Greatest Film Scenes
and Moments



M5

 





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

Mogambo (1953)

In director John Ford's Technicolored remake romance/adventure film (twenty-one years after Red Dust (1932) upon which it was based) shot mostly on location in Africa:

  • the love triangle of characters: African animal trapper and safari leader Victor Marswell (Clark Gable), stranded, provocative wisecracking good-time-girl Eloise "Honey Bear" Kelly (Best Actress-nominated Ava Gardner), and the cool and prim but lustful wife of a British anthropologist Donald (Donald Sinden), Mrs. Linda Nordley (Best Supporting Actress-nominated Grace Kelly)
  • the scene of an angered Marswell's first encounter with "Honey Bear" (Eloise Kelly) taking an outdoor shower at his home, after noticing her luggage and clothing strewn about, and her sassy frustration at being left stranded by an Indian Maharajah a week earlier, who didn't even leave her "a return ticket": ("Ooh, of all the rotten, subversive tricks. Flying all the way, thousands of miles to this lousy place. Arriving here hot and tired as a Sixth Avenue mink. And that water's even hotter, and that soap gives out about as much lather as blue cheese....Well, I wouldn't be so proud of it....Look buster, don't you get over-stimulated with me! I'm the little gal that flew all the way from New York to this lousy place, this Dark Continent. Only I expected to find a man with a flashlight...Can't you get me a canoe or a truck, or a pair of rollerskates, anything to get out of here?...You mean there's no way to get out?...This will be the gayest week of the season!")
  • the multiple kissing scenes between Victor and the married Linda Nordley - before a waterfall and during a dusk walk, when she admitted to him: ("You realize, don't you, that just from the way I can't stop myself looking at you, that everybody knows?"); he replied: ("Everybody but Donald...I know, I feel it myself. But he has to be told, that's all"); she worried: ("I don't know how to tell him"); he proposed a solution: ("You stay in camp tomorrow. I'm going up the hill. Do you understand?")
  • and the kissing scene between Victor and "Honey Bear" Kelly during a moonlit night, when she was conversing with him on the porch: ("The river looks awfully pretty in the moonlight, doesn't it? (Victor impulsively grabbed and kissed her.) Now wait a minute, Marswell. You're turning into the original African hotrod....You can be nice and sweet when you want to, can't you?...I'm warning you. I'm searching. I'm looking, really I am"); he vowed to cooperate: ("I'll look with you - for a little while")
  • the final scene in which Mrs. Nordley was enraged when she found Eloise in the arms of a drunken Marswell (who was purposely trying to sabotage their forbidden affair) - thereby ending their relationship when Linda wounded him with a gunshot
  • the ending when Victor proposed to "Honey Bear" Kelly as she was ready to depart, but she rebuffed him: (Honey: "You mean you're gonna make an honest woman out of me?", Victor: "It suits me, Kelly." Kelly: "It suits you!? Listen buster, you and your quick-change acts aren't gonna hang orange blossoms all over me because you feel the cold weather comin' on. No thank you. I'll go back where I can be honest without gettin' kicked around for it. I'll see ya!"); after Marswell yelled out to skipper John "Brownie" Brown-Pryce (Philip Stainton): ("Take good care of her...I said, take good care of her!"), she looked back, decided to leave her departing canoe, jumped in the water, and enjoyed a closing embrace with Marswell on the river's edge
"Honey Bear's" Decision To Stay With Marswell

"Honey Bear" Showering


Illicit Love Affair Between Victor Marswell and Mrs. Nordley

Also Kissing "Honey Bear"



"Honey Bear" In the Arms of Drunken Marswell

Mommie Dearest (1981)

In Frank Perry's camp classic biopic based on daughter Christina's scandalous memoirs of parental abuse:

  • the long title sequence with the final revelation of a full-closeup view of the face of movie-star Joan Crawford (Faye Dunaway) after her early morning, body-scrubbing, facial-cleansing ritual of plunging her face into ice-cubes (that were doused with rubbing alcohol), dressing, being chauffeured to MGM studios, and having her make-up applied (in extreme close-up), before a knock on her door: (Joan: "Yes?" Stage-hand: "We're ready for you, Miss Crawford")
  • the over-meticulous, critical and obsessively-clean Crawford's angry scene with her new housemaid Helga (Alice Nunn) and Carol Ann (Rutanya Alda) for not moving a large tree plant vase when polishing the tile floor of her home: ("If you can't do something right, don't do it at all...Give me the soap. You see, Carol Ann, you have to stay on top of things every single minute") - and then her statement to Helga: ("Helga, I'm not mad at you, I'm mad at the dirt!")
  • her over-the-top performances in various scenes in which she attacked her adopted daughter Christina (Mara Hobel as child); i.e., slapping her daughter for allegedly lying, and then saying: ("You love it, don't you? You love to make me hit you!"); or the scene of Joan's response when Christina repeatedly demanded to know why she was adopted: ("Because I wanted a child. Because I wanted someone to love...Maybe I did it for a little extra publicity")
  • the pool scene when Joan raced her young daughter Christina (with a headstart), won the contest, and then gloated: ("You lost again!"), and when Christina complained: ("It's not fair! You're bigger than I am. It's not fair to win twice!"), Joan retorted: ("Ah, but nobody ever said life was fair, Tina. I'm bigger and I'm faster. I will always beat you"); and then after a resistant Christina was ordered to her room when she vowed never to play with her enraged mother again, she was locked up in the pool house
  • the scene of Joan's over-reaction to young Christina, after seeing her play-acting by imitating her in a multi-part mirror in her bedroom - and hysterically chopping off Christina's blonde hair with scissors to humiliate her: ("What do you mean, playing? Going through my things? Making fun of me?...Look at yourself! Gimme that!...What have you done? What have you put on your hair? What have you done to this damn hair?...I know you look awful. You be quiet! You're always rummaging through my drawers, trying to find a way to make people look at you. Why are you always looking at yourself in the mirror? Why are you doing that? Tell me! You sit still now! This ought to teach you!...You're vain, spoiled...I'd rather you go bald to school than looking like a tramp!...You spoiled it just like I spoiled you")
  • the crazed rose-pruning scene when Joan - after being fired from MGM by Louis Mayer - demanded that her children join her to trim the roses in the garden - and her axe-wielding/evening-gowned hacking rampage in her prized rose garden: ("Eighteen years in the business! And we parted friends! Creative differences! Good, I want some help here. I want all of these branches cleared out of here now. Carol Ann and Christopher, start clearing away all these branches. Start gathering them up. Go and get the wheelbarrow and the rake. Tina! Bring me the axe!")
  • the celebrated, late-night scene of Joan (with her face smeared in cold cream) entering her daughter's closet and abusively screaming - a violent rant - when she saw a dress hanging there on a cheap wire hanger, and began clearing out the closet by tossing everything onto the floor: ("No - wire - hangers. What's wire hangers doing in this closet when I told you - NO WIRE HANGERS EVER! I work and work 'til I'm half-dead, and I hear people saying 'She's getting old.' And what do I get? A daughter who cares as much about the beautiful dresses I give her as she cares about me. What's wire hangers doing in this closet? ANSWER ME! I buy you beautiful dresses, and you treat them like they were some dish-rag. You do! $300 dollar dress on a wire hanger! We'll see how many you've got hidden in here. We'll see. Get out of that bed. All of this is coming out. Out! Out! Out. Out. Out. You've got any more? We're gonna see how many wire hangers you've got in your closet. Wire hangers! Why? Why? Christina, get out of that bed. Get out of that bed. You live in the most beautiful house in Brentwood (She picked up a hanger and began to beat Christina) and you don't care if your clothes are stretched back from wire hangers. And your room looks like a two-dollar-a-week priced room in some two-bit backstreet town in Oklahoma. Get up. Get up. Clean up this mess")
NO WIRE HANGERS EVER!
  • the bathroom cleaning scene, when Joan threw a can of powdered cleanser at Christina while they were both on their knees scrubbing the already-clean bathroom tile floor
  • the confrontational scene that led to Joan violently choking her daughter Christina who claimed she wasn't another one of her mother's fans: (Joan: "I don't ask much from you, girl. Why can't you give me the respect that I'm entitled to? Why can't you treat me in the way I would be treated by any stranger on the street?" Christina: "Because I am not one of your fans! Mommie! You never loved me! Mommie! Mommie!" Joan: "You've hated me! You never loved me! Never! You've always taken and taken. You never wanted to be my child! You've always hated everything! Everything! Everything! Get out!")
  • the scene of Joan's notorious face-down with the all-male Pepsi-Cola board in the boardroom, after her husband Alfred Steele (Harry Goz), Pepsi's CEO, died when she was "retired" from the Pepsi board of directors, and threatened to hurt the company's sales if they didn't retain her: ("You think you're very clever, don't you? Trying to sweep the poor little widow under the carpet. Well, think again. I'm on the board of directors of this lousy company...Al and I helped build Pepsi to what it is today. I intend to stay with it....You drove Al to his grave, and now you're trying to stab me in the back. Forget it! I fought worse monsters than you for years in Hollywood. I know how to win the hard way!...You don't know what hard feelings are until I come out publicly against your product. You'll see how much you sell.... Don't f--k with me, fellas! This ain't my first time at the rodeo. You forget the press I delivered to Pepsi was my power. I can use it any way I want. It's a sword, cuts both ways"); abruptly, the members of the board acquiesed: ("The board has failed to realize the extent of your interest in the company. We misjudged. We shall be pleased to have you stay on")
  • the scene of Joan Crawford dazedly and drunkenly replacing her ailing daughter (hospitalized for an ovarian tumor) in the cast of an NYC daytime TV soap opera
  • the final scene in which adult-aged Christina (Diana Scarwid as adult) listened as a lawyer read that she and her brother were deliberately disinherited - left out of her mother's will after her death in 1977: ("It is my intention to make no provision herein for my son, Christopher and my daughter Christina, for reasons which are well known to them"); when Christopher (Xander Berkeley as adult) commented: ("What reasons?...As usual, she has the last word"), Christina (with a tear on her left cheek) vengefully implied that she would have the "last word" by writing a tell-all memoir-expose: ("Does she?")

Title Sequence: Joan Crawford During Make-Up

Anger at the Housemaid: "You have to Move the Tree...I'm Mad at the Dirt"

Slapping Christina

The Pool Scene: "I Will Always Beat You"

Chopping Off Christina's Hair

The Crazed Rose-Pruning Scene

"Why can't you give me the respect that I'm entitled to?"

Choking Her Daughter

In the Pepsi-Cola Boardroom

Christina Listening to Disinheritance After Her Mother's Death

Monkey Business (1931)

In the Marx Brothers' third film - and their first film made in Hollywood (and their first film from an original screenplay):

  • the classic opening scene of the four stowaway brothers (as Themselves) singing "Sweet Adeline" in barrels located in the forward hatch of an Atlantic-crossing ocean liner - and labeled Kippered Herring ("This is the only way to travel, boys. The only way"), but a crew member had earlier reported: ("Sorry to have to report there are four stowaways in the forward hatch....They were singing Sweet Adeline")
  • the scene of Groucho's impersonation of the ship's Captain Corcoran (Ben Taggart), and phoning for lunch (and dinner): ("Hello. Send up the captain's lunch... Send up his dinner, too. Who am I? I'm the captain. You want to choose up sides? Oh, engineer, will you tell them to stop the boat from rocking? I'm gonna have lunch") because he hadn't eaten in three days (although they had only been on the boat for two days): ("I didn't eat yesterday. I didn't eat today, and I won't eat tomorrow. That makes three days")
  • Harpo's pretense of being a puppet and delighting an audience of children during a Punch and Judy show
  • the very funny barbershop scene when Chico and Harpo impersonated the barber and shaved off ('snoop off') the entire long handlebar mustache of one of the ocean liner's crew members, who requested: "Give me a once-over": (Chico: "We take care of you, all right. We take the tonsils last. I think we work on the mustache first. Give him a little snoop. This side's too long. Give him a little snoop this side. Now this side is too short. It's too short. The other side is too long. Snoop him up. That's better, but the side that was too short now is too long and the side that was too long is too short. I think you got to give him one more snoop. I think we better measure. It's about a foot too much. No, the measure's a foot too much. Now it looks much better. It can stand one more snoop in the middle, I think. In the middle, one snoop. That's fine. That's very good. I think it's a little bit rough right here. I fix that....One more snoop. That's beautiful, eh? That's what you call a work of art. Hey, you know, I think you give him one snoop too much")
Barbershop Scene
  • the most famous scene after the ocean liner docked in New York City - of all the Marx Brothers unconvincingly impersonating (dressing with a straw-hat) and using the stolen passport (by Zeppo) of well-known French actor/singer Maurice Chevalier when leaving the luxury ship and trying to evade customs, while a Victrola played Chevalier's hit You Brought a New Kind of Love to Me
  • Groucho's tango with bootlegging gangster "Alky" Briggs' (Harry Woods) wife Lucille Briggs (Thelma Todd) (on board the ship in her stateroom) when he offered to polish her frame and oil her joints: ("Well, we can clean and tighten your brakes, polish your frame and oil your joints, but you'll have to stay in the garage all night")
  • and later, his attempted flirtatious romancing of her: ("Oh, I've dreamed of a night like this, I tell you. Now, you tell me about some of your dreams....Oh, why can't we break away from all this, just you and I, and lodge with my fleas in the hills? I mean, flee to my lodge in the hills"); when she replied: "Oh, no, I couldn't think of it," he tried to persuade her further: ("Don't be afraid. You can join this lodge for a few pennies. And you won't even have to take a physical examination - unless you insist on one"); he was encouraged when she told him that she didn't trust her husband: ("What a swell home life I've got. Why, I think I'd almost marry you to spite that double-crossing crook"); the scene was topped by Groucho's offer: ("Mrs. Briggs. I've known and respected your husband Alky for many years, and what's good enough for him is good enough for me")

Four Stowaway Brothers

Groucho Impersonating the Ship's Captain

Harpo in Puppet Show

Impersonating Maurice Chevalier

Groucho's Tango with Lucille

Further Romantic Flirtations with Lucille

Monsieur Verdoux (1947)

In Charlie Chaplin's outrageous black comedy (subtitled "A Comedy of Murder" and "The Story of a Modern French Bluebeard"), there was a complete revision of the Tramp role with Chaplin portraying a bigamist serial wife killer, whose preferred modus operandi was to marry middle-aged wealthy women, murder them, and appropriate their money:

  • the film's opening voice-over when straight-laced Parisian, unemployed bank clerk-teller Henri Verdoux (Charlie Chaplin), a dapper gentleman, explained why he had to resort to marrying and murdering wealthy widows, after the depression hit in 1930: "It was then that I became occupied in liquidating members of the opposite sex. This I did as a strictly business enterprise, to support a home and family"; the camera slowly panned over his tomb marker and accompanying tombstones
  • his family that he had to support consisted of invalid, wheelchair-bound crippled wife Mona (Mady Correll) and young son Peter (Allison Roddan); Verdoux used several aliases (e.g., Varnay, Bonheur, and Floray, etc.) in order to marry almost a dozen women simultaneously
  • the scene in which Verdoux was about to poison a young Girl (Marilyn Nash) with a glass of poisoned red wine after taking her in and feeding her a meal of toast and scrambled eggs - she spoke of her previous love of a man who died in the war: "Life is wonderful....Everything, a spring morning, a summer's night, music, art, love..There is such a thing...I was in love once...Giving, sacrificing. The same way a mother feels for her child"; she explained how she was married to a man who had been wounded in the war and became a hopeless invalid: "That's why I loved him. He needed me, depended on me. He was like a child. But he was more than a child to me. He was a religion. My very breath. I'd have killed for him. No, love is something very real and deep. I know that"; as a result, Verdoux decided to spare her life by replacing her wine glass with the poison in it before she had taken a sip
Poisoning Scene with Young Girl
  • the comedic highlight of the film - one of the would-be victims, widowed Annabella Bonheur (Martha Raye) kept winning lotteries and also proved challenging to eliminate, including the scene of Verdoux's attempt to murder her in a rowboat while she was fishing; when her back was turned, he picked up a rope noose to strangle her - but then she turned back and caught him in the act; he sheepishly concealed his deadly intentions by crossing his legs, linking his hands over his knee, swaying back and forth, and widely grinning; and then when he tried to chloroform her with a handkerchief, she jostled the boat and dislodged him from his seat
  • Henri Verdoux's courtroom speech - a response to the Judge and Prosecutor after being convicted and found guilty in a trial - he explained how society was hypocritical; he argued that world wars, dictators, and mass genocidal killings were sanctioned by society and other countries, but his own crime of killing only a few out of necessity (in order to survive) brought about a sentence of death by guillotine: "However remiss the prosecutor has been in complimenting me, he at least admits that I have brains. Thank you, Monsieur, I have. And for thirty-five years I used them honestly. After that, nobody wanted them. So I was forced to go into business for myself. As for being a mass killer, does not the world encourage it? Is it not building weapons of destruction for the sole purpose of mass killing? Has it not blown unsuspecting women and little children to pieces? And done it very scientifically? As a mass killer, I am an amateur by comparison. However, I do not wish to lose my temper, because very shortly, I shall lose my head. Nevertheless, upon leaving this spark of earthly existence, I have this to say: I shall see you all... very soon... very soon"
  • Verdoux's final resigned words with a priest who blessed him: "May the Lord have mercy on your soul", and Verdoux's response: "Why not? After all, it belongs to him"

