand-scrawled, cardboard "UNION" sign while standing on a table -- causing her fellow factory workers to one-by-one shut down their machines in solidarity and stand up for their rights

North by Northwest (1959)

In Alfred Hitchcock's masterpiece of mistaken identity:

  • the memorable Saul Bass opening credits sequence set to Bernard Herrmann's lively score
  • the opening kidnapping scene when baffled New York adman Roger Thornhill (Cary Grant) was mistaken as double agent Kaplan
  • the drunk-driving sequence and the elevator scene when Thornhill's mother Clara (Jessie Royce Landis) asked his enemy assassins: "You gentlemen aren't really trying to kill my son, are you?"
  • the United Nations murder scene with Roger photographed while gripping a knife in a dead man's back
  • the seduction scene aboard a railroad car with cool blonde Eve Kendall (Eva Marie Saint)
  • one of the most famous set pieces ever filmed -- Thornhill's standing at a deserted Highway 41 crossroads where a stranger stood across the road from him (widescreen) and wondered: "that plane's dustin' crops where there ain't no crops"
  • the famous pursuit-attack sequence by a deadly crop-dusting bi-plane in an open, flat and desolate field as Thornhill sought protection in a cornfield, the dramatic editing that heightened suspense when the strafing plane crashed into an oil truck
  • the art auction scene when Thornhill low-bid himself into the safe hands of the police
  • the cliff-dangling episode at Mount Rushmore when Eve and Thornhill were clinging for their lives and he quipped: "They (two previous wives) said I led too dull a life"
  • the final, clever transition as Thornhill tugged on Eve (hanging on the immense carved stone face) and - CUT - pulled her up into a berth in the interior of a Pullman sleeping car (that headed into a tunnel)







Nosferatu, Eine Symphonie Des Grauens (1922, Germ.) (aka A Symphony of Terror/Horror)

In this influential German expressionistic film by director F.W. Murnau:

  • the scene of the appearance of hideous Nosferatu (undead) vampire in his castle in Transylvania in the Carpathian Mountains - a bald-headed and cadaverous creature with claw-like/skeletal fingernails, long teeth (or fangs) and bat ears
  • Count Graf Orlok (Max Schreck) was seen glimpsed at a long distance, but then approached quickly (through dissolves) toward the horrified, visiting real estate agent Johannes Hutter (Gustav von Wangenheim) until he was completely in the curved, pointed doorway with a Gothic arch, revealing his ugly, scary figure
  • the similar scene of Count Orlok rising straight up from his earth-filled coffin in the cargo hold of the double-masted "death ship" Empusa - causing the crazed first mate (who was hacking into the coffin) to run on-deck and hurl himself into the water
  • the low-angle image of the predatory creature's walk across the prow of the ship (looking like a spider spinning his web in the rigging) transporting him to his new home in the north German town of Wisborg
  • the shadowy approach of the vampire's elongated hand as he climbed the stairs and reached out to a door and toward his stalking victim - an awaiting possessed Ellen Hutter (Greta Schroeder) - who had read in his book that "Deliverance is possible by no other means but that an innocent maiden maketh the vampire heed not the first crowing of the cock - this done by the sacrifice of her own bloode"
  • and finally, the scene of Orlok's death-fading away scene by exposure to sunlight at her window after the rooster crowed signaling the dawn







Nostalgia (1983, Soviet Union/It.) (aka Nostalghia)

In Andrei Tarkovsky's drama:

  • the character of village lunatic Domenico (Erland Josephson) who was attempting to cross through the waters of a mineral pool (in an ancient spa town in Tuscany) with a lit candle (without extinguishing it), in order to save his family from the end of the world
  • the death of Domenico, who immolated himself in the town square to the accompaniment of Beethoven's Ninth Symphony
  • the "candle in an empty pool" sequence - the eventual attempt of befriended Russian writer Andrei Gorchakov (Oleg Yankovsky) to fulfill his promise to Domenico - to walk across the mineral pool with a candle - although when he approached the mineral pool, he discovered that the water had been drained; he repeatedly attempted the walk and finally succeeded, placed his candle on a ledge - and then collapsed (off-screen)



Nothing Sacred (1937)

In director William Wellman's great screwball comedy:

  • the comic lady-beating scene between reportedly-dying Hazel Flagg (Carole Lombard) (of radium poisoning) and hotshot newspaperman Wally Cook (Fredric March) to make Hazel look properly bruised and terminally ill, ending up with Hazel knocked out with a terrific punch

Notorious (1946)

In this vintage Alfred Hitchcock suspense thriller:

  • the longest kiss in film history (to date) - in order to bypass the Production Code's restriction on a screen clinch beyond 3 seconds long - it was a passionate 3-minute kissing scene between American agent Devlin (Cary Grant) and sexy Alicia Huberman (Ingrid Bergman) that began on a Rio balcony, moved inside to the telephone where Devlin took a call and ended at the front door with them all the while talking and kissing
  • the incredible, long and unbroken crane shot zeroing in on the key clenched in Alicia's hand (in closeup) that could unlock the wine cellar
  • the tense champagne party and wine cellar sequence where uranium dust was found by Devlin and Alicia in the bottles
  • their ploy to fool WWII Nazi agent (Claude Rains)
  • the scene of Alex's humiliating confession to his domineering mother (Mme. Konstantin) about his wife being an American agent
  • the exciting and nerve-wracking finale with Devlin's ascent of the stairs to rescue Alicia on her deathbed, and carry her down the staircase in full view of the enemy and out to a car
  • Alex's final summons by his Nazi superiors



Now, Voyager (1942)

In director Irving Rapper's great romantic tearjerker:

  • the transformation of Charlotte Vale (Bette Davis) from misfit, neurotic, ugly duckling spinster from Boston to vibrant beauty
  • psychiatrist Dr. Jaquith (Claude Rains) flipping through Charlotte's old photo journal/album
  • the balcony scene with Jerry Durrance (Paul Henreid) - the first time he lit two cigarettes simultaneously and gave one to Charlotte who confessed: "I'm immune to happiness" but then shed tears of gratitude
  • the confrontational scenes between tyrannical mother (Gladys Cooper) and victimized but changed daughter (including her death scene)
  • Jerry and Charlotte's sensitive scene at the Back Bay Station as he prepared to board a train
  • the final famous tearjerking scene between them, including his cool question: "Shall we just have a cigarette on it?", the lighting of two cigarettes, and the final closing line as Charlotte gratefully looked up at the night sky while Max Steiner's score swelled, realizing that she will be happy taking care of his 12 year-old daughter Tina - "Oh, Jerry, don't let's ask for the moon...we have the stars"



The Nun's Story (1959)

In director Fred Zinnemann's religious drama:

  • the scene of the Belgian Congo native attacking and beating to death the nun in the hospital
  • the final silent fadeout as Nun Sister Luke (Audrey Hepburn) removed her nun's habit, and slowly walked away from the convent out into the sunlit street, totally alone and without her nun's habit for the first time in many years
 

The Nutty Professor (1963)

In this farcical comedy written, directed, and acted by Jerry Lewis - and over three decades later remade by Eddie Murphy as The Nutty Professor (1996) - now obese - with Murphy playing most of the roles of the Klump family in the film:

  • the Jekyll-Hyde character in the film: buck-toothed, whiny-voiced, nerdy and naive scientist Professor Kelp, who was found in the smoky rubble of his lab after a violent and destructive explosion in the film's opening scene
  • the first appearance of hip, greasy-haired and obnoxious ladies man alter-ego Buddy Love in the hip Purple Pit hang-out (a dance nightclub) - who sang "That Old Black Magic" at the piano under subdued lighting - bringing stunned reactions from onlookers

The Nutty Professor (1996)

