Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

(no title screen)

The Naked City (1948)

In director Jules Dassin's hard-boiled urban docu-drama crime/noir film - this was the first studio feature shot on location in New York City - and the film that inspired the 50's ABC-TV series - with its famed ending quote delivered by Hellinger as an epitaph for the murdered woman: "There Are EIGHT MILLION Stories In The Naked City - This Has Been ONE Of Them":

  • the opening scene with aerial views of New York City - accompanied by narration from the film's producer, journalist Mark Hellinger (who conducted six months of interviews with the NYPD to gather accurate details and characterizations)
  • the manhunt for the brutal murderer of attractive, and promiscuous 26 year-old blonde fashion model Jean Dexter by veteran cop Det. Lt. Dan Muldoon (Barry Fitzgerald) and partner Det. Jimmy Halloran (Don Taylor)
  • the emotional sequence at the City Morgue when Jean's parents - the Batorys (Adelaide Klein and Grover Burgess) identified her body
  • and the film's memorable, thrilling, and heart-pounding climax in which wounded murder suspect Willie Garzah (aka Willie the Harmonica) (Ted de Corsia) ran through the Lower East Side tenements until being cornered on the Williamsburg Bridge where he climbed to the top of the bridge tower - and fell to his death

The Naked Gun: From the Files of Police Squad! (1988)

In co-directors Zucker, Abrahams, and Proft's gag-filled comedy:

  • the many insanely silly scenes and dead-panned jokes, including the opening of a speeding LA cop car (shot behind the revolving cherry-top) down nighttime streets, into a carwash, and then barreling into a house - and a shower with naked women - and then down a rollercoaster before coming to a stop in front of a donut shop
  • the scene of Detective Nordberg (O.J. Simpson) - on the receiving end of very bad luck while attempting to bust a heroin drug operation at the docks led by shipping magnate Vincent Ludwig (Ricardo Montalban): he was shot multiple times, bumped his head, burned his hand on a hot stove, stumbled into a door with 'wet paint', smashed his hand in a closing window, dove face-first into a frosted cake, stepped into a bear trap, and fell overboard
  • the scene of hapless LA crimefighter and detective-lawman Lt. Frank Drebin's (Leslie Nielsen) commandeering of a driving-school vehicle with an unflappable and calm Driving Instructor (John Houseman): ("It's okay. Normally you would not be going 65 down the wrong way of a one-way street. Apply the brakes. Now, put it in reverse..")
  • the hospital scene of Drebin's visit to see badly-wounded partner Detective Nordberg in his hospital room - and causing his bed to fold up on him by sitting on the bed controls, and making insensitive and blunt comments to his wife Wilma (Susan Beaublan): ("And I wouldn't wait until the last minute to fill out those organ donor cards")
  • the scene of all the most-feared enemies of the US sitting at one conference table and plotting to destroy America -- Muammar al-Qaddafi, Arafat, Khomeini, Idi Amin, and Russian leader Gorbachev
  • the destructive scene of Drebin's complete trashing of Ludwig's apartment of priceless art objects and treasures
  • the famous double-entendre one-liner of Frank Drebin: "Nice beaver" as he looked up the dress of Jane Spencer (Priscilla Presley), Ludwig's ex-girlfriend assistant, as she climbed a ladder - to which a stuffed beaver was produced and she responded: "Thank you...I just had it stuffed"
  • the scene of Drebin having "safe sex" with Jane - both wore complete body condoms
  • also the slapstick scene in which Drebin slid across the table and landed, embarrassingly, on the visiting look-alike Queen of England
  • the scenes at the ballgame with Drebin's awkward singing of the national anthem (butchered) while impersonating opera tenor-singer Enrico Pallazzo: ("Oh say can you see / By the dawn's early light / What so proudly we hail / In the twilight's last gleaming? / Whose bright stripes and broad stars / In the perilous night / For the ramparts we watched / uh, da-da-da-da-da-daaaa. / And the rocket's red glare / Lots of bombs in the air / Gave proof to the night / That we still had our flag. / Oh say does that flag banner wave / Over a-a-all that's free / And the home of the land / And the land of the - FREE!")
  • and Drebin -- wearing a live police wire while going to the bathroom -- who was overheard over the stadium loudspeakers at a speech given by flustered Mayor Barkley (Nancy Marchand)
  • and Drebin's undercover role as the home plate umpire: "Steeerikkke!" and his dance around the plate with funky moves
  • and in the conclusion, the visual joke at the top of the stadium when wheel-chaired, recuperating partner Nordberg was slapped on the back by Frank and was sent helplessly down the aisle of the stadium steps and flipped 360 degrees to the ballfield below as Jane gushed to Frank: "Everyone should have a friend like you!"

