Greatest Film Scenes
and Moments



T3

 





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

This Sporting Life (1963, UK)

In this British sports drama by director Lindsay Anderson:

  • the opening post-credit sequence of a brutal rugby scrum between players
  • the monologue of celebrity Rugby League pro footballer Frank Machin (Richard Harris) delivered to friend/teammate Maurice Braithwaite (Colin Blakely) about the perception that he was "a great ape on a football field"
  • his starved, romantic needs for love from his suppressed, icy landlady Mrs. Hammond (Rachel Roberts)

The Thomas Crown Affair (1968)

In the romantic crime-thriller by director Norman Jewison:

  • the scene behind the Oscar-winning Best Original Song (The Windmills of Your Mind, music by French composer Michel Legrand and lyrics by Alan and Marilyn Bergman) - when the title character (Steve McQueen) was at a glider airport in New Hampshire, flying a sleek yellow glider-plane
  • the super-sexy chess game scene - part of the cat-and-mouse game between robbery suspect Thomas Crown and investigator Vicky Anderson (Faye Dunaway)

Thoroughly Modern Millie (1967)

In producer Ross Hunter's and director George Roy Hill's overlong flapper-era musical comedy spoof starring Julie Andrews and Mary Tyler Moore:

  • during the opening credits, the title character - naive young Millie (Julie Andrews) who 'modernized' herself after noticing that she was woefully out-dated - she entered the Madcap Beauty Spot - and with a short bob haircut and a new dress style was transformed into a NY 'Roaring 20's' "modern" flapper; in the background on the soundtrack, the Oscar-nominated, title song Thoroughly Modern Millie (pictured twice) was sung by Julie Andrews
  • the scene-stealing character of wealthy, madcap and outlandish widow Muzzy Van Hossmere (Oscar-nominated Carol Channing)
  • her show-stopping performance of "Jazz Baby" - including her playing of many musical instruments (a trumpet, banjo, clarinet - and a large bass saxophone) followed by her dancing atop a xylophone
  • her flying stunts in a biplane with a German World War I ace, and acrobatics while singing "First Date (Do It Again!)" after being fired out of a cannon and spouting her favorite exclamation: "Raspberries!" while in mid-air
  • her dispatching of white slavers using tricks she learned from a heavyweight boxer



Thousands Cheer (1943)

In George Sidney's morale-boosting, propagandistic musical romance:

  • the MGM big all-star revue with performer Lena Horne singing one of her most famous movie numbers: "Honeysuckle Rose" accompanied by Benny Carter and His Band
  • Gene Kelly's dance with a mop-mannequin and various other brooms, to the tune of "Let Me Call You Sweetheart"

Thunderbolt and Lightfoot (1974)

In writer/director Michael Cimino's debut film starring Jeff Bridges and Clint Eastwood in early roles:

  • the astonishing 'rabbit shooting' sequence in which a deranged and lunatic hillbilly (Bill McKinney), crazed by his leaking exhaust pipe and carbon monoxide gas, emptied his trunk full of white rabbits into a field, and then began wildly shooting at them with a shotgun until hitchhiker John "Thunderbolt" Doherty (Clint Eastwood) knocked him out and then stated: "I don't know what the hell we're gonna do with all these rabbits?"

Tie Me Up! Tie Me Down! (1990, Sp.) (aka Atame!)

In writer/director Pedro Almodovar's Technicolored, dark, offbeat comedic and unconventional love story (a captor-captive tale) about how monogamy can be a metaphor for power games and chained-up bondage, sometimes accused of depicting the victimization of women via abduction - similar in part to William Wyler's film The Collector (1965) and The Night Porter (1974, It.) - [Note: It was the last film to receive the MPAA's X-rating due to its depiction of forced bondage and rape - however, it was re-rated and released as an NC-17 film]:

  • the release (to "rejoin society") of unstable, moronic, dull-witted, 23 year-old mental patient Ricky (Antonio Banderas), an ex-handyman in psychiatric treatment in modern-day Madrid
  • the character of actress Marina Osorio (Victoria Abril) - an ex-porn star and recovering heroin-junkie addict, seen as disordered, unintelligent, irresponsible, and flighty
  • the image of Ricky outside a candy shop window with the reversed 'O' in the sign positioned over his face - looking like a diver's mask
  • the controversial, memorable and infamous masturbatory bath scene of Marina with a vibrating, wind-up toy diver that swam straight into her crotch and then proceeded up her chest
  • the scene of Marina's acting as a B-movie star (a film-within-a-film) on the set of crippled, wheelchair-bound, lecherous director Maximo Espejo (Francesco Rabal), who was making his last movie - it was a second-rate Euro- horror spin-off titled The Midnight Phantom (featuring an S&M-like, half-man, half-undead, masked muscle-bound killer); in the scene Marina vanquished the 'phantom' by swinging from a balcony with a rope that strangled him; off-set, Maximo was sexually-obsessed with Marina and would masturbate to her porn films
  • the pair of scenes of Marina and her sister Lola (Loles Leon), Maximo's assistant, urinating on a toilet
  • Ricky's love-sick fixation and obsession with his favorite actress Marina, whom he confronted in her apartment (where he had earlier delivered a heart-shaped box of chocolates) and head-butted her to keep her quiet; he claimed that they had met once before at Lulu's bar for a one-night fling, but she didn't remember him: "We met once a year ago at a bar named Lulu's. Remember? I'd just escaped from the institution. We met by chance at Lulu's. We went to your place and f--ked. You don't remember? I promised to come back and protect you...I'm here to prove it"; he declared his devotion and love: "I'm 23 years old, I have 50,000 pesetas, and I'm alone in the world. I'll try to be a good husband to you and a good father to your children"; she protested: "I'll never love you - ever!"
  • Ricky's abusive, degrading and hostage-taking of Marina so she wouldn't run away - he often mistreated her by gagging and tying her up in an unusual attempt at courtship to win her affection and heart: ("I had to kidnap you so you'd get to know me. I'm sure you'll get to love me as I love you")
  • the sequence of the couple, metaphorically and literally handcuffed together by the wrists and making a late night visit to friendly, single mother dentist-doctor Berta (Maria Barranco) (who offered a joint) with two young babies, and a fornicating pharmacist (Concha Rabal) (with a holster and gun) behind the store's front , to procure strong painkillers for Marina's aching tooth
  • the flamenco-scored ersatz TV commercial, inserted by the director, comparing Nazi-uniformed, hard-working Germans with fun-loving Spaniards in retirement (the former planned smartly and dutifully for their future, while Spaniards were hedonistically tango-dancing and enjoying themselves for the short-term)
  • the in-joke of the constrained Marina using the TV remote control to watch The Night of the Living Dead (1968)
  • Marina's gradual loosening of resistance and voluntary submission to being his captive (the Stockholm Syndrome), especially after freshly-wounded Ricky was beaten up by a group of drug dealers led by a female on a Vespa scooter (Rossy De Palma) he had swindled earlier, as he attempted to procure strong painkillers for her; she became maternally nurturing toward him and tended to his serious injuries
  • their intense love-making scene; although in pain, he asserted he could continue: "The only thing the bastards didn't touch was my cock"; during their sweaty and realistic sexual intercourse (seen from various angles, including a kaleidoscopic top view), she suddenly remembered her previous one-night stand with him: ("You said we'd screwed before, and I said I didn't remember. Well, now I remember, perfectly")
  • the conclusion's stunning reversal when Marina described to her astonished sister Lola her close and loving association with her kidnapper Ricky; Lola responded: "How can you love a kidnapper who ties you up? You think that's normal? It must be the shock. You can't be that kinky!"; Marina asked to be tied up ("You'd better tie me up. Tie me up"), so she wouldn't be tempted to escape
  • in the ambiguous ending (a subtle variation on the conclusion of The Graduate (1967)), the three drove off together; Marina was at the wheel and on the verge of tears (not sure of their tenuous future), while Ricky and Lola happily sang along to a cassette tape playing the pop song: "Resistiré," or "I Will Resist" - until Lola stopped for a second and glanced at Marina, and asked: "What is it, silly? We get along just fine! Come on, honey" - as they drove off into the sunset
















The Tingler (1959)

In 50s B-film director and impresario schlockmeister William Castle's classic horror film:

  • Castle's own introduction in the film's prologue with this word of advice: "I am William Castle, the director of the motion picture you are about to see. I feel obligated to warn you that some of the sensations, some of the physical reactions which the actors on the screen will feel, will also be experienced for the first time in motion picture history, by certain members of this audience. I say 'certain members' because some people are more sensitive to these mysterious electronic impulses than others. These, uh, unfortunate, sensitive people will at times feel a strange, tingling sensation. Others will feel it less strongly. Don't be alarmed - you can protect yourself. At any time you are conscious of a tingling sensation, you may obtain immediate relief by screaming. Don't be embarrassed about opening your mouth and letting rip with all you've got, because the person in the seat right next to you will probably be screaming too. And remember this - a scream at the right time may save your life."
  • Castle's speech was followed by zoomed-in examples of disembodied screaming heads - three in all
  • the character of mad, part-time pathologist/scientist Dr. Warren Chapin (Vincent Price) who made the discovery that the tingling sensation one felt running up and down one's spine when afraid was actually a "living" parasite that grew and lived in the vertebrae. When one couldn't scream or when one experienced prolonged scary situations (without having the therapeutic release of a primal scream), the parasite could grow to enormous size and cripple a person: "We know that it exists...We know that fear alone energizes it, gives it strength...The Tingler exists in every living human being and it's extremely powerful...Fear causes the Tingler to spread along the spinal column. And probably with those arm-like things between the vertebrae forces it to become arched and rigid...Screaming seems to stop the Tingler from bending the spinal column. Screaming may even dissolve it, or if it's a living organism, kill it...We now know that at the peak of terror, the Tingler is a solid mass, extending from the coccyx to the cervicals. If someone could stand the intense pain without screaming or otherwise releasing their tension until they die, I think that an autopsy would give us a Tingler that we could work with."
  • Dr. Chapin's autopsy scene of deaf-mute patient Mrs. Martha Higgins (Judith Evelyn), the wife of silent movie theatre owner Oliver Higgins (Philip Coolidge); when he extracted the squirming, lobster-like centipede from her body, for a brief moment, it attached itself to his arm; and as he napped on the couch, the Tingler also crawled onto his chest and threatened to choke him; it released itself when his socialite wife Isabel Stevens Chapin (Patricia Cutts) returned home and screamed! Dr. Chapin surmised that if he returned the Tingler to Martha's body, it would die: "The Tingler exists in every human being, we now know. Look at that Tingler, Dave. It's an ugly and dangerous thing. Ugly because it's the creation of man's fear, which is ugly too. Dangerous because, because a frightened man is dangerous. We can't destroy it because we've removed it from its natural place...Fear made that Tingler grow from microscopic size to this. We can only hope when it goes back where it came from, it will also go back to a thing infinitely small - even die, because it's creator is dead and all fear gone."
  • later in the film's climax, Dr. Chapin planned to place the Tingler back into Martha's corpse, but of course, the boxed creature escaped and entered a crowded film theater showing the silent film Tol'able David (1921); after scaring one young female by climbing up her leg, the Tingler crawled into the inattentive projectionist's booth; in pitch black, Chapin tried to calm the theatre audience with an announcement: "There's no cause for alarm. A young lady has fainted. She is being attended to by a doctor and is quite alright. So please remain seated. The movie will begin again right away"
  • on screen, the projected film broke as the silhouette of the Tingler moved across the projection beam; the film theater went pitch black; the film audience (within the film and watching the film) were encouraged to scream to lessen the effects of tingling fear during a long black-out section by the voice of Dr. Chapin: "Ladies and gentlemen, please do not panic. But scream! Scream for your lives! The Tingler is loose in this theater! (Screams)..."

[Note: To enhance the effect when the Tingler was on the loose in the theatre, seats were rigged with vibrating devices to produce the tingling effect - a gimmick nicknamed Percepto.]

  • after making another reassuring announcement, "The Tingler has been paralyzed by your screaming. There's no more danger. We will now resume the showing of the movie," Chapin rushed to the projection booth where the projectionist was being strangled by The Tingler; his screams caused the creature to drop to the floor, where it was captured in a film canister.
  • in the film's conclusion, Higgins received the same fate as his wife, who had the Tingler reinserted into her spine by Dr. Chapin to neutralize its effects; the resurrected Martha caused her husband to die of fright - with muted screams. Dr. Chapin's words (in darkness) ended the film: "Ladies and gentlemen, just a word of warning. If any of you are not convinced that you have a Tingler of your own, the next time you are frightened in the dark, don't scream."















