Greatest Film Scenes
and Moments



B5

 





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

The Blue Angel (1930, Germ.) (aka Der Blaue Engel)

In Josef von Sternberg's erotic drama, a star-making role for Marlene Dietrich, and the first feature-length German full-talkie:

  • the captivating and alluring image of leggy, black-stockinged temptress Lola Lola Frohlich (Marlene Dietrich) astride a barre with a tilted top hat singing "Falling in Love Again (Can't Help It)" (her signature song) in a sleazy German nightclub cellar (named The Blue Angel Cabaret); she tilted her head to the side, leaned backwards, and grasped one gartered-stockinged leg on bare thighs with her arms; Lyrics: "Falling in love again, Never wanted to, What's a girl to do?, I can't help it, Love's always been my game, Play it how I may, I was made that way, I can't help it"
  • her entrancement of college prep HS teacher Professor Immanuel Rath (Emil Jannings) in the audience
  • the degradation scene in which once-dignified but now disheveled, disgraced and broken Prof. Rath was forced to crow like a rooster in a pathetic clown act for her cabaret troupe's stage show, as Lola was in the arms of her new love interest - strongman Mazeppa (Hans Albers) and kissing him off-stage
  • in the film's sad conclusion, the eventual death of a very destitute and almost insane Rath - consumed by jealousy, hate, remorse, and regret about his abject life of servitude; his body was found draped over his old classroom's master desk where he once taught, with his clenched hand gripping the side of the furniture

Rath in Clown Costume
Lola with Mazeppa
Death of Rath


Lola Lola (Marlene Dietrich)

Prof. Rath (Emil Jannings)



The Blues Brothers (1980)

In director John Landis' rock-filled, anarchic crime-comedy, with many cameo appearances (Twiggy, Carrie Fisher, Ray Charles, John Lee Hooker, James Brown, Pee-Wee Herman, Aretha Franklin, Cab Calloway, Steve Lawrence, Steven Spielberg, and Frank Oz - of the Muppets, and more!):

  • the character pairing of two "blues brothers" - two white singers with soul, shades, and identical black suits and hats: Jake (John Belushi) and Elwood Blues (Dan Aykroyd)
  • their meeting with their former teacher, Sister Mary "The Penguin" Stigmata (Kathleen Freeman), who sent them on a "mission from God" to raise $5,000 to save the Catholic orphanage from foreclosure where they were raised, after reprimanding them ("You are such a disappointing pair. I prayed so hard for you. It saddens and hurts me that the two young men whom I raised to believe in the Ten Commandments have returned to me as two thieves"), striking them for having "filthy mouths and bad attitudes" - and warning them not to come back "until you've redeemed yourselves"
  • Elwood's repeated famous line to Jake: ("We're on a mission from God!") to justify their brotherly activities, in the Triple Rock Baptist church, in the presence of Reverend Cleophus James (James Brown), who was preaching: "Do you see the light?...Have you seen the light?"
  • the tremendous number of noisy and wasteful multi-car crashes and pile-ups on the way to and in the city of Chicago as they were relentlessly pursued in their Bluesmobile by police, and the incredible amount of carnage, destroyed buildings and shopping malls
  • the scene of Neo-Nazi leader (Henry Gibson) conducting a rally of "Illinois Nazis" on a stone bridge: ("White men! White women! The swastika is calling you! The sacred and ancient symbol of your race since the beginning of time. The Jew is using the black as muscle against you. And you are left there, helpless...What are you gonna do about it, whitey? Just sit there? Of course not! You are going to join with us, the members of the American Socialist White People's Party - an organization of decent law-abiding white folk just like you"), and the sequence in which the Blues Brothers forced the followers to jump off the bridge when they drove through after Jake's statement: "I hate Illinois Nazis"
The Neo-Nazi Rally
  • the Blues Brothers' many performances, including their main rendition of "Everybody Needs Somebody to Love" at the Palace Hotel Ballroom north of Chicago, "Shake a Tail Feather" with Ray Charles at Ray's Music Exchange Shop, the theme from "Rawhide" to win over an unruly country bar crowd at Bob's Country Bunker in Kokomo, "Minnie the Moocher" (reprised by Cab Calloway), and "Think" (a show-stopping version performed in a diner by Aretha Franklin)
"Rawhide"
"Minnie the Moocher"
"Shake a Tail Feather"
  • the concluding sequence of the two brothers, pursued by cops, bands, guardsmen, SWAT teams, etc, and ending up paying the orphanage's property taxes inside the Cook County City Hall - where they were promptly arrested with dozens of guns pointed at them

The Blues Bros.

Sister Stigmata

"We're on a mission from God!"

Carnage in Shopping Mall

"Everybody Needs Somebody to Love"

"Jailhouse Rock"

"Think"


In Cook County City Hall

Blue Velvet (1986)

In director David Lynch's definitive film with many strange images and scenes - a bizarre, erotically-charged and nightmarish film of the dark-side of life:

  • the masterful opening scene of images of small-town, white-picket fence Americana (Lumberton) concluding with a zoom-close-up into the grass finding insects fighting to the death
  • the sequence of the town's clean-cut returning student Jeffrey's (Kyle MacLachlan) discovery of a severed ear carelessly discarded in undergrowth
  • the odyssey of small-town, virginal and wholesome Sandy (Laura Dern) with her boyfriend Jeffrey, and their discussion: "It's a strange world"
The Corruption of Small-Town Lumberton
  • the scene of dangerous and abused Dorothy (Isabella Rossellini) singing "Blue Velvet" in a nightclub - and the sequences leading up to Jeffrey's attraction to Dorothy and the dark side of life
  • the voyeuristic scenes as Jeffrey watched from Dorothy's closet as she stripped naked in the rear bathroom, reached for her blue velvet robe from the closet, and then suddenly flung open the closet door where he was caught hiding - and threatened him with a knife; she forced him to get on his knees, cut his face with the knife blade, turned the tables on him, made him her voyeuristic prey, and forced him to undress in front of her, all the way down to his underwear and socks; she began touching, fondling, and kissing (and fellating?) him, and forced him to remain motionless; she asked: "Do you like that?" and then asked a question combining domination, pain, power, pleasure, and humiliation: "Don't touch me or I'll kill you? Do you like talk like that?" - the scene was interrupted by three loud knocks at the door - the arrival of Frank
Jeffrey's First Confrontation with Dorothy
  • the evil, ether-addicted and depraved drug-pusher psycho Frank (Dennis Hopper) with an oxygen inhaler while abusively terrorizing and raping Dorothy as he play-acted being both her Daddy and Baby: ("Baby wants to f--k. Get ready to f--k. You f--ker's f--ker. You f--ker. Don't you f--kin' look at me!...Baby wants blue velvet")
  • Sandy's description to Jeffrey of her dream of the robins returning to Lumberton, and her belief that there would be trouble before their arrival: ("I had a dream. In fact, it was the night I met you. In the dream, there was our world and the world was dark because there weren't any robins, and the robins represented love. And for the longest time, there was just this darkness. And all of a sudden, thousands of robins were set free, and they flew down and brought this Blinding Light of Love. And it seemed like that love would be the only thing that would make any difference. And it did. So I guess it means there is trouble 'til the robins come")
  • the latter scene of Jeffrey making love to Dorothy in her bedroom, with a rendition of Bobby Vinton's "Blue Velvet" playing in the background - and the sonic signature of a cavernous howling in his ear was heard; in close-up, their naked bodies made love on the blue-silky sheets of her bed, as the masochistic Dorothy demanded to be hit: "I want you to hurt me...Go on, hit me. Hit me!" - as Jeffrey obliged, her moist red lips appeared with sparkling white teeth; the flames grew and the animalistic howling sound intensified during their violent, erotic love-making in the darkness; she told him: "I have your disease in me now"
  • the harrowing scene of Frank taking a "joy ride" with a knife-threatened Jeffrey, and Dorothy
  • the Heineken/Pabst Blue Ribbon line of dialogue ("Heineken? F--k that s--t! Pabst Blue Ribbon!")
  • the remarkably surreal sequence of crazed Ben's (Dean Stockwell) lip-synching - in suave karaoke-style - of Roy Orbison's pop tune "In Dreams": ("A candy colored clown they call the Sandman Tiptoes to my room every night Just to sprinkle stardust and to whisper Go to sleep everything is all right. I close my eyes. Then I drift away. Into the magic night. I softly say A silent prayer. Like dreams do. Then I fall asleep To dream my dreams of you. In dreams, I walk with you. In dreams, I talk to you. In dreams, you're mine, all the time. We're together...")
  • the truly terrifying scene of Frank's brutalization of Jeffrey by distorting the metaphor of the lyrics of the song "Love Letters Straight From Your Heart": ("Don't be a good neighbor to her. I'll send you a love letter straight from my heart, f--ker. Do you know what a love letter is? It's a bullet from a f--kin' gun, f--ker. If you receive a love letter from me, you are f--ked forever. Do you understand, f--k? I'll send ya straight to Hell, f--ker!")
  • the appearance of a naked and battered Dorothy on the Beaumont's front lawn and into Sandy's house and her odd declaration: ("He put his disease in me")
  • the final scene with peaceful organ music, romance, bright sunshine in a kitchen, an optimistic future, friendly conversations between neighbors, united families - all the false comforts of the nostalgic 50s past symbolized by the return of the robins: (Jeffrey: "Maybe the robins are here"), bringing Sandy's dream to fulfillment - the Blinding Light of Love

Dorothy Singing "Blue Velvet"




Frank Booth - Abuse


Dream of Robins


Joy-Ride with Knife-Wielding Frank


Roy Orbison's "In Dreams"


Battered Dorothy


The Return of the Robins

Bob & Carol & Ted & Alice (1969)

In Paul Mazursky's satirical film about changing sexual mores in the late 60s, with the tagline "Consider the Possibilities" - and its story of encounter groups, permissive sex, counter-cultural temptation and emotional openness among affluent adults:

  • two couples: Bob and Carol Sanders (Robert Culp and Natalie Wood) and their best friends Ted and Alice Henderson (Elliott Gould and Dyan Cannon), who had their marital vows of fidelity challenged during a weekend 'swinging' trip to Las Vegas
  • the scene of Alice drunkenly urging everyone to do what she (and they) wanted to do, and what they logically had come there for: "Orgy, have an orgy. Orgy, orgy"
  • Carol's suggestion to Ted to have sex with her - mate-swapping: ("It's physical fun, it's just sex. Oh, come on, it'll be fun"); Ted added as the couples began to help themselves get undressed: "First, we'll have an orgy and then we'll go see Tony Bennett"
Nervous Mate Swapping
  • the film's publicity - the view of the couples in the bedroom, lined up in bed (and naked under the sheets) and feeling very awkward about proceeding with group sex and/or mate-swapping
  • the film's sappy ending with the couples leaving the hotel without trading partners after all, following an aborted attempt (with only brief kissing), and the playing of the Burt Bacharach song "What the World Needs Now (Is Love, Sweet Love)"

"Orgy, have an orgy. Orgy, orgy"


Leaving the Hotel

Body Double (1984)

In Brian De Palma's homage to both of Alfred Hitchcock's Rear Window (1954) and Vertigo (1958):

  • the set-up: hard luck and out-of-work LA actor Jake Scully (Craig Wasson) was 'hired' to house-sit in a Hollywood Hills mansion, arranged by fellow actor Alexander Revelle (alias 'Sam Bouchard') (Gregg Henry)
  • the scenes of Jake voyeuristically watching through a high-powered telescope as a beautiful, rich Gloria Revelle (Deborah Shelton), an auto-erotic exhibitionist, brunette dancer-neighbor in a nearby apartment, stripped within easy view and performed a self-pleasuring dance night-after-night
  • the lengthy sequence of an infatuated Jake stalking the mysterious Gloria - who was also terrorized by a creepy Indian, ending with Jake and Gloria kissing on the beach (with obvious back-projection) - with a Vertigo-like revolving camera, until she declared: "I can't do this" - and ran off
  • the infamous and tense phone cord strangulation/erect power drill murder of Gloria by her husband (disguised and later revealed to be "Sam Bouchard"), as Jake attempted to reach her and rescue her, although thwarted by her dog
The Drill Murder
  • Melanie Griffith's breakthrough role as porn queen Holly Body, the film's 'body double', when Jake realized by watching a porn video that she was the one dancing in the apartment, hired to perform for two nights only: ("That was you in the Revelle house") - helping him to unravel the conspiracy behind Gloria's murder
  • the famous use of British pop band Frankie Goes To Hollywood's "Relax" for the 'film within a film' porn shoot - with Jake as a nerdy newcomer and his opening ironic line: "I like to watch," followed by Holly's seduction: ("Makes you hot, doesn't it?...Makes me hot too. Why don't you come over her, and I'll show you how hot")
  • the unmasking of the disguise of "Sam Bouchard" as a killer-Indian - actually Alexander Revelle, the separated and disgruntled murderer of wife Gloria Revelle, when he admitted angrily to Jake: "You ruined my surprise ending" - Jake was paralyzed with claustrophobic fear after falling into a deep earthen burial pit until he visualized saving himself, and fought off Alexander - who ended up getting pushed backward to his death in the churning reservoir water below
  • during the closing credits, the use of a naked 'body double' in a vampire horror film shower scene, when Holly watched from the side and advised the robed actress watching the nude double - "You know what? You're gonna get a lot of dates when this comes out"


Exhibitionist Neighbor

Jake Stalking Gloria

Unmasking a "Disguised" Alexander Revelle (alias Sam Bouchard)

"Sam" Speaking to Jake Paralyzed in Deep Earthen Burial Pit


Holly to Actress: "You're gonna get a lot of dates..."

