Greatest Film Scenes
and Moments



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S (continued)
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

7th Heaven (1927) (aka Seventh Heaven)

In Frank Borzage's pure and sentimental melodrama:

  • the love scenes in the 7th floor bohemian loft ("Seventh Heaven") between street angel-waif Diane (Best Actress winning Janet Gaynor) and Parisian sewer worker Chico (Charles Farrell) after her attempted suicide by stabbing
  • the spiritual nature of their relationship while he was called to fight in the war (and was blinded) and she was a munitions worker - when they telepathically communicated with each other through their hearts and minds at 11
  • their jubilant reconciliation in an ethereal shaft of light


The Seventh Seal (1957, Swe.) (aka Det Sjunde Inseglet)

In director Ingmar Bergman's fantasy drama (considered a masterpiece) set in medieval times during the time of the Black Plague and the Crusades:

  • the stark scene of the chess game between the Knight, Antonius Block (Max von Sydow) and black-hooded Death or Grim Reaper (Bengt Ekerot)

The 7th Voyage of Sinbad (1958)

In director Nathan Juran's classic fantasy:

  • the tremendous special effects and stop-motion animation of Ray Harryhausen (the first in color!)
  • a giant Cyclops, a fire-breathing dragon, a sorcerer-shrunken Princess Parisa and bride-to-be (Kathryn Grant)
  • the thrilling sword fight between Captain Sinbad (Kerwin Mathews) and a living skeleton



sex, lies, and videotape (1989)

In director Steven Soderbergh's low-budget independent film winner of the Palme d'Or at Cannes - without nudity although with considerable discussion of sexual topics:

  • the many videotaped explicit discussions and revelatory intimate confessions filmed by Graham Dalton (James Spader) as a substitute for his own emotion-less, impotent and dispassionate life: ("I'm impotent...I can't get an erection in the presence of another person")
  • his visit to his college buddy-turned-lawyer John Mullany (Peter Gallagher) with a neglected, sexually-repressed and frustrated wife Ann (Andie MacDowell)
  • the revealed infidelity between the womanizing and philandering John and Ann's sexually-adventurous bartender sister Cynthia (Laura San Giacomo)
  • also typical of the film -- the candid reflections of Ann, including her admission: "Anyway, being happy isn't all that great. I mean, the last time I was really happy... I got so fat. I must have put on 25 pounds"


Shadow of a Doubt (1943)

In Alfred Hitchcock's suspense thriller:

  • Evil personified in the chilling character of Uncle Charlie Oakley (Joseph Cotten) - the "Merry Widow Murderer"
  • the cat-and-mouse game between Charlie and his young niece Charlie (Teresa Wright)
  • the overhead shot in the library after she had learned the truth about him
  • the scene in the smoke-filled bar booth
  • the darkened back porch scene when she threatened to kill him
  • the garage carbon monoxide poisoning scene
  • in the exciting conclusion, the struggle between train-cars and Charlie's demise as he fell off a moving train into the path of an oncoming train


Shadowlands (1993, UK)

In director Richard Attenborough's lavish romantic biopic and tearjerker:

  • the unlikely romance between C. S. "Jack" Lewis (Anthony Hopkins) and Jewish-American poet Joy Gresham (Debra Winger) - including Joy's gauche first appearance in a British tea room: ("Which one of you is Lewis?")
  • the scene of Jack realizing that he was truly in love with Joy during their first marriage of convenience after learning of her terminal bone cancer: ("It's impossible. It's unthinkable. How could Joy be my wife? I'd have to love her, wouldn't I? I'd have to care more for her...than anyone else in this world. I'd have to be suffering the torments of the damned. The prospect of losing her...")
  • the scene in which Jack remarried Joy, this time for love
  • Joy's instructing Lewis on preparations for sex
  • the scene of Lewis ordering room service
  • their "honeymoon" time together during her cancer's remission
  • the scene of Joy's quiet death in bed with Jack offering assurance: ("Don't talk, my love. Just rest...just rest" - and after a kiss just before she died: "I love you, Joy. I love you so much. You made me so happy. I didn't know I could be so happy. You're the truest person I have ever known...")
  • the scene of her young Narnia-loving son Douglas (Joseph Mazzello) suddenly waking up in bed, gasping with eyes wide as if knowing the very moment of her death
  • Jack's scene of sharing tortured grief and uncontrollable weeping with Douglas in an attic following her death: (Douglas: "I sure would like to see her again" Jack: "Me too")




