In The Name of the Father (1993, UK/Ire.)

In director Jim Sheridan's political docudrama and courtroom biopic about injustice -- the true story of four wrongly-accused, convicted and imprisoned Irishmen (for 15 years) for an October 5, 1974 IRA plot to bomb a Guildford pub (killing four off-duty British soldiers and a civilian and wounding many others), who were used by the government as scapegoats:

• the scene of the explosive terrorist bombing of the Guildford pub
• the scenes of imprisoned petty thief and ne'er-do-well Gerry Conlon (Daniel Day-Lewis), framed for the bombing along with his wrongly-imprisoned father Patrick "Giuseppe" Conlon (Pete Postlethwaite)
• the scene of agents threatening Gerry that they would shoot his father "Giuseppe" - in order to get him to confess - one agent whispered in his ear: "I'm gonna shoot your da....Little Bridie'll have no daddy. I'm gonna shoot Giuseppe" - Gerry rose up from his chair and attacked back, yelling: "He's threatening to shoot my da! He's threatening to kill my da!" as he was restrained and coerced to sign papers of confession: "He's not gonna harm your father. Come on, let it all out. Let it all out, all that hatred. You hate us, don't you, huh? You hate us enough to bomb and maim. That is the trouble. You let it all out. Come on....I can see it in your face. I can see all that hatred. So why don't you just let it off your chest, huh, before it starts to mess up with your mind, hmm?"; under duress, he signed a statement of guilt
• the sequence of Gerry learning from a priest that Giuseppe (in custody) passed away an hour earlier: ("Your father passed away an hour ago"); in honor of Giuseppe, the other prisoners lit pieces of paper and floated them down from outside their windows

Patrick "Giuseppe" Conlon (Pete Postlethwaite)	Gerry's Love For His Father "Giuseppe"	Burning Pieces of Paper Released

• the moment in the courtroom, when crusading defense lawyer Gareth Peirce (Emma Thompson) revealed that she had found a note attached to a file of police records for Gerry Conlon's alibi, reading: "Not to be shown to the Defence"
• the triumphant ending courtroom scene of the overturning of the verdict and the dismissal of charges against the prisoners, including Gerry Conlon - his exoneration and release, and his insistent pronouncement to exit from the front: "I'm a free man and I'm going out the front door..."
• Gerry's determination to continue the defense of the innocence of his father "Giuseppe" Conlon who had died in prison (and was incarcerated with six other Conlon relatives, known collectively as the Maguire Seven) as he told the courtroom crowds outside - the film's final words: ("I'm an innocent man. I spent 15 years in prison for somethin' I didn't do. I watched my father die in a British prison for somethin' he didn't do. And this government still says he's guilty. I want to tell them that until my father is proved innocent, until all the people involved in this case are proved innocent, until the guilty ones are brought to justice, I will fight on in the name of my father and of the truth!")

In Which We Serve (1942, UK)

In director David Lean's and Noel Coward's morale-boosting war-time drama (Lean's first directorial credit), "the story of a ship", told mostly in flashback:

• the words of British Captain E.V. Kinross (Noel Coward) to his crew of the British warship the HMS Torrin, as it was quickly commissioned into action in the summer of 1939: ("You all know that it's the custom of the service for the Captain to address the ship's company on Commissioning Day to give them his policy and tell them the ship's programme. Now, my policy's easy. And if there are any here who've served with me before, they'll know what it is....Well, there are enough old shipmates to tell the others what my policy's always been"); he elicited responses about what kind of ship he wanted the Torrin to be, and summarized: "A very happy and a very efficient ship. Some of you might think I'm a bit ambitious wanting both, but in my experience, you can't have one without the other. A ship can't be happy unless she's efficient, and she certainly won't be efficient unless she's happy" - and then he warned about their immediate deployment, not the customary three weeks: "As I see it, that means war next week. So I will give you not three weeks but exactly three days to get this ship ready to sail. None of us will turn in or take our clothes off or sling our hammocks for the next three days and nights till the job's finished. Then we'll send Hitler a telegram saying, 'The Torrin's ready. You can start your war'"
• the concluding sequence of the stalwart but depleted crew of the sunken warship the HMS Torrin, after they had abandoned ship and were left to die on a life-raft during the Battle of Crete in 1941; the ship's Captain E. V Kinross offered "three cheers for the ship" as it sank; but then many more of the survivors were killed by strafing from passing German planes
• the triumphant moment of the rescue of 90 remaining survivors by another British battleship
• the last address - a final, very emotional teary goodbye delivered by the ship's Captain in Alexandria, Egypt, to his crew: ("I have to say goodbye to the few of you who are left. We had so many talks, and this is our last. I've always tried to crack a joke or two before, and you've all been friendly and laughed at them. But today, I'm afraid I've run out of jokes; and I don't suppose any of us feels much like laughing. The Torrin has been in one scrap after another, but even when we've had men killed, the majority survived and brought the old ship back. Now, she lies in 1,500 fathoms. And with her, more than half our shipmates. If they had to die, what a grand way to go! For now they lie all together with the ship we loved and they're in very good company. We've lost her, but they're still with her. There may be less than half the Torrin left. But I feel that we'll all take up the battle with even stronger heart; each of us knows twice as much about fighting, and each of us has twice as good a reason to fight. You will all be sent to replace men who've been killed in other ships. And the next time you're in action, remember the Torrin. I should like to add that there isn't one of you that I wouldn't be proud and honoured to serve with again. Goodbye, good luck. And thank you all from the bottom of my heart..."); then he personally shook the hands of all crew members as they left

Farewell Address and Goodbye by Ship's Captain (Noel Coward) to Surviving Crew Members

