Greatest Film Scenes
and Moments



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

The Fly (1958)

In director Kurt Neumann's original and chilling horror film melodrama - followed by two sequels: Return of the Fly (1959) and The Curse of the Fly (1965), and David Cronenberg's excellent remake The Fly (1986):

  • the opening shocking scene, set at Montreal's Delambre Freres Electronics factory, when the night watchman Gaston (Torben Meyer) found that Helene Delambre (Patricia Owens) had just crushed her scientist husband Andre's (David Hedison) head and arm in a giant metal hydraulic press; she phoned Andre's brother François Delambre (Vincent Price) with the horrific news: "Francois, I've killed Andre. I need your help...Call the police and come quickly" - and shortly later calmly admitted to the crime
  • the baffling motive for the murder was summarized by Police Inspector Charas (Herbert Marshall): "There appears to be no motive, no reason except insanity," but then afterwards concluded: "In spite of what the doctors think. I believe Mrs. Delambre's mind is quite clear. Even when catching flies" - Helene had become quite agitated about buzzing flies in her presence, especially an unusual one that Francois' nephew Philippe (Charles Herbert) claimed he found with a white head and leg
  • the rest of the story - in flashback - began a few months earlier, when Helene told about how her husband showed her his matter-teleporting or transfer device and his latest experiments - some successful and some not so successful; during one transference, an unnoticed fly had joined Andre in the transporter; she found Andre with a black cloth covering his head and his left arm hidden in his lab coat pocket - he requested that she catch a fly with a white head; when he got up, Helene screamed upon her first view of Andre's left arm - it had been replaced by a fly's claw --- she thought she was having a nightmare
  • via a note written by Andre, he revealed that he had been atomically (and anatomically) combined with a fly that was in the disintegrator with him; and it was urgent that the escaped mutated fly with the white head be found, to go through the machine transference process one more time to restore Andre and have their "atoms untangle"
  • the scene of Andre's note about how it was a matter of life and death: "If you had caught the fly, you would not be reading this. I know you will never catch it now. It's hopeless. There are things man should never experiment with. Now I must destroy everything, all evidence, even myself. No one must ever know what I discovered. It's too dangerous. I've thought of a way. It's not easy, but I need your help"; Helene convinced Andre to not kill himself, and try one more transference experiment - without the fly
  • the shocking scene of the additional transference, when Andre emerged from the teleporting machine; Helene removed the draped black cloth from Andre's head, revealing a monstrous, twitching fly head (the kaleidoscopic point of view of her screaming was shot through the Fly's POV eye); Helene fainted onto the floor
Helene's First View of Andre's Fly Head
  • the scene of Helene awakening and reading her husband's chalkboard directions: "No use. Now Help me - but don't come near me. Kill fly - plez. Love You"; shortly later, she mercy-killed her husband in the hydraulic press
  • the climactic ending - Francois sat on a garden bench, but could not hear the escaped mutated fly (with a human head and fly body, and one human leg) crying out piteously that it was caught in a spider's web: "Help me! Please Help meeeeeee! Go! Go away! No! Please Help Me! Please ! Go away! Go away! No! No! No! No!"
  • in the conclusion, the fly's body was smashed with a rock by Inspector Charas; Francois noted about the merciful killing: "You've committed murder just as much as Helene did. You killed a fly with a human head. She killed a human with a fly head. If she murdered, so did you"
  • in the happy ending, to clear Helene, Andre's death was reconsidered as a suicide, due to his derangement; Francois explained to Philippe the reason for Andre's death: "He died because of his work. He was like, like an explorer in a wild country where no one had ever been before. He was searching for the truth. He almost found a great truth, but for one instant, he was careless...The search for the truth is the most important work in the whole world - and the most dangerous"

Death of Helene's Husband Andre in Hydraulic Press - an Assisted Suicide

Mutated Fly Caught in Spider's Web: "Help me! Please Help meeeeeee!..."

Fly's View of Spider

Charas' Crushing of Fly and Spider With Rock

The Fly (1986)

In the superior and scary remake by master of horror David Cronenberg - about a scientist who had accidentally merged himself at a molecular-genetic level with an ordinary housefly during a teleportation incident using an experimental telepod device:

  • the gruesome scene when a baboon was teleported inside out during an experiment gone awry - the squirming remains were viewed
  • the scene of girlfriend/lover/science reporter Veronica Quaife (Geena Davis) feeling hairs growing on the back of a slowly-degenerating Seth Brundle (Jeff Goldblum), her shy scientist boyfriend
  • Seth's first realization that he had become fused with a fly - the computer typed out: "FUSION OF BRUNDLE AND FLY AT MOLECULAR-GENETIC LEVEL" - his new name was Brundlefly
  • his displays of superhuman strength after a teleport session - breaking a competitor's arm during an arm-wrestling match in a bar (with the bone protruding) - and then climbing up and down walls, etc.
  • a degenerating Seth's ear falling off in front of his girlfriend/lover/science reporter Veronica Quaife (Geena Davis), as he clutched her in fear and whispered: "I'm scared. Help me. Please"
  • Seth's videotaped explanation of vomiting during preparations for his breakfast
  • the scene in which Veronica experienced a nightmare of aborting a maggot
  • the scene in front of his bathroom mirror when slowly-degenerating and mutating Seth stored "relics" of his human body in the cabinet ("the Brundle Museum of Natural History")
The Rapid Disintegration of Seth Into a Fly Creature
  • his warning to Veronica in his 'insect politics' speech to leave and never come back because he might hurt her: ("You have to leave now, and never come back here. Have you ever heard of insect politics? Neither have I. Insects don't have politics. They're very brutal. No compassion, no compromise. We can't trust the insect. I'd like to become the first insect politician. You see, I'd like to, but, oh, I'm afraid, uh... I'm saying, I'm saying, I-I'm an insect who dreamt he was a man but he loved it. But now the dream is over and the insect is awake....I'm saying: 'I'll hurt you if you stay.'")
  • the scene of Seth's painful attack on Stathis Borans (John Getz) by using acidic digestive vomit; Seth first covered his left fist with the white substance, causing it to disintegrate into a bloody stump. He then regurgitated the whitish acid onto his right ankle and peeled off his foot. At Veronica's urging and begging, he paused
  • the scene of Seth's horrifying discussion with Veronica, pleading with her: "Help me. Help me to be human"; he asked her to engage in a fusion sequence (with a two minute countdown) to come together with him: "I go there. You go there. We come apart. And then we come together there. You, me, and the baby, will be the ultimate family, a family of three joined together in one body, more human than I am alone"; as she resisted his attempt to drag and throw her into the transporter, his fleshy skin from his jaw fell off in her hand and he was transformed, in the most grotesque scene of all, into an actual human fly; his plan failed when he was inadvertently fused with metallic components of his telepod device; the seriously-wounded Borans had disconnected the power lines to Veronica's telepod with a shotgun blast, causing a shower of sparks and aborting her connection to the fusion process
  • in the poignant final scene after the failed transport, anguished and completely disfigured 'Seth' flopped out of the telepod and wordlessly begged Veronica to kill his monstrous self by guiding the shotgun's muzzle to his body with a deformed claw; he wished for her to end his monstrous life with a mercy killing, although she at first begged: "No I can't"; but then she dropped to her knees after the deed was accomplished