Tit For Tat (1935)

In Laurel and Hardy's slapstick, Academy Award-nominated comedic short - a direct sequel to their film Them Thar Hills (1934):

  • the set-up: two side-by-side stores - Stan and Oliver's newly-opened electrical supply store ("Open for Big Business"), next to Mr. Hall's (Charlie Hall) grocery store
  • an accident while screwing in light bulbs in his electrical store's marquee sign left Oliver stranded on the grocery store's 2nd story outdoor window ledge (as he sarcastically told Stan: "I'm waiting for a streetcar!"); Oliver was forced to enter the window of the apartment above the store, with Mrs. Hall's (Mae Busch) permission; as he descended the stairs and entered the main floor, grocer Mr. Hall overheard Oliver's risque line to his wife: ("I've never been in a position like that before!") - causing Mr. Hall to assume sexual shenanigans and accuse Oliver of fooling around with her
  • the sequence of mutual, back-and-forth property destruction ("tit for tat" - although Stan misinterpreted the phrase as "Tip me hat") between the disgruntled proprietors, as Stan and Oliver repeatedly hung a "Will Be Back Soon" sign on their door as they proceeded next-door to wreak havoc and mayhem, and vice-versa: (1) a hot electrical curling iron pinched and burned Oliver's nose; (2) a faceful of white stickey mashed potatoes (?) was flung into Mr. Hall's face; (3) Hall destroyed about six watches from a circular store display by grinding them up in a milkshake blender; after calmly watching the damage, Stan picked up a spinning wheel (one of the damaged watch parts) and put it into his overalls pocket; (4) honey was poured into Mr. Hall's cash register; (5) the top of Ollie's hat was severed by Hall's deli slicer; (6) a bucket of Rex pure lard was dumped over Hall's head; (7) Stan and Oliver ate marshmallows from a bin spiked with alum powder; (8) Hall's rampaging in the electrical store - he destroyed all of the overhead light fixtures, and broke the front window; (9) both Stan and Ollie were hit with a faceful of the mashed potatoes; (10) Hall was placed bottom-first into a crate of eggs, while another crate of eggs was poured over his head
  • meanwhile, there was the running gag of a shoplifting-customer (Bobby Dunn) repeatedly entering and stealing items from the electrical store as the pair left each time, although always exchanging pleasantries; first, he carried things out, then used a wheelbarrow, and finally culminated with backing up a moving truck to completely empty the store during the many reprisals
  • the final gag: a policeman (James C. Morton) who urged the two feuding parties to apologize to each other, non-chalantly grabbed one of the marshmallows (covered with alum) and suffered the consequences






Titanic (1997)

In James Cameron's monumental Best Picture-winning blockbuster epic:

  • the romantic image of the star-crossed, ill-fated lovers: upper-class Rose Bukater (Kate Winslet) and steerage passenger Jack Dawson (Leonard DiCaprio) perched at the prow of the White Star liner Titanic with arms outstretched ("I'm flying!") - ending with a sunset kiss
  • Rose's nude posing for one of Jack's sketches with the scene ending on a closeup of Rose's eye (as a young girl and morphing into her elderly eye)
  • the scene of Jack and Rose's love-making scene in the back seat of a car -- with her hand reaching up and touching the fogged-up window
  • the final hour with tremendous visual and special-effects of the ship's flooding, slowly tilting upward, splitting in half and sinking with people plummeting to their deaths in the Atlantic when the stern was tipped vertically upright, while Rose and Jack struggled to stay together
  • the various views of victims calmly awaiting their fate (e.g., an elderly couple embraced in bed)
  • the farewell scene as Jack slowly froze to death next to Rose and his profession of love before slipping underwater
  • the dreamy remembrance of Rose's meeting of Jack on the staircase to the applause of the ship's dead






To Be Or Not To Be (1942)

In Ernst Lubitsch's propagandistic screwball comedy, remade by Mel Brooks as To Be or Not to Be (1983):

