Greatest Film Scenes
and Moments



N3

 





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

Nineteen Eighty-Four (1984, UK)

In director Michael Radford's dystopic sci-fi horror film - a grim adaptation of George Orwell's classic novel about Thought Police in a post-apocalyptic London (known as Airstrip One) ruled by the repressive totalitarian state of Oceania:

  • the opening credits sequence with the prologue title card: "WHO CONTROLS THE PAST CONTROLS THE FUTURE. WHO CONTROLS THE PRESENT CONTROLS THE PAST"
  • the opening public rally scene in the year 1984 at Victory Square for the employees of the Ministries - the playing of governmental propaganda films (featuring Oceania's beloved Stalin-esque leader Big Brother - "played" by Bob Flag)
  • the main character: oppressed, low-ranking, 39 year-old middle-class drone-civil servant Winston Smith (John Hurt), who worked at the Ministry of Truth (ironically-titled); his job was to alter and rewrite the past and turn 'vaporized' people into non-existent "unpersons" by erasing the person's name in old newspapers and official records
  • after purchasing an old-fashioned diary with blank pages, Smith began to secretly write down his thoughts (a thought-crime); he narrated: "April the 4th, 1984. To the past, or to the future. To an age when thought is free. From the Age of Big Brother, from the Age of the Thought Police, from a dead man... greetings"
  • Winston's nightmarish memory or recollection (in his secret journal) of a past visitation with a Whore (Shirley Stelfox) in the off-limits proletarian areas - her seemingly youthful beauty masked a middle-aged, homely, bruised and repulsive woman: "If there is hope, it lies in the proles. If they could become conscious of their own strength, there would be no need to conspire. History does not matter to them. It was three years ago on a dark evening. Easy to slip the patrols, and I'd gone into the proletarian areas. There was no one else on the street, and no tele-screens. She said: 'Two dollars,' so I went with her. She had a young face, painted very thick. It was really the paint that appealed to me: the whiteness of it like a mask, and the bright red lips. (She hiked up her skirt) There were no preliminaries. Standing there with the scent of dead insects and cheap perfume, I went ahead and did it just the same"
Visitation with a Whore
  • Winston's oft-repeated dream of a green pasture with isolated trees on the horizon that was turned into a reality during a rendezvous with the rebellious, free-spirited and sensual Julia (Suzanna Hamilton), who worked in the Ministry of Truth's Fiction Department; as they stood together and looked out on the pasture, he told her: "Look. It's a dream. I want you"; she encouraged them to retreat farther into the forest for safety's sake: ("Not here, come back to the woods, it's safer"); before having sex, she admitted that she had previously had sex with "hundreds" of party members; he told her: "I hate purity, I hate goodness. I don't want virtue to exist anywhere. I want everyone corrupt" - she agreed: "Well, I ought to suit you, then. I'm corrupt to the core...I adore it"; she stripped down for him for an illicit sexual tryst at the beginning of their idyllic love affair
Julia and Winston Falling in Love in the Countryside
  • the sight of Julia emphatically and fervently screaming during the Two Minutes Hate in a rally, yelling out "Traitor!" at the large image on the screen of the Party's enemies
  • middle-class drone Winston and Julia's continuance of an illicit sexual-romantic liaison in a rented room above a pawn shop in the proletarian area, where they lived together and acquired contraband food ("proper white bread and jam, a real tin of milk...real coffee") and clothing sold on the black market; she surprised him by wearing lipstick and a pretty dress when she asked "Do you like me?" - and they embraced
  • the couple's apprehension - both were naked when they were found out (or betrayed by Mr. Charrington (Cyril Cusack), the owner of the pawn shop and a member of the Thought Police); the two were separated at the Ministry, and forced to be rehabilitated and to repudiate their sexual relationship; both were detained, questioned, and tortured
  • during Winston's detainment, he experienced severe brain-washing administered systematically by suave, high-ranking Inner Party member O'Brien (Richard Burton in his last film role); he was told: "There is no loyalty except loyalty to the Party. There is no love except love of Big Brother. All competing pleasures, we will destroy. If you want a vision of the future, Winston, imagine a boot stamping on a human face -- forever...If you're a man, you're the last man. Your kind is extinct. We are the inheritors. Do you understand that you're alone? You're outside history. You unexist...Look at you, you're rotting away. That is the last man. If you're human, that is humanity. It won't last forever. You can escape from it whenever you choose. Everything depends on you...don't give up hope. Everyone is cured sooner or later. And in the end we shall shoot you"
  • Winston was warned about Room 101 - with excruciating personalized torture as the last stage of punishment by the totalitarian government: "The thing that is in Room 101 is the worst thing in the world. It goes beyond fear of pain or death. It is unendurable and it varies from individual to individual. It may be burial alive or castration. Or many other things. In your case, it is rats"; Winston was subjected to a cage filled with wild rats that would tear into his face, in order to break down and "cure" his insanity, have him disavow his love for Julia, and to force him to express loyalty and affection towards the Party and its leader Big Brother
Rat-Cage Torture
  • in the bleak ending, the rehabilitated Winston was playing chess with himself in the Chestnut Tree Cafe; he was briefly approached by an equally-changed Julia - both acted unromantically and passively to each other:
    - Julia: "I told them all about you. I'm only thankful they got me before it was too late."
    - Winston: "Yes, I told them about you, too. ThoughtCrime. SexCrime, all your treachery."
    - Julia: "I have a meeting to go to. We must meet again."
    - Winston: "Yes. We must meet again."
  • after she departed, a large telescreen behind him played a broadcast of himself admitting his numerous crimes: ("I accuse myself of the following crimes. I have seduced Party members of both sexes. I've been to the proletarian areas. I deliberately contracted syphilis in order to spread the disease to my wife and other Party members. Together with other agents, I have counterfeited banknotes, wrecked industrial machinery, polluted the water supply, and guided Eurasian rocket bombs to targets on Airstrip One by means of coded radio signals. I stand here, a victim of the influence of Emmanuel Goldstein, guilty on all counts. I'm glad I was caught. I was mentally deranged. Now I am cured. I ask only for you to accept my love of our leader. I ask only to be shot while my mind is still clean") - after hearing news of the "utter rout of the Eurasian army" on the African front, Winston turned to the image of Big Brother on the screen and whispered faintly (did he actually mouth the words or were they off-screen?) - the film's final words: "I love you"


Winston Smith (John Hurt)

Big Brother

Winston's Diary


Julia Screaming During Two Minutes of Hate


Julia: "Do you like me?"




Winston Apprehended With Julia



Torture by O'Brien: "You unexist...You're rotting away"



A Very Passive Julia Entered Cafe Where Winston Was Playing Chess with Himself

Listening to His Own Confession

Bleak Ending: "I Love You"

Nine to Five (1980) (aka 9 to 5)

In director Colin Higgins' feminist-leaning workplace farcical comedy - so successful that it was the basis for a short-lived ABC-TV sitcom and a 2009 Broadway show of the same name:

  • the catchy Oscar-nominated title song sung and lyrics written by Dolly Parton during the opening title credits montage of hustle-bustle scenes (of getting to work by 9 am) - filmed and located in downtown San Francisco: "Tumble out of bed and stumble to the kitchen Pour myself a cup of ambition And yawn and stretch and try to come to life. Jump in the shower and the blood starts pumpin' Out on the street the traffic starts jumpin' With folks like me on the job from nine to five. Workin' nine to five what a way to make livin' Barely gettin' by, it's all takin' and no givin'. They just use your mind and they never give you credit. It's enough to drive you crazy if you let it..."
Opening Title Credits Montage
  • the main characters: three secretaries who were harrassed by their sexist corporate boss Franklin Hart, Jr. (Dabney Coleman) during their 9 to 5 job at Consolidated Companies, Inc.:
    - Doralee Rhodes (singer/songwriter Dolly Parton in her film debut), the well-endowed secretary of Hart, tired of being sexually-harrassed and hearing rumors about her affair with her boss
    - Judy Bernly (Jane Fonda), a new secretary, mousy, compelled to work after divorce proceedings against her cheating husband Dick (Lawrence Pressman); she was nervous, agitated in the new job by all her duties, and unable to manage the xerox machine
    - Violet Newstead (Lily Tomlin), senior office manager, a long-time worker, and a widow with four children
Judy Bernly
(Jane Fonda)
Violet Newstead
(Lily Tomlin)
Doralee Rhodes
(Dolly Parton)
  • the scene of male-dominated, married personal secretary Doralee Rhodes' threatening tirade to get her gun and fire at lecherous, chauvinistic and harrassing corporate boss Franklin Hart after being ogled one too many times, her compromised reputation and his bragging about their having an affair: ("Well, that explains it. That's why these people treat me like some dime store floozy...They think I'm screwin' the boss...And you just love it, don't ya? It gives you some sort of cheap thrill like knockin' over pencils and pickin' up papers...Get your scummy hands off of me. Look, I've been straight with you from the first day I got here. And I put up with all your pinchin' and starin' and chasin' me around the desk 'cause I need this job, but this is the last straw...Look, I got a gun out there in my purse, and up until now, I've been forgivin' and forgettin' because of the way I was brought up. But I'll tell you one thing: if you ever say another word about me or make another indecent proposal, I'm gonna get that gun of mine and I'm gonna change you from a rooster to a hen with one shot! Don't think I can't do it!") - his one word response after she left his office was "s--t!"
  • the three commiserated at a bar about their jobs and detestable boss (Judy: "We've got to do something. He can’t treat people like that"); Violet pulled out a "gift" from her son - a "marijuana cigarette" and challenged them to smoke it: "Would you two show a little spunk? I mean, what are you, a man or a mouse? I mean, a woman or a "wouse"?"; they decided to retreat to Doralee's house for what Violet termed "an old fashioned ladies' pot party"
  • the sequence of the three elaborate revenge fantasies (while giggling and stoned with very strong "Maui Wowie") of Doralee, Judy and Violet about killing their boss in various ways, while labeling him as "a lying, sexist, egotistical, hypocritical bigot"
    - Judy hunted him down in his office and threatened him with a rifle ("You're foul, Hart - a wart on the nose of humanity, and I'm going to blast it off...Goodbye, boss man. It's quittin' time") - she counted to ten and then began firing as he fled; she pursued him into the women's room where he was hiding in a toilet stall - he became a plaque on the wall
    - Doralee fantasized riding up in a Western scenario ("I think I'd like to ride up one day and give him a taste of his own medicine"); she arrived on a horse (to the tune of the "Lone Ranger" theme song); she pretended that she was his boss and shamed him by objectifying his body and sexually-harrassing him (as he often did to her) ("You're my boy from 9 to 5...You need to be a little more cooperative if you want to keep this job...One little kiss? What's that gonna hurt? Who's gonna know?"); then when he resisted, she roped and hog-tied him and put him on a BBQ spit
    - Violet portrayed Disney's fanciful Snow White ("For me, it would have to be like a fairy tale. You know, something gruesome and horrible and real gory. But kinda cute...) - with plans to poison Hart through his coffee; after he drank the coffee, he admitted that he deserved it, and was ejected from his desk chair out the skyscraper window
Judy - Hunting Him Down With a Rifle in the Office
Doralee - Abusing, Roping and Spit-Roasting Him
Violet - As Snow White, Poisoning Him With Coffee
  • back in reality, Violet wrongly thought she had actually poisoned Hart's coffee with Rid-O-Rat powdered poison rather than sweetener, when he fell from his chair, knocked himself out and was quickly whisked off to the hospital; when Hart recovered and left the hospital without the threesome's knowledge, the threesome was in the middle of endeavoring to cover up Violet's possible crime of murder (and prevent an autopsy) by getting rid of the body; Violet mistakenly stole the corpse of a police witness from the hospital, stashed it in her trunk, and drove off; when they realized their mistake, they had to re-smuggle the body back into the hospital (and avoid a suspicious motorcycle cop who stopped them for a defective tail-light)
  • the sequence of Hart kidnapped and held captive by the trio in a bizarre suspension and chain system in his own bedroom, while the ladies sought evidence to charge him with embezzlement
  • in Hart's absence, improvements in office procedures ("changes that really count") instituted by the ladies led to increased productivity and positive morale, such as job-sharing, a day-care center, a rehabilitation program for recovering alcoholics, and more
  • in the triumphant finale after Hart escaped and was about to send the threesome to jail, the company's impressed, white-haired chairman Russell Tinsworthy (Sterling Hayden) arrived for an unexpected visit to congratulate Hart for all of the improvements - except one ("that equal pay thing, though, that's got to go!"), and promoted him for a transfer to run Consolidated's Brazilian operation for the next two to three years; Hart reacted to the unwanted "chance of a lifetime" transfer: "Brazil, sir?"
  • in the last scene, the champagne drinking trio congratulated each other on getting rid of Hart:
    - Judy: "We did it! We actually pulled it off, and we didn't panic."
    - Doralee: "And Tinsworthy loved what we did."
    - Violet: "Yeah, everything except that part about the money."
    - Judy: "What are we gonna do about that?"
    - Violet: "Hey, we've come this far, haven't we? This is just the beginning."
    - Doralee: (toasting) "And here's to the beginning."
    - Violet: "I'll drink to that."
    - Judy: "The beginning!"
    - Doralee: "Yeah!"
    - "Monsieur Hart. Holy merde!" (the reaction of Hart's deferential and loyal assistant Roz Keith (Elizabeth Wilson), speaking French after returning from a French language seminar)
  • the film's final caption: "Franklin Hart was abducted by a tribe of Amazons in the Brazilian jungle and was never heard from again"

Franklin Hart, Jr.
(Dabney Coleman)


Hart Looking Down Buxom Doralee's Dress

Judy's Problems with the Xerox Machine

Doralee to Hart: "I'm gonna change you from a rooster to a hen with one shot!"



Plans to Seek Revenge: At a Bar and at Doralee's Home While Smoking Pot

Unrealistic Fairy-Tale Dreams


Hart Knocked Out, Not Poisoned!

