Greatest Film Scenes
and Moments



R (continued)

Rome, Open City (1945, It.) (aka Roma: Citta Aperta)

In Roberto Rosselini's landmark, neo-realistic post-war classic:

  • the shocking, realistic scene in which pregnant widow Pina (Anna Magnani) runs after a military truck hysterically screaming the name of her lithographer fiancee and underground leader Francesco (Francesco Grandjacquet) who is being taken away, when she is abruptly machine-gunned and killed on her planned wedding day, in front of her ten year-old son Marcello (Vito Annichiarico) and brave parish priest Don Pietro (Aldo Fabrizi), who afterwards rush to her body

Romeo and Juliet (1968)

In director Franco Zeffirelli's Shakespearean romance-drama of star-crossed lovers:

  • the two young teenage leads, especially the beautiful Olivia Hussey as Juliet
  • Romeo (Leonard Whiting) and Juliet's first meeting at the Capulets' dance and their "palm to palm" dialogues
  • the classic balcony scene
  • the rousing crowd and realistic fight scenes
  • the wedding scene at the altar of the chapel
  • their controversial nude scene during their honeymoon
  • Romeo's pre-poisoning speech ("Ah, dear Juliet, why art thou yet so fair? Shall I believe that unsubstantial Death is amorous, and that the lean abhorred monster keeps thee here in dark to be his paramour?...), and then his taking of poison: ("Eyes look your last. Arms, take your last embrace. And lips, o you the doors of breath, seal with a righteous kiss a dateless bargain to engrossing death. Here's to my love! Thus with a kiss, I die")
  • the tragic ending sequences including Juliet's potion speech ("What's here? Poison, I see, hath been his timeless end. (She tries to drink from the poison vial.) O churl! Drunk all, and left no friendly drop to help me after! I will kiss thy lips. Haply some poison yet doth hang on them to make me die with a restorative. Thy lips are warm. Oh, no, no!")
  • Juliet's "happy dagger" suicide to join Romeo in death: ("O happy dagger! This is thy sheath. There rust and let me die")
  • the climactic ending with the double funeral procession and tolling bells, when the Prince pronounces judgment on the two feuding families ("Where be these enemies? Capulet! Montague! See what a scourge is laid upon your hate; That heaven finds means to kill your joys with love; And I, for winking at your discords too, Have lost a brace of kinsmen; All are punished. All are punished! (ECHO: punished!))"
  • the final off-screen narration of Laurence Olivier: ("A glooming peace this morning with it brings. The sun for sorrow will not show his head, For never was a story of more woe, Than this of Juliet and her Romeo")

Romy and Michele's High School Reunion (1997)

In director David Mirkin's buddy comedy:

  • the scenes of vapid blonde S. Californian Romy White (Mira Sorvino) and empty-headed Michele Weinberger (Lisa Kudrow) dancing at the club
  • their reminiscing about their high school years while looking through a yearbook
  • the bragging monologue (a faux business-woman tale told at Sagebrush High School's 1987 ten-year reunion in Tucson, Arizona) to the A-listers about how she and empty-headed Michele invented Post-It Notes

A Room With a View (1986, UK)

In director James Ivory's elegant adaptation of E.M. Forster's 1908 novel:

  • the character of young feisty, passionate and ravishing Britisher Miss Lucy Honeychurch (Helena Bonham Carter) whose heart and sexuality were awakened during a chaperoned trip to Florence with her spinister chaperone Aunt Charlotte Bartlett (Maggie Smith)
  • her facing of a choice between sensuous passion (after an unexpected impetuous kiss in a wheat barley field) with handsome and intense free-spirited admirer George Emerson (Julian Sands) and an engagement to prissy suitor Cecil Vyse (Daniel Day-Lewis)
  • the scene in which Lucy discovers George, her brother Freddy (Rupert Graves) and overweight Rev. Mr. Beebe (Simon Callow) swimming naked in a pond and cavorting around
  • the final scene of Lucy honeymooning with new beau George at the Italian pensione where they first met, residing in the "room with a view" and kissing each other at the window

Rope (1948)

In Alfred Hitchcock's first film in color:

  • the unique technique of long periods of uncut action (basically eight 10-minute takes) appearing to make the film one continuous take - with clever splices between takes

Rose Marie (1936)

In W.S. Van Dyke's musical romance:

  • the lovely scenic backdrops
  • the beautiful celebrated duet "Indian Love Call" between Sgt. Bruce (Nelson Eddy) and Marie de Flor (Jeanette MacDonald)

Rosemary's Baby (1968)

In director Roman Polanski's effective horror film - based on Ira Levin's novel:

  • Rosemary's (Mia Farrow) constant torment and guilt regarding her pregnancy and her lapsed Catholicism
  • her hallucinatory recollection of a rape by the devil ("This is no dream - this is really happening!")
  • the creepy neighbors Minnie Castevet (Oscar-winning Ruth Gordon) and Roman (Sidney Blackmer)
  • her first viewing of the child ("What have you done to it? What have you done to its eyes?") amidst the neighboring Satanic cult; and her uncomprehending response to an answer ("He has his father's eyes!") with a wild scream: "What are you talking about?! Guy's eyes are normal! What have you done to him? You maniacs!"
  • her nurturing/maternal response toward the black-draped baby crib and her baby Adrian (Satan's son or the Anti-Christ?)