• the Narrator's (Leslie Howard) final words, in voice-over, ending with a view of the British flag unfurled on another battleship, now commanded by Capt. Kinross who gave the command from the bridge for the firing of massive guns: "Open fire!": ("Here ends the story of a ship, but there will always be other ships, for we are an island race. Through all our centuries, the sea has ruled our destiny. There will always be other ships and men to sail in them. It is these men, in peace or war, to whom we owe so much. Above all victories, beyond all loss, in spite of changing values and a changing world, they give to us, their countrymen, eternal and indomitable pride...God bless our ships and all who sail in them")

An Inconvenient Truth (2006)

In the harrowing, fact-based Best Documentary Feature Academy Award winner about the threat of global warming:

• former Vice President Al Gore's (Himself) opening line: "I used to be the next President of the United States of America"
• his masterful use of slides, computer graphs and photos - a multimedia lecture that he had delivered hundreds of times, to illustrate the disastrous results of global warming
• his poignant recounting of the tragic lung-cancer death of his sister Nancy in their tobacco-growing Southern family - explaining how he wished that we could "connect the dots" more quickly

"Global Warming or: None Like It Hot"

• the short clip "Global Warming or: None Like It Hot" from the animated TV show Futurama, from an episode in which he guest-starred, about the effects of greenhouse gases
• his descriptions, illustrated by before-and-after photographs of the effects of global warming on various landmarks, such as the mountain peaks of Mt. Kilimanjaro, and on glaciers at the poles
• the famous scene in which he used a scissors-style fork lift to raise himself up on the right side of a mammoth graphic to examine annual temperature and the drastically high, rising rate of CO2 emissions levels for the past 650,000 years, measured by Antarctic ice core samples
• his ultimate conclusion: "This is really not a political issue so much as a moral issue"

The Incredible Shrinking Man (1957)

In director Jack Arnold's existential, allegorical science-fiction film about a shrunken, miniscule human being:

• the opening sequence of Robert Scott Carey's (Grant Williams) contaminating exposure to nuclear radiation/waste, when during a vacation off the California coast, his boat came into contact with a strange, misty white cloud above the water and covered his chest with white glittering particles
• his gradually shrinking as he lost weight and stature, compared to his wife Louise (Randy Stuart), and his voicing of his concerns to family physician Dr. Arthur Bramson (William Schallert), followed by numerous tests at the California Medical Research Institute by Dr. Thomas Silver (Raymond Bailey)
• the attack on Scott by his now-dangerous house cat Butch, and his hiding for refuge in a miniature doll house, before he was forced to flee to the basement
• the scene of Louise's fears that the cat ate Scott, with KIRL TV news broadcasting: "From Los Angeles today, a tragic story. The passing of Robert Scott Carey. The report of the death of the so-called Shrinking Man comes from his brother. Carey's death was the result of an attack by a common house cat -- a former pet in the Carey home. Carey was the victim of the most fantastic ailment in the annals of medicine. Thus ends the life of a man whose courage and will to survive lasted until the the very end. A man whose fantastic story was known to virtually every man, woman and child in the civilized world"
• now three inches in height, his retreat into the basement, where he unsuccessfully attempted to snatch a piece of stale cheese from a giant mousetrap; and then his near-drowning (now 3 inches in height) when trapped in the flooded basement due to a busted, leaking water heater
• his deadly battle with a giant spider, with a close-up of its voracious mouth, when he was finally able to impale the threatening creature and kill it

Deadly Encounters
Scary House-Cat Attack	Approaching Spider

• his memorable, concluding enlightened philosophical speech about being infinitesimal (now about one inch in height), as he stood before an enlarged window vent screen: ("I was continuing to shrink, to become... what? The infinitesimal? What was I? Still a human being? Or was I the man of the future? If there were other bursts of radiation, other clouds drifting across seas and continents, would other beings follow me into this vast new world? So close - the infinitesimal and the infinite. But suddenly, I knew they were really the two ends of the same concept. The unbelievably small and the unbelievably vast eventually meet - like the closing of a gigantic circle. I looked up, as if somehow I would grasp the heavens. The universe, worlds beyond number, God's silver tapestry spread across the night. And in that moment, I knew the answer to the riddle of the infinite. I had thought in terms of Man's own limited dimension. I had presumed upon nature that existence begins and ends is man's conception, not nature's. And I felt my body dwindling, melting, becoming nothing. My fears melted away and in their place came acceptance. All this vast majesty of creation, it had to mean something. And then I meant something, too. Yes, smaller than the smallest, I meant something, too. To God, there is no zero. I STILL EXIST!")

The Incredibles (2004)

In Pixar's Oscar-winning CGI animated film written and directed by Brad Bird, with the storyline premise of super-heroes being forced by the government into retirement and living out their quiet and private lives as a suburban family in a protection program:

• the opening description of the exploits and demise of superheroes (or "Supers") - including Mr. Incredible - who had all fallen from grace due to the collateral damage they had caused, highlighted by newspaper headlines that described the revolt against them: ("$UPER DAMAGE$", "DYNAGUY SUED," and "GOVERNMENT HIDES HEROES") - the Incredibles were part of the government's effort to hide their identities as superheroes (the Superhero Relocation Program), force them to retire from public life, and take on new personas as a suburban family in Metroville
• Bob Parr's remembrance of various exploits of his past illustrated in magazine covers and articles (posted on his study wall), and his moonlighting as a vigilante with his buddy-best friend, the ice-themed Frozone/Lucius Best (voice of Samuel L. Jackson); the humorous scene of Frozone/Lucius Best calling out to his off-screen wife Honey (Kimberly Adair Clark): "Where's my Super-Suit?...The public is in danger...We are talking about the greater good!"

