Greatest Film Scenes
and Moments



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W (continued)

The Wedding Crashers (2005)

In director David Dobkin's R-rated romantic comedy:

  • the plot about two intrepid Washington DC bachelors and lifelong friends John Beckwith and Jeremy Grey (Owen Wilson and Vince Vaughn) who invited themselves to nuptial receptions to pick up women and bridesmaids (including one named Claire (Rachel McAdams) and her "stage-five clinger" sister Gloria (Isla Fisher))
  • also the sped-up musical montage sequence (to the tune of "Shout") of the two scammers flopping around in bed with many partly-clothed and naked women from weddings
  • the racy scene of Jeremy being seduced by sexually-insatiable Kathleen "Kittycat" Cleary (Jane Seymour) - the socialite wife of Treasury Secretary and presidential wannabe William Clearly (Christopher Walken) who requests that he personally rate her recent breast implants


The Wedding March (1928)

In director Erich von Stroheim's stately drama:

  • the extended flirtatious sequence of the meeting of dissolute Prince Nicki (director Erich von Stroheim) (on horseback) and commoner Mitzi (Fay Wray) outside St. Stephens as he prepares to participate in the Corpus Christi procession
  • their courtship under an apple-blossom tree with a romantic kiss
  • the film's controversial and notorious orgy scene in a brothel populated by an assortment of Chinese, Nubian, and Polynesian women
  • the wedding march itself when Nicki must marry crippled rich heiress Cecelia Schweisser (Zasu Pitts) for money instead - witnessed by a tearful Mitzi from the side



Weekend (1967, Fr.)

In director Jean-Luc Godard's prescient and politicized film:

  • the opening sexually-graphic "orgy" scene monologue in which affluent Parisian Corinne Durand (Mireille Darc), silhouetted and dressed in her panties and bra and sitting on a desk, describes to her fully-dressed lover-analyst an orgy between a couple (Paul and his wife Monique) and herself (as the camera shifts left and right, and zooms in and out)
  • the weekend journey of the bickering Durand couple: Corinne and husband Roland (Jean Yanne) to visit her parents in the countryside
  • the famed over 8-minute long tracking shot (the longest of its kind at the time) - viewing surrealistic and nightmarishly apocalyptic images of the roads littered with traffic jams, car wrecks and accidents, bloody casualties, and burning cars
  • the stark images of the slaughter of a chicken and a pig


Weekend at Bernie's (1989)

In director Ted Ketchoff's summer sleeper hit black comedy:

  • the memorable scenes involving the murdered corpse of boss Bernie Lomax (Terry Kiser) who is propped up to appear alive - pretending to be the host of a weekend beach party in the Hamptons over Labor Day weekend
  • the scene of the two insurance company employees: slacker Larry (Andrew McCarthy) and uptight workalcoholic Richard's (Jonathan Silverman) speedboat departure that drags Bernie's body into buoys
  • the off-screen scene of the visit of NY moll Tina (Catherine Parks) to his bedroom for sex (without noticing his unresponsiveness)

West Side Story (1961)

In co-directors Jerome Robbins and Robert Wise's Best Picture-winning adaptation of the popular Broadway musical:

  • the opening prologue with aerial shots of Manhattan
  • the remarkably energetic Jerome Robbins' choreography especially in the opening balletic sequence filmed in New York's Hell's Kitchen district - between the Caucasian Jets and the Puerto Rican Sharks
  • the dance at the gym with the first meeting of star-crossed lovers Maria (Natalie Wood) and Tony (Richard Beymer)
  • the scene of Anita's (Oscar-winning Rita Moreno) passionate skirt-tossing dance with other Puerto Ricans on the rooftop in the singing of "America"
  • the Romeo and Juliet balcony scene re-enacted on a tenement fire escape with the singing of "Tonight" by both Tony and Maria
  • the biting satire of "Gee Officer Krupke," Maria's "I Feel Pretty" dance, and their sensitive exchange of love vows in the bridal shop in "One Hand, One Heart"
  • the action-oriented rumble/dance sequence leading to the killings of two rival gang leaders Bernardo (Oscar-winning George Chakiris) and Riff (Russ Tamblyn)
  • the melodramatic finale when Tony dies in Maria's arms as she kneels by his side (singing Somewhere: "Hold my hand and I'll take you there")






The Westerner (1940)

In director William Wyler's A-list western:

  • quick-thinking Cole Harden's (Gary Cooper) sweet-talking of Jane-Ellen Mathews (Doris Davenport) for a lock of her hair
  • the drinking bout between Hardin and hanging Judge Roy Bean (Oscar-winning Walter Brennan)
  • the exciting scene of the devastating cornfield fire set by the Judge's men to run off homesteaders
  • the scene of the theater curtain's opening revealing deputized Hardin standing on stage and ready for a gunfight with Judge Bean (the sole audience member) rather than a performance by British actress Lily Langtry (Lilian Bond) - 'the famous Jersey Lily'
  • the Judge's wide-eyed, backstage death scene as he glimpses the fantasy woman of his life - she blurs in his vision as he falls dead