Baboon Teleport Accident

Stiff Back Hairs

Seth's Super-Human Strength at Arm-Wrestling Match

Veronica's Squirming Maggot Nightmare

Attack with Digestive Vomit on Stathis

Veronica's Shot-Gun Extermination of Seth Brundle

Flying Down to Rio (1933)

In director Thornton Freeland's extravagant, pre-Code RKO musical romance - known for the first teaming (of nine pairings) of Fred Astaire and Ginger Rogers in secondary roles, and also known for saving RKO from bankruptcy (along with King Kong (1933)):

  • the plot: complications of a romantic love triangle between blonde, buffed American aviator and Yankee Clippers band-leader Roger Bond (Gene Raymond), upper-class fiery Brazilian heiress Belinha (Dolores Del Rio) and her wealthy fiancee Julio Rubeiro (Raul Roulien)
  • the opening sequence of the effeminate Hammerstein (Franklin Pangborn), the Swiss manager of Hotel Hibiscus in Miami, inspecting staff outfits - and discovering that one of the voluptuous, flirtatious waitresses had an indecent neckline
  • one of the earlier numbers: Honey Hale (Ginger Rogers) wore a low-cut, fairly-transparent skirt while singing "Music Makes Me" - with lyrics: "My self control was something to brag about / Now it’s a gag about town / The things I do are never forgiven and just when I'm livin' 'em down / I hear music / Then I'm through 'cause music makes me do the things I never should do"
  • the statement made by an American blonde woman about Belinha's appeal, after she was able to entice band-leader Roger to leave his conducting post and invite her to dance with him: "What do these South Americans got below the Equator that we haven’t?"
  • the interlude on a tropical island after a plane crash, when Roger and Belinha had out-of-body 'double-exposures' of their subconscious, alter-ego selves contemplating sex; Roger's alter-ego said: "When was there ever a better opportunity for dirty-work at the crossroads?"; during their short overnight on the island, after Belinha informed Roger that she was engaged to Julio and couldn't continue their affair, he put her over his knee and spanked her!
  • the pre-Code undressing scene of a naked Roger (seen only from the waist up, but with implied nudity) tossing aside his Rio hotel room towel and being checked out (below-the-waist) by Julio - whose eyes dipped downward
  • the star-making dance "The Carioca" by band accordion player Fred Ayres (Fred Astaire) and Honey Hale (Ginger Rogers), including their touching of foreheads
"The Carioca"
  • the memorable scene of an aerial ballet, as part of the opening of the Hotel Atlantico owned by Belinha's father Senor De Rezende (Walter Walker) -- sexy, high-kicking, high-heeled, scantily-clad chorus girls who danced to the title song, while on airborne airplane wings
The Spectacular Aerial Show
Soaring High on the Wing
Scantily-Clad Aerial Maneuvers
On Airborne Wings
See-Through Tops
Parachutes Failed - Loss of Underwear

Hotel Staff Inspection

Honey Hale (Ginger Rogers): "Music Makes Me"

Belinha (Dolores Del Rio) - With Puff Sleeves

Band Leader Roger
(Gene Raymond)

"What do these South Americans got below the Equator that we haven't?"

Belinha's Subconscious

On the Island, Belinha's Spanking by Roger

Footlight Parade (1933)

In director Lloyd Bacon's and Warner Bros' musical - the third backstage musical from Warner Bros in 1933 (after 42nd Street and Gold Diggers of 1933):

  • the famous number "Sittin' on a Backyard Fence" featuring chorines dressed in cat-suits
  • the many pre-Code jokes and risque situations, such as Nan Prescott's (Joan Blondell) quip at three o'clock in the morning to her roommate Vivian Rich (Claire Dodd), who was attempting to steal her drunken beau, theatrical producer Chester Kent (James Cagney) away from her - she kicked Vivian out the door: "Now you scram, before I wrap a chair around your neck!...Outside, countess. As long as they have sidewalks, you've got a job!"
  • the three fantastic and extravagant finales (meticulously choreographed by Busby Berkeley) performed back-to-back at the conclusion (created as musical numbers or "prologues" for movie theatre owners to provide for their patrons before film shows): "Honeymoon Hotel," "By a Waterfall," and "Shanghai Lil"
  • the film's "Honeymoon Hotel" sequence that featured married (?) couples (all named John Smith) preparing for the evening, along with hapless honeymooners Bea Thorn (Ruby Keeler) and young crooner Scotty Blair (Dick Powell); many other lingerie-wearing female brides who had been shacked up for a week (with their grooms) offered advice to nervous newlywed Bea - they knocked on her door and supported her in song: "I've been notified there's a little bride All alone in number two I think we ought to see her through, I will, Me, too. We've been here a week When you're here a week then you're qualified to speak. Let's tell her what it's all about, My dear, will you come out?...Wait a while, you'll want to stay forever At the Honeymoon Hotel"; unfortunately, the newlyweds had to put up with a lecherous 'Little Boy' (dwarf Billy Barty) who almost shared their wedding night - a segment that was heavily edited by censors
"Honeymoon Hotel"
  • the 15-minute naughty and racy pre-Code "By a Waterfall" number featuring an elaborate aquacade of 100 bathing-suited girls/chorines (clothed to appear naked) performing amazingly intricate dances and artistic patterns in the water while shot kaleidoscopically from overhead - and including one segment in which dozens of legs of floating swimmers were unzipped and zipped - and then in the climactic finale, the swimmers formed a revolving 70 foot high human wedding cake/fountain formation
"By a Waterfall"
  • the exotic "Shanghai Lil" number (providing commentary on Paramount's Shanghai Lily character (Marlene Dietrich in Shanghai Express (1932) from the year before) with Ruby Keeler in Chinese makeup and a jet-black wig, portraying a prostitute in a backstreet opium den and brothel on the waterfront of Shanghai, and a tap-dancing sailor (Kent (James Cagney) was forced to play the lead male role because the main star was drunk) looking for his long-lost love Lil in the vice-ridden bar - featuring a fantastic tap-dance duet between the two across a bar counter
"Shanghai Lil"
  • the closing shots of an imperialistic US Navy drill and marching team, the Stars and Stripes flag, President Franklin D. Roosevelt, and the NRA's Blue Eagle

"Sittin' on a Backyard Fence"

"Now you scram..."


