Greatest Film Scenes
and Moments



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

A Few Good Men (1992)

In Rob Reiner's courtroom/military drama about the difficult defense of two Marines (Dawson and Downey) accused of causing the death of another soldier at the U.S. Navy base at Guantanamo Bay, Cuba, who died during a questionable hazing ritual known as "Code Red":

  • the first confrontational meeting between passionate Navy lawyer and investigator Lt. Cmdr. JoAnne Galloway (Demi Moore) and inexperienced hot-shot US Navy lawyer Lt. J.G. Daniel Alistair Kaffee (Tom Cruise), while he was swinging at balls during softball practice; Kaffee was well-known for frequent plea bargains without ever going to trial; she delivered an extensive biographical account of Kaffee's past to intimidate him: "I do know you. Daniel Alistair Kaffee, born June 8th, 1964 at Boston Mercy Hospital. Your father's Lionel Kaffee, former Navy Judge Advocate and Attorney General of the U.S., died 1985. You went to Harvard Law, then you joined the Navy probably because that's what your father wanted you to do. And now you're just treading water for the three years you've gotta serve in the JAG Corps, just kinda layin' low 'til you can get out and get a real job. If that's the situation, that's fine, I won't tell anyone. But it's my feeling that if this case is handled in the same fast-food, slick-ass, Persian Bazaar manner with which you seem to handle everything else, then something's gonna get missed. And I wouldn't be doing my job if I allowed Dawson and Downey to spend any more time in prison than absolutely necessary because their attorney had predetermined the path of least resistance"; he insultingly responded: "Wow, I'm sexually aroused, Commander"
The Two Defense Lawyers
Lt. Cmdr. JoAnne Galloway
(Demi Moore)
Lt. J.G. Daniel Alistair Kaffee
(Tom Cruise)
  • the breakfast scene at the Guantanamo Bay (Cuba) Naval Base scene in which the two defense lawyers encountered and earnestly demanded information about an unofficial disciplinary (hazing) ritual-procedure termed "Code Red" (that resulted in the death of young Marine PFC William Santiago (Michael de Lorenzo) when a rag treated with a toxin was stuffed down his throat to gag him while they shaved his head, however he also could have died of heat exhaustion); next to a reluctant Kaffee, the out-ranking Galloway questioned the formidable, meal-eating base officer Col. Nathan R. Jessup (Jack Nicholson) with a simple question: "My point is that I think Code Reds still go on. Do they?"; deflecting her question, Jessup replied with a degrading sexual insult: "There is nothing on this earth sexier -- believe me, gentlemen -- than a woman that you have to salute in the morning. Promote 'em all, I say, 'cause this is true. If you haven't gotten a blow-job from a superior officer, well, you're just letting the best in life pass you by...'Course my problem is I'm a Colonel, so I'll just have to go on taking cold showers until they elect some gal President"; then he answered that he discouraged the practice of "Code Red" (on the record), but off the record, he claimed: "it is an invaluable part of close infantry training. And If it happens to go on without my knowledge, so be it"
  • as the two lawyers were leaving, Kaffee casually asked for Santiago's transfer order for his files (allegedly arranged by Jessup to have Santiago be transferred for his own safety's sake, although he died before it could happen); Jessup responded that he would comply, but demanded that Kaffee properly acknowledge his superior rank with a properly-phrased request: "You have to ask me nicely. You see, Danny, I can deal with the bullets, and the bombs and the blood. I don't want money and I don't want medals. What I do want, is for you to stand there in that faggoty white uniform and with your Harvard mouth extend me some f--king courtesy. You gotta ask me nicely"; Kaffee was completely cowed and obeyed Jessup's demand by repeating his request more courteously, and Jessup replied: "No problem"
  • later during the investigation when the case appeared lost and Kaffee gave up and became drunk, the scene of the still-optimistic Galloway ("I still think we can win") urging Kaffee to subpoena Col. Jessup to appear in court in order to confront him - and somehow have him admit that he personally ordered the "Code Red": "Now dammit, let's put Jessup on the stand and end this thing!"; Kaffee became incredulous and melted down at her - with sarcasm and a vicious tirade at what he imagined might happen as a result: "Well, for our defendants, it's a lifetime at exotic Fort Leavenworth! And for Defense Counsel Kaffee, that's right, it's a court-martial! Yes, Johnny! After falsely accusing a highly-decorated Marine officer of conspiracy and perjury, Lieutenant Kaffee will have a long and prosperous career, teaching typewriter maintenance at the Rocco Globbo School for Women! Thank you for playing Should We, or Should We Not Follow the Advice of the Galactically Stupid!"
  • during Kaffee's initial cross-examination questioning of Col. Jessup in the court-martial trial regarding Santiago's transfer order (about whether it was phony or not), Kaffee was quickly defeated and taken aback by Col. Jessup's clever out-smarting, but Kaffee wouldn't let the triumphant and smug Jessup leave the witness chair: "Excuse me, I didn't dismiss you. I'm not through with my examination, sit down"
  • in further questioning, Jessup asserted that the military's effectiveness was based upon discipline: "We follow orders or people die. It's that simple"; then, Kaffee asked a pertinent question that tripped up Jessup: "If you gave an order that Santiago wasn't to be touched, and your orders are always followed, then why would Santiago be in danger? Why would it be necessary to transfer him off the base?"; then after a flurry of accusations, Kaffee explosively confronted the tough-talking Col. Jessup with the central question: "Colonel Jessup, did you order the Code Red?"; the emotionally-riled up Colonel ferociously snarled: "You want answers?...You can't handle the truth!!"
Kaffee: "Did you order the Code Red?"
Col. Jessup: "You can't handle the truth! --- You're goddamn right I did!"
  • during the climactic conclusion to the questioning, Jessup became unnerved by Kaffee and spoke about his duty to his country by serving faithfully and loyally - something that Kaffee never did: "And my existence, while grotesque and incomprehensible to you, saves lives! You don't want the truth because deep down in places you don't talk about at parties, you want me on that wall. You need me on that wall. We use words like honor, code, loyalty. We use these words as the backbone of a life spent defending something. You use them as a punchline! I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom that I provide, and then questions the manner in which I provide it! I would rather you just said 'Thank You' and went on your way. Otherwise, I suggest you pick up a weapon and stand a post. Either way, I don't give a damn what you think you are entitled to!"; when Kaffee continued to press Jessup for an answer, he became so exasperated that he admitted that he personally ordered the "Code Red": "You're goddamn right I did!"
  • in the aftermath, Jessup was detained by MP and about to be arrested, as he incredulously asked: "I'm being charged with a crime?" and then he physically charged at Kaffee, but was restrained as he shouted out: "I'm gonna rip the eyes outta your head and piss in your dead skull! You f--ked with the wrong Marine!...You f--kin' people. You have no idea how to defend a nation. All you did was weaken a country today, Kaffee! That's all you did. You put peoples' lives in danger. Sweet dreams, son"; Kaffee calmly responded with dignity: "Don't call me 'son'. I'm a lawyer and an officer in the United States Navy. And you're under arrest, you son of a bitch"

Galloway Questioning Col. Nathan Jessup

Kaffee's Casual Request for Santiago's Transfer Order

Jessup: "You got to ask me nicely"

Galloway: "Let's put Jessup on the stand"

Kaffee's Tirade: "Should We, or Should We Not Follow the Advice of the Galactically Stupid!"

Downey and Dawson on Trial

Kaffee to Jessup: "I didn't dismiss you"

Jessup: "We follow orders or people die. It's that simple"

Jessup's Unnerving by Kaffee's Intense Questioning

"I'm being charged with a crime?"

To Kaffee: "You f--ked with the wrong Marine!"

To Jessup: "Don't call me 'son'"

Fiddler on the Roof (1971)

In Norman Jewison's film adaptation of the beloved Broadway musical and based upon Sholom Aleichem's stories, during the pre-Revolutionary period in Russia (1905), about a Jewish peasant with three marriageable daughters:

  • the entire opening/titles sequence, set in the Ukranian ghetto village of Anatevka as the sun rose - and the opening words of poor Jewish-Russian peasant milkman in a small Ukranian village in pre-Revolutionary Russia - the life-affirming Tevye (Topol) as he began his route to deliver milk: ("A fiddler on the roof. Sounds crazy, no? But here, in our little village of Anatevka you might say every one of us is a fiddler on the roof. Trying to scratch out a pleasant, simple tune without breaking his neck. It isn't easy. You may ask why do we stay up there if it's so dangerous? Well, we stay because Anatevka is our home. And how do we keep our balance? That I can tell you in one word! Tradition!...Because of our traditions, we've kept our balance for many, many years. Here in Anatevka, we have traditions for everything. How to sleep. How to eat. How to work. How to wear clothes. For instance, we always keep our heads covered, and always wear a little prayer shawl. This shows our constant devotion to God. You may ask, how did this tradition get started? I'll tell you. I don't know. But it's a tradition. And because of our traditions, every one of us knows who he is and what God expects him to do")
  • the ending of the joyous and lively song/dance "Tradition" about the conflict between traditional values and modern industrial changes: ("Traditions, traditions. Without our traditions our lives would be as shaky as... as a fiddler on the roof!"); Tevye pointed to a fiddler on the roof in the dawning reddish sun, before the credits played
  • Tevye's song: "If I Were a Rich Man" - his dreams of wealth: ("If I were a rich man. Yubby dibby dibby dibby dibby dibby dibby dum All day long I'd biddy biddy bum. If I were a wealthy man..."), when he found out that his milk-cart horse was lame
  • the singing of "Matchmaker, Matchmaker" by Teyve's five daughters (three were marriageable), who were speculative about what news would be brought by the village's traditional matchmaker Yente (Molly Picon)
  • the scene of the Jewish wedding of Tevye's eldest daughter Tzeitel (Rosalind Harris) and her childhood friend, poor tailor Motel Kamzoil (Leonard Frey), and the wistful song of Tevye and his wife Golde (Norma Crane) during the ceremony: "Sunrise, Sunset" ("Is this the little girl I carried? Is this the little boy at play? I don't remember growing older. When did they? When did she get to be a beauty? When did he grow to be so tall? Wasn't it yesterday when they were small? Sunrise, sunset. Sunrise, sunset. Swiftly flow the days. Seedlings turn overnight to sunflowers. Blossoming even as we gaze")

