Greatest Film Scenes
and Moments



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

The Girl Can't Help It (1956)

In writer/director Frank Tashlin's and Fox's satirical, cartoon-like comedy musical:

  • in the introduction, the sequence in which one of the film's stars, a bow-tied Tom Ewell, (playing "a small-time theatrical agent" Tom Miller) opened the film by walking out onto a open stage to speak to the camera (and break the fourth wall) and to introduce the feature; and then, annoyed with the small sized B/W picture, astonished audiences by literally stretching the black edges of the boxy black and white picture - opening the viewable picture up into the wider, rectangular Cinemascope aspect ratio - and then he commanded that the picture change from B/W to Technicolor - "gorgeous life-like color by DeLuxe"; he then stated the purpose of the picture: "Our story is about music, not the music of long ago but the music that expresses the culture, the refinement and the polite grace of the present day" -- rock 'n' roll; next to him, a juke-box played the title song: "The Girl Can't Help It" - drowning out his further words
  • the sequence of washed-up, and impoverished alcoholic press agent Tom Miller (Tom Ewell) meeting in the Park Avenue apartment of retired ex-slot machine gangster Marty "Fats" Murdock (Edmond O'Brien); he wanted his curvaceous blonde bimbo girlfriend/fiancee Jerri Jordan (Jayne Mansfield) - "a nice, sweet, innocent dame" - to become a rock 'n' roll star in six weeks, although she had little singing or acting talent besides her voluptuous figure, and he hired Tom to transform her into a singing star: "That's where you come in. You're gonna make her into a star...So you got nothin' to worry about except to concentrate on buildin' the dame into a big canary. Only remember, hands off, like you got the rep for...Tommy boy, I'm puttin' her in your hands, figuratively speaking. You got six weeks to have her a star"; when Tom responded that six weeks was too short a time: "Six weeks? Oh, easy, Fats. It takes time. Rome wasn't built in a day," Fats reassured him: "She ain't Rome. What we're talkin' about is already built! Right?"
  • the sequence of Jerri's spectacular hip-swinging walk down the street (wearing a tight-fitting dark blue dress and broad-rimmed hat) - and the racy reactions, causing ice in an iceman's (Henry Kulky) delivery truck to melt - and her swiveling moves up an apartment stoop's steps past a milk bottle delivery man (Richard Collier) - causing the milk in the bottle to overflow frothily from the top (an ejaculatory metaphor), and a downstairs apartment neighbor's eyeglasses shattering (accompanied by the film's title theme song sung by Little Richard)
  • the scene of Jerri's climbing to the second floor for her first meeting with recently-hired agent Tom Miller; after entering his bedroom, she held up two recently-delivered glass bottles with fresh milk to her gigantic, well-endowed chest - one in front of each breast - an obvious visual gag, and greeted him: "Good morning, Mr. Miller!" - he was aghast until she explained: "But Mr. Murdock sent me over....So you can start working on me"
  • the scene at breakfast when she was cooking, and she provocatively leaned forward while pouring his coffee and serving the meal to tell Tom about how she was ready for domesticity and motherhood with Murdock: "I'm domestic. I hope you like eggs souffle....It's not exactly a breakfast, but it's eggs. I figured you for strong coffee... It's one of my favorite pasttimes... cooking... keeping house, you know, keeping everything neat. How's your souffle?...I'm glad you like it, Mr. Miller... You know, sometimes I think I'm mixed up...You should see me in the morning without makeup. I'll show you sometime. 'Pretty' is just how good you apply your base...I just want to be a wife and have kids. But everyone figures me for a sexpot. No one thinks I'm equipped for motherhood!"
  • the scene of Jerri's attention-getting walk to a night club's powder room in a stunning red dress) during Little Richard's rendition of "She's Got It," when Tom instructed her about 'Operation Powder Room': "Take your stole off and go to the powder room...Just visit a while. But on the way there and back, walk by the reservation desk"; shortly later, he spoke about the successful strategy: "See how the strategy pans out? The first time out, and already four owners are drooling over you"
  • the sequence of the ethereal-ghostly appearance of torch singer Julie London (as Herself) to tipsy Tom Miller alone in his bachelor pad one evening - she was his former client and the object of his unrequited love; he placed the 33 rpm record "Julie Is Her Name" on his turntable, to play her signature tune "Cry Me a River"; as her song began to play, he poured himself a drink in the kitchen and imagined her slowly materializing before his eyes - haunting and tormenting him in various locations and in suggestive and provocative poses in various costumes throughout his two-story home - he was unable to escape from her; she was visible at his kitchen table, on his living room couch, again in the kitchen, lounging on his bed, standing by his fireplace mantle, and standing partway up his staircase; as she sang the last few lines at his front door hallway, she slowly vanished from sight; he sadly sank down onto his hands at the top of the stairs as the song ended
The Haunting Julie London: "Cry Me a River"
  • the musical performance of "Spread the Word" in front of a shimmering dark blue curtain in the Late Place Club by Abbey Lincoln (as Herself), and many other classic musical performances from rock icons, such as Gene Vincent and His Blue Caps' "Be Bop A Lula", Fats Domino's "Blue Monday", and Little Richard and His Band's "Ready Teddy" (standing at a piano)
  • in the finale, Jerri's singing (dubbed) of the dreamy "Every Time It Happens" (during the Rock 'N' Roll Jubilee) when accompanied by Ray Anthony and his band
  • the film's Porky Pig-like cartoonish ending in which male star- gangster Fats Murdock stepped through the enclosing frame of the final shot, walked forward through the black, now-empty space to directly address the audience: "Don't listen to him, folks. I'll see ya outside in the lobby when you leave. I'll sing anything you want. I'm a Jim-Dandy singer."

Opening: From B/W to Color

The Jukebox

The Entrance of Jerri Jordan

Milk Bottles: Lactating Joke

"No one thinks I'm equipped for motherhood"

Little Richard: "Ready Teddy"

Jerri - "She's Got It"

Abbey Lincoln: "Spread the Word"

Jerri: "Every Time It Happens"

Ending: "Don't listen to him, folks"

Gladiator (2000)

In Ridley Scott's Best Picture-winning swords-and-sandals epic - a popular historical adventure epic:

  • in the film's opening, Roman army General Maximus Decimus Meridius' (Russell Crowe) address to his troops before battling Germanic barbarians, under the command of kindly Emperor Marcus Aurelius (Richard Harris): "Fratres! Three weeks from now, I will be harvesting my crops. Imagine where you will be, and it will be so. Hold the line! Stay with me! If you find yourself alone, riding in green fields with the sun on your face, do not be troubled, for you are in Elysium, and you're already dead! Brothers: What we do in life echoes in Eternity"
  • after the battle, treacherous, power-hungry Caesar Commodus (Joaquin Phoenix) committed patricide in order to take the Emperor's throne away from his father; Maximus narrowly escaped execution during the change of power, although his own wife (Giannina Facio) and young son (Giorgio Cantarini) were both murdered in their home in Spain; Maximus arrived too late to save them - he discovered the charred and crucified bodies of both his son and wife in the smoldering home of their villa
  • the scenes of the condemned, enslaved former loyal General Meridius, turned Colosseum-gladiator named "The Spaniard" (Russell Crowe), who had been trained by slave owner Antonius Proximo (Oliver Reed) in Zucchabar in North Africa to fight in the Roman Colosseum; a mock Battle of Carthage pitted Barbarians (the losing side) against chariot-drawn archery competitors (when the Spaniard urged them to victory: "Whatever comes out of these gates, we've got a better chance of survival if we work together"); Maximus led his group to a decisive victory against the more powerful forces
  • when asked to give a short introduction about himself to Roman Emperor Commodus, he first said: "My name is Gladiator"; then when he was confronted and ordered to remove his face-hiding helmet and reveal his true identity - he defiantly declared vengeance for the assassination of the elderly Emperor Marcus Aurelius and the brutal murder of his own family: "My name is Maximus Decimus Meridius, Commander of the Armies of the North. General of the Felix Legions and loyal servant to the TRUE emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next"
  • the Emperor's twisted and incestuous relationship with his sister Lucilla (Connie Nielsen) while she romanced Maximus
  • and further the hellish action sequences of battle in the Colosseum (with chained tigers - often digitized) when Commodus exclaimed: "At my signal, unleash hell" - "The Spaniard" fought without his mask single-handedly in an intense battle in the Colosseum against Rome's only undefeated gladiator - the legendary Tigris of Gaul (Sven-Ole Thorsen).in which Maximus defied the Emperor's thumbs-down decision to kill his wounded opponent Tigris
  • the sequence of Commodus' challenge to Maximus to engage in a final confrontational one-on-one battle to-the-death in the "great arena"; Commodus first stabbed Maximus in the chest (puncturing his lung) with a stiletto while he was bound, to gain an advantage and win approval from the crowd; during the contest, the mortally-wounded Maximus vengefully stabbed the Emperor in the throat with his own hidden stiletto and killed him, after Commodus had dropped his sword and no one would provide him with another (Quintus (Tomas Arana) had shouted: "Sheathe your swords!")
  • weary and dying from his own wounds, Maximus saw himself entering into his home's wooden gates in the afterlife, before dying, he ordered Quintus: "Free my men, Senator Gracchus is to be reinstated. There was a dream that was Rome. It shall be realized. These are the wishes of Marcus Aurelius"
  • as he succumbed in the arms of Commodus' sister Lucilla, his own ex-lover, he told her (his final words) that her own son Lucius (Spencer Treat Clark) was safe: "Lucius is safe"; she urged him to go to his own murdered family: "Go to them"; as he perished, his body floated upwards and he experienced visions of his family in the afterlife as they greeted him on a dusty road and he was wading through waving yellow reeds; she reassured that he had greeted them: "You're home"; Lucilla stood up and addressed everyone: "Is Rome worth one good man's life? We believed it once. Make us believe it again. He was a soldier of Rome. Honor him." Fellow gladiators surrounded Maximus and carried his body out of the arena
Death of Maximus
  • the film's conclusion: newly-freed gladiator Juba (Djimon Hounsou) buried Maximus' two small statues of his wife and son in the dirt of the Colosseum where Maximus died ("Now we are free. I will see you again, but not yet. Not yet")

"Hold the line! Stay with me!"

Murder of Maximus' Family Members

"My name is Gladiator"

"My name is Maximum Decimus Meridius..."

"Thumbs Down" Order Defied

Commodus Stabbed to Death

Lucilla's Address

Burial of Two Statues

Glengarry Glen Ross (1992)

In director James Foley's film adapted from scripter David Mamet's real estate stage play with many rapid-fire, cleverly convoluted, foul-mouthed lines of dialogue among desperate, hard-luck real estate agents looking for solid "leads" (names of potential buyer-clients):

  • the opening scene of consulting super-salesman Blake (Alec Baldwin), sent by Mitch & Murray - the real estate owners of the Premiere Properties real estate agency, to deliver a rousing, motivational, in-your-face, foul-mouthed ultimatum speech toward the salesmen in their grungy office; he described the monthly sales contest: ("We're adding a little something to this month's sales contest. As you all know, the first prize is a Cadillac Eldorado. Anybody wanna see second prize? Second prize is a set of steak knives. Third prize is 'You're fired'"); only the top two salesmen (of the small sales-force) would receive prizes
  • the arrogant Blake's advice about the letters (A-I-D-A) and three other letters A-B-C, that he displayed on a blackboard (signifying Always Be Closing) : ("Because only one thing counts in this life! Get them to sign on the line which is dotted! You hear me, you f--king faggots? (he displayed a blackboard with words) A-B-C. A-always, B-be, C-closing. Always be closing! Always be closing! A-I-D-A. Attention, interest, decision, action. Attention: do I have your attention? Interest: are you interested? I know you are 'cause it's f--k or walk. You close or you hit the bricks!"
  • the characters of profanity-spewing, hotshot, leading "closer" salesman Ricky Roma (Oscar-nominated Al Pacino) (with his raunchy dialogue about a female customer's crumbcake), iron-fisted, inept office manager/boss of the salesmen John Williamson (Kevin Spacey) who provided his sales-force with old "leads", plus tired, desperate old-timer Shelley 'the Machine' Levene (Jack Lemmon)
  • the scene of John Williamson refusing to give desperate co-worker Shelley any of his good 'premium' sales leads for the Glengarry Highlands project development: ("Let me tell you something, Shelley. I do what I'm hired to do. You might do the same...I'm hired to watch the leads, to marshal my sales force. I'm given a policy. My job is to do that...Anybody falls below a certain mark, I'm directed. I'm not permitted to give them the premium leads....Do you know what the 'premium' leads cost?"); Williamson denied Shelley when he begged for better 'premium' leads for the project: ("I can not sell s--t!...Just give me some leads that don't come out of a phone book, huh? You give me something hotter than that and I can close it. It's just a streak. I'm gonna turn it around. Hey, I need your help")
  • the sequence of Roma's long-winded, disjointed, underhanded sales pitch about Glengarry Highlands real estate to timid, lonely, middle-aged James Lingk (Jonathan Pryce), and ultimately convincing him after discussing his philosophy of life, that he should buy real-estate: ("What I'm saying, what is our life? Our life is looking forward or it's looking back. That's it. That's our life. Where's the moment? And what is it we're so afraid of? Loss. What else? The bank closes. We get sick, my wife died on a plane, the stock market collapsed. What if these happen? None of 'em. We worry anyway. Why?...What do ya keep? I mean, you don't keep anything. Security, things, things, you know? It's just, you try to stave off insecurity. You can't do it...Stocks, bonds, objects of art, real estate. What are they? An opportunity. To what? To make money? Perhaps. To lose money? Perhaps. To 'indulge' and to 'learn' about ourselves? Perhaps. So f--king what? What isn't? They're an opportunity. That's all they are. They're an event. A guy comes to you, you make a call, you send in a card. 'I have these properties I would like for you to see.' What does it mean? What do you want it to mean. Do you see what I'm saying? Things happen to you....")
  • also, after Roma's failed real-estate deal with Lingk that collapsed due to Williamson's intervention, Roma delivered a scornful insulting, verbal and obscene tirade: ("You stupid f--kin' cunt. You, Williamson, I'm talkin' to you, s--thead. You just cost me $6,000. $6,000, and one Cadillac. That's right. What are you gonna do about it? What are you gonna do about it, asshole? You're f--kin' s--t. Where did you learn your trade, you stupid f--king cunt, you idiot? Who ever told you that you could work with men?...Oh, I'm gonna have your job, s--thead. I'm going downtown. I'm gonna talk to Mitch and Murray. I'm going to Lemkin! I don't care whose nephew you are, who you know, whose dick you're suckin' on, you're goin' out. I swear to you...")
  • the concluding sequence in which there was an office burglary and the "premium" leads were stolen (and sold to a rival for "five grand"), after which Williamson mercilessly scolded and berated the scheming and pitiable Shelley, who admitted his guilt, then claimed he was back as a better salesman and offered to bribe him for his silence - Williamson responded that he didn't want to be bribed, and explained his cruel reason for ruining him: ("I don't think I want your money. I think you f--ked up my office, and I think you're going away....I'm sorry...Because I don't like you...F--k you!")

