Greatest Film Scenes
and Moments



C (continued)
Title Screen
Movie Title/Year and Scene Descriptions

Casablanca (1942)

In Michael Curtiz' definitive and popular Best Picture-winning classic war-time romantic drama with many memorable sequences:

  • the first view of Rick Blaine (Humphrey Bogart) in his Cafe Americain nightclub playing chess by himself
  • the unexpected entrance of former love Ilsa (Ingrid Bergman) with her vulnerable beauty and her request of piano player Sam (Dooley Wilson) to once again play "As Time Goes By" - ("Play it once, Sam, for old times' sake...Play it, Sam. Play 'As Time Goes By.'...I'll hum it for you. Sing it, Sam")
  • Sam's rendition of the song and Rick's strident interruption and first glance at Ilsa: ("You must remember this A kiss is just a kiss A sigh is just a sigh The fundamental things apply As Time Goes By. And when two lovers woo They still say, 'I love you' On that you can rely No matter what the future brings As Time Goes By")
  • the images of Rick's masculine mannerisms and the self-pitying scene later that evening of Rick alone with a cigarette and a bottle asking Sam to play a repeat performance of "As Time Goes By": ("You played it for her, you can play it for me... If she can stand it, I can. Play it!")
  • the flashbacks to bittersweet memories of Paris: ("Not an easy day to forget.... I remember every detail. The Germans wore grey. You wore blue"), and their embrace at the window as the Germans approached: ("With the whole world crumbling we pick this time to fall in love....Was that cannon fire or is it my heart pounding?...I love you so much. And I hate this war so much. Oh, it's a crazy world. Anything can happen. If you shouldn't get away, I mean, if something should keep us apart, wherever they put you and wherever I'll be, I want you to know that...Kiss me. Kiss me as if it were the last time")
  • the ink of Ilsa's goodbye note being washed away in the rain - and then a return to the present, and Ilsa's unexpected appearance in the doorway in a shaft of light
  • Rick's nodding to the band leader to permit the playing of "The Marseillaise" - the French national anthem - and the memorable duel of national anthems with the crowd joining in to sing and drown out the Germans' anthem "Wacht am Rhein" - and Yvonne's (Madeleine LeBeau) proud reaction with tears in her eyes
  • the scene in which Ilsa spoke to Rick about the letters of transit - holding a gun on him: ("You want to feel sorry for yourself, don't you? With so much at stake, all you can think of is your own feeling. One woman has hurt you and you take your revenge on the rest of the world. You're a, you're a coward and a weakling. No. Oh Richard, I'm sorry. I'm sorry, but, but you, you are our last hope. If you don't help us, Victor Laszlo will die in Casablanca"), and then realized she couldn't shoot Rick, and they moved together to embrace: ("Richard, I tried to stay away. I thought I would never see you again, that you were out of my life. The day you left Paris, if you knew what I went through. If you knew how much I loved you, how much I still love you"); soon after, she confessed: ("I can't fight it anymore. I ran away from you once. I can't do it again. Oh, I don't know what's right any longer. You have to think for both of us. For all of us")
  • corrupt police chief Capt. Louis Renault's (Claude Rains) acceptance of his gambling winnings AFTER closing down the cafe, and his sarcastic exclamation: ("I'm shocked, shocked to find that gambling is going on in here")
  • the final farewell scene between trench-coated Rick and Ilsa on the rainy, foggy airstrip in North Africa with "Here's lookin' at you, kid" and Rick's noble sacrifice to give up the love of his life, and let Ilsa leave with her freedom-fighter husband Victor (Paul Henreid) at the airstrip on an airplane bound for Lisbon: ("If that plane leaves the ground and you're not with him, you'll regret it...Maybe not today, and maybe not tomorrow, but soon, and for the rest of your life...We'll always have Paris. We didn't have - we'd - we'd lost it until you came to Casablanca. We got it back last night...I've got a job to do too. Where I'm going, you can't follow. What I've got to do, you can't be any part of...Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now. Here's looking at you, kid")
Airport Farewell
  • Renault's two pronouncements to protect Rick from being blamed for the shooting murder of Major Strasser (Conrad Veidt): "Major Strasser has been shot," and his tense pause before ordering: "Round up the usual suspects", and his anti-Nazi, pro-Allied gesture in tossing a bottle of Vichy water into the trash
  • the camaraderie of Renault and Rick, and Rick's closing line to him: "Louis, I think this is the beginning of a beautiful friendship" as the two walked off the foggy tarmac to an uncertain and unknown future

Rick Blaine - Solitary Chess Game in Cafe

Entrance of Ilsa

Rick Drinking Alone

Memories of Paris

Rainy Goodbye Note

Demanding the Letters of Transit

Rick: "Louis, I think this is the beginning of a beautiful friendship"

Casino (1995)

In Martin Scorsese's mob film based on Nicholas Pileggi's non-fiction novel:

  • the opening pre-Saul Bass' credits sequence (his last work before he passed away) in which Jewish gambler Sam 'Ace' Rothstein (Robert De Niro) walked out of a casino and entered his parked car - and the slow-motion car explosion to Johann Sebastian Bach's Passion According to St. Matthew
  • the smooth sequence showing how everyone was watching everyone else: ("In Vegas, everybody's got to watch everybody else") in the casino from the players to the dealers, to the boxmen, to the floormen, to the pit bosses, to the shift bosses, to the casino manager, to the security camera ("the eye in the sky")
  • the introduction of sexy prostitute/hustler Ginger McKenna (Sharon Stone) at a roulette table and Ace's first look at her by spying through the security camera
  • the quiet, faithful hang-dog character of Ace's right-hand man Billy Sherbert (Don Rickles in a serious role)
  • the scene of violent mob enforcer "Nicky" Santoro (Joe Pesci) verbally threatening, intimidating, and denouncing banker Charlie Clark (Richard Riehle) - demanding to get his money back: "I think that you've gotten the wrong impression about me. I think in all fairness, I should explain to you exactly what it is that I do. For instance, tomorrow morning, I'll get up nice and early, take a walk down over to the bank, walk in and see and uh, if you don't have my money for me, I'll crack your f--kin' head wide-open in front of everybody in the bank. And just about the time that I'm comin' out of jail, hopefully, you'll be comin' out of your coma. And guess what? I'll split your f--kin' head open again. 'Cause I'm f--kin' stupid. I don't give a f--k about jail. That's my business. That's what I do. And we know what you do, don't we, Charlie? You f--k people out of money and get away with it."
  • the disintegrating relationship between Ace and violent mob hit-man/enforcer "Nicky" Santoro (Joe Pesci) including their tense desert scene: ("Normally, my prospects of comin' back alive from a meeting with Nicky were ninety-nine out of a hundred. But this time, when I heard him say, 'A couple a hundred yards down the road', I gave myself fifty-fifty")
Violent Sequences
Murder of Nicky and Brother Dominick
  • the film's four very memorable violent sequences:
    - the scene in which a scam artist running a blackjack racket was tortured
    - the eye-popping scene in which the head of rival mob tough Tony Dogs (Carl Ciarfalio) was crushed in a vise during torture
    - the scene of Nicky and his brother Dominick (Philip Suriano) beaten up with metal baseball bats and then buried alive by Frank Marino (Frank Vincent)
    - and the rub-outs to silence potential witnesses (when the mob leaders were arraigned) including the loyal Andy Stone (Alan King, also in a serious role)
  • also, Ace and Ginger's disintegrating marriage, especially when a jealous Ace had her pimp ex-boyfriend Lester Diamond (James Woods) beaten up
  • Ace's final eulogy for Las Vegas casino life: ("The town will never be the same...Today, it looks like Disneyland")

