Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

The Ring (2002)

In director Gore Verbinski's disturbing remake of Hideo Nakata's equally-effective Ringu (1998, Jp.):

  • the film's plot about a videotape that once played would give the viewer only seven days to live
  • the character of investigative reporter Rachel Keller (Naomi Watts) watching the enigmatic images and trying to understand the tape
  • the cutaway flashback scene when Katie Embry's (Amber Tamblyn) mother Ruth (Lindsay Frost) told Rachel how she discovered her daughter in a closet
  • Rachel's discovery that Samara's (Daveigh Chase) adoptive mother drowned her in a well (and the ring was the corona of light when the stone cover was put on the top of the well)
  • the scenes of Rachel's scary nightmare
  • Samara's adoptive father Richard Morgan (Brian Cox) committing suicide by electrocution in a bathtub
  • the extremely scary scene of the ghostly and undead, decomposed dead girl Samara crawling out of the well - and directly out of a TV screen toward Noah Clay (Martin Henderson) to kill him with a lethal stare




2002 Film


Original 1998 Film

Rio Bravo (1959)

In Howard Hawks' traditional western - conceived as a rebuking response to Fred Zinnemann's High Noon (1952) and its main character Marshal Will Kane (Gary Cooper), by having self-reliant Sheriff Chance refuse the assistance of Pat Wheeler's men -- "...Some well-meaning amateurs, most of 'em worried about their wives and kids," although all he was left with was "a lame-legged old man and a drunk" [Note: Two similar remakes by Hawks of the film included El Dorado (1966) and Rio Lobo (1970) - both again starring John Wayne.]:

  • the two and a half-minute opening scene (with no dialogue) in which many of the major characters were introduced in the El Toro Rojo cantina-saloon in the small Texas town of Rio Bravo (in Presidio County) in the late 1860s
  • the protagonist: tough Sheriff John T. Chance (John Wayne), and his derelict, alcoholic future (and past) deputy Dude (Dean Martin) (nicknamed Borachon for his boozing after a jilted romance); also brutish murderous antagonist Joe Burdette (Claude Akins), who murdered an innocent bystander in the saloon, and was jailed
  • the secondary characters of Chance's elderly, toothless, crippled, jumpy but loyal sidekick Stumpy (Walter Brennan), and baby-faced, brave, two pistols-gunslinger greenhorn Colorado Ryan (Ricky Nelson), who assisted Chance during a prolonged jailhouse siege
  • all the scenes involved interactions between the characters over a three-day period (while awaiting the arrival of the US Marshal), as Joe Burdette was being held in Chance's jail, and his wealthy land-baron rancher-brother Nathan Burdette (John Russell) and hired guns were planning a jail-break
  • attractive, independent, strong-minded and alluring stagecoach passenger and gambler's widow Feathers (Angie Dickinson) (with a shady card-playing past due to her deceased husband, and known for cheating at cards) who immediately showed affection toward Sheriff Chance although she also had an antagonistic relationship with him
  • the saloon scene, when Dude was pursuing a wounded gunman, one of Burdette's men (who had just shot and killed wagon-train leader Pat Wheeler (Ward Bond), Chance's friend) - he noticed blood dripping into a beer mug at the bar, coming from above him in the saloon's loft -- and with a quick reaction, he shot the bad guy above him: (Dude: "He's the fella we wanted. I guess this is his. A nice, fresh $50 gold piece. It's just about what Burdette would figure a man's life was worth. That's earnin' money the hard way"); Chance then threatened the remainder of Burdette's hired men: "You're all in it. The whole lot of ya. You're gonna get out of town. Take your boy here with you. You can tell Burdette you got Wheeler. You can tell him anybody else he sends, he'd better pay 'em more because they're gonna earn it")
  • the scene of Colorado's description of the meaning of the "Cutthroat's Song" that was playing in the saloon (signifying "no mercy" by Burdette's men), accompanied by a close-up of Dude about to take a drink - but then deciding, with a steady hand, to perfectly pour the contents of his liquor glass back into the bottle without spilling ("Didn't spill a drop"); he demonstrated that he was reliably cured of his alcoholic shakes, and could assist with his guns returned by Chance; later when he again heard the song, his resolve to stay sober was strengthened
  • the hotel front porch shootout scene in which Feathers assisted Dude and Sheriff Chance by throwing a flowerpot out a window as a distraction, so that Colorado could defend them, and kill three of Burdette's men
  • the musical scenes including Dude's duet (with Colorado) singing "My Rifle, My Pony and Me", and Colorado's strumming of a guitar accompanying the song "Get Along Home, Cindy" - with Stumpy on harmonica
  • the climactic scene of the exchange of Dude for Joe at Burdette's creek-side warehouse - ending in a shootout and the surrender of Burdette's men (a key role was played by Stumpy who threw dynamite sticks at the warehouse where Burdette's men were hidden, as Chance shot the sticks and caused them to explode; Stumpy exclaimed: "Hey dude, how do ya like them apples?...That got 'em. That took a bite out of 'em. Look at 'em quit!")
  • in the concluding scene, Sheriff Chance was in Feathers' upstairs bedroom, where she was wearing a skimpy, sheer black negligee for her new job in the hotel as a singer - she challenged him about his lack of commitment to her: "Sometimes I know what you're thinking. And other times, you just can't make up your mind about me, can you? You like what you see. You like kissing me. You like what you touch. But you decided in the beginning what kind of a girl I was. And I haven't helped much. I wore these before I met you. I wanted you to know it. To know what kind of a girl you were getting. I wanted you to get that funny look on your face and tell me not to wear them. But it didn't work. You didn't even get mad. I told you once you wouldn't have to say anything. That I'd know, but I don't know. So you're gonna have to talk. I'm hard to get, John T. You're gonna have to say you want me" - when he threatened to arrest her for wearing the negligee in public downstairs ("You wear those things in public, I'll arrest you"), she was touched by his strange expression of love for her, by refusing to have her wear the outfit: "I've waited so long for you to say that. I thought you were never - you have the funniest way of saying things"; when she changed out of her tights, she asked directly: "Tell me something. These tights, now why didn't you want me to wear them?" - he answered: "Because I didn't want anybody but me to see you in them"; when she asked: "Shall I...? Shall I save them and wear them just for you?", Chance tossed her negligee out the window, and it fell at the feet of Dude and Stumpy who were walking along, and commented with the film's final lines: (Stumpy: "Do you think I'll ever get to be a sheriff?" Dude: "Not unless you mind your own business")