Overweight Bob Parr (formerly Mr. Incredible) in Suburban Dead-End Job	Display of Magazine Covers	Bob Parr Remembering Past Exploits

• the family's characters fifteen years later: superstrong, red-suited and slobbish Mr. Incredible/Bob Parr (voice of Craig T. Nelson) and his stretchy, feminist-minded wife ElastiGirl/Helen Parr (voice of Holly Hunter) with three children, including the speedy Dash (voice of Spencer Fox), the shy, invisible, force-field making teen Violet (voice of Sarah Vowell), and baby Jack-Jack
• the scene of Bob's angry outburst directed at his work supervisor, causing injury and the loss of his mundane office job
• his life-changing revelation - the reception of a video-tablet message from Mirage (voice of Elizabeth Peña) ("We have a new assignment for you"), that he must return to crime-fighting as Mr. Incredible
• the kinetic action sequence in which Mr. Incredible battled an out-of-control, savage tripod-like robot called the Omnidroid on the remote tropical jungle island of Nomanisan, and tricked it into ripping out its own power source
• the role of sassy super-hero costume fashion-designer Edna Mode (voice of Brad Bird) who created an indestructible outfit for the entire family of Incredibles superheroes

Lucius Best/Frozone: "Honey? Where's my Super-Suit?"	Fashionista Designer Edna Mode	Transformed Arch-Nemesis Syndrome ("You sly dog, you got me monologuing")

• the character of Buddy Pine - originally Mr. Incredible's number one super-fan - who later adopted the new name of Syndrome (voice of Jason Lee) ("My name is not Buddy! I'm Syndrome, your nemesis...") when he became an extremely-irritating arch-nemesis, because of Mr. Incredible's earlier brush-off and rejection (Mr. Incredible: "Fly home, Buddy, I work alone")
• the scene of Syndrome's imprisonment of the entire family of Incredibles on the island, before they were able to escape, to follow Syndrome to Metroville, where Syndrome had transported his much-improved Omnidroid robot in a rocket, to destroy the city and Mr. Incredible forever
• the revelation of baby Jack-Jack's shape-shifting powers when the vengeful Syndrome tried to kidnap him (with future plans to raise him as his own sidekick), resulting in Syndrome's death when he (and his cape) were sucked into his own plane's turbine engine
• in the concluding epilogue, three months later, the arrival of a new villain named The Underminer (voice of John Ratzenberger), and the revival of the Incredibles Family to combat the new threat

The Ending
Three Months Later	The Underminer	The Newly-Masked Family

Independence Day (1996)

In Roland Emmerich's epic sci-fi blockbuster disaster film about an alien invasion - with great special effects:

• the ominous words: "Time's up!", issued by MIT-educated computer expert David Levinson (Jeff Goldblum), on an evacuating Air Force One with the US President, that a coordinated attack by alien ships would commence shortly, with widespread panic, chaos, and destruction in US metropolitan areas
• the unleashing of global destruction - with the incredible image of huge spaceships and alien vessels zapping and destroying major cities (i.e., New York and LA) with their firepower across the globe - causing the instantaneous elimination of skyscrapers, the tossing of vehicles, and great loss of life and property
• an alien ship's destruction of the White House in DC

Global Destruction		White House

• the scene of hot-shot Marine pilot Captain Steven Hiller (Will Smith) parachuting to the ground in Arizona near the Grand Canyon after successfully downing an alien spacecraft; as he approached the crash-landed ship, he taunted: ("That's what you'll get! Ha-ha! Look at you! Ship all banged up! Who's the man?! Huh? Who's the man?! Wait till I get another plane! I'm linin' all your friends up, right beside you! Where you at? Huh? Where you at?"); then he opened up the hatch and swiftly punched out the tentacled, monstrous injured alien pilot with the retort: ("Welcome to Earth!"); then he offered a one-liner as he began to smoke a congratulatory cigar for himself: "Now that's what I call a close encounter"
• the sequence of President Thomas J. Whitmore's (Bill Pullman) psychic communication with the injured alien in Area 51 ("I know there is much we can learn from each other if we can negotiate a truce. We can find a way to coexist. Can there be a peace between us?") - and its dismaying message (conveyed telepathically through the vocal cords of Dr. Brackish Okun (Brent Spiner), one of the scientists: ("No peace...Die! Die!"); after blasting the alien with gunfire, Whitmore described the painful vision that he had - and his solution to the threat: ("I saw his thoughts. I saw what they're planning to do. They're like locusts. They're moving from planet to planet. Their whole civilization. After they've consumed every natural resource, they move on. And we're next -- Nuke 'em! Let's nuke the bastards!")
• the President's rousing speech to US fighter pilot crews before the final attack on the aliens: ("Good morning. In less than an hour, aircraft from here will join others from around the world. And you will be launching the largest aerial battle in the history of mankind. Mankind - that word should have new meaning for all of us today. We can't be consumed by our petty differences anymore. We will be united in our common interests. Perhaps it's fate that today is the 4th of July, and you will once again be fighting for our freedom. Not from tyranny, oppression, or persecution, but from annihilation. We're fighting for our right to live, to exist. And should we win the day, the 4th of July will no longer be known as an American holiday, but as the day when the world declared in one voice: 'We will not go quietly into the night!' 'We will not vanish without a fight!' 'We're going to live on!' 'We're going to survive!' Today we celebrate our Independence Day!" (Cheers))
• the sequence of the self-sacrifice of fighter pilot Russell Casse (Randy Quaid) who gave his life to defeat the alien threat: ("I told you I wouldn't let you down! Just keep those guys off me for a few more seconds, will ya?"); when his missile malfunctioned, he decided the only way remaining was to fly his nuclear bomb and virus-laden jet plane directly into the weapon port of the alien mothership; he told the command center before detonation: ("Do me a favor. Tell my children I love them very much. All right, you alien assholes! In the words of my generation, up yours!...(to the aliens) Hello boys! I'm back!") - the ultimate successful strategy used to save humankind

The Tiger of Eschnapur (1959, W.Germ/Fr./It.) (aka Der Tiger von Eschnapur)
and
The Indian Tomb (1959, W. Germ./Fr./It.) (aka Das Indische Grabmal)

In director Fritz Lang's Technicolored romantic adventure drama - a two-part Indian epic, composed of The Tiger of Eschnapur (1959, W.Germ./Fr./It.) (aka Der Tiger von Eschnapur) and The Indian Tomb (1959, W. Germ/Fr./It.) (aka Das Indische Grabmal) - both were edited into American-International's 92-minute Journey to the Lost City (1960) for its US release - a comic-bookish precursor to the Indiana Jones franchise:

[Note: Screenshots for the two lengthy dance sequences were derived from the original films, not the 1960 compilation. The dance scenes in the 1960 compilation were heavily edited and censored by the Hays Office.]

