Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

L.A. Confidential (1997)

In director Curtis Hanson's great neo-noir police-crime drama of the early 50s derived from James Ellroy's 1990 novel, about the approaches of three LA cops in the pursuit of justice following a bloody shoot-out in a downtown LA Coffee Shop:

  • the sequence of the so-called 'Bloody Christmas' incident occuring in LA - the severe beating of imprisoned civilians (including a number of Hispanics) by members of the LAPD on Christmas Day, 1951 -- witnessed by young, clean-cut, straight-arrow, college-educated, neophyte patrolman cop Ed Exley (Guy Pearce) (who protested against the brutalizing actions of officer Dick Stensland (Graham Beckel) and violent, tough cop Wendell 'Bud' White (Russell Crowe)): ("Stop officer, that's an order"); and the next day's LA Times headlines: BLOODY CHRISTMAS: Police Assault Prisoners in Jailhouse Melee," and Exley's subsequent testimony in the case to advance in the ranks, while Stensland was fired
  • the bloody multiple homicide scene at the Nite Owl Coffee shop where six murdered victims were discovered - with the evidence eventually pointing to the corrupt LAPD and its police chief as the perpetrators of a major cover-up in their attempt to seize control of the lucrative drug trade in the city
  • the scene in which gossip-mongering, suave, celebrity "Hollywood" narcotics detective and technical advisor for the TV police drama series Badge of Honor Sgt. Jack Vincennes (Kevin Spacey) made a deal with Lieut. Exley and promised: ("You help me with mine, I'll help you with yours - deal?")
  • the character of the sleazy tabloid Hush Hush magazine editor-publisher Sid Hudgens (Danny DeVito), in cahoots with Sgt. Vincennes who was provided kickbacks in exchange for being informed about celebrity-related arrests
  • the Veronica Lake look-alike - high-class hooker Lynn Bracken (Oscar-winning Kim Basinger) pimped by the leader of a pornography business and Fleur-de-Lis call-girl ring, millionaire Pierce Morehouse Patchett (David Strathairn) - specializing in movie-star look-alike prostitutes (after plastic surgery), who became attractive to White: (White: "Patchett's running whores cut to look like movie stars"); and their conversation: (Bracken: "You're different, Officer White. You're the first man in five years who didn't tell me l look like Veronica Lake inside of a minute." White: "You look better than Veronica Lake"); shortly later, she claimed that she hadn't been 'cut': ("l'm really a brunette, but the rest is me. And that's all the news that's fit to print")
  • the interrogation scene when tough, frustrated cop Bud White (who hated woman-beaters and injustice) burst in on Ed's questioning of three black suspects, possibly involved in the Nite Owl murders, about the whereabouts of a kidnapped female victim: ("Son, six people are dead, and someone has to pay for it. Now, it can be you, or it can be Ray...Son, you know what's gonna happen to you if you don't talk. You'll go to the gas chamber. So for God's sake, admit what you did...These people are all in the morgue. They were dead when you left them...Louis, who's the girl, what's her name?...Was she at the Nite Owl?...Now, listen to me. lf that girl is still alive, she's the only chance you've got....Where is she now?"); White pulled out his gun, emptied it of all but one bullet, and then stuck the gun in one black suspect's mouth while pulling the trigger and threatening: "One in six, where's the girl?"
Tough Cop Wendell 'Bud' White (Russell Crowe)
Interrogation of Nite Owl Suspects at Gunpoint
  • the scandalous scheme devised by Sid Hudgens to set up actor Matt Reynolds (Simon Baker) in a homosexual tryst with LA's District Attorney Ellis Loew (Ron Rifkin), resulting ultimately in the death of Reynolds
  • the scenes of the rescue of the kidnapped and abused female victim, and the bloody takedown-raid on the entire gang suspected of committing the Nite Owl murders, noted by Exley's blood-splattered face and his new nickname: "Shotgun Ed"
  • the scene when the cops mistook the real Lana Turner for high-priced prostitute Lynn Bracken, and she threw her drink in Exley's face: (Vincennes: "She is Lana Turner")
  • the stunning scene when corrupt and diabolical veteran cop and LAPD police chief Capt. Dudley Smith (James Cromwell) shockingly and unexpectedly shot in the chest and killed Sgt. Jack Vincennes in the Captain's own kitchen for knowing too much; as Vincennes slumped to the floor, he spoke the words 'Rollo Tomasi' - identifying Dudley as the mastermind
The Point-Blank Murder of Sgt. Vincennes by LAPD Capt. Smith:
Sgt. Vincennes' Last Words: "Rollo Tomasi"
  • afterwards, the scene at the Victory Motel of Sgt. Exley confronting Capt. Smith about the meaning of the term 'Rollo Tomasi', knowing that the Police Chief was a corrupt mastermind crime boss: ("You're the guy who gets away with it. Jack knew it. So do I"); Exley had made up the name after his legendary cop-father was shot and killed by a purse-snatcher in the line of duty; the metaphoric term denoted the corrupt police chief as the perfect example of a criminal who was able to escape punishment and literally get away with murder
  • the scene of Exley's murder of Capt. Smith in the back as he walked away from the Victory Motel, with his hands in the air
  • afterwards, Exley confessed to superiors that the Nite Owl Coffee Shop's multiple (six) murders were most likely conducted by LAPD officers Michael Breuning and William Carlisle, and a third individual, presumably Capt. Smith; the corrupt Smith's motivation was to take over the city's rackets and heroin drug trade (run by Mickey Cohen (Paul Guilfoyle))
  • in the subsequent cover-up, Smith was remembered dying as a "hero," and a compromised, opportunistic Exley was awarded a Medal of Valor - to avoid controversy, and to prevent a stain on the reputation of the LAPD. At the ceremony, Exley was lauded: ("With leaders like Lieut. Edmund Exley, the image of fat cops stealing apples will be left behind, and Los Angeles will finally have the police force it deserves")
Exley Awarded Medal of Valor
Lynn Bracken's Goodbye Words to Exley
  • the concluding scene - the departure of seriously-injured but surviving Officer White (sitting mute in the back seat) departed with Lynn Bracken, on her way home to Arizona after quitting the high-class whore business. As Lynn departed and kissed Exley, she told him (in the film's last line): ("Some men get the world. Others get ex-hookers and a trip to Arizona. Bye")

Ed Exley: "Stop officer"

"Bloody Christmas" Headlines in 1951

Nite Owl Coffee Shop: Multiple Homicides

Hush Hush Magazine Editor-publisher Sid Hudgens (Danny DeVito)

Hooker Lynn Bracken (Kim Basinger)

Rescue of Kidnapped Abused Female

Take-Down of Gang

The 'Real' Lana Turner Mistaken for Lynn Bracken

LAPD Capt. Smith (James Cromwell) Shooting Officer White (Russell Crowe)

Exley's Murder of Capt. Smith

Exley's Accounting of the Corrupt LAPD

L.A. Story (1991)

In actor/director Steve Martin's existential, wacky, and surreal romantic fantasy-comedy set in the artificial, shallow city of Los Angeles:

  • the film's opening voice-over, introducing Harris K. Telemacher (Steve Martin), as he was riding a stationary bike in a park, and paraphrasing from William Shakespeare's Richard II play: ("My name is Harris K. Telemacher. I live in Los Angeles, and I've had seven heart attacks, all imagined. That is to say, I was deeply unhappy but I didn't know it, because I was so happy all the time. I have a favorite quote about L.A. by William Shakespeare. He said: 'This other Eden, demi-paradise, this precious stone set in the silver sea of this earth, this ground, this Los Angeles. Anyway, this is what happened to me, and I swear, it's all true")
  • Harris' solution to LA gridlock - buckling up his seatbelt, and like clockwork, taking a detour through side-streets, over sidewalks, backyards and lawns, to avoid the traffic, and later, the road rage scene of firing his pistol at an aggressive water-delivery truck
  • the scene of the report LA weatherman Telemacher's "Wac-Wac-Wacky Weekend Weather!" - throwing SUN stickers at a Los Angeles area weather map and exclaiming: "Not weather, sun, sun, sun, sun, sun!"
  • the many gags about LA's lifestyle (i.e., the Walk/Don't Walk sign that read: "Like Uh Don't Walk")
  • his amusing thought: "I could never be a woman, 'cause I'd just stay home and play with my breasts all day"
  • the one-upsmanship lunch scene of ordering coffees at a trendy restaurant: (Harris: "I'll have a half double decaffeinated half-caf, with a twist of lemon"), and an earthquake that no one paid attention to
  • the brilliantly funny cameo by Patrick Stewart as a French-accented Maitre D' ("You zink with a bank statement like zis, you can have ze duck?!")
  • the classic museum scene in which Telemacher roller-skated past objets d'art, then described one painting to his friends as sexy: ("The way he's holding her. It's almost - filthy. I mean, he's, he's about to kiss her and she's pulling away. The way the leg's sort of smashed up against her. Phew. Look how he's painted the blouse sort of translucent. You can just make out her breasts underneath and it's sort of touching him about here. It's really pretty torrid, don't you think? And of course you have the onlookers peeking at them from behind a doorway like they're all shocked. They wish! You know, when I see a painting like this, I get, uh, emotionally - erect") - and the painting was only a large red rectangle!
Art Museum Scene
  • the lunch scene of Harris' request to know the name of carefree, playful Valley Girl and vapid airhead SanDeE* (Sarah Jessica Parker), and commenting on name variations: ("It's a nice name, but everybody has such weird names now, it's like Tiffany with a p-h-i, and instead of Nancy, it's Nanceen") - after spelling her name for him three times: ("big S, small a, small n, big D, small e, big E and there's a little star at the end"), she wrote it on his palm surrounded by a heart shape; after lunch, he told her: "It was a great lunch and enema, thanks!", and later, his reaction after touching her breasts: "SanDeE*, your... your breasts feel weird" with her unexpected reply: "Oh, that's 'cause they're real"
SanDeE* (Sarah Jessica Parker) - with Real Breasts
  • the romance between Harris and British journalist Sara McDowel (Victoria Tennant), aided by electronic 'Freeway Condition' signs when they had car trouble and pulled over, as Harris explained in voice-over: ("There are two events in my life that I consider to be magical, that couldn't be explained scientifically. The first of them was about to happen") -- a Freeway Condition sign (!) began to flash messages at him, and at first suspected he was being filmed, but then began to seriously take its advice about changing his life and romancing Sara: ("HIYA", "I SAID HIYA", "R U O K?", "DON'T MAKE ME WASTE LETTERS", "R.U.O.K.?", "HUG ME", "I SAID HUG ME", "I'M A SIGNPOST", "HUG ME", "PLEASE?", "THAT FELT GOOD", "I C PEOPLE N TROUBLE & I STOP THEM", "L.A. WANTS 2 HELP U", "U WILL KNOW WHAT 2 DO WHEN U UNSCRAMBLE HOW DADDY IS DOING", "IT'S A RIDDLE")
  • the powerfully romantic scenes, including the Enya-scored scene when he walked with Sara and they were magically transformed into children and then they kissed
  • Harris' line about summoning storms and winds (and changing the polarity of the earth so compasses wouldn't work) to prevent Sara from returning to London - as he kissed her passionately: ("Forget for this moment the smog and the cars and the restaurant and the skating and remember only this. A kiss may not be the truth, but it is what we wish were true") - and all of the freeway signs flashed: "CONDITION CLEAR"
  • the solving or rearranging of the letters of the riddle: "HOW DADDY IS DOING" -- as -- "SING DOO WAH DIDDY"
  • Harris' final summation of what he learned: ("There are only two things in my life I will never forget. One is that there is someone for everyone. Even if you need a pickax, a compass, and night goggles to find them. And the other is tonight. When I learned that romance does exist deep in the heart of .A")
  • the funny final shot of the freeway sign saying: "WHAT I REALLY WANT TO DO IS DIRECT"