"If I Were a Rich Man"

"Matchmaker, Matchmaker"

"Sunrise, Sunset"

Field of Dreams (1989)

In Phil Alden Robinson's sentimental ode to baseball:

  • the whispered disembodied voice: "If you build it, he will come" to astonished Iowa corn farmer Ray Kinsella (Kevin Costner) in his corn field - who responded: ("Who are you, huh? What do you want from me?")
  • the scene of Ray plowing down some of his cornfield and building a baseball diamond
  • the scene of the memorable mystical appearance (or materialization) in Ray's baseball field built in his Iowa cornfield, of disgraced ballplayer Shoeless Joe Jackson (Ray Liotta) - who had been banned from 'America's pasttime' during the 1919 Black Sox scandal. (No one but those who believed could see the ghostly ballplayers who began to appear from the adjacent cornfield.) Ray approached the shadowy figure, who knelt down in the grassy ball park and touched the grass, then was amazed as Ray switched on the park's lights to illuminate him. He turned to face Ray as he strode onto the field, and nodded in acknowledgement. Ray hit some practice balls to him in the outfield, and after they introduced themselves to each other, Ray pitched to Joe; the awestruck Joe remembered how wonderful it was to have played baseball, then asked: "Can I come back again?" He was planning to return with seven other banned players on his team who also missed the game. Just before his departure, before trotting off toward a surrounding cornfield and disappearing in the darkness of the tall corn rows, he asked: "Hey, is this heaven?" Ray smiled: "No, it's Iowa"
  • the sight of the ghosts of Shoeless Joe Jackson and his seven teammates - of the infamous 1919 Chicago Black Sox scandal - stepping out of the cornfield to play ball and find redemption with a second chance
  • the poignant scene of the powerful "they will come" speech by disillusioned and reclusive 60's author Terence Mann (James Earl Jones) about the enduring impact of baseball on America: (""Ray. People will come Ray. They'll come to Iowa for reasons they can't even fathom. They'll turn into your driveway, not knowing for sure why they're doing it. They'll arrive at your door, as innocent as children, longing for the past. Of course, we won't mind if you look around, you'll say. It's only $20 per person. They'll pass over the money without even thinking about it, for it is money they have and peace they lack...And they'll walk off to the bleachers and sit in their shirt sleeves on a perfect afternoon. They'll find they have reserved seats somewhere along one of the baselines where they sat when they were children, and cheered their heroes. And they'll watch the game, and it'll be as if they'd dipped themselves in magic waters. The memories will be so thick, they'll have to brush them away from their faces... People will come, Ray... The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It's been erased like a blackboard, rebuilt, and erased again. But baseball has marked the time. This field, this game, is a part of our past, Ray. It reminds us of all that once was good, and that could be again. Ohhhh, people will come, Ray. People will most definitely come...")
"People Will Most Definitely Come"
  • the scene in which young Giants ballplayer Archie "Moonlight" Graham (Frank Whaley) sacrificed his youth as a ball player, crossed the ball-field line, and morphed into his older self Doc Archibald Graham (Burt Lancaster) to save Ray's daughter Karin (Gaby Hoffman), who had stopped breathing after falling from bleachers, and was actually choking to death on a piece of hot dog; Ray realized that Doc couldn't return to his youth: "Oh, my God -- you can't go back!"; Doc made a request: "Win one for me one day, will you boys?" as he walked past the other younger ballplayers who congratulated him; before disappearing back into the cornfield with the other players, "Shoeless" Joe Jackson (Ray Liotta) praised Doc: "Hey rookie! You were good!"
Archie "Moonlight" Graham
  • the famous tearjerking reconciliation-reunion ending in which Ray (at first with his wife Annie (Amy Madigan) at his side), was told by Joe Jackson: "If you build it, he will come," and then realizing that the New York Yankees catcher removing his equipment at home plate was his dead and estranged father John Kinsella (Dwier Brown); after introductions and a short discussion together, they had a final exchange in the twilight: "lt's so beautiful here. For me, well, for me, it's like a dream come true. Can I ask you something? Is, is this heaven?" -- "It's Iowa" -- "Iowa?...I could have sworn it was heaven" -- "Is there a heaven?" -- "Oh yeah, it's the place dreams come true" -- "Maybe this is heaven"; Ray then asked: "Hey, Dad? Wanna have a catch?" -- "I'd like that" -- with the long shot of the two playing catch together on the ball diamond with the lights turned on (after the sunset)
  • the final, overhead shot of a single line of cars with their headlights on streaming toward the magical baseball field carved out of an Iowa cornfield, signaling that Ray wouldn't lose his farm after all

Ray Hearing: "If you build it, he will come"

Shoeless Joe Jackson (Ray Liotta)

The Ghosts of the Chicago Black Sox

Ray with wife Annie
(Amy Madigan)

"If you build it, he will come"

Ray's Father John

Catch at Sunset

Car's Headlights Approaching Ballfield

5th Ave Girl (1939) (aka Fifth Avenue Girl)

In Gregory La Cava's and RKO's witty, fast-paced, satirical Depression-Era screwball romantic comedy about the foibles of the idle rich and class warfare (and a reversed Cinderella tale), similar to the plot-line of his earlier film My Man Godfrey (1936), and also two other films: screenwriter Preston Sturges' Easy Living (1937) with Jean Arthur, and Midnight (1939) with Claudette Colbert:

  • the premise: rich, patriarchal capitalist-tycoon Mr. Alfred Borden, Sr. (Walter Connolly), the owner of Amalgamated Pump, learned (on his birthday) that his company was on the verge of bankruptcy; and then his secretary (Josephine Whittell) offered him a present - a very loud tie with a design that brought the quip: "Well, that's one bright spot in a gloomy day"
  • Borden returned to his unwelcoming, empty Fifth Avenue mansion where he found that his vain and cheating wife Martha (Verree Teasdale) was out with a gigolo, and his spoiled polo-playing son Tim (Tim Holt), and his lovesick daughter Katherine (Kathryn Adams) with the Bolshevik-leaning, slogan-spouting chauffeur Mike (James Ellison) were away and had forgotten his birthday; he took a walk to Central Park - feeling lonely, unhappy, depressed, unwanted, and neglected, where his life would soon change
  • the crucial pick-up scene beginning with Borden's chance encounter and conversation on a public park bench with cynical, level-headed, spunky and sassy Mary Grey (Ginger Rogers); she revealed that the apple she was eating was her dinner; when he asked if she was on a diet, she replied: "Yes, but against my wishes"; with a few more questions, he realized that she was poor, homeless, unemployed and hungry, and was willing to sleep in the park if she had to; when he was astonished that she didn't seem to be worried, she told him that the rich were all alike: "You sound like one of those Fifth Avenue cadavers.... Those people that live over there... oh they're always squawking. You'd think the country was going to the dogs....I used to stand at the Plaza at night and watch 'em go home. They look like a lot of wax dummies that have eaten an overdose of sour pickles"
  • his invitation to dine with him in the fancy Flamingo Club to celebrate his birthday; at first, she declined: "I'd just as soon go to the automat and keep the change"; but when he urged: "We could have lots of fun insulting the rich," she agreed, although she quipped: "If I eat any real food, I'll probably die. I just as soon die of food poisoning as anything else"; while they were dancing together, Borden happened to be spotted by his unfaithful wife Martha dining out with her playboy admirer
  • the next morning in his mansion, Borden awakened with a hangover, a right black eye, gossip in the newspaper about the "disgraceful episode" (according to his wife who had seen him) and Mary's appearance after sleeping in the upstairs guest room (apparently invited for the night); during a wild night that he couldn't remember, Borden allegedly had an altercation with both a taxi-cab driver and a policeman; butler Higgins (Franklin Pangborn) reminded him: "It was nice to see you happy for a change"
  • Borden realized: "This was the first time in years that my wife has paid any attention to me, and I think you had something to do with it"; he decided to hire Mary (without his family's knowledge) to pose in a fake affair as his gold-digging mistress (she was considered a "little blonde hussy"), something that eventually had positive results and brought his insensitive and dysfunctional family together; almost every night, Borden's chauffeur would drive them around as a pretense (and Borden would often fall asleep)
Mary With Borden's Son Tim
Mary About to Kiss
Tim On Park Bench
Mary's Revealing
Confession of Her Charade to Borden and Family: "I didn't ask you for this job. You forced it on me"
To Tim: "I'm going back where I belong"
Mary Carried Back into House Over Tim's Shoulder
  • eventually, Mary was paired with son Tim, soon after they visited the same park bench that she had earlier shared with his father and he forced a kiss on her; at first, he was very belligerent toward her but then fell in love with her
  • the scene of Mary's teary confessional revelation at the end to Borden and the family that everything was a charade: "I didn't ask you for this job. You forced it on me" before she departed
  • the concluding exit of Mary from the house, followed by Tim, when she made a determined statement to him ("I'm going back where I belong!"), only to be carried back in by Tim slung over his shoulder as she yelled at a policeman who asked: "Hey, what's going on here? - she delivered a smart retort to end the film: "Why don't you mind your own business?"

