Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

Vampire's Kiss (1988)

In director Robert Bierman's modern comedic, over-the-top vampire film:

  • the psychiatric counseling scene of hotshot Manhattan yuppie literary agent Peter Loew (Nicolas Cage) speaking to his therapist Dr. Glaser (Elizabeth Ashley) about being aroused more by a bat than his date: "I brought this girl up to my place the other night. Really hot, you know. And we're on the bed. And suddenly, this bat comes swooping down out of nowhere...I'm fighting this bat off all alone and I'll be damned if I didn't get really turned on"
  • his fanatical and freaked-out outburst to Dr. Glaser about the stupidity of misfiling by his new office secretary Alva Restrepo (Maria Conchita Alonso): "How could somebody MISFILE something? What could be easier? It's all alphabetical. You just PUT it IN the right file according to ALPHABETICAL ORDER! You know - A, B, C, D, E, F, G...H, I, J, K, L, M, N, O, P...Q, R, S, T, U, V...W, X, Y, Z! Huh? That's ALL you have to DO!...I never misfiled ANYTHING! Not ONCE, not ONE TIME!...I wanna know really, WHO DID!"
  • the scene of a one-night stand, when Peter was bitten in the neck during love-making by vampirish Rachel (Jennifer Beals) - turning him into an over-the-top creature of the night and assuring him: "It's alright, it's alright. You chose me"
  • his abusive behavior towards Alva when he shouted and berated her for not doing her job productively: "Am I getting through to you, Alva?" - and then later, he again shouted at her when she suggested getting someone else to do her job and make it easier: "Alva, there is no one else in this entire office that I could possibly ask to share such a horrible job. You're the lowest on the totem pole here, Alva. The lowest. Do you realize that? Every other secretary who's been here has been here longer than you, Alva. Every one. And even if there was someone here who was here just one day longer than you, I still wouldn't ask that person to partake in such a miserable job as long as you were around. That's right, Alva. It's a horrible, horrible job. Sifting through old contract after old contract. I couldn't think of a more horrible job if I wanted to. And you have to do it. You have to. Or I'll fire you. Do you understand? Do you?"
  • the scene of Rachel's sexual domination of Peter when she forced him to profess his love for her: "I hate interrupted love affairs, don't you? How much nicer when the outside world doesn't interfere with the pleasure. You were so right to put yourself into my hands, Peter. The only one who can put you out of your misery. Tell me how much you love me, my angel. Whisper it to me. Just once. Please, just once. Oh, just once. I know you do. I can read your mind, my love. I can see it in your actions. You can't get through the day without thinking about me, can you? Tell me you love me. Tell me" - and then he uncovered his neck wound and permitted her to suck his blood
  • the scene of the crazed Peter grabbing and eating a live, squirming cockroach for breakfast
  • his continual harrassment of Alva, now in the backseat of a taxi-cab - when he told her: "It's horrible when there are tensions between employer and employee. Sometimes the pressures, you know, they just build up. Wait till you get into a position of authority....You will, Alva. You're a very bright girl. That's how I know that today, by God, is the day you're gonna find that damned Heatherton contract....The work's not just gonna go away, Alva. It never just 'goes away'. THE GODDAMN CONTRACT IS SOMEWHERE IN THOSE GODDAMN F--KING FILES!"
  • the scene of Peter - wearing fake teeth - phoning his therapist Dr. Glaser to make an appointment to see her - and then his catching and consumption of a live pigeon
  • the blind date scene, arranged by Dr. Glaser, between another patient named Sharon (Jessica Lundy) and Peter: "She complains of exactly the same thing you do and personality-wise, I think you two are made for each other. I should have matched you two up long ago" - Sharon described her interests to Peter: "I like poetry, horseback-riding, Vivaldi and long weekends in the country"
  • but then, Peter confessed to a few of his major issues, in his delusionary mind: "I did rape someone a couple of nights ago. A girl at the office. I just lost control....Well, the fact is I did murder someone last night. I turned into a vampire. It's a long story"; Dr. Glaser assured him: "Would you stop worrying and just get on with your big romance....Get out of here, the both of you. Have a wonderful life together and I will take care of the cops"
  • the conclusion in Peter's destroyed apartment (where he had converted his overturned sofa into a coffin-bed), when the hallucinatory Peter became extremely annoyed and mad at an imaginary Sharon for continually asking about his vampire transformation: "You don't let up, do you, c--t? You just keep harping and harping over the same goddam thing. 'Why did you become a vampire?' 'Why couldn't you be normal?' 'Peter, does this mean we can never have children?' ...'cause there's no way in hell that I would ever, ever marry a loud-mouth pig like you. In the ten minutes I'm with you and the s--t just starts right up. What? What? You hate my guts? You wanna go home? You wanna leave? Good. Fine. Get the hell out of here, you f--king pig! Leave me the f--k alone! I really can't handle these relationships. Maybe I should see a shrink" - he attempted to put a wooden stake through his own heart, and was assisted by Alva's enraged brother, who pushed the stake in further and brought on Peter's death

