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Title Screen
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Movie Title/Year and Scene
Descriptions |
Screenshots
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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
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Patrick "Giuseppe" Conlon (Pete Postlethwaite)
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Gerry's Love For His Father "Giuseppe"
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Burning Pieces of Paper Released
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- 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!")
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Terrorist Bombing
Framed Gerry Conlon
Threatening Words
Whispered to Gerry: "I'm gonna shoot your da"
Note Found in File: "Not to be shown to the Defence"
Triumphant Release of Gerry
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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
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- 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")
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1939 Address of Captain to HMS Torrin Crew
Disastrous Battle of Crete: 1941
A Final "Three Cheers for the Ship" - As the Torrin Sank
Rescue of Survivors on Rafts
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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
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"Global Warming or: None Like It Hot"
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- 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"
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Al Gore: "I used to be the next President of the United States of America"
Use of Slides and Graphics
Recounting of Sister's Death
Effects of Global Warming
Use of Fork Lift to Show Mammoth Graphic
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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
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Scary House-Cat Attack
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Approaching Spider
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- 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!")
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Exposure to Strange Misty White Cloud
Contaminated - Causing Shrinkage
In Doll House - Shrinking Next to Louise
"I STILL EXIST!"
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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!"
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Overweight Bob Parr (formerly Mr. Incredible) in
Suburban Dead-End Job
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Display of Magazine Covers
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Bob Parr Remembering Past Exploits
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- 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
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Lucius Best/Frozone: "Honey? Where's my Super-Suit?"
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Fashionista Designer Edna Mode
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Transformed Arch-Nemesis Syndrome ("You sly
dog, you got me monologuing")
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- 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
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Three Months Later
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The Underminer
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The Newly-Masked Family
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Outburst at Bob's Mundane, White-Collar Job - Causing
His Firing
Mirage's Mission for Bob
Super-Fan Buddy Pine to Mr. Incredible: "I'm your Number
One Fan!"
Rejected Sidekick Buddy
The New Super-Hero Family
The New and Improved Omnidroid on Nomanisan Island
Syndrome's Imprisonment of the Superhero Family
The Omnidroid Attacking Metroville
Jack-Jack's Powers Revealed During Kidnap by Syndrome
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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
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Global Destruction
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White House
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- 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
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David Levinson's Warning: "Time's up!"
Capt. Hiller At Crash Site of Alien Ship
The Monstrous Alien Pilot ("Welcome to Earth")
President Whitmore's Psychic Communication
Alien's Threatening Return Message
President's Speech to US Fighter Pilots: ("Today we Celebrate
our Independence Day!")
Self-Sacrificing Pilot Russell Casse ("Hello boys! I'm
back!")
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The Tiger of Eschnapur (1959, W.Germ/Fr./It.)
The Indian Tomb (1959, W. Germ/Fr./It.)
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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:
- Harold Berger (Paul Hubschmid),
a German architect who was in the town to build
schools, hospitals, a temple and a dam
- 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
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- 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
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The Indian Tomb (1959, W. Germ/Fr./It.)
Second Film Dance Sequence
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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
- 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!"
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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"
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- 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
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"I want to know"
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Igniting of Her Brain and Eye Sockets
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- 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
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Indy's Escape from Warehouse 51 in Nevada Desert
Mock-Home with Plastic Mannequin Dummies
Indy Hiding in Lead-Lined Refrigerator
Indy Emerging After Nuclear Bomb Test
Motorcycle Escape Sequence with Mutt
First Revelation of Mutt's Mother: Marion
Stuck in Quicksand: The Second Revelation of Mutt's Name
("Henry Jones III")
Jeep Sword Duel:
Mutt vs. Dr. Spalko
Collapse of Temple as Alien Saucer Rotated and Ascended
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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!"
- 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.)
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Indy Tied Up with Father Henry Jones (Sean Connery)
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Motorcycle Pursuit
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- 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
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"Oh, God. I've lost him!"
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- 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"
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"Young Indiana Jones" Prologue Sequence
Speed-Boat Chase
Face to Face With Fuhrer Hitler
"No ticket!"
Dr. Jones Scaring Flock of White Seagulls
Donovan Drinking From Wrong Grail Cup
Grail Knight: "He chose...poorly"
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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")
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Split Screen Phone Conversation: Philip and Anna
Philip's Pool Game Discussion About His Marital Status
With Anna's Brother-In-Law Alfred
Anna's Anger At Being Deceived
Eventual Proposal of Marriage
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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
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Wanted Poster
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Poster Clinging to Gypo's Leg
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- 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
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- 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
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Quote
Katie Madden
(Margot Grahame)
Gypo's Betrayal for the 20 Pound Reward
Gypo's Confession at the IRA Kangaroo Court
Gypo's Plea for Forgiveness from Mrs. McPhillip
Gypo: "Frankie! Your mother forgives me"
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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")
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Farmhouse Scene
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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
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Sentencing of Bertram Cates
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Death of Matthew Brady in Courtroom
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- 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
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Teacher Bertram Cates (Dick York) Arrested

Sensational Headlines
Media Hoopla, Encouraged by Reporter E.K. Hornbeck (Gene
Kelly)

Henry Drummond (Spencer Tracy) Excusing Biased Juror

Henry Drummond During Trial - Speech Against Fanaticism
and Ignorance

Brady Cross-Examined on the Witness Stand by Drummond

Brady's Lost Composure on the Stand

Brady With Wife Florence in Home

Final Words: Hornbeck vs. Drummond

Drummond With Darwin's Book and the Bible On His Left
and Right
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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)
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Governess Miss Giddens (Deborah Kerr)
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- 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
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"You must say his name!"
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The Hand of a Garden Statue Moved
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"Where you devil, where?"
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- 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
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Miles to Miss Giddens: "Kiss me Goodnight,
Miss Giddens"
First Appearance of Quint in Window to Miss Giddens
Another Appearance of Quint's Apparation in Window - Miles
Screamed at Miss Giddens And Called Her Mad
Hugging and Reassuring Miles After He Fled to Garden
"Look! He's here!"
Quint - Seen by Miss Giddens in the Garden
"He's gone, Miles. You're safe..."
Kissing Miles After He Died in Her Arms
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