In both films, the star performer was Seetha (Debra Paget), a beautiful, half-white (Irish) handmaiden and sacred temple dancer - the love-object of two competing males in the mystical province of Eschnapur:

1. Harold Berger (Paul Hubschmid), a German architect who was in the town to build schools, hospitals, a temple and a dam
2. Maharaja Chandra (Walther Reyer), the local wicked, tyrannical, and aristocratic ruler. At the same time, the Maharaja's scheming, treacherous brother Prince Ramigani (René Deltgen) was conspiring to steal the ruler's throne.

In the story, Maharaja Chandra had hired Harold's brother-in-law Dr. Walter Rhode (Claus Holm) to build a giant tomb for Seetha, who had run off with Harold in the first film. In the second film, Chandra's dastardly plan was to bury Seetha alive in the tomb on the night of her wedding!

There were two remarkable dance sequences (shown below and in right panel) performed by Seetha - one in each film:

• in the first film (see below), Seetha descended stairs, wearing a gold headdress, bangles, and a gold-colored dance costume that bared her belly. She performed a ritualistic dance in front of sacred priests and the giant stone statue of the goddess Shiva with voluminous breasts. At one point, she writhed her body in the huge outstretched right hand palm of the statue.

The Tiger of Eschnapur (1959, W.Germ/Fr./It.) First Film Dance Sequence

• in the second film (see right panel), Seetha performed a second time - a sexy, mesmerizing, sinuous, near-naked (stripteasing), exotic temple dance (in a three-piece, glued-on, strategically-placed, scanty jewel-encrusted white bikini) to prove her innocence before temple priests in a cave - again directly in front of Shiva - the enormous, half-naked stone temple goddess; the snake dance began when Seetha moved her hands from inside her blue robe, in front of a gigantic hooded cobra (obviously fake) - pretending them to be snake heads, with two green rings (snake eyes) on each of her hands; after discarding her robe, she attempted to provocatively charm the ropy, long phallic-shaped creature with her entrancing dance; at the conclusion of her dance, she tripped and before being bitten by the disapproving cobra, Chandra stepped in and crushed the snake

Indiana Jones and the Kingdom of the Crystal Skull (2008)

In the fourth entry in the action-sci-fi-adventure series, directed by Steven Spielberg - again following the exploits of globe-trotting archaeologist Indiana Jones (Harrison Ford):

• the exciting opening sequence of the kidnapped Indy, fighting off enemy Soviet agents and successfully escaping on a rocket sled from Warehouse 51, a military storage facility in the Nevada desert, propelling him through a tunnel to the outside
• the moment that adventurous archeologist Indiana Jones realized that he was in the middle of a mock-model home-community populated with plastic dummies, during secret nuclear bomb testing in the Nevada desert in the late 50s, when he heard a warning: ("All personnel, it is now one minute to zero time. Put on goggles or turn away. Do not remove goggles or face burst until 10 seconds after first light"); as he heard the countdown, he rushed to escape by hiding inside a lead-lined refrigerator
• the impact of the nuclear blast, sending Indy inside the refrigerator a long distance from the target, and the awe-inspiring sight of him silhouetted against the image of the nuclear explosion
• the sequence of 'greaser' "Mutt" Williams (Shia LaBeouf) and Indiana fleeing on a motorcycle from a 50s style diner, pursued by two KGB agents in the streets of the town during an anti-Red student rally where Indiana taught at Marshall College, and into the college campus and the school's library
• the two shocking revelations: (1) in Peru when the Russians revealed Mutt's mother was Indiana's old girlfriend/lover Marion Ravenwood (Karen Allen) - ("Marion Ravenwood is your mother?") - and then a second revelation (2), when both were caught in quicksand, that Mutt's real-name was Henry Jones III - Mutt was his own biological son! ("His name is Henry!...He's your son...Henry Jones the Third")
• the spectacular chase sequence of "Mutt" in a sword duel with villainous Russian-KGB operative Dr. Irina Spalko (Cate Blanchett), while both were atop Jeeps racing side-by-side through the jungle, as everyone struggled to get possession of the crystal skull in a burlap bag
• the demise of Russian Colonel Antonin Dovchenko (Igor Jijikine) - devoured in a mound of giant flesh-eating siafu ants; at first, an army of giant swarming, man-eating siafu ants covered the body of Dovchenko, then dragged his body toward their massive anthill and stuffed him into the hole head-first to be further devoured

Demise of Dovchenko

• the exciting conclusion in the Mayan temple's inner chamber where 13 aliens ("inter-dimensional beings") with crystal skeletons (arranged in a circle) were seated (one was missing its skull); there, lead psychic Dr. Spalko and her henchmen entered with the retrieved telepathic crystal skull, that was restored back onto the spinal cord of one of the aliens; Indy sensed danger: "I've got a bad feeling about this!"