Risky Business (1983)

In writer/director Paul Brickman's debut film:

  • the opening fantasy-dream sequence in which Chicago suburbia-dwelling, college-bound high school Joel Goodson (Tom Cruise) saw a strange young girl (Francine Locke credited as "Shower Girl") soaping up in a steamy shower in his neighbor's house - and her non-chalant request: "I want you to wash my back" - making him three hours late for his College Boards tests
  • the famed scene of his floor-sliding entrance into the living room while solo dancing and wearing white socks, a pink-striped shirt, and tight underwear, and lip-synching to the tune of Bob Seger's "Old Time Rock & Roll"
  • Miles' (Curtis Armstrong) repeated advice to Joel when his parents were away: "Every now and then say, 'What the f--k.' 'What the f--k' gives you freedom. Freedom brings opportunity. Opportunity makes your future"
  • the scene of sexy call-girl Lana's (Rebecca DeMornay) first arrival at the house when the wind blew the living room's patio doors open and they made love on the staircase
  • Joel and Lana's love-making during a late-night ride on the CTA elevated subway - backed by the electronic score of Tangerine Dream
  • Joel's cool Ray-Ban sunglasses
  • Joel's successful dealing in "human fulfillment" and free enterprise in the extracurricular Future Enterprisers organization



The River (1929)

In Frank Borzage's partially-lost sublime erotic drama, his last silent film (a silent era, pre-Hays Code masterpiece, 43 minutes of a total of 84 minutes were all that survived, restored and reconstructed with fragments, explanatory title cards and surviving stills in 2006):