Vanilla Sky (2001)

In director/co-writer Cameron Crowe's psychological thriller:

  • the scene of wealthy millionaire publisher David Aames (Tom Cruise) running along in an empty Times Square
  • the scenes of David's love-affair with sexy Sofia Serrano (Penélope Cruz reprising her role from the original film), causing jealousy for David's ex-lover, Julianna "Julie" Gianni (Cameron Diaz) - who deliberately crashed her car with him as a passenger in a deadly accident and disfigured his face
  • David's consultations with psychiatrist Dr. Curtis McCabe (Jeff Bridges) about his face disfigurement
  • the concluding scene in which David's life passed before his eyes through a sonic-speed, bizarre pop-culture montage of classic album covers (i.e., Bruce Springsteen's "The River" album), landmark news stories and personal snapshots

The Vanishing (1988, Neth/Fr.) (aka Spoorloos)

In director George Sluizer's original and haunting Dutch thriller:

  • college chemistry teacher and genial family man Raymond Lemorne's (Bernard-Pierre Donnadieu) creepy preparations to abduct a woman (i.e., a sling with a fake, removable cast, chloroform, a log of his pulse rate after approaching various prospective female victims, a formula connecting "dosage" with "minutes unconscious" and "miles", etc.)
  • the scene of the mysterious disappearance of Saskia Wagter (Johanna ter Steege) at a French gas station (by chloroforming her into unconsciousness, shown in flashback) while on a trip through France with lover Rex Hofman (Gene Bervoets)
  • the chilling shock-ending finale three years later in which her abductor Lemorne planned a similar hideous fate for Rex by drugging him and burying him alive in a coffin under the earth

Vera Cruz (1954)

In director Robert Aldrich's western (produced by actor Burt Lancaster and one of Hollywood's first major pictures to be produced in Mexico) - a precursor to the 'spaghetti' westerns of Sergio Leone:

  • the line of dialogue during a meal delivered by Danette (Henry Brandon) to n'er-do-well crude, and roguish adventurer Joe Erin (Burt Lancaster): "Be careful, senor. Some of it is getting in your mouth"
  • the final shoot-out between American adventurers Benjamin Trane (Gary Cooper) and grinning amoral Joe Erin

Vertigo (1958)

In director Alfred Hitchcock's perplexing, necrophiliac-tinged thriller about obsession:

  • the dazzling credits sequence
  • the opening rooftop chase scene
  • the dizzying trick camerawork (a reverse zoom, dolly-out) visualizing the vortex of vertigo and acrophobia (fear of heights) in opening shots and at the bell tower
  • retired SF police detective Scottie Ferguson's (James Stewart) first view of ethereal blonde Madeleine (Kim Novak) in the restaurant
  • Scottie's rescue of suicidal Madeleine at the Golden Gate Bridge and recovery at his apartment
  • the last dialogue between Scottie and Madeleine at the mission and the sequence in the mission tower
  • Scottie's vivid nightmares following Madeleine's death
  • the scenes of Scottie's obsession with reshaping and remaking raven-haired shopgirl Judy (also Kim Novak) into Madeleine
  • the magnificent dream-like scene in her hotel room when she emerged from the bathroom in a sickly neon green light - transformed completely into Madeleine as the camera swirled around them
  • and later, Scottie's agonizing question as he dragged Judy up the stairs of the tower: "Did he train you? Did he rehearse you? Did he tell you exactly what to do and what to say?"
  • the second final terrifying sequence at the mission in the bell tower
  • the last shot of a stunned Scottie standing on the belfry tower ledge as he stared down at Judy's dead body in the tragic ending