The Naked Kiss (1964)

In writer/director Sam Fuller's unorthodox, bold and raw, feminist B-film and sordid, film-noirish melodrama - a treatise about the abuse and exploitation of women by perverse, misogynistic men and women, and the hypocrisy of middle-class morality:

  • the violent, fierce and striking pre-titles opening scene (with a jazzy score and great alternating POV shots) of call-girl Kelly (Constance Towers) beating her abusive, drunk pimp Farlunde (Monte Mansfield) with her handbag, when he suddenly pulled at her hair - and revealed her bald and shaved scalp; [Note: cheating Farlunde had cut off her hair in retaliation for her urging of six prostitutes to walk out on him and leave his "stable"]; after he fell to the floor, she sprayed him with seltzer water, took $75 cash that belonged to her (of the $800 dollars in his wallet, emphasizing her morals), stuffed it in her bra, adjusted her wig and makeup, ripped up her clientele photo, and then strode away, as he struggled to get up - and there was a view of a calender marking July 4th, 1961 (Kelly's 'independence day')!
  • about two years later, Kelly arrived by Greyhound bus in the seemingly wholesome and idyllic suburban community of Grantville; the marquee of the town's theatre advertised the showing of the director's previous film Shock Corridor (1963) - about madness in a mental hospital; at the station, she spoke to future love interest - low-life town police captain Griff (Anthony Eisley) - who remarked about her appearance: "That's enough to make a bulldog bust his chain"; she was posing as a traveling saleslady for "Angel Foam" (champagne); Griff responded with sexual innuendo: "I'm pretty good at popping the cork if the vintage is right"
  • after an interlude of sleeping together (he was her first customer - for $20), he already had suspected that she was a call-girl, and firmly suggested that she find a job "across the river" in the wide-open town of Delmar Falls across the state line, at a "salon" run by his personal friend, Madam Candy Allacarte (Virginia Grey), named Candy a La Carte (a front for prostitution selling "bon-bons" that looked like it was populated by Playboy Bunnies); he suggested he could become a frequent 'sex' customer there: "I'll buy a bottle from ya now and then...You'll be my Ichiban" (meaning "number one"), since it advertised "Indescribable Pleasure"
  • Kelly's decision to completely reform herself - with a "do-gooder" job as a pediatric nurse at the Grantville Orthopaedic Medical Center specializing in helping handicapped and crippled children; Mac, the Head Nurse (Patsy Kelly) recalled hiring her to Griff: "She came out of the clouds one night without a single reference. I hired her on the spot... Some people are born to write books, symphonies, paint pictures, build bridges. But Kelly - she was born to handle children with crutches and babies in braces...she's tough! Runs her ward like a pirate ship! She makes Captain Bligh look like a sissy"; she resolutely told Griff about her turnabout and complete transformation from her old way of life: "I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That's what I saw"; she was angry at his insinuations: "You were the only buyer I had in this town, and my last one!" - and emphasized she had really changed and would no longer use her body for her livelihood
  • the fantasy sequence of Kelly's work with the children - when she exhorted them to pretend that they were healthy and could run without physical impediments
  • Kelly's romance with Griff's war hero-partner - the most respected, charitable and wealthy citizen of the community - philanthropist bachelor J. L. Grant (Michael Dante) who had single-handedly built and sponsored the Medical Center; the gondola fantasy sequence of Kelly joyfully imagining herself with Grant lying back on cushions on a canal boat in the fabled city (after viewing 16 mm footage of his recent trip to Italy), with a gondolier singing in the background: Grant: "If you pretend hard enough, and if you listen hard enough, you'll hear his fine Italian voice"
