Greatest Film Scenes
and Moments



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

Witness for the Prosecution (1957)

In Billy Wilder's adaptation of the classic Agatha Christie murder mystery and courtroom drama:

  • the playful banter between crafty barrister/defense attorney Sir Wilfrid Robarts (Charles Laughton) and his nurse Miss Plimsoll (real-life wife Elsa Lancaster): (Sir Wilfrid: "If I'd known how much you talked, I'd have never come out of my coma!"), including the scene in which she revealed the forbidden cigars (causing Sir Wilfrid's heart attack) hidden in his cane
  • Sir Wilfrid's use of his monocle to extract truth from potential clients by reflecting light blindingly into their eyes
  • the seduction of elderly wealthy widow Emily Jane French (Norma Varden) by her accused murderer - American Leonard Vole (Tyrone Power in his last role before his death), now on trial for her murder
  • the entrance of dignified, strong-willed Mrs. Christine Vole/Helm (Marlene Dietrich) in Sir Wilfrid's doorway
  • the scene of a vengeful, scarred, thick Cockney-accented mystery woman giving Sir Wilfrid critical evidence and showing him her facial disfiguration: ("Want to kiss me, duckie?")
  • the memorable moment when Sir Wilfrid screamed at Christine for her habitual perjuring: "Or are you not, in fact, a chronic and habitual liar?"
  • the startling surprise courtroom scene ending after defendant Leonard's acquittal when Christine admitted to Sir Wilfrid that her strategy as a "witness for the prosecution" worked
  • the shocking moment when she stabbed Leonard to death in the stomach for his double-crossing philandering with Diana (Ruta Lee)
  • Sir Wilfrid's classic line after the stabbing when he corrected Miss Plimsoll: "Killed him? She executed him"





The Wizard of Oz (1939)

In Victor Fleming's immortal classic (adapted from L. Frank Baum's novel):

  • the quintessential scene of lonely Kansas teenager Dorothy Gale's (Judy Garland) singing of the melancholy "Somewhere Over the Rainbow" (the Best Original Song Oscar winner)
  • the first appearance of Miss Gulch/Wicked Witch (Margaret Hamilton) on a bicycle riding down a rural farm road in Kansas
  • the thrilling twister-tornado scene and Dorothy's hallucinations swirling and floating by in front of her
  • the astonishing, cleverly-shot transition (in one single take without any special effects) from sepia-tone to full color as Dorothy entered the fanciful, Technicolored Land of Oz through the door of her downed house
  • Dorothy's exclamatory statement to her dog Toto: "I've a feeling we're not in Kansas anymore"
  • the lively Munchkin sequences
  • the green-faced Witch's appearance in a red puff of smoke
  • the Witch's attempt to seize the ruby slippers from Dorothy's feet
  • Dorothy's first steps on the Yellow Brick Road after receiving guidance from the Good Witch Glinda (Billie Burke)
  • her first encounter with each of her companions - the Scarecrow (Ray Bolger), the Tin Man (Jack Haley) and the Cowardly Lion (Bert Lahr)
  • their journey with linked arms as they skipped: "We're off to see the Wizard" down the Yellow Brick Road
  • their songs: "If I Only Had a Brain" and "If I Were King of the Forest"
  • the amazing, scary sequences of Dorothy and her friend's first encounter with the Wizard (Frank Morgan) - a disembodied head engulfed in flames
  • the Wicked Witch's taunting of the Scarecrow with fire: ("How about a little fire, Scarecrow?")
  • her cackling threat: "I'll get you, my pretty - and your little dog, too!"
  • and her subsequent "I'm melting" death scene that destroyed her "beautiful wickedness"
  • the scene of the pulling-aside of the curtain and the revelation of the Wizard
  • the presentation of awards scene
  • Dorothy's farewell scene in the land of Oz (and particularly her tearful goodbye to the Scarecrow)
  • the closing scene when Dorothy awakened from her fantastic dream in her own bedroom (where she was surrounded by family and friends) - she denied that she was only dreaming her adventures in the Land of Oz, and repeatedly exclaimed: "There's no place like home"











The Wolf Man (1941)

In this literate Universal Studios, moody black and white horror film classic from director George Waggner:

  • the amazingly-effective transformation scene in which American-educated British heir Sir Lawrence Talbot (Lon Chaney, Jr.) became the werewolf - after being bitten by fortune-teller/ werewolf Bela (Bela Lugosi)
  • and later being told by Bela's gypsy mother Mariva (Maria Ouspenskaya) that he was in danger: ("Whoever is bitten by a werewolf and lives becomes a werewolf himself...Heaven help you!") - in the scene, Talbot grew fur and paws for feet
  • the exciting climax in fog-shrouded woods when the werewolf during a full moon pursued pretty antique shopgirl Gwen Conliffe (Evelyn Ankers) and was hunted down



Wolfen (1981)

In director Michael Wadleigh's horror thriller:

  • the visually-creative, sped-up, low-angle, Steadicam and crane traveling shots - from the predatory wild creature's perspective - through deserted NYC slum lots
  • the amazing optical printing techniques that subjectively demonstrated the wolves' sense of heat, movement, and smell as infra-red or solarized images of the hapless victims


Woman of the Year (1942)

In director George Stevens' romantic comedy-drama (the first of nine films starring Tracy and Hepburn together):

  • international political columnist and baseball-illiterate Tess Harding's (Katharine Hepburn) first baseball game-date with fellow NY sportswriter Sam Craig (Spencer Tracy) during which he had to explain the "men's only" game and its rules
  • her disastrous failed attempt to cook a decent breakfast and be a traditionally-domesticated housewife for him - she fought with the kitchen appliances, watched toast pop out of the toaster onto the floor, boiled coffee over, and overfilled the waffle griddle with batter as he watched in amazement


The Woman in the Window (1944)

In Fritz Lang's dark, noirish murder-melodrama masterpiece, with a modified ending from a suicide to "it was all just a dream" conclusion - one more suited for the Production Code at the time:

  • the scene in which law-abiding, mild-mannered, middle-aged and married Gotham College Professor Richard Wanley (Edward G. Robinson), a teacher of criminal psychology, met beautiful, strange painting model and femme fatale named Alice Reed (Joan Bennett) - when she emerged as a reflection next to a portrait painting in the window of a nearby art gallery, near to the entrance of his NYC mens' club
  • the scenes in which he became embroiled in a crime due to his unintentional self-defense murder, when he was attacked by Alice's burly and jealous boyfriend Claude Mazard/Frank Howard (Arthur Loft) - the boyfriend had wrongly accused her of infidelity; Professor Wanley stabbed the assailant to death in the back with a pair of scissors
  • his plottings with Alice when marked as the killer and blackmailed by Mazard's crafty bodyguard Heidt (Dan Duryea) with evidence of a scratch on his hand and a case of poison ivy while dumping the body in the woods
  • the tense scene of paranoid and increasingly-desperate Wanley's visit to the crime scene with District Attorney Frank Lalor (Raymond Massey)
  • the final surprise sequence in which Wanley suicidally drank poison (seated next to a table in his home displaying family photographs); with a change of the setting, he was awakened in the men's club by the hand of steward Collins (Frank Dawson) nudging his shoulder, as the clock chimed: ("It's 10:30, Professor Wanley"); he finished up the brandy (not poison) in his glass, and realized - to his great relief - that everything had been a troubling dream! [Note: the individuals in the club as he exited were characters in his dream: hatcheck man Charlie (Arthur Loft), and doorman Tim (Dan Duryea).]
  • on the street, as Wanley again paused in front of the painting of the 'woman in the window', he was chuckling to himself as another passerby came up to him and innocently asked: "Pardon me, uh, will you give me a light?"; Wanley steadfastly refused and hurriedly fled: "No, oh, no. Thank you, indeed. Not for a million dollars!"; the film ended on a close-up of the painting








A Woman Under the Influence (1974)

In director John Cassavetes' heavy drama about madness:

  • the increasing mental breakdown: ("She's not crazy...she's unusual") experienced by lonely, eccentric, middle-aged, working-class housewife Mabel Longhetti (Best Actress-nominated Gena Rowlands)
  • the spaghetti breakfast scene with her husband Nick (Peter Falk) and his construction co-workers
  • the scene of Mabel's angry accosting (and flipping up of her thumb) toward a finely-dressed women walking down an LA street who literally ignored her when asked the time of day
  • Mabel's welcome-home party following institutionalization

The Women (1939)

In director George Cukor's adaptation of Clare Boothe's legendary stage comedy with an all-female cast:

  • the opening credits that represented each of the leading lady stars as an animal before dissolving into a close-up
  • a Technicolor Fashion Show sequence
  • the Sylvia/Peggy (Rosalind Russell-Joan Fontaine) exercise/work-out scene
  • the sequence of a rough, dirty-fighting brawl (including a leg bite) at a dude (divorce) ranch in Reno between Miriam Aarons (Paulette Goddard) and Sylvia (Mrs. Howard Fowler)
  • Mary Haines' (Norma Shearer) "women are equal" speech
  • the acidic dialogue including gold-digging shopgirl Crystal Allen's (Joan Crawford) final parting words: "...there's a name for you ladies, but it isn't used in high society, outside of a kennel"


Women in Love (1969, UK)

In extravagant director Ken Russell's sexually explicit, landmark X-rated film, adapted from D.H. Lawrence's 1920 novel:

  • the scene of quiet, white-suited school master Rupert Birkin (Alan Bates) provocatively describing how to eat a fig during a picnic with free-spirited and artistic Gudrun Brangwen (Oscar-winning Best Actress Glenda Jackson) and her shy schoolteacher sister Ursula (Jennie Linden): (""The proper way to eat a fig in society...is to split it in four...holding it by the stump...and open it...so that it is a glittering, rosy, moist...honeyed, heavy-petaled, four-petaled flower. Then you throw away the skin...after you have taken off the blossom with your lips. But the vulgar way...is just to put your mouth to the crack...and take out the flesh in one bite. The fig is a very secretive fruit. The Italians vulgarly say it stands for the female part, the fig fruit. The fissure, the yoni...the wonderful moist conductivity towards the center...")
  • the famous extended, homoerotic fight scene of nude male wrestling in the light of a roaring fireplace in a locked room between local mine owner Gerald Crich (Oliver Reed) and Rupert


The Wonderful Country (1959)

In Robert Parrish's untraditional, intelligent and complex post-Civil War adult western - the Technicolored film was the 2nd of Robert Mitchum's DRM Productions, following Thunder Road (1958):

  • the main character: white man "pistolero" - a brooding, introspective hired gun living in Mexico - American Martin Brady (Robert Mitchum), employed by Mexico's wealthy Governor Don Cipriano Castro (Pedro Armendáriz) who ruled the entire Northern Mexican state of Chihuahua, and was allied with Castro's ruthless younger brother Gen. Marcos Castro (Víctor Manuel Mendoza)
  • Brady's orders: in exchange for gold ore and pesos, he was to pick up a shipment of illegal guns across the Rio Grande border in the town of Puerto, Texas from general store owner Ben Sterner (John Banner); ultimately, when the guns were sent into Mexico, they disappeared (presumably stolen by the Apaches) and never reached General Marcos
  • Brady's relationship with his beloved horse - named Lagrimas -- "a Horse Called Tears" (a metaphor for Brady's life) - an Andalusian black horse gifted by the Governor; in the film's opening, when the horse bucked Brady after being spooked by tumbleweed during his entry into the Texas town, Brady broke his right leg and was forced to recuperate for three months
  • while recovering, Brady's association with Texas Ranger Captain Rucker (Albert Dekker) who wished to recruit him into the Rangers (and forget his troubled past years earlier when he murdered the man who killed his father), and humorless Maj. Stark Colton (Gary Merrill) - leading a "Buffalo Soldiers" battalion of black troopers; Brady was urged to join together (along with Castro's forces) in a coordinated campaign to eliminate the raiding Apaches who would attack Texans and then hide back in Mexico
  • the sequences of Brady's growing romantic interest in cold-hearted Major Colton's sultry, wistful and unfulfilled wife Helen Colton (Julie London)
  • the film's major turning point -- Brady's lethal self-defense encounter with drunken, roughneck ranch hand bully Barton (Chuck Roberson) - following a quick-draw shootout, Brady was forced back across the border into Mexico to resume work for the larcenous Castro brothers involved in a deadly power struggle; he was pursued by the forces of Castro, Marcos, and the Apaches
  • the scene of the lingering death of severely-wounded Major Colton, who offered his wedding ring to Brady with his final wish: "If I don't survive the charge, please take her this ring"
  • following the death of Helen's husband, the most crucial dialogue between Brady and Helen toward the film's end, when he told her that what they felt for each other wasn't wrong - she challenged him to cross the river from Mexico into Texas at Puerto to be with her for the future:
    Helen: "It's wrong. What we are and what we did, and God help me, what I'm feeling right now for you, with my husband not even in the ground yet. We've said everything. There's nothing more to wait for, there's nothing more to know. If you want me, Martin, you'll have to come and get me. You'll have to cross the river. Thank you for bringing this (the ring)." Brady: "Look, what we did, maybe that was wrong, but not what we feel." Helen: "What a pity then, that life is what we do and not just what we feel."
  • Brady's redemptive return to Texas - in the film's final few minutes, his horse was shot from under him by an assassin (he quickly dispatched with the killer), and was forced to mercy kill his severely-wounded horse (off-screen); Brady set aside his six-shooter gun, gun belt and hat next to his dead horse, and walked on foot toward the Rio Grande, to cross and enter back into Texas - to join Helen and start life anew










