Greatest Film Scenes
and Moments



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

Great Expectations (1946, UK)

In David Lean's dramatic adaptation of Charles Dickens' novel:

  • the truly scary scene in the almost-silent, sweeping opening set in a shadowy graveyard in which young Pip (Anthony Wager) was suddenly confronted, with a brilliant whip-pan camera movement, by convict Abel Magwitch (Finlay Currie)

Graveyard Scene

The Great Train Robbery (1903)

In Edwin S. Porter's pioneering film (in two versions, untinted and tinted) - see review for additional photos:

  • the primitive elements of all films found in the first narrative (and Western) film only about 10 minutes long - composed of 14 scenes, with action sequences, cross-cutting, and panning
  • and the sensational, stunning close-up shot of a dark-hatted bandit (with green-tinted shirt and red-tinted kerchief in some versions) (George Barnes) firing directly into the camera (and into the audience, a terrifying moment!) with his six-shooter revolver

The Great Ziegfeld (1936)

In director Robert Z. Leonard's and MGM's lengthy musical biography, a Best Picture winner, featuring the fictional and real-life portrayals of past Ziegfeld Follies greats, including Fanny Brice, Will Rogers, and Eddie Cantor:

  • the celebrated, moving telephone scene in which heartbroken Anna Held (Oscar-winning Luise Rainer), the first of womanizing impresario Florenz (Flo) Ziegfeld's (William Powell) wives, congratulated her ex-husband Flo on his re-marriage, after reading the World newspaper article headlined: "ZIEGFELD WEDS BILLIE BURKE; PRODUCER AND STAR IN SECRET CEREMONY AT HOBOKEN - Frohman Enraged at News of Romance, Friends Learn" - and she pretended to be happy for him: ("Hello, Flo... Yes. Here's Anna... I'm so happy for you today, I could not help calling you and congratulate you... Wonderful, Flo! Never better in my whole life!... I'm so excited about my new plans! I'm going to Paris. Yes, for a few weeks, and then I can get back, and then I'm doing a new show, and... Oh, it's all so wonderful! I'm so happy!... Yes... And I hope you are happy, too... Yes?... Oh, I'm so glad for you, Flo... Sounds funny for ex-husband and ex-wife to tell each other how happy they are, oui?... Yes, Flo... Goodbye, Flo... Goodbye..."); after her show of support, she collapsed sobbing
  • the amazing dance number by Ray Bolger (as Himself)
  • its most famous sequence - the lavish, elaborately-costumed, gargantuan, overly-long production number "A Pretty Girl is Like a Melody" filmed in one continuous shot and featured 180 performers; after the singing of the song in front of an immense curtain, it was drawn back to view a fabulous crane shot of a slowly-spinning, cork-screwing tower of stairs holding singers, dancers, musicians, and other artists; at the end was the appearance of Audrey Dane (Virginia Bruce) - a Glorified Ziegfeld Girl, perched atop the giant revolving platform or pillar (a towering white staircase)
"A Pretty Girl is Like a Melody"
The Curtain
The Staircase
  • the closing segment "You Never Looked So Beautiful" with the title song sung by Audrey Dane with tuxedoed men, followed by a fashion show, of sorts, with many poses of numerous chorines wearing extravagant costumes and headdresses, ending with a close-up of Audrey Dane
  • the aging and seriously-ill Ziegfeld's final scene with his faithful butler Sidney (Ernest Cossart), after viewing his Ziegfeld Theatre sign from his window, about wanting to do an even more spectacular Follies show in the future: "I must do the biggest Follies of my whole life. I-..." but then, he realized that he was broke and only dreaming: "I can't laugh any more, Sidney, because I've been wrong. I've got nothing, nothing to leave anyone." When encouraged, Ziegfeld began to speak hopefully again, but then passed away in his arm-chair (as he recalled images, super-imposed atop his face, of his stage productions): "(You leave them) the memories of the finest things ever done on the stage... I've got to have more steps. I need more steps. I've got to get higher, higher!"); a white rose dropped from his right hand, signifying his death
Ziegfeld's Death Scene

Telephone Scene

Ray Bolger Dance

"You Never Looked So Beautiful" (with Virginia Bruce)

The Greatest Show on Earth (1952)

In producer/director Cecil B. DeMille's undeserving, star-filled Technicolored Best Picture winning epic about the Ringling Bros. and Barnum & Bailey Circus - with three interwoven plot lines:

  • the opening, voice-over narration (by director DeMille) about the "Greatest Show on Earth": ("We bring you the circus - the Pied Piper whose magic tunes greet children of all ages from six to 60, into a tinsel and spun-candy world of reckless beauty and mounting laughter, whirling thrills; of rhythm, excitement and grace; of daring and blaring and dance; of high-stepping horses and high-flying stars. But behind all this, the circus is a massive machine whose very life depends on discipline and motion and speed. A mechanized army on wheels, that rolls over any obstacle in its path, that meets calamity again and again, but always comes up smiling. A place where disaster and tragedy stalk the big top, haunt the backyard, and ride the circus train. Where death is constantly watching for one frayed rope, one weak link, or one trace of fear. A fierce, primitive fighting force that smashes relentlessly forward against impossible odds. That is the circus. And this is the story of the biggest of the big tops, and of the men and women who fight to make it 'The Greatest Show on Earth.'")
  • the revelation of the character of makeup-wearing Buttons the Clown (James Stewart) with a dark secret to hide about his past life as a medical doctor who 'mercy-killed' his wife, and his early hints: "They say each man kills the thing he loves. A coward does it with a kiss, a brave man with a sword," and his demonstrated skill in bandage wrapping that he claimed he learned as "a pharmacist's mate"
  • Buttons' discussion about his loss of love to trapeze artist Holly (Betty Hutton): ("Clowns are funny people, Holly, they only love once"), with her response: ("All men aren't that way, even if they act like clowns")
  • to save the circus financially, the circus manager Brad Braden's (Charlton Heston) hiring of world-class trapeze artist The Great Sebastian (Cornel Wilde), known as "the Debonair King of the Air" - and his dramatic entrance in a speeding sports car with a police escort (and sirens blaring); also, the competitive romantic triangle that soon developed between Holly, Brad, and the womanizing Sebastian
Sebastian's High-Flying Fall
The Spectacular Circus Train Wreck
  • the scene of Sebastian's high-flying fall during his circus act - without a safety net - causing serious injuries to himself - and his request to Braden: ("Walk me off. Do not rob me of my exit")
  • the scene of the spectacular circus train wreck, the film's catastrophic highlight, sending train cars off the tracks releasing wild animals from their smashed cages, with Buttons revealing his secret past in order to perform a life-saving blood transfusion between Sebastian and the critically-injured Brad
  • the triumphant and exciting ending, when a circus parade led by Holly, who had taken charge, promoted the improvised, open-air circus (without a tent) for the town with a massive parade down the main street to the circus grounds: ("They made it! Listen to that band!"), due to the loss of property in the train wreck; and Holly's sensational singing of a chorus of "The Greatest Show on Earth", with Brad proudly looking on: ("Come to the circus! Come on along and see. Hooray for lions and the camels. You'll have fun and look at all the other mammals. Come see the clowns, who play their part. They'll wear a smile that hides a broken heart. Tremendous, stupendous, the circus show shall be. The Bengal tiger and the lion. The trapeze artist does a leap that's death-defyin'. A land of mirth, your money's worth. Come on along to the circus - the greatest show on earth!")
  • the rousing final words of the midway barker (Edmond O'Brien): ("That's all, ladies and gentlemen, that's all. Come again to the greatest show on earth. Bring the children. Bring the old folks. You can shake the sawdust off your feet, but you can't shake it outta your heart. Come again, folks. 'The Greatest Show on Earth.' Come again")

