Greatest Film Scenes
and Moments



O1

 





O
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

O Brother, Where Art Thou? (2000)

In the Coen Brothers' episodic 30s Homeric odyssey and crime comedy set in rural Mississippi in 1937, with a great, Grammy-winning musical soundtrack (bluegrass, old-time gospels, African-American spirituals, and country), and sepia color correction:

  • the opening prologue: "O Muse! Sing in me, and through me tell the story Of that man skilled in all the ways of contending A wanderer, harried for years on end..."
  • the characters of silver-tongued, escaped convict and con-man Ulysses Everett McGill (George Clooney), who liked Dapper Dan hair pomade, and his fellow escaped Mississippi chain-gang cons: angry Pete Hogwallop (John Turturro) and slow-witted Delmar O'Donnell (Tim Blake Nelson); McGill claimed he was looking for a hidden stash of money
Three Chain-Gang Cons Escape
Ulysses E. McGill (George Clooney)
  • their religious encounter with a church congregation singing "Down to the River to Pray" during a mass baptism
  • calling themselves the "Soggy Bottom Boys," their singing and recording of "I Am a Man of Constant Sorrow" at the WEZY radio station with blind disc jockey Mr. Lund (Stephen Root) (representing Homer) - a song that became a major hit
The Soggy Bottom Boys Singing at Radio Station with Blind DJ
  • their meeting up with notorious bank robber 'Baby Face' George Nelson (Michael Badalucco) with a tommy-gun, who single-handedly proceeded to rob a bank ("We're going for the record. Three banks in two hours")
  • the scene of a trio of seductive sirens washing their clothes in a river - the females paired off with each convict and drugged them with corn liquor from jugs - they lost consciousness; when they awoke, all that was left of Pete was his clothes lying on a rock, when a toad jumped out; Delmar thought that Pete had been transformed (he had actually been turned over to authorities, threatened with hanging, and returned to the chain gang)
Seductive Sirens
  • their picnic lunch with one-eyed two-faced Bible salesman Daniel 'Big Dan' Teague (John Goodman) with an eye patch - representing the Cyclops; he assaulted Ulysses and Delmar with a large tree branch and killed the toad (by squeezing it to death in his fist)
  • the real reason for McGill's escape - to return home before his divorced ex-wife Penny Wharvey-McGill (Holly Hunter) (representing Penelope) remarried suitor Vernon T. Waldrip (Ray McKinnon); he lost a fistfight with Vernon after declaring: "You can't marry my wife!"
Ex-Wife Penny Wharvey-McGill (Holly Hunter)
Suitor Vernon T. Waldrip (Ray McKinnon)
Fistfight: "You can't marry my wife!"
  • after the rescue of Pete, the trio's entrance into a nighttime KKK rally led by a red-robed Imperial Wizard (actually reform Governor candidate Homer Stokes singing "O Death"); while the escaped chain-gang trio knocked out three Klansmen to impersonate them as Color Guard members in order to rescue black blues guitarist Tommy Johnson (Chris Thomas King) from a lynching, the Wizard delivered a hateful speech: "Brothers! Oh, brothers! We have all gathered here to preserve our hallowed culture and heritage from intrusion, inclusion, and dilution of color, of creed and of our old-time religion. We aim to pull evil up by the root before it chokes out the flower of our culture and heritage. And our women. Let's not forget those ladies y'all, Iooking to us for protection from darkies, from Jews, from Papists and from all those smart-ass folks say we come descended from monkeys. That's not my culture and heritage.... Is that your culture and heritage?...And so we gonna hang us a Negro"; when one of the KKK members, 'Big Dan', identified the disguised trio, but the group escaped by cutting the wire holding the large flaming cross, which fell onto 'Big Dan' and killed him
KKK Rally
In blackface
KKK Imperial Wizard
Tommy Held Prisoner
Hate Speech
Death of 'Big Dan'
  • the sequence of McGill's orchestration of the rescue of Penny from suitor Vernon during a Homer Stokes campaign gala dinner, now disguised as bearded musicians-entertainers; when they sang and were recognized by the crowd as the popular Soggy Bottom Boys, Homer also realized they were the disruptive, disguised 'blackface' group at his KKK rally ("You's miscegenated. All you boys is miscegenated!), but his views as a white supremacist were also exposed ("...this band of miscreants here, this very evening, interfered with a lynch mob in the performance of its duties. Oh, yeah, it's true. See, I belong to a certain secret society. I don't believe I got to mention its name, you know? And these boys here, they trampled all over our venerated observances and rituals....These boys desecrated a fiery cross") - but he was denounced; incumbent governor "Pappy" pardoned the group ("by the power vested in me, these boys is hereby pardoned") to the crowd's delight
  • however, there were further complications in retrieving Penny's original marriage ring that she required before re-marrying Ulysses, including a flood that saved the trio from another hanging

Prologue


Mass Baptism



"Baby Face" George Nelson - Robbing Bank



'Big Dan' Teague

Pete Caught and Threatened With a Lynching

Governor Candidate Homer Stokes (Wayne Duvall) - also Revealed as KKK Imperial Wizard

McGill's Rescue of Penny as Bearded Musician at Stokes' Gala Dinner: "It's me!"

Unmasking of Homer Stokes - Literally Run Out on a Rail for White Supremacist Views

Incumbent Governor Menelaus "Pappy" O'Daniel (Charles Durning) Pardoning Musicians/Convicts

Salvation by Flooding Dam

The Odd Couple (1968)

In director Gene Saks' version of scriptwriter Neil Simon's comedic 1965 Broadway hit, the basis for a TV-sitcom series in 1970 (with Tony Randall and Jack Klugman) and a sequel The Odd Couple II (1998) with the original two actors:

  • the continuing contrast of two opposing, completely incompatible - and separated male friends (both having serious marital issues with wives Blanche and Frances)
  • during his weekly poker game, ultra-slobbish, unkempt sportswriter Oscar Madison's (Walter Matthau) offer to share food from his refrigerator now broken for two weeks - spoiled and rotten brown and green sandwiches: ("I got brown sandwiches and green sandwiches. Which one do you want?" "What's the green?" "It's either very new cheese or very old meat"); they were warned that Oscar's refrigerator had been out-of-order for two weeks
  • during the poker game, the compulsive, prissy, hypochondriacal, neat and tidy, know-it-all photographer Felix Ungar (Jack Lemmon) arrived late (he just split with his wife) and retreated to a locked bathroom where the players wondered what he might do to himself: use poison, razor blades or poison, commit suicide by jumping out the window, cut his wrists, or "flush himself into the East River"; Oscar was speechless: "What do you say to a man who's crying in your bathroom?"; after consoling Felix about his break-up, it was decided that Felix would move into his friend Oscar's Manhattan apartment
  • the scene of Felix's "emergency" phone call to Oscar who was attending a Mets ball-game at Shea Stadium - to warn him: "Don't eat any frankfurters at the ballgame today. I decided to make franks and beans for dinner tonight"; at the same time, Oscar had turned his back to take the call and missed "a triple play" - his fellow sportscaster rubbed it in further: "The Mets did it! The greatest fielding play I ever saw, and you missed it, Oscar! You missed it!"
  • the scene of Oscar's goading of an angered Felix to hurl a coffee cup into the wall, but then wondering why he hesitated: Oscar: "You felt like throwing the cup. Why didn't you throw it?" Felix: "Because I would still be angry and I would have a broken cup"; Oscar kept urging: "Stop controlling yourself, Felix! Relax! Get drunk! Get angry! Come on! Break the lousy cup!" but when Felix tossed the cup, he injured his arm (he was suffering for bursitis)
  • the scene of compulsive and neurotic neat-freak Felix vacuuming, when Oscar deliberately entered the living room, unplugged the vacuum, and deliberately dirtied up the room - to exasperate Felix
Opposing Views on Cleanliness
Neat-Freak Felix Vacuuming the Apartment
Oscar Deliberately Messing Up the Living Room
  • the restaurant/coffee-shop scene where Felix loudly demonstrated to Oscar his honking technique to clear his habitual sinus problems; he also complained about his allergies: ("I'm allergic to foods and pillows and curtains and perfumes...I was impossible to live with"), and then described what he was doing: "I'm trying to clear up my ears. You create a pressure inside your head. It opens up the eustachian tubes"; when he had finally cleared his head and irritated all of the other restaurant customers, he added: " I think I strained my throat"
  • the classic scene of their intense fight when Oscar made explicit demands: "If you want to live here, I don't want to see ya, I don't want to hear ya, I don't want to smell your cooking, all right? Now kindly remove that spaghetti from my poker table"; Felix impertinently laughed back: "It's not spaghetti, it's linguini"; now furious, Oscar threw the linguini at the kitchen wall and made a mess: "Now it's garbage" - and challenged Felix to try cleaning it up: "You touch one strand of that linguini, and I'm going to punch you right in your sinuses"
  • in the next scene, a major confrontational sequence, Oscar was asked what made him go off "the deep end"; he presented a laundry list of problems to Felix, and his interpretation of the note he found from Felix on his pillow: ("I can tell you exactly what it is. It's the cooking, the cleaning, the crying. It's the talking in your sleep. It's those moose calls that open your ears at 2:00 o'clock in the morning. I can't take it anymore, Felix. I'm crackin' up. Everything you do irritates me, and when you're not here, the things I know you're gonna do when you come in irritate me. You leave me little notes on my pillow. I've told you 158 times I cannot stand little notes on my pillow. 'We are all out of cornflakes. F.U.' Took me three hours to figure out that F.U. was Felix Ungar")
  • Felix had also reached his boiling point and told Oscar what he really thought; after thanking Oscar for taking him in, Felix added one additional sentence: "You are also one of the biggest slobs in the world...Totally unreliable, undependable, and irresponsible...That's it, you've been told off. How do you like that?"; Oscar retaliated with his own issues after three weeks: "For six months, I've lived alone in this apartment, all alone in eight big rooms. I was dejected, despondent, and disgusted, and then you moved in, my closest and dearest friend. And after three weeks of close personal contact, I'm about to have a nervous breakdown. (his voice began to waver) Do me a favor, will you, Felix? Move into the kitchen. Live with your pots, your pans, your ladles, your meat thermometers. When you want to come out, just ring a bell, and I'll run into the bedroom. I'm asking you nicely, Felix, as a friend. Stay out of my way"; Felix reminded Oscar not to dirty up the bathroom floor, causing Oscar to crack; he began chasing after Felix, and threatening him: "This is the day I'm gonna kill ya!"; Oscar ordered Felix to move out: "I want you to pack your things and get out!"

Poker Game: Oscar's Choice Between Brown and Green Sandwiches

Overhearing Felix Crying in the Bathroom


Oscar's Missed "Triple Play" at the Ball Game During Phone Call with Felix

Oscar: "Break the lousy cup!"

Felix Loudly Clearing His Sinuses

Staring Each Other Down After Oscar Heaved Felix's Linguini at Kitchen Wall


Oscar Going Off "the Deep End"

Major Confrontation: Oscar's "Nervous Breakdown" - And Demand That Felix Move Out

Odd Man Out (1947, UK)

In producer/director Carol Reed's searing, taut and suspenseful crime-chase (melo)-drama and noirish post-war thriller with gritty black and white cinematography - a rich character study about a doomed man-on-the-run:

  • the opening crawl superimposed over an aerial view of Belfast: "This story is told against a background of political unrest in a city of Northern Ireland. It is not concerned with the struggle between the law and an illegal organisation, but only with the conflict in the hearts of the people when they become unexpectedly involved"
  • the early scene in a cramped row-house of rebellious Irish underground leader and IRA-like nationalist gunman Johnny McQueen (James Mason in one of his best performances), six months after escaping from prison, planning a daring payroll robbery-holdup (presumably in Belfast in N. Ireland) with his compatriots of a factory mill, to fund his underground IRA organisation, while hiding out in the house of his loving girlfriend Kathleen Sullivan (Kathleen Ryan in her debut film) and her Grannie (Kitty Kirwan)
Johnny Suffering From Vertigo Before and During Holdup
Dizzyness
Shot in Shoulder
Murder of Armed Cashier
  • the representation of McQueen's vertigo on the way to the robbery and during the ill-advised, unsuccessful robbery-holdup attempt - the buildings and other passing objects were at sharp angles, his vision blurred, and he appeared delirious; after the heist, McQueen stumbled on the front steps as he approached the get-away car parked outside, driven by hothead Pat (Cyril Cusack), and as he fought off an armed cashier at the mill, he was lethally-wounded in the left shoulder before killing the man; and then as the getaway car sped away, he was unable to fully get into the vehicle from the running board - he fell onto the street and had to be left behind
  • for the remainder of the film, Johnny desperately struggled to avoid capture, and stumbled through the streets of Belfast (disguised) while trying to hide; when not able to make it back to Kathleen's house, Johnny sought shelter in the city's ghettos, deserted buildings, pubs, and back alleys (and even in a junkyard bathtub on the edge of town)
  • as the British dragnet around him closed in tighter, for eight tense hours in a series of expressionistic chase sequences, the increasingly-delirious Johnny was pursued in a manhunt by the police and others for eight tense hours - all with their own motives of either helping him or turning him in to the authorities to claim the £50,000 reward; they included Johnny's girlfriend Kathleen, his IRA buddy-partners Dennis (Robert Beatty), Pat and Nolan (Dan O'Herlihy) who wanted to rescue him (Pat and Nolan were gunned down after informed upon), informer Theresa O'Brien (Maureen Delaney), law-enforcing police Inspector (Denis O'Dea), hansom cab-driver "Gin" Jimmy (Joseph Tomelty), bird-dealer and poor street hustler Shell (F. J. McCormick), forgiving Catholic priest Father Tom (W. G. Fay), bar proprietor Fencie (William Hartnell), crazed, bedeviled, and drunken and eccentric homosexual painter Lukey (Robert Newton)
Various Characters Circling Around Johnny
Inspector with Informant Theresa O'Brien
Hansom Cab-Driver "Gin" Jimmy
Bird-Dealer and Poor Street Hustler Shell
Catholic Priest Father Tom
Bar Proprietor Fencie
Crazed, Drunken and Eccentric Homosexual Painter Lukey
  • Johnny's additional imaginings of faces from conversations of people who he had recently been confronted by, in the bubbles of his spilled beer on the counter in Mr. Fencie's bar, and later in Lukey's studio lined with paintings, Johnny experienced a delirious vision of the paintings flying off the wall
Faces in Beer Bubbles
Flying Paintings
  • in the film's visual religious symbolism of crucifixion, McQueen became a Christ-like figure as a condemned man slowly approaching death - when brought to Lukey's building, McQueen was compelled to pose for the painter for endless hours as a model for a series of Christ paintings; the artist was obsessed with painting the eyes of the dying man as he noted: ("there's something to be said about him before he dies...I understand what I see in him....It's the truth about us all....He's doomed"); he discussed his obsession with failed ex-medical student Tober (Elwyn Brook-Jones), Shell's house-mate, who was attempting to treat the seriously-wounded Johnny
  • the low-angled view of Johnny with a sling on his arm, and his crazed hallucinatory recitation of the Bible (I Corinthians 13) from words he learned from Father Tom as a child: ("I remember. When I was a child, I spoke as a child, I thought as a child, I understood as a child. But when I became a man, I put away childish things. Though I speak with the tongues of men and of angels and have not charity, I am become a sounding brass or a tinkling cymbal. Though I have the gift of prophecy and understand all mysteries and all knowledge and though I have all faiths so that I could remove mountains and have not charity, I am nothing"); Lukey reacted: "He's mad, he's out of his mind"
  • in the powerful and violent finale in a very snowy Belfast, girlfriend Kathleen finally met up with Johnny, who thought she was another dreamy vision - he asked: "Is it really you?...If you are real, stretch out your hand to mine"; she rushed into his arms and embraced him; he then asked: "What d'you want with me? Go back to life and peace" - she assured him: "I'll stay with you, my love"; he told her: "Hold up your head. Don't cry"
  • at the sound of a foghorn of a ship announcing its imminent departure at the waterfront, she told him that she had arranged for escape: "That's our chance. Will you take it with me?"; he asked: "Is it far?" and she promised: "Keep holding my hand" - she slowly assisted him to the dock as the police manhunt closed in on them; when he tired and fell back against an iron gate (with arms extended in a crucifix pose), he wondered: "Kathleen, where are you?" - and she responded: "It's all right, Johnny. I'm here"; again, he asked: "Is it far?" - she told him: "It's a long way Johnny, but I'm coming with you - we're going away together"; she reached into her pocket, pulled out a gun seen in closeup, and fired two shots as the police approached closer; they were both shot dead by police in a barrage of return gunfire (off-screen), and expired in each other's arms on the snow-covered ground; the Inspector was informed: "There's their gun, sir" - he inspected the gun: "Two shots fired," and was told in the film's final line of dialogue: "Yes sir, that's when we had to fire back" - the sound of the foghorn (with the departing ship) ended the film as witnesses Father Tom and Shell walked away from the tragic scene
Crucifix Pose Against Iron Gate
"I'm coming with you"
"We're going away together"
Kathleen's Two Shots
Bodies in Snow
("Two shots fired") - "Yes sir, that's when we had to fire back"