Woodstock - 3 Days of Peace & Music (1970)

In director Michael Wadleigh's innovative, documentary-style epic (originally X-rated due to brief glimpses of nudity) about the upper-state New York rock-music concert held on Yasgur's farm in the summer of 1969, exhibiting a revolutionary love generation spirit:

  • the experimental cinematography (cinema verite, multi-angle shots, and split-screens)
  • various memorable performances on stage (Joan Baez, Joe Cocker, Jimi Hendrix playing the "Star Spangled Banner", Richie Havens, The Who, etc.)
  • the rain-soaked chaotic denouement



Working Girl (1988)

In director Mike Nichols' Best Picture-nominated modern farcical romantic comedy about the workplace:

  • the breathtaking, rotating opening shot of the Statue of Liberty as the Oscar-winning Carly Simon song "Let the River Run" played
  • the character of ambitious and smart 30 year-old Manhattan brokerage firm secretary Tess McGill (Oscar-nominated Melanie Griffith) who was manipulated by her career-driven, icy female boss Katherine Parker (Oscar-nominated Sigourney Weaver), who stole Tess' business idea for a business merger
  • Tess' flirtatious line of dialogue in a bar to handsome investment broker Jack Trainer (Harrison Ford in his first light comedy): "I have a head for business and a bod for sin. Is there anything wrong with that?"
  • the brilliant final pull-back shot of Tess in her office, revealing her office to be just one of thousands in a single building in the whole of New York City, as the subtly subversive lyrics of "Let the River Run" undercut the triumphant moment




The World of Henry Orient (1964)

In director George Roy Hill's coming-of-age drama-comedy, with a semi-autobiographical screenplay based on Nora Johnson's novel:

  • the mischievous girlish-teenage, authentic-sounding friendship between two 14 year-old urban private school students: gifted and bright Valerie "Val" Boyd (Tippy Walker) and Marian 'Gil' Gilbert (Merrie Spaeth) who pranced with endless exhilaration and energy through many blocks of NYC, jumping while doing the splits ("splitzing") over garbage cans and fire hydrants
  • their stalking, obsession and imaginative infatuation and idolization of eccentric, vain, self-centered, and mediocre concert pianist and lothario Henry Orient (Peter Sellers in his first US film, basing his performance on Oscar Levant), even in the first scene spying on him kissing skittish married housewife Stella Dunnworthy (Paula Prentiss) from the suburbs behind a large rock in Manhattan-NY's Central Park, and thwarting subsequent dalliances with her - while wearing conical Chinese peasant straw hats and tormenting Orient
  • the contrast between the family life of the two girls -- the more stable and modest Marian with her kind, divorced mother Mrs. Avis Gilbert (Phyllis Thaxter) and understanding co-spinster "Aunt" Erica "Boothy" Booth (Bibi Osterwald), and the emotionally-disturbed, seemingly-unwanted Val (who regularly met with a psychiatrist), with wealthy parents living abroad who were busily engaged in international trade
  • the scene of the two girls spying on Henry Orient (who feared the girls were spies sent by the wronged husband), and the devastating discovery that Val's rich, snobby and bitchy mother Isabel Boyd (Angela Lansbury) was also entrapped by the pianist's womanizing charms - and competitively turned her daughter's fantasies into reality
  • understanding father Frank Boyd's (Tom Bosley) coming to his senses (and knowing Isabel's lying deception) in a bittersweet scene, and his comforting assurances to daughter Val that he would be divorcing Isabel to finally be a single father to her
  • the final scene when the two girls, now a little older and more mature, met again and shared more advanced teenaged thoughts about boys, while comparing new hairdos, and applying lipstick