"The Greatest Show on Earth" Opening Narration

Buttons with Trapeze Artist Holly

The Great Sebastian - the "Debonair King of the Air"

Parade Led by Holly to the Circus Grounds

Brad Proudly Looking On

Midway Barker: "Come Again to the Greatest Show on Earth"

Greed (1924)

In Erich von Stroheim's severely-edited classic masterpiece - a dark morality tale and study of the oppressive forces that corrupted three people - an uneducated former miner and dentist in turn of the century San Francisco, his miserly, vulgar and pathological wife, and their mutual friend and ultimate nemesis:

  • the ex-miner and self-taught quack-dentist John "Mac" McTeague (Gibson Gowland), who had established himself in San Francisco, where his best friend was Marcus Schouler (Jean Hersholt), and his growing acquaintance with Marcus' cousin and fiancee Trina Sieppe (Zasu Pitts)
  • the scene of McTeague's lustful look at ether-anesthetized, helpless patient Trina in his dentist's chair; he eagerly bent over, smelled her hair and her perfume, and could not resist shamefully kissing her full on the mouth while she was under the influence of the ether - the title card noted: "But below the fine fabric bred of his mother, ran the foul stream of hereditary evil...the taint of generations given through his father"
  • shortly later, Marcus agreed to step aside from Trina for McTeague's sake: "I'll give her up to you, old man - - by damn!" and they had a short period of courtship and engagement
  • the sequence of a lottery official announcing to Trina that she won the $5,000 lottery prize - it was an unexpected windfall that will prove to be the downfall of the McTeague's lives
  • the wedding scene between McTeague and Trina, with the ominous view of a somber Roman Catholic funeral procession outside the window; after the ceremony, Mac presented Trina with with a covered gilded canary cage with not only one male bird, but now two love-birds - a female canary joined his male bird
  • the portrayal of a crazed, avarice-affected couple, especially Trina's miserly obsession with gold coins (her lottery winnings), and her sleeping with gold coins in her bed
Trina's Obsession with Gold Coins
  • the scene of his biting her fingers - and eventually murdering his wife Trina by striking her to death
  • the classic finale of a deadly and murderous confrontation in the parched, scorching Death Valley desert between fugitive McTeague and his former friend and now-rival Marcus (who had been appointed Deputy Sheriff to arrest him), and McTeague's discovery that he had no water and was handcuffed to the dead corpse of Marcus - the gold coins that caused all the trouble were scattered about on the cracked earth/sand, next to an empty water canteen
Handcuffed Together and Stranded in Death Valley
  • the final extreme long shot of McTeague in the desert wasteland - with no water or horse, and handcuffed to Marcus; as his last act, he set free his pet canary that fluttered briefly but then died

Unauthorized Kiss of Chloroformed Patient by Dentist

Short Courtship Between Trina and McTeague

Wedding Scene

McTeague's Deteriorating Relationship, Ending with the Murder of His Wife

Final Images: Scattered Gold Coins and Empty Canteen

The Green Mile (1999)

In director Frank Darabont's fantasy drama/prison film about the recollections of a mid-1930s prison guard, mostly told in flashback - named about the tiled green linoleum flooring of the Death Row facility at the Cold Mountain Correctional Institution:

  • the scenes of the supernatural powers of illiterate, mystical child/giant and faith healer - black condemned convict John Coffey (Michael Clarke Duncan), who was being punished for an alleged crime (the rape/murder of two young white girls) that he didn't commit; after blowing life into the crushed body of a small brown mouse (Mr. Jingles) (owned by fellow prisoner Eduard "Del" Delacroix (Michael Jeter)), a bright glow emanated and the mouse was resurrected
  • in addition, the healings of 44 year-old Louisiana death row prison guard Paul Edgecomb's (Tom Hanks) serious bladder infection, and the terminal brain tumor of Chief Warden Hal Moores' (James Cromwell) wife Melinda (Patricia Clarkson) (Coffey sucked the illness from her mouth); Paul realized Coffey's miraculous power and innocence: "I do not see God putting a gift like that into the hands of a man who would kill a child"
  • the scene of the botched, deliberately-sabotaged execution of Delacroix, when his flesh was literally fried and caught on fire as he slowly and painfully died; mean-spirited, vengeful guard Percy Wetmore (Doug Hutchinson) had deliberately not wet the sponge used to quickly and efficiently conduct the electricity into Delacroix' body
Delacroix' Painful Execution
  • the startling sequence of sadistic guard Percy, who was infected with the evil taken from Melinda's body, and after becoming crazed, he shot William Wharton another mass murderer (the one really responsible for Coffey's alleged crimes), dead in his cell
  • the execution of the doomed and noble Coffey by the electric chair who urged his death ("I want it to be over and done with...I'm tired of all the pain I feel and hear in the world every day. There's too much of it. It's like pieces of glass") - and the moment Coffey shared his gifted power with head death row prison guard Paul as he was being electrocuted -- and sang "Heaven, I'm in heaven... heaven... heaven..." - from the movie Top Hat; Paul agreed that a required black hood wouldn't cover his head, because he feared the dark. Edgecomb pronounced: "May God have mercy on your soul," and then hesitated for a long time before giving the fatal order. He first shook Coffey's hand as he remembered his words, spoken in voice-over: "He kill them wi' their love. That's how it is every day, all over the world"
Prison Guard Paul Edgecomb
  • the bittersweet ending in which Edgecomb, revealed to now be a 108 year-old man (Dabbs Greer) in a retirement home and bestowed with the 'gift of life', where every day he still fed a piece of dry toast to gray-haired Jingles; and his speech about outliving all of his friends and families, regarded as his punishment: ("I'm 108 years old, Elaine. I was 44 the year that John Coffey walked the Green Mile. You mustn't blame John. He couldn't help what happened. He was just a force of nature. Oh, I've lived to see some amazing things, Ellie. Another century come to pass. But I've, I've had to see my friends and loved ones die off through the years. Hal and Melinda, Brutus Howell, my wife, my boy. And you, Elaine. You'll die, too. And my curse is knowing that I'll be there to see it. It's my atonement, you see. It's my punishment for letting John Coffey ride the lightnin'. For killin' a miracle of God...You'll be gone like all the others. I'll have to stay. Oh, I'll die eventually. Of that I'm sure. I have no illusions of immortality. But I will have wished for death long before death finds me. In truth, I wish for it already...I lie in bed most nights thinkin' about it. And I wait. I think about all the people I've loved, now long gone. I think about my beautiful Jan, how I lost her so many years ago. And I think about all of us walkin' our own Green Mile, each in our own time. But one thought more than any other keeps me awake most nights. If he could make a mouse live so long, how much longer do I have? We each owe a death. There are no exceptions. But, oh, God, sometimes, the Green Mile seems so long")

John Coffey's Alleged Crime

Mr. Jingles

Life Blown into Mr. Jingles' Body

The Miraculous Healing of Melinda

Percy Infected with Evil

Coffey's Execution

108 Year-Old Edgecomb in Nursing Home

Mr. Jingles

Gremlins (1984)

In Joe Dante's mischievous fantasy horror-comedy executive-produced by Steven Spielberg, about a small town besieged by a group of sadistic, furry reptilian creatures that were unleashed when three rules about their care were neglected:

  • the first appearance in a Christmas-gift box of a Chinatown (NY) pet known as a mogwai in the American suburb of Kingston Falls: the elfin-eared, wide-eyed, tune-trilling, four-toed, fuzzy, brown and white fur-ball (a Mogwai) named Gizmo (voice of Howie Mandel), presented to Billy Peltzer (Zach Galligan) by his struggling inventor-father Randall Peltzer (Hoyt Axton)
  • the three important rules that the Chinese junk store owner Mr. Wing's (Keye Luke) grandson (John Louie) warned about: ("There's three rules you've gotta follow...Keep him out of the light. He hates bright lights, especially sunlight. It'll kill him. And keep him away from water. Don't get him wet. But the most important rule, the rule you can never forget. No matter how much he cries, no matter how much he begs, never, never feed him after midnight"); Randall later re-emphasized the rules: ("There's some things I forgot to tell you guys, and they're really important. Number one, he hates bright lights. We know that. But you gotta keep him out of the sunlight. Sunlight'll kill him. Number two, keep him away from water. Don't give him any water to drink. And whatever you do, don't give him a bath. And probably the most important thing, don't ever feed him after midnight")
  • the scene of Gizmo multiplying into five more creatures that popped out of his back, when Billy's friend Pete (Corey Feldman) accidentally spilled water on him: ("One, two, three, four, five new ones...Look, that one's got a cute stripe on its head") - not knowing what they had unleashed; in the film's last half - the Mogwai morphed into hateful, predatory green beasties that raised hell in the town after being exposed to light and getting wet; the leader of the Mogwai was aggressive, vicious, red-eyed threatening reptilian Mogwai leader Stripe (voice of Frank Welker)
  • the death of dog-hating, cold-hearted, crabby, and wealthy cat-lady spinster Mrs. Ruby Deagle (Polly Holliday) by jet propulsion from her gremlin-modified, sabotaged stairlift up her bannister, through the second-story skylight, and headfirst into snow, etc.; the miserly realtor was first startled and annoyed by the sound of Christmas carolers outside her door ("I hate Christmas carolers. Screechy-voiced little glue-sniffers"), similar to Ebenezer Scrooge's possible reaction. She was going to toss water on the singers, when she was shocked by the sight of gremlins outside her porch. She rushed back inside, locked her door, and then fearful of dying cried out: "What are they? They're here. Oh, they've come for me!...I'm not ready! I'm not ready yet!" She suffered a mild heart-attack. In the meantime, one of the gremlin creatures had snuck in through a cat door, and then tinkered with and modified her motorized chair-elevating stairlift; she sat on her chairlift to take her upstairs, which sent her careening up her long circular staircase's bannister at high speed, and by a picture of her dead husband mounted on the wall. The stairlift launched her to crash out of the second story window like a cannonball, and landed her head-first into snow. She died there, as Police Department Sheriff Frank (Scott Brady) noted to his partner in a patrol car: "My God, Frye! That was Mrs. Deagle."
Mrs. Deagle's Screaming Death on Stairlift Mechanism -
Crashing Out Second Story Window
Christmas-Caroling Gremlins
Gremlin Tinkering with Chairlift
Propelled Up Staircase
Propelled Through Window
Headfirst Into Snow
  • the tragic story that local bar-waitress Kate Beringer (Phoebe Cates) told her teenaged boyfriend Billy, a bank clerk, of how she found out that there was no Santa Claus - when her father died one evening dressed as Santa Claus: ("The worst thing that ever happened to me was on Christmas. Oh, God. It was so horrible. It was Christmas Eve. I was 9 years old. Me and Mom were decorating the tree, waiting for Dad to come home from work. A couple of hours went by. Dad wasn't home. So Mom called the office. No answer. Christmas Day came and went, and still nothing. So the police began a search. Four or five days went by. Neither one of us could eat or sleep. Everything was falling apart. It was snowing outside. The house was freezing, so I went to try to light up the fire. And that's when I noticed the smell. The firemen came and broke through the chimney top. And me and Mom were expecting them to pull out a dead cat or a bird. And instead they pulled out my father. He was dressed in a Santa Claus suit. He'd been climbing down the chimney on Christmas Eve, his arms loaded with presents. He was gonna surprise us. He slipped and broke his neck. He died instantly. And that's how I found out there was no Santa Claus")
  • the raucous group of theater-attending Gremlins during a showing of the animated Snow White and the Seven Dwarfs, who were killed with a destructive blast, leaving only Stripe
  • the ending - the final destruction of sole-surviving Stripe due to heroic Gizmo's assistance and rescue in a Montgomery Ward department store; driving in a Barbie toy Corvette, Gizmo crashed into the garden center wall and opened the blinds - causing sunlight to pour into the area. During Stripe's long and drawn-out death scene, as he decomposed and turned to goo, he twitched and convulsed and his eyes turned white
  • Randall's narrated warning in the last lines of the film ("Well, that's the story. So if your air conditioner goes on the fritz or your washing machine blows up or your video recorder conks out, before you call the repairman, turn on all the lights, check all the closets and cupboards, look under all the beds, 'cause you never can tell, there just might be a gremlin in your house")

