Greatest Film Scenes
and Moments



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L (continued)
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

The Last Unicorn (1982, US/UK)

In Rankin-Bass' animated fantasy film based on Peter Beagle's 1968 novel of the same name that was one of the most emotionally frank, sophisticated and mature G-rated cartoon ever made - an epic quest to find and restore the Unicorns in the world:

  • the opening prologue before the title credits - a discussion between an elder huntsman with his young son when riding on horses through an enchanted forest: (Young son: "Unicorns? I thought they only existed in fairy tales. This is a forest, like any other - isn't it?" Elder Huntsman: "Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here")
  • the opening dialogue spoken by a white female Unicorn (voice of Mia Farrow) - the last existing one - before the titles: ("I am the only unicorn there is? The last?"); and then: ("That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished! We do not vanish! There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped; we can even be killed if we leave our forests, but we do not vanish! Am I truly the last?")
  • the playful, rhyming butterfly (voice of Robert Klein), who made an important announcement and revelation, and provided about hints to the whereabouts of the other Unicorns after they had been herded away by an evil and demonic creature known as the Red Bull (voice of Frank Welker); the last Unicorn ws determined to leave the forest to find them and bring them all back
  • during the Last Unicorn's quest, her capture by evil witch Mommy Fortuna (voice of Angela Lansbury) who imprisoned the unicorn in a cage for display in her Midnight Carnival - and her speech describing her thoughts about having also captured another creature for display - a dangerous immortal harpy named Celaeno: ("The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know...Oh, she'll kill me one day or another. But she will remember forever that I caught her, and I held her prisoner. So there's my immortality, eh? Now, you were out on the road hunting for your own death, and I know where it awaits you. I know him, that one...The Red Bull of King Haggard")
  • the sequence of the Unicorn's escape from Mommy Fortuna's cage with aid from the clownish, yet heroic, aspiring magician Schmendrick (voice of Alan Arkin) who was in the service of Mommy Fortuna; the Unicorn regretfully told Schmendrick that she couldn't turn him into a magician - his true wish, but she made a request that he join her on her quest to find the other unicorns: ("A butterfly told me of a Red Bull, who pushed all the other unicorns to the ends of the earth. And Mommy Fortuna spoke of a King Haggard. So I'm going where they are, to learn whatever they know...You may come with me if you like, though I wish you'd asked for some other reward for having freed me....I cannot turn you into something you are not. I cannot turn you into a true magician")
  • the introduction of an additional traveling companion - the character of middle-aged and sharp-tongued Molly Grue (voice of Tammy Grimes), the lover of Captain Cully, who delivered a powerful and bitter speech castigating the Unicorn: ("And where were you twenty years ago? Ten years ago? Where were you when I was new? When I was one of those innocent young maidens you always come to? How dare you! How dare you come to me now, when I am this!")
  • the temporary transformation of the Unicorn (when racing away from the fiery Red Bull), who was turned by Schmendrick's magic into a human girl with knee-length white hair named Lady Amalthea, to save her from the Red Bull; Schmendrick promised Lady Amalthea that he would return her to her Unicorn state after her quest was completed
Unicorn - Transformed by Schmendrick
into White Haired Human Lady Amalthea
  • Amalthea's reaction to the shock that she was now mortal, and her song about feeling human: ("Who am I? Why am I here? What is it that I am seeking in this strange place, day after day? I-I knew a moment ago, but I-I have forgotten....(singing) Once, I can't remember, I was long ago, Someone strange, I was innocent and wise, And full of pain. Now that I'm a woman, Everything is strange. I must go to him. I must face the Bull again and discover what he has done with them, before I forget myself forever. But I don't know where to find him. And I'm lonely. (singing) Once, when I was searching Somewhere out of reach, Far away, In a place I could not find Or heart obey, Now that I'm a woman, Everything has changed, Everything has changed, Everything has changed")
  • the dangerously obsessive, unhappy white-haired character of King Haggard (voice of Christopher Lee) in his seaside castle, who was the keeper of the Red Bull; when he became suspicious, he demanded to know Amalthea's real identity: ("What is the matter with your eyes? Why can I not see myself in your eyes? Who is she!?...I want to know who she is!")
  • King Haggard's adopted son Prince Lir (voice of Jeff Bridges) awkwardly courted and fell in love with Amalthea (who was tempted by mortal love)
  • the sequence of Prince Lir, Molly, Schmendrick, and Amalthea confronting the Red Bull in his lair - when Amalthea was turned back into a Unicorn, and Prince Lir sacrificed his life to defend and save her from the Red Bull; in retaliation, the Unicorn forced the Red Bull into the ocean - thereby releasing and freeing hundreds of other white Unicorns from the water; the rush of Unicorns from the sea caused the crumbling and destruction of Haggard's castle (and the death of Haggard himself)
The Other Unicorns Freed From the Sea - and the Crumbling Collapse of Haggard's Seaside Castle, and the Death of King Haggard
  • after all of the other Unicorns were restored to the world, the Unicorn magically revived Prince Lir
  • the final scene of the Unicorn's bittersweet thanks and goodbye to Schmendrick (who was at first apologetic for giving her the taint of mortality) before departing to return to the forest; she was thankful because she was both the only Unicorn who could feel regret - but also feel love: ("I am a little afraid to go home. I have been mortal, and some part of me is mortal yet. I am no longer like the others, for no unicorn was ever born who could regret, but now I do. I regret...Unicorns are in the world again. No sorrow will live in me with that joy - save one. And I thank you for that part, too. Farewell, good magician. I will try to go home")

The Shadow of The Last Unicorn in the Enchanted Forest


The Elder Huntsman Discussing Unicorns With Young Son

The Last White Female Unicorn

The Unicorn Captured and Imprisoned by Mommy Fortuna

The Unicorn Asking For Schmendrick to Join In Her Quest

The Unicorn Racing Away From Fiery Red Bull

King Haggard


The Unicorn's Magical Revival of Prince Lir

The Unicorn's Bittersweet Farewell to Schmendrick

Last Year at Marienbad (1961, Fr/It.) (aka L'Année Dernière à Marienbad)

In this enigmatic, cinematically puzzling, and ambiguous New Wave film - a black and white expressionistic film and fragmented tale about dreamy seduction from director Alain Resnais, that mixed time (past and present), and reality (fantasy vs. memory). Many critics have regarded the film as having a strong influence on Stanley Kubrick's The Shining (1980), David Lynch's Mulholland Dr. (2001) and Inland Empire (2006).

[Note: in the original screenplay by Alain Robbe-Grillet, there was an explicit forceful rape, but it was not fully pictured in the film.]

  • the setting after the opening credits: an opulent but empty European hotel or resort chateau in Marienbad (in the Czech Republic) - seen in an atmospheric, deathly, ominous voice-over guided tour with lengthy tracking camera shots (slightly tilted upwards) - viewing the expansive hallways and long dark corridors, mirror-lined walls, statues, high ceilings with ornate chandeliers - and outdoors, geometric gardens, often with repetitive wording:
    (Narrator: "I made my way once again along these corridors and through these rooms, in this building that belongs to the past, this huge, luxurious and baroque hotel, where endless corridors...Silent rooms where the sound of footsteps is absorbed by carpets so heavy, so thick, that all sound escapes the ear. As if the ear itself, as one walks, once again, along these corridors, through these rooms...Cross corridors that lead in turn to rooms heavily laden with a decor from the past, silent rooms where the sound of footsteps is absorbed by carpets so heavy, so thick, that all sound escapes the ear. As if the ear itself were very far from the ground....I made my way once again along these corridors, through these great rooms in this building that belongs to the past. This dismal, baroque hotel where corridor follows corridor. Silent, deserted corridors heavily laden with woodwork and panelling, with marble, mirrors, pictures and darkness, pillars, alcoves and rows of doorways...Cross corridors leading in turn to empty rooms, rooms heavily laden with a decor from the past. Silent rooms where the sound of footsteps is absorbed by carpets so thick that all sound escapes the ear. As if the ear itself were very far from the ground, far from this empty decor, far from this ceiling with its branches and garlands like classical foliage. As if the ground were still sand and gravel and stone paving which I crossed once again on my way to meet you. Between these walls laden with woodwork, with pictures and framed engravings, through which I made my way amongst which I was already waiting for you. Very far from the setting where I find myself now, as you still wait for someone who will not come. Someone who may never come to separate us again, to take you away from me. ") -- eventually the tour entered the hotel's theatre for a play-within-a-film being performed, and attended by the hotel guests (impassive, unmoving, and coldly-still)
  • the introduction of the three main characters involved in a traditional love triangle - an existential, non-linear dance of seduction between two 'lovers' who might not actually know each other, exist together, or even be alive:
    - a nameless unmarried man (hero): X/Stranger (Giorgio Albertazzi), handsome
    - a woman (heroine): A/Woman-Lover (Delphine Seyrig), sleek, elegant and alluring
    - her authoritarian husband (or escort): M (Sacha Pitoeff), brooding, jealous and threatening
  • the statuesque, immobile guests at the hotel who appeared to be either trapped or automatons, or were they ghosts or dead souls existing in purgatory (including the main characters)?
  • the many mathematical games (similar to Nim) between the two men - M often enjoyed defeating X/Stranger
  • X's endless and obsessive attempts to convince A that they had met before and had past associations (last year at Marienbad?), including having had sex at the hotel - seen in subjective imaginings (possibly his, possibly hers); the entire object of his intense, but flat and sometimes creepy, pushy questioning was to prove his delusional point, and persuade the woman of his account of the past, while she continued to protest his assertions; when he caressed her breasts in the garden, she responded: ("Leave me alone, please....Who are you? What's your name? You're like some phantom, waiting for me to come. Leave me")
  • X's treatment of the details of the previous year's events at Marienbad were as if they were fictional segments of a conventional movie drama; he believed that A had previously promised to elope or run away with him when they again met, and that they had an unrealized love affair, but she claimed that she couldn't remember, made repeated attempts to rebuff and recoil from him, and became weary by his assertions -- whether X was lying, experiencing a nightmare, or only confused about A's identity was open to question
  • the film's incomprehensible premise: had A been murdered by M because of the alleged affair talked about (there was a brief sequence of M firing on A on her bed with a silencer-gun, and she fell back onto the floor, with her feet still on the bed) - and then X had developed this fuzzy story in his imagination to assuage his guilt, by thinking of her as alive?
  • the bedroom 'rape' scene - only viewed as fragmentary and incomplete - the short bedroom scene commenced when A was started by X's advance toward her on the bed; she backed up in fear against the bed's headboard - followed by another of the over-exposed (hallucinatory), feverishly-swift tracking shots (also seen earlier), down a long corridor towards A who was standing in the middle of a room with outstretched arms; separate takes of the same camera movement, but with minor or slight changes, were frantically repeated
The Bedroom "Rape" Scene
  • by film's end, X's ambiguous allegations about what had happened were completely uncertain, although it appeared that the protagonist had gradually succeeded in readying A to leave the hotel one night for an unknown destination, as M watched them depart from a staircase (although X's voice-over account was unreliable and described in the past tense: "The grounds of the hotel were symmetrically arranged without trees or flowers, or plants of any kind. The gravel, the stone, and the marble were spread in strict array in unmysterious shapes. At first sight, it seemed impossible to lose your way. At first sight... Along these stone paths and amidst these statues, where you were already losing your way forever, in the still night, alone with me")