Slow-Motion Explosion During Title Credits

First Look at Ginger
(Sharon Stone)

"Nicky" Intimidating Banker

Ace's Eulogy for Las Vegas

Cat On A Hot Tin Roof (1958)

In Richard Brooks' powerful drama adapted from Tennessee Williams' Pulitzer Prize-winning play:

  • the frequent image of a sexually-frustrated and sensual Maggie "the Cat" (Elizabeth Taylor), usually in a slinky slip or white dress - fighting with presumed homosexual husband Brick (Paul Newman), an alcoholic ex-football player, when she described her obsessed, passionate feelings for a husband who wouldn't bed her or touch her: ("You know what I feel like? I feel all the time like a cat on a hot tin roof...Just stayin' on it, I guess. As long as she can") - he urged her: ("Then jump off the roof, Maggie, jump off it. Now cats jump off roofs and they land uninjured. Do it. Jump")
  • on his occasion of his 65th birthday, Big Daddy's (Burl Ives) confessional speech about "mendacity" to his drinking son Brick: ("Mendacity. What do you know about mendacity? I could write a book on it...Mendacity. Look at all the lies that I got to put up with. Pretenses. Hypocrisy. Pretendin' like I care for Big Mama, I haven't been able to stand that woman in forty years. Church! It bores me. But I go. And all those swindlin' lodges and social clubs and money-grabbin' auxiliaries. It's-it's got me on the number one sucker list. Boy, I've lived with mendacity. Now why can't you live with it? You've got to live with it. There's nothin' to live with but mendacity. Is there?")
  • the confrontational scene in the cellar and in the rain when Brick revealed to his "Big Daddy" that his father's medical reports were falsified and that he would be dying soon: ("Lies like birthday congratulations and many happy returns of the day when there won't be any..."); Brick's father then accused his son of being an irresponsible, immature thirty-year old man; Brick admitted his own self-disgust and self-deception, and that he was drunkenly drowning in self-pity regarding the suicidal death of his best friend and teammate Skipper
  • the final revelation that Maggie was pregnant with Brick's child: "I have Brick's child in my body. And that is my present to you", and her subsequent reconciliation with Brick - Brick commanded her to join him in the bedroom, and she thanked him: "Thank you for keepin' still, for backin' me up in my lie." Brick told her that they would make the lie come true: "Maggie, we are through with lies and liars in this house. Lock the door!"; the film faded out on their embrace and kiss as the entered their bedroom to make love - he tossed his pillow from the couch onto their bed - the one that they would now share

Maggie and Brick

"Mendacity" Speech

Confrontational Scene in the Pouring Rain

Final Reconciliation Between Brick and Maggie

Cat People (1942)

In Jacques Tourneur's low-budget supernatural thriller:

  • the kitten-faced young bride and Balkan artist Irena Dubrovna (Simone Simon) who was haunted by her inner demons, and when incensed could become a deadly black panther - in one scene, clawed the sofa with her nails
  • the two frightening, jealousy-caused, feline stalkings of rival female Alice Moore (Jane Randolph) for her architect husband's (Kent Smith) attention:
Two Feline Stalkings

(1) - Alice's spooky night walk on a Central Park path who sensed she was being followed; as she departed from the park there was an unexpected hissing sound and shape - causing audiences to jump in fright (a bus pulled abruptly into the screen, accentuating the tense and suspenseful scene with the hissing and squealing of its air-brakes)
(2) - a second similar scene in a YWCA indoor swimming pool when Irena terrorized Alice - accompanied by growls and shadows of a black panther

  • the film's aftermath including the fate of psychiatrist Dr. Louis Judd (Tom Conway) after kissing Irena

Irena Dubrovna
(Simone Simon)

Clawed Sofa

Catch-22 (1970)

In Mike Nichols' war comedy - a screen adaptation of Joseph Heller's 1961 satirical first novel about the absurdity of war, with numerous flashbacks and dream sequences:

  • WWII bombing mission bombardier Captain Yossarian (Alan Arkin) at a US Air Force base on the Mediterranean island of Pianosa, and his desperate claim that he was "insane" in order to be removed from combat, and his many absurd attempts to convince others that he was indeed crazy; however, he was trapped by Catch-22, explained by Dr. 'Doc' Daneeka (Jack Gilford) to Yossarian: (Doc: "Catch-22. Anyone who wants to get out of combat isn't really crazy, so I can't ground him." Yossarian: "OK, let me see if I've got this straight. In order to be grounded, I've got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I'm not crazy anymore, and I have to keep flying." Doc: "You've got it. That's Catch-22")
  • the egg scene, in which Col. Cathcart completely ignored a distressed airplane that landed and caught on fire, while listening to an inane, elaborate money-making black market scheme suggested by First Lt. Milo Minderbinder (Jon Voight) to sell fresh chicken eggs from Malta for a profit
  • the hallucinatory dream sequence of Nurse Duckett (Paula Prentiss) who climbed on a floating raft, called and waved to Yossarian: ("Over here, hurry up!"), and then removed her white gown to reveal full-frontal nudity, and tossed the garment into the water toward Yossarian who was struggling to swim to her, and as he grabbed the white garment, he awoke in a hospital bed
  • the absurd hospital scene, witnessed by Yossarian, in which two nurses, one of whom was Nurse Duckett, swapped the IV and urine bottles on a man in a full body cast, while distractedly speaking about cooking: ("It takes me 45 minutes to do this thing. First I sauté the chicken parts, then I put the raisins and the onions in") - and then left the room giggling
  • the milestone scene - the first US film to depict an individual (Martin Balsam as blustering Col. Cathcart) defecating on a toilet seat, and then unwinding a long piece of toilet tissue while nonchalantly talking to earnest Chaplain Capt. A.T. Tappman (Anthony Perkins) - reminiscent of President LBJ during the Vietnam War
  • during a medal presentation ceremony for bravery, Yossarian stood naked ("out of uniform") (because "a man was killed in his plane over Avignon last week and bled all over him" and all of his clothes and underwear were still in the laundry), when Brig. Gen. Dreedle (Orson Welles) reprimanded Yossarian's commanders: "What the hell do I care? If he wants to receive a medal without any clothes on, what the hell business is it of yours?" and then told Yossarian: "Here's your medal, Captain. You're a very weird person, Yossarian"
Medal Presentation - Nakedness
  • the final scene - Yossarian's escape from insanity and madness ("I can do it") - and the military base - by jumping out of a hospital window (after being stabbed in the back by an unknown assailant), running crazily and then furiously paddling away in an inflated yellow raft toward Sweden, as his buddies Maj. Danby (Richard Benjamin) and the Chaplain yelled back: "They'll catch you, they'll bring you back!", "This is insane," "You'll be on the run with no friends! You'll live in constant danger of betrayal!" and "You'll have to keep on your toes every minute"

