Greatest Film Scenes
and Moments



O (continued)
Title Screen
Movie Title/Year and Scene Descriptions

One Flew Over the Cuckoo's Nest (1975)

In Milos Forman's Best Picture-winning drama (of the top five awards) based upon Ken Kesey's anti-establishment book about a wise-guy anti-hero pitted against the Establishment, institutional authority and status-quo attitudes (personified by a supervisory nurse):

  • the early scene of non-conformist, rebellious patient/prisoner Randle Patrick (R. P.) "Mac" McMurphy (Jack Nicholson) admitted from a prison work farm into an institution; he was informed by the hospital's head, Dr. Spivey (Dr. Dean Brooks) that he would be tested "to determine whether or not you are mentally ill"; McMurphy responded that his crime of statutory rape was unjustified: "And now they're telling me I'm crazy over here because I don't sit there like a goddamn vegetable. Don't make a bit of sense to me. If that's what's bein' crazy is, then I'm senseless, out of it, gone-down-the-road, wacko. But no more, no less, that's it"; he also described himself as "a god-damn marvel of modern science"
  • some of the memorable inmates/patients, including:
Memorable Patients
"Chief" Bromden, aka "Broom" (Creek Indian Will Sampson
Dale Harding
(William Redfield)
Billy Bibbit
(Brad Dourif)
Charlie Cheswick
(Sydney Lassick)
(Christopher Lloyd)
(Danny De Vito)
  • the memorable scene of McMurphy playing basketball in the fenced-in, outdoor exercise yard; on the shoulders of Bancini (Josip Elic), a Frankenstein-like inmate, he demonstrated how to dunk the ball in the hoop "It's called, uh, put the ball in the hole"
  • McMurphy's introduction of card games (with pornographically illustrated cards) and black jack gambling (betting cigarettes as currency)
  • McMurphy's faking of taking his pills, after asking assistant Nurse Pilbow (Mimi Sarkisian) about the ingredients of his "horse-pill" medications during one of the compulsory lineups for pill delivery: "But I don't like the idea of taking something if I don't know what it is...(joking) I don't want anyone to try and slip me salt-peter. You know what I mean?"; afterwards, he showed Harding that he hadn't swallowed
  • his growing opposition to the stern, rigid and authoritarian Nurse Ratched (Louise Fletcher), and his determination to oppose her restrictive rules: "I bet in one week, I can put a bug so far up her ass, she don't know whether to s--t or wind her wristwatch"
  • McMurphy playfully squirting water on the other patients as they played Monopoly in the tub room, and then betting them that he could escape incarceration by lifting and smashing his way out of the ward with a heavy, marble-sided watering station - but his efforts to do so failed, although he claimed victory: "But I tried, didn't I? God-damn it. At least I did that"
Squirting Everyone with Water
Struggling to Lift Watering Station
Defeated But Claiming Victory
  • the two scenes in which votes were taken to change the daily schedule so that the patients could watch the second game of the World Series - followed by McMurphy's defiance to tyrannical Nurse Ratched's technicalities (when they were denied TV privileges) by a recreation of the play-by-play action of an imaginary ballgame in front of a blackened TV set - contagiously infecting the other inmates with his enthusiasm
  • the scene of McMurphy's hijacking of the field trip bus for a fishing trip, and pretending that the inmates were a group of doctors from the state mental institution; along the way he picked up prostitute friend Candy (Marya Small) at the Riverside Trailer Court, who innocently asked all the "boys": "You all crazy?"; the group returned triumphant with a full catch of fish and smiles on their faces - but they were greeted at dockside by the police and Dr. Spivey
  • during a therapy session, McMurphy's challenge to the other inmates to leave the institution after learning that he wouldn't be automatically released: ("Jesus, I mean, you guys do nothin' but complain about how you can't stand it in this place here and then you haven't got the guts just to walk out!...You're no crazier than the average asshole out walkin' around the streets"); also the moment that went horribly wrong when neurotic inmate Cheswick experienced a temper tantrum with Nurse Ratched about rationed cigarettes: "I AIN'T NO LITTLE KID! WHERE ARE YOU GOING TO HAVE CIGARETTES KEPT FOR ME, LIKE COOKIES, AND I WANT SOMETHING DONE!"
"You're no crazier than the average asshole..."
  • while awaiting electro-shock treatments as punishment for causing the disturbance, McMurphy's shocked realization that huge and towering "deaf and dumb" Indian giant inmate Chief Bromden (Will Sampson) could actually talk when he lent him a stick of Juicy Fruit gum: "You fooled 'em, Chief! You fooled 'em. You fooled 'em all"
  • the scene of McMurphy's electro-shock therapy, and his faked, zombie-like return to the ward: "How about it? You creeps, you lunatics, mental defectives. Let's hear it for Bull Goose Randall back in action...You ding-a-lings"
  • the midnight celebration (a pre-escape party with alcohol and prostitutes, his two girlfriends Candy and Rose (Louisa Moritz)), when he encouraged Billy Bibbit (Brad Dourif) to lose his virginity with Candy; the next morning when Bibbit was forced to confess to Nurse Ratched, he felt such shame and guilt that he committed suicide by slitting his throat with a piece of broken glass
The Consequences of a Party - Gone Wrong
  • beserk over Billy's death, McMurphy made an enraged strangulation attack on Nurse Ratched - the disastrous consequences were his complete lobotomization - he returned glassy-eyed, catatonic, totally passive, and obediently captive to the ward
Complete Lobotomization
The Chief's Last Hug
  • in the conclusion, the scene of Chief Bromden's suffocation/mercy killing of his lobotomized friend with a pillow, and his escape from the institution ("the cuckoo's nest") by heaving the previously-immovable water fountain/sink through a window

Randle P. "Mac" McMurphy (Jack Nicholson): "I'm a god-damn marvel of modern science"

Nurse Ratched
(Louise Fletcher)

Teaching Basketball

Playing Cards for Cigarettes

Challenge about Nurse Ratched: "I bet in one week..."