Shaft (1971)

In Gordon Parks' definitive blaxploitation film:

  • the stirring Isaac Hayes Oscar-winning introductory theme song
  • the opening credits sequence (to the tune of the theme song) featuring the appearance of sexy and cool black private detective John Shaft (Richard Roundtree) emerging from a subway onto NYC's tawdry 42nd Street (first seen in an overhead shot)
  • Shaft's "sex machine" womanizing one-night stand with Linda (Margaret Warncke), including a shared shower
  • the final daring rescue scene of Marcy Jonas (Sherri Brewer) in a hotel room where she was held captive


Shakespeare in Love (1998)

In John Madden's Best Picture-winning comedy-drama about the Bard while writing his future play Romeo & Juliet:

  • the scene of writing-cramped Will Shakespeare (Joseph Fiennes) unraveling the tight bound clothes of male-disguised Viola De Lesseps as Master Tom Kent (Gwyneth Paltrow)
  • the quip-spewing character of Queen Elizabeth (Oscar-winning Judi Dench)


Shampoo (1975)

In Hal Ashby's sex comedy farce set during a 24-hour time period on November 4th, 1968 when Richard Nixon won the presidency:

  • the numerous sex scenes between studly, liberated, seductive playboyish Beverly Hills hair-dresser George Roundy (Warren Beatty) and three women - all in one day, and his quintessential question: "Want me to do your hair?" - and George's inarticulate repeated expression: "You're great!" to all of his female conquests; and the sensual way that George 'did' his clients' hair in the salon
  • the love triangle between conservative, wealthy businessman Lester's (Jack Warden) mistress Jackie Shawn (Julie Christie) - George's old girlfriend, Lester's wife Felicia (Oscar-winning Lee Grant), and George's current pert girlfriend Jill (Goldie Hawn), an aspiring actress
  • Lester's seductive teenaged daughter Lorna (Carrie Fisher) - who wanted to avenge her cheating mother through sex with her hairdresser, with her forward request to George: "You're my mother's hairdresser...Do you wanna f--k?"
  • the scene of George having sex with Jackie in a steamy bathroom when interrupted by Lester (and they pretended to be doing her hair and telling him to close the door and not let the steam out)
  • the 1968 Nixon election-night victory dinner where Jackie groped between George's legs under the table - and her famous bold response to executive Sid Roth (William Castle): "Most of all, I'd like to suck his c--k!", causing George to do a spit-take and almost choke on a piece of chicken
  • the scene of Lester and Jill's stumbling upon George in a boathouse during a party - where he was having sex with Jackie, and Lester's amused first reaction (without knowing their identities) when a refrigerator door slowly opened, illuminated and caught Jackie and George in the act: "That's what I call f--king! Am I right, or am I right?" - then followed by George's innocent statement to an enraged Jill: "Honey, where have you been? We've been looking everywhere for you"
  • George's excuse told to Lester about his sexual proclivities with so many women: "How am I gonna tell you what they got against you. I mean, Christ, they're women aren't they? You ever listen to women talk, man? Do ya? 'Cause I do till it's runnin' outta my ears! I mean, I'm on my feet all day long listening to women talk, and they only talk about one thing: how some guy f--ked 'em over. That's all that's on their minds. That's all I ever hear about! Don't you know that?...We're always trying to nail 'em and they know it. They don't like it. They like it and they don't like it, it's got nothin' to do with you, Lester. It just happened"
  • the final long shot of morally-shallow, bleak miserable and hedonistic George looking down while atop a Hollywood/Beverly Hills bluff after losing Jackie to Lester






Shane (1953)

In George Stevens' mythic western:

  • the lavish background settings of Wyoming
  • the legendary buck-skinned gunfighter Shane (Alan Ladd)
  • the scene of Shane and Joe Starrett (Van Heflin) chopping up a huge tree stump
  • young Joey's (Brandon de Wilde) idolization of his hero
  • two large-scale fistfights
  • the saloon brawl
  • Wilson's (Jack Palance) entrance and role as a black-clothed evil gunman
  • Torrey's (Elisha Cook, Jr.) brutal death in a showdown as he was hurtled backwards onto a muddy street
  • Torrey's funeral scene in which his dog mourned at his master's coffin
  • Marion's (Jean Arthur) long farewell handshake
  • the final shootout between the evil and dark Wilson and Shane
  • Joey's poignant cry after his hero ("...Come back...") as Shane rode away toward the mountains