The Opulent But Empty European Hotel/Chateau in Marienbad



X/Stranger (Giorgio Albertazzi) With A/Woman-Lover

M

The Mathematical Games

X Touching A's Breast in the Garden

Over-Exposed and Washed-Out Tracking Shot

M Firing Silencer-Gun at A


A's "Murder" by M

Laura (1944)

In Otto Preminger's haunting and romantic film noir, with a haunting and atmospheric theme song by David Raksin:

  • the opening scene's pan around the interior of a New York penthouse and the occupant's narration, delivered in voice-over by celebrated, acidic-witted columnist Waldo Lydecker (Clifton Webb) - the camera tracked from left to right across glass cabinets with beautifully-displayed shelves of priceless objets d'art - in the alcove of Lydecker's elegantly-expensive, New York City apartment/penthouse; it was the hottest day of the summer of 1944, and it was revealed that the story took place in the recent past, at the time of 'Laura's' (Gene Tierney) death: ("I shall never forget the weekend Laura died. A silver sun burned through the sky like a huge magnifying glass. It was the hottest Sunday in my recollection. I felt as if I were the only human being left in New York. For Laura's horrible death, I was alone. I, Waldo Lydecker, was the only one who really knew her. And I had just begun to write Laura's story when - another of those detectives came to see me. I had him wait. I could watch him through the half-open door. I noted that his attention was fixed upon my clock. There was only one other in existence, and that was in Laura's apartment in the very room where she was murdered")
  • the first view of Lydecker, typing his notes in his bathtub when questioned by handsome gumshoe/police detective Mark McPherson (Dana Andrews) of the Homicide Bureau; while listening to "Laura's Theme" on the phonograph, Lydecker asked McPherson: "Have you ever been in love?" with the reply: "A doll in Washington Heights once got a fox fur out of me"
  • the beginning of the investigation inside of Laura's Manhattan apartment by Lydecker and McPherson, including both staring at Laura's portrait above the fireplace
  • and later, the obsessive actions of McPherson alone in Laura's apartment - when he rummaged through Laura's bedroom drawers and lingerie, inhaled her perfume, and peered into her mirrored closets and then stared at the haunting, domineering oil portrait of Laura -- and fell in love with the dead woman in the portrait
  • the memorable snowstorm scene when the jealous Lydecker saw Laura with noted portrait painter Jacoby in her bedroom window, and afterwards wrote a scathing column to assassinate the man's character out of spite: ("I demolished his affectations, exposed his camouflaged imitations of better painters, ridiculed his theories. I did it for her, knowing Jacoby was unworthy of her. It was a masterpiece because it was a labor of love. Naturally, she could never regard him seriously again. There were others, of course. But her own discrimination ruled them out before it became necessary for me to intercede")
  • the scene of Laura's loyal "domestic" maid Bessie Clary (Dorothy Adams) castigating McPherson for reading Laura's private letters and diary: ("You've been readin' 'em, pawin' over them. It's a shame in the face of the dead. That's what it is. It's a shame!") and her statement of adoration for Laura: ("She was a real, fine lady...")
  • Lydecker's incisive description of McPherson's obsession over the murdered woman: ("...It's a wonder you don't come here like a suitor with roses and a box of candy...I don't think I ever had a patient who ever fell in love with a corpse")
  • the surprising and memorable scene when Laura Hunt suddenly walked into her apartment - a murdered woman who mysteriously appeared over half way into the film - and the double stunned looks (Laura was shocked to find a stranger in her apartment, and the astonished look of Detective McPherson who had already dreamed of what she was like from her portrait, her perfume, her clothes, her letters, her apartment's decor, and the recollections of others) - had he willed her into existence?; and also later, Lydecker's stumbling reaction to seeing Laura alive
Laura's Sudden Appearance to Detective McPherson
  • the tough interrogation scene in which McPherson grilled Laura about what she had been holding back: ("Let's have it")
  • the final scene of Lydecker's radio broadcast ("I close this evening's broadcast with some favorite lines...Brief Life - They are not long, the weeping and the laughter, love and desire and hate. I think they have no portion in us after we pass the gate...They are not long, the days of wine and roses. Out of a misty dream, our path emerges for a while, then closes within a dream")
  • Lydecker's threat to kill Laura with a shotgun blast rather than lose her to McPherson: ("The best part of myself - that's what you are. Do you think I'm going to leave it to the vulgar pawing of a second-rate detective who thinks you're a dame? Do you think I could bear the thought of him holding you in his arms, kissing you, loving you? There he is now. He'll find us together, Laura as we always have been and we always should be, as we always will be")
  • and the climactic moment shortly after when Lydecker was mortally wounded in an exchange of gunfire with the police
  • Lydecker's last words to Laura when she rushed to his side: "Good-bye, Laura. Good-bye, my love," accompanied by an image of the shotgun-damaged grandfather clock


Columnist Waldo Lydecker in Bathtub, Questioned by Detective


Laura's Haunting Portrait

Interrogation Scene





Lydecker Threatening to Kill Laura with Shotgun, But Shot by Police: "Goodbye, Laura. Goodbye, my love"

The Shotgun-Damaged Grandfather Clock Where the Gun Had Been Hidden

The Lavender Hill Mob (1951, UK)

In Charles Crichton's Ealing Studios' caper comedy about the pursuit of English schoolgirls to retrieve six golden miniature Eiffel Towers:

  • the opening sequence of prim and timid bank clerk Henry Holland (Alec Guinness) dining in a fancy restaurant in Rio de Janiero next to a pipe-smoking British gentleman, when he met Chiquita (Audrey Hepburn in her screen debut, with a very short walk-on role) and gave her money for a birthday present
Henry Holland Dining in Rio Restaurant
  • Holland's start of a flashback - expressing pleasure at having had a superb year, and thinking back to when he worked in a London bank and had 20 years of service in the transport of gold bullion: ("One superb year. Just when I was beginning to believe I'd never achieve it. For 20 years, I've dreamed of a life like this. For 19 of those years, fate denied me the one contact essential to the success of all my plans. Still, I never quite lost sight of the goal, inaccessible as it often seemed to me when I was merely a, merely a non-entity. Among all those thousands who flock every morning into the city. Most men who long to be rich know inwardly that they will never achieve their ambition. But I was in the unique position of having a fortune literally within my grasp. For it was my job to supervise the deliveries of bullion from the gold refinery to the bank")
  • his continuing flashback, as he mused in voice-over about his small paycheck: ("Many a rascal would have risked his all for half a million, not realizing that gold, in the form of bullion, is useless without a method of smuggling it abroad. To find that method was my last remaining problem...Meanwhile, I gave the bank their gold....I was a potential millionaire, yet I had to be satisfied with eight pounds, fifteen shillings, less deductions. A weekly reminder that the years were passing, and my problem still unsolved. Until my ship came home, I was obliged to live at the Balmoral private hotel in Lavender Hill")
  • and then, his solution to commit the "perfect" crime - he met up with his potential cohort-in-crime Alfred Pendlebury (Stanley Holloway), an artist in his Balmoral-Lavender Hill boarding house; Alfred had a foundry that could convert the gold into souvenir Eiffel Tower paperweights to be exported (smuggled) out of the country without detection
  • their recruitment of two other petty crooks to aid in the robbery: Lackery Wood (Sidney James) and Shorty Fisher (Alfie Bass)
  • the scene of Holland and Pendlebury realizing that a souvenir shopkeeper at a Parisian kiosk (on the upper level of the Eiffel Tower) had sold six of the gold-converted Eiffel Tower statues from a crate specially-marked R that she wasn't supposed to open; Holland rushed to the elevator to watch as a group of British schoolgirls, who had accidentally bought six of the statues, descended in the Tower elevator, and in a riotous sequence, they chased after them down a dizzying, winding circular staircase
  • the zany wild goose chase sequences from Paris to London after the British schoolgirls - and after the bullion robbers (including a crazy and confused police pursuit in squad cars as Holland broadcast false directional reports from a stolen police car)
  • the concluding surprise revelation: Holland had escaped to Rio de Janeiro: ("I came straight on to Rio de Janeiro - 'Gay spritely land of mirth and social ease'") with the six Eiffel Tower statues worth 25,000 pounds: ("Enough to keep me for one year in the style to which I was, ah, unaccustomed"), but then as he left the restaurant, it was revealed that his left hand was handcuffed during the telling of his entire flashbacked story to his dining partner

Henry Holland's Flashback About Being a London Bank Clerk for 20 Years Transporting Gold Bullion

Voice-Over: "I was a potential millionaire..."

Holland's Opportune Meeting Up With Fellow Lavender Hill Boarder Pendlebury


Shock That Eiffel Tower Kiosk Shopkeeper Had Sold 6 Statues

British Schoolgirls Descending in Eiffel Tower Elevator

False Directional Reports During Getaway

Lawrence of Arabia (1962, UK)

In David Lean's extravagant Best Picture-winning epic, with visual beauty and cinematography of the desert vistas:

  • the opening sequence (both a prologue and an epilogue) including Lieutenant T. E. Lawrence's (Peter O'Toole) death in mid-May of 1935 while racing his motorcycle on an English country road; at the crest of a hill, he applied brakes and swerved to avoid two bicyclists, losing control and crashing his motorcycle into shrubbery - he disappeared off-screen, although his eye goggles hung lifelessly from a branch
  • the memorial service at St. Paul's Cathedral in London, where British adventurer Lawrence was lauded by Colonel Harry Brighton (Anthony Quayle): ("He was the most extraordinary man I ever knew") and American journalist Jackson Bentley (Arthur Kennedy): ("It was my privilege to know him and to make him known to the world. He was a poet, a scholar, and a mighty warrior....He was also the most shameless exhibitionist since Barnum and Bailey")
  • the scene of Lawrence snuffing out a burning match with his fingertips while working as a bored cartographer in the British headquarters in Cairo during World War I: ("The trick, William Potter, is not minding that it hurts") - and then shortly afterwards, in profile in the presence of the Arab Bureau's Mr. Dryden (Claude Rains), Lawrence said he didn't view the desert as a "burning fiery furnace" but instead thought: "It's going to be fun"; Dryden replied: "It is recognized that you have a funny sense of fun" - before Lawrence blew out another match that was burning close to his fingertips - and then the scene transformed and jump-cut to a long-shot view of the burning hot Arabian desert horizon at sunrise, and the sequence of uniformed Lawrence's first journey on camelback into the desert with his nomadic Bedouin guide Tafas (Zia Mohyeddin)
  • the famous entrance scene in cinematic history that began with the slow and majestic appearance of black-robed Arab chieftain Sherif Ali (Omar Sharif) from a pinpoint in the desert's distance in the shimmering, mirage-like heat as he approached a well and then shot Lawrence's Bedouin guide Tafas in cold-blood for unauthorized trespassing and drinking; Tafas' gun fell at the feet of Lawrence, as he watched the shooter ride up, dismount, and approach the dead body; their initial conversation was brief: Sherif: "He is dead." Lawrence: "Yes. WHY?" Sherif: "This is my well."
  • afterwards, Lawrence chastized Sherif Ali: ("Sherif Ali, so long as the Arabs fight tribe against tribe, so long will they be a little people, a silly people, greedy, barbarous, and cruel, as you are")
The Stunning Entrance of Sherif Ali
The Cold-Blooded Death of Tafas
  • the difficult crossing of the Nefud desert and Lawrence's turning back to rescue fallen friend Gasim, and his successful return, including his retort to Sherif Ali while drinking water: ("Nothing is written")
  • the exciting attack on and defeat of the Turks at the port city of Aqaba, by engaging in a tribal alliance with Auda Abu Tayi (Anthony Quinn) and using an unpredictable strategy -- capturing the Turkish garrison "from the land" while the enemy Turks had their guns pointed in the opposite direction toward the sea
  • the metaphoric words of director David Lean (in a cameo) - portraying a man on a motorcycle who called out to Lawrence and his guide on the other side of the Suez Canal: "Who are you?"
  • the uneasy entrance of Lawrence and his Arab guide Ferraj into the officers' bar in Cairo
  • the bloody ambush guerrilla attack of tribesmen on a Turkish train crossing the Hejaz desert led by the Messianic-like, wild-eyed, white-robed Lawrence, who personally blew up the train tracks with dynamite and led his warriors to victory ("Come on, men!") - and afterwards miraculously survived being killed by a sniper wielding a gun who was slashed with Auda's sword: ("You are using up your nine lives very quickly"), and then posed for photos (silhouetted against the bright sky and casting a shadow) and exalted with a victory dance on top of the train
Attack on Turkish Train
  • and the scene of the planned assault on Damascus, when Lawrence and his cavalry force came upon a Turkish column that had just massacred the Arab village of Tafas in its path - his choice was to either go around them and head instead for Damascus, or lead a deadly charge on the Turkish column -- he chose to shout with wild-eyed vengeance and battlefield-intoxication: "No prisoners! No prisoners!"
  • the final sequence - Lawrence was being driven out of Damascus on a dusty desert road in an open car, passing a group of Arabs riding on camels; he rose out of his seat as the Arabs partially moved off the road to let them go by; the driver offered the final spoken lines of the film: "Well, sir. Goin' 'ome...'Ome, sir"; a motorcyclist sped past them on the right, kicking up a small cloud of dust (it was an omen of Lawrence's own tragic demise while riding his motorcycle seen in the prologue); words from a song were heard by soldiers driving past in a truck, singing: "Goodbye, Dolly. I must leave you, Though it breaks my heart to go"
  • the final view of Lawrence was peering through the dirty, dust-covered windshield, almost invisible

Opening: Motorcycle Crash-Death of Lawrence

Lawrence's Initial Journey Into the Desert with Bedouin Guide Tafas

Lawrence's Rescue of Gasim

Lawrence to Sherif Ali: "Nothing is written!"



Lawrence's Leading of The Charge on Port City of Aqaba

At Suez Canal: "Who are you?"

Lawrence's Uneasy Entrance into Cairo's Officers' Bar



Lawrence's Command Before Attack on Turkish Column: "No prisoners"

Last Lines to Lawrence: While Driven Out of Damascus (Driver: "Well, sir. Goin' 'ome...'Ome, sir")

A League of Their Own (1992)

In female director Penny Marshall's comedy/melodrama - the history-based yet fictionalized portrayal of the All-American Girls Baseball Players League (AAGBPL) team (from 1943 to 1954), told in flashback:

  • the introduction of the new league's recruited players in 1943 at try-outs held at Harvey Field in Chicago - they had been recruited by Ernie Capadino (Jon Lovitz); the new players included two farm girls (from Lukash Dairy in rural Oregon): catcher Dottie Hinson (Geena Davis) and her sister - fast-ball pitcher Kit (Lori Petty), and homely second baser Marla Hooch (Megan Cavanagh), and their immediate confrontation with two bullies from New York: cigarette smoking taxi dancer and center-fielder 'All-The-Way' Mae Mordabito (Madonna) and chubby bouncer and 3rd base player Doris Murphy (Rosie O'Connell); the two New Yorkers urged that they go home and not compete: ("They got over 100 girls here, so, uhm, some of youse are gonna have to go home")
  • the scene of Dottie's nimble one-handed catch of a fast-ball, thrown at her by Doris, causing New Yorker recruits Mae and Doris to exclaim ("Hey. How did you do that?...Did you see that? Jeez. Let's go practice. She caught it with her bare hand!") and start worrying about their competition for the 64 spots to play on 4 teams of 16 players each (the Rockford Peaches, the Racine Belles, the Kenosha Comets, and the South Bend Blue Sox)
  • the humorous scene of boozing, Rockford Peaches manager Jimmy Dugan (Tom Hanks) loudly peeing into a urinal in the crowded and converted ladies locker room; Doris suggested: "Time him at least....Could be a record" - and one girl exclaimed: "Boy, that was some good peein'!"; afterwards, Dugan stumbled off and ignored one of the players' requests: ("Mr. Dugan. Could you sign my husband's baseball card for me?"), and neglected to tell the players about the team's line-up, so Dottie took charge of establishing the line-up
  • the battle of contradictory signs between Dugan and Dottie when Hooch was at bat, provoking Dugan to complain: ("Hey, who is the god-damn manager here? I am!"), and Dottie fought back: ("Then act like it, you big lush!"); when Hooch hit a long drive, and Kit yelled out: ("Good bluff!"), Dugan responded: ("Yeah, but I still say you're not ballplayers")
  • the scene of manager Dugan's tirade at his soft-spoken female right-fielder Evelyn Gardner (Bitty Schram) for making a stupid play - she was reduced to tears: ("Which team do you play for?...Well, I was just wondering, 'cause I couldn't figure out why you'd throw home when we've got a two-run lead! You let the tying run get on second and we lost the lead because of you. Now you start usin' your head! That's that lump that's three feet above your ass!...Are you crying?... Are you crying? ARE YOU CRYING? There's no crying! There's no crying in baseball!...Rogers Hornsby was my manager, and he called me a talking pile of pigs--t, and that was when my parents drove all the way down from Michigan to see me play the game! And did I cry?... No! No! And do you know why?... Because there's no crying in baseball! There's no crying in baseball, no crying!"); when the umpire cautioned that Dugan should treat all of his female players like his mother, Dugan insulted him: ("Anyone ever tell you you look like a penis with a little hat on?") and was promptly thrown out of the game
"There's no crying in baseball!"
  • the scene of Dugan leading the players in an unorthodox pre-game prayer, while crouched down on one knee in the locker room: ("Uh, Lord, hallowed be thy name. May our feet be swift. May our bats be mighty. May our balls be plentiful. And, Lord, I'd just like to thank you for that waitress in South Bend. You know who she is. She kept calling your name. And, God, these are good girls, and they work hard. Help them see it all the way through. Okay, that's it. Let's go"); afterwards, they put their hands together for a cheer: ("Go Peaches!")
Dugan's Unorthodox Pre-game Prayer and Cheer
("Go Peaches!")
  • the last game-winning play of the World Series with the Peaches' rival, the Racine Belles (Kit was traded to the team and was the starting pitcher), when Kit hit an infield home-run and was able to run the bases to home plate - where catcher Dottie tagged her sister, but then the ball was dislodged from her hand after their bone-crushing collision - the ball rolled out of her outstretched hand onto the dirt
  • the goodbye reconciliation scene between the two sisters (sibling rivals): Dottie - who was quitting baseball for good and returning home to Oregon with her discharged husband Bob (Bill Pullman) - and her sister Kit on the winning Racine Belles team
  • the end sequence, after the bookended flashback, showing some of the real, now-elderly female baseball players, including Dottie Hinson (Lynn Cartwright), who were inducted at Cooperstown, NY into the Baseball Hall of Fame in 1988, during the opening of a new All-American Girls Professional Baseball League (AAGPBL) exhibit wing - singing the League song, another reunion of Kit and Dottie, and the original Peaches posing for a group photo




(l to r): Kit Hinson, Dottie Hinson, Marla Hooch

(l to r): Bullies Mae Mordabito and Doris Murphy

Dottie's One-Handed Catch

Dugan's Loud Peeing at The Urinal in Ladies Locker Room

Battle of Contradictory Signs Between Dugan and Dottie


World Series: Ball Dislodged From Dottie's Hand During Home-Plate Tag of Her Sister


Goodbye Scene: Dottie and Kit

Induction Ceremony at Baseball Hall of Fame - Cutting of Tape

AAGBPL Exhibits

Singing of League Song

Leave Her to Heaven (1945)

In John Stahl's brilliantly saturated, Technicolored melodramatic noir (told in flashback), one of the few noirs shot in color, about a menacing, father-fixated, unstable, and deranged, darkly alluring femme fatale:

  • the opening sequence - the return of author-writer Richard "Dick" Harland (Cornel Wilde), home after serving a two-year prison sentence to his lakeside lodge in Maine; he was greeted by his defense attorney, Glen Robie (Ray Collins); as Dick rowed away, Robie commented: "Well, of all the seven deadly sins, jealousy is the most deadly"
  • the beginning of the film's flashback - the meeting of beautiful socialite Ellen Berent (Oscar-nominated Gene Tierney) with her captivated, soon-to-be future husband - 30 year-old bachelor and novelist Richard Harland, on a train in New Mexico
  • the strong intent of psycho-insanely-jealous, father-obsessed, neurotically-possessive, and heartless femme fatale Ellen to marry Richard - and her vow that she would stop at nothing to make the man she loved her exclusive possession: ("I'll never let you go. Never, never, never"); soon after when her behavior became extreme, she apologized for her obsession in him: "Forgive me. I'm sorry. I can't help it. It's only because I love you so. I love you so, I can't bear to share you with anybody"
  • the frightening murder scene orchestrated by Ellen, who was calmly watching from a rowboat as her novelist husband Richard's younger paraplegic brother Danny (Darryl Hickman) (and her own brother-in-law) tired and drowned in the Maine lake directly in front of her, on a bright and sunny day; she registered no reaction on her heartless face as he sank below the water and never reappeared
The Heartless Drowning-Murder of Ellen's
Younger Brother-in-Law Danny
  • the scene of pregnant Ellen detestfully looking at herself in a mirror: "Look at me. I hate the little beast. I wish it would die"; she told her foster sister Ruth (Jeanne Crain): "Shocked, aren't you? If you were having the baby, you'd love it. Well, I never wanted it. Richard and I never needed anything else. And now this." Ruth replied: "How can you say such wicked things?" to which Ellen admitted: "Sometimes the truth is wicked. You're afraid of the truth, aren't you, Ruth?"
"Look at me. I hate the little beast. I wish it would die"
"How can you say such wicked things?
"Sometimes the truth is wicked..."
  • the further sequence of Ellen's plotting to rid herself of her problem (and her unborn child) - she changed into a longer blue robe and high-heeled blue slippers, emerged from her bedroom, and stood at the top of the long flight of stairs; she realized she could choreograph and fake a tripping fall by deliberately catching her left blue slipper under the loose rug - she flung herself forward with a scream to purposely abort her unwanted child by miscarriage
  • Ellen's final jealous scheme when her suspicious husband threatened to leave her - to suicidally poison herself by mixing up, in her adoptive sister Ruth's bathroom, a deadly potion of powdered poison (arsenic), in order to frame Ruth Berent as her killer
  • Ellen's deathbed scene, when she breathlessly requested of Richard that he scatter her ashes with those of her father: ("I'm going to die...And you mustn't feeI sorry for me. I'm not afraid. Only, only, promise me one thing. I-I want to be cremated. Like my father, and my ashes scattered in the same place. Remember?....Richard! I'll never let you go, Richard. Never. Never. Never")
  • in the subsequent scene, a trial hearing was held regarding "cold, brutal premeditated murder"; recently elected Boston-area district attorney Russell Quinton (Vincent Price), Ellen's previous jilted and vengeful fiancee, was serving as the state's DA prosecutor in a case against the defendant Ruth Berent - ("The State will prove that on the afternoon of September 5th at a picnic attended by Ellen Harland, her mother and her adopted sister, that Ellen met death as a result of poisoning. The State will prove that the sugar with which Ellen that day sweetened her coffee was mixed with poison and that she met death by reason of that poison. The State will prove that the defendant had both motive and opportunity to commit this dreadfuI crime. And the State will prove that the defendant, Ruth Berent deliberately and maliciously plotted and carried through the murder")
  • pretending to be a victim before her death, Ellen wrote a letter and sent it to Russell; it clearly stated her fears that Ruth was threatening to kill her; in a dramatic scene during the trial, Richard was forced to read it outloud: (Dear Russ, I am writing this letter to you because we once meant a great deaI to each other and there is no one else to whom I can go for help. Richard is leaving....It was after I left the hospitaI I first began to sense a change in my husband. At first I thought it might be due to the loss of our child and then the truth, the awfuI truth, began to dawn on me. The reason for the change was Ruth. Russ, they love each other, and want to get rid of me. When Richard suggested a divorce, I went to Ruth and begged her to give him up. She said she intended to have him and would stop at nothing. I told Ruth I would never give Richard a divorce, and it was then she threatened to kill me....Russ, I know she means it, and is capable of it. She will kill me the first chance she gets (read twice)...I'm afraid to stay in the house, but I can't leave without Richard. I'd rather die than give him up. I don't know what to do or where to turn, except to you, Russ. Please help me. Ellen")
Ruth's Confession: "Yes, yes, I am in love with him. I think I've always loved him."
Richard's Denouncement of His Monstrous Wife Ellen
  • during the trial - Ruth did confess to innocently loving Richard (but not with evil intentions toward Ellen); on the stand, Richard testified to the extreme depths of Ellen's insanity and her dual confession to two murders: ("My wife was not murdered. She killed herself...Ellen was capable of anything....Yes, she was that sort of monster...Who, by her own confession to me, killed my brother, killed her own unborn child - and who is now reaching from the grave to destroy her innocent sister. Yes, she was that sort of monster")
  • the result - Richard was sentenced to two years in prison as an after-the-fact accessory - because he had not reported the extent of Ellen's depraved crimes to authorities

Opening Sequence - Ex-Con Richard with Lawyer

Introduction of Ellen Berent on Train in New Mexico

Ellen to Richard: "I'll never let you go. Never, never, never"


An Apology For Her Single-Minded Obsession: "It's only because I love you so"



Plotting Her Own "Accidental" Miscarriage

Plot to Suicidally Poison Herself and Frame Ruth as Killer

Deathbed Scene: "I want to be cremated...I'll never let you go!"


Ruth on Trial for Murdering Ellen - Prosecuted by Ellen's Ex-Fiancee Russell Quinton

Richard Forced to Read Ellen's Incriminating Letter

Leaving Las Vegas (1995)

In Mike Figgis' tragic love story about a romantically-involved, co-dependent couple - a critically-acclaimed film shot on Super 16 film:

  • the opening credits sequence of failed, out-of-control Hollywood screenwriter - self-destructive, doomed alcoholic Ben Sanderson (Oscar-winning Nicolas Cage) buying a shopping cart loaded with bottles of alcohol
Sexual Fantasy of Ben's Appeal to Blonde Bank Teller
  • the sequence of completely-drunken Ben's sexual fantasy of his appeal to a blonde bank teller (Carey Lowell) who he was attempting to charm for a date, while holding up a tape recorder - his dream was that she was receptive: ("Are you desirable? Are you irresistible? Maybe if you drank bourbon with me, it would help. Maybe if you kissed me and I could taste the sting in your mouth, it would help. If you drank bourbon with me naked. If you smelled of bourbon as you f--ked me, it would help. It would increase my esteem for you. If you poured bourbon onto your naked body and said to me 'drink this.' If you spread your legs and you had bourbon dripping from your breasts and your pussy, and said 'drink here,' then I could fall in love with you. Because then I would have a purpose - to clean you up. And that, that would prove that I'm worth something. I'd lick you clean so that you could go away and f--k someone else"); when he appeared back at the counter, confident and ready to sign - and to ask for a date ("I am back. I've got my check, and, baby, I'm ready to sign...Want to have dinner with me?") - she obviously declined his invitation
  • Ben was fired from his job with a "generous" severance check (his boss Bill graciously told him: "We're gonna let you go....We really liked having you around, but you know how it is"), and afterwards, Ben burned most of his possessions (including clothes, photographs, even his passport) and planned to move to Las Vegas
  • the monologue of high-class Las Vegas hooker, needy street-walking prostitute Sera (Oscar-nominated Elisabeth Shue) who bragged about her skilled abilities as a call girl to her off-screen therapist: ("I bring out the best in the men who f--k me. I mean, it's not easy, but I'm very good. I mean, it's amazing. Like, I haven't worked for a really long time and boom, I can just turn on a dime. I can just become who they want me to be. I walk into that room, I know right away, this is their fantasy, and I become it. I'm that service, you know. I just, I perform it, and I perform it well. I'm an equation most of the time. Like, thirty minutes of my body is, costs $300 dollars. Well, that's just to get into the room. And then, it's about $500 dollars after that and we negotiate. But it's a performance. It's definitely a performance")
  • the scene of Ben's first encounter with tight, leather-skirted streetwalker Sera, when he almost struck with his vehicle in a Las Vegas Strip cross-walk: (Sera: "That was a red light. I walk, you stop. Are you sorry?")
First Encounter with Ben in a Las Vegas Strip Cross-Walk
  • and later, Ben's rendezvous with Sera in his motel room (The Whole Year Inn, which Ben read as "The Hole You're In" when he checked in) after he paid $500 for a one-hour session, and she gave him instructions: ("For $500 bucks, you can do pretty much whatever you want. You can f--k my ass...You can come on my face. Whatever you want to do. Just keep it out of my hair. I just washed it"); she knelt down and began to deliver oral sex, but Ben suffered from impotence (due to his drinking too much tequila): (Sera: "What's the story? Are you too drunk to come?") although that afforded both of them time to talk and develop a relationship: (Ben: "I want you to talk or listen. Just stay"); he described his objective: ("I came here to drink myself to death. Cashed in all my money, paid my AMEX card, gonna sell the car tomorrow..."); she asked: "How long is it gonna take for you to drink yourself to death?" - and he answered: "I think about four weeks. I don't know for sure, but I think. I got enough for about $250, $300 a day. That should do it"; when she responded: "What am I? A luxury?" - he told her: "You're a luxury, and your meter just ran out"
  • a second scene of Sera's discussion with her off-screen therapist - about the effect of seeing Ben for one night: "I really like this guy. I mean, I've never felt anything for anyone I've ever been with, as a trick, you know, It's weird. I feel kind of confused about it. We were with each other only one night, but I felt like the relationship - you know, I felt like there was a relationship being formed. I was kind of scared. No, I don't think I should see him again. But I look for him. I went out last night. I was looking for him"
  • the last encounter between Sera and her abusive Latvian pimp Yuri Botsov (Julian Sands) in his hotel room; apparently, he was in trouble with Polish or Russian mobsters to whom he owned money; she showed him all the money she had made with tricks: ("I think things are finally picking up, we made so much money"), but he forced her face against a wall to listen to the next-door conversation, and ordered her to never see him again: "Come here. Now listen. (he forced her ear up to the adjoining wall) Do you hear? They're talking about me. Do you hear? ...Get out. Do not come back here. I'll not see you again"; as she left his room and walked down the corridor, threatening-looking mobsters left the adjoining room as one cocked his pistol and they approached Yuri's room
  • the scene in Sera's apartment when Ben seriously demanded that she never ask him to stop drinking: ("You can never ever ask me to stop drinking. Do you understand?"); likewise, she asked him to never criticize her occupation
  • the sequence of Sera's heartfelt concern about Ben's medical condition, when she told him: "I want you to see a doctor" - and his flat refusal: "Sera, I'm not going to see a doctor"
  • the pool scene (to the sound of Don Henley's singing of "Come Rain or Come Shine"), when they were both relaxing poolside, and Ben told her: "Need a mixmaster...Just sort of take everything and blend it all together"; shortly later, she straddled Ben's lap as he reclined on a lounge chair; she removed the top of her one-piece black swimsuit, and enticingly nuzzled a bottle between her breasts before pouring alcohol over them for him to enjoy before she returned the swimsuit straps to her shoulders; however, Ben fell over and shattered a glass table that left him cut, bruised and bleeding
Booze and Sex at the Motel Pool
  • after breaking property poolside and causing issues and complaints, the two were asked to leave by the next morning: ("We get a lot of screw-ups here. Now you two, you take your loud talk and your liquor to your room. You check out first thing tomorrow. And after that, I don't want to see either one of you back here ever again. And don't you worry about payin' for anything. And don't you worry about cutting your little hands on the glass. Let's just leave it at that. See you in the morning")
  • the scene of Sera's brutal attack and gang rape by a group of three drunken college football jocks in their room at the Hotel Excalibur and Casino, who insisted on anal sex, but when she refused, she was beaten; afterwards, the battered and bloodied Sera washed away the blood and memory in the shower
  • by film's end - in a touching final scene, sickly pal Ben's death in a hotel room, when Sera came to his side and asked: "Do you want my help?" - she then coaxed and readied him for a last loving act of intercourse (Ben: "See how hard you make me, angel? You know I love you") before he expired from toxic alcohol poisoning
  • the final scene of Sera with her therapist (in voice-over), confessing her love for Ben in the film's last lines of dialogue, as she sat on the bed next to Ben's body: ("I think the thing is, we both realized that we didn't have that much time, and I accepted him for who he was. And I didn't expect him to change. And I think he felt that for me, too. I liked his drama. And he needed me. I loved him. I really loved him")

Buying Booze

Sera's Monologue About Her Skills as a Hooker - to Her Off-Screen Therapist

Sera In Hotel Room with Drunken Ben: "For $500 bucks, you can do pretty much whatever you want..."