Johnny McQueen
(James Mason)


Johnny's Planned Robbery Compatriots, Including Kathleen (in back)

Kathleen
(Kathleen Ryan)


Johnny Left Behind After Robbery - Stranded in Streets of Belfast


On the Run - As a Delirious Fugitive

Johnny Reclining in Washtub

Wandering in Snow


Lukey: "There's something to be said about him before he dies..."

Johnny Posing As Model for Lukey, As Tober Operated


Johnny's Recitation of I Corinthians 13




Last Moments Together

Of Human Bondage (1934)

In director John Cromwell's pre-Code tale, a fallen-woman romantic melodrama about an obsessive romance, adapted from the tragic, classic literary novel by W. Somerset Maugham, with issues such as promiscuity, adultery, a birth out-of-wedlock, naked drawings, and retributive death from TB/syphilis during prostitution:

  • the main character: a club-footed, sensitive artist Philip Carey (Leslie Howard), an Englishman who had been studying painting in Paris for four years, but was advised by his art teacher Monsieur Flourney (Adrian Rosley) that his artistic work was mediocre and second-rate, and that he lacked promise ("There is no talent here, merely industry and intelligence. You will never be anything but mediocre"); so he returned to London, England to take up studies to become a medical doctor
  • Philip's infatuation with blonde, lower-class, anemic, trashy, slatternly and vulgar, Cockney-accented, pale-faced and illiterate tearoom waitress Mildred Rogers (Bette Davis); he became preoccupied and smitten with her, even though she was disdainful of his club-foot (she sneered when he walked out of the tearoom) and his obvious interest
  • the self-centered and vindictive Mildred made "I don't mind" her standard response to him when he would express an interest in asking her out; in the first instance of this, in the tearoom, Philip asked: "I say, will you dine with me some time? We'll go to the theatre?" - and she responded: "I don't mind"; although he was attracted to Mildred, she was manipulative, repugnant, exploitative, callous, two-timing, shrewish and cruel toward him, for example, her insult: "For a gentleman of brains, you don't use 'em!"; after their date, he asked for another date: "May I see you again," and she responded: "I don't mind" and coldly added: "If you don't take me out, someone else will", and she promptly dismissed him when he returned her home
  • when he met up with her again, he was frustrated by her "I don't mind" responses, and told her: "Look here, don't say that any more, will you?"; she refused a good-night kiss; and she stood him up for another theatre date - she claimed her Aunt was ill, but her real excuse was that she had accepted a date from loutish, boisterous, womanizing salesman Emile Miller (Alan Hale); Philip stalked her that night and realized she had lied to him; when he threatened to leave her for good, she delivered a nasty insult to the crippled 'hang-dog' Philip: "Good riddance to bad rubbish," for interfering with the start of her promiscuous relationship with Emile
  • his obsessed, idyllic daydreams and night-dreams about her (as they danced he told her, "I've been looking for you all my life"); and then later, as he studied, Mildred's image appeared over an illustration in his voluminous medical school anatomy textbook, and a skeleton in the classroom where he was taking his mid-year medical examination was transformed into Mildred; these thoughts caused him to be distracted from his scholastic studies and he failed
Philip Obsessed with Mildred
Night-Dream: Dancing Together
Mildred's Image in Anatomy Textbook
Classroom Skeleton Transformed into Mildred
  • Philip's older age, sophistication, low self-regard and self-deprecation, self-consciousness about his club-foot, and obsessive introspection made his relationship with Mildred impossible; he admitted to her: "Of course you don't like me. I'm a cripple"
  • Philip contemplated marriage with Mildred and told his school friends his reasoning: "Because I'm so in love with her"; he bought a 30 shillings ring and proposed marriage to Mildred over dinner ("I want you to marry me"); she immediately declined his ring, telling him that she would instead be marrying Emile Miller ("I'm so sorry, Philip...The fact is, I'm going to be married...(to) A man I know. He earns very good money...I'm getting on. I'm 24. Time I settled down. This gentleman earns 7 pounds a week. He's got good prospects. Well, this is goodbye. I hate to eat and run, Philip, but I have an engagement. I'm going to the theatre with the gentleman that I'm going to marry"); from afar, later in front of the theatre, Philip watched as she exited to a taxi-cab arm-in-arm with Emile - and as the love-sick, crushed Philip stumbled along, he imagined their marriage (the camera image blurred)
Rejected Marriage Proposal
"I want you to marry me"
"I'm going to be married"
Devastated and Heartbroken
  • after the bitter rejection, the tormented Philip forgot all about Mildred when he fell in love with the attractive and considerate Norah (Kay Johnson), a romance-story tabloid writer (working under a masculine pseudonym Courtenay Paget) who was sympathetic toward him; she slowly cured him of his painful addiction to Mildred and her abominable treatment of him
  • just when it appeared that Philip was finding love and happiness, Mildred suddenly returned to him, claiming that Emile had abandoned her (and not married her because he was already married), after finding her pregnant; the weak-willed Philip could not resist rescuing Mildred, and helping her to recover from her failed relationship; he took pity on tearful Mildred's penniless state and gave her apartment rent money and arranged to take care of her financially; he completely forgave her when she turned contrite and sorry for deserting him
  • Philip decided to break-up with Norah due to his "bondage" - he told her: "I'm sorry. It's just over...You've been wonderful to me. It's just that I..." - Norah interrupted and described their imbalanced relationship: "Of course, I knew you never loved me as much as I loved you," and Philip agreed: "There's usually one who loves and one who is loved"; he confessed that Mildred had come back and that he was "bound" to her; both admitted how bondages existed between people: (Norah: "After all she's done, how could you?...It's just as though you were bound to her in some way...as I am to you. As she was to Miller." Philip: "As every human being is to something or other")
  • the scene in the hospital of Mildred's reaction to her child: "Funny-looking little thing, isn't it? I can't believe it's mine"; Philip's misguided intention was to marry Mildred after her child had been born, but a bored and restless Mildred was a disinterested mother after the baby's birth, and gave up the baby's care to a nurse
  • during a dinner party with Mildred and Philip, one of Philip's medical student friends, Harry Griffiths (Reginald Denny), flirted in an outrageous fashion with Mildred, causing her to ignore Philip, even though he was supporting her; after Philip confronted Griffiths for his behavior ("Don't take Mildred away from me"), his friend claimed: "She's nothing to me at all! Nothing at all!"; however, after also confronting Mildred about her interest in Griffiths, she admitted that they mutually loved each other, and she was sexually attracted to Griffiths unlike her 'friend'-type love for Philip: (Mildred: "Can't help it if I love him, can I?...It's no use going on about it, Philip. You said yourself that I couldn't help it if I'm in love with him"); Philip asserted his love for her by supporting her with an apartment and clothes; he also implied that she was "cheap" and "vulgar" - she slapped him, and announced her decision to run off with Griffiths to Paris, after which he ordered: "Get out! GET OUT!"; it wasn't long before Griffiths told Philip that they broke up: "Mildred and I are all washed up"
  • for a second time, Philip again found some comfort in his studies, and with 20 year-old Sally Athelny (Frances Dee) - the tender-hearted and sweet daughter of one of his elderly patients Thorpe Athelny (Reginald Owen) in a charity hospital ("Here I am in a charity hospital, because my father loved fast women and slow horses"); the good-hearted Athelny family was caring and affectionate, and warmly accepted Philip into their home
  • Mildred returned penniless and now with her baby in tow, and Philip once again helped her to recover; after moving in with Philip (because he couldn't afford a separate apartment for her), Mildred at first was conciliatory ("You've always been much nicer to me than I deserved. I'm beginning to realize how silly I've been") and promised to cook for him and clean ("Maybe some day you'll... you'll feel better about me and things will be like they used to be"), but soon things took a turn for the worse; she became very critical and abusive of him - and especially toward his "drawings of naked people" on the mantle, and his coldness to her ("He's not in love with anybody")
  • in the most famous sequence, when she became sexy and flirtatious with him in a low-cut negligee and draped herself next to him, he pushed her away: "Please get up. You're making a fool of yourself and a fool of me...You disgust me"; she viciously retaliated, ending her tirade by calling him a cripple: "Me?! I disgust you? You, you, you're too fine! You'll have none of me, but you'll sit here all night looking at your naked females...You cad! You dirty swine! I never cared for you, not once. I was always makin' a fool of ya. You bored me stiff! I hated ya! It made me sick when I had to let ya kiss me. I only did it because ya begged me. Ya hounded me and drove me crazy! And after you kissed me, I always used to wipe my mouth! WIPE MY MOUTH! I made up for it. For every kiss, I had a laugh. We laughed at ya, Miller and me, and Griffiths and me, we laughed at ya! Because you were such a mug, a mug, a mug! You know what you are? You gimpy-legged monster? You're a cripple! A cripple! A cripple!"
The Most Famous Sequence
"Just let me stay here. Phil..."
"Phil, I love you so...I can't live without ya"
"Please get up. You're making a fool of yourself and a fool of me"
"You disgust me"
"Me? I disgust you?"
"I always used to wipe my mouth! WIPE MY MOUTH!"
  • afterwards, she spitefully wrecked his apartment (with his nude drawings and books) and burned the securities/bonds he was given by his Uncle William Carey to finance his medical college tuition expenses, before leaving with her baby
  • destitute and forced to quit medical school and vacate his apartment, Philip was fortuitously offered a foot operation to rid himself of his deformity before leaving; although he sought employment, he couldn't find work and became mentally depressed; Sally's father offered him room in the Athelny home ("You're to stay until you get your bearings"); he accepted a job for Sally's father as a department store's shopping window designer
  • the film's ending: Mildred had again located Philip; she was sick, distraught, unwell, ill (with a deep cough) and destitute (with black circles under her eyes); presumably, she was living as a streetwalker in a dingy brothel, working as a cheap prostitute, although she was portrayed as suffering from tuberculosis (it had been changed from neurosyphilis or locomotor ataxia to satisfy the demands of the Hays Code); she asked: "It's not...me lungs, is it?" Mildred's baby had died the previous summer; he gave her some money and a medical prescription, but denied her any other assistance; Philip finished medical school (with an unexpected inheritance from his deceased uncle), and was hired to be the ship's physician on a cruise boat sailing for Sydney, Australia; Philip had a choice - should he remain in London and make plans to marry Sally who was in love with him, or accept the cruise job and sail away?
  • in the film's last few moments, Mildred was found close to death (the attending medical personnel commented: "Well, this is what you might call the irony of fate"), and she was taken to a hospital charity ward, where Philip learned of her death (from TB or syphilis?); he was liberated and freed at last from his obsessive bondage, and free to remain in England and propose marriage to Sally right away: ("I had to be free to realize that. I had to be free to understand that all those years I dreamed of escape was because I was limping through life...That's all over. I'm not limping any more. My life's all right....everything that's beautiful to me is right here. Won't you please marry me, Sally?")
A Future with Sally!

Aspiring Painter Philip Carey (Leslie Howard) in Paris

English Tearoom Waitress Mildred Rogers (Bette Davis)

Mildred's Standard Response: "I don't mind"

After First Date: "If you don't take me out, someone else will"

Emile: "We are both interested in the same thing" (Mildred)

Philip's First Breakup with Mildred: She Was Engaged to Marry Emile Miller


Philip's New Relationship with Norah (Kay Johnson)

Mildred's First Return: Unmarried, Abandoned and Pregnant

Philip's Breakup with Norah

Mildred's Reaction to Her Out-of-Wedlock Baby

Griffiths' First Flirtations with Mildred


2nd Breakup: Admitting Her Interest in Griffiths - Philip Called Her "Cheap" and "Vulgar"


Philip's 2nd New Relationship with Sally Athelny (Frances Dee)


Mildred's Return: Again

Spiteful About His "Naked Drawings"

Wrecking Philip's Apartment (Ripping Up Drawings, etc.)