Forbidden Planet (1956)

In director Fred Wilcox' influential, classic science-fiction space adventure - the first science-fiction film in color and CinemaScope - and an adaptation of Shakespeare's The Tempest - a forerunner of the entire Star Trek (and Lost in Space) franchises:

  • The film's story - a journey by astronauts on a flying saucer-shaped United Planets space cruiser C57D to a distant planet-star named Altair-IV with green skies, to investigate the fate of a colony planted years before
  • the first appearance of the film's real star -- friendly Robby the Robot (voice by Marvin Miller) (who influenced and was the progenitor of many other future robotic creations), functioning as both a house servant and guard, and providing comic relief: ("Sorry miss, I was giving myself an oil job!")
Robby the Robot
  • the entrance of reclusive philologist Dr. Edward Morbius (Walter Pidgeon as Prospero) - and his lovely, doe-eyed and very naive 19 year-old daughter Altaira (Anne Francis as the Miranda character) who had never seen men - and upon seeing three crew members marveled: ("I've always so terribly wanted to meet a young man, and now three of them at once"), and who innocently asked after found swimming nude in a pool: ("What's a bathing suit?")
  • Altaira's kissing scene with Lt. Farman (Jack Kelly) - and after a few moments, her comment that she couldn't feel any "stimulation" - and the creepy subtext of the film - Dr. Morbius' incestuous feelings for Altaira
  • Morbius' tour of "Krell wonders", prefaced by his words: "Prepare your minds for a new scale of physical scientific values, gentlemen"; he showed some of the crew members a huge network of underground rooms, laboratories, deep shafts (composed of "78 hundred levels"), and cranium head-set devices that were reportedly the remains of an advanced technological and sophisticated civilization from 2,000 centuries earlier, inhabited by a mighty race of beings who called themselves the Krells: ("In times long past, this planet was the home of a mighty and noble race of beings which called themselves the Krell. Ethically and technologically they were a million years ahead of humankind, for in unlocking the mysteries of nature, they had conquered even their baser selves. And when, in the course of eons, they had abolished sickness and insanity, crime and all injustice, they turned, still in high benevolence, outward towards space....The heights they had reached, but then, seemingly on the threshold of some supreme accomplishment, which was to have crowned their entire history, this all but divine race perished in a single night. In the 2,000 centuries since that unexplained catastrophe, even their cloud-piercing towers of glass and porcelain and adamantine steel have crumbled back into the soil of Altair-4 and nothing, absolutely nothing, remains above ground")
Morbius' Tour of Underground Krell Labs
  • the scene of the night attack on the crew of the flying saucer by the sinister, invisible Id monster - a living, giant biped monster with sloth-like claws, who killed some of the crew at the perimeter of a force field fence
  • the scene of Morbius commanding Robby to kill Commander Adams (Leslie Nielsen) with a laser, and Robby 'short-circuiting' - following one of Isaac Asimov's Three Laws of Robotics to never kill a human
  • the ending sequence of Commander Adams confronting Morbius and demanding that he explain the Id ("What is the ID?"); at first, Morbius called the Id an outdated and obsolete term: "the elementary basis of the subconscious mind"; Adams warned about the Krell's shortsightedness: "But like you, the Krell forgot one deadly danger - their own subconscious hate and lust for destruction"; Morbius agreed and offered names for the invisible Id monster ("The beast. The mindless primitive! Even the Krell must have evolved from that beginning"); Adams continued: "And so those mindless beasts of the subconscious had access to a machine that could never be shut down. The secret devil of every soul on the planet all set free at once to loot and maim. And take revenge, Morbius, and kill!"; Morbius was slowly beginning to see that the Krell ("My poor Krell"), from 2,000 centuries earlier, didn't realize the power that was destroying them from within - when inner subconscious thoughts could be instantly realized; Morbius was reluctant to face the conclusion that he himself was "the living monster" when Adams became accusatory about him being the awakened monster: "You still refuse to face the truth...Morbius, that thing out there - it's you!"
  • the realization in a startling confession by Morbius, that the Id was his own projected or externalized sub-conscious; Morbius explained that he was the source of the monstrous creature, after the Krell had built a machine able to release his inner beast; Morbius was forced to realize that he was unable to control his subconscious desires ("Guilty! Guilty! My evil self is at that door, and I have no power to stop it!")
  • the concluding sequence of Morbius' instructions to explosively destroy the 'forbidden planet' of Altair (after triggering the machine's self-destruct mechanism, and due to detonate in 24 hours) to prevent its terrible technology from being used again
  • Commander Adams' final assurances to Altaira (who was saved with the crew) as they watched the planet's destruction from afair in space: ("Yes, Alta, your father, my shipmates, all the stored knowledge of the Krell. Five seconds, four, three, two, one. Alta, about a million years from now, the human race will have crawled up to where the Krell stood in their great moment of triumph and tragedy. And your father's name will shine again like a beacon in the galaxy. It's true, it will remind us that we are, after all, not God")

The Flying Saucer Landing on Altair-IV

Dr. Morbius with Altaira

Swimming Nude: "What's a bathing suit?"

Kissing Scene

Nighttime Attack of the Id Monster

Robby Refusing to Fire

Adam's Confrontation with Morbius, Who Eventually Admitted He was the Id Monster

The Destruction of the 'Forbidden Planet' of Altair-IV

Force of Evil (1948)

In Abraham Polonsky's film noir crime drama, his debut film:

  • the opening, silky-smooth voice-over of young, successful, and on-the-make Wall Street lawyer Joe Morse (John Garfield) during a high-angle camera view of towering skyscrapers surrounding St. Andrew's Church near Wall Street - he described how his principal client was Joe Tucker (Roy Roberts), the boss of a numbers racket: ("This is Wall Street and today was important because tomorrow, July Fourth, I intended to make my first million dollars, an exciting day in any man's life. Temporarily, the enterprise was slightly illegal. You see I was the lawyer for the numbers racket")
  • Joe's threatening discussion with his estranged, very honest older brother Leo Morse (Thomas Gomez) who had a small "numbers bank" of his own, urging him to give in and join his corrupt corporation: "Now, you listen to me! Something very serious is about to happen to your business. You're one of 20 or 30 numbers banks in the city - one of the smaller ones. Suppose a combine moves in. Suppose it organizes and merges these banks, eliminating the little ones, like yours. You're listening now, aren't ya? Suppose it reduces the overhead - legal fees, bail bonds. Supposing it reduces the cost and guarantees the profits. A man like you would be out of business, wouldn't you? You couldn't compete, could you? But suppose you had a brother, and this brother made your bank the number-one bank in the combination, in the merger, in the corporation...In return for the organization and service, in return for taking you into the combination, The corporation gets 2/3 of the profits and you get 1/3" - but Leo refused the proposed alliance deal: "Do you know what that is, Joe? Blackmail! That's what it is! Blackmail! My own brother blackmailing me!"; Joe angrily responded, calling his brother a "small man" for not wanting it
  • the long take of Joe's seductive discussion in the back seat of a taxi with Leo's young secretary-bookkeeper Doris Lowry (Beatrice Pearson), when she described him: "You're a strange man, and a very evil one.."; he replied: "And you're a sweet child, and you want me to be wicked to you...Make a pass for you, bowl you over, sweep you up, take the childishness out of you, and give you money and sin. That's real wickedness"; she countered: "What are you trying to make me think, Mr. Morse? What are you trying to make me think about myself - and you?"; when she added: "I know it's not wicked to give and want nothing back," Joe described his determined ideas about ambition and getting pleasure from taking from others: "It's perversion. Don't you see what it is? It's not natural. To go to great expense for something you want, that's natural. To reach out to take it, that's human, that's natural. But to get your pleasure from not taking, from cheating yourself deliberately like my brother did today, from not getting, from not taking. Don't you see what a black thing that is for a man to do? How it is to hate yourself and your brother, make him feel that he's guilty, that, that I'm guilty? Just to live and be guilty"
  • Joe's walk in a deserted Wall Street (amidst towering buildings) and his realization that he had become indebted to the syndicated mob for life, and was one of its corrupted victims
  • the scene of Doris and Joe reading startling newspaper headlines that Leo had been kidnapped and his meek bookkeeper Freddy Bauer (Howland Chamberlin) had been killed
  • in the conclusion, Joe's search for Leo - passing factories and a meat-packing area, ending with his running down a great stone staircase - almost a descent into hell - from Riverside Drive down to the rocks by the Hudson River lighthouse under the George Washington Bridge, where he found the dumped body of Leo; he described his descent in voice-over, and how he would now turn himself in to the city's new special prosecutor Link Hall: ("I wanted to find Leo, to see him once more. It was morning by then, dawn, and naturally I was feeling very bad there as I went down there. I just kept going down and down there. It was like going down to the bottom of the world to find my brother. I found my brother's body at the bottom there, where they had thrown it away on the rocks by the river, like an old, dirty rag nobody wants. He was dead, and I felt I had killed him. I turned back to give myself up to Hall, because if a man's life can be lived so long and come out this way, like rubbish, then something was horrible and had to be ended one way or another, and I decided to help")
Joe's Search For and Discovery of Leo's Corpse