The One Missing Crystal Skull Taken From One of the 13 Alien Beings Was Restored Back Onto The Spinal Cord of One of the Aliens		Alien Figure - One of the Extra-Dimensional "Archaeologists"

• the stunning sequence of Dr. Irina Spalko's insistent demand to have knowledge: ("Tell me everything you know. I want to know everything. I want to know...I want to know. I want to know. Tell me. I'm ready. I want to know. I can see!") - followed by her death from an overwhelming overload of knowledge, when her eyes and brain ignited and exploded, and her body disintegrated into pieces as it was absorbed into the portal that opened up around her

The Death of Dr. Spalko
"I want to know"	Igniting of Her Brain and Eye Sockets

• the subsequent sequence of Dr. Spalko's remains and those of other henchmen taken up into a spinning vortex - sucking them into a giant spaceship (in another dimension?) above them
• after Indy and his friends escaped from the crumbling temple, they viewed the temple from afar as it collapsed
• the whirling, spinning flying saucer created a vortex in its ascension, and the valley floor was afterwards covered over by Amazonian waters

Indiana Jones and the Last Crusade (1989)

In Steven Spielberg's third action-adventure film in the series franchise - about the late 1930s search for the authentic Holy Grail, in competition with the Nazis, to attain its life giving properties:

• the amazing stuntwork during the "Young Indiana Jones" prologue sequence (with River Phoenix playing a teenaged Indiana Jones as a Boy Scout, and showing early antecedents in 1912 of his first use of a whip - the reason for his chin scar, his fedora, his phobia about snakes, etc.), in which Indy fought throughout a passing circus train against treasure-hunting cave robbers who had acquired the famed Cross of Coronado, a gold crucifix
• the exciting speed-boat chase scene in Venice in the late 1930s, with grown-up Indiana Jones (Harrison Ford) and his father's flirtatious, sultry blonde Austrian art professor/colleague, Dr. Elsa Schneider (Alison Doody), fleeing from machine-gun fire delivered by a secret society - members of the Brotherhood of the Cruciform Sword, who thought he was looking for the Holy Grail (the ancient cup used by Jesus at the Last Supper); Indy claimed otherwise: ("I didn't come for the Cup of Christ. I came to find my father")
• the rat-infested catacombs and sewers under Venice
• Indy's suspicions about Dr. Schneider - who was actually secretly working undercover with the Nazi sympathizer, leader and art collector Walter Donovan (Julian Glover); he angrily told her: "Since I met you, I've nearly been incinerated, drowned, shot at, and chopped into fish bait. We're caught in the middle of something sinister here. My guess is Dad found out more than he was looking for. And until I'm sure, I'm gonna continue to do things the way I think they should be done"; during their subsequent and memorable kissing scene, he forcefully kissed her, and she exploded back at him: "How dare you kiss me!" but grabbed his head and aggressively lip-locked with him; when he finally came up for air, Indy threatened: "Leave me alone. I don't like fast women," although they continued their passionate kissing as she bit his ear and replied: "And I hate arrogant men!"; they sank down to have sex, presumably, as Indy sighed: "Ah, Venice!"

Kissing Sequence

• the amusing and witty repartee between Indy and his father Dr. Henry Jones (Sean Connery), a professor of antiquity - including such lines as: "We named the dog Indiana," and Indy's retort to his dad: "Don't call me Junior"
• the scene of Indy and his father tied up and about to be consumed by fire in Castle Brunwald (a secret base for the Nazis) on the German-Austrian border, and their successful escape, although chased by a fleet of Nazis on motorcycles
• the many chase sequences (with a train, zeppelin, boat, airplane - through a tunnel!, motorcycle, etc.)

Indy Tied Up with Father Henry Jones (Sean Connery)	Motorcycle Pursuit

• the moment that Indy (disguised as a Third Reich officer) accidentally came face-to-face in a crowd of Nazis at a Berlin book-burning rally, with Hitler (Michael Sheard) himself - and Indy surprisingly had Henry's Grail diary autographed by the Fuhrer
• the scene onboard a Zeppelin in which Indy disguised himself as a white-coated ticker-taker, and punched out brutal SS Colonel Vogel (Michael Byrne) in pursuit - and then told the other astonished passengers: "No ticket!"
• their search for the Holy Grail and combat against the Nazis, including the scene-stealing moment when Indy's father chased a flock of white seagulls along a beach shoreline with his opening/closing umbrella as an unlikely weapon - and the technique inadvertently caused a strafing Luftwaffe enemy Nazi plane to be blinded and crash
• the sequence of Indy's major battle atop a giant Nazi armored tank commandeered by Nazi Colonel Vogel, and the astonished words of Henry when the tank carrying Indy went over a steep cliff edge (taking Vogel to his death) and he believed his son was dead: "Oh, God. I've lost him" - but Indiana had survived and showed up, peering over the edge with everyone else

Indy's Struggle Atop Nazi Tank
	"Oh, God. I've lost him!"

• the final, supernatural showdown in the Middle Eastern Canyon of the Crescent Moon where the Jones' had to encounter and evade three booby traps before they could find the sacred cup
• the climactic scene in which Nazi sympathizer Walter Donovan was tricked by Dr. Elsa Schneider, already revealed as an undercover Nazi agent, into drinking from a false Holy Grail (a solid gold, emerald-encrusted goblet); he drank and then realized something was wrong ("What is happening to me?"); afterwards, his hair suddenly sprouted, and he quickly perished from immediate decomposition when his body aged rapidly; his skeletal remains shattered and disintegrated into dus
• the guardian Grail Knight (Robert Eddison) made a calm observation: "He chose... poorly"
• after Donovan died, Elsa told Indy: "It would not be made out of gold" as he selected a different chalice - a simple, worn, earthen-ware cup of a humble carpenter; Indy drank from it and was told by the Knight: "You have chosen wisely"

Indiscreet (1958, UK)

In director Stanley Donen's sophisticated romantic comedy, about the flirtations between an unhappily-married financier and a single, middle-aged stage actress:

• the split-screen telephone conversation (pre-dating the Doris Day/Rock Hudson Pillow Talk (1959) by almost a year) in different hotel rooms between avowed, good-looking international financier Philip Adams (Cary Grant) - unhappily married and separated from his estranged wife and unable to get a divorce - and rich, successful, middle-aged London theatrical stage actress Anna Kalman (Ingrid Bergman)
• over a game of pool, the scene of Philip explaining to Anna's brother-in-law Alfred Munson (Cecil Parker) his rationale for pretending that he was a married man (but was not), to purportedly make himself more of a "challenge" for some women because he would then be regarded as unavailable - a unique form of chivalry: ("Let's just take a, well, a usual case. A man meets a woman. He's attracted to her. He courts her. They're old enough, and she, uh, favors him. Eventually she'd like to get married. He then says I am not the marrying kind. Do you admire such a man?...Well, I, too, don't care to be married. On the other hand, I don't care to give up women....Now, since I have no intention of getting married, I feel honor-bound to declare myself in the beginning...Certainly before the favors. That's where the honor comes in. Now, how do I declare myself? By saying I will never marry? What woman really believes that? If anything, it's a challenge to them....Well, I say I am married. I'm married, and I can't get a divorce. Now our position is clear. There can't be any misunderstanding later...Well, it is reasonable"); but then, Philip added that he also felt true love for Anna: ("And whether you believe it or not, I love Anna. I love Anna as I've never loved before. But I wouldn't marry any woman if you held a gun to my head")
• the scene of Anna's expression of anger and humiliation to Alfred and his wife Margaret (Phyllis Calvert) (Anna's sister) at being deceived about Philip's marital status - the film's main plot twist: ("I was down on my knees asking his forgiveness because I asked him to marry me. On my knees! How dare he make love to me and not be a married man!"); she slammed the door shut to her bedroom and threw her perfume bottle through her mirror (off-screen)
• Alfred's remark about the irony of the revelation: ("It's all very strange. It was perfectly all right when he was married, when you'd think that it wouldn't be. And now that we know that he's single, when it should be all right, if you know what I mean, well, it isn't. Do you follow me?")
• the film's final consoling lines by Philip to a vengeful and tearful Anna after he had proposed to her, but she had decided that she wanted to remain 'unmarried' to him ("I mean we'll go on as before") - she didn't believe they were fated for marriage; however, because he was so emotionally shocked at her decision, he was able to get her to change her mind: ("That's the most improper thing I've ever heard.... I can hardly believe my ears....I didn't think you were capable of it....We're not married....But you didn't know I wasn't married.... I knew you didn't know. What's the matter with you? How could you ask me to do such a thing? Haven't you been following what I've been saying? Oh, I tell you, women are not the sensitive sex. That's one of the great delusions of literature. Men are the true romanticists....Don't cry, Anna, I-I love you. Everything will be all right. You'll like being married. You will. You'll see. Yes")

The Informer (1935)

In director John Ford's and RKO's political drama about the consequences of a Judas-like betrayal in the early 1920s:

• the opening title credits quote: "Then Judas repented himself - and cast down the thirty pieces of silver - and departed"
• the dialogue-free scene of Gypo Nolan (Oscar-winning Victor McLaglen), a former Irish Republican Army (IRA) member, who read a "wanted" poster promising a reward of 20 pounds for the apprehension of current IRA member Frankie McPhillip (Wallace Ford) (allegedly accused of murder) to the fearsome 'Black and Tans'; after he tore down the poster and crumpled it up, it blew toward him and clung to his leg as he walked away - foreshadowing his traitorous betrayal of his best friend

Wanted Poster	Poster Clinging to Gypo's Leg

• the next tense atmospheric scene of shadowed, fog-filled Irish streets in Dublin, when Gypo Nolan defended his distraught girlfriend-prostitute Katie Madden (Margot Grahame) from being forced to sell herself to a rich client; he tossed the man aside, then listened as she voiced her frustrations about being poor; she begged him to help her (they were standing in front of an advertisement for 10 pound tickets for passage to America): "Gypo! Ah, Gypo, what's the use? I'm hungry, and I can't pay my room rent. Have you the price of a flop on ya? No. Oh, what's the use? Don't look at me like that, Gypo. You're all I got. You're the only one. You know that. But what chance have we to escape? Money. Some people have all the luck. Look at that thing, handing us the ha-ha. Ten pounds to America. Twenty pounds and the world is ours...Twenty pounds, might as well be a million...Saint Gypo. Too good for me, eh? Well, let me tell you something. You're no better than any other man. You're all alike" - before she marched off; he was therefore motivated to help realize their goals of escaping from their lives of desperation by acquiring the reward
• the incredible scene of British authorities breaking down the front door of the McPhillip's residence, where Frankie attempted to shoot back and defend himself from the staircase, but when he attempted to flee from a rear two-story window, he was machine-gunned to death; his shocked mother Mrs. McPhillip (Una O'Connor) screamed and sank to her knees at the foot of the stairs; Gypo was paid off with 20 pounds when news of McPhillip's death reached the British Headquarters; he was coldly advised: "20 pounds. You'd better count it. Show him out the back way"

Frankie McPhillip's Death

• the scene of Frankie's wake, when the coins (from the reward) fell to the floor from Gypo's pocket, and some of the members of the IRA became suspicious of him
• the scene of drunken Gypo's examination by the IRA 'kangaroo court' and his eventual confession and admission that he had 'informed' on Frankie - Gypo repeatedly claimed that he didn't know what he was doing: ("I'm all mixed up. I don't know what I'm doing. I'm drunk....I don't know what I'm doing, that's all...I didn't know what I was doing. Do you see what I mean?...Isn't there a man here that can tell me why I did it?")
• in the dramatic climax - Gypo who had escaped from jail, but was mortally-wounded by the rebels, stumbled into a nearby church where he pleaded for forgiveness from the dead man's mother Mrs. McPhillip who was praying and sitting in the front pew: ("Twas I informed on your son, Mrs. McPhillip. Forgive me"; he was told: ("Aye, Gypo, I forgive ya. You didn't know what you were doin'. You didn't know what you were doin'"); and then with his arms outstretched and facing a life-sized crucifix, Gypo cried out: ("Frankie! Frankie! Your mother forgives me") and fell dead at the front of the church