Telemacher on Stationary Bike

Solution to LA Gridlock

LA Weather Report: "Sun, Sun, Sun, Sun, Sun"

Ordering Coffees Scene

Maitre-D's Question: "You can have the duck?"

Car Troubles on Freeway

Transformed into Children For Kiss

Electronic Freeway Signs Aiding Romance with Sara

The Ladies Man (1961)

In co-writer/director Jerry Lewis' anarchic, absurdist and entertaining comedy - his second directorial effort, and known for Lewis' famous quote - "Hey, lady!":

  • the creative opening title credits sequence -- the turning pages of LOOK Magazine
  • the spastic, baby-talking, infantile and neebish character of Milltown (NJ) Junior College student Herbert H. (Herbert) Heebert (a reference to the character in Kubrick's Lolita (1962) from Nabokov's recently-published 1955 novel), who had just graduated; he was surprised when he saw his childhood sweetheart Faith (Shary Layne) at a red bus-stop bench - she was kissing a letterman jock; he fell down and grabbed his chest, and then commiserated with his parents, including his sobbing mother Marna (also Lewis); he adopted a female-hating attitude, and vowed to leave town: ("My life is shattered! The girl I waited for all my life didn't wait for me. I'm goin' away from here - from her and from girls. I hate girls. I'm gonna be a bachelor and be alone all my life")
  • the scene of Herbert sitting on a red Hollywood (CA) park bench in an ill-fitting gray suit and white saddle-shoes, when a jerky camera zoom zeroed in on a 'For Hire' sign reading: "YOUNG BACHELOR WANTED: INQUIRE WITHIN" - it led the socially-broken Herbert, unbeknownst to him, to an all-girls' boarding house for 30 shapely, aspiring and striving actresses - from his POV at the front door, he scanned the figure (from her feet to her face) of the talkative housekeeper and matronly cook Katie (Kathleen Freeman) who answered the door; he jumped into her arms: ("I'm safe") and was subsequently hired as the handyman after an interview in which he recounted his traumatic experience with his fiancee
  • the next morning, there was an extended series of gliding crane-shot views - of the surreal, visually-colorful world in the interior of the four-story split-level home with multiple rooms (open-walled in the front - it was a full-scale 'doll house' set with only a palette of comic-strip colors) - the visually-inventive camera tracked from room-to-room, inhabited by females engaged in various morning activities and pursuits (a sole student practicing the trombone, others rising from bed, preening, hair-brushing and applying make-up and hair-spray, harp-playing, record-sorting, exercising, taking a bath, dressing, pulling on stockings, and descending the various floors to the ground floor in a parade to assemble for breakfast in the dining room)
The 4-Story Split Level Boarding House
  • the scene of Herbert sleeping with his butt in the air because of his collapsed bunk bed; after being awakened by his alarm clock, he headed downstairs, and thinking that he was alone; he stumbled into the breakfast room - where he suddenly found himself in the presence of the thirty staring females; retired, former opera diva Miss Helen M. Wellenmellon (Helen Traubel), the matronly owner of the boarding house, rose and announced his presence in song: "Good morrrrrrrrrrrr-ning!!!" - and the females repeated the melodious greeting, adding his name; Miss Wellenmellon asked: "Herbert, don't just stand there. Haven't you anything to say?" - he grimaced and shouted out: "Ma!" - and fled for the stairs, where he literally 'split' into four Herberts that frantically ran up to his room
  • afterwards, Herbert was retrieved from his room by Miss Wellenmellon and persuaded to stay for the time being, and as he descended the stairs with her, amidst the flow of females, he spoke of being overwhelmed by the femininity in the house, and how he was stunned by gender anxiety and panic: ("I never saw so many girls. There's a whole bunch of 'em")
  • the sequence of Herbert being spoon-fed breakfast by Katie, while he was sitting in a high-chair
  • the gag of Herbert opening a glass-framed butterfly collection - and the five butterflies fluttered away; he whistled and they returned to their places
  • the hilarious sequences with two houseguests - the incompetent Herbert caused tough guy Willard C. Gainsborough (Buddy Lester) to do a slow-burn after sitting on his hat; the second houseguest was George Raft (a cameo parody of his own gangster character), another of the boarders' dates; to prove his identity, Raft flipped a coin, but missed, and he complained to Herbert: ("Whatsa matter, wise guy? Anybody can miss. I'm not infallible...Look, I'm George Raft. Please believe me. Aside from playin' robbers on the screen, I used to do a lot of dancing in my pictures, right?...All right, then, give me your hand. You be the girl...Please dance with me, would you?"); Herbert and Raft danced together, in a following spotlight after the lights dimmed
Herbert and Two Houseguests
Tough Guy Willard C. Gainsborough
(Buddy Lester)
George Raft Dropping Flipped Coin
Herbert and George Raft Ballroom Dancing in Spotlight
  • the sequence of Herbert's heart-to-heart talk with sad-faced and depressed Fay (Pat Stanley), who had just failed an audition: Fay: "I always feel that there isn't anyone in the world but me. Everyone else has gone to a happier place, and it just isn't my turn yet" - he sympathized with her sadness: "As long as there are those that care for you, you shouldn't feel that way...Well, I care for you, Fay, and I'm an 'anyone'"
  • the chaotic TV interview show - UP YOUR STREET (a spoof of Edward R. Murrow's TV interview show 'Person to Person'), when Miss Wellenmellon was interviewed by Westbrook Van Voorhis (as Himself) in the living room of the boarding house - in preparation, it was filled with lots of heavy equipment, lighting, wires, and KTLA-TV cameras; when Herbert was asked to help with a sound check involving the boom microphone, he yelled "GERONIMO!" and nearly deafened the sound technician, and propelled him into the sofa (under the cushions); the technician got even by putting the headphones on Herbert and yelling: "I'm OK!", causing him to pass out; during the actual interview, there were constant interruptions, disasters and problems involving Herbert who continually showed up in front of the camera
  • the scene of Herbert's entrance into the Forbidden Room, where in an all-white set, he encountered a slinky, long-legged, black-clad, bat-lady femme fatale named Sylvia (Sylvia Lewis), aka Ms. Cartilage, who was hanging upside-down - she was lowered by her black whip-rope and then danced with Herbert, to the sounds of the Harry James band (dressed in white tuxedoes) on her outside bedroom terrace; when the dance finished, the band vanished - and Herbert wondered if he was dreaming
  • the concluding scene - the defense of Herbert by a tearful Fay in the dining room, professing that he was 'smart', nice, and helpful, in front of the other self-centered females, who only considered him as a useful errand go-to boy that could be fooled into remaining as their servant: "Are you all finished? Does anyone need Herbert for anything else? I wonder if any of you have ever really needed Herbert, just to sit down and talk to. Well, I did. He's really very smart, and very nice, too. He'd make a wonderful guy for some girl, if she really needed him. I think we should all be very ashamed of having deceived him. I'll admit it's nice to be needed, really needed, but to tell somebody you need them just so they'll stay around and run errands for you, that's not so nice"; she claimed that they should let Herbert go and do something for himself if he wanted to: ("Maybe he's tired of being a handyman for a bunch of girls. Let him go if he wants to"); with a suitcase in his hand, Herbert raced into the dining room and announced his imminent departure for good: ("I'm goin', when the door slams, my life is out of yours...there's no stopping me now") - but was shocked that no one responded or begged him to stay; Fay finally spoke up for everyone: "Herbert, we really want you to stay. We'd be the happiest girls in the world if you'd never leave. We didn't want to tell you we needed you just to keep you here. Actually, we need you very much, but not just doing errands for us. We need you because you're a nice person, and nice persons are needed everywhere! We just figured that you were tired of working with a bunch of girls, and maybe you'd like to go someplace else, where you can think of yourself more"; Herbert responded: "Well, that's all very nice what you said, and, uh, and, to tell you the truth and be very honest with ya, I don't really know why I was leaving. I mean, I like it here very much, and I like everybody a lot. And I like to be needed. But honestly needed. And well, after what you just said, I wouldn't leave here for anything or anyone"; she hugged him: "Oh!, Herbert!"; he corrected her: "It's Herby, H-E-R-B-Y, Herby. Yeah!"
  • in the curtain closing seconds, there was a loud roar, and female screams as the dining room was cleared, leaving Herbert standing there alone - he tried to be calm and reassuring: "It's just Baby....Baby, where are you, sweetheart? Baby, sweetheart? Little Baby" [Note: Earlier in the film, Baby was seen to be a small beagle with a huge collar and chain]; suddenly, a full-sized male lion strolled by him; Herbert walked toward the camera and in close-up with his mouth wide-open, yelled out: "Ma! Ma! Did you see that pussycat?"
Little Baby
"Ma! Ma!"