Violet Stealing the Wrong Corpse From the Hospital



Hart Chained, Detained and Suspended From the Ceiling In His Own Home



Impressed Chairman Russell Tinsworthy - Hart Promoted to Brazil

Triumphant Threesome Drinking Champagne

Roz: "Holy merde!"

Franklin Hart Caption

Ninotchka (1939)

In Ernst Lubitsch's sophisticated romantic comedy (advertised with the tagline "Garbo LAUGHS!" to specify it was her first), a satire about both Stalin's Communism and western capitalism:

  • the early scene of self-absorbed, ultra-sophisticated noblewoman, Russian Grand Duchess Swana (Ina Claire), living in exile in the French capital of Paris, who complained to her suave, playboyish boyfriend Count Leon d'Algout (Melvyn Douglas) about what her face looked like in the morning: "Oh, it's really a wretched morning, wretched. I can't get myself right. I wanted to look mellow and I look brittle. My face doesn't compose well. It's all highlights. How can I dim myself down, Leon? Suggest something. Oh, I'm so bored with this face. I wish I had someone else's face. Whose face would you have if you had your choice? Oh well, I guess one gets the face one deserves"
  • the scene of somber and dour, plainly-dressed Russian commissar Nina "Ninotchka" Ivanovna Yakushova's (Greta Garbo) arrival at the Paris train station (after being dispatched as a special envoy from Moscow, to find out what had happened to three commissar comrades, the reason for the delay in selling the confiscated imperial jewels (encased in the vault), acquired during the Bolshevik Revolution, and originally owned by Grand Duchess Swana, and to untangle any problems); she was met by a trio of Russian delegates/comrades (Sig Rumann, Felix Bressart, and Alexander Granach), who apologized for not bringing flowers because they didn't know she was female - and she sternly and unsmilingly cautioned them to downplay her sexuality and not act gallantly: "Don't make an issue of my womanhood. We're here for work. All of us. Let's not waste any time. Shall we go?" - and she refused to have a porter carry her bags (and called his business "social injustice"); as she walked off, she told them the news: "The last mass trials have been a great success. There are going to be fewer but better Russians"
  • in the hotel lobby, she observed a ladies hat in the showcase window of a hat shop and disparaged the Western capitalist civilization that produced such a piece of frivolous and costly merchandise: "How can such a civilization survive which permits their women to put things like that on their heads? It won't be long now comrades"; later in the film, (in an insightful critique of Communism by the director), she went to her locked, lower bureau drawer - knelt and removed the hat that she had twice disapproved of in the showcase window of the hotel lobby, and then had secretly bought; she held it up, stared at it, moved over to the large, full-length mirror in her bedroom and firmly placed the frivolous, cone-shaped hat on her head with both hands; afterwards, she sat down, looked uncertainly at herself, leaned forward and gazed at her new persona, and then rested her chin on her hand
Observing Hat in Hotel Store Window
Observing Herself With Hat
  • the scene of her meeting with dashing and persuasive Parisian lover Count Leon when all she wanted was assistance in holding her unfolded map of Paris to go to the Eiffel Tower to learn about it from a "technical standpoint"; point-blank, she told him: "I am interested only in the shortest distance between these two points. Must you flirt?...Suppress it!"
  • the first instance of Ninotchka saying her famous line after being introduced to Leon's elderly, dignified butler Gaston (Richard Carle): "The day will come when you'll be free. Go to bed, little father. We want to be alone"
  • the second instance in the film when Garbo stated her famous wish to be alone: "We want to be left alone"
  • the attempted seduction scene in Leon's art-deco style apartment, when she responded to his request for feedback: "Ninotchka, you like me just a little bit?" - and her reply: "Your general appearance is not distasteful...The whites of your eyes are clear. Your cornea is excellent"; and then her denial of his feelings of love: "Love is a romantic designation for a most ordinary biological - or, shall we say, chemical - process. A lot of nonsense is talked and written about it"
  • Leon's continued charming and romancing of the cold Ninotchka, when the clock struck twelve: "It's midnight. Look at the clock. One hand has met the other hand. They kiss. Isn't that wonderful?...Ninotchka, it's midnight. One half of Paris is making love to the other half"
  • Leon's failed attempt to arouse loving emotion in Ninotchka: "Love isn't so simple, Ninotchka. Ninotchka, why do doves bill and coo? Why do snails, the coldest of all creatures, circle interminably around each other? Why do moths fly hundreds of miles to find their mates? Why do flowers slowly open their petals? Oh, Ninotchka, Ninotchka, surely you feel some slight symptom of the divine passion? A general warmth in the palms of your hands, a strange heaviness in your limbs, a burning of the lips that isn't thirst but something a thousand times more tantalizing, more exalting, than thirst" - she gave a cold reply: "You are very talkative" - but he was finally able to plant a kiss on her lips - and asked: "Was that talkative?" - to which she replied with little feeling: "No, that was restful. Again"; after being encouraged, Leon kissed her again and she replied: "Thank you," and leaned back on the leather chair, as he told her: "Oh, my barbaric Ninotchka. My impossible, unromantic, statistical..."; she interrupted, took charge, and reciprocally kissed him back; he commanded her: "Again," but a telephone's ringing delayed any further kisses; she soon realized that he was the enemy of her mission in Paris
  • the celebrated cafe scene of dashing Count Leon d'Algout attempting to melt somber and dour Russian commissar Ninotchka's icy, stony-faced, humorless, impassive exterior and have her "laugh from the heart" by telling her dumb jokes and stories in a restaurant; when that utterly failed and she remained stone-faced without any reaction, he leaned backward on the shaky table behind him and accidentally toppled over in his chair, causing everything to crash to the floor; he finally succeeded in making her laugh uproariously and uncontrollably- she howled, threw her head back, and collapsed across the table, pounding it with her hand; Leon slowly got up from the floor, recomposed himself, and sat next to her, and then he recovered and broke down into howling laughter with her; he saw the humor of the situation and joined in everyone's laughter at his own expense
  • the stinging repartee between the jealous Grand Duchess Swana and Ninotchka when they met in Count Leon's presence; the Grand Duchess cynically criticized Ninotchka's evening attire (she was radiantly-dressed in a beautiful evening gown) ("Isn't it amazing? One gets the wrong impression of the new Russia. It must be charming. I'm delighted conditions have improved so. I assume this is what the factory workers wear at their dances"), and also sarcastically noted: "It's too bad you have so few more days here in Paris"
  • the famous "execution" scene involving an inebriated Ninotchka in her Royal Suite in the hotel with Leon; she had become his ardent lover - drunk, happy and in love for the first time; she was to be punished for betraying her Russian ideals and replacing them with love and kisses ("No one can be so happy without being punished. I will be punished and I should be punished. Leon, I want to confess"); to fulfill her request to be shot as a traitor for betraying "a Russian ideal," Leon stood the tipsy Ninotchka up against a wall, blindfolded her with the napkin, and then removed the champagne bottle's cork with a loud pop - she reacted as if shot, sinking to the floor: "I've paid the penalty. Now let's have some music"
  • later in the film, the Grand Duchess became more worried about the loss of her lover (the Count) to Ninotchka than her own jewels, so she proposed a desperate bargain - to give the Soviets the money from the sale of her gems if Ninotchka would immediately return to Russia; she got her wish, and Ninotchka was dispatched back to the humorless Russia, but then shortless later was sent on an additional mission to Constantinople, Turkey to again monitor the same three Russian comrades
  • in the happy ending, the scene of the surprise rendezvous of Ninotchka with Count Leon in Turkey, who confessed that he had masterminded her departure from Russia ("They wouldn't let me in so I had to get you out")
Happy Ending: Leon's Rendezvous with Ninotchka in Turkey
Ending: Kopalski's Restaurant Picket Sign
  • the last image of ostracized Kopalski (Alexander Granach) picketing a co-owned Russian restaurant opened with his comrades in Turkey with a sandwich board that read: "Buljanoff and Iranoff Unfair to Kopalski"


The Russian Grand Duchess Complaining About Her Looks to Leon

Trio of Russian Comrades-Delegates

Stern "Ninotchka" Yakushova (Greta Garbo)

Ninotchka with Count Leon (Melvyn Douglas)

"We want to be alone"





Mostly Failed Seduction Scene - A Few Kisses

Cafe Scene - Ninotchka LAUGHS

"Execution" Scene: Ninotchka Slumped To Floor With Sound of Champagne Cork Pop

The Grand Duchess Blackmailing Ninotchka to Leave Paris



Nixon (1995)

In Oliver Stone's documentary-drama and biopic with homage paid to Citizen Kane (1941) with its flashback structure, dinner-table scene and newsreels - with a review of the brooding anti-hero Nixon's dark side with fatal flaws:

  • the opening prologue: "This film is a dramatic interpretation of events and characters based on public sources and an incomplete historical record. Some scenes and events are presented as composites or have been hypothesized or condensed"; it was followed by the Biblical verse: "For what is a man profited, if he shall gain the whole world, and lose his own soul?" - Matthew 16:26
  • the first brief sequence was the arrest of five operatives at the Watergate Hotel in Washington DC in the summer of 1972: (off-screen) "Five men wearing white surgical gloves, business suits and carrying camera and electronic surveillance equipment were arrested early today in the headquarters of the Democratic National Committee in Washington. They were unarmed. Nobody knows yet why they were there or what they were looking for"; there was a domino effect, as the burglars were imprisoned, Presidential aides resigned, a secret White House taping system was revealed (with a gap in one crucial taped conversation from 1972), and the Watergate special prosecutor Archibald Cox was fired by President Nixon
  • the first appearance of heavy-drinking Nixon (Oscar-nominated Anthony Hopkins) alone in the White House one stormy night in late 1973 when visited by his Chief of Staff General Alexander Haig (Powers Boothe) with three reel-to-reel tapes for the taping system, when Nixon mused: "You know, Al, if Hoover were alive, these tapes would never have gotten out....We never got our side of the story out, Al. People have forgotten. Such violence. The tear gassing, the riots, burning the draft cards, the Black Panthers. We fixed it, Al, and they hate me for it. 'Cause it's Nixon. They always hated Nixon"
  • the triggering of the film's many flashbacks, including a recreation of the 1960 Presidential television debate between Richard M. Nixon and John F. Kennedy (Himself), when Nixon brashly bragged and sweated profusely on his upper lip; backstage, handlers worried: - Murray Chotiner (Fyvush Finkel): "Shoulda slapped a little makeup on him." H.R. Haldeman (James Woods): "Don't worry. It's not a beauty contest." Murray: "We'd better hope not"
  • the scene of Nixon noisily playing "Happy Days Are Here Again" on the piano and calling his wife Pat (Oscar-nominated Joan Allen) a "cocksucker" when she complained about political life (and then suggested a divorce) after he lost again (after defeat in 1960) to incumbent Pat Brown in California during the gubernatorial race in 1962: ("It's over, Dick....I have always stood by you. I campaigned for you when I was pregnant. During Checkers, when Ike wanted you out, I told you to fight. This is different, Dick. You've changed. Life is tough and it is unfair and sometimes you forget that in your self-pity. You forget sometimes, Dick that I had a life before you - before California...You've changed. You've grown more bitter, like you're at war with the world. You weren't that way before. I'm 50 years old now, Dick. How many millions of miles have I traveled? How many millions of peoples' hands have I shaked that I just don't like? How many thank-you notes have I written? It's as if I, I don't know, just went to sleep a long time ago and missed the years between. I've had enough...I want a divorce...This isn't political, Dick. This is our life")
  • Nixon's subsequent press conference with a memorable concession speech, when he promised to never run again after his defeat in 1962 against Governor Brown, to prevent a divorce from Pat when he might lose her forever: ("I believe Governor Brown has a heart, even though he believes I do not. I believe he's a good American, even though he feels I am not. I'm proud of the fact that I defended my opponent's patriotism. You gentlemen didn't report it, but I'm proud that I did that. And I would appreciate it for once, gentlemen, if you would just print what I say. For sixteen years, ever since the Hiss case, you've had a lot of fun - a lot of fun. But recognize you have a responsibility, if you're against the candidate, to give him the shaft, but if you do that, at least put one lonely reporter on the campaign who will report what the candidate says now and then. Uh, I think, all in all, I've given as good as I've taken. But as I leave you, I-I want you to know. Just think what you're gonna be missing. You won't have Nixon to kick around anymore. Because, gentlemen, this is my last press conference")
1962: "You won't have Nixon to kick around anymore"
  • another earlier turning point in 1952 when Nixon was about to be chosen VP on the Republican Presidential ticket with war hero General Dwight Eisenhower, and he was accused of hiding a secret slush fund; he went on national television to shamelessly and manipulatively plead his case to the nation -- the infamous "I am not a crook" speech -- he explained his modest financial history, and a gift from a Texas businessman - a little cocker spaniel dog that his six year-old daughter Tricia named Checkers: ("Everything I've earned, spent ... regardless of what they say about him, we're gonna keep him (the dog)"); the broadcast was later viewed on television by Pat: (Nixon: "Because people have gotta know whether or not their president is a crook. Well, I am not a crook. I've earned everything I have. She doesn't have a mink coat. She does have a respectable Republican cloth coat. And I always tell her that, uh, she'd look good in anything")
  • the scene of Nixon's late-night unannounced visit to the Lincoln Memorial, when he greeted a group of young teenagers and shook hands: "Hi, I'm Dick Nixon," and then went into an inept rambling monologue about football but then tried to defend his unpopular wartime policies in Vietnam: "Well, probably most of you think I'm a real S.O.B. I know that. I understand how you feel. But, you know, I want peace too. But peace with honor....Well, you can't have peace without a price. Sometimes you have to be willing to fight for peace and sometimes to die"; he stated: "In fact, we agree on a lot of things, don't we?" but one vocal female disagreed: "No, we don't. You say you want to end the war, so why don't you?"; Nixon became flustered when she inferred that he was powerless within the 'system' to stop the war: "What's the point of being president? You're powerless!"; when Nixon responded that he could possibly 'tame' the system, she noted: "Sounds like you're talking about a wild animal"
Late Night Visit to Lincoln Memorial
and Speaking to a Group of Protestors
  • the scene in which a resigning and sobbing President Nixon in 1974 prayed on his knees in front of a fireplace with Secretary of State Henry Kissinger (Paul Sorvino); he utterly broke down, knowing the end was near: "My mother used to pray a lot. It's been a long time since I really prayed....Never be too proud to go on your knees before God...How can a, how can a country come apart like this? What have I done wrong? I opened China. I made peace with Russia. I ended the war. I did what I thought was right. Uh - God, why do they hate me so? Is unbelievable. It is insane. Oh, Mom, I'm sorry. God, please forgive me, God. I really didn't mean it. I didn't know what to do. I don't know why this is happening to me. I can't believe..."
  • and his poignant late-night conversation with a portrait of Kennedy: "When they look at you, they see what they want to be. When they look at me, they see what they ARE..."; he was comforted by Pat who assured him: "Dick, please don't...It'll be over soon"; he continued to bemoan his life: "I'm so afraid. There's darkness out there. I could always see where I was going. But it's dark out there. God, I've always been afraid of the dark"
1974 Farewell Speech:
"My mother was a saint..."
Actual Video Footage of Departure from WH
  • his sweaty, final farewell and impromptu late summer 1974 resignation speech after the Watergate disgrace, to his assembled White House staff, including a long tribute to his mother, before being taken away on Marine One from the White House lawn: ("...Nobody will ever write a book, probably, about my mother. Well, I guess all of you would say this about your mother. My mother was a saint....Yes, she will have no books written about her. But she was a saint. Now, however, we look to the future....And as I leave, that's an example I think all of us should remember. See, we think sometimes when, uh, things happen that don't go the right way, we think that when someone dear to us dies, or we lose an election or when we suffer defeat that all is ended. Not true. It's only a beginning, always, because the greatness comes, not when things go always good for you, but the greatness comes when you're really tested, when you take some knocks, some disappointments, when sadness comes. Because only if you've been in the deepest valley can you ever know how magnificent it is to be on the highest mountain. So I say to you on this occasion we leave, proud of the people who have stood by us and worked for us and served this government and this country. They want you to continue to serve in government if that is what you wish. Remember, always give your best. Never get discouraged. Never be petty. Always remember, others may hate you. But those who hate you don't win unless you hate them. And then, you destroy yourself. And so we leave with high hopes and good spirits and with deep humility. And I say to each and every one of you, not only will we always remember you but always you will be in our hearts. And you'll be in our prayers. And only then will you find what we Quakers call 'peace at the center'")
  • the film's ending: Nixon's funeral service and burial in April of 1994, when five current living Presidents (Ford, Carter, Reagan, Bush 41, and then-President Clinton) were in attendance at the ceremony; the film ended with a narrated epilogue: ("Nixon, who was pardoned by President Ford, lived to write six books and travel the world as an elder statesman. For the remainder of his life, he fought successfully to protect his tapes. The National Archives spent 14 years indexing and cataloging them. Out of 4,000 hours, 60 hours have been made public")