Blake: "Third prize is 'You're fired'"

Blake: "Always Be Closing"

Office Manager/Boss
John Williamson
(Kevin Spacey)

Shelley Levene
(Jack Lemmon)

Roma's Sales Pitch to Buyer Lingk about Glengarry Highlands Real Estate

Roma's Scolding of Williamson For Ruining His Deal

Williamson Scolding Shelley Levene For the Office Burglary and For Personal Reasons

The Glenn Miller Story (1954)

In Anthony Mann's mostly fictional, heart-warming Technicolored musical biopic (a rags-to-riches story) of the famous 'big band' bandleader, featuring many memorable tunes including "Pennsylvania 6-5000", "Moonlight Serenade", "Chattanooga Choo Choo", "In the Mood", and others:

  • James Stewart's characterization of a little-known trombone player who married his Univ. of Colorado coed sweetheart Helen Burger (June Allyson)
  • the memorable cameo appearances by some of Miller's real-life jazz legend colleagues, including trumpeter Louis Armstrong (performing in a Harlem nightclub with a spinning color gel wheel providing a kaleidoscope of color - on the Miller's wedding night), singer Frances Langford, and drummer Gene Krupa
  • the scene in which Miller was practicing with his Orchestra and was forced to improvise the music when his trumpet player split his lip, forcing a clarinetist to play lead on "Moonlight Serenade" - the song was turned into a more lively, up-front and upbeat number and produced his signature sound - a new and popular 'swing' sound
  • the outdoor air raid scene when Miller and his band continued to play "In the Mood" during their BBC radio program for injured US soldiers in Britain - in the midst of a German V-2 rocket bombing, while everyone was ducking for cover in the audience and the band played on
  • the tearjerking ending scene: the news of the fate of Glenn Miller from General Henry "Hap" Arnold (Barton MacLane) to Glenn's supportive wife Helen - lost during Christmas of 1944 while on a doomed military plane flight from London to Paris, traveling to broadcast a tour concert with his Army Air Force Band to entertain troops; she was told that the performance from Paris would still be broadcast; in the poignant, tearful and moving conclusion, a very vulnerable Helen listened as a range of emotions crossed her face - she was pleasantly surprised to hear a long-awaited, swing arrangement-rendition of the folk tune "Little Brown Jug" as a Christmas present to her from Glenn -- (radio announcer) "As some of you might know, Major Glenn Miller is not with us today. But in his absence we shall do this program exactly as he had planned it. Our first number therefore will be a new arrangement which Major Miller himself made especially for this performance. This tune should be a familiar one, especially to the members of Major Miller's family across the ocean who are listening"
Glenn Miller's Death On Way to Concert Tour in Paris

Glenn Miller (James Stewart) with Helen Burger-Miller (June Allyson)

Trumpeter Louis Armstrong

Improvising on "Moonlight Serenade"

Miller's Band Playing During Air Raid

Glory (1989)

In Edward Zwick's Civil War historical epic about the formation of the US' first all-African-American regiment, the 54th Massachusetts Volunteer Infantry:

  • the announcement that white officer Captain Robert Gould Shaw (Matthew Broderick) had been promoted to Colonel, following his participation in the bloody Battle of Antietam (where he received injuries), and was to command the 54th Regiment of the Massachusetts Volunteer Infantry (the first black fighting regiment in US history)
  • the scene of one of Colonel Shaw's angry soldiers, Trip (Oscar-winning Denzel Washington), a former escaped slave and an African-American member, punished for desertion; he was tied to a cart-wheel and bull-whipped on charges of desertion (later declared false) and his back was scarred from the repeated lashings - with his steely defiant look (with one tear on his cheek) at Col. Shaw
  • the confrontation between wise ex-gravedigger Sgt. Major Rawlins (Morgan Freeman) and the angry Trip: (Trip: "So the white man give you a couple ot stripes, next thing you know, you hollerin' and orderin' everybody around like you the massa himself. Nigger, you ain't nothin' but the white man's dog." Rawlins: "And what are you? So full of hate you just wanna go out and fight everybody, 'cause you've been whipped and chased by hounds. Well, that might not be livin', but it sure as hell ain't dyin'. And dying's what these white boys been doin' for goin' on three years now. Dyin' by the thousands. Dyin' for you, fool! I know, 'cause l dug the graves. And all the time I'm diggin', I'm asking myself, 'When?' When, O Lord, is it gonna be our time?' Time's comin' when we're gonna have to ante up. Ante up and kick in like men. Like men! You watch who you call a nigger. If there's any niggers around here, it's you. Smart-mouth, stupid-ass, swamp-runnin' nigger. If you ain't careful, that's all you ever gonna be")
  • the unit's pre-battle campfire spiritual scene in which Sgt. Major Rawlins led the soldiers in prayer and singing - including Trip's confession ("Y'all's the only-est family I got. I love the 54th")
  • their doomed, suicidal, bloodbath, nighttime assault against Fort Wagner in South Carolina (prefaced by the battle-cry "Give 'em hell, 54!") with 1,000 Confederates defending the fortification
The Deadly Assault Against Fort Wagner
  • the final shot of Shaw's burial in a mass beach grave with his soldiers (including Trip next to him)
  • the concluding title cards: "The 54th Massachusetts lost over half its number in the assault on Fort Wagner. The supporting white brigades also suffered heavily before withdrawing. The fort was never taken. As word of their bravery spread, Congress at last authorized the raising of black troops throughout the Union. Over 180,000 volunteered. President Lincoln credited these men of color with helping turn the tide of the war."
  • the end credits shot of "The Robert Gould Shaw and 54th Regiment Memorial" relief sculpture by August Saint-Gaudens

Capt. Shaw (Matthew Broderick) in Battle of Antietam

Trip (Denzel Washington) During Flogging

Rawlins Confronting Trip: "So full of hate..."

Campfire Scene with Trip's Confession

Go (1999)

In Doug Liman's kinetic and adrenaline-rushing non-linear black comedy about an interconnected group of three stories, artfully depicted and told from three different perspectives or points of view - Pulp Fiction-style in a 24-hour period:

  • the opening scene of a typical day in the life of LA grocery check-out cashier-clerk Ronna Martin (Sarah Polley), who was about to be evicted for not paying her rent; in the store's back stock room, she and co-workers began a game called "dead celebrities" - the loser would have to go to the storefront to serve customers: "Omar Sharif. Steve McQueen. Michael Landon. Lee Marvin" - when Ronna answered Malcolm X, she was challenged and ultimately lost
  • the sequence of Ronna acting as a go-between (to make a few extra bucks) when approached by two customers - a gay couple Zack (Jay Mohr) and Adam (Scott Wolf), to pick up drugs-for-sale for them at Christmas time from the dealer of her absent co-worker Simon (Desmond Askew) (who was on his way to Vegas)
  • in the apartment of menacing, suspicious, bare-chested drug-dealer Todd Gaines (Timothy Olyphant) on Christmas Eve, Todd was wearing a Santa Claus hat, and forced Ronna to remove her shirt to prove she wasn't wired: ("You come here out of the blue asking for 20 hits when 20 is the magic number where 'intent to sell' becomes 'trafficking'?"); Ronna had to leave co-worker/friend Claire Montgomery (Katie Holmes) behind there as "collateral" for an hour when she left to raise more money for the $300 price tag - and meanwhile, Todd asked flirtatious questions of Claire: ("You wanna get laid?...Are you a virgin?")
  • after a drug-deal-gone-bad scene, Ronna's shoplifting of over-the counter drugs (allergy medicine and baby aspirin) and selling them to unsuspecting teens in a van at a Rave who believed they were getting high on Ecstasy: ("I think I feel something...It's really smooth, isn't it?")
  • the shocking scene of Ronna's serious hit-and-run injury when accidentally struck by a yellow Miata sports-car in a parking lot (later revealed to be driven by Adam and Zack); she was thrown onto the windshield and then dropped to the pavement, while Todd was tracking her down and confronting her with a gun
Ronna's Serious Car Injury - Hit by a Yellow Miata
  • the scene of Adam and Zack, daytime soap opera actors, invited over to the home of suspicious police detective Burke (William Fichtner) and his wife Irene (Jane Krakowski) for Christmas dinner - the "ulterior motive" for the invite was to sell them on Amway ("Confederated") Products: ("You've looked around our place. Where do you think we got most of this stuff?...It's actually from Confederated Products. Almost everything in this house is from Confederated Products from the toilet paper, to the candles, to the ham....Even that cologne you liked. You see, Confederated Products is a multilevel, direct wholesaling company which means we don't just sell the products ourselves. No sir-you-ree Bob! We recruit and manage teams that work under us. Now, Irene and I started eight months ago and already, we're pulling in $50,000 a year in revenues... Confederated Products. It's a, it's a different company. It's a different quality of product")
Zack and Adam Sold A Pyramid Scheme (Amway) by Burke (William Fichtner) During Christmas Dinner
  • at a gas station, gay couple Zack and Adam's rationalized about the hit-and-run accident that struck Ronna, to explain away their complicity: (Zack: "OK, let's think about this logically. She's either alive or she's dead. All right, if she's dead, there's nothing we can do about it. If she's alive, the guy who had that gun who looked like he really wanted to shoot her, he probably did shoot her." Adam: "So even if she's alive, she's dead." Zack: "Exactly. Exactly"); fearing getting caught, the two returned to the scene of the crime where they found Ronna alive
  • the story's different perspective - Ronna's absent British co-worker Simon, his black friend Marcus (Taye Diggs), Tiny (Breckin Meyer) and Singh (James Duval) were on a weekend drive to Las Vegas; during the car ride, Tiny described having sex: "It hits her in the eye. And her contact? It's, like, stuck on the end of my dick"
  • while having a buffet meal, Marcus bragged to his buddies about the benefits of prolonged Tantric sex: ("The thing is, most people - they don't really know how to make love. OK, they stick it in, move it around a little bit till they get off. But what Tantra teaches you is how to deepen, prolong the sexual experience. OK, bring it to a higher level. If one man in ten was havin' the sex that I'm havin', there'd be no war"); he explained his longest sexual intercourse was "fourteen hours" without even ejaculating, and his experience of an orgasm that could last up to an hour and a half: ("That's the thing. You redirect the orgasm inside...Honest to God and I do mean Allah...I haven't ejaculated in six months. Hey - anyone can do it. It just takes discipline")
  • the crazy and wild misadventures sequences of Simon and Marcus in Las Vegas, including Simon's meeting up with two bridesmaids in a wedding chapel reception and having 'tantra' sex with them after smoking pot together (and then accidentally setting their hotel room on fire), the Crazy Horse strip club lap dance (code named "Champagne") ordered by Simon ("I'd like to buy your most expensive bottle of champagne") in a back room, accompanied by a strict warning: ("This is a gentlemen's club. You are expected to behave as gentlemen. I'll be giving you one rule. If you break this rule, I will break your arm. Are we clear? The ladies can touch you. You cannot touch the ladies at any point, under any circumstance. Is that clear?") and then the two were thrown out for groping ("Hands!"), and their shooting and car chase sequence to the tune of Steppenwolf's 'Magic Carpet Ride'
Simon's Private Lap Dance in Strip Club Gone Wrong
Vegas Car Chase:
"Magic Carpet Ride"
  • the breakfast conversation at a restaurant between Claire and Todd the next morning, and his diatribe against the comic strip Family Circus: ("You sit down to read your paper and you're enjoying your entire two-page comic spread. Right? And there's The Family f--king Circus, bottom right corner, just waiting to suck. And that's the last thing you read, so, it spoils everything you read before it... I hate it, yet I'm uncontrollably drawn to it")