Opening Title Credits Sequence

Herbert's Shock at Bus-Stop

Herbert's Mother

Herbert on Park Bench Looking for Work

At Boarding House in Arms of Housekeeper ("I'm safe")

Herbert Awakening

Thirty Females in House

Miss Helen M. Wellenmellon
(Helen Traubel)

An Overwhelmed Herbert with Miss Wellenmellon

Herbert Being Spoon-Fed in High Chair

With Butterfly Case

Herbert's Sympathizing With Fay

TV Show Prep: "GERONIMO"

Interview Scene

Bat Lady Lowered Upside Down

Dream Sequence: Herbert With Bat Lady Sylvia (aka Ms. Cartilage)

Fay's Defense of Herbert in Dining Room

Herbert - Packed and Ready to Leave

Lady and the Tramp (1955)

In Disney's animated film, a musical love story between two cats from differing classes and backgrounds:

  • the musical performance of the song: "The Siamese Cat Song," by Aunt Sarah's two trouble-making Siamese cats, Si and Am, who sang: "We are Si-a-me-se if you please. We are Siamese if you don't please"
  • the romantic 'spaghetti-dinner' scene of refined cocker spaniel Lady and the scruffy, backstreet roguish stray mutt Tramp at the back entrance to Tony's - an Italian restaurant, sharing a meal of spaghetti and meatballs - when they were nibbling on a strand of spaghetti and met in an unexpected kiss for the first time
Spaghetti Dinner - Kiss
  • after being captured by the dog catcher, Lady's encounter with a colorful assortment of dogs in the local dog pound (that performed a memorable chorus of "Home Sweet Home"); Toughy derided her high-class upbringing as "Miss Park Avenue herself," and Bulldog called her "a regular bloomin' debutante" and also asked: "Hey, whatcha in for, sweetheart? Putting fleas on the butler?"
  • the vicious fight between the Tramp and a disgusting large rat that snuck into the house and was threatening the Darling's baby in the nursery

"The Siamese Cat Song"

Lady in Dog Pound

Tramp vs. Large Rat

The Lady Eve (1941)

In Preston Sturges' classic romantic screwball comedy about a battle of the sexes:

  • the many scenes of comic erotic seduction, sexy legs, slapstick pratfalls, and witty dialogue between con artist Jean Harrington (Barbara Stanwyck) and wealthy snake expert Charles "Hopsie" Pike (Henry Fonda) - the wealthy heir to a brewery fortune
  • specifically on a transatlantic oceanliner, the characters of resourceful, sophisticated and alluring Jean Harrington and her crooked but lovable father, Colonel Harrington (Charles Coburn), who took advantage of innocent, dense and slow-thinking, snake-loving 'Hopsie'; she sized him up as she voyeuristically watched the eligible bachelor and described what she saw through a compact make-up mirror held up to reflect the obvious and futile efforts and tricks of other amateurish debutantes and single women behind her, while she commented on Hopsie's unpreparedness and deplorable naivete: ("Not good enough...they're not good enough for him. Every Jane in the room is giving him the thermometer and he feels they're just a waste of time. He's returning to his book, he's deeply immersed in it. He sees no one except - watch his head turn when that kid goes by. It won't do you any good, dear, he's a bookworm, but swing 'em anyway. Oh, now how about this one. How would you like that hanging on your Christmas tree? Oh you wouldn't? Well, what is your weakness, brother? Holy smoke, the dropped kerchief! That hasn't been used since Lily Langtry. You'll have to pick it up yourself, madam. It's a shame, but he doesn't care for the flesh. He'll never see it...(imitating Hopsie speaking to himself) I wonder if my tie's on straight. I certainly upset them, don't I? Now who else is after me? Ah, the lady champion wrestler, wouldn't she make a houseful. Oh, you don't like her either. Well, what are you going to do about her? Oh, you just can't stand it anymore. You're leaving. These women don't give you a moment's peace, do they? Well go ahead! Go sulk in your cabin. Go soak your head and see if I care")
  • after her long monologue, Jean's attempt to snare the reclusive millionaire as he walked out, by stretching out her shapely foot and ankle from under the table into his path, tripping him - and after he fell flat on his face to the floor, she complained that he had broken her shoe's heel - and forced him to accompany her to her room to replace them -- her means to get acquainted
  • the flirtatious scene in her ship's cabin after Charles escorted Jean there to try on a new pair of evening 'slippers' - when she extended her shapely leg for the fitting, he held onto her ankle and stared deeply into her eyes, while she stared back and he became overpowered by her perfume: ("You see, where I've been, I mean up the Amazon, you kind of forget how, I mean, when you haven't seen a girl in a long time. I mean, uh, there's something about that perfume that...Like it! I'm cock-eyed on it!") - she resisted him, purposely: ("Why Hopsie! You ought to be kept in a cage!")
  • the sequence of Charles' introduction of his pet snake Emma (a rare type of Brazilian glass snake) to Jean when they were outside his stateroom cabin: ("Would you care to come in... and see Emma?") - she flippantly responded: ("That's a new one, isn't it?") - and then she screamed when she saw the creature slithering around on Charles' pajamas on the bed, and rushed out of the room
  • the memorable most artful, sexually-lustful seduction scene, back in her cabin, when she leaned over and wrapped her arms around his neck, almost holding it in a vise, and began to caress his hair, face and earlobe - while his eyes sometimes closed. Jean cradled his head with her right arm, and as they talked, she nuzzled close to his cheek, tantalized him and drove him wild: ("Oh darling, hold me tight! Oh, you don't know what you've done to me"); during a lengthy conversation, with her face nestled against his, she teased and kidded with him - and tenderly and seductively stroked his cheek and fooled with his hair and ear, causing him to become paralyzed with desire; and then she described her ideal man: ("He's a little short guy with lots of money....What does it matter if he's rich? It's so he'll look up to me. So I'll be his ideal....And when he takes me out to dinner, he'll never add up the check and he won't smoke greasy cigars or use grease on his hair. And, oh yes, he, he won't do card tricks...When I marry, it's gonna be somebody I've never seen before. I mean I won't know what he looks like or where he'll come from of what he'll be. I want him to sort of - take me by surprise....And the night will be heavy with perfume. And I'll hear a step behind me and somebody breathing heavily, and then - you'd better go to bed, Hopsie. I think I can sleep peacefully now")
Seductive Flirtations in Her Ship's Cabin
  • the sequence of Jean's elaborate and vengeful scam to get even: ("I've got some unfinished business with him. I need him like the axe needs the turkey") - a tricky impersonation of aristocratic English woman, Lady Eve Sedgwick (who looked suspiciously exactly like Jean Harrington) to seduce Charles (a second time) and make him fall in love with her again - so that she could get the upper hand; Charles was completely taken aback and stunned when first introduced to Lady Eve
  • confused by Lady Eve's identity, the magnificent pratfall when Charles was distracted, and he tripped and dove right over a low sofa couch, ending up on top of a coffee table with his head in a bowl of lobster dip, as his rotund, frog-voiced father Mr. Horace Pike (Eugene Pallette) remarked: "You haven't been hitting the bottle lately, have you?"
  • their wedding night scene aboard a speeding train en route to their honeymoon - causing Pike great dismay when Lady Eve vengefully revealed her past and told him - one-by-one - about all of her affairs with her ex-lovers (Angus, Herman, Vernon, Cecil, Hubert, Herbert, and John); eventually, he couldn't forgive her indiscretions anymore - utterly dazed, disgusted, and disillusioned by all her experiences and driven jealously mad, pajama-clad Charles (with an overcoat and hat) exited the train as it slowed at the next stop, to hastily escape from their nuptial room; he tossed his suitcases from the train and stumbled off, slipping and slowly falling down in the mud - another ignominious, humiliating fall onto his back
Exchange of Kisses At Her Ocean Liner Stateroom's Cabin Door
  • in the final scene, again onboard an ocean liner, Jean happened to luckily meet Pike again by deliberately tripping him -- and they exchanged curtain closing revelations at her state-room cabin door:
    - Pike: "There's just one thing. I feel it's only fair to tell you. It would never have happened except she looked so exactly like you. And I have no right to be in your cabin....Because I'm married"
    -- Jean: "But so am I, darling. So am I"
  • Pike's cynical and protective guardian/valet Muggsy (William Demarest) delivered the final line to the camera after stealthily sneaking out of their room: "Positively the same dame!"

Con Artist Jean Harrington (Barbara Stanwyck)

With Wealthy Heir Charles "Hopsie" Pike (Henry Fonda)

Extending Her Shapely Leg to Entice Him

Screaming at Hopsie's Pet Snake Emma

Jean's Impersonation of Aristocratic English Woman - Lady Eve Sedgwick

Charles' Stunned Look When Introduced to Lady Eve

Charles' Pratfall

Lady Eve's Revelation of All Her Past Affairs on Speeding Train on Wedding Night

Muggsy (William Demarest) - Last Line: "Positively the same dame!"

The Lady from Shanghai (1948)

In writer/director Orson Welles' film noir classic:

  • the opening voice-over narration by out-of-work, gullible, wandering Irish seaman Michael O'Hara (Orson Welles): ("When I start out to make a fool of myself, there's very little can stop me. If I'd known where it would end, I'd never let anything start, if I'd been in my right mind, that is. But once I'd seen her, once I'd seen her, I was not in my right mind for quite some, with plenty of time and nothing to do but get myself in trouble. Some people can smell danger, not me")
  • the sequence of O'Hara's first meeting when he was lured to assist and rescue short-haired blonde femme fatale Elsa Bannister (Rita Hayworth) from a hold-up; she was wearing a polka-dotted white dress, and was seated under the black hood of a horse-drawn carriage on its way to New York's Central Park; his fanciful name for her was Princess Rosalie; he recollected her - in voice-over: ("...Once I'd seen her, I was not in my right mind for quite some time...That's how I found her, and from that moment on, I did not use my head very much, except to be thinking of her")
  • after Michael rescued Elsa, she offered the between-jobs sailor employment as a crew member on her sailing vessel to the West Coast via Panama, owned by her crippled (physically-paralyzed), celebrated but asexual and older San Francisco lawyer husband Arthur Bannister (Everett Sloane)
  • the scene of Elsa's haunting singing of the torch song "Please Don't Kiss Me" ("Please don't love me, but if you love me, then don't take your lips or your arms or your love away"), while on the deck of the yacht one night, while wearing a black two-piece swimsuit
  • the lecherous, weirdly insane, paranoid and sweaty George Grisby (Glenn Anders), Bannister's business partner, offered Michael $5,000 in return for a diabolical murder scheme -- to sign a phony murder confession for Grisby's own demise (or planned disappearance); with the money, the foolish Michael fantasized about "running off with you [Elsa] to a desert island to eat berries and goat's milk"
  • the secret meeting at SF's Steinhart aquarium between the two secret lovers - they were deliberately positioned before predatory fish; she encouraged her "beloved fool" to elope with her after the murder plot, and begged: ("Tell me where we'll go, Michael. Will you carry me off with you into the sunrise?...Just take me there. Take me quick. Take me")
  • in the complicated plot, when the fabricated 'murder' plot fell apart, Michael realized he was the fall guy for Grisby's murder and that a vengeful Bannister was now representing him as his defense lawyer! ("Either me or the rest of the whole world is absolutely insane"); he also realized that the villainous Elsa was Grisby's actual killer
  • the visually-intriguing, climactic confrontation and shoot-out in the Crazy House-Hall of Mirrors in an abandoned, off-season amusement park between blonde femme fatale Elsa and her abusive, crippled, wealthy lawyer husband Arthur Bannister as O'Hara watched; Bannister delivered an ominous speech to blonde femme fatale wife Elsa before firing commenced: ("...I presume you think that if you murder me here, your sailor friend will get the blame and you'll be free to spend my money. Well, dear, you aren't the only one who wants me to die. Our good friend, the District Attorney, is just itching to open a letter that I left with him. The letter tells all about you, lover. So you'd be foolish to fire that gun. With these mirrors, it's difficult to tell. You are aiming at me, aren't you? I'm aiming at you, lover. Of course, killing you is killing myself. It's the same thing. But you know, I'm pretty tired of both of us")
  • the couple self-destructively drew their guns and shot at multiple likenesses of each other, as the screen erupted into a wild kaleidoscope of smashed glass, multiple distorted mirrors that broke and shattered, as they both mortally-wounded each other; Bannister uttered his last words: ("You know, for a smart girl, you make a lot of mistakes. You should have let me live. You're gonna need a good lawyer")
  • the prolonged death scene of Elsa - filmed at ground level down next to her on the floor, as she agonized over her death. While she was dying, she had one last exchange with Michael before he left her to die alone: (Michael: "You said the world's bad and we can't run away from the badness. And you're right there. But you said we can't fight it. We must deal with the badness, make terms. And then the badness'll deal with you, and make its own terms, in the end, surely." Elsa: "You can fight, but what good is it? Goodbye." Michael: "You mean we can't win?" Elsa: "No, we can't win. (poetically) Give my love to the sunrise." Michael: "We can't lose, either. Only if we quit." Elsa: "And you're not going to?" Michael: "Not again!" Elsa: "Oh Michael, I'm afraid. (He strolled away) Michael? Come back here. Michael! Please! I don't want to die! I DON'T WANT TO DIE!")
Deadly Shoot-Out in Hall of Mirrors
Bannister's Speech to Elsa
Elsa Reflected in Broken Mirrors
Shattered Mirrors
Bannister's Last Words
  • in the film's conclusion, as Michael walked away to call the police, he predicted that he might become more ambivalent, forget Elsa and put her corruptive influences behind him - if he grew old enough: (voice-over: "I went to call the cops, but I knew she'd be dead before they got there and I'd be free. Bannister's note to the DA (would) fix it. I'd be innocent officially, but that's a big word - innocence. Stupid's more like it. Well, everybody is somebody's fool. The only way to stay out of trouble is to grow old, so I guess I'll concentrate on that. Maybe I'll live so long that I'll forget her. Maybe I'll die tryin'")

Elsa In Central Park Carriage

Elsa: "Please Don't Kiss Me"

Elsa and Michael in Aquarium

Elsa with Michael in Hall of Mirrors

Elsa's Death: "I DON'T WANT TO DIE!"

Michael's Film-Concluding Departure

Ladyhawke (1985)

In Richard Donner's fantasy adventure set in medieval 13th century France about two star-crossed lovers:

  • the scene of the daring rescue of a youthful fugitive who had escaped from the dungeon of Aquila - liar and pickpocket thief Phillipe Gaston (aka "the Mouse") (Matthew Broderick) who was about to be executed; a mysterious black knight named Capt. Etienne of Navarre (Rutger Hauer) shot an arrow with his crossbow at the executioner to prevent the killing and to free Phillipe; Navarre was then confronted by Captain of the Guard Marquet (Ken Hutchison): "One of my men told me you returned. I wanted to cut his throat for lying because I knew you weren't that stupid"; Navarre fought off Marquet and his whole regiment of guards before fleeing the scene
  • the sequence of an attack on Phillipe by a shrouded murderer, but he was saved by the intervention of a snarling black wolf; he also met a mysterious blonde woman who walked off unafraid with the wolf; afterwards, Phillipe wondered to himself: "Maybe I’m dreaming. But my eyes are open, which means, maybe I'm awake, dreaming I'm asleep. Or, or more likely, maybe I'm asleep, dreaming that I'm awake, wondering if I'm dreaming"
  • the famous, beautifully photographed "transformation" scene of the two cursed lovers: the Captain and beautiful Isabeau d'Anjou (Michelle Pfeiffer); the curse upon them by the evil and wicked Bishop of Aquila (John Wood), allied with Marquet, who desired Isabeau for himself; the curse meant that they could only see each other as human for a split second between night and day, and were not able to touch; Navarre would appear as a black wolf at night, and she would be a hawke by day -- there was a spectacular movie moment when they shared a brief and fleeting moment together as the dawn light shone on them and they reached out to each other; he transformed from his wolf form into human form, while she was reversing herself from human to animal form - Navarre frustratingly gave off a primal howl as Isabeau became a hawke and flew away (the shadow of her flapping wings were visible on his face)
The "Transformation" Scene
  • in the film's conclusion, Captain Etienne sword-dueled on horseback against Marquet, defeated him, and then turned to confront the Bishop to lift the curse
Sword Duel on Horseback in Cathedral
Etienne Approached Altar
Evil and Wicked Bishop of Aquila (John Wood)
  • the scene of the joyous tearful reunion-celebration in the front of the cathedral of the two lovers after the curse was over and broken: Etienne and Isabeau (who appeared in human form) faced each other and the Bishop in their human form on "a day without a night and a night without a day" - there was a convenient solar eclipse viewed through a broken cathedral window skylight (caused by Marquet's tossed helmet); Captain Etienne shouted at Isabeau: "You cut your hair!"; when Isabeau intervened, the Bishop went mad and attempted to kill Etienne, who defended himself and killed the Bishop with a sword thrust through his chest
Both Captain Etienne and Isabeau in Human Form
During Solar Eclipse - The Evil Curse Was Broken
The Lovers Joyfully Reunited
  • their companions: Phillipe Gaston and cloistered monk Father Imperius (Leo McKern) tearfully looked on as the curse was broken, and then exited, as Capt. Etienne embraced and lifted Isabeau high into the air and spun her around - lovers joyfully reunited

Phillipe Gaston (aka "the Mouse") (Matthew Broderick)

Black Knight Capt. Etienne of Navarre (Rutger Hauer) With a Crossbow - To Rescue Phillipe

Captain of the Guard Marquet (Ken Hutchison)

The Mysterious Blonde Woman

Phillipe: "Maybe I'm dreaming"

Captain Etienne's Lover Isabeau d'Anjou (Michelle Pfeiffer) - The Ladyhawke

Broken Skylight

Human Appearance of Isabeau in Cathedral

Lady in the Lake (1947)

In director/star Robert Montgomery's film-noir murder mystery (an adaptation of a Raymond Chandler novel), noted for its unusual and gimmicky film perspective - shot from the first-person POV ("subjective camera") of the main hard-boiled detective:

  • the opening prologue, in which the main character - mystery writer/detective Phillip Marlowe (Robert Montgomery), introduced the plot, and alerted viewers to watch for clues: ("...Right now, you're reading in your newspapers and hearing over your radios - about a murder. They call it 'The Case of the Lady in the Lake.' It's a good title. It fits...You know, some cases of murder start when that door there behind you opens up and a fellow rushes in all covered with sweat and confusion, and fills you full of bad dope about the setup. But some cases, like this one, kind of creep up on you on their hands and knees. And the first thing you know, you're in it up to your neck. You'll see it just as I saw it. You'll meet the people, you'll find the clues, and maybe you'll solve it quick, and maybe you won't. You think you will, eh? Okay, you're smart. But let me give you a tip. You've gotta watch them. You've gotta watch them all the time. Because things happen when you least expect them")
  • the intriguing, twisting plot, beginning in the office of Kingsby Publications, Incorporated, where Marlowe met with the pulp magazine publisher's conniving, self-interested and witchy executive Adrienne Fromsett (Audrey Totter), who hired Marlowe to find Chrystal Kingsby (Ellay Mort) - the promiscuous missing wife of millionaire editor-in-chief Derace Kingsby (Leon Ames); allegedly, Chrystal had run off to Mexico two months earlier, according to a telegram, with muscle-bound, smarmy, smooth-talking gigolo boyfriend Chris Lavery (Dick Simmons)
  • the camera's (Marlowe's eyes) following of the publisher's receptionist, a flirtatious blonde bombshell (Lila Leeds)
  • Marlowe's suspicions were that Kingsby's tough-girl, manipulative, witchy and kittenish editor-assistant and career woman Adrienne Fromsett was interested in her boss, the rich editor-in-chief Kingsby; Adrienne was eager for Kingsby to begin divorce proceedings against Chrystal, or to find Chrystal dead, so that she could marry her boss; the plot became even more complex when Kingsby denounced Adrienne for her scheming ways, and announced that he had no plans for divorce; angered, Adrienne fired Marlowe, who was then hired by Kingsby to find his wife.
  • on his second visit, Marlowe's surprising encounter, in the residence of Chris Lavery, Chrystal's gigolo lover, with the alleged, fast-talking landlady Mrs. Fallbrook (Jayne Meadows), who had a gun in her hand (she said she found it on the stairs); she claimed she was there to collect the overdue three months rent
  • soon after, Marlowe's discovery of running water in Lavery's bathroom, bullet holes in the shower door glass, and Lavery's corpse slumped on the shower floor (the killer was presumably Mrs. Fallbrook/Mildred/Muriel)
  • the character of Lieutenant Degarmot (Lloyd Nolan), a love-struck police officer who had partnered with Mrs. Fallbrook (an alias name, actually Mildred Havelend), to hide and cover up the fact that Mildred was involved in the death of her previous employer's (a Bay City doctor) wife named Florence Almore, by asphyxiation in her car: (Marlowe: "You're Mildred Havelend. You murdered the Almore woman"), although Degarmot's covered-up investigation ruled it was a suicide; afterwards, Mildred "double-crossed" Degarmot by changing her name to Muriel Chess (after marrying Bill Chess, Kingsby's caretaker) with the intent to hide and get away from "tough cop" Degarmot
  • the discovery of a decomposed corpse in Little Fawn Lake ("lady in the lake") near the Kingsby's summer cabin; because the body was unidentifiable, it was speculated that Kingsby's caretaker, Mr. Chess, had murdered his wife Muriel; Adrienne thought otherwise - that Chrystal Kingsby had killed the detested Muriel
  • Marlowe's revelation that the corpse belonged to the missing Chrystal Kingsby, although Mildred made it look like the corpse was her alter-ego Muriel's - as Marlowe explained it: (Marlowe: "The lady in the lake, instead of being you, is Chrystal Kingsby. Is that an accident?"); Mildred/Muriel and Chrystal fought over handsome male Chris Lavery - this rivalry was clearly Mildred's motive to kill Chrystal and make it look like Muriel was the dead body in the lake, so she could run away: ("Muriel's been found dead, and Chrystal's missing"); Mildred admitted: ("Yes. Chrystal and I traded clothes one night. She had on my things, and I had on hers. We went across the lake to see if we could fool my husband, Bill Chess, that was my husband"); Marlowe deduced: ("And Chrystal fell in the lake and sank to the bottom"); after the drowning/murder, Mildred fled and ran away with Chris Lavery to El Paso - he "was the only one who knew the real identity of the lady in the lake" - the reason that Mildred later killed him too
Lieut. Degarmot's Anger at Mildred for Being Double-Crossed -
He Shot Her to Death
  • the final resolution when Lieut. Degarmot arrived and described his feelings of double-cross by Mildred after he had helped her cover up the Almore murder: ("People aren't safe with a woman like you in the world and people have to be protected. I never expected to find you here tonight. I thought you were dead. I wish you were, because you're a murderess. And this time, dead's the way I'm gonna leave you... the night Florence Almore died (and) you made a sucker out of me. Even after you ran away, I still loved you. You made a clown outta me, a bad cop. But tonight's the end of it, and of you"); Marlowe attempted to dissuade Degarmot: ("The Almore case won't come up. They'll convict her for Chrystal's murder or Lavery's. You'll be clear"), but Degarmot shot her multiple times - point-blank - in view of Marlowe, as she begged: ("No. Please, please wait. Don't honey. Honey, we were gonna, we were gonna be a guy and his girl, that's the way you said it, I remember those very words, I remember...All our dreams can come true if you'll only just...Please! I love you, remember, I'm your girl")