Mogwai Gift (Gizmo) From Father to Son Billy

The Unleashing of More Mogwai Creatures


Disbelief in Santa Claus Speech

Destruction of Movie Theatre Filled With Gremlins

Stripe's Gooey Melting Death - Exposed to Sunlight

The Grifters (1990)

In Stephen Frears' modern crime neo-noir of treachery and double-crosses, based upon Jim Thompson's novel, about a threesome of con artists whose lives were inextricably intertwined, especially the two females who were engaged in a deadly power-struggle and love-triangle for the male's attention:

  • the use of a triple split-screen to introduce the three main "grifter" characters, as they went about their typical scams
  • the early scene of small-time, nickel-and-dime crook Roy Dillon (John Cusack), the estranged son of professional grifter Lilly Dillon (Anjelica Huston), who demonstrated clever bar scams with another customer and the bar-tender (he ordered a drink with a neatly-folded $20 and then paid with a concealed, neatly-folded $10 bill); however, shortly later in a different bar, the scam was detected and he was brutally hit in the stomach with a bat by the bartender
Roy's Bar Scam
  • the introduction of sexy, deceitful Myra Langtry (Annette Bening), who entered Stromberg's Jewelers shop where she conned the gullible jeweler (Stephen Tobolowsky) into believing that she wasn't hocking fake diamonds
  • a second scene of Myra demonstrating her wily ways by lounging naked on her bed to lure Joe (Gailard Sartain), her landlord, to forgive her for late payment of her rent by having sex with her; she proposed a choice: "Only one choice to a customer, the lady or the loot. What's it gonna be?"; then, as Joe laid on top of her, she exclaimed: "I was remembering at lunch, on the menu, it said, 'Today's special - Broiled hothouse tomato under generous slice of ripe cheese!'"
  • the scene of race-track hustler Lilly's visit to her Baltimore-based bookie boss Bobo Justus (Pat Hingle) who demonstrated his punishment for disloyalty and for being late and missing a sure-shot horse-race bet - he tortured her with an 'oranges-in-a-towel' beating and his burning cigar applied to her hand
  • in particular, the scene of Myra's naked, vixenish seduction of Roy in a hallway; she enticed and seduced him within a naked doorway to become his affectionate floozy girlfriend; she opened her door, standing there stark naked, ran by him in the dark hallway shouting: "Gangway," and then hid behind a curtain as she apologized: "I hope you don't mind, sir. I just washed my clothes and I couldn't do a thing with them." He chased after her and tossed her onto a bed
  • in the film's conclusion, Myra had been shot to death in her hotel room by the vengeful Lilly, and then Myra's face-blasted and disfigured corpse was made to look like Lilly's. Roy was called upon, as next-of-kin, to identify his mother at the Phoenix morgue - he concealed the fact that he noticed Lilly's right hand did not have its tell-tale cigar burn mark
Lilly's Shocking Seduction and Murder of Her Son Roy
  • in the shocking ending, Lilly was confronted by Roy as she appeared to be stealing his money in his place; during their last deadly confrontation, she argued that she was on the run and needed his money, and claimed she might make a break to get out of the con games and grifting (although she'd never had a legitimate job in her life) - she desperately begged and begged for his money, to tide her over: ("I need this money! I can't run without money! And if I can't run, I'm dead!...I want that money, Roy, I need it. Now, what do I have to do to get it? You mean you won't give it to me, Roy? Will you or won't you? What can I do to get it? Is there nothing I can do?"); when she came close and seductively and fatefully kissed him, he asked: "Lilly, Jesus, what are you doing?" She replied: "Nothing at all, nothing at all," but then in a bizarre twist, she swung a suitcase full of cash at her son's head as he was drinking water from a glass. The glass smashed and cut an artery in his neck - and he profusely bled to death on the floor in front of her! red-dressed Lilly gathered up the strewn cash, descended in a caged elevator, and calmly drove away

Split Screen

Lilly at Race Track

Myra Seducing Jeweler with Fake Diamonds

Myra Seducing Landlord to Avoid Paying Rent

Lilly's Hand-Burning with Cigar

Myra Langtry Seducing Roy

In the Morge, it was Myra's Right Hand, Not Lilly's

Groundhog Day (1993)

