Greatest Film Scenes
and Moments



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

Children of Paradise (1945, Fr.) (aka Les Enfants du Paradis)

In Marcel Carne's dazzling and beautiful theatrical masterpiece set in early 19th century Paris and shot during the period of France's occupation by the Nazis, a tale of doomed love:

  • in the elaborate opening, the words of the carnival barker: ("Step right in! The Truth is here! Step right in and see! She will fill your thoughts, invade your dreams! See Naked Truth with your own eyes!"), and the rising of an actual theatre curtain to reveal the first view of the 'children of paradise' - the poor and rowdy playgoers in the audience who must watch from the top balcony galleries at a distance in the cheap seats
  • the scene of the pickpocketing of a crowd onlooker's gold watch, who falsely charged the female standing next to him - raven-haired, fickle and enigmatic, seraphim-like (or Garbo-like) beauty/courtesan Garance (Arletty) of committing the petty crime: ("She did it - it had to be you. Thief!"), although the real culprit was Pierre-Francois Lacenaire (Marcel Herrand)
  • the remarkable pantomime on an outdoor stage of introverted, delicate, moon-faced theater mime Baptiste Deburau (Jean-Louis Barrault), as the character of Pierrot, who had witnessed the theft ("I saw the whole thing"), and proved through a re-enactment that Garance was not the pickpocket; the scene ended with the victim's apology: "I'm sorry. Error is human," to Garance's relief: "May I go now?...Fine, because I prize my freedom" - and her gift of a thrown flower to Baptiste for his performance
  • and later, Baptiste's confessions of love to Garance: "Your heart beating against my hand...You were right, Garance. Love is so simple"; and also his declaration: "I'm shaking because I'm happy. Happy because you're here, near me. I love you. Garance, do you love me?" She responded: "You talk like a child. People love that way in books, in dreams. Not in real life." He thought otherwise: "Dreams, life - they're the same. Else life's not worth living"; and Baptiste's wish: "If only lovers lived together, the world would glow in splendor"

"Children of Paradise":
The Theater Audience

Garance Next to Theft Accuser

Baptiste Deburau/Pierrot
(Jean-Louis Barrault)

Baptiste's Confessed Love for Garance

Chimes at Midnight (1965, Sp./Switz.) (aka Falstaff or Campanadas a Medianoche)

In Orson Welles' last classic masterpiece, his personal favorite film:

  • the portrayal of William Shakespeare's recurring character: the charismatic, corpulent thief/drunken scoundrel/adventurer Sir John/Jack Falstaff (Orson Welles), who frequented the Boar's Head Tavern for carousing and various criminal activities; Falstaff had a father-son relationship with heir-to-the-throne Prince Hal (Keith Baxter), the Prince of Wales, whose real disapproving father was King Henry IV (John Gielgud) (who had just succeeded King Richard II to the monarchy/throne)
  • the great scene of the 1403 Battle of Shrewsbury between King Henry IV and Henry "Hotspur" Percy (Norman Rodway); the sequence began with knights being lifted by pulley onto horseback; inappropriately-heavy armored, tubby-shaped Falstaff hid in the bushes and waded through the muddy battlefield while other armored men were swinging heavy weapons and slaughtering each other during the futile and tragic struggle; Falstaff meekly watched and cheered from the side throughout most of the conflict; the cowardly Falstaff feigned his own death, and then opened up his helmet's visor and declared: "The better part of valor is discretion"
  • during the Battle, Prince Hal sword-dueled Percy to the death; as Percy died, Prince Hal spoke: "For worms, brave Percy; fare thee well, great heart!"; afterwards, Falstaff falsely took credit for killing Percy, telling King Henry IV: "I swear I killed him"
  • following the death of King Henry IV, Prince Hal was to be coronated as the new King Henry V (he was named Henry V, succeeding his father King Henry IV); Falstaff attended the coronation ceremony and fully expected to receive praise from his friend and associate ex-Prince Hal, but he was wronged and disowned when Hal decided to reform his ways: ("I have turned away from my former self"); the new King Henry V betrayed and banished Falstaff (who fell to his knees) during the coronation ceremony: (Falstaff: "My King! My Jove! I speak to thee my heart!" King: "I know thee not, old man. Fall to thy prayers! How ill white hairs become a fool and jester! I have long dream’d of such a kind of man, So surfeit-swell’d, so old and so profane. But, being awaked, I do despise my dream. Make less thy body hence, and more thy grace. Leave gormandizing, now the grave doth gape for thee thrice wider than for other men. Reply not to me with a fool-born jest. Presume not that I am the thing I was. For God doth know, so shall the world perceive, that I have turned away my former self. So will I those that kept me company. When thou dost hear I am as I have been, approach me, and thou shalt be as thou wast. The tutor and the feeder of my riots. Till then, I banish thee, on pain of death, as I have done the rest of my misleaders, not to come near our person by ten mile")
  • in the ending, Falstaff returned that evening to the Boar's Head Tavern and died from a "broken heart"; his body was displayed in a oversized wooden coffin set up on a sled in the middle of the yard: (Pistol (Michael Aldridge) noted: "The King has killed his heart"); Bardolph (Patrick Bedford) added: "Would I were with him, wheresome'er he is, either in heaven or in hell."

Sir John/Jack Falstaff (Orson Welles)

Falstaff's Heavily-Armored Participation in the Battle of Shrewsbury

Falstaff Betrayed and Banished by Prince Hal/King Henry V

Falstaff in Coffin

The China Syndrome (1979)

In James Bridges' cautionary political thriller-drama, released only 12 days before a similar disaster scenario at Three Mile Island in Pennsylvania:

  • the scene of long-time, conscientious, hard-working Ventana (California) nuclear power plant engineer Jack Godell (Jack Lemmon) feeling an unusual vibration or "shudder" signaled by his shaking coffee cup: ("I know the vibration was not normal") and readings of high radiation on level 8 and faulty gauge readings, resulting in his impulsive decision to open up relief valves during an emergency shutdown (SCRAM) that caused extremely low and dangerous levels of coolant water in the reactor - that could have initiated a meltdown
  • the tense scene in which ambitious Channel 3 TV reporter Kimberly Wells (Jane Fonda) and her cameraman Richard Adams (Michael Douglas) were watching and secretly recording the developing crisis from the visitor's gallery
  • Jack's frantic phone call to alert Operations about evacuating the plant, after realizing the inherent danger: ("We have a serious condition. You get everybody into safety areas and make sure that they stay there"), and the all-clear sounded by Jack's co-worker Ted Spindler (Wilford Brimley) about the gauge readings:: ("It's coming up!") - resulting in obvious expressions of relief
  • the analysis of the problem: ("They might have come close to exposing the core" - "If that's true, then we came very close to The China Syndrome")
  • the thrilling and suspenseful concluding sequence of Jack pulling out a gun, evacuating the control room and locking himself inside and demanding to speak on live TV to Kimberly after realizing that a lethal meltdown might be triggered by going to full power again: ("a sudden surge could kick that off again"), and his resolve to report that there were numerous nuclear power plant violations, safety coverups and defects in the system that needed to be revealed
  • Jack's conversation with reporter Kimberly Wells from inside the locked control room when a SWAT team suddenly cut the broadcast signal, entered the control room and shot Jack dead
  • in the aftermath, a plant official's interpretation to the media about the situation and Jack's condition: "The public was never in any danger at any time... an emotionally-disturbed employee was humored just long enough to get the situation under control"
  • Kimberly's on-the-spot contradictory interview with a reluctant Ted Spindler, who praised Jack: "He said this plant ought to be shut down...Jack Goddell was my best friend. I mean, these guys are painting him as some kind of a looney. He wasn't a looney. He was the sanest man I ever knew in my life....I mean, he wouldn't have done what he did if there wasn't some - ..Jack Goddell wasn't that kind of guy. I didn't know all the particulars. He told me a few things. There's gonna be an investigation this time. And the truth will come out, and people will know that my good friend Jack Goddell wasn't a lunatic. He was a hero. Jack Goddell was a hero."
Final Two Broadcast Interviews
Interview with Ted Spindler
("He was a hero")
Kimberly's Sign-Off
  • the final moments of the broadcast when a shaken Kimberly tried to summarize: "I met Jack Goddell two days ago, and I'm convinced that what happened tonight was not the act of a drunk or a crazy man. Jack Goddell was about to present evidence that he believed would show that this plant should be shut down. I'm sorry I'm not very objective. Let's just hope it doesn't end here. This is Kimberly Wells Live, Channel 3."

Coffee Cup "Shudder"

Reporters Kimberly Wells and Richard Adams

Nuclear Power Plant Engineer Jack Godell
(Jack Lemmon)

Jack Shot Dead in Control Room

Chinatown (1974)

In director Roman Polanski's great neo-noir detective story set in the late 1930s Los Angeles - a dark tale of murder, incest, infidelity, and the deadly acquisition of water rights:

  • detective Jake Gittes' (Jack Nicholson) inappropriate and crude joke told in his office about a Chinaman (with the punchline: "You're screwin' just like a Chinaman"), without realizing that a prospective female client, the cool and regal Mrs. Evelyn Mulwray (Faye Dunaway), was standing within earshot
  • the shocking discovery of the body of Hollis Mulwray (without his glasses), (Darrell Zwerling), the well-known chief engineer of L.A. city's "Water and Power" Company - and the victim of an apparent accidental drowning
  • the night-time slitting of impulsive detective Jake's nose with a switchblade (by director Roman Polanski): ("You're a very nosy fellow, kitty-cat, huh? You know what happens to nosy fellows? Huh, no? Want to guess? Huh, no? OK. They lose their noses. (Jake's nose gushed blood after a sharp flick of the knife.) Next time you lose the whole thing. (I) cut if off and feed it to my goldfish. Understand? Understand!?"), and Gittes' sporting of a bandaged nose for the remainder of the film
  • Jake's first meeting during a lunch conversation at the Albacore Club with corrupt and perverse tycoon Noah Cross (John Huston), who carelessly and repeatedly mispronounced his name and when he was told: ("You may think you know what you're dealing with, but believe me, you don't... 'Course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough")
  • the celebrated scene of beautiful and wealthy, troubled newly-widowed client Evelyn Mulwray repeatedly being slapped by Gittes and revealing the scandalous truth about the young and enigmatic Katherine (Belinda Palmer) that she was hiding: "She's my daughter... She's my sister. She's my daughter. My sister, my daughter ...She's my sister and my daughter!...My father and I - understand? Or is it too tough for you?"
  • another conversation between Gittes and Noah Cross, who explained his business aspirations and motivations - while denying his obvious greed and ruthlessness: ("The future, Mr. Gits - the future!...You see, Mr. Gittes, most people never have to face the fact that at the right time and the right place, they're capable of anything!")
  • the tragic ending in Chinatown and confrontation between Cross, Gittes, and Evelyn, and the tragic shooting of Evelyn in the back of the head as she drove away in a car, and her daughter Katherine was shielded from viewing the gruesomeness by her incestuous father Noah: ("Lord, Oh Lord, don't look, don't look!")
Evelyn's Tragic Death in Chinatown: Conclusion
  • the haunting closing line: "Forget it, Jake, it's Chinatown"

Gittes' Crude Chinaman Joke

Hollis Mulwray's Corpse

Gittes' Nose-Slitting by Thugs: "Nosy Fellows"

At the Albacore Club - Noah Cross to Gittes: "'Course I'm respectable"

Jake's Romance with Evelyn Mulwray
(Faye Dunaway)

Evelyn's Startling Revelation: "My sister, my daughter!"

Noah Cross to Jake: "Capable of Anything!"