  • the romantic leads at a backwoods construction-logging camp near a river: naive, bashful, innocent, motherless, virile farm boy-man Allen John Spender (Charles Farrell), and local urban vamp and femme fatale Rosalee (Mary Duncan) (the mistress of con-man Marsdon (Alfred Sabato) who was just jailed for murder) - and his villainous pet crow that kept interrupting them
  • their meeting at the riverside where Allen was swimming naked near the river’s lethal whirlpool
  • her sexual appeal to him, when she was lying down and allowed Allen to touch her breast through her clothing, to feel her heart; she told him: "My heart...", and after a long pause, he answered: "Mine too"; she listened to his heart and then said: "Mine beats much stronger!"
  • with increasing sexual frustration, in one symbolic scene, Allen maniacally chopped down a succession of four trees with an axe to show his strength and release tension
  • the miraculous scene of Allen almost freezing and near death, but warmed up in bed by Rosalee's body heat as she opened her coat and laid on top on him (wearing only her silky slip); she prayed: "Please... please... let him live!" - and he soon revived
  • in the climactic ending, the violent Marsdon returned and Rosalee was plunged into the river's whirlpool; Marsdon met his own fate, while Allen dived in and rescued Rosalee



The River (1951, Fr./India) (aka Le Fleuve)

In Jean Renoir's beautiful, coming-of-age romantic drama - the director's first color film, filmed on location in India (with many semi-documentary scenes of Ganges River life):

  • the flashbacked semi-autobiographical scenes from the adult narrator, free-spirited Harriet (Patricia Walters), about her idyllic life in Bengal, India (in the mid 1940s) at the adolescent "ugly duckling" age of 13, when she lived with her British colonial family - her four younger sisters and animal-loving brother Bogey (Richard Foster) in a house near the banks of the Ganges River
  • the symbolism and central motif of the River naturally ebbing and flowing through cycles and seasons, creation and destruction, including life, death, and rebirth: "It was one of the many holy rivers. Its waters came from the eternal snows of the Himalayas and emptied into the Bay of Bengal. The river had its own life, fishes and porpoise, turtles and birds, and people who were born and lived and died on it. It flowed slowly between banks of mud and white sand, rice fields and jute fields.."
  • the tale of adolescent first love between poet-writing, day-dreaming Harriet and brooding US war veteran-hero Captain John (Thomas E. Breen) (suffering the loss of one leg), with competition from two other females: her older precocious red-headed friend Valerie (Adrienne Corri) and Indian-born Melanie John (Radha Shri Ram), the daughter of Captain John's cousin Mr. John (Arthur Shields), with mixed ethnicity and some identity confusion, who was raised in a British boarding school
  • the sequence during a light-hearted game of catch (tossing a ring) with Valerie, when Captain John reached for the ring in the air and collapsed on the ground, exhibiting wounded pride as he shouted at Valerie: "Leave me alone. Get away from me, I said. Leave me alone. Don't touch me"
  • the lyrical interlude napping sequence shot in the lazy late-afternoon when many of the major characters (and servants) were taking a nap - the camera cycled through the individuals with transitional dissolves, and in/out tracking shots; however, in the next scene, it was revealed that Bogey had been bitten by a cobra (off-screen) who lived around the roots of a pipal tree - and died (sprawled on the ground and also appearing to be napping)
  • after becoming increasingly depressed after spying on Captain John and witnessing a kiss with Valerie, the sequence of Harriet's failed suicide attempt in the river - and the aftermath when she was rescued, and rested in the comforting arms of Captain John, who embraced her and kissed her on the forehead before returning her home







A River Runs Through It (1992)

In director Robert Redford's adaptation of Norman Maclean's novel:

  • the story of two brothers (studious and intellectual Norman (Craig Sheffer) and rebellious Paul (Brad Pitt)) growing up in Montana in the 1920s
  • the mystical cinematographic beauty of the entire picturesque and poetic film (shot by Academy Award-winning Philippe Rousselot) - especially the thrilling Big Blackfoot River fly-fishing scenes with the lyrical voice-over narration: ("In our family, there was no clear division between religion and fly-fishing" and "It was a world with the dew still on it")

Road to Morocco (1942)

In director David Butler's comedy musical, the third in a long series of "Road to..." films:

  • the funniest of the "Road To..." movies
  • the two castaways after their freighter exploded - Jeff Peters (Bing Crosby) and Orville 'Turkey' Jackson (Bob Hope) - drifting on a raft, and then riding a two-humped camel in the desert, while singing the title song
  • the wacky sequences of both Jeff and Orville trying to romance Arabian Princess Shalmar (Dorothy Lamour) in her palace, and their dialogue about rescuing her: (Jeff: "We must storm the place," Orville's response: "You storm. I'll stay here and drizzle")
  • the few instances of Bob Hope appearing in drag, through superimposition, as the heavenly ghost of his Aunt Lucy, and the one instance that a magic ring transformed him into a jumping monkey when he offhandedly spoke: ("Well, I'll be a monkey's uncle!")
  • the sequence of Jeff and 'Turkey' hiding in pillars from jealous Sheik Mullay Kassim (Anthony Quinn), and nodding their heads up and down, when a fly landed on 'Turkey's' nose
  • the desert mirage sequence, in which the three stars sang "Moonlight Becomes You" - mixing up each other's voices
  • the scenes of the wise-cracking talking camel(s) with animated lips, and at one point, the male camel's aside spoken to the audience: "This is the screwiest picture I was ever in"
  • the famed ending, when the trio (including 'Turkey''s energetic love interest, handmaiden Mihirmah (Dona Drake)) were floating in New York harbor on fragments of a luxury liner and 'Turkey' was overacting: ("I can't go on! No food, no water. It's all my fault. We're done for! It's got me. I can't stand it! No food, no nothing! No food, no water! No food!"); after Jeff reprimanded him: ("What's the matter with you, anyway? There's New York. We'll be picked up in a few minutes"), 'Turkey' delivered the film's final line, a lament - and running gag throughout his entire career: ("If you hadn't opened your big mouth and ruined the only good scene I got in the picture, I might have won an Academy Award!")







The Road Warrior (1982) (aka Mad Max 2 (1981), Aus.)

In George Miller's exciting post-apocalyptic adventure film sequel to the grim revenge/action film Mad Max (1979):

  • the great narration for the opening and prologue (voice by Harold Baigent) - revealed to be from the Feral Kid (Emil Minty)
  • the opening and closing images of lone cop road warrior Max (Mel Gibson) standing as a lone figure on a highway amidst visions of a post-apocalyptic violent world
  • the looney sidekick character of the Gyro Captain (Bruce Spence)
  • the brutal rape scene of a female victim (Kathleen McKay) viewed from afar when a group of townsfolk attempted to find a truck to haul an oil tank to freedom and were set upon by the bikers
  • Max, driving a semi-trailer fuel-oil tanker in an escape attempt, pursued and viciously attacked at breakneck speed by a convoy of bizarre vehicles, souped-up cars and motorcycles, and a marauding savage band of punkish desert vandals
  • the nomadic warriors flinging grappling hooks at the truck, and shooting arrows from crossbows at it while leaping from vehicle to vehicle, and a fire-bombing gyroplane hovering above the action
  • the climax when the 40-foot tanker crashed into Lord Humungus' (Kjell Nilsson) car -- also killing Wez (Vernon Wells), who was clinging to the fender of the tanker -- and the tanker rolled over onto its side
  • the revelation that the tanker, even unbeknownst to Max, was filled with sand





The Roaring Twenties (1939)

In director Raoul Walsh's semi-documentary styled crime-gangster film:

  • the post-war Prohibition montage, including the narrator's voice-over account of the homefront faced by returning GI's: "The old Broadway is only a memory. Gone are many of the famous landmarks, for already, America is feeling the effects of Prohibition. There is a concentrated effort at readjustment to normal peacetime activities, but unemployment coming in the wake of the wartime boom is beginning to grip the country and the soldiers find their return to face - on a different front - the same old struggle, the struggle to survive"
  • the characterization of rough gangster Eddie Bartlett (James Cagney) and his rise and fall as an ex-GI and bootlegger
  • the sequence of tough-talking flapper and speakeasy hostess-owner Panama Smith (Gladys George), Eddie's long-time friend, introducing a new singer, young Jean Sherman (Priscilla Lane) - for the crooning of I'm Just Wild About Harry; afterwards, now obsessively smitten and in love with Jean, he offered to marry her and presented her with an engagement ring ("You want the Brooklyn Bridge, all you gotta do is ask for it. If I can't buy it, I'll steal it. Well?"), but she stalled in answering
  • the exciting sequence of Eddie's gang robbery of a quarter of a million dollars worth of liquor in a shipment (belonging to fellow bootlegger Nick Brown (Paul Kelly)) that had been confiscated by the government and stored in a guarded US government warehouse in New York City: (Eddie: "The government takes it from Nick Brown and we take it from the government. Pretty neat, huh?"), when one of two guards was gunned down
  • the film's concluding set-up -- Eddie's deadly confrontation and shoot-out with corrupt lawyer George Hally (Humphrey Bogart) on New Years' Eve, an ex-colleague that was threatening the husband of the love of Eddie's life - Jean Sherman/Hart; Eddie snarled at the sniveling and cowardly rival as he emptied his gun: "That's one rap you won't beat" - and as Eddie fled, he was lethally shot in the back by Hally's gangsters
  • in his memorable, self-sacrificial, redemptive death scene (evoking Michelangelo's Pieta and other Christ imagery), Eddie stumbled, climbed, wobbled, and then tumbled down a nearby church's flight of snow-covered steps; weeping Panama Smith came to him and cradled his head in her arms as he expired on the steps of the church; she answered a curious cop's inquiries about the deceased man's identity ("Who is this guy?") and laconically provided his epitaph and eulogy in the film's final poignant line:

    Panama: This is Eddie Bartlett.
    Cop: Well, how are you hooked up with him?
    Panama: I could never figure it out.
    Cop: What was his business?
    Panama: He used to be a big shot







The Robe (1953)

In the stirring religious epic by director Henry Koster:

  • the spectacle of the first film released in widescreen CinemaScope from 20th Century Fox

Robin Hood (1922) (aka Douglas Fairbanks in Robin Hood)

In director Allan Dwan's silent adventure swashbuckler - a much-filmed classic:

  • with many amazing acrobatic stunts performed by Douglas Fairbanks himself (such as leaping on and off horses, climbing up steep walls, etc.)
  • the famous scene in which the Earl of Huntingdon/Robin Hood (Douglas Fairbanks, Sr.) rode (actually, he was on a slide) down a 40 foot curtain drape from the balcony to the main floor to elude pursuers

Robin Hood: Prince of Thieves (1991)

In director Kevin Reynolds' romantic costume adventure swashbuckler:

  • the point-of-view shot of an arrow flying through the air toward its target
  • the scene of Robin (Kevin Costner) smashing through a chapel window on a length of flag
  • the scene of the prolonged death of the dastardly Sheriff of Nottingham (Alan Rickman) by a dagger in his chest

Robinson Crusoe (1954, Mex./US) (aka (The) Adventures of Robinson Crusoe)

In director Luis Bunuel's adventure saga (his only American-financed film, his first big-budget production, his first color film, and sole film in English), based upon the Daniel Defoe novel set in the mid-17th century - [Note: the film was released in Mexico two years before its American distribution.]:

  • the opening title credits sequence set above an opulent leather-covered book - the voluminous novel with an unidentified hand opening the cover, and reading from the opening passage (in voice-over)
  • the sequence of the shipwreck of the Ariel on a voyage from Brazil to Africa, that left young English aristocrat Robinson Crusoe (Best Actor-nominated Dan O'Herlihy), a slave trader stranded on a deserted island
  • the scenes of his loneliness, isolation, and recurring hallucinations: his "terrible dream" and delirium in a cave of his disapproving, reprimanding and rebuking patriarchal father (also O'Herlihy) who taunted his wayward son with fresh water while he was bathing a pig (his father was also seen floating face-up and Messiah-like in water, until a force pulled him under, and then bound to a crucifix, the suffering Crusoe could not reach down to drink from the pool of water surrounding him), his longings for an illusory female seen above women's blue dress garments hung on a rickety scarecrow cross to protect his crops, and his drunkenness and imagining of a sing-along with former shipmates to the shanty song "Down Among the Dead Men"
  • after the death of his beloved dog Rex, the despairing scene of his echoing crying out in a valley, calling out the words of the 23rd Psalm for comfort: "The Lord is My Shepherd" - although it brought no solace; afterwards that evening, feeling totally alone, he raced to the water's edge with his lighted torch, crying out "Help!" to an unseen and unhearing savior, before extinguishing the flames in the disheartening, imprisoning water before him, turning around, and marching directly toward the camera (until his body blackened the screen)
  • the discovery scene of a large footprint imprinted into the beach sand, causing him extreme paranoia, and then his finding of the charred remains of a cannibalistic party with gruesome body parts scattered about
  • the sequence of his rescue of a savage, dark-skinned cannibal victim (Jamie Fernandez), his naming for the day of the week - Friday, his initial servanthood, and their struggle to trust one another and become loyal companions
  • the concluding sequence of Crusoe's departure from the island on a ship, after more than 28 years, when he looked back from a dinghy and 'heard' his beloved deceased dog Rex barking