Introduction of Plot by Phillip Marlowe

Adrienne Fromsett (Audrey Totter) in Publisher's Office

Flirtatious Blond Office Receptionist

Chris Lavery
(Dick Simmons)

Marlowe Questioning Adrienne's Motives

Mrs. Fallbrook (Jayne Meadows) (aka Mildred) - The Deadly Landlady

Lavery Shot Dead in Shower

The Lady Vanishes (1938, UK)

In Alfred Hitchcock's early, pre-War classic mystery-thriller - and his last British film:

  • the opening sequence: due to a snow avalanche, in the Gasthof Petrus inn in the central European country of Bandrika that was besieged by stranded travelers, including English tourist and spoiled socialite heiress Iris Henderson (Margaret Lockwood); she was enroute back to Britain to be married to an aristocrat named Charles; she was soon to meet folk-song musicologist Gilbert Redman (Michael Redgrave) in the room above, who kept her awake by re-enacting a noisy Balkan wedding dance
  • the scene of the abrupt strangling (a pair of silhouetted hands signaled the death) of a harmless serenader with a guitar (performing a haunting melody) outside the inn - listened to by one of the hotel guests - the elderly, eccentric ex-governess, spinster, and music teacher Miss Froy (Dame May Whitty)
  • the following morning as the train was about to depart, the scene of Iris being hit on the head with a planter box dropped from above, and soon suffering dizziness and hallucinations, while the intended target was actually Miss Froy who was next to her
  • during the train ride, after Iris fell asleep with Miss Froy sitting across from her - she then suddenly and mysteriously disappeared - and no one seemed to remember her ("There has been no English lady here") - was there a cover-up?; after her disappearance, a frantic search commenced to locate her; Iris' search was described thusly: "She's back there kicking up a devil of a fuss that she's lost her friend"
  • one of the clues - the sight of Miss Froy's handwriting on the train window, from earlier when she was having tea with Iris; because of a loud train whistle noise, she wrote her name with her finger on the frosted glass: ("FROY - it rhymes with Joy!")
  • another clue - the momentary sight of a Harriman's Herbal Tea packet-bag (Miss Froy's own personal favorite tea brand) stuck to the train window pane after the garbage was tossed through a window by the train's cook
  • the eerie appearance of a fully-bandaged or mummified "patient" - allegedly brain surgeon Dr. Hartz's (Paul Lukas) patient, but revealed to be a disguised and/or kidnapped Miss Froy
  • the discovery that Dr. Hartz's suspicious, working-class, supposedly mute British nurse-nun attendant (Catherine Lacey) was wearing high heeled shoes - was she one of the foreign agent conspirators who was involved in Miss Froy's abduction?
  • after drugging Iris and Gilbert with doctored drinks, Dr. Hartz admitted to them that he was involved in the conspiracy: "l am in this conspiracy as you term it. You are a very alert young couple, but it's quite useless for you to think of a way out of your dilemma. The drink you've had now, l regret to say, contained a quantity of Hydrocin. For your benefit, Hydrocin is a very little known drug which has the effect in a small quantity of paralyzing the brain and rendering the victim unconscious for a considerable period"; however, Hartz didn't know that the Nurse didn't comply with his request to drug them, and they faked the drug's effect
Bandaged "Patient" - The Kidnapped Miss Froy?
Nurse Wearing High-Heel Shoes
Conspirator Dr. Hartz
Unwrapping Miss Froy's Bandages
Miss Froy's Confession - About Being a Spy
  • Iris and Gilbert freed bandaged Miss Froy (who was replaced by one of the conspirators); there was a resultant gunfight shootout with soldiers from the Morsken station after the train was diverted onto a branch line and stopped
  • the scene of Miss Froy's confession to Iris and Gilbert of her secret mission to deliver a musical coded message - "In case I'm unlucky and you get through, I want you to take back a message for a Mr. Callendar at the Foreign Office at Whitehall....It's a tune. It contains, in code of course, the vital clause of a secret pact between two European countries. l want you to memorize it" - [Note: Miss Froy was a British spy in disguise, who had memorized the film's MacGuffin (a musically-coded state secret hidden in folk music).]
  • the very last frames of the film set in the Foreign Office in London -- a joyful reunion between Iris, Gilbert (who had forgotten the memorized tune of the all-important folk tune), and Miss Froy; the couple heard the tune being played in an adjoining room - and found Miss Froy seated at a piano playing the cryptic melody (containing a coded secret message)
Reunited with Miss Froy, Seated at Piano
Playing Tune in the Foreign Office in London

Strangulation of Guitar Serenader Outside Inn

Iris Henderson Hit on Head by Planter Box and Suffering Dizziness

Miss Froy Writing Name on Window in Train Dining Car with Iris

Miss Froy's Herbal Tea Bag Stuck to Train Window

Ending: Iris and Gilbert Back in London - and in Love

The Last Detail (1973)

In director Hal Ashby's military-related, anti-authoritarian road-trip and buddy film - and coming-of-age treatise - strewn with a record number of obscenities:

  • the opening scene in Norfolk, Virginia - Master At Arms (MAA) (Clifton James) briefed cynical Navy shore patrolman Billy "Bad-Ass" Buddusky (Oscar-nominated Jack Nicholson) and his buddy Gunner's Mate First Class Richard "Mule" Mulhall (Otis Young) on their new "shit-detail" assignment - a shore-patrol mission to escort a naive, dim-witted, 18 year-old robbery prisoner, Seaman Lawrence "Larry" Meadows (Oscar-nominated Randy Quaid), to Portsmouth (NH) Naval Prison (via Washington, NY, and Boston) to serve an eight-year sentence for stealing $40 dollars from a charity box: ("You are one lucky son of a bitch!...How come you're so lucky, Buddusky? You're another lucky son of a bitch, Mulhall....You dudes pulled temporary duty as chasers...You see, he tried to lift the polio contribution box....Polio box is the old man's old lady's favorite do-gooder project. She's responsible for all the polio contributions on the base, ya know? Every year, they give her a plaque. Along comes Meadows and f--ks over charity. She took it very seriously")
  • Buddusky's initial plan - to quickly drop Meadows off in NH (a two-day trip), and spend the rest of their week's leave (extra per-diem payouts) for themselves, but then decided to provide "the kid" with various life experiences
  • the cheeseburger lunch scene in a Washington DC bar when Buddusky gave Larry a lesson about returning food: ("Cheese melted enough for ya?...It ain't melted at all. Send it back...Send the god-damn thing back, Meadows. You're payin' for it....Meadows, have it the way you want it. Waiter? Melt the cheese on this for the Chief, would ya? See, Meadows? It's just as easy to have it the way you want it")
  • afterwards at a DC bar, Buddusky confronted a new, by-the-book, disagreeable "redneck" bartender (Don McGovern), who required that they show IDs, after Buddusky made a beer order for the three of them, including the under-aged Meadows; offended by the racist bartender, Mulhall complained: "Well, I tell ya what you better do, Mr. Citizen Bartender. You take your beers and ram 'em up your ass sideways. Can you dig it?"; Buddusky butted in: "Whoa there, sunshine. We're goin', so you can take your hand off that horse cock you got stashed under the bar....Ho, ho, ho. This redneck is talkin' about firearms. Well, I know that you ain't got nothin' but wood under there, my man, because I happened to be here one night when a certain sailor got it laid up the side of his f--kin' head. Whaddya think about that, redneck?...I'm gonna kick your ass around the block for drill, man"; when the bartender threatened to summon the shore patrol, Buddusky retorted: ("I am the motherf--king shore patrol, motherf--ker! I am the motherf--king shore patrol! Give this man a beer!"); when Meadows declined, Buddusky yelled at him: "You're gonna have a f--kin' beer!"; afterwards on the street, Buddusky howled with laughter, clearly enjoying his nickname "Bad-Ass" -- "I am a bad-ass, ain't I?"
Ordering Beers
"I am the motherf--king shore patrol!"
"I am a bad-ass, ain't I?"
  • the scene of a fist-fight with a group of Marines in NYC's Penn Station public restroom after cigar-chomping Buddusky insulting one of the Marines fumbling with buttons at a urinal; he called the offending Marine a 'dickhead': ("If I was a Marine, I wouldn't have to f--k with no thirteen buttons. I'd just take my hat off")
  • the scene of their observation of a joyous discussion group of chanting Buddhists at a Nichiren Shoshu discussion meeting, enjoying "the world's finest" Italian sausage sandwiches, and joining ice skaters in NYC's Rockefeller Center
  • the scene of a stop at a brothel in Boston for Meadows to lose his virginity with a Young Whore (Carol Kane); after having sex, Meadows naively asked how he was, and she responded: "You got off to a shaky start. After that, you took to it like a duck to water"; he offered to give her the rest of his money just to look at her - she told him: "Guess you haven't seen many girls with their clothes off, have you, honey? Well, let me tell you, I've got a good body. Not great, but pretty good"; he told her as he stroked her arm: "It's beautiful"; later, Meadows told Buddusky and Mulhall: "After, after, well, maybe it was an act for her. I mean I know she was a whore. But I think she liked me...Well, it was real for me and that's what counts"; Buddusky announced: "Welcome to the wonderful world of pussy, kid!"
  • the bittersweet scene of the group's arrival in snowy Portsmouth, and their attempt to have a BBQ picnic in the wintry park; Buddusky realized their trip was coming to a close ("He don't stand a chance in Portsmouth, you know. You know that, don't you? God-damn grunts, kickin' the s--t outta him for eight years - he don't stand a chance") - followed by Meadows' use of semaphore flag signals (earlier learned from Buddusky) to send a message to them: "BRAVO YANKEE BRAVO YANKEE End of Message" (literally "Bye-Bye"), before his attempt to escape; Buddusky was forced to brutally pistol-whip the captured young sailor - bringing the entire situation back to reality that they were escorting a prisoner to the jailhouse

