Broadway Melody (1929)

The various musical numbers, including: "You Were Meant For Me", the title tune: "Broadway Melody", and "The Wedding of the Painted Doll", in director Harry Beaumont's Best Picture-winning backstage dance/musical

Broadway Melody of 1938 (1937)

The memorable star-making scene, in one of the film's many subplots, of 15-year-old Betty Clayton (Judy Garland in her MGM feature film debut) in bobby socks singing "Dear Mr. Gable" to the "King of Hollywood" Clark Gable's photograph in the bedroom of her mother Alice's (Sophie Tucker) boarding house - as she writes him a love letter (sung to the tune of "You Made Me Love You") ("Dear Mr. Gable, I am writing this to you, and I hope that you will read it so you’ll know…"), in director Roy Del Ruth's backstage dance/musical from MGM

Broadway Melody of 1940 (1940)

The flawless tap dance sequence of Eleanor Powell and Fred Astaire (their only teaming) to Cole Porter's "Begin the Beguine" - filmed almost entirely with one crane shot, in one of the last extravagant B/W musical production numbers, in director Norman Taurog's MGM musical

Brokeback Mountain (2005)

The poignant love story between two married bi-sexual Wyoming cowboys Ennis Del Mar (Best Actor-nominated Heath Ledger) and Jack Twist (Best Supporting Actor-nominated Jake Gyllenhaal), including their first meeting as an innocently exuberant skinny-dip into a pond; their initial confusion about their attraction over a campfire, Jack's awkward declaration of his true love for Ennis ("Tell you what. The truth is... sometimes I miss you so much I can hardly stand it"); Ennis' chilling story about the cruel murder of a suspected gay cowboy; their eventually strained marriages -- Ennis to fragile, waifish Alma (Best Supporting Actress-nominated Michelle Williams) and Jack to tomboyish rodeo queen Lureen Newsome (Anne Hathaway); Jack's final frustrated ultimatum speech to Jack ("Tell you what, we coulda had a good life together! F--kin' real good life! Had us a place of our own. But you didn't want it, Ennis! So what we got now is Brokeback Mountain!......I wish I knew how to quit you!"); much later in the film during their reunion four years later, the two hug each other tightly -- Ennis, nervously looking around, then forcefully grabs Jack and pushes him into a secluded spot by stairs where they kiss hungrily - while Ennis' wife Alma accidentally spies on their embracing passion from above and turns away; and the emotional, tear-jerking finale decades later in which Ennis finds two old shirts (belonging to him and the now-deceased Jack) hanging together in the back of a closet, and Ennis' tearful: "Jack, I swear...", in Best Director-winning Ang Lee's landmark love story and favored 2005 Best Picture nominee

Broken Blossoms (1919)

The sensitive and frail teenage Cockney waif Lucy Burrows (Lillian Gish) in one of cinema's greatest melodramatic performances - the scenes of her forced smile by pushing up the ends of her mouth with her fingers, and the unforgettable death scene as her brutal and bigoted father Battling Burrows (Donald Crisp) savagely breaks down the door as she cowers in a closet twisting to avoid him and later receives the fatal blows, in this silent film melodramatic classic from D.W. Griffith

The Brood (1979)

The therapeutic treatment termed psychoplasmics in the Somafree Institute of controversial Dr. Raglan (Oliver Reed), the gory scene of the vengeful mutant dwarfs (the brood) - offspring of psychotic mother and institute patient Nola Carveth (Samantha Eggar) - bursting out from doors and cupboards and their murder of young Candice Carveth's (Cindy Hinds) teacher Ruth Mayer (Susan Hogan), and Frank's (Art Hindle) final deadly confrontation with his ex-wife Nola as she is giving birth to another hideous demon-creature-child, in writer/director David Cronenberg's horror classic

The Browning Version (1951, UK)