"Dead Celebrities" Trivia Game with Co-Workers

LA Grocery Clerk Ronna Martin (Sarah Polley)

Ronna As Drug-Deal Go-Between

Drug Dealer Todd Asking Claire (Katie Holmes): "You wanna get laid?"

Teens in Van at Rave Sold Stolen Pills as Ecstasy

Adam and Zack Discussing The Hit-and-Run

Tiny's (Breckin Meyer) Sex Story on Trip to Las Vegas

Marcus: The Benefits of Tantric Sex

Simon with Two Bridesmaids in Vegas

Todd's Diatribe Against Family Circus

The Goddess (1934, China) (aka Shen nu)

In director Wu Yonggang's (his debut film) silent melodrama about social injustice and maternal sacrifice - a tragic tale about the hard-times of a 1930s Shanghai, China prostitute (a "fallen woman") - a single mother who was raising her son in the hellish and foul city (in the midst of a civil war). [Note: Stanley Kwan's biopic Center Stage (1991, HK) (aka The Actress, or Ruan Lingyu) was the life story of Ruan Ling-Yu, portrayed by Maggie Cheung]:

  • the heartbreaking story of the anguished, mistreated, victimized, self-sacrificing, and disadvantaged main character: The 'Goddess' (Ruan Ling-Yu), a single mother-streetwalker who was trying to make a living on the neon-lit streets of Shanghai, while loving and caring for her young son Shuiping
  • her ethereal facial image, after a long night of prostituting - a close-up of her looking upward - as if to implore God to help her survive her ordeal of nightly hookups and the struggle to provide for her child
  • the despicable, easy-to-hate character of her pimp The 'Boss' (Zhang Zhizhi), an exploitative, threatening, chubby-faced gangster-hoodlum gambler who took most of her earnings, was abusive, and forcibly made her his property: "Listen baby, you're gonna find out soon who it is you're dealin' with. A little girl like you, you'd never make it out there without me"
  • the scene of the shunnings that she received from neighbors, and from the 'respectable' parents of her son's (Li Keng) classmates - who criticized both her son and herself for her moral corruption; even her son asked: "Why do they always say I'm not from their type of family?" - as she gently rocked him in her arms
  • the camera angles of her johns - either viewed by only their feet, or in overhead shots
  • renewed with hope, she was able to pay for her boy's education (with a secret stash of money she kept behind a loose brick in the wall), but there were increasing protests and the prejudiced governing school board put pressure on the Principal to investigate; when he learned of her "shameful" lifestyle, she explained her pure motivation: "I used the money I earned selling my body to support him in school. I want him to become a good person. Why do you deny my child the opportunity to get a good education?"
  • despite her pleas and the Principal's dissent before the board ("You must understand the problem is not with her, but with our society. She is a human being and has her human rights - so does her son. Particularly her son...She's had no choice but to throw herself on the mercy of the filthy streets...And it's all for the sake of her son, for his future...We have a moral duty to save him from this toxic environment"), the boy was expelled and the Principal resigned in protest
  • the downbeat conclusion - the 'Boss' had discovered her secret stash of money in the wall (saved up for her son's education and for her own independence) and immediately gambled it away; she confronted and grabbed him, as he admitted that he had already spent the money; she responded: "Then, we'll both die together" - and when he struck her in the mouth and drew blood, in self-defense, she grabbed a nearby bottle and smashed it over his head - and he collapsed dead to the floor
The Goddess' Self-Defense Murder of Her 'Boss'
  • after she fainted, there was a dissolve transition to a courtroom - she was brought before a judge and sentenced to twelve years in prison for murder; while shaking the bars of her jail cell in disbelief about her uncertain future, the Principal arrived and offered to adopt and educate her son - to give him the life she had always wanted for him: "The court ruled that your son should be sent to an orphanage. But I want you to know that I'm going to adopt him and educate him personally"
  • the final title card stated: "In the solitary and quiet life of the prison, she finds a new peace in imagining her child's bright future"; in the bittersweet ending, she envisioned her son smiling happily down upon her

Streetwalker "The Goddess" with Her Young Son

Looking Upward

With Her Son

With One of Her Johns (Feet Only)

Jailed and Sentenced to Twelve Years in Prison

The Principal's Offer to Take Care of Her Son

Envisioning Her Son

The Godfather (1972)

In Francis Ford Coppola's great Best Picture-winning gangster film - the first in a trilogy, with an ever-present Nino Rota score - a bravura, genre-defining, epic-length Mafia/gangster classic that evoked the mid and late 1940's period with powerful character development, lighting, costumes, and settings:

  • the portrayal of aging Mafia patriarch Don Vito Corleone (Marlon Brando) (stroking a cat in his arms), especially in his opening scenes in his dark indoors study 'holding court' during his only daughter Connie's (Talia Shire) outdoor wedding celebration
Don Vito Corleone
(Marlon Brando)
Bonasera: "I believe in America"
  • the scene of Bonasera (Salvatore Corsitti) consulting with Don Corleone, and his first line: ("I believe in America") with his request for just punishment for his daughter's brutal rape; the scene included Corleone's chilling response to the supplicant: (" you come to me and you say - 'Don Corleone, give me justice.' But you don't ask with respect. You don't offer friendship. You don't even think to call me Godfather. Instead, you come into my house on the day my daughter is to be married, and you, uh, ask me to do murder for money")
  • also, outsider son Michael's (Al Pacino) delivery of the famous line: "My father made him an offer he couldn't refuse," and soon after Don Corleone's similar line: "I'm gonna make him an offer he can't refuse"
  • the initial scene of Hollywood studio head/producer Jack Woltz's (John Marley) refusal to listen and grant a "small favor" to consiglieri lawyer Tom Hagen (Robert Duvall), who represented Don Corleone - the godfather of singer entertainer and godson Johnny Fontane (Al Martino), who had requested the godfather's assistance in acquiring a movie role that would revitalize his career, by giving him a part in a new war movie; Woltz kicked Hagen out: "Are you trying to muscle me?...Now you listen to me, you smooth-talking son-of-a-bitch! Let me lay it on the line for you and your boss, whoever he is. Johnny Fontane will never get that movie! I don't care how many dago guinea wop greaseball goombahs come out of the woodwork!...Now you get the hell outta here! And if that goombah tries any rough stuff, you tell him I ain't no band leader! Yeah. I heard that story" [Note: the scene was a reflection of Columbia Pictures' boss Harry Cohn's decision to cast mob-connected Frank Sinatra in a role in From Here to Eternity (1953)]
  • that evening, the shocking scene of Woltz waking up in his satiny silk-sheeted bed soaked in blood; he ripped off the sheets to discover the bloody and severed head of Khartoum - his cherished and prized stud racehorse; it was a result of the mob's retaliation against him when he refused to listen to Hagen's calm request
  • the brutal murder scene of loyal Corleone henchman Luca Brasi (Lenny Montana) (wearing a bullet-proof vest) at Tattaglia's bar, who was offered $50,000 to betray the Corleones by rival racketeer Virgil Sollozzo (Al Lettieri); Brasi had his hand ice-picked into the top of the bar, while he was also slowly strangled from behind with a tightened garrote; after his eyes bulged, he sank to the floor - and would soon "sleep with the fishes"
  • Michael's rescue of his father in an unguarded hospital ("I'm with you now")
  • the numerous violent scenes including the ambush and toll-booth machine-gun killing of Sonny (James Caan) at Point Lookout on the Jones Beach Causeway
  • the tense scene of Michael's decision to cold-bloodedly murder two rivals in an Italian neighborhood restaurant set-up - Virgil Solozzo and corrupt cop McCluskey (Sterling Hayden)
Michael's Murder of Gang Rivals in Italian Restaurant
Michael Shooting at Point-Blank Range
Death of Sollozzo
Death of Captain McCluskey
  • Michael's short exile in Italy when he took a new bride - a peasant girl named Apollonia (Simonetta Stefanelli) followed shortly by her car bombing death
  • the sequence of all the Mafia's Family heads at a summit meeting where Don Vito Corleone refused to allow drug trafficking, but he also wanted to stop the endless months of slaughter - he was reluctantly willing to compromise and allow controlled narcotics operations ("You talk about vengeance. Is vengeance gonna bring your son back to you? Or my boy to me? I forego the vengeance of my son. But I have selfish reasons... let me say that I swear on the souls of my grandchildren that I will not be the one to break the peace that we've made here today")
  • the scene of Michael's tough negotiations with Moe Greene (Alex Rocco) in Las Vegas to buy him out, after which Michael's his older weakling brother Fredo (John Cazale) chose sides against the family ("Mike, you don't come to Las Vegas and talk to a man like Moe Greene like that!") - Michael gave Fredo a chilling reminder and warning: "Fredo, you're my older brother, and I love ya, but don't ever take sides with anyone against the family again. Ever!"
  • the garden scene between Michael and his father
  • the Godfather's fatal heart attack in a tomato garden in 1954 with his three year-old grandson; he first scared him by putting a sliced piece of orange peel in his mouth and pretending to be a grotesque boogey monster, but then suffered a fatal heart attack, wheezed, stumbled, and fell dead to the ground
  • the scenes showing the bloody passage of power to Michael - a cross-cut, contrapuntal scene between the christening and baptism of Michael's nephew and godchild (Carlo (Gianni Russo) and Connie's new son), when in the moment after Michael renounced Satan, Moe Greene was shot in the eye through his black-framed glasses, and there was a subsequent violent blood-letting massacre of his gangland rivals
Three of the Massacre Victims
Death of Moe Green
Death of Don Cuneo
Death of Barzini
  • the scene of Tessio's (Abe Vigoda) plea for a pardon after setting Michael up
  • the famous ending scene in which Michael lied to his wife Kay Adams (Diane Keaton) ("Don't ask me about my business, Kay") and the study/office door was shut to close her out as he was pronounced the new Godfather - "Don Corleone"

Jack Woltz Refusing Tom Hagen's Request

Jack Woltz's Horse Head in Bed Scene

Ice-Picked Hand and Murder of Luca Brasi

Michael with New Bride

Sonny's Murder at Toll-Booth

The Godfather Speaking at the Mafia Family Summit Meeting

Michael's Chilling Reprimand of His Brother Fredo For Taking Sides Against the Family

The Godfather's Fatal Heart Attack with Grand-son in Garden

Michael At Church Altar - During Massacre

Michael's Wife Kay Shut Out of His Office

The Godfather, Part II (1974)

In Best Director-winning Francis Ford Coppola's superior Best Picture-winning sequel, with intercutting back and forth between two parallel stories: the prologue story (about one-quarter of the entire film) to the sequel, contrasting the two eras and their protagonists:

  • the numerous flashbacks - including the early scene of young, nine year-old orphaned Vito Andolini (Oreste Baldini) in the early 1900s fleeing from his Sicilian village (after the murder of his family by the local Mafia chieftain), arriving at Ellis Island and looking out at the Statue of Liberty
  • the continuing scenes of the new godfather, 38 year-old Michael Corleone's (Al Pacino) base of operations in Lake Tahoe in 1958 as he expanded his widespread criminal operations; he was conspiring to expand into two new 'pleasure' locales: Las Vegas and Havana by any means necessary; in the opening scene, he was dispensing justice and conducting business in his boathouse office with Nevada's U. S. Senator Pat Geary (G. D. Spradlin); when Michael and his family were insulted by the Senator, who was attempting to extort exorbitant license-fees from the cooly confident chieftain for the take-over of another Vegas hotel, Michael refused to be intimidated: "My offer is this - nothing. Not even the fee for the gaming license, which I would appreciate if you would put up personally"
  • the assassination attempt in Michael bedroom
  • the creation of an alliance between Jewish mobster Hyman Roth (Lee Strasberg) from Florida and Michael, to assure the smooth takeover of a third casino for Michael in Las Vegas (and grease other efforts to expand casinos into pre-revolutionary Cuba); during the scene of the sixty-seventh birthday celebration for Roth on the open-air terrace of his Capri Hotel in Havana, Cuba, a cake of Cuba was symbolically cut up
  • an older Michael's forcible delivery of the kiss of death on New Year's Eve - Sicilian-style - to his brother Fredo (John Cazale) after he discovered that his own brother had betrayed him: "I know it was you, Fredo. You broke my heart, You broke my heart"
  • Vito Corleone's (Robert De Niro) run across the rooftops to pursue and eventually kill white-suited Don "The Black Hand" Fanucci (Gaston Moschin) in cold blood, with a gun wrapped in a towel (that caught fire), and afterwards, his return to his brownstone tenement's front stoop where he calmly held his crying baby Michael in his arms
  • later in Sicily, the vengeful scene of Vito Corleone (posing as an olive oil importer) stabbing feeble, senile local Mafia Chieftain Don Francesco Ciccio (Giuseppe Sillato) in his childhood hometown; from under his coat hung over his arm, Vito pulled out a knife and plunged it into the Don's midsection, ripping and pulling the knife up his stomach and leaving it there, and then fleeing from guards' gunfire
  • the scene in a fourth floor hotel suite in Washington DC after crime boss Michael escaped a federal indictment; abused and embittered wife Kay Corleone (Diane Keaton) announced her plans for a divorce - she was not going back to Nevada and she was leaving him (with the children) because "it's too late" and because he had become "blind" to "what's happened" to them and to their son Anthony; Michael vowed and promised to change and that they could have another child after her recent 'miscarriage': ("I know you blame me for losing the baby. Yes. I know what that meant to you. I'll make it up to you, Kay. I swear I'll make it up to you. I'm gonna change. I'll change. I've learned that I have the strength to change. And you'll forget about this miscarriage. And we'll have another child. And we'll go on, you and I. We'll go on")
Kay's "Aborted Child" Speech - and Michael's Violent Outburst
  • this was followed by Kay's "aborted child" denouncement speech regarding their marriage after she had lost all hope in her husband; she admitted that she had deliberately performed a vengeful abortion against him - it wasn't a miscarriage: ("Oh! Oh, Michael, Michael, you are blind. It wasn't a miscarriage. It was an abortion. An abortion, Michael, just like our marriage is an abortion, something that's unholy and evil! I didn't want your son, Michael. I wouldn't bring another one of your sons into this world! It was an abortion, Michael! It was a son, a son, and I had it killed because this must all end! I know now that it's over. I knew it then. There would be no way, Michael, no way you could ever forgive me. Not with this Sicilian thing that's been going on for 2,000 years"); Michael experienced a violent outburst toward her, when he lost control, viciously struck her, and slapped her back onto the couch while yelling "BITCH!":
  • after Fredo's earlier betrayal, he had a last meeting with Michael who asserted: "I've always taken care of you, Fredo," but Fredo complained: "I'm your older brother, Mike, and I was stepped over...I'm smart and I want respect!" - before Michael decided: "You're nothing to me now. You're not a brother, You're not a friend, I don't want to know you or what you do..." before Fredo's execution in a boat on the lake while he fished and recited a "Hail Mary"
"I know it was you, Fredo" - Kiss of Death on New Year's Eve
"I'm your older brother, Mike, and I was stepped over..."
Fredo's Execution in a Boat
  • the brooding image of Michael in the boathouse with a flashback to a birthday dining room table gathering in happier days in 1941, when he remembered telling the second-generation Corleone family members: "I enlisted in the Marines" - ignoring his father's acquisition of a deferment; Michael recalled that he had once had plans for his own future, separate from his family's criminal activities and his father's plans for him: "Well, I have my own plans for my future"; Michael was awkwardly left alone in the room (at the table) as the rest of the family assembled in an adjoining room and sang a surprise birthday song: "For he's a jolly good fellow" to the off-screen Don Vito Corleone
  • the final devastating shot, in a return to the present (the year 1959), of the prematurely-old, power-mad, paranoid Michael sitting quietly and introspectively on a Tahoe estate lawn chair as the cold winter approached toward his disintegrating life