1972: The Watergate Arrests

1973: "We never got our side of the story out... They always hated Nixon"


1960: The Televised Presidential Debate During Campaign against JFK

1962: "Happy Days Are Here Again"

Pat Complaining to Dick in 1962: "I want a divorce"


1952 Checkers Speech: "Well, I am not a crook"

1968: Winning the Republican Nomination for President



1974: Prayer with Henry Kissinger


Conversation with JFK's Portrait and Pat's Reassurance


1994: Nixon's Memorial Service

No Country For Old Men (2007)

In the Coen Brothers' dark Best Picture-winning crime drama and western thriller based upon Cormac McCarthy's 2005 novel about a bad drug-deal gone wrong in early 1980s West Texas:

  • the opening: the weary observations of old-time Sheriff Ed Tom Bell (Tommy Lee Jones) about the lack of value of human life during the opening images: "I was Sheriff of this county when I was 25 years old. Hard to believe. My grandfather was a lawman, father too. Me and him was sheriffs at the same time, him up in Plano and me out here. I think he's pretty proud of that. I know I was. Some of the old time Sheriffs never even wore a gun. A lotta folks find that hard to believe. Jim Scarborough'd never carry one - that's the younger Jim. Gaston Borkins wouldn't wear one up in Comanche County....The crime you see now, it's hard to even take its measure. It's not that I'm afraid of it. I always knew you had to be willin' to die to even do this job. But, I don't want to push my chips forward and go out and meet somethin' I don't understand. A man would have to put his soul at hazard. He'd have to say: 'O.K., I'll be part of this world.'"
  • the escape scene - the strangulation murder of a young deputy (Zach Hopkins) by the amoral, thrill-killer Anton Chigurh (Javier Bardem), using his handcuffs as a garrote from behind; after the killing, he reacted with a grinning, satisfied exhalation, and then walked away from the bloody, scuffed-up floor from the flailing boots of the struggling man
  • the plot: the relentless efforts of brutal sociopathic hitman Anton Chigurh who had escaped police custody and jail, to recover a satchel with $2 million dollars from the aftermath of the failed drug deal - the money was retrieved by Vietnam veteran and Texas resident Llewelyn Moss (Josh Brolin)
  • the infamous coin-toss wager scene in which Chigurh threateningly offered a Texaco gas station manager an enigmatic choice, in a cat-and-mouse conversation: ("What's the most you've ever lost in a coin toss?...The most you ever lost in a coin toss....Call it...Yes...Just call it....You need to call it. I can't call it for you. It wouldn't be fair....You've been putting it up your whole life - you just didn't know it. You know what date is on this coin?... 1958. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails. And you have to say. Call it....Everything...You stand to win everything, call it.")
Infamous Coin-Toss Sequence
  • the enigmatic Chigurh (one of the scariest villains ever created) killed other victims with a compressed-air cattlegun as he pursued the satchel with the money, held by Moss
  • the exciting chase and cat-and-mouse pursuit game between Chigurh and Moss; the latter waited in his border town hotel room for the arrival of Chigurh to collect the money - Moss had the funds in a satchel (not knowing it had signaled his exact location with a hidden radio transponder to hired killer Chigurh); in the tense scene, Moss discovered the transponder and knew Chigurh would arrive momentarily for a showdown there; he sat readied with his shotgun after turning out the light and peering under the door; the two engaged in a vicious and bloody struggle that ended on the street and left Moss severely wounded (with a gunshot wound on his right side), and Chigurh shot in the leg
  • the concluding scene in which the evil and remorseless killer Chigurh confronted Vietnam veteran and Texas resident Llewelyn Moss's young and innocent wife Carla Jean (Kelly Macdonald) in her bedroom, before her murder (off-screen); she spoke first: "I knew this wasn't done with. I ain't got the money. What little I had is long gone and there's bills a-plenty to pay yet. I buried my mother today. Ain't paid for that neither....I need to sit down. You got no cause to hurt me...You don't have to do this...(she refused the coin toss) I knowed you was crazy when I saw you sitting there. I knowed exactly what was in store for me... I ain't gonna call it...The coin don't have no say - it's just you" - she was predictably murdered (off-screen), signified by Chigurh leaving the house alone
  • the ending sorrowful sequence - retired Sheriff Ed Tom Bell recollected a second dream about his father to his wife Loretta (Tess Harper) - a metaphor for mortality in life shortly after the brutal and senseless deaths of his Vietnam vet friend Llewelyn Moss (by Mexicans) and Moss' wife Carla Jean by psycho-killer Anton Chigurh: ("..The second one, it was like we was both back in older times and I was on horseback goin' through the mountains of a night. Goin' through this pass in the mountains. It was cold and there was snow on the ground and he rode past me and kept on goin'. Never said nothin' goin' by - just rode on past. And he had his blanket wrapped around him and his head down. When he rode past, I seen he was carryin' fire in a horn the way people used to do, and I-I could see the horn from the light inside of it - about the color of the moon. And in the dream I knew that he was goin' on ahead and he was fixin' to make a fire somewhere out there in all that dark and all that cold. And I knew that whenever I got there, he'd be there. And then I woke up")



The Strangulation of Deputy




The Cat and Mouse Game for the Money



Chigurh's Confrontation with Carla Jean (Kelly Macdonald) - Chigurh's Coin-Flip Offer Rejected


Ending: Sheriff Ed Tom Bell (Tommy Lee Jones)

No Way Out (1987)

In Roger Donaldson's suspenseful, twisting political thriller (an update of the 1946 Kenneth Fearing potboiler The Big Clock, originally adapted for the big screen as The Big Clock (1948) and starring Ray Milland):

  • the hot and passionate love affair between Pentagon naval attache Lt. Commander Tom Farrell (Kevin Costner) and the Defense Secretary David Brice's (Gene Hackman) mistress Susan Atwell (Sean Young); he met her wearing a low-cut evening gown at a Presidential Inaugural Ball in Washington DC, and after some small talk, suggested: "Let's get outta here"; she replied: "My date's not gonna like that very much" to which he replied: "But, what the hell? His wife'll be delighted"; Farrell seduced her into having sexual intercourse with him in the back seat of a moving stretch limousine (chauffeured by an inquisitive driver named Bill) on the way to a Georgetown apartment; He kissed her, unzipped her dress to reveal a black bra, touched her breast's nipple with two fingers, and then pulled off her dress; she offered him her panties; from the car, a phallic-related view of the erect and tall Washington Monument passed by; he then unfastened her lacy garter straps as she reached to help undress him before having sex; post-coitus, he introduced himself: "My name's Tom," and she replied: "I'm Susan"; at her party girl friend Nina Beka's (Iman) apartment door, she stood naked after removing her fur coat as she waved goodbye, laughed, and borrowed Nina's apartment's bed for the evening: "We need your bed"
Sex in the Back of a Chauffeured Limousine
with Susan Atwell (Sean Young)
  • the scene of Brice's accidental murder of Atwell who fell from her second floor balcony; Farrell was gathering intelligence from Atwell (since she was also the mistress of Secretary of Defense David Brice) when she shockingly turned up dead; the murder was committed during a jealous rage by the suspicious Brice who brutally slapped Susan Atwell when questioning her about another lover ("Who were you with this weekend?" to which she replied: "Why worry? There's plenty left"); when Brice struck her after she called him a "pig," she toppled backwards from her upstairs balcony onto a glass dining room table on the first floor
Susan Atwell's Accidental Murder
  • to cover up, Brice then assigned Farrell with "direct orders" to investigate and discover Atwell's lover and supposed DC murderer (a fictional and rumored KGB spy named 'Yuri' who was seen leaving Atwell's house) -- himself!; Brice's own scheming, ruthless yet loyal aide General Counsel Scott Pritchard (Will Patton) described the scandalous problem to Farrell: "Do you realize the magnitude of the scandal? The Secretary of Defense and a Soviet agent sharing the favors of a murdered whore"
  • Farrell furiously raced against time to find blame elsewhere during an investigation that might have falsely implicated him as Atwell's killer, and exposed his real identity; he only had a few hours to name the killer before a Polaroid negative found at Atwell's place could place him there and make him a suspect; Farrell successfully exposed Brice as the actual killer (he proved Brice's involvement with a computer printout, showing a government-registered gift of a 'gold jewelry box' given by Brice to Atwell)
  • in one of the last startling scenes in the Secretary's office, Pritchard wanted to pin the murder on Farrell, coincidentally deducing that Farrell was Yuri!: "Tom is the man who saw you at Susan's. He's known about you all along, isn't that right? Do you know what that means, David? If Commander Farrell is the man who was with Miss Atwell, then Commander Farrell is the man who killed Miss Atwell. And we know that the man who killed Miss Atwell is Yuri. Therefore, Commander Farrell IS Yuri, quod erat demonstrandum"; feeling threatened, Pritchard - with his gun at Farrell's throat - then boldy asserted: "You have no idea what men of power can do"
  • then, when Pritchard's superior Brice shifted the blame from himself to make Pritchard the fall guy in the murder of Atwell, Pritchard committed suicide (he shot himself in the head) in their presence (Brice was planning to claim that Pritchard was "fiercely jealous" of his relationship with Susan, and therefore killed her)
  • the devious trick-surprise ending revealed Farrell's true loyalty (to the KGB) as the fabled, never-seen mole/spy 'Yuri' - Farrell, while innocent of murdering high-class mistress-escort Susan Atwell, was really a KGB sleeper agent who had infiltrated the Pentagon; the entire film, revealed at the end, was told as a flashback during Farrell's debriefing at a safehouse with his Soviet superiors who had commissioned him to seduce Atwell in order to blackmail Brice; his bosses criticized Farrell for his "poorly-handled" relationship with Atwell. Farrell argued back: "I did what I was told! You wanted me to be her lover. I was her lover." A Soviet official spoke to Farrell (Russian name: Yevgeny Alexeyevich) - in Russian, seen in English subtitles: "Couldn't you have managed this better?" Farrell was told that it wasn't possible for him to remain in the US, and that he must return to Russia: "This bizarre incident has given them their 'Yuri.'"; but Farrell was reluctant: "I came here. I thought I owed you that. But you can't make me go back." After telling them that he was ready to quit being "Yuri," Farrell was allowed to leave, although one of the officials stated that he would be back: "Let him go. He will return. Where else does he have to go?"
  • the film concluded with a claustrophobic spy satellite-view of Farrell/Yuri getting into his car and driving off

Farrell (Kevin Costner) Assigned to Investigate Susan Atwell's Lover and Supposed DC Murderer Yuri - Himself!