MAA: "You are one lucky son of a bitch!"

Buddusky and Mulhall Told About New Assignment - And Buddusky's Question: "Who'd he Kill?"

Kleptomaniac Larry Meadows (Randy Quaid)

Returning Cheeseburger Lesson

Confronting Marines in NY's Penn Station Restroom

Watching Chanting Buddhists

At a Boston Brothel With Whore (Carol Kane)

Meadows' Ill-Advised Flight

The Last Emperor (1987, UK/It./China/HK)

In Bernardo Bertolucci's visionary Best Picture-winning epic, an epic biography about the life of Pu Yi, the last imperial ruler of China, told in flashback:

  • the sight of the last emperor of the Qing dynasty - 3 year-old child emperor Pu Yi (Richard Vuu as 3 years old), who ascended to the "Dragon Throne" in 1908 when pronounced the new emperor by the dying Empress Dowager Cixi (Lisa Lu) - "I have decided that you will be the new Lord of Ten-Thousand years. You will be the Son of Heaven"; he toddled out beyond a billowing yellow curtain to view outside the palace throne room the lined-up hordes of supporters, eunuchs and ritualistic worshippers
  • the young boy's interest in a cricket pet given to him by an elderly Mandarin on his coronation day - becoming "the Emperor's Cricket"
  • the scenes of the fixated young boy (up until age 10) being wet-nursed (breast-fed) by Ar Mo (Jade Go)
  • the scene of the teenaged emperor riding his bicycle to the outer gate and being forbidden to leave the imprisoning Forbidden City walls
  • the young emperor's Western-style tutoring beginning in 1919 by Scot Reginald 'R.J.' Johnston (Peter O'Toole), a faithful yet ascerbic gentleman, who realized how imprisoned the emperor had become: ("The Emperor has been a prisoner in his own palace since the day that he was crowned, and has remained a prisoner since he abdicated. But now he's growing up, he may wonder why he's the only person in China who may not walk out of his own front door. I think the Emperor is the loneliest boy on Earth"); and later the scene of their final goodbye in the back seat of a vehicle before Johnston boarded a ship
  • the scene of preparations for his marriage to a modern woman (who knew the latest dance steps and was educated outside of China) - in which he unveiled his arranged marriage partner Wan Jung (Joan Chen) after which she smothered him with lipstick-kisses all over his bald head - and later in a polygamous arrangement, shared his bed with a second wife - concubine/consort Wen Hsiu (Vivian Wu, aka Wu Jun Mei) (as they explored each other's bodies under a silk sheet)
  • the scene of tuxedo-clad ex-emperor Pu Yi (John Lone) as an exiled, decadent, playboyish young adult dressed in Western clothes in Tianjin in 1927, cigarette in his hand, and singing wistfully "Am I Blue?" while leaning on a piano in a Western hotel dining room
  • the scene of secondary consort Wen Hsiu's demands for a divorce: "I want a divorce" - passively accepted
Singing: "Am I Blue?"
Wen Hsiu: "I want a divorce"
  • later, his escape in the mid-1930s to Manchukuo as a puppet ruler where his opium-addicted wife Wan Jung had an affair with leather-clad, depraved, cross-dressing, and decadent lesbian Japanese spy Eastern Jewel (Maggie Han); to soothe her, Eastern Jewel massaged Wan Jung's leg and then nibbled on her toes and smiled: "Now we're engaged"; eventually, Eastern Jewel was driven to suicide when the Japanese surrendered, and Wan Jung was placed in an asylum
Eastern Jewel (Maggie Han) -
Sucking Toes of Opium-Addicted Wan Jung
  • the ten years of Pu Yi's imprisonment as # 981 in Foo Shoe - a Russian prison/re-education camp (where he couldn't even tie his own shoes) - but where he majestically scribbled his name on the ground - and the scene of his eventual release in 1959
  • the final flash-forwarded sequence of an older Pu Yi in 1967 (the year of his death) - as a simple Peking gardener and also as a tourist visiting the Forbidden City where he ascended the Dragon Throne once again and showed an amazed young boy, wearing a red tie signifying Communist Party ties with the Pioneer Movement, his hidden cricket box behind the throne - to prove that he was the Emperor of China (Son of Heaven, or "The Lord of Ten Thousand Years"); the young lad released the 60 year-old cricket (!) from the box, and it crawled onto his red tie
Hidden Cricket Box -
Cricket Crawling on Red Communist Tie
  • the final words of a tour guide in 1987, pointing out the golden Dragon Throne area to a group of tourists: ("This is the Hall of Supreme Harmony where the empress were crowned. The last Emperor to be crowned here was Aisian-Gioro Pu Yi. He was three years old. He died in 1967"), before the credits rolled over a freeze-frame of the throne area

Empress Dowager Cixi's Pronouncement

Toddler Child Emperor and Billowing Yellow Curtain

Pu Yi - "The Son of Heaven"

"The Emperor's Cricket"

Pu-Yi Breast-Fed by Ar Mo (Jade Go)

Final Stoic Goodbye of Tutor 'R.J.' Johnston (Peter O'Toole)

Arranged Marriage with Wan Jung (Joan Chen)

Marital Bed

Puppet Ruler

The Last House on the Left (1972)

In Wes Craven's controversial early low-budget horror film, a taboo-breaking and often revolting 'snuff'-type film:

  • the film's sensational opening titles sequence - teenaged Mari Collingwood (Sandra Cassell) in the shower preparing to go out with her friend Phyllis Stone (Lucy Grantham) and search for pot while on their way to a Blood Lust concert
  • the long ordeal of the two teenaged girls who were kidnapped by a group of escaped convicts led by Krug Stillo (David Hess); Phyllis' dark blue blouse was opened to expose her breasts, and then Krug punched her in the stomach and raped her
  • their brutal and sadistic torture, rape, dis-embowelment, and eventual murder in the woods -- blue-wearing Phyllis was forced to urinate with her clothes on ("Piss (in) your pants...Do it!") - the camera panned down, showing her wettened blue-jeans
Mari and Phyllis
Phyllis Ordered to Piss In Her Pants
Forced Oral Sex
  • the two females were stripped naked and forced to have oral sex with each other ("Make them make it with each other!") - as the girls rationalized: "lt's just you and me here. Nobody else. Just you and me, okay?"; psychopathic, sadistic gang member Sadie (Jeramie Rain) also performed oral sex on Mari
  • the scene of Phyllis making a run for it, but was cornered, stabbed in the back by deviant Fred "Weasel" Podowski (Fred Lincoln) and then dis-emboweled (after repeated stabbings) and butchered, after which Sadie reached in and pulled out her gooey intestines to examine them - Phyllis' left hand and half of her forearm were amputated (off-screen)
  • the brutal sequence when Mari had Krug's name carved into her upper chest and was then brutally raped (as he drooled onto her face); she vomited and then walked dazedly into a nearby pond to half-submerge and cleanse herself where Krug shot and killed her, and she floated on the water's surface
Mari's Ordeal
  • and the later sequence of animalistic payback revenge/slaughter by the Collingwoods on the gang (who had been seen in intercut segments, planning a 'surprise party' for Mari) -- the father (Gaylord St. James) semi-electrocuted Krug, chipped out his teeth out with a chisel (in a dream sequence) and pursued him with a chainsaw and killed him (off-screen, evidenced by blood splatter)
Father's Pursuit of Krug with Chainsaw
  • meanwhile outdoors, the mother (Cynthia Carr) cleverly enticed gang member "Weasel" to have sex (she had also convinced him to have his hands tied behind his back) - he told her: "Now you just unzip me, and that's all l'll need you for"; at first, his penis ("little thing...poor little fellow") became caught in his zipper and he was unresponsive, but as she touched him more and more, he warned: "lf you don't watch it, l'm gonna come"; she urged: "Please come then, sweetie"; he asked: "Don't you want me to do you good and proper?" - she replied: "You can do both, can't you?" - he boasted: "Hell, yeah! I can come five or six times if you want me to"; she sank down to crotch-height, and as he was climaxing, she viciously bit off and dismembered his penis; after returning home, she fought off Sadie with a knife, and then was able to slash her throat with the weapon in the pool

Mari (Sandra Cassell)

Initial Rape of Phyllis

Phyllis Stabbed in Back and Disemboweled; Left Hand Amputated

Weasel Fellated and Then Castrated

Sadie Slashed to Death with Knife in Pool

The Last of the Mohicans (1992)