Robocop (1987)

In director Paul Verhoeven's gory and violent sci-fi action-thriller film:

  • the scene of the prolonged, horrifying torture/murder of good-guy dystopic Detroit officer Alex J. Murphy (Peter Weller) in the line of duty by sadistic drug gang punks led by Clarence Boddicker (Kurtwood Smith)
  • the reassembly of his terminally-wounded body into a half-human, half-robotic crime-fighting super-cop cyborg
  • the heart-breaking scene in which RoboCop (Peter Weller) strolled through his former home (now up for sale), and had intermittent, ghost-like flash-backs of his old life as Police Officer Alex Murphy, with the POV shots of his wife Ellen (Angie Bolling) and son Jimmy (Jason Levine) -- at one point Ellen told him intimately: "I really have to tell you something...I love you!"
  • the scene of the poorly-performing product demonstration of the incompetent, robotic ED (Enforcement Droid) - 209 prototype ("I'm sure it's only a glitch") that killed surrendered Kinney (Kevin/Ken Page) in the boardroom
  • the death scene of bad guy Emil Antonowsky (Paul McCrane) when he melted and liquified after driving his truck into a tank of toxic waste (the famed Melting Man scene) and staggered around moaning - and the moment his body splattered explosively across the windshield of Clarence's speeding vehicle
  • the closing exchange between The Old Man corporate president (Dan O'Herlihy) and RoboCop after the villainous Dick Jones (Ronny Cox) was dispatched: (Old Man: "Nice shooting, son. What's your name?", RoboCop: (smiling) "Murphy")






Rocky (1976)

In John G. Avildsen's Best Picture-winning boxing classic:

  • Philadelphia bum Rocky Balboa's (Sylvester Stallone) gritty apartment with two pet turtles (Cuff and Link) and a goldfish (Moby Dick)
  • his touching courtship with shy Adrian (Talia Shire) ("Yo, Adrian!") - especially in the scene on a deserted ice rink when he ran along by her side as she skated (and their discussion about using either one's body or one's brains)
  • Rocky's reason for fighting: "'Cause I can't sing or dance"
  • the scene of their first kiss at the door of his apartment
  • Rocky's screaming at trainer/manager Mickey (Burgess Meredith), and his later reconciliation with him, shaking his hand (in an extreme long shot)
  • Rocky's morning training regimen montage including guzzling a glass of five raw eggs, early morning sprints and jogs, bag-punching, one-armed pushups, endless situps, boxing slabs of hanging meat in a freezer --- all culminating in an effortless run up the steps of the Philadelphia Museum of Art - to turn and face the panorama of the city with his hands triumphantly raised in the air - to the music of Bill Conti's rousing "Gonna Fly Now"
  • the exciting 15-round world heavyweight boxing fight finale in which champ Apollo Creed (Carl Weathers) won by a split decision - and Rocky's bloody face with eyes swollen - and his plea to his trainer to cut his eyelids: ("Gotta cut me, Mick")
  • his loving embrace with Adrian following the decision - going the distance, in the triumphant uplifting conclusion







The Rocky Horror Picture Show (1975, UK/US)

In director Jim Sharman's ultimate-audience sing-along participation midnight-movie cult-musical film:

  • the opening song "Science Fiction/Double Feature" sung by a giant pair of disembodied blood-red lips under the opening credits (voice of Richard O'Brien as Riff Raff) - a tribute to Hollywood's B-horror films
  • wholesome Brad Major's (Barry Bostwick) musically-vocal proposal ("Dammit Janet") to Janet Weiss (Susan Sarandon)
  • the dramatic entrance of fishnet and heels-wearing Dr. Frank N. Furter (Tim Curry) while singing "Sweet Transvestite"
  • the dual scenes of Frank's seduction of Brad and Janet, and Janet's seduction of bi-sexual Rocky (Peter Hinwood) while singing "Touch-a Touch-a Touch Me" as they were spied upon by groupie Columbia (Laura "Little Nell" Campbell) and Frank's incestuous sister Magenta (Patricia Quinn) with a video monitor
  • ex-delivery boy and biker Eddie's (Meat Loaf) escape from cryogenic freezing (singing "Hot Patootie Bless My Soul") and his subsequent axe-murder by Frank
  • the major production number "The Time Warp" ("It's just a jump to the left...") with unconventional dancers and singers (all Transylvanians) of all races and sizes - followed by Brad's clueless suggestion: "Say, do any of you know how to Madison?"
  • the exclamation of names in the dialogue following the discovery of Janet and Rocky making love: ("Janet!" "Dr. Scott!" "Janet!" "Brad!" "Rocky!", etc.)
  • Janet's unexpected piping in: "I'm a muscle fan!" during Dr. Frank N. Furter's reprise of "I Can Make You a Man" (to the shock and dismay of both Frank and Brad)
  • the "floor show" medley in an empty theater in front of an RKO Pictures logo, with Brad, Janet, Rocky, Columbia and rival scientist Dr. Everett V. Scott (Jonathan Adams), all wearing cabaret costumes - black garters - with Frank as the lead singer, crooning about how they were sexually liberated in "Wild and Untamed Thing": "We're a wild and an untamed thing We're a bee with a deadly sting You get a hit and your mind goes ping Your heart'll pump and your blood will sing So let the party and the sounds rock on We're gonna shake it 'till the life has gone Rose tint my world Keep me safe from my trouble and pain"
  • the finale with Magenta (with a Bride of Frankenstein hairdo) and Riff Raff, interrupting the performance, and singing the final chorus: "Frank-N-Furter, it's all over Your mission is a failure Your lifestyle's too extreme I'm your new commander You now are my prisoner We return to Transylvania Prepare the transit beam" - revealing themselves (along with Frank) to be incestuous siblings from outer space (from the planet Transsexual in the galaxy of Transylvania)







Roman Holiday (1953)

In William Wyler's charming romantic comedy:

  • the scene of runaway Princess Ann's (Audrey Hepburn) preparation for bedtime (in a sleep-sedative stupor) in undercover news reporter Joe Bradley's (Gregory Peck) apartment and her regal command: ("You have my permission to withdraw")
  • the sequence of the incognito Princess' 24 hour tour around Rome including her haircut, a motorcycle ride, the 'Mouth of Truth' stone sculpture scene (in which Joe pretended to have his arm bitten off in the mouth - followed by Ann's surprise and laughter), the inscription wall, and dancing on a barge, and the attempts of photographer Irving Radovich (Eddie Albert) to get some candid shots
  • the night-time parting scene
  • the final press conference scene in which the Princess said farewell to the newspapermen and to Joe Bradley and they both had to pretend that they didn't know each other - one of the most bittersweet endings of any film



The Roman Spring of Mrs. Stone (1961, UK)

In director José Quintero's hot romantic melodrama, based upon Tennessee Williams' novel:

  • the nihilistic character of 45 year-old, aging, recently widowed and wealthy Karen Stone (Vivien Leigh), a failing Broadway star (after an ill-fated performance in London as young Rosalind in Shakespeare's As You Like It), who moved permanently to Rome (she was enroute to a vacation there with her elderly husband when he suffered a fatal heart attack); in the ancient city, she lived a solitary 'drifting' life in a luxurious apartment, and after awhile engaged in an unfortunate love affair with self-interested pretty-boy gigolo Paolo di Leo (Warren Beatty with a mock Italian accent)
  • the many appearances of an obsessive, destitute, unkempt "Young Man" stalker(Jeremy Spenser), who was often located below Karen's balcony terrace and followed her in the streets
  • the controlling and conniving of shrewd and manipulative Russian madame-pimp Contessa Magda (Lotte Lenya), who expected Paolo to succeed in separating Karen Stone from her money, and to benefit from a 50/50 split: ("I shall be eating again by the end of this month...real eat! Caviar, truffles, and some lobster"), and making a prediction: ("Believe me, this woman is only beginning to find out what loneliness is"); she encouraged Paolo to "telephone her with your best voice. Caress her with your voice, purr for her"
  • the dinner date scene between Paolo and Karen, when she stated she didn't want to see her friend Meg (Coral Browne) who would inevitably ask alot of questions: ("I just don't feel like one of those women's talks, what I've been doing, who I've been seeing, why I'm drifting. When I told you I was drifting, did you understand?"); he replied: ("Not why it made you sad. I too am drifting, Signora. The whole world, everybody, the stars, everything is drifting. Is it so bad to drift? Is it so unhappy?"); Karen answered: ("Yes, when you have no where to go")
  • the revelation of Paolo's insensitivity to Karen, telling her: ("Rome is a very old city. Three-thousand years. How old are you? Fifty?"), and her journalist friend Meg's judgmental assessment of her degradation: ("A figure of fun. The stock character of a middle aged woman, crazily infatuated with a succession of young boys!")
  • the scene in which Paolo lied to Karen that he had to leave a viewing of projected home-movies in her apartment because of a headache - she revealed that she knew the real reason: he had planned to abandon her and meet up with a new, young and rich Hollywood actress Barbara Bingham (Jill St. John): ("And you can't stay tonight? That's it, isn't it! But, not because of any headache. It's because you made a date with that cheap little...")
  • in the final bleak and ambiguous scene, the debased Karen surrendered herself to inevitable 'death' (off-screen after THE END) when she tossed her apartment keys to the "Young Man" below, who let himself in and then ominously approached Karen






Romancing the Stone (1984)

In Robert Zemeckis' ultimate cliff-hanger and tongue-in-cheek romantic action-adventure film:

  • the film's funny opening prologue - a Western featuring sexy blonde Angelina (Kymberly Herrin) - the heroine of romance-starved New York romance novelist Joan Wilder's (Kathleen Turner) books, who was type-writing her latest fictional book (with headphones) and fantasizing that she was Angelina riding off with her cowboy hero Jesse: ("...But suddenly, there he was, my beloved Jesse. He was the one man I trusted - the only man. My heart leapt as I watched him ride near. I could barely wait to feel the warmth of his touch. At the moment his lips met mine. I knew that we would never again be apart. I knew then that we would spend the rest of our lives together. Forever")
  • the action-filled, joke-rich repartee between daredevil drifter-mercenary Jack Colton (Michael Douglas) and Joan while experiencing dangers in South American Colombia, such as the famous waterslide scene, in which Jack ended up face-first between Joan's legs and howled with delight: "This has turned out to be one hell of a morning!" - and later added: "One hell of a morning has turned into a bitch of a day!"
  • the villainous characters including wisecracking, greedy treasure hunter Ralph (Danny DeVito in a star-making role) and the menacing, despicable General Zolo (Manuel Ojeda)
  • Jack's funny line of dialogue that distracted him from saving Joan from a poisonous snake - when he found a Rolling Stone magazine: ("Dammit man, the Doobie Brothers broke up! S--t! When did that happen?")
  • the startling scene in which a man-eating crocodile bit off the hand of Zolo while clutching the much-sought-after gigantic emerald (the "stone" of the title)
  • the romantic finale in which Jack dove into the ocean to fetch the crocodile who ate the stone, and later reappeared outside Joan's Manhattan apartment with a parked sailboat and wearing crocodile shoes
  • their romantic exchange as they embraced: (Jack: "Yup, that poor old yellow-tailed guy. Developed a fatal case of indigestion. He died right in my arms." Joan: "I can't blame him. If I were to die, there's nowhere else on Earth I'd rather be.") followed by a passionate closing kiss on the boat: (Jack: "I even read one of your books." Joan: "Then you know how they all end")





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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