"That's Catch-22"

Plane Crash Scene

Dream Sequence

Hospital Scene

Toilet Scene

"This is insane"

Yossarian's Escape

The Ceremony (1971, Jp.) (aka Gashiki)

In co-writer/director Nagisa Oshima's non-linear, satirical and serious coming-of-age drama (with a series of flashbacks) - using pivotal but empty ritualistic anniversaries and ceremonies (not just one) as key family moments ("Relatives who do not see each other except on weddings or funerals") - and as significant years in the 25 year post-war history of Japan:

  • the story's main narrative: a family obligation involving the long trip of the main protagonist Masuo Sakurada (Kenzo Kawarasaki) (literally "Man of Manchuria") and his beloved cousin Ritsuko (Atsuko Kaku) to an island off Kyushu, after receiving a cryptic telegram from a mutual cousin and Masuo's romantic rival, Terumichi (Atsuo Nakamura) - had he died or not?
  • the recurrent image of Masuo - as a young boy - ritualistically straining to hear his younger dead brother's cries from under the ground, as he held his ear to the earth - henceforth, Masuo was compelled to live for two sons
  • the incestual love scene between 20 year old Masuo to Ritsuko's mother Setsuko (Akiko Koyama), his "first love," who helped him lose his virginity and taught him about sex (it was part of Masuo's 'lesson' allowed by his domineering, black-robed grandfather Kazuomi (Satô Kei)); when Masuo asked Setsuko to instruct him: "Be my first teacher," she placed his hand on her breast and told him to kiss her: "My lips, my breast too. Now the other one. No, don't hurry, stay calm" before the camera slowly pulled away
Masuo's Sexual Initiation by Setsuko:
"Be my first teacher"
  • the title's unforgettable wedding ceremony of the oppressive, incestual and dysfunctional Japanese Sakurada clan, when Masuo - to keep up the traditions of his family and to save face (and at the insistence of his grandfather Kazuomi because he was the only legitimate Sakurada heir or descendant) attended his own arranged wedding without his bride present; Kazuomi announced: "The ceremony will take place as planned" since all important members of the families were present - except the bride!; the farcical and "miserable" ceremony was held after the father of the bride allegedly claimed that she was suffering from recurring problems of appendicitis, although it was asked of him: "Isn't the bride just shirking?"; during the hypocritical ceremony, Masuo posed next to a vacant chair and also at the head table
The Wedding Ceremony - Without the Bride
  • the mocking post-wedding sequence of Masuo's re-enactment of his honeymoon, when he pretended to deflower his pure Japanese bride ("a perfect and pure Japanese girl") by using a pillow wrapped in his grandmother's coat and caressing her, telling her: "Calm, peaceful, without fear. Be natural and let me do it...Real, perfect and purely Japanese, her breasts, her beautiful nipples, they are mine...Finally we are alone, just to two of us. There's nothing to be ashamed of. I love you. Relax your legs...Pure and perfect Japanese. my body is yours and your body is mine"; when his grandfather strenuously objected, Masuo wrestled him and tossed him to the ground and continued his seduction on him until the old man freed himself and stormed out
  • the concluding sequence on Kyushu - where Masuo and his cousin Ritsuko found the naked deceased corpse of her deceased cousin and lover Terumichi; she read his last will: "I am the only one who can continue the Sakurada line. By killing myself now, I destroy the Sakurada family"; although Masuo protested and called her a "Fool!", she vowed to commit suicide; she bound her legs and wrists with two handkerchiefs, took a deadly pill, and laid down next to Terumichi; Masuo stumbled from the cabin to the seaside, fell on the rocky shore, and wept
  • the final flashback - Masuo recalled a childhood memory - he pretended that he had thrown a baseball strike while playing with his cousins and Setsuko - all deceased
  • the film ended with the adult Masuo putting his ear to the ground as he had done as a youth, to listen for his dead ancestors

Ritsuko and Masuo

Masuo as Young Boy

The Mock Post-Wedding Honeymoon

Double Suicide of Ritsuko and Terumichi


Listening for Dead Ancestors

César and Rosalie (1972, Fr./It./W.Germ.) (aka César et Rosalie)

In director Claude Sautet's sophisticated romantic drama about a difficult and confused love triangle, and a bromance:

  • the three main characters: (1) lovely, vivacious divorcée and single mother Rosalie (Romy Schneider) from ex-husband Antoine (Umberto Orsini), (2) jealous and impulsive working-class, cigar-smoking, macho scrap-metal merchant César (Yves Montand), and (3) shy, quiet comic-strip graphic artist David (Sami Frey), Rosalie's ex-boyfriend/lover from five years earlier - he immediately became a threat to Cesar, who was keeping Rosalie as his unofficial 'girl Friday' and mistress!
  • the sequence of Cesar's conniving trick to lure the vascillating Rosalie to himself and thereby drive David off - in a cafe over coffee, he told David that Rosalie was pregnant and that marriage between them was imminent: "This woman has found her way. And along the way, of course, are men, money, life. Anyway, we're getting married...Any day now, as soon as the papers are ready...Maybe she didn't tell you, but she's pregnant. So I'm telling you. To each his own...See, I sacrificed everything for her, everything. I have no regrets. I've stopped at nothing. At nothing. I even killed a guy. A stupid move. You don't want the story of my life...I'm glad we talked. I do hate hypocrisy"
Cesar's Restaurant Lie to David about Rosalie's Pregnancy
  • slightly later, David spoke to Rosalie and asked her to confirm what David had claimed: "So you're getting married? And you're pregnant?" - she was incredulous: "What? Who invented that story? Who told you that? Cesar? When? This morning?" - angered by his deception, she wrote Cesar a note: "You're really too stupid. I'm going back with David. Don't 'kill' too many guys for me"
  • the violent scene when the obsessive Cesar caught up with Rosalie and confronted her as she was packing to leave for David's place: ("I'm going to David's. It won't be as bad"); he had a jealous outburst but she shouted back and asserted her independence: "I don't belong to you. You didn't buy me. You have no rights to me. No one does. No one!" - he responded by grabbing her, shouting: "You're staying here!", and then threateningly flicked open a knife; when she ordered him to put it away, he flung it into the front of a wood dresser: ("I scared you. Go on. Get the hell out! Out!"); after she fled, he tossed her packed belongings out a window onto the street, and angrily drove to David's place and attacked him; as David escaped in his car, a voice-over narrator (Michel Piccoli) spoke: "He was crazy. He said he was armed, ready to kill everybody. I took off and left him"; afterwards, Cesar vandalized David's art studio
  • a period of peaceful reconciliation followed, when Cesar bought Rosalie her family's old summer-holiday home on the island of Noirmoutier in the Atlantic, and she agreed to move there with him - but later after Rosalie fell into a deep depression, Cesar described her condition to David in his art studio: "Nothing's OK, nothing at all. You know, she's there and she isn't there. She does what she can, but not what she wants. She's down...Now her laugh is empty. She goes out in the rain, anything. Worst, she doesn't ask for things. It's like in a wax museum...and it's driving me crazy"; he explained why he was telling David about Rosalie's melancholy - and implored David to join them: "So you'll come. I've no choice...I'm afraid she'll leave...I can't give her up...I said to myself, 'Maybe David could...'...So you don't want to come?" - they fought again when David refused, but shortly later without much explanation, David changed his mind
  • the perversely-ambiguous, unsatisfactory ending (with a concluding freeze-frame), after romantic rivals Cesar and David had become close friends and Rosalie had run away from both of them - but then she returned and emerged from a taxi behind a gate as they were enjoying lunch together at a nearby open window - who had she come for, and why?
The Ambiguous Ending