Young Vito's Arrival at Ellis Island

Michael at Lake Tahoe with Nevada Sen. Pat Geary

Michael's Bedroom Assassination Attempt

67th Birthday Celebration for Hyman Roth in Havana

Vito's Murder of "The Black Hand"

Stabbing of Local Italian Mafia Chieftain Don Francesco Ciccio

Flashback to Corleone Family in Happier Days

Brooding Final Image of Michael After Flashback

The Gods Must Be Crazy (1980, S. Africa/Botswana)

In this sleeper hit from director/actor/writer/producer Jamie Uys about the bushmen of the Kalahari:

  • the careless discarding of a glass Coke bottle from an airplane and its discovery by Xixo (N'xau), a Junt-wasi tribesman from the African Kalahari Desert - who assumed it was a gift from the gods, according to the film's voice-over narrator (Paddy O'Byrne): ("Lately, strange new things sometimes appeared in the sky. Noisy birds that flew without flapping their wings. One day, something fell from the sky. Xi had never seen anything like this in his life. It looked like water, but it was harder than anything else in the world. He wondered why the gods had sent this thing down to the earth. It was the strangest and most beautiful thing they had ever seen, and they wondered why the gods had sent it to them")
  • the aftermath - anger, jealousy, and greed among his tribe: ("It was the most useful thing the gods had ever given them. A real labor-saving device. But the gods had been careless. They had sent only one. And now, for the first time in their lives, here was a thing which could not be shared because there was only one of it. Suddenly, everybody needed it most of the time. A thing they had never needed before became a necessity. And unfamiliar emotions began to stir. A feeling of wanting to own, of not wanting to share. And other new things came: anger, jealousy, hate and violence")
  • Xi's reaction to the newfound emotions: ("Xi was angry with the gods. He shouted, 'Take back your thing! We don't want it! Look at the trouble it brought.' But the gods did not take it back. He shouted, 'You must be crazy to send us this thing! Take it back!'") - the derivation of the film's title
  • Xi's journey to return the peculiar glass object back to the gods - by finding the edge of the earth (a cliff above a cloud-covered valley) and throwing back the offensive object, in the film's ending: ("Xi was beginning to think he'd never find the end of the earth. And one day, suddenly, there it was")

The Glass Coke Bottle

Xixo Tribesman in Kalahari

Repercussions of Coke Bottle

Tossing the Bottle Off Cliff

Going Places (1974, Fr.) (aka Les Valseuses)

In Bertrand Blier's debut film - an erotic yet anarchic French-style Easy Rider road film (the title literally meant: "testicles") about two misogynistic, sexually-depraved fugitives on the run through France:

  • the offensive characters of two unlovable, small-time bohemian crooks sought by the police for car theft: Jean-Claude (Gérard Depardieu) and Pierrot (Patrick Dewaere) who were both obsessed with abusive sex during a wild, aimless journey in the French countryside in the company of bored, dim-witted, blonde beautician's assistant Marie-Ange (Miou-Miou) - a young kidnapped hostage; they became utterly frustrated that they couldn't cure Marie-Ange of her orgasmic frigidity
Kidnapped, Unorgasmic Marie-Ange
  • the threatening yet erotic scene in which the two paired up to intimidate a 'Woman in the Train' (Brigitte Fossey), a lactating mother in an empty coach car with a baby; Pierrot opened her blouse and bra from the front and then touched and sucked on her right breast's nipple while Jean-Claude fondled her left breast
  • the arrival of recently-released, empowered ex-convict, 40-ish Jeanne Pirolle (Jeanne Moreau) who was more passionate and taught the two men - during threesome - about love
  • the sequence of Jeanne's strange revelation to a waitress in a restaurant after lunch that she had stopped menstruating while imprisoned: "You see, I just got out of prison, I spent 10 years in a cold, wet cell. I haven't menstruated in years. No more blood - nothing. At first, my period was late. They gave me aspirin at the infirmary. Then it came later and later. 2 weeks, 3 weeks, a month. After a while, you forget about it. That's when it goes away completely"; she explained to the stunned waitress why she was telling her this tale: "So you understand how lucky you are to bleed every month even if it makes you irritable. It doesn't matter, the bad moods, painful ovaries, it's not important. What matters is bleeding. You understand?"
  • the startling scene, after love-making in a hotel room with the two men, of Jeanne awakening, sneaking to the adjoining room, taking a pistol, and suicidally shooting herself in the crotch
  • the sequence in which the group met a picnicking family, and took away the wayward, virginal, bourgeois teenager Jacqueline (Isabelle Huppert) after robbing her family, to form a quartet, in order to deflower her in a field as Marie-Ange cradled her head in her lap

Pierrot, Marie-Ange, and Jean-Claude

"Woman in the Train" Scene

(Isabelle Huppert)

Gold Diggers of 1933 (1933)

In this opulent, fabulous musical from director Mervyn LeRoy with large-scale Busby Berkeley production numbers at the height of his creative genius in the early 30s - this was the second Warner Bros. backstage musical of 1933:

  • in the opening number, the sight of chorine Fay Fortune (Ginger Rogers) wearing a skimpy, glittering coin-covered costume and singing in pig-Latin (just undecipherable nonsense syllables set to the music that was a fad at the time) with other coin-covered chorines dancing to "We're In the Money" with massive money-related sets and over-sized coins
"We're in the Money"
  • the exquisitely-choreographed, elaborate "Shadow Waltz" production number in which neon-lighted dancers created elaborate, glow-in-the-dark geometric shapes -- highlighted by a gigantic white violin formed by the dancers in an overhead shot, complete with a strumming bow and violins illuminated by neon tubing
"Shadow Waltz"
  • also the naughty pre-Code "Petting in the Park" number featuring straw-hatted men romancing chorines on a lawn - with the camera leering at their crossed legs and petticoats, followed by a drenching rainstorm forcing the chorines to provocatively strip in silhouette behind a transparent screen as a lascivious, leering young boy (midget Billy Barty) pulled up the screen
  • the most-remembered, show-stopping finale number, introducing streetwalking prostitute Carol King (Joan Blondell) under a street lampost, saluting the unemployed, poverty-stricken war veterans suffering from the Depression who demanded to be paid a $1,000 bonus promised in 1925, with other affected tenement housewives in the sobering song "Remember My Forgotten Man" - concluding with silhouettes of marching soldiers (on a half-wheel)