Inglourious Basterds (2009)

In Quentin Tarantino's WWII war-time revenge fantasy about the end of the Third Reich:

• the farmhouse scene in which SS Colonel Hans Landa (Christoph Waltz), with the unofficial title "The Jew Hunter," spoke to pipe-smoking French dairy farmer Perrier LaPadite (Denis Menochet) about his goal of searching for Jews, suspecting that the farmer was sheltering enemies of the state by hiding the Jewish Dreyfus family somewhere on his property: ("...a German soldier conducts a search of a house suspected of hiding Jews. Where does the hawk look? He looks in the barn, he looks in the attic, he looks in the cellar, he looks everywhere he would hide, but there's so many places it would never occur to a hawk to hide. However, the reason the Führer's brought me off my Alps in Austria and placed me in French cow country today is because it does occur to me. Because I'm aware what tremendous feats human beings are capable of once they abandon dignity")

Inherit the Wind (1960)

In director Stanley Kramer's great courtroom drama - based upon the true-to-life case of evolutionary science vs. religion in the historic Scopes Monkey Trial of 1925 in Dayton, Tennessee:

• the opening scene of the arrest of Hillsboro high school biology teacher Bertram Cates (Dick York), who deliberately tested a state criminal statute that forbade the teaching of Darwin's theory of evolution in public schools; as he began his science lesson in the classroom: ("We will continue our discussion of Darwin's theory of the descent of man. Now, as I told you yesterday, Darwin's theory tells us that man evolved from a lower order of animals, from the first wiggly protozoa here in the sea to the ape and finally to man"), he was "charged with violation of Public Act 31428, Volume 37, Statute No. 31428 of the state code, which makes it unlawful for any teacher of the public schools to teach any theory that denies the creation of man as taught in the Bible, and to teach instead that man has descended from the lower order of animals"
• the montage of sensational newspaper headlines from around the country: "TEACHER JAILED IN TEST OF EVOLUTION LAW," "ARE WE MEN OR MONKEYS?", "HEAVENLY HILLSBORO: A RETURN TO MIDDLE AGES," and "MONKEY TRIAL IN HILLSBORO"
• the reenactment of the infamous "Monkey Trial" reenactment, with two unforgettable lawyers upstaging each other in the sweltering hot town of Hillsboro - notorious atheist Henry Drummond (Spencer Tracy) (portraying Clarence Darrow) and three-time Presidential candidate and fundamentalist Matthew Brady (Fredric March) (portraying William Jennings Bryan); Brady prosecuted the case, while Drummond defended the science teacher
• cynical and sarcastic newspaper reporter E.K. Hornbeck (Gene Kelly) (portraying H.L. Mencken) of the Baltimore Herald whipped up media hoopla and hysterical frenzy between the opposing forces
• the scene of Drummond excusing a personally-biased juror Jessie H. Dunlap (Ray Teal), who stated he believed in the Bible and "I believe in Matthew Harrison Brady" - under pressure, Drummond agreed to ask the juror only one question - a simple "How are ya?" - and then pronounced that the man was excused
• during the trial proceedings, Drummond became frustrated by fanaticism and ignorance and delivered a passionate plea against censorship: "Can't you understand that if you take a law like evolution and you make it a crime to teach it in the public schools, tomorrow you can make it a crime to teach it in the private schools, and tomorrow you may make it a crime to read about it and soon you may ban books and newspapers, and then you may turn Catholic against Protestant and Protestant against Protestant and try to foist your own religion upon the mind of man! If you can do one, you can do the other! Because fanaticism and ignorance is forever busy and needs feeding. And soon, your honor, with banners flying and with drums beating, we'll be marching backward! Backward! Through the glorious ages of that 16th century when bigots burned the man who dared bring enlightenment and intelligence to the human mind"
• after being cited with "contempt of court," Drummond decided to summon Brady to the stand to interrogate him about his literal interpretations of the Bible; immediately, Drummond learned that Brady had not read Darwin's book and then stated: "Then how in perdition have you got the gall to whoop up this holy war about something that you don't know anything about. How can you be so cocksure that the body of scientific knowledge systematized in the writings of Charles Darwin is in any way irreconcilable with the Book of Genesis?"
• during Brady's testimony on the stand, Drummond also questioned the scientific authority of the Bible: ("The Bible is a book. It's a good book. But it is not the only book....How do you know that God didn't spake to Charles Darwin? ...So, you, Matthew Harrison Brady, through oratory or legislature or whatever, you pass on God's orders to the rest of the world! Well, meet the Prophet from Nebraska! Is that the way of things?! Is that the way of things?! God tells Brady what is good! To be against Brady is to be against God!")
• through intense questioning, the dramatic moment that Matthew Brady was forced to exasperatingly admit that the Bible could be interpreted non-literally - as he lost his composure and broke down: ("All of you know -- what I said was -- what I believe -- I believe in the truth of the book of Genesis! Exodus! Leviticus! Numbers! Deuteronomy! Joshua! Judges! Ruth! 1st Samuel! 2nd Samuel! 1st Kings! 2nd Kings! Isaiah! Jeremiah! Lamentations! Ezekiel --")
• in his home with his wife Sarah (Florence Eldridge), Brady broke down and became hysterical when he realized he was losing the case, and he vowed to make the people understand him: "Where's my speech I must have it! I'll make them understand!...It isn't just this case. It's God himself that's on trial. They'll, they'll have to listen to me. They will listen to me"
• the scene of the trial's decision: the conservative jury convicted Cates, but the Judge (Henry Morgan) (to avoid further controversy) fined Cates only $100