Mildred: Suffering and Dying

Last View of Mildred Close to Death

An Officer and a Gentleman (1982)

In director Taylor Hackford's and Paramount's R-rated blockbuster (chick-flick) and crowd-pleasing romantic drama about the training of US Navy Aviation officer candidate, and his on-again/off-again romantic relationship with a local townie, one of the 'Puget Debs' who worked at a paper factory who helped to reveal his inner "gentleman":

  • the main character: aloof, cocky Navy cadet trainee Zack Mayo (Richard Gere) during his 13-week training at Aviation Officer Candidate School (AOCS), who was brought up unwanted by his military seaman father Byron Mayo (Robert Loggia) in the Philippines after his mother committed suicide when he was a boy
  • the early scene of no-nonsense Sgt. Emil Foley's (Oscar-winning Louis Gossett, Jr.) tough drill instruction of new recruits - and his series of insults to new recruits as they lined up in front of him: "I said fall in, you slimy worms! Put your toes on that chalk line! I said put your toes on the chalk line, you slimy worms! I don't believe what I'm seeing. Where you been all your lives, at an orgy? Listening to Mick Jagger music and bad-mouthing your country, I'll bet. Stop eyeballing me. You're not worthy to look your superiors in the eye. Use your peripheral vision. Understand?...I know why most of you are here. I'm not stupid. Before you get to sell what we teach you over at United Airlines, got to give the Navy six years of your life, sweet pea. Lots of things can happen in six years. Another war could come up....Are you a queer, boy?...Only two things come out of Oklahoma. Steers and queers. Which one are you, boy? I don't see no horns. You must be a queer"
  • Zack was confronted by the officer when he laughed, and Sgt. Foley tore into him: "You laughing at me, dickbrain?...You better stop eyeballing me, boy, I'll rip your eyeballs out of their sockets and skull f--k you to death..." - and he adopted a nickname for him: "Mayo-nnaise!"
  • the developing romance between Zack and headstrong, husky-voiced local paper factory working girl Paula Pokrifki (Debra Winger), one of the 'Puget Debs'; when they first met at a sponsored officer's dance, they learned a little about their aspirations, and he complimented her with a kiss: "Paula, you are a very, very pretty girl"; she kissed him back, and then innocently asked: "Do you want to go somewhere else?"; they left the dance and were kissing outdoors when he suggested: "Let's go down to the beach"; as their affair heated up, so did their kissing
Zack's Relationship with Paula
At Officers' Dance
First Kiss
Outdoors
  • Sgt. Foley's punishing counsel of Zack (reprimanded by running a side business of shining shoes and belt buckles), including the trainee's powerful determination to not quit his recruit training by self-issuing a DOR (Drop on Request): (Foley: "I want your DOR...All right, then you can forget it! You're out!" Mayo: "I ain't gonna quit...Don't you do it! Don't you - I got nowhere else to go! I got nowhere else to g... I ain't got nothin' else. I got nothin' else")
Foley: "I want your DOR!"
Zack: "I ain't gonna quit...I got nowhere else to go!"
  • the scenes of Paula's and Zack's up-and-down relationship - she challenged him for not showing some commitment: Paula: "I don't know who you think you're talking to, you know. I'm not some whore you brought in here. I'm trying to be nice to you. I'm trying to be your friend, Zack." Zack: "Well, then be a friend. Get out of here." Paula: "Fine. Fine. You know, man. You ain't nothing special. You got no manners. You treat women like whores. And if you ask me, you ain't got no chance of being no officer"; the next morning, she challenged him: "I dare you not to fall in love with me. I mean, how can you resist? I'm like candy." He assured her: "You're better than candy." She replied: "It's going to be very hard to get enough. Very hard. Very hard." He called her a "little cocky Polack," and they fell to the floor and kissed. She asked: "So, Zack, what do you do with a girl when you're through with her, huh? Do you say something, or you just disappear, huh?"
  • the erotic, realistic and sexually explicit nude love scene, commencing with steamy kisses, in which she wriggled and straddled atop him and then eased herself off of him ("Bye, Zachary")
  • the feel-good 'obstacle course' scene when Zack coached and assisted fellow recruit Casey Seeger (Lisa Eilbacher) to "walk that wall" - to succeed climbing up a steep 12 foot high wall on the obstacle course
  • the scene of the cruel romantic rejection of Mayo's buddy Sid Worley (David Keith) by Paula's manipulative work friend Lynette Pomeroy (Lisa Blount), after he DOR'd from the naval aviation program after 11 weeks, proposed to her, and suggested they move back to Oklahoma (where he would take back his old job at JC Penney's); Lynette told Sid that she wasn't pregnant and that their relationship was over: "I'm sorry, Sid. But I don't want to marry you. I really like you, and we've had ourselves some really great times, but I thought you understood. I want to marry a pilot. I want to live my life overseas - the wife of an aviator! Damn you! Goddamn you! Nobody DORs after 11 weeks! Nobody!"
  • the scene of Zack's confrontation with Lynette after she had coldly rejected Sid, presumably faked being pregnant, and admitted: "I don't want no Okie from Muskogee. I can get that right here"; Zack angrily charged her with manipulation: "You little bitch. Who the hell do you think you are, playing with people like that? He loves you! You just s---t on him! You made up this whole thing, didn't you? There wasn't any baby...You little c--t"
  • the tragic scene of Zack's discovery of the dead body of Sid (in the nude in a motel bathroom), who had committed suicide by hanging after a failed relationship with Lynette; Zack was dismayed and spoke to his dead friend: "You dumb, f--kin' Okie. I was your friend. Why didn't you come and talk to me about it? You didn't even try. You didn't even say goodbye to me"
  • Zack's utter frustration with the death of Sid, and his temptation to also DOR; conflicted about what to do, he spoke to Paula on the beach, who continued to profess her true love for him: ("Zack, don't do this to yourself. You didn't kill your mother. You didn't kill Sid. They killed themselves. There's nothing you could have done about it...You're not the only one that's feeling awful. Maybe I had something to do with what happened. I knew what Lynette was doing. I could have done something and I didn't...I never lied to you. I never did what Lynette's doing. I'm not Lynette....I love you. I've loved you since I met you. Don't you understand?")
  • Zack engaged in a bruising, ball-busting unofficial martial-arts bout with Sgt. Foley ("Let's see what ya got") that changed his mind about requesting a DOR
  • the rousing, overly-sentimental, slightly-cheesy tearjerking finale (a wish-fulfillment Cinderella conclusion), in which graduate-trainee Ensign Zack Mayo (in his neatly-pressed naval dress whites) came up to a surprised Paula at her workplace; she turned around - startled; then he planted a second kiss on her by grabbing her face and giving her a more intimate kiss
  • as the scene continued, she placed her arms around his neck during the kiss, as he hoisted her up and spun her around; they kissed repeatedly; he grabbed her and carried her away to the exit while she was in his arms, as co-workers applauded and Paula's work friend Lynette Pomeroy called out: "Way to go, Paula! Way to go!"
  • the film concluded in a freeze-frame after she placed his cap on her head, with the credits displayed to the tune of "Up Where We Belong", performed by Joe Cocker and Jennifer Warnes

Flashback: Young Zack with His Father

Sid (David Keith) in Line-Up: "Steers and Queers. Which one are you, boy?"


Zack's Eyeballing of Foley in The Line-Up

Paula (Debra Winger) and Lynette (Lisa Blount)

Mayo to Fellow Recruit Seeger on Obstacle Course: "Walk That Wall!"


After His DOR, Sid's Rejected Marriage Proposal to Lynette

Zack's Confrontation with Lynette Who Had Rejected Sid: "I don't want no Okie from Muskogee"


The Tragic Suicide of Zack's Buddy Sid

Zack's Misgivings About Everything and His Relationship with Loving Girlfriend Paula

Zack's Defeat by Foley in Martial-Arts Bout



The Crowd-Pleasing 'Cinderella Story' Ending

The Old Maid (1939)

In director Edmund Goulding's family-based, melodramatic tear-jerker set during the Civil War (1860s) and after, adapted from Edith Wharton's novel:

  • the main characters: Delia Lovell Ralston (Miriam Hopkins), who after spurning cad and suitor Clem Spender (George Brent) who had returned after a two year absence, chose to marry socially-respectable, munitions manufacturer James "Jim" Ralston (James Stephenson); her worried cousin Charlotte Lovell (Bette Davis) commiserated and slept (off-screen) with Delia's rejected, hot-headed and impulsive ex-beau Clem and became impregnated
  • soon after, Lt. Spender departed from the train station (after leaving a tearful Charlotte) to fight as a Union soldier in the Civil War (and die) at the Battle of Vicksburg in 1863, while Charlotte secretly became an unmarried mother
Delia's Marriage Announcement to Socially-Respectable James Ralston
On Her Wedding Day, Delia Spurned Ex-Beau Clem Spender
Worried Charlotte Returning Late at Night After Commiserating - and Sleeping With Clem
  • in 1866 in Philadelphia, Charlotte set up the Charlotte Lovell Nursery for War Orphans, a day orphanage for over 20 children, where she could secretly care for her illegitimate daughter - love child and "foundling" Clementina "Tina" (Marlene Burnett as young child) (named after Clem!)
  • the scene of Charlotte's wedding day in June of 1866 to be held at the Ralston mansion, when Charlotte - about to marry Joseph "Joe" Ralston (Jerome Cowan), her cousin's brother-in-law, became concerned about giving up her nursery to be dutiful and obey her future husband; she confessed to Delia the existence of a love child in the nursery: "I will not give up my own baby....I call my own baby my baby...I had to hide her. What else could I do?"; Delia was worried that Charlotte's fiancee would not accept the news of an illegitimate child: "What reason could I give?...He'd never forgive you. You know it. If it comes to that, what decent man do we know who would?"; Charlotte admitted her sinful decision to sleep with a man she had loved since childhood: "I loved him. I'm not pretending it wasn't a sin. He was lonely and unhappy before he went away...he never knew. You see, he never came back. He never will"; Delia suddenly realized that Charlotte had sexual relations with her cast-off suitor Clem who died at Vicksburg, and she named 'Tina' after him; Delia was sarcastically spiteful: "Our little Charlotte with her good deeds. Her haven for destitute children. Twenty children to hide one child," causing Charlotte to wish she had never divulged her secret
Charlotte's Confession on Wedding Day about "Foundling" Tina
"I call my own baby my baby"
Delia Stunned at the News of Charlotte's Baby
Delia - Realizing Charlotte Had Been Impregnated By Her Ex-Suitor Clem
  • the conniving and selfish-minded Delia set about to tell Charlotte's secret to her fiancee Joe, to discourage him from marrying Charlotte for the sake of the Ralston's reputation: ("Better lose him than deceive a man into a marriage. A man you don't even love"); Charlotte vowed: "I'll be a good wife to him. He'll never be sorry he married me" - but Delia was intent on cornering Joe (and his brother Jim, her husband) and insisting that he not marry her: "Charlotte isn't entering into this marriage honorably...She can't marry you. She can't marry anyone now"; instead of revealing the real reason, Delia stressed the common rumor that Charlotte was "sick" and "unhealthy" after a trip West five years earlier, when she had contracted "lung trouble" and was now coughing ("That sickness has come back on her. That's why she can't ever marry anyone"); even Delia's husband concurred: "You can't marry her. It wouldn't be a marriage. You'd both be miserable and you wouldn't dare to have children. You'd better face it, Joe" - Joe called off the marriage without ever knowing about Charlotte's illegitimate child
Delia to Joe: "Charlotte Isn't Entering Into This Marriage Honorably"
Joe Calling Off the Marriage: "Charlotte, I release you"
  • with her marital plans ruined, Charlotte retreated into seclusion ("shut...away from the world"), reappearing only six months later when a letter informed her about Delia's husband's serious horse-riding accident; while speaking to Joe at the Ralston mansion about her health, Charlotte realized that he had been talked out of marriage to her - due to Delia's spreading of false fears; she glared at Delia with contempt for robbing her of romance, but Charlotte misinterpreted Joe's words and thought that Delia had informed Joe of her illegitimate child: "I've just found out from Joe about Tina...When you found out about Clem, you hated me, didn't you? I could have gone to Joe myself and told him. He loved me. He might have let me keep Tina. But you lied to make sure I wouldn't have a chance, didn't you? He wanted to see me, but I refused because I was so ashamed. It was wicked of you" - they were interrupted by tragic news of Joe's death from a skull fracture
  • an awkward living arrangement was suggested by Delia - Charlotte (and Tina) would move into the large Ralston mansion: (Delia: "But why should you, because you're guilty of a child's existence, allow your remorse to color her life? It's your duty to put her into a normal life with toys and games and companions. You'll always do your best for her, but here she'd have everything....Whatever you do will be of your own free will, but it isn't fair to bring up that child alone and you know it"); at first, Charlotte rejected the idea, but finally agreed; Delia would take care of 'Tina' - acting as her mother, while Charlotte was to be regarded as Aunt Charlotte for her unknowing niece
  • fifteen years later (signaled by a montage), Aunt Charlotte appeared - now with wisps of gray hair, and acting like a serious, bitter, stern-faced, spinster-like 'old maid'; her daughter - free-spirited teenaged Tina (Jane Bryan as young adult) was romantically interested in her handsome young boyfriend Lanning Halsey (William Lundigan)
  • the brief scene of Charlotte dancing alone in an upstairs bedroom (while a dance was in progress downstairs), to the tune of "My Darling Clementine" - and realizing she was old; she sat down and exclaimed, "Oh Clem"
  • Tina's disrespectful words told to Delia (her "Mommy") about how Aunt Charlotte was cruel, old-fashioned, and unfair - and a 'ridiculous, narrow-minded old maid': "You think Mommy spoils me but she doesn't. She understands me while you don't. Mommy knows what it is to be young and have people fond of her. While you, you've never been young"; shortly later, Charlotte explained to Delia how she was "deliberately" creating the impression of being an "old maid" for Tina rather than acting like her real mother
  • the scene of the anguished Charlotte eavesdropping in horror behind a drawing-room door to the whispered love and kisses of Tina for Lanning when they returned late from a date, and Tina expressed her devotion: "That's the first (kiss), and I'll never kiss anyone but you, ever!"; Charlotte appeared and reprimanded Tina for encouraging Lanning to enter the house: "Any man would've done the same had she permitted it"; Tina was exasperated with Charlotte: "You've driven Lanning away...I'll never forgive you, never!"; in the dramatic confrontation, Tina chastised Charlotte: "You've got to know that I'm sick of your spying, fault-finding and meddling.... she's just a sour old maid who hates me because I'm young and attractive and in love, while she's old and hideous and dried up and has never known anything about love"
  • the fact that Tina had "no position, no name" because she was a "foundling" caused Delia to be allowed by Charlotte to legally adopt Tina to provide her with social status ("the Ralston name and part of the Ralston fortune"), so that she would be "desirable" as a marital partner with Lanning: (Delia: "If Tina's to be happy, her position must be made unassailable, financially and socially")
  • the scene of Charlotte and Delia facing each other in a quarrel on the stairs, when Charlotte threatened to divulge the truth of Tina's parentage on the eve of her wedding day in June 1881: "We'll see which one of us is her mother...You made me an old maid. You divided my child from me. You adopted her. You even took away my legal right to her. You taught her to call you mother. Well, tonight, just tonight, she belongs to me. That's not too much to ask. Tonight, I want her to call me mother"
Charlotte to Delia: "Tonight, I want her to call me mother"
  • however, once Aunt Charlotte entered Tina's bedroom, she was conciliatory and kind in a very tearjerker sequence; she offered tender words to Tina at her bedside, offering congratulations and explaining her strict and critical love, instead of divulging Tina's parentage: "I just came in to say good night and to wish you happiness. God bless you, my child....If I've been severe with you at times, I haven't meant it. I love you very much"
  • the rapprochement scene, when Charlotte accepted the fact that both Clem and Tina loved Delia more than they did her: "If she never really belonged to me, perhaps it's because her father never really belonged to me either. They're both yours. He loved you and she loves you too. You're the mother she wants. Go in to her, Delia. It's not your fault or mine. Don't feel sorry for me. After all, she was mine when she was little"
  • to assuage Charlotte, Delia informed Tina that Charlotte had sacrificed her own happiness by refusing to marry a man who did not want to raise Tina as his own: "She didn't marry a man who loved her very much and who would have given her everything she wanted...Because she wouldn't give you up. That's why she's an old maid" - and then she made two special requests: "You remember and try to make her glad tomorrow of the choice she made without letting her know I told you so...When you go away tomorrow at the very last moment, you understand, after you've said goodbye to me and to everybody else...just as Lanning puts you into the carriage, lean down and give your last kiss to Aunt Charlotte, will you?...Don't forget, the very last"
  • the final scene was of the new bride's last kiss given to her special Aunt - fulfilling the special request of Delia
Delia's Special Request of Tina -
The Last Kiss for Aunt Charlotte