  • the opening credits scene of the release of hundreds of hamsters on the campus of Wellman College from the laboratory of overweight Professor Sherman Klump (Eddie Murphy), a biochemistry researcher
  • Klump's first meeting with pretty graduate student, Carla Purty (Jada Pinkett), and his bumbling first words to her about chemistry that she was going to be teaching: ("WeII, thank you very much. I'm fatter - uh, fIattered that you, you've been foIIowing my work the way you have. A chemistry teacher. Chemistry sure is important to have... chemistry... to have and use it. ChemicaIIy. Chemistry. WeII")
  • the Klump Family's dinner scene (five characters - including Professor Klump, his father Cletus, mother, brother and grandmother - all played by Eddie Murphy), when they first discussed obesity and ex-overweight black celebrities: ("What are ya talkin' about, where all the fat and calories is? You know where that come from? Watchin' that damn TV. Every time you turn it on, ya got somebody there talkin' about lose weight, get heaIthy, get in shape. Everybody lookin' all anorexic, talkin' about that's healthy. I know what healthy is. And I'll tell ya somethin' else. I don't know why everybody tryin' to lose weight in the first pIace! Ain't everybody supposed to be the same size. We're all different. Big, small, medium, midgets. You supposed to have all that. I don't know if I want to be the same size, like that Oprah Winfrey. She's gonna lose her weight. Wasn't nothin' wrong with her. She was fine. Oprah was a fox! She lose all that weight, her head Iook all big, skin hangin' all over. And Luther Vandross. Nigger used to be the black Pavarotti. Lost all that weight, lookin' all ashy. Oprah and Luther need to keep their ass one weight, 'cause I'm confused")
  • the continuation of the dinner scene when Sherman's ravenous father Cletus began to pass gas ("coIon cIeansin'") - and ended up soiling himself when he broke wind - and everyone began tooting: (Cletus: "Oops. Now see what you made me do? Goddamn it, I messed up my pants")
  • also the two scenes of Sherman's fantasy nightmares (spoofing well-known films From Here to Eternity (1953) and King Kong (1933)), kissing Carla on a beach (but with his tremendous weight buried her under the sand) and then terrorizing the city as a monstrous giant Fatzilla: ("It's Fat-ziIIa! Boy, you look Iike King Kong with titties"), and then a passerby cried out a warning: "Oh my God, he's gonna blow!" - and Sherman's gargantuan expelled fart caused massive destruction, although Cletus congratulated him: "Way to go, son! That's my boy!"; a bum lighting a match ignited an H-bomb-like explosion
  • and the attempts in a Rocky-styled montage by Klump to work out, including a failed acupuncture session with thousands of needles
  • after taking a massive dose of genetic weight loss formula, Klump's transformation when he stood in front of a mirror and saw himself: ("Oh! Oh! I'm thin! I'm thin! Look at my cheekbones! I have cheekbones! Yes! Look at my chest. Look at my breasts. I don't have breasts. I'm an 'A' cup. I don't need a bra anymore. Oh, God! I'm thin! I'm thin! I'm thin! Nothin' but air there. Nothin' but air there. My ass is gone now. I'm sIim, sIim, sIim. WeII, I'II be damned! I can see my dick! My dick! My dick, my dick, my dick!"); however, he was also transformed into an obnoxious, testosterone-driven alter-ego Buddy Love (Murphy again)
  • the scene of Buddy's apology to Carla for being late in front of The Scream nightclub: ("Let's just have a meaI together. Why you Ieavin'? Hey, what you want? You want me to beg you? I'II get down on my knees. I'II beg you in front of aII these peopIe. Think I care if these peopIe are watchin'? I'm sorry! I'm sorry! I want the worId to know that I was Iate! And I'm sorry! My car ran outta gas. I needed fresh drawers. My mother's sick. The car broke down on the street...I don't know why this is happenin' tonight. Of aII nights this has got to happen to me tonight.... Why!? Why!?...Why?")
  • Buddy's fat jokes, told in merciless revenge against stand-up comedian Reggie Warrington (Dave Chappelle), deriding his mother's weight and other insults: ("Ok, fat jokes! You wanna do fat jokes? Alright! Your mother's so fat, the bitch needs Thomas Guide to find her asshole! Alright! Wait, wait, wait, your mother's so fat, after sex I roll over twice, and I'm still on the bitch! Your mother is so fat, she fell in the Grand Canyon and got stuck! Reggie's mother's so fat, that the bitch gets her toenails painted at Earl Scheib!...Reggie's mama is so fat, her blood type is rocky road! Last one! Reggie's mother's so fat... HER BELT SIZE IS EQUATOR!")
  • the embarrassing conversation at the Klump dinner table when Sherman brought Carla there for dinner, and they made inappropriate comments about the two having sex and getting married: ("Sherman has never had reIations...I hope you got a strong back. When you get aII that man, and reIease aII that that's been buiIt up for 35 years. Just wantin' and wantin' and wantin'! Whoo! Might make your head bIow off...I got my own seIf hot teIIin' that story")
  • the scene of Buddy explaining in "rich-dummy" terms the secret of his weight loss plan to wealthy alumnus Harlan Hartley (James Coburn) at the hotel restaurant The Ritz: ("I'll break it down for all the rich dummies in the room, listen up! If you gonna eat nasty stuff like this. I know it looks good and some of you all like porkchop. But this greasy, nasty porkchop, do you realize that there's a gene in your DNA that routes this straight to your fat cells, and it causes all sorts of unsightly conditions. Case in point, this woman is sufferin' from what I like to call jello arms. You notice the arm has taken on a gelatin sort of vibe, and it's quite nasty. Now to my left, this gentleman has turkey neck, and to my immediate left, this woman is sufferin' from what we like to call saddlebag syndrome. And to my extreme left, this young lady is suffering from what I like to call tank ass... I'm your brother, I'm your brother. Like I was sayin' everybody, where there's a will, there's a way, and there is a way we can turn these genes off, and I'm not talkin' about usin' exercise or diet, I'm talkin' about by takin' a simple solution that helps reconstruct your metabolic cellular strands, thus giving you the appearance of, as they say in medical terms, gluteus minimus, or in layman's terms, an extremely tight, wonderful ass. Let's give a big round of applause for the woman with the nice ass, huh? It's so nice, don't you agree? She's worked so hard. Have a seat, have a seat. Oh, are these girls with you? Everyone has a nice ass at this table. Is this the nice ass section?")
  • and the final scene, when the two alter-egos: Buddy Love vs. Sherman "fought" against each other as he gave a demonstration on stage of the effects of the miracle serum












100's of the GREATEST SCENES AND MOMENTS
(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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