"Petting in the Park"

"Remember My Forgotten Man"

Gold Diggers of 1935 (1935)

In this Busby Berkeley choreographed-directed film (in his debut as a solo director) with two major production numbers (sequences somewhat detached from the surrounding plot) exemplifying his masterful trademark camerawork:

  • the scene of a moonlight ride in a motorboat, while the tune "The Words Are in My Heart" was sung by medical student/desk clerk Dick Curtis (Dick Powell) to heiress Ann Prentiss (Gloria Stuart), featuring 56 mostly-blonde, white evening-gowned chorines pretending or 'play' waltzing/dancing with white baby-grand pianos that formed geometric, kaleidoscopic arrangements and ultimately came together to form one giant piano top (the lightweight piano shells were moved around by black-clad men manuevering the pianos on their backs while following tape markings on the shiny black floor)
  • the climactic approx. 14 minute finale "The Lullaby of Broadway" - a self-contained film within a film - pictured as a day in the life of the Great White Way of New York, with its opening shot (in a dark frame as the camera approached) of the lit, disembodied and upturned white head or face of Wini Shaw (Herself), as she was singing 'The Lullaby of Broadway' in solo; the image was followed by her head twisting around, inverting and reclining - and the shape of her silhouetted face dissolving into an aerial shot or mapping of the island of Manhattan
"The Lullaby of Broadway" - 1
  • Wini - a "Broadway babe" would be returned home to her walk-up tenement apartment with her date, exhausted from a night of partying; she would sleep all during the day as her proletarian neighbors were leaving for work, and then would go out again in the early evening for more dazzling nightlife throughout the next night
  • the show-stopping, entertaining, inventive production number continued in an art-deco nightclub (Club Casino) where Wini, the following night, was the only patron watching the club's all-night show (a single dancing couple on gargantuan stepping stairs-platforms), accompanied by a wealthy date (Dick Powell); the dance couple was joined by rows and rows of hundreds of tap-dancing couples, highlighted by the acrobatic dancing of a trio (led by Manny King) filmed in part through the glass floor - performed to the pounding rhythms, and visualizing a sexually-charged battle of the sexes (with obvious sexual imagery) in the hedonistic, nocturnal city during the Depression years; Wini and her date joined in the dancing
"The Lullaby of Broadway" - 2
  • during the dance portion, the number turned into a mordant, judgmental and cautionary tale of life in the city for party-girl Wini after another night of carousing on Broadway; from the stage, Wini ran into her balcony doors (breaking the 4th wall of reality), as throngs of entertainers from the stage floor crowded behind her to rush in after her; as the group of dancers surged toward her, the camera angle reversed and she appeared to be on her skyscraper balcony, where she was accidentally pushed backwards; the camera twirled around as she descended to the street; but was it only a dream (?) when she again appeared restored as a disembodied head to finish singing the number's title song
"The Lullaby of Broadway" - 3 - Wini's Plunge From Balcony

"The Words Are In My Heart"

Wini Returning Home to Walk-Up Apartment in Early AM

Wini with Date (Dick Powell) Back the Next Night

Acrobatic Dancing of Manny King Viewed From Below the Floor

The Final Chorus

The Gold Rush (1925)

In Charlie Chaplin's early silent classic, featuring the Tramp's (Charlie Chaplin) trademark look: mustache, baggy pants, bowler hat, cane:

  • in the setting of the Alaskan Klondike gold rush in 1898, the inventive, pantomime scene of two famished, marooned fortune-seekers celebrating Thanksgiving Day dinner in their isolated cabin: the starving Lone Prospector (Charlie Chaplin) and his large cabin-mate and companion Big Jim McKay (Mack Swain); the Prospector cooked his own boot in a large pot; he took on airs as if he was a gourmet at a feast; when he served the shoe, he split the sole, cutting it like a filet, and set the smaller portion before his companion; Big Jim greedily switched the plates to get the upper portion of the shoe; the Prospector delicately chewed on the lower sole part, treating it like a delicate piece of fish as he picked his way through the leather - he treated the laces like spaghetti, coiling them about his fork; he daintily sucked the nails like they were the bones of a game bird
Thanksgiving Feast of a Boiled Boot
The Tramp Hallucinated as a Giant Chicken
The Cabin at Edge of a Crevasse
  • the scene in which Big Jim McKay during a blizzard hallucinated that the Tramp was a giant chicken and chased him with a gun
  • the later scene of the teetering cabin on the edge of a crevasse
  • the comical dance scene with saloon girl (Georgia Hale) in the Monte Carlo Dance Hall when he danced with her and his pants kept falling down; he improvised with a dog's rope to create a makeshift belt, until it chased a cat and dragged him across the dance floor
  • the Tramp's preparations for a charming, entertaining New Year's Eve dinner party with Georgia and her friends, although they never intended to attend and laughed at his foolish gullibility, but he fell more deeply in love with her nonetheless; as 8 pm approached, he had already set the table with lighted candles, table napkins, and a heart-shaped place card at Georgia's seat, with "To My Love" written on it; he dozed off while pathetically waiting for them to appear; he dreamt of the party - becoming the perfect host/entertainer; in a classic gag, "the Dance of the Rolls," he speared two crusty French bread rolls with forks and made them do a pantomime ballet-dance - the Oceana Roll; the two rolls were stand-ins for his big boots
Setting the Table
Dreaming a Festive Party
"The Dance of the Rolls"
  • after being awakened by a gunshot at midnight, the scene of the lonely Tramp's hearing (in profile) of the singing of "Auld Lang Syne" and knowing that he had been stood up at his party
  • in the closing, the Tramp - now a newly-made millionaire (due to a gold-mine strike), was an elegant, well-dressed gentleman on board a ship in first-class, returning home from Alaska; when the Tramp fell off the deck during picture taking for a reporter's story on his incredible rags-to-riches transformation, he tumbled onto the steerage level where he encountered Georgia who thought he was a stowaway; she offered to protect him but then, the truth was revealed that he was a wealthy millionaire, and the film ended with his fiancee Georgia having engagement pictures taken with him - the photographer was perturbed that they moved to kiss each other and spoiled the shot

The Tramp in Alaska

The Tramp Meeting and Dancing with Saloon Girl Georgia

Falling Off Deck Onto Steerage Level

Rendezvous with Georgia

The Golden Coach (1952, Fr./It.) (aka Le Carrosse D'or)

In director Jean Renoir's Technicolored, historical romantic costume-drama farce about the choice between art and worldly love - the first of a trilogy (followed by French Cancan (1955), and Elena And Her Men (1956)) - set in colonial Peru in the late 18th century, in a South American town:

  • the film's staging - a "play-within-a-play" - signified by an opening curtain
  • the central character: a rag-tag touring Italian theatre company star Camilla (Anna Magnani in her English-language debut) - a boisterous, earthy, vulgar, voluptuous and passionate performer
  • her difficult choice of love among three competing suitors (male archetypes), who were willing to offer her riches or duel for her attention:

    - Ferdinand (Duncan Lamont), an arrogant, refined and powerful royal Spanish figure - a Viceroy - who extravagantly and amorously offered Camilla his own luxurious, imported and gilded "golden coach"
    - Ramon (Riccardo Rioli), the area's famous hot-headed, manly and vain Toreador (bullfighter)
    - Felipe (Paul Campbell), a handsome, humble yet brave young Spanish Castilian officer-soldier, who met her on the boat ride over from Italy