Pritchard's (Will Patton) Suicide




Reveal in Ending: Lt. Cmdr. Farrell (aka Yuri) with Soviet Officials

Last Image

Noah's Ark (1928)

In this melodramatic epic, a silent film (and part-talkie) directed by Michael Curtiz - told in parallel narratives with both a modern-day story (set in 1914) and a Biblical story, using the same actors in similar roles, and with primitive (but deadly) special effects - the parallel intercutting in the film was reminiscent of D.W. Griffith's Intolerance (1916), with actors playing roles in both sections - in its original premiere form, it was about 135 minutes in length, although later shortened by about a half-hour. The surviving prints are about 108 minutes long:

  • the intercut sequences of the Biblical story of the 'Great Flood', with a climactic flood sequence - that mixed minatures, double-exposures, and the full-scale destruction of actual sets
  • the early religious epic about Biblical times and the sins of mankind was intercut with a parallel melodramatic romance story about soldiers in the Great War (WWI) - with moralizing about the hedonistic sins of the Jazz Age and Wall Street speculation
  • in the Biblical segment, a scene reminiscent of Cecil B. DeMille's earlier epic The Ten Commandments (1923), Noah (Paul McAllister) (a Moses figure) went on a mountain trek where, in a dramatic scene, he experienced a Burning Bush and the creation of two giant stone tablets on a mountainside with flaming letters (written by lightning) warning of a giant flood; he was commissioned by God to build an Ark to escape: ("And behold, I, even I, do bring a flood of water upon the Earth to destroy all flesh - Make thee an Ark of gopher wood and thou shalt come into the Ark, thou and thy sons and thy wife, and thy sons' wives with thee - And of every living thing of all flesh two of every sort shalt thou bring into the Ark")
Three Flaming Tablets - Noah Commanded to Build Ark
  • just before the flood, virginal Miriam (Dolores Costello), Noah's handmaiden (betrothed to Noah's youngest son Japheth (George O'Brien)) was randomly chosen to be sacrificed by King Nephilim (Noah Beery) of Akkad to his God Jaghuth - as the high priest's archer drew back his bow and arrow to execute her high upon an altar, he was struck by lightning, and Miriam was saved from execution
Archer Struck by Lightning
Miriam Atop Altar
  • the flood commenced with a fierce storm; another lightning bolt destroyed the temple and torrents of water caused a massive flood that ravaged everything
  • the imprisoned but now-freed (but blinded) Japheth heard Miriam's cries for help as she was threatened with being swept away in the currents; he rescued her from the water by picking her up to save her from drowning; with the water flowing down his face, his blindness was miraculously cured, as he brought her to the Ark on the outskirts of the city
Brought Into Ark
Miriam's Thankfulness
  • those pagans that were still alive clamored to enter the Ark as it slowly floated away; King Nephilim's attempt failed when the door slammed onto his hand; all others were unsuccessful "and all living things - PERISHED!"
The Great Flood: Storms and Torrents of Water

Noah (Paul McAllister) on Mountain

The Building of the Ark

Animals in Pairs Entered Ark

The Destruction of the Temple


Miriam Rescued by Japheth From Flood Waters

King Nephilim's Vain Attempt to Enter Ark

Norma Rae (1979)

In director Martin Ritt's acclaimed social problem drama, based on the true reported tale of Crystal Lee Sutton, a small-town textile factory worker in Charlottesville, North Carolina:

  • the title sequence, to the tune of the Best Original Song Oscar winner "It Goes Like It Goes" (sung by Jennifer Warnes), with views of typical images during a day in a noisy Southern cotton factory (the O.P. Henley Textile Mill), followed by black and white photos in an album of the stages of the title character's life: ("Ain't no miracle bein' born People doin' it everyday. It ain't no miracle growin' up, People just grow that way. So it goes like it goes Like the river flows. And time it rolls right on. And maybe what's good gets a little bit better And maybe what's bad gets gone. Bless the child of the workin' man She knows too soon who she is. And bless the hands of a workin' man, He knows his soul is his...")
  • the main character: 31 year-old single mother and small-town Henleyville (fictional), NC cotton mill worker Norma Rae Wilson (Oscar-winning Sally Field) paid minimum wage in the summer of 1978, who frequently protested factory working conditions; to silence her, her boss Gardner (Lonnie Chapman) promoted her to "spot-check" with a pay raise of $1.50 per hour; awkward in her new supervisory position, she was assigned to time (with a stopwatch) and report on the work of fellow employees, including her elderly father (Pat Hingle) on the job: (Norma Rae: "Well, they're watching me. They're watching you")
Norma Rae (Sally Field) - Promoted
Norma Rae's New Supervisory Position: "Spot-Check"
  • co-worker Sonny Webster (Beau Bridges), a childhood friend, became a romantic acquaintance when he visited Norma Rae one evening and apologized for his 'crazy' behavior during her spot-check earlier in the day; he explained: "I just came to apologize. I know I could have lost you your job today.... I got handed divorce papers this morning. I guess I went off my head"; she replied: "Well, things can get to ya" - and she accepted his invitation to go for a drink; her father complained that she had been mistreated by many casual male sex partners in her past: "Let me say some names to you. Buddy Wilson, Ellis Harper, George Benson, a US sailor. None of which is looking after you, as far as I can see"; she complained about his over-protectiveness: "You're always trying to keep men off me....You're loving me to death"; shortly later, Sonny proposed marriage and Norma Rae accepted
  • the delivery of an impassioned sermon-speech with platitudes by NY union organizer Reuben Warshovsky (Ron Leibman), representing the Textile Workers Union of America (TWUA), in a nearby backwoods North Carolina Baptist church, attended after work by Norma Rae; he advocated for workers who were underpaid and overworked; he first spoke about the 1970 death of his 87 year-old grandfather and his funeral when 862 members of the amalgamated Clothing Workers and the Cloth, Hat, and Cap Makers' Union of America loyally attended: "In death, as in life, they stood at his side. They had fought battles with him, had bound the wounds of battle with him, had earned bread together, and had broken it together. When they spoke, they spoke in one voice, and they were heard. And they were black, and they were white. They were Irish, and they were Polish, and they were Catholic, and they were Jews. And they were one. That's what a union is, one. Ladies and gentlemen, the textile industry, in which you are spending your lives and your substance, and in which your children and their children will spend their lives and their substance, is the only industry in the whole length and breadth of these United States of America that is not unionized. Therefore, they are free to exploit you, to lie to you, to cheat you, and to take away from you what is rightfully yours. Your health, a decent wage, a fit place to work"; he urged those who were interested to sign a union card; Norma Rae was inspired to persevere in her cause to unionize her shop
Union Organizer Speech
Reuben Warshowsky
(Ron Leibman)
Inspired Norma Rae
  • the scene of Reuben and Norma Rae skinny-dipping in a local "water hole" on a hot day after cleaning his soiled clothes in the river, where she used to swim naked after school ("We swam here as kids. We'd leave school, chuck off our clothes, and jump in"); as she joined him, she told him: "You're a fish out of water down here" - he admitted he was homesick for New York
  • lack of attention to home matters while involved in activist union worker issues with NY Jew Warshowsky against management caused Sonny to vehemently complain about her, and suspect that she was engaged in a romantic liaison with Reuben - jeopardizing her marriage: ("That damn milk is sour!...And you didn't get to the washing, or the kids, or to me!...That's right! Damn TV dinners! Kids going around in dirty jeans! I'm going around, uh, without! Altogether!")
  • the scene in a hotel room when two of Reuben’s union colleagues dropped by his hotel room and saw him working with Norma Rae; they advised him to kick Norma Rae off the campaign because there are too many rumors about her lack of morals in the conservative town: ("It's a small, Southern Baptist town. You got to keep your nose very clean....If the company wants us to look bad, they'll use anything to make us look bad....They say she's made a porno movie with a local police officer, very explicit....The lady has an illegitimate child. She's slept around. She naps on your bed"); Reuben angrily defended Norma Rae and dismissed them: "Are we in the union business or the character assassination business? After an 18-hour day, I got the Legion of Decency here! She's broken her ass for this organization! She doesn't see her kids! Doesn't have time for bath!...Make it stick or get out! Get out anyway!"
  • the climactic scene in which the courageous and feisty Norma Rae was reprimanded by her boss Mr. Benson (James Luisi) for transcribing the words of a racist, anti-union flyer (Norma Rae shouted: "I'm gonna take down every word of this letter") posted by management to inflame racial tensions and diffuse union organization: ("They put up a letter saying blacks are taking over the union, that they're going to push the whites around"); although ordered to leave the premises by officials, she refused to leave, until Sheriff Lamar Miller (Gregory Walcott) arrived: "I'm staying put! Right where I am! It's gonna take you, and the police department, and the fire department, and the National Guard to get me outta here! I'll wait for the Sheriff to come and take me home! And I ain't gonna budge till he gets here!"
  • in a defiant rallying move, she held up above her head a hand-scrawled, cardboard "UNION" sign while standing on a table and slowly rotating around -- she refused to be intimidated during the stand-off; her steadfast determination caused her fellow factory workers to one-by-one shut down their machines in solidarity and stand up for their rights; gradually, the deafening noise of the hand-tended textile machines in the stuffy room subsided and there was intense quiet; when the Sheriff arrived, Norma Rae made a firm demand: "I want you to put it in writin' that Sheriff Lamar Miller is gonna take Norma Rae Webster straight home. And I want you to sign it, and I want you to hand it to me!"; she refused and was led out of the factory; she viciously fought back when she realized a police car was not taking her home and that she was going to jail; she kicked and loudly objected as she was forced into the squad car
  • the scene of Norma Rae's talk with her children when she wanted them to understand why she was fired and arrested: "If you go in the mill, I want life to be better for you than it is for me. That’s why I joined up with the union, and that’s why I got fired for it. You understand me? Now, you kids, you know what I am. And you know that I believe in standing up for what I think is right"
  • in the film's suspenseful conclusion, an election was held to unionize the factory and it won by a mere 100 votes, forcing the factory to capitulate to the union's demands; outside, Norma Rae gave a platonic hand-shake to Reuben before he drove way
Norma Rae Saying Goodbye to Reuben


Opening - Title Song

Acquaintance with Future Husband Sonny Webster (Beau Bridges)

Union Meeting Leaflet

Skinny-Dipping

"I'm gonna take down every word of this letter"

"I ain't gonna budge..."



"UNION" Sign

Sheriff Lamar Miller Confronted by Norma Rae

Led Away and Arrested

Speaking to Her Children

Victory for the Union in Election

North by Northwest (1959)

In Alfred Hitchcock's masterpiece of mistaken identity - about a Manhattan advertising executive who was victimized, and then found himself on the run as an implicated murder suspect, pursued cross-country by a seeming conspiratorial group of spies, the police, and the FBI:

  • the memorable Saul Bass opening credits sequence set to Bernard Herrmann's lively score, beginning with an unnatural, pale green screen that was shot across with upper-right to lower-left diagonal lines and vertical lines - gridlines that appeared to make the green surface look like the gridwork of graph paper; the major credits sliced across the criss-cross pattern of lines, before the gridwork was soon transformed (or dissolved) into the side of a tall New York City skyscraper - a glass-surfaced building that diagonally filled the screen from the lower left to upper right at an angle; on the huge wall of glass were distorted reflections of midtown Manhattan from below, with yellow taxis at rush hour moving back and forth
Saul Bass' Opening Credits
  • the opening kidnapping scene when baffled New York adman Roger Thornhill (Cary Grant), having lunch with his mother Clara (Jessie Royce Landis) at the Plaza Hotel Oak Room, when he answered the wrong page; he was mistaken for double agent 'Kaplan' - he was seized and driven to the Long Island (Glen Cove) country estate of 'Townsend' and strong-armed by two sinister-looking thugs; there he was questioned by a distinguished gentleman, presumably 'Lester Townsend' (a UN diplomat) and 'Townsend's' henchman, Leonard (Martin Landau) - in fact, Thornhill was duped and was actually talking to Philip Vandamm (James Mason) - a foreign spy dealing in American secrets
Innocent Roger Thornhill Mistaken as 'Kaplan'
Kidnapped and Taken to 'Townsend' Estate
Pursued in Elevator
  • the drunk-driving sequence when Thornhill was force-fed large quantities of bourbon and placed in the driver's seat of a Mercedes roadster convertible on a dark, winding ocean cliff road later that night, when he was expected to become the victim of a fatal, drunk-driving accident
  • the hotel elevator scene when Thornhill's doting, socialite mother Clara naively asked her son's enemy assassins in the crowded elevator space: "You gentlemen aren't really trying to kill my son, are you?"
  • the United Nations murder scene when Roger was speaking to the real Lester Townsend (Philip Ober) - not the phony Townsend at the estate - after pulling a knife out of Townsend's back, Roger was photographed holding the knife in mid-air ("He's got a knife, look out!"); Roger blurted out: "Listen to me. I had nothing to do with this"- but it was assumed by the crowd that Roger had killed the UN diplomat; in a panic after dropping the knife, he rushed out of the hall; he ran outside onto a long sidewalk and got into an awaiting cab (filmed from high above the UN, making him look like a tiny object being examined under a microscope)
  • the film's surprising revelation in a room full of agents - an intelligence agency chief, a paternalistic official named the Professor (Leo G. Carroll), described a covert government operation - Kaplan was an imaginary, fictional agent who didn't even exist, suggesting that the government do nothing and take advantage of their "good fortune" by continuing to use Thornhill as a decoy: "We didn't invent our non-existent man and give him the name of George Kaplan, establish elaborate behavior patterns for him, move his prop belongings in and out of hotel rooms for our own private amusement. We created George Kaplan and labored successfully to convince Vandamm that this was our own agent hot on his trail for a desperately important reason...If we make the slightest move to suggest that there is no such agent as George Kaplan, give any hint to Vandamm that he's pursuing a decoy instead of our own agent, then our agent working right under Vandamm's very nose will immediately face suspicion, exposure and assassination, like the two others who went before"
  • the seduction scene aboard a railroad car with cool, untrustworthy, mysterious, platinum blonde femme fatale Eve Kendall (Eva Marie Saint), traveling cross-country with fugitive Thornhill on the Twentieth Century Limited from NYC to Chicago; she encouraged him in a playful manner to kiss her in the train car; she surrendered entirely to his hands around her head as they bantered together, even though he was basically a stranger to her; after a porter interrupted their seduction and made up the berth's one and only bed, she cautioned Thornhill: "It means you're going to sleep on the floor"
At Country Crossroads: The Famous Crop-Duster Plane Attack
  • one of the most famous and beloved set pieces ever filmed -- Thornhill's arrival by bus at a deserted Highway 41 crossroads (in neighboring Indiana) in the flat countryside where he had been lured by enemy spies on the pretext of meeting and connecting with the fabled Kaplan - his non-existent double; a stranger stood across the road from him (in widescreen) and strangely wondered about a nearby crop-dusting plane: "That plane's dustin' crops where there ain't no crops"
  • the famous seven minute pursuit-attack sequence by the deadly crop-dusting bi-plane in the open, flat and desolate Midwest cornfield as Thornhill sought protection in a cornfield; the dramatic editing heightened suspense when the strafing plane crashed into an approaching semi-trailer Magnum Oil truck
  • the crowded art auction scene at a chic, 1212 North Michigan Avenue address in Chicago - where Thornhill located Eve with her supposed lover - the fake 'Townsend' (Vandamm) and his henchman Leonard; they were bidding for a Pre-Columbian art object (to be used later to hide microfilmed secrets); Thornhill cleverly began to make erratic low bids, question the authenticity of the art works, and heckle the auctioneer so that the police would arrest him (and he could safely escape from the evil spies)
  • the shocking scene at the Mount Rushmore Monument cafeteria when Eve pulled out a gun (loaded with blanks) from her handbag and fired two shots at Thornhill - appearing to critically wound him, so that jealous lover Vandamm wouldn't suspect that she was working against him
  • afterwards, the romantic reunion between Thornhill and Eve in a cool forest setting filled with ponderosa pines, when they kissed passionately
  • the scenes of Thornhill's continued assertions to the Professor that he was an innocent man on the run, and then when told that George Kaplan never existed, and that he was only a decoy created by the American intelligence agency to divert attention away from a real CIA agent, he stressed: "I'm an advertising man, not a red herring. I've got a job, a secretary, a mother, two ex-wives and several bartenders dependent upon me" - and then it was revealed that Eve was a double agent working undercover, and posing as Vandamm's moll/mistress (a case of sexual exploitation)
  • the cliff-dangling episode at Mount Rushmore near Rapid City, South Dakota, after Eve and Thornhill (now recruited to help the government and continue pretending he was Kaplan for 24 hours, to prevent Vandamm from taking microfilmed government secrets out of the country) were clinging for their lives from the carved rock with Presidential faces, and he quipped: "They (two previous wives) said I led too dull a life"
The Chase Across Mt. Rushmore, Including Cliff-Dangling
  • the final, clever transition as Thornhill tugged on Eve (hanging on the immense carved stone face) and - CUT - pulled her up into a berth in the interior of a Pullman sleeping car (that headed into a tunnel); the couple were last seen on their honeymoon as they bedded down for the night in their private double-bedded train compartment