Delia Lovell Ralston
(Miriam Hopkins)


Charlotte Lovell
(Bette Davis)


Clem Spender
(George Brent)


Charlotte's Tearful Goodbye to Lt. Spender at Train Station

Lt. Spender's Death in Civil War


Charlotte: Head of Day Orphanage/Nursery with 'Tina'

Charlotte Realizing How Joe Had Been Duped by Delia About Her Not Being Marriageable

Charlotte Glaring at Delia with Contempt

Tina to Delia: "Goodnight, Mommy!" Tina to Charlotte: "Goodnight, Aunt Charlotte"


Tina (Jane Bryan as young adult)


Dancing Alone Upstairs

Tina's Frustration with Aunt Charlotte's Severe Criticisms

Eavesdropping on Lanning and Tina

Tina's Chastisement of Charlotte For Being "Hideous and Dried Up"

At Tina's Bedside: "If I've been severe with you at times, I haven't meant it. I love you very much"

Charlotte: "Don't feel sorry for me"

Delia to Tina: "That's why she's an old maid" - With Two Special Requests

The Old Man and the Sea (1958)

In director John Sturges' (originally Fred Zinnemann's) dramatic adaptation of the Ernest Hemingway brief novel story about a fisherman off the coast of Cuba who struggled with a hooked marlin bigger than his boat - [Note: It was one of the first films to use a "bluescreen" compositing technology invented by Eastman Kodak engineer Arthur Widmer that combined actors on a soundstage with a pre-filmed background]:

  • the opening voice-over narration about the old Cuban fisherman/Narrator - Santiago (Spencer Tracy) - and his friendship with young boy Manolin (Felipe Pazos, Jr.), who was taught how to fish, but was forbidden to accompany the old man fishing because it was considered bad luck: ("He was an old man who fished alone in a skiff in the Gulf Stream and he had gone 84 days now without taking a fish. In the first 40 days, a boy had been with him. But after 40 days without a fish, the boy's parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. The old man had taught the boy to fish, and the boy loved him. The old man was gray and wrinkled, with deep furrows in the back of his neck, and his hands had the deep, creased scars from handling heavy fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert. Everything about him was old, except his eyes. And they were the same color as the sea, were cheerful and undefeated. It made the boy sad to see the old man come in each day with his skiff empty. He always went down to help him carry the coiled lines, or the gaff and harpoon and the sail that was furled around the mast...")
  • Santiago's discussions with Manolin about baseball (from newspaper reports), specifically the Yankees and Joe DiMaggio ("Sometime, I would like to take the great DiMaggio fishing. They say his father was a fisherman. Maybe he was poor like we are, and he would understand")
  • Santiago's night-time dreams about Africa and lion cubs playing on the shore (images from his youth)
  • Santiago's inability to catch a fish in 84 days of fishing [Note: the sequences of marlin-fishing - "Some of the marlin film used in this picture was of the world's record catch by Alfred C. Glassell, Jr. at the Cabo Blanco Fishing Club in Peru. Mr. Glassell acted as special advisor for these sequences"]
  • Santiago's speaking to a fish that he hooked that began to take out his line - it was a gigantic marlin that he had been trying to land over a period of three days and nights that was finally hooked on his 85th day of fishing: (voice-over) "Then he felt something hard and unbelievably heavy. It was the weight of the fish and he let the line slip down, down, down, unrolling off the first of the two reserve coils" - he then spoke to the fish about eating his bait: "This far out, he must be huge in this month. Eat them, fish. Eat them. Please eat them...He's taken it. Now let him eat it. Eat it good, now, fish. Go on, eat it. Eat it until the point of the hook goes into your heart and kills you, then come up nice and easy and let me put the harpoon into you...This will kill him. He can't keep this up forever" - over a period of many hours, the great fish towed the skiff out to sea
  • the old man began to suffer fatigue and bloody hands from the fishline: ("Certainly his back cannot feel as badly as mine does and he cannot pull this skiff forever, no matter how strong he is...I'm with a friend. Something hurt him. You're feeling it now, fish. And so, God knows, am I"); he marveled at the fish's size and ability: ("He's longer than the skiff. Oh, he's a great fish. Thank God they are not as intelligent as we who kill them. Although they are more noble and more able")
  • during his struggles with the great marlin, Santiago's memory of two days of arm-wrestling with a strong black dockworker (Don Blackman) in a Casablanca tavern: (voice-over) "He remembered the time in the tavern at Casablanca when he played the hand game with a Negro from Cienfuegos who was the strongest man on the docks. He was not an old man then, but he was in his prime. He and the Negro had gone one day and night with their elbows on a chalked line on the table...."
  • the sleepless Santiago's thoughts about harpooning his prey next to his skiff: "Now I have killed this fish who was my brother"; as he brought the fish in from far off-shore (he apologized to the fish: "I went out too far, fish, no good for you nor for me. I'm sorry fish...I am sorry I went out too far. Ruined us both"), mako sharks nibbled at the carcass lashed to the side of his boat, and mutilated it - nothing was left but skeletal remains by the time he reached the dock
  • the concluding voice-over: "That afternoon, there was a party of tourists from Havana at a café. One of them looked down at the water, and among the empty beer cans and dead barracuda, she saw the long backbone of the great fish that was now just garbage waiting to go out with the tide. 'What's that?' she asked the waiter. 'Tiburón,' the waiter said. 'A shark.' He was trying to explain what had happened to the marlin. 'I didn't know sharks had such handsome, beautifully formed tails,' the woman said. 'I didn't either,' her male companion answered. Up the road in his shack, the old man was sleeping again. He was still sleeping on his face, and the boy was sitting by him, watching him. The old man was dreaming about the lions."
Havana Tourists in Cafe
Marlin Carcass Backbone
"The old man was dreaming about the lions"


(Opening Narration)

Santiago
(Spencer Tracy)


Manolin
(Felipe Pazos, Jr.)






Hooking a Giant Fish That Towed His Skiff Out to Sea

Old Yeller (1957)

In Disney's live-action family-related drama, a sentimental boy-and-dog tale with a tragic (but hopeful) ending, about a faithful stray yellow Labrador dog known as Old Yeller in post-Civil War (late 1860s) in Texas:

  • the opening title sequence with the thematic folk song about the famed golden retriever dog: "Old Yeller Old Yeller Old Yeller, Here, Yeller Come back Yeller, Best doggone dog in the west, Old Yeller was a mongrel, An ugly lop-eared mongrel, Fancy free without a family tree, But he could up and do it, And prove there's nothin' to it, And that's how a good dog should be..."
  • the Coates family: Jim (Fess Parker), his wife Katie (Dorothy McGuire), and two sons: teenaged Travis (Tommy Kirk) and young Arliss (Kevin Corcoran); when Jim left for 3-4 months on a cattle drive, he told Travis: "Well, son, while I'm gone, you'll be the man of the house....There'll be the pigs to mark, fresh meat to shoot. And mainly, there's the corn patch. If you don't work it right, we'll be without bread this winter. It's sure enough a man-sized job. Think you can handle old Jumper when he's hooked up to a plough?"; he was promised a horse upon his return: "You act a man's part, and I'll bring you a man's horse"
Jim (Fess Parker)
Katie (Dorothy McGuire)
Arliss (Kevin Corcoran)
  • the introduction of Old Yeller, initially involved in spooking the family mule that then destroyed some crops and fences; the dog was also involved in stealing smokehouse meat, dipping into the drinking-water pond with Arliss, and robbing eggs from hens' nests
Old Yeller Swimming with Arliss
Saving Arliss From Angry Mother Bear
Standoff with Family Cow Rose
  • the episodic scenes in which stray Old Yeller gallantly and heroically protected young Travis, Arliss and the family during many threatening animal incidents, including an angry black bear mother, corn crop-eating raccoons, and their protective mother cow named Rose
  • the arrival of Burn Sanderson (Chuck Connors) who claimed that Old Yeller was his own runaway dog - but when Arliss strenuously objected, Sanderson agreed to swap Old Yeller for one big-horned toad and a home-cooked meal after asking: "You mean you really want that thievin', old yeller dog?...Now, if you could talk your mama into feedin' me one, big woman-cooked meal why, I figure it and that horned toad would be worth at least a lop-eared yeller dog, don't you?"
  • further threats included rampaging wild feral boars (causing a bite-injury to Travis' leg and severe bloody wounds to Old Yeller); Travis was forced to shoot and kill their cow Rose afflicted with rabies ("hydrophoby"), and later, a rabid wolf bit Old Yeller in the neck when he intervened to again protect the family - the vicious fight ended when Travis shot the wolf dead; Katie feared the worst: "It was lucky for us, son, but it weren't lucky for Old Yeller...That wolf was mad. I'll shoot him if you can't. But either way, we've got it to do"
  • after quarantining Old Yeller in the corn-crib for a few weeks, Travis realized that he must pull the rifle trigger on his dying and rabid companion when the dog growled and appeared to be infected with rabies; he reacted to his mother who appeared with a rifle in her hands: "No, Mama!" - she responded: "There's no hope for him now, Travis. He's suffering. You know we've got to do it"; Travis reluctantly agreed: "I know Mama. He was my dog. I'll do it"
  • the tearjerking sequence of the heart-rending death of faithful Old Yeller (shot off-screen) by a tearful Travis
Euthanasia for Rabid Dog
  • the conclusion when Travis initially couldn't accept Old Yeller's offspring, a new puppy: "He may be part Old Yeller, but he ain't Old Yeller"; when his father returned home, he offered praise and sound advice about losing his beloved dog: "As rough a thing as I ever heard tell of. But I'm mighty proud of how my boy stood up to it. Couldn't ask no more of a grown man. Thing to do now is try and forget it. Go on bein' a man...What I'm tryin' to say is, life's like that sometimes...Well, now and then, for no good reason a man can figure out, life will just haul off and knock him flat. Slam him again' the ground so hard it seems like all his insides is busted. But it's not all like that. A lot of it's mighty fine. And you can't afford to waste the good part frettin' about the bad. That makes it all bad. You understand what I'm tryin' to get at?...Sayin' it's one thing, and feelin' it's another. But I'll tell you a trick that's sometimes a big help. You start lookin' around for somethin' good to take the place of the bad. As a general rule, you can find it"
Old Yeller's Puppy Replacement: "Young Yeller"
  • Travis decided to replace Old Yeller with the new puppy, when he saw the "Young Yeller" with the same penchant for stealing and dragging off some venison: "Looks like it's about time I started learnin' this old pup to earn his keep...He's big enough to learn if he's big enough to act like Old Yeller" - the theme song began again: "Young Yeller is a puppy. A little ol' lop-eared puppy. It's plain to see he's got a family tree. The image of his pappy. He's frisky and he's happy. And that's how a good pup should be, frisky and happy..."

Old Yeller - Title Sequence

Departure of Jim - Travis (Tommy Kirk) Assigned to be "Man of the House"

Rambunctious Old Yeller

The Threat of Taking Old Yeller Away by Owner Burn Sanderson (Chuck Connors)

Travis Saved From Wild Boars by Old Yeller

Injured Old Yeller

Travis Recuperating From an Injury - a Wild Boar Bite

Travis Forced to Shoot Rabid Cow Rose

Old Yeller vs. Rabid Wolf



Advice From Travis' Father About Accepting A Major Loss

Oldboy (2003, S. Korea)

In director Chan-wook Park's mysterious, compelling, mysterious, and visceral (double) revenge thriller - a neo-noir and potently sinister tale (mostly in flashback) of revenge, hypnotism, and incest adapted from the Japanese manga written by Tsuchiya Garon:

  • the circumstances of a womanizing businessman Dae-su Oh (Choi Min-sik) in the late 1980s who was inexplicably kidnapped from a phone booth (on his daughter's birthday, July 5th!) and imprisoned for 15 years in a strange, dingy, windowless hotel-like room without knowing the charges; there, he learned by TV during his long imprisonment that he had been framed for his wife's murder, and that his young three year-old daughter was sent to live with foster parents in Sweden; he also suffered hallucinations of ants crawling on him and emerging through his skin
  • the sequence of Dae-su inexplicably freed and released by his former grade-school classmate - villainous, sadistic and insane captor-tormentor Woo-jin Lee (Yu Ji-tae), with only five days to find answers: to seek surrealistic vengeance against his captor(s) and prison officials, and discover the enigmatic reasons for what had occurred, while engaged in a cat-and-mouse game with Woo-jin
  • the scene of recently-freed Dae-su stumbling into a sushi restaurant where he became acquainted with helpful and young sushi chef Mi-do (Kang Hye-jeong); after consuming a wriggling, live octopus (eaten headfirst!) and receiving an enigmatic phone call from Woo-jin, Dae-su fainted; Mi-do took pity on him and took him in; she assisted him in following clues in order to unravel the mystery
  • the major revelation that persecuting millionaire villain Woo-jin's diabolical vengeful plan against Dae-su was in retaliation for an incident years earlier when they were classmates at Evergreen school; Dae-su had been blamed by Woo-jin for spreading a rumor ("Your tongue got my sister pregnant") regarding an incestuous pregnancy (between young Woo-Jin and his own slutty sister Lee Soo-ah (Yoon Jin-seo) who were having sexual relations); when rumors spread the news of the incest, Woo-jin's humiliated sister allegedly committed suicide
  • the vengeful tooth extraction scene in the control room of the prison, where Dae-su forcibly extracted (with the claw of a hammer) 15 of the teeth of the prison manager Park Cheol-woong (Dal-su Oh); Dae-su explained: "I am going to avenge myself for all 15 years. Each tooth I extract will age you by one year"
  • the scenes of Dae-su's suffering of many setbacks and punishments as he went about seeking answers, finding vengeance and locating his young daughter
  • eventually, grown-up Mi-do became Dae-su's lover - she signaled to him that she was ready to have sex, by singing a song mentioned in Dae-su's journal: "The Face I Want to See"; falling in love and having sex with her was the villain's diabolical vengeful plan all along; Woo-Jin had raised Mi-do in secret, and had both Mi-do and Dae-su hypnotized to fall in love when she grew older - a punishment suited to fit the crime
Incestuous Sex Between Dae-su and His Own Daughter Mi-do
  • the sequence of Dae-su's extremely-painful tongue self-excisement with a rusty pair of scissors - to find atonement and to prevent any further rumors or talk after realizing he had taken the virginity of his own long-lost daughter Mi-do (an act of unintended incest!)
  • the main reason for Dae-su's imprisonment, learned by the film's end, was the film's major plot twist - in a startling flashback scene set in an elevator, Woo-jin experienced a guilt-ridden memory revealing that he had murdered his own sister (by letting go of her over the side of Habchun Dam) - she had not committed suicide; as the guilty memory from years earlier came over him, he shot himself in the side of the head inside an elevator as the door opened, leaving a bloodstain on the wall
Woo-Jin in Elevator
Flashback to Woo-jin's Murder of his Sister
Sister's Murder
Woo-jin's Suicide in Elevator
  • the concluding hypnosis scene - Dae-su was attempting to erase his unbearable knowledge of his lover Mi-do being his daughter, by hiring a female hypnotist - who proceeded to put him in a spell - she asked him to return mentally to Lee Woo-Jin’s apartment and to split up into two different people when he heard the sound of a bell she was holding; two different Oh Dae-Sus were viewed: (1) the one who had no memory, and (2) the monster who held the secret and died pacing:
    "The hypnosis may go wrong and distort your memories. Do you want to proceed? If you're ready, Iook at that tree. The tree is slowly changing into a concrete pillar. You're now inside Lee Woo-jin's penthouse. It's a dreary night. The sound of your footsteps crossing to the window fills the room. When I ring my bell, you'll split into two people. One person doesn't know your secret: Oh Dae-su. The one who knows your secret is the monster. When I ring the bell again, the monster will turn around and start walking. With each step, he will age by one year. When he reaches 70, the monster will die. There's no need to worry. It will be a very peaceful death. Now, good luck to you"
  • the film's ambiguous ending in an unidentified place, in the snowy mountains: Dae-su was embracing Mi-do who told him: "I love you... Dae-su" - but did the hypnosis work? Did he remember the truth about their true identities?

Dae-su Imprisoned for 15 Years

Live-Octopus Eaten Headfirst

Rumors of Sex Between Young Woo-Jin and His Own Sister Lee Soo-ah, Spread by Dae-su


Prison Manager Mr. Park's Tooth Extractions

Mi-Do

Dae-su's Tongue Self-Excisement


The Hypnotist - To Erase Dae-su's Memory



Did the hypnosis work?

Oliver! (1968, UK)

In Lionel Bart's musical version inspired by the Charles Dickens novel "Oliver Twist" - both a British production and a big Broadway hit - as well as a Best Picture-winning film (from first-time musical director Carol Reed who won Best Director).- about a poorhouse orphan's travails in early 19th century London:

  • the show-stopping "Food, Glorious Food" by the entire group of orphans at Mr. Bumble's Home for Paupers and Orphans; the barefooted orphan boys marched into the dining room for a ladle full of gruel broth: ("Is it worth the waiting for, If we live till eighty-four All we ever get is gruel, Every day we say our prayers Will they change the bill of fare? Still we get the same old gruel There's not a crust not a crumb. Can we find can we beg can we borrow or cadge, But there's nothing to stop us from getting a thrill, When we all close our eyes and imagine, Food glorious food...")
  • the opening line of 9 year-old orphan Oliver (Mark Lester) asking for a second helping of gruel from workhouse boss Mr. Bumble (Harry Secombe): "Please, sir, I want some more." "What?" "Please sir, I want some...more." "More?!"
  • Oliver's wistful singing of "Where Is Love?" at a window after the punished young boy was thrown into a dark cellar (full of empty coffins)
  • the large production number set in London where Oliver had fled and he met up with the young streetwise thief Jack Dawkins, aka The Artful Dodger (Jack Wild); Oliver was welcomed into a boy gang with "Consider Yourself": "Consider yourself... at home! / Consider yourself... one of the family!"
  • other hit songs included wily, crafty and thieving Fagin's (Ron Moody) words of advice to Oliver about his group of street urchin's profession of pickpocketing - "You've Got To Pick a Pocket or Two"
Fagin (Ron Moody)
Bill Sikes (Oliver Reed)
  • the ensemble's performance of "I'd Do Anything" - ("I know that I'd go anywhere for your smile anywhere, for your smile, everywhere I'd see. Would you lace my shoe? Anything. Paint your face bright blue? Anything. Catch a kangaroo? Anything. Go to Timbuktu? And back again...")
  • the singing of the ballad "As Long As He Needs Me" by prostitute Nancy (Shani Wallis), the common-law wife of master burglar and brutish murderer Bill Sikes (Oliver Reed), Fagin's associate, who professed her undying love - even for the abusive Sikes who had just slapped her: ("As long as he needs me. Oh yes he does need me. In spite of what you see, I'm sure that he needs me. Who else would love him still When they been used so ill? He knows I always will as long as he needs me. I miss him so much when he is gone but when he's near me I don't let on. The way I feel inside, The love I have to hide But hell, I got my pride as long as he needs me")
  • the stunning scenes of Sikes' bludgeoning murder (off-screen) of Nancy at the London Bridge, and Sikes' own death when shot dead by a pursuing mob and police

"Food, Glorious Food"

Mr. Bumble (Harry Secombe)

Oliver:
"I want some more"


"Where is Love?"

The Artful Dodger: "Consider Yourself"

Fagin (and company): "I'd Do Anything"

Nancy (Shani Wallis) Singing "As Long As He Needs Me"

Los Olvidados (1950, Mex.) (aka The Young and the Damned, and The Forgotten Ones)

In Luis Buñuel's nihilistic and grim cautionary tale - one of the greatest, and harshest films ever made, filmed in stark black and white cinematography, and set in the slums of Mexico City populated by gangs of street kids:

  • the horrific, sadistic acts of murderous brutality of a juvenile delinquent gang led by amoral, older violent reform school jail-escapee and miscreant El Jaibo (Roberto Cobo) who committed many acts of petty crime, including the merciless robbery and beating of blind street musician Don Carmelo (Miguel Inclán), and the destruction of his drum
  • in the next sequence set near a half-built, high-rise building, Jaibo (in denim overalls) vengefully beat rival Julian (Javier Amezcua) to death by striking him from behind in the head with a large rock (hidden in a fake arm sling) and then stole his money, in retaliation for Julian allegedly reporting him to police and sending him to jail
  • the sympathetic main character - youngest gang member Pedro (Alfonso Mejía) who was bribed (with some of Julian's stolen money) to not report Jaibo's act of murder
  • the homosexually-pedophilic advances on Pedro who prostituted himself to survive, and was unloved by his widowed mother (Estela Inda) (for being the offspring of a rape) with four children
  • the famous unsettling surrealistic dream sequence (in slow-motion and chiaroscuro) that Pedro had of Julian's blood-stained face and dead body under his bed (he had witnessed the murder) with chicken feathers floating in the air, and then sight of his unloving mother floating toward him with a large slab of rotting raw meat as a lightning bolt struck (she normally deprived him of food); suddenly, Jaibo reached from under the bed with his long distended arm and snatched the meat, as the dream ended
Pedro's Surrealistic Dream: Julian's Dead Body Under His Bed,
and His Mother with a Large Slab of Raw Meat
  • other such disturbing imagery included the sensous, fetishistic imagery of teenaged Meche (Alma Delia Fuentes), the pretty younger sister of a gang member, who seductively poured milk on her thighs to wash herself, and the sight of an abandoned boy named Ojitos or Cute Little Eyes (Mário Ramírez) suckling from a goat's teat in the market square, and later (after a fist-fight with Jaibo) the poignant image of a bloody-nosed, battered Pedro looking through a dirty window
Meche's Milk-Covered Thighs
Ojitos Suckling From Goat
  • the sequence of Pedro wrongfully set up by Jaibo for a theft crime (of a knife) at his job as a blacksmith apprentice; charged with the crime, Pedro was sent to a rehabilitation "farm school" center; during a vicious fist-fight and encounter with Jaibo (after the menacing youth took Pedro's 50 pesos given to him by the principal for an errand to purchase cigarettes), Pedro loudly announced that he had seen Jaibo kill Julian; the revelation was heard by street musician Don Carmelo, who reported it to police; as a result Jaibo tracked down and vengefully killed Pedro (a brief, dark scene)
Jaibo's Murder of Pedro
Pedro's Bloodied Corpse
  • the death of Jaibo - who was killed with two gunshots by the police as he fled from the murder scene - (during his surrealistic death, a mangy stray dog ran toward the camera and was superimposed over his face as he swooned and died)
Pedro's Body in Sack on Donkey, as Pedro's Mother Passed by
Disposal of the Sack Down Garbage-Covered Cliff
  • the graceless disposal of Pedro's body that had been found by Meche and her grandfather - to avoid the police, Pedro's corpse was put in a sack and carried out of town on a donkey, to be dumped down a garbage-covered cliff -- while Pedro's mother passed in the street, ironically not knowing her lost son was dead

Ring-leader El Jaibo with Younger Gang Members


Blind Street Musician Don Carmelo - Bloodied and Beaten

Jaibo Facing Rival Julian

Pedro with Jaibo

Jaibo's Theft of Knife at Blacksmith - Pedro's Place of Work


Pedro


Death of Jaibo - with Superimposed Stray Dog on His Face

The Omen (1976)

In Richard Donner's classic supernatural occult horror film of demonic possession that was the first part of a trilogy, followed by Damien: Omen II (1978), and The Final Conflict (1981) (aka Omen III), and a remake in 2006 - the mostly-believable story about Satanic conspiracy contained a number of cleverly-constructed set-pieces of suspense, revolving around a conspiracy that was being investigated by a well-intentioned, victimized father:

  • the set-up: local priest in Italy Father Spiletto (Martin Benson) offered an orphaned infant child (whose mother had died "in the same moment") to US diplomat Robert Thorn (Gregory Peck), after his distraught wife Katherine Thorn (Lee Remick) had given birth to a stillborn child in a Rome hospital on June 6, 1966 (6/6/66) at 6:00 am: "Your wife need never know. It would be a blessing to her and to the child"
6/6/66 at 6 am
  • the child was named Damien (Harvey Stephens) [Note: soon revealed to be the Devil's own son, or the Anti-Christ named Damien (Harvey Spencer Stephens) with the 666 mark of the beast - a sign in the form of a birthmark on his scalp]
  • the child was celebrating his 5th birthday party (outdoors) in England (Thorn had been appointed the US Ambassador to Great Britain), when his nanny (Holly Palance) went into a trance when she saw a black Rottweiler on the grounds; she went into the mansion's top attic, tied a noose around her neck, stood out on the ledge of the window, and jumped and hung herself (and shattered the second floor glass windows with her swinging body) after calling out her final words: "Damien, look at me. I'm over here. Damien, I love you. Look at me, Damien. It's all for you"; Damien's view was shielded by his mother Katherine, but he seemed pleased - he waved at the Rottweiler (a protective Hellhound)
The Suicidal Death of Damien's Young Nanny
  • the visit of Catholic priest Father Brennan (Patrick G. Troughton) to Thorn's office, warning him that he had adopted Lucifer's son (the son of the devil born of a jackal); he specified an antidote: "You must take Communion. Drink the blood of Christ and eat his flesh. Only if he is within you can you defeat the son of the devil....He's killed once. He'll kill again. He'll kill until everything that's yours is his....Only through Christ can you fight him. Accept the Lord Jesus. Drink his blood"
  • the unexpected arrival of a new governess, Mrs. Baylock (Billie Whitelaw), who confidently asserted that Damien wouldn't be shy with her: "Not with me, he won't be"; in private, she told Damien: "I am here to protect thee"; she made strange assertions to the Thorns that Damien shouldn't attend a church service: "Do you really think a five-year-old will understand the goings-on of an Episcopal wedding?" - and Damien's frightful reactions and screams (and pulling of his mother's hair) as he arrived by car at the church
  • the scene in which giraffes were spooked in the Windsor Safari Park and babboons instinctively recognized Damien's devilish-nature and attacked the car carrying Damien and his mother
  • after severe warnings by Father Brennan to Thorn in Bishop's Park about his endangered family (Katherine was pregnant), and instructions to kill their child Damien: ("Go to the town of Megiddo in the old city of Jezreel. There, see the old man Bugenhagen. He alone can say how the child must die...Your son, Mr. Thorn. The son of the devil. He will kill the unborn child, then he will kill your wife, and when he is certain to inherit all that is yours, then, Mr. Thorn, he will kill you...With your power, he will establish his counterfeit kingdom here, receiving his power directly from Satan...He must die, Mr. Thorn"), and then in a "bizarre tragedy," the Father was impaled to death during a freak storm outside a church by a heavy steel lightning rod that was struck by lightning, broke off, sailed through the air (like a javelin throw) and skewered him into the ground
  • while pregnant Katherine was having ominous fantasies described by a therapist ("She fantasizes that your child is alien and that your child is evil"), the scene of Damien maniacally pedaling his red and white tricycle and knocking his pregnant mother over the second-floor stairway railing to the menacing sound of ''Ave Satani", causing her to fall, miscarry, and suffer "a concussion and a broken humerus, and, well, some internal bleeding"; recuperating, she was able to tell her husband: "Don't let him kill me"
Tricycle Accident?
  • the scene of photographer Keith Jennings (David Warner) informing Thorn of the seemingly-insane Father Brennan's grave condition before his unusual death: "The coroner's report shows that he was riddled with cancer. High on morphine most of the time. Injected himself two or three times a day...Externally, his body was normal, except for one thing on the inside of his right thigh...Three sixes. Six hundred and sixty-six..." - the same numeric configuration of the date of Damien's birth in Rome (6/6/66), and the time of a strange astronomical phenomenon five years earlier in Europe: "A comet changed its shape into a glowing star, like the star of Bethlehem 2,000 years ago" - a signal of the birth of the Antichrist, the Devil's child!; the three 6's signified the unholy Diabolical Trinity - the Devil, Antichrist and False Prophet
  • while in Italy after visiting at a remote monastery in Frosinone and speaking to gravely-ill and badly-burned Father Spiletto (who was present five years earlier in the maternity ward where Damien was born that had since burned down), Thorn and Jennings were guided to an ancient Etruscan cemetery known as Cerveteri at the ruins of Cripta Sant'Angelo (50km north of Rome) to investigate Damien's origins; there, they found the remains of Damien's biological mother Maria Scianna, a jackal carcass - the jackal had impregnated the mother, and the murdered Thorn bambino-child! - "They murdered him as soon as he was born"); they were attacked by a pack of vicious black Rottweiler dogs and barely escaped
  • back in the UK, the death of the heavily-sedated and recovering Katherine, after her mysterious nanny replacement, Mrs. Baylock, shoved her out of a high-floor hospital window, and she plunged through the roof of a parked ambulance below
  • the discovery at Megiddo by Thorn from exorcist Carl Bugenhagen (Leo McKern) that Damien had to be killed on "hallowed ground" (a church altar preferably), using each of seven mystical daggers: "His blood must be spilled on the altar of God. This first knife is most important. It extinguishes physical life and forms the center of the cross"
  • the demise of hapless photographer Keith Jennings who had just vowed to the reluctant Thorn that he would stab his evil son Damien with one of seven daggers if Thorn couldn't do it ("If you don't do it, I will"), but then he was decapitated during a freakish accident when a sheet of plate glass sliced through his neck; it flew off a truck that lost its brakes when parked on a slight incline; the vehicle gathered speed as it went out of control; the sheet of plate glass flew off the open flat-bed of the truck and sliced cleanly through Jennings' neck; it sent his spinning body-less head flying through the air; the head ended up resting on the ground where it could view itself in reflected glass
  • the concluding climax of Thorn cutting off some of Damien's hair to locate the "666" marking on his scalp, fighting off Mrs. Baylock ("an apostate of Hell") and stabbing her with both a carving fork and screwdriver in the neck, and then bloodied himself, dragging his screaming son away to a nearby church altar to sacrifice him, according to Bugenhagen's instructions, with the seven mystical daggers from Megiddo (a derivative of the word "Armageddon" and the site of an archaeological dig outside Jerusalem); Thorn was shot to death by police as he raised his hand with the first dagger
  • the sequence of a double-Thorn funeral at Arlington National Cemetery attended by the US President (off-screen), Robert's brother, who had adopted Damien - the devil-child stood next to him during the ceremony, and then turned back to look at the camera while smiling, as the film ended
  • the epilogue (white letters on black): "Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is 666. Book of Revelation Chapter 13 Verse 18"