David and Cesar

Rosalie With Cesar

David's Question to Rosalie About Her Alleged Pregnancy

Rosalie to Cesar: "You have no rights to me!"

Cesar Flicked Open a Knife to Threaten Rosalie

Rosalie's Melancholy on Island with Cesar

Cesar's Request for David to Join Them

Threesome Together

The Champ (1931)

In King Vidor's emotional father-son tearjerker with the two major tear-inducing scenes:

  • the jail scene in which drunken and incarcerated Andy 'Champ' Purcell (Oscar-winning Wallace Berry) reluctantly disowned his young, adoring and devoted son Dink (Jackie Cooper) to send him away to live with his mother ("I'm tired of feeding you, let her feed you for awhile. I don't like ya anymore, you're hanging around to every place that I go, and I don't like it, that's all") as the bawling boy begged: "I wanna stay with you"
  • the climactic scene after a boxing bout in which the down-and-out ex-heavyweight boxing 'Champ' won the match, but died with Dink by his side in the locker room as he implored: "Keep your chin up, don't cry, come on, give your old man a smile, keep it..."

Jail Scene

Dink by Champ's Side at Death

Champion (1949)

In director Mark Robson's (and producer Stanley Kramer) archetypal, film-noirish sports film, one of the best films about boxing and prize fighting, and a cautionary tale about its main protagonist:

  • the character of brutal, arrogant, deceptive and savage prizefighter Michael 'Midge' Kelly (Oscar-nominated Kirk Douglas), and the intense scenes of his training (a pre-Rocky sequence) and boxing matches
  • Midge's affair and break-up with cheating, gold-digging, tough blonde Gracie Diamond (Marilyn Maxwell), boxer Johnny Dunne's (John Daheim) opportunistic girlfriend, who was demanding that they get married - and his blunt admission: ("You got as much chance of marrying me tomorrow as today. And that's no chance at all because, uh, guess what, I'm already married...I ain't kiddin'. I'm not kiddin' ya."); she retaliated: "You've been takin' me for a sucker all this time" but then begged to be with him: "You're not gonna shake me now" although he immediately dumped her: ("You'd better promote yourself another meal ticket...Why don't you call up Johnny Dunne?") and he physically threatened her to not make a stink: ("Oh no, you're gonna be a good little girl, 'cause if you aren't, I'll put ya in the hospital for a long, long time")
  • the night before the climactic boxing match ending, the scene of Midge's conjugal rape of his estranged, abandoned and wary wife Emma Bryce (Ruth Roman) when he pushed himself on her and dared her to kiss him: ("You always take off every time I come near ya....You still hate me, don't ya?...You're afraid of me...Then kiss me goodbye!...Afraid?"); after they kissed, he noted: ("It's still there, isn't it?...You're my wife") and the screen went to black
  • the brutal confrontation in the locker room before the final fight when Midge's brother Connie Kelly (Arthur Kennedy), who was dating Emma, accused Midge of being cold-blooded and taking advantage of Emma: "You're no different. You're only worse. Your blood has turned cold...My number finally came up too, didn't it? And Emma, once wasn't enough for ya. You couldn't let her live and be happy, could ya? Why did you do it!? Because you were bored? Your chance to prove to yourself that you were really the champion? Ya stink! Ya stink from corruption. You're worse than a murderer. You're a grave-robber!"
  • the concluding and exciting 12-round boxing fight between perennial challenger Johnny Dunne and Midge - who was punished and refused to quit after 11 rounds and won a knock-out in the final round with "raw courage" and a surge of angry energy after eyeing the jeering crowd (and hearing a ringside announcer's assessment of the end of his career: "I think it's all over. Kelly's through, he's all through. He's totally washed up, he's finished. We're getting a new champion tonight!")
  • Midge's triumphant glory speech to himself and trainer Tommy Haley (Paul Stewart) in the locker room following his ferocious victory: ("Did you hear that crowd? For the first time in my life, people cheering for me. Were you deaf? Did ya hear 'em? We're not hitchhiking any more. We're riding!")
  • Midge's collapse and expiration in the locker room of a cerebral hemorrhage- and an announcement of the diagnosis: ("He's dead. Brain hemorrhage")
  • Connie's back-handed, complimentary eulogy for Midge, delivered to a reporter as Emma stood next to him (the two were now free to marry after seeking a divorce in Reno): "You want a statement from me, huh? All right. I'll give ya a statement. He was a champion. He went out like a champion. He was a credit to the fight game, to the very end" - the film's final line of dialogue

'Midge' Kelly
(Kirk Douglas)

Gracie Diamond
(Marilyn Maxwell)

Emma Bryce
(Ruth Roman)

Connie Kelly (Arthur Kennedy) to Midge: "Ya stink!"

Connie's Eulogy to Midge: "He was a champion"

The Chapman Report (1962)

In George Cukor's trashy romantic melodrama and campy soap-opera, based upon Irving Wallace's best-selling novel - and inspired by the infamous Kinsey Report sex survey, with the tagline: "The personal story behind a sex survey...":