  • Kelly's puritanical advice to young nurse friend Buff (Marie Devereux) - after she slapped her, she vehemently urged her not to accept a position at Candy's club for $300/week: "All right, go ahead. You know what's different about the first night? Nothing. Nothing, except it lasts forever, that's all. You'll be sleeping on the skin of a nightmare for the rest of your life. Oh, you're a beautiful girl, Buff. Young. Oh, they'll outbid each other for you. You'll get compliments, clothes, cash. And you'll meet men you live on, and men who live on you. And those are the only men you'll meet. And, after a steady grind of making every john feel at home, you'll become a block of ice. And if you do happen to melt a little, you'll get slipped a tip behind Candy's back. You'll be every man's wife-in-law, and no man's wife. Why, your world with Candy will become so warped that you'll hate all men. And you'll hate yourself! Because you'll become a social problem, a medical problem, a mental problem! And a despicable failure as a woman!"
  • the retaliatory sequence in Candy's club office when Kelly repeatedly bitch-slapped Candy with her handbag, then stuffed Buff's first night's cash earnings of $25 into her mouth, and warned her to "stay away from Buff"
  • the sequence after Kelly had revealed her sordid and secret past to Grant, when he didn't flinch and immediately proposed marriage to her, but she hesitatingly responded: "I've got to think it out"; one night while drinking, she commiserated about her dilemma with a dress-making mannequin in her bedroom named "Charlie" (her landlady seamstress Josephine (Betty Bronson) had created the substitute for her lover who died in WWII); Kelly asked the dummy the question: "What should I do?"
  • the sappy musical number when various disabled children sang: "Bluebird Of Happiness" (replayed later during the climactic revelation scene)
  • the scene of Kelly's visit to Grant's home to show him her wedding dress and veil, and her discovery of Grant's perversion as a predatory pedophile (with a tape of "Bluebird of Happiness" playing) - she saw Grant's young niece Bunny skipping out the front door from his place (after threatened with molestation (off-screen) during a "special game"); Grant was prompted to again propose marriage, claiming that he had forgiven Kelly for her past, and that his problems should also be overlooked: "Now you know why I could never marry a normal woman. That's why I love you. You understand my sickness. You've been conditioned to people like me. You live in my world, and it will be an exciting world! (He sank to his knees) My darling, our marriage will be a paradise because we're, we're both abnormal"
  • the subsequent stunning scene of the accidental killing of Grant when Kelly bashed him with a phone receiver; the following day's headlines were superimposed - in bold white letters: "GRANT IS DEAD; SLAIN BY PROSTITUTE"; Kelly was arrested by Griff and explained her motive for killing the sexual deviant: "Once before, a man's kiss tasted like that. He was put away in a psycho ward. Oh, I got the same taste the first time Grant kissed me. It was, what we call a naked kiss. It's the sign of a pervert"; without proof of the little girl's identity, Kelly would be charged with murder; Griff suspected Kelly killed Grant to silence him about her sordid call-girl past; Kelly argued that the murder was justifiable homicide
  • the scenes of character witnesses (including Farlunde, Candy and Buff) who were called to testify against Kelly by Griff, to refute her claims and defame her, and to accuse her of blackmailing and extorting money from Grant; Candy even spitefully shouted: "Nobody shoves dirty money in my mouth!"
  • the sequence of Kelly's identification of Grant's young molested niece outside her jail cell, that helped to prove her case to Griff, although she at first forcibly coerced a confession from the young girl while shaking her: "Do you remember me?...Of course you remember me. You were at Uncle Grant's house. You remember Uncle Grant, don't you? Don't you remember Uncle Grant? 'Course you certainly remember Uncle Grant. You know him. You were at his house. Don't you remember that? Look at me! Don't you remember me? You know me!"
  • after Kelly urged the girl to admit to her presence in Grant's home, the case against Kelly was dismissed and she was vindicated ("The judge and the DA gave ya a clean bill of health. The whole town's got you on a pedestal for what you did for the children"); triumphant, she thanked Griff with a kiss and departed from the town; she walked through a crowd of silent onlookers from town - presumably forever, as Griff noted: "She still owes me $10 bucks" Cop: "Then you'll be seeing her again" Griff: "She never makes change"; as she walked down the sidewalk, she admired a baby in a carriage