Body Heat (1981)

In Lawrence Kasdan's film-noirish crime drama modeled after The Postman Always Rings Twice (1946):

  • the tempting, sizzling femme fatale Matty Walker (Kathleen Turner) with her famous line toward simple-minded Florida attorney Ned Racine (William Hurt) - "You're not too smart, are you? I like that in a man"; he willingly responded: "What else do you like? Lazy, ugly, horny, I've got 'em all."
  • the erotic, steamy sex scene in which Ned, about to leave Matty's house, was enticed to enter by an eager-looking Matty inside; he broke into her locked house through the porch bay window with a garden chair (to the sound of wind chimes) to the awaiting, horny and receptive Matty; after feeling her breasts and crotch through her clothing, she laid back on the floor; he removed her panties to make love to her, exclaiming: "It's so right!"; she begged: "Please, Ned. Do it!"
"Please, Ned. Do it!"
  • the film's numerous highly-charged, non-stop sweaty sex scenes, with Ned begging: "Gimme a break here. It takes a little while..You are killing me. I'm red, I'm sore...Look at it. It's about to fall off."
  • the scene of Ned's mistaken delivery of a very forward proposition to Matty's visiting high school girlfriend Mary Ann Simpson (Kim Zimmer): "Hey lady, do you wanna f--k?"
  • the controversial scene in which Matty's young niece Heather (Carola McGuinness) caught the two in an oral sex act but couldn't identify the man with the erection
  • the fight-to-the-death with Matty's husband Edmund Walker (Richard Crenna) during a botched murder in the hall of his opulent home
  • Matty's final assuring words to Ned: "Whatever happens, you must believe that I love you" which eventually proved to be empty
The Boathouse Explosion Killing "Matty"
Ned in Jail: "She's Alive!"
"Matty" On an Exotic Beach
  • the surprise ending when Ned, who was serving time in the Florida State Penitentiary for Matty's murder, was suspicious that Matty had planted Mary Ann's body in the boathouse before the explosion, and escaped with her own life; this was confirmed for him in the startling conclusion when he saw Matty's picture in a 1968 yearbook, with her name displayed as "Mary Ann Simpson" (with the nickname "The Vamp" and her ambition: "To be rich and live in an exotic land")
Swapped Yearbook Identities
  • the final view of 'Matty' reclining on a beach chair in the tropics, while Ned was charged with Edmund's murder and imprisoned in a Florida state penitentiary, while "Matty" had escaped "to be rich and live in an exotic land"





'Hot' Love-Making

"Matty" With Husband Edmund (Richard Crenna)

Matty's 'Double' Mary Ann Simpson

Niece Heather Witnessing Oral Sex

Bonnie and Clyde (1967)

In Arthur Penn's controversial, ground-breaking film:

  • the film's opening with a colorful closeup of red, luscious lips (that were being licked after lipstick had been applied) belonging to blonde Bonnie Parker (Faye Dunaway) - a bored, beautiful, and sexually-frustrated, Depression-era Texas cafe waitress who was naked and narcissistically primping in front of a mirror; her teasing and nude appearance at her bedroom window occurred as small-town con and car thief Clyde Barrow (Warren Beatty) eyed her Mama's car out front; she quickly dressed and descended the stairs to join him
  • the sequence of bank-robbing Clyde's first major seduction of Bonnie, when he showed off his gun and bounced a wooden matchstick between his teeth (shot at an upward angle as a trembling phallic symbol), although he was later revealed to be impotent; after proving himself by robbing the grocery store across the street, they were formally introduced to each other as they jumped in a getaway car together: Bonnie: "Hey, what's your name anyhow?" Clyde: "Clyde Barrow" Bonnie: "Hi, I'm Bonnie Parker, pleased to meet ya"; during their hurried exit, banjo music by Lester Flatt and Earl Scruggs ("Foggy Mountain Breakdown") played on the soundtrack; throughout the film, there were numerous sped-up (a la Keystone Cops slapstick) bank robberies and pursuits to the sounds of banjo music
Seduction and Their First Bank Robbery
  • the sequence of Clyde's shamed and restless confession to Bonnie about his latent homosexuality, sexual limitations and impotence; he told her to put aside her romantic intentions: Clyde: "I might as well tell ya right off. I ain't much of a lover boy. But that don't mean nothin' personal about you. I-I-I never saw no percentage in it. Ain't nothin' wrong with me. I don't like boys." (He bumped his head on the driver's side door.) Bonnie (sounding frustrated and stunned): ...Your advertisin' is just dandy. Folks would never guess you don't have a thing to sell. You'd better take me home now. Now don't you touch me!"
  • the deserted, bank-foreclosed farmhouse scene where Bonnie was jubilantly hugged by Clyde after exhibiting her gun-shooting prowess at an old rubber-tire-swing target; their shooting attracted the attention of bank-displaced, evicted farmer Otis Harris and his family, who they sympathized with; Clyde boasted: "This here's Miss Bonnie Parker. I'm Clyde Barrow...We rob banks"
  • their meeting up with dim-witted, back-country, grinning attendant/mechanic C. W. Moss (Michael J. Pollard) at a station; when he identified their vehicle as a "4-cylinder Ford Coup-e," Bonnie corrected him: "This is a STOLEN 4-cylinder Ford Coup-e" - after introducing themselves as bank robbers, they invited him to join them as their getaway driver: "Have you got what it takes to pull bank jobs with us, Mr. C.W. Moss?"
  • during their second bank robbery in the town of Mineola, the robbery went awry when they couldn't find C.W.'s parallel-parked getaway vehicle (another stolen car!) and they were delayed in leaving town when blocked by other cars; panicked, Clyde drew first blood when the elderly bank manager lept onto the running board of their car and he reacted impulsively - the bullet smashed through the man's glasses and gruesomely blew off his face, point-blank, through the window of their car [invoking a similar image from Russian Sergei Eisenstein's Battleship Potemkin (1925)]
  • the scene of the fugitives finding refuge in a movie theatre while viewing the "We're in the Money" scene from a 1933 Warner Bros film: Gold Diggers of 1933
  • the picture-taking scene in which the gang were now joined by Clyde's older, All-American, hearty, loud-mouthed, ex-con brother Buck (Gene Hackman) and his reluctant, but excitable, hysteria-prone, and flighty wife Blanche (Estelle Parsons) - Bonnie fashionably posed with her gun
  • the gang was determinedly followed and stalked by mustachioed Texas Ranger Capt. Frank Hamer (Denver Pyle), who was captured, handcuffed, belittled - and to specifically humiliate him, Bonnie put her arm around the stiff-lipped and glaring Ranger and flattened out his moustache with his own gun
  • during their third bank robbery, Clyde formally introduced the well-dressed gang with their big guns drawn as they burst into the front doors of a small-town bank: "Good afternoon. This is the Barrow Gang" - as their legendary prowess increased
  • the sequence of a bloody ambush at Platte City, Iowa followed by the realistic death scene in a field of Clyde's mortally-wounded brother Buck, with wife Blanche's hysterical screaming about his dying: ("Daddy, don't die!! Daddy!!")
  • Bonnie's recitation of her legendary poem, making them sound like Robin Hood and his gang, to spread their appeal - "The Story of Bonnie and Clyde": ("Here's the story of Bonnie and Clyde...Now Bonnie and Clyde are the Barrow gang. I'm sure you all have read How they rob and steal And those who squeal Are usually found dyin' or dead. They call them cold-hearted killers They say they are heartless and mean But I say this with pride That I once knew Clyde When he was honest and upright and clean...")
  • afterwards, Clyde's consummation of his love for Bonnie, when she assured him: "You did just perfect," after which he complimented himself while chuckling: "I did, didn't I? I mean, I really did. I never figured on that. Damn"; in their next bedroom scene, they discussed their relationship, although they were soon doomed to die: Bonnie: "Clyde. Why do you want to marry me?" Clyde: "To make an honest woman out of you"
  • the quick montage-succession of events during the country backwoods, roadside ambush sequence by police, when the duo were betrayed by father Ivan (or Malcolm) Moss (Dub Taylor), who flagged down their car for help while faking a flat tire on his truck by the side of the road; he spoke the last lines of the film: "I've got a flat tire, and I ain't got no spare"
  • in their final freeze-frame of life in a two-minute violent "ballet of blood", doomed lovers Bonnie and Clyde revealed both panic and love in their faces - with a silent glance toward each other; their frenzied, spasming corpses writhed in slow-motion as they were gunned down and riddled with an unprecedented number of bullets; they were re-animated by gunfire - into involuntary dances of death when their corpses twitched to life; they died cinematically-beautiful, abstracted deaths to accentuate the romance of the myths and the larger-than-life legends that surrounded them; their last moment of 'life' occurred when Clyde rolled over gently in slow-motion and Bonnie's arm dangled unnaturally and then stopped moving; Bonnie's flowing blonde hair, streaked in sunlight and gently blowing in the breeze, cascaded down in many arcs as she hung out of the car
  • the last fractured image was viewed as the group of police approached the bullet-ridden car and the corpses on the ground (off-screen); the final shot was a shattered car window from a bullet hole - before a rapid cut to black


