Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions
Earth (1930, Soviet Union) (aka Zemlya, or Земля)

Earth (1930, Soviet Union) (aka Zemlya, or Земля, or Soil)

In Aleksandr Dovzhenko's expressionistic, pro-collectivism propaganda story (a lyrical "film poem") and rural drama about agricultural progress - it masterfully depicted the class-warfare struggle in the Ukraine between poor, tenant-farming Socialist peasants (engaged in collective farming who united together to purchase a tractor), opposed by villainous, power-seeking, threatened capitalist Kulak (authoritarian and wealthy landowners):

  • the ending scene involving the pagan funeral of Bolshevik Vasyl (Basil) (Semyon Svashenko), who had been shot in the back and slain at night by crazed Khoma (Thomas) Whitehorse (Pyotr Masokha), the eldest son of the area's dominant and hostile Kulak family; during the singing at his funeral procession, Basil was carried alongside a field of huge sunflowers, while his naked lamenting fiancee Natalya (Yelena Maksimova) reacted with frenzied grief in a bedroom
  • the dramatic scenes, in a montage, of Khoma (a representation of the Kulaks) confessing his guilt to the massive group of socialist mourners, that he murdered Basil under a harvest moon at a crossroads as he was dancing a hopak: ("I killed him in the night!!! the night, when everything was asleep. But he was walking down the lane and dancing"); also, Khoma made affirmations that the land still belonged to him ("It's my earth. I won't give it up") and that he would continue to resist collectivization; but his words and pleadings ("Hey, poor people, it's me!") were ignored by the mourners; to get attention from everyone, he stuck his head in the dirt as he ran in circles, and then he shouted out: "Beat me -- I'll die before I give up!"
Khoma's Affirmations Ignored
  • the last images included a cleansing downpour of life-giving rain falling on large shimmering apples in an orchard

The Pagan Funeral For Basil

Laments of Basil's Fiancee Natalya

Mourners at Basil's Funeral

Khoma: "Beat me - I'll die before I give up!"

Cleansing Downpour on Large Apples

East of Eden (1955)

In Elia Kazan's 'Cain and Abel'-like drama adapted from John Steinbeck's novel about California lettuce growers in the early 20th century:

  • the opening scene of Cal Trask (James Dean), from Salinas, following a dark-shrouded figure (Jo Van Fleet) in 1917 Monterey; he learned that she was known as Kate, and suspected that she was his estranged mother
  • the embittered Cal's belief that he was the 'bad' son, and that his twin brother Aron (Richard Davalos) was the favored 'good' son; Cal's father - stern, Bible-reading, Salinas valley lettuce-growing father Adam Trask (Raymond Massey) expressed his anger and blurted out to Cal: "You're bad!"; this confirmed Cal's understanding of his own self-worth: "I am bad. I knew that for a long time...It's true. Aron's the good one. I guess there's just a certain amount of good and bad you get from your parents and I just got the bad"
  • Cal's confrontation with his father, revealing that he knew that his father had spread a lie about his 'no-good' mother: "My mother - she's not dead and gone to heaven, is she?...She's not dead at all. She's not buried in the East like you said, either. She's alive"; although Adam admitted the revelation (and said he had kept it a secret to "save you pain" - spreading the belief that she had died after her twin boys were born and she had moved East), he was adamant about not telling the truth to his 'good son' Aron (Richard Davalos), Cal's twin brother; Adam described his wife years earlier: "She wasn't like other people. There was something she seemed to lack. Kindness, maybe. Conscience. I never knew what she was after...She was so full of hate....for everything"
  • Cal begged his father for more information about his mother: "Talk to me, Father. I got to know who I am. I got to know who I'm like. I got to know..."
Cal's Confrontation with His Father About His Mother:
"Talk to me, Father..."
  • the scene of Cal's first entrance into the bordello to speak to 'Kate'; he knelt in front of her inside of her office and asked softly: "Will you let me talk to you? Please. I gotta talk to you" - but she angrily threw him out and refused to talk to him: "Get out of here...Call the Sheriff! Get him out!...Get him out of here!"
  • the scene of Cal confirming the truth about his mother from kindly Sheriff Sam (Burl Ives); he learned that his mother was actually a whorehouse proprietor-Madam; Cal justified his feelings: "'Cause she ain't no good and I ain't no good. I knew there was a reason why I wasn't. I hate her. And I hate him, too"; he learned the reason for the scar on his father's shoulder (it wasn't an old wound from the Indian campaigns) - his mother had shot him years earlier before leaving him
  • Cal's second visit to speak to 'Kate' - mostly for the purpose of obtaining funds of $5,000 from his estranged mother (to 'buy' his father's love) and to invest it into a risky new bean crop; however, he first wanted to know what had split up his parents: "How come you ran away from all of us? How come you shot him?" - she replied: "I shot him because he tried to stop me. I could have killed him if I'd wanted to, but I didn't. I just wanted him to let me go....because he tried to hold me. He wanted to tie me down. He wanted to keep me on a stinkin' little ranch away from everybody. Keep me all to himself. Well, nobody holds me....He wanted to own me. He wanted to bring me up like a snot-nosed kid and tell me what to do. Well, nobody tells me what to do. Always so right himself. Knowing everything. Reading the Bible at me"; and then she bragged about her successful brothel business: "I got the toughest house on the coast, and the finest clientele. Yeah, half the stinking city hall go there. They sneak in at night and I walk in this front door in the daytime, see. And I built it up from nothing"
  • the lettuce field and Ferris wheel-carnival scenes when vulnerable and troubled Cal struggled to express his longing for Abra (Julie Harris), his brother's girlfriend/fiancee; she confessed her conflicted-in-love feelings for him - but after a kiss pulled back: ("Oh, I love Aron, I do, really I do")
  • the spurned birthday gift scene with Cal's father Adam Trask rejecting Cal's gift of cash earnings from an investment in bean futures to help relieve his father's dour financial state; Adam had become financially destitute by failing in a long-haul vegetable shipping business venture; Cal had ; his investment surprisingly paid off when the price of beans skyrocketed due to the war
The Rejection of Cal's Cash Birthday Gift to His Father
  • Adam's harsh decline of Cal's present for lofty moral reasons: "I sign my name and boys go out and some die, and some live helpless without arms and legs. Not one will come back untorn. Do you think I could take a profit from that? I don't want the money, Cal. I couldn't take it. I thank you for the thought, but...I'll never take it! Son, I'd be happy if you'd give me something like, well, like your brother's given me, something honest and human and good. Don't be angry, Son. If you want to give me a present, give me a good life. That's something I could value"; Cal's reaction to his father's rejection - he attempted to hug his father with the cash splayed out in his hand, and then suffered a nervous breakdown
  • the scene under a willow tree outside the house when Abra comforted Cal but Aron rebuked and threatened his brother with harsh words: "Don't you ever touch her again! I don't trust you. You're no good. You're mean and vicious and wild. And you always have been. You know it too, don't you? Father and I have put up with every mean and vicious thing you could think of ever since you were a child, and we've always forgiven you. But now, I don't want you to go near Abra. I don't want you to talk with her. Just stay away from her"
  • the scene of Cal's retaliation by bringing Aron to see his mother (whom he had always been told was dead) - a whorehouse Madame engaged in a sinful profession: ("Mother, this is your other son Aron. Aron is everything that's good, Mother. Aron, say hello to your Mother"); the shock of Aron's introduction to his mother caused him to get drunk and enlist in the army
  • Cal's dramatic confrontation and revelation to his father on the porch - that he knew all about his mother and why their marriage broke up: "I know where she is and what she is. And I know why she left you. Couldn't stand it. You didn't really love her any more than you do me. Because of your goodness, your rightness. You never gave either one of us an inch, ever from what you thought was right. You kept on forgivin' us, but you never really loved us. I know why you didn't love me. Because I'm like my mother and you never forgave yourself for having loved her" - and then Cal admitted he took Aron to see his mother: "I took Aron there tonight because I was jealous. I've been jealous all my life. Jealous, I couldn't even stand it. Tonight, I even tried to buy your love. But now I don't want it anymore. I can't use it anymore...I don't want any kind of love anymore. It doesn't pay off. No future in it"
  • the emotional finale following Adam's stroke and paralysis - including Abra's explanation to bed-ridden Adam why Cal had behaved like he did, with her words about Cal not being loved in a fatherly way: ("Excuse me, Mr. Trask, for daring to speak to you this way, but it's awful not to be loved. It's the worst thing in the world. Don't ask me how I know that. I just know it. It makes you, it makes you mean and violent and cruel. And that's the way Cal has always felt, all his life. I know you didn't mean it to be that way, but it's true. You never gave him your love. You never asked him for his"); Abra pleaded that Mr. Trask show some love to Cal: ("You have to give him some sign that you love him, or else he'll never be a man. He'll just keep on feeling guilty and alone, unless you release him. Please help him. I love Cal, Mr. Trask, and I want him to be whole and strong and you're the only one who can do it")
  • in the conclusion, Cal sat by his father's bedside and ultimately reconciled with him; Adam managed to speak and asked Cal to stay with him and care for him, instead of the detested nurse; Cal told Abra the good news: "He said - 'Don't get anybody else.' He said, 'You stay with me and you take care of me.'" And then Cal and Abra fully kissed for the first time as the film concluded

Monterey (1917) - Cal Following Shrouded Figure

Cal's Brief First Visit To See His Mother in the Bordello: "Get him out of here!"

Second Visit to 'Kate' to Learn More About His Parents' Estrangement, and to Borrow $5,000

Cal's Brief Ferris Wheel Kiss with Abra

Cal's Introduction of Aron to His Mother: "Mother, this is your other son Aron"

Cal to His Father: "I know why you didn't love me"

Abra to Mr. Trask: "It's awful not to be loved"

Adam to Cal: "You take care of me..."

Easy Rider (1969)

In actor/director Dennis Hopper's independent classic road film, accompanied by the sounds of 60s acid-rock 'n' roll:

  • the scenes of two doped-up hippies Billy (Dennis Hopper) and Wyatt/Captain America (Peter Fonda) - after a successful drug deal - riding high-handled motorcycles cross-country (eastward) to the tune of Steppenwolf's "I Wasn't Born to Follow" accompanying the title credits
  • the scene of the visit to the commune, including a 360 degree scan view of the entire group saying a blessing for a meal, and later skinny-dipping at a local hot springs
  • their arrest for parading without a permit, their jailing, and their meeting up with drunken ACLU civil rights lawyer George Hanson (Jack Nicholson) in jail
  • the priceless image of George riding on the back of a motorcycle with a football helmet and spreading his arms as wings (to the tune of "If You Want to Be A Bird")
With ACLU Lawyer George Hanson (Jack Nicholson)
  • George's frequent exclamation of "Nik-nik-nik-f-f-f-Indians!" accompanied by his elbow flapping on his side like a chicken when toasting and taking a drink
  • the scene of George's first sampling of marijuana at a campfire ("You - you mean marijuana. Lord have mercy, is that what that is? Well, let me see that"), and then his display of paranoia when he presented his 'stoned' theories about extra-terrestrial UFOs and alien Venutians on Earth ("So now the Venutians are meeting with people in all walks of life - in an advisory capacity. For once man will have a god-like control over his own destiny")
  • the scene at the local cafe/diner where they witnessed "country witticisms" from good ol' boys
  • George's last campfire scene when he spoke about the film's prophetic theme - their threat to the Establishment and to Americans who were hypocritical about life, liberty, and the pursuit of happiness
  • the hallucinatory-LSD scene in a New Orleans cemetery during Mardi Gras
  • the final campfire scene when Wyatt told Billy: "We blew it"
The Deaths of Billy and Wyatt
  • the unexpected brutal ending at the hands of two rednecks in a pickup truck for both riders - instigated first by Billy's rebellious middle-finger gesture toward the Southerners - and he was shotgunned; Wyatt turned around and saw how injured Billy was on the side of the road, and then pursued the truck - which had stopped and reversed itself further down the road; suddenly, Wyatt's leather American flag-decorated bike exploded in flames (metaphorically?) (after a brief flash of red) when his gas tank was shot, but his body didn't appear in the wreckage of the bike that went sailing through the air; the film ended with a pull-back shot of the camera rising high into the sky to view the wreckage

"Born to Be Wild"

George: "Nik-nik-nik-f-f-f"

George's First Sampling of Marijuana

George's Last Campfire Discussion About Freedom

Hallucinating on LSD in a New Orleans Cemetery

Wyatt: "We blew it"

L'Eclisse (1962, It.) (aka Eclipse)

In Michelangelo Antonioni's profound, slow-moving (with long periods of silence), highly-regarded romantic drama about doomed relationships - the third film in an "alienation" trilogy following L'Avventura (1960) and La Notte (1961); it was about the difficulty of finding love in a post-war modernistic, affluent and materialistic world:

  • the awkwardly-silent and tense opening sequence set at dawn, after a long night of quarreling, with only the humming sound of a rotating electric fan, during the predictable break-up between a disconnected couple - restless, alluring blonde translator Vittoria (Monica Vitti) and her older lover - obsessive intellectual writer Ricardo (Francisco Rabal)
  • the after-the-breakup scene at girlfriend Marta's (Mirella Ricciardi) apartment, a white Kenyan native, with a second friend Anita (Rosanna Rory), when Vittoria and Anita playfully dressed up as natives (Vittoria in blackface) and danced to a phonograph record playing African drum music - until Marta turned on the lights and expressed her uncomfortable offense at their play-acting: ("That's enough. Let's stop playing Negroes")
  • the main plot: the seductive Vittoria's next lover in Rome - ambitious, over-confident, suavely handsome, and materialistic stockbroker Piero (Alain Delon), first seen in a frenzied and frantic stock-market exchange buying and selling sequence
  • the auto-accident crash scene at a canal after Piero's convertible was stolen by a drunk and submerged - and as the car was hoisted by ropes out of the water the next day, the dead man's hand dangled over the car's door - a reminder of Vittoria and Piero's hands dangling over furniture during their courtship; Piero reacted emotionlessly and cared little for the deceased, but was only concerned about making money: "There aren't too many dents in it...I think I'll sell it. It's only got 5,000 miles. A little polish and it'll be like new"
  • the sequences of the difficult and ultimately meaningless, empty affair the couple experienced during their time together - often seen kissing each other through obstacles - a gate and a glass door: (she told him: "I wish I didn't love you, or that I loved you much more"), but never establishing real intimacy due to hidden, internal fears, indecisiveness, and anxiety
  • the haunting, sad, and despairing ending beginning when the two incompatible lovers pledged their love in Piero's apartment as she was about to leave, and agreed to meet later that evening: (Piero: "We'll see each other tomorrow and the day after tomorrow" Vittoria: "And the day after that, and the next" Piero: "And the day after that" Vittoria: "And tonight" Piero: "8:00 - the usual place"); they gave each other one last desperate hug before separating; both declined, however, to keep their rendezvous appointment at the street corner in her suburban neighborhood that evening - evidenced by the mostly vacant scenes displayed until the end of the film
  • in the closing seven-minute sequence - the camera was still present although the two main characters were absent - as city street scenes were revisited (in a dialogue-less montage), and various locales and objects that were once important to them were viewed - things that the lovers had observed or visited during the course of the plot - composed mostly of static images (the high-velocity hose in the park spraying water, a wooden slatted fence, a rusty and leaking barrel filled with rain water, a painted crosswalk and other abstract patterns created by various objects, the building construction site with metal scaffolding sticking out of the half-finished structure, a horse-drawn buggy, tree shadows on the pavement, trees blowing in the wind, a close-up of tree bark, a deserted roadway and the four-cornered intersection, water flowing down a drain, a few random bystanders staring off into space, a man exiting a bus and reading a newspaper with the headlines: "NUCLEAR ARMS RACE - A FRAGILE PEACE", a jet trail in the sky, and a blonde woman who turned to look back (a tease - wrongly presumed to be Vittoria)
Planned Rendezvous Between Lovers Unfulfilled
on Empty City Streets
  • the afternoon turned into evening, with twilight and then dark nighttime - with the camera's last, cold and tragic images of a streetlamp as darkness descended - the site of their failed date, and symbolic of the fate of their fading romance
The Final Images of a Streetlamp

(Monica Vitti)

(Francisco Rabal)

Vittoria's Break-Up With Ricardo

Dressing Up and Dancing Like African Natives

Rome Stock-Market Exchange

Vittoria With New Lover - Heartless Stockbroker Piero

Crashed Car Hoisted Up

Empty Affair Between Vittoria and Piero

Ecstasy (1933, Czech.) (aka Ekstase)

In this heavily-censored, controversial Czechoslovakian romantic drama by Czech filmmaker Gustav Machat- a landmark 'sex in cinema' production, featuring the nude appearance of a major character - and the first theatrically-released film (non-pornographic) in which the sex act was depicted (although off-screen); it was unusual at its time for depicting obvious female sexual pleasure (ecstasy) during orgasm (simulated) from the effects of oral sex:

  • the main character - sexually-frustrated child-bride Eva Hermann (19 year old Hedwig Kiesler, or later known as Hollywood glamour queen Hedy Lamarr); now a newly-wed bride and married to elderly, impotent, uncaring husband Emile (Zvonimir Rogoz); the couple did not consummate their love with sexual relations
  • the scandalous scenes of a naked Eva - allegedly one of the earliest nude appearances in cinematic history
  • her prancing about in the nude - a skinny-dipping bathing swim, a naked forest romp through the trees to pursue her horse Loni (which had run off with her clothes), retrieved by virile engineer Adam (Aribert Mog); she hid in the bushes and begged for her clothes back
Eva's (Hedwig Kiesler/Hedy Lamarr) Scandalous Nude Scenes
With Her Horse
In the Forest
  • closeups of Eva's convincing face during a love-making scene (nudity implied)

Eva's (Hedy Lamarr)
Orgasm Scene

Ed Wood (1994)

In Tim Burton's biopic of the reportedly 'worst director' of all time during the late 1950s:

  • the perceptive look at schlock film-making through the eyes of optimistic, determined, passionate and ever-enthusiastic film director Edward D. Wood, Jr. (Johnny Depp), in the making of three Z-grade films: Glen or Glenda?, Bride of the Monster, and Plan 9 From Outer Space ("This is the one I'll be remembered for")
  • the scene of Ed Wood meeting with Screen Classics' sexploitation film producer Georgie Weiss (Mike Starr), and telling him about his 'special qualifications' to direct a revised "sex-change flick" possibly to be called "I Changed My Sex": "I'm your man. I work fast and I'm a deal. I write and direct. And I'm good...Mr. Weiss. I have never told anyone. what I`m about to tell you but I really want this job. I like to dress in women's clothing... I love women. Wearing their clothes makes me feel closer to them"); he revealed his own secret cross-dressing transvestism and his fetish for angora sweaters and lacy undergarments
  • the portrayal of morphine-addicted ("with a demoral chaser"), outcast Universal horror star Bela Lugosi (Oscar-winning Martin Landau) - including his famous recitation from Bride of the Monster: ("Home? I have no home. Hunted. Despised. Living like an animal. The jungle is my home. But I shall show the world that I can be its master! I shall perfect my own race of people, a race of atomic supermen that will conquer the world!")
  • the scene of Wood's revelation to his first girlfriend Dolores Fuller (Sarah Jessica Parker), after handing her his script for Glen or Glenda? with himself in the title role, that he was a transvestite - she had a violent reaction to his exploitative use of their characters for his script: ("So that's where my sweater's been. How long have you been doing this?...Jesus Christ, and you never told me?...What?! By putting me in a f--kin' script for everyone can see? What kind of sick mind operates like that?...And what about this so-called Barbara character that's obviously me? This is our life! It's so embarrassing!... How can you act so casual when you're dressed like that?")
  • the autograph scene when Lugosi was asked for a signature by actor-fan Conrad "Connie" Brooks (Brent Hinkley), and was called Karloff's "sidekick" - Lugosi ranted back at his rival: ("Karloff? Sidekick? F--K YOU! Karloff does not deserve to smell my s--t! That limey cocksucker can rot in Hell for all I care!")
"Home? I have no home..."
Bela Lugosi
(Martin Landau)
Signature Scene: Lugosi's Rant About Karloff
  • the night scene when Bela Lugosi thrashed around in two feet of water in a pretend fight with an unmotorized, inanimate rubber giant octopus to please his director
  • the entire assortment of misfit freaks in Wood's traveling group of eccentric actors including horror-film TV hostess Vampira (Lisa Marie), charlatan psychic Criswell (Jeffrey Jones), massive Swedish wrestler-turned-actor Tor Johnson (George "The Animal" Steele), and aspiring transsexual John "Bunny" Breckinridge (Bill Murray)
  • Lugosi's exclamation about Vampira appearing on TV: ("I think she's a honey. Look at those jugs!")
  • the tender scene in which Wood confessed his love of wearing women's clothing to new girlfriend and future wife Kathy O'Hara (Patricia Arquette) while stuck inside a stalled carnival Spook House ride: ("I like to wear women's clothes. Panties, brassieres, sweaters, pumps. It's just something I do. And I can't believe I'm telling you this, but I really like you, and I don't want it getting in the way down the road")
  • the pool baptism scene in which all of them were immersed to secure film funding from a Beverly Hills Baptist church
  • the scene of Wood's short 'fictional' conversation at Musso & Frank Grill with his auteur-hero and idol Orson Welles (played by Vincent D'Onofrio, with Welles' trademark voice dubbed by Maurice LaMarche) about how a director must stick to his vision ("Ed... Visions are worth fighting for. Why spend your life making someone else's dreams?", and his subsequent words to his backers: "We are gonna finish this picture just the way I want it because you cannot compromise an artist's vision")

Ed Wood (Johnny Depp) with Screen Classics Producer Georgie Weiss

Wood's Cross-Dressing Revelation to Dolores

Ed Wood Directing in Women's Clothes

Giant Octopus

Ed's Confession to Kathy O'Hara: "I like to wear women's clothes"

Pool Baptism Scene

Fictional Scene at Musso & Frank Grill with Orson Welles

Edward Scissorhands (1990)

In Tim Burton's enchanting 'Beauty and the Beast' fantasy:

  • the heart-breaking prologue scene -- a bedtime story about a reclusive and kindly Inventor 'father' (Vincent Price in his last film role), who collapsed of a heart-attack and died before he could install real hands on his inherently-good son Edward Scissorhands (Johnny Depp), with sharp scissor-hands
Death of Edward Scissorhands' Inventor 'Father'
  • the image of the high-on-the-hill Gothic castle/mansion overlooking the pastel-colored suburban neighborhood of tract houses; before being invited to live with a suburban family, Edward lived a lonely and naive existence in a castle overlooking the neighborhood, was pitied, and taken home by Avon lady Peg Boggs (Dianne Wiest); she was shocked when she came upon him, with his black leather punk outfit, pruning shear hands, and wild hairdo
  • the scene of Edward scaring blonde teen cheerleader/daughter Kim Boggs (Winona Ryder) in her bedroom - and in the excitement puncturing her waterbed
  • the dinner meal scene at the house of Bill (Alan Arkin) and Peg with white-faced hedge sculptor/guest Frankenstein-like Edward Scissorhands attempting to eat with his unique scissor-hands, at one point from his POV
  • Edward's ability to groom pets, cut women's hair, and trim gardens and hedges into various shapes
Topiary Creations
Hair-Cutting Skill
  • the scene in which Edward carved beautiful angel ice sculptures to woo Kim as she joyously danced under the wintry rain of chipped, frozen snow flakes - accompanied by Danny Elfman's score
  • the character of Kim's scheming, jealous, bullying and insensitive boyfriend Jim (Anthony Michael Hall), and the stunning ending scene in the castle of Jim's assault of Edward, who retaliated by stabbing Jim in the stomach, and pushing him out of the castle window to his death; and the tearjerking farewell scene between Edward and Kim after Jim's death
  • the explanation by an older Kim at the film's conclusion (the film's entire story was told in flashback) at the bedside of her grand-daughter (Gina Gallagher) about why she didn't visit Edward: ("I'm an old woman now. I would rather he remember me the way I was"); she said she suspected that Edward was still alive and living in the castle above town: ("I don't know, not for sure, but I believe he is"); she explained about where snow came from and how she knew that Edward was still creating ice sculptures and causing snow showers: ("You see, before he came down here, it never snowed. And afterwards, it did. If he weren't up there now, I don't think it would be snowing. Sometimes, you can still catch me dancing in it")
  • the film's final flashback of a younger Kim dancing in the snowflakes

Peg Boggs (Dianne Wiest) Meeting Edward

Edward Scaring Kim In Her Bedroom

Edward's POV at Dinner Table

Edward's Ice-Sculpturing and Kim Dancing in Snow Chips

Edward's Murder of Jim

Kim's Final Goodbye With Edward

8 1/2 (1963, It.) (aka Otto e Mezzo)

In Federico Fellini's sprawling, surreal fantasy drama about the breakdown and descent into madness of the protagonist - a stressed-out film-making director planning to make his next movie, a science-fiction epic:

  • the bizarre, allegorical, subjectively-viewed opening dream sequence: a massive traffic jam in a tunnel, and feeling trapped, asphyxiated and gasping for air in his own claustrophobic car, the harried film director Guido Anselmi (Marcello Mastroianni) struggled in desperation and pounded on his car windows; he emerged from the roof of his car, stood with his arms outstretched and his black cape unfurled as he walked forward, and he found himself floating away and escaping by sailing off into the clouds; his freedom was short-lived, since his ankle was attached to a kite line held by a man on the beach far below with another man riding on horseback (his associates: the producers of the film Guido was directing); Guido was tugged down to earth ("Down, you come down") and tumbled into the water
  • the many flashbacks and retreats to the director's boyhood memories, and the numerous flights of fantasy and dream sequences, anxious nightmares, and day-dreaming wish-fulfillments
  • the flashback to Guido's impressionable youth - a beach scene when he joined with a group of boys to watch "The Saraghina" (Edra Gale) - a fat prostitute who was paid to teasingly dance a rumba, and even invited Guido to dance with her outside her beachside shack
  • the visionary, over-exposed appearance of Guido's beautiful dream girl Claudia (Claudia Cardinale) with whom he found solace, on spa grounds where he was recuperating; as Guido adjusted his sunglasses, he imagined that she glided into view from the forest (to the tune of Rossini's "Barber of Seville" overture), dressed in white; as his salvation, she offered him a glass of purifying and healing mineral water - but then she reverted to one of the spa attendants
Guido's Dream Girl Claudia
  • the other females in Guido's life - his cheap but sexy mistress Carla (Sandra Milo), and his intellectual, estranged wife Luisa (Anouk Aimée), who knew of his promiscuity
  • the steamroom bath scene of Guido's short audience with a Cardinal (Tito Masini), when Guido spoke of his unhappiness: ("Your Eminence, I'm not happy") and the Cardinal only responded with Latin catechism quotes: ("Why should you be? That isn't your job. Who told you we come into the world to be happy? Origen says in his homilies: Extra Ecclesiam nulla salus. There's no salvation outside the church. Extra Ecclesiam, nemo salvatur. No one will meet salvation, outside the church. Salus extra Ecclesiam, non est. There's no salvation outside the church. Civitas Dei. He who isn't in the City of God, belongs to the City of the Devil")
  • the dance sequence where young, dark-haired "student" Gloria Morin (Barbara Steele) danced with white-haired, elderly Mario Mezzabotta (Mario Pizu), Guido's producer friend
  • the stream-of-consciousness 'harem scene' at the spa actually began when Guido was at an outdoor cafe with his wife Luisa and her best friend and his lover Carla; to escape, he imagined all the women in his life living together in a harem; when he arrived at the door, everyone cried out: "The Emir is here!" - the females included "The Saraghina," Luisa, Carla, Gloria, his star actress Claudia, and a dancing "black girl" from 'Hawaii' and many others; after he distributed gift parcels, the attendants prepared him for a bath, undressed him, and put him in a tub of hot water; later, he was removed and wrapped in a white robe, sprinkled with talc, and pampered like a child; to the tune of Wagner's "Ride of the Valkyries" while wearing a black cowboy hat, Guido grabbed a whip to attempt to tame and control the rebellious females when they complained about his enforcement of the rules, and his double standard about aging in regards to one rejected showgirl: ("Discard us after squeezing us dry!...You're a monster!...Down with Bluebeard! We have a right to be loved to the age of 70!...Who does he think he is, a boy? It's time he knew he's a lousy lover. Sweet nothings, that's all. Then he falls asleep") - the rule was that discarded, overaged women were forced upstairs; Luisa explained Guido's behavior: "It's a need he has, he does it most nights"; soon after Guido's punishing reprimands, the rebellious women calmed down, and the group applauded him
  • the press-conference sequence - surrounded, assailed and finding himself unable to answer hostile questions of reporters and producers, the confused and indecisive Guido thought the film project would be abandoned and the set dismantled; he crawled under a table, and took a gun out of his pocket; a gunshot was followed by a close-up of the back of Guido's head slowly hitting the ground - Was it another fantasy? Or had he killed himself?
  • the carnival finale sequence - on a field where a massive steel-girded structure or scaffolding had been built (a giant-sized spaceship for the movie production); a resigned Guido walked away from the set that was about to be taken apart, when he heard the words of cinema critic and writer Carini (Jean Rougeul), a manifestation of his own intellect, who advised and reasoned with him as they proceeded to his car; while listening, Guido was basically convinced to quit his creative profession, and walk away from the terminated project: "You've made the right choice. Believe me, today is a good day for you. These are tough decisions, I know. But we intellectuals, and I say 'we' - because I consider you such, must remain lucid to the bitter end. This life is so full of confusion already, that there's no need to add chaos to chaos. Losing money is part of a producer's job. I congratulate you. You had no choice. And he got what he deserved for having joined such a frivolous venture so lightheartedly. Believe me, no need for remorse. Destroying is better than creating when we're not creating those few, truly necessary things. But then is there anything so clear and right that it deserves to live in this world? For him, the wrong movie is only a financial matter. But for you, at this point, it could have been the end. Better to quit and strew the ground with salt, as the ancients did, to purify the battlefields. In the end, what we need is some hygiene, some cleanliness, disinfection. We're smothered by images, words and sounds that have no right to exist, coming from, and bound for, nothingness. Of any artist truly worth the name we should ask nothing except this act of faith: to learn silence. Do you remember Mallarme's homage to the white page? And Rimbaud - a poet, my friend, not a movie director. What was his finest poetry? His refusal to continue writing and his departure for Africa. If we can't have everything, true perfection is nothingness. Forgive men for quoting all the time. But we critics do what we can. Our true mission is sweeping away the thousands of miscarriages that everyday - obscenely - try to come to the light. And you would actually dare leave behind you a whole film, like a cripple who leaves behind his crooked footprint. Such a monstrous presumption to think that others could benefit from the squalid catalogue of your mistakes! And how do you benefit from stringing together the tattered pieces of your life? Your vague memories, the faces of people that you were never able to love... "
  • Guido's redemption in the conclusion - he had a revelation that he needed to accept his life for what it was; when he saw his wife Luisa, part of a procession of figures dressed in white who appeared (all the people in Guido's life?), he reconsidered and spoke: "What is this flash of joy that's giving me new life? Please forgive me sweet creatures; I didn't realize, I didn't know. How right it is to accept you, to love, you - and how simple! Luisa, I feel I've been set free. Everything looks good to me, it has a sense, it's true. How I wish I could explain, but I can't - everything's going back to what it was. Everything's confused again, but that confusion is me; how I am, not how I'd like to be. And I'm not afraid to tell the truth now, what I don't know, what I'm seeking. Only like that do I feel alive and I can look into your loyal eyes without shame. Life is a party, let's live it together. I can't say anything else, to you or others. Take me as I am, if you can. It's the only way we can try to find each other"; meanwhile, a top-hatted, white-faced character (a magician or ringmaster) with a baton had interrupted and announced: "We're ready to begin"
  • in the next segment, a rag-tag parade of circus clowns also appeared (Guido as a boy wearing white was the last one in the line, playing a flute) and marched toward the scaffolding; director Guido grabbed a megaphone-bullhorn to guide and direct the action; the entire cast of the film appeared from behind a opening curtain and descended down the steel stairs of the space-ship scaffolding; Guido waved to his mother and father, and then he took his wife Luisa's hand to join in the jumbled yet happy procession performing a circle dance; in the final moments, the movie set transformed into a circus ring where the young Guido led the clowns, and then was left alone in the ring to play a flute (illuminated in a dwindling spotlight) as he marched off
Circus-Parade Ending

Opening Dream Sequence

Beach Scene with Prostitute

Steamroom Bath Scene with Cardinal

Dance Between Gloria and Mario

"Harem" Sequence

Words of Advice From Cinema Critic and Writer Carini

Wife Luisa

El (1953, Mex.) (aka This Strange Passion)

In Luis Bunuel's monstrous romantic melodrama:

  • the opening sequence set in a church during a Holy Thursday Lenten mass, where the moving camera took the POV of the wandering eyes of wealthy, devoutly-religious, middle-aged 45 year-old charming aristocratic bachelor Don Francisco Galvan de Montemayor (Arturo de Córdova); as he served as water-bearer, images reflected religious fetishism: Father Velasco (Carlos Martínez Baena) washed and kissed the feet of several choir boys, followed by an ankle-level panning sweep along the feet of the first row of people standing at the altar, a glimpse of a female's shoes - and briefly later, a return to the woman's pair of black pumps - and a tilting view upward at her shapely legs and face of the beautiful parishioner Gloria Milalta (Delia Garces)
  • after aggressively wooing Gloria (although engaged to his associate Raul Conde (Luis Beristain)) and marrying her, the scenes (told in flashback) of Francisco's random obsessions, jealousy, frustration, and extreme paranoia about Gloria, including his psychotic and deranged torment, battering and torture of her - (offscreen) behind her closed door, and his gathering of rope, needle/thread to bind his wife and sew up her vagina
The Belltower Sequence
  • the claustrophobic belltower sequence (similar to scenes in The Third Man (1949) and Hitchcock's Vertigo (1958)), when the delusionary Francisco took Gloria to the belfry of a bell tower, looked down at the people on the street and compared them to "worms" during a vicious rant, and threatened to strangle her and toss her body from the tower onto the sidewalk below, although she wriggled away and fled from him
  • the conclusion - Francisco now 'institutionalized' as a monk in a monastery where he claimed to be cured, but the final zig-zag closing shot of him as a black-hooded figure walking away from the camera down a long pathway toward a darkened arched rock doorway belied that

Bachelor Watching Parishioner Gloria

Francisco as Monk in Pathway

The Elephant Man (1980)

In David Lynch's dark and affecting biopic about a sensitive and cultivated, but hideously-deformed, child-like John (Joseph) Merrick (John Hurt) in 19th century London:

  • the amazing scene in which London surgeon - Dr. Frederick Treves (Anthony Hopkins) listened to Merrick movingly recite the entire 23rd Psalm (from the Bible); Dr. Treves was astonished and asked: "How did you know the rest of it? I didn't teach you the rest of it. It's very strange. Tell me, how did you know the rest of it? The 23rd Psalm?"; Merrick responded: "I used to read the Bible every day. I know it very well and the Book of Common Prayer. The 23rd Psalm is very beautiful. It's my favorite"; Merrick then apologized to Dr. Treves for not revealing that he knew how to read: "I was frightened...I was afraid to talk. Please forgive me"
  • the tea cup scene of Merrick showing Dr. Treves and his emotionally-affected wife Ann Treves (Hannah Gordon) a picture of his pretty mother ("She had the face of an angel") - and Merrick's next poignant comment: "I must've been a great disappointment to her...If only I could find her so she could see me with such lovely friends here now. Perhaps she could love me as I am. I've tried so hard to be good"
  • the scene in which famous stage actress Madge Kendal (Anne Bancroft) visited the disfigured Merrick and they performed a Shakespearean scene together from Romeo and Juliet, followed by her loving, brief kiss; she exclaimed: "Oh, Mr. Merrick. You're not an elephant man at all. You're Romeo"
  • the Liverpool (London) Street train station scene in which Merrick (with a burlap bag over his head) was chased, harrassed, and surrounded by a mob (after he knocked over a young girl) - and his stirring cry to the crowd once he was corned in a men's room toilet: "I AM NOT AN ANIMAL! I...AM... A HUMAN BEING! I AM A MAN"
Unmasked and Crying Out at Train Station
  • Merrick's last night of his life when he was taken to one of Madge Kendal's magical Christmas pantomime performances, "Puss in Boots" at the Theatre Royal on Drury Lane; he received a standing ovation (instigated by Ms. Kendal) in his box after the show; from the stage, she dedicated the performance to him: "A man who knows the theater and who loves the theater, and yet this is the very first time he's ever been here. I wish to dedicate - The whole company wishes to dedicate with all their hearts, tonight's performance to Mr. John Merrick, my very dear friend"
Completing Church Model
Last Glance at Mother's Picture
Lying Back
Suicidal Death
Entering into Eternity
Vision of Smiling Mother
  • Merrick's demise; after completing his church model, he laid back on a bed while gazing at his mother's picture on his bedside table as a slight breeze softly billowed the lacy window curtains - he stretched out for peaceful, suicidal death in sleep (his normal position for sleeping was sitting up - lying down would suffocate him and prove fatal); there was a montage of his spirit passing out the window into eternity as she quoted to him from Alfred Lord Tennyson's 1893 poem "Nothing Will Die" to console him, accompanied by Samuel Barber's haunting Adagio for Strings: "Never, oh, never. Nothing will die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die"

23rd Psalm Recitation

Tea-Cup Scene: Mother's Picture

Reciting Shakespeare with Madge Kendal

Standing Ovation For Elephant Man

Elmer Gantry (1960)

In director Richard Brooks' religious drama - an adaptation of Sinclair Lewis' 1927 novel about a charismatic and corrupt evangelist, who was secondarily a religious con-man:

  • the striking title credits (by Saul Bass) with a Christian cross-theme, preceded by a scrolling prologue: "We believe that certain aspects of Revivalism can bear examination - that the conduct of some revivalists makes a mockery of the traditional beliefs and practices of organized Christianity! We believe that everyone has a right to worship according to his conscience, but - Freedom of Religion is not license to abuse the faith of the people. However, due to the highly controversial nature of this film, we strongly urge you to prevent impressionable children from seeing it!"
  • the opening sequence (preceded by text from page 1 of Lewis' novel -- "Elmer Gantry was drunk. He was eloquently drunk...") of down-and-out huckster and door-to-door salesman Elmer Gantry's (Oscar-winning Burt Lancaster) ribald jokes and solicitations in a speak-easy bar in the 1920s (on Christmas Eve) to a bunch of sales-people, before he passed a plate for donations amongst the customers for some Salvation Army ladies: ("The Bible says 'Never let your left hand know what your right hand is doing.' What's your beef, mister? You ashamed of bein' a Christian? Oh, I see. You think, uh, religion is for suckers and easy marks and molly-coddlers, huh? You think Jesus was some kind of a sissy, eh? Well, let me tell you, Jesus wouldn't be afraid to walk into this joint or any other speakeasy to preach the gospel. Jesus had guts. He wasn't afraid of the whole Roman army. (Pointing to a picture) Think that quarterback's hot stuff? Well, let me tell you, Jesus would have made the best little All-American quarterback in the history of football. Jesus was a real fighter - the best little scrapper, pound for pound, you ever saw. And why, gentlemen? Love, gentlemen. Jesus had love in both fists! And what is love? Love is the mornin' and the evenin' star. It shines on the cradle of the Babe. Hear ye, sinners. Love is the inspiration of poets and philosophers. Love is the voice of music. I'm talkin' about divine love - not carnal love"); at the end of the scene, a lady at the bar in a red-dress (Marjorie Stapp) intoned: "That's the trouble with this stinking world. Nobody loves nobody" - and Gantry bought her a drink
  • the next sequence of Gantry, after disembarking from a train (shoeless), joining a black congregation lustily singing in the pews: "Get behind me Satan, I'm on my way, Glory Hallelujah, I'm on my way!"
  • the sequence of Gantry attending a revival meeting led by Sister Falconer (Jean Simmons), where he was first mesmerized and immediately attracted to her - she was dressed as a fresh-faced milk maid, who encouraged the audience to contribute into milk pails that were passed around
  • Sister Falconer's naive but admirable faith, and the scenes of Gantry's growing love and attraction for Sister Falconer, and her slow-mesmerized response to his rousing sermons
  • the scenes of Gantry's theatrical, charismatic hell-fire and brimstone performances in Bible-Belt revivalist scenes: ("Listen to me, sinners. You can't pray to kingdom come and play bridge or poker. And, Mother, you can't say your psalms and look at God through the bottom of a beer mug, now can you? And you, brother, you can't go to church on Sunday and cheat at business on Monday. We're comin' back to you, God. We're comin' back to the old-time religion! And what is religion? What is religion? Religion is love. And love is the morning and the evening star. Love, the eternal glorious musi-cmaker. Love! Not the carnal love, but the divine love. And where does this great love come from? It comes direct from God!")
  • in one dramatic sequence, Gantry performed a running slide as he exhorted the crowds to convert to Jesus: "With Christ, you're saved, and without him, you're lost. And how do I know there's a merciful God? Because I've seen the Devil plenty of times! (Running slide) Any punk ball player can make a slide like that. But how many folks have got the guts to play ball on God's team? And listen to this. The captain of that team is Jesus Christ himself. So, come on, man, woman, child. Who'll be the first to shake hands for Jesus? Come on, now! Everyone! Are you gonna make me beg and beg when I'm offerin' you my Jesus? Did the Saviour die in vain? Did he suffer on the cross for nothin'?"
Gantry's Inspired Revival Performances
"Listen to me, sinners!"
A Running Slide
Threatening to Fight The Devil With His Fists
Sermon About Evolution: "Just a monkey, folks. Just a monkey"
"Sin, Sin, Sin. You're all sinners!"
Encouragement of Speaking in Tongues
Tirade Against Evils of Booze
  • the continued sweaty preachings of Gantry including his encouragement of speaking in tongues from one of the howling parishioners after his threatening sermon: ("Sin. Sin, Sin. You're all sinners. You're all doomed to perdition. You're all goin' to the painful, stinkin', scaldin', everlastin' tortures of a fiery hell, created by God for sinners, unless, unless, unless you repent")
  • the sequence of Sister Falconer during one revival meeting condemning those who hypocritically criticized her credentials as a saint and considered her a scoundrel: ("Some of you are troubled. Skeptical of my motives. You want to know my credentials. Who am I? Who sent me? Some of you have come to sit in judgment of me. But who among you is wise enough to be a judge in the house of God? For even though you speak with the tongue of an angel and have not charity, you are as sounding brass. If I have sinned, then God will punish me. If I am lost in the wilderness, then God will show me the way back. Will you pray with me for guidance?") - and everyone in the congregation kneeled and joined her in prayer
  • the scene of Gantry's old girlfriend - minister's daughter-turned-prostitute Lulu Bains (Shirley Jones), who told her brothel colleagues about her sordid past with the seductive charmer Gantry: "(Can he save anybody?) Can he? Anywhere, any time. In a tent, standin' up, layin' down, or any other way. And he's got plenty of ways!...Sister, I was saved by him way back in Schoenheim, Kansas. 'Love. Love is the mornin' and the evenin' star. And what is love? Not the carnal, but the divine love!' Oh, he gave me special instructions back of the pulpit Christmas Eve. He got to howlin': 'Repent. Repent!' And I got to moanin': 'Save me. Save me.' And the first thing I knew, he rammed the fear of God into me so fast I never heard my old man's footsteps. The next thing I knew, I was out in the cold, hard snow in my bare little soul"
  • the scene of Gantry's memorable sermon and tirade against booze: ("Booze! Booze put a bullet through Lincoln and McKinley! Booze is the way white slavers rob the virtue of 60,000 American girls every year! The bootleggers, the white slavers, and that newspaper are tryin' to scare me and Sister outta town! (crowd boos) But as long as I got a foot, I'll kick booze! And, as long as I got a fist, I'll punch it. And, as long as I got a tooth, I'll bite it. And, when I'm old and gray and toothless and bootless, I'll gum it till I go to heaven and booze goes to hell")
  • the vengeful scene in which Lulu Bains set up Gantry and framed him with photographs taken in a compromising situation to ruin his reputation; when he offered a charitable handout of cash to "sort of tide you over," she instead asked for a kiss goodbye before she left for Paris: "Just kiss me goodbye, just once"; the longer they kissed, the more passionate it became, and she rekindled her feelings for him, although ultimately rebuffed her; when he went to the door to leave, she apologized and admitted: "I could use some of that cash after all" - and placed his contribution in her garter; subsequently, she used the photos for blackmail purposes and they were printed in the newspaper
  • the scenes of Gantry's smearing and humiliation by crowds for his scandalous, sexual behavior, by egg- and lettuce-throwing
  • the scene of Sister Falconer's laying on of hands to heal a deaf man in her final appearance, but then a climactic blazing tent fire tragically took her life when she refused to vacate the tabernacle
The Morning After Sister Falconer's Death:
Gantry's Concluding Words
  • the final scene was the next morning next to the ruins of the tabernacle-tent, when Gantry was asked to communicate with Sister Falconer - and he told the crowd: "Can you hear me up there, Sister? Do you hate these folks? She don't hate you. She loves you....And what is love? Love is the mornin' and the evenin' star. Love is the voice of music. So sing. Sing out the Lord's love"; he led everyone in the singing of "I'm On My Way" - and then when Gantry was requested to take up Sister Falconer's crusade by her manager Bill Morgan (Dean Jagger) ("You know, Shara would want you to go on with her work. We'll get a tent - a bigger one this time"), Gantry responded by quoting a passage from the Bible: "When I was a child, I understood as a child and spake as a child. When I became a man, I put away childish things. St. Paul, First Corinthians, 13:11"); his final words were: "So long, Bill"

In a Speakeasy: "Jesus had love in both fists!"

Gantry: "I'm on my way!"

First Sighting of Sister Falconer During Revival Meeting

Gantry's Slow Seduction of Sister Falconer

Sister Falconer's Chastisement of Doubters for Their Hypocrisy, Before Leading a Prayer

Lulu (Shirley Jones) Remembering Her Sordid Past with Gantry

Gantry Set-Up by Lulu Bains

Gantry's Humiliation

Sister Falconer's Healing of a Deaf Man

Death in the Tabernacle-Tent Fire

Elvira Madigan (1967, Sw.)

In director Bo Widerberg's romantic melodrama:

  • the lovely and sensuous scenes in the tragic, 19th century, idyllic Swedish elopement-romance between two star-crossed lovers:

    - 16 year old circus-tightrope walker Hedvig 'Elvira' Madigan (Pia Degermark)
    - Army lieutenant officer Sixten Sparre (Thommy Berggren) who deserted his post

  • the memorable soundtrack of Mozart's Piano Concerto No. 21 in C
  • the final picnic scene in which Elvira told Sixten that they must commit suicide together, although he was unable to pull the trigger on her at point-blank range
  • the film's ending with the freeze-frame image of Elvira grasping a butterfly - with a shot heard off-screen as her lover shot her to death, and then a second shot when he committed suicide to join her

Star Wars: Episode V - The Empire Strikes Back (1980)

In director Irwin Kershner's superior entry - the second film (chronologically) of the entire franchise, and considered one of the best episodes:

  • the opening prologue scroll about the episode: "It is a dark time for the Rebellion. Although the Death Star has been destroyed, Imperial troops have driven the Rebel forces from their hidden base and pursued them across the galaxy..."
  • the entrance of Luke Skywalker (Mark Hamill) riding across the cold and lonely ice plain of the planet Hoth on his Tauntaun (snow lizard); and then soon after, discovered hanging upside-down after an encounter with a giant Wampa ice monster/creature (Des Webb)
On the Planet Hoth
Luke Skywalker (Mark Hamill)
AT-AT Walkers
  • the surprise attack and battle on the ice fields of the planet Hoth between AT-ATs (giant mechanized Imperial-Walkers) and small Rebel Alliance Snow Speeders
  • the appearance on the Imperial fleet of Darth Vader/the Dark Lord (David Prowse/voice of James Earl Jones), commanding the Executor through space with Imperial Star Destroyers and TIE fighters alongside, setting his sights on Hoth - and the brief glimpse of the back of the Dark Lord's scarred head as his helmet was put into place
  • the subsequent scene of Han Solo's (Harrison Ford) freighter ship the Millennium Falcon outmaneuvering pursuing Imperial Star Tie Fighters/Destroyers in a thrilling near-suicidal flight through a dense asteroid field
  • Luke Skywalker's difficult training to learn to be a Jedi knight, first on the Ice Planet of Hoth, and then after crash-landing in a boggy marsh on tropical Dagobah, where he met up with the wise and dimunitive Jedi Master Yoda (voice of Frank Oz)
  • during repairs on the Falcon, Princess Leia's (Carrie Fisher) admission that Han was all right when he didn't spitefully call her "Your Worship," or act like a "scoundrel" - Han responded: "You like me because I'm a scoundrel. There aren't enough scoundrels in your life"; after she quipped back: "I happen to like nice men," he claimed to the contrary that he was a "nice man" and coaxed a kiss from her as she mildly protested, but reciprocated
  • the scene of Darth Vader's discussion with the ominous Emperor (Ian McDiarmid) hidden by a dark robe, and appearing as a giant blue hologram - who warned: "There is a great disturbance in the Force...We have a new enemy, the young rebel who destroyed the Death Star. I have no doubt this boy is the offspring of Anakin Skywalker....He could destroy us....The Force is strong with him. The son of Skywalker must not become a Jedi"
  • and later, the scene of the Falcon finding itself almost ingested in the gullet of a giant space worm, that snapped at it with its jaws as the vessel escaped from its cavernous innards
  • the shocking scene of Luke's failed test (a dream sequence foreshadowing his future light-saber duel with his main adversary) in which he "battled" Darth Vader in a cave - and after cutting off the dream figure's head, Luke's own face was revealed in Vader's severed helmet
  • the panoramic floating, gas-mining colony of Cloud City ruled by Lando Calrissian (Billy Dee Williams) - "a card player, gambler, scoundrel"
  • the humorous scene of the golden droid C-3PO (voice of Anthony Daniels) blasted into pieces, and then put back together by the Wookiee Chewbacca or "Chewie" (Peter Mayhew) - but reconstructed at first with his head on backwards!
  • Han Solo's test frozen encasement in carbonite (in a carbon-freezing unit) preceded by his romantic goodbye to Princess Leia: (Leia: "I love you." Han: "I know"); he was put "in perfect hibernation"
Leia: "I love you"
Han: "I know"
  • the exciting light-saber duel/showdown on Cloud City between Darth Vader and Luke, when Vader threatened Luke's defeat ("You are beaten. It is useless to resist. Don't let yourself be destroyed as Obi-Wan did"); and then Luke's right hand was struck at the wrist with Darth Vader's saber, and his hand was amputated; Vader then entreated: "Luke, you do not yet realize your importance....Join me, and I will complete your training"; and then Vader emotionlessly announced the greatest revelation of the entire film series - a startling and stunning moment of revelation of a surprise relationship: "No, I am your father" (a much misquoted line -- with Luke's horrified reaction: "No! No! That's not true. That's impossible"); Vader's urged Luke to join him: "Join me and together, we can rule the galaxy as father and son"
The Light-Saber Duel/Showdown: Luke vs. Darth Vader
Saber Lunges
Loss of Luke's Right Hand
"No, I am your father"
  • the final, evocative shot of Luke, Leia, C-3PO and R2-D2 (voice of Kenny Baker) at a wide viewport on a Rebel ship watching Lando Calrissian departing with Chewbacca (Peter Mayhew) in the Falcon in their quest to rescue Han, and to confront Jabba the Hutt and bounty hunter Boba Fett (Jeremy Bulloch)

Opening Scroll

Darth Vader

Yoda on Dagobah

Romance Between Leia and Han

The Emperor (Ian McDiarmid / voice of Clive Revill)

The Giant Space Worm

Dream Sequence: Luke's Face in Vader's Severed Helmet

C-3PO Reconstructed Backwards

Han Encased in Carbonite

Ending Image

The Endless Summer (1966)

In Bruce Brown's ultimate, low-budget surfing documentary accentuated by the Sandals' theme song, about two wave chasers (Mike Hynson and Robert August) avoiding winter by following the summer season - an "endless summer":

  • the incredible surfing footage around the world (Africa, Australia, New Zealand, Tahiti, Hawaii and California) while searching for "the perfect wave" (finally found at Cape St. Francis in S. Africa)
  • the narrator's (director Bruce Brown) non-chalant, often-joking voice-over about the duo traveling the world looking for the best surfing spots - and experiencing an 'endless summer': "Many of us ride winter and summer, but the ultimate thing for us would be to have an endless summer. The only way to do this is to travel around the world"
  • the scenes of surfing in Australia with sharks

The English Patient (1996)

In Anthony Minghella's Best Picture-winning epic - a great romantic war melodrama about star-crossed lovers in a turbulent, illicit extra-marital love affair in the North African desert (pre-WWII):