Secretary's Gift of Loud Tie to Alfred Borden

Borden's Chance Encounter with Mary Grey on Central Park Bench

Mary and Borden Dancing at the Flamingo Club

The Next Morning After a "Disgraceful Episode"

Disrupted Borden Family: Tim, Martha, and Katherine

Nightly Dates With Mary - Chauffeured Drives Around Town

Borden's Upset and Jealous Wife Martha

Fight Club (1999)

In David Fincher's enigmatic, psychological thriller - based upon Chuck Palahniuk's novel and scripted by Jim Uhls:

  • the audacious opening 90-seconds titles or credits sequence - a reversed pull-back shot (from the "Fear Center" of the protagonist's brain backward alongside various motor neurons and finally exiting a skin pore, finding the fearful, wide-eyed main character with a gun barrel shoved down his mouth)
  • the opening voice-over conversation during a confounding scene in which the film's two main characters were confronting each other. The "Narrator"/"Jack" (Edward Norton) was being held at gunpoint (the gun was in his mouth!) by Tyler Durden (Brad Pitt), during a count-down to "Ground zero" -- the demolition of twelve corporate buildings (with credit card company records) by an anti-corporate, anti-consumer, and anti-capitalistic movement known as "Project Mayhem" (and its Demolition Committee) - to theoretically elminate debt and start fresh. Tyler Durden threatened the destruction unless the "Narrator" shot himself:

    Narrator: (voice-over) People are always asking me if I know Tyler Durden.
    Tyler: Three minutes. This is it. Ground zero. Would you like to say a few words to mark the occasion?
    Narrator: (voice-over) With a gun barrel between your teeth, you speak only in vowels. (speaking) I can't think of anything... (voice-over) For a second, I totally forget about Tyler's whole controlled demolition thing and l wonder how clean that gun is.
    Tyler: It's getting exciting now.
    Narrator: (voice-over) That old saying, how you always hurt the one you love. Well, it works both ways.

  • the suicidal fantasy scene of the Narrator imagining a plane wreck to end his life, expressed in his voice-over: "Every time the plane banked too sharply on takeoff or landing, I prayed for a crash or a midair collision. Anything. Life insurance pays off triple if you die on a business trip"
  • the night scene in which nihilistic, macho Paper Street Soap Co. salesman and part-time film projectionist Tyler Durden urged yuppie "Ikea Boy", insomniac, bored white-collar office worker "Jack"/Narrator to fight him in the parking lot of Lou's Tavern: ("Come on. Do me this one favor....Why? I don't know why. I don't know. Never been in a fight. You?...How much can you know about yourself if you've never been in a fight! I don't wanna die without any scars. Just come on. Hit me, before I lose my nerve....So go crazy! Let 'er rip....who gives a s--t? No-one's watching. What do you care?"); when "Jack" struck Tyler in the ear, he responded: ("That was perfect. It really hurts. Hit me again")
  • the sequence of charismatic cult leader Tyler Durden's statement of the club's rules and the concept of 'Fight Club': "You do not talk about Fight Club" and the many bare-fisted, brutal fights in dark underground basements: "Gentlemen, welcome to Fight Club. The first rule of Fight Club is: you do not talk about Fight Club. The second rule of Fight Club is: you DO NOT talk about Fight Club! Third rule of Fight Club: if someone yells 'stop!', goes limp, or taps out, the fight is over. Fourth rule: only two guys to a fight. Fifth rule: one fight at a time, fellas. Sixth rule: no shirts, no shoes. Seventh rule: fights will go on as long as they have to. And the eighth and final rule: if this is your first night at Fight Club, you have to fight..."
  • the many one-frame subliminal blips - all cameos of Tyler Durden in the film (i.e., in the hallway of a doctor's office, in the testicular cancer support group meeting, in the Narrator's office near photo-copier, and in an alley as girlfriend Marla Singer (Helena Bonham Carter) departed); the idea of subliminal content in the film was telegraphed earlier, when the Narrator explained why Tyler worked as a projectionist: "Because it affords him other interesting opportunities." Tyler: "Like splicing a single frame of pornography into a family film." Narrator: "So when the snooty cat and the courageous dog with the celebrity voices meet for the first time in reel 3, that's when you'll catch a flash of Tyler's contribution to the film. Nobody knows that they saw it but they did." Tyler: "Nice, big cock" - [Note: This reference paid homage to Ingmar Bergman's Persona (1966, Swe.) in which a random image of an erect penis was spliced into the projected film.]
Some of the Subliminal and Subconscious
Single-Frame Images of Tyler
  • the scene of Tyler Durden, a soap manufacturer, sprinkling powdered lye on the "Narrator's" hand - while teaching him a lesson: "This is a chemical burn. It'll hurt more than you've been burned before, and you'll have a scar....Stay with the pain, don't shut this out...The first soap was made from the ashes of heroes, like the first monkey shot into space. Without pain, without sacrifice, we would have nothing....This is your pain, this is your burning hand. It's right here!"; Tyler delivered his final conclusion: "It's only after we lost everything that we are free to do anything - Congratulations. You're one step closer to hitting the bottom"
  • the scene in which the threatening Narrator/"Jack", after being fired, suggested an alternative: ("I have a better solution. Keep me on the payroll as an outside consultant. In exchange for my salary, my job will be never to tell people these things that I know. I don't even have to come into the office. I can do this job from home"); and then when security was being called, "Jack" beat himself up - to make it look like he was being assaulted - in front of his astonished regional manager/boss Richard Chesler (Zach Grenier): ("I am Jack's smirking revenge!...Under and behind and inside everything this man took for granted, something horrible had been growing, and right then, at our most excellent moment together...") - Chesler was framed for hitting him when security arrived at the perfect moment
  • the 'twist' ending, in which "Jack" - in a confrontational conversation with himself (and with Tyler) in his hotel room realized that he was one and the same with Durden - a split personality: ("Why do people think that I'm you? Answer me!...Answer me. Why do people think that I'm you?......Because we're the same person! We are the all-singing, all-dancing crap"); 'Tyler' explained the schizoid phenomenon: ("You were looking for a way to change your life. You could not do this on your own. All the ways that you wish you could be, that's me. I look like you wanna look, I f--k like you wanna f--k. I am smart, capable and, most importantly, I'm free in all the ways that you are not...People do it every day. They talk to themselves. They see themselves as they'd like to be. They don't have the courage you have to just run with it. Naturally, you're still wrestling with it, so sometimes you're still you...Other times, you imagine yourself watching me...Little by little, you're just letting yourself become Tyler Durden")
"Narrator" Shooting Himself in Conclusion
And Watching Destruction with Marla
  • the explosive conclusion, when Tyler threatened to blow up a dozen buildings of various major credit card companies (as part of "Project Mayhem") and couldn't be subdued by the "Narrator." The only way the "Narrator" could destroy, stop or kill "Durden" in his mind was by shooting himself in the jaw/face. He fired the gun through his head - to stop the mental projections of Tyler Durden; he barely survived his own 'enlightenment' - and afterwards, he witnessed the destruction of various skyscrapers with girlfriend Marla Singer at his side as he told her: "You met me at a very strange time in my life"

The Opening Voice-Over (and Ending)

Insomniac "Narrator"
(Edward Norton)

Fantasy Plane-Crash

Tyler Durden's (Brad Pitt) Business Card

Tyler to Narrator: "Just come on, Hit me..."

"Gentlemen. Welcome to Fight Club"

Tyler's Porno Film Splices

Tyler: "This is a chemical burn"

Jack Beating Himself Up After Being Fired

Hotel Room Confrontational Revelation: "Jack"/The Narrator = "Tyler Durden"
("All the ways that you wish you could be, that's me!")