"How long is it gonna take for you to drink yourself to death?"

To Therapist (About Ben): "I went out last night. I was looking for him"


Sera Let Go by Her Pimp Yuri Who Was in Trouble with Threatening Mobsters

"You can never ask me to stop drinking. Do you understand?"

"I want you to see a doctor"

Washing Away Blood After Brutal Gang-Rape

Last Act of Intercourse on Ben's Death-Bed


On the Bed Next to Ben's Body With Voice-Over (Speaking to Her Therapist)

The Left Handed Gun (1958)

In director Arthur Penn's revisionist, autobiographical, psychological western film (and his debut film) based on the teleplay The Death of Billy the Kid by Gore Vidal, but unfortunately a box-office failure:

  • after the title credits, the introduction of the main character - legendary 21 year-old outlaw Billy the Kid (aka William Bonney) (a Method Acting-influenced portrayal by Paul Newman) stumbling along with his saddle equipment over his shoulder (from his sick horse left behind on the open range); he was portrayed as an anguished, misfit, unstable, simple-minded, troubled, and suicidal juvenile delinquent - a tormented James Dean-like anti-hero character
Pat Garrett
(John Dehner)
William Bonney
(Paul Newman)
  • after the unprovoked murder of his unarmed cattle rancher boss "Englishman" John Tunstall (Colin Keith-Johnston), a father figure, the illiterate and crazed William Bonney vowed vengeance against the four corrupt individuals who shot Tunstall dead - he extended his hand with four bullets destined for the killers: ("I got all four names"): Lincoln County (NM) Sheriff Brady (Robert Foulk), rival rancher Mr. Morton (Robert E. Griffin), and the two hired killers Moon (Wally Brown), and Hill (Bob Anderson)
  • the Freudian subtext of Bonney often fondling or gripping his six-shooter
  • his promiscuous relationship with Mexican girlfriend Celsa (Lita Milan), the pretty wife of Madeiro gun-maker Saval (Martin Garralaga) - and his provocative statement to her as he pulled her to himself by her black scarf: "I don't run. I don't hide. I go where I want. I DO what I want! I want you, with me"; although she resisted him, she kissed him
  • in the film's conclusion, the affecting scene of his death after being betrayed by disillusioned writer Moultrie (Hurd Hatfield), who had at one time exploited and promoted Billy's notoriety in fictionalized dime pulp magazines sold back East; while standing in an open doorway, Billy was warned by his former friend, lawman Pat Garrett (John Dehner) with his gun raised: "Billy, don't go for your gun. Keep your hands away from your side. Don't move, Billy. I don't wanna kill ya....Billy, come to me. Billy, come to me"; to suicidally draw fire, Billy pretended to draw a weapon - although he was unarmed; as he collapsed backward against the wall, he held out his empty left hand (although in real-life, he was right-handed) before stumbling further forward and dropping dead; he fell on his back onto horizontal wooden beam with his arms outstretched (an obvious crucifixion position)
  • shaken, Garrett walked forward and apologetically told his wife (Jo Summers): "He went for an empty holster. I couldn't see"; she hugged him, assured him: "You come home now," and they walked off together as the film ended
Garrett's Shooting of Unarmed Billy the Kid

Post-Title Credits

Four Bullets: To Seek Vengeance for Rancher Tunstall's Death

One of Many Shoot-Outs

Notorious Outlaw

Celsa (Lita Milan)

The Leopard (1963, It./Fr.) (aka Il Gattopardo)

In Luchino Visconti's epic historical period-drama about a romantic adventure set in 1860 Sicily - it was one of his best films - based upon Sicilian aristocrat Giuseppe Lampedusa's best-selling 1958 book published posthumously:

  • the main storyline: the patriarchal, hereditary ruling figure of "The Leopard" - Sicilian count Don Fabrizio Corbera (Burt Lancaster), the Prince of Salina, was a privileged member of the aristocracy whose power and way of life was slowly declining and waning in Italian society - he was doomed by a civil war and revolution (dubbed "The Risorgimento" and led by red-shirted insurgent volunteer forces of Giuseppe Garibaldi, opposed by the King's forces) to reunify all of the Italian provinces into one country
Opening Sequence
Camera Movement into Balcony Doorway
Discovery of Body of Royalist Soldier in the Villa's Garden
  • after the titles, the opening sequence - the camera's entry into an open balcony doorway into the palazzo of the Corberas, where the family was kneeling and participating in private Sunday prayers led by the estate's resident Jesuit priest Father Pirrone (Romolo Valli); the proceedings were interrupted by the tolling of a bell and the ominous shocking discovery of the dead body of one of the Royalist soldiers on the grounds of the garden
  • the shaving and dressing-room sequence - to build up his failing family fortune, Fabrizio began to associate himself with his ambitious, dashing and pragmatic nephew Tancredi Falconeri (Alain Delon), Prince of Falconeri, on the side of the rebels; the image of Tancredi's youthful face was first captured in Fabrizio's shaving mirror when he arrived; Tancredi announced his intention to join Garibaldi's volunteers, reasoning with his uncle about the inevitability of change, and predicting that the middle class would displace the hereditary ruling class: "For everything to remain the same, everything must change"
  • the violent, chaotic, lengthy battle war-sequence pitting Garibaldi's volunteers fighting the Bourdbon government's soldiers in the streets of Palermo, resulting in building rubble, bomb craters, with many deaths and some executions
  • during the violent upheavals, the sequence of the Fabrizio family entourage traveling to the summer palace in the regional hilltop town of Donnafugata, where the dusty and weary family paraded into the cathedral and took seats in a wooden pew; as the camera panned from right to left, they appeared like a set of neglected museum dolls
  • the plot: Fabrizio opportunistically schemed to set up and approve a match between Tancredi, a returning war hero, and Angelica Sedara (Claudia Cardinale), the beautiful daughter of wealthy, nouveau riche, vulgar ex-peasant Don Calogero Sedara (Paolo Stoppa) - a landowner rich with vast olive groves, and the newly-appointed Mayor of Donnafugata; Tancredi would be allowed to spurn his uncle's lovelorn daughter Concetta (Lucilla Morlacchi) by chasing Angelica
  • the serious scene of emissary-bureaucrat Cavalier Chevalley (Leslie French) offering Fabrizio, whom he regarded as a great scholar and prestigious nobleman (an aristocratic 'Leopard'), a political senatorial position in the new Parliament in Turin - the offer was politely and poetically rejected and turned down by Fabrizio, who instead recommended Calogero (a 'jackal or hyena'): (Fabrizio: "I belong to an unlucky generation, astride between two worlds and ill-at-ease in both. And what is more, I am completely without illusions. Now, what would the Senate do with me, an inexperienced legislator who lacks the faculty for self-deception, an essential requisite for wanting to guide others. No, I cannot lift a finger in politics. It would be bitten off..."); as Chevalley departed, Fabrizio added that change would be for the worse, if the leopards and the lions along with the sheep and the jackals, would all live in the same democratic society: "We were the leopards, the lions. Our place will be taken by jackals, by hyenas. We all - the leopards, the lions, the jackals and the sheep - will keep on believing we're the salt of the earth"; however, the diplomat didn't hear his thoughts
  • the amazing concluding sequence: a nearly hour-long ballroom sequence held at another Prince's villa, to introduce Tancredi's fiancee Angelica; to begin, Don Fabrizio wandered and drifted through the hallways and chambers of the extravagant facility; alone in the library, he gazed upon Grueze's painting of a patriarch's death: "Death of a Just Man" and contemplated: "I wonder if my death will resemble this. I'm sure my sheets won't be as clean. The sheets of the dying are always dirty"
  • the scene of Fabrizio's return to the dance floor after Tancredi's fiancee Angelica asked him for the first waltz; he accepted: "I have never had a more tempting proposal. Thank you for making me feel young again. I accept. Grant me the first waltz"; they engaged in a hypnotic, twirling, courtly waltz-dance before the assembled partygoers; at the end of the dance, realizing it would be one of his last since change was inevitable, he entered a wash-room with dozens of loo chamberpots in a side room and wiped his brow
Ballroom Sequence
Elegant Waltzing with Angelica
In Washroom with Chamberpots
  • director Visconti's brilliant visual imagery: the contrast between the stately, regal dancing of Tancredi and Fabrizio (with Angelica), compared to the protelariat attendees who assembled into a conformist dance line and snaked their way into the crowded dance rooms
  • in the final scene, a disenchanted Fabrizio decided to privately walk home to get air rather than ride in a coach; on his way as a priest was led in front of him, taking the sacraments to a dying man in his home, Fabrizio knelt down in the middle of the dusty street and delivered a prayer to the skies; he questioned his own fate and death: ("Oh star, oh, faithful star. When will we go on a less ephemeral date? Far from everything, in your region of perennial certainty?"); meanwhile, Tancredi, Angelica, and her father rode back in a coach as they heard the sounds of the King's firing squad: (Calogero: "Really good troops, they do a good job. That's exactly what we needed for Sicily. We have nothing more to fear"); Fabrizio slowly walked off - with his cane - into the shadows as a bell tolled

Aristocratic "Leopard" Don Fabrizio (Burt Lancaster) Shaving

Behind Him in Mirror Reflection: His Nephew Tancredi Falconeri (Alain Delon)

Fabrizio Family in the Summer Palace

Romantic Match: Tancredi With Angelica (Claudia Cardinale), Daughter of Rich Landowner

Bureaucrat Chevalley's Offer of Senate Position to Fabrizio

Fabrizio's Gazing Upon Painting of Patriarch's Death


Fabrizio's Prayer to Skies in Dark Alley After Ballroom Scene: "Oh star, oh, faithful star. When will we go on a less ephemeral date?"