  • the opening scene after the credits - in fact the ending of the film - a plane crash in Libya due to German anti-aircraft fire, that horribly burned the pilot (with a hardly-discernable female figure slumped lifelessly in the front seat) - followed by the caring ministrations of nurse Hana (Juliette Binoche) to the disfigured, wrongly-identified 'English Patient' after the plane crash - a critically-burned German-Hungarian pre-war cartographer Count Laszlo Almasy (Ralph Fiennes), who was now lying in a bombed-out Tuscan (Italian) monastery in a liberated section of Italy
  • the third character of Canadian Intelligence Corps member David Caravaggio (Willem Dafoe), a professional thief and military spy suffering without thumbs after torture during a Nazi German interrogation, and vengefully suspecting that Almasy was the German spy who betrayed him
  • the romantic scenes between French Canadian nurse Hana and Sikh British Army officer/bomb expert Kirpal "Kip" Singh (Naveen Andrews)
  • the tense, terrifying and nerve-jangling sequence of Kip defusing an unexploded bomb in a muddy pit under a bridge - while a heavy armored tank approached and vibrated the road, and threatened to detonate the explosive
  • the amnesiac Count's many fragmented flashbacks about his life and adulterous secret romance with recently-married and luminous Katharine "Kay" Clifton (Kristin Scott Thomas), the wife of fellow British cartographer Geoffrey Clifton (Colin Firth); included were his first romantic feelings for Katharine when he asked her to dance, in the company of her husband; and then during a Christmas celebration when she fainted in the heat, his kissing of her sweat-glistening neck and touching her bare shoulder, stroking of her leg, and secretive kisses
  • the Count's loving bath scene (in which she shampooed his hair and then joined him) and love-making sequence
Love-Making Scenes
  • the spectacular plane crash sequence, when Katharine's husband Geoffrey deliberately and suicidally (in revenge) flew his plane toward Almasy; the crash killed Geoffrey and seriously wounded Katharine, but missed Almasy; seriously injured, she revealed that her husband had known of their affair: ("Poor Geoffrey. He knew. He must've known all the time. He was shouting, 'l love you, Katharine. l love you so much'")
  • as Almasy carried her to a shelter, a site with cave paintings known as the Cave of Swimmers, she revealed she was wearing his gift to her - a silver thimble on a necklace, and admitted: "Of course, you idiot. I always wear it. I've always worn it. I've always loved you" - even though they had publically ended their affair
The Deadly Plane Crash
  • the scene of Almasy caring for his severely-wounded love (with a broken ankle, wrist, and maybe some ribs) in the shelter after the devastating plane crash; he made a promise to her that he would walk to El Taj (a 3-day journey) and then return for her: (Katharine: "Do you promise? I wouldn't want to die here. I don't want to die in the desert. I've always had an elaborate funeral in mind. Particular hymns. And I know exactly where I want to be buried. In our garden where I grew up with a view of the sea. So promise me you'll come back for me" Almasy: "I promise - I'll come back for you. I promise - I'll never leave you")
  • later, his delayed return to the cave after she had tragically died - when he carried her body out of the cave
Finding Katharine Dead in The Cave
The "Mercy Killing" - Morphine Overdose
Katharine's Final Letter
  • in the final scene, Hana fulfilled Count Almasy's desire to die - via a massive overdose of morphine; as he died in the tearjerking ending, Katharine's final letter to him written in the cave was read to him by Hana (some in voice-over): ("...We die, we die rich with lovers and tribes, tastes we have swallowed, bodies we have entered and swum up like rivers. Fears we've hidden in, like this wretched cave. I want all this marked on my body. We're the real countries. Not the boundaries drawn on maps, the names of powerful men. I know you'll come and carry me out into the palace of winds. That's all I've wanted - to walk in such a place with you, with friends. An Earth without maps. The lamp's gone out and I'm writing in the darkness.")

The Disfigured "English Patient" Count Laszlo Almasy (Ralph Fiennes)

David Caravaggio
(Willem Dafoe)

Romance Between Hana and Sikh British Army Officer Kip

Bomb Defusing

Dancing: Katharine and Count



Katharine: "So promise you'll come back for me"

Enter the Dragon (1973, US/HK)

In Robert Clouse's fast-paced kung-fu masterpiece - with Bruce Lee in his first (and last) English-language (and Hollywood-produced) film - it was Lee's last film before his untimely death at the age of 32; it was the first kung fu film produced by a major Hollywood studio - and voted upon as the best "chopsocky" or "kickfest" (kung fu and martial arts) film ever made by an American studio (Warner Bros):

  • the sequences of the annual, invitational martial-arts competition (a tournament of champions) on a mysterious island fortress near Hong Kong, hosted or sponsored by one-handed, blood-thirsty, renegade, villainous Shaolin Temple monk Han (Shih Kien), the crime-boss and king-pin, and the island's owner - a classic James Bond villain
Han (Shih Kien)
Lee (Bruce Lee)
Oharra (Bob Wall)
  • also participating in the competition: American playboy-adventurer Roper (John Saxon), an indebted gambling addict
  • one of the earliest competitions - a battle between the crime boss' Han's top right-hand man and bodyguard - the bearded, sadistic and facially-scarred Oharra (Bob Wall), and undercover agent and Jeet Kune Do martial arts master-expert Lee (Bruce Lee) who displayed acrobatic fight skills, flip kicks and lightning fast punches to down and kill his opponent - who had cheated and attempted to stab him with broken bottles
  • Lee had been recruited by the British to infiltrate the drug and prostitution operation; Lee was seeking revenge on the gang and Oharra, who was responsible for the death of Lee's sister Su Lin (Angela Mao Ying - the "female Bruce Lee") - she committed suicide with a sharp shard of glass thrust into her own abdomen when Oharra attempted to rape her
Oharra: Responsible for Lee's Sister Su Lin's Suicidal Death
  • the fight sequence and showdown in Han's top-secret underground lair between Lee and dozens of Han's henchmen-attackers, when he upgraded his weapons from a mere stick, to metal rods, and finally nun-chucks
  • the climactic confrontational kung-fu fight in a hall of mirrors (some in slo-mo) (with homage to Welles' The Lady From Shanghai (1948)) between martial arts master Lee and the crime-lord Han who wore four serrated knife blades in place of his detachable metal clawed iron hand, ending in the defeat of Han when he was side-kicked into a spear and impaled (Han had thrust the blade into the door of the mirror room at the beginning of their battle)
Underground Chamber of Mirrors

Vengeance: Lee vs. Oharra

Lee Fighting Against Henchmen with Nun-Chucks in Han's Lair

Han with Four-Bladed Claw Hand

Lee vs. Han

The Entertainer (1960, UK)

In Tony Richardson's bittersweet family drama, adapted from John Osborne's play, set in the year 1956:

  • the film's tagline: "As the applause grew fainter... As the spotlight grew dimmer... His women were younger!"
  • the stunning performance of Oscar-nominated Laurence Olivier as Archie Rice, an old-fashioned, pathetically self-deluded, third-rate music-hall 'entertainer' at a run-down, seaside resort town, with smaller and diminishing audiences, and facing bankruptcy and problems with alcoholism
  • the sequence of the charming Archie emceeing a Miss Great Britain beauty contest (with a first prize of 1,000 pounds) and afterwards, he had adulterous sex with the second place finisher, Tina Lapford (Shirley Ann Field); after sex he asked her: "Not used to the oId crocks, then?"; she responded: "Don't be so daft. I mean, I've never made Iove, not Iike this afternoon..." and admitted she must be in love with him; he had conned her into thinking that she would be starring in his new show - financed by her wealthy parents
  • the portrayal of cheating philanderer Archie's strained relationship with his alcoholic wife Phoebe (Brenda De Banzie)
Billy Rice
(Roger Livesey)
Archie's Daughter Jean
(Joan Plowright)
Commemoration Service For Death of "Mick"
  • the devastating revelation that Archie's son Sgt. Michael "Mick" Rice (Albert Finney) was not captured and released in Suez Egypt, but killed
  • the lengthy scene of Archie's reflections about himself when engaged in a serious discussion (on an empty stage) with his loving, sympathetic daughter Jean Rice (Joan Plowright) - he confessed his realization of his shortcomings to her: "You think I'm just a tatty old music-hall actor. But you know, when you're up here, when you're up here, you think you love all those people around you out there. But you don't. You don't love them like - oh, if you learn it properly, you get yourself a technique. And smile, darn you, smile and look the friendliest, jollyest thing in the world. But you'll be just as dead and used up, just like everybody else. Do you see this face? This face can spIit open with warmth and humanity. It can sing. TeII the worst, unfunniest stories in the worId to a great mob of dead, drab erks. And it doesn't matter. It doesn't matter, it doesn't matter because Iook. Look at my eyes. I'm dead behind these eyes. I'm dead. Just Iike the whoIe damn shoddy Iot out there"
Dramatic Scene Between Archie and His Daughter
"Dead and Used Up"
"I'm Dead Behind These Eyes"
"I wish to God I was that oId bag"
  • the continuation of the scene - he described how one night in Canada when he slipped over the border, he heard an 'old fat Negress' singing her heart out in a bar, and he thought: "If ever I saw any hope or strength in the human race, it was in the face of that oId fat Negress getting up to sing about Jesus, or something Iike that. I never even Iiked that kind of music, but to see that oId bag singing her heart out to the whoIe worId. And you knew somehow in your heart that it didn't matter how much you kicked peopIe, how much you despised them. If they can get up and make a pure, just naturaI noise Iike that, there's nothing wrong with them. If I'd done one thing as good as that in my whoIe Iife, I'd have been aII right. I wish to God I was that oId bag. I'd stand up and shake my great bosom up and down and Iift up my head and make the most beautifuI fuss in the worId. Dear God, I wouId. But I'II never do it"
  • the heart-attack and deadly collapse of Archie's elderly, legendary, retired show-biz dance-hall entertainer-father Billy Rice (Roger Livesey) before his first appearance on opening night in a revived show
  • the scene of Archie's final musical performance before an uncaring audience at the Alhambra Theatre (singing his signature song: "Why shouId I care? Why shouId I Iet it touch me? Why shouIdn't I, sit down and try, to Iet it pass over me? Why... Why shouId I Iet it get me? What's the use of despair? If they see that you're bIue, they'II Iook down on you. So why, oh why shouId I?") as his many creditors and the tax man were waiting in the wings - to close down the show and take him away for income tax evasion; he abruptly stopped singing and addressed the audience for the last time with a bittersweet goodbye: "Oh, well. I have a go. Don't I, ladies? I do. I have a go. You've been a good audience. Very good. A very good audience. Let me know where you're working tomorrow night. I'll come and see you" - and the curtain descended in front of him; the last words were from a stage-crew member: "Ghost lights up. Take the front curtains up"; Jean joined her father on stage as they looked out at the emptied auditorium before they slowly walked off; as the film concluded, a tinkly-piano played the tune: "Why Should I Care?"

Archie Rice
(Laurence Olivier)

Archie as Master of Ceremonies For a Beauty Contest and Afterwards Having Sex With Contestant Tina Lapford

Backstage Heart-Attack Death of Billy

Archie's Final Musical Performance at Alhambra Theatre

Eraserhead (1977)

In director David Lynch's feature debut film - a surrealistic, troubling, expressionistic, nightmarish, 'midnight movie' cult and comic-horror film about the fear of fatherhood and an unwanted pregnancy:

  • the opening dream sequence of a pock-marked "Man in the Planet" (Jack Fisk) sitting in a building (next to a cracked window) with an open roof manipulating mechanical levers that were controlling the central nervous system (sexual desires?) of timid factory worker Henry Spencer (Jack Nance), a printer - it was revealed in Henry's fear dream (about accidentally getting his female partner pregnant) as he floated in space near a planet (his brain?), that he was having pre-marital sexual intercourse with his girlfriend Mary X (Charlotte Stewart); a giant sperm was ejected from his mouth, flew into space, and fell downwards and entered into (or splashed into) Mary's dark puddle (vagina, egg or womb) -- impregnation or conception
Henry's Fear-Dream of Impregnating Partner
Dream: Henry's Head Floating in Space
Dream: Giant Wriggling Sperm Ejected From Henry
Dream: Sperm Falls into Puddle
  • the bleak, lonely living conditions shown as depressed blue-collar worker Henry returned home to his slum apartment in a noisy, industrial wasteland neighborhood after a post-apocalyptic event (a mushroom cloud picture was hanging next to Henry's bed); in the corridor outside his drab apartment, the sexy character of the desirous "Beautiful Girl Across the Hall" (Judith Anna Roberts) spoke to Henry about a call from his unmarried partner Mary; inside their claustrophobic, one-room dwelling (with no view and only one window, facing a brick wall) was a radiator with electrical wires attached to it
Henry Returning to His Drab Apartment
"Beautiful Girl Across the Hall"
  • the sexualized dinner scene of Henry's visit to the home of Mary X with her unusual parents: Mr. X (Allen Joseph) and Mrs. X (Jeanne Bates), and grandmother (Jean Lange); Henry told them: "I'm on vacation"; when Henry was presented with a whole, cooked artificial ("man-made") mini-chicken on a plate, Mr. X suggested: "Mary usually does the carving, but maybe tonight you'll do it, Henry. All right with you?" - Henry responded: "Of course. I'd be happy to. (long pause) Do I just, uh, just cut them up like regular chickens?"; as Henry stabbed the chicken to hold it down with a large fork utensil, it began pulsating bloody pus from its crotch area (childbirth metaphor, or loss of virginity metaphor?) - and its legs began kicking, while Mrs. X across from Henry began to moan as her head angled backwards, before she fled from the table with Mary X
Awkward Dinner Scene With Mary's Family
  • and then at the start of dinner, Henry was pulled aside and confronted by Mary's pressuring mother: "Did you and Mary have sexual intercourse?...You're in very bad trouble if you won't cooperate!"; after strangely licking Henry's neck and being pulled off by Mary, the mother announced: "There's a baby. It's at the hospital...and you're the father!"; Henry disagreed: "But that's impossible. It's only been..."; Mary blurted out: "Mother, they're still not sure it is a baby"; the mother continued: "It's premature, but there's a baby. After the two of you are married, which should be very soon, you can pick the baby up"; Mary noticed that the stressed Henry had a nosebleed, and then anxiously asked: "You don't mind, do you, Henry? I-I mean about getting married" - he responded: "Oh, no"
  • the stark views of the couple's deformed, monstrous, bleating, sickly and whining lamb-like mutant baby brought home from the hospital wrapped with bandages; it was covered with sores and pox marks, and wheezing in their one-room industrial-type apartment tenement; in disgust and anger, Mary moved out and deserted Henry who was left alone to care for the mutant
  • the ('wet-dream') appearance of the Lady in the Radiator (Laurel Near) - Henry's fantasy 'dream-girl' - with deformed cheeks, who would also be seen singing on a stage: "In heaven, everything is fine" to reassure Henry, while mutated worms (spermatozoa) fell from the ceiling
  • the dream scene of Henry's affair with the provocative "Beautiful Girl Across the Hall" (possibly a prostitute) who seduced Henry - they melted into bed together in a pool of milk (semen?)
  • the dream scene of the judgment of Henry as a father (who wished to murder his abomination of a son) - Henry's head was severed by a phallic-shaped appendage that burst from his neck; eventually Henry's decapitated head rolled onto the ground where it was found by a child in a puddle of blood (with its brain showing) and taken to a pencil factory, where one of the workers took a part of Henry's brain and turned it into the eraser of a pencil (a symbol of Henry's sublimated wish to "erase" what was happening?); on Henry's neck stump, a new deformed head (the mutant baby) grew in its place
Judgment Upon Henry - Severed Head and Transformed Neck Stump
Phallic-Shaped Appendage on Henry's Neck Stump
Henry's Severed Head
Henry's Head Replaced by Mutant Baby's Head
  • the surrealistic final scene of Henry killing his hideous, deformed reptilian baby; he cut into the baby's bandaged middle with scissors, causing it to bleed, gurgle, and screech; to put it out of its misery, Henry then stabbed the creature in the heart, producing an oozing white liquid (the baby's innards?); the neck of the baby elongated and then the head grew gigantic, became disembodied and teleported to different places; Henry was unable to cope with the fact of his own homicidal murder of his own child and went insane; suddenly, the baby's head was replaced by the planet (Henry's brain from the opening) that exploded; in the film's most iconic image, the explosion caused Henry's fractured head to be surrounded by the pencil erasure shavings of his own brain - (a possible suicide?)
  • the after-death sequence of a relieved Henry (with his mind literally erased) entering Dream-land (in bright white light) to embrace the pure and innocent puffy-cheeked Lady in the Radiator