Written on the Wind (1956)

In Douglas Sirk's tempestuous, sordid and soap-opera-ish Technicolored melodrama about an unhappy family in 1950s Texas:

  • the characterization of alcoholic, gun-loving Texas millionaire, oil heir and playboy Kyle Hadley (Oscar-nominated Robert Stack), impulsively and newly-married to level-headed NY executive secretary Lucy Moore (Lauren Bacall) - under the title credits, Kyle was driving in an open sports-car while opening a bottle of alcohol with his teeth and swigging from it
  • the flashback from 1956 to 1955, signified by pages of a desk calendar blowing backward in time in the wind
  • the scenes portraying Kyle's jealous, promiscuous, unstable and nymphomaniacal sister Marylee (Oscar-winning Dorothy Malone): ("I'm filthy, period!")
  • the sequences of Marylee's infatuation and close friendship with Kyle's best friend and oil company geologist Mitch Wayne (Rock Hudson), offering herself to him while riding in a car with him: "Do you love me, Mitch?... I don't want you as a brother...I'll wait, and I'll have you, marriage or no marriage"
  • the sequence of Kyle stunned by a doctor's report (in a coffee shop) that he was near-sterile with a low sperm count - afterwards, he walked outside and viewed a young boy on a rocking horse!
  • Lucy's expression of her concerns about her husband Kyle to elder patriarch Jasper Hadley (Robert Keith), who she said was drinking more heavily, showing signs of personal demons, and becoming abusive, although he was unwilling to divulge the source of his torment: "We let him drink, hoping he'd talk and tell us what was on his mind. But we learned nothing, except that he's terribly tormented"
  • in the next scene, the delirious Kyle was heard talking in his sleep by Lucy, obsessing about Mitch: "Kid stuff, Mitch. I want to buy a new car, the first flashy car. To hell with college. I wanna have fun with some girls. Nice over in Dallas. To hell with college. Wanna make some money, Mitch? Over at the bottling plant. Old man Daley's place. No, I haven't got any bottles. Old man Daley has. Don't touch me. Touch me, I'll tell my father. That's what I'll do. My father. We weren't stealing, were we, Mitch? We were just stacking some bottles up for you. That's all we were doing, wasn't it, Mitch? Mitch? Mitch. Wait for me. Wait for me!"
  • the self-hating and suicidal Kyle's mad and insane suspicions that Mitch and his wife Lucy were having an affair - and his vicious attack upon Lucy when she became pregnant and told him: ("We're going to have a baby...our baby, yours and mine...Kyle, it's true") - he wrongly accused her that she had been impregnated by Mitch: ("You and Mitch!...What did you think? Do you think I was just a drunken idiot? Did I believe you? That I let you use my name, take my money. You can rot in hell! - You, Mitch, and your little...(he slapped her) You dirty tramp!") - the attack led to Lucy's miscarriage
  • the striking scenes of lustful Marylee's provocative and very sexual mambo 'death' dance (dressed in a full-length, orchid pink negligee) in her bedroom (with a picture of Mitch in her arms) -- symbolically intercut with Jasper Hadley having a heart attack and toppling down the full length of the Hadley mansion's spiral-curved staircase to his death
  • the concluding scenes of the courtroom inquest into Kyle's accidental death (when Kyle threatened to kill Mitch, the gun fired during a struggle and hit Kyle) - and Marylee's testimony - she first blamed Mitch for Kyle's death: ("Mitch Wayne was there in the study with my brother. Kyle had a gun in his hand. He was raving mad -- raving about things that weren't so. Mitch tried to talk to him, to make him understand how wrong he was, to stop him from using the gun. Afraid he might even use it on himself. I made a grab for the gun. Kyle and I struggled. The gun went off") - but then told the truth about Mitch's pure intentions: "...he was worried about Kyle - as a brother for a brother"; she concluded (the film's final line of dialogue) with words about her brother: "He was sad -- the saddest of us all. He needed so much and had so little"
  • the film's most striking, final sexually-phallic image: Marylee mimicked her father's pose (in front of his painted portrait) at her father's desk, as she clutched, caressed/fondled (with both hands) and smiled at the miniature bronze model of an oil rig derrick - a small, erect symbol of power, wealth, and comfort













The Wrong Man (1956)

In Alfred Hitchcock's stark, film-noirish crime drama filmed in semi-documentary style:

  • the rare opening (before the title credits) of director Hitchcock, seen in silhouette within a deep triangular-shaped shadow at a distance on a movie soundstage, lighted in extreme chiaroscuro and speaking directly to the audience: "This is Alfred Hitchcock speaking. In the past, I have given you many kinds of suspense pictures. But this time, I would like you to see a different one. The difference lies in the fact that this is a true story, every word of it. And yet it contains elements that are stranger than all the fiction that has gone into many of the thrillers that I've made before"
  • the characterization of Stork Club string bass player-musician Christopher Emanuel "Manny" Balestrero (Henry Fonda), a devoted family man who was living in the Jackson Heights (Queens) neighborhood of New York City
  • the early sequence in which he was mistakenly identified as a suspect for robberies (at gunpoint) at the Associated Life Insurance Company office - he had visited the insurance office to obtain a loan from wife Rose's (Vera Miles) policy, to pay for her expensive $300 dental work, and the three suspicious female clerks in the office were certain that he was the man who had twice robbed the office
  • the scene of his detainment and intense questioning for armed robbery without a lawyer (Manny called the grilling a "meatgrinder") in the 110th Precinct - when unusual coincidences caused police to believe that he was responsible for a string of robberies
  • during questioning, Manny's mis-spelling of the word "drawer" as "draw" - the same mistake made by the robber in his hold-up note - Manny was arrested for assault and robbery and ultimately put in jail - with his utter dejection as he leaned back against his cell wall in the oppressive and nightmarish space, his confinement and disorientation was depicted by the camera's rotation (moving in rapid, clockwise circles) - a subjective shot from an objective POV
  • innocent 'everyman' Manny protested the charges, claiming he was "the wrong man" - after being bailed out for $7,500 after a night in jail, inexperienced criminal attorney Frank D. O'Connor (Anthony Quayle) was hired to defend Manny; his alibi was that he was at a resort hotel in Cornwall, NY with Rose during one of the robberies, but it couldn't be substantiated
  • the brief, kinetically-filmed bedroom sequence between Rose and Manny when she completely lost control, pushed the comforting Manny away, and struck him with a hairbrush - she broke a mirror and lacerated his forehead - seen in a fragmented mirror image; due to the stress of the case, Manny's strained and guilt-ridden wife Rose fell into depression, became totally apathetic, and was institutionalized in a mental hospital in Ossining, NY
  • during the trial, Manny was convincingly prosecuted, although it was judged a mistrial due to a juror's remarks; meanwhile, the real robber was caught while Manny awaited a second trial; the case against him was ultimately dismissed, but his life and the life of his family had been shattered
  • the most memorable sequence when falsely-accused Manny began to pray for strength, following the advice of his mother (Esther Minciotti) at the kitchen table ("My son, I beg you to pray") - he began to pray in the kitchen, then moved to his bedroom to pray more (as he clutched his rosary), in front of an iconic painting of Jesus; as his lips moved in prayer, the astonishing match-cut scene in which the face of the actual look-alike robbery criminal (wearing a hat and overcoat) became super-imposed and merged onto Balestrero's transparent face - there was an unmistakable resemblance between the real armed robber and Manny
The Miraculous Double-Exposure Prayer Shot
 
 
  • the heartbreaking sequence of Manny's visit to see Rose in the sanitarium when she calmly rejected him: ("Nothing can help me. No one. You can go now")
  • in the film's epilogue, Rose was "completely cured" two years later, left the sanitarium, and the couple moved to Florida: "Today, she lives happily in Florida with Manny and the two boys...and what happened seems like a nightmare to them - but it did happen..."













Wuthering Heights (1939)

In director William Wyler's superb romantic drama - of Emily Bronte's novel about a haunted love story:

  • the opening scene as a stranger staggered through a blizzard on the Yorkshire moors to find refuge at Wuthering Heights
  • the romantic scenes of Cathy (Merle Oberon) and Heathcliff (Laurence Olivier) in their make-believe castle on windy Peniston Crag on the atmospheric moors where they professed their eternal love to each other
  • Cathy's realization: "I am Heathcliff"
  • the tragically romantic death scene in Cathy's bedroom as Heathcliff was reunited with her and carried her to the window for one last look at the moors in the distance as she died in his arms
  • the final memorable scene of the ghosts of Cathy and Heathcliff reunited on Peniston Crag on the moorlands





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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