UN Murder Scene - the Real Lester Townsend

Thornhill's Panic and Flight From UN (aerial view)

The Professor (Leo G. Carroll)



Cross-Country Train Romance with Enigmatic Eve Kendall


Art Auction Scene in Chicago

Faked Mt. Rushmore Shooting of Thornhill by Eve

Reunion in Forest

Thornhill to Professor: "I'm an advertising man, not a red herring"




Ending Transition to Train Bunk and Tunnel Entrance


Nosferatu, Eine Symphonie Des Grauens (1922, Germ.) (aka A Symphony of Terror/Horror)

In this influential German expressionistic film by director F.W. Murnau, a silent film horror masterpiece and the first genuine vampire picture, shot on location and an unauthorized film adaptation of Bram Stoker's Dracula - remade by director Werner Herzog as Nosferatu, The Vampire (1979):

  • the opening scene set in the late 1830s in the German town of Bremen - the disguised driver of a black-swatched coach was sent to pick up visiting Wisborg real estate agent Johannes Hutter (Gustav von Wangenheim), after he had been deposited as close as possible into the Carpathian Mountains region filled with fearful villagers; once they arrived up the hill at the Transylvanian castle, the driver gestured and pointed for Hutter to enter
  • as Hutter walked into the concrete castle through various Gothic arches, the tall, gaunt, big-nosed, mysterious aristocrat Count Orlok (Max Schreck) appeared and was there to greet him; he was annoyed: "You have kept me waiting -- too long -- it's almost midnight. The servants are asleep!"; the two entered the darkness of the castle - at the end of Act I
  • the most dramatic and remembered entrance of the vampire came later, at the start of the next night, while Hutter was either sleeping or rendered unconscious [Note: At the same time, Hutter's wife in Wisborg sensed that something was threatening her husband, and she called out his name.]; the midnight appearance of the hideous and evil Count Orlok was as Nosferatu (undead) vampire - a bald-headed and cadaverous creature with claw-like/skeletal fingernails, long teeth (or fangs) and bat ears); he was first seen glimpsed at a long distance, but then approached quickly (through dissolves) toward the horrified real estate agent Johannes Hutter; Count Orlok soon completely filled the curved, pointed doorway with a Gothic arch, revealing his ugly, scary figure
  • the shadow of Orlok, with his outstretched pointy fingers, soon began to envelop a sleeping Hutter, but then unexpectedly, departed through the same doorway, which closed behind him
The Appearance of the Evil Undead Nosferatu Vampire to Hutter
Count Orlok
The Shock of Real Estate Agent Johannes Hutter (Gustav von Wangenheim)
In Curved Pointed Doorway
Shadows of Orlok's Pointy Fingers Above Hutter
Count Orlok's Quick Unexpected Departure
  • the similar scene of Count Orlok rising straight up from his earth-filled coffin in the cargo hold of the double-masted "death ship" Empusa bound down-river to Wisborg - causing the crazed First Mate (Wolfgang Heinz) (who was hacking into the coffin) to run on-deck and hurl himself into the water; also, the low-angle image of the predatory creature's walk across the prow of the ship (looking like a spider spinning his web in the rigging) transporting him to his new home in the north German town of Wisborg
  • the shadowy approach of the vampire's elongated hand as he climbed the stairs and reached out to a door and toward his stalking victim - an awaiting possessed Ellen Hutter (Greta Schroeder), Hutter's wife, who clutched at her left breast in fear, knowing from a book that "Deliverance is possible by no other means but that an innocent maiden maketh the vampire heed not the first crowing of the cock - this done by the sacrifice of her own bloode"
Count Orlok's Death Scene With Hutter's Wife
  • when Orlok entered her room, the shadow of his hand covered her heart, and he began to suck blood from her neck; she sacrificed herself to destroy Nosferatu, to trick him into being preoccupied - and overstaying his welcome when a rooster crowed, signaling dawn and the beginning of daylight; he was exposed to the sun and died in front of her window, grasping his chest, and disappearing (or fading away) in a small wisp of smoke


Count Orlok Disguised as Coach Driver Outside Transylvanian Castle


Hutter Greeted by Count Orlok



Count Orlok in Cargo Hold and On Deck On Double-Masted "Death Ship" Empusa


Count Orlok's Approach Up Stairs to Victim, Ellen Hutter

Nostalgia (1983, Soviet Union/It.) (aka Nostalghia)

In visionary Soviet film-maker Andrei Tarkovsky's meditative drama:

  • the character of village lunatic and doomsday mystic Domenico (Erland Josephson) who was attempting to cross through the waters of the ruins of a mineral pool (in an ancient spa town in Tuscany) with a lit candle (without extinguishing it), with his belief that it was necessary in order to save his family and mankind from the end of the world
  • the death of Domenico, who immolated himself in the town square to the accompaniment of Beethoven's 'Ode to Joy' (the fourth movement) in the Ninth Symphony
  • the "candle in an empty pool" sequence - the eventual third attempt (after two failed attempts) of befriended Russian writer Andrei Gorchakov (Oleg Yankovsky) to fulfill his promise to Domenico - to walk across the 16th century mineral pool with a lit candle (without extinguishing it) - although when he approached the mineral bath pool, he discovered that the water had been drained; his walk finally succeeded; he placed his candle on a ledge at the far end - and then collapsed (off-screen) with all his energy expended
Success - "Candle in an Empty Pool"

Immolation Death of Domenico

Not Wanted (1949) (aka The Wrong Rut)

In this daring and tragic melodrama about a major social issue (the taboo subject matter of out-of-wedlock pregnancy), the film's co-producer and co-writer Ida Lupino took over the reins of directorship when original director Elmer Clifton suffered a heart attack on the third day of shooting - it was Lupino's first directorial effort, but she didn't receive screen credit, although the film's title introduction was: "IDA LUPINO Introduces":

[Note: When the original release was a financial disaster, enterprising roadshow producer Jack Lake acquired the rights and revised the film to be more exploitational and sensational, with unrelated, inserted color Caesarian childbirth footage, and different beginning and end credits. It was re-released under new titles as a traveling roadshow movie, such as Shame, Streets of Sin, and The Wrong Rut.]

  • the opening prologue: "This is a story told one hundred thousand times each year..."
  • under the opening scrolling credits, a fixed shot came to rest on the face of the protagonist, unwed mother Sally Kelton (Sally Forrest), as she was walking up a city street's sidewalk toward the camera; and then a close-up of her worried face - it was not known until a closing parallel scene what the source of her anguished, trance-like disposition was, and what had led up to her plight
  • the sight of her picking up a baby in an unattended baby carriage, her quick arrest, and her incarceration in jail, where the story about her unhappy life was told, in flashback, after a blurry transitional dissolve ("How did I get here?")
  • the social issue of high school drop-out and small-town waitress Sally (who claimed she was "around 20") - an unwed pregnancy due to a one-night hook-up with dance-hall STUT N TUP barroom piano player Steve Ryan (Leo Penn, Sean Penn's father!) under the stars in a park (off-screen); after running away from home, she surprised Steve in Capitol City who showed disinterest in her following after him (Sally: "You don't seem very glad to see me"), calling it "a wacky thing for you to do...I'm busy. I've got a million things to do, I won't have any time to spend with you"; she was forced to live in a boarding house
  • her friendship and employment with Capitol City gas station manager and helpful, nerdy nice guy Drew Baxter (Keefe Brasselle), a disabled, gimp-legged veteran who described his crippling leg injury to Sally: "I had a little skirmish with a mortar shell, plastic. Bad habit of mine, I never watch where I'm going," but she had no romantic interest in him due to being enamoured with the uncommitted, wandering and loner Steve
  • the breakup scene, when Steve told Sally that he was leaving town without her; she begged for him to marry her ("Then take me with you, I'll take care of you, we can be married. I'll help you find where you belong. Oh please, Steve, it means everything to me. You won't be sorry. You couldn't stop caring just like that"), but was rejected ("Look Sally, you're a good kid. Some day you'll settle down with five kids and a husband with a pipe, but I'm not that guy. I've gotta keep moving, travel light, don't you see? Maybe I'll live miserably ever-after, but that's the way it is with me"); she realized that he never really cared about her - "not even a little bit"
Friendship with Drew
Rejected by Steve
Growing Romance with Drew
  • her growing closeness to Drew after taking the day off and riding on a merry-go-round; while sharing popcorn, he tentatively 'proposed' to her but was fearful of rejection due to his disability: ("Sally, I wanna marry you... Oh Sally, I forgot to ask ya. Well, do ya think you could learn to care for me, I mean, the way I am and everything? Would you mind it?"); she called him the "nicest, sweetest person in the world," but asked for a little more time to consider his offer; the dizzying rotation of the merry-go-round caused Sally to faint
  • due to her diagnosis of a surprise pregnancy, Sally was forced to acknowledge that she was going to be an 'unwed mother'; she subsequently was forced to keep it a secret by leaving town, and taking a waitress job, but after fainting and collapsing again, she was referred to The Haven Hospital, a home for unwed mothers in Watertown, managed by a kindly Mrs. Elizabeth Stone (Ruth Clifford); ashamed, she refused to contact her parents, and did not know the whereabouts of the father
  • the memorable scene when she struggled with Mrs. Stone about her decision to give up the baby boy for adoption to a compatible couple - she realized she couldn't afford to take care of the child, and didn't want the stigma to affect the child: "All the arguments on one side and all the arguments on the other. I only want to do what's right for him. What can I give? Love, and love? That's about all. No money, no future, nothing...It wouldn't be fair to him....I don't want him to grow up without a father. I don't want him to look at me and despise me"; however, after a period of time, a remorseful Sally changed her mind and wanted her baby back: "I changed my mind. I've got to have him back. I've got to. I should have never let him go" - but it was already too late (the 'cheerful and healthy' baby had been baptized by the loving, adoptive parents)
  • after a return to the opening scene, Sally claimed to the Assistant DA (Larry Dobkin), after being charged with kidnapping, that she only wanted to hold the baby in her arms: ("I didn't mean to kidnap him. I just wanted to hold him for awhile. I thought he was like mine"); after hearing Sally's story and Mrs. Stone's intervention, the mother of the child, Mrs. Banning (Virginia Mullen) and her husband dropped the pending charges
  • in the final scene after leaving the DA's office where charges were dropped against Sally, she was confronted by Drew who had always shown an interest in her that she rejected -- she ran from him, climbed stairs to a railroad overpass, and threatened to jump into the path of an oncoming train below
  • when he caught up to her, she fled to another railroad trestle; he attempted to stop her but eventually collapsed from exhaustion; she decided not to commit suicide, turned back, and found herself in his caring arms, as the film concluded
Running From Drew
Sally Threatening to Jump Into Path of Train Below
Drew Collapsing From Exhaustion
Sally in Drew's Arms

"IDA LUPINO" Introduces

Unwed Mother Sally Kelton (Sally Forrest)

'Stealing' An Attended Baby

Arrested - In Jail

Piano Player Steve Ryan

Sex in the Park with Steve


Fainting - Due to Pregnancy

After the Baby's Birth

Struggling to Decide Whether to Give Up Child for Adoption


Return to the Present: "I didn't mean to kidnap him" - Kidnapping Charges Were Dropped

Nothing Sacred (1937)