Bonnie Parker


"We rob banks!"

"A 4-cylinder Ford Coup-e"

Bullet Damage During Botched Robbery

"We're in the Money"

Picture-Taking

Ranger Capt. Hamer

"Good Afternoon, This is the Barrow Gang!"


Bonnie's Poem-Reading


After-Sex: "You did just perfect"

The Final Image

Boogie Nights (1997)

In Paul Thomas Anderson's fact-based period film, with the recreated look of the late-70s LA adult film-porn industry in the San Fernando Valley in the late 70s and early 80s; the ensemble film told about the lives of a number of misfits - mostly damaged and lost individuals:

  • the virtuoso long, opening tracking shot into and throughout the interior of a Reseda, California Hot Traxx nightclub, in order to introduce all of the film's main characters
  • the statement of 17 year-old busboy Eddie Adams (Mark Wahlberg) - about his ultimate objective in life, expressed during sex with his impressed girlfriend Sheryl Lynn (Laurel Holloman) when he was complimented for his endowment: "Your cock is so beautiful!" - he responded: "Everyone has one thing, you think? I mean, everyone's given one special thing, right?... Everyone's blessed with one special thing. Hey, I want you to know I plan on being a star. A big, bright shining star. That's what I want. That's what I'm gonna get"
  • in a late-night diner, LA porn filmmaker Jack Horner (Burt Reynolds) - who was accompanied by Eddie - a potential superstud porn star, high-school dropout and porn starlet Brandy (aka Rollergirl) (Heather Graham), and maternalistic, red-headed, cocaine-abusing porn queen Amber Waves (Julianne Moore), described the costs and benefits of adult film-making: "So what I'm tryin' to tell ya, Eddie, is that it takes a lot of the good old American green stuff to make one of these things, you know what I mean. I mean, you know, you've got your camera, you got your film, you got your lights, you got your sound, you got your lab costs, you got the developing, you got your synching, you got your editing. Before you turn around, you spent maybe $20,000, $25,000, $30,000 on a movie....If you make a good one, there's practically no end to how much money you can make"
  • the continuing sequence of Horner's promotion of the film industry to Eddie as his future star; he continued to stress how important it was for his male star to be virile: "...if you don't have those juices flowin' down there in the Mr. Torpedo area, in the fun zone. But you got to get the people in the theater. You know, you need the big dicks, the big tits..." - and then in another breath described how he wanted to make a quality porn film: "How do you keep them in the theater after they've come? With beauty and with acting. Now I understand you've got to get 'em in the theater. You know, you gotta keep the seats full, but I don't want to make a film where they show up, they sit down, they jack off and they get up and they get out before the story ends. It is my dream, it is my goal, it is my idea to make a film that the story just sucks 'em in, and when they spurt out that joy juice, they just got to sit in it. They can't move until they find out how the story ends. You know, I wanna make a film like that...it's my dream to make a film that is true and right and dramatic"
  • later in his home, Horner proposed hiring Eddie: "I'm thinking I want to be in business with you, Eddie"; to sweeten the deal, Horner suggested that Rollergirl have sex on the couch with Eddie (although she had already performed oral sex on Eddie in the nightclub's stock-room): ("I want you to go over there and sit on the couch with Eddie"); she removed everything but her roller skates before jumping on top of Eddie: (Rollergirl: "Are you ready?...Oh yeah...I don't take my skates off - and don't f--king come in me"); from the sidelines, Horner added: "Aim it at her tits, Eddie"
Rollergirl
  • the preface to the filming of newbie porn star Eddie's - renamed Dirk Diggler - first sex scene in his first hard-core film scene, opposite Amber Waves; in the scene of an interview for an acting job, as part of the hiring process, she requested: "Why don't you take your pants off. It's important I get an idea of your size"; afterwards, she immediately hired him ("I think that you have the job"), but then added: "But why don't I make sure of something. (she inspected him) This is a giant cock"
Amber Waves with Dirk Diggler
  • in the tawdry scene, they hungrily kissed, stripped, and began to couple together on her desk, although they paused when a new film magazine needed to be loaded; she assured him as he was about to come: "Don't worry, I'm fixed" and that he was "a wonderful actor"; when she urged him to climax inside of her ("Come in me... I want you to come in me"), the crew missed the 'money shot'
  • the pool party scene when Horner's assistant producer "Little" Bill Thompson (William H. Macy) found his unfaithful porn star wife (real adult star Nina Hartley) in the home's driveway, surrounded by a crowd of stunned onlookers, as she was having sex with a muscle-bound stud; when "Little" Bill made a scene, she scolded: 'You're embarrassing me" ; he jealously stomped off and exclaimed in a perturbed manner to fellow technician Kurt Longjohn (Ricky Jay): "My f--king wife has an ass in her cock in the driveway, all right! I'm sorry if my thoughts are not on the photography of the film we're shooting tomorrow, OK?"
  • the scene at Horner's New Years' Eve Party at the dawn of the year 1980, when "Little" Bill Thompson again discovered his unfaithful wife in a back bedroom having sex, then slowly walked to his parked car to get his gun to commit a double murder and suicide in the company of the other shocked guests
  • the nerve-wracking cocaine sale/rip-off scene in the house of Dirk and two friends attempting to scam silver bath-robed, raving drug tycoon Rahad Jackson (Alfred Molina) (while his young Asian servant boy Cosmo set off firecrackers in the background) - all accompanied by Night Ranger's "Sister Christian" and Rick Springfield's "Jesse's Girl" on the soundtrack; there was an inevitable violent ending to the scene
  • in the unexpected, surprise conclusion, drug-addicted Dirk (who had resorted to gay hustling and dangerous drug-dealing that had affected his impotence) was again reconciled with Jack Horner, and going back to work for him after splitting from him following a violent argument over a competitive successor; in the film's final lines, Dirk practiced his lines before a mirror (a scene playing homage to Scorsese's Raging Bull (1980)) - then he stood up, unzipped his pants, and pulled out his endowed, 13 inch-long penis (his "special thing") (a prosthetic), and added: "I am a star. I'm a star, I'm a star, I'm a star. I am a big, bright, shining star. That's right!"