High Angle Shot: "This is Wall Street..."

Lawyer Joe's Threatening Proposal to His Brother Leo

Back-Seat Taxi-Cab Scene with Doris

Joe's Walk Through Deserted Wall Street

Headlines: "Leo Morse Snatched; Bookkeeper Slain"

Foreign Correspondent (1940)

In Alfred Hitchcock's political thriller set just before the outbreak of war on the Continent:

  • the assassination scene in Amsterdam when Dutch statesman Van Meer (Albert Bassermann) (actually a doppelganger) was shot in the face as he mounted the steep stairs in the rain by a photographer with a gun (hired by a secret spy organization); and the image of a sea of bobbing black umbrellas revealing the escape route of the assassin
  • the windmill set (including the sounds of the wind in the sails and the wooden gears), actually a hideout for Nazi spies, where the getaway car after the assassination suddenly disappeared; and the mystery of the mill blades turning the wrong direction, signaling a Nazi airplane to land, to pick up the kidnapped Dutch statesman; the film's MacGuffin was the secret Clause 27 in a peace treaty, memorized by Dutch diplomat Van Meer who was one of the signatories of the treaty; the film revolved around trying to locate and save the diplomat (and prevent his torture) - because he was the key to maintaining peace in Europe in 1939
  • NY crime reporter Johnny Jones/Huntley Haverstock (Joel McCrea) had been sent to Europe to report on the crisis, and unwittingly found himself embroiled in the troubling situation when he uncovered a nefarious spy organization run by Stephen Fisher (Herbert Marshall), the father of his love interest Carol (Laraine Day)
  • the tense scene atop Westminster Cathedral's bell tower as contract killer Rowley (Edmund Gwenn) cajoled reporter Johnny Jones/Huntley Haverstock and readied to push him off, but ended up tumbling to his own death
  • the spectacularly convincing trans-atlantic plane crash disaster from the cockpit's point of view (over the shoulder of the pilots); and the subsequent sequence of the few survivors clinging to the plane's fuselage and crowded wing, and villain Stephen Fisher's heroic sacrifice and drowning in order to save the others in the turbulent waters
Realistic Trans-Atlantic Plane Crash
  • the final, provocative radio appeal (a tacked-on propagandistic ending) from London by reporter Jones, who was begging the American public to end its neutral stance and enter the war, as bombs fell on the darkened radio studio: ("It's death coming to London...It's too late to do anything here now except stand in the dark and let them come. It's as if the lights were all out everywhere, except in America. Keep those lights burning there! Cover them with steel! Ring them with guns! Build a canopy of battleships and bombing planes around them! Hello, America! Hang on to your lights. They're the only lights left in the world")

Johnny Jones (Joel McCrea) with Stephen Fisher (Herbert Marshall)

Assassination in the Rain

Windmill Set

Rowley About to Push Jones Off Cathedral Bell Tower

Concluding Radio Appeal

Forrest Gump (1994)

In Robert Zemeckis' Best Picture-winning tearjerker comedy, with a floating feather motif:

  • the opening lyrical title credits sequence that followed the progress of a single floating white feather - it randomly landed at the feet of the seated title character - who picked up the feather, opened a briefcase, and placed the feather inside a copy of Curious George
  • the sequences of big-hearted, slow-witted, simple-minded (with an IQ of 75), dullard Forrest Gump's (Oscar-winning Tom Hanks) flashbacks while sitting on a city bus-stop bench in Savannah, Georgia; he introduced himself to his benchmate: ("Hello. My name's Forrest. Forrest Gump. Do you want a chocolate? I could eat about a million and a half of these"); and then he delivered one of the most oft-quoted statements of the film to the listener after offering a chocolate: ("My mama always said, life was like a box of chocolates. You never know what you're gonna get")
  • and his further recollections to various listeners, for example, when he was young, innocent and crippled as a young boy (Michael Conner Humphreys) living in Alabama, and forced to wear braces on his legs because of his crooked back; he recalled his first acquaintance with young Jenny (Hanna Hall) who allowed him to sit next to her on the school bus on the first day of school: ("I do remember the first time I heard the sweetest voice in the wide world....I had never seen anything so beautiful in my life. She was like an angel"); when she asked: "Are you stupid or somethin'?", he replied: "Mama says, 'Stupid is as stupid does'"; Forrest told how they became fast friends: " From that day on, we was always together. Jenny and me was like peas and carrots...She was my most special friend. My only friend")
  • he remembered one uplifting moment when he quickly ran away from bullies who pursued him on bikes, and his braces fell off, while young Jenny encouragingly yelled out: "Run, Forrest, Run!"; Forrest recalled: "Now you wouldn't believe it if I told you that I could run like the wind blows. From that day on, if I was goin' somewhere, I was running!"; the scene soon segued into Forrest's streaking ahead into a Univ. of Alabama football game as a running star
First Day of School - Meeting with Jenny
Discarding Leg Braces
  • the sequences of Forrest's transforming progression through the decades (as a college student, Vietnam war hero, anti-war protestor, Yippie, ping-pong champion, shrimp tycoon, Apple Computers investor, and father)
  • black military friend and shrimp-lover Bubba Blue's (Mykelti Williamson) short speech about all the ways that shrimp could be prepared, while assembling a rifle and doing other military duties: "Anyway, like I was sayin', shrimp is the fruit of the sea. You can barbecue it, boil it, broil it, bake it, saute it. Dey's uh, shrimp-kabobs, shrimp creole, shrimp gumbo. Pan fried, deep fried, stir-fried. There's pineapple shrimp, lemon shrimp, coconut shrimp, pepper shrimp, shrimp soup, shrimp stew, shrimp salad, shrimp and potatoes, shrimp burger, shrimp sandwich. That - that's about it"
  • the tragic lethal wounding of Bubba - dying in Forrest's arms during combat; Forrest (voice-over): "If I'd have known this was gonna be the last time me and Bubba was gonna talk, I'd of thought of something better to say"; Bubba asked: "Forrest, why did this happen?...I want to go home"; Forrest (voice-over): "Bubba was gonna be a shrimpin' boat captain, but instead, he died right there by that river in Vietnam. That's all I have to say about that"
  • the computerized special-effects and imaging that put intellectually-challenged Forrest Gump into many comedic situations with historical events (i.e., Gov. Wallace's stand-off in Little Rock, and his assassination attempt) and with Presidents and other celebrities (JFK - with his plea: "I gotta pee", LBJ, Nixon, Elvis Presley, John Lennon)
  • Forrest's ping-pong prowess against the Chinese - ping-pong diplomacy
  • Forrest's reunion scene with true love Jenny Curran (Robin Wright) in Washington DC's reflecting pool, during an anti-war rally; she had been living a hippie lifestyle
  • the sequence of Forrest's shrimping partnership with Lt. Dan (Gary Sinise), with prosthetic legs, who joined him as First Mate on his boat; he made peace with Forrest and the loss of his legs, telling him: "I never thanked you for saving my life"; Forrest (voice-over): "He never actually said so, but I think he made his peace with God" - Forrest's statement after watching Lt. Dan swim out to sea
  • the sad sequence of Forrest's death-bed reconciliation with his matter-of-fact mother (Sally Field) who was dying of cancer: "I'm dyin', Forrest...It's just my time...Now, don't you be afraid, sweetheart. Death is just a part of life. Somethin' we are all destined to do"; and then she repeated a variation of her oft-repeated phrase, to describe the forging of his destiny: "Well, I happen to believe you make your own destiny. You have to do the best with what God gave you....You're gonna have to figure that out for yourself. Life is a box of chocolates, Forrest. You never know what you're gonna get"
  • the touching scene of Forrest proposing to Jenny: ("Will you marry me? I'd make a good husband, Jenny...but you won't marry me...Why don't you love me, Jenny? I'm not a smart man, but I know what love is"); she declined his request but later that rainy night entered his bedroom and asserted her love ("Forrest, I do love you") and then decided to sleep with Forrest to express her love to him
  • years later, the scene of Forrest's first meeting in Savannah with young Forrest, Jr. (Haley Joel Osment) and being told by Jenny that he was the father of her very normal child: ("You're his daddy, Forrest") and her reassurances: ("You didn't do anything wrong") followed by his reply: ("He's the most beautiful thing I've ever seen") - and the scene of them happily watching Sesame Street's Bert and Ernie on TV together
  • Forrest's moving, tear-jerking eulogy-meditation for his newly-wed bride Jenny at her gravesite under a tree after she died of the AIDS virus: ("You died on a Saturday morning. And I had you placed here under our tree. And I had that house of your father's bulldozed to the ground. Mama always said that dyin' was a part of life. I sure wish it wasn't. Little Forrest is doin' just fine. About to start school again soon, and I make his breakfast, lunch, and dinner every day. I make sure he combs his hair and brushes his teeth every day. Teach him how to play ping-pong. He's really good...We fish a lot. And every night, we read a book. He's so smart, Jenny. You'd be so proud of him. I am. He wrote you a letter. And he says I can't read it. I'm not supposed to, so I'll just leave it here for you. I don't know if Mama was right or if it's Lieutenant Dan. I don't know if we each have a destiny, or if we're all just floatin' around accidental-like on a breeze. But I-I think maybe it's both. Maybe both is happening at the same time. But I miss you, Jenny. If there's anything you need, I won't be far away")
Meeting Young Forrest, Jr. (Haley Joel Osment)
Forrest's Eulogy at Jenny's Gravesite
The Floating Feather - on Young Forrest's First Day of School
  • the floating feather uplifted into the sky at the conclusion, after Forrest waited at the bus stop for young Forrest's school bus

White Feather

"Do you want a chocolate?"

Forrest Gump's Flashbacks on Park Bench

Forrest's Service in the Military

Bubba: "Shrimp is the fruit of the sea..."

Bubba's Death at War

Forrest in Historical Situations

Ping-Pong Against the Chinese

Lt. Dan (Gary Sinise) - Forrest's First Mate

Lt. Dan Without Legs Before Swimming in Ocean

Forrest's Last Visit With His Dying Mother

Forrest to Jenny: "Will you marry me?"

Sleeping Together

Forty Guns (1957)

In maverick director Sam Fuller's unusually weird, stylistic, unorthodox b/w widescreen B-western with Freudian overtones and a kinky love theme: "High Ridin' Woman (With a Whip)":

  • the character of ruthless, whip-wielding, powerful Arizona cattle-queen rancher and landowner Jessica Drummond (Barbara Stanwyck) with black skin-tight 'Zorro'-like outfits and riding on a white stallion, and usually accompanied by an armed posse of '40 guns' ("forty dragoons") serving as enforcers - riding after her or joining her at an elongated dinner table
  • the arrival of three Bonell brothers in Cochise County, Tombstone, Arizona to clean up the town and establish law and order: (1) tough but reformed, non-violent ex-US marshal/gunslinger Griff Bonell (Barry Sullivan), (2) Wes Bonell (Gene Barry), and (3) Chico Bonell (Robert Dix)
  • the remarkable scene of Griff marching up Tombstone's main street to confront armed, bullying and drunken troublemaker Brockie Drummond (John Ericson), Jessica's brother - and with his cold stare he hypnotized Brockie so that he could pistol-whip him to the ground
  • the film's innuendo-laden sexual dialogue of Griff's brother Wes, who remarked about the town gunsmith's busty blonde daughter Louvenia Spanger (Eve Brent): "She even looks good in overalls...Built like a 40-40. I'd like to stay around long enough to clean her rifle"
  • the scene of Wes (just before becoming the town's new Marshal) flirting with Louvenia in the gunsmith shop (he blatantly stroked a rifle butt as she took his measurements for a gun order): (Wes: "How long will it take to make this rifle for me?" Louvenia: "A long time. You'd have to come in every day for a fittin'."); then he took another gun and romantically stared at her - down the gun's bore: ("This is pretty good work, never saw any better. Yeah, this kind of rifle's worth hangin' around for") - and then kissed her: Wes: "I never kissed a gunsmith before." Louvenia: "Any recoil?"
Wes' View of Louvenia Through a Gun's Bore
Wes Falling in Love With Louvenia
  • the scene of Griff giving a smirking warning when Jessica asked to feel his gun for curiosity's sake: "It might go off in your face" - and her reply: "I'll take a chance" - and her obvious sexual stroking of his gun for a few moments
  • the tornado scene with Jessica dragged behind her horse
  • the scenes of Wes' love affair with Louvenia - leading up to their joyous wedding; after the ceremony as their picture was being taken outside the church, Wes leaned in to kiss his new bride, when Brockie (on horseback nearby) shot and killed the groom (he was aiming at Griff and missed); he collapsed dead into her arms, and they fell to the ground together; thenceforth, Griff vengefully gave up his 10-year vow to never again use his gun
  • the finale in which Jessica was cruelly held captive hostage and used as a shield by her crazy psychotic brother Brockie who was in the midst of an attempted escape from jail; Brockie dared Griff Bonell to shoot - and he did! Brockie was fired upon by Griff - Jessica was wounded, while Brockie was cold-bloodedly murdered with multiple shots (as Brockie cried out: "Mr. Bonell, I'm killed!") - afterwards, Griff delivered a cold assessment for Jessica as he strolled by: "Get a doctor. She'll live"
Brockie Using Jessica as a Shield
Griff: "Get a doctor. She'll live"
  • in the short conclusion, the third Bonell brother Chico took over the City Marshal duties; Jessica (who was recovering in the town's hotel from the shootout) apologized to the widowed Louvenia: ("There's nothing I can do or say or pray for that will bring him back to you. It's very hard to forget the man you love. I know. You have one thing in your favor, Mrs. Bonell. Youth"); as Griff prepared to ride out of town on a buckboard to California, he was convinced that Jessica would never want him for killing her brother ("I'll never have her because she won't have me"); however, from the other end of the dirt street, Jessica appeared unexpectedly - she ran after the buckboard, appealing: "Griff! Griff! Mr. Bonell! Griff! Griff! Griff! Mr. Bonell!" - and in a distant shot, she hopped on; the final sequence was accompanied by the western's theme song - about the tamed whip-wielding female: "...When she rides and the wind is in her hair, she has eyes full of life, full of fire, But if someone could break her and take her whip away, someone big, someone strong, someone tall, you may find that the woman with a whip is only a woman after all"