Voting on the Ward for Watching the World Series

Pantomiming the Play-by-Play of the Baseball Game

Infuriated Nurse Ratched

Candy: "You all crazy?"

Charter Fishing Trip

"You fooled 'em, Chief!"

Electro-Shock Therapy - Faked

Strangulation Attempt on Nurse Ratched

Freedom for the Chief

One Foot in Heaven (1941)

In director Irving Rapper's and Warners' religious biographical drama:

  • the film opened in Stratford, Ontario, 1904, when medical student William Spence (Fredric March) described how he had received a religious 'call' to become a Methodist minister when passing by a Toronto church, entering, and listening to an inspiring revival sermon by an evangelical preacher: ("As I listened, something happened to me. I guess you'd have to say I got the call....It was just as clear as if the Lord was there and placed his hand on my shoulder. At the first invitation, I found myself at the rail....I've decided to become a minister...I'm not going to be a doctor...I think I'll find everything I would have found in medicine and more")
  • Spence's faithful bride-to-be Hope Morris (Martha Scott), contrary to her upper class parents' wishes, promised to remain with him, even though he was making a life-changing decision: "Then if it's what you want, I think it's what I want for you"; he would leave Canada, where she followed him to his first appointment as an ordained minister at a struggling pastorate in a small town in rural Iowa
  • once they arrived in the Iowa town of Laketon by train, they were greeted and brought to a humble, dilapidated parsonage home for the new pastor, where he carried her over the threshold - the new bride's reaction was one of dismay, as Will tried to reassure her: "Aw, don't worry Hope. When we get your wedding presents placed around, it won't look that bad"; however, later, she tearfully told her husband: "I won't be able to use my wedding presents or anything because, 'cause they'll think I'm stuck-up"; she was told that she couldn't take down the ferocious boar's head hanging on the wall; her expectations were let down and she complained: "I used to plan what our first home would be like"; he cheered her up, but hinted that she shouldn't dress in her finest clothes: "It won't do for you to outshine the ladies in the congregation. We're just the pastor and his wife, we're not their bettors. We are the people's servants"
Arrival in Iowa Town by Train
Hope's Dismay at Humble Parsonage Dwelling
"They'll think I'm stuck-up"
  • with the poignant scene in which devoted Methodist minister Rev. Spence told his oldest son Hartzell (Frankie Thomas as boy) that he would view his first movie with him (a 1917 William S. Hart western, "The Silent Man"), and specifically point out how it was sinful and prohibited: ("Your incorrect thinking must be my fault, so it's up to me to correct it. You know what I'm going to do? I'm going to take you next Saturday, and point out in the film itself why it's not good for you"; however, after watching with his son at his side, he expressed surprise at the supposedly scandalous western's non-objectionable content, and cheered on the good guys vs. the bad guys by film's end: ("That picture wasn't bad. In fact, it had a good moral...Yes, sir, it was good. It was downright good! In fact, you know what I'm going to do? I'm going to preach a sermon about it. He who speaks to only one generation is dead")
Viewing of Western Movie with Young Son Hartzell
  • the scene of Reverend Spence interrupted during his Sunday sermon to rush to his parsonage home to find it burning to the ground - he quipped: "Look at that house burn, as heartily as any sinner in hell" - it occurred at the same time that he received news of another transfer, and Hope complained about their frequent upheavals: "You don't know how it hurts me to bring up my children the way we've had to. Always on the move, never really being able to settle down anywhere. And they're normal children, Will. They're entitled to a respectable, permanent home, even if they are the minister's family" - they had been reassigned to Sioux City, Iowa to a detachment of military soldiers, to serve as chaplain during WWI - and Hope was upset: "Now I'll have to bring my children up in a pup tent!"