The Leopard Man (1943)

In Jacques Tourneur's and RKO's noirish, and shadowy horror-thriller, the low-budget effort was taglined and described as one of the first serial killer films: "Women Alone the Victims of Strange, Savage Killer!"; it was the third of Tourneyr's horror films produced by Val Lewton, following Cat People (1942) and I Walked With a Zombie (1943):

  • the story was set in a Mexican border town in New Mexico: a rented tame black leopard was acquired from Indian sideshow performer and traveling zoo owner Charlie How-Come (aka The Leopard Man) (Abner Biberman); the animal was hired by nightclub manager/publicist Jerry Manning (Dennis O'Keefe), to be used as a PR stunt for the nightclub act of his girlfriend Kiki Walker (Jean Brooks)
  • during the act of Kiki's rival - the exotic, castanet-flamenco-dancer Clo-Clo (Margo), Kiki made a startling entrance with the black cat (leashed), in order to upstage Clo-Clo; behind her, Manning called out directions: "Don't just stand there, Kiki. You're onstage, they're all looking at you"; Kiki entered the dance floor area in the midst of diners' tables and sat down; Clo-Clo approached the wild animal with her noisy castanets to deliberately frighten the leopard, causing the creature to become spooked - it hissed, tugged on its leash, and fled through an open door
  • the leopard's owner Charlie How-Come, who demanded compensation for his lost wild cat, complained to nightclub manager Manning: "These cops banging those pans, flashing those lights, they're gonna scare that poor cat of mine. Cats are funny, mister. They don't want to hurt you, but if you scare 'em they go crazy. These cops, they don't know what they're doing"
  • soon after, the terrifying, upsetting and truly frightening night stalking sequence of teenaged neighbor Teresa Delgado (Margaret Landry), sent out by her impatient and scolding mother to buy corn-meal for her father's meal of tortillas, even though an escaped leopard was reported on the loose; with the nearest store closed, she had to cross town and enter a dusty arroyo (with the wind tossing around a tumbleweed) to another shop where the shopkeeper noted: "Now I remember the little girl who was afraid of the dark" - she responded: "I'm not afraid, what could happen to me?"
The Truly Frightening Stalking Sequence of Teresa
Resulting in a Leopard Attack, Mauling and Death
  • as Teresa returned home with the bundle of corn-meal, she heard the sound of dripping water, saw two gleaming eyes under a railway trestle, and was startled by the noise of a speeding train that roared above her (with a screaming whistle); and then she saw the snarling, growling leopard (viewed in close-up) that began chasing after her; when she raced home, her exasperated mother kept the door locked on her (and the lock jammed) as she desperately pounded on it and begged to be let in: ("Mamacita, let me in!...It's coming, it's coming closer! I can see it!"); the mother thought that she was faking a lethal leopard attack as an excuse for returning home late (her death was off-screen with blood-curdling screams, and a slow flow of blood seeping under the door)
  • the subsequent scene of the secret rendezvous of two lovers who planned to meet up in a cemetery on the female's birthday; young noblewoman Consuelo Contreras (Tula Parma) awaited her lover Raoul Belmonte (Richard Martin) who was late, and she became locked in by the gatekeeper; she rushed around inside the high-walled cemetery amidst the howling of the wind under a full moon; she spoke over the wall to an unseen man who promised to get a ladder and return shortly; but then, she heard the rustling and breaking of a major tree branch above her - and she screamed - and the next morning was found murdered - clawed to death; it was assumed to be a second leopard attack by the animal who jumped from the tree
  • the leopard's owner, Charlie How-Come, doubted his own sanity and innocence and asked to be locked up - but during his incarceration, dancer Clo-Clo became the third victim
  • the ending - the discovery and sleuthing sequence that was set up to capture the real compulsive serial killer, who had committed the additional attacks to make it appear that the leopard was the killer; the killer was Indian museum curator and animal expert Doctor Galbraith (James Bell), who had turned murderous after becoming excited by the initial leopard attack; during an annual march of hooded and solemn members with long candles to commemorate the tragic slaughter of peaceful Indians by the conquistadors in the 17th century, Galbraith failed to hide in their nighttime procession and was apprehended
  • the tormented Galbraith's confession that he was responsible for the murders of Consuelo and Clo-Clo after watching the leopard maul Teresa: "I didn't do anything...Why do you accuse me? You don't know what you're doing. You don't understand...You don't know what it means to be tormented this way...I couldn't rest. I couldn't sleep. All I could see was Teresa Delgado's body - broken, mangled. I saw it day and night. It was waiting everywhere I turned...I didn't want to kill, but I had to"
  • the scene of Galbraith's disturbing description of Consuelo's murder: ("I thought I was gonna help her get over the wall. I can't remember. I looked down. In the darkness, I saw her white face. The eyes - full of fear, fear, that was it. The little frail body, the soft skin. And then she screamed - "), but mid-way through his words, Raoul shot and killed him in retribution

Clo-Clo's Castanet-Dance Nightclub Act


Kiki's Appearance with Leopard


Clo-Clo Spooking the Animal with Castanets



Attack Upon Consuelo Contreras in Cemetery

The Spooked Clo-Clo - Face to Face With Her Killer Before Her Death


Serial Killer Galbraith Attempting to Hide in an Annual March Procession

Galbraith's Confession That He Was the Murderer of Consuelo and Clo-Clo

Lethal Weapon (1987)

In Richard Donner's action-comedy, 'buddy cop' film - the superior first film of many installments (also 1989, 1992, and 1998):

  • the startling opening scene of a scantily-clad 22 year-old prostitute and drug-user Amanda Hunsaker (Jackie Swanson) jumping to her death from the balcony of an LA high-rise, although later was revealed to have been poisoned by barbiturate capsules filled with drain cleaner
  • the view of the bare buns of psychotic, borderline alcoholic, depressed and self-destructive Vietnam vet/LA cop Martin Riggs (Mel Gibson), after the death of his wife, in his beer can-strewn trailer as he emerged from his bed in a parked camper-shell trailer
  • the scene of the drug bust shootout in a Christmas tree lot, after Riggs showed the dealers his badge: ("Let me say I take the whole stash off your hands for free and you assholes can go to jail. What do you say about that? Now I could read you guys your rights, but nah, you guys already know what your rights are"); when he was called a crazy son-of-a-bitch, he laughed and then asked: ("You think I'm crazy? You called me crazy? You think I'm crazy? Yeah, you want to see crazy? I'll show you... Now, that's a real badge, I'm a real cop and this is a real f--kin' gun")
  • the dramatic scene of Riggs contemplating suicide by playing Russian roulette with a gun pointed at his forehead and jammed down his throat, while he was weeping over a framed picture of his recently-deceased wife of 11 years following a car accident; he then spoke that he would see her later: ("I miss you, Victoria Lynn. Hey, that's silly, isn't it? I-I'll see ya later. I'll see ya much later")
Christmas Tree Lot Drug Bust
Suicidal Riggs
Handcuffed to Suicidal Man On Top of Building
  • the film's ingenious mismatched partnership of Riggs with devoted family man/veteran detective Sgt. Roger Murtaugh (Danny Glover), known for saying repeatedly: "I'm too old for this sh-t" because he was only eight days away from retirement, and he was about to celebrate his 50th birthday; he learned he was partnered with Riggs during a case of mistaken identity in the police office and was judo-flipped by Riggs ("Real burnout, on the ragged edge") onto the floor: ("Rog, meet your new partner"); later as the two talked, Murtaugh identified why the film was titled 'lethal weapon': ("File also said you're heavy into martial arts and Tai chi and all that, uh, killer stuff. I suppose we have to register you as a lethal weapon"); Riggs responded: ("Hey look, friend, let's just cut the s--t. We both know why I was transferred. Everybody thinks I'm suicidal, in which case I'm f--ked and nobody wants to work with me. Or they think I'm faking to draw psycho pension, in which case I'm f--ked, so nobody wants to work with me. Basically, I'm fucked"); Murtaugh agreed that he also didn't want to work with him: ("Ain't got no choice. Looks like we both got f--ked")
  • the dramatic scene of Riggs' unconventional strategy of handcuffing himself to another suicidal man high atop a building and convincing him to jump with him, and asking the crazed question: ("Do you really wanna jump? Do ya wanna? Well, then that's fine with me. Come on, let's do it"); after the double-jump onto a massive net, the suicidal man complained: ("Help me! Help me loose! He's tryin' to kill me! Did you see that? He's out of his mind! He's crazy! He tried to kill me!")
  • after the suicidal jump, Murtaugh's angry tirade against his partner: ("Here, take my gun. Don't nibble on the barrel, pull the trigger. Go ahead, pal. Be my guest! Go ahead, if you're serious!... Put it in your mouth. Bullet might go through your ear and not kill ya...Yeah, under the chin....(Riggs began to pull the trigger, although Murtaugh grabbed the gun and prevented him) You're not tryin' to draw a psycho pension. You really are crazy")
  • the scene of the death of a drug dealer, shot by Riggs and Murtaugh, who then fell into a pool and drowned when wrapped up in the pool cover; afterwards the two at poolside discussed how they had attempted to follow a policy of "no killing," but had failed: (Murtaugh: "You ever met anybody you didn't kill?" Riggs: "Well, I haven't killed you yet" Murtaugh: "Well, don't do me no favors, huh?")
  • the tense scene of the Mexican standoff with Murtaugh threateningly holding a grenade at El Mirage Lake in the desert ("Let her go now or we all die... If you come closer, then we all die"), to intimidate vile albino killer/henchman Mr. Joshua (Gary Busey), who had kidnapped Murtaugh's daughter Rianne (Traci Wolfe), while Riggs was positioned as a sniper to shoot at her captors and free her
  • the shower electrocution scene in which Riggs was tortured (strung up half-naked, doused in water, and prodded with an electric sponge attached to a car battery) by Mr. Joshua and his Chinese henchman Endo (Al Leong), before his daring escape and freeing of his partner Murtaugh and Rianne: ("Let's do what one shepherd said to the other shepherd ...Let's get the flock out of here")
  • in the finale, the sequence of Riggs' hand-to-hand combat challenge to Joshua on the muddy front lawn of Murtaugh's home during a torrential rain storm: "Whaddya say, Jack? Would you like a shot at the title?" - with the eager reply: "Don't mind if I do!" - and after Joshua was defeated, Murtaugh yelled out: ("Get that s--t off my lawn!")

Opening "Suicide" of Amanda Hunsaker

Martin Riggs in Trailer

Murtaugh: "You really are crazy"

Riggs and Murtaugh Poolside: "You ever met anybody you didn't kill?"