The scene of an unexpected gift received from a student named Taplow (Brian Smith) - a second-hand book of Robert Browning's translation of Agamemnon (hence the film's title) - to under-appreciated, chilly, veteran Greek classics schoolmaster Andrew "Crock" Crocker-Harris (Michael Redgrave) - his favorite play; followed by his cheating and embittered wife Millie's (Jean Kent) attempt to downplay the goodwill gift as bribery; and the scene of Crock's apologetic farewell epiphany speech to a British boarding school audience - a confessional ultimately speaking from his anguished heart, in director Anthony Asquith's drama - an adaptation of Terrence Rattigan's one-act play

Bugsy (1991)

The scene in which psychopathic, larger-than-life, East Coast 40s Jewish gangster Benjamin 'Bugsy' Siegel (Oscar-nominated Warren Beatty) first meets sassy, slinky, and leggy B-movie starlet Virginia "Flamingo" Hill (Annette Bening, who engaged in an off-screen romance with Beatty, leading to their real-life marriage in 1992) before an artificial backdrop on the set of a Hollywood film when he lights her cigarette and they verbally joust together: (Virginia: "The way you were staring at me, I thought you were gonna ask me for something a little more exciting" Bugsy: "Like what?" Virginia: "Use your imagination" Bugsy: "I'm using it" Virginia: "Let me know when you're finished") -- when she turns away to leave, she urges him: "Why don't you run outside and jerk yourself a soda?"; also the scene in which they first kiss - silhouetted in the light behind the screen of his projected screen-acting test when she tells him: "Do you always talk this much before you do it?"; also the brutal scene during a dinner date with Virginia in which Siegel humiliates cheating crime associate Jack Dragna (Richard Sarafian) for skimming funds ("Did you think you could steal from ME?"), and sadistically makes him crawl on the floor and bark like a dog ("Now bark like the dog that you wish that you were decent enough to be") and then squeal like a pig ("Now let me hear you oink like the treacherous, devious pig that you are") - followed by Siegel's gluttonous food binge at the dinner table - and loving attention and passionate kisses all over his face by his sexually-charged moll; also the scene of the visionary and grandiose Bugsy having a "religious epiphany" in the desert about building a casino ("the single best idea I ever had"); the memorable scene in which adulterous family man Bugsy (in a ridiculous chef's hat) is in his East Coast home hosting three different groups: his wife Esta (Wendy Phillips) and two children celebrating daughter Millicent's (Stefanie Mason) birthday, his trusted foul-mouthed associate Mickey Cohen (Harvey Keitel) on the phone as he jealously seeks to know mistress Virginia's whereabouts in California, and with his New York gangster associates being convinced to provide $1 million in funding for his flamboyant dream to build a casino in the Nevada desert; the striking scene in a restaurant's women's room of Bugsy avoiding admitting that he wants a divorce from his stunned wife Esta ("You want a divorce, don't you?"); and the final scene of his multiple-gunshot murder by a sniper/hitman outside of his Beverly Hills home while he is reading an LA Times newspaper, in Barry Levinson's complex gangster biopic

Bull Durham (1988)

The opening line delivered by sexy sports groupie Annie Savoy (Susan Sarandon): "I believe in the church of baseball" regarding her beloved team - the Durham Bulls of North Carolina; and the classic, philosophical speech of veteran journeyman baseball catcher Crash Davis' (Kevin Costner) beliefs to Annie when he is in her living room with fellow dating prospect and moronic ballplayer Nuke LaLoosh (Tim Robbins) and she proposes to "hook up with one guy a season": "Well, I believe in the soul, the c--k, the p---y, the small of a woman's back, the hangin' curveball, high fiber, good Scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there oughtta be a constitutional amendment outlawing AstroTurf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve, and I believe in long, slow, deep, soft, wet kisses that last three days. Good-night" and her breathless reply: "Oh my!", in writer/director Ron Shelton's feature debut

Bullitt (1968)