Finding Nemo (2003)

In Pixar's-Disney's (their fifth collaboration) blockbuster CGI animated film and winner of the 2003 Oscar for Best Animated Feature Film - a comedy-drama adventure about an abducted young clown fish named Nemo:

  • the frightening pre-credits barracudas attack on clownfish parents Marlin (voice of Albert Brooks) and Coral (voice of Elizabeth Perkins) in the Great Barrier Reef - and the devastating aftermath in which Marlin was made a widower with just a single surviving egg named Nemo (voice of Alexander Gould)
  • the scene of little Nemo's scary kidnap/capture in a small net bag by an Australian mask-wearing scuba diver
  • overprotective, obsessively-worried, and neurotic Marlin's desperate and perilous quest to find Nemo by traveling through Australia's lengthy Great Barrier Reef
  • the brilliant, comedic performance by Ellen DeGeneres as Dory - a scatterbrained but well-intentioned blue tang with enormous eyes who suffered from severe short-term memory loss, and helped Marlin to search for his lost son
Three Memorable Characters
Dory - Blue Tang, with Marlin
Great White Shark Bruce
"Crush" - Turtle
  • the scene of Marlin and Dory's encounter with great white shark Bruce (voice of Barry Humphries) (an in-joke reference to Jaws (1975)), who ominously asked: "Name's Bruce. It's all right. I understand. Why trust a shark, right? So, what's a couple of bites like you doing out so late, hey?...Then how would you morsels like to come to a little get-together I'm havin'?"
  • Nemo's adventures after he was placed in dentist Phillip Sherman's salt-water aquarium tank in Sydney, with the wisecracking Tank Gang, including a wise old Moorish Idol Fish named Gill (voice of Willem Dafoe), Jacques (voice of Joe Ranft) - a cleaner shrimp, a Yellow Tang named Bubbles (voice of Stephen Root), Peach (voice of Allison Janney) - a pinkish-red star fish, a germaphobic and pessimistic royal gramma fish known as Gurgle (voice of Austin Pendleton), and a Pufferfish named Bloat (voice of Brad Garrett)
  • the threat of the braces-wearing niece Darla of the dentist (thought to be a "fish-killer" - accompanied by the sounds of the shower scene violins from Psycho (1960))
  • Marlin's and Dory's revelatory reading of the address on the lost mask of Nemo's kidnapper - P. Sherman 42 Wallaby Way, Sydney, where they knew they could locate Nemo
  • during Marlin's and Dory's adventures, their encounter with the wisecracking school of Moon-fish (voice of John Ratzenberger) and the elderly "surfer dude" turtle Crush (voice of co-writer/director Andrew Stanton)
  • the sequence of Marlin and Dory trapped inside a 'blue whale' (reminiscent of Pinocchio (1940))
  • the clever but foiled plot of the Tank fish to have Nemo clog the tank filter, forcing the dentist to manually clean it, and place the fish into baggies (set on the counter), where the fish could roll out the window to the street, and reach the harbor; in actuality, Nemo escaped via a sink drain and through piping systems to the ocean, while Marlin and Dory were assisted by Nigel (Geoffrey Rush) - a brown pelican who often perched in the dentist office's window
  • the scene of Marlin reunited with his son Nemo after escaping a huge fishing net
  • and during the end credits - the surprise appearance of Monster, Inc.'s (2001) one-eyed Mike Wazowski wearing scuba-diving equipment

Single Surviving Egg - Nemo

Nemo Captured

Dentist Office's Aquarium Tank

"Fish-Killer" Darla

Nigel Helping Marlin and Dory

Reunion of Marlin with Nemo

End Credits with Mike in Scuba Gear

Finding Neverland (2004)

In director Marc Forster's semi-fictionalized fantasy tale (David Magee's adaptation of Allan Knee's play The Man Who Was Peter Pan) about the creative inspiration for Barrie's "genius" masterpiece Peter Pan:

  • the playful scenes in which Scottish playwright Sir James Matthew Barrie (Johnny Depp) found inspiration by befriending the Llewelyn Davies family, consisting of four high-spirited boys (George, Jack, Peter and Michael) and their lovely recently-widowed mother Sylvia Llewelyn Davies (Kate Winslet), when he became a surrogate father figure for the boys
  • the fanciful ways in which Barrie's play-world interactions with the Davies' family of boys were transformed into dream-like reality (the boys jumping on beds flew out the window)
  • the character of objectionable Mrs. Emma du Maurier (Julie Christie), Sylvia's mother - the future inspiration for Barrie's hook-handed Captain Hook figure
'Play-Acting" on a Pirate-Ship: Walking the Plank
  • the scene of James Barrie play-acting the part of Captain Hook with the four children - and their simultaneous appearance on the deck of an imaginary pirate-ship, when he demanded to know young Peter's 'pirate' name ("That's not a pirate name!") and forced him to walk the plank
  • the scene of the opening night premiere performance of Barrie's new children's fantasy play Peter Pan and his invitation to 25 children from a local orphanage to take seats scattered throughout the audience - and their infectious laughter
  • James' estranged, unhappy conventional wife Mary's (Radha Mitchell) final goodbye when she congratulated him on his successful play: "Without that family, you could never have written anything like this. You need them. Goodbye" - in an earlier scene when the two entered separate bedrooms in their home, James' door opened to an imaginative sunlit field
  • the tearjerking scene of Sylvia discussing with James how she was "pretending" not to be sick with her four boys and her reluctance to accept her illness and coming death: "You brought pretending into this family, James. You showed us we can change things by simply believing them to be different... We've pretended for some time now that you're a part of this family, haven't we? You've come to mean so much to us all that now it doesn't matter if it's true. And even if it isn't true, even if that can never be... I need to go on pretending. Until the end. With you"
  • the wonderful scene in which the cast of Peter Pan privately performed the play (about boys who didn't want to grow up) in the parlor of the Davies' house for the ailing Sylvia - and she slowly walked off and 'entered' into Neverland
Private Performance of Peter Pan for Sylvia
  • the concluding poignant scene on a park bench in which James comforted and encouraged young lad Peter Llewelyn Davies (Freddie Highmore) to remember his dead mother Sylvia with the transformative power of imagination: "...she's on every page of your imagination. You'll always have here there, always...When I think of your mother, I will always remember how happy she looked sitting there in the parlor watching a play about her family. About her boys that never grew up. She went to Neverland. And you can visit her any time you like if you just go there yourself" with Peter's hopeful, whispered response that he believed: "I can see her"

Barrie (Johnny Depp) with Sylvia (Kate Winslet)

Boys Jumping on Beds and Fancifully Flying Out Window

Mrs. Emma du Maurier's Hook

Infectious Laughter of Orphan Children During the Opening Night Peter Pan Performance

Estranged Wife Mary's Final Goodbye to Husband James Barrie

Sylvia "Pretending" Not to be Sick

Park Bench: Grief of Young Peter

Fireworks (1947) (short)

In avante-garde filmmaking director Kenneth Anger's first official, experimental film (his earliest surviving film), shot over just one weekend and initially charged as being obscene - it was a landmark gay movie:

  • the opening voice-over by the sole character, the Dreamer (homosexual Kenneth Anger Himself): "In Fireworks, I released all the explosive pyrotechnics of a dream. Inflammable desires dampened by day under the cold water of consciousness are ignited that night by the libertarian matches of sleep, and burst forth in showers of shimmering incandescence. These imaginary displays provide a temporary relief"
  • the main expressionistic (black and white, shadowy) homoerotic dream sequence (with masochistic imagery), experienced by a Dreamer, was inspired by the 1944 Zoot Suit Riots when all-American sailors in white naval uniforms attacked flamboyantly-dressed Mexicans
  • the surrealistic dream: a sleeping young man arose from his bed, while he was fantasizing about a sailor (who carried him into a bar with a GENTS restroom and was displaying the flexing of his muscular upper torso); a larger gang of white-uniformed US sailors with chains surrounded him, beat and raped him (a closeup showed his face contorted in pain, as his nose began to bleed - fingers were jammed into his nose - and cleansing milk (metaphorical semen) was poured onto his face in slow-motion)
  • the quick shot of the sailor with a roman candle positioned in the opened zipper of his pants as a phallic symbol before it exploded in his crotch
  • body-horror imagery also included a cigarette lit with a gigantic fiery branch, a burning Christmas tree (with decorations), flaming masturbatory photographs (of young men embracing), the peeling away of raw flesh by a hand to discover a compass underneath, a sculpture of a hand with smashed fingers - and the conclusion with a final image of two men lying together

Surrealistic Dream Sequence

First Blood (1982) (aka Rambo: First Blood)

In director Ted Kotcheff's action thriller - the first and best of the Rambo series, adapted from the 1972 novel by David Morrell - noted for its early examination of the 'Vietnam Vet Syndrome" (later known as PTSD):