The Impressive Posse of '40 Guns'

Griff Pistol-Whipping Troublemaker Brockie to the Ground

Jessica Stroking Griff's Gun

Jessica Dragged Behind Horse

Wedding of Wes and Louvenia

Wes Shot to Death

Jessica Running After Griff's Buckboard to California

42nd Street (1933)

In Lloyd Bacon's classic backstage musical with landmark, spectacular designs, scores of chorus girls, large extravagant and escapist musical 'production numbers', sumptuous art deco sets, surrealistic imagery, optical effects, zoom lenses, fast-paced timing and rhythmic editing, and wise-cracking, crisp and bawdy dialogue:

  • the first of Busby Berkeley's films with chorus girls as kaleidoscopic patterns in the movie musical that invented all the cliches
  • the sequence of show producers Jones (Robert McWade) and Barry (Ned Sparks) preparing to stage Pretty Lady - a Broadway musical, despite the Depression; they had hired the well-known "musical comedy director" Julian Marsh (Warner Baxter), who unseen and in close-up signed the Jones/Barry contract; the bankrupt, wild-eyed and broke Marsh, due to the Stock Market Crash in 1929, was only interested in recouping his economic fortunes ("Money!"), and although haggard and ill, he assured his producers: "Well, this is my last shot! I'll make a few more actors. But this time, I'm gonna sock my money away so hard that they'll have to blast to find enough to buy a newspaper. That's why I'm goin' ahead with Pretty Lady. And Pretty Lady's got to be a hit. It's my last show and it's got to be my best. You're counting on me. Well, I'm counting on Pretty Lady, because it's got to support me for a long time to come"
Marsh's Harsh Words for Cast
During the Show's Production
  • the scene of Marsh's description of the harsh routine of preparing for a show's production; he glared, growled, and made many harsh demands as he paced back and forth in front of the lucky chorines, while smoking nervously; in his vicious, bellowing voice, he ferociously delivered a dyspeptic pep talk and verbal lashing to his female cast: "All right, now, everybody. Quiet, and listen to me. Tomorrow morning, we're gonna start a show. We're gonna rehearse for five weeks and we're gonna open on scheduled time. (He brandished his cigarette) - And I mean scheduled time. You're gonna work and sweat and work some more. You're gonna work days and you're gonna work nights. And you're gonna work between time when I think you need it. You're gonna dance until your feet fall off and you're not able to stand up any longer. BUT five weeks from now, we're going to have a show!..."
  • the most notable scene - one of the most famous exhortations of motivational instructions in film history, just before the opening night's show, the show's director Marsh coaxed understudy chorus girl Peggy Sawyer (Ruby Keeler) onto the stage from the wings to replace the show's ailing star Dorothy Brock (Bebe Daniels) -- with the famous words: "Now, Sawyer, you listen to me and you listen hard. 200 people, 200 jobs, $200,000 dollars, five weeks of grind and blood and sweat depend upon you. It's the lives of all these people who've worked with you. You've got to go on, and you have to give and give and give. They've got to like you, they've got to. Do you understand? You can't fall down, you can't, because your future's in it, my future and everything all of us have is staked on you. All right now, I'm through. But you keep your feet on the ground, and your head on those shoulders of yours and go out. And Sawyer, you're going out a youngster, but you've got to come back a star!"
Director Marsh to Replacement Peggy Sawyer:
"You've got to come back a star"
  • the film's three major production numbers in the finale, including: "Shuffle Off to Broadway" - about newlyweds on their honeymoon on a train named the Niagara Limited (sung and danced by Ruby Keeler and Clarence Nordstrom as "The Groom") when the observation deck on the caboose of the newlyweds' train opened up into the interior of the train
  • also "I'm Young and Healthy" (sung by Dick Powell as Billy Lawler amidst dazzling white chorines on revolving turntables) with circles and lines of endlessly-reproduced chorus girls
  • and the "42nd Street" production number - in which star Ruby Keeler tap-danced heavily atop a taxi - when the camera pulled way, it revealed that she was on a set that depicted the intersection of Broadway and ("naughty, gaudy, bawdy") 42nd Street (a mammoth set with rows of identical-looking chorus girls) -- and then she was perched atop and peeking over the skyscraper-skyline of NYC with Powell

Show Director Julian Marsh Assuring Show Producers of Success

"Shuffle Off to Broadway"

"I'm Young and Healthy"

Peggy's Performance of a Clumsy and Heavy-Footed Tap-Dance in "42nd Street"

"42nd Street"

For Whom the Bell Tolls (1943)

In director Sam Wood's Technicolored romantic war drama set during the Spanish Civil War in 1937, based upon Ernest Hemingway's 1950 novel of the same name:

  • the opening segment of the detonation of a Nationalist troop train, prefaced by John Donne's meditational quote on a title screen: "Any mans death diminishes me, because I am involved in Mankinde: and therefore never send to know For Whom The Bell Tolls It tolls for thee" - Spain 1937
  • the intense scene of blue-eyed, short-haired guerrilla fighter and peasant refugee Maria (Ingrid Bergman) with idealistic American mercenary Robert "Roberto" Jordan (Gary Cooper) fighting on the side of the Republicans in Spain against Franco's Fascists, telling him how the Nationalists had murdered her parents and then brutalized her before she was rescued by the guerrilla fighters: "My father and my mother, I saw them killed. My father was the mayor of our town and a Republican. When the Nationalists came to town, they lined up the Republicans against the wall. My father cried out very loud, 'Long live the Republic!' And then they shot him. But my mother was not a Republican. She had no politics. But she loved my father and she couldn't say that. So she just looked at my father who lay there on his face at her feet, and she said, 'Long live my husband who was the mayor of this town.' She said it very loud, like a shriek, and then they shot and she fell, and I wanted to go to her, but we were all tied - we were tied by the wrists in a long line of girls and women. And I wanted to be shot too and I was gonna say, 'Long live the Republic and my mother and my father.' But instead, there was no more shooting. They, they herded us up the hill and through the streets to the square..." - he interrupted her when she was about to describe her rape, and he embraced her
  • the famous scene of Robert and Maria with their subsequent kissing scene: ("I'd like - I don't know how to kiss, or I would kiss you. Where do the noses go?")
  • the conclusion with ill-fated, seriously-injured hero Jordan's final soliloquy to Maria when, with a broken leg, he chose to self-sacrifice and be left behind to meet his certain death: ("You go now, Maria...what I do now I do alone. I couldn't do it if you were here...There's no good-bye, Maria, because we're not apart"); he assured her that his spirit would live on within her
  • the final image - Jordan awaiting the approaching, horse-riding Fascists, and readied behind a Lewish machine; when they soldiers appeared, he fired the machine gun directly at the camera, causing smoke to rise from the gun-fire; a bell tolled his fate in the dissolve ending

The Opening: (With John Donne's Quote)

Maria's Past Brutalization

"Where do the noses go?"

Ending: Jordan Readied to Fire Lewis Machine Gun

The Fountain (2006)

In Darren Aronofsky's profoundly meditative, highly-original and metaphysical, three-pronged (past, present, and future) sci-fi drama about immortality, death, and creation - with the tagline: "What if you could live forever?":

  • the plot: three storylines told in the present-day, with the same set of characters (portrayed by Rachel Weisz and Hugh Jackman) but represented metaphorically across time and space: (1) modern-day: a scientist with his cancer stricken wife with a brain tumor, (2) Spain in the 1500s: a conquistador and his ill-fated Queen, and (3) futuristic 26th century: a cosmonaut and his lost love
  • the early scene of the present-day couple: novelist Izzy Creo (Rachel Weisz, the director's real-life wife) and scientist-researcher husband Tommy Creo (Hugh Jackman) viewing the Golden Nebula of Xibalba on a snowy rooftop ("it's actually a Nebula wrapped around a dying star. That's what makes it look gold...The Mayans called it was their underworld...a place that dead souls go to be reborn"); the Mayans believed the dying star was actually the origin of life
  • the modern-day story: the hospital scene in which cancer-suffering and dying patient Izzy told her cancer-drug developer husband Tom (who somewhat ignored her in search for a cure in Guatemala) that she had accepted her fate and mortality - however, her dying request was that he finish the last and ninth chapter of her story writings titled "The Fountain" - in the earlier chapters it was about Queen Isabel's commission to a conquistador to search for eternal life in New Spain (in the Central American forest in Mayan lands); the last chapter represented the futuristic timeline; eventually, Izzy told him: "I'm not afraid anymore, Tommy"
  • the Spanish story: Tomas Verde (also Hugh Jackman) as a Spanish explorer-conquistador sent out by his 16th century Queen Isabel (also Rachel Weisz) to search for the Tree of Life (or fountain of youth) in the Mayan jungle, after she had lost her kingdom and sought immortality - "Salvation lies in the jungles of New Spain. Will you deliver Spain from bondage?...Then you shall take this ring to remind you of your promise. You shall wear it when you find Eden. And when you return, I shall be your Eve. Together, we will live forever"
Cosmonaut-Traveler and Tree of Life
  • the futuristic story: the space journey of balding 26th century immortal cosmonaut-traveler Tom Creo (also Jackman) to the Tree of Life - seated in a lotus position in a bubble in space, enroute to the Nebula - this portion of the story was actually Tommy's mind-set as he wrote the finishing chapter of Izzy's book, and gradually accepted her death - and transcended it
  • the masterful way in which all of the parallel stories came together - the deliverance of Spain from bondage, Izzy's and Tommy's acceptance of the thought: "Together we will live forever" - and their learning to accept death and his completion of his late wife's novel

Izzy and Tom Viewing the Sky - the Golden Nebula of Xibalba

Izzy's Dying Request to Tommy to Finish Her Story: "The Fountain"

Queen Isabel - Search for Tree of Life and Eden

Conquistador Tomas

The Four Feathers (1939, UK)

In director Zoltan Korda's classic adventure epic set in the late 1890s, with phenomenal color cinematography:

  • the character of British military officer Lieut. Harry Faversham (John Clements), who sought to redeem himself of condemnation and accusations of cowardice (after resigning his commission, and receiving three white feathers from his fellow officers, Captain John Durrance (Ralph Richardson) and Lieutenants Peter Burroughs (Donald Gray) and Willoughby (Jack Allen) and a fourth feather representing his fiancee Ethne Burroughs (June Duprez))
  • Faversham's secret disguise as a mute native Senghali tribesman (with a branded forehead) to prove and redeem himself - by helping to rescue his former comrades in a late 1890s battle in Egypt and the Sudan
  • the magnificent panoramic battle scenes - especially the attack of the savage Dervishes (pejoratively labeled Fuzzy Wuzzies) against the British lines
  • the scene of Faversham's desert rescue of Capt. Durrance, who was blinded during a battle due to sunstroke and was left for dead; Faversham led Durrance across an arid desert, and eventually to an outpost
  • the additional scene of Faversham's help to free Lieuts. Burroughs and Willoughby who were imprisoned in a dungeon by the forces of The Khalifa (John Laurie) at Omdurman
Lieut. Burroughs and Willoughby Captured
and Imprisoned - Also Rescued
  • in the conclusion, Faversham had proven his courage - and was able to playfully give back the fourth feather to Ethne ("Ethne, your feather"), followed by a kiss

Faversham Disguised as Mute Senghali Tribesman

Helping Dazed and Blinded Capt. Durrance to Safety

Conclusion: Haversham: ("Ethne, your feather")

The Four Horsemen of the Apocalypse (1921)

In director Rex Ingram's war drama, set during WWI - one of the highest-grossing silent films of all-time (adjusted for inflation):

  • Argentinian Julio Madariaga's (Rudolph Valentino in his first starring role) sexy (but forbidden) tango dance scene in a smoke-filled Buenos Aires cantina in the Boca district, with an unidentified Dancer (Beatrice Dominguez); the scene ended with a lengthy, extended kiss

The 400 Blows (1959, Fr.) (aka Les Quatre Cents Coups)

In critic-turned-director Francois Truffaut's, semi-autobiographical, innovative New Wave film (his feature film debut) - a character study and coming-of-age tale:

  • the opening tracking shots behind the opening title credits of views of the Eiffel Tower in Paris - purportedly the point of view of a child in the backseat of a moving automobile
  • the sad story of a rebellious and mischievous 12 year-old Parisian boy Antoine Doinel (Jean-Pierre Léaud) in the 1950s; various juvenile delinquency crimes included petty theft, dishonesty, major disobedience and truancy; in one scene, he skipped school to play pinball with his schoolmate friend Rene (Patrick Auffay)
  • the dereliction of responsibility by his stepfather Julien Doinel (Albert Remy) and conflicted mother who regarded Antoine as a burden - they would rather turn Antoine over to the state than deal with his behavior: "We've tried everything: kindness, persuasion, punishment" - the stepfather argued
  • the scene of Antoine's desperate theft of a typewriter from his stepfather's office, but when he couldn't sell it for money and returned it, he was charged with vagrancy and theft - and jailed, and his mug-shot was taken
  • in scenes with a female psychiatrist, he explained his rationale for almost always lying: "Oh, I lie now and then, I suppose. Sometimes, I'd tell them the truth and they still wouldn't believe me. So I prefer to lie"; and toward the end of the film, he described the reason for his desperation and his passive-aggressive attitudes towards his mother: "I heard that my mother had me before she was married. And she had a fight with my grandmother once. And that's when I found out that she had wanted to have an abortion. It's thanks to my grandmother that I was born"; he also reacted sheepishly when asked if he had ever slept with a girl: "No, but some friends of mine have. They told me where the hookers hang out. So I went and tried to pick up some girls, but they all yelled at me so I got scared and I left"
  • the concluding, definitive and highly original, but ambiguous freeze-frame ending, one of the most famous freeze-frame shots in cinematic history; it occurred after Antoine had run off from a troubled youth reformatory during a football (soccer) game with other students, freed from restrictions, and he ran along through the woods and streets and onto an empty beach at Normandy
Freeze-Frame Ending (With Zoom-in)
  • the final image - Antoine stopped at the ocean's edge in the shallow water - a dead end of sorts; he turned, and looked tellingly at the camera as it zoomed in on his face - and then the image was unexpectedly frozen in time - he was trapped or caught between the land and sea, and between his past and future (as "FIN" appeared on-screen) - with a very uncertain future; the freeze-frame contrasted with the earlier mug-shot taken at the police station

Truancy: Playing Pinball with Schoolmate

Theft of Typewriter


Antoine's Irresponsible, Neglectful Mother and Stepfather

Antoine's Explanation for Lying and Other Confessions

Four Weddings and a Funeral (1994, UK)

In Mike Newell's surprise British hit about an on-again/off-again romance between a Britisher and an American female - who often met at weddings (and one funeral):

  • the opening scene, with a barrage of many F-words, of bachelor Charles (Hugh Grant) and his tone-deaf sister Scarlett (Charlotte Coleman) waking up and realizing that they were late to a wedding - an habitual practice
  • at the film's 'first' wedding between Angus (Timothy Walker) and Laura (Sara Crowe), best man Charles' acquaintance with American Carrie (Andie MacDowell) - and afterwards, their sharing of kisses in her room, when she showed him different kinds of kisses (from pecks to open-mouthed) - after explaining: ("So I noticed the bride and groom didn't kiss in the church which is kind of strange. Where I come from, kissing is very big...I always worry I'll go too far, you know, in the heat of the moment") - and then after their first kiss, Charles remarked: ("I think it would be dangerous to take it any further"), but then after another very passionate kiss, he added: ("That might be taking it a little far")
  • the scene, after Charles and Carrie slept together (a one night stand), when she began to play a trick on Charles by asking: ("Just before I go, when were you thinking of announcing the engagement?...Ours. I assumed since we slept together and everything, we'd be getting married") - but then he realized that she was joking - and he expressed profound relief: ("God! For a moment there, I thought I was in Fatal Attraction. I thought you were Glenn Close and I was gonna get home and find my pet rabbit on the stove"); she confided: "I think we both missed a great opportunity here
  • the scene of an inept, fumbling, malaprop-spouting vicar Father Gerald (Rowan Atkinson) reciting the vows for the "awful-wedded" marital couple, Bernard (David Haig) and Lydia (Sophie Thompson) in the 'second' of the film's four weddings
  • the scene of commitment-phobic Charles seated at a wedding table with many of his ex-girlfriends - squirming and cringing while listening to their recollections
  • the scene after the 'second' wedding of the charming (and engaged!) Carrie discussing her prolific sexual history with Charles, who hilariously recounted her experiences with 33 sexual partners - he was designated as # 32 (one before her fiancee), after which she summarized her recounting: ("...So there you go, less than Madonna, more than Princess Di - I hope")
  • the stuttering, nervous and hesitant 'romantic' declaration of Charles' love for the about-to-be-married Carrie after she had bought a wedding dress, and referencing David Cassidy's song: "I Think I Love You": ("Uhm, look. Sorry, sorry. Uh, I just, uhm, well, this is a really stupid question and, uhm, particularly in view of our recent shopping excursion, but, uh, I just wondered, if by any chance, uhm, ah, I mean obviously not because I am just some git who's only slept with nine people, but-but I-I just wondered...uhh. I really feel, short, to recap in a slightly clearer version, uh, in the words of David Cassidy in fact, uhm, while he was still with the Partridge Family, uh, 'I think I love you,' and uh, I-I, uh, just wondered by any chance, you wouldn't like to... Umm...Uh...Uh...No, no, no, of course not...Uhm, I'm an idiot, ha, he's not... Excellent, excellent, fantastic...lovely to see you, sorry to disturb...Better get on...Well, I thought it over a lot, you know, I wanted to get it just right. Important to have said it, I think...Said, uh, you know, what I, what I just said about, uh, David Cassidy") - she kissed him: ("You're lovely")
  • the film's highlight - Matthew's (John Hannah) poignant reading of W. H. Auden's Funeral Blues at the moving funeral of "splendid bugger" Gareth (Simon Callow), who died of a heart-attack at the film's 'third' wedding: ("'Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum, Bring out the coffin, let the mourners come. Let the aeroplanes circle, moaning overhead, Scribbling on the sky the message: He is Dead. Put crepe bows 'round the white necks of the public doves, Let traffic policemen wear black cotton gloves. He was my North, my South, my East and West. My working week and my Sunday rest. My noon, my midnight, my talk, my song, I thought that love would last forever: I was wrong. The stars are not wanted now, put out every one. Pack up the moon and dismantle the sun. Pour away the ocean and sweep up the wood, For nothing now can ever come to any good.'")
Reading at Gareth's Funeral
  • the final scene of Charles, after his own aborted 'fourth' wedding ceremony that he had called off with Henrietta (Anna Chancellor), and finally declaring his utter and true love for Carrie in the rain: (Carrie: "Is it still raining? I hadn't noticed") and awkwardly not asking for her hand in marriage ("But first, let me ask you one thing. Do you think, after we've dried off, after we've spent lots more time together, you might agree not to marry me? And do you think not being married to me might maybe be something you could consider doing for the rest of your life? Do you?") - with Carrie's response: "I do," accompanied by a kiss and a lightning bolt in the sky
  • and the final image (in the ending slide-show) of acerbic Fiona (Kristin Scott Thomas) with a very surprising groom - Prince Charles! - to the tune of "Going to the Chapel"

Sharing Kisses: Charles and Carrie: "That might be taking it a little far"

After One-Night Stand: "I thought I was in Fatal Attraction..."

The 'Second' Wedding: Father Gerald (Rowan Atkinson)

Carrie Discussing Sexual History

Charles' Hesitant "I Think I Love You" Declaration of Love to Carrie

Ending Scene

Fiona with Prince Charles

(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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