In director William Wellman's great black comedy - a superb screwball comedy (the first filmed in Technicolor) from former newspaperman and scriptwriter Ben Hecht (who also wrote the play "The Front Page" - made into another famous screwball comedy His Girl Friday (1940)) - it satirized the world of tabloid reporting and its corruption and dishonesty, and was remade as Living It Up (1954) with Dean Martin, Jerry Lewis, and Janet Leigh:

  • the humorous opening title screen: "THIS IS NEW YORK, Skyscraper Champion of the World...where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..."
  • the early scene of a gala banquet, where the New York Morning Star and its editor boss Oliver Stone (Walter Connolly) was hosting a penniless black Harlem shoeshiner (bootblack) (Troy Brown, Sr.), honoring him as the foreign potentate of the Orient - "Sultan of Marzipan" (who was donating $10 dollars for every $1 dollar, for the establishment of an art institute known as the Morning Star Temple ("twenty-seven halls of learning and culture, twenty-seven arenas of art")); he was exposed as a fraud by his wife who interrupted the proceedings
  • revelations were that hot-shot star newspaperman - dapper, cynical ambitious tabloid reporter Wallace "Wally" Cook (Fredric March), had printed exaggerated stories in the paper about the impersonating Harlem worker; Oliver Stone was so angered that he announced: "I am going to remove him from the land of the living!"; Cook was severely reprimanded and demoted to writing obituaries for the remainder of his five-year contract
  • Cook learned of a promising story to redeem himself - "Poor little working girl doomed to death from radium poisoning" - he begged for a chance to travel to Warsaw, Vermont (fictional) and interview the dying girl: "Listen, Oliver, there's a story in this kid that ought to tear your heart out...Oliver, so help me. I'll be in Vermont by morning. I'll dig you up a story that'll make this town swoon...If I don't come back with the biggest story you ever handled, you can put me back in short pants and make me marble editor"
  • arriving in Vermont, Cook was regarded skeptically by the small-town folk as a scandalmonger; in the office of incompetent and bumbling Dr. Enoch Downer (Charles Winninger), Cook's profession was criticized: "I'll tell you briefly what I think of newspapermen. The hand of God reaching down into the mire couldn't elevate one of them to the depths of degradation. Not by a million miles"; Cook's requests to see the terminally-ill Hazel Flagg, diagnosed by Dr. Downer as having only six weeks to live, were deflected
  • after the appearance of watch factory worker Hazel Flagg (Carole Lombard), Dr. Downer informed her that she had been re-diagnosed as healthy ("Well, you can stop giving yourself the airs of a dying swan. According to this last analysis I made, you ain't going to die....You're fitter than a fiddle!...That first diagnosis I made was a mistake"); but she was very disappointed that a trip with $200 to the big city of New York was no longer possible and that she had to stay in Warsaw ("You know, I don't know which I am, happy or miserable, I'm all mixed up")
  • outside the doctor's office as Hazel cried about her predicament, Cook offered to bring her to NY as a guest of the newspaper on an all-expenses-paid trip, as a symbol of courage and heroism: ("We'll show you the town. We'll take you everywhere. You'll have more fun than if you lived a hundred years in this moth-eaten yep-and-nope village...You'll be a sensation. The whole town will take you to its heart. You'll have everything you've ever dreamed of. You'll have it on a silver platter. You'll be like Aladdin with the magic lamp to rub"); as they flew to New York with Dr. Downer, Cook exclaimed as they approached NY: "Well, there she is, in all her beads and ribbons"; he promised: "New York is going to lay its heart at your feet while the whistles blow and the bands play and the cameras grind"; Hazel became a national hero (with a ticker-tape parade and presentation of the key to the city) so the small-town rube could enjoy a taste of life before succumbing; she was given gowns, banquets, theatre tickets, homage poems, and more
Hazel Invited to NY by Cook
Hazel's Welcome Sign in Technicolor NYC Aerial Shot
"Belle of New York"
  • at a nightclub, the floorshow "The Heroines of History" included women onstage on horseback (Lady Godiva, Pocahontas, etc.); the boozing Hazel was invited to the stage by the emcee to join them: ("That little soldier whose heroic smile in the face of death has wrung tears and cheers from the great stone heart of the city. I humbly invite her now to take her place beside all the great Heroines of History"); with the effects of excessive alcohol, she fainted on-stage - garnering even more sympathy
  • the next morning in bed, the hung-over Hazel began to feel anxious pangs of conscience about her phony and feigned illness; she worried about what would happen when she was found out: ("I've got a conscience...I'm ruining him"); and then she discovered that Cook was planning to make elaborate funeral arrangements for her death with NY's governor: ("There'll be about 30,000 automobiles and a considerable group on foot. About half a million, I think...I'm getting the governor to declare a public holiday for the, uh, occasion"); and then she also learned that Dr. Emil Egelhofer (Sig Rumann), a radium poisoning specialist, was going to examine her - she told Dr. Downer: "I've got to commit suicide in advance before that scientist gets to me. I-I've got to be drowned" - she planned on writing a suicide thank you note to the city and then disappearing and hiding out forever ("I'll change my name and hide away for the rest of my life and never, never see him again")
  • still in bed, Hazel listened to a 20-member elementary school glee club singing a dedicated song to her: "We're sorry you're dying, Hazel" - during the song, she was crawled over by a freckle-faced kid's pet squirrel
  • Hazel's suicide note was discovered by her empty bed: "Dear New York City, Goodbye. Remember me as someone you made very happy. I have enjoyed everything. There's only one thing left to enjoy. Your river - that smiled outside of my window. It is easy to die when the heart is full of gratitude. Hazel Flagg"; she was prevented from drowning herself at the pier by Cook (who was actually rescued by Hazel because he couldn't swim), who then proposed marriage to her
  • the arrival of Dr. Egelhofer and his three European colleagues to examine Hazel; after her X-rays proved that she was not ill, Morning Star editor Oliver Stone was notified of the new diagnosis: ("There is no vestige, no trace, no single symptom of radium poisoning in this young woman, Mr. Stone"); the doctors were paid to keep quiet, and then Stone chastised his star reporter Cook for promoting a hoax: "I am sitting here, Mr. Cook, toying with the idea of removing your heart - and stuffing it like an olive!...You ruined the Morning Star. You blackened forever the fair name of journalism. You and that foul botch of nature, Hazel Flagg!...The biggest fake of the century. A lying, faking witch with the soul of an eel and the brain of a tarantula!")
  • while Stone was worried about the revelation of the scandal, Cook was thankful about Hazel's newfound health and prospects of marriage: "I thank God on my knees that she's a fraud and a fake and isn't going to die" - he planned to tell the readership: "Wanna tell 'em we've been their benefactors. We gave 'em a chance to pretend that their phony hearts were dripping with the milk of human kindness," and he blamed Stone for the publicity stunt: "You used her like you've used every broken heart that's fallen into your knap-sack. To inflame the daffy public and help sell your papers"
Dr. Egelhofer and Colleagues
Stone to Cook: "You ruined the Morning Star!"
Cook: "You used her..."
  • in a comic lady-beating scene, Cook wanted Hazel to look properly bruised, sweaty, and allegedly sick with pneumonia - before another diagnosis was made; Hazel was knocked out with a terrific punch; and then when she revived, she reciprocated and knocked Cook unconscious
  • exasperated by the whole situation of fakery, Hazel confessed to city officials, some citizens and the mayor outside her hotel room: "I'm a fake, I'm a phony, I'm not gonna die. I was never gonna die. I never had radium poisoning, I never had anything. I wanted a trip to New York, and I got it"; however, the group decided that the true news of her health would endanger her inspirational story for everyone ("This thing must not get out")
  • in the last analysis, Hazel declared: "Oh, let me alone. I wish I really could die. Go someplace by myself and, and die alone! Like an elephant!"; it was decided that Cook and Hazel would make their honeymoon disappearance-getaway as marrieds (incognito), sailing on a cruise ship to a tropical island, while it was rumored in the newspapers that she had committed 'suicide' based upon another suicide note left behind: "Dear New York - We've had a lot of good times together - you and I - but even the best of times must end, so I have gone to face the end alone - like an elephant. Sincerely, Hazel"
Ending: Solution -
"HAZEL VANISHES"
Disguised as Honeymooners
on Tropical Cruise

Opening Title

Editor Oliver Stone with Imposter "Sultan of Marzipan"

Hoax Revealed

Ace Reporter Cook Demoted But Allowed to Interview Dying Girl


Hazel Flagg
(Carole Lombard)


Fainting On-Stage as a "Heroine of History"

Cook's Plans for Her Funeral, and Examination by a Specialist

Squirrel

Hazel's Suicide Note

Hazel Kissing Cook After Rescue





Fighting Sequence - Knocking Each Other Out


Hazel Confessing to City Officials and Mayor

Notorious (1946)

In this vintage Alfred Hitchcock, noirish suspense thriller and spy-story concerning international intrigue and a passionate yet perverse romance:

  • the opening sequence of the trial and conviction (for the war crime of treason) of traitorous Nazi Germany spy John Huberman (Fred Nurney) in April of 1946 in Miami, Florida; the sentence was 20 years in prison (and soon after, the German-American Huberman committed suicide by taking a poisoned capsule in his jail cell); his daughter exited from the proceedings - a promiscuous, alcoholic, play-girl socialite Alicia Huberman (Ingrid Bergman), who was quickly hounded and questioned by reporters
  • the developing romantic relationship between manipulative and shady American CIA agent T.R. Devlin (Cary Grant) and Alicia (wearing a horizontally-striped top with a bare waist); uninvited, he gatecrashed her decadent party, and witnessed her self-destructiveness from overdrinking: ("The important drinking hasn't started yet")
  • early the next morning, the two had survived the party - she suggested a joy-ride, a drunken 80 mph challenge with Devlin as her captive passenger: ("I want to make it 80 and wipe that grin off your face. I don't like gentlemen who grin at me") before being chased and stopped by a motorcycle cop, when he had to reveal himself as a US government agent; she was furious with him for being deceptive as a "double-crossing buzzard - you're a cop!...a federal cop crashing my party...you're trailing me to get something on me"; he took over the wheel by knocking her out with a punch
  • the next morning after she awoke with an intense hang-over, Devlin explained his ploy: he was an American intelligence officer with a secret mission to enlist the promiscuous Alicia to infiltrate and spy on the Rio de Janeiro home of her father's old associates ("German gentry"); a number of Brazil-based Nazi Germans had moved to Rio de Janiero after WWII; she refused to be involved in Devlin's "rotten schemes": ("Go away and leave me alone. I have my own life to lead. Good times. That's what I want, and laughs with people I like. And no underhanded cops who want to put me up in a shooting gallery, but people of my own kind, who treat me right and like me and understand me")
  • once they arrived together in Rio de Janiero, they played a cat-and-mouse romantic game; although he had a growing interest in her, he was hesitant about her alcoholism and her loose reputation; she teased and berated the cool, indifferent, distant, and sometimes nasty Devlin about his unflappable, repressed romantic emotions; she told him: "Poor Dev, in love with a no-good gal. It must be awful. I'm sorry"
  • the longest kiss in film history (to date) - in order to bypass the Production Code's restriction on a screen clinch beyond three seconds long - there was a passionate three-minute kissing scene in her apartment between Devlin and Alicia that began on her Rio de Janeiro balcony, moved inside to the telephone where Devlin took a call, and ended at the front door -- with them all the while talking and kissing; during part of their conversation when he was dialing the telephone (calling his hotel for his messages), Alicia told him: "This is a very strange love affair" - and he asked why as she kissed him. Then she replied: "Maybe the fact that you don't love me"; after connecting with the hotel, he responded as he kissed her: "When I don't love you, I'll let you know"; when she further stated: "You haven't said anything," he told her: "Actions speak louder than words"
  • specifically, Alicia's assignment was to serve as sexual bait to fool lead neo-Nazi scientist-agent Alexander Sebastian (Claude Rains) (one of the colleagues of Alicia's father, and Alicia's former rejected suitor), in order to marry him and learn the Nazi's secrets - ("Sebastian's house is a cover-up, for whatever this Farben group's up to here in Rio. We've got to get Miss Huberman inside that house and find out what's going on there"); after agreeing to the mission, she spitefully told Devlin her attitude about being used and whoring herself for him (to get married) in the dangerous espionage plot: "You can add Sebastian's name to my list of playmates"
  • the incredible, long and unbroken crane shot beginning on the second floor balcony (above the guests mingling below), in Sebastian's Rio de Janeiro mansion during a tense formal champagne party given in the new bride's honor -- the camera swooped down and zeroed in on the purloined key (from Alex's key ring) clenched in Alicia's hand (in closeup) that could unlock the wine cellar - where the film's MacGuffin (secret uranium supplies) was located; shortly later, when Devlin arrived, she passed the key to him when he kissed her hand
Crane Shot - to Key in Alicia's Hand
  • the furtive search by Devlin and Alicia in the wine cellar (tension was created when the champagne supply ran out upstairs in the party), where uranium ore dust (looking like black sand) was found in one of the broken wine bottles - Devlin took a sample of the sandy substance, to confirm a dastardly conspiracy by the Nazis to stockpile the material for future use in atom bombs; when they were discovered kissing in the unauthorized location by Alex, Devlin and Alicia pretended to be having a love tryst, and Alicia blamed their romance on the drunken Devlin: ("Alex, don't be foolish. I-I came down because he threatened to make a scene...I couldn't stop him. I tried"), and Devlin also added: "For what it's worth as an apology, your wife is telling the truth. I knew her before you, loved her before you, only I'm not as lucky as you"
  • after Alex discovered the broken wine bottle (when he realized the wine cellar key had been returned to his key ring overnight), the scene of his humiliating confession shot from a top-angle to his domineering and authoritarian mother Mme. Konstantin (Leopoldine Konstantin in her sole US film) in her bedroom: ("I am married to an American agent"), and his mother's curt reaction: "We are protected by the enormity of your stupidity - for a time"; and her plot to silence and eliminate Alicia by slowly poisoning her to death with arsenic-tainted coffee - and later, the scene when Alicia suddenly realized that she was being drugged (visiting Nazi conspirator Dr. Anderson (Reinhold Schünzel) reached for Alicia's poisoned cup and was simultaneously and hesitantly warned not to drink by both Madame and Alex)
  • the exciting and nerve-wracking finale - Alicia's rescue scene - with Devlin's ascent of the stairs to the weakened and sedated Alicia on her deathbed; after they confessed their love for each other and he admitted: "I was a fatheaded guy full of pain. It tore me up not having you", he carried her down the staircase in full view of a number of Nazi enemies and out to a car - reportedly to take her to the hospital; he locked the car door on Sebastian, telling him: "No room, Sebastian"
Alicia Carried Down Stairs by Devlin
Alicia Exiting Alex's Home with Devlin
Alex's Final Summons
  • the conclusion - Alex received a final summons, the final line of dialogue, by one of his sinister, renegade Nazi agent superiors inside the front door: Eric Mathis (Ivan Triesault): "Alex, will you come in, please? I wish to talk to you"