  • one of the film's posters described in detail the four female protagonists - surburban Los Angeles women, all involved in a survey-study on intimate sexual behavior:
    (1) MRS. KATHLEEN BALLARD/BARCLAY (Jane Fonda), 26, widowed, sense of dignity and poise. War-hero husband. Perfect marriage, she says. Obviously lying. Case History #9436J.
    (2) MRS. NAOMI SHIELDS (Claire Bloom), 29, divorced, compulsive self-hate for extra-marital relationships. Needs help. Case History #8327R.
    (3) MRS. SARA GARNELL (Shelley Winters), 34, married twelve years, devoted wife and mother of two. Admits there is another man. Case History #3721B.
    (4) MRS. TERESA HARNISH (Glynis Johns), very intellectual and very romantic. Thinks of her marriage as modern and enlightened. Case History #4791M.
  • the problems of the four upper middle-class females included emotional and sexual frigidity, suicidal depression, nymphomania, alcoholism, and promiscuous adultery
  • the interview-researchers: Dr. Chapman (Andrew Duggan) and research assistant Paul Radford (Efrem Zimbalist, Jr.)
  • the flashbacked scene of hopelessly-'frigid' Kathleen who had experienced serious marital issues with her frustrated ex-husband Boy Barclay (John Baer): "I've been patient, two years patient, two long cold years!...You've got to face the facts" - he called her "a woman of ice, that's you!...that's what's known as being frigid. You Kathleen, were born a frigid woman. There's nothing you can do about it"; she backed away after he left and kept asserting: "No, I'm not, oh, I'm not, I'm not, I'm not, you're wrong, I'm not!"
  • the non-face-to-face interview scene of Paul Radford asking background questions about father-fixated, widowed Kathleen's adolescence - she was partially hidden behind a screen: ("Did you engage in heavy petting?...Casual petting?...Kissing?... Then in your teens, you generally resisted the physical advances of young men?); she became more and more agitated when asked about her physical relationship with her ex-husband Boy, who died two years earlier: ("Did you enjoy the physical relationship with your husband?" - she answered: "Very much. (pause) Isn't that normal? I'm no different than anybody else. Why do you have to put so much emphasis on physical love? I-I mean, why, why do have to keep asking all these sickening details? Can't you just ask me about love? I'm trying! I can't! I can't!") - and she prematurely excused herself from the interview room
  • the bedroom scene of divorced and lonely Naomi, in a sheer full-length black nightgown, seductively propositioning the handsome water delivery man, Bob Jensen (Chad Everett), after he asked: "You live here alone?" - but he was scared off after a few kisses when she begged: "Leave me alone, go away. Please go away!"
  • the convincing scene of Naomi sexually approached by her womanizing, sleazy, jazz-musician neighbor Wash Dillon (Corey Allen) when she invited him into her place after he gave her misdelivered mail - and then later, she was gang-raped by his drunken friends during a party (mostly seen off-screen); with a torn dress and bruised and bloody body, she was left outside her house (where she was found the next morning by Kathleen); after being brought inside her house, Naomi demanded a "scalding hot" bath to wash everything away, and took a swig of alcohol
Naomi's Seductions and Gang Rape
  • the troubled, unstable and testy Naomi's interview scenes with Radford, when she was behind a privacy screen and asserted: "I like your voice. How old are you?...Nobody ever touched me unless I wanted them to. I did it for love. I did it because I wanted to...This screen is a nuisance. I like to face the man I'm talking to" - she walked around the screen to look at her interviewer and speak directly ("With your experience in this kind of work, can you tell by just looking at me? Can you tell what a woman's like by just looking at her?...I mean about what you call I suppose, her 'appetite'...Well, look at me, it must show") - and then kept moving back and forth, as she admitted her desperate and obsessive nymphomania, promiscuity, and profound unhappiness for many years: ("I really wanted him (her husband) but I wanted everyone else too...Anyway, I wasn't very happy. Maybe I never will be, I don't know. You were right just now. Don't go giving me any cheap advice about seeing a psychiatrist..the thing I learned is that analysis is no substitute for guts... a woman - you don't know what it's like to need love and not to have it, at least not to have what you need") - later that night, she returned home, and in her bedroom suicidally overdosed on gin and pills
  • the beach scene of arts-oriented, Teresa's first flirtatious encounter with skimpy swim-suited, football-playing beach bum Ed Kraski (Ty Hardin) (she was mostly impressed by his physique: "What a magnificent animal!...Well, look at him showing off his muscles....Look at those long legs. I wonder what sort of girl goes out with him....I suspect one of those cover girls you see riding on the surfboards...You know, he could be quite attractive....He's the kind of man who needs, who needs a woman to help him, a woman who's better than he is, a woman with taste, a woman who's aware of the beauty - not me, but somebody like me"); so impressed with his perfect body, she made a proposition to him (while riding with him in a carnival monorail-bubble-car) to pose as her model, to be paid $20 for each session: ("I must capture that on canvas...paint...I hope you consent")
  • the hilarious posing scene the next evening in his place - she described her desire to replicate the classical Greek statue of Myron the discus thrower with his positioning: "Inspired by your body, I feel that I can surpass Myron the Greek. Assume the position...You know, the discus throwers were in the nude, like all the Greek Olympians, and that's how I'd like you to pose... In the classical tradition, now if you'll get disrobed, I'll be getting ready" - she claimed he was shy because of "false modesty" - and stated: "After all, this is for art!"; he only stripped down to his tight underwear, and then she openly admitted her sexual desires for him: ("The first time I saw you, I fought the feeling inside of me. I knew that I was enamoured of you, foolishly so. And women in love are foolish. And now, I just want your love. Do you want to kiss me yet? (pause) Kiss me, Eddie! You might enjoy it" - she was soon overwhelmed by his aggressive behavior and kisses ("I can't breathe, Ed!") and was forced to fight him off ("Things like this should take time. You can't just toss me about like a football"); she rejected his advances and rushed off with disheveled clothes, as he yelled after her: "You can paint me any time of the week. Hey, I don't even know your name!"
  • the inappropriate (and unethical) romantic relationship slowly established between Kathleen and Radford; ultimately by film's end, Radford proposed to Kathleen and she accepted, but still thought of herself as 'frigid' and undeserving - he insistently told her: "You're not the first woman to be afraid - to find the physical act repellent. And you didn't invent that fear. The fear was obviously brought on because Boy was insensitive. But are you comparing him with me? Do you think I'd chance it if I weren't sure? You've got to break away from all this, from your father. You can't go on being Daddy's little girl" - she told him she loved him and kissed him
  • the film's ending (added due to pressure from the Catholic League of Decency) - Dr. Chapman and Radford analyzed the data from their interview questions - Chapman announced that most American women (and their marriages) were happy and sexually normal, athough the four highlighted cases seemed to be exceptions to the rule: "I found that within a percentage point, good marriages to bad were the same in Boston, New York, Chicago. But the bad ones are so vivid, we lose sight of the fact that the vast majority falls right into this column - 'Happily Married Women, and Men'"

Mrs. Kathleen Ballard
(Jane Fonda)

Paul Radford
(Efrem Zimbalist, Jr.)