Mexican Stand-Off in the Desert

Riggs' Torture-Electrocution Sequence

Riggs' Hand-to-Hand Combat with Villain Mr. Joshua

The Letter (1940)

In director William Wyler's great noirish melodrama of murder, betrayal, and deceit:

  • the shocking opening murder scene on a porch as British plantation owner's wife Leslie Crosbie (Bette Davis) pumped six bullets into a man's body - the victim was her neighbor Geoffrey Hammond (David Newell) as he staggered out of a tropical bungalow on the grounds of a Malayan rubber plantation
  • the emotional scene of Leslie's dramatic, self-defense narrative and confession to her lawyer Howard Joyce (James Stephenson) about what had happened the night of the murder: ("...When I walked past him toward the veranda to call the boys, well, he took hold of my arm and swung me back. But I tried to scream and he flung his arms about me and began to kiss me. I struggled to tear myself away from him. He seemed like a madman. He kept talking and talking and saying he loved me. Oh, it's horrible, I can't go on...He lifted me in his arms and started carrying me. Somehow, he stumbled on those steps. We fell and I got away from him. Suddenly, I remembered Robert's revolver in the drawer of that chest. He got up and ran after me but I reached it before he could catch me. I seized the gun as he came toward me. I heard a report and saw him lurch toward the door. Oh, it was all instinctive. I didn't even know I'd fired. Then I followed him out to the veranda. He staggered across the porch, grabbed the railing, but it slipped through his hand and he fell down the steps. I don't remember anything more, just the reports one after another till there was a funny little click and the revolver was empty. It was only then I knew what I'd done")
  • the timely emergence of an incriminating letter that proved Leslie Crosbie had invited Mr. Hammond to her bungalow the night of the murder, proving pre-meditated murder (and that he was her lover), according to her lawyer Howard Joyce: ("This letter places an entirely different complexion on the whole case. It'll put the prosecution on the track of - suspicions which have entered nobody's mind. I won't tell you what I personally thought when I read the letter. It's the duty of counsel to defend his client, not to convict her even in his own mind. I don't want you to tell me anything but what is needed to save your neck. They can prove that Hammond came to your house at your urgent invitation. I don't know what else they can prove, but if the jury comes to the conclusion that you didn't kill Hammond in self-defense...") - his words caused Leslie to faint and collapse onto the floor
Dramatic Re-claiming of the Blackmail Letter Scene
Mrs. Hammond
Leslie's Debasement
  • the dramatic re-claiming of the blackmail letter scene from Mrs. Hammond (Gale Sondergaard), Hammond's Eurasian wife, and her dramatic entrance through a jangling bead curtain; the sequence of Leslie's personal apology and debasement to pick up the incriminating letter, in exchange for $10,000 (that had emptied her long-suffering husband Robert's (Herbert Marshall) bank account); with the suppression of the letter, Leslie was quickly acquitted in her trial
  • later, during a celebratory party, as she was standing on her balcony, Leslie saw a gleaming dagger planted there
  • the scene of Leslie's incredible confession to her kind and generous husband Robert; although he knew of her affair, he offered to forgive her if she professed her love for him - she admitted her ultimate betrayal in the final line of the film that she still loved the man she killed: (Robert: "That's not enough, unless... Leslie, tell me. Now. This minute. Do you love me?" Leslie: "Yes, l do. (They kissed) No! l can't, l can't, l can't!" Robert: "Leslie, what is it? Leslie, what is it?" Leslie: "With all my heart, I still love the man I killed! Oh, no")
  • the final retribution scene as Leslie walked deliberately into her own dark tropical garden where she saw the outer gate was ajar; shadows came over her as the moon was covered by clouds; outside the gate in the darkness, she was confronted by vengeful, retribution-seeking Mrs. Hammond, and another man-servant; she was grabbed and gagged by the man (to stifle her screams), and then stabbed to death by a flashing dagger in Mrs. Hammond's hand
  • the view of Leslie's body revealed on the ground, as the moonlight illuminated the murder scene

Opening Shocking Murder Scene

Leslie Crosbie's Confession to Lawyer Howard Joyce

The Dagger

Leslie to Husband: "With all my heart, I still love the man I killed!"

Onto Her Balcony and Into the Garden



Moonlight Murder Scene - Leslie's Stabbed Corpse

Letter From an Unknown Woman (1948)

In director Max Ophuls' fine romantic melodrama, told mostly in flashback (through a letter), and set in turn-of-the-century Vienna:

  • the tale of unrequited love and sorrow suffered by Lisa (Joan Fontaine) - an "unknown woman," revealed in a letter (in female voice-over) written to self-absorbed, frivolous dilettante concert pianist Stefan Brand (Louis Jourdan) - after her death at St. Catherine's Hospital: ("By the time you read this letter, I may be dead. I have so much to tell you and perhaps very little time. Will I ever send it? I don't know. I must find strength to write now before it's too late, and as I write it may become clear that what happened to us had its own reason beyond our poor understanding. If this reaches you, you will know how I became yours when you didn't know who I was or even that I existed")
  • the first of many flashbacked scenes in which as a shy, fourteen year old schoolgirl, Lisa stood in fright behind a glass door, holding it open for the pianist she had fallen in love with, Stefan Brand
  • the scene on the staircase in which Lisa looked down and witnessed Stefan's return home in the early morning hours with his latest woman-of-the-evening
  • Lisa's one night of romantic bliss with Stefan including his purchase of a single white rose for her
  • the sequence at the Viennese fairgrounds - their cyclorama ride, dancing in a deserted dance-hall, her kneeling at the keyboard as he played, and her return up the stairs to his apartment
  • their goodbye at the train station when Lisa said: "I'll be here when you get back" as Stefan falsely promised to be gone only two weeks: ("It won't be long. I'll be back in two weeks"); however, Lisa's voice-over of her letter recalled: "Two weeks. Stefan, how little you knew yourself. That train was taking you out of my life"
Train Station Goodbye
Flashbacked Memory of
Young Lisa
  • the sequence in which Lisa left her husband, wealthy, middle-aged Austrian aristocrat named Johann Stauffer (Marcel Journet) (who accepted her son born out of wedlock), and returned with a large bouquet of white roses to offer herself to her pianist love
  • the touching scene (and ending scene) years later of Stefan (still with the letter at his desk), now with tears in his eyes, looking back and remembering the enamoured young girl shyly holding the door open for him

The "Letter From an Unknown Woman" - Sent to Pianist Stefan Brand

Flashback: Shy 14 Year Old Schoolgirl Lisa

Lisa Spying on Stefan with Another Woman From Staircase

At the Viennese Fairgrounds

A Letter to Three Wives (1949)

In Joseph L. Mankiewicz' marriage drama:

  • the three flashbacks of three different marriages during a Hudson River boat trip, after a letter, authoried by Addie Ross (off-screen with voice-over by Celeste Holm) arrived - addressed to three married women: Deborah "Debby" Bishop (Jeanne Crain), Lora Mae Hollingsway (Linda Darnell), and blonde Rita Phipps (Ann Sothern): ("Dearest Debby, Lora Mae and Rita. As you know by now, you'll have to carry on without me from here. It isn't easy to leave a town like our town, to tear myself away from you three dear, dear friends who have meant so much to me. And so I consider myself extremely lucky to be able to take with me a sort of memento. Something to remind me always of the town that was my home, and of my three very dearest friends whom I want never to forget. And I won't. You see, girls, I've run off with one of your husbands. Addie")
(l to r): Lora Mae, Rita, and Debby
Incriminating Letter
  • the review of the lives of the three women, seen in flashback: ex-Navy WAVES soldier Deborah (or "Debby"), married to upper-class Brad Bishop (Jeffrey Lynn); golddigger Lora Mae, married to older wealthy department store owner Porter Hollingsway (Paul Douglas); and radio soap opera writer Rita, married to schoolteacher George Phipps (Kirk Douglas)
  • the conclusion in which it was revealed that Porter had begun to run away with Addie, but then he reconsidered and changed his mind, when he confessed to the other couples: ("Brad didn't run away with Addie Ross. I did....A man can change his mind, can't he?")
  • after Porter's confession, he offered to accept a divorce from Lora Mae, but she pretended to not hear him and declined: (Porter: "Okay, you got it. They all heard me say I ran away with another woman. You've got everything you need. You can take me for everything you'll ever want" Lora Mae: "Like always, Porter, when you start knockin' on that brandy bottle, you'll come up with anything. I guess I stopped listening, 'cause if you said something, I just didn't hear it. Why don't everybody dance?")
  • the film's last line ("Heigh-ho! Good night, everybody") - spoken by Addie Ross in voice-over (she was never seen in person), as one of the drink glasses fell over on the table

Rita (Ann Sothern) with Husband George Phipps (Kirk Douglas)

Deborah ("Debby") Bishop (Jeanne Crain)

Lora Mae with Porter Hollingsway (Paul Douglas)

Lora Mae's Decline of Divorce Offer From Straying Husband Porter

Libeled Lady (1936)

In director Jack Conway's funny screwball comedy - a Best Picture nominee:

  • after the MGM lion and before the opening credits - the medium shot of the four stars (Harlow, Powell, Loy, and Tracy) walking arm in arm toward the camera and into a wind
  • in the film's plot, the New York Evening Star and its managing editor Warren Haggerty (Spencer Tracy) had printed a libelous, false story about sophisticated, wealthy heiress Connie Allenbury (Myrna Loy), who was accused of breaking up a marriage; the publication resulted in Connie threatening to sue the paper for libel with a $5 million lawsuit
  • the scenes of newspaper editor Warren Haggerty's cooked-up scheme to re-hire ex-employee and ladies man Bill Chandler (William Powell) to convince him to temporarily marry (in name only without consummation) Warren's own wisecracking, long-suffering, impatient bride-to-be divorcee/girlfriend Gladys Benton (Jean Harlow) - promising her a quickie Reno divorce afterwards; so in the meantime, Chandler could seduce and then frame or trap Connie in a compromising situation with him (witnessed by his 'wife' Gladys) to force Connie to drop the expensive lawsuit
  • in the clever and fast-paced script, memorable scenes included the very long "bride kisses the best man" congratulatory kiss sequence at the city magistrate wedding of Bill Chandler and Gladys, with 'Best Man' - Gladys' own fiancee Warren: (Justice of the Peace: "Well, I hope you'll be very happy and don't forget to invite me to your silver anniversary." Gladys: "It'll have to be within the next six weeks!")
  • the fishing scenes: first, inept Chandler receiving fly-fishing lessons in his hotel room, and then the outdoor scene of inept, nearly-drowned Chandler impressing Connie's angler father Mr. James B. Allenbury (Walter Connolly) by catching an elusive walleye trout
  • the plot twist of ensuing complications when Chandler became truly smitten by Connie and then changed his strategy of fooling her to sweet-talking her to drop the suit - and she asked to marry him - he was flabbergasted: ("Will I? Is there a preacher in the house?")
  • the multiple confusions in the rushed concluding scene in a hotel room: Bill was now married to Connie (and they were on their honeymoon), but then Gladys affirmed that she really wanted to remain married to Bill; Bill announced that he had found out that 'wife' Gladys' previous Yucatan divorce to her first husband was illegal (and therefore their marriage was a fake), countered by Gladys' claim that she had a second confirming divorce in Reno and was actually still married to Bill; but then, real romantic allegiances were revealed after Bill and Warren had a brief fisticuffs encounter
'Married' Chandler with Connie - Falling in Love
Chandler After Being Married to Connie
Bill Chandler and Warren's Fisticuffs
  • the ending line of Connie's father Mr. Allenbury demanding an explanation - and then after he was filled in on the marital complications, he screamed exasperatingly: "Quiet, will you please be quiet!"

Opening Credits

Gladys Complaining to Newspaperman Fiancee Warren: "Today, I get married!"