  • the scenes of ex-Green Beret Vietnam vet "John" Rambo (Sylvester Stallone) hassled by prejudiced Hope, Washington's town Sheriff Will Teasle (Brian Dennehy), being apprehended (unjustly) as an unshaven vagrant, driven to the edge of town, and ordered to leave
  • the subsequent scene of Rambo walking back to cross a bridge into town, causing Sheriff Teasle to arrest him when he resisted; in the police station, he was treated abusively in jail by police officers, beaten, sprayed with a hose, and subjected to being dry-shaved with a straight-edged razor - amidst triggered horrifying flashbacks of torture he had experienced as a POW during the war
Hosed Down
Abused by Deputies in Police Station
  • Rambo's incredible escape from the police station after subduing multiple officers and fleeing on a motorcycle; the action sequence of Rambo's pursuit by Chief Deputy Art Galt (Jack Starrett) - who shot at Rambo from a hovering helicopter as Rambo clung to a rock cliff; after he jumped free (but seriously injured his arm), Rambo threw a rock at the chopper's windshield, causing the pilot to suddenly pitch around - leading to Galt's loss of balance and deadly fall onto rocks below/ Rambo attempted to surrender himself and admitted to Galt's accidental death (he held up Galt's bloodied body)
Assault by Helicopter on Fugitive Rambo
  • and the sequences of Rambo's tactical defense and use of guerrilla-warfare survival skills against a search party of pursuers in Northwest woods outside the small hostile town; he threatened to become a one-man army to the deputies that were allied against him ("We ain't huntin' him, he's huntin' us!")
  • the sequence of Rambo popping up out of nowhere and holding a large knife to the throat of the Sheriff - the last one to be disabled: "I could have killed them all. I could have killed you. In town you're the law, out here, it's me. Don't push it. Don't push it, or I'll give you a war you won't believe. Let it go. Let it go"
  • Rambo's final confrontation with Green Beret Col. Samuel Trautman (Richard Crenna), his former commander and mentor, who saved Rambo from killing the Sheriff after he fell through a building's skylight - Rambo delivered an impassioned, preachy speech to Trautman about his hostile, unjust reception as a returning Vietnam War Vet: ("Nothing is over! Nothing! You just don't turn it off! It wasn't my war! You asked me, I didn't ask you! And I did what I had to do to win! But somebody wouldn't let us win! And I come back to the world and I see all those maggots at the airport, protestin' me, spittin'. Calling me baby killer and all kinds of vile crap! Who are they to protest me, huh? Who are they? Unless they've been me and been there and know what the hell they're yelling about!...For me, civilian life is nothin'! In the field, we had a code of honor: You watch my back, I watch yours. Back here, there's nothin'!...Back there, I could fly a gunship, I could drive a tank, I was in charge of million dollar equipment. Back here, I can't even hold a job parking cars! Where is everybody? Gosh. I had a friend who was there for us. There were all these guys, man. Back there were all these f-kin' guys who were my friends. But back here, there's nothin'!")
Rambo's Confrontation and Breakdown
with Green Beret Col. Trautman
  • the concluding scene of Rambo collapsing to the floor in tears, breaking down and then surrendering while suffering from a PTSD breakdown; Rambo's horrifying account (the film's final words) of the death of his friend Dan Forest during the war, whose body was blown up with the entrails covering Rambo: ("I can't get it out of my head. lt was seven years. Every day it hurts. Sometimes I wake up and don't know where I am. I don't talk to anybody. Sometimes a day. Sometimes a week. I can't put it out of my mind")

Arrival in Hope, WA

Rambo's Arrest and Abuse - Triggering Memories of Torture During Vietnam War

Search for Rambo

Rambo Holding Knife to Throat of Sheriff

Rambo's Ultimate Surrender - Taken into Custody

A Fish Called Wanda (1988)

In Charles Crichton's funny madcap caper farce - about a gang of double-crossing diamond thieves, including two Americans who were lovers (Wanda and Otto) but pretended to be siblings, and a stuttering animal lover (Ken):

  • the characters of the Americans involved in diamond heist: lunatic ex-CIA hitman and unintelligent, shady weapons partner Otto West (Kevin Kline) and his clever seductive lover Wanda Gershwitz (Jamie Lee Curtis) (who were pretending to be siblings)
  • the fact of seductive Wanda's complete sexual arousal when she heard foreign languages, evidenced when Otto began speaking in Italian to her: "E molto pericoloso, signorina. Molto pericoloso. (she kissed him and he threw her on the bed) Carissima"; she burst out: "Speak it! Speak it!"; he continued: "Ossobuco milanese con piselli! Melanzane. Parmigiana con spinace!..." as he jumped on top of her
  • the scene of conservative and stuffy British barrister Archie Leach's (John Cleese) painful admission of British stoicism to sexy con artist and jewel thief Wanda in a speech about how he was cursed, before her seduction of him to help in locating her locket: ("Wanda, do you have any idea what it's like being English? Being so correct all the time, being so stifled by this dread of, of doing the wrong thing, of saying to someone, 'Are you married?' and hearing, ' My wife left me this morning,' or saying, uh, ' Do you have children?' and being told they all burned to death on Wednesday. You see, Wanda, we're all terrified of embarrassment. That's why we're so - dead. Most of my friends are dead, you know, in these piles of corpses to dinner. But you're alive, God bless you, and I want to be, I'm so fed up with all this. I want to make love with you, Wanda. I'm a good lover - at least, used to be, back in the early 14th century. Can we go to bed? (She kissed him and answered 'Yeah')
Archie's "What It's Like Being English" Speech
Before Wanda's Seduction, and Otto's Jealousy
and Demands for an Apology
  • the sequence of Wanda's love-making with Archie - spied upon and interrupted by a very jealous Otto who was listening in and resented being called stupid: (Wanda: "He is so dumb...He thought that the Gettysburg Address was where Lincoln lived!...And when he heard your daughter's name was Portia, he said, 'Why did they name her after a car?'"); Otto heard Archie insinuate that he was stupid (Archie: "How come a girl as bright as you girl, has a brother who's so...?"); after breaking the couple up, Otto demanded an apology from Archie and resorted to name-calling: "You pompous stuck-up, snot-nosed, English, giant twerp scumbag, f--k-face dickhead asshole!"
  • the subsequent sequence of Otto's dangling Archie outside a window to force a lengthy apology from him for calling him stupid: ("I apologize...I'm really, really sorry. I apologize unreservedly...I offer a complete and utter retraction. The imputation was totally without basis in fact, and was in no way fair comment, and was motivated purely by malice, and I deeply regret any distress that my comments may have caused you, or your family, and I hereby undertake not to repeat any such slander at any time in the future")
  • the further joke of Otto's stupidity and continuing lack of intelligence, when Wanda (outside Archie's place) delivered a scathing indictment of Otto's intelligence after he again sensitively asserted: "Don't call me stupid": (Wanda: "To call you stupid would be an insult to stupid people! I've known sheep that could outwit you. I've worn dresses with higher IQs. But you think you're an intellectual, don't you, ape?...Now let me correct you on a couple things, OK? Aristotle was not Belgian. The central message of Buddhism is not 'every man for himself', and the London Underground is not a political movement. Those are all mistakes, Otto. I looked 'em up"); she reminded him about Archie: "You've just assaulted the man who can keep you out of jail and make you rich"; she was able to get Otto to admit that he should "Apologize!"
  • during another adulterous tryst opportunity between Wanda and Archie, the comical situation when the lustful Archie (who had spouted foreign phrases to an aroused Wanda) was caught in the buff by an unsuspecting British family in what he thought was a perfect hideaway for having sex, forcing him to use a strategically-placed framed photo to modestly hide himself
  • throughout the film, the many attempts of stammering, animal-loving hitman Ken Pile (Michael Palin) to assassinate an old lady named Mrs. Eileen Coady (Patricia Hayes) (a threatening, matronly, key eye-witness to the diamond robbery), but instead he cruelly killed her three cherished pet dogs instead (mauling by an attack dog, flattening and run-over by a taxi, and crushing by a falling safe); in the end, the distress caused by her pets' deaths caused her to have a heart attack
  • the scene of Otto's torture of a bound-up Ken for information about the whereabouts of the stolen diamonds, while he was eating chips (with two fries stuck up Ken's nose) - and then gulping down Ken's pet fish in front of him: ("Where are the diamonds?... There's plenty of time, Ken. I'll just sit here and eat my chips till you tell me. The English contribution to world cuisine - the chip! What do the English usually eat with chips to make them more interesting? Wait a moment! It's fish, isn't it? Down the hatch!")
  • Otto's further taunting of Ken ("It's K-k-k-ken c-c-coming to k-k-k-kill me!") just before the vengeful Ken ran over Otto (with his feet planted in cement) with a steamroller; after flattening Otto (he survived miraculously!), Ken realized that he was cured of his stutter: ("'K-k-k-k-Ken.' You bastard. Hey, I've lost my stutter. It's gone. I can speak. How much wood would a woodchuck chuck if a woodchuck could chuck wood?")

Wanda's Sexual Arousal by Otto's Foreign Phrases

Otto: "Don't call me stupid"

Wanda: "To call you stupid would be an insult to stupid people"

Archie Caught in a Compromising Position

One of Ken's Three Murder Attempts on Mrs. Coady (Her Dog Was Crushed by a Falling Safe)

Otto's Torture of Ken: Gulping Down His Pet Fish Wanda

Vengeful Ken Running Over Otto With Steam Roller

The Fisher King (1991)

In Terry Gilliam's mystical fantasy fairy tale about a radio shock-jock seeking redemption:

  • the opening sequence of the "off-hand," snide and insensitive comments made to psychotic, unstable radio caller Edwin Malnick from late-night caustic talk radio DJ Jack Lucas (Jeff Bridges) who was hosting "The Jack Lucas Show" - Lucas had dismissively advised unlucky-in-love Edwin to not fall in love again with his latest acquaintance - "this beautiful woman" he had met at a "chic yuppie watering hole" - a Manhattan bar-restaurant known as Babbitts: "You'll never get this tart to your dessert plate....Come on, now. I told you about these people. They only mate with their own kind. It's called yuppie inbreeding. That's why so many are retarded and wear the same clothes. They're not human. They don't feel love. They only negotiate love moments. They're evil. They're repulsed by imperfection, horrified by the banal. Everything that America stands for, everything that you and I fight for. They must be stopped before it's too late. It's us or them"
  • the unintended results of Jack's advice to Edwin - his suicidal mass-murder killing spree (of seven innocent individuals) in Babbitt's - at the peak hour of 7:15 pm - and the tragic unwitting murder of one man's wife with a shotgun blast to the head
Mass-Murder Killing Spree in Manhattan Restaurant
The Hallucinations of a Red Knight
  • the hallucinations experienced by crazy, disheveled ex-Hunter College medieval history professor Henry Sagan (who took the name Parry) (Robin Williams) - he would envision a horrid, pursuing nemesis: a symbolic demonic, giant apocalyptic figure of a black horseback-riding, fire-spewing Red Knight with a tattered cloak -- reminding him of the traumatic slaughter of his wife when she was shot in the head with a shotgun in the restaurant, and blood splattered onto his face
  • the night-time rescue scene of Jack - depressed and drunk and about to commit suicide near the Manhattan Bridge by jumping into the East River, who was mistaken by street thugs under a bridge for a homeless man, who beat him and threatened to light him on fire with gasoline: ("What are you doin' here, man? You shouldn't hang around this neighborhood....People spend a lot of hard-earned money for this neighborhood. It's not fair, looking out their window and see your ass asleep on the streets")
  • the now-homeless, delusional Parry came to Jack's rescue by accosting the two thugs, using medieval words and acting like a Middle Ages knight: ("Hold, varlet or feel the sting of my shaft! In the name of Blanche De Fleur, unhand that errant knight!...Mendacity! Why are two attractive city squires like you abusing a knight like this?") - and shooting an arrow into one guy's groin, and confronting them when other homeless joined him; Parry advised before counter-attacking: ("You know, boys, there's three things in this world that ya need: Respect for all kinds of life, a nice bowel movement on a regular basis, and a navy blazer. Oh, one more thing. Never take your eye off the ball! Of course, the ability to bean a s--thead can be a fabulous advantage"); Jack was reluctant to be rescued by such a crazy man: ("I need a drink")
  • the scene of Jack's tough, strong-willed but devoted girlfriend Anne Napolitano (Oscar-winning Mercedes Ruehl) response to Jack's question about God and the nature of good and evil ("Do you still believe in God?"): ("You gotta believe in God! But I don't believe that God created Man in His image. 'Cause most of the s--t that happens is because of men. Naw, I think men was made in the Devil's image, and women were created outta God. 'Cause, after all, women can have babies, which is kinda like creating. And which also accounts for the fact that women are so attracted to men. 'Cause let's face it, the Devil is a helluva lot more interesting. I've slept with some saints in my day, and believe me, I know what I'm talking about. Egh-boy! So, the whole point of life, the whole point of life, I think, is for men and women to get married so that God and the Devil can get together -- and work it out. Not that we have to get married or anything. God forbid"
Parry's Monologue in Central Park
About The Legendary Fisher King and Quest for Holy Grail
  • the half-insane Parry, completely obsessed with the story of the Fisher King and on a personal Quest to find the Holy Grail (the cup from the Last Supper), who delivered an emotionally-tender monologue to Jack in Central Park (while they both laid on their backs in the grass), (doing what he called "cloud-busting"), next to despairing, guilt-ridden, suicidally-despondent radio DJ Jack Lucas; he explained how a King guarding the Holy Grail had suffered a wound for being prideful: ("...As the King began to drink, he realized that his wound was healed. He looked at his hands, and there was the Holy Grail that which he sought all of his life! And he turned to the Fool and said in amazement: 'How could you find that which what my brightest and bravest could not?' And the fool replied: 'I don't know. I only knew that you were thirsty')
  • the magical, beguiling, and surreal fantasy scene in Grand Central Station that began with Parry tracking the woman of his dreams, shy Lydia Sinclair (Amanda Plummer) - and inexplicably, the sight of thousands of bustling, rush-hour commuters suddenly transformed into waltzing couples (oblivious to him); later Parry and Lydia shared a double-dinner date with Anne and Jack, and, soon after, Parry nervously asked for a kiss after confessing: "And I know you hate your job and you don't have many friends. And I know that sometimes you feel a little uncoordinated. You don't feel as wonderful as everybody else, feeling as alone and separate as you feel you are, and I love you. I love you. And I think you're the greatest thing since spice racks. And I'd be knocked out several times if I could just have that first kiss"
  • the scene of Parry, again catatonic and lying in a mental ward hospital when Jack brought the Holy Grail to him (it was a simple awards trophy that Parry believed was the Grail): ("All right, I did my side of the bargain. Here's your cup. You gonna wake up now? You want to think about it a little more? OK, take your time") - the cup was acquired by Jack from the Upper East Side 'castle' of a rich and famous architect named Lanny Carmichael, and later, Parry's awakening from his catatonia to tell Jack that his life had been restored: ("I had this dream, Jack. I was married. I was married to this beautiful woman. And you were there, too. I really miss her, Jack. Is that okay? Can I miss her now? Thank you")
  • the final reprised image of Parry and Jack, both naked, again lying face-up in Central Park and looking up at the moon on a beautiful night

Henry Sagan (Robin Williams) (aka Parry)

Parry's Rescue of Suicidal Jack Lucas

Jack's Girlfriend: Anne Napolitano

Jack with Parry, Incapacitated by Vision of Red Knight

The Magical Sight of Waltzing Couples in Grand Central Station

Double Dinner-Date: Jack/Anne, and Parry/Lydia

Parry's and Lydia's First Kiss After Dinner

An Awards Trophy ("The Holy Grail") Brought by Jack to Parry in a Mental Hospital

Ending: Reprise of Lying on Central Park Grass and Gazing Up at the Sky Above

Fistful of Dollars (1964, It.) (aka Per un Pugno di Dollari)

In Sergio Leone's "spaghetti western" remake of Akira Kurosawa's Yojimbo (1961), featuring Clint Eastwood in his first leading role - and the first film in the so-called "Man With No Name" or "Dollars" Trilogy:

  • the central character - a pancho-wearing, cigarillo-smoking 'Man With No Name' (Clint Eastwood) (aka Joe, the Stranger), whose aim was to set two feuding crime gangs, the Rojo and the Baxter clans, against each other
  • upon arrival in town, the Stranger's request to the nearby, elderly local undertaker/coffin-maker Piripero (Joseph Egger): "Get three coffins ready", as he strolled by the storefront on a street in the Mexican border town of San Miguel
  • the Man With No Name's subdued anger over treatment of his mule by a group of four gunslingers, who didn't want him in town, and insulted and reprimanded him: ("Listen, Stranger, didn't you get the idea? We don't like to see bad boys like you in town. Go get your mule. You let him get away from you, ha, ha?"); the stranger replied during a tense-standoff when they refused to apologize, before shooting them down: ("You see, that's what I wanna talk to you about. He's feelin' real bad....My mule. You see, he got all riled up when you went and fired those shots at his feet....You see, I understand you men were just playin' around. But the mule, he just doesn't get it. Of course, if you were to all apologize (they laughed at him) - I don't think it's nice, you laughin'. See, my mule don't like people laughin'. He gets the crazy idea that you're laughin' at him. Now, if you apologize, like I know you're going to, I might convince him that you really didn't mean it")
  • and shortly after seeking deadly revenge in a shoot-out that killed all four men, he told the Sheriff John Baxter (Wolfgang Lukschy): "Well, if you're the Sheriff, you'd better get these four men in the ground"; and then the Man With No Name revised his mordant order to the coffin-maker: "My mistake, four coffins"
  • the final duel against Ramon Rojo (Gian Maria Volontè), when the Man With No Name - who was taunting the gunman to aim for his heart: ("The heart, Ramon. Don't forget the heart. Aim for the heart or you'll never stop me) - then revealed that he was wearing a make-shift bullet-proof metal plate under his poncho, and knowing that Ramon would empty his Winchester rifle of bullets; he then challenged Ramon to a race to see who could load their weapon the fastest: ("When a man with a '45 meets a man with a rifle, you said the man with the pistol's a dead man. Let's see if that's true. Go ahead. Load up and shoot") - and after loading up more quickly, he shot Ramon dead before riding away [Note: a similar "bullet-proof" scene in Back to the Future Part III (1990) paid homage to this final sequence]
Final Shootout Between Ramon Rojo and The Stranger
Revelation of Bullet-Proof Metal Plate Under Poncho
Stare-Off With Ramon Before
He Was Shot Dead

The Man With No Name: "Get Three Coffins Ready"

Shootout After Confrontation With Four Men Over Scaring His Mule

"My Mistake, Four Coffins"

Fitzcarraldo (1982, W. Ger./Peru)

In director Werner Herzog's adventure drama set in the early 20th century, about a crazed opera aficionado with a crazy idea to build an opera house in the Peruvian jungle, and having indigenous tribesmen haul his riverboat by hand over a mountain, from one river to another [Note: a documentary titled Burden of Dreams (1982) told about the 'making of the movie'.]:

  • the seemingly-impossible quixotic dream of crazed Irish rubber baron Brian Sweeney Fitzgerald (Klaus Kinski) (aka Fitzcarraldo)
  • the monumental manual hauling of a three-story, massive 320-ton steamship, christened the SS Molly Aida, over a group of steep-inclined, muddy South American hills to another waterway in the Amazon basin - without special effects, but with an elaborate system of pulleys (and brute strength)

Five Easy Pieces (1970)

In Bob Rafelson's intriguing character study and road film, appearing during the New Wave age, about a disaffected, frustrated male seeking his identity:

  • the film's two central mis-matched characters: ex-classical pianist/blue-collar S. California oil-rigger Robert Eroica Dupea (Jack Nicholson), and his uneducated, ignorant, needy, crass and dim-witted girlfriend/waitress Rayette Dipesto (Karen Black), who was introduced in the bathroom, barefooted and still wearing her orange diner waitress uniform, with teased up hair, heavily made-up cat's eyes, and frosted lips - and was thoroughly obsessed with country singer Tammy Wynette
  • the sequence of Robert's flirtations at the Black Gold Bowling Lanes (while Rayette was pouting outside in the car) with bottle blonde Twinky (Marlena McGuire) and chubby-faced, busty, curly-haired brunette Betty (aka Shirley) (Sally Struthers), when he told them: "I wish I had more time to talk to you girls, but..."
  • the early morning scene during a freeway jam when Robert exited his car, yelled at everyone: "Why don't we all line up like a goddamn bunch of ants in the most beautiful part of the day," and gave an impromptu concert performance playing on an upright piano (out of tune) in the back of a truck stuck ahead in the traffic
  • Robert's reunion with his sister Partita or "Tita" (Lois Smith) in an LA recording studio, when he was told that his father was seriously ill after two strokes, and his initial reaction of denial: "Don't tell me about this"; she advised lovingly: "Don't you think it's right that you should see him at least once?" - and he reluctantly agreed to visit; he added: "Maybe I'll go into Canada after. I'm not gonna stay long, Tita, you know, one week at the most"
  • the jarring sex scene in Betty's apartment - filmed with a hand-held camera, as Bobby was coupled with the nude female, who grabbed onto him as he carried her and spun around the room, while she screeched and gasped, until they fell exhausted onto the bed as Betty climaxed, and her screams subsided
  • the scene of Robert's emotional outburst at the wheel of his parked car -- he angrily thrashed around in the driver's seat in an uncontrollable fit; he struggled with himself (caught between two extremes) about whether Rayette (now pregnant) should join him or not, fearing being tied down by responsibilities to her, and also embarrassed by her lack of class or refinement
  • his car trip to his patrician family in the Pacific Northwest and the giving of a lift to an aggressive, complaining lesbian couple Palm Apodaca (Helena Kallianiotes) and Terry Grouse (Toni Basil) on their way to Alaska to escape society and filth because it was "cleaner": ("All those signs selling you crap and more crap and more crap. And I - I don't know. I don't know. I don't even want to talk about it...It's just filthy. People are filthy. I think that's the biggest thing that's wrong with people. I think they wouldn't be as violent if they were clean, because then they wouldn't have anybody to pick on. Dirt. Not dirt. See, dirt isn't bad. It's filth. Filth is bad. That's what starts maggots and riots...")
  • the sequence of long-haired, anti-filth ecology nut and malcontent Palm's memorable ranting monologue - when she preached prophetically about her discontent regarding "crap" and "filth"
  • the celebrated roadside cafe-diner scene of an impatient Dupea's frustrating fight with a strict, rude and surly waitress (Lorna Thayer) (who allowed 'no substitutions') over his initial side order of wheat toast - that quickly became a chicken-salad sandwich order: ("You make sandwiches, don't you?...You've got bread and a toaster of some kind?"...OK, I'll make it as easy for you as I can. I'd like an omelette, plain, and a chicken salad sandwich on wheat toast. No mayonnaise, no butter, no lettuce, and a cup of coffee...Yeah. Now all you have to do is hold the chicken, bring me the toast, give me a check for the chicken salad sandwich, and you haven't broken any rules") in order to bypass the diner's rules about menu substitutions - including his further sneering challenge: "I want you to hold it (the chicken) between your knees" and his clearing of the table with one swipe of his arm - of all the water glasses, place-mats, cutlery and menus after telling her: ("You see this sign?")
Roadside Cafe-Diner Scene
  • the post-diner sequence in the car, when hitchhiker Pam praised him for his defiance: ("Fantastic that you could figure that all out, and lie that down on her, so you can come up with a way to get your toast, fantastic!"); Bobby pointed out that he actually WASN'T successful in obtaining what he ultimately wanted - in this case, his food: "Yeah, well, I didn't get it (the sandwich), did I?"; she responded: "No, but it was very clever. I would have just punched her out"
  • the moving camera as Robert played a Chopin Prelude for his brother's cultured fiancee Catherine Van Oost (Susan Anspach), then downplayed his talent: ("I picked the easiest piece that I could think of. I first played it when I was eight years old, and I played it better then"), and then ridiculed her emotional response to his playing; he claimed he had no inner feeling or emotion while playing - and then shortly later in her upstairs bedroom, he continued to make another improper romantic advance toward her: ("I faked a little Chopin. You faked a big response...Up till now, all I've been getting from you is meaningful looks at the dinner table, and a lot of vague suggestions about the day after tomorrow"); he forced her onto the bed, and told her: "Let's be serious"; when she resisted, he ordered her to "shut up," and then she quietly challenged him: "No inner feeling?" He forced a kiss from her, stripped her sweater from her torso, and they begain to make love
  • the sequence prefaced by Robert wheeling his dying, unresponsive, invalid, mute wheel-chair bound father Nicholas (William Challee) into the cold outdoors of Puget Sound, as the sun set; he began a painful, one-sided, but conciliatory speech - an apology for his abandonment of his family and talent, for giving up on his responsibilities, and for not living up to his father's high ideals: ("I don't know if you'd be particularly interested in hearing anything about me, my life, I mean. Most of it doesn't add up to much that I could relate as a way of life that you'd approve of. I move around a lot. Not because I'm looking for anything, really, but - 'cause I'm getting away from things that get bad if I stay. Auspicious beginnings. You know what I mean?...)
Robert's Apology to Dying, Mute Father
  • the long, final and bleak scene when Robert abandoned his entire life - at a Gulf gas station, after staring long and hard at himself in the rest-room mirror, Robert departed (without his car and wallet) and stranded Rayette, to catch a ride north into Canada with a logging trucker (who warned: "Where we're going, it's gonna get colder than hell")
Abandoning Rayette at Gas Station

Girlfriend Rayette
(Karen Black)

Robert Flirting with Betty and Twinky

Robert's Freeway Piano Jam

With "Tita" in LA Recording Studio

Wild Sex With Betty

Emotional Outburst in Parked Car

Hitchhikers: Lesbian Couple

Palm's Rant About Crap and Filth

The Playing of a Chopin Prelude ("the easiest piece")

Catherine Van Oost (Susan Anspach)

Romantic Advance Toward Catherine

Flaming Creatures (1963)

In gay film-maker Jack Smith's experimental, controversial, ultra-low-budget, black and white 43-minute movie that was declared obscene, sexually-graphic and depraved, and seized by police at its underground premiere in NYC in the spring of 1963, and banned in 22 states and in four countries - it was reported to be an exotic, Arabian tribute to 1940s screen star Maria Montez:

  • the primitive, herky-jerky, over-exposed, ragged and legendary underground film (shot on half-ruined or damaged film stock), made on a Greenwich Village rooftop in the city, and often regarded as the beginning of 'camp'
  • the many disjointed and odd-angled images of heavily-made-up lips, eyes, overlapping limbs, and genitals of bisexuals, transvestites, hermaphrodites and other drag queens (some in white fabric dresses), possibly in an Arabian harem - either dancing, grooming (primping), or romancing
  • a mock lipstick commercial (Someone asks: "Is there a lipstick that doesn't come off when you suck cocks?...But how does a man get lipstick off his cock?"), with a close-up of a flaccid penis being shaken and then seen next to the face of a man with a large false nose while he applied lipstick
  • the simulated cruel rape of a screaming woman during an earthquake, and a repetitive view of her enlarged close-up of her large, round, singly-exposed, massaged breast that was constantly being jiggled; then, her dress was raised and she was ravaged and forced to endure cunnilingus
  • the main sequence - a drug-fueled orgy of intertwined bodies, kissing and organ caressing and stimulation, with nude and semi-nude males and females - with a soundtrack of vintage music
Posing During Drug-Fueled Orgy
Drag Queen Sucking Blood From Neck of Unconscious Victim
Then Playing With Himself
  • the sight of a vampirish, blonde-wigged, high-heeled drag queen rising from a coffin, to suck blood from the neck of another unconscious drag queen - and then, the vampire laid back and wiggled his penis (masturbation?)