Kathleen's Breakdown During Radford's Non Face-to-Face Interview

Mrs. Naomi Shields
(Claire Bloom)

Water Delivery Man
(Chad Everett) Propositioned by Naomi

Naomi's Interview with Radford, Followed by Suicide

Teresa (Glynis Johns) with
Beach Bum Ed
(Ty Hardin)

Radford's Marital Proposal Accepted by Kathleen

Charade (1963)

In this Hitchcock-like thriller (similar to To Catch a Thief (1955) and North by Northwest (1959)) and mystery-romance by director Stanley Donen - a tale about the search for missing and stolen gold treasure worth $250,000 by five survivors of WWII who were in the Office of Strategic Services (OSS) together, and were now threatening the newly-widowed and estranged wife of one of the accomplices:

  • in the opening, the tongue-in-cheek sequence set at a swanky ski resort at Mont d’ Arbois in Megeve, Switzerland, in which a gun was pointed at lovely Regina ("Reggie") Lampert (Audrey Hepburn) on her holiday - held in the grip of the young son of her friend - it was a water pistol!
  • upon her return to Paris, Reggie's shock to find that her husband Charles, who she was planning to divorce, had been brutally murdered during her absence, by being thrown from a train; she was given his possessions in a Lufthansa travel bag: a letter addressed to her, a ticket to Venezuela, passports in multiple names and other items
  • the scene of the funeral of Reggie's murdered husband Charles, when three strange men (three of the accomplices) - later identified as Tex Panthollow (James Coburn), Herman Scobie (George Kennedy), and Leopold W. Gideon (Ned Glass), sternly paid their respects by staring into the casket to assure themselves that the man was dead
  • Reggie's reaction to CIA administrator-agent Mr. Hamilton Bartholomew's (Walter Matthau) warning at the American Embassy that the three men were probably coming after her: ("If you're trying to frighten me, you're doing a first-rate job!")
  • the often witty (and goofy) dialogues between "Reggie" and charming American stranger 'Peter Joshua' (Cary Grant), such as: (Reggie: "Do you know what's wrong with you?" Peter: "No, what?" Reggie: "Absolutely nothing")
  • the violent fight scene on a slippery Paris rooftop (with a backdrop of neon lights) between Peter and hook-handed Herman Scobie
  • the revelation to accomplice Tex Panthollow who suddenly realized (in a creatively-filmed sequence) at a Thursday outdoor stamp fair market that Charles must have bought expensive rare stamps there and placed them on an envelope to hide his $250,000 worth of treasure
Tex's Sudden Revelation
Valuable Stamps
  • Reggie's visit to a kindly rare stamp dealer Mr. Felix (Paul Bonifas) with a large magnifying glass, who revealed that the stamps torn off an envelope (addressed to her from her husband) were extremely valuable
  • the concluding tense chase through the streets of Paris and onto Metro cars and subway stations - when Reggie was pursued by the enigmatic and seemingly-untrustworthy thief 'Adam Canfield' (one of 'Peter Joshua's' four aliases or identities; he also falsely claimed he was Carson Dyle's brother, Alexander)
  • the scene of the anxiety-producing, chase and tense stand-off between 'Adam' and gun-wielding 'Mr. Bartholomew' - when Reggie had to decide who was telling the truth: (Adam: "Reggie, stop! That man is Carson Dyle...I tell you, he's Carson Dyle....If you take him those stamps, he'll kill you, too..." Bartholomew: "Mrs. Lampert, he wants the money for himself. That's all he's ever wanted" Reggie: "He's with the CIA. I saw him at the embassy" Adam: "I tell you, he's Carson Dyle"); she became exasperated with both of them: "Oh, I don't know who anybody is"; they continued: (Adam: "Reggie, I beg you. Just trust me once more" Reggie: "Why should I?" Adam: "I can't think of a reason in the world why you should")
  • the final plot twist revelation came to light when Bartholomew admitted that he was actually one of the accomplices (a fifth individual named Carson Dyle, who was thought to have been fatally wounded in a German ambush) - and that he had vengefully murdered the others: (" takes a lot of bullets to kill me. They left me there with five of them in my legs and my stomach. Mrs. Lampert, they knew I was still alive, but they left me there. I spent 10 months in a German prison camp with nothing to stop the pain. They left me there, Mrs. Lampert. They deserved to die...You've got the money now. It belongs to me. Mrs. Lampert, they knew I was still alive, but they left me there. That's why I had to kill them, all four of them. Please believe me, Mrs. Lampert. I'll kill you, too. It won't make any difference. It's no use. You're running out of time. I've come too far to turn back. I swear, I'll kill you")
  • the confrontation continued into an empty theatre, where 'Adam' calculated where Bartholomew/Dyle was standing above him on the stage and was threatening to kill Reggie: ("The game is over, Mrs. Lampert"); 'Adam' pulled a lever to release the A-4 trap door, that propelled the killer downward to his death; after being saved, Reggie apologized to 'Adam': "I'm sorry I thought you were the murderer, but how was I to know he was as big a liar as you are?" - he quipped: "Is that all the gratitude I get for saving your hide?"
  • the denouement the next morning, when "Adam" and Reggie joined together and visited the Treasury Department, but he insisted that she enter alone into the second floor office; to her shock and amazement, she found him in an inner office, sitting at a desk - he was revealed to be a good guy - none other than undercover agent Mr. Brian Cruikshank
  • the closing discussion between Reggie and Cruikshank about marriage was interspersed with his demands for the hidden fortune (stamps), and her continuing torment and confusion about his real name and identity:
    - Reggie: "...Marriage license! Did you say marriage license?"
    - Cruikshank: "Now don't change the subject. Just give me the stamps."
    - Reggie: "Oh, I love you, Adam... Alex... Peter... Brian... (his identities were seen in split-screen) Whatever your name is. Oh, I love you. I hope we have a lot of boys and we can name them all after you."
    - Cruikshank: "Well, before we start that, may I have the stamps?"

Opening: Water Pistol

Funeral: Scobie Checking Out Reggie's Husband's Dead Body in Casket

Peter on Rootop vs. Scobie

Reggie Pursued

The Chase and Tense Stand-off in Theatre

The Revelation of "Adam's" Identity

The Charge of the Light Brigade (1936)

In director Michael Curtiz' stirring war-adventure epic film inspired by Alfred Lord Tennyson's epic poem of the 1856 battle in the Crimean War ("one of the most distinguished events in history conspicuous for sheer valor"):

  • the gallant character of Major Geoffrey Vickers (Errol Flynn) - a dedicated officer in the British Army (the 27th Bengal Lancers) stationed in India during the mid 19th Century, who saved the life of local Amir Surat Khan (C. Henry Gordon) of Suristan during a leopard hunt
  • the love triangle between Major Vickers, Geoffrey's fiancee Elsa Campbell (Olivia de Havilland, in her 2nd of 8 films with Flynn), and his impulsive younger brother Captain Perry Vickers (Patric Knowles)
  • Vickers' words of encouragement to his men before leading the "charge of the light brigade" against Khan's stronghold near Balaklava in 1856: ("Surat Khan is on the field with the opposing Russian forces. The same Surat Khan who massacred the women and children of Chukoti. Our chance has come! Show no mercy! Let no power on Earth stop you! Prove to the world that no man could kill women and children and live to boast of it! Men of the Twenty-Seventh. Our objective is Surat Khan! Forward!")
  • the famous, suicidally-doomed death charge - with Max Steiner's four-beat bass changing in tempo with the pace of the charge and its fatal aftermath (for both dozens of horses and six hundred Lancers in the Light Brigade), when Khan and Vickers were killed in the attack (when shot and mortally wounded on his horse by Khan, Vickers threw a spear and impaled the evil ruler in the chest, and while dying, watched as others threw spears into the Khan's body)
The Deadly Charge of the Light Brigade