Steadicam Nightclub Entrance


"One Special Thing"

"It takes a lot of the good old American green stuff to make one of these things"

Jack Horner with Amber Waves



Sex in the Driveway

"Little" Bill's Murder-Suicide

The Violent Cocaine Sale/Rip-Off




Dirk Diggler's Revelation

Born on the Fourth of July (1989)

In Oliver Stone's anti-war message film:

  • the gung-ho patriotism of Marine enlistee Ron Kovic (Tom Cruise): ("Don't you know what it means to me to be a Marine, Dad? Ever since I was a kid I've wanted this - I've wanted to serve my country - and I want to go. I want to go to Vietnam - and I'll die there if I have to")
  • the moment in which Vietnam soldier Ron Kovic during his second tour of duty in early 1968, was shot during a patrol in a field when encountering a fierce fire-fight; although wounded in the foot, he continued to wildly fire at the enemy - and then was hit in the chest - with blood coming out of his mouth
  • the awful and nightmarish conditions during bedridden Kovic's recovery at the Bronx Veterans Administration Hospital, where he suffered from poor and "indecent" treatment, unavailability of doctors, and a deplorable physical state; in a dramatic scene, he begged to be treated right with a black doctor and not to have his leg amputated: ("It's my leg! I want my leg, do you understand? Can't you understand that? All's I'm sayin' is I wanna be treated like a human being! I fought for my country! I am a Vietnam veteran! I fought for my country!...So I think I deserve to be treated decent, decent...")
  • the emotional home-coming scene in 1969 which father Mr. Kovic (Raymond J. Barry) hugged his newly paralyzed (from the mid-chest down), wheel-chair bound Vietnam veteran son Ron Kovic - a former star wrestler and all-American athlete with shattered illusions and ideals
  • Ron Kovic's emotional and ultra-patriotic homecoming speech on the 4th of July, his birthday: ("I just want to say, for all the guys, uh, in Vietnam, we're doing our best. It's not an easy situation, but the boys - the morale over there is real high. And you can feel confident that we are, we are gonna win that war. I served my country. And I don't want you to feel sorry for me. Do not shed a tear. I have my hand, my eyes, my ears, I have my heart, and I have what I feel - I have what I feel is an unquenchable --- "), but then he became overcome (during a war flashback when he heard a baby crying and an overhead helicopter) and had to end his speech short
  • the scene of Ron's revelation about his disillusionment about the war to his old high school friend Timmy (Frank Whaley), another wounded veteran, about wishing to have his whole body back: ("I failed, Timmy...because I-I killed some people. I made some terrible - mistakes!... Sometimes I wish, I wish I'd, the first time I got hit, I was shot in the foot. I could have laid down, I mean, who gives a f--k now if I was a hero or not? I was paralyzed, castrated that day. Why? It was all so stupid! I'd have my dick and my balls now, and I think, I think Timmy I'd give everything I believe in, everything I got, all my values, just to have my body back again, just to be whole again. But I'm not whole. I never will be, and that's, that's the way it is, isn't it?"); Timmy replied optimistically: ("For Christ's sake, Ronnie, it's your birthday. You're alive. You made it! Smile!")
  • the blunt dialogue that an angry, anguished, and helpless Kovic screamed at his distressed mother (Caroline Kava) about his complete disillusionment with life: ("We went to Vietnam to stop Communism! We shell women and children!...That was the war. Communism, the insidious evil! They, they told us to go....Thou shalt not kill, Mom. Thou shalt not kill women and children! Thou shalt not kill! Remember? Isn't that what you taught us? Isn't that what they taught us?...And it's all falling apart! King, Kennedy, Kent State! We all lost the f--king war! F--king Communism won. It's all for nothing....You tell her, Dad! Tell her it's a lie! It's a f--king lie! There's no God! God is as dead as my legs! There's no God! There's no country! It's just me and this f--king wheelchair for the rest of my life - for nothing. Me and this, this, this dead penis, Mom"); then in the most devastating moment during his breakdown, he pulled out his catheter and referred to his biggest casualty or loss: ("In church, they say it's a sin if you play with your penis. I just wish I could... Penis!...Penis! Big f--king erect penis, Mom!...Penis! Penis!")
  • the sequence of Kovic's visit in Georgia with the understanding, consoling parents of private-first-class soldier Wilson (Michael Compotaro), when he confessed the true story of their son's death (his fellow soldier was killed by Kovic's own friendly-fire) and his own guilt: ("I remember the day he was killed. Uh, it was a strange day... we got scattered in the dunes. People were yelling at anything, firing at anything. And that was when it happened. I was, uh, confused, scared. I raised my rifle three times and shots - the body fell in the dunes. God, this is, this is very difficult for me to say... But, Mr. Wilson, I think I was the one that killed your son that night. I was the one. I was the one. I was the one"); Wilson's widowed wife Jamie (Lili Taylor) responded: "What's done is done, sir. I can't ever forgive you, but maybe the Lord can"; and then Wilson's mother (Jayne Haynes) replied: "We understand, Ron. We understand the pain you've been goin' through"
  • the scene of anti-war veterans, including political activist and paraplegic Kovic, attempting to storm and disrupt the 1972 Republican National Convention in Miami during Nixon's acceptance speech, and Ron's tumultuous, televised (grainy) speech to reporters, that soon turned into a "scuffle" and riotous "commotion": ("I'm a Vietnam veteran. I'm here tonight to say that this war is wrong, that this society lied to me, and lied to my brothers. The people in this country tricked him into going 13,000 miles to fight a war against the poor peasant people who have a proud history of resistance, who have been struggling for their own, for their own independence for one thousand years - the Vietnamese people. I can't, I can't find the words to express how the leadership of this government sickens me. Now, people say, people say: 'If you don't love America, then get the hell out.' Well, I love America. We love the people of America very much, but when it comes to the government, it stops right there. The government is a bunch of corrupt thieves, they are rapists and robbers, and we are here to say that 'We don't have to take it anymore.' We are here to say, we are here to tell the truth. They are killing our brothers in Vietnam. We want them to hear the truth tonight... (a Republican delegate shouted out 'traitor' and spit in his face) Is this what we get? Spit in the face! We're never, never gonna let the people of the United States forget that war. It happened, and you're not gonna sweep it under the rug because you didn't like the ratings, like some television show. This wheelchair, our wheelchairs, this steel, our steel, is your Memorial Day on wheels. We are your Yankee Doodle Dandy coming home..."); as the disabled vets were wheeled away, Ron kept screaming: "Stop the bombing! Stop the war!"
  • the film's concluding scene, when Ron Kovic was being wheeled into the 1976 Democratic National Convention to deliver a speech, now hailed and honored as a real hero after the publication of his autobiography (Born on the Fourth of July): ("Just lately, I felt like I'm home, you know, like, uh, maybe we're home")