Henri Verdoux's Tomb-Marker



Attempted Murder of Widow in a Rowboat


Verdoux's Courtroom Speech

With Priest Before Execution: "Why not? After all, it belongs to him"

Monster's Ball (2001)

In Marc Forster's compelling drama (the title referred to the party held by executioners for a condemned man on the night before his death), and Oscar-winning film about an unlikely, racially-charged romantic pairing:

  • the characterization of the racist state of Georgia family of Grotowskis: widowed, hard-drinking, emotionally-drained Georgia prison (death-row) guard Hank Grotowski (Billy Bob Thornton), Hank's corrections-officer son Sonny (Heath Ledger), and Hank's emphysema-stricken father Buck (Peter Boyle) whose wife had committed suicide
  • Hank often had sex with prostitutes (Vera (Amber Rules) in an early scene, favoring his accustomed position from behind
  • the lunch scene in which Buck expressed his bigoted attitudes to Hank when he saw two young African-American boys walking up to the house to speak to Sonny: ("What the hell those niggers doin' out there?...Damn porch monkeys. Be movin' in here soon. Sittin' next to me. Watchin' my TV. There was a time when they knew their place. Wasn't none of this mixin' goin' on. Your mother, she hated them niggers, too"); Hank went outside, confronted Sonny with the boys, and scared them off with two shotgun blasts into the air ("Tell them to get the hell off my property...I don't give a damn who you come by to see. Get 'em outta here right now")
  • the devastating goodbye scene between African-American waitress Leticia Musgrove (Oscar-winning Halle Berry), her about-to-be-executed (by electric chair) husband, Lawrence Musgrove (Sean Combs) (who had been on death row for 11 years), and their obese-overweight son Tyrell (Coronji Calhoun); and their small talk about her broken-down car and the loss of the house due to her inability to make the payments
Goodbye Scene Before Lawrence Musgrove's Execution
Leticia Musgrove
(Halle Berry)
Tyrell
(Coronji Calhoun)
  • the pre-execution sequence when Lawrence - awaiting his execution in his cell, drew portrait sketches of both Sonny and Hank - and he told them: "I've always believed that a portrait captures a person far better than a photograph. It truly takes a human bein' to really see a human bein'"
  • the displaced anger scene when abusive mother Leticia berated her son for being so fat, as she forced him to get on a scale - his weight was 189: ("What the hell is this, Tyrell? What'd I tell you about eating this s--t? Didn't I tell you don't be eating that s--t? Look at this! Look at all this fat! This fat, fat ass! Look at all this nasty fat! Where they at? Look at all this candy. You ain't gonna eat all this candy! You crazy? Look at this room. It's a mess. Why is it a mess, Tyrell? 'Cause a fat little piggy lives in this room! Get your ass on this scale. Get on the scale! What does it say? What's it say?...189. You ain't lost no weight!")
  • the sequence after the death row execution of Lawrence Musgrove, when Hank viciously attacked his son Sonny in the prison's bathroom for vomiting during the prisoner's last walk, for ruining everything, and for being a "pussy": ("Are you listenin' to me? Do you know what you did? Do you know what you did? You f--ked him up! You f--ked up that man's last walk! How would you like it if somebody f--ked up your last walk? You're like a goddamn woman. You're like your f--kin' mother! You shouldn't have done that, you son of a bitch! Get up, you f--kin' pussy! Come here! You are a piece of f--kin' s--t! Do you understand me?")
  • the scene of the sudden suicide of Hank's son Sonny, who brandished a gun and asked his hateful father in the living room: ("You lousy piece of s--t. Get up....See? How do you like that, huh? Huh? Come on! Are you a tough guy now? Are you tough? Say somethin'. Say somethin'! Get up. You hate me? Answer me. You hate me, don't you?"); Hank replied: ("Yeah, I hate you. I always did"), causing Sonny to lethally shoot himself directly in the chest with a gun after telling his father: ("Well, I always loved you")
  • the image of Hank's Department of Corrections uniform burning up in a backyard fire - after Hank resigned his job, and his admission to his Pop: ("I quit the team...I can't do it anymore"), although his father was disappointed and disapproved: ("That was a mistake...You're remindin' me of your mother....Your mother wasn't s--t. That woman failed me. I got more pussy after she killed herself than I did when she was livin' as my wife. The point is, she quit on me. You're doin' the same")
  • Hank's beginning of a relationship with the emotionally-devastated widow and now single-mom Leticia, after helping her on a very rainy night to drive her injured son to the hospital following a hit-and-run accident when the two were walking down the highway - and Leticia's intense hurt and pain (and banging on the glass: "That's my baby!") upon learning that her son died due to his injuries
  • the scene of Hank and Letitcia talking about her efforts to be a good mother to her very ravenous and fat deceased son, and then her raw, intensely sexual, animalistic and volatile request when she begged to have sex with him: ("I was a good mother. I was a really good mom. I didn't want him to be fat like that. I did not want my baby to be fat like that, 'cause I know, a black man in America, you can't be like that, and I tried to... I was just trying to tell him you can't be like that. You can't be like that in America and a black man. I was just... I'm not sure... I'm not sure what you want me to do. I want... You know what I want. I want you to make me feel better....Just make me feel good. I just want you to make me feel good. Can you make me feel good?...Just make me feel good...I want- I want to feel good. I want to feel. Fill me up. Fill me up. Fill me up. Oh, my God. Fill me. Fill me"
The "Make...Me...Feel...Good" Scene with Leticia
  • the racist insult scene, when Hank's father Buck told Leticia (who had brought a gift for Hank) that the only reason Hank was interested in her was for sex: ("Damn! Hank must've done somethin' right to deserve a fine hat like this....In my prime, I had a thing for nigger juice myself. Hank just like his daddy. He ain't a man till he split dark oak")
  • although broken apart by Buck's comment, the subsequent love scene after Hank and Leticia reconnected when he offered her oral sex ("Can I touch you?") after receiving permission
  • the final reconciliation scene between Hank and Leticia sitting on the front porch eating ice cream together; after offering her a bite of chocolate ice cream to eat, he assured her: "I think we're gonna be alright"
Hank's Racist Insults at Leticia ("Hank Just Like His Daddy...")
Oral Sex ("Can I Touch You?")
Ending: Eating Ice Cream Together

Hank with Prostitute
Vera (Amber Rules)


Hank's Racist Father Buck (Peter Boyle)

Hank Ordering Two Boys Off Property

"Lawrence Musgrove Dies Tonight"

Musgrove Sketching Sonny and Hank's Portraits

Leticia Berating Overweight Son

Musgrove's Electric Chair Execution

Hank's Attack on Sonny in Prison Bathroom For Wrecking Execution

Hank's Son Sonny (Heath Ledger) Taking His Own Life: "I Always Loved You"

Hank's Burning of His Prison Uniform: "I Quit the Team"

Leticia's Grief: "That's my baby!"

Hank's Start of a Relationship with Leticia

Monsters, Inc. (2001)

In Pixar's-Disney's (their fourth collaboration) CGI animated comedy, an imaginative tale about a Monster World's 'Scare Factory':

  • the intriguing plot premise for the film - the city of Monstropolis (the company Monsters, Inc. - powered by Scream Heat fueled by the collective screams of human children), where monster "Scarer" employees were hired to emerge from childrens' closet doors at night and scare the young tots - but they were themselves scared of children, thinking they were toxic
  • the two delightful characters who were both employed by Monsters, Inc - a major scream refinery in the Monster world: (1) a giant, furry blue monster James P. "Sulley" Sullivan (voice of John Goodman) and (2) his wise-cracking assistant - one-eyed, short-statured green cyclops Mike Wazowski (voice of Billy Crystal)
James P. "Sulley" Sullivan
Mike Wazowski
  • the restaurant named Harryhausen's (in tribute to the famed stop-motion animator of monsters)

"We Scare Because We Care"

Menu with Name

Restaurant Sign
  • the two evil characters: the company's CEO/chairman, Henry J. Waternoose (voice of James Coburn) - an arthropodic monster with a crab-like lower body, and his ally Randall Boggs, a scary, purple chameleon-like lizard monster with eight-legs
  • their evil plot was to eliminate "scarers" by using a Scream-Extractor Machine (to suck up oxygen from children) - Randall's intention was to kidnap and then strap captured 2 year-old human toddler Mary (Mary Gibbs), nicknamed "Boo" to the mechanism, but he mistakenly kidnapped Mike
Randall Demonstrating the Scream-Extractor Machine
on Mike Wazowski
  • the amazing sequence of the wild roller-coaster chase involving hundreds of closet doors on an endless conveyor line, when Randall pursued both Mike and "Sulley" (who were attempting to save her), to try to recapture Mary
  • the sad goodbye scene when Mike and Sulley had to say goodbye to Mary/"Boo" when she was permanently returned to the human world through her bedroom closet door (and the door was shredded)
Mike Saying Goodbye to "Boo"
Sulley Saying Goodbye to "Boo"
Splinter Remnant of "Boo's" Shredded Door Kept by Sulley
  • after Mike's rebuilding and reactivation of the door to Mary's bedroom by assembling the numerous pieces of her shredded door (and a key piece had been kept by Sulley), the final poignant shot in which "Sulley" (now appointed as the CEO on Monsters, Inc.) peeked through Mary's bedroom door, entered and reacted joyfully to seeing her again

Henry J. Waternoose

Randall Boggs

Young Mary/"Boo"

Sulley Scared of Mary/"Boo"

Wild Chase Involving Closet Doors on Conveyor Line - Mike and Sulley Protect "Boo"

"Boo" Saved



Ending: Sulley Slowly Entering into "Boo's" Reassembled Bedroom Door

Monty Python and the Holy Grail (1975, UK)

In the second irreverent Monty Python feature film - from co-directors Terry Gilliam and Terry Jones that skewered religion, medieval epics, the Middle Ages and the Arthurian legend, the witch trials and black plague, the quest for the Holy Grail in the 10th Century AD, Camelot and a host of other topics - in many favorite scenes:

  • the opening view of King Arthur (Graham Chapman) galloping over a hill - with an imaginary stallion (announced by the clopping sound of approaching hooves) - next to the King was his hunchbacked servant-lackey Patsy (Terry Gilliam) banging two coconut shells together to simulate the horses' hooves
King Arthur (Graham Chapman) with Patsy (Terry Gilliam)
  • the performance of the loopy, anarchic "Camelot Song (Knights of the Round Table)" that broke out after King Arthur spotted the castle Camelot in the distance to his Knights of the Round Table. (Patsy downplayed the sight: "It's only a model!" King Arthur: "Shh!") - the song featured high-kicking, helmeted knights in a chorus line; after the number was concluded, King Arthur memorably reconsidered and sighed: "Well, on second thought, let's not go to Camelot. It is a silly place"
  • the ridiculous argument with castle gatekeepers and guards about whether African or European swallows may have carried the coconuts to the more temperate Northern zone: ("It's a simple question of weight ratios. A five-ounce bird could not carry a one-pound coconut...In order to maintain air speed velocity, a swallow needs to beat its wings 43 times every second...It could be carried by an African swallow. An African swallow, maybe, but not a European swallow...But then, of course, African swallows are non-migratory. So they couldn't bring a coconut back anyway. Wait a minute. Supposing two swallows carried it together!")
  • the outrageous scene of the collection of corpses (for ninepence apiece) by the Dead Collector (Eric Idle) on his rounds through a muddy medieval village as he cried out: "Bring Out Your Dead!" and the argument with a Large Man (John Cleese) over a half-dead candidate: ("I'm not dead!...I don't want to go on the cart")
  • King Arthur's encounter with the Black Knight (John Cleese) who persistently insisted on combat even after all of his limbs had been hacked off and he had been reduced to a head and torso: ("It's just a flesh wound!...I'm invincible!... The Black Knight always triumphs!...I see. Running away, eh? You yellow bastards! Come back here and take what's coming to you! I'll bite your legs off!") - remarkably, the Black Knight didn't expire at the end of the scene, and the duel ended in a tie, even though the Black Knight was reduced to only a head and torso and asserted: "All right, we'll call it a draw."
Mutilation of The Black Knight
  • the scene of the prosecution of a suspected witch: (Question: "What makes you think she's a witch?" Answer: "She turned me into a newt!...I got better!"), who was weighed by Sir Bedevere the Wise (Terry Jones), and found to be guilty because she weighed the same as a duck: ("So logically, if she weighs the same as a duck, she's made of wood. And therefore? A witch!")
  • the French sentry's taunting and insulting words to King Arthur at a French-controlled castle: ("I fart in your general direction! Your mother was a hamster and your father smelt of elderberries")
  • the surprising scene of a modern-day documentarian/historian named Frank (John Young), commenting on the Arthurian legend, suddenly and viciously slashed to death across the neck with a sword by an un-named horseback-riding knight (the master of the Black Knight?), the main villain in the film; afterwards, the man's wife (Rita Davies) (from off-camera) rushed to her dead husband's side, crying out: "Frank!" It is possible this knight (not with Arthur) was framing Arthur and his Knights with murder.
  • the dreaded tree-shaped Knights Who Say 'Ni' in the forest, led by a helmeted towering knight (Michael Palin) with deer antlers sticking up from his head - who made strong demands of Arthur to appease them by giving them shrubbery before being allowed passage: ("One that looks nice... and not too expensive")
  • the scenes about the Fierce Killer Rabbit of Caerbannog (a guardian beast living in a cave that looked like a harmless white rabbit) that viciously attacked and beheaded a number of the Knights ("It's just a harmless little bunny, isn't it?"), and the ritualistic use of the Holy Hand Grenade of Antioch (a sacred relic) to blow up the Killer Rabbit
  • the guarded Bridge of Death crossing scene where a trollish, creepy soothsayer / bridgekeeper (Terry Gilliam) asked travelers five (or three) questions before they were allowed to pass over the Gorge of Eternal Peril
  • the plot-twisting conclusion, when a police car, a paddy wagon, and officers of the law pulled into the scene in front of King Arthur's large battle army, and Frank's wife (Rita Davies) exited the car and shouted out: "Yes, they're the ones, I'm sure" - the group of insane knights were arrested by the authorities for the murder of historian Frank; one of the police officers threatened the cameraman, and put his hand over the camera lens: ("All right, sonny, that's enough, just pack that in") - but after the cameraman swore: "Christ!", the film reel broke in the projector and derailed from the gate and the film abruptly ended
Frank's Wife: "Yes, they're the ones, I'm sure"
The Abrupt End of the Film


"Camelot Song"

Arguing with Castle Gatekeepers

Collection of Corpses: "Bring Out Your Dead"


Quest For the Holy Grail


Murder of Historian

The Knights Who Say 'Ni' - Not Allowing Passage

Killer Rabbit

Ritualistic Throwing of the Holy Hand Grenade at the Killer Rabbit

Questions at The Bridge of Death


Ending: Arrests of the Knights

Monty Python's Life of Brian (1979, UK)

In Terry Gilliam's controversial religious satire about a young Jewish boy named Brian mistaken for Jesus (the Messiah), with an animated title sequence featuring a James Bond-like musical number:

  • the scene in which Three unwise Kings, astrologers from the East, erroneously visited infant Brian Cohen's (Graham Chapman) stable manger thinking he was the future King of the Jews - bringing gifts to an ungrateful Virgin Mandy (Terry Jones): ("Well, what are you doing creeping around a cow shed at two o'clock in the morning? That doesn't sound very wise to me....Is this some kind of joke?...Homage? You're all drunk. It's disgusting. Out! The lot, out!...Go and praise someone else's brat! Go on!"), and Mandy's change of heart when they mentioned their gifts; the discussion about what myrrh was: ("It is a valuable balm" - misunderstood as a 'bomb'), and after realizing their mistake, the three decided to grab back their presents of gold, frankincense, and myrrh
  • the famous scene in which listeners were too far away to hear the real Jesus clearly when he delivered his Sermon on the Mount, and thought they heard the words: ("Blessed are the cheesemakers" and "Blessed are the Greek...apparently he's going to inherit the Earth")
  • the hysterical "stoning" skit in which a group of women (disguised as men) anxiously awaited permission to stone a prisoner named Matthias: (Official: "You have been found guilty by the elders of the town of uttering the name of our Lord, and so, as a blasphemer, you are to be stoned to death") from an annoyed, weary Jewish Official (John Cleese) and ended up stoning the official himself when he accidentally said Jehovah: ("I'm warning you. If you say Jehovah once more...!"), even though he cautioned everyone: ("Now, look! No one is to stone anyone until I blow this whistle! Do you understand?! Even, and I want to make this absolutely clear, even if they do say 'Jehovah'") - and ended up being crushed by a massive boulder
The Stoning Scene (Literally) of a Jewish Official
  • the "PFJ" scene: ("Are you the Judean People's Front?!...We're the People's Front of Judea!")
  • the conjugation scene, when a Centurion (John Cleese) caught Brian painting "Romanes Eunt Domus" on a wall [Romans Go Home] - and Brian received a lesson in proper Latin grammar for the graffiti, and by sunrise, had written out the corrected phrase 100 times on the palace wall: "Romani Ite Domum" (known as "The Graffiti Scene")
  • the "What Have the Romans Done For Us?" scene, when disgruntled Reg (Cleese) asked his commando followers: ("And what have they ever given us in return?") - and received numerous suggestions: the aqueduct, sanitation, the roads, irrigation, medicine, education, wine, public baths, public order, the fresh water system, public health - and peace!
  • the "Biggus Dickus" scene, when lisping, effeminate Pontius Pilate (Michael Palin) was upset when he mentioned his friend Biggus Dickus (Chapman) and his guards began to snigger: ("I have a vewy good fwiend in Wome named 'Biggus Dickus'" and his taunt: "Anybody else feel like a little giggle when I mention my friend 'Biggus Dickus'? And what about you? Do you find it risible when I say the name 'Biggus Dickus'? He has a wife, you know. You know what she's called? She's called 'Incontinentia'. 'Incontinentia Buttocks'!"); then, he ordered: ("Shut up! What is all this? I've had enough of this wowdy webel sniggewing behavior. Silence! Call yourselves Pwaetowian guards? You're not -- Seize him! Seize him! Blow your noses and seize him!")
  • the scenes in which Brian was mistaken for a prophet, and the subsequent, insanely devoted worship of Brian as the Messiah (one group worshipped a gourd he used, while another a sandal he lost while being chased) and Brian's futile attempts to get rid of his followers
  • Brian fled from a crowd of crazed Messiah followers and jumped in a pit with Simon the Holy Man (Terry Jones), the hermit accidentally broke his vow of silence for 18 years when Brian landed on his foot; Brian repeatedly denied his Messiah-hood: ("Now, f--k off!"), when one of the men shouted back: ("How shall we f--k off, oh Lord?")
  • the two full-frontal nudity scenes: Brian's nude appearance when he opened his window after a night of love-making with feisty lover Judith Iscariot (Sue Jones-Davies) - and was rudely greeted by thousands of followers demanding to follow him; and Judith's vow to Brian's mother about how she would follow Brian - the Messiah, as Brian cowered behind her: ("Your son is a born leader. Those people out there are following him because they believe in him, Mrs. Cohen. They believe he can give them hope - hope of a new life, a new world, a better future!"); Brian's mother later warned: "Leave that Welsh tart alone!"
Brian with Welsh Tart Judith Iscariot
  • Brian's mother Mandy's assertions and protests against the crowds: "He's not the Messiah, he's a very naughty boy!" - and "There's no Messiah in here. There's a mess all right, but no Messiah"
  • the final crucifixion scene in which a despondent Brian was crucified next to others, and was encouraged by fellow sufferer Mr. Frisbee (Eric Idle) to be cheerful: ("Cheer up, Brian. You know what they say. Some things in life are bad. They can really make you mad. Other things just make you swear and curse. When you're chewing on life's gristle, don't grumble, give a whistle. And this'll help things turn out for the best. And..")
  • and then, Mr. Frisbee sang the upbeat song: "Always Look on the Bright Side of Life": ("Always look on the bright side of life. (whistling) Always look on the light side of life. (whistling) If life seems jolly rotten, There's something you've forgotten, And that's to laugh and smile and dance and sing. When you're feeling in the dumps, Don't be silly chumps. Just purse your lips and whistle. That's the thing. And, always look on the bright side of life")

Three Unwise Kings at The Wrong Stable Manger

The Sermon on the Mount: "Blessed are the Cheesemakers"


Lesson on Proper Latin Grammar

The "Biggus Dickus" Scene

Brian with Simon the Holy Man

Brian's Mother Mandy: "He's not the Messiah, he's a very naughty boy!"


Ending: Crucifixion Scene ("Always Look on the Bright Side of Life")

Monty Python's The Meaning of Life (1983, UK)

In director Terry Jones' irreverent musical comedy about the stages of life from the Monty Python comedy team:

  • the various skits about the 'meaning of life - and death,' including the fantastic short film The Crimson Permanent Assurance (1983) preceding the movie
  • the sequence in a fish aquarium of human-headed fish who exchanged pleasantries, commented upon one of their own kind being served in a restaurant, and wondered about life: (- "Hey, look. Howard's being eaten" - "Is he? Makes you think, doesn't it?" - "I mean, what's it all about?" - "Beats me")
  • the hospital birth scene when the doctors were fascinated with "the machine that goes ping" ("that means your baby is still alive") and basically neglected the patient Mrs. Moore (Valerie Whittington); the obstetrician (Graham Chapman) and Dr. Spencer (John Cleese) treated the newborn roughly in the Fetus Frightening Room ("Here it comes. And frighten it!"), used "rough towels" and then ordered: "Show it to the mother. That's enough...Sedate her. Number the child. Measure it, blood type it, and isolate it!"); when the mother simply asked: "Is it a boy or girl?", the obstetrician replied: ("Now, I think it's a little early to start imposing roles on it, don't you? Now, a word of advice. You may find that you suffer for some time a totally irrational feeling of depression: 'PND', as we doctors call it. So, it's lots of happy pills for you, and you can find out all about the birth when you get home. It's available on Betamax, VHS, and Super Eight")
  • the "Every Sperm is Sacred" musical song lyrics, a lavish production number sung in part by a pregnant Mum (Terry Jones) with her many children: ("Hindu, Taoist, Mormon, Spill theirs just anywhere; But God loves those who treat - their semen with more care; (chorus) Every sperm is sacred. Every sperm is great. If a sperm is wasted, God gets quite irate")
  • the sequence of Protestant Mr. Harry Blackitt (Graham Chapman), speaking to his wife (Eric Idle) - criticizing the neighboring poverty-stricken Catholics with too many children who didn't practice birth control: ("Look at them, bloody Catholics, filling the bloody world up with bloody people they can't afford to bloody feed...every time they have sexual intercourse, they have to have a baby"); his statement that Protestants could take precautions ("by wearing a rubber sheath over my old feller, I could insure that, when I came off, you would not be impregnated....That's what being a Protestant's all about. That's why it's the church for me...and, Protestantism doesn't stop at the simple condom! Oh, no! I can wear French Ticklers if I want...French Ticklers. Black Mambos. Crocodile Ribs. Sheaths that are designed not only to protect, but also to enhance the stimulation of sexual congress")
  • the scene of the class in which sex education and proper foreplay was taught by Prof. Humphrey Williams (John Cleese) to a bored class of students: ("Nibbling the earlobe, uhh, kneading the buttocks, and so on and so forth. So, we have all these possibilities before we stampede towards the clitoris, Watson"), and then to demonstrate, he introduced his wife Helen in front of the class and opened up a drop-down Murphy bed; after the two disrobed, they proceeded to make love: ("Now, all these forms of stimulation can now take place ... and, of course, tonguing will give you the best idea of how the juices are coming along. Helen! Now, penetration and coitus -- that is to say, intercourse up to, and including, orgasm...so, the man starts by entering -- or mounting -- his good lady wife in the standard way. Uh, the penis is now, as you will observe, more or less, fully erect...the man now starts making thrusting movements with his pelvic area, moving the penis up and down inside the vagina, so...while the wife maximizes her clitoral stimulation by the shaft of the penis by pushing forward")
  • the battlefield scene when Blackitt (Eric Idle) and fellow soldiers offered a goodbye present to ungrateful Capt. Biggs (Terry Jones) - he received two clocks and a watch by accident, a check, and a cake: ("There's love in that cake...It's too good a cake not to eat! Get the plates and knives"), as the men around him were shot down
  • the sequence of a General (Graham Chapman) pontificating about the need for an Army before being struck down by the hand of God, and Sgt. Major's (Michael Palin) question posed to his troops about the need to drill and march: ("Now, today, we're going to do marching up and down the square! That is, unless any of you got anything better to do. Well?! Anyone got anything they'd rather be doing than marchin' up and down the square?!") - and one by one, his troop members deserted him with their requests to be home with the wife and kids, reading a book, learning the piano, and going to the "pictures"
  • the strange interlude mid-way through the film - "Find the Fish" with three characters: a drag queen (Graham Chapman), a gangly long-armed man (Terry Jones), and an elephant-headed butler - ("Where can that fish be?...It is a most elusive fish...Oh, fishy, fishy, fishy, fish")
"Find the Fish"
  • the gory "Live Organ Transplants" sequence when two National Health doctors contractually claimed that they could remove a healthy liver from a still-living donor, and proceeded to operate on live patient - card-carrying organ donor Mr. Brown (Terry Gilliam)
  • the great "Galaxy Song" sung by Mr. Pink (Eric Idle), stressing the place of Man in the universe: ("So remember, when you're feeling very small and insecure / How amazingly unlikely is your birth / And pray that there's intelligent life somewhere up in space / 'Cause there's bugger all down here on Earth") while featuring an animated constellation of stars resembling a pregnant woman giving birth to represent the "expanding universe"
  • the controversial "Penis Song" in Part VI: The Autumn Years - performed with a piano by Noel Coward (Eric Idle) in front of restaurant diners: ("Isn't it awfully nice to have a penis? Isn't it frightfully good to have a dong? It's swell to have a stiffy. It's divine to own a dick, From the tiniest little tadger To the world's biggest prick. So, three cheers for your Willy or John Thomas. Hooray for your one-eyed trouser snake, Your piece of pork, your wife's best friend, Your Percy, or your cock. You can wrap it up in ribbons. You can slip it in your sock, But don't take it out in public, Or they will stick you in the dock, And you won't come back")
  • the oft-remembered scene in the fancy French restaurant of the gruesome, slovenly, massively overweight, constantly-vomiting (into a bucket) character of Mr. Creosote (Terry Jones), culminating in his explosion from overeating a rich, 700 course meal after he swallowed a thin mint offered by a determined maître d' (John Cleese): ("Finally, monsieur, a wafer thin mint...It's only a tiny little thin one...Just, just one. Bon appetit"); the customer's fat-coated, still-beating heart was revealed when other diners were showered with his insides and half-digested food after his stomach spectacularly burst; the maitre d' then happened to notice the undigested mint inside Creosote's bloody body cavity - he delicately plucked it out and popped it in his mouth
The Gorging and Explosion of Mr. Creosote
  • the scene in Part VII: Death, of Arthur Jarrett (Graham Chapman) as a criminal who was given the choice of "the manner of his own execution" - the governor explained Jarrett's crime - at his beachside grave: ("Arthur Charles Herbert Runcie MacAdam Jarrett, you have been convicted by twelve good persons and true of the crime of first degree making of gratuitous, sexist jokes in a moving picture"); Jarrett selected a mad dash-pursuit by a group of beautiful bare-chested women (with brightly colored crash helmets and kneepads matching their thong-bikini bottoms) who (with frequent panting) chased him off a cliff to his death; he plummeted into his own gravesite where a funeral ceremony for his death was already being held, and the priest intoned: "Ashes to ashes, dust to dust"
Mad Dash Over Cliff by
Bare-Breasted Females After Condemned Man Arthur Jarrett
  • the bizarre "Christmas in Heaven" segment ("It's Christmas every day in Heaven") with Santa Claus-dressed angels wearing plastic breasts in a Las Vegas-styled hotel, with look-alike lounge singer Tony Bennett (Graham Chapman) singing the lyrics: ("It's Christmas in Heaven. All the children sing. It's Christmas in Heaven. Hark. Hark. Those church bells ring. It's Christmas in Heaven. The snow falls from the sky, But it's nice and warm, and everyone Looks smart and wears a tie. It's Christmas in Heaven. There's great films on TV: 'The Sound of Music' twice an hour And 'Jaws' One, Two, and Three")
  • and "The End of the Film" in which a Queen Elizabeth-look-alike Lady Presenter (Michael Palin) spoke to the audience: ("...here are some completely gratuitous pictures of penises to annoy the censors and to hopefully spark some sort of controversy, which, it seems, is the only way, these days, to get the jaded, video-sated public off their f--king arses and back in the sodding cinema")

Human-Headed Fish in Aquarium Contemplating Life

Hospital 'Miracle of Birth' Scene While Neglecting Mother and Child

"Every Sperm is Sacred"

Protestants Bragging About Using Condoms

Sex Education Demonstration in Front of Class


Battlefield Goodbye Gifts

The Hand of God

Deserting the Sgt. Major and His Orders

"Live Organ Transplants"

"The Galaxy Song"

The Penis Song




"Christmas in Heaven" Musical Segment - Santa Claus Angels with Plastic Breasts

"The End of the Film"

Moonrise (1948)

In Frank Borzage's film-noirish crime melodrama set in the small Virginia town of Woodville:

  • the film's brilliant opening montage of wordless visual story-telling - the expressionistic march to the gallows and the public hanging of the accused Virginia killer, Jeb Hawkins - convicted of murder (for shooting and killing an incompetent doctor who had indirectly caused his wife to die by not making a house call but offering only a bottle of pills); the image was paired with the view of their crying baby in a crib - the man's child had the shadow of a dangling playdoll cast onto its blanket (a transposed duplicate of the hanging man); the montage conveyed the belief that "bad blood" was transmitted from one generation to the next
  • the montage continued with the sad and mistreated childhood of outcast Danny Hawkins (Johnny Calkins as 13 year old), who often fought on the school playground against his teasing, taunting and tormenting schoolmate Jerry Sykes (Michael Dill as 13 year old), who chanted with others their prejudiced view of Danny because of his father: "Danny Hawkins' dad was hanged!"
  • the sequence of an altercation outside a dance hall, where adult Danny Hawkins (Dane Clark as adult) argued with rich banker's son Jerry Sykes (Lloyd Bridges as adult), his lifelong tormentor, over their mutual love of warm-hearted schoolteacher Gilly Johnson (Gail Russell); unbeknownst to Danny, she was the fiancee of the teasing, arrogant, and bullying Sykes
  • near a swamp called Brother's Pond during their vicious fist-fight, Hawkins grabbed a rock that Sykes picked up and repeatedly smashed his skull with it - murdering him in self-defense; he would soon suffer the same fate as his father - pursued for a crime; he left an important clue behind - his pocket-knife dangling in a tree; an investigation followed with a frenzied manhunt for the killer
  • after the murder, Danny danced with Gilly (she asked: "What's come over you?...I'm a schoolteacher, I can't afford to fight with you in front of other people"), and then during a night drive with her from the dance, Danny experienced a near-fatal car crash when he had a vision of Sykes fighting with him
  • the scene within a ruined Southern mansion (Blackwater Mansion) where Hawkins surreptitiously met Gilly, and in the midst of a burgeoning love affair, Gilly imagined that they were attending a Civil War era ball in the house when she adopted an exaggerated Southern accent as the plantation's owner Mrs. Blackwater - they waltzed together and spoke of their mutual love before they kissed (Danny: "I've never seen you like this before, Gilly" Gilly: "I've never been like this before") - the film faded to black
  • the ferris wheel scene at the county fair when panicking Danny, fearing being caught while sharing the ride with the town's Sheriff Clem Otis (Allyn Joslyn), caused him to jump
Ferris Wheel Scene - Danny Jumped
Billy Unable to Fit Footprint into Cement
Danny's Near Strangulation of Billy
  • the scene of harmless, mentally-handicapped mute Billy Scripture (Harry Morgan) attempting to fit his feet into footprints made years earlier in wet cement on a sidewalk - and his profound realization that he could never return to what he once was; and Danny's near strangulation of Billy who had found his pocket-knife
  • Danny Hawkins' pivotal scene composed of reflections at the backwoods home of his wise grandmother (Ethel Barrymore) when she told him that his father's act of murder was uncharacteristic of him; Danny realized that he should control his fate and turn himself in for manslaughter - to free himself from guilt and his past and his feelings about having "bad blood"; he stood at his father's grave, reflected about his past, and spoke to him: "I ain't proud of what ya done, Pa. All the same, I didn't mean what I said last night. You did the best you could to even things up. That's what I'm doin' now. Maybe we'll both have some peace"
Danny's Realization of Manslaughter Guilt
Danny Visiting His Father's Grave
  • the final scenes of his peaceful surrender to the Sheriff, Gilly's reunion with him: ("It’s wonderful to see your face, Daniel. To really see it"); and the Sheriff's refusal to have Danny handcuffed: "Let him walk back like a man"

Silhouetted March to Gallows Hanging


Shadow of Playdoll Cast Onto Blanket

Danny's Accidental Murder of Sykes in Woods

Gilly With Danny Hawkins at Dance Hall

Vision of Sykes Through Danny's Windshield - Causing Car Crash


Danny Waltzing with Gilly in Mansion

The Moon is Blue (1953)

In Otto Preminger's daring, dated romantic sex comedy about seduction and chastity that was also condemned by the Catholic Legion of Decency - and was the first studio-produced film from Hollywood that was released without the seal, deliberately:

  • the film's philosophical theme - the prospect of remaining a virgin, in order to remain respectable, and the efforts of two aging playboys attempting to score in a love triangle with an attractive young virgin - the wholesome (or virtuous) and chatty 22 year-old heroine and struggling beer-commercial actress Patty O'Neill (Maggie McNamara in her film debut)
  • the two lotharios in the film were: successful 30 year-old architect and wolfish bachelor Donald Gresham (William Holden), and Donald's upstairs neighbor - 41 year-old divorced, martini-drinking, debauched yet charming playboy David Slater (David Niven) - the father of Cynthia Slater (Dawn Addams), Donald's ex-fiancee
  • the scene of Donald following after Patty to meet her up on the observation tower at the top of the Empire State Building, and then persuasively convincing her to follow him (after-hours) to his office in the building (to sew a button on his suit jacket); when she bragged that she was "really affectionate," he dared her ("Show me") - and then impulsively kissed her
  • soon after, they shared a taxi ride to dinner at the Stork Club - but his intentions were to first take her to his Madison Avenue apartment for drinks; he asked: "You won't mind coming up, will you?"; she warily responded: "I'm not so sure. Would you try to seduce me?"; when he vowed that he wouldn't ("I won't make a single pass at you. Do you believe me?"), but confessed that he might kiss her, she responded: "Kissing's fine. I have no objection to that"; she then added: "Look, let's face it. Going to a man's apartment almost always ends in one of two ways. Either the girl is willing to lose her virtue or she fights for it. Well, I don't want to lose mine, and I think it's vulgar to fight for it, so I always put my cards on the table. Don't you think that's sensible?"; they shook hands when she agreed with him on how to appropriately behave: "Affection but no passion. You could run for President on that"; when they arrived at his place, she gratefully claimed: "I'm so glad you don't mind...Oh, men are usually so bored with virgins. I'm so glad you're not"
Taxi-Cab Ride - "Would you try to Seduce Me?"
  • when the elevator doors opened in his apartment lobby, Donald's miffed ex-fiancee Cynthia Slater (Dawn Addams) was exiting - she was startled to see him escorting the younger woman upstairs; in his apartment, Don suspected that Cynthia had written "STINKER" in lipstick on his mirror after their recent break-up
  • Donald also noted that Patty was very inquisitive about his personal life, about Cynthia (and whether she was his mistress or not), and she also seemed very preoccupied with sex: (Donald: "Why are you so pre-occupied with sex?...You are always asking if people plan seduction or if they're bored with virgins or if they have a mistress"); she replied: "You may be right. But don't you think it's better for a girl to be preoccupied with sex than occupied?"
  • in the meantime, Donald's ex-fiancee Cynthia was fuming over recently being dumped by him (because he DIDN'T seduce her), and she had also called Patty a "professional virgin" (a female who flaunted her virginity to get something); competing with Don for Patty's affection, her father David spoke about maintaining one's virginity, stating to Patty: "Suspicion, my child, suspicion. The lurking doubt. Is she or isn't she? Does she or doesn't she? Will she or won't she? Suspicion, the most powerful aphrodisiac in the world"
David Slater to Patty:
"Is she or isn't she?"
Ending: Donald's Proposal at Top of Empire State Building
  • the no-strings-attached offering of $600 by David to Patty - a bet that she would have to wait 15 weeks before seeing another man; the bet was soon aborted, however, and eventually after all of the misunderstandings between the characters were cleared up, Donald truly fell in love with Patty and proposed (with an old-fashioned offer including the word 'love') - at the top of the Empire State Building where they first met

Virtuous Patty O'Neill (Maggie McNamara) Meeting and Flirting with Donald Gresham (William Holden) on Empire State Building Observation Deck

Impulsive Kiss with Donald in His Empire State Building Office

Cynthia Slater (Dawn Addams) - Donald's Ex-Fiancee

"STINKER"

In His Apartment - Patty: "But don't you think it's better for a girl to be pre-occupied with sex than occupied?"

Moonstruck (1987)

In Norman Jewison's quirky romantic comedy based on John Patrick Shanley's Oscar-winning screenplay:

  • the Brooklyn-Italian Castorini family, including repressed 37 year-old Italian widowed bookkeeper Loretta Castorini (Best Actress Oscar-winner Cher), her parents: a cheating father Cosmo (Best Supporting Actor nominee Vincent Gardenia) (with mistress Mona (Anita Gillette)) and philosophical mother Rose (Best Supporting Actress winner Olympia Dukakis), and her crusty Italian-speaking, dog-loving Grandfather (Fiodor Chaliapin)
  • the scene of widowed Loretta being formally asked for her hand in marriage by Momma's boy Johnny Cammareri (Danny Aiello), while having dinner together in the fancy Grand Ticino restaurant; she insisted that it be done right: "It's for luck. A man proposes marriage to a woman, he should kneel down...You propose marriage to a woman, you should offer her an engagement ring" - she allowed him to use his "pinky ring"
  • the revelation by Johnny that he hadn't spoken for five years to his younger brother (Loretta's future brother-in-law) - the never-married, one-handed bakery operator Ronny Cammareri (Nicolas Cage); Ronny blamed Johnny for indirectly causing the accident that maimed his hand; with the marriage planned for a month in the future (because Johnny had to visit his dying mother in Sicily), at the airport, Johnny requested that she invite Ronny to the wedding, telling her: "There was some bad blood"
  • the scene of Loretta informing her father Cosmo that she was engaged to be married and his response: "You did this once before. It didn't work out...Bad luck...Don't get married again. It don't work out for you" - because her husband was accidentally struck by a bus and killed; he cautioned her about marrying Johnny: "He's a big baby... I don't like his face. I don't like his lips. When he smiles, I can't see his teeth. What is he hiding?"; Loretta even admitted that she only like Johnny, but didn't love him
  • Loretta's first encounter with the sweaty and spiteful Ronny in front of the hot bakery ovens, when Ronny expressed how tortured he was that his brother was getting married: "I have no life. My brother Johnny took my life from me...And now he's gettin' married. He has his. He's getting his, and he wants me to come. What is life?...They say bread is life. And I- I bake bread, bread, bread. I sweat and shovel this stinkin' dough in and out of this hot hole in the wall, and I-I should be so happy, huh, sweetie? You want me to come to the wedding of my brother Johnny? Where's my wedding? Chrissy, over by the wall, bring me the big knife.... I'm gonna cut my throat!...I want you to watch me kill myself so you can tell my brother Johnny on his wedding day, okay? Chrissy! Bring me the big knife!"
  • the climax of their meeting when the tormented Ronny screamed: "I lost my hand, I lost my bride. Johnny has his hand! Johnny has his bride! You want me to take my heartbreak, put it away and forget? (pause) Is it just a matter of time before a man opens his eyes and gives up his one dream, his one dream of happiness?"
  • the scene of Ronny sharing a bottle of wine with recently-engaged Loretta; she offered unsolicited advice to him about his life: ("The big part of you has no words, and it's a wolf...And now, now you're afraid because you know the big part of you is a wolf that has the courage to bite off its own hand to save itself from the trap of the wrong love. That's why there's been no woman since that wrong woman. Okay? You're scared to death of what the wolf will do if you try and make that mistake again"); their conversation ended with accusations (Ronny: "A bride without a head!" Loretta: "A wolf without a foot!"), the toppling of the kitchen table, and a very passionate kiss between the two of them - he then carried her to his bed for more kisses and an overnight stay (and tryst)
  • the next morning - after - Ronny's proclamation and confession of love to Loretta - but her immediate reaction was that she regretted sleeping with him: she delivered two tremendous slaps across the face and screamed: "Snap out of it!"
  • after seeing La Boheme at the Metropolitan Opera with her, Ronny's declaration of his cynical views on love: ("We're not here to make things perfect. Snowflakes are perfect, stars are perfect. Not us! Not US! We are here to ruin ourselves and...and to break our hearts and love the wrong people and...and DIE") and his pleading to Loretta to come upstairs with him: ("Now I want you to come upstairs and...and GET in my bed...")
Ronny's Proposal to Loretta ("Will you marry me?")
Sealed With a Kiss
Confused and Stunned Family Onlookers
  • in the climactic breakfast proposal scene, Loretta's angry remark when Johnny returned to break off their engagement (due to his dying mother's recovery) and then reassured her: ("In time, you will see that this is the best thing") and her retort back that she agreed with him: ("The engagement is off... In time, you'll drop dead and I'll come to your funeral in a red dress!")
  • then, after Ronny immediately proposed to Loretta ("Will you marry me?"), she told her mother: "I love him awful" and Johnny uttered a stunned "WHAT?!"


Johnny's Formal Marriage Proposal to Loretta

Loretta's Father Concerned About Her Impending Marriage ("Bad luck")

Spiteful Ronny at the Bakery - Threatening to Kill Himself with a "Big Knife"

"I lost my hand. I lost my bride"

Shouting at Each Other

Passionate Kiss Between Loretta and Ronny

Loretta: "Snap out of it!"

Ronny: "Get in my bed!"

The More The Merrier (1943)

In George Stevens' pleasant romantic comedy about the post-WWII housing shortage in the nation's capital:

  • the early scene introducing prospective elderly tenant, retired millionaire Mr. Dingle's (Oscar-winning Charles Coburn), who was wandering around Washington DC with his suitcase, and saw a placard below a statue, reading "Damn the Torpedoes, Full Speed Ahead" - his oft-stated saying
  • the scene of him speaking to the throngs of other eager tenants and pretending he was the landlord that had already rented the apartment ("I'm sorry but the apartment is all rented"), and then he convinced the real landlord, young working bachelorette Connie (Jean Arthur) to rent him half of her apartment: ("Well, look at me, I'm neat, like a pin. Aw, let me stay...I'll tell ya what. We'll try it out for a week. End of the week comes, if you're not happy, we'll flip a coin to see who moves out")
  • the hilarious minute-by-minute morning schedule scene beginning at 7 am, which she presented to new roomer Dingle: ("Here's a copy of the morning schedule....Yes, it's a matter of efficiency. You just follow this and we won't have any trouble"); she showed him the floor plan - and then went through the detailed, systematic half-hour plan: ("Now, my alarm goes off at seven o'clock, and we both get up. And at seven one, I enter the bathroom. Then you go down to get the milk, and by seven five you've started the coffee. One minute later, I leave the bathroom, and a minute after that, you enter the bathroom. Now that's when I'm starting to dress. Three minutes later, I'm having my coffee, and a minute after that at seven twelve, you leave the bathroom. At seven thirteen, I put on my eggs, and I leave to finish dressing. Then you put on your shoes, and take off my eggs at seven sixteen. At seven seventeen, you start to shave. At seven eighteen, I eat my eggs, and at seven twenty-one, I'm in the bathroom fixing my hair, and at seven twenty-four, you're in the kitchen putting on your eggs. At seven twenty-five, you make your bed. Seven twenty-six, I make my bed. And then while you're eating your eggs, I take out the papers and cans. At seven twenty-nine, you're washing the dishes, and at seven thirty, we're all finished. You see? It's really very simple"); at the end of Connie's long schedule description, Dingle simply asked: "Do we do all this railroad time or Eastern war time?"
Connie's Description of Schedule with Apartment Floor Plan
  • Connie's double-take upon noticing another apartment roommate Sgt. Joe Carter (Joel McCrea) - a clean-cut young aviation expert who was living in half of Dingle's sub-let space for a few days before deployment; he was carrying an airplane propeller; when Connie and Joe confronted each other for the first time outside the bathroom, she asked: "Who are you? How did you get in here?"
  • the scenes of Mr. Dingle's attempts to play matchmaking Cupid to bring his fellow housemates together, rather than have Connie marry rich and stuffed-shirt bureaucrat-boss Mr. Charles J. Pendergast (Richard Gaines) (aka "Mr. Smug") for security's sake
  • the scene of Joe's offer of a parting gift ("peace offering") as he was about to move out and journey to Africa in a few days - "Just a sort of genuine top grade cowhide traveling bag with all the accessories" - and she was flabbergasted by his generosity and attentiveness, but said she had to refuse it because her fiancee Mr. Pendergast would object ("I couldn't take it"); Joe responded that it could be seen as a "wedding present - take it on your honeymoon" and then pleaded: "I want to give it to you. Will it kill you to do me a favor and keep it? All I'm asking is that you accept, as a gift, no strings attached, one genuine cowhide traveling bag?" - and then he popped a question: "Say, do you think we could go out together and have dinner tonight?" - but she was later reluctantly forced to go on her scheduled 8 pm date with her fiancee
  • the sexually-exciting apartment front steps kissing scene on a summer night between Connie and Joe, when he walked her home after her date with Mr. Pendergast; she kept up pretenses when she bragged about her upcoming marriage: ("I consider myself a very lucky little lady...being engaged to Mr. Pendergast"), even though Joe amorously embraced her, caressed her, and fondly touched her hands, arms, and shoulders; she vainly attempted to ignore his advances, and held out her engagement ring for his approval; he responded by kissing her wrist, causing her to become visibly distracted; her voice cracked when he admired and then nuzzled her bare neck. ("Well you see, that's the way with those older men like Mr. Pendergast. A girl gets to appreciate their more mature..."); Joe passionately kissed her on the lips - and when he released, she finished the sentence: "...viewpoint"; she paused, looked away for a second, and then took the two sides of his face with her hands and boldly kissed him back - harder, but then, she realized that they were getting too involved - she stood and politely stated: "I've gotta go. Good night, Mr. Carter." He responded: "Good night, Miss Milligan"
Front Step Kisses and Caresses Between Connie and Joe Carter
  • the subsequence scene of the couple's own version of the "Walls of Jericho" bedroom scene (from It Happened One Night (1934)) as they both laid in bed in their separate adjacent bedrooms (shot from outside in a frame split by the wall between them); they both discussed how uncomfortable and restless they were, when Joe finally admitted: "I love you, Connie" and she responded likewise: "I love you more than anything in the world" - and then he abruptly sat up and proposed: ("You asked me if I was afraid to get married. I'm not afraid... I mean, Will you marry me? I want to marry you, Connie") - and she immediately accepted: "Thank you, I'd love to" although they worried about being forced to separate ("And I'd be worrying about YOU, and you'll be worrying about ME")
  • Dingle, an aging Cupid, stage-managed the young couple's wedding, (although they supposedly planned to annul it soon after) - but things worked out when Joe and Connie noticed the wall between their two bedrooms had been removed by Dingle; they listened as Dingle repeatedly shouted out his favorite line from downstairs (the film's last lines): "Damn the torpedoes! Full speed ahead!" - and a new name was put on the apartment door: "Mr. and Mrs. Sgt. Carter"


Landlady Connie's "Room for Rent"

Mr. Dingle's Pretension of Being the Landlord to Other Prospective Renters

Connie with Mr. Dingle, Who Convinced Her to Rent to Him

Dingle Renting Half of His Half to Sgt. Joe Carter

Connie to Joe: "Who are you?"

Joe's Parting Gift to Connie - A Traveling Bag

Split-Screen Bedrooms Between Connie and Joe

Connie to Joe: "I love you more than anything in the world"

Dingle Stage-Managing Their Match-making Wedding

New Apartment Name Plate: Mr. and Mrs. Sgt. Carter

Morning Glory (1933)

In director Lowell Sherman's show-business-related drama:

  • the scene of small-town theatre actress in Vermont, and aspiring Broadway performer Eva Lovelace (Oscar-winning Katharine Hepburn, her first Oscar win) waiting in the lobby of a major Broadway casting office, where she met her competition - a more experienced actress Miss Gwendolyn Hall (Geneva Mitchell) swathed in a fur wrap, who complained about the number of auditioners: ("Evidently everyone else has heard it too. When I arrived here, it looked as though the entire Actor's Equity Association had been sent for"); when Eva was asked about her thin coat, she replied snidely: ("I like to feel cold. It makes me feel strong. I shouldn't like to go about swathed in furs unless they're sables. I don't like anything cheap, particularly furs")
  • the scene of Eva Lovelace introducing herself to kindly, paternalistic veteran stage actor Robert Harley Hedges (C. Aubrey Smith), and explaining her name to him with her chatterbox style: ("I hope you're going to tell me your name. I want you for my first friend in New York. Mine's Eva Lovelace. It's partly made up and partly real. It was Ada Love. Love's my family name. I added the 'lace.' Do you like it, or would you prefer something shorter? A shorter name would be more convenient on a sign. Still, 'Eva Lovelace in Camille,' for instance, or 'Eva Lovelace in Romeo and Juliet' sounds very distinguished, doesn't it? I don't want to use my family name, because I'll probably have several scandals while I live and I don't want to cause them any trouble until I'm famous when nobody will mind. That's why I must decide on something at once while there's still time, before I'm famous. Don't you think there's something very charming, something that just suits me about Eva Lovelace?")
Eva Chattering About Her Name with
Stage Actor Robert Hedges
Eva with Broadway Manager Lewis Easton
Eva with Playwright Joseph Sheridan
  • the scene of stagestruck and yearning Eva's first meeting with slimy, opportunistic, philandering Broadway manager Lewis Easton (Adolphe Menjou), to promote herself, show him a remarkable letter from George Bernard Shaw, and describe her ambitious dreams of becoming a Broadway theatrical star: ("I was in a lot of plays at the Franklin Theatre Guild - at the Little Theater...At Franklin, Vermont, where I lived until sometime ago. The Franklin papers, both of them, agreed that I had a future. I play all sorts of parts. Hedda, you know, lbsen's Hedda of course, the old woman in Riders to the Sea, the queen in The Queen's Enemies by Dunsany, and Kitty in Shaw's You Never Can Tell...Yes, the one and only...He's the greatest living dramatist...I know it. By the way, I had a charming letter from him the other day. I wrote him and sent him a photograph of a scene from the play and told him all about it - that I was coming to New York and expected to be very famous and have a theater of my own so I could play his Cleopatra until I was too old for it, when I'd do Mrs. Warren's Profession. Of course, I didn't know whether he'd ever answer my letter or not, but here's his letter. May I read it to you? It's never left me a moment since I received it. I even sleep with it under my pillow")
  • in the next sequence, earnest young playwright Joe Sheridan (Douglas Fairbanks, Jr.) overheard the conversation and took a look at the letter, remarking: ("Oh, this is marvelous. He says it's cheeky of them to have produced a play of his at all. He's sure it was a, uh, piratical performance. He's glad that Miss, uh, Miss Lovelace?...He's glad Miss Lovelace will see that he's properly recognized when she has her own repertoire theater and hopes she won't forget him"); the overly-dramatic Eva replied and vowed: ("Oh, I won't. I've sworn it. There will always be a Shaw play in my repertoire as long as I remain in the theater. Of course, I expect to die at my zenith. My star shall never set, I've sworn that, too. And when that moment comes, when I feel that I've done my best, my very best, I shall really die by my own hand some night at the end of the play on the stage")
  • the scene of Eva Lovelace's champagne-drunk attendance at a cocktail party held in the penthouse of Lewis Easton, where she almost sat in his lap and boasted and revealed way too much about herself: ("I shouldn't be surprised if I'm a great actress...I shouldn't be surprised. Either I'm a rotten actress or I'm a great actress. I'm not just a pretty good actress. Now, sometimes, I think I'm very, very, very bad. No good. Tonight, I think I'm wrong when I think that. Oh, I feel wonderful, Mr. Easton. Not afraid anymore....You see, I wasn't afraid, not for a long time. When I lost a part, I thought it was because I was a genius, and geniuses always have a hard time....Yes, the world never appreciates genius when it's young. Then I began to get afraid. 'Maybe I'm crazy,' I got to thinking. 'Maybe I'm not a genius.' And then I said, 'It's better not to think.' In this world where but to think is to be full of sorrow, it's better.. But tonight I'm not afraid to think though, because I'm almost thoroughly convinced that I'm a genius again")
  • after pretentiously complimenting and then bragging to Easton: "This is a wonderful party, Mr. Easton....Yes, Mr. Easton, I like your party...I'm the greatest young actress in the world. I'm gonna go on getting greater and greater and greater, you'll see...", Hedges cautioned Eva about making a fool of herself, but she decided to prove everyone wrong: ("You're talking to the greatest actress in the world and I'm gonna prove it to you. Now keep quiet, all of you. And you. You, just wait a minute. Just watch me") - and she performed a slurred-speech rendition of Hamlet's soliloquy in front of startled party guests: ("To be or not to be - that is the question....")
  • she then went on to perform a second show-offy excerpt from the Romeo and Juliet balcony scene, taking the part of love-struck Juliet: ("Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love and I'll no longer be a Capulet...") - there was subdued applause when she finished, and Hedges complimented her: "Stylishly beautiful! Impossibly beautiful!" Even Easton added: "Really charming!"
  • the scene fifteen minutes before the curtain debut opening on Broadway for The Golden Bough, when Easton's troubled and temperamental star Miss Rita Vernon (Mary Duncan) outrageously demanded: "I want my name in electric lights from tomorrow on. I want a run of the play contract to play the part in New York, on the road and in London. I want $1,500 a week and half the profits, and a cut in on the picture rights - Think it over!...I don't need Broadway!" - she asserted that if she didn't get her way, she wouldn't go onstage; Easton decided to let her go and replaced her with her understudy ("the little Lovelace girl") - Eva - even without a rehearsal!; Easton returned to tell Rita of his decision: "Since you've decided to act in this most unprofessional manner and to take advantage of me at a moment like this, l've decided to let you do exactly as you please"
  • after being told she would replace Rita, Eva was petrified of failing and claimed she was too tired to act to romantic interest Joseph Sheridan: ("Suppose I do go on tonight and I'm not wonderful? Then everything's gone. If I can't act, there's nothing left...And I don't think I can act"); but then she bolstered her self-confidence and affirmed: "Oh, it was silly the way I just talked. Listen, I'll give a performance tonight that will make you proud of me"
  • after her triumphant debut performance on Broadway in The Golden Bough, backstage, Eva's middle-aged wardrobe woman Nellie Navarre (Helen Ware) congratulated her: "Your performance, my dear, was inspirational. I've seen them come, and I've seen them go. This is your moment. May God bless you while it lasts"
  • the scene backstage after Eva's triumphant debut performance when she was praised, but also lectured and warned by Hedges about instant success going to her head - like a "morning glory" which bloomed beautifully, but then quickly withered and died: ("Every year, in every theater, some young person makes a hit. Sometimes it's a big hit, sometimes a little one. It's a distinct success, but how many of them keep their heads? How many of them work? Youth comes to the fore. Youth has its hour of glory. But too often, it's only a morning glory - a flower that fades before the sun is very high")
  • in the film's poignant closing, the aspiring Broadway star made a curtain-closing (last lines) defiant statement in her dressing room, as she hugged tearful Nellie Navarre (who had been described by Hedges as very much like Eva - an "overnight" star years earlier who was "the toast of the town and then faded out"); Eva vowed that she would not quickly blossom, wither and die like so many other performers, although she acknowledged that she felt quite lonely, without love and empty: ("Nellie, they've all been trying to frighten me. They've been trying to frighten me into being sensible, but they can't do it. Not now. Not yet. They've got to let me be as foolish as I want to be. I-I want to ride through the park. I want to, I want to have a white ermin coat. And I'll buy you a beautiful present. And Mr. Hedges! I'll buy Mr. Hedges a little house. And I'll have rooms full of white orchids. And they've got to tell me that I'm much more wonderful than anyone else, because Nellie, Nellie, I'm not afraid. I'm not afraid of being just a morning glory. I'm not afraid. I'm not afraid. I'm not afraid. Why should I be afraid? I'm not afraid") - the film quickly faded to black

Eva in the Lobby of a Casting Office


Eva's Drunken Attendance at Lewis Easton's Party: "I'm a genius again"

Eva: "This is a wonderful party, Mr. Easton"

Eva: "I'm the greatest young actress in the world"

Performing Hamlet's Soliloquy


Performing An Excerpt from Romeo and Juliet Balcony Scene


Miss Rita Vernon's Outrageous Demands Just Before the Curtain

Backstage - Eva's Trepidation About Performing as a Replacement for Rita: ("I don't think I can act")

After Eva's Debut Performance -

Nellie: "Your performance, my dear, was inspirational"

A Warning From Hedges ("But too often it's only a morning glory...")

Eva in Her Dressing Room Vowing to Her Wardrobe Woman Nellie: "I'm not afraid!"

Morocco (1930)

In Josef von Sternberg's melodramatic, exotic romance with a love triangle - his US debut film - adapted by Jules Furthman from the play "Amy Jolly" by Benno Vigny, about a love affair in the exotic French protectorate of Morocco in W. Africa:

  • the introduction of a sultry, independent-minded, world-weary ship passenger bound for Morocco, who was thought to be a vaudeville actress by the ship's deck officer - Mademoiselle Amy Jolly (Marlene Dietrich in her American film debut); the officer was asked about her identity: "Do you know who that woman is?" by interested wealthy painter Monsieur La Bessiere (Adolphe Menjou); the answer foreshadowed her character as doomed: "We carry them everyday. We call them suicide passengers. One way tickets. They never return"
  • the bewitching, headlining androgynous seductress-singer Amy Jolly - newly hired as a chanteuse in Lo Tinto's Moroccan cabaret during the Second Moroccan War in the 1920s (in the coastal town of Mogador, now known as Essaouira), who was first booed by the audience for appearing in a gender-challenging, tuxedo-clad, cigarette-smoking cabaret act; the bisexual chanteuse was encouraged to proceed by admiring, womanizing French Foreign Legionnaire Pvt. Tom Brown (a young Gary Cooper) clapping in the audience
  • the scene of Amy's singing of "Quand L'amour Est Mort" ("When Love Dies") with smoky, world-weary eroticism; after the song, she longingly looked at a young lady named Anna Dolores (Juliette Compton) in the audience, and she took a flower from her hair (after asking: "May I have this?"); she inhaled it suggestively, and then stole a kiss from the woman that was full on the mouth - one of the earliest (if not the first) female-to-female kisses on screen; the woman blushed behind her hand-held fan, as Amy tipped her hat; after wild applause, the bisexual chanteuse playfully tossed the flower away into the hands of Pvt. Brown, who had stood up to applaud her
  • in a slightly later second performance, the seductive Amy reappeared wearing a skimpy black dress and with a feathery boa draped over her shoulders and carrying a basket of apples; her second number was: "What Am I Bid for My Apple?": ("What am I bid for my apple? The fruit that made Adam so wise; On the historic night when he took a bite, he discovered a new paradise; An apple they say, keeps the doctor away, while his pretty young wife has the time of her life, with the butcher, the baker, the candlestick maker, Oh what am I bid for my apple?"); the first gesture of Tom was to put the flower behind his ear; she sold one of her expensive apples to Tom (after at first offering it for free: "You can have it for nothing, if you like" but he refused), and he briefly coaxed her to sit in his lap as he bit into the apple (filmed in closeup during his lusty third bite); she discreetly passed him her room key when she gave him change
2nd Stage Performance: "What Am I Bid For My Apple?"
Singing and Offering Apples for Sale
Briefly Sitting in Tom's Lap
Tom's Lusty Third Bite Into Purchased Apple
  • afterwards, during their later "hot" rendezvous after Tom let himself into her apartment, she appeared from behind a beaded bedroom curtain and asked: "Oh, who are you?"; they were both obviously bitter, "tired of life," and melancholy: (he warned that he couldn't help cure her feelings about men: "Not me. You've got the wrong man for that. Anybody who has faith in me is a sucker"); she demurely told him: "You'd better go now, I'm beginning to like you" - to which he responded: "I've told women about everything a man can say. I'm gonna tell you something I've never told a woman before: I wish I'd met you ten years ago"
Tom with Amy in Her Apartment
  • the love triangles that developed between Amy, Tom, Monsieur La Bessiere, and the Adjutant Caesar's (Ullrich Haupt) cheating wife Mme. Caesar (Eve Southern); La Bessiere offered an expensive bracelet and marriage to Amy ("I'd like to take you away from here...My offer is highly respectable: marriage") but she initially was put off and politely declined: "You're a strange man...I don't think I care to take advantage of your tempting offer" - La Bessiere suspected that she loved the Foreign Legion Private instead
  • when Amy heard of Pvt. Brown's departure in his company's detachment the next morning (through the Amalfa-Pass and into the Sahara), she kissed him and whispered in his ear: "Don't go!"; he speculated that he could desert the Legion and board a freighter for Europe to escape with her that evening; when he stated: "I would in a minute if you'd go with me" - she replied that she would join him; but a few moments later, he wrote on her dressing room mirror: "I changed my mind. Good luck!" (he believed she would be better off with a rich man such as Bessiere)
  • before the return of Tom's detachment from their desert mission, Amy was disconsolate and drinking heavily - but was inclined to accept Bessiere's insistent proposal to be engaged to marry; during her engagement dinner party, she learned about Tom's company's return, and expectantly rushed out from the party to greet Tom in the street; not finding him, she returned to the party and announced: "I must go to him. They left him at Amalfa...I'm going now" - believing that he had been injured
  • in the conclusion, Amy found out that Tom had actually faked an injury and was in a canteen at Amalfa; the heartbroken Tom had drawn a heart with Amy's name - carved with his knife into a wooden table; he admitted to one of the Moroccan woman that he loved Amy very much
  • the scene of Tom's challenge to Amy in the canteen where she found him - he asked if she wanted to be with him rather than marry La Bessiere: ("Aren't you gonna marry that rich friend of yours?"); when she said she would: ("Of course"), he asked again: "Are you sure?" and she affirmed: "I don't change my mind"; he then dismissed her: ("Well then, I wish you all the luck in the world, Mademoiselle") - although he invited her to see him off for his departure - " a thirsty march" with his column that was leaving at dawn: ("We leave at dawn. Come and see us off, will you?")
  • the concluding send-off scene the next morning, including Amy's decision to remove her high-heeled shoes and run after him (joining other ragged Moroccan women with heavily-laden donkeys) across the windblown desert sands to uncertainty and possible death
Amy Expectantly Awaiting Tom's Return From Deployment
Amy's Discovery of an Uninjured Tom in a Canteen
Tom's Carving of Amy's Name in Wooden Table
Amy Watching Tom's
Second Disembarkment
Amy Running After Him Barefoot in the Sand

Amy Jolly On Board Ship to Morocco

Ship's Deck Officer: "One way tickets - they never return"

Amy Jolly's Androgynous Cabaret Act

Pvt. Tom Brown in Audience

Jolly's Lesbian Kiss

Admiring French Pvt. Tom Brown Applauding and Receiving Amy's Tossed Flower


La Bessiere's Rejected Proposal of Marriage to Amy

Amy to Tom: "Don't go!"

Tom to Amy: "I changed my mind. Good luck!"

Amy with Bessiere During Tom's Absence

The Mortal Storm (1940)

In Frank Borzage's inspiring war-time drama, he presented an anti-Nazi political expose of the hateful, totalitarian Reich's chilling rise to power in 1933 when Hitler became Chancellor; the controversial propagandistic film was one of the first of its kind from Hollywood (released a few months before Chaplin’s The Great Dictator (1940)). The strong anti-fascist message of the anti-Nazi film caused it to be banned by the Aryan supremacist and anti-Semite Nazis in Germany, led by Hitler's propaganda minister Joseph Goebbels. Although the film never mentioned the words Jew or Jewish (the term "non-Aryan" was used), the film so angered the Nazis that all of MGM's films were banned in Germany:

  • the film's opening voice-over prologue-narration - amidst gathering storm clouds of war, accentuated with thunder: "When man was new upon the Earth, he was frightened by the dangers of the elements. He cried out: 'The gods of the lightning are angry, and I must kill my fellow man to appease them!' As man grew bolder, he created shelters against the wind and the rain and made harmless the force of the lightning. But within man himself were elements strong as the wind and terrible as the lightning. And he denied the existence of these elements, because he dared not face them. The tale we are about to tell is of the mortal storm in which man finds himself today. Again he is crying: 'I must kill my fellow man!' Our story asks: 'How soon will man find wisdom in his heart and build a lasting shelter against his ignorant fears?'"
  • in 1933 Southern Germany in the Bavarian Alps, the Roth family was at the center of the drama: the esteemed 60 year-old college biology Prof. Viktor Roth (Frank Morgan) (celebrating his birthday!), his wife Emilia (Irene Rich), biological son Rudi (Gene Reynolds), daughter Freya Roth (Margaret Sullavan), and step-sons Otto Von Rohn (Robert Stack) and Erich Von Rohn (William T. Orr) - both step-sons soon became members of Hitler's Youth organization
  • the opening joyous birthday party dinner scene of the Roth family, with two events that immediately caused schisms already evident among everyone: (1) militant pro-Fascist Nazi party member Fritz Marberg (Robert Young), one of Roth's students, prematurely announced that he was engaged to Freya Roth: ("Freya has promised to love, honor, and obey) to her embarrassment ("I haven't made up my mind yet") - while sitting next to her other love interest - family friend, anti-Nazi activist and vet student pacifist Martin Breitner (James Stewart), and (2) a life-altering announcement by the maid about what she had just heard on the radio - Hitler's ascension as Chancellor of Germany: ("We have just heard they have made Adolf Hitler Chancellor of Germany...It is official, it's coming in on all the stations"); "non-Aryan" (signifying Jewish) Prof. Roth gave his cautious assessment of the political ramifications: "Men have given great power to Adolf Hitler. Let's hope responsibility brings wisdom"; in the political minority, Martin disagreed with others and affirmed: "I think peace is better than war. A man's right to think as he believes is as good for him as food and drink"; Prof. Roth called for calm: "Can't we discuss these matters without quarreling?"
  • the contrast shots of the town's inn - at first lively and happy, but then after being taken over by a large group of Hitler Youth who were singing the song "Die Fahne Hoch" ("a glorious song of a new Germany") and stiffly-saluting their new leader, it became dark and uninviting; only Martin, Freya, and Jewish Professor Werner (Thomas Ross) didn't salute or sing - and they were chastised for not participating; later an irritated Fritz called Martin, who was in opposition and had defended Werner's right to not sing, an "enemy of his country" and also point-blank derided him: "We want to know where you stand. We want to know whether you're going to join the party and work for Germany, or herd with the pacifist vermin we're going to stamp out. We want to know. Right now!" - Martin responded firmly: "You want to know if I intend to join your party. Well, I can tell you now, the answer's no!"
The Town's Inn: Before and After
Lively, Happy, Non-Political
Dark, Uninviting, Regimented
(Martin and Freya Refused to Salute and Sing)
Prof. Werner Was Accosted For Not Singing
  • the classroom scene of one of Prof. Roth's students asking a challenging question about Aryan and non-Aryan blood; after he gave his answer, the student refused to accept "scientific truth" - "Do you hear that? It's a direct contradiction to our leader's principle of racial purity! It's an impudent defense of racial degeneration, and it's a lie!"; after the false accusation, Prof. Roth spoke further: "I've given you the facts. Scientific truth is scientific truth! Unchangeable and eternal! It cannot be altered to suit the policies of the hour, or the clamor of immature hoodlums!"; as a result, Prof. Roth's class was boycotted by the Hitler Youth
In Prof. Roth's Classroom: Question & Answer
"Is it your opinion that there is no difference between the blood of an Aryan and the blood of a non-Aryan?
"Until now, physiology has been unable to discover any difference in the blood of the various races"
  • the steadfastness of Prof. Roth's courageous protest against oppressive Nazi indoctrination and beliefs of Aryan superiority, and his subsequent arrest and sentencing to hard labor in a work camp (and eventual mysterious death)
  • the scene of Freya's breakup with Fritz, but he thought their disagreements were only a "silly squabble over politics" - she claimed it was much more than that: "I know now I couldn't live in your world...You belong to this new Germany that's come between us This new Germany that persecutes my people...It's all over"
  • the attempt of Emilia, Rudi, and Freya to flee Germany with the assistance of anti-Nazi activist Martin (who had earlier fled to Innsbruck, Austria to help Prof. Werner escape - and had become a fugitive himself) - prefaced by the hasty marriage of Martin to Freya
  • during the desperate chase when the two were escaping on cross-country skis through the snowy Karwendel mountain pass (a scene slightly reminiscent of the ending of Grand Illusion (1937, Fr.)), Martin and Freya were seen in a long shot; after shots were fired by a patrol squad ironically led by her former fiancee Fritz, one of the two skiers fell - it was revealed to be Freya who had been lethally wounded, and then Martin was shot in the right arm; she spoke a few final words after he carried her across the border: ("But we made it, didn't we? We're free"); he assured her: "Listen, you can hear the church bells from the village. We're almost there, Darling"; when she asked him to pause: "No, no, wait. Let me rest a little. Dear Martin. I am tired now. Yes, very, very tired" - she collapsed and died in his arms as he called out in despair: "Oh, no, Freya. Oh, no. Oh..."
  • in the conclusion, just after learning of Freya's death, the sequence of Otto walking through the darkened rooms of his once-happy, empty family home; panning and stationary visual camera shots of shadowed objects in the home (the family dinner table, a chair, the overhead lamp, and a torchbearer statue) were melded together with aural clues as memories flooded his mind and he heard the distant voices of his now-deceased family members during the birthday party scene:
    - Freya: "Six candles, one for each decade of a wonderful life. Now blow them all out and make a wish"
    - Prof. Roth: "We've been a very united family. In this house, we've had the habit of gracious living. We've prided ourselves on our tolerance and our sense of humor. Good heavens, here I am making another speech. Well, I can think of no better wish than this: May our happiness last as long as we live"
    - Martin: "I think peace is better than war. And a man's right to think as he believes is as good for him as food and drink"
    - Prof. Roth: "I... I thank you for your beautiful gift. It shows me, this splendid torchbearer, that you have understood what I have desired to impart and that into your young hands will be given the torch of science when it has fallen from the hands of your masters. I sincerely pray that you will carry it worthily"
  • the dutiful Otto saw his past follies, and repentantly knew that he had made wrong choices in his life; presumably he rushed off to purge himself of his Nazi affiliations and their cruel doctrines; Otto's footsteps in the heavy snow (leading from the house and down some steps to the gate) disappeared or were covered over by lightly falling snow (with a slow dissolve camera effect) - symbolic of the changes he would make
  • a voice-over narration-epilogue of a quote from the 1908 poem The Gate of the Year (aka God Knows) by Minnie Louise Haskins: "I said to a man who stood at a gate: 'Give me a light that I may tread safely into the unknown.' And he replied: 'Go out into the darkness and put your hand into the Hand of God. That shall be to you better than a light and safer than a known way.'"

Gathering Storm Clouds of War

Nazi Party member Fritz's Love for Fiancee Freya Roth

A Family Birthday Party and Cake to Celebrate Prof. Roth's 60th Birthday

Shocked Reaction to News That Hitler Had Been Made Chancellor

Listening Intently to the Radio Broadcast

Prof. Roth's Reaction: "Let's hope responsibility brings wisdom"

Martin's Response to Fritz' Question: "The answer's no!"

Freya's Breakup with Fritz: "It's all over"

The Growing Romance Between Freya and Martin


Freya Fleeing Germany with Martin on Cross-Country Skis To Escape Persecution and Oppression

Skiing Through Mtn. Pass While Being Fired Upon by Nazi Patrol

Just Across the Border, Freya's Stunning Death in Martin's Arms

Otto's Epiphany and Walk Through His Once Happy But Now Empty Home

Shadowed Object in Home: Father's Chair

Otto's Footsteps in Snow Disappeared

The Most Dangerous Game (1932) (aka The Hounds of Zaroff)

In co-directors Irving Pichel Ernest B. Schoedsack's adventure chase-thriller:

  • the opening sequence on a luxury yacht in the early 1930s, when one of the passengers, big-game hunter and author Robert "Bob" Rainsford (Joel McCrea), confidently stated - to be proved otherwise later on: "This world's divided into two kinds of people: the hunter and the hunted. Luckily, I'm the hunter. Nothing can change that"
  • the spectacular shipwreck and explosion on a dangerous reef (and subsequent shark attack), leaving Rainsford as the sole survivor on a tiny tropical island
  • Rainsford's arrival at an island fortress, where he was greeted by a strange mute Cossack servant named Ivan (Noble Johnson), and tuxedoed, mad Russian Count Zaroff (Leslie Banks): ("Welcome to my poor fortress!...Built by the Portuguese, centuries ago. I have had the ruins restored to make my home here. I am Count Zaroff")
Robert Rainsford
Mute Cossack Servant Ivan
Mad Russian Count Zaroff:
"I am Count Zaroff"
Eve Trowbridge
  • that evening, Count Zaroff's conversation with fellow hunter enthusiast Rainsford and two other shipwrecked South Pacific survivors, Eve Trowbridge (Fay Wray) and her drunk brother Martin (Robert Armstrong); Zaroff described his passion for hunting: ("Let me see. How did you put it? 'Hunting is as much a game as stud poker, only the limits are higher.' You have put our case perfectly, Mr. Rainsford...We are kindred spirits. It is my one passion... "); when Rainsford asked what Zaroff obsessively hunted, he answered: ("I'll tell you. You will be amused, I know. I have done a rare thing. I have invented a new sensation...Mr. Rainsford, God made some men poets. Some He made kings, some beggars. Me, He made a hunter. My hand was made for the trigger, my father told me. He was a very rich man with a quarter of a million acres in the Crimea, and an ardent sportsman. When I was only still up high, he gave me my first gun....My life has been one glorious hunt. It would be impossible for me to tell you how many animals I have killed"); he showed off a major scar on his forehead inflicted by a cape buffalo in Africa, that he often rubbed with his finger
  • Zaroff's description of a major turning point in his life - and his ominous and mysterious description of his discovery of new 'game': ("Hunting was beginning to bore me...When I lost my love of hunting, I lost my love of life - and love...I even tried to sink myself to the level of the savage. I made myself perfect in the use of the Tartar war bow...Even to this day, I prefer to hunt with it, but alas, even that was too deadly. What I needed was not a new weapon, but a new animal...Here on my island, I hunt the most dangerous game....My one secret. I keep it as a surprise for my guests")
  • the scene of Eve's words of warning to Rainsford, about how two other Zaroff guests had mysteriously disappeared: "There were four of us a week ago. The other two have disappeared...One night after dinner, the count took one of our sailors down to see his trophy room at the foot of those stone steps...Two nights later he took the other there. Neither has been seen since...He says they've gone hunting"
  • the intense tracking (zoom-in) shot onto Count Zaroff's face, after he spoke the words: "Indeed I shall" - referring to his 'taking care' of Eve's drunken brother - for good!
  • later in the middle of the night, Rainsford and Eve entered the basement's trophy room and were shocked by the sight of a mounted human head on the wall - one of the recently-shipwrecked sailors; they watched as Zaroff entered with a draped corpse on a stretcher - the body of Eve's brother; Eve accused Zaroff of murder: "You killed my brother!"; Rainsford condemned Zaroff's sanity after learning that humans were his "most dangerous game": ("So that's your most dangerous game...You hunted him like an animal...You raving maniac!...You take half-drowned men from ships you've wrecked and drive them out to be hunted....to be shot down in cold blood...You murdering rat. I'm a hunter, not an assassin") - Zaroff counter-argued that he always allowed his prey to have hunting clothes, a woodsman's knife and a full day's head start - and if a victim was able to survive from midnight to sunrise, he would win the game, but then Zaroff bragged - "to date, I have not lost"
In the "Trophy Room"
Mounted Human Head
Rainsford and Eve
Rainsford to Zaroff: "You raving maniac!"
  • the scene of the preparation for the flight of Rainsford (with Eve) - Zaroff's new victims; the Count called the game "outdoor chess. His brain against mine. His good craft against mine"; they were promised freedom if they could survive in the foggy-misty, swampy jungle (with the deadly Fog Hollow) until 4 am's sunrise
  • during the hunt, the scene of Zaroff's circumvention of the ambush - after Rainsford had constructed a 'Malay Deadfall' with a leaning fallen tree: ("A man-killing contraption the natives use. It would stop that madman, all right") - after discovering the ploy, Zaroff taunted his human prey: ("But surely you don't think that anyone who has hunted leopards would follow you into that ambush? Oh, very well. If you choose to play the leopard, I shall hunt you like a leopard"); soon after, Zaroff appeared with a high-powered rifle
  • the intense hunt and pursuit in the last half-hour into the Swamp after Count Zaroff summoned (with a horn) his vicious, bloodthirsty pack of Great Dane hounds to track the two, cornering them at an impasse (a raging waterfall); Eve was captured alive while Rainsford fell into the raging water
  • the concluding confrontation back in the fortress between Rainsford (who had survived the fall) and Zaroff; Rainsford approached the astonished Count who exclaimed: ("Why, you're, you're not even wounded"); the Count admitted defeat: ("I cheerfully admit defeat. Here's the key of the boathouse. The door is in the trophy room. You and Miss Trowbridge may leave at once"); however, they then fought one-on-one fight to the death; the Count's servant's neck was broken and then Zaroff was back-stabbed with an arrow
  • Eve and Rainsford escaped in a boat, looking back as the mortally-wounded Zaroff (with the film's last word: "Impossible") attempted to shoot at them with his bow/arrow from an upper fortress window frame, but fell dead into the pack of his ravenous hunting dogs below (off-screen)
Zaroff Mortally-Wounded
With His Own Arrow Shaft Stabbed into His Back
Last Attempt To Shoot at Eve and Rainsford As They Escaped in Motor Boat
Zaroff's Last Spoken Word: "Impossible!"

Big Game Hunter Bob Rainsford: "Luckily, I'm the hunter"

Shipwrecked

Zaroff: "Me, he made a hunter"

Zaroff's Forehead Scar

"Here on my island, I hunt the most dangerous game"

Eve's Warning to Rainsford About Others Disappearing

"Indeed I shall"



Preparations for The Hunt

Rainsford and Eve as Hunter Zaroff's Prey: "We're ready - let him come"

Zaroff in Pursuit with Bow and Arrow

Zaroff With High-Powered Rifle

Zaroff's Great Dane Bloodhounds

Mother India (1957, India) (aka Bharat Mata)

In director Mehboob Khan's melodramatic, epic account (three hours in length) of a poverty-stricken yet courageous peasant woman in India - a remake of his own earlier film Aurat (Woman) (1940, India), and a defining Indian film shot with the Gevacolor process - the first film from India to be nominated for an Academy Award in the Best Foreign Film category:

  • the opening - the inauguration of a dam allowing water to flow into village fields, presided over by an elderly woman named Radha (Nargis), the "Mother India" of the village - setting up an extended flashback to her entire adult life - as she recalled her past while smelling a flower garland around her neck
  • the sequence of her expensive marriage to farmer husband Shamu (Raaj Kumar), setting up a major issue for the rest of Radha's life - the local, evil, crooked and deceptive moneylender Sukhilala (Kanhaiya Lal) swindled Radha's mother-in-law at the time of her lavish wedding with a high-interest contract that took three-fourths of her produce
  • the tragedy that struck Radha when her husband lost both his arms in a farm accident - they were crushed by a boulder that he was attempting to move
  • Radha's predicament - her self-sacrifice to care for her family of sons: (1) her younger son - the arrogant, mean, rebellious and spiteful Birju (Sunil Dutt), (2) and her elder son - the devoted, responsible and calm Ramu (Rajendra Kumar)
  • the disappearance into the night of her disabled, humiliated, and shamed Shamu - he never returned (and presumably died)
  • the image of Radha pulling the plow when the cow died, and digging in the mud to find food
  • the sequence of a massive storm and flood bringing starvation and devastation to the village
Loss of Husband Shamu's Arms
  • the scene of Radha's supplication - to save her children, by submitting herself to moneylender Sukhilala, but she ultimately beat off his advances and refused to offer sex (and marriage to him) in exchange for food, in order to keep both her honor and chastity
  • the tragic consequences: an enraged Birju attacked moneylender Sukhilala and his daughter Rupa (Chanchal), and was subsequently excommunicated from the village and became a roaming, anarchist bandit; Birju vengefully returned on the wedding day of Sukhilala's daughter - he stabbed Sukhilala to death in the chest and kidnapped the daughter
  • consequently, Radha confronted Birju for his undisciplined immorality, and with a shotgun, aimed and shot at him as he rode off on horseback with the captive daughter Rupa in his arms - Radha ran to him, held him as he stumbled towards her, and comforted him as he bloodily died in her arms
Moneylender Sukhilala Stabbed To Death by Birju
Son Birju Shot by His Mother Radha and Then Embraced
Blood-Red Water in Canal
  • in the final image, her bloody hands that were embracing a dying Birju dissolved back to the film's opening - the inauguration of a newly-constructed irrigation canal - where bloody-red water was released down a sluice-way to irrigate the crops

Elderly Radha
("Mother India")


Flashback: Radha's Marriage to Farmer Shamu

Radha's Self-Sacrifice - Pulling Plow After Husband's Accident


Radha Supplicating Herself to Moneylender Sukhilala

Bandit Birju Seeking Revenge

Mouchette (1967, Fr.)

In director Robert Bresson's bleak coming-of-age story (his last black and white film) about a 14 year-old girl who was often-abused and insulted, and demeaned:

  • the film's brief pre-titles prologue - an unidentified woman (Mouchette's terminally-ill mother) in a church bemoaned and prayed about her coming death from a cancerous tumor and the fate of her family: "What will become of them without me? I can feel it in my breast. It's like a stone inside" - then as the camera remained where she was sitting, she rose and departed, to the sounds of Claudio Monteverdi’s Magnificat
  • the introduction of the title character: pig-tailed Mouchette (Nadine Nortier), the neglected pubescent daughter of the mostly bedridden, dying mother (Marie Cardinal), and her mean peasant father (Paul Hebert) (a contraband liquor smuggler) who lived in a rural French village; a tearful Mouchette was left to feed, care for, and change the diapers of the family's newborn - an often-crying baby boy
  • the miserable circumstances of her life - ill-fitting clogs, her mistreatment at school by her teacher (Liliane Princet) who grabbed her by the neck and shoved her toward a piano when she refused to sing a hymn along with the others, with the apt words: "Hope! Hope is dead"; the teacher held her head down above the piano keyboard, hit a few keys, and ordered: "Sing!"
  • Mouchette's ostracism and shunning by her classmates (one called her "rat face"), and the cold regard and frequent maligning by her abusive father (her father's method of discipline was to shove her), and condemnation by the townsfolk (one shopkeeper called her a "little slut")
  • the scene of Mouchette's attempt to find friendship with a boy whom she flirted with and happily met at the amusement-park carnival during a bumper-cars ride, but shortly later when she approached the boy at the shooting gallery, her father intervened and viciously slapped her across the face, and led her away as he pushed her
At Amusement Park
Bumper-Car Ride
Friendship With Boy
Slapped By Her Mean Father
  • the after-school sequence of Mouchette crouching and hiding in a roadside ditch and flinging muddy dirt clods at groups of bullying schoolgirls
  • during a rainstorm, the sequence of Mouchette's visit to the hut of alcoholic poacher Arsène (Jean-Claude Gilbert), an epileptic who lived in the woods; he told her about a drunken fight he just had with rival gameskeeper Mathieu (Jean Vimenet): "I think I killed a man...This time I got him...He pitched forward. His legs were thrashing. Furiously at first, then slower. Then they stopped. He was face-down in the water. It turned red"; Mouchette volunteered to provide Arsene with a false alibi in a cover-up, so he could escape possible assault charges: "If I can be of help, Mr. Arsene...I'll say I was in the woods, that I saw you both. He insulted and attacked you. Listen, please. Do I say he was drunk? You can count on me. I hate them. I'll stand up to them all!"
  • the scene of Arsene's epileptic fit when he fell onto the floor, and Mouchette attended to him by wiping his face, but then he conducted an assaultive predatory rape of Mouchette - he pushed her to the floor in front of a roaring fire (at first she resisted, but then wrapped her arms around his back, as the scene faded to black)
Predatory Rape of Mouchette by Arsene
  • later, when questioned about Arsene's drunken night with her and her suspicious alibi, Mouchette remarkably declared: "Monsieur Arsene is my lover"
Mouchette's Off-Screen Suicide
Rolling Down Hill
(3 times)
Space Left Behind on Hillside
Splash Into Water
  • in the film's tragic and shattering conclusion after her mother's death (who cautioned Mouchette with her dying words: "Steer clear of drunks and good-for-nothings") and at a spot where hunters shot a helpless rabbit, a desperate Mouchette used her dead mother's sheet shroud, given to her by an elderly woman, to cover herself in order to roll down a hill three times - before she was able to successfully and suicidally drown herself (offscreen)
  • there was no image of her body entering the water, only the sound and view of her entry splash, with a postlude of the Magnificat