Victor/Victoria (1982)

In Blake Edwards' screwball sex farce:

  • in 1930s Paris, the audition scene of frail, impoverished soprano, Victoria Grant (Julie Andrews) whose high-pitched, sustained note shattered a wine glass
  • the restaurant scene when Victoria dined with flamboyant, gay, middle-aged cabaret singer Carroll "Toddy" Todd (Robert Preston), and to avoid paying for the meal, released a cockroach and then told the waiter ("I'm sure it wasn't your fauIt that your saIad had a cockroach in it") - and caused complete havoc
  • the plan of opera singer Victoria Grant and "Toddy" to pass Victoria off as "Count Victor Grezhinski" - a Polish drag queen and Toddy's new boyfriend: (Victoria: "A woman pretending to be a man pretending to be a woman?")
  • the over-the-top character of ditzy, wild, uncontrollable, coarse, sex-starved blonde moll Norma Cassady (Lesley Ann Warren) with her irksome voice ("Kiiiiiiiiing! Pooooooooookie!") - and with her Chicago mob associate boyfriend and nightclub owner King Marchand (James Garner); in bed, she tried to warm up to King, but he was unable to have sex with her anymore - she tried to assuage his feelings of inadequacy, with a long malaprop about his impotence: ("Pookie. It's no big deaI. It happens to everyone. Men, I mean. We're lucky. Women, I mean. We can fake it if we have to. Oh, oh, don't get me wrong. I never have with you. Faked it, I mean. With you, it's like - pow, pow, pow, like the Fourth of July! Every time. Just tonight, because you couldn't get it. Up till now it's been grand, Pookie, really, really grand. And if there's one thing I know for sure, you can't let it get you, you should excuse the expression, down. You can't think about it. You just gotta put it out of your mind. I mean, the more you think about it, the more you worry. The more you worry, the more you think. Think, worry. Good stuff. Worry, think. It just gets Iike a vicious circIe. And then, before you know it, you are impudent"); and then she asked as he returned to the bedroom from the bathroom - completely vexed by her and ready to wash her mouth out: "What's with the soap?"
  • Norma's defiant reaction when cut loose by King and sent back to America - forced onto a train by King's bodyguard Mr. Bernstein (Alex Karras) aka Squash, when she opened her robe to reveal her skimpy bra, underpants, and stockings, and was yelling: "Thinks he can just push me around! Thinks I'm just gonna hop on the next boat for the States and that'll be that! Well, you've got another thing coming Mr. Big-shot Fairy Marchand! 'Cause Mrs. Cassidy's little goil Norma ain't gonna take this one lyin' down! And don't kid yourself! You ain't seen the last of me yet!" - causing a distracted boarding passenger to stumble off the platform
  • also Norma's saucy, sexy song-and-dance "Chicago, Illinois" number with other showgirls in baby-doll underwear
  • Victoria's show-stopping production number "Le Jazz Hot" in a black gown with stringy bat-wing sleeves and a rhinestone headdress when she revealed herself as alter-ego male Victor by ripping off her headdress
  • and Norma's hilarious one-liner when she thought she was to be assaulted by clothes-stripping Victor/Victoria Grant: "Wait a minute...lock the door first" - and her reaction to Victoria's true sex that she screeched at King: "You two-timing son-of-a-bitch! HE'S A WOMAN!"
  • the scene of hilariously miscast and in drag Toddy performing "Shady Dame From Seville" in place of Victoria, and his jokingly bitter riposte to his chorus line when finished and claiming it was his last performance: "You were marvelous - and I never want to see any of you again!"