Alicia Huberman (Ingrid Bergman) at Father's Trial

Drunken 80 mph Drive with Devlin (Cary Grant)




Rio de Janeiro Kisses on Balcony and During Phone Call


At Champagne Party

Kissing - to Avoid Detection in Wine Cellar

Alex's Confession to His Mother, and Her Reproach

Alicia's Arsenic-Tainted Coffee

Now, Voyager (1942)

In director Irving Rapper's great romantic tearjerker about liberation from repressive, matriarchal domination:

  • the opening scenes set in an upper-class area of Boston: misfit, neurotic, repressed ugly duckling spinster-heiress Charlotte Vale (Bette Davis), who lived with her tyrannical, tormenting and domineering mother Mrs. Vale (Dame Gladys Cooper) in a mansion
  • the beginnings of Charlotte's therapy with New York psychiatrist Dr. Jaquith (Claude Rains), who was invited to the Vale home by Mrs. Vale's concerned, kindly, sophisticated sister-in-law Lisa Vale (Ilka Chase); Charlotte appeared in unflattering clothing and acted nervously as she entered the home's living room; he also spoke to Charlotte in her third floor retreat - a locked room; there, with a wild look from her eyes, she flipped before him the pages of a scrapbook or old photo album that chronicled her past when she was young - and in love - and suffered a shattered romance
Charlotte's Scrapbook of a Lost Life
"I am my mother's servant"
Charlotte's Nervous Breakdown
  • Charlotte's bemoaning of her entirely-aborted life: "What man would ever look at me and say, 'I want you.'? I'm fat. My mother doesn't approve of dieting. Look at my shoes. My mother approves of sensible shoes. Look at the books on my shelves. My mother approves of good solid books. I'm my mother's well-loved daughter. I'm her companion. I am my mother's servant. My mother says! My mother. My mother! MY MOTHER!"
  • after running from the living room with a nervous breakdown, Charlotte was invited to attend Jaquith's Vermont sanitarium known as Cascade; before returning home, Jaquith sent his recuperated patient forth on a long ocean voyage, urged by Lisa's suggestion and a typed up Walt Whitman poem: 'Untold Want, By Life and Land Ne'er Granted, Now, Voyager, Sail Thou Forth to Seek and Find'
  • the first major transformation of Charlotte, seen on an ocean cruise, from a dowdy, 30-ish aging female to a vibrant beauty
Vibrant Beauty - On Ocean Cruise
'Jerry' D. Durrance
(Paul Henreid)
First Cigarette Lighting
  • during a shore trip, her introduction to handsome and suave European, Jeremiah 'Jerry' D. Durrance (Paul Henreid); while dining together on an outdoor patio, in the first of many cigarette lightings in the film, Charlotte was impressed that he graciously lit her cigarette that she held to her mouth
  • the sequence in Rio when Jerry and Charlotte hired a car and driver for sightseeing, but their vehicle ran off a windy, mountainous road, and the stranded couple were forced to seek overnight shelter in an abandoned cabin during a rainstorm (they kissed and presumably had sex after the fade-out); afterwards, as they began to fall in love, seen in a travelogue montage, they spent five amorous days together in Rio - sight-seeing, eating in restaurants, and dancing
  • the balcony scene in Rio when Jerry for the first time lit two cigarettes simultaneously and gave one to Charlotte, who confessed: "I'm immune to happiness," but then shed tears of gratitude (she admitted: "I'm such a fool, such an old fool. These are only tears of gratitude - an old maid's gratitude for the crumbs offered...")
Rio Balcony Scene
Two Cigarette Trick - First Instance
Charlotte: "I'm Immune to Happiness"
"I'm such a fool, such an old fool. These are only tears of gratitude"
  • their goodbye scene in South America at the airport - the two believed that they might never see each other again (Charlotte: "I hate goodbyes") - knowing that Jerry was lovelessly married to a dependent Isabel and wouldn't leave her; in the scene, Jerry lit two more cigarettes and passed one to Charlotte and then told her: "Would it help you to know I'll miss you every moment?" - she replied: "So will I, Jerry, so will I" before a few parting kisses
  • the sequence of Charlotte's return to Boston for a dramatic confrontation with her waiting, tight-lipped, tyranically-hostile, disdainful mother, who wished to reestablish control over her daughter; although changed, Charlotte was still ridiculed and victimized, but this time, she asserted her independence: "I've come home to live with you again here in the same house. But it can't be in the same way. I've been living my own life, making my own decisions for a long while now. It's impossible to go back to being treated like a child again. I don't think I'll do anything of importance that will displease you, but Mother, from now on, you must give me complete freedom, including deciding what I wear, where I sleep, what I read"
  • once she again encountered Jerry in Boston, Charlotte realized that she was still in love with him, although she had another suitor, attractive widower and eminent, wealthy Bostonian Elliot Livingston (John Loder) and they were engaged; however, she remained uncertain, indecisive and uncommitted to Elliot
  • in a sensitive scene, she met with Jerry at the Back Bay Station as he prepared to board a train, and honestly confessed: "I thought I was getting over you, Jerry"; shortly later, she broke off the engagement with Elliot, realizing that she could only be happy with someone she was passionately in love with ("You ought to marry someone who would enjoy what you enjoy. Let's not linger over it, Elliot. (Elliot: "Well, I-I suppose you'll meet somebody sometime.") No, I don't think I'll ever marry. Some women just aren't the marrying kind. But you'll meet someone. Thank you for thinking it was me. I have that on my record anyway"); after she courteously said goodbye to him, to her inner self, in voice-over, she lamented the loss of a marriage prospect as she climbed her stairs: "It's like the time when my father died. His breathing just stopped. All over. Finished. Ended forever. You fool, oh you fool! Now you'll never have a home of your own, or a man of your own, or a child of your own"
  • the scene of a bitter quarrel with her mother after informing her of the breakup with Elliot; her mother was cruelly incensed: "You've never done anything to make your mother proud, or to make yourself proud either. Why, I should think you'd be ashamed to be born and live all your life as Charlotte Vale. Miss Charlotte Vale"; when Charlotte disowned her mother ( If that's a mother's love, I want no part of it") - her independent actions contributed to her mother's fatal stroke and heart attack in her chair while Charlotte was on the other side of the room; afterwards, Charlotte blamed herself and suffered from deep feelings of guilt and insecurity - and experienced a relapse
  • at the sanitarium, Charlotte met and befriended Jerry's twelve year-old daughter Christine ("Tina") (Janis Wilson), a shy, braces-wearing, paranoid, depressed and withdrawn young girl who had been at the sanitarium for almost two weeks - a kindred spirit; Charlotte restored her own condition by identifying with and growing close to Tina, becoming her adoptive mother and therapeutic counselor
  • although Charlotte knew that Jerry would never leave his legal wife, Charlotte had found something far happier and more enduring in their present platonic arrangement - with his 12 year-old daughter Tina as "their" newly-restored, changed child
  • the final famous tearjerking scene between them, including his cool question: "Shall we just have a cigarette on it?" - symbolizing his assent that Tina would be in Charlotte's charge; again, Jerry lit two cigarettes, as Charlotte delivered the final closing line; she gratefully looked up at the night sky while Max Steiner's score swelled, realizing that she would be happy taking care of Tina - "Oh, Jerry, don't let's ask for the moon...we have the stars"
Tearjerking Conclusion
"Shall we just have a cigarette on it?"
Intimate Sharing of Cigarette
"Oh, Jerry, don't let's ask for the moon...we have the stars"

'Ugly Duckling' Charlotte Vale (Bette Davis)

Stern Mrs. Vale

Dr. Jaquith (Claude Rains)

Walt Whitman Poem: "Now, Voyager..."


Stranded Overnight - First Kiss

Travelogue Montage in Rio in South America


Goodbye at Rio Airport - Two More Cigarettes and Kisses

Charlotte's First Confrontation with Her Mother: "You must give me complete freedom"

Back Bay Station Meeting: "I thought I was getting over you, Jerry"


Breaking Engagement with Elliot: "I don't think I'll ever marry"

Quarrel with Mother - and The Deadly Stroke

Charlotte's Motherly Love for Tina

The Nun's Story (1959)

In director Fred Zinnemann's religious drama about a Belgian woman who entered a convent and later served in the Belgian Congo in Africa:

  • in the late 1920s in Bruges, Brussels, the headstrong and stubborn-minded Gabrielle "Gaby" Van der Mal (Audrey Hepburn) was walked to a convent (of nursing sisters) by her eminent surgeon-father Dr. Van der Mal (Dean Jagger) to enter as a postulant - to be 'married' to the church and serve as a medical nurse (hopefully in the Congo); he cautioned and advised: "Gaby, I can see you poor, I can see you chaste. But I cannot see you, a strong-willed girl, obedient to those bells....You may never get to the Congo. You certainly can never ask for it. You know that, don't you? Your personal wishes cease to exist when you enter that door"; when he said goodbye to his daughter, he also told her: "Remember, if you ever decide this is not right for you, there is no sense of failure in coming back home"; as she was about to be led away, she promised her father: "I'll do my best. I want you to be proud of me"
  • the strict and self-sacrificing rules of the convent, including "exercises in humility" and a rigid schedule (early morning rising, chapel, meals, and a period of 'Grand Silence'), and a reporting in a notebook "each and every imperfection against the Holy Rule" with the words: "I accuse myself..." - causing a challenge for the strong-willed Gaby for a six month period as a postulant
  • the sequence of Gaby's Day of Vesture, when she was given a name (Sister Luke) and the novice's habit; however, when told she would make "a beautiful nun", she blushed (a violation of the rules and an exhibition of the sin of pride) - and she discussed her discomfort with a fellow novice, thereby breaking the rule of Silence
  • during her training at medical school in Antwerp about tropical diseases (such as malaria), Dr. Goodvaerts (Lionel Jeffries) told the Sister students: "I, too, have lost some of my quickness, my memory from too much Congo sun. Too much quinine. If any of you think that the Congo that you'll find today in 1930 is anything like the Congo that we found when we went there 20 years ago, you will be mistaken"; he complimented Sister Luke's skills with a microscope, causing some competitive jealousy among the others: "She was brought up looking through a microscope, you know, whilst most of you were playing with kaleidoscopes"
  • instead of being sent to the Congo (her greatest wish, although denied because she wasn't "perfected in the religious life" and still needed to learn "obedience"), her placement in a European mental hospital/sanitarium near Brussels, where an assault on Sister Luke occurred by a dangerous schizophrenic patient named "Archangel Gabriel" (Colleen Dewhurst) after being tricked into unlocking her cell for a glass of water; Sister Luke was pulled into the cell, thrown to the floor and attacked
"Archangel Gabriel"
Dangerous Schizophrenic Patient
Thrown Onto Floor of Cell
Attacked
  • her work in the Belgian Congo in a segregated hospital for 'white' and European patients (not natives), with the brilliant, atheistic ("an unbeliever") and demanding surgeon Dr. Fortunati (Peter Finch), a bachelor who was described by Mother Mathilde (Dame Peggy Ashcroft) as "a genius and a devil"; when she finally met him, he realized she had problems with "the display of pride" when she bragged about assisting her father in operations in the past
  • Sister Luke's diagnosis tuberculosis - when Dr. Fortunati confirmed her suspicions and fears, that she might have to return to Europe ("You're afraid you won't be able to stand the convent if they send you back"); he told Sister Luke that she was a "worldly nun" who was good for patients, but who could never conform to the convent's expectations: "I've never worked with any other kind of nurse except nuns since I began. And you're not in the mold, Sister. You never will be. You're what's called a worldly nun. ldeal for the public, ideal for the patients. But you see things your own way. You stick to your own ideas. You'll never be the kind of nun that your convent expects you to be. That's your illness. The TB is a by-product. I can cure the by-product, if you want me to"; she told him: "I want to stay"; but over time, he realized that Sister Luke's anxiety and tension were mostly due to her inner spiritual struggle: "I'd say that tension is a sign of an exhausting inner struggle"
  • the scene of the Belgian Congo native, after contact with a superstitious witch doctor, who attacked and struck to death (with a club) a nun who had invited unconverted natives to attend Christmas Eve service; the native was wrestled to the ground and subdued; it was learned that "a witch doctor told him that if he killed a white woman, he'd be rid of the ghost of his dead wife"
  • in the conclusion, Sister Luke returned to Belgium, where the onset of WWII, made it impossible for her to return to the Congo; she admitted that she could not forgive the Nazi Germans after she received a letter about the death of her father; she was devastated - "When I think of my father, I can't forgive the enemy" and she was "filled with hate"
Turning Point: News of the Death of Her Father
  • Sister Luke began to believe that she should leave the nunhood: "I simply cannot obey, and if I cannot obey, then" - and she affirmed: "I think I've been struggling all these years, Reverend Mother. In the beginning, each struggle seemed different from the one before it. But then they began to repeat and I saw they all had the same core: obedience without question, without inner murmuring. Perfect obedience as Christ practiced it, as I no longer can"
  • the ending sequence of Sister Luke's dispensation (or exemption) from her vows in Brussels, Belgium as she signed three sets of duplicate papers, received back her father's dowry, and was voluntarily released from all her vows (she was asked: "Sister, have you really considered the seriousness of what you're doing?" - and replied affirmatively); she was instructed: "Go through here to Room 12. Everything is ready. Press the button when you are finished and I will open"
  • and the final silent fadeout as she removed her nun's habit in Room 12 and the ring on her finger, pressed the exit button, and slowly walked away from the convent out into the sunlit cobblestone street, totally alone and without her nun's habit for the first time in many years; she became a lone figure in the distance, then turned to the right out of camera view, as bells pealed and "THE END" was superimposed

Young Belgian Gabrielle Van der Mal (Audrey Hepburn)


Gaby with Her Father - Brought to Convent to Enter as Postulant Nurse

Struggling With the Rules of the Order, and "Maturity in the Religious Life"

Her Notebook: "I Accuse Myself..."

