Greatest Tearjerkers
Scenes and Movie Moments
of All-Time

Part 1

The Greatest Tearjerkers of All-Time
Movie Title/Year and Brief Tearjerker Scene Description

About Schmidt (2002)

The final scene of widowed and retired 66 year-old actuary Warren Schmidt (Jack Nicholson) in Omaha, Nebraska writing his last (in voice-over) despairing letter to his recently-adopted 6 year-old Childreach foster child Ndugu Umbo in Tanzania: ("But what kind of difference have I made? What in the world is better because of me?...What difference has my life made to anyone? None that I can think of. None at all"), followed by his receipt of a letter, upon returning home from his only daughter Jeannine's (Hope Davis) wedding in Denver, from the African orphanage's Mother Superior, which included the child's drawing of himself holding hands with Warren - resulting in Warren's uncontrollable weeping of tears of joy and vindication.

The Abyss (1989)

The emotionally-raw resuscitation scene in which husband Virgil "Bud" Brigman (Ed Harris) valiantly refused to accept estranged wife Lindsey's (Mary Elizabeth Mastrantonio) death by drowning while trying to revive her: ("Goddamn it, you bitch, you never backed away from anything in your life! Now fight! Fight! Fight! Right now! Do it! FIGHT, GODDAMNED IT! FIGHT! FIGHT! Fiiiiiiiiiiight!") -- and Lindsey's awakening from death.

The Accidental Tourist (1988)

The character of fastidious, withdrawn travel guide writer Macon Leary (William Hurt) who was emotionally numbed by the violent shooting death of his son Ethan (Seth Granger) in a fast-food restaurant robbery - including his subsequent divorce from wife Sarah (Kathleen Turner); his painful flashback in which he identified his son's body with a flat, drained confirmation: "Yes, that is my son"; and the moving scene in which he attempted to break off a dinner date with his wacky dog trainer and single mother Muriel Pritchett (Geena Davis) (who was tending Macon's spunky Corgi named Edward) by a written note - and then when he tried, awkwardly in person, to explain his loss and his reasons for not wanting to get close ("I can't go to dinner with people, I can't. I can't talk to their little boys. You have to stop asking me. I don't want to hurt your feelings, but I'm just not up to this"), and her comforting hug followed by a non-sexual invitation to go upstairs to her bed to sleep - and her response of "I'm bashful" when he asked her to remove her gown next to him; and then later, the tearjerking finale in Paris when Macon (on his way to DeGaulle airport) after breaking up once and for all with Sarah and telling her that he was returning to Muriel ("I tried but I can't make this work...I'm beginning to think it's not just how much you love someone. Maybe what matters is who you are when you're with them"); after he was helped into a taxi by a blonde French-speaking boy (Gregory Gouyer) who strongly resembled Ethan, he spotted Muriel leaving the hotel (whom he'd repeatedly spurned while in Paris) - and the film ended with their mutual shocked reactions (Muriel's delighted and smiling reaction and Macon's teary-eyed look and half-smile) when she saw him in the back seat of the taxi that he had ordered stopped by her.

An Affair to Remember (1957)


After meeting during a cruise and before docking in New York during a blossoming shipboard romance on the Constitution, the scene of engaged, playboyish Nickie Ferrante (Cary Grant) and singer Terry McKay (Deborah Kerr) being together one final time (Nicky: "We'd be fools to let happiness pass us by") and vowing to reunite at the top (102nd floor) of the Empire State Building in six months time on July 1st at 5:00 pm - as Terry added: "Oh yes, that's perfect. It's the nearest thing to heaven we have in New York"; then the scene six months later when Nickie waited at their rendezvous point (a clock chimed 5 times), but Terry didn't appear (she was injured in an awful car accident (off-screen) on a busy NYC street on her way rushing to meet him) and there were ambulances heard blaring at 10 minutes after five; and then in the conclusion of this romantic, tearjerker tale of star-crossed lovers, the revelation scene six months later regarding the devastating, terrible secret of why she couldn't keep her fateful appointment: his accusatory and scolding conversation with her as she was supine on a couch (covered with a shawl from his now-deceased Grandmother Janou (Cathleen Nesbitt)) and his ultimate discovery that she had acquired his painting (visible in the mirror reflection in her bedroom) and kept her accident a secret ("Why didn't you tell me? If it had to happen to one of us, why did it have to be you?") - leading to their tearful reunion, her explanation ("I was looking up - it was the nearest thing to heaven. You were there"), and their kiss in the conclusion of the romantic, tearjerker tale of star-crossed lovers, when she told him: "Don't worry, darling...if you can paint, I can walk. Anything can happen", in director Leo McCarey's romantic melodrama [This film was a remake of the original shipboard romance classic Love Affair (1939) by writer/director Leo McCarey, starring Charles Boyer and Irene Dunne - and was referenced in director Nora Ephron's Sleepless in Seattle (1993), and in Love Affair (1994) with Warren Beatty and Annette Bening.]

