Greatest Film Scenes
and Moments



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

Mughal-E-Azam (1960, India) (aka The Great Mughal)

In K. Asif's lengthy war-time drama and epic love story (part color and part B/W) set in the late 16th century - one of the costliest Indian films of all time (approx. $3 million) that took 16 years to film, and one of the most enduring and blockbuster Bollywood films ever made - and it was historically the first vintage film digitally colorized for theatrical release:

  • the legendary story of India's autocratic Great Mughal (Ruler of Hindustan) Akbar (Prithviraj Kapoor) who was finally able to produce an heir - an infant (the future Emperor Jahangir); the boy turned out to be a spoiled, drunken, playboyish, pampered and misbehaving son Prince Saleem (Dilip Kumar) - who had to be sent away to join the ranks of the Mughal military to toughen him up: ("By God, I'll not see that day when our empire will become the toy of a rake prince! Man Singh, remove the veil of his mother's love on his head and put an iron cover on his head. Take him, raise and teach him in the hot deserts of war. Today, I hand over to you the future of the Mughals")
  • upon Prince Saleem's return, the sequences of his growing forbidden love for commoner palace slave girl-courtesan and beautiful court dancer Nadir/Anarkali (Madhubala) - the name meaning "pomegranate blossom"
  • the great Anarkali dance sequence when she twirled like a top in the royal Palace of Mirrors (with both an overhead shot and a kaleidoscopic shot) - a set completely covered by hundreds of pieces of fragmented colored mirrors
  • the seductive, passionate and erotic moments including the love scene when the returning military hero-soldier Prince caressed, fondled, stroked and tickled Anarkali with a large white ostrich feather and they hid their faces behind it
  • the patriarch Akbar's conflict with his son Saleem for choosing to marry below his status, for disobedience and defiance, and for not disavowing his obsessive love for Anarkali - to make her Queen of Hindustan ("You want a beautiful maid to dance upon the Throne of Hindustan...I cannot change the destiny of Hindustan for my son's love"); in desperation, Akbar ordered Anarkali to be sent away and imprisoned
  • the disobedient Prince Saleem arranged Anarkali's escape (and placed her in a secret hiding place) and incited a open revolt against Akbar, that led to a declaration of war; the 'treasonous' Prince was defeated in a massive and colossal battle against his oppressive and tyrannical father and sentenced to be executed; Saleem was tied to a tower with a huge cannon aimed at him
Conflict Between Prince and His Father
Akbar vs. Saleem
Open Revolt and Civil War
  • the Prince was saved when Anarkali arrived at the last moment - and invoked a holy decree; she appeared before Akbar and offered to take Saleem's place (and suffer the consequences of being walled up and buried alive); she agreed to renounce her own life, and after begging for one dying wish, she was allowed one final night of ecstasy with Saleem, acting as his wife
Public Execution - Cannon Aimed at Saleem Standing on Tower
Anarkali Begging to Take Saleem's Place
One Final Night of Ecstasy with Saleem Before
She Was Secretly Exiled
  • the scene of their heart-wrenching parting the next morning when he melodramatically reached out for her as she was taken away by guards
  • Akbar was forced to honor a previous promise to Anarkali's mother, who was pleading for her daughter's life; without officially releasing Anarkali, Akbar arranged for her escape (into exile) with her mother, without Saleem's knowledge: (Akbar: "This plan must work, for if the Prince finds out you are still alive, I will not let you live and he will not let you die!")

Great Mughal Akbar

Prince Saleem with Slave Girl Nadir-Anarkali


Dance in Royal Palace of Mirrors

Anarkali Tickled with Ostrich Feather


Anarkali Debased


Anarkali's Escape Into Exile With Her Mother

Mulan (1998)

In Disney's animated adaptation of the Chinese folk fable of Mulan, the studio's 36th animated feature film:

  • the scene in which young Fa Mulan (voice of Ming-Na Wen) decided to take her ailing father Fa Zhou's (voice of Soon-Tek Oh) place in the war against the Mongols; she cut her long black hair and disguised herself as "son" Ping to join the Chinese military as a male warrior, in order to save her family's honor
  • the conversion of an incense burner into the 18 inch high, wise-cracking, orange sidekick dragon Mushu (voice of Eddie Murphy, who would later voice the similar character of Donkey in Shrek (2001)) to join Mulan and protect her
  • the exhilarating scene in which Mulan cunningly caused an avalanche with a cannon-rocket aimed at a gigantic mound of snow, to wipe out the Mongol Hun army
  • following the avalanche and victory, Mulan's discovery that she had been wounded by a sword swipe by evil Hun warrior Shan Yu (voice of Miguel Ferrer), and during her treatment, her identity was discovered
  • the climactic palace rooftop confrontation - a personal one-on-one combat between Shan Yu and Mulan; she was saved when Mushu launched a huge firecracker that hit Shan Yu and carried him off to his explosive death
Palace Rooftop Confrontation: Mulan vs. Shan Yu
  • the scene in which Mulan was pardoned and praised by the Emperor of China (voice of Pat Morita) for saving China, and given warrior Shan Yu's sword, while thousands of people in Shanghai bowed in thanks
Victorious Mulan Presented with Sword by Emperor
Thousands Bowed to Mulan
Mulan's Return Home to Captain Li Shang
  • Mulan's return home to her grateful family, where she was met by her dashing love interest Captain Li Shang (voice of BD Wong)

Mulan Disguised as
"Son" Ping


Mulan's Sidekick Dragon Mushu

Evil Hun Warrior Shan Yu

Mulan Lighting a Cannon to Fire at Gigantic Mound of Snow

The Cannon Blast Aimed to Cause an Avalanche to Wipe Out Hun Army Below

Mulholland Dr. (2001)

In Best Director-nominated David Lynch's surreal, mystifying, mind-twisting, dream-like modern noir about Hollywood fame:

  • the twisting and turning dual characterizations of the two female protagonists: dark-haired brunette, full-bodied amnesiac and femme fatale Rita/Camilla Rhodes (Laura Elena Harring) and wholesome, pert blonde ingenue Betty Elms/Diane Selwyn (Naomi Watts) in the film's first 3/4ths
  • the basic plot: Diane had a romanticized dream in which she imagined herself as Betty - a perky, smiling, excited, strongly-willed, successful blonde ingenue and wannabe newcomer to Los Angeles (the city of dreams) from Canada - she had won a teen jitterbug dance contest in Canada (seen during the credits) that allowed her to travel to Hollywood: ("Oh! I can't believe it!...and now I'm in this dream-place"); she was staying in the vacant apartment of her beloved red-haired Aunt Ruth (away on vacation, or possibly dead, or as Betty claimed: "She's working on a movie... that's being made in Canada"), who left her an inheritance, in a building managed by "Coco" (Ann Miller), aka Mrs. Lenoix
  • in Diane's dream of stardom (in the person of Betty), she took charge of a relationship with glamorous amnesiac brunette, later dubbed 'Rita'; they met soon after a car crash - an incident that was symbolic of the relationship between Diane/Betty and 'Rita'; a confused, bruised and frightened 'Rita' had just escaped an attempt on her life by her limo driver (due to a pair of race cars that rammed her limo on Mulholland Dr. as she went to a party at the address 6980 on the drive), and had afterwards fallen asleep in the apartment where Betty was staying
  • her dream ended when a blue box found in Betty's purse was opened with a blue key that a now-blonde Rita found in her purse (after Betty disappeared) -- a clue that the two identities of Betty and Rita were somehow integrally inter-connected; Diane was really a dirty-blonde, failed actress and junkie (now working as a waitress named Betty) - looking jaded, haggard, and beaten down, and living by herself in a cheap rented apartment
  • the mysterious blue 'Pandora's' box with a blue key signified the break between the first part of the film's dream and the second part's reality (including Diane's suicidal death)
Various (Illusionary and Real) Versions of the Same Person
Betty Elms (Naomi Watts)
Diane Selwyn (Naomi Watts)


Waitress Betty (Missy Crider) at Winkie's Restaurant
Waitress Diane (Missy Crider) at Winkie's Restaurant
Amnesiac 'Rita'
(Laura Elena Harring)
Camilla Rhodes (Laura Elena Harring) Seen by Betty/Diane as 'Rita'

Actress Camilla Rhodes
(Melissa George)
(Photo)

Camilla Rhodes
(Laura Elena Harring)
The Target of Diane's Hit-Man

Camilla Rhodes
(During Audition)

Camilla Rhodes
Kissing Camilla Rhodes
  • the scene of Betty remaking Rita to look more like her as a blonde in order to be transformed into her ideal
  • the creepy but masterfully-acted audition scene in which naive wannabe starlet Betty performed a sexually-tainted script with a tanned and aging lothario Jimmy 'Woody' Katz (Chad Everett) - when she whispered into his ear and bit his lip: ("I hate you. I hate us both")
  • Diane had a delusionary vision that Camilla (also played by Laura Elena Harring), her unrequited love interest, was visiting in her apartment - guilt-ridden, hallucinating and depressed Diane fantasized that a half naked, bi-sexual 'Rita'/Camilla was awaiting her for sex on a couch (Camilla: "You drive me wild!"); after Diane touched Camilla and they kissed for a few moments, she was coldly rejected when told: "We shouldn’t do this anymore." Diane objected: "Don't ever say that." Diane's fantasy was shattered - she had imagined how her life could have been better - unrealistically, from the beginning of the film; she had seen herself as naive starlet Betty with both a successful Hollywood career and a love affair with Camilla - the film's major storyline
  • Diane enviously watched on set as casting director Adam Kesher (Justin Theroux) had chosen dark-haired Camilla for an actress role (competing with Diane), and kissed her; Diane knew that she had been rejected and jilted, and her relationship with 'Rita'/Camilla had ended; Diane masturbated in a fevered state, crying and anguished
  • jealously and with unrequited love over her lost girlfriend Camilla, Diane was seen arranging to hire a hitman at Winkie's diner (on Sunset Blvd.) to eliminate her competition; while being served by a clumsy Winkie's waitress named Betty, Diane contracted for $50,000 to kill the voluptuous Camilla; the hitman pulled out a blue key and told Diane that once the hit had been made, she would find the key in a prearranged location

Diane's Jealousy of 'Rita'/Camilla On-Set with Director Adam Kesher (Justin Theroux)
Diane's Breakup From Camilla/'Rita'
Diane's Fevered and Anguished Masturbation
Diane's Fevered and Anguished Masturbation
Adam with Camilla - Announcing Their Engagement
Jealous Diane Arranging Camilla's Death with Hitman in Winkie's Diner
  • the monstrous character behind Winkie's diner - a disheveled homeless man - symbolic of the 'demon' that started to breed evil thoughts in Diane's disintegrating mind - to kill her girlfriend
  • the very strange scene in the nightclub called Club Silencio in which Rebekah Del Rio (as Herself) sang a Spanish version of Roy Orbison's "Crying"
  • at the end of the film, the story circled back to the beginning - now dirty blonde Diane (not 'Rita') was in a limo on its way to 6980 Mulholland Dr.
Two Different Trips on Mulholland Dr.
'Rita'
Diane
Beginning of Film
End of Film
  • in her home - with the blue key on the coffee table in front of her, Diane began wildly hallucinating, raced into her darkened bedroom, reached into her nightstand drawer for a gun, and suicidally shot herself in the head - she was found dead on her bed

Betty (Naomi Watts) and Dark-Haired 'Rita'