Warning from Father Brennan to Thorn

Governess Mrs. Baylock

Damien's Reaction to Church


Windsor Safari Park Babboons Attacked Car

Father Brennan Skewered by a Steel Rod

Jennings - Discovery of a Birthmark on Father Brennan's Inner Thigh: 666

Badly-Scarred and Burned Father Spiletto

Attack by Vicious Rottweiler Dogs in Ancient Etruscan Cemetery in Italy

Murder of Katherine Thorn by Mrs. Baylock

Exorcist Bugenhagen with Seven Daggers





Head Decapitation of Keith Jennings

Murder of Mrs. Baylock

On Dangerous Ground (1951)

In Nicholas Ray's classic, black and white, noirish rogue-cop drama, with a memorable, bold and moody Bernard Herrmann score:

  • the portrayal of embittered, repressed, sadistic, violently-brutal and relentless veteran, urban NYC cop Jim Wilson (Robert Ryan), a lonely, hardened workaholic bachelor living by himself in a tenement apartment; in one of his first encounters during a night patrol, a flirtatious underaged teen prostitute propositioned him: "Hello, junior. How's about buying me a drink? I'm all dry" - but he was disgusted by her
  • Wilson's partner Bill "Pop" Daly (Charles Kemper) noted how Wilson was becoming more difficult to work with: "He's sore, all right. All we ever see is crooks, murderers, winos, stoolies, dames. All with an angle. You get so you think everybody's like that. Till you find out different, it's kind of a lonely life... Jim just takes it harder than the rest of us"
  • in a frightening scene, after bursting into a grungy Harbor Hotel waterfront room and threatening a low-life thug Bernie Tucker (Richard Irving), sado-masochistic cop Wilson insisted that he be left alone to viciously beat him up to force him to betray his criminal partners Mushy Castro and Gordy Miller, two cop-killers; Wilson shouted with a hint of self-arousal and compulsiveness: "You're gonna make me crack you, aren't you?...Why do you make me do it? You know you're gonna talk! I'm gonna make you talk! I always make you punks talk! Why do you do it? Why? Why?"; his partner "Pop" questioned his meanness: "What's the matter with you, Jim?"
  • Police Captain Brawley (Ed Begley) chided and reprimanded Wilson for his brutality and violent vigilante tendencies toward Bernie Tucker who had suffered a ruptured bladder (and subsequently his lawyer threatened a civil suit): "You let yourself get out of hand...Another deal like this, and you know what it means...Take it easy"; Wilson was threatened with being removed from the force
  • after the warning, shortly later, Wilson pursued and beat up another 'goon' who was caught murdering female informer in an alleyway, gangster moll Myrna Bowers (Cleo Moore) - Wilson's partner "Pop" reminded him of his jeopardized position: "You know what Brawley told you when he put you back on the job. What are you trying to do? Get thrown off the force?"; Wilson portrayed his frustration with his job: "Okay, so I get thrown off the force. What kind of a job is this anyway? Garbage - that's all we handle, garbage"
  • Wilson asked how "Pop" coped with the lonely profession: "How do you do it? How do you live with yourself?"; "Pop" replied: "I don't. I live with other people"; "Pop" chided Wilson for his personal brutality: "When I go home, I don't take this stuff with me. I leave it outside. But you, the way you carry it around inside, you must like it. Maybe you think that makes you a good cop. The way you're goin', you won't be good to anybody. Not even yourself! Somebody had to tell ya. To get anything out of life, you gotta put something in it. From the heart"
Thug Bernie Tucker
(Richard Irving)
To Bernie Before Beating Him Up: "Why do you make me do it?"
Wilson: "Garbage - that's all we handle, garbage"
"What are you trying to do? Get thrown off the force?"
  • for being unruly, acting as "judge, jury and executioner," and for 11 years on the job as a "gangster with a badge," Brawly reassigned (or banished) Wilson to an upstate NY investigation in the wintry, rural northern community and mountain town of Westham: the sexually-induced murder (after a rape and knifing) of Sally Brent, a teenaged girl whose body was left on the side of the road; Wilson was paired with the victim's vengeful, vigilante father Walter Brent (Ward Bond) who wielded a shotgun [Note: Brent was Wilson's own raging mirror-image]
  • upon meeting Wilson who was asking lots of questions, Brent threatened to kill the murderer by himself without any judicial process: "You ain't gonna ask no questions. We've asked them all and we know the answers. It was my kid. And it's gonna be my gun that takes care of him when we get him...I'll get him, don't you worry. And when I do, there won't be any of your city stuff. No fancy trials. No sob sisters. I'm just gonna empty this shotgun in his belly. Anybody tries to stop me will get the same thing"
  • the manhunt by Brent and Wilson through deep snow led them to the remote cabin of kind, tolerant, self-sacrificing, loving, extremely evasive and blind Mary Malden (Ida Lupino) - she later revealed that she was protective of her mentally-ill and unstable, immature brother Danny (Sumner Williams) - the prime murder suspect, and he was hiding in a storm cellar; she feared he would either be killed by Brent or captured and incarcerated in an institution
  • after becoming acquainted with Wilson and feeling his face to get to know him ("You can tell a lot of things about a person from his name. And his voice too. If only I could really see you. If I could be sure. You can't make me tell you. I don't have to (tell you)... where he is"), she entreated him to protect her brother: "My brother's name is Danny. I know he has to be caught. But if Brent catches him, he'll kill him. With you, he'd be safe. Please, promise me he'll be safe. Danny isn't like other people. Sometimes he's all right, other times he's...I knew something terrible had happened. I want to do what's best for him. Anything I can to help him. He's my brother. But I don't want Brent and the others hunting him down like some animal. You'll see that they take care of him, won't you? You will, won't you? Please promise me"; all that Wilson could do was say: "As long as he's with me, nobody will hurt him. That's all I can promise...I can't promise things that aren't in my power, but I won't let him be hurt"
Touching Wilson's Face to Get to Know Him
Pleading with Wilson to Not Hurt Her Brother Danny
"As long as he's with me, nobody will hurt him. That's all I can promise"
  • the confrontation scene when Wilson came face-to-face with Danny threatening him with a knife; Wilson attempted to calm him: "I don't wanna kill you, Danny. Why would I wanna kill you?" - and he tried to persuade him that Mary wanted him to be taken away peacefully; Danny explained how Mary had denied herself an operation to restore her sight in order to stay with him and protect him ("She wouldn't go because of me"); he also admitted to the crime: "She had a blue dress. She was laughing. When she saw me, she stopped laughing. There were two of them. The other ran away. She wouldn't smile. I wanted her to smile, but she wouldn't. I tried to make her smile"; their conversation was interrupted when Brent burst in and fired his shotgun
  • the concluding scene of a chase after fugitive Danny up an icy rocky cliff and his sudden fall to his death - as Brent and Wilson looked down at the boy's body in the snow, Brent was aghast: "He's just a kid, that's all he is. Just a kid"
  • after Wilson told Mary about Danny's accidental death, she offered a tearful prayer for her dead brother: "Father, hear my prayer. Forgive him as you have forgiven all your children who have sinned. Don't turn your face from him. He didn't know what he was doing. Bring him at last to rest in your peace which he could never have found here"
  • the sentimental concluding scenes showed Wilson's growing, semi-compromising infatuation with his romantic savior Mary; although he wanted to help her now that she was alone, she stressed her independence to him and told him: ("Leave me alone! You don't have to worry about me....You're feeling sorry for me. I don't want anyone feeling sorry for me. Why don't you go? The way you are, I don't see how you can help anybody") - she bumped into items in her living room and fell to the floor, but he acquiesed to her demands and left when she insisted that he go
  • while driving back to the city, Wilson had a change of heart; he recollected Mary's voice-over: "Sometimes, people who are never alone are the loneliest. Most lonely people try to figure it out, about loneliness"; he also heard "Pop's" earlier warning: "Somebody had to tell ya. The way you're goin', you won't be good to anybody. Not even yourself! Somebody had to tell ya. To get anything out of this life, you gotta put somethin' in it. From the heart!" - he was ultimately redeemed with an awakened humanity by her when he decided to leave his self-destructive job, and drive back north to be with her
  • the final image - the two of them joined outstretched hands on the stairs in her home, in the tacked-on, upbeat ending

NYC Cop Jim Wilson (Robert Ryan) Propositioned by a Teenaged Prostitute in a Bar

Chasing the Suspect Through Deep Snow to Remote Cabin in Upper State NY

Wilson with Vigilante Father Walter Brent - Speaking to Mary: "We're lookin' for a - killer!"

Blind Mary Malden
(Ida Lupino)



Fugitive Danny, Mary's Brother, Threatening Wilson with a Knife



Danny's Fall to His Death - Brent's Reaction: "Just a kid!"

Wilson Revealing News of Danny's Death to Mary

Mary's Prayer Over Her Brother's Body

Driving Back to the City - Change of Heart


Ending: Mary's and Wilson's Outstretched Hands Joined

On Golden Pond (1981)

In director Mark Rydell's warm-hearted Best Picture nominated family drama based on screenwriter Ernest Thompson's off-Broadway stage play:

  • the opening scene in which adoring wife Ethel Thayer (Katharine Hepburn in the fourth Oscar-winning role of her career) excitedly was with her cantankerous "old poop" 80-year-old husband Norman, Jr. (76 year old Henry Fonda in an Oscar-winning role and his last film); as they drove up at the start of the summer to the location of their Golden Pond cabin, their New England lakeside vacation home in Maine, Ethel joyously announced: "Come here, Norman. Hurry up. The loons! The loons! They're welcoming us back!"; the curmudgeonly Norman responded: "I don't hear a thing!"
  • the brief scene of Norman's reminder that he was growing old and losing his memory - looking at his fishing rods and a newspaper clipping announcing his retirement as a University of Pennsylvania Professor, and noting his elderly reflection in the mirror
  • out on the lake during an excursion in their canoe named Gertrude, when Norman exclaimed with his binoculars: "Yeah, they're huge. I never saw such big loons in my life" - Ethel corrected him to not look so far into the distance, and concentrate on two loons in the foreground: "Those are boats, you poop. Come in closer. A husband and wife. I think they're looking at us"
  • Norman's distress and fear at his failing physical and mental health when he momentarily lost his way in the woods: "You want to know why I came back so fast? I got to the end of our lane, I couldn't remember where the old town road was. I wandered a way in the woods. There was nothing familiar. Not one damn tree. Scared me half to death. That's why I came running back here to you to see your pretty face. I could feel safe. I was still me"; and Ethel's famous comforting words: "You're safe, you old poop....Listen to me, mister, you're my knight in shining armor. Don't you forget it. You're gonna get back on that horse and I'm gonna be right behind you, holding on tight, and away we're gonna go, go, go!"; Norman quipped: "I don't like horses! You are a pretty old dame, aren't you? What are you doin' with a dotty old son of a bitch like me?"
Lost in the Woods
Ethel: "You're my knight in shining armor"
  • the coming visit of Norman's estranged and sole daughter Chelsea Thayer Wayne (real life daughter Jane Fonda) with her new fiancee, 45-year-old divorced dentist Bill Ray (Dabney Coleman), and his 13-year old teenaged son Billy Ray (Doug McKeon) from Los Angeles, who were on their way to Europe; they would help celebrate Norman's 80th birthday; Ethel was nervous about the reunion: "Norman, wouldn't it be nice if we could all get along this time?"
Arrival of Estranged Daughter Chelsea
13 Year-Old Billy Ray
Threesome
  • after their arrival, the scene of Norman's harsh, cutting and sarcastic response to Bill's request to sleep together in the same room with Norman's daughter: "...I'd guess I'd be DELIGHTED to have you abuse my daughter under my own roof. Would you like the room where I first violated her mother? Or would you be interested in the master bedroom? Ethel, your boy and I could sleep out back. You could do it right here on the hearth. Like that idea?" and Bill's indignant verbal parry: "You're having a good time, aren't you?...Chelsea told me all about how you like to have a good time messing with people's heads...I think you should know I'm pretty good at recognizing crap when I hear it. You know, it's not, not imperative that you and I become friends....But, I want you to bear one thing in mind while you're jerking me around and making me feel like an asshole. I know PRECISELY what you're up to. And I'll take just so much of it..."; in the long run, Norman allowed the arrangement
  • when left alone with 13 year-old Billy, Norman questioned: "What does one do for recreation when one is 13 and not in school?"; Billy answered: "We cruise chicks...You know, meet 'em. Girls, try to pick 'em up"; Norman asked a follow-up question ("What do you do with 'em when you have 'em?"), Billy responded: "Suck face!...You know, kiss. Suck face. You kiss"
  • during Norman's 80th birthday celebration, he joked about his age before asking for everyone to help blow out his candles: "Surprised it got here so fast! But I'm glad I got to spend so much time with this beautiful woman. What's your name again? I want to thank all of you for coming all the way here from Disneyland to witness this historic event. Now that I'm out of hot air, I'm gonna need a little assistance to get these candles out"
  • in a private conversation with Ethel by Golden Pond, Chelsea complained about her father's condescending treatment: "I don't think I've ever grown up on Golden Pond....I act like a big person everywhere else. I'm in charge of Los Angeles, and I come here, I feel like a little fat girl...My father is a goddamn bastard!...Mother, do you know, I've been answering to Norman all my life. Makes me so mad! Even when I'm 3,000 miles away and I don't even see him, I'm still answering to him. Norman is a goddamn poop"; Ethel was critical of Chelsea: "Chelsea, you have a great big chip on your shoulder which is very unattractive...It doesn't have to ruin your life, darling. You're a big girl now. Aren't you tired of it all? Bore, bore. Life marches by, Chels. I suggest you get on with it"
  • the scene of a summer fishing adventure when Billy (with Norman) attempted to catch the legendary 10-pound trout named 'Walter' (Norman called it "a crafty old son of a bitch!"), and they developed a camaraderie
  • Ethel's words of wisdom to Billy after he was yelled at by crotchety old Norman: "You mustn't let Norman upset you, Billy....He wasn't yelling at you, you know....He was yelling at life.... It means he's like an old lion. He has to remind himself that he can still roar. Billy, sometimes you have to look hard at a person and remember that he's doing the best he can. He's just trying to find his way, that's all, just like you"
  • while fishing for 'Walter' one evening in rocky Purgatory Cove, Billy and Norman found a dead loon in the water, prompting Billy to ask: "Hey, Norman? Are you afraid of dying?"; upset about his own approaching mortality, Norman insisted that they leave; inexperienced at the wheel, Billy drove the Thayer IV speedboat at high speed and crashed into a rock instead of reversing; in a near-fatal accident, Norman was catapulted into the water; Billy swam with Norman to a rock to hold onto, to keep them from drowning, where Ethel located and rescued both them - she dove into the cold water herself [Note: Hepburn did the scene without a wetsuit], and she called him a "goddamn poop!"
Near-Fatal Boating Accident
  • the scene of Ethel's hard slap of a spiteful Chelsea when she called her father Norman a "selfish son-of-a-bitch" and predicted he would be unproud and unhappy about her marriage in Europe to Bill - Ethel angrily retorted: "That son-of-a-bitch happens to be my husband"
  • the heart-tugging reconciliation scene at the dock between a teary-eyed Chelsea and her father Norman: (Chelsea: "I think that maybe you and I should have the kind of relationship that we're supposed to have....Well, you know, like a father and a daughter....I don't want anything. It just seems that you and me have been mad at each other for so long..." Norman: "I didn't think we were mad; I thought we just didn't like each other" - ending with Chelsea's suggestion: "I want to be your friend"; Norman asked: "Oh. This mean you'll come around more often? Mean a lot to your mother" - after which she touched his arm, the scene culminated with Chelsea eagerly showing off by doing "a real goddamned back-flip" from the diving board for an appreciative Norman ("She did it!")
Father-Daughter Reconciliation at the Dock
  • the final scene, their last day at Golden Pond, when packing and loading boxes, when Norman collapsed due to angina on the front porch while carrying a heavy box of china; Ethel prayed: ("Dear God, don't take him now. You don't want him. He's just an old poop"), and they discussed the reality of death: ("This is the first time that I've really felt that we were gonna die....When I looked at you here on the floor, I could actually see you dead. I could see you, I could see you in your blue suit and white, starched shirt in Thomas's funeral parlor on Bradshaw Street....You've been talking about death ever since we met, but this is the first time I really felt it...Oh, it feels odd. Cold, I guess. Not that bad, really. Not so frightening. Almost comforting. Not such a bad place to go. I don't know!")
  • then in a lighter moment as he stood on the porch, Norman used slang he had learned from 13 year-old Billy - he delivered a proposal to Ethel: "Want to dance? Or would you rather just suck face?"
Norman to Ethel: "Want to dance? Or would you rather just suck face?"
"Just the two of them now"
  • the film's final lines of dialogue came as they walked to the edge of the lake and stood there, when Norman noticed that the loons had returned - and compared themselves to the last two remaining loons: "Ethel, listen. The loons, they've come around to say good-bye. Just the two of them now. Their baby's all grown up and moved to Los Angeles or somewhere"

Ethel: "The Loons! The Loons! They're welcoming us back"


Norman's Retirement as Professor at His Elderly State

Out on Golden Pond

Norman's Cutting Response to Bill About Sleeping Arrangements

Bill's Sharp Answer

Billy's Term for a Kiss: "Suck face!"

Norman's 80th Birthday

Chelsea's Complaints About Her Father to Ethel: "My father is a goddamned bastard!"

Fishing for "Walter"

Ethel's Words of Wisdom for Billy

Billy to Norman: "Are you afraid of dying?"


Chelsea Startled by Ethel's Hard Slap


Nitroglycerin Pills

Ethel's Fearful Prayer

Calling Doctor

Thoughts About Death

On The Town (1949)

In co-director Stanley Donen's and dancer/choreographer Gene Kelly's musical comedy - a fresh, energetic, kinetic and innovative landmark MGM musical that was the first major musical to be filmed on location - the exuberant musical masterpiece won the Oscar for Best Musical Score:

  • the opening show-stopping, two and a half-minute song-and-dance number "New York, New York (It's a Hell of a Town)" by three sailors: Gabey (Gene Kelly), shy Chip (Frank Sinatra) and Ozzie (Jules Munshin), who were looking for romance during a 24-hour shore leave/furlough after docking in the Brooklyn Navy Yard, beginning at 6 AM: ("New York, New York, a wonderful (helluva) town. The Bronx is up and the Battery's down"); the number included their viewings of many prominent sights of New York City, such as Wall Street, Little Italy, Chinatown, the Lower East Side, the Statue of Liberty, the Hudson River, the Elevated Subway, Washington Square Park in Greenwich Village, Grant's Tomb, Riverside Church, Central Park, the observation deck of Rockefeller Center, and the Statue of Prometheus
"New York, New York" - Sights of NYC
  • the dream sequence about 'Miss Turnstiles' of the Month, the selected June subway billboard 'dream girl' - whom Gabey fell in love with via her poster; in the number, she portrayed a high-society girl as well as a sporty athlete with various suitors
Dream Girl Ivy Smith ("Miss Turnstiles Ballet")
  • other musical numbers were also performed with their new girlfriends:

    - sexy, toe-tapping anthropologist-student Claire Huddesen (Ann Miller) (whom Ozzie met in the fictional Museum of Anthropological History where they performed the song/dance "Prehistoric Man") before the group accidentally collapsed the anthropology museum’s dinosaur skeleton [Note: the ending of Bringing Up Baby (1938)]
    - lust-crazed female Globe Cab driver Brunhilde "Hildy" Esterhazy (Betty Garrett) who advanced on innocent-minded Chip in "Come Up to My Place", and their duet "You're Awful" atop the Empire State Building
    - ballet dancer Ivy Smith (Vera-Ellen) - who performed a duet with lovelorn Gabey in "Main Street" after he met her studying classical ballet with imperious teacher Madame Dilyovska (Florence Bates)
  • the film's climactic title number "On the Town" performed by the three couples on the Empire State Building's open rooftop and then on a wide street-level sidewalk
"On the Town"
  • the stylized and innovative dream sequence titled "A Day in New York" - also performed by Ivy and Gabey, mostly in a red spotlight (with black silhouettes) in front of a balance beam [Note: It was significant in that the number presaged or was the forerunner of the magnificent final ballet of An American in Paris (1951)]
"A Day in New York" - Instrumental Dream Dance
Between Ivy and Gabey
  • the final scene: a reunion between Gabey and Ivy on Coney Island where he found her performing as a cooch dancer at a Middle Eastern concession (in order to pay for her ballet lessons), before the three sailors dressed in drag to evade the police while being chased, but they were captured by the shore patrol and taken back to their ship that was scheduled to depart at 6 AM (24 hours after their leave began); fortunately, the three girlfriends caught up to them on the dock just before they left, and offered lots of kisses, embraces, and goodbye waves, with a reprise of "New York, New York" (by a new trio of sailors leaving the ship)
Goodbye Kisses at the Dock
6:00 AM Departure

(l to r): Ozzie, Gabey, and Chip



"Prehistoric Man" with Anthropologist Claire and Ozzie



"Come Up to My Place" and "You're Awful" with Cab Driver Hildy and Chip


"Main Street" with Ivy and Gabey


Gabey Reunited with Cooch Dancer Ivy at Coney Island

Sailors Dressed in Drag to Evade Police

On The Waterfront (1954)

In Elia Kazan's Best Picture-winning film with realistic dialogue and sets of grimy Hoboken, and featuring a prime example of Method acting from Oscar-winning actor Marlon Brando:

  • the opening lines of the film: "Joey, Joe Doyle!...Hey, I got one of your birds. I recognize him by the band...He flew into my coop. You want him?" - delivered by slow-witted, illiterate waterfront bum and ex-fighter Terry Malloy (Marlon Brando) who lured fellow pigeon-lover Joey Doyle, a young dockworker/longshoreman, informant (to the Waterfront Crime Commission) and union worker, to a rooftop loft to get his Danny-Boy bird, where two shadowy thugs were lurking
  • the subsequent murder of Joey Doyle occurred when he was hurled from the rooftop to his death many stories below with a bloodcurdling scream
Terry: "Joey, Joe Doyle!"
Two Thugs on the Rooftop
Terry's Dismay at Joey's Death
  • Terry owed his waterfront career and livelihood to corrupt union boss Johnny Friendly (Oscar-nominated Lee J. Cobb), head of the racketeers, who ran nearby Johnny Friendly's Bar; to Terry's dismay, other Friendly goons joked about Joey's death: ("A canary. Maybe he could sing, but he couldn't fly")
  • after Father Barry (Oscar-nominated Karl Malden) delivered Joey's last rites on the street, his fresh-faced aspiring teacher Edie Doyle (Oscar-winning Eva Marie Saint), the informant's sister (with a Catholic school background), expressed her upset to the priest: "Father, who'd want to kill Joey?...Father, my brother is dead and you talk about time and faith. My brother was the best kid in the neighborhood and everybody said so...I want to know who killed my brother!"
  • shortly later in the back of the bar, Terry was paid off by Friendly with a $50 bill for helping to eliminate Joey, and he was also promised work the next day with Big Mac (James Westerfield), the waterfront hiring boss: ("Here, kid, here's half a bill. Go get you a load on... Present from your Uncle Johnny. And Mac, tomorrow morning when you shape the men, put Terry up in the loft. Number one. Every day. It's nice, easy work, see, if you check in and goof off on a coffee bag. Okay?"); Terry was reminded by his smartly-dressed older brother and manager Charley Malloy "The Gent" (Rod Steiger), who was Friendly's smart and crooked lawyer and chief lieutenant ("You got a real friend here. Now don't forget it")
  • the scene in which Terry Malloy and Edie became acquainted after a church-meeting, as he escorted her home through the park; at first, she asked him: "Which side are you with?" and he described his self-interested affiliation: "Me? I'm with me, Terry"; as they talked and walked along and he teased her, Edie accidentally dropped one of her white gloves-mittens; Terry picked it up and cleaned it off, but instead of immediately returning it, he held it, and then put it on his left hand - as a substitute for getting close to her; eventually, she was able to remove the glove from his hand
With Edie: In the Park
Terry to Edie: "Me? I'm with me, Terry"
Walk in Park - White Glove Incident
In a Saloon
Terry's 'Dog-Eat-Dog' View to Edie - "Boy, what a fruitcake you are!"
Terry: "I'd like to help, but there's nothing I can do"
  • the scene in a neighborhood saloon between the kind-hearted Edie and Terry during a date to get a beer, when she expressed a philosophy of life totally foreign to him: ("Shouldn't everybody care about everybody else?"); he blurted out his reaction: ("Boy, what a fruitcake you are!"); contrary to Edie, he believed in a 'dog-eat-dog' world point of view: ("Do it to him before he does it to you"); Edie complained to him: "I never met anyone like you. There's not a spark of sentiment or romance or human kindness in your whole body"; in the film's most touching moment, Edie pleaded with him to help find her brother's killer ("Help me if you can, for God's sake"), but he refused: ("Edie, I'd like to help. I'd like to help, but there's nothin' I can do"); shortly later, she intuited that he was involved: ("It was Johnny Friendly who had Joey killed, wasn't it? Or he had him killed, or he had something to do with it, didn't he? He and your big brother Charley? You can't tell me, can you? Because you're part of it. Cause you're just as bad as the worst of them. Tell me the truth, Terry!...No wonder everybody calls you a bum"
  • the death of dockworker Kayo Dugan (Pat Henning), who was about to secretly testify before the Crime Commission - and was deliberately killed on the job by the dumping of a heavy pallet on top of him; Father Barry delivered last rites over the body
  • the symbolic and memorable "Sermon on the Docks" sequence in the hold, Father Barry's delivery of a sermon to commemorate Dugan's death, and the sin of keeping silent: "Some people think the Crucifixion only took place on Calvary. They better wise up. Takin' Joey Doyle's life to stop him from testifying is a crucifixion. And dropping a sling on Kayo Dugan because he was ready to spill his guts tomorrow - that's a crucifixion. And every time the mob puts the crusher on a good man - tries to stop him from doing his duty as a citizen - it's a crucifixion. And anybody who sits around and lets it happen - keeps silent about something he knows has happened - shares the guilt of it just as much as the Roman soldier who pierced the flesh of Our Lord to see if He was dead" - afterwards, he rode on the pallet up and out of the hatch (and heavenward) with Dugan's body on it
  • that night on the rooftop, Edie and a pensive and troubled Terry were outdoors, where he worried about his 'nervous' pigeons; she comforted him and they finally kissed in the dark
Terry's Two Confessions
About Involvement in Doyle's Murder
To Father Barry
To Edie
  • Terry's delivery of two confessions: (1) To Father Barry: "I just thought they was gonna lean on him a little bit. I never figured they was gonna knock 'em off....You know, if I spill, my life ain't worth a nickel"; and (2) To Edie - a prolonged blast from a ship's whistle drowned out and accentuated his words; she reacted with horror, turned and ran away from him and never turned back
  • the memorable and famous scene of Terry's emotionally-naked New York taxi-cab dialogue, delivered in the back seat of a taxi-cab with his mobster/lawyer older brother Charley, who worried that Terry would testify against the mob; after his brother drew a gun on him, Terry spoke about a rigged boxing match that ruined his boxing career: "It wasn't him, Charley! It was you. You remember that night in the Garden, you came down to my dressing room and said: 'Kid, this ain't your night. We're going for the price on Wilson.' You remember that? 'This ain't your night!' My night! I coulda taken Wilson apart! So what happens? He gets the title shot outdoors in the ball park - and whadda I get? A one-way ticket to Palookaville....You was my brother, Charley. You shoulda looked out for me a little bit. You shoulda taken care of me - just a little bit - so I wouldn't have to take them dives for the short-end money....You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am. Let's face it (pause) ...... It was you, Charley"
Back of Taxi-Cab Conversation: Terry with Charley
  • the next sequence - Terry's smashing down the door of Edie's apartment when he told her: "Edie, you love me...I want you to say it to me"; she cowered from him and responded: "I didn't say I didn't love you. I said, 'STAY AWAY FROM ME"; but he put his arms around her, and they ended up embracing in a kiss
  • the sequence of Terry's discovery of Charley's corpse hanging on a longshoreman's hook in a back alley, illuminated by a truck's headlights; he was presumably murdered because it was thought he couldn't convince Terry not to testify
  • the next day, Terry turned "stoolie" and testified in televised hearings before the Waterfront Crime Commission; Terry's words contributed to breaking wide open the case of Joey Doyle; as a result, Friendly threatened Terry with unemployment: "You've just dug your own grave. Go fall in it. You're dead on this waterfront and every waterfront from Boston to New Orleans. You don't drive a truck or a cab. You don't push a baggage rack. You don't work no place. YOU'RE DEAD!"
  • the devastating scene when Terry found that neighborhood friend Tommy, who used to admire and idolize him, had killed his pigeons on the rooftop and tossed the body of a dead bird at him: "A pigeon for a pigeon"; for testifying against the mob, Terry was derided and ostracized as a 'canary" and all of his beloved birds had their necks wrung
The Final Challenge to Friendly at the Waterfront
  • in the finale, Terry defiantly challenged the work boss and other workers, but found himself shunned by the other longshoreman as a "rat" and informer; headlines incriminated Friendly; Terry marched down to the union office-shack (followed by workers-onlookers) to personally confront Johnny Friendly and accuse him of murder: "You give it to Joey. You give it to Dugan. You give it to Charley, who was one of your own. You think you're God almighty. But you know what you are?...You're a cheap, lousy, dirty, stinkin', mug. And I'm glad what I've done to you" - followed by their bloody confrontation and fight; Terry was beaten unmercifully behind the waterfront shack and nearly killed in a fight to the death; when the fight broke up, swollen-faced Friendly invited Edie and Father Barry, who had arrived, to attend to battered Terry's bloody wounds: "You want 'im. You can have 'im. (To Edie) The little rat's yours"
  • the battered but triumphant, masochistic Terry broke the strangle-hold power of the union boss when the dockworkers defiantly claimed: "He don't work, we don't work"; the workers, forming a line on the side, rallied around their new leader as he led the loitering longshoremen back to work through the gate past the shipping boss, although he was dizzy and unsteady on his feet
  • the workers ignored the desperate screams of the soaking-wet Friendly (after he had been pushed into the water by Joey Doyle's father), who tried to prevent the workers from following Terry: "Where you guys going? Wait a minute? I'll remember this! I'll remember every one of ya! I'll be back, don't you forget that. I'll be back"