Henry's Apartment Window View

Henry Spencer and Mary X

Mrs. X: "Did you and Mary have sexual intercourse?"

Sick Mutant Baby

Dream: Sex With the "Beautiful Girl Across the Hall"

Lady in the Radiator: "In heaven, everything is fine"

Cutting Open the Mutant Baby

Stabbing the Baby's Heart With Scissors

Elongated Neck of Baby

Henry's Eraserhead

Henry in "Dreamland" (Heaven) with Lady in the Radiator

Escape to Victory (1981, UK/US/It.) (aka Victory)

In director John Huston's jingoistic WWII soccer film about a POW escape planned during a propagandistic Third Reich game between underdog Allied captives and Nazis, played in a stadium near Paris, France:

  • the sequence of the French Resistance breaking into the locker room through a tiled bath floor during half-time (first signaled by a thumping noise coming from under the floor); Allied goalie Captain Robert Hatch (Sylvester Stallone), who had planned an escape for over a year, excitedly told everyone: "All right, we're getting out of here. Our escape has been arranged all the way to the Seine River. Once we get on the other side, we're gonna blow the tunnel. Now there's a boat waiting for us, and in one hour, we'll be in the country, all right?" - but as the players were ushered down into the sewer line, some complained that they wanted to continue playing in the competition: "I don't wanna go...we've still got a chance" - and one of the major players argued: "I don't wanna go. Let's go back. We can win this!" - team leader Captain Colby (Michael Caine) asked: "What do you mean, we can win?...You mean you go back and play the second half?" - but then was easily convinced: "We can win this!"; Hatch was incredulous: "What the hell's the matter with you guys? You wanna go back to prison?"; although Hatch was adamant about escaping, he was ultimately persuaded to remain as their team's goalie after Corp. Luis Fernandez (real-life Brazilian soccer star Pelé) begged: "Please Hatch, that game means a lot to us. You know that. We must go back. Please"
Hatch: "Our escape has been arranged..."
French Resistance Escape Route
Colby: "What do you mean, we can win?"
  • the scene of the overhead bicycle kick and goal by Corporal Fernandez for the wearied and bruised Allied POW soccer team battling against the favored and biased Nazi Germany team; the kick was replayed three times in slow-motion
  • the game-ending penalty kick, when the French spectators rose to their feet to sing their anthem The Marseillaise; goalie Hatch lept up for the kick, caught the ball, and saved the game, that ended in a 4-4 tie
  • the tremendous reaction of the French spectators to the game, as the stampeding mob swept onto the field, placed coats and berets on the players to disguise them, overpowered German security guards and officers, and helped the players race from the stadium to freedom

The Set-Up For Fernandez's Miraculous Kick

Overhead Bicycle Kick

Hatch's Game-Saving Penalty-Kick Grab

Hatch (and Others) Racing Out of the Stadium to Freedom

E.T. - The Extra-Terrestrial (1982)

In Steven Spielberg's classic and popular magical fantasy movie myth about an alien creature and its friendship with a telepathic boy:

  • the opening scene of extraterrestrials surprised by a crew of botanists (one with a set of jangling keys) in a California forest after landing - to explore
  • young Elliott's (Henry Thomas) discovery of E.T. in his backyard garden shed - it was a wise creature from outer space 3 million light years away and stranded on Earth after its alien spaceship took off and abandoned him
  • the scene at the family table when Elliott engaged in an argument with his disbelieving mother (Dee Wallace), younger sister Gertie (Drew Barrymore) and older brother Michael (Robert MacNaughton) - they thought he was imagining things and had only seen an iguana, or a stray alligator, or "maybe it was a pervert or a deformed kid or somethin'...maybe an elf or a leprechaun" - Elliott lashed out at the teasing of Michael: "It was nothin' like that, penis breath!"; his mother cautioned: "If you see it again, whatever it is, don't touch it. Just call me and we'll have somebody come and take it away"; Elliott was fearful: "But they'll give it a lobotomy or do experiments on it or somethin'" - a foreshadowing
  • impish blonde-haired Gertie's startling, face-to-face first look at E.T. hiding in a closet - the creature craned its neck up in fear and she emitted a loud-pitched scream - the alien reacted by belching out a horrifying moan in imitation
  • E.T.'s amusing experiences with suburban living - sampling items from the refrigerator, such as an old container of potato salad, or becoming drunk after drinking from a pop-top can of Coors beer, and experimenting with a Speak 'n' Spell learning toy - while Elliott at school shared a symbiotic, extra-sensory telepathic relationship
E.T.'s Experiences With Suburban Living
  • the school science lab scene when Elliott decided to save the frogs from being chloroformed and dissected, with the help of young blonde classmate (Erika Eleniak), by letting them escape from their glass jars and tossing them out the window - the scene ended with Elliott kissing the girl - imitating a scene in John Ford's The Quiet Man being watched simultaneously by E.T. on television
  • E.T.'s famous line of dialogue - pointing to the heavens and indicating: "E.T. Home Phone," but then was corrected by Gertie with the right word order: "E.T. Phone home," as he pointed to the window with his long finger; she added: "He wants to call somebody"
  • the scene of Elliott accidentally cutting himself on the sharp jagged edge of a circular saw blade - and exclaiming: "OUCH!"; Elliott held out his bloody, red-glowing finger into the air, as E.T. repeated the word "Ouch" and demonstrated his magical powers for the first time by reaching out with his white glowing finger and healing Elliott's injury - in the next room, Mary read the magical tale of Peter Pan to Gertie as a bedtime story
  • the humorous Halloween trick-or-treat scene of E.T. draped with a white sheet and wearing oversized clown shoes over his three-toed feet, pretending to be Gertie dressed as a goblin; from his POV, E.T. looked out through his eye peep-holes, seeing Mary dressed as a leopard-cat woman - and other ghouls, monsters, skeletons, and aliens
  • the two magical, transcendent soaring bicycle scenes exhibiting E.T.'s telekinetic powers, and sitting in Elliott's handlebars' basket - first with Elliott photographed and silhouetted against a giant silvery moon in the night sky - with Elliott's scream of delight at the view, enhanced by John Williams' score, and then a second time later as the kids escaped on bicycles from ominous adults and a resurrected E.T. lifted them off the street and over a police barricade to fly away
  • the overwrought scene of E.T.'s near-fatal death (when his heart flatlined) alongside Elliott - and his resurrection
  • E.T.'s farewell to his friends at the rendezvous site before returning home in a spaceship (his advice to young Gertie: "Be Good", followed by her good-bye kiss on E.T.'s forehead, and his glowing finger as he lifted it and touched Elliott's forehead: "I'll be right here"); the film's last line was spoken by a tearful Elliott to E.T.: "Bye"

Elliott: "It was nothin' like that, penis breath!"

Gertie's Scream

Elliott Liberating the Frogs in Science Lab and Kissing the Blonde Girl

"E.T. Home Phone"

"Ouch!" and the Healing of Elliott's Finger

E.T.'s Costume Peep-Holes

E.T.'s Near-Death

Elliott's Tearful Farewell to E.T.

Eternal Sunshine of the Spotless Mind (2004)

In Michel Gondry's innovative romantic comedy (based upon Charlie Kaufman's script) - a bizarre, artful and absurdist romantic fantasy:

  • the opening prologue of meek Joel Barish (Jim Carrey) on a Long Island RR car and traveling to Montauk Point State Park in the off-season, to visit a frigid cold beach; unbeknownst to him, he again met and spoke to his uninhibited, quirky, free-spirited, tangerine-colored sweatshirt-wearing, multi-colored-hair ex-girlfriend Clementine Kruczynski (Kate Winslet) on the train trip back - they would soon start their relationship afresh after both of them had selectively erased memories of their past difficult 2-year romance
  • the flashbacked scene of Joel's bitter break-up with his loving girlfriend - uninhibited Clementine; when he attempted to win her back by buying her a necklace pendant (made from a hand-painted shell) from her favorite store as an early Valentine's Day gift, he met her at her place of employment, Barnes and Noble bookstore - but he mournfully realized that she didn't know him ("She looks at me like she doesn't even know who I am...Why would she do that to me?"); he learned that she had all traces of him and their relationship deleted from her memory (to create a "spotless mind" and "move on"), by a New York City company known as Lacuna, Inc.
  • despairing, Joel decided to undergo the same memory-erasure procedure to find peace of mind; there were many reverse-order flashbacks Joel experienced when erasing his relationship's memories - as inept, memory-erasing technicians from the erasure firm Lacuna Inc., Stan Fink (Mark Ruffalo) and Patrick (Elijah Wood) and office assistant Mary (Kirsten Dunst), acted irresponsibly (drinking, having sex) during the erasure process
Lacuna Removed Memories From Clementine and Then Joel
Lacuna's Record of the Removal of Clementine's Memories of Joel
Lacuna's Erasure of Joel's
Memories of Clementine
  • the many imaginative recollections recessed deeply in Joel's brain that he was struggling to preserve - beginning with the most painful memories of the doomed couple's recent breakup in 2004, progressing forward to their earliest, best memories in 2003; to foil erasure efforts, he hid inside some of his childhood scenarios when four years old.(including those of his childhood when he went to hide with Clementine in the kitchen, and they bathed together in a sink); he pleaded with the erasure technicians when he saw the memory of them sharing intimate secrets and making love under a comforter: ("Please let me keep this memory, just this one")
A Flood of Memories During Erasure Process
  • the last remaining memory of Clementine - the day he first met her at a beach house in Montauk and she was eating a piece of chicken from his plate; but then soon after, the beach house structure disintegrated, crumbled (and flooded) as it was erased in his mind and Joel became regretful and scared as he left Clementine forever: ("I wish I'd stayed too. Now I wish I'd stayed. I wish I'd done a lot of things. I wish I had - I wish I'd stayed, I do"); he departed from the house but then returned briefly for a goodbye when Clementine loudly whispered a secret to him as their images blurred: "Bye, Joel...Meet me at Montauk"
  • the last sequence at Joel's apartment in his hallway, when Joel and Clementine vowed that it was worthwhile to start their relationship all over again - trusting and hoping that it would work out this second time around: Clementine: "I'm not a concept, Joel. I'm just a f--ked-up girl who's looking for my own peace of mind. I'm not perfect" Joel: "I can't see anything that I don't like about you." Clementine: "But you will! But you will. You know, you will think of things. And I'll get bored with you and feel trapped because that's what happens with me"; their last lines to each other were "Okay, okay, okay, okay"

Flashback Prologue: Joel (Jim Carrey) and Clementine (Kate Winslet) Meeting on the Train and Starting All Over Again

The Couple's Nasty Breakup

With Erased Memory, Clementine Didn't Recognize Joel in Bookstore

The Beach House in Montauk

Joel: "I wish I'd stayed, I do"

Clementine (whispered): "Meet me in Montauk"

Clementine at Joel's Apartment - Both Vowed to Try Again

Everyone Says I Love You (1996)

In Woody Allen's first movie-musical - a romantic comedy:

  • the scene of a graceful, gravity-defying (in the air) romantic dance between divorced couple Joe (Woody Allen) and ex-wife Steffi (Goldie Hawn) on a starry Parisian night next to the Seine (with homage to Gene Kelly and Leslie Caron in An American in Paris (1951)) after she wistfully sang I'm Thru With Love

Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) (1972)

In Woody Allen's sex comedy, the seven witty comedy segments or episodes based on Dr. Reuben's notorious, best-selling sex manual:

  • the "Do Aphrodisiacs Work?" episode - a parody of Hamlet, with Woody Allen as a court jester Fool trying to seduce the Queen (Lynn Redgrave) with a love potion - he made a smug aside back to the camera after tricking two guards: "Do you like the way I fooled these guys?" but was foiled and obstructed by the Queen's chastity belt ("heavy underwear") when she removed her dress; the Queen announced: "'Tis the chastity belt that the jealous King hath fastened on me that no man but him shalst havest the goods of the body"; the Fool announced his plan: "Now, with most grievous dispatch, I will open the latch and get to her snatch"); he realized that he had to hurry: "I must think of something quickly, because before you know it, the Renaissance will be here and we'll all be painting"; after he picked the chastity belt's lock, "the portals of ecstasy" were now his - but he had awakened the King, and had to relock it ("Lock the royal box"); however, he had secured his hand inside the chastity belt: ("I always get my hand in the cookie jar, so to speak"); when caught hiding in the Queen's dress by the King, he gave a feeble excuse: ("Remember if you said that if I was ever in town, I should look up your wife?"); the Fool was prepared for the chopping block to be beheaded, when he claimed innocence: "I don't know what everybody's getting so upset for. I never humped her"
  • the improbable sketch: "What is Sodomy?" - Dr. Doug Ross (Gene Wilder) was treating an unmarried Armenian patient/sheepherder named Mr. Stavros Milos (Titos Vandis), who confessed to sodomizing one of his sheep (named Daisy): "I took Daisy off to a little cove and there, under the Armenian sky had sexual intercourse.... It was the greatest lay I ever had"; but then he complained that Daisy had grown "cold, indifferent"; after seeing and falling in love with Daisy at first sight after stroking her wool coat, Dr. Ross brought Daisy by herself into the office for counseling, where he told the animal: "I think it could work if we gave it a chance"; the doctor rented a hotel room to have sex with the animal in the afternoons - he reacted: "Boy, that was really something. I never thought it could be like this. Never in my wildest imagination. You're really something special. I love our L-shaped room. I'll never forget these afternoons we have together. I don't think I'd ever known such peace and happiness in my life"; he dressed Daisy with a diamond necklace; ultimately, his suspicious wife Ann (Elaine Giftos) caught him in the act - although the doctor pleaded innocence: "We're just friends!...This is Mrs. Bencourse. One of my patients. She thinks she's a sheep"; however, he was taken to divorce trial for adultery, sued, lost his license, and was forced to take a lowly waiter job; the segment ended with Daisy abducted back to Armenia by Mr. Milos; the disgraced doctor ended up on Skid Row drinking from a bottle of Woolite
  • the artistic segment: "Why Do Some Women Have Trouble Reaching an Orgasm?" - a Casanova '70 (1965) spoof in which an upper-class, frigid Italian newlywed Gina (Louise Lasser) could only orgasm with her husband Fabrizio (Woody Allen) in public places
  • the horror/monster movie spoof, the sixth segment ("Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate?") was about mad, unorthodox sex scientist Dr. Bernardo (John Carradine), with an assistant named Igor (Ref Sanchez); among many other "immoral" studies, he was investigating premature ejaculation in the hippopotamus; when called insane, he replied: "That's what they said at Masters and Johnson, and all because I built a 400-foot diaphragm. Birth control for an entire nation at once"; as researcher Victor Shakapopulis (Woody Allen) and pretty journalist Helen Lacey (Heather MacRae) toured the facility, he threatened her: "In here I have 20 scouts. I want to measure your respiration when they gang-bang you"; Dr. Bernardo accidentally let loose a giant killer runaway breast that had to be captured by an enormous bra; an alert was broadcast by the Woods County Sheriff (Dort Clark): "Be on the lookout for a large female breast...about a 4,000 with an X-cup"); Victor was worried: "We're up against a very clever tit - it shoots half and half" but he assured everyone: "I know how to handle tits"; when Victor was squirted by the breast, he held up a crucifix - and he was able to corral the breast in one side of a giant brassiere: (Helen: "Victor, I'm so proud of you. You did it. Oh, oh, I was so worried. Were you scared?...I thought you were gonna get nursed to death"); however, the Sheriff was still concerned: ("Only one thing bothers me, though. That's a single. You're sure that was a single, now?...Yeah, well, they usually travel in pairs...well, I've never seen one by itself. I mean, two, yes, but not just one. So what we're gonna do. We're gonna take a nipple print, just so that we'll have identification on this one, see? Now, I think we'll put her on probation for maybe 90 days and then take her down to the orphanage, because there's a lot of hungry babies down there"
  • the last and final vignette ("What Happens During Ejaculation?") set in the mind of a human body (portrayed as a gigantic futuristic control center headed by The Operator (Tony Randall) - the brain) during a man's romantic involvement, beginning with seduction and arousal, and leading to sexual intercourse (penetration and ejaculation); in the man's testicles, a white-clad, neurotic Sperm # 1 (Woody Allen) expressed metaphysical doubts and fears - ("I'm scared. I don't want to go out there") - about how he was to be ejaculated or launched suicidally - actually parachuted as a paratrooper - into enemy territory from Sidney's body during a hot petting session with a date known as The Girl (Erin Fleming) in a parked car; The Operator (Tony Randall) in the brain control-room was instructing the male: "Prepare to stroke her thighs", while brawny, hairy men cranked a mechanical device to achieve the erection, and the Switchboard Operator (Burt Reynolds) reported: "Erection is at 45 degrees and holding fast...Attempt penetration"; an out-of-place black sperm was confused and wondering: "What am I doing here? What am I doing here?!"; Sperm # 1 expressed more concerns: "I'm not going out there! I'm not gonna get shot out of that thing! What if he's masturbating? I'm liable to wind up on the ceiling...Fellas, it's dark out there"; the Switchboard reported: "We can't hold out any longer. Prepare for release of sperm"; as the sperm were ejected one by one, they cried out: "See you guys in the ovary...Save me an egg..."; Sperm # 1 noted: "Well, at least he is Jewish"; after successful ejaculation, the Operator congratulated everyone "on a job well done" - but then, the Girl asked for more: "That was great, Sidney. Let's do it one more time" - and a warned was issued about a new attempt: "We're going for seconds! Attention, gonads, we're going for a record!" - the film's final line
"What Happens During Ejaculation?"

In the Testicles: "I'm scared"

The Mission's Operator in the Control Center

Sperm In the Chute

"What am I doing here?"

The Girl

"We're going for seconds"
"Do Aphrodisiacs Work?"

Fool: "Do you like the way I fooled these guys?"

Hand Caught in Locked Chastity Belt

"What is Sodomy?"

Dr. Ross

Mr. Milos With Daisy

Sex with Daisy

"Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate?"

Mad, Unorthodox Sex Scientist Dr. Bernardo (John Carradine)

"Every body needs milk"

A Giant Brassiere Corrals Runaway Breast

Evil Dead 2: Dead by Dawn (1987) (aka Evil Dead 2 or II)

In Sam Raimi's gruesomely funny horror film sequel - a well-done horror parody with an intense kinetic tone and quick edits, including incredible special effects such as stop-motion animation, reverse motion, lengthy tracking shots:

  • at the remote Tennessee cabin, the startling, hallucinatory Dr. Jekyll and Mr. Hyde-like scene when last-surviving Ash Williams (Bruce Campbell) stood in front of a mirror. His reflection suddenly reached out, grabbed him, and maniacally said: "We just cut up our girlfriend with a chainsaw. Does that sound fine?" Then the reflection grabbed him by the throat and began choking him, although he was only choking himself. When his own possessed right hand threatened, it grabbed his face - and he was angered: "You dirty bastards! Give me back my hand"
Schizophrenic Dr. Jekyll and Mr. Hyde Sequence
  • the continuing, gruesomely hysterical fight between Ash and his own possessed, tormenting attacking hand - that bashed him over the head with plates, grabbed his hair, smashed his face into the kitchen sink, punched him, and tried to beat him up in a schizophrenic frenzy. It dragged his unconscious body across the floor to try and grab a meat cleaver with which to kill him; Ash pinned his hand to the floor with another knife and laughed spitefully at the evil body part: "That's right. Who's laughing now? Who's laughing now?"
  • in the gory scene, he sawed off his own demonic, evil hand (before it infected his entire body) with a chainsaw, spattering his face with blood - (notice that the top-most book Ash placed on the bucket when covering up his decapitated hand was A Farewell to Arms); the lobbed-off hand began flopping around and re-attacked, and even flipped him the 'middle finger,' so he blasted it with a shotgun and thought he had killed it for good: "Got ya, didn't I, ya little sucker!" - yet it sprayed him directly in the face with a torrent of blood; many of the objects in the living room then began laughing at him - the mounted deer head, the books in the bookcase, the lamps, etc. and he hysterically joined in
  • the denouement, when Ash clamped the chainsaw to his severed wrist and twirled a sawed-off shotgun into his backside-holster (and then exclaimed: "Groovy!")
  • the sequence of Ash sucked and propelled into a whirling, spinning portal or rift, along with his '88 Oldsmobile and other objects, into a time-travel journey to the Middle-Ages, ca 1300s, where he vanquished a flying deadite with a blast from his shotgun, and was hailed as a hero, although he was horrified and repeatedly screamed: "Nooo!" as the camera pulled back and the film ended

Sucked into Time-Travel Portal

Arrival in Middle Ages

Shooting at Flying Deadite With Shotgun

Ending: "Nooo!"

The Executioner (1963, Sp.) (aka El Verdugo, or Not on Your Life)

In Luis García Berlanga's macabre black comedy (with gallows humor) and family drama - a subversive critique of the Spanish bureaucracy, institutional violence, and capital punishment:

  • the trio of characters brought together under unusual circumstances: José Luis Rodríguez (Nino Manfredi) - an apprentice 'undertaker' (the driver for the coroner’s office), Amadeo (Jose Isbert) - an elderly, about-to-retire, unassuming state prison executioner, and Carmen (Emma Penella) - Amadeo's marriage-aged daughter
  • in the opening scene following a prison execution, as Jose helped the coroner carry the victim's coffin, he evaluated the appearance of the executioner he briefly glimpsed leaving and signing papers: "Actually, he looks like a normal person. If we met in a cafe, I'd never suspect"
  • the budding romance between Jose and Carmen, who both felt a kinship of rejection due to their positions in life: (Carmen: "When guys find out I'm the executioner's daughter, they take off running." Jose: "Is that all? Same here! Women run at the word 'undertaker.' We have the same disease!")
  • the bargain: if Jose agreed to take over Amadeo's 'family business' after his retirement - his executioner job, then Jose would be allowed to marry the already-pregnant Carmen; then, as a retired civil servant, Amadeo would still qualify to move into a government-provided, luxury high-rise apartment
  • Amadeo's amusing although dark comments about execution methods in Spain - arguing that garroting (strangulation) was better than the gallows, the electric chair or the guillotine: "People who say the garrotte is inhuman make me laugh. Is the guillotine better? Should we bury a man in pieces?"
  • the sequence of cowardly Jose Luis reluctantly filling out paperwork to become the executioner, as he licked a melting strawberry ice cream cone
  • Jose's reluctant take-over of Amadeo's occupation as Madrid's official executioner - reading the dreaded newspaper's crime section each day, stalling, and hoping and praying for last-minute pardons or a prisoner's sickness to avoid his official responsibilities
  • in the conclusion (a parody of a pleasant honeymoon) set in Majorca (or Mallorca - a sunny vacation destination), Jose begged with the prison warden (who offered champagne) to be relieved of his duties: ("He said if this moment arrived, I could resign...I can't be an executioner. I want to resign!"); however, Jose (with his legs buckling) was forcibly dragged through a white courtyard by prison guards behind his first victim (a condemned convict) to perform his killing duty - there was a reversal of roles (the executioner was seemingly now the one condemned); a priest counseled Jose: "It is best that you kill him now, my son; his soul is ready for heaven. If we send to Madrid for another executioner, two or three days will elapse and he may fall from grace"

The Victim's Coffin After Execution

Jose and Carmen's Romance

Retiring Executioner Amadeo, Carmen's Father

Jose: "I can't be an executioner. I want to resign!"