Betty's Audition Scene With Jimmy Katz



Diane With 'Rita'/Camilla on Couch: Their Second Lesbian Encounter

'Rita' Now a Blonde

Monstrous Creature Behind Winkie's Diner

In Club Silencio: Roy Orbison's "Crying

The Blue Key Opened Blue Box in 'Rita's' Purse


Diane's Suicide

The Mummy (1932)

In director Karl Freund's creepy, Pre-Code classic horror film:

  • the opening title screen after the credits: "This is the SCROLL of TOTH. Herein are set down the magic words by which Isis raised Osiris from the dead. Oh! Amon-Ra--Oh! God of Gods -- Death is but the doorway to new life --- We live today-we shall live again--In many forms shall we return-Oh, mighty one."
  • the scene of British archaeologists, led by Sir Joseph Whemple (Arthur Byron) and Dr. Muller (Edward Van Sloan), discovering that the mummified 3,700 year-old ancient Egyptian high priest Im-ho-tep (Boris Karloff in his second horror starring role) had not been eviscerated, but wrapped as a Mummy and buried alive in a "sensationally unpleasant manner...he struggled in the bandages"; he had been 'executed for treason' or possibly for a "sacrilege"; he had been "sentenced to death not only in this world but in the next"
  • the engraving on the wooden chest found inside the sarcophagus of the Mummy was translated - - revealing a terrible curse: ("Death, eternal punishment, for anyone who opens this casket. In the name of Amon-Ra, the king of the gods"); he had been sentenced to a live burial for a forbidden act of sacrilege - for attempting to revive a sacrificial vestal virgin whom he loved named Princess Ankh-es-en-Amon (Zita Johann), a priestess of the temple of Karnak, and the daughter of Pharoah Amenophis
  • the dramatic scene of the awakening and coming to life of the Mummy after archaeologist Sir Joseph Whemple's assistant Ralph Norton (Bramwell Fletcher) from Oxford foolishly opened the chest (out of curiosity) and removed the Scroll of Thoth with which Isis raised Osiris from the dead; after unrolling the ancient parchment, he began reading a translation of the words, causing Imhotep's slow resurrection from his coffin
  • the first movements of the animated mummy - the opening of one eye, the movement of an arm and hand, the snatching of the Scroll, and then the trailing of bandages under the door
  • the reaction of assistant Ralph Norton to the phenomenon -- instant insanity -- uncontrollable screams and hysterical laughter, as he described to Sir Joseph Whemple what had happened: "He went for a little walk. You should have seen his face"; later, Norton "died laughing, in a straitjacket"
  • the remainder of the film - set 10 years later in 1932 - when Im-ho-tep - now resurrected (and disguised) as an Egyptian man named Ardath Bey, met with son Frank Whemple (David Manners) and Professor Pearson (Leonard Mudie) and suggested that they dig to find the unplundered funerary tomb of the princess Ankh-es-en-amon - it would be the "most sensational find since that of Tutankhamen"
  • the appearance of Helen Grosvenor (also Zita Johann) - the half-Egyptian daughter of the English governor of the Sudan - who showed signs that she was somehow connected to the recent dig's findings and to Ardath Bey; she went into a trance, and after fainting, she uttered words in ancient Egyptian "not heard on this Earth for 2000 years"; she also complained to Frank Whemple about the recent archaeological excavations in Cairo that discovered the Princess: "Do you have to open graves to find girls to fall in love with?"
Helen in a Trance-Like State
Helen Uttering Ancient Egyptian Words
Ardath Bey's First View of Helen
  • the fact of Bey's belief that Helen was his reincarnated ancient Princess and forbidden lover - when he first saw her, he asked: "Have we not met before, Miss Grosvenor?"; his objective was to cause her to "awaken memories of love and crime and death," when as Imhotep, he had conducted a forbidden rite over her corpse in 18th-Dynasty Egypt (circa 1730 BC); during a visionary flashback with Helen looking into his magic pool, he recalled how he had stolen the Scroll of Toth to bring the Princess back to life, but was caught doing "an unholy thing"; as punishment, his father buried him alive, with the Scroll, to ensure that "no such sacrilege might disgrace Egypt again"; he remarked how he had suffered for her love: "My love has lasted longer than the temples of our gods. No man ever suffered as I did for you..."
  • the concluding scene of Helen's summoning by Bey, and appearing in Egyptian royal garb; his objective was to kill her on an altar, then mummify her (or embalm her in a bath of natron), place her in her original sarcophagus, and then resurrect her, and make her his immortal bride; she objected to his crazed plan: "No, I'm alive. I'm young! I won't die! I loved you once but now you belong with the dead. I am Ankh-es-en-amon, but I-I'm somebody else too. I want to live, even in this strange new world!....The bath of natron. You shall not plunge my body into that!"
Bey's Sacrifice of the Reincarnated Helen Grosvenor
She Was Saved by Praying to the Statue of Isis
The Statue of Isis with Ankh Symbol
The Scroll of Toth Burning
The Crumbling of Ardath's Face and Body
  • during the climactic scene as Ardath Bey compelled Helen to lie on the altar, he was about to stab her with a sacrificial knife, but she jumped up and prayed to a large black statue of the goddess Isis to save her and offer forgiveness and protection: ("Oh Isis, holy maiden, I was thy consecrated vestal. I broke my vows. Save me now! Teach me the ancient summons, the holy spells I've forgotten. I call upon thee as of old!"), the statue responded by raising its right arm with an emitted ball of flame from an ankh symbol in its hand to set the Scroll on fire
  • the spell was broken that kept the curse functioning, and in a stunning transformation scene, Ardath's face dried, crumbled and deteriorated, witnessed by Dr. Muller and Sir Joseph's son Frank, as Helen was saved

Mummified Imhotep

Assistant Ralph Norton Unrolling and Reading the Scroll of Toth

The Slow Resurrection of Imhotep

The Insanity of Ralph Norton

The Entrance of Ardath Bey, 10 Years Later


The Discovery of the Princess' Ancient Tomb

Helen Grosvenor

Visionary Flashback in Magic Pool:

In Ancient Egypt, Imhotep Attempted to Save The Princess

As Punishment, Imhotep Was Mummified and Buried Alive in a Nameless Grave

The Muppet Movie (1979)

In director James Frawley's great children's film:

  • the enchanting opening (a film-within-a-film) that told of the origins of Kermit in the swamp and the image of Kermit strumming a banjo and singing the Oscar-nominated "The Rainbow Connection"
  • the film's deliberately cheesy puns and jokes (i.e. turning left at the literal fork in the road)
  • the astonishing puppetry featuring such tricks as Kermit the Frog (voice of Jim Henson) riding a bicycle without any visible means of support
  • all the friendships formed between Kermit and the other bizarre Muppet cast of characters met along the way including the unfunny, clownish Fozzie the Bear (voice of Frank Oz), the silly, chicken-loving Great Gonzo (voice of Dave Goelz), and the vain, preening and explosively violent Miss Piggy (also Oz) who carried a romantic torch for Kermit
  • Miss Piggy's (also voice of Oz) ode to love at first sight for Kermit: "Never Before, Never Again"
  • pianist Rowlf the Dog's (also Henson) duet with Kermit: "I Hope That Something Better Comes Along"
  • with over a dozen celebrity cameos from Hollywood's Golden Age through to hip comedians and actors of the time, including ventriloquist Edgar Bergen (who died shortly after his scene was filmed and to whom the film was dedicated) and his dummy Charlie McCarthy, the brilliantly funny Steve Martin as a sarcastic waiter, and the insane German-accented Professor Max Krassman (Mel Brooks)
  • Gonzo's sweetly sung "I'm Going to Go Back There Someday" while the gang was stranded in the desert at night
  • the magical conversation Kermit literally had with himself: ("Well, then...I guess I was wrong when I said I never promised anyone. I promised me...")
  • the western-styled showdown between cowboy-costumed Kermit and villainous Doc Hopper (Charles Durning) who threatened: ("All right, Frog, one last chance. You're gonna do my TV commercial live or stuffed"); Kermit replied: ("Hopper, what's the matter with you? You gotta be crazy chasin' me half-way across the country. Why are you doing this to me?"); when Doc Hopper expressed his desire to own a thousand frog-leg restaurants, Kermit replied: ("I've got a dream too. But it's about singing and dancing and making people happy. That's the kind of dream that gets better the more people you share it with. And, well, I've found a whole bunch of friends who have the same dream. And, it kind of makes us like a family. You have anybody like that, Hopper? I men, once you get all those restaurants, who're you gonna share it with? Who are your friends, Doc? Those guys? I got lots of friends")
  • the deus ex machina ending when Animal grew to giant size after swallowing InstaGrow pills and scared off Doc Hopper, and Orson Welles' cameo appearance as Lew Lord, who told his secretary (Cloris Leachman): "Miss Tracy, prepare the standard 'rich-and-famous' contract for Kermit the Frog and company"
Animal
"The Rainbow Connection"
  • the climax when a rainbow shone through the studio set ceiling onto the cast, while the entire Muppet group sang a reprise of "The Rainbow Connection" ("Life's like a movie, write your own ending, keep believing, keep pretending, we did what we set out to do...") - interrupted when Sweetums (voice of Richard Hunt) burst through the film into the theater where the rest of the Muppet cast was screening the film: ("I just KNEW I'd catch up to you guys!")
  • the end credits antics of the Muppets, concluding with Animal bursting through the "THE END" screen and telling the audience: "Go home! Go home! Bye-bye!"

"The Rainbow Connection"

Fork in the Road

Kermit on Bicycle

Miss Piggy

Rowlf and Kermit's Duet

Edgar Bergen and Charlie McCarthy

Kermit's Conversation With Himself

Western Showdown

Murder, My Sweet (1944) (aka Farewell, My Lovely)

In director Edward Dmytryk's film noir detective classic:

  • the opening shot of a blinding ceiling light and sounds of accusatory voices, and then a pull-back camera to the side of detective Philip Marlowe (Dick Powell), with bandaged eyes as he was interrogated by police and then began to relate part of his tale - in flashback
  • the brooding appearance of a figure in Marlowe's office windowpane (flashing city lights reflected onto the face of brutish Moose Malloy (Mike Mazurki) standing behind him in the darkness), the love-struck ex-con hired Marlowe to look for a mysterious Velma Valento, his missing ex-lover (Velma had sold him out 8 years earlier for unknown reasons, although he still remembered her: "She was cute as lace pants")
  • Marlowe's visit at the Grayle mansion in Brentwood with elderly Mr. Grayle (Miles Mander) and his much younger trophy wife and femme fatale vamp Helen Grayle (Claire Trevor), a gold-digger (with a double identity) who was prominently showing off her legs and ankle-strap high heels; she hired the detective to locate a stolen $100,000 jade necklace (which she later revealed was never actually stolen)
  • the two amusing instances when Marlowe struck his match on a marble Cupid's back-end, and when he played hopskotch (recalling Powell's days as a dancer) on the black/white checkered-tiled floor of millionaire Mr. Grayle's (Miles Mander) mansion
  • the scene when Lindsay Marriott (Douglas Walton), an effeminate gigolo, had asked Marlowe to accompany him as a bodyguard late at night to a secluded canyon to pay off a ransom - to buy an allegedly stolen jade necklace back (during the altercation, Marlowe was knocked unconscious, and Marriott was bludgeoned to death) [Note: Later, Helen confessed that she and Marriott had set up Marlowe to be killed in the canyon, because he was a "nosy detective" and would interfere with her schemes, but her intention was to kill both Marriott and Marlowe, but her stepdaughter Ann Grayle (Anne Shirley) had arrived at an inopportune moment, and she was only able to murder Marriott]
  • the memorable narrated dialogue: ("I caught the blackjack behind my ear. A black pool opened up at my feet. I dived in. It had no bottom")
  • and the nightmare ("a crazy, coked-up dream") Marlowe experienced when pursued through a series of identical doors by a doctor with a giant hypodermic needle - and further scenes of his drug-induced hallucinations
  • also the final shoot-out in the Grayles' beach house, where mysterious, flirtatious Mrs. Helen Grayle/Velma Valento, who had set up numerous individuals over the alleged theft of her jade jewelry, was killed by her husband (who in turn killed and was killed by Moose - who had already murdered blackmailing underworld kingpin and aristocratic master-crook - psychic/quack therapist Jules Amthor (Otto Kruger) by snapping his neck); Marlowe's eyes were scorched and blinded in the process