Alice Adams (1935)

The scene of Alice Adams (Katharine Hepburn) weeping at her rain-spattered bedroom window after returning home from the dance, after she discovered that her "disappearing" and insensitive brother Walter (Frank Albertson) had been playing dice in the cloak room, dashing her hopes of respectability.

All Dogs Go to Heaven (1989)

The touching, dream-like scene in which the spirit of roguish, criminal German shepherd Charlie B. Barkin (voice of Burt Reynolds), preparing to go to his death (he had been condemned to Hell unless he performed good deeds to earn a place in Heaven), apologized to sleepy young orphan girl Anne-Marie (Judith Barsi): "I'm sorry. I'm so very sorry"; he was being called away by his name "Chaaaaarley" since he was soon to proceed to his fate, but he asked for a few more moments to offer his heartfelt goodbyes to her; he hopped up onto her bed as she awakened, telling her that he going on "a little trip" and asking her to take care of his best friend dachshund Itchy (voice of Dom DeLuise) while he was gone; she told him as she hugged and kissed him: "Oh Charlie, I'll miss you"; he became choked up: "Yeah, well, uh, I'll-I'll miss you too, Squeaker"; she then asked: "Charlie, will I ever see you again?", he replied: "Sure, sure you will, kid. You know goodbyes aren't forever"; she told him: "Then goodbye Charlie. I love you" - with his reply: "Yeah, I love you too" - and then he was called away into heavenly clouds rather than to Hell by a bright blue light - he had earned a place in Heaven because of his self-sacrificial heroic actions (he had saved Anne-Marie's life at the expense of his own: "You gave your life for her") as the angelic Heavenly Whippet Annabelle (voice of gospel singer Melba Moore) beckoned him once again: "Charlie, come home..."

All That Heaven Allows (1955)

The scene in which fortyish widow Cary Scott (Jane Wyman), after suspending her love affair with her handsome gardener Ron Kirby (Rock Hudson), was presented with a brand new TV set (adorned with red ribbons) as a Christmas present to keep her company - she saw her reflection on the screen as the unctuous salesman told her: ("All you have to do is turn that dial and you have all the company you want right there on the screen - drama, comedy, life's parade at your fingertips...")

Allegro non Troppo (1977, It.)

The heart-rending and nostalgic segment called Feline Fantasies -- of a lonely, emaciated kitty-cat exploring the decaying, abandoned and crumbling tenement of its former owner, now surrounded by modern structures; the cat remembered when the house was full of life and people, and the various pleasures it experienced, such as clawing at a bird cage, roaming through a colorful kitchen full of the smells of cooking food, and how it lounged on a cushy armchair -- to the soundtrack of Jean Sibelius' mournful Valse Triste (The Sad Waltz); at the film's climax, the cat realized that its dreams of happiness would never again be realized; in the final scene, a wrecking ball demolished what was left of the former house

Always (1989)