Mouchette's Terminally-Ill Mother in Church

Young Mouchette - Caring for Her Mother's Newborn Baby Boy


Mouchette Mistreated at School

Often Condemned and Disregarded

Flinging Muddy Dirt Clods at Bullying Schoolgirls



With Arsène During Epileptic Fit


Caring For Her Dying Mother

Moulin Rouge! (2001, US/Australia)

In Baz Luhrmann's dazzlingly colorful, grandiose and kinetic modern musical set in 1900 Paris - the first Best Picture-nominated musical since Beauty and the Beast (1991) and first non-animated musical since Cabaret (1972). It was also the third of Luhrmann's "Red Curtain" trilogy, after Strictly Ballroom (1992) and Romeo + Juliet (1996). There were many popular rock and soul songs performed by actors and singers:

  • the opening voice-over of tearful English writer/poet Christian (Ewan McGregor) (sitting at his UNDERWOOD typewriter), living in the Montmartre district of Paris in 1900, who provided the framework for a flashback: "The Moulin Rouge. A nightclub, a dance hall and a bordello ruled over by Harold Zidler. A kingdom of nighttime pleasures where the rich and powerful came to play with the young and beautiful creatures of the underworld. The most beautiful of all these was the woman who I loved. Satine. A courtesan, she sold her love to men. They called her 'The Sparkling Diamond.' And she was the star of the Moulin Rouge. The woman I loved is dead"
  • Christian recalled the scene one year earlier in 1899 during the 'summer of love' when penniless, he first came to Paris (Montmartre District) from London and joined with a rag-tag group of musicians and friends known as the Bohemians (aka "The Children of the Revolution") (including painter Henri Toulouse-Lautrec (John Leguizamo) and others); he came "to write about truth, beauty, freedom and that which l believed in above all things: love....There was only one problem. I'd never been in love"
  • the poet-author was persuaded to write a modern musical production (to be titled "Spectacular Spectacular") for the Moulin Rouge and audition for the lovely performer Satine (Oscar-nominated Nicole Kidman); to celebrate ("Let's drink to the new writer of the world's first Bohemian revolutionary show!"), the group urged Christian to take a shot of the ultra-potent absinthe - causing the dizzying animation of a tempting Tinkerbell-like Green Fairy (Kylie Minogue) from the alcoholic bottle label
  • the scene of the star attraction of the Moulin Rouge cabaret in Paris during her opening number - red-lipped courtesan Satine known as "The Sparkling Diamond" - she was introduced - bathed in cool blue light - swinging above an audience of top-hatted gentlemen, and singing a Marilyn-to-Madonna "Sparkling Diamonds" medley ("Diamonds Are A Girl's Best Friend" and "Material Girl") while being lowered into the mass of adoring fans
  • the character of the wealthy but psychopathic Duke of Monroth (Richard Roxburgh) - a potential investor in the cabaret who was promised the hand of Satine for funding the musical production; he jealously coveted her love when she fell - because of mistaken identity - for the lovelorn Christian
  • during a private meeting with Satine, the lovely performance of Elton John's "Your Song" (with Placido Domingo) by Christian - to express his love for her; as the song was sung, the two emerged on a Parisian rooftop under a heavenly blue sky (in front of a model of the Eiffel Tower), where he pulled out a red umbrella; he confessed that he wasn't the wealthy Duke but only a poor writer ("I'm not a Duke...I'm a writer"); she was astonished and asked: ("You're not another of Toulouse's oh-so-talented, charmingly Bohemian, tragically-impoverished proteges?")
Christian with Satine: "Your Song"
  • the many scenes between the smitten lovers: tuberculosis-afflicted courtesan Satine and the poverty-stricken Christian in an ultimately-doomed love affair -- in a duet together, the two sang the "Elephant Love Medley" (featuring over a half-dozen love songs, including "All You Need Is Love," "Up Where We Belong," "Silly Love Songs," "Don't Leave Me This Way," and David Bowie's "Heroes"), after he vowed to woo her by singing love songs to bring them together: ("Love is like oxygen...Love is a many-splendored thing. Love lifts us up where we belong. All you need is love")
  • the scene of Christian reaffirming his love for Satine, when reminded by Toulouse's shouting from the rafters ("The greatest thing you'll ever learn is just to love and be loved in return"), even though Christian was threatened with being shot during the finale of the act by the Duke's bodyguard (Linal Haft) and the Duke himself; as the Duke stormed out after the failed attempt, during Satine and Christian's duet on stage - a reprise of "Come What May":

"Never knew I could feel like this, Like I've never seen the sky before. I want to vanish inside your kiss. Every day I'm loving you more and more. Listen to my heart, can you hear it sing? Telling me to give you everything. Seasons may change, winter to spring. But I love you until the end of time. Come what may, Come what may, I will love you until my dying day..."

"Come What May"
  • the sad ending in which beautiful courtesan was wheezing and then died of tuberculosis in the arms of her lover Christian, causing him to sob uncontrollably; she spoke final words to him, urging him to write their story: (Satine: "I'm sorry, Christian. I'm, I'm dying." Christian: "Shh. Shh. It's all right." Satine: "I'm so sorry." Christian: "No, you'll be all right. You'll be all right. l know you'll be all right. Satine: "I'm cold. I'm cold. Hold me. I love you. You've got to go on, Christian." Christian: "I can't go on without you." Satine: "You've got so much to give. Tell, tell our story, Christian. Yes. Promise me. Promise me. Yes. That way, I'll, I'll always be with you")
Satine's Tear-Jerking Death From Tuberculosis
  • Christian's final voice-over as he typed the ending to their story: "Days turned into weeks. Weeks turned into months. And then, one not-so-very-special day, l went to my typewriter, I sat down and I wrote our story. A story about a time, a story about a place, a story about the people. But above all things, a story about love. A love that will live forever. The end"

Sepia-Toned Prologue

Poor Poet-Writer Christian
(Ewan McGregor)


The Green Fairy (Kylie Minogue) From the Absinthe Bottle

Moulin Rouge Star Satine


Opening Number: Satine Swinging Above Audience During "Sparkling Diamonds" Medley

Moulin Rouge Owner Harold Zidler (Jim Broadbent)

Duke of Monroth
(Richard Roxburgh)


"Elephant Love Medley"

Christian - Threatened to Be Shot by the Duke and the Duke's Bodyguard



Ending: Christian Typing-Writing The End of "Our Story"

Mouse Wreckers (1948) (short animation)

In this Warner Bros.' Looney Tunes short cartoon directed by Chuck Jones, with voices provided by Mel Blanc (Hubie and Claude) and comedian Stan Freberg (Bertie):

  • the efforts of two devilish mice Hubie and Bertie to remove a cat from their new potential home
  • the sight of Claude the Cat's trophy for "Best Mouser 1948"
  • pranks included: pounding the cat on the head with a wooden plank, inflating the cat with air, baiting the cat with a bulldog, and tying a string to the cat's tail with the other end weighted with a dropped rock - propelling the cat throughout the house
  • Claude's responses: drinking nerve tonic, and reading Sigmund Fried's Psychology of Dreams, thinking that he was only dreaming
  • and the ultimate trickery to drive Claude insane and out of the house -- nailing all of the room's furniture to the ceiling, and painting the ceiling like the floor; the confused cat was also confounded when looking through three different windows (one with an upside-down landscape, another sideways, and a third underwater)
Upside-Down Trickery

Two Mice: Hubie and Bertie

"Best Mouser: 1948"

Claude the Cat Inflated with Air

A Movie (1958) (short)

In Bruce Conner's underground, experimental montage short (12 minutes in length) - an avant-garde work composed of an arrangement of short clips of odd, random bits of stock "found footage" (allegedly from purchases of discarded 16mm films at flea markets or scavenged B-film footage from camera shops), organized in sections set apart by stretches of black leader, with lots of repeated titles (inaccurate, and sometimes upside down), and accompanied by Respighi's The Pines of Rome musical score:

  • the many bits of film from various sources spiced together to form a collage of images: the side view of a semi-nude woman undressing, a distant view of galloping horses in a cavalry charge on a hillside, Indians on horseback and on the warpath pursuing a western wagon-train, an old-fashioned, horse-drawn fire engine, a rampaging elephant, the spinning wheels of a steam locomotive train, and various race sports cars (demolition derby cars, etc.) speeding dangerously fast around a track with various crash scenes
  • bare-breasted Balinese women carrying tall items on their heads, a phallic-shaped zeppelin (the Hindenberg) flying above a city, acrobats and tightrope walkers performing risky stunts high above a city street, a submarine's periscope viewing a seductive, black bikini-clad model, the underwater firing of a phallic-shaped torpedo, the sight of a nuclear atomic bomb blast-explosion with the resultant mushroom cloud
  • surfers riding large waves, large open catamaran boats being pummeled by breaking ocean waves, a stunt water-skiier dangling from an apparatus that collapsed behind a boat, other water-boarders and small boats performing water-ski-styled stunts and jumps, more bicyclists riding on various experimental vehicles (scooters, cycles, two-wheelers), motorcyclists racing through mud and getting stuck, a bi-plane crashing and slowly sinking on the surface of a lake
  • historic footage of President Theodore Roosevelt delivering a speech, the destructive collapse of a suspension bridge during an earthquake, war footage (fiery war plane explosions in the sky), bombs striking their targets, numerous explosions, an active volcano, the crowning of Queen Elizabeth II during her inauguration, the explosion of the Hindenberg blimp, advancing WWI tanks, more race car crashes on a circular curved track, a sky-diver parachuting from a plane, another fiery object burning up in the sky
  • a tropical beach scene with views of bullocks and other animals, an entertaining Indian flute player, another view of the rippling road of a suspension bridge during an earthquake, more footage of the Hindenberg crash, more parachutists, a sinking ship in a vertical position going down, an execution-firing squad, dead corpses hung upside down, piles of dead bodies (soldiers) in a field, another mushroom cloud, the carcass of a slaughtered dead elephant surrounded by natives, starving and trembling African children
  • an underwater view of a swimming beaver, the Hindenberg crashing into the ground, a view of a scuba diver and tropical fish underwater, the diver's exploration of a barnacle-encrusted wreck, and a view of sparkling sunshine on the water

Semi-Nude Woman

Demolition Derby Race Car

Bare-Breasted Bali Women

Tightrope Walker

Bikini-Clad Model

Atom Bomb Mushroom Cloud

Mr. Deeds Goes to Town (1936)

In director Frank Capra's famous Capra-corn romantic comedy:

  • the startling opening of the death of civil leader, banker, and financier Martin W. Semple in Italy, due to a high-speed motor accident-crash off a bridge; the headlines declared: "Trustees of Semple Estate Declares Huge Fortune Close to Twenty Million"; the Disclosure of Semple's Will by Attorney Cedar, Semple's Estate Representative, was Highly-Awaited; it was announced in other headlines: "Investigators Searching for Heir to Semple Millions" - the Semple Heir Was Yet Unknown
  • the Semple heir was located in the small Vermont town of Mandrake Falls, introduced by its train station sign: "Welcome to Mandrake Falls, Where the Scenery Enthralls, Where No Hardship E'er Befalls, Welcome to Mandrake Falls"
  • the heir was unassuming, eccentric bumpkin Mr. Longfellow Deeds (Gary Cooper) from the small town of Mandrake Falls, VT - 28 years old, a guileless, tuba-player, an unworldly bachelor, a poet and writer of rhymes for sentimental birthday cards, and the unexpected heir of $20 million dollars from his uncle Martin Semple; Deeds reacted unbelievably: ("I wonder why he left me all that money. I don't need it")
  • the scene of Deeds' first contact with unscrupulous and "oily" lawyer John Cedar (Douglas Dumbrille), who insisted that Deeds be brought to New York City; after a large town send-off on the train, Deeds moved into an enormous, inherited mansion on Fifth Avenue; he encountered many annoyances upon his arrival from the media and many others; as his measurements were being taken by a tailor, he noted to Cedar: ("The strangest kind of people - salesmen, politicians, moochers, all want something. I haven't had a minute to myself. Haven't seen Grant's Tomb yet")
  • the scene of Deeds' meeting with the non-profit opera board, to serve in the place of his deceased uncle who was the chairman of the board, when he told off the snobbish gathering that wanted him to pay the $180,000 bills: ("If it's losing that much money, there must be something wrong. Maybe, maybe you charge too much. Maybe you're selling bad merchandise. Maybe a lot of things")
  • the character of Deeds with boyish charm, such as: racing to the window to watch a fire engine, or sliding down the stairway bannister of his mansion, or tickling the bottom of the foot of a marble statue of a young woman
  • the scene of wily reporter Louise "Babe" Bennett's (Jean Arthur) masquerade as poverty-stricken "Mary Dawson" in a rainstorm, when she pretended to faint and he came to her rescue outside his mansion, and took her for a meal at Tullio's - where she told him the sob story of her life: "I'm really just a nobody"
Babe Masquerading as Poor 'Mary Dawson'
'Mary's' Sob Story in Restaurant: "I'm really just a nobody"
Her Reporting on Him as "The Cinderella Man"
  • the second encounter between Babe and Deeds (after she had ridiculed him as a 'sap' and dubbed him "The Cinderella Man" in her most recent column), including a sight-seeing tour to an aquarium, a ride on the open top of a Fifth Avenue bus, and a visit to Grant's Tomb where he patriotically extolled America as a place where any boy could become President: ("Oh, I see a small Ohio farm boy becoming a great soldier. I see thousands of marching men. I see General Lee with a broken heart surrendering. And I can see the beginning of a new nation, like Abraham Lincoln said. And I can see that Ohio boy being inaugurated as President. Things like that can only happen in a country like America"); shortly later, he expressed his idealism: "What puzzles me is why people seem to get so much pleasure out of, out of hurting each other? Why don't they try liking each other once in a while?" - and his uncomfortableness with the big city: "People here are funny. They-they work so hard at living they forget how to live"
  • their visit to Central Park, where on a park bench, they sang an improvised duet of "Swanee River," with "Mary" drumming on the lid of a garbage can with two sticks, while he made tuba-like oom-pah-pah bass sounds with his mouth: ("Way down upon the Swanee River. Far, far away...")
  • the over-romantic Deeds' marriage proposal to "Mary" - with the presentation of a sentimental poem to her that she read outloud (barely audible) in a moving, emotionally-choking whisper: ("I've tramped the earth with hopeless beat, Searching in vain for a glimpse of you. Then heaven thrust you at my very feet, A lovely angel, too lovely to woo. My dream has been answered, but my life's just as bleak. I'm handcuffed and speechless, in your presence divine. For my heart longs to cry out, if it only could speak. I love you, my angel, be mine, be mine"); she responded breathlessly, "Oh, darling," and collapsed in his arms, but he was so embarrassed that he fled
  • soon after, Deeds' disgruntled discovery that "Mary" was a deceitful, Pulitzer-Prize winning reporter, when it was revealed in a newspaper clipping by his press agent: ("Mary Dawson my eye! That dame took you for a sleigh ride that New York will laugh about for years...She's the slickest, two-timing, double-crossing...She's the star reporter on the Mail! Every time you opened your kisser, you gave her another story. She's the dame who slapped that moniker on ya Cinderella Man! You've been making love to a double dose of cyanide")
  • after the dramatic revelation, Deeds descended his stairs and was confronted by an unemployed, outraged, hunger-crazed farmer (John Wray): ("Did you ever think of feeding doughnuts to human beings?") - he caused Deeds to rethink things, to remain in New York, and to give away his entire fortune - the newly-acquired source of all his misfortune - to dispossessed, unemployed farmers
  • the long concluding and climactic sequence of Deeds' lunacy hearing, presided over by Judge May (H.B. Warner); Babe hysterically pleaded to the judge: "The whole hearing's ridiculous. That man's no more insane than you are....It's obviously a frame-up. They're trying to railroad this man for the money they can get out of him...What kind of a hearing is this? What are you trying to do - persecute the man? He's not defending himself. Somebody's got to do it"; but after a number of witnesses (seen in short vignettes), the judge recommended committing Deeds, for his own safety, in an institution as prescribed by law
  • Babe urged Deeds to speak up, and testify against the charges he was faced with: ("He could never fit in with our distorted viewpoint, because he's honest and sincere and good. If that man's crazy, your Honor, the rest of us belong in strait-jackets"); to begin, Deeds debunked all the silly quirks that people have: the Judge's 'O-filling', Dr. Haller's doodling, and his Uncle's nose-twitching and his Aunt's knuckle-cracking as other examples: ("So you see, everybody does silly things to help them think. Well, I play the tuba")
  • to the charge of being "pixilated," Deeds debunked the two nice elderly Faulkner sisters, Jane and Amy Faulkner (Margaret Seddon and Margaret McWade), brought there from his hometown (who declared him "pixilated"); they were unmasked as self-centered and frivolous, and neutralized when under further questioning, they admitted: "Why, everybody in Mandrake Falls is pixilated - except us"
Mr. Deeds' Lunacy Hearing - Finally Defending Himself
Noticing People's Silly Quirks
"Why, everybody in Mandrake Falls is pixilated - except us"
Defending His Philanthropy to Help the 'Underdog'
  • and then Deeds' successful defense of his philanthropy with a speech about helping the 'underdog': ("From what I can see, no matter what system of government we have, there will always be leaders and always be followers. It's like the road out in front of my house. It's on a steep hill. Every day I watch the cars climbing up. Some go lickety-split up that hill on high, some have to shift into second, and some sputter and shake and slip back to the bottom again. Same cars, same gasoline, yet some make it and some don't. And I say the fellas who can make the hill on high should stop once in a while and help those who can't. That's all I'm trying to do with this money. Help the fellas who can't make the hill on high")
  • the final declaration of the Judge on Deeds' insanity: ("Mr. Deeds, there has been a great deal of damaging testimony against you. Your behavior, to say the least, has been most strange. But, in the opinion of the court, you are not only sane but you're the sanest man that's ever walked into this courtroom. Case dismissed")
  • Babe and Deeds were reconciled to each other and kissed in the film's final moments - Babe peppered her lover's face with kisses, and with tightly-closed lips, Deeds kissed her back amidst cheers and the singing of "For He's a Jolly Good Fellow"
The Judge's Final Determination in the Case
Deeds Declared Sane and The Case Dismissed
Babe and Deeds Reconciled