Shanghai Express (1932)

In director Josef von Sternberg's melodramatic romantic adventure film:

  • the entrance of Shanghai Lily (Marlene Dietrich) at the Peking train station before boarding the Shanghai Express
  • further close-ups (with keylighting on her face or backlighting) showing her stunning persona and mystique, filmed with expressionistic shadows
  • her most memorable line - "It took more than one man to change my name to Shanghai Lily" delivered to former lover and surgeon Captain Donald 'Doc' Harvey (Clive Brook) as they stood side-by-side together on the train, framed by two windows, in the film's opening

The Shawshank Redemption (1994)

In Frank Darabont's (his directorial debut film) popular melodramatic adaptation of a Stephen King novella:

  • the incredible Shawshank Prison arrival scene of wrongly-convicted, mild-mannered banker Andy Dufresne (Tim Robbins) - an overhead helicopter shot that left the arriving drab-gray prison bus, ascended the main tower of the prison, and peered down into the prison courtyard where ant-like prisoners scurried toward the fenced-in arrival area to gawk and jeer while the new arrivals disembarked
  • the religiously-fanatical Warden Norton's (Bob Gunton) speech to the inmates about what he believed in: Discipline and the Bible
  • Andy's first request of lifer friend Red (Morgan Freeman) - a rock hammer!
  • Red's narration about how sadistic cons cornered Andy: "I wish I could tell you Andy fought the good fight and the Sisters let him be...but prison is no fairytale world"
  • the liberating, uplifting scene of the inmates drinking cold beers on the sunny rooftop and feeling like 'free men' while the heroic Andy smiled off to the side in the shade
  • the similar scene when Andy broadcast Mozart's opera 'The Marriage of Figaro' over the prison P.A. system
  • Andy's and Red's discussion - while slumped against the yard wall - about their yearnings from freedom with Andy's decision: "Get busy livin' or get busy dyin'"
  • Red's wise statement about what "institutionalized" meant during his third parole hearing -- followed by the emphatic rubber-stamped "APPROVED" on his file
  • the sad scene of Brooks Hatlen's (James Whitmore) suicide by hanging after carving "BROOKS WAS HERE" on the wooden arch above him
  • the discovery by the Warden of the escape hole in Andy's cell - covered over by a poster of Raquel Welch
  • the re-play of Andy's escape through the wall tunnel and sewage conduit and his exultant pose with his arms raised up from his half-naked body to the sky during a cleansing rainstorm - twirling, victorious and liberated after the prison break
  • the sequence of Red's discovery of Andy's letter in a field and his walk back through the field with grasshoppers springing into the air all around
  • the final reunion scene on a beach in Mexico next to the Pacific Ocean








She (1965, UK)

In director Robert Day's adaptation (the 4th one) of the 1887 H. Rider Haggard adventure novel of the same name by Hammer Films, this fantasy adventure was a box-office hit, and inspired a mostly-unrelated sequel, The Vengeance of She (1968, UK):

  • the film's tagline: "SHE who must be obeyed! ...SHE who must be loved! ...SHE who must be possessed!"
  • at the end of World War I, the portrayal of the immortal Egyptian queen and cruel high priestess Ayesha ("She-Who-Waits") by sexy Swedish actress Ursula Andress (dubbed by actress Monica (Nikki) Van Der Syl), living in the mountain city of Kuma in E. Africa
  • the double entrances of Ayesha - first (dressed in a slinky white sheath) to young and handsome Leo Vincey (John Richardson) in a Jerusalem house where she offered him a map and ring and tempted him to come to her after journeying across the desert and through the mountains of the moon to her fortress city, and then on her kingdom's throne wearing an elaborate gold and feather headdress
  • the scenes of love-sick Ayesha's deadly seduction of Vincey, believing him to resemble and be the reincarnated priest Kallikrates, her long-dead former lover whom she jealously stabbed and killed when she found him cheating on her
  • in the final scene, Ayesha had convinced Leo to enter a rare blue, magical bonfire Flame of Eternal Youth (which she claimed wouldn't cause harm); when he entered, he became immortal, but her second entrance into the fire caused her to shrivel up, disintegrate and die - it would be another 2,000 years before the blue flame would reappear and release him from immortality




She Done Him Wrong (1933)