Warren's Scheme: Gladys Was Forced to Instead Temporarily Marry Bill Chandler

The "Bride Kisses the Best Man" Wedding Kiss Sequence

Fishing Sequence

Liebelei (1933, Germany)

In director Max Ophul's fifth feature film - a superb poetic, poignant and dramatic masterpiece of tearjerking, romantic (and tragic) love set in Vienna in the early 1900s, with beautiful visual compositions:

  • the courtship and growing love affair of Austro-Hungarian army lieutenant Fritz Lobheimer (Wolfgang Liebeneiner) with Christine Weyring (Magda Schneider, the mother of actress Romy Schneider), the innocent, shy 19 year-old working-class daughter of an opera musician
  • the scenes of Fritz and Christine silently strolling down a winding backstreet at night, and their lively, heavenly waltzing through an empty coffee bar to the music of a coin-operated Victrola
  • the long-shot (and then close-ups) of an idyllic horse-drawn sleigh ride through a wintry wonderland, when Christine admitted her love and pledged herself to eternal romance with Fritz: "I know nothing about you - you must tell me some time about your life...Eternally, I'll love you"
Fritz' Horse-Drawn Sleigh Ride With Christine
  • Fritz' concurrent indiscretions - his philandering and extra-marital affair with the adulterous Baroness von Eggersdorff (Olga Tschechowa), the wife of monocle-wearing, angry cigarette-smoking Baron von Eggersdorff (Gustaf Gründgens) - his love affair with Christine was contrasted with a scene of a waltz in the mansion (with full orchestration) with the Baroness - with less enthusiasm than with Christine
  • the fateful duel of honor at dawn with pistols (off-screen only with the sound of a gunshot) - demanded by the scorned, offended, outraged and jealous Baron against Fritz
  • the heartbreaking concluding scene of the heroine learning of the fateful news of Fritz' death in the duel: "...he has fought a duel...well, he has, he has...he's dead"; she was then told he fought the duel because of a woman in his past; her facial expressions ranged from doubt, desperation, shock, confusion, disbelief, fear and grief as she responded: "I can never see him again but he always told me that he loves me, and so he has, because of another woman, but that's impossible. No, no, I don't believe it. This is not true. What had I been to him then?"
  • the scene of Christine's immediate response - her tragic suicidal jump from her second floor window (off-screen) - followed by a view of the open window and the sight of her body in the street below, soon surrounded by concerned neighbors
  • and a replay of the wintry, snow-covered backdrop from their sleigh ride (with a pan from left to right, without the sleigh) accompanied by the off-screen words of Christine about eternal love as the film faded to black


Fritz's Love Affair with Christine

Extra-Marital Affair with the Baroness


Christine's Suicide After News of Fritz' Death in Duel

Replay of Sleigh Ride Backdrop

Life is Beautiful (1997, It.) (aka La Vita è Bella)

In actor/director Roberto Benigni's tragi-comedy - a Best Foreign Language Film winner:

  • the second half of the film - about the ugly horrors of a Nazi concentration camp, where clowning, child-like hotel waiter Guido Orefice (Oscar-winning Roberto Benigni) and his young son Giosue/aka Joshua (Giorgio Cantarini) were interred (and separated from his wife/mother); the scene of Guido volunteering to translate the German guard's rules of the camp - even though he didn't speak any German - he was able to creatively orchestrate the fiction of a life-saving, imaginative illusion with play-acting, to shield his son from the horrors, by stating that the first prize in the game they were playing was a brand-new armored tank: "The game starts now. Whoever's here is here, whoever's not is not. The first one to get a thousand points wins. The prize is a tank! Lucky him! Every day we'll announce who's in the lead from that loudspeaker. The one with the least points has to wear a sign saying 'jackass' right here on his back. We play the part of the real mean guys who yell. Whoever's scared loses points. In three cases, you'll lose all your points. One, if you start crying. Two, if you want to see your mommy. Three, if you're hungry and you want a snack. Forget about it!..."
  • the grim scene when Guido's wife Dora (Nicoletta Braschi, Benigni's real-life wife) learned from another Jewish camp member that the old people and children were not to work because they were to be executed: "They don't send old people and kids to work because they kill them! One of these days they'll call them to take a shower. 'Children, shower time!' The truth is, they make them shower there - in the gas chamber"; shortly later, young Giosue ran away when he was told it was shower time; he found his father, and stubbornly insisted that he wasn't going to take a shower; Guido told his boy to hide
  • the scene of Guido's shocking death after he was caught by a soldier during an escape attempt; he winked at his hidden son (concealed in a sweatbox and watching through the door slit) - playfully wanting him to know that things were still okay; he deliberately and clownishly marched to his execution by machine-gun fire (offscreen) - there was just a small report of machine-gun fire when he was sacrificially killed
Guido's Clowning For His Young Son in Concentration Camp
  • the concluding segment, when the young boy thought he had won the "game" as the camp was liberated by the Americans riding in tanks (the boy cried out joyfully: "It's true!"), and he was soon happily reunited with his freed mother Dora
The Boy's Sight of Liberating US Tank
Reunited with Freed Mother Dora
  • the older Giosue recalled in voice-over: ("This is my story. This is the sacrifice my father made. This was his gift to me"); the boy was happy about winning: ("We won!...A thousand points to laugh like crazy about! We came in first! We're taking the tank home! We won!")


Guido Volunteering to Translate - And Creating a Game Out of the Experience

Dora Learning About the Gas Chamber for Old People and Children

Giosue Refusing to Take a Shower

Guido's Death

The Life of Oharu (1952, Jp.) (aka Saikaku Ichidai Onna)

In director Kenji Mizoguchi's melodramatic and sad masterpiece, chronicling the tragic, tough, scorned and cruel life of a Japanese woman who was exploited by the male-dominated society of her time - her story of misfortune was told in flashback:

  • the characterization of Oharu (Kinuyo Tanaka), daughter of royal samurai Shinzaemon (Ichiro Sugai); she was originally born as a young noblewoman into a respectable family in 17th century Japan, but her fortunes became reversed through a series of unfortunate events - mostly because of a tortured love affair with a lower class lover Inosuke (Toshiro Mifune); she begged for him to understand: "No matter what you say, we can never be together...Neither the court nor my father would ever allow it"; he implored her to run away with him: "Then we'll run away. We'll make a home of our own. I'll do my utmost. I'd gladly do anything to protect you. Lady Oharu!"; she fell into his arms and then collapsed to the ground
  • the scene of Oharu caught in "forbidden love" - making love with Inosuke - and accused of being a prostitute; she was confronted: "You dress like a noblewoman. Where are you from, whore?"; she disagreed: "How dare you! I'm not a prostitute!"; she was arrested, taken to the local magistrate, accused of disgracing her family - and immediately exiled (Inosuke was executed): "Oharu Okui, while serving in the Imperial Court, you violated protocol by associating with a personage of low birth. As punishment for this illicit liaison, you are sentenced as follows: You are hereby banished from the city of Kyoto, never to return. Your parents, for failing to provide proper guidance, are hereby also sentenced to exile. This judgment is effective today, the 7th of November 1686"
  • after a lifetime of disgrace and banishment-exile, Oharu was seen as an impoverished, 50 year-old street prostitute who had to resort to begging and hiding her age; she was asked about her fall from grace by other prostitutes: "You used to serve in the Imperial Court. Did you ever think you'd end up like this? How did you fall so far?" - Oharu was reluctant to answer: "Please don't ask about my past"
  • the next sequence - the most exquisitely filmed - Oharu (seated in front of a gate) briefly glimpsed a procession of her upper-class son (whom she bore for Lord Matsudaira many years earlier); he remained oblivious to her existence as she gracefully moved from left to right to follow him ascending a small slope, and then returned to her place by the gate and began to cry
Impoverished Elderly Oharu Watching Her
Upper-Class Son's Procession

The Tortured Love Affair Between Japanese Imperial Court Courtesan Oharu and Lower Class Lover Inosuke (Toshiro Mifune)

Caught in "Forbidden Love"

Sentenced to Exile by Magistrate

Oharu As a 50 Year-Old Street Prostitute

Lifeboat (1944)

In director Alfred Hitchcock's tense ensemble adventure thriller-drama about American and German civilians who were survivors of a U-Boat attack and confined together on a lifeboat:

  • the opening scene - the aftermath of the sinking of an Allied passenger freighter (sailing from New York to London) by a Nazi U-boat's torpedo - swirling waters - and the views of the debris-strewn surface of the water, in a slow pan from left to right, including a box of American Red Cross supplies for Great Britain, a broken crate of fruit, a New Yorker magazine cover, some playing cards, large wooden spoons, a checkerboard, and a dead German face-down in the water with a lifebelt on his back
  • the first view of the titular lifeboat, with a single occupant wearing a mink coat -- rich, well-dressed, spoiled and cynical fashion photo-journalist Constance "Connie" Porter (Tallulah Bankhead), who was soon joined by anti-Nazi Czech-American Kovak (John Hodiak), a grease-covered engine-room freighter worker, and then a number of others, including English radio operator Stanley "Sparks" Garrett (Hume Cronyn), Army nurse Alice Mackenzie (Mary Anderson), and wealthy industrialist C.J. "Ritt" Rittenhouse (Henry Hull)
  • the back-lit scene of black steward "Joe" Spencer's (Canada Lee) moving recitation of the 23rd Psalm - part of the burial service (at sea) for the dead infant child of young shell-shocked Britisher Mrs. Higley (Heather Angel): ("....He leadeth me beside the still waters. He restoreth my soul. He leadeth me in the paths of righteousness, for His name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil. For thou art with me. Thy rod and thy staff, they comfort me. Surely goodness and mercy shall follow me all the days of my life. And I will dwell in the house of the Lord forever. Amen")
  • the surprise cameo appearance of director Hitchcock in a newspaper ad for a waist-slimming product (Reduco Obesity Slayer)
  • the almost-wordless scene of the gruesome amputation of the gangrene-infected leg of seriously-wounded German-American Gus Smith (William Bendix), after heating up the blade of a knife with a cigarette lighter (protected from the wind by the hands of the survivors)
  • the revelation that one of the lifeboat's passengers was the Nazi U-boat Captain (Kapitan) Willi, the German (Walter Slezak), and that he was discovered to be steering them toward a German supply boat, not toward Bermuda as he promised; eventually after the passengers found Willi hoarding water, they beat him and pushed him overboard
  • the scene of the indomitable Connie putting her initials in lipstick on Kovac's chest and using her diamond bracelet as a fish bait-lure
One of Lifeboat Survivors Was German Nazi U-Boat Kapitan
Connie's Initials on Kovac's Chest
Connie: "Well, maybe they can answer that"
  • Connie's worry about her appearance after seeing on the horizon the American ship that was to rescue her and her companions after it had attacked, bombarded, and sunk the approaching German vessel (that Willi had earlier attempted to guide them toward)
  • the ambiguous ending when at the last moment, the lifeboat passengers were forced to decide what to do with a young injured and frightened German sailor/survivor who had climbed onboard their lifeboat from the sunken German warship; he asked: ("Aren't you going to kill me?"); Kovac mumbled under his breath, and then spoke to English merchant seaman and radio operator Stanley: ("Aren't you going to kill me? What're you gonna do with people like that?"); Stanley thought about the answer that might have been given by some of the deceased: ("I don't know. I was thinking of Mrs. Higley and her baby, and Gus"), and Connie (in close-up) wondered that maybe Mrs. Higley and Gus could answer him: ("Well, maybe they can answer that")

After The Sinking of an Allied Passenger Ship - One of the German U-Boat Bodies

The First Lifeboat Occupant: "Connie" Porter

Joe's Recitation of 23rd Psalm

Hitchcock's Cameo in Weight-Loss Ad

Gangrene Infected Leg Amputation Sequence - Shielding the Flame

Angry Group against German Kapitan Willi

100's of the GREATEST SCENES AND MOMENTS
(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
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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