Death of Financier in Italy

The Mandrake Falls Welcome Sign at the Train Station

Tuba-Playing Mr. Deeds

Send-Off on Train to NYC

In 5th Avenue Mansion With Opera Board

Sliding Down the Stairway Bannister

Deeds' Patriotic Thoughts at Grant's Tomb

Performance of "Swanee River" in Central Park

Marriage Proposal Poem

Newspaper Clipping Revealing Mary's Real Name and Occupation

Confrontation with Hungry Farmer - Causing Deeds to Vow to Give Away His Fortune

Deeds' Vow of Philanthropy

Babe Urged Deeds to Defend Himself ("It's obviously a frame-up")

Some of the Damning Testimony Against Deeds

Mr. Smith Goes to Washington (1939)

In Frank Capra's classic political-drama with a message about honesty and maintaining one's ideals in government:

  • the film's setup: rapid-fire telephone conversations reporting the hospital-bed death of a Western state Senator's death: "Senator Samuel Foley - dead, yeah, yeah, died a minute ago - here at St. Vincent's. At the bedside was state political sidekick Senator Joseph Paine. Yeah"
  • the duty of 'yes-man' Governor Hubert "Happy" Hopper (Guy Kibbee) to appoint a replacement for the recently-deceased US Senator, and his choice of naive and wholesome local youth leader Jefferson Smith (James Stewart), the Head of the Boy Rangers
  • at a celebratory banquet, Smith tremulously spoke in his first speech: "I-I can't help feeling that there's been a big mistake somehow"
  • the distinguished Senator Joseph Paine (Claude Rains) approved the selection in conversation with powerful media magnate Jim Taylor (Edward Arnold), head of a political machine that was pushing for a pork barrel project to build an unneeded dam (the Willet Creek Dam project): ("A young patriot, recites Lincoln and Jefferson, turned loose in our nation's capital. Yeah. I think it's all right")
  • the scene of the two-day train ride of Jefferson Smith with Senator Paine to Washington, DC., when Smith remembered his crusading editor/publisher father Clayton Smith's motto: "Dad always used to say the only causes worth fighting for were the lost causes"
  • the initial sequence of Smith's initial reaction to being in DC, during a whirlwind sightseeing bus tour of the capital city's sites and monuments in a compiled montage of images - with the idealistic Smith beaming with patriotism and pride
Jefferson Smith's Naivete - His First Speech at Banquet
On Train: "...the only causes worth fighting for were lost causes"
At the Lincoln Memorial During Whirlwind Tour
  • the scene of the disillusioned, newly-elected Senator Jefferson Smith, now serving in Washington DC, and his disgust at the press corps (that had humiliated him in newspaper reports for his naivete), and the dishonest corruption: ("Why don't you tell the truth for a change?..People in this country pick up their papers and what do they read?... If you thought as much about being honest as you know about being smart") - Smith was cautioned about being too altruistic and idealistic
  • while drafting a boys' camp Senate bill to buy land in his home state, the scene of Senator Smith late at night in the Senate Office Building with his secretary Clarissa Saunders (Jean Arthur), thinking about how to inject patriotic ideals into the words of the bill - and pointing at the Capitol Dome out the window: ("The Capitol Dome... I want to make that come to life for every boy in this land. Yes, and all lighted up like that too! You see, you see, boys forget what their country means by just reading 'the land of the free' in history books. And they get to be men - they forget even more. Liberty's too precious a thing to be buried in books, Miss Saunders. Men should hold it up in front of them every single day of their lives and say: 'I'm free to think and to speak. My ancestors couldn't. I can. And my children will.' Boys want to grow up remembering that")
  • in his office, Senator Paine's explanation to Senator Smith about compromising and being less of an idealist, after Paine's Deficiency Bill on the projected site for a boys camp was discovered to be a front for party Boss Jim Taylor's own plans to fraudulently appropriate funds: ("This is a man's world. It's a brutal world, Jeff, and you've no place in it. You'll only get hurt. Now take my advice. Forget Taylor and what he said. Forget you ever heard of the Willet Creek Dam...I know it's tough to run head-on into facts but, well as I said, this is a man's world Jeff, and you've got to check your ideals outside the door, like you do your rubbers. Thirty years ago, I had your ideals. I was you. I had to make the same decision you were asked to make today. And I made it. I compromised - yes! So that all those years, I could sit in that Senate and serve the people in a thousand honest ways. You've gotta face facts, Jeff. I've served our state well, haven't I? We have the lowest unemployment and the highest federal grants. But, well, I've had to compromise. I've had to play ball. You can't count on people voting. Half the time they don't vote anyway. That's how states and empires have been built since time began. Don't you understand?") - Paine begged Smith to avoid interfering with the Deficiency Bill on the Senate floor - but Smith was unwilling to compromise and sacrifice his principles for a scheme involving graft, and felt betrayed and let down by his sponsoring guide in the Senate
  • the scene the next day, when during the reading of the Deficiency Bill, Smith rose to question Section 40 regarding Willet Creek Dam, but the blame was shifted to Smith by Paine - to discredit and accuse him of their own crimes (it was interpreted as Smith's own pork barrel - introduced for his own profit)
  • the scene of betrayed Senator Smith's late-night visit to the Lincoln Memorial when he felt downtrodden and was ready to leave town: ("This is a whole new world to me. What are you gonna believe in? And a man like Paine, Senator Joseph Paine gets up and swears that I've been robbin' kids of nickels and dimes - a man I've admired and worshipped all my life. I don't know. There are a lot of fancy words around this town. Some of them are carved in stone. Some of 'em, I guess the Taylors and Paines have put 'em up there so suckers like me can read 'em. Then when you find out what men actually do - well, I'm gettin' out of this town so fast and away from all the words and the monuments and the whole rotten show") - and Saunders' encouragement for him to remain, go against the odds, and tell the truth: ("You can't quit now. Not you! They aren't all Taylors and Paines in Washington. Their kind just throw big shadows, that's all. You didn't just have faith in Paine or any other living man. You had faith in something bigger than that. You had plain, decent, every day, common rightness. And this country could use some of that. Yeah - so could the whole cock-eyed world. A lot of it. Remember the first day you got here? Remember what you said about Mr. Lincoln? You said he was sitting up there waiting for someone to come along. You were right! He was waiting for a man who could see his job and sail into it. That's what he was waiting for. A man who could tear into the Taylors and root 'em out into the open. I think he was waiting for you Jeff. He knows you can do it. So do I")
  • the classic, climactic scene of idealist Senator Smith's exhausting, desperate one-man filibuster (that was to last almost 24 hours) in the US Senate - when he was on the verge of being threatened with expulsion - at first, he refused to yield to Senator Paine, and then accused Paine (in cahoots with Taylor) of graft: ("I was ready to tell you that a certain man of my state, a Mr. James Taylor, wanted to put through this dam for his own profit. A man who controls a political machine! And controls everything else worth controlling in my state!") - he insisted on continuing to speak: "I've got a piece to speak, and blow hot or cold, I'm gonna speak it....The wild horses aren't gonna drag me off this floor until those people have heard everything I've got to say, even if it takes all winter" - the long filibuster caused Senator Smith to become increasingly exhausted
Smith's Exhausting One-Man Filibuster
  • Smith preached to the Senate and offered home-spun insight on democratic ideals: "I wouldn't give you two cents for all your fancy rules if, behind them, they didn't have a little bit of plain, ordinary, everyday kindness and a - a little lookin' out for the other fella, too...And I hate to stand here and try your patience like this, but EITHER I'M DEAD RIGHT OR I'M CRAZY"
  • after almost 24 hours, Smith exhorted the Senate: "Get up there with that lady, that's up on top of this Capitol Dome. That lady that stands for Liberty. Take a look at this country through her eyes if you really want to see somethin'. And you won't just see scenery. You'll see the whole parade of what man's carved out for himself after centuries of fighting. And fighting for something better than just jungle law. Fighting so as he can stand on his own two feet free and decent, like he was created no matter what his race, color, or creed. That's what you'd see. There's no place out there for graft or greed or lies! ...this country is bigger than the Taylors or you or me or anything else. Great principles don't get lost once they come to light. They're right here. You just have to see them again"
  • the sequence in which thousands of "Taylor-made" phony telegrams from constituents in his state were manufactured (at the direction of Taylor), and deposited in front of the Senate chamber; Senator Paine held up a fistful, telling Smith that they all demanded that he yield the floor and give up his filibuster: "The people's answer to Jefferson Smith"; Smith grabbed two fist fulls of the phony documents, and in a hoarse voice toward Senator Paine, he delivered an impassioned speech about "lost causes" - accusing Paine face-to-face of betraying his ideals this time around: ("I guess this is just another lost cause, Mr. Paine. All you people don't know about lost causes. Mr. Paine does. He said once they were the only causes worth fighting for. And he fought for them once, for the only reason that any man ever fights for them. Because of just one plain simple rule: 'Love thy neighbor'")
  • Smith spoke one more time directly to Paine: ("You think I'm licked. You all think I'm licked. Well, I'm not licked, and I'm gonna stay right here and fight for this lost cause even if this room gets filled with lies like these, and the Taylors and all their armies come marching into this place. Somebody'll listen to me. Some...") - and then Smith collapsed onto the floor
Smith Collapsing Onto the Senate Floor
Senator Paine's Admission of Dishonesty
The Senate Floor and Gallery Erupting With Joy
  • the exciting and triumphant conclusion, when a remorseful Senator Paine failed in an attempted suicide (gunshots were heard outside the Senate) as he admitted his dishonesty: ("I'm not fit to be a Senator. I'm not fit to live. Expel me! Expel me! Not him"); Paine then returned to the Senate floor to exonerate Smith: ("Every word that boy said is the truth! Every word about Taylor and me and graft and the rotten political corruption of our state. Every word of it is true. I'm not fit for office! I'm not fit for any place of honor or trust. Expel me!"); the Senate floor and gallery erupted with joy; Saunders danced up and down with Diz Moore (Thomas Mitchell) in the gallery and then shouted: "Yippee!"

Reports of a Senator's Death

Youth Leader Jefferson Smith Appointed by Governor to Serve in US Senate

Senator Paine's Approval of the Selection in Discussion with Scheming Jim Taylor


Smith Humiliated by the DC Press

Shattered Idealism: Senator Smith's Disgust with DC Press Corps and Corruption

Pointing at the Capitol Dome During Drafting of Boys' Camp Senate Bill

Senator Paine to Smith: "This is a man's world"

In the Senate, Paine's Denouncement of Smith's Boys' Camp Bill in the Senate - to Shift Blame

Late Night Visit with Saunders to the Lincoln Memorial


Paine Challenged Smith with 50,000 Telegrams


Smith Aghast at Phony Telegrams Sent to Senate Chamber


Smith's Final "Lost Causes" and "You Think I'm Licked" Speeches

Mrs. Miniver (1942)

In director William Wyler's Best Picture-winning war drama about a British family's struggles to survive the war:

  • the opening scrolling prologue: "This story of an average English middle-class family begins with the summer of 1939; when the sun shone down on a happy, careless people, who worked and played, reared their children and tended their gardens in that happy, easy-going England that was so soon to be fighting desperately for her way of life and for life itself"
  • the introduction of middle-class Englishwoman Mrs. Kay Miniver (Oscar-winning Greer Garson) - who boarded a train compartment and admitted to her village of Belham's Vicar (Henry Wilcoxon) that she had "extravagant" materialistic desires: "I'm afraid I do like nice things. Things far beyond my means sometimes. Oh, pretty clothes and good schools for the children, the car, the garden, you know"
  • the Miniver family: husband-architect Clem Miniver (Oscar-nominated Walter Pidgeon), eldest son and idealistic Oxford Univ. student Vin (Richard Ney), and two youngsters Toby and Judy;
  • Vin's romance with 18 year-old fiancee Carol Beldon (Teresa Wright), granddaughter of Lady Beldon (Dame May Whitty) from nearby Beldon Hall, eventually leading to their marriage
  • the dramatic footage of the night-time Dunkirk evacuation, aided by enlisted RAF pilot Vin and Clem's motorboat the Starling
The Nighttime Dunkirk Evacuation
Kay Miniver's Encounter in Her House
with Downed German Flier
  • the tense confrontational scene of middle-class Englishwoman Mrs. Kay Miniver's encounter with a downed and escaped wounded German flier (Helmut Dantine) who parachuted down into the village, held her at gunpoint in her house ("Move or make noise, I shoot") and demanded food and clothing before collapsing in her kitchen
  • the scene of husband-architect Clem Miniver's return home to "Starlings" after his participation in the Dunkirk evacuation, and his reunion with his wife at the mooring
  • the scene of Kay, Clem and their two young children in a small garden bomb shelter (known as an Anderson Shelter) reading Alice's Adventures in Wonderland by Lewis Carroll to her children (Clem: "It's a lovely story. I wonder if Lewis Carroll ever dreamed it would live forever. You know, it's the first story I ever read"), and experiencing a terrifying Nazi air bombing - as the frightened and crying children were shielded
  • the shocking scene of the mortal wounding of newly-wed Carol by machine gunfire (from a crashing German plane) while seated in a car next to Kay when they were fearing for Vin's death - Carol spoke: "God, I think I've been hit....I don't know. It doesn't hurt. I just can't move" - and shortly later after Kay called for an ambulance and Carol asked for water, she expired
  • the final scene that included the powerful and moving, dynamic speech delivered by the town's Vicar, to the stoic congregation: ("We, in this quiet corner of England, have suffered the loss of friends very dear to us - some close to this church: George West, choir boy; James Bellard, station master and bell ringer and a proud winner, only one hour before his death, of the Belding Cup for his beautiful Miniver rose; and our hearts go out in sympathy to the two families who share the cruel loss of a young girl who was married at this altar only two weeks ago. The homes of many of us have been destroyed, and the lives of young and old have been taken. There is scarcely a household that hasn't been struck to the heart. And why? Surely you must have asked yourselves this question. Why in all conscience should these be the ones to suffer? Children, old people, a young girl at the height of her loveliness. Why these? Are these our soldiers? Are these our fighters? Why should they be sacrificed? I shall tell you why. Because this is not only a war of soldiers in uniform. It is a war of the people, of all the people, and it must be fought not only on the battlefield, but in the cities and in the villages, in the factories and on the farms, in the home, and in the heart of every man, woman, and child who loves freedom! Well, we have buried our dead, but we shall not forget them. Instead, they will inspire us with an unbreakable determination to free ourselves and those who come after us from the tyranny and terror that threaten to strike us down. This is the people's war! It is our war! We are the fighters! Fight it then! Fight it with all that is in us, and may God defend the right!")
The Service in the Church and the Village Vicar's Moving Sermon
The Mourning Miniver Family
The Vicar
More RAF Missions - in V Formations
  • the film's conclusion with the standing of the congregation and the singing of "Onward Christian Soldiers" in the bombed-out ruin of a church (through the open roof, RAF fighter planes in V-for-Victory Formations were viewed flying more missions), and then the song segued into "Pomp and Circumstance"

Mrs. Miniver (Greer Garson)

Family Members: The Minivers with Eldest Son Vin

Carol Beldon (Teresa Wright) - Vin's Pretty Young Fiancee

Romance Between Vin and Carol

Clem's Return From Dunkirk with The Starling



In Air-Raid Shelter: During Terrifying Air Bombing

The Mortal Wounding of Carol by German Airplane Fire

The Service in the Bombed Out Church in the Village

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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