In director Lowell Sherman's classic comedy:

  • a melodramatic/comic story that involved white slavery and an unlikely romance between Gay Nineties saloon singer Lady 'Diamond' Lou (Mae West) and Salvation Army officer Captain Cummings (Cary Grant)
  • another of voluptuous Mae West's funny vehicles as an excuse to throw off unabashed one liners: ("You know, it takes two to get one in trouble"), brazen and naughty innuendoes and double-entendres (the famed "Why don't you come up sometime 'n see me? I'm home every evening"), and other liberated quips ("Listen, when women go wrong, men go right after them" and "You know it was a toss-up whether I go in for diamonds or sing in the choir. The choir lost")

She Wore a Yellow Ribbon (1949)

In the second of director John Ford's "cavalry trilogy":

  • the sunset scene of soon-to-be retired Capt. Nathan Brittles (John Wayne) sitting at the gravestone of his wife Mary Cutting Brittles and speaking to her while he watered the flowers
  • the cinematographically-beautiful dark line of clouds and lightning in a thunderstorm as the cavalry patrol passed through director Ford's favorite scenic locale - Monument Valley
  • the scene of his last day when Brittles' C troops gave him a silver pocketwatch with the inscription "Lest we forget" that he tearfully read with his glasses


Sherlock Jr. (1924)

In actor/director Buster Keaton's silent-era comedy classic:

  • the scene of lovelorn projectionist Sherlock, Jr. (Buster Keaton) trying unsuccessfully to court his sweetheart (Kathryn McGuire) with a box of candy
  • his pacing after and shadowing his suspect/rival suitor the Sheik (Ward Krane) when they took drags upon the same cigarette
  • the series of quick, jump-cutting film edits and abruptly-changing montage of scenes behind Sherlock Jr. after he fell asleep in the projection booth and his dream figure walked around the theatre (unnoticed) and then stepped into the 'silver screen' and magically became part of the projected shifting scenes
  • the 'movie in a movie' - Sherlock Jr. walked down stairs and fell over a garden bench or pedestal, found himself on a busy street, a mountainous precipice, a lion's den, a desert in the middle of tracks with an approaching train, and a rock surrounded by the ocean where he dove headfirst into a snowbank, and then a return to the opening garden
  • the tense scene when Sherlock was set up to be murdered during a pool game with one ball that was supposedly a bomb
  • Sherlock's dive out of a window into a hoop dress
  • the amazing stunt of his near-fatal collision with a train (he covered his ears and ducked his head) as he rode on the handlebars of a driverless motorcycle
  • the final boy-gets-girl sequence in the projection booth when the flustered 'detective' followed the cues of the leading-man actor on screen and kissed his girlfriend



The Shining (1980)

In Stanley Kubrick's horror classic:

  • the opening scene with aerial camera work following a car to a mountainous Colorado resort - the sprawling and soon-to-be snowbound Overlook Hotel
  • Danny's (Danny Lloyd) Steadicam-filmed ride on a Big Wheel bike tracked through the corridors of the hotel (with accompanying sounds as the wheels hit the floor and the rug)
  • his frightening ghostly visions (the murdered twin girls, the bloody elevator, etc.)
  • Jack Torrance's (Jack Nicholson) bar-side exchanges with ghostly bartender Lloyd (Joseph Turkel) where he was told: "Your credit's fine, Mr. Torrance"
  • the grisly bathtub hallucination experienced by Jack in off-limits Room 237 when he discovered that the illusory, beautiful bather he was kissing was a corpse
  • wife Wendy's (Shelley Duvall) discovery that her struggling husband's manuscript/writing on the typewriter was truly insane (there were endless reams of pages all with the phrase: "All work and no play makes Jack a dull boy")
  • Danny's repetition of the words "Redrum " - later reflected in a mirror to reveal the word "Murder"
  • the scene in which Wendy clobbered Jack with a baseball bat on the stairs
  • the image of a decadent sexual act of fellatio being performed in a bedroom
  • the memorable scene of diabolical Jack's climactic stalking and homicidal chase after his wife and son with an axe with his demented bellowings ("Wendy, I'm home" and "Then I'll huff and I'll puff...") and 'Johnny Carson's Tonight Show' greeting: "Heeeeeeeere's Johnny!" through a splintered door
  • Jack's demise in the frozen Maze
  • the final revealing zoom-in shot toward a photograph







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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