The Naked Prey (1966, South Africa/US)

In this adventure/chase film set in 19th century Africa co-directed by Cornel Wilde and Sven Persson:

  • the excruciating scene of the torture and execution of arrogant members of an ivory hunting expedition by African tribesmen (the safari leader was staked to the ground in front of a cobra, while another was coated in pottery clay and slowly cooked over a rotisserie) - led by a warrior (Ken Gampu) after the white men refused to pay tribute to the tribal king (Morrison Gampu)
  • the amazing race-for-his-life chase scene by the Man (a naked and unarmed safari tour leader/guide) (Cornel Wilde) as six tribe warriors gave him a head start of 100 yards into the bush

The Naked Spur (1953)

In Anthony Mann's beautifully-filmed, stylistic, and moralistic 'adult' western:

  • the portrayal by James Stewart of vengeful, tormented and embittered bounty hunter Howard Kemp in pursuit of murderer Ben Vandergroat (Robert Ryan) for the $5,000 reward money in the Colorado Rockies
  • the interplay between the three principals, disgraced Army officer Lt. Roy Anderson (Ralph Meeker), grizzled old prospector Jesse Tate (Millard Mitchell), and Kemp (Stewart), all vying for the bounty money - and scoundrel Vandergroat's persuasive tactics of psychological warfare (greed, discord, suspicion, mistrust, and jealousy) to create conflict among his three captors
  • the love triangle that developed between Vandergroat, Kemp and Lina Patch (Janet Leigh) (Vandergroat's companion)
  • the conclusion in the midst of some roaring mountain rapids when the captured and ruthless outlaw was wounded by Kemp's "naked spur" (used to help climb a vertical rock face) thrown into his face - and then shot and killed by Anderson; a maniacal, savage Kemp vowed his greater interest in the money to Lina Patch as he reeled in Vandergroat's roped dead body, planning to return him for the bounty: "I'm takin' him back. This is what I came after and now I've got him...He's gonna pay for my land... The money - That's all I care about. That's all I've ever cared about"
  • the startling sequence of Kemp's abrupt turn-about as he gripped Lina's arms, after her pleadings to leave the ordeal behind them and marry him - he decided to give up his potential blood-money bounty, buried Vandergroat's body in the ground, and then rode off with her to start a new life in California together

Napoleon (1927, Fr.) - the 3-part (triptych) wide screen in the conclusion of this landmark epic silent film, by director Abel Gance


The Narrow Margin (1952)

In director Richard Fleischer's noirish crime-drama, followed by director Peter Hyams' inferior remake Narrow Margin (1990) starring Gene Hackman and Anne Archer:

  • the claustrophobic, tense atmosphere aboard the moving, confining transcontinental Golden West Limited train (from Chicago to L.A.) with the plotline of the escort of widowed gun moll and grand jury witness Mrs. Frankie Neall (Marie Windsor) by incorruptible Detective Sgt. Walter Brown (Charles McGraw)
  • the surprise character twists and secret identities
  • the vicious fight scene in a cramped men's room between assassin Kemp (David Clarke) and Brown
  • the scene of Brown's loyalties being tested by the DA via the decoy Mrs. Neall and assassin Vincent Yost (Peter Brocco) to see if he would accept the bribes to give up his witness
  • the twist revelation that Mrs. Frankie Neall was actually a decoy -- a policewoman from Internal Affairs named Sarah Maggs - who was shockingly shot in the back and killed by assassin Densel (Peter Virgo) when she reached for her gun in her purse
  • the climactic scene in which Brown's love interest - a golden-haired mother named Ann Sinclair (Jacqueline White) [the real Mrs. Frankie Neill] (with her son Tommy (Gordon Gebert)) was seized and held hostage by a mob hitman; Brown's use of the reflection of another train's window to gun down the hitman without compromising her safety

Nashville (1975)

In director Robert Altman's country-western character study:

  • the miraculous interweaving and criss-crossing of the lives and destinies of 24 different characters in a free-flowing tapestry or kaleidoscope - especially in the opening sequences
  • the scene of folk singer Tom (Keith Carradine) seductively singing "I'm Easy" to a crowd - with the camera slowly showing the face of aroused audience member and married gospel singer Linnea (Lily Tomlin) in the back
  • the humiliating bump-and-grind strip scene in which a humiliated and desperate wannabe Sueleen (Gwen Welles) pulled socks-padding out of her bra and then stripped topless (and finally bottomless) to satiate the crowd
  • the scene of star singer Barbara Jean's (Oscar-nominated Ronee Blakley) breakdown
  • the unseen presidential candidate
  • the concluding tragic and shocking sequence at a country music festival/political rally at the Parthenon in which Barbara Jean had just finished performing "My Idaho Home" and then was assassinated
  • her quick replacement with unknown performer Albuquerque (Barbara Harris) who calmed the crowd with "It Don't Worry Me"

(National Lampoon's) Animal House (1978)

In John Landis' classic, low-budget frat house comedy:

  • the character of Faber College's animalistic, misfit, beer-bellied, Delta fraternity member John "Bluto" Blutarsky (John Belushi) - with numerous gross-out belches and slobbish behavior (such as crushing beer cans on his head), or in the cafeteria lunch line - and his progress along the counter piling up food on his tray and sucking down a plate of Jell-O in one gulp
  • Bluto's guess-what-I-am-impersonation of a zit when he punched his cheeks to send food in all directions: ("See if you can guess what I am now. I'm a zit. Geddit?")
  • the cafeteria's food fight scene and Bluto's instigating battle cry ("Food fight!")
  • the wild "Toga, Toga" party scene in Delta House at Faber College (chanted by Bluto and others), after Dean Wormer (John Vernon) told the frat that they were on "double secret probation"
  • Bluto's famous challenge to his fellow frat brothers to join him to seek revenge on Dean Wormer and the clean-cut Omegas, although he was historically inaccurate: ("Did you say over? Nothing is over until we decide it is. Was it over when the Germans bombed Pearl Harbor? Hell no!...It ain't over now. Cause when the goin' gets tough, the tough get goin'. Who's with me? Let's go. Come on!")
  • the voyeuristic and winking Peeping Tom scene of Bluto on a ladder outside the window of a sorority house, watching the half-dressed frat girls having a pillow fight, and then being amazed to see self-pleasuring, half-naked Mandy Pepperidge (Mary Louise Weller) by herself - causing his ladder to fall backwards
  • the scene of a Playboy-reading young kid thanking God for a cheerleader from a float catapulted into his room during the sabotaged and ruinous homecoming parade

(National Lampoon's) Christmas Vacation (1989)

In director Jeremiah S. Chechik's slapstick-filled comedy with outrageous sight gags:

  • the trek to the country to find the most perfect X-mas tree, the Griswold Family Christmas Tree: ("We're kicking off our fun old fashion family Christmas by heading out into the country in the old front-wheel drive sleigh to embrace the frosty majesty of the winter landscape and select that most important of Christmas symbols"), to cut down an oversized Christmas tree in knee-deep snow: ("Thith tree is a thymbol of the thpirit of the Griswold family Chrithmath")
  • family head Clark Griswold's (Chevy Chase) determination to have a good old-fashioned Christmas celebration: "Where do you think you're going? Nobody's leaving. Nobody's walking out on this fun, old-fashioned family Christmas. No, no! We're all in this together. This is a full-blown, four-alarm holiday emergency here. We're gonna press on, and we're gonna have the hap, hap, happiest Christmas since Bing Crosby tap-danced with Danny f--king Kaye. And when Santa squeezes his fat white ass down that chimney tonight, he's gonna find the jolliest bunch of assholes this side of the nuthouse"
  • the invitation to many in-laws to join them (Ellen's parents, Clark's own parents Nora (Diane Ladd) and Clark Sr. (John Randolph), and his Uncle Lewis (William Hickey) and senile Aunt Bethany (Mae Questel)), including crazy Kansas redneck Cousin Eddie Johnson (Randy Quaid)
  • sex-crazed Clark's visit to the mall, where he nervously ogled busty lingerie clerk Mary (Nicolette Scorsese) at the display counter, who asked: "Can I show you something?" - with his reply about how cold it was: "Yes, yes it is, it's a bit nipply out. I mean nippy out, ha, ha, ha. What did I say, nipple? Huh, there is a nip in the air, though"
  • the scene in which Clark had waxed his round silver sled with a revolutionary grease, although Eddie had encouraged him not to: ("Don't go puttin' none of that stuff on my sled, Clark. You know that metal plate in my head?... I had to have it replaced, because every time Catherine revved up the microwave, I'd piss my pants and forget who I was for a half hour or so. So over at the VA, they had to replace it with plastic one. It ain't as strong so, I don't know if I oughta go sailin' down no hill with nothin' between the ground and my brain but a piece of government plastic") - and Clark's unexpected streak of fire in the snow after announcing: "Nothin' to worry about, Eddie. Going for a new amateur recreational saucer sled land speed record. Clark W. Griswold, Jr. Remember, don't try this at home, kids. I am a professional"
  • the traditional turkey meal dinner preceded by 80 year-old Aunt Bethany's (Mae Questel) "Grace" (actually, the Pledge of Allegiance) and the cutting into the bone-dry bird: (Clark: "If this turkey tastes half as good as it looks, I think we're all in for a very big treat!" Eddie: "Save the neck for me, Clark")
  • Clark's angry rant about his Scrooge-like boss, Mr. Shirley (Brian Doyle-Murray): ("I want him brought from his happy holiday slumber over there on Melody Lane with all the other rich people and I want him brought right here, with a big ribbon on his head, and I want to look him straight in the eye and I want to tell him what a cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-sucking, dog-kissing, brainless, dickless, hopeless, heartless, fat-assed, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey s--t he is! Hallelujah! Holy S--t! Where's the Tylenol?")
  • the kidnapping of Mr. Shirley - (Clark had suggested it as a "last-minute gift-idea" and Eddie took him seriously); he was tied up with a big red bow on his chest; it was retaliation for Clark not receiving a cash bonus, but a one year membership in the Jelly-of-the-Month Club ("the gift that keeps on giving the whole year")
  • the over-the-top Christmas lights display on the exterior of the house ("250 strands of lights, 100 individual bulbs per strand, for a grand total of 25,000 imported Italian twinkle lights") - and the moment the lights were finally turned on, requiring auxiliary power from the utility company, and the electrocution of the cat
  • a terrifying squirrel incident when the wild animal was set loose in the Griswold house
  • the final disaster when Uncle Lewis (William Hickey) threw his lit cigar down a storm drain, and the entire sewage system destructively exploded (Eddie had dumped raw sewage down the drain); the blast sent a flaming Santa-sleigh and reindeer decoration across the sky in front of a full moon