  • the competition for Camilla's love was mirrored in the troupe's commedia del’arte performance, with Camilla (as Columbina) pursued by - among others: Arlequin (Dante), Polichinelle (Alfredo Medini), and Florindo (Alfredo Kolner)
  • the scenes of Camilla's difficulty in making a commitment - between worldly real-life suitors and the illusionary world of the theatre and its audiences; and her concluding meditative musings: "Where is truth? Where does the theatre end and life begin?"
  • the concluding sequence -- Camilla was on the stage after all three suitors had departed, when she was advised by her troupe's director and leader, Don Antonio (Odoardo Spadaro), who was standing on the side of the stage - he told her that should could realize her true self only on stage: "Don't waste your time in the so-called real life. You belong to us, the actors, acrobats, mimes, clowns, mountebanks. Your only way to find happiness is on any stage, any platform, any public place, during those two little hours when you become another person - your true self"
Don Antonio: "Do you miss them?"
Camilla Alone on the Stage
- Ready to Remain in the
Illusionary World on the Stage
  • when the curtain fell behind Camilla, she was left alone on the solitary stage; she asked: "Felipe, Ramon, the Viceroy disappeared, gone. Don't they exist anymore?"; Don Antonio answered: "Disappeared. Now they are a part of the audience. Do you miss them?" - Camilla sentimentally admitted: "A little"; but she had made her enlightened choice to determine her own fate - and to follow her true self on the stage

The Opening Curtain

Theatre Star Camilla

The Golden Compass (2007)

In writer/director Chris Weitz's fantasy film filled with incredible Visual Effects (it was the winner of the Academy Award for Best Visual Effects), adapted from the first novel (Northern Lights) of Phillip Pullman's 1995 His Dark Materials trilogy - it told of an epic quest undertaken by a 12 year-old orphan to rescue her kidnapped best friend in a parallel world:

  • the main character of brave, justice-seeking 12 year-old orphan Lyra Belacqua (Dakota Blue Richards), a student who was being raised at the Jordan College boarding school at Oxford
  • Lyra was compelled to enter into an alternate parallel universe and journey to the North, to follow her adventurous, explorer 'uncle' Lord Asriel (Daniel Craig) and learn of the kidnapped fate of other poor and orphaned children who had been captured by government thugs known as Gobblers; in particular, Lyra was determined to rescue kidnapped best friend Roger Parslow (Ben Walker)
    [Note: Gobblers were later revealed to be headed by an organization called the General Oblation Board - or G-O-B - led by the wealthy and evil villainess Mrs. Coulter (Nicole Kidman)); the Gobblers were supported by the ruling powers known as the Magisterium that sought to dominate all the worlds in the universe.]
  • the film's concept: each person has an accompanying daemon or soul (in the form of an animal), especially Lyra's form and shape-changing one known as Pantalaimon (or "Pan") (a bird, an ermine or ferret, a wood mouse, a moth, and a striped cat) (voice of Freddie Highmore), and Mrs. Coulter's orange-haired monkey; Stelmaria (voice of Kristin Scott Thomas) was a snow leopard daemon for Lyra's uncle Lord Asriel - [Note: The Magisterium was an evil authority that was attempting to separate the paired-up daemons, thus eliminating free-will.]
  • Lyra's secretive possession of an alethiometer (or Golden Compass) - the dazzling, sole-remaining 'truth-telling device' artifact with spinning dials and strange pictorial symbols around its edges; all other compasses were destroyed or confiscated by the Magisterium
  • the monumental single-combat, vicious fight-to-the-death between two bears known as Panserbjorne (while over 100 other bears looked on): a giant, armored warrior Ice-Bear named Iorek Byrnison (voice of Ian McKellen) from the kingdom of Svalbard (Iorek was the rightful-heir to the throne, but exiled in shame), and the Bear-King - King Ragnard Sturlusson (voice of Ian McShane); the two had fought earlier when King Ragnard usurped Iorek's throne, but now, Iorek triumphed over King Ragnard and became king
  • also the terrifying scene of Lyra being threatened with having her daemon "Pan" separated from her in an intercision machine (a silver guillotine that could sever the link between a human and their dæmon) within Bolvangar, an authoritarian Magisterium experimental research station in the North
  • the ending confession of Mrs. Coulter that Lyra was her daughter (she was forced to give her up because she was not married), and Asriel was her father
  • in the conclusion, Lyra succeeded in blowing up and destroying Bolvanger, and rescuing the remaining kidnapped children

Mrs. Coulter with Young Orphan Lyra

The Daemon/Soul of Mrs. Coulter - an Orange-Haired Monkey

Lyra's Daemon: Pan - as a Ferret

The Golden Compass

Fight to Death Between Ice-Bear and Bear-King

The Threat of Lyra Losing Her Daemon Pan By an Intercision Machine

Goldfinger (1964)

In director Guy Hamilton's first Bond action film - the third James Bond film in the long-running series:

  • the pre-title credits opening scene in which non-chalant 007 agent James Bond (Sean Connery) removed his dry-suit gear (after setting charges along a set of NITRO tanks) and was revealed to be wearing a white dinner jacket with a red flower
  • the striking image of the naked corpse of Jill Masterson (Shirley Eaton) lying on Bond's hotel suite bed; she was the mistress-escort of the film's master, gold-obsessed villain Auric Goldfinger (Gert Frobe); she had become an unfortunate victim of skin asphyxiation or suffocation by gold paint as retaliation for her betrayal of Auric - ("She's covered in paint. Gold paint")
  • Bond's amazing Aston-Martin vehicle with oil slick, machine guns and passenger ejection seat
  • Oriental henchman Oddjob's (Harold Sakata) razor-sharp, lethal boomeranging bowler hat demonstration at the golf club
  • the sequence leading to the death of Tilly (Tania Mallet), the ill-fated sister of Jill Masterson, who went on a killing spree to avenge her sibling's death; she eventually admitted to Bond that she sought vengeance against Auric: "I want him dead. He killed my sister"; as Bond and Tilly fled from Auric's henchmen and she ran for cover in the woods, she was hit in the neck by Oddjob's lethal-rimmed bowler hat and instantly killed
  • the sequence of a captured Bond lying spread-eagled on a gold table with an industrial red laser beam inching towards his crotch as Bond quipped about the torture: "Do you expect me to talk?" and Goldfinger's famed reply: "No, Mr. Bond, I expect you to die!"
  • Bond's introduction to Goldfinger's improbably-named personal jet pilot Pussy Galore (Honor Blackman), who made a memorable entrance by blurringly appearing above him - he had been tranquilized, but awakened on Goldfinger's jet on its way from Europe to Baltimore enroute to Kentucky:

    - Bond: "Who are you?"
    - Pussy: (purring) "My name is Pussy Galore."
    - Bond: "I must be dreaming. (pause) I thought I'd wake up dead."

  • Goldfinger's plan was to have Pussy and her five-person fleet of planes (all-female pilots in Pussy Galore's Flying Circus) spray deadly, invisible Delta-9 nerve gas (in gas canisters) over Fort Knox (a life-sized replica of the real thing) to induce unconsciousness for 24 hours
  • the scene of Bond - during a tour of Goldfinger's Kentucky stud farm compound, wrestling with Pussy in the hay in one of the horse stables, eventually she succumbed and he was able to lower himself down on her and kiss her
  • the climactic Fort Knox assault and the one-on-one fight between Bond and Oddjob in the vault
  • the shocking demise of Oddjob inside one of Fort Knox's vaults when he grabbed for his bowler hat stuck in metal bars and was electrocuted ("He blew a fuse")
Two Demises
  • the final sequence of Goldfinger's death when he was sucked out of a shot-out airplane window in the depressurized cabin; in the cockpit, Bond joked with Pussy that gold-obsessed Goldfinger was "playing his golden harp"
  • in the predictable conclusion, after Bond killed Goldfinger in a hijacked plane piloted by Pussy, she couldn't bring the plane under control, so the two parachuted together to safety before it crashed due to rapid decompression; Bond told her that she shouldn't signal for help from a search helicopter as he pulled her onto the ground: "Oh no, you don't! This is no time to be rescued" - he covered the two of them with the parachute - for privacy's sake, for more kisses

The Naked Gold-Painted Corpse of Jill Masterson

Demonstrating Oddjob's Lethal Bowler Hat

The Death of Tilly

Bond's Laser Torture

Pussy Galore (Bond: "I must be dreaming")

Wrestling with Pussy and Kissing Her in the Hay in the Horse Stables

Bond Parachuting to Safety with Pussy

(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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