In writer Danny Rubin and director Harold Ramis' science fiction/romantic comedy, set in the town of Punxsutawney, Pennsylvania during the annual Groundhog Day festivities:

  • the fascinating, existentialist premise of the film: "What would you do if you were stuck in one place, and every day was exactly the same and nothing you did mattered?"
  • the character of grumpy, obnoxious Pittsburgh weather forecaster Phil Connors (Bill Murray), who despised reporting on Groundhog Day, and told his co-workers Rita Hanson (Andie MacDowell) and cameraman Larry (Chris Elliot) while on-camera: "This is pitiful. A thousand peopIe freezin' their butts off, waiting to worship a rat. What a hype! Groundhog Day used to mean something in this town. They used to pull the hog out, and they used to eat it. You're hypocrites! All of ya!"
  • the innumerable times that forecaster Phil awakened on the morning of February 2nd at 6 am in Punxsutawney, Pennsylvania (for the annual Groundhog Day festival) to the tune of his clock radio playing Sonny and Cher's I Got You, Babe, and realized that he was in an inescapable time loop ("What the hell?"); he confronted another hotel guest: ("Didn't we do this yesterday?...Don’t mess with me, porkchop! What day is this?")
  • the scenes of his annoyance, boredom, exhilaration, and self-destructive despair over the repetitive day, and his repetitive reaction: "Aw nuts!"
  • his continual awakenings when Connors again and again met up with Ned Ryerson - known as "Needlenose Ned" or "Ned the Head" (Stephen Tobolowsky) on the street - and eventually punched him to the ground
  • his conversation in a local restaurant with attractive customer Nancy Taylor (Marita Geraghty), when he gathered biographical information from her (her name, her high-school, her 12th grade English teacher), and then the next day used the info to get her attention and charm her: "Nancy... Lincoln... Walsh"; he claimed that he was a classmate who asked her to the prom; he was able to make out with her, but kept mistakenly calling her "Rita"
  • the sequence of Phil's many repetitive daily chores (catching a boy falling out of a tree, saving the mayor from choking during dinner, and rescuing a homeless bum during a cold night)
Unsuccessful Suicide Attempts
Driving into a Deep Rock Quarry in a Stolen, Red Pickup Truck
Attempted Electrocution Suicide With 4-Slice Toaster
Stepping into the Street in Front of a Large Moving Truck
A Swan-Dive Jump from a Building
  • his unsuccessful suicides and self-destructive behaviors (driving off a cliff into a deep rock quarry in a stolen pickup truck (while holding absconded Phil the groundhog behind the wheel ("Don't drive angry") and spouting the line as they crashed: "It's showtime, Phil!"), electrocution with a toaster in a bathtub, stepping in front of a moving truck, swan-diving off a building, stuffing his face with food, robbing a bank's cash delivery, etc.) -- and his reawakening at 6:00 AM after each of them
  • his lunch date with his lovely film producer Rita, when he stuffed his mouth with a sandwich, and told her: "I don't even have to floss" - his wooing-seduction of Rita after learning her likes (19th century French poetry and a sweet vermouth on the rocks with a twist) and dislikes, to become her ideal man after repeated dates; "I know all about you. You like producing, but you hope for more than Channel 9 in Pittsburgh....You like boats but not the ocean. You go to a lake in the summer with your family up in the mountains. There's a long wooden dock and a boathouse with boards missing from the roof, and a place you used to crawI underneath to be alone. You're a sucker for French poetry and rhinestones. You're very generous. You're kind to strangers and children. And when you stand in the snow you look like an angel" -- she emphatically rejected him when she realized he had rehearsed every part of the date
  • Phil's line: "I'm a God. I'm not the God, I don't think..."; he explained further that he had survived numerous threats to his life: "I didn't just survive a wreck. I wasn't just blown up yesterday. I have been stabbed, shot, poisoned, frozen, hung, electrocuted, and burned." Waitress Doris (Robin Duke), who was waiting on their table showed extreme consternation. And then he added: "And every morning, I wake up without a scratch on me, without a dent in the fender. I am an immortal.... I want you to beIieve in me." Doris interrupted for their order: "The special today is blueberry waffles....I could come back if you're not ready"; when Rita was unconvinced, he revealed his all-knowing, omniscient ability about all the restaurant's customers and employees (their names, desires, quirks, etc.), and later, he confessed to Rita: "I've killed myself so many times, I don't even exist anymore"
  • after making a beautiful ice sculpture of Rita's face, Phil's reformation and acceptance of his situation and ultimate happiness at the moment, telling her: "I know your face so weII, I couId've done it with my eyes cIosed...No matter what happens tomorrow, or for the rest of my life, I'm happy NOW, because I love you" - they kissed
  • time-stuck weather forecaster Phil's heartfelt, romantic speech to sleeping romantic interest Rita after reading James Joyce's poem "Trees" to her: ("What I wanted to say was, I think you're the kindest, sweetest, prettiest person I've ever met in my life. I've never seen anyone that's nicer to people than you are. The first time I saw you, something happened to me. I never told you, but I knew that I wanted to hold you as hard as I could. I don't deserve someone like you. But if I ever could, I swear I would love you for the rest of my life"); when Rita woke up briefly to ask: "Did you say something?", Phil modestly whispered a response: "Good night, Rita"
  • the moment when Phil lept back into bed with Rita the next morning - after awakening and verifying that it really was a new day - February 3rd - he cried out about his release from his temporal stasis: (he sobbed happily: "Do you know what today is?...Today is tomorrow! It happened!"); she responded to his kisses: "Oh, Phil, why weren't you like this last night? You just fell asleep" - he replied - "It was the end of a very long day! Is there anything I can do for you today?"
  • his final words to Rita in front of the outdoor steps: "It's so beautiful! Let's live here. (They kissed) We'll rent to start"

Phil Connors
(Bill Murray)

The Repetitive Scene of 6:00 am Alarm Clock

Greeting "Needlenose Ned"

In Restaurant with Nancy Taylor

Dating Rita

Phil: "I'm happy now, because I love you"