Chloe in the Afternoon (1972, Fr.) (aka Love in the Afternoon, or L'Amour, L'Après-Midi)

In Eric Rohmer's romantic drama about marriage infidelity - the 6th film in his "Six Moral Tales" series (from 1962 to 1972), and somewhat similar to F.W. Murnau's Sunrise (1927):

  • the rich escapist, heterosexual fantasy life of bourgeois (middle-class) Parisian lawyer Frédéric (Bernard Verley), married for three years to pregnant wife Hélène (Françoise Verley, her co-star's real-life wife), a suburban English teacher, who have an infant girl
  • the self-absorbed, chauvinistic, girl-watching Frederic's many flirtations with shop-girls and secretaries, and other attractive women on the street
  • the film's self-referential daydream fantasy sequence (homage to The Seven Year Itch (1955)) in which Frederic possessed a magic amulet or talisman "capable of destroying free will" worn around his neck - it could conquer a woman by taking away her will-power, to easily persuade her to have sex; as he sat in a cafe, he watched through the window as six females passed - some of the stars of the last three of Rohmer's previous five films - he described them as: "indifferent, hurried, hesitant, busy, accompanied, alone"
  • Frederic approached each of the six women individually, in a different order, who quickly acquiesed to his very forward requests to be with him or to kiss him:
    - Maud (Françoise Fabian) in My Night at Maud's (1969) "INDIFFERENT"
    - Françoise (Marie-Christine Barrault) in My Night at Maud's (1969) "HESITANT"
    - Haydee (Haydée Politoff) in La Collectionneuse (1967) (aka The Collector) "BUSY"
    Aurora (Aurora Cornu) in Le Genou de Claire (1970) (aka Claire's Knee) "ALONE"
    - Claire (Laurence de Monaghan) in Le Genou de Claire (1970) (aka Claire's Knee) "ACCOMPANIED"
    - Laura (Béatrice Romand) in Le Genou de Claire (1970) (aka Claire's Knee) "HURRIED"
  • however, when the amulet malfunctioned and stopped blinking, he was berated by Laura: ("You won't talk me into it....Why should I go with you?")
  • Frederic's growing friendship with calculating and seductive, devious, sexually free-spirited bohemian Chloé (Zouzou, a real-life model and rock groupie), his friend Bruno's ex-lover with suicidal tendencies; Chloe claimed to work as a bargirl at the sleazy Agamemnon
  • tempted by the manipulative but lost soul Chloe, he assisted her in acquiring a better job, and spent many furtive afternoons with her during his lunch break, slowly being lured to take her as his mistress and become unfaithful to his wife
  • the erotic sequence during Frederic's first visit to Chloe's apartment, when she asked ("Isn't it nice here?") and then entered into his embrace on the bed; as he hugged her, he lifted her shirt and gently stroked her bare back; although he was becoming emotionally attached to her, he spoke about his strong marital relationship: "You know, I'm very much in love with my wife right now"; she was miffed: "I know, if you love her, then don't come here"; Frederic admitted his dilemma: "I'm so attracted to you, I wonder if I can resist. My will is shaken. I sometimes wonder if we shouldn't go to bed together. Is it possible to love two women at once? Is that normal?"; she responded: "Depends on what you call love. Love with passion, no. But passion doesn't last. If you mean sleeping with several girls, even caring for them, nothing is more banal, everybody does it. Actually, polygamy is natural"; he disagreed: "Polygamy, that's barbarian, the enslavement of women"
"Love in the Afternoon" Between Frederic and Chloe
  • shortly later, in a more sensual sequence in her apartment, Chloe emerged nude from the shower (a parallel scene to the one in the opening with his wife Helene), and asked Frederic to towel her off: "You can kiss me. Water doesn't stain. Dry me. Do it right. Really dry me"; after a passionate kiss in return, she reclined on the bed awaiting Frederic for sex, while posing as the famous portrait of Jean Auguste Dominique Ingres' concubine in La Grande Odalisque; as Frederic prepared to undress and commit adultery, he paused as he removed his turtleneck over his head (a reminder of his domestic life) in front of the bathroom mirror - and impulsively decided to not be unfaithful and abruptly return to his stable and intelligent wife; he quietly exited and fled down the five flights of stairs (seen from an overhead POV, reminiscent of Hitchcock's Vertigo (1958)) to his office where he called Helene and told her that he was returning home early
  • the concluding sequence - in his home on the sofa with Helene, he complimented her on her intimidating beauty: ("I'm sitting next to you and you make me shy because you're so beautiful - You've never been so make me shy because I love you"), and confusedly apologized for their lack of closeness: ("I don't want you to think it's coldness"); Helene countered: ("I'm the one who's cold. Much more than you. You're perfect"); he also expressed how he felt about not confiding in her more: ("I feel guilty because I don't talk to you much, confide in you"); as she began crying, he hugged her to comfort and calm her - and awkwardly began unzipping the back of her dress for "love in the afternoon" since the au pair was out with the children until 5 pm; she suggested: "Let's go into the bedroom"
  • the final image of the 'happy ending' - a pan from the sofa over to a serene shot looking out the window of their living room - symbolizing their staid 'bourgeois' life, but asking the question: had Frederic been cured of his wanderings and aloofness to Helene?

Frederic with Helene

Magic Amulet

The Amulet's Power Over Women

With Chloe

Vertigo (1958) Homage

Concluding Sequence: Frederic at Home With Helene

Final Image

Christmas Holiday (1944)

In Richard Siodmak's little-known, melodramatic film noir (with a misleading title) about doomed and lost love and redemption (with a script by Herman Mankiewicz - noted for its two long flashback sequences); the film was based on W. Somerset Maugham's 1939 novel, and unusual for the against-type casting of precocious 'good girl next door' singer Deanna Durbin as a femme fatale prostitute:

  • the dual character of Jackie Lamont (Deanna Durbin), a lounge singer - "hostess" in a New Orleans nightclub-bordello known as Maison Lafitte (a "joint" located out of town)
  • the immediate romantic interest shown by recently-jilted and stranded Army Lt. Charles Mason (Dean Harens), who was in the club and drawn to the sultry yet doeful strumpet-singer with a V-neckline who asked him to dance
  • and their attendance at a midnight Christmas mass at St. Louis Cathedral, when the depressed girl broke down inconsolably, and hysterically cried about her woeful life
  • after the service, Jackie and Mason ate a meal at an all-night diner-eatery ("Morning Call Coffee Stand") at the bus station; at the start of a flashbacked set of sequences (at the diner and the next morning in his hotel room), she told him that she had been known as Abigail Martin in her previous life (transplanted from Vermont at the age of 16), when she married no-good, irresponsible, jealous, lying, gambling-addicted, 'mother-fixated' (homosexual?) scoundrel Robert Mannette (Gene Kelly, also cast against type) with a domineering, manipulative, menacing and semi-incestuous mother Mrs. Mannette (Gale Sondergaard) - he was in a "pathological" relationship with her according to a psychoanalyst
  • in the flashback, their courtship and first few months of marriage were idyllic, but he suffered a quick downfall in their sixth month, and was now serving a life sentence at Angola Prison for the murder of his book-maker Teddy Jordan (Mannette's long murder trial was the subject of another flashback); Robert's mother had burned his blood-stained incriminating pair of trousers and there was a cover-up of the theft of money
  • according to Mrs. Mannette in a denunciatory speech, she had allowed Abigail to marry her son to reform him, but accused her of failing in that task: "He needed your strength. That's why I let him marry you. And all you gave him back was his own weakness...You should have known. You weren't blind because you had to be. You wanted to be. It might have hurt to know that Robert is what he is. But if you had been willing to hurt for his sake, you could have helped him...It's I who love him because I'm willing to know all about him and keep on loving him. But you! I tried to make him strong myself. I couldn't alone so I relied on you. You have failed!"; after the trial and guilty verdict, Mrs. Mannette strutted out of the courtroom with Abigail, curtly spoke: "You killed him!", and slapped the startled Abigail across the face
  • however, Abigail continued to steadfastly stand by Robert Mannette, naively love him and show loyalty to him, even after his conviction - questioned by a skeptical Lt. Mason at the end of the flashback: ("I guess maybe there's some other meaning to love than, than what I was taught")
  • according to newspaper headlines, Mannette broke out from prison (after only a few years of incarceration), and began looking for Abigail; he met up with her in the nightclub's backroom in the final scene; she suggested escaping with him and that she still loved him: ("I love you, Robert...There hasn't been a second I didn't love you....There's only one reason why I've been working here, only one. When it was all over, the trial and everything, I saw that your mother was right. I should have kept you from the things you were doing. I was just as much to blame as anybody. I can still hear them call you guilty. Guilty, guilty, and every time they said it, I knew it was meant for me too. I wanted to die, but you were in prison alive, that's why I had to live like you, to suffer like you. People I met here had nothing but contempt for me. That's what I wanted. This is my prison, Robert, but I'm not as strong as you are. I can't break out without you. I need you. I've been holding on to you all the time. I love you"), but he still accused her of being cheap and unfaithful to him while working at the club
  • a policeman tracked footprints to the room's half-opened window, and shot Mannette dead with one bullet; he quickly died in Abigail's arms (as he whispered to her: "You can let go now, Abigail")
Lt. Charles Mason: "You Can Let Go Now, Abigail"
  • the majestic end shot as she stared into the clouds of the heavenly, clearing night sky with a tearful backlit face, to the tune of Wagner's 'Liebestod'; in the film's last line of dialogue, Mason reminded Abigail: "You heard what Mannette had said. 'You can let go now, Abigail'"

Lounge Singer Jackie Lamont

Jackie's Breakdown in Cathedral

Mrs. Mannette
(Gale Sondergaard)

Court Trial of Robert Mannette

Mrs. Mannette's Slap Across Jackie's/Abigail's Face After Mannette's Trial

Mannette's Jail Break

Death of Mannette in Abigail's Arms

Chronicle of a Summer (1961, Fr.) (aka Chronique d'un été (Paris 1960))

In co-directors Jean Rouch's and sociologist Edgar Morin's ethnographic documentary - an intellectual experiment and a prime example of cinema verite (a term coined by Morin), during the time of France's Algerian War of Independence and at the height of the French New Wave movement:

  • the opening (possibly staged) sequence of Rouch, Morin and female associate Marceline Loridan (who would be the initial street interviewer) speaking about their project - book-ended by the final sequence between the two directors
  • the many on-street interviews conducted (by two female associates, including Marceline Loridan) with contemporary Parisians in the summer of 1960, to get an accurate 'snapshot' of life at the time - by asking the simple question: "Are you happy?"
  • the scene in the apartment of dark-haired, disillusioned Italian immigrant exile Mary Lou Parolini (as Herself), a secretary at Cahiers du Cinéma, speaking about her insecurities of living an isolated and poor existence in the foreign city of Paris
  • the hand-held tracking sequence of Marceline Loridan's own voice-over monologue (recorded with a concealed microphone) as she walked through a nearly deserted Place de la Concorde and then in Les Halles market (in a stunning backlit image); she first spoke of the on-going Israeli public trial of Nazi war criminal Adolf Eichmann, and then gave her first-person recollection when she was deported as a young girl with her family; they were herded and shipped off to a Nazi death camp - she was the lone survivor when separated or selected to live, with a Nazi number tattoo from Auschwitz on her left forearm (first viewed earlier as she sat in an outdoor cafe) -- she had returned to France after the war
Marceline Loridan's Monologue Sequence
  • the brief interlude in St. Tropez (the beach, a bullfight, etc.) including an interview by black student Modeste Landry of a sexy blonde starlet who was attracting photographic attention
  • the screening room deconstructing and self-analytical sequence when some of the film's participants were convened to provide feedback on rough-cut results of filming; there was disagreement among the group - some thought the subjects were natural, sincere and honest, while others criticized how people were unreal, phony and posing or 'acting' - with 'camera-safe' statements and behaviors
  • the ending sequence of the two directors, while walking through Musee de L'Homme, accessing their own filmic experiment, and whether it was a success or not; they realized how they were not as objectively removed from the film, or in control as they originally thought they would be; when they parted on the sidewalk and shook hands to go in different directions, Morin spoke the film's final ambiguous words: "We're in it now."
Two Directors: Morin and Rouch

Opening Sequence

On-Street Interviews

Mary Lou Parolini

Marceline's Auschwitz Tattoo

Interview of Blonde Starlet in St. Tropez

Screening Room Discussion

Cimarron (1931)

In this early RKO sound western and Best Picture/Production winner (undeserving) based on the best-selling Edna Ferber epic by director Wesley Ruggles, covering the time period from 1889 to 1929:

  • the breathtaking reenactment of the homesteaders' wild dash in the Oklahoma Land Rush of 1889, prefaced by the opening's second title screen: "In 1889, President Harrison opened the vast Indian Oklahoma Lands for white settlement... 2,000,000 acres free for the taking, poor and rich pouring in, swarming the border, waiting for the starting gun, at noon, April 22nd"
  • the relationship between ambitious adventurer Yancey Cravat (Richard Dix), a newspaper editor-publisher and progressive thinker, and his strong-willed wife Sabra (Irene Dunne) (often called "Sugar"), and Yancey's frequent wanderlust nomadic spirit that often led him to abandon his loving wife and family
  • the embarrassing, racist characterization (although common at the time) of the Cravat's uneducated black servant boy Isaiah (Eugene Jackson), whistling and shining shoes in the film's opening credits, and his main role to provide comic relief, and his joyful exclamation when Yancey pointed out an overflowing cart selling watermelons when they pulled into Osage, Oklahoma!: ("Yah sir, I'm sure glad I came to Oklahome!")
Racist Characterizations
  • Yancey's courtroom defense of brothel madam Dixie Lee (Estelle Taylor) in the local town when she was accused of adultery, and his winning of her acquittal after a speech to the jury about how she should be judged for her actions and not her guilt: ("Why gentlemen, a thief or murderer may sin alone and is alone to blame, but this woman is not alone. Social order is her accomplice. If she is guilty, then all in this room are guilty")
  • the concluding reunion-reconciliation scene between Sabra and her lethally-injured husband Yancey after an act of heroic bravery in rescuing oil drillers, when they embraced and he passed away
  • the film's last image - the unveiling of a memorial statue (of Yancey?) - a commemorative tribute to Oklahoma's forefathers and pioneers (A.D. 1930)

The Oklahoma Land Rush Sequence

Yancey with Sabra

Yancey's Courtroom Defense of Dixie Lee

Memorial Statue

The Cincinnati Kid (1965)

In Norman Jewison's Hustler-like high-stakes poker-gambling film:

  • the scene of the climactic and suspenseful showdown 5-card stud poker game between young poker player The Cincinnati Kid or Eric Stoner (Steve McQueen) and legendary champion card player Lancey Howard or "The Man" (Edward G. Robinson) - in which the Kid's full-house (with Aces and tens) was beaten by "The Man's" straight flush (when he turned over a Jack of Diamonds) - accentuated by closeups
  • the "Kid" admitted: "I'm through" although Lancey complimented him on a good game: ("You're good, kid, but as long as I'm around, you're second best. You might as well learn to live with it")

"The Man"
(Edward G. Robinson)

The Poker Hands

The Cincinnati Kid

Cinderella (1950)

In Disney's animated, mid-century, musical fantasy masterpiece:

  • the "once upon a time" storybook opening
  • Cinderella's (voice of Ilene Woods) nasty and ugly step-sisters Drizella (voice of Rhoda Williams) and Anastasia (voice of Lucille Bliss), who treated her like a scullery maid
  • with the help of her animal friends, including Jaq and mouse Gus (voice of Jimmy MacDonald), the creation of a pink ball gown from scraps of discarded fabric - and then after it was destroyed by her stepsisters, the fairy Godmother's (voice of Verna Felton) magical transformation of the dress into a beautiful, sparkling white ball gown ("Why, it's like a dream!")
Fairy Godmother's Transformations: Pink Ball Gown to White Ball Gown
  • other transformations by the magical wand of the fairy Godmother: the pumpkin into a carriage, the mice into horses, the dog into a footman and horse Major into a coach-man driver, accompanied by the the fairy Godmother's singing of the Oscar-nominated song, "Bibbidy-Bobbidi-Boo" (aka The Magic Song) with nonsense lyrics
  • the funny scene of the step-sisters attempting to squeeze their oversized feet into the glass slipper, and then sabotaging Cinderella's chances of trying it on (by tripping the footman and smashing the slipper), but then Cinderella outwitted them, with the help of her animal friends to free her from the locked attic by producing the second slipper (that she was wearing) that fit perfectly on her foot
  • and the "they lived happily ever after" ending - Cinderella riding off in a gold carriage with her new husband, the Prince (voice of William Phipps)

Storybook Opening

Cinderella's Cruel Step-Sisters


The Glass Slipper Fits

Cinema Paradiso (1988, It./Fr.) (aka Nuovo Cinema Paradiso)

In writer/director Giuseppe Tornatore's sentimental homage to the movies, and a look back to boyhood, that won the Oscar for Best Foreign Language Film:

  • the image of young Salvatore "Toto" Di Vita (Salvatore Cascio as child) peeking through a curtain during the projection of Verso La Vita (1936) in Cinema Paradiso, as the village priest Father Adelfio (Leopoldo Trieste) watched - and rang a bell (to alert the projectionist Alfredo (Philippe Noiret)) every time there was an image or scene that needed to be censored and deleted
  • the reprimand scene when young "Toto" was disciplined by his mother Maria (Pupella Maggio) for lying about the family's fifty lire of milk money: ("It got stolen") - and instead spending it at the theatre: ("You spent it at the movies...Movies, always movies!"); the young boy was saved from a beating by Alfredo, who covered up for him and claimed that the boy lost the money in the theatre (after being admitted for free)
  • the scene of teenaged projectionist Salvatore (nicknamed Toto) (Marco Leonardi as teenager) of the local Cinema Paradiso movie theatre being advised by his loving, blinded mentor/surrogate father Alfredo to leave the small Sicilian town of Giancaldo (and go to Rome), and to never return or look back: ("Get out of here. This land is cursed. Living here day after day. you think it's the center of the world. You believe nothing will ever change. Then you leave for a year or two. When you come back, everything's changed, the thread's broken. What you came to find isn't there. What was yours is gone. You have to go away for a long time, many years before you can come back and find your people. The land where you were born. But not now, it's not possible. Right now, you're more blind than I was....Life isn't like in the movies. Life is much harder. Get out of here! Go back to Rome. You're young and the world is yours. And I'm old. I don't want to hear you talk anymore. I want to hear others talking about you.")
  • further words of advice from Alfredo to Salvatore at the train station ready to depart the town: ("Don't come back. Don't think about us. Don't look back. Don't write. Don't give in to nostalgia. Forget us all. If you do and you come back, don't come see me. I won't let you in my house. Understand?"). Toto then thanked Alfredo: ("Thank you. For everything you've done for me.") Alfredo's last words were: ("Whatever you end up doing, love it. The way you loved the projection booth when you were a little squirt")
  • the euphoric scene of middle-aged, prominent Italian film director Salvatore Di Vita (Jacques Perrin) returning to his childhood, small-town Sicilian home of Giancaldo after 30 years to revisit the condemned Cinema Paradiso theatre in the town square (where he was a projectionist through his teenaged years), when it was destroyed to make way for a city parking lot
  • Salvatore's recalling of a short romance with a rich banker's pretty daughter, a blonde, blue-eyed classmate named Elena Mendola (Agnese Nano) - when he was keeping vigil outside her window for 100 nights, and then Elena's miraculous appearance after he had given up hope, when she came to him in the projectionist booth and kissed him lovingly - making him forget his responsibilities when the film reel ran out causing patrons to complain: ("The movie's over. Turn the lights on")
  • Elena's and Salvatore's reunion during a hot summer night when he was lying on his back and looking at the sky during the outdoor screening of Ulysses (1954) starring Kirk Douglas, imagining a Hollywood romance and kiss with Elena (one similar to all the scenes excised by the priest from the projected reels). He asked himself: ("When will this rotten summer end? In a film, it'd already be over. Fade-out: cut to storm. Wouldn't that be great?") The skies suddenly opened up with pouring rain as Elena appeared out of nowhere above him and began hungrily kissing him. Astonished, he asked: "Elena -- But when?" She told him: "Today. You can't imagine the excuses I made up to come here."
  • 30 years later in town to attend the funeral of his kind-hearted mentor/surrogate father Alfredo, his widow presented Salvatore with a gift of one last reel of film, which he took back with him to Rome and screened
Grown-Up Salvatore Viewing the Censored Snippets Film Reel
  • the viewing of the reel, with all of the excised and censored kisses (presented in an amorous montage - two stills shown above) that the village priest Father Adelfio (Leopoldo Trieste) had ordered snipped from dozens of films shown there during Toto's childhood - the images brought tears to his eyes