Aborted 4th of July Homecoming Speech After War Flashback


Revelation to Friend Timmy



Screaming at his Mother: Tormented and Disillusioned - Pulling out His Catheter




Confession to the Disconsolate Wilson Family About Friendly-Fire




The 1972 Convention in Miami: "We are your Yankee Doodle Dandy coming home..."


The 1976 Convention

Born Yesterday (1950)

In George Cukor's comedy - one of the greatest of all-time, based upon Garson Kanin's 1946 play, and remade as Born Yesterday (1993) with Melanie Griffith, John Goodman, and Don Johnson:

  • the opening sequence, in which all the major characters were introduced during an elaborate arrival scene at Washington DC's Hotel Statler: corrupt, disreputable and uncouth, ignorant, and crooked millionaire junkyard (scrap-iron) tycoon Harry Brock (Broderick Crawford), and his unrefined, expensively-dressed (with multiple fur coats) "dumb blonde" - ex-chorus girl mistress/fiancee (a 'kept woman' for seven years) Emma "Billie" Dawn (Judy Holliday, a Best Actress Oscar winner in a major upset) from Brooklyn; they paraded by political journalist Paul Verrall (William Holden), who was stunned by their lengthy entourage and amount of luggage; Verrall was unsuccessful in speaking to Brock as he entered the hotel's private elevator, as the group (with the over-accommodating leadership of the hotel's concierge (Grandon Rhodes)) was escorted to an upper-floor, reserved "entire wing" of three suites of rooms "usually reserved for foreign diplomats" - costing $400/day
  • the first instance of hearing Billie's screeching, shrill, unabashedly vulgar, stupid-sounding (Betty Boop-like) voice - as loud-mouthed meat-head Brock shouted at her from one wing of the hotel to another - she responded with a thick-accented, brassy: "WHAT?!"
  • the famous scene of Billie playing gin rummy game against Harry and always winning ("Gin!")
  • Brock's hiring of a tutor for $200/week - influential DC reporter Paul Verrall - to refine Billie and make her more socially respectable and happy ("Show her the ropes, sorta, and kinda explain things to her"), while he was working bribes and trying to influence politicians; Paul explained his mission to Billie, who at first thought he was a gigolo until he specified: "He'd just like me to put you wise to a few things, show you the ropes, answer any questions"; she admitted, however, that she was mostly satisfied and happy ("He thinks I'm too stupid, huh?...He's right. I'm stupid, and I like it....I'm happy. I got everything I want. Two mink coats. Everything. There's somethin' I want, I ask. If he don't act friendly, I don't act friendly....So, as long as I know how to get what I want, that's all I wanna know" - but there was one thing she did request: "I'd like to learn how to talk good"
  • Billie's ignorance about the difference between a peninsula and penicillin, but with increased intelligence after her lessons - i.e., Harry Brock: "Shut up! You ain't gonna be tellin' nobody nothin' pretty soon!" Billie Dawn: "DOUBLE NEGATIVE! Right?" Paul: "Right!"
  • the sequences of Paul's civic-lessons field trip/tours around Washington DC with Billie, when they shared ice-cream bars, and she stated: "It's interesting how many interesting things a person could learn if they read"; he became amused when she put on her glasses and admitted that she was "practically blind" (he had to correct her misplaced adverb: "I'm blind, practically"); after he summarized for her the meaning of his own obtuse article about American democracy: "The Yellowing Democratic Manifesto" in just a simple sentence, she exclaimed: "That's this?...Well, why didn't you say so?"
  • the burgeoning romance between Billie and bachelor Paul, when he kissed her in an elevator: (Billie: "What are ya doin'?" Paul: "If you don't know, I must be doing it wrong")
  • the climactic scene, when the newly-independent, free-thinking Billie realized that she needed to escape from Brock forever, when he was becoming more aggressively abusive, and still calling her 'dumb': "I feel like I wanna go away!...I just know I hate my life. There's a better cut. I know it. And if you'd read some of these books, you'd know it too. Maybe it's right what you say: I'm still dumb. But I know one thing I never knew before. There's a better kind of life than the one I got. Or you!...You eat terrible! You got no manners! Takin' your shoes off all the time, that's another thing, and pickin' your teeth. You're just not couth!...You don't own me. Nobody can own anybody. There's a law that says"; when he shouted at her to "Beat it!" and mercilessly slapped her - she called him a "Big Fascist!"
  • Billie's retort to Harry: "Would you do me a favor, Harry?...Drop dead!"
  • the final sequence in which Billie finally stood up to Harry, and laid down an ultimatum: ("When you steal from the government, you steal from yourself, ya dumb ox!") - she decided to slowly relinquish his 126 different properties back to him that she legally owned (he had signed them over to her to hide them from the government), but only one by one: "In this whole thing, I guess you forgot about me - about how I'm a partner....So here's how it's gonna be. I don't want 'em. I don't want anything of yours or to do with you, so I'm gonna sign 'em over ...only not all at once. Just one at a time. One a year. Only you gotta behave! 'Cause if you don't, I could let go on everything! For what you've done, even since I've known you, I bet you could be put in jail for about 900 years. You'd be a pretty old man when you got out"
  • the film's final lines were spoken to a motorcycle cop who asked for their license, but was given their recent marriage license; he chuckled: "License please. No, not this license" - but then quickly forgave their crime: "Okay, forget it. My wedding present. But take it easy, or you'll never make it"; Billie spoke about her recent marriage to Paul: "Oh, don't worry, we'll make it. It's a clear case of predestination." Officer: "Pre--- what?" Billie: "Look it up!"