Sentencing of Bertram Cates	Death of Matthew Brady in Courtroom

• as Brady gave one final religious defense while everyone dispersed, he had a stroke in the courtroom, collapsed and died on the floor - seen in an overhead view under an overhead fan
• the concluding scene after Brady's death, of debate between Drummond and atheistic reporter E.K. Hornbeck; after Hornbeck accused Drummond of hypocritically believing in God: ("Wh-why, you hypocrite. Y- you fraud. The atheist who believes in God. Aah, you're just as religious as he was"), the lawyer denounced the reporter for believing in nothing: ("You have no meaning. You're like a ghost pointing an empty sleeve and smirking at everything that people feel or want or struggle for. I pity you...Isn't there anything, what touches you, what warms you?...When you go to your grave, there won't be anybody to pull the grass up over your head, nobody to mourn you, nobody to give a damn. You're all alone"); as Hornbeck left the courtroom, he spoke the film's final words: "You're wrong, Henry. You'll be there. You're the type. Who else would defend my right to be lonely?"
• in the final scene in the courtroom, Drummond (now alone) glanced at copies of Darwin's book and the Bible on the bench - he held up Darwin's volume of On the Origin of Species in one hand, and the Bible in his other hand - thoughtfully weighing them and balancing them against each other in the air; then, with a half-smile and shrug, he clapped them against each other, and then carried them together in one arm as he exited the courtroom, while an acappella voice (of Leslie Uggams) sang the stirring The Battle Hymn of the Republic

The Innocents (1961, UK)

In Jack Clayton's scary, supernatural horror-melodrama with a co-adapted script (by Truman Capote) of Henry James' classic The Turn of the Screw, about a governess who feared spirit possession in children she cared for, and believed in the presence of haunting ghosts - with repeated images/sounds of death and decay:

• the character of sexually-repressed and slightly-deranged Victorian governess Miss Giddens (Deborah Kerr), employed at Bly House - a gothic, bleak English country estate, employed by wealthy mansion owner and bachelor known as the Uncle (Michael Redgrave), to care for two young and strange, slightly-corrupted children: his orphaned, 'ghostly,' seemingly 'innocent' nephew Miles (Martin Stephens), and his niece Flora (Pamela Franklin)

Governess Miss Giddens (Deborah Kerr)

• the film's atmospheric opening with the Uncle's words: "Do you have an imagination?"
• the first passionate on-the-lips kiss between Miss Giddens and young Miles - it came after she escorted him to bed; she was horrified that Miles was keeping a pigeon with a broken neck under his pillow ("Yes, poor thing, I'll bury it tomorrow"); and then he suddenly sat up and put his arms around her neck, asking: "Kiss me Goodnight, Miss Giddens"
• the 'ghostly' ethereal appearances of a mysterious man and woman (identified as Quint and Miss Jessel by the housekeeper Mrs. Grose (Megs Jenkins)) seen by Miss Giddens - the two deceased individuals had reportedly carried on a perverse relationship and were suspected of 'haunting' the estate as apparitions; Miss Giddens believed that Miles was "possessed" - or the possible reincarnation of the previous drowned governess Miss Jessel (Clytie Jessop) and her violently-murdered Irish groom and estate's valet Peter Quint (Peter Wyngarde)
• the scene of Miles' eerie recitation of a poem, beginning: "What shall I sing to my lord from my window?..."
• the frenzied concluding sequence in a hot and humid greenhouse, when Miss Giddens saw another apparition of Quint reflected in a window, but Miles denied her assertions, screamed at her, and accused her of being mad: ("You don't fool me. I know why you keep on and on. It's because you're afraid. You're afraid you might be mad. So you keep on and on, trying to make me admit something that isn't true. Trying to frighten me the way you frightened Flora....But I'm not Flora. I'm no baby. You think you can run to my uncle with a lot of lies. But he won't believe you, not when I tell him what you are - a damned hussy, a damned dirty-minded hag! You never fooled us. We always knew") - accompanied by his cackling laugh (Quint also laughed at her)
• and then in the garden where Miles had fled after smashing the window, Miss Giddens grabbed him when he stumbled to the ground, hugged him and tried to reassure him: ("Oh, it wasn't you. That voice, those words, they weren't yours"); she begged him to admit that the ghost of the dead Quint existed and was present there with them, and then shook him: ("Say it now, now while I'm holding you. Say his name, and it will all be over...The man who taught you. The man you've been meeting, that you've never stopped meeting")
• Miles yelled back at her and ran off, while screaming at her: "You're wrong, you're insane, you're insane...you're insane, you're insane...He's dead!"; she pursued and kept insisting: "His name, Miles. His name, Miles...Tell me his name! You must tell me his name!...Look...look! Look!...He's here! For the last time, he's here...he's here, and you must say his name!"
• Miles screamed out about possibly having seen the ghost that she was warning him about (the hand of one of the statuesque figures in the garden moved): "Quint! Peter Quint! Where? Where? Where? Where, you devil? Where?" - and then collapsed lifeless to the ground at her feet

"You must say his name!"	The Hand of a Garden Statue Moved	"Where you devil, where?"

• the ending - Miss Giddens ran to Miles's side after he fell to the ground and cradled his fainting body in her arms, to assure him and believing that he was finally freed from Quint: ("He's gone, Miles. You're safe. You're free. I have you. He's lost you forever"); but then she realized that he had died: ("Miles? Miles! Miles! Oh! Oh, no."); sobbing, she leaned over and kissed him