The scene of Dorinda Durston (Holly Hunter) fearing that her lover, forest fire-fighting pilot Peter Sandrich (Richard Dreyfuss), would die from his risky occupation ("I love you, Pete, but I'm not enjoying it. Every time you take off, every time you leave the ground, I wait for the phone to ring. I go to bed sick and I get up scared. I don't - I don't like being sick inside all the time. Do you think I like being afraid that you're never gonna come back?"), followed shortly after by his explosive and tragic death when he had just heroically saved the life of his best friend Al Yackey (John Goodman), who prematurely exclaimed: "Oh, that lucky son-of-a-bitch!"; the many scenes of the ghost of Peter and his unrequited love for his still-living lover Dorinda, including the scene in which he agonized over watching her dance and kiss Ted Baker (Brad Johnson), crying out to angel Hap (Audrey Hepburn): "Oh, Hap! Take me out of here!"; this was followed by the famous scene in which she was dressed in the white, skin-tight "girls" clothes he had bought her for her birthday, when he whispered a request: "Can I have this dance?", and they danced around her living room to the tune of their favorite song - "Smoke Gets In Your Eyes" - his ghost accompanied her in perfect synchronization without her knowing; and Peter's tearful statement to Hap: "I'm not ready to say good-bye"; also the scene of Pete's final farewell to Dorinda: ("..I love you, Dorinda. I love you. I should have told you that a long time ago. Any jokes, I should have said the words, because I know now, that the love we hold back is the only pain that follows us here. And the memory of that love shouldn't make you unhappy for the rest of your life. I hope you can hear me, because I know this is true, from the bottom of my heart, how good your life is, how good it will be") and his "release" of her after her plane crashed in water: ("Here's the rest of your life, Dorinda. I want you to go to them. I'm releasing you. I'm moving out of your heart. Go on. Go on..."), in Stephen Spielberg's romantic fantasy - a remake of the WWII-era romantic drama A Guy Named Joe (1943).

Amelia (2009)

The scene of the last conversation, by radio from New Guinea, between publisher-promoter husband David Putnam (Richard Gere) and his pioneering aviatrix, plucky wife Amelia Earhart (Hilary Swank) in director Mira Nair's biopic, just before the last leg of her attempted flight to circumnavigate the globe in early July, 1937. With cropped hair and freckled skin, she promised him: "I'll be in Honolulu on the 3rd and with you in Oakland on the Fourth of July, okay?" He replied: "Don't keep me waiting." She responded: "I won't dare." Putnam had a premonition of disaster, worried that her recovering-alcoholic navigator Fred Noonan (Christopher Eccleston) wasn't up to the task: "So what's that I hear in your voice? Is he drinking?" She assured him: "I can handle it." He sighed and ordered: "Call it off. Call it off now. Right now, Amelia. I mean it. Right now." She softly repeated: "I can handle it." He then said: "After the Fourth, we're going home." She smiled and asked: "Where is that?" Putnam responded: "For me, anywhere you are." Amelia put her hand to her mouth and tears welled up in he eyes, and then composed herself: "I'm going to like it there. I'd better since this is going to be my last flight." He softly responded: "If you insist." She ended the call with: "I love you. Should I let you go now?" He whispered back: "No, never. I'll go tell the world you're on your way." She added: "See you - my darling." He answered: "See you, my love." After Amelia's plane disappeared without a trace on its flight to Howland Island in the Pacific, Putnam sat and watched rough waves from a rocky shore, and gazed up into the cloudy sky, as Amelia spoke in voice-over, and vintage photographs were displayed: "All the things I never said for so very long, look up, they're in my eyes. Everyone has oceans to fly. As long as you have the heart to do it. Is it reckless? Maybe. But what do dreams know of boundaries? I think about the hands I have held, the places I've seen, the vast lands whose dirt is caked on the bottom of my shoes. The world has changed me." No evidence of their Electra airplane was ever found, even after a massive rescue mission.

Animals Are Beautiful People (1974) (aka Beautiful People)

The depressing scene in which a lake bed in the Southwest African Namib Desert dried up under the scorching African desert sun, forcing pelicans to abandon their chicks, who then began a fruitless 'death march' and died off one-by-one, in James Uys' successful, anthropomorphic nature documentary.

Annie Hall (1977)

In the film's conclusion, Alvy Singer's (Woody Allen) wistful, resigned realization that his relationship with ex-girlfriend Annie Hall (Diane Keaton) would remain just a good friendship, but also that she would hold a special place in his heart, punctuated with a nostalgic montage of their romance as Annie sang "Seems Like Old Times."

Greatest Film Tearjerkers, Moments and Scenes
(alphabetical by film title)
Intro | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20
Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29 | Part 30

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