Opening Sequence:
Billie Dawn (Judy Holliday) - "What?!"


"Gin!"

DC Tours

Kiss in Elevator



Ultimatums to Brock

"Look it up!"

Bowling for Columbine (2002)

Activist documentarian Michael Moore's interview-laden film:

  • the humorous, animated, 3-minute "A Brief History of the United States of America" (created in the style of South Park) narrated by a talking bullet, with its ending image of a well-armed family: (Narrator: "And everyone lived happily ever after")
  • the scene about North Country (Michigan) Bank and Trust that offered new customers a firearm for opening up a Weatherby Certificate of Deposit, with the clerk bragging that they had a locked vault keeping a supply of at least 500 firearms - the bank was also "a licensed firearm dealer"; after being presented with his "straightshooter" - he brought up an ironic question: ("Do you think it's a little dangerous handing out guns in a bank?")
  • the bizarre sequence in which a Michigan State police officer described a freak accident when a hunter's dog (humorously dressed up like a hunter with a gun slung onto its back) shot and wounded its owner in the shin
  • interviews with pro-gun advocates, including a group of members in the Michigan Militia, who spoke about their belief in owning a gun ("It's an American responsibility to be armed. If you're not armed, you're not responsible. Who's gonna defend your kids? The cops? The federal government?..It's your job to defend you and yours. If you don't do it, you're in derilection of duty, as an American, period!"), their every-day blue-collar jobs and the guns they owned in their homes; and ending with a discussion of their fund-raising 2002 "Militia Babes" calendar
  • the unusual segment with James Nichols (brother of Terry) (the Michigan Militia counted Terry Nichols and Timothy McVeigh of the Oklahoma City Bombing as members), and Nichols' most surprising quotes: "When the government turns tyrannical, it's your duty to overthrow it," "The pen is mightier than the sword, but you always must keep a sword handy for when the pen fails," "I sleep with a .44 magnum under my pillow" (proved by a visit to his bedroom) and "There's wackos out there"
  • the subsequent montage about the proliferation of guns and the excitement of gun-owners, plus the depiction of a few real-life killings - accompanied by the Beatles' song: "Happiness is a Warm Gun"
  • the interview with rocker Marilyn Manson, calling himself "The Poster Boy for Fear" - and making the connection between fear and consumer consumption: ("...You're watching television, you're watching the news, you're being pumped full of fear. There's floods, there's AIDS, there's murder, cut to commercial, buy the Acura, buy the Colgate. If you have bad breath, they're not gonna talk to ya. If you got pimples, the girl's not gonna f--k you, and it's just this, it's a campaign of fear and consumption, and that's what I think that it's all based on - it's the whole idea that 'keep everyone afraid and they'll consume'")
Interviews
James Nichols
Marilyn Manson
Charlton Heston
  • also Manson's response to Michael Moore's question: "If you were to talk directly to the kids at Columbine, or the people in that community, what would you say to them if they were here right now?" -- ("I wouldn't say a single word to them. I would listen to what they have to say, and that's what no one did")
  • the concluding segment with actor/NRA chairman Charlton Heston at his "estate atop Beverly Hills," who expressed his pro-gun position (and refused any apologies) only a few weeks after the Columbine (Littleton, Colorado) HS shooting in April, 1999, and after the late February, 2000 shooting death of a 6 year-old girl at Buell Elementary School in Flint, MI (with Moore showing a picture of a victim) - but then refused further questions and walked away


"Brief History of USA"


Free Gun for Opening Up a CD

Dog Shoots Man

With Michigan Militia


Moore with Picture of Gun Victim

A Boy Named Charlie Brown (1969)

In the first film starring the Peanuts characters:

  • the evocative opening of the characters of Charlie Brown, Linus and Lucy looking for cloud shapes in the sky, and Charlie's resigned response to Linus' extravagant visions: ("Well, I was going to say I saw a duckie and a horsie... but I changed my mind")
  • the scene of 'born loser' Charlie's repeated failures trying to fly a kite, and win a baseball game: ("I think it would be kind of fun to win once in a while...Losing isn't anything"); Linus was encouraging for him to be optimistic: "Look at it this way, Charlie Brown, we learn more from losing than we do from winning" - Charlie joked: "I guess that makes me the smartest person in the whole world" - although at the same time, Linus defeated Charlie in a game of sidewalk tic-tac-toe
  • Snoopy's two fantasies: as a WWI ace pilot fighting an aerial battle with an opponent (the Red Baron) with his doghouse transformed into a Sopwith Camel, and as a hard-nosed hockey player
  • Lucy's promise to point out Charlie's faults in her psychiatric help booth, in a slide show viewed on a slide projector system in her home: ("I recognize your frailties, your weaknesses. You need me to point out your faults, Charlie Brown. It's for your own good. Besides, I can do it better than anyone else"); she pointed out many of his faults, including his tendency to be fat and have a large nose, and his repeated clumsiness at kicking a football
  • Charlie's final victory at his school's spelling bee by spelling the word: "Perceive - P-E-R-C-E-I-V-E, perceive" - (after remembering the spelling song "I Before E (Except After C)" that he had earlier practiced with Snoopy playing a jaw harp), and his triumphant reception by his friends
The Spelling Bees
"Perceive"
The Audience
"Beagel"
  • Charlie's embarrassing failure to win the annual National Spelling Bee in NYC by mis-spelling "beagle" (Snoopy's breed) as B-E-A-G-E-L, with all of his friends watching on television in an auditorium
  • the powerfully poignant ending sequence that followed, beginning with Linus' exquisite speech to a morose, bedridden, and depressed Charlie Brown after failing at the national spelling bee: ("...I suppose you feel you let everyone down, and you made a fool out of yourself and everything. (pauses before leaving) But did you notice something, Charlie Brown?...The world didn't come to an end")
  • the scene of a thoughtful Charlie walking through town watching life go on as before, and his sneaky but futile attempt to kick the football out of Lucy's hands for the umpteenth time - when she removed it just as he approached
  • the ending: Lucy's warm greeting as Charlie lay on the ground after missing the football, with the film's final line of dialogue: "Welcome home, Charlie Brown!" - with Rod McKuen's soulful: "A Boy Named Charlie Brown": ("He's just a kid next door, perhaps a little more / A boy named Charlie Brown")

Cloud Shapes


Kite-Flying Failure


Snoopy as WWI ace pilot vs. Red Baron



Lucy's Psychiatric Help Booth


Linus' Speech to Charlie Brown

Boy on a Dolphin (1957)

In director Jean Negulesco's adventure drama (mostly shot on location) - Sophia Loren's American film debut, about the discovery of an ancient Greek statue of a boy riding a dolphin:

  • the underwater image during the credits of the valuable golden "boy on a dolphin" sunken statue accompanied by the lyrics of the title song (sung by Julie London): ("There's a tale that they tell of a dolphin And a boy made of gold. With the shells and the pearls in the deep, He has lain many years fast asleep What they tell of the boy on a dolphin, Who can say if it's true? Should he rise from the depths of the ocean, Any wish that you wish may come true...")
  • the quintessential image, an opening entrance scene, of sexy, dripping wet, well-endowed Greek sponge diver Phaedra (Sophia Loren) in a diving sequence on the island of Hydra - emerging from underwater and climbing into the boat of her illegal Albanian immigrant boyfriend Rhif (Jorge Mistral)


Boys Don't Cry (1999)

In Kimberly Peirce's shocking debut film - an Academy Award-winning film - a psychological docudrama based on a true story about a 20 year-old small-town Nebraska boy trapped in a girl's body:

  • the portrayal of real-life 20-year old small-town Nebraska, female-born Teena Brandon (Oscar-winning Hilary Swank), who masqueraded as a boy (named Brandon Teena) when trapped in a girl's body while suffering a "sexual identity crisis" and awaiting a sex-change operation
  • the sequence of her cross-dressing routine involved taping down her breasts with gauze, stuffing her crotch with a wadded-up white sock, and wearing a cowboy hat
  • Teena's heartbreaking covert lesbian relationship with teenaged, white-trash factory worker, aspiring singer and blonde love interest Lana Tisdel (Chloe Sevigny) after confessing his/her true sexual identity, including their lesbian kising, sex in a car, and their prolonged, controversial, outdoor lesbian oral sex scene
  • the revelatory disrobing scene of Brandon/Teena when his/her pants were pulled down by jealous ex-convict John Lotter (Peter Sarsgaard) to reveal that 'he' was biologically female, before she was raped from behind over a car - the film's most disturbing scene
  • the shocking murder of Brandon/Teena in the film's conclusion when shot at point-blank range in the chin by John Lotter; after Brandon/Teena slumped to the floor, John stabbed her lifeless body before fleeing. Her helpless girlfriend Lana screamed and watched in horror, and then laid next to the corpse
Shot and Stabbed
  • in the final scene, the voice-over reading of Brandon's/Teena's letter to Lana, as she drove away from town - the letter mentioned their future together: ("Dear Lana, By the time you read this, I'll be back home in Lincoln. I'm scared of what's ahead, but when I think of you, I know I'll be able to go on. You were right. Memphis isn't far at all. I'll be making a trip out on the highway before too long. I'll be waiting for ya. Love always and forever, Brandon")







Abused and Raped


Voice-Over Letter

Boys Town (1938)

In director Norman Taurog's biographical and sentimental melodrama:

  • the opening sequence - convict Dan Farrow (Leslie Fenton), shortly on his way to the electric chair, asked Father Edward J. Flanagan (Oscar-winning Spencer Tracy) in his cell: "How much time do I got?" and he heard the reply: "Eternity begins in 45 minutes, Dan"; Farrow confessed his horrible and wayward upbringing, including his corruption within a reformatory: "When I went in, copping a loaf of bread was a job. When I come out, I could rob a bank!...Where was the State when a Ionely, starvin' kid cried himself to sleep in a flophouse with a bunch of drunks, tramps, and hoboes?...The only pals I had a chance at were the kids in the alley. I had to be tough to string along"; and he spoke his last haunting (and inspiring) words about how his life might have been different if he had a friend at age 12: "One friend when I'm 12 years old - and I don't stand here like this!" - he then ordered everyone (except Flanagan) out of his cell: "Now, go on, get out of here, you bunch of mush-brained saps!"
  • while riding on a train back to Omaha, the revelatory sequence of Flanagan's remembrance of the haunting (and echoing) words of Dan Farrow: "12 years old. One friend. Starving kid. Never had a chance. Reformatory"
  • the scene of Father Flanagan's pitch to skeptical, begrudging newspaper magnate John Hargraves (Jonathan Hale) for funding and support: "I want your help for homeless boys. I want you to let the world know what I'm trying to do" - but was met with opposition: "No, I'm afraid I can't do that....Because I don't believe in what you're trying to do. The very foundation is false. 'No such thing as a bad boy.' That's just a catch phrase, sentimental nonsense. Of course you know you're flying in the face of the very best of public opinion...A whole lot of good people feel just as I do and we're not un-Christian monsters"; Flanagan persuasively continued: "I want a home for them where they can stay and where they can learn. A town for boys governed by boys. It's worth a shot, isn't it?" - Hargraves reluctantly agreed to support Flanagan's sincere and "unselfish" plan - to build a boys home for troubled teens in Omaha, Nebraska, known ultimately as Boys Town
  • the subsequent montage of the building of Boys Town - collection of funds, architectural blueprints, staking of the property, the digging of the foundation and the use of heavy machinery, carpentry, concrete mixing and brick-laying, all culminating in a view of the finished product - FATHER FLANAGAN'S BOYS HOME - a ceremony marked the completion of three buildings (using the boys' labor), a US flag was raised, a band played, and boys cheered and devoured a food table, although there were three mortgages on the property that threatened its survival; benefactor and financier Dave Morris (Henry Hull), Flanagan's business partner, worried about the mounting debt: ("Look at the sweating you've done to raise nickels, dimes, quarters, penny contributions. Now you've got to get dollars, hundreds, thousands!")
Boys Home Building Montage
  • the memorable scene in which Father Flanagan first met with rebellious, cocky, tough-talking wise-guy punk teen Whitey Marsh (Mickey Rooney), the volatile kid brother of convicted murderer Joe Marsh (Edward Norris), who had requested that Flanagan care for him, for $280; Whitey was found playing cards and smoking with his gang of friends; after dismissing the others, Flanagan removed Whitey's feet from the top of the table, knocked the cigarette out of his mouth, pulled him up by the collar and introduced himself: "I'm Father Flanagan. I saw your brother Joe just a little while ago. We had a long talk about you, Whitey. Joe wants you to come with me to Boys Town" - when Whitey refused and mouthed off, Flanagan struck back: "Now, look, Whitey, in a pinch I can be tougher than you are, and I guess maybe this is the pinch. You're coming with me to Boys Town because that's the way your brother wants it. And that's the way I want it" - he then reprimanded Whitey who was faking an arm injury: "Now, why don't you stop acting like a kid, Whitey?"
  • the further scenes of Father Flanagan's discussion with Whitey (involved in a bank robbery), when he refused to give up vital information that might incriminate his father - and also threatened to close Boys Town forever: ("You're shielding someone. Are you going to see these boys turned out into the streets, into the alleys, into reformatories, and worse, lose their home?")

"Eternity begins in 45 minutes, Dan"

"12 years old, One Friend"


Flanagan with Hargraves





Meeting Whitey

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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