February 3rd

"It's so beautiful! Let's live here. (They kissed) We'll rent to start"

Guess Who's Coming to Dinner (1967)

In Stanley Kramer's family drama on the controversial subject of inter-racial marriage:

  • the scene of liberal, upper-class mother Christina Drayton's (Katharine Hepburn) stunned first look at Dr. John Prentice (Sidney Poitier) - the black fiancee of her daughter Joey (Katharine Houghton) who had known him for only 10 days, and then her halting welcome: "I'm so pleased to meet you"; when John suggested that Christina sit down before she fell down, Joey added: "He thinks you're gonna faint because he's a Negro"
  • the scene of John Prentice honestly telling his future in-laws that he would not marry their daughter if they disapproved: ("Unless you two approve, and without any reservations at all, there won't be any marriage...It's not just that our color difference doesn't matter to her. It's that she doesn't seem to think there is any difference....Joanna is very close to both of you. If, by marrying me, she damaged her relationship with either of you, the pain of it would be too much for her. I wouldn't know how to deal with that kind of situation. In any case, I wouIdn't even want to try")
  • the driveway scene in which art gallery owner Christina dismissed the derogatory, bigoted and disapproving comments of high-society employee Hilary St. George (Virginia Christine) after she had just met John Prentice; Christina gave her instructions that ended with her firing: ("You must try not to worry about it. Now I have some instructions for you. I want you to go straight back to the gallery. Start your motor. When you get to the gaIlery, tell Jennifer she will be Iooking after things temporarily. She's to give me a ring if there's anything she can't deaI with herseIf. Then go into the office and make out a check for cash for the sum of $5,000 dollars. Then carefully, but carefully, Hilary, remove absoluteIy everything that might subsequently remind me that you had ever been there, incIuding that yellow thing with the bIue bulbs which you have such an affection for. Then take the check for $5,000 which I feel you deserve, and get permanentIy Iost. It's not that I don't want to know you, Hilary, although I don't. It's just that I'm afraid we're not really the sort of people that you can afford to be associated with. Don't speak Hilary, just -- go")
Driveway Scene - The Abrupt Dismissal of Christina's
Art Gallery Employee Hilary
  • the powerful scene of John's frank discussion with his own father (Roy E. Glenn) about their differing views on race and how they had lived in very different generations; he asserted that his father thought of himself as a black man, while John thought of himself as a man: ("You are 30 years oIder than I am. You and your whoIe Iousy generation believes the way it was for you is the way it's got to be! And not until your whoIe generation has Iain down and died wilI the deadweight of you be off our backs! You understand? You've got to get off my back. Dad. Dad. You're my father. I'm your son. I Iove you. I aIways have and I aIways wllI. But you think of yourseIf as a coIored man. l think of myseIf as a man")
  • the concluding scene of crusading newspaper publisher Matt Drayton's (Spencer Tracy in his final screen appearance) blessing of their future marriage, by citing the one most important criteria for marriage - two people who fall in love with each other - similar to his love for his own wife Christina: ("...I know exactIy how he feels about her. And there is nothing, absoIuteIy nothing that your son feeIs for my daughter that I didn't feeI for Christina. Old? Yes. Burnt out? Certainly. But l can tell you the memories are stllI there -- cIear, intact, indestructibIe. And they'll be there if l live to be 110. Where John made his mistake, I think, was attaching so much importance to what her mother and I might think. Because in the final anaIysis, it doesn't matter a damn what we think. The onIy thing that matters is what they feeI and how much they feeI for each other. And if it's haIf of what we feIt, that's everything....Anybody couId make a case, and a hell of a good case, against your getting married. The arguments are so obvious that nobody has to make them. But you're two wonderfuI peopIe who happened to fall in Iove and happen to have a pigmentation probIem. And l think that now, no matter what kind of a case some bastard couId make against your getting married, there wouId be onIy one thing worse. And that wouId be if knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married. (pause) WelI, Tillie, when the hell are we gonna get some dinner?")

Christina Drayton
(Katharine Hepburn)

Joey with Fiancee Dr. Prentice

Dr. Prentice: "Unless you two approve, and without any reservations at all, there won't be any marriage..."

Dr. Prentice Speaking to His Father

Matt Drayton's Blessing of the Marriage

Gun Crazy (1949) (aka Deadly is the Female)

In director Joseph H. Lewis' supercharged, low-budget film-noir - a Bonnie-and-Clyde story about two sharpshooters who turned to a life of crime:

  • the opening scene (in the pouring rain) of 14 year-old Bart Tare (Rusty Tamblyn) stealing a pearl-handled gun from inside a broken hardware store display window and then falling down in a mud puddle at the feet of the local sheriff
14 Year-Old Bart's Theft of Gun
  • the entrance of Bart's dream girl - blonde sharpshooter Annie Laurie Starr (Peggy Cummins) at Packet's sideshow Carnival
  • the William Tell-like challenge contest/duel between gun-fixated Bart Tare (John Dall as adult) and the markswoman - after they first sized each other up like dogs in heat, and then each one shot at matches stuck in a crown worn on the other's head
  • during an impoverished state after getting married, the blackmailing scene of Annie Laurie (naked under her terry-cloth bathrobe) seductively tempting Bart to pursue more crime with her - and commit armed robbery; she told him: "I want to do a little living...Bart, I want things, a lot of things, big things. I don't want to be afraid of life or anything else. I want a guy with spirit and guts. A guy who can laugh at anything, who will do anything, a guy who can kick over the traces and win the world for me...You better kiss me goodbye, Bart (she dropped onto the bed and reclined back), because I won't be here when you get back. Come on, Bart, let's finish it the way we started it, on the level"; she threatened to walk out on Bart unless they both engaged in a life of crime; the blackmail scene ended with his sexual acquiescence and gratification, his decision to remain, and a close-up of his mouth inching towards hers for a passionate kiss; the kiss dissolved into the gunshot blast of a gumball bowl - an orgasmic, erotic/violent beginning of their crime rampage as gun-toting 'wild animals'; she was able to get him to agree to more holdups - portrayed as a series of small stick-ups and robberies - of their hotel, a liquor store, another store clerk, and a gas station
Blackmailing, Seductive Femme Fatale
Blasted Gumball Globe
  • the unedited, virtuoso, single-shot uninterrupted (long take) robbery scene of a Hampton Bank by the two bank robbers, dressed in their Western showbiz cowboy-cowgirl outfits with guns; it was cleverly filmed from the back-seat of their robbery car (a stolen Cadillac); the scene extended from the time of their drive into town and up to the bank, including getaway driver Laurie's distraction of a cop (Robert Osterloh) on the sidewalk during the robbery; when Bart emerged with an alarm bell ringing, Laurie karate-chopped the policeman in the neck to knock him down and render him unconscious, and the two escaped with Bart driving - while the camera was still filming the long-take from behind their shoulders inside the car!
Uninterrupted Take During Hampton Bank Robbery
  • the scene of their next robbery's getaway of the Rangers and Growers Exchange, as they were pursued by a siren-screaming police car giving chase, Laurie insisted that Bart (in the back seat) shoot back: "Shoot. Why don't you shoot? Shoot! Shoot, do you hear me?" - unable to kill, he lied to her about eliminating their pursuer (he only shot out one of the car's tires), although a grin slowly widened across her mouth
  • the final pursuit in the swamps before their demise, when ominous footsteps and the voices of Bart's boyhood pals Deputy Clyde (Harry Lewis) and Dave (Nedrick Young) announced their approach; in their last few moments of life and knowing that they were surrounded, Bart faithfully declared his love for Laurie and gave her one final kiss; then, Bart was compelled to shoot his insane, aggressive lover as a mercy killing; mistakenly believing that Bart had fired on them, a barrage of police gunfire abruptly cut Bart down; with poetic justice, he fell next to her; their bodies lay united together - with Bart on his back and Laurie on her side; the film's sad theme song mournfully played one last time, as the two representatives of the law looked down at their fallen bodies in the heavenly shroud, and the camera pulled back and then up above their soggy, yet romantic grave; the final words of film dialogue were: Unidentified policeman: "You all right, Sheriff?" Clyde: "Yeah, yeah, we're all right"

Sharpshooter Annie Laurie Starr (Peggy Cummins)

Sizing Each Other Up Before a Gun-Shooting Duel Between Bart and Annie

Robbery Spree

Another Bank Robbery Getaway - Bart's Reluctance to Shoot

Dying Together in the Swamp

Gunga Din (1939)

In director George Stevens' legendary adventure film, about the struggles of three British Sergents and their native water bearer Gunga Din against the hostile, fanatical cultish Thuggee in the NW Frontier of colonial British India (in the 1880s):

  • the scene of Sgt. Archibald Cutter (Cary Grant) dangling a man out a window as he was commanded: "Take your hands off that man"
  • the image and character of loyal, spindly-legged Indian water carrier Gunga Din (Sam Jaffe)
  • the memorable scene of wounded Gunga Din's bugle warning atop the gold dome of a temple, just in time to sound the alarm to warn approaching British forces that they were about to be ambushed by the Thuggees; he struggled to ascend to the top of the temple's gold dome, after taking a bugle from a dead Thugee cult member - yet as he blew the bugle, he was shot dead
Gunga Din's Sacrificial Death While Blowing Bugle Warning

  • Gunga Din's sacrificial death warranted his induction into the British army as a British corporal during his funeral ceremony, marked by the posthumous reading of a tribute to him by Colonel Weed (Montagu Love) - (the last stanza of Rudyard Kipling's classic poem): ("Yes, Din! Din! Din! You Lazarushian-leather Gunga Din! Tho' I've belted you and flayed you By the living God that made you You're a better man than I am, Gunga Din!")
  • the last image of the film - the smiling spirit of Gunga Din in uniform and giving a salute - superimposed over the numerous funeral pyres

Gunga Din's Funeral Ceremony - Posthumous Tribute

Gunga Din's Spirit Saluting

The Guns of Navarone (1961)

In J. Lee Thompson's old-fashioned WWII action/adventure blockbuster film about an Allied commando team with a secret mission to neutralize a German fortress threatening Allied naval ships - with Oscar-winning Special Effects:

  • the opening prologue with voice-over narration by James Robertson Justice - supplemented by images of the classic Greek monuments: "Greece and the islands of the Aegean Sea have given birth to many myths and legends of war and adventure. And these once-proud stones, these ruined and shattered temples, bear witness to the civilization that flourished and then died here and to the demi-gods and heroes who inspired those legends on this sea and these islands. But, though the stage is the same, ours is a legend of our own times and its heroes are not demigods, but ordinary people. In 1943, so the story goes, 2,000 British soldiers lay marooned on the tiny island of Kheros, exhausted and helpless. They had exactly one week to live for in Berlin, the Axis High Command had determined on a show of strength in the Aegean Sea to bully neutral Turkey into coming into the war on their side. The scene of that demonstration was to be Kheros, itself of no military value, but only a few miles off the coast of Turkey. The cream of the German war machine, rested and ready, was to spearhead the attack and the men on Kheros were doomed unless they could be evacuated before the Blitz. But the only passage to and from Kheros was guarded and blocked by two great, newly-designed, radar-controlled guns on the nearby island of Navarone. Guns too powerful and accurate for any Allied ship in the Aegean to challenge. Allied intelligence learned of the projected Blitz only one week before the appointed date. What took place in the next six days became the legend of Navarone"
  • the tense scene of the team of commandos disguised as Greek fishermen on a dilapidated fishing vessel that was stopped, interrogated and inspected by a Nazi Germany patrol boat; the commandos were able to destroy the enemy boat and its crew
  • the tense nighttime climb up the steep cliffs of the Navarone island (in the Mediterranean)
  • the revelation of the traitorous Anna (Gia Scala)
  • the climactic destruction of the two German super-gun emplacements (in a lofty impenetrable fortress cave above the Aegean Sea), by the placement of explosives on the rail of an ammunitions hoist-elevator, with fire spewing from the front of the cave entrance after detonation
The Destruction of the Guns and the Entire Fortress
  • the last lines of dialogue between the two main officers after their successful mission, as they watched the fortress burning from afar from the deck of a destroyer: (Corporal Miller (David Niven): "To tell you the truth, I didn't think we could do it." Capt. Keith Mallory (Gregory Peck): "To tell you the truth, neither did I")