Videodrome (1983)

In director David Cronenberg's terrorizing tale of erotic sci-fi and "body horror":

  • the character of seedy cable TV director/producer Max Renn (James Woods) and his discovery of a pirated, ultra-violent underground snuff TV show called Videodrome
  • his development of the ability to insert videocassette tapes into a body opening slot in his abdomen
  • the stupendous, surrealistic scene of Max kissing a hallucinogenic TV screen displaying a pair of giant seductive red lips that began to suck him into the glass monitor
  • the scene of his assassination of political leader Harlan (Peter Dvorsky), his own colleague, by transforming his hand into a slimy gun-grenade
  • the killing of the head of Spectacular Optical Corporation (and Videodrome's producer), Chief of Special Programs Barry Convex (Leslie Carlson) - Renn shot him with his organic gun that caused tumors to erupt from his torso and skull
  • also the bizarre scene of masochistic lover and self-help radio guru Nicki Brand (Deborah Harry or rock star Blondie) snuffing a burning cigarette out on her own breast: ("Let's try a few things")
  • Renn's own imitative suicide with his own hand-gun, after watching a broadcast with Nicki prompting him to kill himself. He watched as he blew his own head open - and the TV set exploded. As he pulled the trigger for real, he proclaimed: "Long live the new flesh"

Village of the Damned (1960, UK)

In director Wolf Rilla's scary B-movie horror film (about an alien takeover) - loosely adapted from John Wyndham's 1957 sci-fi novel The Midwich Cuckoos, the tagline asked: "What Demonic Force Lurks Behind Those Eyes?" It also warned: "Beware the Stare That Will Paralyze the Will of the World." At the time of its release during the Cold War, the film functioned as an allegory for the Communist Scare of the 1950s. It was later remade as John Carpenter's Village of the Damned (1995).

  • in the film's opening during what was dubbed a "time out," a mysterious force-field caused everyone to collapse or fall asleep (or go unconscious) in the British village of Midwich during a mist. An impenetrable force field was established around the town. Later, it was discovered that the same phenomena of spawned mutant children occurred in other places around the world.
  • upon awakening, every women of child-bearing age was pregnant, including unwed teenage girls and married women whose husbands were absent. There were many accusations of infidelity and premarital sex, although the children were virginally conceived.
  • a group of twelve hyper-intelligent, telepathic, blonde-haired, unemotional, glowing-eyed kids (an alien race) with raised foreheads were born - (all at the same time) - bonded to each other, group-minded, and highly precocious
  • odd instances in which residents of the town died under mysterious circumstances (a man pulled a shotgun trigger and blew his head off).
  • in the film's conclusion, resident scientist Professor Gordon Zellaby (George Sanders) faced-off against the deadly-staring, mind-controlling robotic children and his own son David (Martin Stephens) in a brick schoolhouse; he struggled to maintain the image of the brick wall in his mind, to prevent the children from learning that he had set a bomb in his briefcase on the desk in the school building - timed to detonate and kill all of them

Viva Las Vegas (1964)

In director George Sidney's best of the Elvis musicals:

  • "Viva Las Vegas", the opening title credits song, sung by Elvis Presley under the glittering neon lights of Las Vegas
  • the many verbal duels, solos, and musical numbers during a Las Vegas talent show competition featuring the rockin' face-off song "C'mon, Everybody" between hip-swinging race-car driver Lucky Jackson (Elvis Presley) and shimmying red-headed bombshell swimming instructor Rusty Martin (Ann-Margret)
  • Ray Charles' "What'd I Say", energetically danced and sung by Presley with Ann-Margret in a matching yellow dress

Le Voyage Dans La Lune (1902, Fr.) (aka A Trip to the Moon)

In French filmmaker Georges Melies' early silent film:

  • the remarkable landing of the rocket ship projectile launched into the right eye of the pasty-faced Man in the Moon

(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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