Young Salvatore
"Toto" Di Vita

Reprimand of Young Toto by His Mother Maria

Advice to Salvatore (Toto) From Mentor/Surrogate Father Alfredo

Romance with Elena

Kissing in Pouring Rain

The Circus (1928)

In director/actor Charlie Chaplin's early and captivating award-winning silent film:

  • the brilliantly-choreographed scene of the Tramp (Charlie Chaplin) eluding a real pickpocket and cop in the hall of mirrors (Mirror Maze), after being mistaken by the police as the pickpocket-crook
  • his antics in a circus environment where he inadvertently became part of the show (as a hit) and was hired as a prop man
  • his eating of a hotdog from the extended hand of a baby in its father's arms
  • the scenes of the Tramp locked in a cage with a sleeping lion (and a barking dog outside)
  • the Tramp's replacement tightrope act attempt - performed with an escaped wild monkey on his head that was biting his nose
  • the sad and moving ending when the heartbroken Tramp, after circus equestrienne love interest (Merna Kennedy) fell in love with the high-wire tight-rope performer Rex (Harry Crocker), sat on a box in the center of an abandoned circle (drawn where the circus tent had been moments earlier, and the departing circus wagons had created a cloud of dust); he glanced at a large torn white poster with a star on it on the ground in front of him, crumped it up, and kicked it behind his back
Sad Ending With Iris Fade-Out
  • in the classic memorable iris fade-out, the solitary Tramp walked in the opposite direction, shuffling away with his trademark jaunt into the distance

Hall of Mirrors

In Circus Cage with Lion

Tightrope Act

Citizen Kane (1941)

In one of filmdom's most celebrated films with many landmark cinematic techniques (including dramatic lighting and deep-focus), from co-writer/actor/director Orson Welles:

  • the opening prologue including the shot of media tycoon Charles Foster Kane's (Orson Welles) estate of Xanadu and the uttering of the mysterious word "R-o-s-e-b-u-d" (the film's first line) by the giant rubbery lips of a dying, mustached man as a crystal globe/ball of a snowy scene (of a snow-covered house) fell from his hand and shattered
  • the "March of Time" newsreel sequence
  • the scene in the smoky projection room where shafts of light came from the projection booth and the reporters were told to investigate the enigmatic meaning of Kane's last word
Kane Estate of Xanadu
Snow-Globe Falling from Kane's Dying Hand
  • the deep-focus scene as young Kane played in the snow outside and his future guardian talked to his parents inside
  • the clever transition when a picture of a newspaper staff came to life
  • the Walter P. Thatcher library flashback sequence
  • the famous breakfast montage scene that symbolized the deterioration of Kane's marriage
  • the dolly shot/dissolve into the skylight of Susan Alexander's (Dorothy Comingore) nightclub
  • Kane's explanation to his accountant: "You're right, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in 60 years"
  • Bernstein's (Everett Sloane) speech about his memory of a girl with a white dress and a parasol ("A fellow will remember a lot of things you wouldn't think he'd remember. You take me. One day, back in 1896, I was crossing over to Jersey on the ferry. And as we pulled out, there was another ferry pulling in. And on it there was a girl waiting to get off. A white dress she had on. She was carrying a white parasol. I only saw her for one second. She didn't see me at all. But I'll bet a month hasn't gone by since that I hadn't thought of that girl")
  • Kane's memorable political speech
  • the memorable boom shot upward to two stage hands who commented on Susan's disastrous operatic debut
  • Kane's firing of Jedediah Leland (Joseph Cotten) and his finishing of the negative review of his wife's performance
  • the images of Xanadu's huge fireplace and Susan hunched over a crossword puzzle
  • the startling jump cut to a screaming bird
  • the scene of Kane's angry furniture-destroying rage after Susan's departure
  • his stumbling walk through the mirrored hall
  • the panoramic view of Kane's basement warehouse and its many discarded mementos, and butler Raymond's command: "Throw that junk"
  • the final fadeout scene from the time the reporters started up the stairs to a shot that closed in on the incineration of a sled in the furnace -- (revealing the meaning of "Rosebud" as Charles Kane's childhood playtoy) - and the smoke rising toward the sky
  • the end credits sequence - including clips from the film highlighting or underscoring the footage, with each actor's name (from the Mercury Company) - ending with the film's actual last line of dialogue from Walter Parks Thatcher (George Coulouris): ("I think it would be fun to run a newspaper"), accompanied by the sounds of a jaunty, march version of The Charlie Kane Song; after the clips, the remainder of the cast was listed on a single card (white letters on black), with Orson Welles' credit listed last as simply "Kane"

Kane's Parents

Kane's Firing of Jedediah Leland (Joseph Cotten)

Kane's Break-up with Susan Alexander
(Dorothy Comingore)

Kane's Image in Mirrored Hall

Kane's "Rosebud" Sled in Furnace

Closing Credits

City Lights (1931)

In this memorable Charlie Chaplin silent film:

  • the Tramp's (Charlie Chaplin) mocking of talkies in the opening scene - his unsuccessful attempts to extricate himself from the lap of a large marble statue - with a giant sword catching the seat of his pants
  • the Tramp's encounters with a drunken millionaire (Harry Myers) who repeatedly attempted suicide
  • the scene of the Tramp admiring a store window - and just missing falling into a freight elevator hole behind him
  • the marvelous pantomime of the prize fight episode in which the Tramp tried to raise money for a beautiful blind flower girl's (Virginia Cherrill) operation by entering the boxing ring in a balletic bout that he believed had been fixed - danced around the ring to evade his opponent
  • the slapstick scene when the blind flower girl was knitting and she pulled a thread from the Tramp's vest and completely unraveled it
  • the hilarious spaghetti-confetti sequence in which the Tramp confused the spaghetti on his plate with strings of streamers
  • the tearful, sentimental ending when the down-and-out Tramp, now released from prison, saw the blind girl - with restored sight in the display window of the flower shop of her successful business; she said to her grandmother (Florence Lee): "I've made a conquest!"
  • the moment that she took pity on a trampish beggar (although she had been laughing when he was being teased by some teen newspaper boys) by offering him a fresh flower and a coin - and simultaneously realized, in a moment of hand-held recognition, that he was her unlikely benefactor-savior; she asked: "You?" and he shyly nodded positively; he pointed to his own eyes: "You can see now?" and she said that she could: "Yes, I can see now," and she held his hand to her chest
  • the film ended with a slow fade to black during a closeup of the Tramp's face and smile (with a rose stem in his mouth), both with uncertainty and joy, after she had identified him
The Flower Girl's Moment of Recognition

Opening Scene

The Tramp With Drunken Millionaire

Prize Fight

Knitting Scene

Cleo From 5 to 7 (1962, Fr.) (aka Cléo de 5 à 7)

In writer/director Agnes Varda's dramatic comedy (with some musical elements) - a meandering episodic character study about the impending doom facing a shallow, self-absorbed woman who feared the results of a medical examination:

  • the opening title sequence ("Cut the deck, please") - (the only sequence in color) - a reading composed solely of close-ups of hands and tarot cards, delivered by fortune teller Madame Irma (Loye Payen) that revealed the Hangman's card of Death ("It means a complete transformation of your whole being")
  • a film shot in real-time and marked with 13 precise chapter headings (timings from 5 to 7 pm) - supposedly two hours, although the film's actual length was 90 minutes, and should have been titled Cleo From 5 to 6:30
  • the central heroine: pretty, superficial blonde pop singer Florence 'Cléo' Victoire (Corinne Marchand) - a superstitious, distressed hypochondriac awaiting the results of diagnostic hospital tests regarding terminal stomach cancer in the early evening
  • the many times in the film that Cleo vainly viewed herself in a mirror, at one time reassuring herself: "Wait, pretty butterfly. Ugliness is a kind of death. As long as I'm beautiful, I'm even more alive than the others" - and another time expressing her frustrations: "My unchanging doll's face, this ridiculous hat. I can't see my own fears. I always think everyone's looking at me, but I only look at myself. It wears me out"
  • the various individuals that the vain Cleo met with, beginning at 5 pm with the fortune teller (from the title sequence), then a café visit at Bonne Santé (Good Health) with her loyal secretary/housekeeper Angèle (Dominique Davray) when she broke down ("I might as well be dead already"), followed by shopping for a hat, and a short apartment visit from her superficial lover-boyfriend José (José Luis de Villalonga)
  • the scene of a music rehearsal with Cleo's pianist-composer Bob (Michel Legrand) and lyricist Plumitif (Serge Korber) in her luxurious Paris studio apartment; the two joked around (by pretending to be doctors) and then her emotional singing of the torch song Sans Toi - the song began with her using sheet music while accompanied on the piano by Bob, then shifted her perspective to a full-scale orchestral performance, as she sang with tears and the background turned black behind her; afterwards, she angrily dismissed them, telling them that they weren't taking her seriously as an artist: "What's a song? How long can it last? You make me capricious! Nothing but a china doll! Revolutions with macabre words. You think I'll make a hit with that? You're trying to exploit me! Get out!?"; Cleo ripped off her wig, donned a black dress, and left her apartment
  • the images of Cleo looking into a store - through a fractured, distorted, and cracked window - a symbol of her own psyche, and as she walked down a sidewalk, her own subjective and anxious POV as everyone appeared to judge and gaze at her
Cleo's Friend Dorothee - Nude Model
  • further visits with friend Dorothée (Dorothée Blank), a liberated and uninhibited model posing nude at an artist's sculpture studio, and with Dorothee's boyfriend Raoul (Raymond Cauchetier) who projected a short silent comedy ("a film within a film") to cheer her up; as she left the movie house, Cleo dropped her purse on the pavement and broke her small mirror - and believed it was a bad omen
Cleo's Chance Meeting With Soldier on Leave
  • the ending sequence beginning in the calm setting of the 14th arrondissement's Parc de Montsouris - a chance meeting with Antoine (Antoine Bourseiller), an on-leave soldier from the Algerian War who formed an understanding of trust with Cleo (who revealed her real name, Florence); he comfortingly agreed to accompany her to get her test results if she would later see him off at the train station; test results were that Cleo required two months of chemotherapy; as they parted, the two spoke the final two lines of dialogue: Antoine: "I'm sorry I'm leaving. I'd like to be with you." Cleo: "You are. I think my fear is gone. I think I'm happy"

Hangman's Tarot Card of Death

Florence 'Cléo' Victoire (Corinne Marchand)

Cleo's Break-down in Cafe

Cleo's Music Rehearsal

Mirrors, Surrounded by Crowds and Cleo's POV

Cleopatra (1934)

In director Cecil B. DeMille's classic:

  • the triumphant arrival of Queen of Egypt Cleopatra (midriff-bearing Claudette Colbert) and Caesar (Warren Williams) into Rome for their wedding
  • the scene of Caesar's assassination by stabbing from members of the Roman Senate, including by Brutus (Arthur Hohl) - "Et tu Brutus?!" - followed by Cleopatra's stunned reaction to the news of the murder; when she was urged to think of Egypt, and warned to flee and escape from Rome before being killed, she responded: "Gone. Yes, gone. What do I care for empire now? Caesar is dead. My lover is dead!"; she was in blind disbelief when told that Caesar didn't love her, but only wanted to acquire Egypt's treasure
  • the infamous barge/bordello scene (the prelude to the seduction of another Roman, Marc Antony (Henry Wilcoxon)) that began with near-naked dancing girls accompanying an ox (with a dancer riding upon it and stroking its side) - and the remarkable sequence in which 'clams' that were hauled up in a net were revealed to be more dancing-girls wrapped in seaweed who prostrated themselves and held out opened jewel-filled seashells, followed by leopard-skinned animals/girls led by trainers with whips - and more!
The Infamous Barge/Bordello Sequence
  • and in the film's conclusion when wearing a low-cut black gown - Cleopatra's memorable request for a basket to kill herself after learning of the suicidal death of Marc Antony: ("Now give me the basket - it holds victory"); after reaching in, she removed a real, one-foot long snake/asp and applied it to her naked breast in one of the most memorable suicidal death scenes in film history; she was bitten, and then expired while sitting on the throne- she sat immobile and defeated there as her kingdom was conquered
Cleopatra's Suicidal Death by Asp

Cleopatra's Triumphant Entry into Rome

Caesar's Assassination

Receiving the News of Caesar's Murder

Cleopatra (1963)

In this expensive, over-budget sumptuous epic by director Joseph L. Mankiewicz, causing scandal when Burton and Taylor became scandalously and romantically involved with each other during filming:

  • Queen of Egypt Cleopatra's (Elizabeth Taylor) seduction of Roman leader Julius Caesar (Rex Harrison)
  • the pageantry of the spectacular, lavish triumphant entrance scene of Queen Cleopatra into the Eternal City of Rome to meet with her husband Caesar, prefaced by a bare-breasted (with pasties) dancing girl
Triumphant Entry into Rome
  • the elaborately-costumed Queen's riding at the climax of the procession on a giant black Sphinx behind a processional of tribal dancers and chariots
  • the later love affair between Marc Antony (Richard Burton) and Cleopatra

(Elizabeth Taylor)

With Julius Caesar

With Marc Antony

Clerks (1994)

In this low-budget foul-mouthed comedy by writer/director Kevin Smith:

  • a foul-mouthed comedy with some outrageous laughs about two clerks in Asbury Park, NJ stores: convenience store clerk Dante Hicks (Brian O'Halloran) and his grungy anti-social video-store clerk friend Randal Graves (Jeff Anderson)
  • the anti-smoking diatribe of a Chewlies Gum Representative (Scott Schiaffo) speaking to a convenience store customer, arguing that for his health's sake, he should buy gum instead of cigarettes and save his money: ("This is where you're heading. Cruddy lung, smoking through a hole in your throat. Do you really want that?"), and then his more general rant against the cancer-causing smoking industry: ("You're spending what? Twenty, maybe thirty dollars a week on your cigarettes?...Fifty-three dollars a week on cigarettes! Come on! Would you give somebody that much money each week to kill you? 'Cause that's what you're doing now, by paying for this so-called privilege to smoke... It's that kinda mentality that allows the cancer-producing industry to thrive. 'Course we're all gonna die some day. But do we have to pay for it? Do we have to actually throw hard-earned dollars down on the counter and say, 'Please Mr. Merchant-of-Death, sir, please, sell me something that'll stink up my breath and my clothes and fry my lungs'? ...Yeah. Yeah, and now here comes the speech about how he's just doing his job by following orders. Friends, let me tell you about another group of hate mongers that were just following orders. They were called Nazis!...Yeah, and they practically wiped an entire nation of people off the Earth just like your cigarettes are doing now")
  • the "I'm 37!?" scene when Dante's girlfriend Veronica (Marilyn Ghigliotti) told her shocked boyfriend the honest truth about her sexual history, that she delivered 37 instances of fellatio: (Dante: "...I understood that you had sex with three different guys and that's all you said!...How many?...How many d--ks have you sucked?" and Veronica's reply: "Something like - 36..." and including him, it was 37)
  • the appalling scene in which clerk Randal phone-ordered X-rated stock (with really filthy titles like "Cum Clean," "All Tit-F--king, Volume 8," "I Need Your C--k," "Ass-Worshipping Rim-Jobbers," "My C--t Needs Shafts," etc.) from his distributor in front of a customer at the counter - a Mom (Connie O'Connor) and her young daughter who wished to purchase "Happy Scrappy Hero Pup"
  • Randal's ludicrous Star Wars: Return of the Jedi (1983) dialogue with Dante about the ethics of the destruction of the second Death Star when innocent independent contractors lost their lives - the ending of the film: ("Something just never sat right with me that second time around. I could never put my finger on it, but something just wasn't right....The first Death Star was manned by the lmperial Army. The only people on board were Storm Troopers, dignitaries, lmperialists....So when they blew it up, no problem. Evil's punished....") - the second time around, when independent contractors were working on the uncompleted Death Star, they became innocent victims: ("...the second time around, it wasn't even done being built yet. It was still under construction....all those innocent contractors brought in to do the job are killed, casualties of a war they had nothin' to do with....Look, you're a roofer. Some juicy government contract comes your way. You got a wife and kids, the two-story in suburbia. This is a government contract which means all sorts of benefits. Along come these left-wing militants who blast everything within a three-mile radius with their lasers. You didn't ask for that. You had no personal politics. You're just trying to scrape out a living")
  • the "We're So Advanced" diatribe delivered by Randal to Dante about working in a low-level convenience store job: ("Jesus, nobody twisted your arm to be here. You're here of your own volition. You like to think the weight of the world rests on your shoulder, like this place would fall apart if Dante wasn't here. Jesus, you over-compensate for havin' what's basically a monkey's job. You push f--kin' buttons! Anybody could waltz in here and do our jobs. You, you're so obsessed with making it seem so much more epic, so much more important than it really is. Christ, you work in a convenience store, Dante, and badly I might add. I work in a s--tty video store, badly as well. You know, that guy Jay's got it right, man, he has no delusions about what he does. Us - we like to make ourselves seem so much more important than the people that come in here to buy a paper or God forbid, cigarettes. We look down on them as if we're so advanced. Well, if we're so f--kin' advanced, what are we doin' working here?")

Rant Against Cigarettes

Dante's Girlfriend Veronica

X-Rated Porn Video Phone Order

Star Wars Death Star Contractors Dialogue

"We're So Advanced"

(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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