What Dreams May Come (1998)

In director Vincent Ward's artistic, visually-astonishing after-life drama (a cross between Ingmar Bergman's films and Stairway to Heaven/A Matter of Life and Death (1946)), an adaptation of Richard Matheson's novel:

  • the opening scene of vacationing pediatrician Dr. Chris Nielsen (Robin Williams) meeting and falling in love at first sight with future wife Annie (Annabella Sciorra) in Italy ("When I was young, I met this beautiful girl by a lake") and their picnic
  • and after their marriage, the tragic scene in which he and artist wife Annie lose their two children Marie (Jessica Brooks Grant) and Ian (Josh Paddock) in an off-screen car crash after he waved goodbye, with his melancholy narration: "It was the last time Annie and I saw them alive"
  • and then four years later, the scene in which Chris, now also deceased and in the afterlife but lingering on Earth - after another multi-car crash in a tunnel - attends his own funeral and attempts to console still-living, grief-stricken Annie
  • his attempts to have despondent Annie acknowledge his continued existence (after whispering in her ear "This is Chris. I still exist," he makes her scrawl the words: "ISTILEXST" in her diary, and then tries to contact her at his gravesite: "Don't worry, baby, I'm not leaving you alone. I'm not goin' anywhere") -- and her violent sobbing reactions, forcing Chris to reluctantly leave her and Earth and journey to the afterworld
  • the appearance of a blurry mentor-guide Albert Lewis (Cuba Gooding, Jr.) with advice urging him to depart: "The reality is it's over when you stop wanting to hurt her"
  • the scenes of an Expressionist painting world in Chris' imagined heaven (using surreal Oscar-winning CGI effects) modeled after Annie's paintings, when he is told: "Nice place you got here...You're making all of this. See, we're all pretty insecure at first, so we see ourselves somewhere safe, comforting. We all paint our own surroundings, Chris, but you're the first guy I know to use real paint"
  • the moment when Albert helps him create a "real" afterlife by carving a hole in his dreamhouse's wall
  • "soul-mate" ("sort of like twin souls tuned into each other") Annie's despairing successful suicide foreshadowed by the death of the purple-flowered tree in her 'heavenly' painting and then her afterlife in Hell ("You never see her. She's a suicide. Suicides go somewhere else...The real Hell is your life gone wrong")
  • Chris' quest to bring her back - to rescue her lost soul from the torment with the help of the dark-cloaked Tracker (Max von Sydow)
  • the view of a vast and dark Hell (Tracker: "In Hell, there's real danger from losing your mind")
  • the Sea of Faces where dozens of pale and tortured souls are buried up to their necks in sand
  • the moment of Chris' discovery of the location of Annie in Hell, his delivery of a sentimental apology to her for all the things he couldn't give her ("I'll never buy you another meatball sub with extra sauce -- that was a big one! I'll never make you smile..."), and his decision to share his wife's insanity rather than abandon her in Hell (she had earlier told him: "Sometimes, when you lose, you win")
  • the re-uniting of wife Annie with him and their dead children in his heavenly afterlife during the 'feel-good' finale ("Travel here is like everything else, it's in your mind. All you have to do is close your eyes if you know where you're going. Looks like we did")
  • the final scene of their spiritual reawakening in the bodies of two young children by a lake ("When I was young, I met this beautiful girl by a lake")
The Technicolored Heavenly Afterlife
Annie's Death and Hell








What Ever Happened to Baby Jane? (1962)

In Robert Aldrich's Grand Guignol classic horror film:

  • the two legendary screen rivals dueling onscreen - with the many scenes of ex-child actor and sister 'Baby' Jane Hudson (Oscar-nominated Bette Davis) terrorizing wheelchair-bound, hungry, crippled ex-movie star sister Blanche Hudson (Joan Crawford)
  • Baby Jane driven insane by feelings of jealousy (Blanche's success as a movie star while her career fizzled) and guilt (thinking she had crippled Blanche by running the car into her in an early scene)
  • her petty tortures including the servings of "din-din": a dead pet parakeet and roasted rat
  • the scene of a grotesquely made-up Jane practicing "I've Written a Letter to Daddy" while dressed in a baby-doll suit (with her hair in golden curly locks) to corpulent gigolo pianist Edwin Flagg (Oscar-nominated Victor Buono in his film debut) in a demented attempt at a comeback as Baby Jane
  • Blanche's excruciating attempt to make her way down the staircase to phone for help - when Baby Jane unexpectedly arrives home
  • Jane's response to Blanche's helplessness ("You wouldn't be able to do these awful things to me if I weren't still in this chair") in her wheelchair - retorting: "But-cha ARE, Blanche! Yah ARE in that chair!"
  • the concluding beach scene in which a dying Blanche reveals the truth, with her final words, of the accident years earlier (Jane hadn't crippled her after all) with Jane's astonished reply: "You mean, all this time we could've been friends?"
  • the film's end in which a totally insane but deeply happy Jane (shot in soft focus) purchases two strawberry ice cream cones, then dances and spins as a crowd gathers around her