Tropical Disease Medical Training in Antwerp


In the Congo Hospital, Meeting Dr. Fortunati (Peter Finch)

Diagnosis of TB and the Doctor's Statement: "You're not in the mold, Sister"



Congo Native Attack on One of the Nuns


"THE END"

The Nutty Professor (1963)

In this farcical comedy (also sci-fi and romance) written, directed, and acted by Jerry Lewis:

  • the Jekyll-Hyde character in the film: buck-toothed, whiny-voiced, nerdy and naive scientist Professor Julius Kelp (Jerry Lewis), who was found in the smoky rubble of his lab after a violent and destructive explosion in the film's opening scene; he meekly explained: "I used too much..."
  • the scene of Professor Kelp's reprimand for causing another explosion, scolded in the office of imposing superior Dr. Warfield (Del Moore), as Kelp sat in a sinking soft leather chair before the desk and shyly looked up; Kelp left a trail of dirty shoe prints on the carpet leading into the office; when asked "How long?!" he had been at the university, Kelp opened up his pocket watch that blared out the Marine Corps hymn: "Halls of Montezuma"; Kelp answered: "Two years and 22 minutes now"; Warfield chastised Kelp: "Kelp, it's human nature. Kelp, people just don't like teachers blowing up their kids!" and then he noted: "Try to understand that I understand, that scientists and creators have their little eccentricities. Einstein hated hair cuts, Da Vinci loved to paint, and Newton..." - Kelp interrupted: "He had something to do with figs, didn't he?"
Kelp's Scolding by Dr. Warfield
  • the entrance of Kelp into a local Vic Tanny workout gym, where he was knocked to the ground by an exiting, muscle-bound beefcake male; later when asked if he was hurt when he again fell onto a bouncy trampoline, he explained: "Well, actually, if you would say that a man with an ulcer had a nail in his shoe and a splinter in his finger was then struck by lightning - if you could say that that man was not hurt, then yes you would say I'm not hurt"
  • the scenes of physical comedy - of Kelp using the gym's pulling weight machine (in split-screen, the unscrewed pulley station sent him flying), an almost-blind Kelp (without his glasses) bowling the wrong way at a bowling alley, and the sight-gag of the stretching of his arms when he dropped a heavy weight bar ("I suspect it was somewhat heavier than I...") - the punchline came later when he was seen in bed (with his hands next to his feet, facilitating the scratching of one foot)
  • the scene of Professor Kelp drinking a strange pink elixir and then his transformation into a cool, swaggering, greasy and slick-haired, obnoxious ladies man alter-ego known as Buddy Love (resembling Rat Packers Frank Sinatra and/or Dean Martin)
Kelp's Alter Ego Buddy Love at Purple Pit
Stella Purdy (Stella Stevens) with Buddy
  • the sequence of Buddy Love's first public appearance in the hip Purple Pit hang-out (a dance nightclub for local college students) - in a colorful powder-blue suit, including his stroll to the bar and his detailed instructions to the bartender on how to prepare his favorite cocktail - an Alaskan Polar Bear Heater: ("two shots of vodka...a little rum... some bitters... and a smidgen of vinegar...a shot of vermouth... a shot of gin... a little brandy...lemon peel...orange peel... sherry...some more scotch..."); the bartender sampled the drink, said: "Not bad" and then fell over
  • the scene of Buddy's vocal performance of "That Old Black Magic" at the piano under subdued lighting - bringing stunned reactions from onlookers, in a vain attempt to seduce pretty blonde student Stella Purdy (Stella Stevens) - after his performance, she could see through his giant ego - Buddy: "Well, honey, I always say, if you're good and you know it, why waste time beating around the bush, true?" Stella: "And I always say that to love yourself is the beginning of a lifelong romance, and after watching you, I know you and you will be very happy together"
  • the scene in Dr. Warfield's office, when Buddy flattered the administrator to act out the famous scene from Shakespeare's Hamlet, and after just one recited line, concluded: "You choked me. It was gorgeous. The prettiest thing I've ever seen in my life"
  • the prom scene, when Buddy, serving as a chaperone, realized his formula was wearing off during his singing, and he was forced to admit to Stella and the rest of the participants that he was really just Professor Kelp; he apologized and confessed: "I didn't mean to hurt anyone. I didn't mean to do anything that wasn't of a kind nature. Learning a lesson in life is, uh, is never, is never really too late. And I think that the, uh, lesson that I learned came just in time. I don't want to, uh, want to be something that I'm not. I didn't like being someone else. At the same time, I'm very glad I was, 'cause I found out something that I never knew. You might as well like yourself. Just think about all the time you're gonna have to spend with you. Well, and if you don't think too much of yourself, how do you expect others to?"; Stella responded that she preferred his real self: "I'm only trying to say that I wouldn't ever want to spend the rest of my life with anyone like Buddy. Being the wife of a professor would be much more normal and much happier" - and she kissed him
  • Stella - with plans to marry Kelp (with a marriage license in hand) - convinced the two that they should elope together: ("We have our own lives to live. Come on, let's go"); he agreed to leave with her: ("Yes, actually, Stella, what's right is right, let's split"); as she turned to walk away arm-in-arm, she revealed that she had swiped two "Kelp's Kool Tonic" bottles from Kelp's father stuffed in the back of her jeans
  • during the final closing credits scene, each of the characters took a bow with a screen credit - Jerry Lewis (as Kelp) clumsily tripped and stumbled into the camera (and caused the screen to go black)

Professor Kelp's Lab Explosion

Vic Tanny Workout Gym

Arms Stretched with Weights


Re-Enactment of Scene From Hamlet


Kelp's Speech: "I didn't mean to hurt anyone"

Elixir Slowly Wearing Off -

Stella's Kiss

"Let's split" (With Two Bottles of Tonic)


Ending: Curtain Calls

The Nutty Professor (1996)

In director Tom Shadyac's comedy remake three decades later, with Eddie Murphy as the title character - now obese - with Murphy playing most of the roles of the Klump family in the film:

  • the opening credits scene of the release of hundreds of hamsters on the campus of Wellman College from the laboratory of overweight Professor Sherman Klump (Eddie Murphy), a biochemistry researcher
  • Klump's first meeting with pretty chemistry graduate student, Carla Purty (Jada Pinkett), and his bumbling first words to her about chemistry that she was going to be teaching: ("Well, thank you very much. I'm fatter - uh, flattered that you, you've been following my work the way you have. A chemistry teacher. Chemistry sure is important to have... chemistry... to have and use it. ChemicaIIy. Chemistry. Well")
  • the Klump Family's dinner scene (five characters - including Professor Klump, his father Cletus, mother, brother and grandmother - all played by Eddie Murphy), when they first discussed obesity and ex-overweight black celebrities: ("What are ya talkin' about, where all the fat and calories is? You know where that come from? Watchin' that damn TV. Every time you turn it on, ya got somebody there talkin' about lose weight, get heaIthy, get in shape. Everybody lookin' all anorexic, talkin' about that's healthy. I know what healthy is. And I'll tell ya somethin' else. I don't know why everybody tryin' to lose weight in the first pIace! Ain't everybody supposed to be the same size. We're all different. Big, small, medium, midgets. You supposed to have all that. I don't know if I want to be the same size, like that Oprah Winfrey. She's gonna lose her weight. Wasn't nothin' wrong with her. She was fine. Oprah was a fox! She lose all that weight, her head Iook all big, skin hangin' all over. And Luther Vandross. Nigger used to be the black Pavarotti. Lost all that weight, lookin' all ashy. Oprah and Luther need to keep their ass one weight, 'cause I'm confused")
  • the continuation of the dinner scene when Sherman's ravenous father Cletus began to pass gas ("colon cleansin'") - and ended up soiling himself when he broke wind - and everyone began tooting: (Cletus: "Oops. Now see what you made me do? Goddamn it, I messed up my pants")
  • also the two scenes of Sherman's fantasy nightmares (spoofing well-known films From Here to Eternity (1953) and King Kong (1933)), kissing Carla on a beach (but with his tremendous weight buried her under the sand) and then terrorizing the city as a monstrous giant Fatzilla: ("It's Fat-zilla! Boy, you look Iike King Kong with titties"), and then a passerby cried out a warning: "Oh my God, he's gonna blow!" - and Sherman's gargantuan expelled fart caused massive destruction, although Cletus congratulated him: "Way to go, son! That's my boy!"; a bum lighting a match ignited an H-bomb-like explosion
Sherman's Two Fantasy Nightmares
Kissing Carla
As Fatzilla: "Oh my God, he's gonna blow!"
  • and the attempts in a Rocky-styled montage by Klump to work out, including a failed acupuncture session with thousands of needles
  • after taking a massive dose of genetic weight loss formula, Klump's transformation when he stood in front of a mirror and saw himself: ("Oh! Oh! I'm thin! I'm thin! Look at my cheekbones! I have cheekbones! Yes! Look at my chest. Look at my breasts. I don't have breasts. I'm an 'A' cup. I don't need a bra anymore. Oh, God! I'm thin! I'm thin! I'm thin! Nothin' but air there. Nothin' but air there. My ass is gone now. I'm slim, sIim, sIim. Well, I'll be damned! I can see my dick! My dick! My dick, my dick, my dick!"); however, he was also transformed into a split personality - as an obnoxious, testosterone-driven alter-ego Buddy Love (Murphy again)
  • the scene of Buddy's apology to Carla for being late in front of The Scream nightclub: ("Let's just have a meaI together. Why you leavin'? Hey, what you want? You want me to beg you? I'll get down on my knees. I'll beg you in front of all these peopIe. Think I care if these peopIe are watchin'? I'm sorry! I'm sorry! I want the worId to know that I was late! And I'm sorry! My car ran outta gas. I needed fresh drawers. My mother's sick. The car broke down on the street...I don't know why this is happenin' tonight. Of all nights this has got to happen to me tonight.... Why!? Why!?...Why?")
  • Buddy's fat jokes, told in merciless revenge against stand-up comedian Reggie Warrington (Dave Chappelle), deriding his mother's weight and other insults: ("Ok, fat jokes! You wanna do fat jokes? Alright! Your mother's so fat, the bitch needs Thomas Guide to find her asshole! Alright! Wait, wait, wait, your mother's so fat, after sex I roll over twice, and I'm still on the bitch! Your mother is so fat, she fell in the Grand Canyon and got stuck! Reggie's mother's so fat, that the bitch gets her toenails painted at Earl Scheib!... Reggie's mama is so fat, her blood type is rocky road! Last one! Reggie's mother's so fat... HER BELT SIZE IS EQUATOR!")
  • the embarrassing conversation at the Klump dinner table when Sherman brought Carla there for dinner, and they made inappropriate comments about the two having sex and getting married: ("Sherman has never had relations...I hope you got a strong back. When you get all that man, and reIease all that that's been built up for 35 years. Just wantin' and wantin' and wantin'! Whoo! Might make your head bIow off...I got my own seIf hot tellin' that story")
  • the scene of Buddy explaining in "rich-dummy" terms the secret of his weight loss plan to wealthy alumnus Harlan Hartley (James Coburn) at the hotel restaurant The Ritz: ("I'll break it down for all the rich dummies in the room, listen up! If you gonna eat nasty stuff like this. I know it looks good and some of you all like porkchop. But this greasy, nasty porkchop, do you realize that there's a gene in your DNA that routes this straight to your fat cells, and it causes all sorts of unsightly conditions. Case in point, this woman is sufferin' from what I like to call jello arms. You notice the arm has taken on a gelatin sort of vibe, and it's quite nasty. Now to my left, this gentleman has turkey neck, and to my immediate left, this woman is sufferin' from what we like to call saddlebag syndrome. And to my extreme left, this young lady is suffering from what I like to call tank ass... I'm your brother, I'm your brother. Like I was sayin' everybody, where there's a will, there's a way, and there is a way we can turn these genes off, and I'm not talkin' about usin' exercise or diet, I'm talkin' about by takin' a simple solution that helps reconstruct your metabolic cellular strands, thus giving you the appearance of, as they say in medical terms, gluteus minimus, or in layman's terms, an extremely tight, wonderful ass. Let's give a big round of applause for the woman with the nice ass, huh? It's so nice, don't you agree? She's worked so hard. Have a seat, have a seat. Oh, are these girls with you? Everyone has a nice ass at this table. Is this the nice ass section?")
  • and the final scene, when the two alter-egos: Buddy Love vs. Sherman "fought" against each other as he gave a demonstration on stage of the effects of the miracle serum, and transformed back into Sherman
Fighting Against Himself During Transformation

Release of Hamsters

Professor Sherman Klump (Eddie Murphy)

Carla Purty (Jada Pinkett)

Dinner Scene

Klump's Father Cletus Passing Gas

Klump's Exercise Workout

Klump's Transformation: "I'm thin! I'm thin!"

Klump as Obnoxious Buddy Love

Buddy Explaining His Weight Loss Plan with Fat Shaming

"Is This the Nice Ass Section?"


Credits: Eddie Murphy Playing Multiple Roles

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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