Major Geoffrey Vickers (Errol Flynn)

Elsa Campbell
(Olivia de Havilland)

Chariots of Fire (1981, UK)

In Hugh Hudson's Best Picture-winning British drama:

  • the opening sequence -- the eulogizing words of elderly Lord Andrew Lindsay (Nigel Havers), a former Cambridge student runner from many decades earlier who ran with his Jewish classmate Harold Abrahams (Ben Cross), and was now speaking in London in 1978: ("Let us praise famous men and our fathers that begat us. All these men were honoured in their generations and were a glory in their days. We are here today to give thanks for the life of Harold Abrahams. To honour the legend. Now there are just two of us - young Aubrey Montague and myself - who can close our eyes and remember those few young men with hope in our hearts and wings on our heels")
  • the credits sequence followed - a cross-fading shot into a lyrical, often-imitated tracking shot of Olympic runners in slow-motion (first viewing their legs) in the surf on the edge of a beach preparing for the 1924 Summer Olympics competition in Paris - underscored by Vangelis' score, to introduce the unidentified main characters
  • the scene of Gilbert and Sullivan soprano singer Sybil Gordon (Alice Krige) speaking with Harold Abrahams about the absurdity of how upset he was for losing in a race, and was even considering quitting running altogether: (Sybil: "You were marvelous. He was more marvelous, that's all....Well, if you can't take a beating, perhaps it's for the best." Harold: "I don't run to take beatings, I run to win. If I can't win, I won't run"); she concluded: "If you don't run, you can't win"
  • devout, Scottish evangelical Christian Eric Liddell's (Ian Charleson) pre-race sermon at the Church of Scotland in Paris, as a divinity student quoting from Isaiah 40 - delivered on what would have been race day for him, although his religious convictions prohibited him from participating: ("Behold, the nations are as a drop in the bucket and are counted as the small dust in the balance. All nations before him are as nothing. They are counted to him less than nothing - and vanity. He bringeth the princes to nothing. He maketh the judges of the Earth as a vanity. Hast thou not known? Hast thou not heard that the everlasting God, the Lord, the creator of the ends of the Earth fainteth not, neither is weary?...He giveth power to the faint. And to them that have no strength, he increaseth might. But they that wait upon the Lord shall renew their strength. They shall mount up with wings as eagles. They shall run and not be weary. They shall walk and not faint")
Eric Liddell's Finale Race
  • the finale race with the crowds cheering and wildly applauding Eric Liddell who was running in the lengthy 400 metre finals held on a Thursday, after his teammate Lord Andrew Lindsay yielded his place to Liddell; the ultimate outcome was that Liddell came in first when he broke through the race tape and won the gold medal, defeating his favored American competitors; he was heard in ecstatic voice-over during the race speaking to Jenny (Cheryl Campbell), his devout sister: ("I believe God made me for a purpose, but He also made me fast. And when I run I feel His pleasure")

Eulogy By Lord Lindsay in 1978

Iconic Credits Sequence

Sybil With Harold

Eric's Pre-Race Sermon

Charly (1968)

In director Ralph Nelson's soap-opera-ish adaptation of Daniel Keyes' Flowers for Algernon, a sci-fi drama:

  • the transformation of 30 year old bakery worker Charly Gordon (Best Actor winning Cliff Robertson) with an IQ of 59 into a supergenius via a science experiment and radical brain surgery, although at first, Charly worried about his lack of progress: ("Did that operation make me dumber?")
  • the scenes in which Charly repeatedly competed in maze races and lost to laboratory mouse Algernon: ("He beat me. I didn't know mice are so smart...How would you feel if you was dumber than a mouse?...I ain't racing that Algernon no more. I'm sick of being beaten by a mouse, and people laughing at me"), but then finally his ecstatic joy when he beat laboratory mouse Algernon: ("I beat him, I creamed him")
  • Charly's disproportionate, stunted emotional growth ("Emotionally, he's still a child, frightened, insecure") compared to his intellectual development and advancement over his own special-ed teacher Alice Kinnian (Claire Bloom): ("Student surpasses the teacher"), demonstrated by his punctuation of the phrase: ("That, that is, is. That, that is not, is not. Is that it? It is")
  • his primitively-displayed nude abstract drawings of Alice, and Charly's seduction and sexual-rape assault of her, when she fought back, slapped him, and insulted him: ("You think anyone would ever want you? You stupid moron!")
  • the long montage sequence in which Alice eventually fell in love with a transformed Charly ("I'm back"), slept with him in a shared sleeping bag in the outdoors, and ran and romped through the trees with him, when he proposed marriage in voice-over: (Charly: "Marry me, Alice." Alice: "Charly, I could never keep up with you, and I don't want to hold you back. And I don't want to be left behind." Charly: "Einstein had a wife..."), and their child-like playfulness on a children's playground
Alice's Love Affair with Transformed Charly
  • the convention scene in which Charly was shown off to an audience as an advancement in science, as he - in counter-point - explained what he saw about the promise of the future in various areas, including modern science, modern art, foreign policy, today's youth, today's religion, the standard of living, education, the world's future, and the coming generation: ("Rampant technology, conscience by computer... Dispassionate draftsmen...Brave new weapons...Joyless, guideless....Preachment by popularity polls.... A TV in every room...A TV in every room... Brave new hates, brave new bombs, brave new wars.... Test-tube conception, laboratory birth, TV education, brave new dreams, brave new hates, brave new wars; a beautifully purposeless process of society suicide. (Silence) Any more questions?")
  • Charly's sorrowful announcement to the audience that he knew his newfound intelligence and the success of his operation was only temporary and was beginning to reverse itself, and he would be regressing: ("Algernon showed me. The answer to the question, 'Charly Gordon' is: Charly Gordon is a fellow who will very shortly be what he used to be") - and then held out in the palm of his hand the lifeless body of Algernon, fearing the same thing would happen to him (he was soon haunted by appearances of his former pre-operative self)
  • his subdued farewell scene to Alice, refusing her request to marry him: ("Marry me. (No response) All right, don't marry me"). He replied: "Motion carried." When she requested remaining with him: ("But I'm gonna stay, right here. Whenever you feel like telling me to go, just tell me so. I'll go, I'll leave"), he simply asked her to leave: ("Leave, please leave")
  • the tearjerking freeze-frame shot of Charly, once again mentally retarded but smiling and care-free, playing with other children on a see-saw

(Cliff Robertson)

Mouse Maze Races

Alice: "You stupid moron!"