  • the next church after the Armistice, was located in Denver, Colorado (where they lived in another dingy and leaky parsonage) - Rev. Spence commended his long-suffering, virtuous wife as a parson's wife, and showed his appreciation over the years: "I'm seeing you for the first time...I haven't been able to see the forest for the trees....I'm seeing you as you are, Hope. The wife of a parson. I'm remembering the trials you had to put up with. The series of parsonages you've had to live in to bring up your children. Each home dingier than the other. I remember your dream of having a nice home...You worked in the church, Sunday School, Missionary Societies, the Sew & Sew Club, the Committee for the Alleviation of the Plight of the Poor. A full time job in itself. Instead, you've managed to find time to manage a house, cook and mend and scrub for a family, rear children, comfort a husband, and you've borne all this with the serenity of a Madonna"; he promised her he would build a new church - and parsonage
  • the memorable sequences of Rev. Spence's conflict with his gossipy and snobby members of his Denver church, including Mrs. Lydia Sandow (Beulah Bondi), who departed over a petty disagreement to the Baptist Church; one of his controversial decisions was to replace an aging, off-key church chorus with a young, fresh-faced children's choir for the summer, thereby offending the music director Mrs. Thurston (Laura Hope Crews) and her banker husband Preston Thurston (Gene Lockhart)
  • the alleged scandal when spiteful parishioners spread false and vile hearsay rumors that Will's grown-up son Hartzell (Peter Caldwell) had allegedly impregnated a classmate named Elsie Mayfield whose family moved to San Francisco (Hartzell was unjustly expelled from school and blamed for the pregnancy); Hartzell firmly claimed he was "not guilty" - and Will soon proved, with a trip to California, that the girl was not pregnant
  • Rev. Spence's successful conflict with his wealthy parishioners who were forced to backtrack on the false accusations (he told Mrs. Thurston and Lulu Digby (Mary Field): "Thank god I'm a Christian or I'd kill you...You cooked up a fine scheme to get me out of town, didn't you? But you overlooked one thing, Mrs. Thurston. A preacher stops being a preacher and starts being a father when his son is attacked...Don't add another falsehood to your sins. I know the whole story...You crucified a guiltless boy. You got together with your whole clan and hatched the scheme, didn't you? Didn't you?! You don't deserve to live. The only reason you don't die is because the good Lord wouldn't know what to do with you"); he threatened to shame the gossipers publically from the pulpit; and now that he had the upper hand, he decided to compel them to contribute to the church building fund and to finance the refurbishment of the aging church (with a new stained glass window, expensive organ, and carillon bells) - and supplemented their support with funds from a repentant, returning Mrs. Sandow who renewed her membership
Denouncing and Shaming Mrs. Thurston and Mrs. Digby:
"You crucified a guiltless boy"
  • the concluding scene of Rev. Spence committed and determined to move once again and leave his finished parsonage and dream church, Elmwood Methodist, to help another struggling church in Iowa ("When a man stands still, he stagnates. I won't grow moss on my back"); Hope was hesitant about moving once again, but then told her husband: "There's no sense in arguing. We'll go. I'll go with you. Will, I'll be glad to go. Entreat me not to leave thee, but return from following after thee. For whither thou goest, I will go"
  • in the stirring, uplifting and dramatic ending accompanied by the congregation's singing of the popular church hymn "The Church's One Foundation", Rev. Spence - on a weekday morning - viewed the entire congregation from an upper window, at the church's front courtyard spontaneously assembling, surging forward, and joining together to sing as he played the hymn on the church's new carillon above them
Emotional Ending Scene: "The Church's One Foundation"
Played on Carillon