The spectacular, ten-minute car chase sequence filmed with hand-held cameras over streets and hills of San Francisco between police lieutenant Bullitt's (Steve McQueen) '68 Ford Mustang GT and the hit men's '68 Dodge Charger, in this classic car-chase/cop film by director Peter Yates

Bus Stop (1956)

Would-be saloon singer Cherie's (pronounced Cherry) (Marilyn Monroe) sang an off-key, inept, but innocently sensual rendition of "That Old Black Magic" in the Blue Dragon - a run-down honky-tonk night-club in Phoenix, and after many experiences conversed with fellow bus traveler Elma (Hope Lange) about her beliefs concerning love and the kind of man she's looking for ("Maybe I don't know what love is...I want a guy I can look up to, and admire. But I don't want him to browbeat me. I want a guy who'll be sweet with me, but I don't want him to baby me either..."), in Joshua Logan's romantic comedy

Butch Cassidy and the Sundance Kid (1969)

The amusing banter throughout the film between two western legendary, train-robbing anti-hero outlaws Butch (Paul Newman) and Sundance (Robert Redford); Butch's swift crotch kick at brutish Bowie-knife-wielding gang member Harvey Logan (Ted Cassidy) (who has been distracted and exclaims: "Rules - in a knife fight? No rules!"), the gang's many train and bank robberies together (including one with too much dynamite detonated ("...Think you used enough dynamite there, Butch?") and another with clever ventriloquism to trick Woodcock (George Furth) into opening the train door); the sexy and surprising scene of Sundance's visit to schoolmarm Etta's (Katharine Ross) farmhouse bedroom when he orders her to unbutton her blouse and undress in front of him at gunpoint; the lyrical musical interlude sequence of Butch riding a bicycle with Etta and "Raindrops Keep Fallin' On My Head", the long, relentless pursuit sequence by a mysterious posse and Butch's repeated question: "Who are those guys?"; when cornered on a dead-end cliff, Sundance's admission: "I can't swim" (with Butch's guffawing retort: "Why, you crazy, the fall'll probably kill ya") and their big jump off a steep canyon ledge into a fast-moving river below while yelling a long and drawn out: "AWWWWW S-----T"; and the final sequence in which the wounded and doomed heroes joke and daydream ("For a moment there, I thought we were in trouble") and then are caught at the point of death as Yanqui banditos in a freeze-framed (turning from color to sepia-toned) shootout in Bolivia, in George Roy Hill's comedy-western

Bye Bye Birdie (1963)

The opening, star-making credits sequence - erotic, nubile, vibrant 22 year-old high-schooler Kim McAfee's (Ann-Margret) blue-screen performance when she sings the title song in a wind tunnel, the split-screen gossipy musical telephone sequence (with live action and animation) titled "The Telephone Hour", and press agent and songwriter Albert Peterson's (Dick Van Dyke) singing performance to teenaged Rosie (Janet Leigh) of "Put on a Happy Face", in director George Sidney's adaptation of the Broadway musical hit

Cabaret (1972)

The opening dance number "Wilkommen" introduced by Berlin's seedy Kit Kat Club's androgynous, leering, white-faced emcee/Master of Ceremonies (Joel Grey), the seductive and wildly reckless American dancer/singer Sally Bowles' (Liza Minnelli) performance of "Mein Herr" wearing a black derby hat and a deep V-necked costume; the duet of MC and Sally singing "The Money Song"; the scene with Sally and bi-sexual British writer Brian Roberts (Michael York) in which she asks: "Maybe you just don't sleep with girls", and the threesome sexual moment with the two of them and rich German playboy-baron Maximilian von Heune (Helmut Griem) when the three danced slowly together and the record stopped with a potent silence; also the scene at an outdoor cafe in which a young, fresh-faced German blonde, blue-eyed, tenor-voiced boy sings "Tomorrow Belongs to Me" and the camera quickly reveals that he is wearing a brown uniform and his arm is wrapped with a Nazi swastika armband - and the patrons of the German beer garden join in the triumphant Nazi anthem; and Sally's defiant, show-stopping, belt-it-out rendition of "Cabaret" ("Life is a cabaret, old chum / Only a cabaret, old chum / And I love a cabaret!") -- her vow to continue her destructive, decadent lifestyle as Brian returns to England, and the chilling final shot as the camera pans along the twisted, mirrored mylar wall and settles on a Nazi swastika (as the cymbal crashes after a drum roll), in Bob Fosse's dark, classic musical

The Cabinet of Dr. Caligari (1920, Ger.)