The Formidable Guns of Navarone

Disguised as Greek Fishermen - Destruction of German Patrol boat


Captain Keith Mallory (Gregory Peck)

Last Words Between Mallory and Miller

Gypsy (1962)

In director Mervyn LeRoy's and Warners' musical biographical drama set in the 1920s - a screen version of the 1959 Broadway musical play (starring Ethel Merman), with a Jule Styne-Stephen Sondheim score, and based upon Gypsy Rose Lee's memoirs:

  • the depiction of the bullying and domineering stage mother 'Mama Rose' Hovick (Rosalind Russell, singing voice of Lisa Kirk), to have her children become stars: young 'Baby' June Hovick ( (Suzanne Cupito/Morgan Brittany), her older sister - ecdysiast-actress Louise Hovick (Natalie Wood), and 'Dainty' June (Ann Jillian)
  • the most memorable number: belted out by the Mama Rose character to Louise at a train station -- "Everything's Coming Up Roses" - "You'll be swell, you'll be great, Gonna have the whole world on a plate"
  • the funny "You Gotta Have A Gimmick" song by Minsky's burlesque house strippers (Roxanne Arlen, Betty Bruce and Faith Dane) to fresh-faced, naive Louise on how to be a successful stripper and get applause: ("...If you wanna make it Twinkle while you shake it If you wanna grind it Wait till you refined it If you wanna bump it Bump it with a trumpet So get yourself a gimmick And you too can be a star!")
  • the scene of Louise's debut stage performance in a burlesque house in Wichita, KS, introduced as "Gypsy Rose Lee," and her nervous appearance on stage before an all-male audience in an elegant blue dress - and using Mama's vaudeville trademarks (her tentative singing of "Let Me Entertain You") as Mama stood and coached off-stage and yelled tips; Gypsy teasingly removed a long white glove as she sang: "We'll have a real good time"
  • the montage of future performances, exhibiting Gypsy's significantly improved stage show by incorporating more of a deeply sensual subtext, more stylish peekaboo stripping and costuming, and asking the audience her trademark line: ("Hello everybody, my name is Gypsy! What's YOURS?"); the montage ended with Gypsy's introduction at Minsky's - headlined by "The Queen of Striptease" who again performed: "Let Me Entertain You" - "We'll have a real good time!" - with a semi strip-tease behind a curtain
  • the confrontational scene in a dressing room of Louise - who told off her brutal, tormenting and enslaving mother Rose, who had called her less talented - and named her "a circus freak, this year's novelty act"; Louise asserted herself and demanded to be left alone: ("I said, turn it off! Nobody laughs at me! Because I laugh first. At me! Me, from Seattle! Me, with no education. Me, with no talent, as you kept reminding me my whole life! Well, Mama, look at me now! I'm a STAR! Look! Look how I live! Look at my friends! Look where I'm going! I'm not staying in burlesque! I'm moving! Maybe up, maybe down! But wherever it is, I'm enjoying it! I'm having the time of my life, because for the first time, it IS my life! And I LOVE it! I love every second of it, and I'll be DAMNED if you're gonna take it away from me! I am GYPSY ROSE LEE! And I love her. And if you don't you can just clear out now!")
  • the concluding scene after the violent quarrel backstage, occurring on the stage of the deserted theater, when Mama Rose delivered a bitter cursing soliloquy - expressing all her own heartbreak and defiance; she described how she should take the credit for making the no-talent Louise into a star:
    (repeating Louise's words) 'I thought you did it for me, Mama. I thought you did it for me, Mama'. I thought you made a no-talent ox into a star because you like doin' things the hard way, Mama.'
    (Mama Rose) "And you have no talents - not what I call talent, Miss Gypsy Rose Lee. I made you, I made you and you want to know why? You want to know what I did it for? Because I was born too soon and started too late, that's why! What I got in me, I could have been better than any of ya. What I got in me, what I've been holdin' down inside of me - if I ever let it go, there wouldn't have been signs big enough! There wouldn't been lights bright enough! Here she is, boys. Here she is, world. Here's Rose! 'Curtain Up', 'Light the Lights', 'Play it, boys.' You either got it, or you ain't, and boys, I got it. You like it? Well, I got it"
  • she broke into a reprised chorus of "Everything's Coming Up Roses" about how she had lived out her own dreams of stardom by promoting her daughters: ("This time, boys, I'm taking the bows. And everything's coming up Rose. Everything's coming up Roses, Everything's coming up Roses, this time for me...")
Mama Rose on a Deserted Stage:
"Everything's Coming Up Roses"
Louise's Reconciliation With Her Mother
  • on stage, after her song, Mama Rose was interrupted by Louise applauding from the side, who complimented her: ("You'd really have been something, Mother...If you had had someone to push you like I did"; Mama replied: "If I could've been, I would've been. That's show business."); both admitted that their lives were motivated by being "noticed" - Louise held out her arms to hug her mother, to be reconciled: ("OK, Mama, OK Rose"); Louise offered her mink so that her mother could accompany her to a party, and Mama quipped: ("Say, this looks better on me than it does on you. Funny how we can wear the same size." Louise: "Especially in mink")
  • the film's ending, with Mama describing a dream - as the two cheerily walking off together arm in arm: ("I had a dream last night. It was a big poster of a mother and daughter. You know, like the cover of that ladies' magazine... only it was you and me, wearing exactly the same gown. It was an ad for Minsky, and the headline said: 'Madame Rose - and Her Daughter Gypsy!'")

'Mama Rose' - at Train Station ("Everything's Coming Up Roses")

"You Gotta Have A Gimmick"

Debut Stage Performance of "Gypsy Rose Lee" (Louise Hovick): "Let Me Entertain You"

Another of Louise's Stage Performances

Backstage Confrontation Between Louise and Mama Rose

Ending: Walking Off Arm in Arm

(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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