Upset Joey's Sister Edie with Father Barry After Her Brother's Murder

Terry with Johnny Friendly (Lee J. Cobb)

Terry Reminded by His Brother Charley: "You got a real friend here"


'Accidental' Death of Informant Kayo Dugan




Father Barry's "Sermon on the Docks"


Terry and Edie's First Kiss on Rooftop





Terry Bursting into Edie's Apartment and Forcing a Kiss From Her



Hanging on Hook: The Death of Charley


Terry's Testimony

Friendly's Anger at Terry

The Murder of Terry's Beloved Birds


Passed Over For Work After Testifying

Incriminating Headlines


Defiantly Standing Up to Shipping Boss at Entrance

Friendly's Last Threat

Once Upon A Time in the West (1968, It.) (aka C'era una Volta il West)

In Sergio Leone's western masterpiece with a great musical score (and harmonica melody) by Ennio Morricone, about the coming of the railroad and the struggle between various groups for monopolistic control - with numerous instances of homage to earlier traditional Hollywood westerns:

  • the detailed, almost wordless presentation of hired killers in the widescreen opening sequence - the Cattle Corner train station arrival scene - with ambient sounds (a dry dusty wind, a creaking rocking chair, door and windmill, the cracking of knuckles, a dripping water leak from a tower, a noisy telegraph machine, and a pesky buzzing fly) in the deliberately-slow credit sequence as a trio of hired outlaw assassins waited impatiently at a small-town's train station; the outlaws were in the employ of hired gun Frank (Henry Fonda), who was being manipulated by crippled, corrupt and ruthless railroad tycoon Morton (Gabriele Ferzetti), aka "Mr. Choo Choo"
  • the sudden reveal shot - of an unnamed, mysterious avenging gunman, known as "Harmonica" (Charles Bronson), who was in pursuit of Frank; he stepped off the train and appeared in the middle of the screen when the train pulled away, flanked by the three men who were there to kill him; the killers, sent by villainous Frank, included Snaky (Jack Elam), Stony (Woody Strode), and Knuckles (Al Mulock)
  • the classic verbal conversation (before the shoot-out) between Harmonica and Snaky, about how there were too many horses - Harmonica: "Did you bring a horse for me?" Snaky: "Well, looks like we're, looks like we're shy one horse" Harmonica: "You brought two too many"; after the brief shoot-out, Harmonica stood as the sole survivor
  • the violent scene of Frank and his four men's cold-blooded and merciless ambush and murder of Irish landowner Brett McBain (Frank Wolff) and two of his three children (elder son Patrick (Stefano Imparato), and teen daughter Maureen (Simonetta Santaniello)) at their homestead; McBain had bought the land known as Sweetwater - a key location where trains crossing the continent would have to stop for water: ("Them steam engines can't roll without water, and the only water for fifty miles west of Flagstone is right here, under this land")
The Massacre of the Entire McBain Family by Frank and His Gang
  • the first startling appearance of the long-duster-coated gang of five emerging from the brush, including their leader -- black-hatted, blue-eyed, sadistic killer Frank (portrayed uncharacteristically against type by Henry Fonda), who was first seen in a circling profile; he strode up to sole-surviving nine-year-old red-headed son Timmy (Enzo Santaniello); after one of the gang members (Michael Harvey) asked: "What are we going to do with this one, Frank?", Frank spit out a brown gob of tobacco juice into the ground and responded: "Now that you've called me by name" - then drew his gun and fired on the boy; the McBain murders were set up to blame honorable yet grizzled escaped con and half-breed scoundrel Cheyenne (Jason Robards)
  • the transitional sound of a train's screeching whistle at the Flagstone station signaling the arrival in the stark Arizona desert of smoky-eyed, reformed prostitute Jill McBain (Claudia Cardinale) from New Orleans, the widowed wife of Brett McBain; she arranged for a buckboard wagon at the station, and then at the start of her journey (seen from her POV) toward Sweetwater, she passed the laid-out corpses of the entire McBain family before proceeding through Monument Valley
  • Jill's relationship with a very protective and likeable Cheyenne - at one point, she boldly told him: "If you want to, you can lay me over the table and amuse yourself. And even call in your men. Well. No woman ever died from that. When you're finished, all I'll need will be a tub of boiling water, and I'll be exactly what I was before - with just another filthy memory"; however, he seemed to take more interest in her coffee - he responded: "You make good coffee, at least" - [Note: in a later scene, he also told her: "Did you make coffee?...Hot, strong and good"]
Jill to Cheyenne: "If you want to, you can lay me over the table and amuse yourself. And even call in your men. Well. No woman ever died from that. When you're finished, all I'll need will be a tub of boiling water, and I'll be exactly what I was before - with just another filthy memory"
  • the scene of Frank talking 'business' with corrupt RR tycoon Morton ("Mr. Choo Choo") about the disastrous McBain killings, that he considered "a stupid massacre": Morton: "Tell me, was it necessary that you kill all of them? I only told you to scare 'em" - Frank: "People scare better when they're dyin'"
  • Cheyenne's discussion with Jill about how she reminded him of his whoring mother: "You know, Jill, you remind me of my mother. She was the biggest whore in Alameda and the finest woman that ever lived. Whoever my father was, for an hour or for a month, he must have been a happy man"
Cheyenne to Jill: "You remind me of my mother"
  • the sequence of Frank's brutal love-making rape of the seductive ex-whore Jill, when he told her while on top of her: "I think, yeah. I'm beginning to think I might be a little sorry killin' you. You like being alive, hmm? You also like to feel a man's hands all over you. You like it? Even if they're the hands of the man who killed your husband. What a - what a little tramp. Is there anything in the world you wouldn't do to save your skin?" - he knew about her background as a popular whore in New Orleans: "Now I understand why they miss you so much down there in New Orleans. Great invention, the telegraph" - he used her bare back as a telegraph key to send a message: "'Jill? The brunette? The customers of the most elegant whorehouse on Bourbon Street have been weeping ever since she left'" - and then he proposed marrying her to acquire her land: "I could marry ya. And the land would become mine. And maybe you'd make a perfect wife. It would be me who wouldn't be any good as a husband. Too bad. We'll have to think of another solution. Simpler, quicker"
Frank's Lovemaking Rape of Jill
  • afterwards, the scene of a land auction after Mrs. McBain was forced to sell her land - the high bidder was Harmonica at $5,000, who successfully disrupted Frank's plan (with his bullying gang members) to intimidate other buyers into not bidding in order to keep the price remaining low at the opening bid of $200; Harmonica held Cheyenne at gunpoint, announcing that he would use the expected bounty money for the wanted Cheyenne as his payment; Cheyenne was put on a train bound for the Yuma prison in Arizona for a 20 year sentence (although he would soon be rescued)
  • the scene of the planned ambush of Frank by other hired men, as Jill took a hot bath; Harmonica alerted Frank to the assassins' whereabouts (in order to shoot them dead) when he realized that Frank's own men had double-crossed him: "They must have found somebody who pays better"; as Jill jumped out of her bath, she expressed her anger at Harmonica for saving Frank: ("And you - you saved his life"); Harmonica defended his killing of the men: "I didn't let them kill him, and that's not the same thing"; immediately afterwards, Frank rode to Morton's train (finding evidence of Cheyenne's rescue), and insured the death of Morton
  • the classic confrontational ending - a showdown duel between Harmonica and Frank (whose faces were seen in extreme close-up as they circled each other); Frank spoke first: "The future don't matter to us. Nothing matters now - not the land, not the money, not the woman. I came here to see you. 'Cause I know that now, you'll tell me what you're after"; Harmonica replied: "Only at the point of dyin'"
  • the fateful flashback/revelatory moment when brooding loner "Harmonica" (The Man) remembered the cold-hearted, steely blue-eyed, mean badman Frank's cruel jest when he was younger: "Keep your lovin' brother happy" (in the chilling flashback, Frank held up a harmonica, and stuffed it into the mouth of a young "Harmonica" (Dino Mele); the boy was forced to support his elder brother (Claudio Mancini) (with a noose around his neck) on his shoulders and to play a harmonica until he weakened and collapsed into the dust - and thereby killed his brother who was left to hang above him)
The Chilling Flashback:
Young 'Harmonica' Remembered Frank's Long-Ago Cruelty
  • during the duel, Frank was shot and lethally wounded by Harmonica; after Frank slowly staggered to his knees and then fell to the ground, he asked a final question: "Who are you?" - and then finally remembered about Harmonica (as a young boy) after a harmonica was placed in his mouth - he promptly fell over dead
  • in the final scene, Jill was with mortally-wounded Cheyenne, who urged her to offer water to the train workers: "You know what? If I was you, I'd go down there and give those boys a drink. Can't imagine how happy it makes a man to see a woman like you. Just to look at her. And if one of them should pat your behind, just make believe it's nothing. They earned it"; she complimented him: ("You're sort of a handsome man") but he declined her interest; he then stated: ("It would be nice to see this town grow"); they were interrupted when a stoic-faced Harmonica entered and told Jill - as Cheyenne had predicted: ("Now I gotta go. Gonna be a beautiful town, Sweetwater"); she replied: "I hope you come back some day", and he simply said: "Some day"
  • she watched as Harmonica rode away with Cheyenne following; out of Jill's view, Cheyenne spoke his last words to Harmonica about his dying (he had been shot in the abdomen earlier during the rescue) - it was the film's final line of dialogue when he explained how he had been seriously wounded: "I ran into Mr. Choo-Choo. I didn't count on that half-man from the train. He got scared. Hey, Harmonica. When they do you in, pray it's somebody who knows where to shoot. Go away. Go away. Go away. I don't want you to see me die"; after Cheyenne expired, Harmonica continued riding away, with another tracking shot (as a second horse carried the slumped-over corpse of Cheyenne)
Final Goodbyes with Jill
Cheyenne as He Was Dying: "Sorry, Harmonica. I gotta stay here...Go away! I don't want you to see me die"
Death of Cheyenne
Departure of Harmonica
  • in the final operatic conclusion to the epic western, with magnificent camera-work - beginning with the arrival of a train carrying railroad workers (with a crane shot, POV, pan and tracking shot), Jill confidently strode down to the Sweetwater railway station after a steam-powered train engine pulled into view, where in a zoom and tracking shot, she offered water to the laborers and track-laying crews, before the end credits began to roll
The Operatic Conclusion



The Opening Train Station Shoot-Out



Widowed Jill McBain's Arrival - The Many Corpses of Her Murdered Family Members

Morton to Frank: "Was it necessary that you kill all of them? I only told you to scare 'em"

Frank to RR Tycoon Morton: "People Scare Better When They're Dyin'"


The Land Auction - Harmonica's Bid of $5,000


Harmonica Spotting an Ambush of Frank

Jill's Outrage at Harmonica For Saving Frank: "You saved his life"

Frank Insuring the Death of Double-Crossing Morton

Cheyenne with Jill: "Did you make coffee?... Hot, strong, and good"








Harmonica vs. Frank Showdown Duel and Frank's Death

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

Previous Page Next Page