Shoot-Out in Beach House
Philip Marlowe Blinded During Shoot-Out
  • as a witness to all the killings, Ann Grayle was able to clear temporarily-blinded Marlowe of all charges - and accompanied him home in the back seat of a taxi - where they shared a kiss


Marlowe Bandaged and Interrogated in Police Station

Moose Malloy in Marlowe's Office

Malloy and Marlowe

Femme Fatale Mrs. Helen Grayle

Marlowe's Nightmarish Hallucinations

Ann Grayle and Marlowe Kissing in Back Seat of Taxi

Murmur of the Heart (1971, Fr./It./W.Ger.) (aka Le Souffle Au Coeur)

In director Louis Malle's semi-biographical, controversial examination of desire and love in a classic coming of age story in the mid-1950s in France:

  • the scene of 14 year-old Laurent "Renzino" Chevalier's (Benoit Ferreux) two older boastful and pranksterish brothers, Thomas (Fabien Ferreux) and Marc (Marc Winocourt), entering his room and wrestling with him - and then showing off their penis sizes to him and getting a ruler to measure whose was largest: (Thomas: "Bigger than yours already and I'm still growing" Marc: "Midget, wanna see a man's dick? I might scare you"), and then being caught by the housemaid Augusta (Ave Ninchi): ("Filthy pigs! Shame on you")
  • the scene of a lecherous Father Henri (Michael Lonsdale) making a subdued pass at studious Laurent during compulsory confession, who put his hand on Laurent's shoulder, and began asking about his "wicked thoughts," and then gave a long warning about self-abuse: ("Did you abuse yourself again?...How many times?...Alone?...Do you realize how serious this is? If you don't stop these bad habits, God will turn away from you forever. We're all such weak pitiful creatures, prey to the vilest temptations of the flesh. For those who vow chastity, it's a struggle, believe me. Such temptations come with your age, and you give in to them. But watch out. You'll form habits that you'll later find impossible to break. Think of your future wife. She'll expect the same purity of you that you'll expect of her. I'm confident you'll master this. We have high expectations for you"); and then he touched Laurent's leg: ("Why, what muscles? Do you do much swimming?..You've developed a lot in a year. I bet both my hands won't even go around your thighs. See? They don't")
  • the brothel scene in the basement-bar of discotheque L'Oree du Bois (run by Madame Madeleine) where Laurent was taken by his brothers to lose his virginity to prostitute Freda (Gila von Weitershausen), who assured him as they began to undress in a bedroom: "Come sit by me. So this is your first time? Don't worry. I'm used to it. I always get the virgins. Everything'll be all right. Just relax, sweetie. I never kiss customers. That's only for my fiancee. Come here and I'll wash you...Come on. You're cute, you know that? You're big for your age. You're raring to go, I see. Dry off, sweetie. Since this is your first time, I'll take off my bra. But you'll have to help me put it back on. You think I have a nice figure? Do you like me? I've put on some weight lately. The food's so good around here. I hear your friends are paying for this. Nice of them. Is it your birthday? What soft skin! Softer than mine. You okay? Frightened? Don't you worry. I'm very gentle. Everything will be just fine. Just do as I say. I excite you a little, don't I? Let me lie down and you get on top. Ha-ha. What's the rush? There's no meter running. Ouch, that hurts! Gently. I'll give you the rhythm. You like that? Nice, isn't it? Not bad for a beginner. You're gifted. You'll be a lady-killer when you're older"); but then Laurent's brothers disrupted the love-making by barging into the room
  • the sensitively-rendered scenes between Laurent and his adoring Italian mother Clara (Lea Massari), while she helped care for him in a hotel following scarlet fever and a heart murmur; she admitted "I have no sense of modesty" standing in front of him in her bra and panties, but then after she caught him glimpsing her naked in a tub, she slapped him
  • at the hotel, Laurent became interested in two young girls: Hélène and Daphne; he pursued Hélène but she said she would wait to have sex (Laurent accused her of being a lesbian)
Laurent's Incest With His Mother Clara
  • later, Laurent impulsively kissed Clara, telling her: "I think you're great...Whatever you do, I'm on your side"; and the scene of giving comfort to her after she broke up with her lover - and they became more intimate when she helped him shampoo his hair; after getting drunk celebrating Bastille Day, Laurent helped Clara undress before a one-night incestuous love-making, when she told him: "I don't want you to be unhappy, or ashamed, or sorry. We'll remember it as a very beautiful and solemn moment that will never happen again...We'll never mention it again. It'll be our secret. I'll remember it without remorse, tenderly. Promise you'll do the same"

Penis Size Measurements

Father Henri's Pass at Laurent During Confession


Laurent With Prostitute Freda: "What soft skin"


Laurent with Helene

The Music Box (1932) (short)

In this 29-minute Oscar-winning Best Short film from director James Parrott:

  • the scenes of Transfer Company deliverymen Stan (Stan Laurel) and Ollie (Oliver Hardy) laboriously moving an uncooperative crated upright piano up a steep set of stairs to a house - purchased as a birthday gift; "the music box" continually wanted to find its way to the bottom of the steps
  • the encounters with a sassy Nursemaid (Lilyan Irene) pushing a baby carriage who asked to pass - when the two obliged and moved aside, the piano bounced back down the steps; the moment of Stan's kicking of the Nursemaid's backside after she chuckled at them insultingly ("Of all the dumb things"); and her retaliation with a punch to Stan's face - and when Ollie laughed, the Nursemaid's smashing of a large glass baby bottle over his head
  • further encounters with an irate cop (Sam Lufkin), an angry, distinguished and pompous customer Professor Theodore von Schwartzenhoffen (Billy Gilbert) not knowing the piano was a surprise birthday gift, and a helpful postman (Charlie Hall) who told the two: ("You didn't have to do that. You see that road down there?...All you had to do was to drive around that road to the top here")
  • the sequence of using a block and tackle to hoist the piano crate into the second story window, resulting in further disaster

Encounter with Nursemaid

The Narrow Step Set of Stairs

The Professor

2nd Story Window Hoist

The Music Room (1958, India) (aka Jalsaghar)

In Satyajit Ray's fourth feature film partially told in flashback - a musical drama contrasting the old traditional ways and more modern ways - and one of the first examples in Indian cinema to incorporate classical Indian music and dancing as integral and essential components, with a score composed by distinguished Bengali maestro Vilayat Khan:

  • in the film's opening under the title credits, the camera tracked forward to view an ornate swinging chandelier (with candles) in darkness, located in the center of the main character's 'music room' (jalsaghar) - where elaborate and indulgent concerts (at great expense) would be held
  • the film's theme - the downfall of the main character: an aging, melancholic Bengali feudal landlord (zamindar), Biswambhar Roy (Chhabi Biswas) in the 1920s, whose decadent aristocratic wealth was rapidly declining in his large, crumbling palace (with bats flying down the corridors of the mansion ) where he smoked a hookah on his roof, while his adjoining land was being eroded and washed away by the encroaching Padma River
Ornate Multi-Candled Chandelier in Crumbling Palace
Aging Bengali Landlord Roy on Rooftop
  • the contrast of the music-addicted, reclusive, depressed landlord to his nearby, uncultured neighbor -- upwardly-mobile, nouveau riche money-lender Mahim Ganguly (Gangapada Basu) with a more modern home (with electricity provided by a noisy electric generator) and a competing music room
  • a flashback to Roy's scheduled, ostentatious New Year's Day music concert (jalsa), held in his music room in the palace (to compete and upstage his rival Ganguly's concert), and Roy's ominous view of an insect drowning in his glass during the concert, followed by a climactic storm sequence and the news that Roy's wife Mahamaya (Padma Devi) and teenaged son Khoka (Pinaki Sen Gupta) had drowned in a capsized boat during the storm on their untimely return to attend the performance
  • Roy's planning of his first musical dance performance in his re-opened, dusty and cob-webbed music room since his family's death four years earlier; during a long take, he looked around the shabby room, noticing the worn carpets, bookcases, family portraits, and ornate chandelier covered with spiderwebs; he also looked at his antiquated image in a tarnished mirror
  • after a triumphant and successful concert in the music room, Roy foolishly and extravagantly offered his last bag of family jewels to one of the famous dancer-entertainers Krishnabai (Roshan Kumariv), to again upstage Ganguly
Drunkenly Wandering Through Music Room
  • in the sequence following, he drunkenly wandered through the now-empty concert music room, offering toasts to his forebearers: ("To you, my noble ancestors!"), and then to his own youthful portrait (marred by his sight of a large black spider scurrying across the painting's leg) ("To you, my noble self"); there was the metaphoric sight of the lights in the hallway corridor and the chandelier's candle lights being extinguished one-by-one ("All lights are out!") - darkening the entire room, causing him to become hysterical, until his aging servant Ananta (Kali Sarkar) opened the heavy curtains and let in the first rays of sunlight
  • the ending - Roy's manic and crazed decision to gallop away on his white horse to the beach, where he was reminded of his dead family when he saw a beached, broken-down boat on the shore; he was thrown off the back of the horse (his turban went flying from his head to the sand) as it charged toward the boat - he suffered lethal wounds when he struck the ground
  • the last image - a duplication of the opening image - the swinging chandelier

Roy's Ominous View of Insect Drowning in His Glass

Dusty, Music Room

Roy Viewing Himself in Mirror

After Musical Concert - Roy Offered Jewels to Dancer


Ominous Large Black Spider Scurrying Across Portrait

Extinguishing of Burning Chandelier Lights

Death of Roy - Thrown Off Horse

Mutiny On the Bounty (1935)

In Frank Lloyd's Best Picture-winning historical seafaring drama based on the novel by Nordhoff and Hall:

  • the opening foreward (title screen): "In December, 1787, H.M.S. Bounty lay in Portsmouth harbour on the eve of departure for Tahiti in the uncharted waters of the Great South Sea. The Bounty's mission was to procure breadfruit trees for transplanting to the West Indies as cheap food for slaves. Neither ship nor breadfruit reached the West Indies. Mutiny prevented it - mutiny against the abuse of harsh eighteenth century sea law. But this mutiny, famous in history and legend, helped bring about a new discipline, based upon mutual respect between officers and men, by which Britain's sea power is maintained as security for all who pass upon the seas"
  • the toast of idealistic midshipman Roger Byam (Franchot Tone), on his first cruise as a midshipman, before a two-year voyage of the Bounty to the South Pacific: "To the voyage of the Bounty. Still waters of the great golden sea. Flying fish like streaks of silver, and mermaids that sing in the night. The Southern Cross and all the stars on the other side of the world"
  • the revelation of the character of brutal and tyrannical Captain William Bligh (Charles Laughton), commander of the H.M.S. Bounty; early on, he demonstrated his cruelty by ordering the flogging of a dead man, to punish an infraction to the letter of the law; later, he told his second in command, lieutenant Fletcher Christian (Clark Gable), about how he ruled over his seamen: "They respect but one law - the law of fear...I expect you to carry out whatever orders I give, whenever I give them"
  • the scenes of Bligh's continual reign of terror - ordering further floggings, keelhaulings and other cruel disciplines; he lectured his crew: "The ship's company will remember that I am your captain, your judge, and your jury. You do your duty and we may get along. Whatever happens, you'll do your duty"
  • Bligh's oft-repeated call to his lieutenant Fletcher Christian: "Mr. Christian! Come here "
  • the beginnings of revolt against Bligh's ruthlessness, expressed by Fletcher Christian to Roger Byam: "I've never known a better seaman, but as a man, he's a snake. He doesn't punish for discipline. He likes to see men crawl. Sometimes, I'd like to push his poison down his own throat"
  • the joyous arrival in Tahiti - greeted by the islanders and the chieftain
Arrival in Tahiti - Friendly Islanders
  • in Tahiti, Fletcher Christian's growing love affair with the island chieftain Hitihiti's granddaughter Maimiti (Mamo Clark) - including their love scene in the jungle
  • the famous confrontational mutiny scene when Christian finally had enough and decided to rebel after seeing crew members in chains - he raised his fist and challenged Bligh: "Now you've given your last command on this ship. We'll be men again if we hang for it"
  • Captain Bligh was forced into a small boat with limited supplies, as Christian spoke: "I'll take my chance against the law. You'll take yours against the sea"
  • Bligh threatened revenge against the mutineers: ("Casting me adrift 3,500 miles from a port of call. You're sending me to my doom, eh? Well, you're wrong, Christian! I'll take this boat as she floats to England, if I must! I'll live to see you - all of ya - hanging from the highest yardarm in the British fleet")
Mutiny!
Fletcher Christian: "Now you've given your last command on this ship. We'll be men again if we hang for it."
Captain Bligh Set Adrift
Bligh: "I'll live to see you - all of ya - hanging from the highest yardarm in the British fleet"
  • the conclusion: Bligh returned to Tahiti on the H.M.S. Pandora and took Roger Byam prisoner with several other crew members, while Fletcher Christian and his followers left to find refuge elsewhere (on nearby uninhabited Pitcairn Island) after deliberately crashing the Bounty into the rocks and setting in on fire
  • the stirring speech of Roger Byam at his court-martial trial in England, before he was pardoned, taking into account the dehumanizing treatment of the men by Bligh: ("These men don't ask for comfort. They don't ask for safety...They ask only (for) the freedom that England expects for every man. If one man among you believed that - one man! - he could command the fleets of England. He could sweep the seas for England if he called his men to their duty, not by flaying their backs but by lifting their hearts - their... that's all")

Midshipman Roger Byam's Toast to the Voyage of The Bounty

Captain Bligh
(Charles Laughton)


Captain Bligh with Lt. Fletcher Christian: "I expect you to carry out whatever orders I give..."

Bligh's Lecture to His Crew: "I am your captain, your judge, and your jury"

Fletcher Christian's Early Feelings About Bligh: "He's a snake"


Fletcher Christian's Love Affair with Maimiti


Roger Byam's Court-Martial Trial Speech

Last View of Fletcher Christian with Wife (and baby) on Pitcairn Island

My Darling Clementine (1946)

In John Ford's western classic - with title credits underscored by the singing of the folk song "(Oh My Darling) Clementine" by a cowboy chorus - about the legendary Wyatt Earp and his participation in the OK Corral Gunfight in Tombstone, Arizona Territory in 1881:

  • the tale of the four Earp brothers - in the early 1880s, during a cattle drive through Arizona enroute to California; and the first of many encounters with Old Man Clanton (Walter Brennan) and his Clanton gang of scurrilous gunfighters - who met with Wyatt Earp (Henry Fonda) on the trail and told him of the nearby town of Tombstone
Old Man Clanton
(Walter Brennan)
Young James Earp
(Don Garner)
(l to r): Morgan, Wyatt, Virgil Earp
  • the visit of three of the four Earp brothers to the uncivilized, wild town of Tombstone that evening - a lawless town (without a marshal) - evidenced in the early scene when Wyatt Earp's haircut with a barber (Ben Hall) was interrupted by a shooting outdoors by drunken Indian Charlie (Charles Stevens) (Wyatt: "What kind of a town is this anyway? Excuse me ma'am. A man can't get a shave without gettin' his head blowed off") - and Wyatt was forced to subdue the man
  • the startling discovery of James' body after a return to the Earp campsite - Wyatt suspected that the Clantons had rustled the Earp cattle and murdered him, and warily spoke to them in town; shortly later, Wyatt was at his younger brother's gravesite (with a Monument Valley backdrop) (BORN 1864 DIED 1882) - and decided to seek revenge, by becoming the town's marshal (and making his surviving brothers his deputies)
  • Wyatt's friendship with hot-tempered, well-educated gambler and saloon chief Dr. John Henry "Doc" Holliday (Victor Mature), suffering from TB (or "consumption"), whose mistress was hot-blooded Mexican saloon dancer-singer Chihuahua (Linda Darnell); Wyatt first encountered Chihuahua when she was helping signal other poker players about his cards, and he angrily dunked her in a horse's trough
  • the scene of a half-drunk Shakespearean actor Granville Thorndyke (Alan Mowbray) tormented by the Clantons and forced to deliver the famous Hamlet soliloquy atop a saloon table
  • the image of Wyatt balancing himself on the two hind legs of his chair on the porch in Tombstone, as the stagecoach from Tucson pulled into town; the stage was carrying schoolteacher Clementine Carter (Cathy Downs) (Note: she was "Doc's" former ex-lover/fiancee from Boston, who had arrived in town to locate him, but he spurned her)
Earp on Porch
Arrival of Clementine Carter
Spurned by Ex-Fiancee "Doc"
  • the powerful sequence: in his rented room, "Doc" gazed at his medical doctor's diploma - he took a drink of whiskey (his face reflected in the glass), then sarcastically spit out the words: "Dr. John Holliday," and smashed his whiskey shot glass into the frame, shattering the glass and the reminder of what he used to be
  • the scene of Wyatt Earp majestically escorting Clementine to a church service (dedicating the laying of the foundation of a new church to be built), and the church's open-air social dance - a fundraiser ("Sashay back and make room for our new Marshal and his lady-fair")
Wyatt and Clementine at the Church Dance
  • the telltale solid silver-cross necklace/medal (bought by the murdered James Earp to give to his blonde sweetheart Cory Sue) that was worn by Chihuahua - she at first claimed it was a gift from "Doc" (to cover up her indiscretions) - but then admitted it had been given to her by the man who killed Wyatt's brother James - Billy Clanton (John Ireland)
  • the scene of Billy Clanton shooting and mortally-wounding Chihuahua (as he overheard her implicating him in the murder of James, as she spoke the words: "It was Billy Clanton"), and despite efforts of "Doc" to save her with surgery, she soon died
The O.K. Corral Shootout
The Standoff
Wyatt's March Down Main Street
"Doc's" Death
  • the sequence of the historic OK Corral shootout climax against the Clantons led by Old Man Clanton, following the cold-blooded killing of Wyatt's brother Virgil Earp (Tim Holt); after the shootout that decimated the Clantons, Doc Holliday's affliction weakened him and made him vulnerable, and he died during the shoot-out
  • and at film's end -- Earp bid goodbye to Clementine before riding off away from the camera toward the rock monuments in the distance in the last image: ("Ma'am, I sure like that name - Clementine") - he was leaving town and joining up with his brother Morgan Earp (Ward Bond)

Disruption in Tombstone During Wyatt's Haircut

Wyatt Confronting the Clantons

Wyatt's Visit to James' Grave

Chihuahua
(Linda Darnell)


"Doc" Holliday
(Victor Mature)


Actor Thorndyke Reciting Shakespeare in Saloon For Clantons

"Doc's" Destroyed Past as Medical Doctor

Chihuahua's Anger at Earp and Jealousy Toward Clementine

Wyatt Noticing The Telltale Medal Around Chihuahua's Neck

Chihuahua Shot and Mortally Wounded by Billy Clanton



Ending: Wyatt's Goodbye to Clementine

My Fair Lady (1964)

In George Cukor's Best Picture-winning screen musical (from the Lerner & Loewe Broadway play of George Bernard Shaw's Pygmalion):

  • the character of arrogant linguistic professor Henry Higgins (Oscar-winning Rex Harrison) with tremendous style and wit as he both talked and sang his lines, especially in his first song: "Why Can't the English Learn to Speak"
  • Cockney flower vendor Eliza Doolittle's (Audrey Hepburn) initial reaction to Higgins' statement that her birthplace was in "Lisson Grove": "I'm a good girl, I am!"
  • Professor Higgins' wager with Colonel Pickering (Wilfrid Hyde-White): "Well, sir, in six months, I could pass her off as a duchess at an Embassy Ball" - he bet that he could transform Eliza from a disheveled flower seller to a well-dressed and refined lady with proper diction in only six months
  • with her interest piqued in becoming a lady and leaving behind her untutored manners, Eliza sang and danced about her dreams in "Wouldn't It Be Loverly?"
  • the screams of protest when Eliza was dragged upstairs to the bathroom by Higgins' maid Mrs. Pearce (Mona Washbourne) and forced to take a steaming hot bath ("You know, you can't be a nice girl inside if you're dirty outside")
  • spiteful and hateful toward her harsh teacher Henry Higgins, Eliza vengefully sang: "Just You Wait" - a fantasy about her asking the King on Eliza Doolittle Day for Henry Higgins' head (and execution)
  • the diction lessons in the laboratory, when Higgins delivered training to Eliza and laboriously forced her to repeat from a book the immortal words: "The rain in Spain stays mainly in the plain" - and the joyous celebration when she finally made a real breakthrough, singing the duet with Higgins: "The Rain In Spain/I Think She's Got It"
  • the Ascot Race Track scene when Eliza appeared dressed in a white gown and hat with an accent or splash of red - but her dignified English lapsed into colorful street language ("Done her in") - and it was humorously interpreted as the "new small talk" - but then during the second race, she excitedly shouted out as a faltering horse passed: "Come on, Dover! Move yer bloomin' arse!", causing other horrified patrons to faint or gasp
  • the high-society ball scene of Eliza's coming out sequence in a beautiful white evening gown, looking like a princess; Eliza's successful attendance at the ball caused socialite Freddy Eynsford-Hill (Jeremy Brett) to become infatuated with Eliza (he danced with her), and afterwards, he sang a reprise of: "On the Street Where You Live"; Eliza responded frustratedly with: "Show Me" - needing to be shown demonstrative love instead of sappy words ("...Tell me no dreams filled with desire. If you're on fire, show me!...")
At the High Society Ball
"On the Street Where You Live"
"Show Me"
  • the next morning, Higgins was baffled by Eliza's disappearance:: "Women are irrational, that's all there is to that! Their heads are full of cotton, hay, and rags! They're nothing but exasperating, irritating, vacillating, calculating, agitating, maddening and infuriating hags" - Higgins sang-talked to Pickering: "Why Can't A Woman" - wondering why women didn't have the same "honest, so thoroughly square, eternally noble, historically fair...so pleasant, so easy to please...so friendly, good-natured and kind...so decent" qualities that men have
  • Eliza's telling-off and spiteful rejection of Higgins - she surprised him with her decision to marry Freddy - after she had had enough of his bullying and big talk, in the song "Without You" ("There'll be spring every year without you. England still will be here without you"); afterwards, when seriously thinking of letting Eliza go, Higgins begrudgingly acknowledged his love for her presence in "I've Grown Accustomed to Her Face" while walking home: "I've grown accustomed to her face...She almost makes the day begin..."
  • the film's concluding sequence, when Eliza suddenly reappeared in Higgins' study, and told him in her Cockney accent: ("I washed my face and hands before I come, I did"); and then he delivered the final, contrary, misogynistic closing line to her: "Eliza? Where the devil are my slippers?" as he leaned back and pushed his hat forward onto his forehead
The Ending: Higgins and Eliza Back Together
"I've Grown Accustomed to Her Face"
"I washed my face and hands before I come, I did"
"Eliza? Where the devil are my slippers?"