What's Eating Gilbert Grape (1993)

In Swedish director Lasse Hallstrom's family drama:

  • the heartbreaking scene of brain-damaged brother Arnie Grape (Leonardo DiCaprio), a day after his 18th birthday, discovering his dead, morbidly obese mother Bonnie (Darlene Cates) in her upstairs bedroom ("Momma, stop it now")
  • his decision with his brother Gilbert Grape (Johnny Depp) to empty the house and set fire to it, to avoid having her removed by a crane - which would cause a crowd and make them a joke in the town


When Harry Met Sally... (1989)

In Rob Reiner's popular romantic comedy from Nora Ephron's script:

  • the film's premise: can a man and a woman be friends without sex becoming an issue?
  • the roadside cafe scene of fussy Sally Albright (Meg Ryan) ordering apple pie and ice cream ("But I'd like the pie heated, and I don't want the ice cream on top. I want it on the side. And I'd like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream, but only if it's real. If it's out of a can, then nothing." Waitress: "Not even the pie?" Sally: "No, just the pie. But then not heated") during a 1977 car trip from Chicago to NYC
  • the eleven year friendship/relationship between journalist Sally and political consultant Harry Burns (Billy Crystal) including the various split-screen scenes of them watching Casablanca (1942) and having phone conversations
  • the crowded New York deli-restaurant scene of Sally's simulated orgasm ("Ooooh. Oh, God. Oooooh. Oh God!..."), foot-noted by an elderly patron (director Rob Reiner's mother Estelle) exclaiming to the waiter at a nearby table: "I'll have what she's having"
  • the various vignettes of elderly couples reflecting on their relationships (with one-liners such as: "...you know a great melon")
  • the last scene in which Harry frantically runs down a New York street (to the tune of Sinatra's "It Had to Be You") toward a hotel's crowded New Year's Eve party where he finally reaches Sally and expresses his love to her ("...I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible")





When Worlds Collide (1951)

In producer George Pal's disaster picture - a follow-up to Destination Moon (1950):

  • the Oscar-winning special effects including a great fireball - a sun-sized body called Bellus - hurtling toward earth
  • the rocket-propelled spaceship built on a ramp
  • the film's catastrophic climax in which New York is struck by a tidal wave

White Cargo (1942)

In director Richard Thorpe's melodramatic remake of the 1929 original:

  • tight sarong-clad, sultry, and exotic, dark-haired half-breed (Hollywood's code name for a non-white temptress) - an African, tan-skinned native girl named Tondelayo (Hedy Lamarr) seductively announcing herself with the popular catch-phrase in one of filmdom's greatest entrances: "I am Tondelayo"
  • the concluding scene of her poisoning

White Heat (1949)

In director Raoul Walsh's exciting Freudian-tinged gangster film:

  • the opening train robbery sequence
  • Cody Jarrett's (James Cagney) mother-fixation sitting on Ma Jarrett's (Margaret Wycherly) lap
  • the instances that Cody shoots people through objects (a car trunk, an apartment door)
  • the 'accident' scene in the prison's machine shop
  • the screeching of the machines that portrays Cody's mental state
  • the prison dining-hall sequence when word of Cody's mother's death is passed down and Cody has a beserk reaction - standing on and sprawling across the table
  • Cody's final cry: "Made it Ma. Top of the world," and his fiery ending atop the gas tanks as they explode in the climax


Who Framed Roger Rabbit (1988)

In director Robert Zemeckis' award-winning animated-live action tribute and parody of detective noirs of the 40s:

  • the end of the opening toon cartoon (Tummy Trouble) that remarkably combines animated characters and live actors
  • whiskey-voiced Toon-star Baby Herman
  • the character of luscious sexpot Jessica Rabbit (Kathleen Turner's voice, but Amy Irving's voice for singing), including her sexy and seductive swaggering performance near down-and-out, hard-boiled private detective Eddie Valiant (Bob Hoskins) of "Why Don't You Do Right?" at the Ink and Paint Club
  • her famous line: "I'm not bad, I'm just drawn that way"
  • the incriminating game of "Patty-cake" played by gag factory head and Toontown owner Marvin Acme (Stubby Kaye) and sexy Jessica
  • the characters of the Toon Patrol
  • the cab trip to Toontown
  • Judge Doom's (Christopher Lloyd) threat to 'dip' Jessica and Roger but his own demise in the bubbling acid
  • Eddie and Roger's noisy wet kiss
  • the joyous conclusion with Porky Pig delivering his famous "That's all folks!"





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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