  • a WWII screwball comedy set in Nazi-occupied Warsaw, among a troupe of Polish thespians led by egocentric ham actor Joseph Tura (Jack Benny)
  • the delivery of the famous "to be or not to be" Hamlet soliloquy, triggering the exit of Polish audience member/fighter pilot Lt. Stanislav Sobinski (Robert Stack) from his seat in the front of the audience to innocently rendezvous backstage with Tura's flirtatious wife and glamorous leading lady actress Maria (Carole Lombard in her last screen performance) in her dressing room
  • the scene of Maria telling her husband Joseph off after he called her a prima donna: ("Whenever there's a chance to take the spotlight away from me, it's becoming ridiculous the way you grab attention. Whenever I start to tell a story, you finish it. If I go on a diet, you lose the weight. If I have a cold, you cough. And if we should ever have a baby, I'm not so sure I'd be the mother"); Joseph responded: "I'm satisfied to be the father"
  • and the scenes of Joseph impersonating both the Polish traitor/Nazi spy Professor Siletsky (Stanley Ridges) and buffoonish Nazi officer Col. Ehrhardt (Sig Ruman)
  • the oft-repeated line of Gestapo chief Col. Ehrhardt: ("So they call me 'Concentration Camp' Ehrhardt, eh?!")
  • and one of the film's funniest lines about Tura's acting talent, spoken by Nazi officer Ehrhardt: "What he did to Shakespeare we are doing now to Poland"
  • the lampooning of Hitler, who would say: "Heil myself"



To Catch A Thief (1955)

In Alfred Hitchcock's lightweight suspense thriller set on the French Riviera:

  • the opening police chase of cat burglar Robie (Cary Grant) photographed from the air
  • the seductive kiss offered by beautiful Frances (Grace Kelly) to Robie at her hotel room door
  • the drive and lunch-basket picnic scene with Frances' teasing question of Robie: "Do you want a leg or a breast?"
  • the exploding, orgasmic fireworks display occurring as white-gowned Frances seductively discussed the jewels around her neck before a kiss in the dark
  • the breakfast scene in which Frances' mother (Jessie Royce Landis) stubbed out her lighted cigarette in a fried egg yolk
  • the final costume ball sequence



To Die For (1995)

In director Gus Van Sant's thriller and media satire based, in part, on a real-life relationship and notorious incident in New Hampshire between a teacher (Pamela Smart) and her young lover/student (who was seduced into murdering the teacher's husband):

  • the character of icy blonde New Hampshire local TV weathercaster Suzanne Stone Maretto (Nicole Kidman) with her memorable words: "You aren't really anybody in America if you're not on TV"
  • her flashback trial - told Rashomon-style - for the murder of her sweet-natured but obstructive Italian-American bartender husband Larry Maretto (Matt Dillon) on their first anniversary
  • the sequence of her dancing in the rain to the tune of "Sweet Home Alabama"
  • and the scene of her taped interview when she defends the use of her maiden name for professional reasons
  • Suzanne's seduction of dim-witted infatuated loser high-school teen Jimmy (Joaquin Phoenix) to kill her husband
  • the film's final scene - punctuated by Donovan's tune "The Season of the Witch" -- Suzanne's off-screen death by a "Hollywood producer" (a cameo by director David Cronenberg) hired by her husband's father Joe (Dan Hedaya) (with Mafia connections)
  • her dead body in a lingering closeup under the ice of a frozen pond as Larry's sister Janice (Illeana Douglas) skated and performed twirls and pirouettes on the frozen lake (above the location of the frozen body) before the credits rolled






To Have And Have Not (1944)

In director Howard Hawks' adaptation (by William Faulkner) of an Ernest Hemingway novel, set in the French colony of Martinique during WWII - the locale of some French Resistance efforts; it was the first of four memorable films co-starring Bogart and Bacall: The Big Sleep (1946), Dark Passage (1947), and Key Largo (1948):

  • the sizzling scenes between reclusive, charter fishing boat skipper Harry Morgan (Humphrey Bogart) and the slinky, sassy, husky-voiced, young Marie Browning (19 year-old Lauren Bacall in her film debut), a chanteuse in the local nightclub, located below their hotel rooms in Hotel Marquis [Note: the two used other nicknames: "Steve" and "Slim" - to mirror the relationship between director Hawks and his own wife Mary Gross, who was named "Slim"]
  • "Slim's" delivery of lines dripping with suggestive innuendo, such as "Anybody got a match?" and then while sitting on his lap and initiating kisses: "It's even better when you help" and the following obvious, flirtatious come-on as she left his room: "You know how to whistle, don't you, Steve? You just put your lips together - and blow"
  • and the final tense showdown scene when Morgan lashed out at the authorities to secure his alcoholic sidekick Eddie's (Walter Brennan) release and safe passage for them and his boat: ("You're both gonna take a beating 'til someone uses that phone. That means one of you's gonna take a beating for nothin'. I don't care which one it is")


To Kill A Mockingbird (1962)

In director Robert Mulligan's great film adaptation (by Horton Foote) of Harper Lee's Pulitzer Prize-winning novel:

  • the opening credits sequence of a child's toy box and flashbacked memories to 1930s Alabama
  • the porch scene in which lawyer-father Atticus Finch (Oscar-winning Gregory Peck) listened to his kids talking about their dead mother
  • Atticus' killing of a rabid dog on the street
  • his heroic defense in a hot courtroom trial of a black man (Brock Peters) wrongly accused of the rape of a white woman
  • the scene of the blacks in the balcony of the courtroom standing to respectfully honor the defeated lawyer with Rev. Sykes' (William Walker) words to Finch's six year-old daughter Scout (Mary Badham): "Miss Jean Louise, stand up, your father's passin"
  • tomboy Scout's and ten year-old Jem's (Phillip Alford) scary walk home from a school pageant into the woods - and the vicious attack upon them
  • and Scout's discovery of demonized neighbor Mr. Arthur "Boo" Radley (Robert Duvall in his film debut) behind their bedroom door ("Hey, Boo") and the taking of her guardian angel's hand





To Live and Die in L.A. (1985)

In director William Friedkin's crime-thriller:

  • the thrilling scene of the wrong-way freeway pursuit

Tokyo Drifter (1966, Jp.) (aka Tōkyō Nagaremono)

In Seijun Suzuki's excessive, visually-compelling and luridly colorful yakuza-gangster, B-movie crime drama:

  • the opening black and white sequence, in which the main character passively allowed a rival gang of four thugs to beat him up rather than to fight back; he looked down at a red gun (starkly in contrast with the b/w footage), followed by the opening credits in full color
  • the protagonist - reformed killer-hitman Tetsuya Hondo (aka "Phoenix Tetsu") (Tetsuya Watari) faced many challenges, forcing him to return to his former gangland life-style in Tokyo, where there was conflict between his former, patriarchal elderly boss Kurata (Ryūji Kita) and villainous rival leader Otsuka (Hideaki Esumi), who joined forces and sought to eliminate Tetsu using hitman "Viper" Tatsuzo (Tamio Kawaji)
  • the action scene of a duel between the "Viper" and the "Phoenix" on snow-covered train tracks as a locomotive was barreling toward them
  • in the film's final showdown (an archetypal American western shootout), white-suited and white-tied Tetsu returned to Tokyo, entered a triangular, narrow and tall white hallway, and engaged in a gun-battle on an almost-empty nightclub stage (with a white piano) with his traitorous ex-boss' gang members; during the gunfight, Tetsu's strategy was to toss his gun ahead of him, acrobatically lunge for it, and then shoot his opponents; although Tetsu didn't kill Kurata, he offered his former boss a broken glass which Kurata used to commit suicide by bloodily slitting his own left wrist; at the same time, Tetsu's ex-girlfriend and pretty club singer Chiharu (Chieko Matsubara) begged to go with him, but he rejected her ("A drifter needs no woman") and exited the same way he had entered - as the film ended, the rogue hero walked off alone after viewing a montage of blinking neon night-club signs: "Copa Cabana. NEW Latin Quarter! Casanova. SHOPPING ARCADE"






Tokyo Story (1953, Jp.) (aka Tokyo Monogatari)

In Yasujiro Ozu's acclaimed, deliberately-paced melodramatic masterpiece (the best film of his entire career) - a classic family drama that illustrated how changing industrialized times in post-war Japan of the 1950s had severed the virtue of children and society honoring one's parents ("Children don't live up to their parent's expectations. Let's just be happy that they're better than most"), and created tensions between generations ("Times have changed. We have to face it") [Note: Inspired by the Leo McCarey film Make Way for Tomorrow (1937).]:

  • the sad yet realistic story told mostly with knee-high camera placement ("tatami-mat" shot) -- a family visit by an elderly, unassuming middle-class couple from the provincial seaport coastal town of Onomichi: Shukishi (Chishu Ryu) and Tomi Hirayama (Chieko Higashiyama), who traveled to Tokyo by train to visit two of their grown children, both very career-minded: Koichi (Sô Yamamura), their eldest son - a pediatrician, and Shige Kaneko (Haruko Sugimura), their selfish daughter - the owner of the Ooh La La Beauty Shop
  • the scenes of the reaction of the children to their undemanding parents - feeling interrupted and irritated by the visit, acting rude and distracted, too busy to entertain, and feeling imposed upon in space, resources, and time, etc.
  • the kind-hearted, sincere and humble character of their widowed daughter-in-law Noriko (Setsuko Hara), an office worker, who volunteered to take a day off and join her in-laws to see the city's sights - the only caring individual (and not even a blood relative!) - Shukishi noted: "We have children of our own, yet you've done the most for us, and you're not even a blood relative. Thank you"
  • upon the grandparents' return home, the grandmother Tomi became deathly ill, entered a coma and soon died; the funeral was attended by all of the children and Noriko, but most of the next generation's members (except Noriko) were selfish, not sincere, guilt-ridden, and quickly left town after the funeral
  • in a tender concluding scene, the lonely grandfather and Noriko spoke about the sunrise, and he presented her with a memento - his dead wife's "old-fashioned" wristwatch, bringing tears to her eyes





Tom Jones (1963, UK)

In director Tony Richardson's Best Picture-winning, costumed historical adaptation of Henry Fielding's bawdy novel:

  • the numerous inventive cinematographic tricks (old-time movie techniques such as a silent opening with titles, sped-up sequences, freeze-frames, screen wipes, jump cuts, actors making asides to the audience, titles over dialogue scenes, etc.)
  • the film's notable, much-imitated, bawdy, extended-foreplay, primal food-eating dining sequence - a gluttonous multi-course dinner meal with erotically sexual overtones between lusty boyish rogue Tom Jones (Albert Finney) and Jenny Jones/Mrs. Waters (Joyce Redman) who was rumored to be his mother! - with meat, fruit, and oysters providing the aphrodisiac - it was a perfect combination of carnal sexual lust and food consumption
  • their multi-course dinner meal consisted of soup, drafts of ale, turkey, oysters, pears, and wine which they slurped, sucked, and tore into with gleeful and pleasurable abandon

Tombstone (1993)

In director George P. Cosmatos' western:

  • the scene of consumptive gunfighter Doc Holliday (Val Kilmer) playing Chopin's Noctune #19 in E Minor on an old saloon piano
  • the competitive and acrobatic twirling pistol vs. coffee-cup scene between Johnny Ringo (Michael Biehn) and Doc Holliday
  • the deadly showdown under an oak tree between Ringo and Doc Holliday - when Ringo was surprised to be facing Holliday instead of Wyatt Earp (Kurt Russell): (Ringo: "I didn't think you had it in you" Doc: "I'm your huckleberry..."); Holliday asserted: "Why Johnny Ringo. You look like somebody just walked over your grave...We started a game we never got to finish. Play for blood, remember?..And this time, it's legal" - he revealed his US Deputy Marshal's badge; after circling each other, Holliday drew quickly and blew a hole in Ringo's head before he staggered and fell down dead, then Holliday noted: "Poor soul. You were just too high strung" and placed his badge on the corpse's chest: "I'm afraid the strain was more than he could bear. Oh, I wasn't quite as sick as I made out"
  • the final and legendary shootout at the OK Corral in 1881 against the Cowboys, led by Wyatt Earp and his brothers Morgan (Bill Paxton) and Virgil (Sam Elliott)
  • Wyatt's reunion with Josephine (Dana Delany) ("May I have this dance?") to begin a new life with her, and concluding with the Narrator's (Robert Mitchum) off-screen words: "The power of the Cowboy Gang was broken forever. Ike Clanton was shot and killed two years later during an attempted robbery. Mattie died of a drug overdose shortly after she left Tombstone. Virgil and Allie Earp moved to California where Virgil, despite the use of only one arm, became a town sheriff. Wyatt and Josephine embarked on a series of adventures. Up or down, thin or flush, in 47 years, they never left each other's side. Wyatt Earp died in Los Angeles in 1929. Among the pallbearers at his funeral...were early western movie stars William S. Hart and Tom Mix. Tom Mix wept"



Tommy (1975, UK)

In the film dramatization of The Who's (and Peter Townshend) rock opera - a musical cult film by extravagant and excessive director Ken Russell:

  • the pulsating production number "The Pinball Wizard" during a pinball tournament in which 'deaf, dumb, and blind kid' pinball wizard Tommy Walker (Roger Daltry), defeated the champion Pinball Wizard (Elton John) who wore skyscraper shoes and glittering eye-glass goggles, and then sang: "See me, feel me. Touch me, heal me"
  • Tina Turner's famous, scintillating performance as The Acid Queen




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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