Linguistic Prof. Henry Higgins (Rex Harrison)

Eliza Doolittle (Audrey Hepburn) - Cockney Flower Vendor - "Wouldn't It Be Loverly?"

Eliza Refusing to Take a Hot Steamy Bath

Eliza's Vengeful Fantasy: "Just You Wait"

Eliza: "The Rain in Spain"

At Ascot Races: "Come on, Dover! Move yer bloomin' arse!"


"Why Can't a Woman"

"Without You"

My Favorite Wife (1940)

In Garson Kanin's screwball comedy hit, again pairing Irene Dunne and Cary Grant after their successful The Awful Truth (1937), and remade (unsuccessfully) with Marilyn Monroe as Something's Got To Give (1962):

  • the opening court scene in which Judge Bryson (Granville Bates) declared that 'widowed' lawyer Nick Arden's (Cary Grant) wife of seven years, Ellen Wagstaff Arden (Irene Dunne), was declared legally dead after a seven year absence (and presumed drowned in the Pacific Ocean); immediately, Nick was allowed to remarry second wife-bride Bianca Bates (Gail Patrick)
  • the scenes of Ellen's surprise reappearance at her home after seven years, where she spoke to her two young children who didn't know her, Tim (Scott Beckett) and Chinch (Mary Lou Harrington), and Nick's mother Ma (Ann Shoemaker)
  • the subsequent honeymoon scene at Yosemite Park lodge, when newly-married, 'widowed' lawyer Nick Arden entered the lodge elevator, and as the door closed taking him and newlywed bride Bianca up to Suite 'C', Nick caught a surprise glimpse of his first wife Ellen, supposedly legally dead - however, she had unexpectedly returned after being shipwrecked for seven years on an island before being rescued by a Portuguese freighter, and was trying to track him down (at the same locale where they had honeymooned seven years earlier)
  • the frustrations experienced by a perturbed Bianca, who thought her erratic and strange-acting husband (full of variety of excuses as he tried to get together with Ellen and avoid his husbandly duties) was purposely avoiding her on their honeymoon night, especially when, almost immediately, he declared that he needed a shave in the hotel's barber shop: ("You know what I need?...A shave...I'll go down to the barber shop. Be right back...Aw, I feel like a hairy ape...well, I don't feel right unless I shave...")
Nick to Avoid Bianca: "You know what I need?...A shave..."
Nick's Ordering of a Second Room - Suite 'A' for Ellen
Nick's Faked Phone Call to Bianca
  • Nick's second scene with the confused hotel desk clerk when he snuck away from Bianca and ordered a second room, Suite 'A', for another wife - Ellen: ("I'd like to have another room"), and the clerk's reaction: ("What a man!")
  • the scene of Nick's faked phone call to Bianca (Nick: "Something's come up" Bianca: "Why don't you come up?") that he had left the hotel, was in Carmel and enroute by plane to San Francisco (it was "a matter of life or death"), but then he ran into her as he fled from the phone booth - she eyed him suspiciously
  • upon their return home from the honeymoon, Nick was having trouble telling the truth to Bianca ("My wife's come back"), and he decided to not tell his children that Bianca was their step-mother; Ellen also tormented and humiliated Nick and Bianca, by pretending to be a Southern-accented, obnoxious visiting friend of the family
  • the revelation during a late-night visit by an insurance adjuster/officer Mr. Johnson (Hugh O'Connell), who had paid out Ellen's American Life Accident insurance policy, that it was rumored (unverified) that there may have been a second person on the island with Ellen, named Stephen Burkett (Randolph Scott), who was reported drowned (and rescued) at the same time; Nick was further inflamed by the fact that Ellen and Stephen had allegedly called themselves "Adam" and "Eve" on the island
  • crazed by jealousy and feeling like Ellen had deceived him, Nick tracked down Burkett, finding him to be a handsome, virile, health-nut and athletic diver and pool swimmer at the posh Pacific Club - when Nick first spotted Burkett on the diving board, a woman came up to him and asked: ("Young man? Is that Johnny Weissmuller?"), and Nick jealously replied: ("No, I wish it were")
  • the scene of Ellen unsuccessfully trying to fool Nick by recruiting a mousy, bald-headed shoe salesman (Chester Clute) to claim that he was the "Adam" character while they were on the island
  • the courtroom scenes, after Nick was arrested for bigamy, with befuddled Judge Bryson confused by the complications of the case, who had already declared Ellen legally dead, annulled the first marriage, and approved the second marriage; after he annulled Nick's second marriage, Bianca added that Nick was "legally dead" to her after punching him in the face (and causing a bloody nose); the judge noted: ("I'd like to tell my wife about this case. She thinks all my cases are dull")
The Complicated Courtroom Case
Nick Charged With Bigamy
Nick Arrested for Bigamy
Before the Judge
Judge Bryson
(Granville Bates)
  • the final reconciliation scene in their mountain cabin between a still non-committal Nick with Ellen, who were sleeping in separate rooms; after she threatened that he take a sixty-day cruise and come back around Christmas (Ellen: "Well, that's not so long. Let's see, November, December, 23, 2...it could be just about Christmas time. You come back and talk to me about it then. We'll have a lovely Christmas. After all, what's 59 days more?"), he left, but returned soon after dressed up as Santa Claus to join her in her bedroom rather than sleep separately in the attic; he pulled down his fake beard and wished her a "Merry Christmas!" [The words "Good night" were written in white letters on a black screen as the film ended]

In Court: Nick Arden's (Cary Grant) Remarriage to Bianca (Gail Patrick)

Ellen's Surprise Reappearance at Her Home - When Husband Nick Was Away on His Honeymoon

At Yosemite Lodge - Nick Arden with 2nd Wife Bianca

Nick's Glimpse of First Wife Ellen From Elevator

Ellen (Irene Dunne) - In the Lobby of the Lodge

Ellen Pretending to Be Southern Friend of the Arden Family

Life Insurance Adjuster

Ellen's "Adam" - Virile Stephen Burkett (Randolph Scott)

Shoe Salesman Masquerading as "Adam"


Last Scene: Nick Dressed as Santa

My Left Foot (1989, UK)

In Jim Sheridan's biopic based on Christy Brown's autobiography - a disabled, working-class Dubliner who was afflicted with cerebral palsy:

  • the opening scene (interspersed with flashbacks into Christy's life) just before adult Christy Brown (Oscar-winning Daniel Day-Lewis), and gifted painter, fundraiser and writer (with his left foot), was to receive an award at a charity-event/benefit; and his request of nurse-caretaker Mary Carr (Ruth McCabe) to provide him with a light for his cigarette - and his tirade at her for refusing: ("I don't need a f--kin' psychology lesson. I just need a f--kin' light"); and then his anger later expressed at her for walking off: ("'Again some time.' I heard that before, Mary. Why is it always some f--king time? Mary, Stay! Stay!")
  • the moving scenes of the young and paralyzed nine or ten year-old Christy's (Hugh O'Conor) childhood, when he made his first mark on a piece of slate with chalk wedged between the toes of his left foot, then painfully scratched his first word ("MOTHER") on the parlor floor
Piece of Slate
Christy's First Marks
First Word: "MOTHER"
  • the scene in which he struggled to get down the stairs to save his unconscious mother (Brenda Fricker) who was experiencing labor
Saving His Unconscious Mother
  • the scenes of his participation in street-soccer (on his 17th birthday) and other games with his peers - often carted around in a wooden wheelbarrow
  • the scenes of Christy's struggle to engage in speech therapy with his teacher Dr. Eileen Cole (Fiona Shaw), for which he developed an affection
  • the scene in a restaurant during dinner when a drunken Christy told his own speech therapy teacher Dr. Eileen Cole: "I love you, Eileen...I really love you. I love you all"; she replied that she loved him too - but it was only a declaration of platonic love; then she told him the news that she had become engaged to Peter, and would marry him in six months; Christy reacted angrily and hurt, and slowly blurted out the sarcastic: "Con-grat-u-la-tions, Peter and Eileen... on the won, wonderful news. I'm glad you taught me how to speak so I could say that, Eileen"; he then rejected Eileen's declaration of love, by spitefully replying: ("Ah, you mean platonic love. I've had nothing but platonic love all me life. Do you know what I say? F--k Plato! And f--k all love that's not 100% commitment!"); and then Christy became hysterical when he was about to be removed and wheeled out out of the restaurant by Peter: (Christy shouted out as he banged his head on the table: "Wheel out the cripple! Wheel out the cripple!"), and he grabbed the tablecloth with his teeth; eventually Eileen yelled: "Stop it!"
Embarrassing Restaurant Dinner Scene
With Dr. Eileen Cole and Her Fiancee Peter
  • Christy's tortured suicidal attempt with a razor held between his toes, after writing a suicide note: ("All is nothing, therefore nothing must end")

Afflicted Christy Brown Receiving Award

Young Paralyzed Christy

Christy's Participation in Street Soccer

His Ability to Paint

Schooling and Speech Therapy


Suicide Note and Attempt to Kill Himself With Razor Blade


Hopeful Signs of Romance with Christy's Nurse-Caretaker Mary Carr (Eventually His Wife)

My Little Chickadee (1940)

In Edward Cline's western comedy, the only film pairing both W.C. Fields and Mae West, with the backdrop of the 1880s American West:

  • the set-up: the journey of Chicago singer Flower Belle Lee (Mae West) westward to see her relatives in the town of Little Bend: her Aunt Lou (Ruth Donnelly) and Uncle John (Willard Robertson)
  • the stagecoach holdup of a gold shipment by a "Masked Bandit", who ordered Flower Belle and a town gossip and prudish busybody Mrs. Gideon (Margaret Hamilton) out of the coach; Flower Belle was annoyed: "Don't mind being held up, but I don't like the inconvenience"; as the Bandit rode off with the gold in his saddlebags, he grabbed Flower Belle onto his horse for an abduction - and nocturnal rendezvous
  • and later, Flower Belle's expulsion from Little Bend by a judge (Addison Richards) for her indifference, sauciness and her romance with the mysterious masked bandit ("On account of her carryings-on in Little Bend, she was asked to leave town and she will not be permitted to return until she is respectable and married"); on the train to Greasewood City, she met con-man Cuthbert J. Twillie (W. C. Fields), who introduced himself by presenting his card, with the subtitle "Novelties & Notions"; he complimented her name: "Flower Belle. What a euphonious appellation. Easy on the ears and a banquet for the eyes"; she replied: "You're kind of cute yourself"
  • the sequence of an Indian attack on the train - with arrows whizzing by Flower Belle; with two six-shooters she fired back: "They can't get away with this. They can't intimidate me...This is better than a shooting gallery"
  • after the Indian attack, Twillie held and kissed Flower Belle's hand, and exclaimed: "Ah, what symmetrical digits! Soft as the fuzz of a baby's arm"; Twillie impulsively proposed: "Is it possible for us to be lonesome together?"; moving over to sit next to her, he promised: "I will be all things to you: father, mother, husband, counselor, Jackanapes, bartender...My heart is a bargain today. Will you take me?" - believing he was rich after eyeing his bag full of money (it only contained phony oil-well coupons), she accepted Twillie's proposal of marriage - with a roll of her eyes: "I'll take you, and how"
  • the scene of their marriage aboard the train - a phony sham ceremony officiated by one of the passengers Amos Budge (Donald Meek), a gambler who looked and acted like a minister
  • in Greasewood City, Flower Belle insisted that they have separate rooms when they checked into the hotel, although he attempted to sweet talk her with cute names: "My little dove pie....My little sugar-coated wedding cake"; he realized when she shut her door on him: "Seems to me I'm getting the old heave-ho"
  • after boasting about bravely facing the Indians attacking the train, Twillie was made Sheriff by the corrupt town boss and saloon owner Jeff Badger (Joseph Calleia); Badger and the town's crusading newspaper editor-reporter Wayne Carter (Dick Foran) both were attracted to Flower Belle
Teaching School
Twillie in Bed With a Goat
Kissing the "Masked Bandit"
  • when the town's schoolteacher fell ill, Flower Belle assured everyone that she would be a good schoolmarm teaching arithmetic, and told her rowdy class of males: "I was always pretty good at figures, myself"
  • the attempts of Twillie to 'consummate' his marriage to Flower Belle, who found himself making love to a goat in their bed ("Darling, have you changed your perfume?")
  • the sequence of Twillie accused of being the masked bandit (a disguise he used to get into her boudoir); he was strung up by a lynch mob and delivered his last wish ("I'd like to see Paris before I die. Philadelphia will do"), but was saved from hanging by Flower Belle's intervention (she shot at the noose-rope); it was revealed that Badger was the masked bandit after she kissed him ("That man's kiss is like a signature")
  • at the conclusion, Flower Belle told other possible suitors: "Any time you got nothin' to do and lots of time to do it, come up"; Twillie delivered his last line to Flower Belle as he left town to go East to attend to his "hair" oil wells: "If you get up around the Grampian Hills, you must come up and see me sometime" (Mae West's signature line); she responded: "Aw, yeah, yeah, I'll do that, my little chickadee" (W.C. Fields' catchphrase)
"...you must come up and see me sometime"
"...I'll do that, my little chickadee"
THE END
  • the camera's last image -- Flower Belle sashaying her bottom as she ascended the stairs (the words "THE END" were super-imposed on her rear end)

Flower Belle Kidnapped by the Masked Bandit After Stagecoach Holdup

Twillie to Flower Belle: "What a euphonious appellation. Easy on the ears and a banquet for the eyes"

Indian Attack: Flower Belle Firing Back

On the Train: Twillie to Flower Belle: "What symmetrical digits!"

Response to Twillie's Marriage Proposal: "I'll take you, and how"

Twillie's Bag "Full of Money"

The Ceremony

At the Greasewood City Hotel: "Seems to me I'm getting the old heave-ho"

Flower Belle Saving Twillie From a Hanging

My Man Godfrey (1936)

In director Gregory La Cava's landmark sophisticated screwball comedy, set during the Great Depression:

  • the set-up to the film: blonde, spoiled, dingbat socialite Irene Bullock's (Carole Lombard) discovery of a "forgotten man": Godfrey "Smith" Parke (William Powell), a hobo at the city dump during a scavenger hunt, so that she could win a game and defeat her domineering older sister - brunette Cornelia Bullock (Gail Patrick); when he was presented in the lobby of the Waldorf-Astoria as her 'find' - Godfrey contemptuously addressed the snobbish crowd after Irene had won the game: "My purpose in coming here tonight was two-fold: firstly, I wanted to aid this young lady. Secondly, I was curious to see how a bunch of empty-headed nitwits conducted themselves. My curiosity is satisfied. I assure you it'll be a pleasure to go back to a society of really important people"
  • the scene of Irene's subsequent hiring of him to be her family's butler (Irene to her mother Angelica: "He's gonna work for us"); he would be working in the home of the Bullocks, led by Alexander (Eugene Pallette) and his ditsy, scatter-brained wife Angelica (Alice Brady)
Some Members of The Bullock Family
Alexander and Angelica
Irene
Cornelia
  • the famous scene of Angelica's do-nothing and pretentious protege Carlo (Mischa Auer) lamenting and moaning about financial ruin: ("Oh, Money, money, money! The Frankenstein Monster that destroys souls")
Carlo: "Oh, Money, money, money!"
Carlo's Gorilla Imitation
  • the scene of Carlo also performing a gorilla imitation to cheer up Irene; he hunched over, ambling and loping around the living room, and jumping up and over the furniture and onto the window frame; Irene's phony fear reaction to his ape mimickry: (""He frightens me"), while Alexander joked: ("Why don't you stop imitating a gorilla and imitate a man?...Someday I'm going gorilla-hunting and I won't miss")
  • the sequence of Cornelia's attempts to frame Godfrey for theft, by planting her expensive pearl necklace under his mattress; when detectives arrived to search the bedroom, Cornelia suggested the obvious place: "Look under the mattress!" but when the pearls weren't found there, she exclaimed: "They must be there!...why I-I read that that's where people put things when they steal them" - she obviously incriminated and disgraced herself
  • after a sojourn of the Bullock sisters in Europe, Irene had become more hungry for affection from Godfrey; when he mentioned that he was considering leaving his job, Irene faked swooning to get his attention; Godfrey hauled the lovesick girl up on his shoulder, bemoaning the insane, anarchic Bullocks: "Oh, this is the craziest family"; he carried the limp rag-doll upstairs into her bedroom, dumped her on a bed, and then realized that she was faking (he saw her sit up in bed in a mirror's reflection); he tossed Irene under the cold water of a shower fully clothed ("Let that be a lesson to you"); she replied receptively: ("Oh, Godfrey, now I know you love me"); when he rejected her statement: ("I do not love you and you're getting me all wet"); Irene continued: ("You do or you wouldn't have lost your temper"); Irene was jubilant to her mother who appeared: ("Oh Mother! Godfrey loves me! He put me in the shower"); as a result of the embarrassing incident, Godfrey announced his resignation from working for the wacky family
After Fainting, Godfrey Carried Irene Upstairs to Bedroom
Realizing That Irene Was Faking
Placing Her in Shower
Irene Reacting to Cold Shower
Irene: "Now I know you love me"
Godfrey Announcing His Resignation to Angelica
  • as he was departing, Godfrey delivered surprise news to the financially-destitute Bullock family that through financial ventures of his own, he had saved them; he then described the lessons he learned from the family: "I've been repaid in many ways. I learned patience from Mr. Bullock. I found Mrs. Bullock at all times, shall we say, amusing....(To Cornelia) You taught me the fallacy of false pride. You taught me humility....Miss Cornelia, there have been other spoiled children in the world. I happen to be one of them myself. You're a high-spirited girl. I can only hope that you use those high spirits in a more constructive way. And so, good-day"
  • the final sequence, when Godfrey was now running a luxurious and fashionable nightclub, aptly named "The Dump"; Irene trailed after him, announced her intention to remain with him, and vowed her love: ("You're my responsibility and someone has to take care of you....You love me and you know it. You know, there's no sense in struggling against a thing when it's got you. It's got you and that's all there is to it. It's got you!"); she talked him into instantly getting married in a civil ritual with a judge, and tried to be reassuring: ("It may get me into a lot of trouble, but, uh, I guess I've known your family long enough to take a chance") - and then she spoke the final lines of the film before the ceremony: ("Stand still, Godfrey, it'll all be over in a minute")

Hobo/"Forgotten Man" at City Dump With Irene Bullock

Godfrey's Speech In Lobby of Waldorf-Astoria

Godfrey as the Bullock Family's New Butler, With the Maid Molly (Jean Dixon)


Scheming Cornelia Suggesting that Detectives Look Under Godfrey's Mattress For Her Stolen Pearl Necklace




Departing Godfrey Saving the Members of the Bullock Family From Financial Ruin


Irene to Godfrey: "You love me and you know it"

Concluding Marriage Ceremony to a Befuddled Godfrey

My Neighbor Totoro (1988, Jp.) (aka Tonari no Totoro)

In director Hayao Miyazaki's fanciful and imaginative anime tale about friendship between two young daughters in late 1950s Japan - the director's breakthrough film:

  • the two main characters - young protagonist sisters: 10-year-old Satsuki and 4-year-old Mei, daughters of Anthropology Professor Kusakabe in Tokyo, living in the rural countryside while their mother was recuperating in a hospital of an illness
  • in the mystical forest around the farmhouse, Mei discovered a menagerie of small, friendly house 'sprites' (or spirits), known as Totoros (gods of the forest) (pronounced toe-toe-ro); the three spirits were: (1) a translucent, small white creature (a Chibi Totoro), and (2) a medium-sized blue creature (a Chuu Totoro); and the third gray creature (an Oh Totoro), the biggest and eldest, the King or Guardian of the Forest, who was found sleeping inside a large camphor tree
  • one rainy night, as the two sisters (Mei was clinging onto Satsuki's back) waited at a bus stop, Oh Totoro revealed himself with only a leaf on his head for protection against the rain; Oh Totoro handed the girls a package (filled with acorns) before he left
  • after planting the acorns in a garden, the girls watched one night as the seedlings sprouted and a new forest of acorn trees quickly grew up
  • the first appearance of the "cat bus" - a 12 legged, feline vehicle, one of the magical and whimsical creatures in the forest; it had a wide mouth and face, was striped, and slightly resembled the "Cheshire Cat" in Lewis Carroll's Alice in Wonderland
The "Cat Bus"
  • the later reunion of the two sisters, who were transported in the bus to the hospital to see their ill mother Yasuko

(l to r): Mei and Satsuki

Two Small, Rabbit-Eared House Spirits or Totoros

At the Bus Stop: Oh Totoro

The Fast-Growing Acorn Trees in Their Garden

Satsuki and Mei On The Way to Hospital to Visit Their Mother

My Night with Maud (1969, Fr.) (aka Ma Nuit Chez Maud, or My Night at Maud's)

In Eric Rohmer's 3rd film of his 'Six Moral Tales' - an intelligent, dialogue-rich and dramatic romantic comedy about life's chances and choices:

  • the opening sequence of unnamed main character Jean-Louis ("J-L") (Jean-Louis Trintignant), a 34 year-old smug, conflicted and uptight Catholic civil engineer working for Michelin, who attended Christmas Eve Mass at a cathedral in Clermont-Ferrand; during the service, he spotted a beautiful 22 year-old blonde girl Francoise (Marie-Christine Barrault), a lab assistant; in voice-over, he obsessively vowed to settle down and marry her (without really knowing her) as his ideal woman: "I suddenly knew, without a doubt, that Francoise would be my wife"; afterwards, in his car, he trailed after the elusive female on her moped, but lost sight of her behind a slow-moving vehicle
  • the discussion between the self-deceiving and hypocritical J-L and his old Marxist high-school friend Vidal (Antoine Vitez), a university philosophy teacher; one of their discussion subjects was Pascal's wager (playing the odds regarding God's existence because it was wiser to believe - since if you're right, you go to heaven, but if you're wrong, you lose nothing)
  • the dinner conversation between J-L, Vidal and his free-thinking, wise and skeptical brunette friend - a beautiful, vivacious divorcee single mother and pediatrician named Maud (Françoise Fabian) - a secular and modern female
  • the circumstances (a heavy snowfall) that forced J-L to stay over at Maud's place when she asked for "bedside company"; and the flirtatious sequence in Maud's bedroom where she temptingly modeled a skimpy nightshirt to "show off" her legs, as she admitted: "My only means of seduction"; J-L responded: "Not the only means, but the best!"
  • Maud's statement that J-L had a complicated and conflicted nature: "What troubles me the most about you is you're side-stepping. You don't face your responsibilities. You're ashamed of being a Christian. And ashamed of being a Don Juan!"
The Lengthy Bed Scene Conversation
Between J-L and Maud
  • the lengthy scene of Maud and J-L's self-reflective, challenging conversation about sex and morality with him, including Maud's baring of her soul about how she was unlucky in love - she sadly remembered and spoke about her marriage, her own dead lover (killed in an icy car crash), and her former husband's mistress: "You really want to hear my life story? I had a lover and my husband, a mistress. She was a little like you: very moral, Catholic. Not a hypocrite, a sincere believer. But I hated her so much. She was crazy about him. He's a guy that drives girls crazy. I was crazy myself. I made him break with her. That was my one good deed. She probably wouldn't have married him"
  • the revelation that Maud discarded her nightshirt and slept in the nude ("I always sleep naked - nightclothes get so twisted around"); he reluctantly joined her in the bed when she urged him to forsake an uncomfortable armchair: "Don't be childish. Come lie next to me. On the blankets. Or under - if I'm not too ugly ....You'll have a cramp. Are you scared? Of yourself? Of me? I swear I won't touch you. I thought you had self-control"; he laid next to her on top of a thick, white-furred coverlet (although he was clothed), because it was too cold and awkward to sleep in a nearby armchair, and then tried to cover himself with the blanket
  • early the next morning, Maud's clumsy attempt at seduction and request for sex from J-L, but he signaled that he wanted to remain chaste; she jumped naked from bed and dismissed him after he resisted her: "I like people who know what they want"; soon after, he left her apartment
  • later, the circumstances that forced J-L to spend a chaste, boring, and uninteresting night at Francoise's place - a major contrast to his night with Maud
  • the outdoor sequence of Francoise's halting confession to J-L that she had very recently been engaged in an affair with a married man: ("I have a lover...until recently...I loved him. Madly. I could say I've forgotten him but you can't forget someone you've loved. We parted just before I met you...It's all over. We'll never see each other again"); she was forgiven by J-L when he admitted he also had affairs: ("Listen, Francoise. We can wait as long as you want. You're wrong if you think it changes anything for me. I have no right. Actually, I'm happy. It's true. I felt uneasy before. Some of my affairs lasted a very long time. Now we're even....I'll make a confession: The morning we meet, I'd just left a girl. I'd slept with her"); they mutually agreed to never discuss their past sexual histories again
Meeting Up With Maud Five Years Later
Maud
Francoise with Husband J-L and Child
  • the epilogue or closing scene five years later: a chance meeting at the beach between J-L (now with wife Francoise and toddler son) and Maud, when it was revealed - in an extraordinary and ironic coincidence - that she knew of Francoise ("We know each other - by sight"); Maud further recalled J-L's earlier conversations with her about his future ideal fiancee (blonde and Catholic); Maud told J-L that she had remarried, but it wasn't going too well ("I never have any luck with men"); as he joined up with Francoise already on the beach, J-L exclaimed: "I didn't know you knew each other. When she left Clermont, I hardly knew you. We had just met...You know, when I met you, I'd just left her, but..." (J-L's voice over: "I was to say: 'Nothing happened' - I saw that her embarrassment didn't come from what she'd learned about me, but from what she guessed I'd just learned about her. It suddenly hit me. Instead, I said...") "...That was my last fling. It's odd that we bumped into her" - he had thoughtfully saved his wife embarrassment, by telling her that Maud was the last affair he had in his past; Francoise was reassured and again stated: "I find it rather funny. Anyway, all that was so long ago. We said we'd never talk about it"; the film ended with the family happily running toward the water for a swim


Cathedral Scene: "J-L" and Francoise

J-L's Friend Vidal with Maud



J-L's Sleep-Over with Sexy Maud


J-L's Contrasting, Boring Night With Francoise

Francoise's Confession to J-L of An Affair With a Married Man

My Sister Eileen (1955)

In director Richard Quine's romantic, light-hearted, and witty widescreen Hollywood musical (co-scripted by Quine and Blake Edwards, and with choreography by Bob Fosse) - a remake of the non-musical, black and white comedy My Sister Eileen (1942), starring Rosalind Russell, Janet Blair and Brian Aherne - both were based upon the Broadway stage hit from 1940; the under-rated and often forgotten musical film was surprisingly entertaining:

  • the characters of two sisters from Columbus, Ohio who sought opportunities in NYC - Eileen Sherwood (Janet Leigh), a sexy and pretty blonde bombshell and an aspiring actress, and Ruth Sherwood (Betty Garrett), a plain-Jane lady and a witty, smart and pragmatic writer
  • their rental of a Greenwich Village brick-wall basement studio apartment (near underground subway blastings that often shook the foundations) - a "concrete catacomb"
  • in the extremely inventive musical number "As Soon as They See Eileen," the sisters changed into pajamas, while Ruth felt dejected about life and the lack of attention and dates from men, unlike her sister, who seemed to send men head-over-heels for her; as Ruth made faces in a mirror and applied cold cream, she sang about how Eileen would always turn heads, while others wouldn't pay attention to her: "I'm over twenty with plenty of knowledge, I and my college degree, But I'm frankly annoyed; tell me Dr. Freud, what is the matter with me?"
  • the scene of Ruth seeking work from Mad Hatter publishing house-magazine editor Robert "Bob" Baker (Jack Lemmon), Ruth's former boss' college roommate; as he was hurriedly leaving on vacation and speaking to her in an elevator, he initially called her submitted stories tragic and unrealistic, and hinted that from her writing, he would have guessed that she was more like a "spinster," a "confirmed cynic," or "frustrated old maid"
  • and Eileen's acquaintance with dreamy-eyed Walgreens soda fountain jerk-manager Frank Lippincott (Bob Fosse) - receiving emotional support from him after failing at three auditions (and being propositioned on the casting couch).
  • in the musical song-dance number "Alley Dance," Frank and newspaperman-reporter Chick Clark (Tommy Rall) performed acrobatically and competitively in a challenge dance outside of a burlesque theatre - as they both vied for Eileen's attention while she was inside; they played tricks with their hats, shuffled their feet, did splits and jumps, leaps and backflips, and kept their steps in synch when dancing together - Chick also executed a perfect triple spin jump!
  • the sequence in which Eileen cheered Ruth up by singing "There's Nothing Like Love"; extolling love's virtues, she donned a football helmet, a gentleman's jacket and shoes, and promised that Ruth would fall in love with a heroic man someday; dressed as a man, she asked Ruth for a dance, and persuaded her that she was attractive too
  • the film's best number "Give Me a Band and My Baby" - set in an outdoor, empty bandstand, where the foursome of Eileen, Ruth, Chick, and Frank pantomimed playing musical instruments, danced and sang
  • the sequence of Robert's attempted seduction of Ruth, when he thought that her mis-adventures and love story escapades about 'My Sister Eileen' were actually about herself; during a dinner date with her at his place, he gave her a drink, complimented her, and tried to seduce and kiss her; he also sang the musical number: "It's Bigger Than You and Me"; she was taken aback and told him to "Slow down, you've got the wrong idea about Eileen"
  • the pleasant love sequence that evening, when Eileen found Frank declaring his love for her (he was speaking to her hat perched on a tree branch) - he was outside her apartment in a patio courtyard; during a marvelous dance-and-song love duet, they performed together to a reprise of the song: "There's Nothing Like Love"
Frank Speaking to Eileen's Red Hat in Tree Branch
"There's Nothing Like Love" (reprise)
  • in the rollicking conclusion, there was a scene at the dock where wild, white-uniformed Brazilian naval cadets chased after Ruth all the way back to the apartment, where Eileen and Ruth engaged them in dancing the Conga - the commotion caused the police to arrive and put them all in jail; it ended up that Robert was happily united with Ruth (to her great surprise), and Frank with Eileen
  • The End title screen - it was seen above a Conga line - the Brazilian navy had arrived to apologize, and the film ended with a crazy dance party enjoyed by everyone

Eileen (Janet Leigh) and Ruth (Betty Garrett)

Ruth Making Faces in Mirror ("As Soon As They See Eileen")

Ruth Seeking a Job with Magazine Editor Robert

Eileen's Friendship with Soda-Fountain Jerk Frank

"Alley Dance"

"There's Nothing Like Love"

"Give Me a Band and My Baby"


Robert's Attempted Seduction of Ruth ("It's Bigger Than You and Me")

Mysterious Island (1961)

In Cy Endfield's family-oriented sci-fi adventure (a sequel to 20,000 Leagues Under the Sea (1954)), based on Jules Verne's 1874 classic science-fiction novel, and with a musical score by famed Bernard Herrmann:

  • the opening sequence of an escape in a hot-air observation balloon from a Confederate stockade, during the American Civil War (the seige of Richmond, Virginia in 1865) by a group of three Union POW soldiers: Captain Cyrus Harding (Michael Craig), black soldier Neb (Dan Jackson) and young Herbert (Michael Callan), a Confederate rebel Sgt. Pencroft (Percy Herbert), and observing civilian newspaperman from the North Gideon Spilitt (Gary Merrill) - they asked themselves (voice-over): "Would we ever set foot on the Earth again?"
  • the scene of the five landing and finding themselves stranded on a remote 'mysterious island' somewhere near New Zealand in the South Pacific, with erupting volcanoes, high peaks, and lush jungle: (voice-over) "The landscape everywhere was a mixture of the strange and the beautiful. Volcanoes surrounded by tropical palms and sandy beaches. A riot of wonderful hues and fantastic colors. And except for that fire we found on the first day, there was no evidence that man had ever set foot here before. We saw birds, and many overgrown plants, as if patches of nature had gone wild. It was a rugged trek upwards. Our physical condition caused us to tire readily and we were never sure of our footing. And then finally, we came to the shore of what must have been the other side of the island"
Some of the Fantastic Mutated Creatures on 'Mysterious Island'
Giant Crab
Colossal Flightless Chicken or Bird
Oversized Bee Sealing Herbert and Elena In Hive
  • the visual effects of Ray Harryhausen's stop-motion animation of creatures, beginning with a giant crab with huge mandibles, then a colossal flightless chicken or bird, and an oversized bee sealing two of the survivors into a honeycomb cell
  • the discovery of two unconscious British castaways on the beach: the aristocratic Lady Mary Fairchild (Joan Greenwood) and her sexy niece Elena (Beth Rogan), the only two survivors of a devastating shipwreck
Two Other Castaways
Elena (Beth Rogan)
Lady Mary Fairchild (Joan Greenwood)
  • in a cave (dubbed "The Granite House"), the jump-scare moment that a skeleton was discovered, with a journal of a deceased individual's last will: "And so I have decided that a life such as this is no longer worth living. I therefore bequeath all my worldly possessions to whosoever shall discover my remains. A curse upon the brigands who abandoned me here to suffer and to die. Signed, Thomas Ayrton. August 13, 1862" - the survivors made the Granite House their home
  • the fortuitous finding of a floating treasure chest, filled with numerous useful items: "Rifles! Breach loaders and ammunition!...a compass, charts and a sextant!...Hey, hammers, saws, nails....plenty of pots and pans. Also a looking glass. And hairpins. Hey, a telescope!" - and the book: "The Life and Adventures of Robinson Crusoe"; they surmised that a marking on one of the rifles ("N-A-U") indicated that everything had come from notorious Captain Nemo's submarine The Nautilus; rumor had it that Nemo was "a monster...a devil" - but also a "genius," who used his underwater, high-powered sub to destroy warships without warning; also "his submarine was reported lost off the coast of Mexico about eight years ago, with all hands"
  • the appearance of a threatening cutthroat pirate ship flying the skull and crossbones, but it unexpectedly and mysteriously sank after a devastating explosion
  • the revelation of the existence of infamous pacifist Captain Nemo (Herbert Lom), their secret benefactor in his shell-shaped diving gear (air tank), with his legendary but crippled submarine Nautilus in a large flooded grotto; Nemo explained to everyone how he had been providing the group with supplies and protecting them all along - he was the one who had placed an explosive charge on the pirate ship and saved them
  • further, Nemo told them why he lived alone: "Contact with my own species has always disappointed me. Solitude gives me freedom of mind and independence of action," but then he warned that the volcano was "on the verge of eruption. A catastrophe of nature will soon turn this island into cinders"
  • inside the Nautilus (with a fancy and plush hi-tech interior), he explained what he had been doing for eight years: "I've been conducting experiments in horticultural physics...Experiments that will guarantee mankind an inexhaustible food supply. Ha, ha. Yes. Surely you've seen the results...I've conquered the causes: famine and economic competition. Imagine, wheat growing 40 feet high and sheep the size of cattle"
  • in the conclusion with the survivors' help, the pirate ship was patched, refloated and boarded by the survivors to escape the island, although Nemo couldn't save himself - he perished in the disabled Nautilus that was hit by falling rock
  • the (voice-over) epilogue described their vow to continue Nemo's peace-loving dream after returning to civilization: "We deeply regretted we could not save the life of the man who had saved ours. A man who dedicated himself to ending strife among men. And when we returned to civilization, we all pledged ourselves to working for a peaceful and bountiful world, as Captain Nemo would have it"

Hot Air Balloon Escape of Three Union Soldier POWs and Two Others During Civil War

The First Long-Shot View of the 'Mysterious Island'

The Jump-Scare Discovery of A Skeleton Hanging in a Cave

The Treasure Chest

Sinking of Pirate Ship


Captain Nemo


Nemo - Buried Alive in His Nautilus by Falling Rock and Volcanic Eruption

Survivors Watched the Destruction of the Island

Mystic River (2003)

In Clint Eastwood's intense and dark adult crime drama about three childhood friends over a 25 year period:

  • the opening flashback scene of disturbed, violated, and haunted Dave Boyle (Oscar-winning Best Supporting Actor Tim Robbins) with his young son Michael (Cayden Boyd) remembering an incident 25 years earlier in 1975 when he was a young boy (Cameron Bowen as boy), playing street hockey with his boyhood friends Sean Devine (Connor Paolo as boy) and Jimmy Markum (Jason Kelly); at first the threesome wrote their names "forever" in wet concrete (Dave was interrupted and only was able to write DA); then a car pulled up and young Dave was ordered to "Get in" by a man posing as a police officer -- supposedly for "destroying municipal property" -- it was actually an abduction by two pedophiles (who then assaulted him over a 4-day period in a cellar after driving him away in the back seat of a black Ford sedan)
  • the scene, 25 years later, when the emotionally-scarred Dave returned home to his panicked wife Celeste (Marcia Gay Harden); he was suspiciously bloody with injured bloody hands, on the same night as the murder of a 19 year-old female; as she cleaned him up, he claimed that he had fought off a mugger with a knife in a parking lot and worried: "I went f--kin' nuts on him, baby. I- I went off. I bashed his head on the parking lot. There was blood everywhere. I might have killed him"
  • the discovery of a female body in the local park of 19 year-old Katie Markum (Emmy Rossum), the daughter of ex-con and corner patriarchal grocery-store owner Jimmy Markum (Oscar-winning Best Actor Sean Penn); the murder was investigated by Massachusetts State homicide detective Sean Devine (Kevin Bacon); she was both beaten with a stick and shot with a .38 caliber gun
The Body of Katie Markum
Mass. State Detective Sean Devine Looking at Body
Jimmy Markum: "Is she in there?"
  • the scene of grieving Jimmy Markum learning of his daughter's murder, and screaming out hysterically as he was restrained by police at the scene: "Is my daughter in there? Is she in there?! Is that my daughter in there?"
  • during questioning by good-hearted Sean Devine, Jimmy Markum asked: "Did you ever think about how one little choice could change a whole life? I heard Hitler's mother wanted to abort him. At the last minute, she changed her mind. See what I mean...What if you or I had gotten into that car instead of Dave Boyle?...If I'd gotten into that car that day, my life would have been a different thing...If I'd gotten into that car that day, I'd be a basket case" - he hypothesized that if he had been abused 25 years earlier, he wouldn't have been able to even approach the beautiful 18 year-old Latina Marita - Katie's mother: ("I never would have had the juice to go near her. And Katie never would have been born. And she never would have been murdered. You know?")
  • the powerfully-acted scene of Jimmy on the back porch with Dave struggling to grieve and let go with his wrenching tears over the hurtful loss of Katie (Jimmy: "There's one thing you could say about Katie even when she was little. That girl was neat...I loved her..most....And it's really starting to piss me off, Dave, because I can't cry for her. My own little daughter, and I can't even cry for her." Dave: "Jimmy. You're crying now." Jimmy: "Yeah, damn. I just want to hug her one more time. She was 19 f--king years old")
  • the scene of an Dave with his untrusting, panicked wife Celeste when he recalled his childhood's 4-day abuse and felt like an undead vampire: ("Maybe one day you wake up and you forget what it's like to be human...Dave's dead. I don't know who came out of that cellar, but it sure as shit wasn't Dave...It's like vampires. Once it's in you, it stays...")
  • shortly afterwards, the scene of a tormented Celeste telling Jimmy that she suspected her husband as the killer (although Dave had claimed he beat up a pedophile behind McGill's bar in the parking lot the same night that Katie died); Katie was seen dancing seductively in the bar before her late-night murder
  • Jimmy Markum suspected that the murderer was his childhood friend - the disturbed, violated, and haunted sexual abuse victim Dave Boyle; when confronted by Jimmy, Dave first suspiciously confessed that he got his hand caught in a garbage disposal, using that as the alibi for an injured and bloody hand; however, when pressed further, he said that he had seen a suspected pedophile having sex with a child prostitute behind the bar; he murdered the child molester, then put the bloody body in his trunk, and dumped the body behind the bar
  • the scene of a disbelieving Jimmy forcing the innocent Dave to falsely confess and admit that he killed Katie by repeatedly demanding: "Admit what you did, Dave, and I'll let you live" - before stabbing him in the stomach, and finishing him off with a gunshot to the head and throwing his body in the Mystic River - only a few hours before the real killers were identified
  • and the next scene, the following day when Sean told Jimmy that they had found the real killers in the case: the confessed killers were revealed to have known the victim through a clue on a 911 call tape, and found indirectly by tracing the gun back to its registered owner "Just Ray" Harris and to a previous Looney Liquors hold-up 18 years earlier; the two murderers were identified as: (1) 'Silent' Ray Harris Jr. (Spencer Treat Clark), a deaf-mute, and the younger brother of Brendan Harris (Tom Guiry), Katie's boyfriend, and (2) John O'Shea (Andrew Mackin), 'Silent' Ray's skateboard pal; John was the youngest son of father 'Just Ray' Harris (missing, and actually murdered); the two were playing with a gun that night and only meant to scare Katie, but during the prank they hit her with a bullet shot; when she knocked them down with her car door and fled, they chased after her and beat her to death in the local zoo/park with a hockey stick; motive: 'Silent' Ray's motive was the fear that Brendan was leaving to elope with Katie to Las Vegas and would abandon him; he knew where his father's gun was secretly hidden above the Harris' kitchen ceiling, and used it in the accidental murder
  • after finding the real perpetrators, Sean confronted Jimmy and asked: "So, Jimmy, when was the last time you saw Dave?"; Jimmy gave a lamenting reaction: "Thanks for finding my daughter's killers, Sean. If only you had been a little faster" - clueing the detective into realizing that Jimmy had killed Dave. Devine didn't appear to want to press charges. Sean observed: "Sometimes I think, I think all three of us got in that car and all of this is just a dream, you know?...The reality is we're still 11 year old boys locked in a cellar imagining what our lives would have been if we'd escaped"; Jimmy responded: "Maybe you're right. Who the f--k knows?"
Jimmy's Vague 'Confession' to Sean About Killing Dave
"When was the last time you saw Dave?...Jimmy, what did you do?"
"Thanks for finding my daughter's killers, Sean. If only you had been a little faster"
"Sometimes I think, I think all three of us got in that car"
  • the scene of Jimmy admitting his regretful mistake to his wife Annabeth (Laura Linney): "I killed Dave. I killed him, and I threw him in the Mystic. But I killed the wrong man. That's what I've done. And I can't undo it"; she consoled his remorse by speaking about their daughters, and how he had rightfully defended their lives and family, with the right intentions, even though he made a mistake; to comfort him, Annabeth assured Jimmy that even though things might have been different, his decision to kill Dave was the proper and strong one: " ...their daddy would do whatever he had to for those he loved. And that is never wrong. That can never be wrong, no matter what their daddy had to do...Their daddy's a king. And a king knows what to do and does it. Even when it's hard. And their daddy will do whatever he has to for those he loves. And that's all that matters. Because everyone is weak, Jimmy. Everyone but us. We will never be weak. And you, you could rule this town."
  • in the ending sequence, all of the principals were attending the town's parade; when Sean glanced at Jimmy, he mimicked shooting him
  • the final shot of the concrete sidewalk with the three boys' names permanently carved into it, dissolving into superimposed views of the Mystic River and the Tobin Bridge


Flashback to Young Dave Boyle's Abduction by Pedophiles

Suspicious Circumstances: Dave Returned Home Injured With Bloody Hands to Wife Celeste

Jimmy Reflecting on the Forces of Fate

Grieving Father Jimmy on Back Porch: "I Can't Even Cry for Her"

Dave on Porch with Jimmy

Dave Recalling His 4-Day Sexual Abuse Incident to Celeste: "Dave's Dead"

Celeste Ratting Out Her Husband Dave to Jimmy

Jimmy Forcing Dave to Falsely Confess to Katie's Murder - And Then Murdering Him


Jimmy's Regretful Remorse Expressed to Consoling Wife Annabeth (Laura Linney)


Ending at Parade: Sean Mimicking Firing Gun at Jimmy


Ending: Concrete Pavement With Carved Names - and the Tobin Bridge Over the Mystic River

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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