In Michael Mann's historical romance epic - based mostly on director George Seitz's 1936 film (starring Randolph Scott) with screenplay by Philip Dunne - of James Fenimore Cooper's early 19th century novel about the battles between British and French forces in the American colonies during the French and Indian War - the lead heroic character was Nathaniel "Hawkeye" Poe, the European-born adopted son of Mohican scout Chingachgook (literally, the last of the Mohicans):

  • the visually stunning opening scene of the pursuit-tracking of a deer
  • the scene of British troops, led by Army Major Duncan Heyward (Steven Waddington) and guided by villainous Huron warrior Magua (Wes Studi), being unwitting led into an ambush - and the violent hand-to-hand combat during the Huron attack - including scalpings, stabbings, throat slashings
  • the sequence of heroic adopted Mohican Hawkeye's (Daniel Day-Lewis) ultimate rescue of the group of attacked Britons, including Redcoat Colonel Edmund Munro's (Maurice Roëves) headstrong daughter Cora Munro (Madeleine Stowe) and her younger sister, Alice (Jodhi May); during the midst of battle, Cora point-blank shot a charging Indian
  • the sequence of the besieged Fort William Henry (commanded by Colonel Munro), surrounded by French troops and the Hurons, while there was growing romance, kisses and passion in a golden light between Hawkeye and Cora, causing extreme jealousy in Major Heyward
  • the evacuation of the surrounded Fort William Henry, and the sequence of Hawkeye's famous romantic instructions and farewell scene in a cave behind a cascading waterfall to Cora as they were pursued by a Huron war party; she begged for him to save himself: ("You've done everything you can do. Save yourself. If the worst happens, and only one of us survives, something of the other does too"), but he promised to come back and find her later, before jumping into the waterfall to escape: ("No. You stay alive. If they don't kill you, they'll take you north, up to Huron land. Submit, do you hear? You're strong, you survive. You stay alive, no matter what occurs! I will find you. No matter how long it takes, no matter how far, I will find you!")
  • and the chilling, quietly vitriolic promise of revenge against Cora's father Colonel Munro - who was nicknamed "Grey Hair" by Huron warrior Magua: ("The Grey Hair's children were under Magua's knife. They escaped...When the Grey Hair is dead, Magua will eat his heart. Before he dies, Magua will put his children under the knife, so the Grey Hair will know his seed is wiped out forever")
  • the chilling scene of hostage Alice's decision to commit suicide by jumping off a cliff, rather than submitting to Magua
  • the dialogueless 15-minute sequence featuring the climactic one-on-one fights on a cliff-side path between Magua and Chingachgook's (Russell Means) son Uncas (Eric Schweig) - ending in Uncas' death when he was stabbed and thrown off a mountain, and then another one-on-one fight between Chingachgook and Magua, ending with Magua's death
Chingachgook's Duel to the Death Against Magua
  • the scene of Chingachgook's final prayer (with Hawkeye at his side) as the "Last of the Mohicans" to honor Uncas: ("Great Spirit, Maker of All Life. A warrior goes to you swift and straight as an arrow shot into the sun. Welcome him and let him take his place at the council fire of my people. He is Uncas, my son. Tell them to be patient and ask death for speed; for they are all there but one - I, Chingachgook - Last of the Mohicans"); after Chingachgook finished his speech, he gave a tortured look to his adoptive European-born white son Hawkeye as they looked out to the New York wilderness
Honoring Uncas With Prayer

Huron Ambush on British Troops

Cora's Point-Blank Shooting

Romance Between Hawkeye and Cora

Hawkeye's Farewell Scene at Waterfall:
"I will find you"

Uncas' Killing by Magua

Alice's Suicide

The Last Picture Show (1971)

In critic turned director Peter Bogdanovich's best film about life and rites of passage in the small, dying Texas town of Anarene in the early 1950s, with Robert Surtees' magnificent black-and-white cinematography:

  • the sex-capades of co-captains of the football team, Texas high-school seniors Duane Jackson (Jeff Bridges) and Sonny Crawford (Timothy Bottoms) as they pondered their uncertain futures
  • Sonny's affair with the coach's wife Ruth Popper (Oscar-winning Cloris Leachman), when the two hurriedly and self-consciously undressed (without looking at each other) in separate areas of her bedroom, and he lost his virginity when he awkwardly made unceremonious love to the older woman - under the sheets
  • the reading of a Keats poem by an English teacher (John Hillerman) to his disinterested class of teens: ("When old age shall this generation waste Thou shalt remain, in midst of other woe Than ours, a friend to man To whom thou sayest, 'Beauty is truth, Truth Beauty' That is all ye know on Earth And all ye need to know")
  • the scene of the private, teenaged midnight skinny-dipping indoor pool party when neophyte Jacy Farrow (Cybill Shepherd in her film debut) was greeted by a stark naked Bobby Sheen (Gary Brockette) and his nude girlfriend Annie-Annie Martin (Kimberly Hyde) who asked: "Wanna join the club?" - Jacy was challenged to get undressed out on the diving board as part of the initiation rites ("so everybody gets to watch"); expectantly, the whole naked group of teenaged boys and girls eagerly sat by the edge of the pool to watch "the strip show" - she nervously and gingerly removed many articles of clothing, almost fell off the diving board, and then with one dramatic gesture, yanked off her bra top and flung it on top of her pile of clothes; finally, she was cheered as she hopped into the water - completely naked
The Skinny-Dipping Indoor Pool Party
  • the fishing scene at the old tank dam on an overcast day, where old-timer, ex-cowboy Sam 'The Lion' (Oscar-winning Ben Johnson), owner of the local pool hall, delivered a monologue to Sonny about his recollection of the idyllic "old times" and his one true love; he remembered a "crazy" youthful romance with a girl who swam nude with him in the water: ("You wouldn't believe how this country's changed. First time I seen it, there wasn't a mesquite tree on it, or a prickly pear neither. I used to own this land, you know. First time I watered a horse at this tank was more than forty years ago. I reckon the reason why I always drag you out here is probably I'm just as sentimental as the next fella when it comes to old times. Old times. I brought a young lady swimmin' out here once, more than 20 years ago. Was after my wife had lost her mind and my boys was dead. Me and this young lady was pretty wild, I guess. In pretty deep. We used to come out here on horseback and go swimmin' without no bathing suits. One day, she wanted to swim the horses across this tank. Kind of a crazy thing to do, but we done it anyway. She bet me a silver dollar she could beat me across. She did. This old horse I was ridin' didn't want to take the water. But she was always lookin' for somethin' to do like that. Somethin' wild. I'll bet she's still got that silver dollar....Oh, she growed up. She was just a girl then, really"); at the end of the monologue, he explained why he didn't marry her: ("She was already married. Her and her husband was young and miserable with one another like so many young married folks are. I thought they'd change with some age, but it didn't turn out that way"); he concluded that marriages were often miserable and failed ("About eighty percent of the time, I guess"); he also lamented the coming of old age ("If she was here, I'd probably be just as crazy now as I was then in about five minutes. Ain't that ridiculous? Naw, it ain't really. 'Cause bein' crazy 'bout a woman like her's always the right thing to do. Bein' a decrepit old bag of bones - that's what's ridiculous - gettin' old")
  • the revelation of Sam's sudden death from a stroke to the two stunned teens Duane and Sonny after they returned to town following a trip to Mexico, and the cascade of misfortunes that followed in the wake of his death (i.e., the closing of the local movie house and the pool hall, the molestation of a little girl)
  • the pre-arranged rendezvous and sexual encounter between Duane and the town's ravishingly beautiful, calculating, fortune-hunting Jacy at the Cactus Motel in the dying Texas town - she laid back on the motel bed and half-closed her eyes as she encouraged him to take her virginity: "Oh Duane, hurry"; but then asked annoyingly: ("Aren't you gonna do it?...What do you mean? How could anything be wrong? Just go on and do it"); aggravated by the aborted love-making when he was unable to perform, she ordered him to dress: ("You think I wanna sit around here and look at you nekkid?"); she instructed him to "not tell one soul - you just pretend it was wonderful," and then threw her panties at his face; afterwards she told her admiring girlfriend-classmates: "I just can't describe it in words"
  • the scene of Duane and Sonny attending the 'last picture show' in town - Howard Hawks' western Red River (1948) before Duane's deployment to fight in the Korean War
  • the senseless death of Sonny's mentally retarded brother Billy (Sam Bottoms, Timothy's real-life brother) -- hit by a truck -- and Sonny's anguished cry: ("He was sweepin', ya sons of bitches. He was sweepin'!") - before covering Billy's body with his letter jacket
  • Ruth's tirade at Sonny for abandoning her when he returned to her after Billy's death: ("I'm sorry, I'm still in my bathrobe. What am I doing apologizing to you? Why am I always apologizing to you, you little bastard?! Three months I've been apologizing to you without you even bein' here! I haven't done anything wrong. Why can't I quit apologizin'?! You're the one oughta be sorry! I wouldn't still be in my bathrobe if it hadn't been for you. I'd have had my clothes on hours ago. You're the one made me quit caring if I got dressed or not! I think it's just because your friend got killed, you want me to forget what you did and make it all right? I'm not sorry for you. You'd have left Billy too, just like you left me. I bet you left him plenty of nights whenever Jacy whistled. I wouldn't treat a dog that way. I guess you thought I was so old and ugly, you didn't owe me any explanation. You didn't need to be careful of me. There wasn't anything I could do, so why should you be careful of me? You didn't love me. Look at me. Can't you even look at me? See? Shouldn't have come here. I'm around that corner now. You've ruined it. It's lost completely. Just your needin' me won't make it come back")
  • in the final moments of the film, Ruth empathically realized Sonny's pain: ("Never you mind, honey, never you mind...")