The expressionist cinematography and the distorted, jagged, angular sets, in Robert Wiene's classic and influential silent film

Caddyshack (1980)

The memorable characters associated with the Bushwood Country Club, including elitist Judge Smails (Ted Knight) and his sexy young niece Lacy Underall (Cindy Morgan), the lunatic groundskeeper Carl Spackler (Bill Murray) with his golf fantasies ("It's in the hole!") and his fixation with destroying a dancing gopher ("Uh, hello, Mr. Gopher. Yeah, it's me, Mr. Squirrel. Yeah, hi. Uh, just a harmless squirrel, not a plastic explosive or anything, nothing to be worried about") - to the tune of Kenny Loggins' song "I'm Alright"; and the boorish, nouveau-riche wisecracking loudmouth Al Czervik (Rodney Dangerfield in his feature film debut): ("This is the worst lookin' hat I ever saw.....oh, it looks good on you though!", or "Hey, you wanna make $14 dollars the hard way?"); also the scene of the performance of a Busby Berkeley-style water ballet by golf caddies in the pool - and the scatological moment that a floating candy bar sends swimmers screaming from the water in a Jaws-inspired panic - and the shock and fainting caused when a pool cleaner eats the brown object, in Harold Ramis' much-loved golf comedy

Caged Heat (1974)

The character of McQueen - the wheelchair-bound, repressive, and semi-lesbian prison warden (scream queen veteran Barbara Steele), and various attractive and empowered cell-block prisoners, including Erica Gavin, Roberta Collins and Cheryl Rainbeaux Smith, often glimpsed in shower scenes; with expected exploitative scenes of sadistic torture by the prison's doctor, tongue-in-cheek humor, dirty catfights, rebellion and the requisite prison escape, etc., in director Jonathan Demme's (The Silence of the Lambs (1991)) early trashy cult women-in-prison flick produced by B-movie king Roger Corman

The Caine Mutiny (1954)

The scene of the by-the-book and paranoid Captain Queeg's (Humphrey Bogart) disintegration on the witness stand while manipulating steel ball bearings in his hand - and his incoherent, crazy ramblings about disloyal officers and about the strawberry incident ("Ah, but the strawberries! That's, that's where I had them. They laughed at me and made jokes, but I proved beyond the shadow of a doubt, and with, with geometric logic, that, that a duplicate key to the wardroom icebox did exist") after being broken down by lawyer Lt. Barney Greenwald (Jose Ferrer), during the court-martial trial in the conclusion, in director Edward Dmytryk's military drama

California Split (1974)

The camaraderie of the two compulsive poker players/casino gamblers: extroverted and free-spirited Charlie Waters (Elliott Gould) and introverted magazine writer Bill Denny (George Segal), their first bet together - on who can name all of the Seven Dwarfs; the scene in which Charlie bargains with a robber to take only half of his winnings; Charlie's two roommates: professional escorts/hookers Barbara and Susan (Ann Prentiss and Gwen Welles) who feed them beer and Froot Loops, and their poker competition in Reno against Amarillo Slim, in Robert Altman's comedy film

Camille (1936)