Man With False Nose Applying Lipstick

Rape of Screaming Ravaged Woman

Organ Touching

Flashdance (1983)

In Adrian Lyne's R-rated sleeper hit - a musical romantic drama with energetic, glossy music-video style dance sequences - a major box-office success and cultural touchstone, and generally regarded as a formulaic, implausible Cinderella story:

  • the early iconic scene of Pittsburgh steel-mill welder/ exotic bar dancer Alexandra "Alex" Owens (Jennifer Beals), at Mawbry's Bar - supine on a chair as water splashed down on her (mostly in dark silhouette); she was accompanied by the song "He's a Dream" sung by Shandi Sinnamon (as Shandi); then, "Alex" rose from the chair and danced in her wet red leotard
  • the sweaty scene of Alex's equipment and weights workout (with two others who were providing dating advice) - in a gym to the tune of "I Love Rock 'N Roll", sung by Joan Jett & The Blackhearts
  • the 90-second, influential street scene of Alex (in a long-shot) coming upon a group of B-boys (Wayne "Frosty Freeze" Frost, Richard "Crazy Legs" Colon, and the Rock Steady Crew), who showed off their break-dancing moves to the tune of Jimmy Castor’s "It’s Just Begun"
  • the iconic image of Alex's torn/cut-off-the-shoulder gray sweatshirt (and the scene of the removal of her black bra under the sweatshirt)
  • the sequence of Alex's intense foot-pounding, stretching, hair-spinning, practice exercise routine in a black leotard, to the tune of Michael Sembello's hit song "(She's A) Maniac" ("And she's dancing like she's never danced before"); it began with black leotarded Alex taping up her feet in preparation for an intense workout of running in place, twirling, and stretching (usually performed by body double Marine Jahan); there were lots of closeups, fast cuts and blurred action typical of the MTV style
"(She's A) Maniac" Dance Sequence
  • the seductive scene of Alex tantalizing older boyfriend (and steel mill boss) Nick Hurley (Michael Nouri) during a lobster dinner - while she was dressed in a black tux; she slowly nibbled and sucked soft pieces of seafood, and suggestively asked: "What turns you on? (during the conversation, she moved her leg up under the table to tantalizingly touch his crotch with her stockinged toes) You like phone booths?"; when Nick's ex-wife Kate (Belinda Bauer) showed up to introduce herself, and made insinuating comments about Alex's work as a welder and stripper, Alex removed her tuxedo coat jacket (leaving the front piece of only a white shirt and cuffs without sleeves), and candidly described her provocative first date with Nick: "I f--ked his brains out"
Sexy Lobster Dinner with Nick
  • the climactic scene of Alex' audition (with a black leotard and ankle warmers) before the Pittsburgh Conservatory of Dance and Repertory to the tune of the Oscar-winning Best Song "Oh, What a Feeling!" (sung by Irene Cara); at first she stumbled and faltered, and asked to start over ("Can I start again?") - the film's final line of dialogue, and was allowed to continue - with a combination of moves (including break-dancing at the end), she was able to gain entrance to the Conservatory
  • the loving and cliched, upbeat romantic clinch - after her important dance audition, Alex met Nick; she received a handful of long-stemmed red roses, a twirl and a loving kiss in the freeze-framed, dialogue-less conclusion - to the tune of "Flashdance - What a Feeling!"

Sweaty Gym Workout


Cut-Off Sweatshirt

"Can I start again?"

Winning Audition at Pittsburgh Conservatory

Congratulatory Kiss and Clinch

Flesh and the Devil (1926)

In director Clarence Brown's glossy, melodramatic, beautifully-photographed sensual silent film about a bitter and deadly love triangle (with a homosexual subtext) and a bond of friendship between two men (Leo and Ulrich):

  • the many extended love scenes between real-life lovers Greta Garbo and John Gilbert in their first film together -- amoral, insatiably sexual and sultry temptress-siren Countess Felicitas von Rhaden (Greta Garbo) and Austrian soldier Leo von Harden (John Gilbert)
  • in a shadowy garden scene, he told her: "You are very beautiful" to which she responded: "You are very young" - their faces lit only by a single match flame as they shared a cigarette together, exquisitely photographed and very erotic
  • the sharing of their first steamy kiss together, in the first of the film's three extended love scenes - and reportedly, this was Hollywood's first French (open-mouthed) kiss on screen
  • their next kiss on a chaise-lounger was allegedly the first-ever horizontal-position kiss in an American film - when they were discovered by her enraged, wronged aristocratic husband Count Rhaden (Marc MacDermott) clenching his outstretched fingers at them into a fist - in silhouette
In Adulterous Love: The Countess and Leo
Chaise-Lounge Horizontal Kiss
Discovered by Her Husband the Count - With Clenched Fist
  • later after a deadly duel (seen in long-shot and in silhouette) between Rhaden and Leo, the widowed Countess Felicitas married Leo's best childhood male friend Ulrich von Eltz (Lars Hanson) while Leo was away and serving for 5 years in the military
  • when Leo returned after serving in the military for a reduced term of three years, he was tempted to continue carrying on a sinful adulterous affair with Felicitas (now married to his friend Ulrich) after she told him: "Why do we pretend? I love you, and you love me"
  • during a communion scene in the church, after Leo drank wine from the cup, Felicitas turned the goblet back to where his lips had touched before drinking herself
  • driven emotionally mad with lust for each other, they succumbed to kissing again during Ulrich's absence, vowing love-til-death to each other, until she changed her mind (after being presented with a diamond bracelet by Ulrich upon his return) - she double-crossed Leo, and accused him of trying to choke and kill her
  • in the film's tragic conclusion (a second dueling scene over love), the two long-time friends (Leo and Ulrich) prepared to duel the following morning for Felicitas' love on the Isle of Friendship (evoking childhood memories) - but reconciled and embraced - while the duplicitous femme fatale Felicitas had been persuaded to stop the duel by Ulrich's virtuous, younger teenaged sister Hertha (Barbara Kent) (who always had a secret crush on Leo, pure unselfish love in contrast to Felicitas, but was ignored); she raced to the men but fatefully fell through thin lake ice and drowned to break her spell over the two men

Garden Scene: Illuminated by Match

First Steamy Kiss

Drinking From Communion Cup

Leo and the Countess

Ulrich and Leo Embracing Before Duel

Drowning Death of Felicitas

The Flight of the Phoenix (1965)

In Robert Aldrich's adventure drama and disaster film (the first of a wave of star-studded disaster films to come in the next decade and a half) about a disabled plane's crash landing in the North African desert and the struggle for survival - remade by director John Moore as Flight of the Phoenix (2004), a second-rate effort starring Dennis Quaid:

  • the opening sequence: the devastating crash of a twin-engine, chartered cargo plane (for the Middle East Arabco oil company) piloted by guilt-ridden veteran Capt. Frank Towns (James Stewart), a stubborn old-school pilot, into an isolated area of the Sahara Desert during a sandstorm enroute to Benghazi, Libya; it was carrying 14 men, including oil-rig workers and two British Army officers, and alcoholic British co-pilot navigator Lew Moran (Richard Attenborough); after the crash, there were only 12 survivors (and a seriously injured Gabriel (Gabriele Tinti))
  • the initial efforts to trek out of the desert by brave British Army officer Capt. Harris (Peter Finch), unstable oil-rig foreman Trucker Cobb (Ernest Borgnine), and Carlos (Alex Montoya) - the latter two died during the attempt to march out
  • the hopeful plans to rebuild a sleeker, single-engine version of the plane (dubbed "The Phoenix") by German Heinrich Dorfmann (Hardy Kruger), an aeronautical technical engineer who claimed he was an airplane designer
  • the dreamy experience of an hallucinatory mirage-like image - seductive and exotic Berber dancer Farida (Barrie Chase) who materialized out of the desert sands
  • and later, the film's subtle plot twist -- the devastating revelation to Moran and Towns that Dorfmann only had experience in building model or toy planes ("The biggest I've personally designed is the Jaeger 250"); he was directly confronted by Moran: ("How much designing have you done on the real thing?") - and he answered bluntly: "Oh, no, no, no. You misunderstand. We make nothing but model aeroplanes" - although he then assured them: "Full-size, no. But then, of course, the principles are the same"; they hadn't been lied to or deceived, but had exaggerated in their own minds his earlier claims: Moran: "He didn't keep anything from us. He really doesn't think there's any difference"; shortly later, Moran laughed hysterically and despairingly after realizing the dire implications of Dorfmann's words
The Nerve-Wracking Plane Starter Sequence
and Triumphant Flight Out of the Desert
  • the nerve-wracking climax - when Towns attempted to start the plane with only seven starter cartridges remaining - with each one failing until one succeeded, and their triumphant flight out of the desert by lying on the wings

Crash Landing of Cargo Plane in Desert

Hallucinatory Mirage of Berber Dancer Farida

German Engineer Dorfmann
(Hardy Kruger)

Lew Moran (Richard Attenborough)

Moran's Hysterical Laughter at Dorfmann

Floating Clouds (1955, Jp.) (aka Ukigumo)

In director Mikio Naruse's romantic yet tragic and depressing social melodrama (amour fou), told in flashbacks, and set in the years following WWII:

  • the main character: Yukiko Koda (Hideko Takamine), a young and timid Japanese typist-secretary who had just been repatriated and returned from French Indochina to be resettled in a devastated and defeated Tokyo, Japan
  • the scene of her visit to the Tokyo home of womanizing, opportunistic forester and agricultural surveyor Kengo Tomioka (Masayuki Mori), who was married to an aging, sickly wife Kuniko (Chieko Nakakita) - Yukiko hoped Kengo would fulfill his promise to divorce Kuniko and marry her
  • the flashbacks to their love affair in Japanese-occupied Da Lat (French Indochina) during WWII, and her continued obsessive search, blind devotion and hopeless unrequited love for him in subsequent years
  • Yukiko's life of struggle to survive (symbolic of Japan's own post-war challenges) - including rape from her despicable brother-in-law Sugio Iba (Isao Yamagata), prostitution as a "hostess" in Tokyo's red-light district, an affair with an American GI (Roy James) and with a rich man, and continued rejection from the promiscuous, fickle and half-hearted Kengo Tomioka
  • the many scenes of Yukiko's and Kengo's emotionally detached and aimless walks or wanderings (as if floating), as they discussed their concerns as a co-dependent couple
  • the scene of gravely-ill Yukiko's ultimate death on the rugged and rainy southern island of Yakushima when there was finally some hope (but dashed) that Kengo might find love with her - and his tearful denouement over Yukiko’s lifeless body

Typist-Secretary Yukiko Koda

Yukiko with Kengo

Detached, Aimless Wanderings

(alphabetical by film title)

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

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