Roxanne (1987)

In director Fred Schepisi's comedy updating of the 17th century soldier with a giant nose:

  • the marvelous retort/monologue that long-nosed, witty modern-day Cyrano de Bergerac - Washington State fire chief Charlie "C. D." Bales (Steve Martin) - delivers to a boorish bully in a bar (who calls him "Big-Nose"), challenging him by suggesting twenty better, more imaginative insults for his own oversized nose:
    ("Obvious: Excuse me, is that your nose, or did a bus park on your face; Meteorological: Everybody take cover, she's going to blow!; Fashionable: You know, you could de-emphasize your nose if you wore something larger, like Wyoming; Personal: Well, here we are, just the three of us; Punctual: All right, Dellman, your nose was on time, but you were fifteen minutes late; Envious: Ooh, I wish I were you. Gosh, to be able to smell your own ear; Naughty: Pardon me sir, some of the ladies have asked if you wouldn't mind putting that thing away...")

Royal Wedding (1951)

In director Stanley Donen's romantic musical:

  • the amazing, most spectacular dance scene ever created - after being lovestruck by Anne Ashmond (Sarah Churchill), Tom Bowen (Fred Astaire) tap-dances energetically in the number "You're All The World To Me" on the walls and ceiling of a London hotel room
    [the set was devised as a rotating cube that rotated at the same speed as the strapped-down camera]

Ruggles of Red Gap (1935)

In director Leo McCarey's western comedy:

  • the scene of a slightly drunken Marmaduke Ruggles (Charles Laughton) in a Western barroom masterfully reciting Lincoln's "Gettysburg Address" to an audience of cowhands and bar drinkers - the film's climactic high point

The Rules of Attraction (2002)

In director Roger Avary's love-triangle romantic comedy:

  • the scene in which the camera tracks a single delicate snowflake (CGI) as it descends and lands on the corner of just-rejected lover Sean Bateman's (James Van Der Beek) left eye - and melts into a tear, after Lauren (Shannyn Sossamon) has broken up with him

The Rules of the Game (1939, Fr.) (aka La Regle du Jeu)

In director Jean Renoir's great classic - a satirical observation of bourgeois life and the social class system:

  • the setting of a weekend hunting party at La Colinière - a French chateau at the start of World War II - for this dark upstairs-downstairs bedroom farce concerning the affairs of the aristocrats and the lowly servants
  • the frequent use of the catchphrase, spoken by director Renoir himself: "Everyone has their reasons"
  • the much celebrated, darkly disturbing "Dance Macabre," after-dinner entertainment provided by the servants of the house, dressed as skeletal figures with umbrellas, who perform a grotesque dance of death and cavort among the rich audience, eerily foreshadowing the cold murder of lovelorn, philandering pilot André Jurieux (Roland Totaine)
  • the incredible dolly shot from left to right as Robert de la Chesnaye (Marcel Dalio) shows off a large-sized music box on a stage
  • the most famous key scene - the shooting party including the graphic slaughter of a number of pheasants and rabbits - and the metaphoric meaning behind the vivid killings
  • the sweet, heart-breaking scene in which upper-class heiress Christine de la Cheyniest (Nora Gregor) admits she loves her close friend - the clownish, middle-aged, low-brow Mr. Octave (director Jean Renoir) in a greenhouse where they kiss each other passionately and hopelessly, knowing their love affair is an impossibility

Run Lola Run (1998, Ger.)

In director Tom Tykwer's relentlessly-thrilling hit film:

  • the three breath-taking attempts of short red-haired Lola (Franke Potente) to help her drug-dealing boyfriend Manni (Moritz Bleibtreu) by running and acquiring replacement cash of $100,000 marks in 20 minutes so that he doesn't have to rob a grocery store - and have them suffer fateful consequences
  • notable was the film's techno/industrial soundtrack and the use of a mix of visual styles
  • Manni's reassuring words to Lola at the film's end after a third successful attempt, asking her: "Did you run here? Don't worry. Everything's okay. Come on"

(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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