Convention Scene

The Lifeless Body of Algernon in Charly's Hand

Farewell Scene with Alice

Freeze-Frame Ending

Chelsea Girls (1966)

In Andy Warhol's and Paul Morrissey's experimental, underground, widescreen avante-garde film - a three-and-one-quarter hour epic composed of twelve 33-minute unedited and separate film reels projected together (side-by-side); the rambling, improvised, non-narrative movie was characterized by both b/w and color, split-screens, and alternating soundtracks, and advertised with a striking poster image better than the film itself:

  • the setting - individuals in different rooms of the Hotel Chelsea in NYC, including:
    - blonde Nico (Herself) in a kitchen primping in front of a hand mirror and trimming her bangs
    - Ondine (Robert Olivo), an angry, violent, talkative, and flamboyant, speed-freak homosexual-acting Lenny Bruce-like character with a heavy accent who was self-proclaimed as the Pope of Greenwich Village while accepting the sexual confessions of Ingrid Superstar (Herself) and leaning on a sofa next to her, and later delivering aggressive slaps during a beserk outrage
    - Brigid Polk/Berlin (Herself), a loud, heavy-set amphetamine-injecting and pill-popping lesbian answering phone calls from clients, and having her hairstyle adjusted by a homosexual
    - a half-nude male in his underwear on a bed shown attention by both a stuttering balding middle-aged homosexual and a female
    - interaction between sadistic, verbally-assaultive, harsh, deep-voiced lesbian Hanoi Hannah (Mary Woronov) and ditzy International Velvet (Susan Bottomly)
    - a singing transvestite drag queen (Mario Montez) with heavy mascara
    - black-hatted Mother (Marie Mencken) with a tirade of criticism against her misbehaving son
    - LSD-stoned Eric Emerson (Himself) delivering a hippie monologue
    - Nico crying while colorful lights were cast across her face, and the camera zoomed in and out
  • the characters - many Warhol Superstars including Nico, Ondine, Brigid Berlin, Gerard Malanga, Mario Montez, Ingrid Superstar, and International Velvet, and Mary Woronov as Hanoi Hannah

Chicken Run (2000, UK)

In Aardman Studio's claymation film:

  • the repeated attempts of fiesty heroine Ginger (voice of Julie Sawalha) to escape from the POW 'concentration camp' chicken coop (with barbed wire and a high fence) of evil, money-hungry Mrs. Tweedy (voice of Miranda Richardson)
  • dim-witted Babs' (voice of Jane Horrocks) statement: "I don't want to be a pie! I don't like gravy"
  • the entrance of swaggering, smooth-talking American rooster Rocky (voice of Mel Gibson), who falsely claimed he could fly: ("The name's Rocky. Rocky the Rhode Island Red. Rhodes for short...Catchy, ain't it?"), and his explanation of why he came to England: ("Why, all the beautiful English chicks, of course")
  • Rocky's daring rescue of Ginger from the Tweedy's Rube Goldberg-like chicken pie-making machine, when they were both in danger of becoming chicken pie ingredients: ("It's like an oven in here")
  • the crowd-pleasing climax when Mrs. Tweedy, clinging to a rope of Christmas lights attached to a chicken-shaped flying aircraft (the Old Crate), swiped her axe at Ginger -- momentarily, it seemed as if Ginger had been beheaded, but revealed she'd ducked and tricked Tweedy into severing the line, causing Mrs. Tweedy to plunge head-first into a vent of her own pie-making machine -- as her hen-pecked husband (voice of Tony Haygarth) smugly told her: "I told you they was organized!" - and the explosion of the entire machine from a build-up of pressure
Final Defeat of Mrs. Tweedy
The Severed Christmas Tree Lights Line
  • in the end credits, the chicken-and-egg debate between two black-marketer rats Nick (voice of Timothy Spall) and Fetcher (voice of Phil Daniels): (Fetcher: "If you don't have a chicken, where are you gonna get an egg?" Nick: "From the chicken that comes from the egg." Fetcher: "Yeah, but you have to have an egg to have a chicken." Nick: "Yeah, but you've got to get the chicken first to get the egg, and then you get the egg...")

Babs: "I don't want to be a pie"

Mrs. Tweedy

The Threat of a Pie Machine

Rocky with Chicks

Rocky's Rescue of Ginger in Test Run Inside of the Pie Machine

Chicken-and-Egg Debate

Un Chien Andalou (1929, Fr.) (aka An Andalusian Dog) (short)

In Luis Bunuel's short surrealistic film of unexplained imagery ("Once upon a time"), created in collaboration with artist Salvador Dali:

  • the shocking and disturbing opening sequence when a young man - after seeing a cloud sliver horizontally moving across a full moon - sliced a woman's (Simone Mareuil) wide-opened eye (in extreme closeup, it was actually a calf's eye) in half with a sharp-edged straight razor
  • the image of ants coming out of a hole in a man's severed hand
  • the dismembered hand lying in the street
  • the grabbing of the breasts of a woman through her clothes (and then of her naked breasts directly when the clothes disappeared) - and the man's fantasizing that the breasts were her bare buttocks
  • a decomposed and rotting donkey on a grand piano
  • the final image of a couple half-buried on a beach in sand up to their elbows (and probably dead)

Children of Men (2006, UK/US)

In director Alfonso Cuarón’s bleak but visually-brilliant, apocalyptic science-fiction chase-thriller:

  • the opening scene of white-collar government bureaucrat, civil servant and ex-activist Theo Faron (Clive Owen) on his way to work on London's Fleet Street in fascist-run, terrorist-riddled England in the dystopic year 2027 - in the midst of a civil war - when a suicide bomber blast occurred a few steps away
  • the views of society collapsing after two decades of human infertility, leading to the film's long and heroic journey to the utopian Human Project on the coast to protect a miraculously-pregnant woman, and the scene of the terrifying road-ambush scene - filmed from the POV inside the car in a long unbroken shot - when Theo's estranged ex-lover/wife Julian Taylor (Julianne Moore), the leader of the insurgent underground Fishes revolutionary group, was shot in the neck and died shortly after
  • the scene of African fugee (short for refugee) Kee (Claire-Hope Ashitey) revealing to Theo her extended pregnant belly (the first pregnancy in the world in about 18 years) and telling him that she trusted him
  • their thrilling escape from the 'safe house' when Theo attempted to jump-start their vehicle by coasting downhill
  • their seeking of refuge at the hidden-in-the-woods home of Theo's long-haired, dope-smoking hippie friend Jasper Palmer (Michael Caine) - and the scene of Jasper's execution (after he had euthanized his catatonic wife with a Quietus suicide-kit) with his "pull my finger" joke
  • the amazing, single-shot scene of Theo assisting Kee in the birth of her baby girl in a crumbling, cold Bexhill apartment building in the refugee camp and internment center area
Rare Pregnancy and Birth
  • the film's most magical moment when Theo and Kee (with her crying baby in her arms) descended the stairs in the midst of a bloody siege and uprising (filmed continuously with a hand-held camera) surrounding a Bexhill apartment building - and the British soldiers and other combatants stood back momentarily in quiet awe
  • the hopeful final scene in which Theo (wounded during the skirmish) slumped over in a rowboat and died at the same moment that they reached the buoy rendezvous point with the Human Project's ship Tomorrow's appearance in the fog

Opening Sequence


Julian Taylor's Death

Theo's Death

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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