The wonderful romantic dialogue within the film and its soft-focus cinematography, the scene of Baron de Varville (Henry Daniell) playing the piano to torture courtesan La Dame Aux Camelias ("Lady of the Camellias") Marguerite Gautier (Greta Garbo) with his knowledge of her arranged tryst with a young Armand Duval (Robert Taylor), the lovely pastoral sequence with Armand, Marguerite's encounter with Armand's father (Lionel Barrymore) when he asks her to stop ruining his son, Camille's decision to break off her relationship, her weeping while writing a farewell to Armand, and the final, beautiful deathbed scene, dying in her lover's arms - this was Garbo's best performance, in George Cukor's superb romantic drama - one of filmdom's greatest classics

The Cannonball Run (1981)

The closing credits - composed of wacky out-takes, in this classic cross-country car race with an all-star cast, including Dom DeLuise as Victor/Captain Chaos, by director Hal Needham

Cape Fear (1962)

A suspenseful and intense late b/w film noir from director J. Lee Thompson (James Webb's screenplay was based on John D. MacDonald's novel "The Executioners"), and with moody music by Bernard Herrmann - under the opening credits, the evil, intimidating, vengeful and insolent character of cigar-smoking, Panama hat-wearing psychopath Max Cady (Robert Mitchum) is first exemplified when he walks inside a Southern courtroom and as he ascends the stairs ignores a woman who dropped a book in front of him. Also the many chilling moments in which the sexually-predatory Cady pursues and stalks the female family members of lawyer Sam Bowden (Gregory Peck) intent on raping them -- he first poisons the family dog Marilyn with strychnine (mid-barking, the dog lets out a long whine), then menaces young teenaged daughter Nancy Bowden (Lori Martin) at her school, and later sexually threatens both females on a houseboat on Cape Fear River. In a deeply frightening scene, the bare-chested ex-con threatens to force Sam's wife Peggy (Polly Bergen) to have consensual sex with him in order to save the rape of her daughter - and then after creating a diversion, goes after young Nancy too. The film ends with a climactic conclusion when Sam saves Nancy, fights bare-fisted against Cady, overpowers him, holds him at gunpoint, and decides to not kill him: "We're gonna take good care of you. We're gonna nurse you back to health. And you're strong, Cady. You're gonna live a long life - in a cage! That's where you belong. And that's where you're going. And this time, for life! Bang your head against the walls. Count the years, the months, the hours, until the day you rot!"

Cape Fear (1991)

The portrayal of vengeful psychotic Max Cady (Robert De Niro) threatening lawyer Sam Bowden (Nick Nolte) and his wife Leigh (Jessica Lange) and daughter; Max's confrontation on the street with Sam Bowden as he drives along in an open convertible; and the tense and very disturbing, repellent yet fascinating scene when he poses as a drama teacher on the set of a play in the school's auditorium and then proceeds to verbally and physically seduce and kiss the rebellious, naive, sexually-curious and troubled fifteen-year old daughter Danielle (Juliette Lewis) - with her dual responses of fear and excitement. Also the climactic houseboat confrontation on Cape Fear River when Cady was handcuffed to their houseboat and drowned while speaking madly in tongues when the boat sank, in Martin Scorsese's remake of the original 1962 film with Robert Mitchum

Captain Blood (1935)

The romance between Capt. Peter Blood (Errol Flynn in a star-making role) and the lovely Arabella Bishop (Olivia de Havilland) - the stars' first romantic teaming; also with the trademark sword duel to the death between Capt. Blood and French pirate Levasseur (Basil Rathbone) on the beach, and the exciting naval battle sequences and bombardments, in Michael Curtiz' tremendous swashbuckler adventure film

Captains Courageous (1937)

Portuguese fisherman Manuel's (Spencer Tracy) playing and singing (a song to a fish: "don't cry") with a hurdy-gurdy on the deck of his ship, his rescue, care and education of a spoiled rich kid Harvey (Freddie Bartholomew) (his "leetle feesh"), the sequences of the schooner race, Manuel's tragic death scene as he drowns in the waves, and the poignant memorial service scene with Harvey's father (Melvyn Douglas) comforting his son in the final shot - silently, arm in arm, the two watch wreaths float away together in the outgoing tide, in Victor Fleming's adventure/drama