(National Lampoon's) Vacation (1983)

  • the always-clumsy and dim-brained, half-crazed Clark Griswold's (Chevy Chase) deranged, foul-mouthed exhortation and rant to his beleaguered family to press on to Wally World in Southern California, during his family's cross-country trek in a gigantic pea-green "Wagon Queen Family Truckster" station wagon with a broken-down engine: "I think you're all f--ked in the head. We're ten hours from the f--kin' fun park and you want to bail out! Well, I'll tell you somethin'. This is no longer a vacation. It's a quest. It's a quest for fun. I'm gonna have fun and you're gonna have fun. We're all gonna have so much f--kin' fun we'll need plastic surgery to remove our god-damn smiles. You'll be whistling 'Zip-A-Dee Doo-Dah' out of your assholes! Ha, ha, ha. I gotta be crazy! I'm on a pilgrimage to see a moose. Praise Marty Moose! Holy S--t!"
  • all of their arduous misadventures on the way to Wally World, including getting lost in East St. Louis where they asked for directions from a pimp: "Pardon me, I wonder if you could tell me how to get back on the expressway?" (who responded: "F--k yo mama!" - and their hubcaps were stolen
  • a parody of the motel shower scene in Psycho (1960) when Clark pretended to attack his long-suffering wife Ellen (Beverly D'Angelo) with a banana, and she rejected his offers to "do" her back and front: ("Go do your own front!"); and afterwards, their aborted love-making when their vibrating massager bed malfunctioned and they were forced to move to the floor
  • the visit with Ellen's beer-swilling, hayseed cousin Eddie (Randy Quaid) in Kansas, who ate Hamburger Helper without the meat ("I don't know why they call this stuff hamburger helper. It does just fine by itself, huh? I like it better than tuna helper myself, don't you, Clark?"), including their often funny lines of dialogue: Eddie: "How do you like yours, Clark?" Clark: "Oh, medium rare, a little pink inside." Eddie: "No, I mean your bun"
  • Eddie's young daughter Vicki (Jane Krakowski) bragging about French kissing: "Yeah, but Daddy says I'm the best at it" and also showing off a shoebox full of weed, while Eddie's son Dale (John Nevin) bragged: "I've got a stack of nudie books this high"
  • Clark's encounter with a forgiving and grief-stricken motorcycle cop after he had accidentally dragged Dinky tied by a dog leash to the bumper: "Explain this, you son-of-a-bitch...Do you know what the penalty for animal cruelty is in this state?...Well, it's probably pretty stiff...Poor little guy. Probably kept up with you for a mile or so. Tough little mutt. Yeah....Here's the leash, sir. I'm going back to get the rest of the carcass off the road...."
  • Clark's man-to-man talks with his son Rusty (Anthony Michael Hall) including sharing a beer with him
  • Clark's sexy encounters with a flirtatious and tempting vixen (supermodel Christie Brinkley) in a passing red Ferrari and during skinny-dipping in a pool; she flirted: ("Too bad you're married. I'm in the mood for some fun" Clark: "Married? Oh, you mean those people I'm with? That's my brother's family. My brother's ring")
  • the death of Aunt Edna (Imogene Coca) who was tied to the top of the station wagon: (Clark: "You want me to strap her to the hood? She'll be fine. It's not as if it's going to rain or something")
  • the arrival at Wally World (when they ran in slow-motion to the sounds of Chariots of Fire's theme, but it was closed for two weeks for maintenance)
  • the sequence of holding the Wally World security guard Russ Lasky (John Candy) hostage at gunpoint (with a realistic looking BB-gun)

National Velvet (1944)

In director Clarence Brown's animal-related children's film:

  • the youthful glow of a violet-eyed, 12-year-old Velvet (Elizabeth Taylor in her first starring role)
  • Velvet's supportive mother (Oscar-winning Anne Revere)
  • the scenes of English ex-jockey Mike Taylor (Mickey Rooney) teaching Velvet how to ride
  • the exciting climactic Grand National Steeplechase horse racing sequence

The Natural (1984)

In Barry Levinson's allegorical baseball film based on Bernard Malamud's story and with Randy Newman's soaring score:

  • the beautiful sun-setting scene of pitcher Roy Hobbs' (Robert Redford) three strike-out pitches thrown as a wager to Babe Ruth-like slugger "The Whammer" (Joe Don Baker)
  • the shocking scene of the shooting (with a silver bullet) of Roy by deranged funeral-clad Harriet Bird (Barbara Hershey) in her hotel room after asking him: "Will you be the best there ever was in the game?"
  • 16 years later, middle-aged rookie Roy's first batting practice (where he repeatedly knocked balls into the stands)
  • his knocking the cover off the ball as lightning struck to get a triple when he substituted for Bump Bailey (Michael Madsen) in his first major-league at bat for the New York Knights against the Phillies
  • his magical "Wonderboy" bat (reminiscent of Arthurian legend with a lightning bolt inscribed on it and carved out of a tree struck by lightning)
  • the ending of his long slump in Chicago with the appearance of the pure "lady in the white dress" in the stands - ex-girlfriend Iris Gaines (Glenn Close) - who stood up just before he slugged a tremendous blast of a home-run that shattered the giant clock on the scoreboard in Wrigley Field (it ended the game although the Cubs should still have had a turn to bat the bottom of the inning)
  • Iris' visit to Roy in the maternity ward of the hospital and their discussion about having two lives: ("The life we learn with and the life we live with after that")
  • the last game of the World Series playoffs in the bottom of the ninth when (without his "Wonderboy" bat - after he shattered it hitting a foul ball, and then requested of the batboy: "Go pick me out a winner, Bobby" - the Savoy Special), Roy (inspired by a note written by Iris about fathering a child years earlier) hit the giant set of lights - to win the series for his team
  • the cascade of exploding floodlights and showering electrical sparks
  • the final (tacked-on) concluding scene of a redeemed Roy with Iris and their 16 year old son playing catch on the farm

Natural Born Killers (1994)

In Oliver Stone's visually-riveting (MTV-style and color-switching), controversial and brutal film about two serial killer-lovers and media sensationalism (from a Quentin Tarantino original script):

  • the flashback of the abusive family life of Mallory Knox (Juliette Lewis) - portrayed as a situation-comedy parody called "I Love Mallory" (with a canned laughter track) featuring comic Rodney Dangerfield as Mallory's perverted, beer-drinking dad Ed
  • the scene of Mickey (Woody Harrelson) killing Mallory's family (her father was drowned in the fishtank)
  • the violent, cross-country (Route 666) Southwestern random killing spree of the white-trash outlaws and their pursuit by slimy Detective Jack Scagnetti (Tom Sizemore)
  • the Drug Zone arrest scene shot entirely in flourescent green
  • the prison interview between Mickey and TV tabloid show host/reporter Wayne Gale (Robert Downey, Jr.), who made them famous celebrities for his sensationalist "American Maniacs" show, when Mickey admitted to his one true calling in life: "S--t man, I'm a natural born killer"
  • the incredibly violent live interview/prison riot-escape scene
  • the controversial see-through view of the bullet hole in the right hand of Gale
  • the shocking ending when the two outlaws in a rural setting shot Gale - broadcast live on camera

The Navigator (1924)

In Buster Keaton's classic comedy:

  • the story of well-to-do Rollo Treadway and girlfriend Betsy O'Brien (Buster Keaton and Kathryn McGuire) on a deserted and adrift yacht (the S.S. Navigator)
  • with numerous and elaborate sight gags including his encounter with a toy cannon tied to his leg, his accidental hitting of a lever sending the galley's interior cabin rotating and tossing them around like within a dryer, efforts to make breakfast (and coffee), boil an egg, set up a folding deck chair, race around the deck, and shuffle a wet deck of playing cards
  • the scene of underwater diving and a swordfish duel
  • the mistaking of fireworks for candles
  • a swinging-portrait on a nail mistaken for a ghost
  • the climactic finale - the routing of an attack by a tribe of island cannibals

Near Dark (1987)

In Kathryn Bigelow's directorial debut, low-budget vampire-western horror film:

  • the spectacular, choreographed daytime shoot-out scene at a motel in which dreaded shafts of light caused by bullets exposed the vampires to deadly rays of sunlight
  • the famous setpiece in which wise-cracking, vicious desperado-like, outlaw 'rebel' vampire Severen (Bill Paxton) (dressed like rock singer Jim Morrison) - a part of a vampire family led by Jesse Hooker (Lance Henriksen) that traveled the countryside in a blacked-out Winnebago van and conducted raids on bikes - engaged in a blood-lusting, drawn-out roadhouse bar-diner fight with hicks
  • in the roadhouse bar massacre, Severen broke the neck of a long-haired hillbilly bar patron, and after biting into the man's hairy neck ("I hate 'em when they ain't been shaved"), hissed: "It's finger-lickin' good," and with two swift leg moves, also slit the bartender's throat with his boot's sharp spurs
  • the skin sizzling, blistering and smoking effects that sunlight had on the exposed vampire-skin of Caleb Colton (Adrian Pasdar)

Ned Kelly (1970, UK/Australia)

In director/co-writer Tony Richardson's negatively-reviewed biopic about a legendary and notorious Australian outlaw horse rustler ("bushranger") in the outback during the late 1870s (Australia's version of the US' Jesse James) - with linking, explanatory 'western' folk-ballads sung by country star Waylon Jennings, and accompaniment by Kris Kristofferson (song lyrics by Shel Silverstein), and visually-stunning outdoor cinematography.

[Note: The world's first feature-length movie (a silent film of which only fragments exist) was The Story of the Kelly Gang (1906, Australia). A later talkie effort was writer/director Rupert Kathner's The Glenrowan Affair (1951, Australia). The 1970 film was not to be confused with Ned Kelly (2003) starring Heath Ledger. A similar, superior biopic about another Australian outlaw was titled Mad Dog Morgan (1976), starring Dennis Hopper in the title role.]

  • the brief opening prologue with the words "THE END" - a black and white flash-forward to an interlinked view of Edward "Ned" Kelly's (Rolling Stones' lead singer Mick Jagger in his debut film performance) marriage AND execution in Melbourne, when his mother Mrs. Kelly (Clarissa Kaye) urged her son: "Mind you die like a Kelly, son"; he offered final thoughts as a hood was pulled over his head and the trap door beneath him was opened: "Such is life!"
  • the subsequent Technicolored flashback to Kelly's earlier life (titled: "THE BEGINNING"), including a lively homecoming dance (with a wild Irish reel) that welcomed ex-convict and Irish thief Ned Kelly back to the Kelly home in Australia, after serving three years in prison in England for horse stealing; he told his sister: "They're never ever going to get me in there again"; another vignette was the Greta Championship - Sunday afternoon boxing exhibition at the country fair between bare-knuckled Kelly and an opponent, and the time-out from horse-thieving for a long-jumping contest
  • the role of the bearded, law-less, anti-hero rebel - who stood against unjust, oppressive and corrupt British colonialism in Australia, and sought justice for poor Irish Catholic farmers and settlers by "Robin-Hood" styled robberies of the Kelly gang, the burning of postal outlets in banks, and killing of constables and soldiers
  • the sequence of renegade Ned Kelly manufacturing and arming his gang with home-made, metal-plated masks and shields of armor made of farmers' rusty plows: "The Bible says, 'Turn your armor into plowshares.' But I say unto you, turn your plowshares into armor"; although the shields were heavy and weighted them down, and his gang objected at first, Ned defended his idea: "Listen, for months now, we've had to run because the traps have had all the power and all the steel. Now we can attack. With these, we can become invincible....All we've got to do is find the right situation. Draw them on. Dig ourselves in. Protected by the iron in our armor, we can shoot them all down. All the traps of Victoria -- To kill one, you're a murderer. To kill a hundred, you're a hero!"
  • the final climactic shoot-out between renegade Ned Kelly (wearing his homemade, metal-plated mask and breastplate shield of armor) and the local Australian constables during a train robbery (and ambush), when the weighted-down outlaw was surrounded, felled on train tracks, and captured
  • the sequence of Kelly's trial when he defiantly told Judge Barry (Frank Thring) before being sentenced to death by hanging: "I do not wish to win a word of pity from anyone. All I ask is that my story be considered. If my lips can teach the public that men are made mad by bad treatment, then my life will not be entirely thrown away. For myself, I do not fear death. I fear it as little as to drink a cup of tea"; to the Judge's surprise, after being sentenced, Kelly spoke again: "Death, I will meet you. There!" - the frame froze as the credits began to roll

(alphabetical by film title)

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

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