Jose Dragged in Courtyard to Fulfill His Duties

The Exorcist (1973)

In William Friedkin's blockbuster horror film about demonic possession:

  • the scene at ancient temple ruins in Northern Iraq when elderly Jesuit priest Father Merrin (Max von Sydow) confronted the demonic statue of Pazuzu
  • the film's intense special effects and violent horrors of devil possession, and twelve year-old Regan MacNeill's (Linda Blair) monstrous appearance
  • her public urination on the rug during a Georgetown party
  • Regan's back-handed slapping of a doctor across the face and knocking him into a door and onto the floor, as her physically-repulsive voice warned: "Keep away! The sow is mine!" She pulled up the front of her nightgown, masturbated by rubbing herself, and in a deep, strange voice, beckoned: "F--k me! F--k me!"
  • the terrifying visit to a hospital where Regan was subjected to a controversial and lengthy excruciatingly-torturous medical examination sequence (and blood-letting) with markedly sexual overtones
  • the notorious self-abusive crucifix-masturbation (or stabbing) scene of Regan's crotch with a bloody crucifix, as she bellowed obscenities in the Devil's voice: "Let Jesus f--k you, let Jesus f--k you! Let him f--k you!" - she spun her head backwards 180 degrees, threatening in a deep malevolent voice as she imitated the British accent of a dead family friend to taunt Chris about his murder: "Do you know what she did? Your c--ting daughter?"
Controversial Self-Abuse with Crucifix Sequence
  • the scene of pea-soup spewing, after Father Damien Karras (Jason Miller) entered the bedroom and saw the girl strapped to a padded four-poster bed. Her face was cut, her hair matted, her eyes wild-looking, and she had a plastic tube taped to one nostril. The grotesque girl spoke with a disgusting, low-pitched growl coming straight from hell. As he approached closer, in the grossest scene of the film, Regan lurched forward on the bed and spewed bilious, pea-green soup vomit from her mouth in a single projectile stream directly into his face. The thick green slime stuck to his face and clothing. Bits of vomit and bile acid also dribbled down onto Regan's nightgown
  • the silhouetted image of the arrival of the elderly Jesuit priest Father Merrin on a dark and foggy night under a lamp-post outside the MacNeill's Georgetown house
  • her demonic tortured and vulgar voice (supplied by veteran character actress Mercedes McCambridge) that screamed foul obscenities and diabolical sounds that emanated from her mouth - growling dogs, squealing pigs, rasping groans, and foul language; raised welts that bubbled up across her abdomen read: "help me."
  • one of the other most objectionable and blasphemous scenes was the sight on the Georgetown University campus of a white marble statue of the Virgin Mary. It had been desecrated with red paint and other materials, and taken on the appearance of a harlot. The defiled statue had long red-tipped breasts, red color on both hands, and an elongated, erect yet sagging penis-shaped clay protuberance also daubed in red.
  • the bedside exorcism ceremony, when Regan shouted insults at Father Karras: ("Your mother sucks c--ks in hell, Karras"), followed by her 360-degree spinning head as she sat up in bed
  • the demise of Father Damien Karras when he dared the devil to enter his body: ("Take me. Come into me. God damn you. Take me. Take me") - and he threw himself through Regan's bedroom window to his death in the street below; he gave his own life to save Regan's spirit and life, with the promise of being reborn; from the bedroom window, Lt. Kinderman (Lee J. Cobb) viewed Karras' bloodied body at the foot of the Prospect Street steps
Father Karras Wrestling with the Demon Inside Regan
"Take me. Come into me. God damn you. Take me. Take me"
  • Father Dyer (William O'Malley) broke through and grabbed Karras' dying hand, beseeching him: "Do you want to make a confession? Are you sorry for having offended God and for all the sins of your past life?" Signaling his assent, Karras unclenched and gripped Dyer's hand; Dyer absolved him of his sins during the administration of last rites

Urination on the Rug

The Hospital Medical Examination Sequence

The Arrival of Father Merrin (Max von Sydow)

Raised Welts: "Help me"

Desecrated Virgin Mary Statue

360 Degree Spinning Head

Karras Hurled to His Death

The Exterminating Angel (1962, Mex.) (aka El Angel Exterminador)

In Luis Bunuel's surrealistic fantasy-black comedy about the degeneration of human nature [Note: In Woody Allen's Midnight in Paris (2011), the Owen Wilson character, screenwriter Gil Pender, sent back to the 1920s, suggested the idea for this film to Luis Bunuel]:

  • the sequence of a bourgeois hosted dinner scene - after attending a religious operatic play about a naive virgin ("Virgin Bride of Lammermoor"), twenty members of the vain, privileged class became dinner guests at the opulent Mexico City estate on the street of "Calle de la Providencia", hosted by aristocrat Senor Edmundo Nobilé (Enrique Rambal) and his wife Lucia (Lucy Gallardo); (note that the guests arrived twice in quick succession); after the meal was no longer attended by proletariat workers (another repetition: the cook and other servants had left - pictured from two different camera angles), the steward Julio (Claudio Brook) was left to serve, while Edmundo offered two toasts; afterwards, the guests retired to the music room, and appeared to settle in for the night
  • the unusual circumstance that by the next morning, the guests were still there, having given up on all decorum and lounging on chairs, couches, and on the floor ("We turned this room into a gypsy campground"); a lecherous elderly composer snuck around in the middle of the night kissing sleeping women
  • curiously, they had hesitated to leave even though the door was wide open - they were either trapped or held in for days by an inexplicable and baffling force, a psychological barrier, a lack of will, overwhelming lethargy, sheep-like behavior, or by rueful acceptance or suggestion; the same kind of barrier prevented outsiders from entering
  • the guests' degeneration into animal-like behavior (with quarreling, hysteria, and aggression); they became ravenously hungry, slaughtered lambs that had wandered into the room, broke through the brick walls to access drinking water in the pipes, and burned the furniture; the stench of the bodies of two engaged lovers Beatriz (Ofelia Montesco) and Eduardo (Xavier Massé) who had suicidally killed themselves (by slitting their wrists) came from their hidden location in a closet; eventually the desperate party guests barbarically turned against their aristocrat host for feeling self-entrapped and insulated
  • in the film's mirroring twist ending, when they finally exited the house, the guests entered a cathedral to attend a funeral mass; again, they became confined as parishioners inside a Catholic church (the clergy were trapped also) after the morning service; there was a riot in the streets, and the military was summoned to gun down the rioters
  • the film's last image - a herd of sheep wandered toward the church and entered in single file, as the church bell tolled

Hosted Dinner Sequence

Guests "Trapped" in the Mexico City Estate

Riots in the Streets Outside Catholic Cathedral

Herd of Sheep

Eyes Wide Shut (1999, UK)

In Stanley Kubrick's final film about marriage and sexual jealousy - see review (link above) for full set of images and scenes:

  • the opening full length shot of the backside of a woman (Nicole Kidman) in high heels who slid off her black dress and revealed her slender nude body
  • the highly sensationalized love-making scene before a mirror between Dr. William "Bill" Harford (Tom Cruise) and his wife Alice (Nicole Kidman)
The Harfords
Opening Sequence
Kissing Before Mirror
Bedroom Confessional Scene
  • the confessional-disclosure scene between the pot-smoking couple about Alice's imagined lustful fantasies of infidelity with a naval officer (often viewed in Bill's mind), when she revealed: "I was ready to give up everything."
  • the superbly-choreographed and directed orgy scene with male members wearing black cloaks and extravagant masks and females nothing but high heels, black thongs, and masks (with the eerie organ score "Masked Ball" by Jocelyn Pook) - although various images were digitally-edited/obscured in some versions

Bill's Imagined Fantasy of Alice's Affair with Naval Officer

The Masked Orgy

Eyes Without a Face (1960, Fr./It.) (aka Les Yeux Sans Visage)

In Georges Franju's dramatic horror psycho-thriller - his feature film debut - about a mad, control-obsessed surgeon engaged in facial mutilation and disfigurement; the film was highly influential on future filmmakers and their films, including John Carpenter's Halloween (1978), John Woo's Face/Off (1997), and Pedro Almodóvar's The Skin I Live In (2011, Sp.); there was even a Billy Idol rock song titled "Eyes Without a Face"; it was released in the US in a toned-down, dubbed version titled The Horror Chamber of Dr. Faustus:

  • the opening scene of paranoid and anxious Louise (Alida Valli) (wearing a pearl necklace), driving on a dark nighttime road, illuminated by her car's headlights between rows of naked, denuded trees that lined the road (the film's recurring symbolic image), then parking at the edge of the Seine River, dragging a slumped, faceless female corpse from the backseat - naked under a man's heavy coat and wearing a concealing fedora, and dumping it in the water (soon after, Louise was revealed to be the faithful assistant to the film's main character, and she was disposing of the body of a failed or botched surgical, facial graft experiment)
  • the opening words of reputed French surgeon-scientist Docteur Génessier (Pierre Brasseur) during a lecture: "Is not the greatest of man's new hopes that of physical rejuvenation? This hope comes with the heterograft. But the heterograft, in other words, the transplanting of living tissues or organs from one human being to another, has only been possible until now when both subjects in question were perfectly identical from a biological standpoint. This means biologically modifying the nature of the host organism. One method involves using heavy X-ray irradiation to destroy the antibodies that create resistance to the heterograft. Unfortunately, this irradiation requires such a high level of intensity that no human being can survive it. So we resort to exsanguination. We drain every last drop of blood from the subject exposed to radiation"
  • the strange case of Génessier's beloved daughter Christiane (Edith Scob) who had disappeared and was possibly thought to be the drowned victim (from the opening scene); her face was described as a "large open wound" - entirely disfigured due to facial burns she had earlier suffered in a car accident, and then degraded by prolonged submersion in water while rats chewed at her; the drowning victim's description also fit that of another female named Simone Tessot; a police detective and an inspector from the Missing Persons Bureau suspected a body-switch: "Why should Genessier's daughter, distraught at her disfigurement, feel the need to strip naked in mid-winter before drowning herself? And that large open wound where the face should be - it's strange - the edges are as smooth as if someone had taken a scalpel to them"; shortly later in the morgue, Dr. Genessier viewed the body and falsely told authorities that it was his daughter - although it was actually Simone; a secret mock funeral was arranged for Christiane, and she was buried in a cemetery crypt
  • the many views of Christiane's gruesome and eerie featureless, white doll-like facial mask - with only her eyes visible (she claimed: "My face frightens me. My mask frightens me even more"); she floated ghostlike in her father's palatial villa awaiting a surgical operation to graft someone else's face onto her own ravaged and destroyed face, after being disfigured in a car accident - her father was driving recklessly and like a "lunatic" and was responsible for the crash; guilt-ridden, Dr. Génessier prepared to repair his daughter's scarred face
  • the sequence of Christiane's visit to her father's detached surgical lab (in the basement of his palatial mansion), where she first caressed some of her father's caged German shepherds and other dogs in an adjoining room
  • and afterwards, unmasked Christiane's gentle touching and viewing of the face of her father's next female victim (a female Parisian abducted who resembled Christiane) - young Swiss student Edna Grüber (Juliette Mayniel) on the operating table, who had been lured by Louise to the residence and then drugged before surgery; Edna awoke briefly and screamed at the blurry figure above her
Edna On the Surgical Operating Table
Before Radical Facial Surgery
  • the striking sequence of Genessier's precise and skillful face removal - heterograft surgery filmed in its entirety; the victim's face, chin and forehead were held with attached forceps; the sedated victim's facial epidermis (marked with a pencil outline) was removed by cutting on the markings with a scalpel; blood oozed from the incision when the tissue was cut into, and the bloody flesh underneath was briefly revealed during the unmasking of the face
  • while recuperating from the surgery, a heavily face-bandaged Edna awoke in a locked room, knocked out Louise who was serving her food from a cart, and raced through the house to escape; she was pursued by Dr. Genessier to an upstairs level, where she was found lying dead after suicidally flinging herself from an upper window - the scene ended on a close-up of her immobile face on the rock walkway far below; Dr. Genessier and Louise buried her body in Christiane’s fake cemetery crypt
  • offscreen, Christiane had the face of the Swiss girl grafted onto hers - and there was hope that the transplant would be successful, and that she would adopt a new name, face, and identity; the doctor told his daughter: "It's exciting. A new face, a new identity"; when Louise told her she looked "angelic," she told her father and Louise: "When I look in a mirror, I feel I'm looking at someone who looks like me, but seems to come from the Beyond, from the Beyond"
  • the potential success of the surgery was soon followed by Genessier's misgivings ("I've failed") and the sequence of Christiane's skin putrification; the results of her new facial skin graft or transplant were only temporary - the fresh skin was rejected and would soon start to rot - seen in a series of stark photographs that Dr. Genessier had taken and dated, with his commentary: ("A week after healing, spots of pigmentation appear. Later, palpation reveals small subcutaneous nodules. On Day 12, necrosis of the graft tissue is apparent. Day 20, the first ulcerations and signs of rejection of the graft tissue. The necrotic graft tissue must be removed")
  • Christiane began to wear the mask again, and was terribly depressed about future success; she was beginning to lose her sanity and becoming suicidal: "He'll keep experimenting on me like one of his dogs. A human guinea pig. What a godsend for him!...I want to die, please!...You have to kill me. I can't stand it anymore!"
  • the apocalyptic ending - after Christiane saved and released her father's next surgery victim, shoplifter Paulette Mérodon (Béatrice Altariba) (a decoy sent by the police), she stabbed an astonished and disbelieving Louise (wearing a pearl-choker) in the neck with a scalpel, who spoke the film's final line of dialogue: "Christiane, put that down. Why?" before collapsing
  • in her final acts, Christiane opened the cages of her father's howling dogs to free them; the animals attacked and mauled her father - tearing off his face; finally, Christiane opened another cage of white doves (one freed bird perched on her shoulder and then on her hand, and guided her) and walked outdoors into a forest of bare trees; she took a brief glance at her father's ravaged body with a torn and bloodied, disfigured face
Release of Caged Dogs
Mauled Father
Christiane with White Dove

Opening Scene: Louise's Car Ride and Disposal of Body

Docteur Génessier
(Pierre Brasseur)

At the Morgue

Christiane's Masked Face

Christiane at Her Father's Surgical Lab

Edna's Suicide

Christiane With Edna's Face Grafted Onto Hers

Christiane's Skin Putrification - Failed Surgery

Louise Stabbed in the Neck with a Scalpel by Christiane


(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

Previous Page Next Page