(l to r): Sonny, Duane, and Jacy

Sonny's Affair with Ruth Popper

Sam's Eloquent Monologue

Reaction to Sam's Sudden Death

Jacy and Duane's Sexual Encounter in Motel Room

The Sequence of The Senseless Death of Sonny's Brother Billy

Ruth's Tirade Against Sonny

Ruth to Sonny: "Never you mind, honey, never you mind"

Last Tango in Paris (1972, Fr./It.) (aka Ultimo Tango a Parigi)

In Bernardo Bertolucci's landmark and controversial erotic film, an arthouse film, about the development of a destructive relationship:

  • the scene (later in the film) of middle-aged American expatriate Paul's (Oscar-nominated Marlon Brando) anguished, out-of-control confessional (mostly ad-libbed) monologue next to his dead estranged wife Rosa's body in their bedroom, surrounded by flowers, after she had committed suicide: ("...For five years, I was more a guest in this f--king flophouse than a husband. With privileges, of course....Our marriage was nothing more than a, a foxhole for you. And all it took for you to get out was a 35-cent razor and a tub full of water. You cheap, goddamn, f--king, god-forsaken whore. I hope you rot in hell. You're worse than the dirtiest street pig that anybody could ever find anywhere, and you know why? You know why? Because you lied. You lied to me and I trusted you. You lied. You knew you were lying! Go on, tell me you didn't lie. Haven't you got anything to say about that? You can think up something, can't you? Huh? Go on, tell me something! Go on, smile, you cunt! Go on, tell me, tell me something sweet. Smile at me and say it was - I just misunderstood. Go on, tell me. You pig-f--ker! You goddamn, f--king, pig-f--king liar"); and then he turned apologetic: ("I'm sorry, I just can't, I can't stand it to see these goddamn things on your face. You never wore make-up. This f--king s--t. I'm gonna take this off your mouth. This lipstick, Rosa. Oh, God! I'm sorry. I don't know why you did it. I'd do it too, if I knew how. I just don't know how. God, I have to, I have to find a way")
Paul's Distraught Grieving at Bedside of Estranged Wife Rosa
  • the meeting of two strangers in an empty apartment: the gutter-talking, emotionally-crushed widower Paul and young, full-breasted 20 year-old Parisienne ingenue Jeanne (Maria Schneider); they had their first encounter in an empty apartment (she was inspecting it as a possible place to live with her serious film-maker fiancee Thomas (Jean-Pierre Leaud)) when she found Paul sitting in the dark next to the fireplace mantle: ("Who are you? You gave me a fright? How did you get in?")
  • the beginnings of their frequent, controversial, carnal and raw sexual scenes (becoming increasingly more vile, empty and unromantic); in the apartment, he picked her up (clothed), carried her to a window with closed venetian blinds, and forcefully made love to her standing up, without saying anything; afterwards, they both collapsed to the floor still embracing
  • Paul's insistence on having a sexual affair - conducted anonymously without names; and his set of 'no questions asked' and 'no names' rules notable for the time: ("I don't have a name....No, no, I don't, I don't want to know your name. You don't have a name and I don't have a name either. No names here. Not one name... I don't want to know anything about you. I don't wanna know where you live or where you come from. I wanna know nothing.... Nothing, nothing, do you understand?...You and I are gonna meet here without knowing anything that goes on outside here. OK?...Because, because we don't need names here. Don't you see? We're gonna forget everything that we knew. Every - all the people, all that we do, all that we, wherever we live. We're gonna forget that, everything, everything")
  • the development of their relationship that became increasingly more vile, slavish, empty, humiliating, and unromantic (i.e., "You know in 15 years, you're going to be playing soccer with your tits. What do you think of that?", and "What strong arms you have! The better to squeeze a fart out of you! What long nails you have! The better to scratch your ass with. Oh, what a lot of fur you have! The better to let your crabs hide in. Ooh, what a long tongue you have! The better to, to stick in your rear, my dear")
  • the sequence when they were hugging each other naked and coupled together, and she proposed that they concentrate - and "Maybe we can come without touching," but they were unsuccessful; then she suggested that they invent names for each other; he countered: ("Oh, God, I've been called by a million names all my life. I don't want a name. I'm better off with a grunt or a groan for a name. Do you wanna hear my name?"); after he made animal sounds, she complimented him: ("It's so masculine"), and then she made her own barnyard sounds ("Listen to mine") - and he joked: "I didn't get the last name" and they continued speaking in grunting moans and sounds
The Infamous Sodomy Butter Scene:
"Go get the butter"
  • her passive acquiescence to various sexual encounters in the apartment, including a bathtub washing sequence, and rape and/or forced sodomy scene on the floor using a stick of butter as a lubricant during intercourse ("Go get the butter"); and later, Paul reciprocated by letting Jeanne penetrate him anally with her fingers - part of his objective to "look death right in the face...go right up into the ass of death... till you find the womb of fear"
  • the scene of Paul's revelation of his past to Jeanne, including his "bad memories" and his unhappy childhood living in the country: ("My father was a, a drunk. Tough. Whore-f--ker, bar-fighter. Super-masculine. And he was tough. My mother was very, very poetic. And also a drunk. And one of my memories, when I was a kid, was of her being arrested nude. We lived in this small town. Farming community. We lived on a farm. And I'd come home after school and she'd be gone. In jail or something. And, uh, and I used to, I used to have to milk a cow every morning and every night and I liked that but I remember one time I was all dressed up to go out and take this girl to a basketball game. And I started to go out and my father said, 'You have to milk the cow.' And I asked him, I said, 'Would you please milk it for me?' And he said, 'No, get your ass out there.' So I went out and was in a hurry and didn't have time to change my shoes. And I had cows--t all over my shoes. And on the way to the basketball game, it smelled in the car. And - I don't know. I-l can't remember very many good things...")
  • the fateful scene in a tango bar, where the two became increasingly drunk together and made toasts: ("Let's have a toast to our life in the hotel...Let's drink a toast to our life in the country. Huh?"), and he suggested that they dance - and also that they could start their relationship anew, but she was ready to end things because she was going to get married: ("What's the matter with you? It's finished....We're never going to see each other again. Never!"); during their disrupting dancing during a tango competition, they were thrown out: ("You'll have to leave, sir!")
  • the shocking finale set in her mother's Parisian apartment, where he playfully donned her late father's Army cap (he was a colonel in French North Africa). When he removed it and confessed his love for her, she was horrified and fearful. Jeanne semi-accidentally shot Paul in the stomach with her father's Army revolver in her hand; he stumbled onto the balcony where his last simple act was to remove his chewing gum from his mouth, and then he collapsed and died in a fetal position
Paul's Death - Collapsing on Balcony in Fetal Position
Jeanne's Rehearsed Confession
  • her glazed, wide-eyed mantra as the film ended - Jeanne muttered the last lines of the film to herself (in French, translated below), rehearsing her lines that she would have to deliver to the police to explain his death (rationalizing and reassuring herself that it was self-defense when the stranger attempted to rape her): ("I don't know who he is. He followed me in the street. He tried to rape me. He's a lunatic. I don't know what he's called. I don't know his name. I don't know who he is. He tried to rape me. I don't know. I don't know him. I don't know who he is. He's a lunatic. I don't know his name")

First Encounter in Apartment

Another Meeting: "No Names Here...I Wanna Know Nothing..."

"Maybe we can come without touching"

Paul's Revelation of "Bad Memories"

Frequent Nakedness: Bathtub Washing Sequence

Drunken Toasts to Each Other in a Tango Bar

The Last Temptation of Christ (1988)

In Martin Scorsese's unorthodox and profound film - adapted from the novel of the same name by Nikos Kazantzakis:

  • the scene of Nazarene Jesus Christ's (Willem Dafoe) angry outburst at the moneychangers in the temple and his confrontation with the rabbis-priests: ("This is my Father's house! It's a place of worship, not a market!...God doesn't need a palace. He doesn't need cypress trees or dead animals! He doesn't need shekles!"), and then his anger at one of the rabbis: "I'm throwing away the law. I have a new law and a new hope....How can I presume? Because I'm the end of the old law and the beginning of the new one....When I say 'I' Rabbi, I'm saying 'God.'...Didn't they tell you? I'm the saint of blasphemy. Don't make any mistakes, I didn't come here to bring peace, I came to bring a sword!...Me killed? Listen to me. This temple will be destroyed in three days, torn down to the ground! There won't be one stone left to build with! You think God belongs only to you? He doesn't. God's an immortal spirit who belongs to everybody - to the whole world! You think you're special? God is not an Israelite!"
  • the pre-crucifixion scene of Jesus' appearance before Pilate, his beating/scourging and placement of a crown of thorns on his head, and his lengthy, slow-motion walk through Jerusalem's streets and mocking crowds to Golgotha
  • the moment when the cross was raised into an upright position (with the camera mounted upon it)
The Crucifixion Sequence
  • and then the moment that Jesus, naked and hanging on the cross during crucifixion, cried out as the camera turned sideways: "Father! Why have You forsaken me?"
  • the controversial "last temptation" visionary sequence in which Jesus was tempted by Satan (portrayed as a young androgynous guardian angel (Juliette Caton)); his crown of thorns was removed, as well as the spikes through his feet and wrists; he was given life and led away from an empty cross while he asked doubtfully: "I don't have to be sacrificed?...I'm not the Messiah"; onlookers at Golgotha didn't seem to notice his departure
  • the sequence in which Jesus was provided with visions of a "normal" earthly life, including the blasphemous idea (his "last temptation") of a sexual relationship with a woman - with tattooed Jewish prostitute Mary Magdalene (Barbara Hershey); he was immediately married to her - he was earlier seen entertaining various clients in a brothel where Jesus had spoken with her and asked her for forgiveness. [She offered herself to him: "Here's my body. Save it. Save it," but he declined to be enticed by her before leaving for the desert.] Now married to him, she cleansed his bloody wounds as he laid naked in her arms, and then, in a non-exploitative sequence, Jesus made tender, physical love with her as she entreated: "We could have a child"
Sexual Relationship with Mary Magdalene
- Resulting in Pregnancy
  • ultimately, however, after discussions with the apostle Paul (Harry Dean Stanton) ("Their only hope is the resurrected Jesus!...You see, you don't know how much people need God. You don't know how happy he can make them. He can make them happy to do anything. He can make them happy to die and they'll die. All for the sake of Christ. Jesus Christ. Jesus of Nazareth. The Son of God. The Messiah. Not you. Not for your sake. You know, I'm glad I met you. Because now I can forget all about you. My Jesus is much more important and much more powerful"), and another intervention with Judas Iscariot (Harvey Keitel), Jesus returned to the cross to suffer for humanity's sake - the temptation was ultimately rejected by Jesus -- with his triumphant dying words: "It is accomplished"

Jesus' Angry Blasphemous Outburst at the Moneychangers in the Temple and Rabbis

Placement of Crown of Thorns

Visionary Sequence During Crucifixion: Jesus Was Tempted by Guardian Angel

Tattooed Prostitute
Mary Magdalene (Barbara Hershey)

Apostle Paul to Jesus: "Their only hope is the resurrected Jesus"

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

Previous Page Next Page