Medical Student William Spence (Fredric March) Announcing "Call" to Ministry

With Bride-to-Be Hope (Martha Scott)

Burning Parsonage in Iowa

Commending Hope for Her Long-Suffering: "You've borne all this with the serenity of a Madonna"

Conflict with Mrs. Sandow (Beulah Bondi)

The Aging, Off-Key Adult Choir

The Summer Replacement Children's Choir

Upset Music Director Mrs. Thurston (Laura Hope Crews) and Her Husband

Son Hartzell: "I've been expelled"

The Church Building Committee

Hope to Will About Another Move: "We'll go. I'll go with you"

One Million B.C. (1940)

In director Hal Roach's (of Hal Roach Studios) sci-fi adventure fantasy, with only grunting and mono-syllabic dialogue, and some scenes considered controversial by anti-animal abuse advocates:

  • the framing narrative, told by a paleontologist/Narrator (Conrad Nagel) in a cave, who described or interpreted a story (a saga of tribal, prehistoric people) to mountain climbers and their guide (Robert Kent), from his readings of primitive cave/rock paintings hidden for many centuries, while they waited for a storm to pass: ("These strange figures and forms were carved here many years ago - before any record of our present civilization. They speak the message of an intelligent man...Intelligence, my friend, is inherent. Education and culture are acquired. Civilization, of course, has brought complications. But here are the same thoughts, the same emotions, the same struggles with the problems of life and death that we have today experienced")
  • the story began with the narrator's words: "The story concerns a young hunter of one tribe and the young girl of another" - he pointed to two of the climbers (played also by Carole Landis and Victor Mature, actors in the story) - he then continued: "The saga concerns two tribes. To avoid confusion, suppose we say the boy belonged to the Rock People, and the girl the Shell People. Our story opens with the Rock Tribe and a young hunter we'll call Tumak. His was a cruel tribe. Pity and compassion played little part in the existence of those people, who ate only what they could kill; they depended solely on their ability to kill for sustenance. They despised weakness, worshipped strength. They ruled by the power of might...Animals were abundant; none of them had learned to fear man, which made the hunter's life most hazardous....Here life lived hand in hand with death. And compensation came only to the strong. They hunted as primitively as they lived, knowing no weapons except a crude staff and responding only to brute strength"
Paleontologist/Narrator (Conrad Nagel)
"Young girl"/Climber (Carole Landis)
Young hunter"/Climber (Victor Mature)
  • in the opening boar-hunting scene, hunkish Tumak (Victor Mature), a member of the savage, meat-eating and primitive Rock People tribe living among rock cliffs (the son of the brutish tribal chieftain Akhoba (Lon Chaney, Jr.) who was "the mightiest hunter of them all") had killed a wild boar during his first kill; however, his father contended with him over meat rights and ownership; for defying his father when Tumak wished to claim the boar as his own, he struck his father with his staff, they fought for seniority, and Tumak was pushed over a cliff ledge outside the cave entrance
  • banished and outcast from his tribe, Tumak was then chased by a large mastodon (disguised elephant) up a tree trunk, butted off the tree into a body of water below, and he floated unconscious to the encampment of the pacifist, vegetarian, spear-fishing, well-mannered Shell People tribe living in a lush valley, where he was rescued by pretty blonde Loana (Carole Landis); they taught each other their names through sign language and grunting; Tumak was skeptical and fearful of the new tribe, and piggishly ate the food or stashed food offered to him; Loana attempted to teach Tumak to not gobble his food, to not steal other's food, and to share
Teaching Tumak Table Manners and Sharing
  • the scene of Tumak's saving of a young child in a tree from a rampaging dinosaur (an Allosaurus), by spearing it to death
  • the development of a love triangle between Loana, Tumak, and another male Shell Tribe member - a rivalry that eventually forced Tumak to be ejected or banished (with Loana) from the tribe when he stole the man's spear and the two fought over it
  • the special effects and trick enlargement photography (and the use of dressed-up lizards and magnification) to depict dinosaurs and other wild creatures, including a gigantic bear-like mongoose battling a snake wrapped in a tree, an armadillo chasing them up a tree, and the climactic scene of a giant Tegudon lizard (a large Gila Monster) losing a bloody fight against a Gatorsaurus (an alligator with a fin affixed to its back)
  • the scene of Tumak fighting off one of the Rock People who threatened Loana with harm
Tumak Defending Loana From Harm by Rock Tribe member
Loana Teaching Peace-Keeping
Loana Cutting BBQ'd Meat into Slabs to Serve on Plates
  • the scene of Loana setting an example by teaching peace-keeping behavior to the primitive Rock People (and the women), and proper table-eating manners: women went first, and meat had to be carved into slices, not grabbed in pieces and torn off the carcass
  • the climactic volcanic eruption that occurred as a group of the tribes-people (including Loana) were cornered and trapped in a cave; the fast-moving lava flow covered some of the people and other giant lizards, and many were swallowed up by fissures; the two tribes under Tumak's leadership were reunited as they worked together to combat a giant, menacing iguana guarding the cave's exit; when spearing the creature didn't work, they caused a rock avalanche that buried it under immense boulders to free them
  • the storybook ending with Loana, Tumak, and a young child (not their own) walking off into the sunset
Volcanic Eruption
Giant Iguana Menacing Tribespeople in Cave
Storybook Ending

Akhoba (Lon Chaney, Jr.) with Son Tumak During Boar-Hunting Expedition

Fight Between Father and Son Before Tumak's Banishment

Tumak Discovered and Rescued by Loana of the Shell People

Tumak's Shaking of Tree to Provide Fruit for Shell People

Tumak Saving a Child in Tree From Allosaurus (Dinosaur)

Love Triangle Rivalry

Tumak Ejected From Shell People (with Loana)

Bear-Mongoose vs. Snake

Giant Armadillo

Battle of Gatorsaurus and Giant Gila Monster

One Million Years B.C. (1966, UK)

In this camp classic, fantasy prehistoric adventure film from director Don Chaffey, a remake of One Million B.C. (1940) by Hal Roach (above), with minimal plot and dialogue (but lots of grunts), about love interests from rival tribes during fictional caveman times (an anachronism since dinosaur creatures and humans never co-existed) - with amazing stop-motion animation by Ray Harryhausen:

  • the opening post-title credits narrated prologue: "This is a story of long, long ago, when the world was just beginning... A young world, a world early in the morning of time. A hard, unfriendly world. Creatures who sit and wait. Creatures who must kill to live. And man, superior to the creatures only in his cunning. There are not many men yet. Just a few tribes scattered across the wilderness. Never venturing far, unaware that other tribes exist even. Too busy with their own lives to be curious. Too frightened of the unknown to wander. Their laws are simple: the strong take everything. This is Akhoba, leader of the Rock Tribe, and these are his sons, Sakana and Tumak. There is no love lost between them, and that is our story "
  • the main character: Tumak (John Richardson), son of Akhoba (Robert Brown), from a primitive prehistoric tribe - the dark and savage Rock People; after a wild wart-hog hunt, when Tumak demanded ownership rights to the meat, he fought his father, fell from the cave's cliff, and was banished
  • threats to Tumak's life as he fled through a harsh arid desert included a giant iguana, a cave-dwelling ape-man, a Brontosaurus, and a giant spider (or tarantula), before he fell unconscious on a sloping beach by the water
Giant Iguana
Cave-Dwelling Ape-Man
(or Apatosaurus)
Large Spider
  • the views of half-clad cave women from the fair-haired, pacifist Shell People, wearing tight-fitting animal skins while spear-fishing [Note: the film was promoted with the slogan: "See Raquel Welch In Mankind's First Bikini!" - and it was the basis for a best-selling pin-up poster]; the tribeswomen were cavorting along the shore when one of them, the statuesque Loana (Rachel Welch) found Tumak collapsed and went up to him to revive him
The Shell People - Spear-Fishing
Loana (Raquel Welch)
  • to prevent an attack of an Archelon (giant turtle), Loana signaled with a conch shell and other male Shell People came to the rescue, and diverted the creature into the water
  • the village of the Shell Tribe, with an advanced culture exhibiting colorful cave paintings, some communication skills, cooperative living, shell necklaces and stitched clothing, weapon production, etc., contrasted with the barbaric Tumak who warily gobbled his food
  • the wild, provocative lascivious dance performed by Tumak's former lover Nupondi (Martine Beswick) back among the Rock Tribe, to appease the newly-established leader, Tumak's own brother Sakana (Percy Herbert); her frenzied dance was interrupted by lightning strikes and the sudden and unexpected appearance of a disfigured and injured Akhoba, who had been pushed off a cliff earlier by Sakana during a hunting trip, to assume power [Note: In some versions of the film, the dance was deleted]
Nupondi's Wild Dance
  • after a dispute over a spear with Ahot (Jean Wladon), Tumak was cast out of the Shell tribe, with Loana following after him; Ahot gave Tumak the spear as a peace gesture as he departed
  • the threats to Loana and Tumak from various creatures during their trek, including ape-men in a cave, and when they were caught in an epic battle between a Ceratosaurus and Triceratops
  • their return to the Rock People tribe, when in the cave, Tumak discovered his incapacitated, seriously-ailing father Akhoba, and still expressed feelings of revenge for nearly being killed
  • the 'cat fight' between Loana and wild Nupondi, a competing love interest known as "The Wild One" - although she defeated Nupondi, Loana declined to smash her head with a rock
'Cat Fight' - Loana vs. Nupondi
  • the swimming scene when Loana was attacked by a flying Pteranodon (similar to a pterodactyl) that carried her off to its nest before being attacked by a similar long-tailed Pterosaur; when Tumak attempted rescue, he thought Loana had been eaten when she had actually been dropped into the water and then stumbled back to her Shell People; she would soon be reunited with Tumak
Tumak and Loana Battling Sakana
  • the final conflict between Sakana (and his followers) vs. Loana, Ahot, and Tumak, interrupted by an erupting volcano, opening fissures in the earth, tumbling rocks and earthquakes, and gushing lava flows; everything concluded with Tumak's murder of Sakana, and Akhoba's and Nupondi's deaths in a rock-fall and crevasse - the film finished with the remaining members of the two tribes reunited and searching for a new home while walking through the desolate and steamy landscape
  • throughout the film, Ray Harryhausen's remarkable stop-motion animation (termed "Dynamation") and some enlargements of live creatures to realistically portray giant monsters, including an Iguana (giant lizard), a Brontosaurus (or Apatosaurus), a giant Spider (or tarantula), a menacing Turtle (Archelon), an Allosaurus attacking a tree with a child, a fierce battle between a Ceratosaurus (a medium sized predatory horned lizard) and a Triceratops, and a flying Pteranodon
Harryhausen's Various Threatening Prehistoric Creatures
Archelon - a Giant Sea Turtle
Ceratosaurus vs Triceratops

Wild Warthog Hunt Among Rock People

Rock People Leader Akhoba (Robert Brown)

Tumak (John Richardson) - Banished From Rock Tribe

The Shell People Noticing Tumak Lying on the Beach - Loana Revived Him

Attack of an Archelon

Barbaric Tumak Among Civilized Shell People

Allosaurus Attacking Shell Child - Saved by Tumak

Tumak Cast Out of Shell Tribe (with Loana) - Ahot's Spear Offered to Tumak

Struggling to Stay Alive

Loana Swimming - Carried Away to Nest - Attacked by a Second Creature, and Dropped Into Water

Exploding Volcano, Earthquakes, Crumbling Rocks, Fiery Fissures

One Way Passage (1932)

In director Tay Garnett's and Warner Bros' pre-Code romantic, tragic, and tearjerking melodramatic love story, with a unique, ritualistic symbol of a couple's emotional commitment and connectivity (crossed, broken cocktail glass stems) - remade as 'Til We Meet Again (1940) starring Merle Oberon and George Brent:

  • the opening sequence in a Hong Kong bar, where male and female strangers met --- glamorous socialite heiress Joan Ames (Kay Francis) and debonair gentleman fugitive-crook Dan Hardesty (William Powell); he was ordering a "Paradise" cocktail from the bartender when she collided into him - jostling him enough so that he spilled the contents of his freshly-made glass; she prophetically apologized: "I'm so sorry...Such a beautiful drink, too"; he replied: "Yes, 'Paradise' cocktail. Seem to be a few drops left", after which she noted breathlessly: "Always the most precious, the last few drops. That's luck"
At a Bar: The Opportune Meeting of Joan and Dan
Symbol of Two Crossed Broken Cocktail Glasses
  • during their parting after experiencing 'love at first sight,' he deliberately smashed his cocktail glass on the bar counter, and she followed suit, then crossed the glass stems -- to honor their brief meeting and to signify luck - and her hope that they would meet again; they shook hands, said farewell, and Joan added: "Let's trust luck will come again"
  • their second meeting on a month-long trans-Pacific cruise ship, the SS Maloa, bound for San Francisco and the shipboard burgeoning of their fateful love affair during the voyage, amidst more drinking of cocktails and shattered glasses; however, mutual secrets were unrevealed to each other: she suffered from a terminal, incurable heart ailment (she was ordered by her doctor: "No more parties, no more cigarettes, no more dancing and NO MORE COCKTAILS!"), and he was a convicted murder who had been apprehended since their previous meeting, and was being taken back to San Quentin Prison (for execution by hanging) by SF police Sgt. Steve Burke (Warren Hymer)
  • the sequence of the brief stop-over in Honolulu, where the two shared an idyllic day together and a cigarette break - their two discarded butts were symbolically crossed in the sand; and Dan made a sacrifice to help Joan when she fainted and collapsed, and he brought her back onboard for medical assistance, rather than taking advantage of his last chance to escape and get away from authorities on a cargo freighter
  • as the ship approached the coast of California and passed by Alcatraz Island, Dan envisioned his own fate in a dissolve - his execution: hanging on a gallows
  • the sequence of the star-crossed, doomed lovers' final toast aboard the ship when they made a mutual vow to meet again in a month at a Mexican nightclub bar (in the state of Aguacaliente) on New Year's Eve; she told him: "It's fun to plan ahead. Let's see. I'd like to be in Caliente for New Year's"; he pondered: "It's just a month, isn't it? Well, then, here's to Agua Caliente, New Year's Eve"; she told him: "Nothing can keep me away" - and he agreed: "Nor me"; they drank, smashed their drinking glasses against the side of the bar, and laid the two broken stems across each other
  • by the time the ship docked in San Francisco, both had learned privately of each other's secrets - that he was a condemned man (wearing handcuffs), and she was soon to die; when the two were about to disembark from the ship, she gave him one final tearful smile; he prompted her to say "Auf wiedersehen - until New Year's Eve" - and they kissed
  • moments later after waving goodbye, she fatally collapsed; as she succumbed, the scene dissolved into a New Years' Eve balloon at midnight, labeled ("Agua Caliente Happy New Year")
  • the great ending -- the mystical or metaphysical, spiritual re-enactment of the broken and crossed cocktail glass stems at the Mexican Caliente bar, when neither Dan nor Joan were there; one of two bartenders was shocked when he heard breaking glass (their invisible toast?) and told his partner: "Hey - look out for them glasses with your elbows"; the second bartender claimed: "I never touched any glasses" - the film's final line of dialogue - and then the broken glass dissolved away and vanished before their very eyes

Trans-Pacific Cruise From Hong Kong to San Francisco

Burgeoning Love Affair

Their Two Crossed Cigarette Butts in Hawaiian Sand

Dan's Envisioning of Execution: Hanging

Last Toast with Broken Glasses

Final Parting Kiss at Dock in San Francisco

New Years' Eve - One Month Later

Mystical Ending: At a Mexican Bar in Caliente

- Only Angels Have Wings (1939)

In director Howard Hawks' quintessential and very entertaining aviation-adventure film and character study, set in Barranca (fictional town in South America), that told about a group of mail pilots who flew treacherous routes from Ecuador to Peru over mountain passes in the fogged-in Andes Mountains:

  • the opening sequence of the entrance of perky, unemployed, smart-talking Brooklynite blonde Bonnie Lee (Jean Arthur), who disembarked off a 'banana boat' at the port of Barranca; she became stranded at a broken down, air-freight aviation headquarters (in a saloon owned by a Dutchman affectionately named "Dutchy" Van Ruyter (Sig Rumann))
  • Bonnie Lee's first acquaintance with the stoic, steely-eyed, cool, all-business, rude, misogynistic and cynical Latin American freight pilots' boss Geoff Carter (Cary Grant), nicknamed "Papa"
Main Characters
Bonnie Lee
(Jean Arthur)
Geoff Carter
(Cary Grant)
'Kid' Dabb
(Thomas Mitchell)
  • the affectionate relationship between Geoff and his "best friend" - older, near-blind daredevil pilot 'Kid' Dabb (Thomas Mitchell) with a 22-year flying career, who draped his jacket over Geoff's shoulders and lit his cigarettes for him
  • the nerve-wracking and tense scene of an attempted foggy landing (with three approaches) by dare-devil flier Joe Souther (Noah Berry, Jr.) - a dangerous mission for the trans-Andes Barranca Airways in a rickety-old single-engine plane that ended with a fatal crash at the airstrip
  • Geoff spitefully put the blame on Joe's death on Bonnie: "Sure it was your fault. You were gonna have dinner with him, the Dutchman hired him, I sent him up on schedule, the fog came in, a tree got in the way. All your fault. Forget it, unless you want the honor" - she responded negatively to his insensitivity: "Haven't you any feelings? Don't you realize he's dead?"; Geoff coldly told her to be less emotional: "And all the weeping and wailing in the world won't make him any deader 20 years from now. If you feel like bawling, how do you think we feel?"
  • at the start of an on/off again romance, bachelor Geoff's revelation to American showgirl and cabaret singer Bonnie Lee that his hard nature was due to a failed romance in his past; he told her that his steadfast, stubborn nature was to avoid any entanglements, attachments, supplies, and binding emotional relationships with women because they always wanted to make plans for the future; his closest female in a relationship left him due to his dangerous occupation: ("Told me if I didn't quit flying, it was all off...I'm still flying")
Geoff's Past Relationship Described to Bonnie Lee:
"Told me if I didn't quit flying, it was all off"
  • the arrival of ostracized and shunned pilot Bat MacPherson/alias Kilgallen (Richard Barthelmess) to take Joe's place, accompanied by his radiant and glamorous wife Judy (Rita Hayworth in her first appearance in a major film), Geoff's embittered ex-wife; due to Bat's troubled past, he was shunned by the other fliers as disgraced and unworthy; allegedly, his cowardice once caused the death of Kid's younger brother - "the first pilot who ever bailed out of his plane and let his mechanic crash"
  • the attempted seduction, in private, of Geoff by his ex-wife Judy (who had kept her past life's secrets from her new husband) - she happily greeted Geoff: "I could hardly believe my eyes"; after he kissed her on the lips, she wondered: "I'm not so sure we should've done that"; later in the film when she was drunk, Geoff chastised her for advancing on him and for betraying her husband: "You're no good, Judy, and you never were...I used to wonder if I was right when we broke up. Well, I don't have to worry about it anymore"
The Seductive Wife Judy MacPherson
  • the scene of Bonnie's encounter with Geoff in his quarters on the upstairs balcony, while she was sticking around for another week to get better acquainted with him; she invited herself to take a bath and appeared in a bathrobe; after he scooped her into his arms and called her a "queer duck," they kissed each other; then, Bonnie confessed her love toward him and that she was no longer demanding and vulnerable about his risky profession; she affirmed that she was accepting of uncertainty, just like his close friendship with 'Kid' Dabb: "Geoff, you don't have to be afraid of me anymore. I'm not trying to tie you down. I don't want to plan. I don't want to look ahead. I don't want you to change anything. I love you, Geoff. There's nothing I can do about it. I just love you, that's all. I feel the same way about you that Kid does. Anything you do is all right with me....Yes, he doesn't ask you for anything, or get in your way or bother you, does he?" - surprisingly, he admitted differently: "Drives me nuts" - although he still kissed her
  • the scene of a redeemed MacPherson's volunteering for a treacherous flight (with co-navigator 'Kid' Dabb) carrying nitroglycerin to prove his bravery; the risky, instruments-only flight in horrific flying conditions led to a condor crashing through the cockpit window and seriously wounding Kid with flying debris, causing a broken neck; it destroyed the aircraft's windshield and two motors were set ablaze; instead of parachuting and bailing out, MacPherson remained with the disabled craft and co-pilot - responding "Not this time"
Fatal Flight for 'Kid' Dabb
Co-Navigator 'Kid' Dabb with Bat
Condor Strike - Broken Windshield
Bat Flying and Landing Flaming Plane
  • the affecting death scene of 'Kid' Dabb after a final crucial flight that ended with a disastrous crash-landing on the airstrip; before dying, he bid farewell to Geoff
  • in the final moments of the film, as Geoff (although injured) was off to fly another mission, Bonnie told him that all she had to do to remain with him was to be asked: "I'm hard to get, Geoff. All you have to do is ask me"; after he departed, she discovered that he had actually asked her to stay (by flipping a two-headed coin) - to be Kid's female counterpart in his life; she buoyantly exclaimed: "Hey! Hey, Geoff!" and then watched his plane lift off into the rainy sky

Crash-Landing Death of Joe Souther

Sparring Between Geoff and Bonnie Lee

New Disgraced Flier: Bat MacPherson/Killgalen (Richard Barthelmess)

Judy MacPherson (Rita Hayworth), Geoff's Ex-Wife

Bonnie Lee In a Bathrobe in Geoff's Quarters

Geoff: "You're a queer duck, Bonnie"

Bonnie: "Geoff, you don't have to be afraid of me anymore. I'm not trying to tie you down..."

A Passionate Kiss

Cargo: Nitroglycerin

Death Scene of 'Kid' Dabb

Bonnie to Geoff: "I'm hard to get, Geoff. All you have to do is ask me"

Ending: "Hey, hey, Geoff"

Only Yesterday (1933)

In director John M. Stahl's pre-Code romantic, soapish tearjerker melodrama - a saga about an unwed mother - most clearly an adaptation of Stefan Zwieg's 1922 novella Letter from an Unknown Woman - remade with the title Letter From an Unknown Woman (1948) a decade and a half later by Universal Pictures and director Max Ophuls:

  • the opening montage of the disastrous effects of the Great Depression as a result of the October 29, 1929 Stock Market Crash, including a dejected-looking man having a shoeshine - and then shooting himself in the head (off-screen) inside a "Gentlemen"'s room (a gunshot was heard from outside the door)
  • the scene of financially ruined, unhappily-married Wall Street banker James "Jim" Stanton Emerson (John Boles) - to unfaithful socialite Phyllis Emerson (Benita Hume) - was about to suicidally shoot himself at his office desk in his locked Park Avenue study; he opened a deathbed letter from an unknown, dying woman from his past (that he couldn't remember!) whose paths had crossed over the years without her revealing her identity; it began: "My dear, Does the name Mary Lane mean anything to you? And have you forgotten completely a night in Virginia during the war? To me, it seems only yesterday..."
  • their story was told in flashback, beginning with twelve years earlier in 1917 - a one-night stand in a moonlit garden setting during an officers' ball-dance in Virginia between Lt. Emerson and 19 year-old southern belle Mary Lane (Margaret Sullavan in her film debut); he told her before kissing her: "I think I'm going to be in love with you in just a minute now" - and after they disappeared into the greenery, they later returned with Mary's dress sash untied (after sex) and found to their surprise that the dance had ended long ago -- it was on the eve of his departure to serve in the Great War in 1917; in an embrace, she reminded him as she gave him a sad goodbye: "Good night, my love. And when we walk down that lane, I want you to remember that I've loved you for two years, not just tonight"
Jim's One-Night Stand with Mary in Moonlit Garden in 1917
  • the depiction of Mary's struggling ordeal as an unwed single mother and raising her son Jimmy, Jr. (Jimmy Butler) on her own - born on Armistice Day (November 11, 1918), while she roomed in NYC with her Aunt Julia Warren (Billie Burke), manager of a beauty shop
  • the scene of Emerson's return from the war in New York during a welcome ticker-tape parade down Fifth Avenue, when he didn't recognize Mary after she greeted him: "Hello, Jim...It's so wonderful to see you again"; instead - without realizing her identity, he turned and embraced female acquaintance Helen (Mabel Marden) and then his socialite fiancee Phyllis - and there was a long close-up and shock of disappointment and hurt that registered on Mary's face, who later recalled to her Aunt Julia Warren: "Yes, I saw him...and he didn't know me...he spoke to me, he shook hands with me, and he didn't know who I was"; she was stunned that after their one momentous night of love-making ("One evening! It was a lifetime for me"), he couldn't remember her
  • the additional seduction scene about a decade later when Mary (who was being pursued by suitor-fiancee Dave Reynolds (George Meeker)) happened to spot Jim during a New Year's Eve party at the St. Regis Hotel; he immediately invited her to leave the party: "We can't talk here, can we go?", and she agreed to accompany him to his "bachelor" apartment; on the way, he asked: "Haven't we met before?" and obviously didn't remember her --- but tried to compliment her: ("When I saw you tonight across the room, for just a moment, I did think I knew you...That isn't possible isn't it?...But I couldn't have forgotten anyone so lovely as you are!...I don't have to tell you how very attractive you are!...You're pretty, lovely"); she called him by his name, claiming that he was a well-known public figure
  • at midnight, they had a drink to toast the New Year (Mary: "Here's luck!"), but she remained evasive and "mysterious," and didn't reveal her own past relationship or identity with him: ("Does that make it better, knowing?... the ideal way -- no questions asked, no questions answered"); when he told her: "You are marvelous....I like you enormously. Does it worry you being here?...You're not afraid here?...You like me? (they kissed) You know, this is the most delightful New Years I've ever spent...But I want more than just this moment. I'm already thinking when I can see you again. Would, uh, tomorrow be too soon?"; she challenged him about his claim of their having a "happy ending": "I'll bet that in six months, in one month, you'll have forgotten we ever met"; he disagreed: "Don't be silly," then kissed her again before the scene faded to black (they made love - off-screen)
  • six hours later, the morning dawned and she still hadn't told him her name or romantic availability; when he requested seeing her again, she answered: "Not ever. Let's leave it at this. Just a moment together and gone. I've had two moments like this in my life...Oh no, this must be the end. Otherwise, there would be complications. It's so much better to leave it at this - perfect. Goodbye, and thank you for a Happy New Year"
  • the scene of Mary's lingering death from a chronic heart ailment after she penned the final words of the letter to Jim of her life's story on October 29, 1929 (to be mailed by Julia following her death), and was calling out to her son Jimmy, Jr: ("Jimmy! Hurry darling! Julia, why doesn't he come?...I mustn't go yet. I must wait for him...Doctor, Doctor, I'm getting weaker, I don't want him to see me like this. Can't you do something?")
  • her final moments with 11 year-old Jimmy dressed in his military uniform: ("I've got to go away for quite a long time, and I want you to promise to be as good a boy when you're big as you have been to mother when you were little. Darling, don't cry"), before she died (off-screen)
Mary Writing The Final Words of Letter to Jim
Lingering Death: Calling Out to Son
With Son Before Death
  • the scene of Jim reading the end of the letter that revealed he had fathered a son by her: ("...and now goodnight, my dear. I should have never told you all this except for your son -- go and see him -- I know you will love him. God bless and keep you both. Yours, Mary Lane"); with a solid reason to live, he replaced his gun in a drawer, and had a confessional talk with his wife Phyllis about how their marriage was essentially over: ("I'm not walking out on anything because there's nothing here to walk out on. There's nothing between us. We've both known that for a long time. Today when I saw the world go to pieces, I realized how empty my life had been, and then I found this letter here. A letter out of the past. It has given me something to live for. And I'd hope, Phyllis, that you might have found someone who would make you happy, too. But that's all in the future to be talked over. The great thing is, Phyllis, that there is a future")
  • the final sequence of Jim arriving at Mary's apartment, his first glance at Jimmy, Jr. ("I've come to see your mother") - and discovering that she had already passed away: (Jimmy: "My mother died"); he comforted the weeping boy in his arms: ("Next to you, I'm the sorriest person in the world"); after becoming better acquainted and learning about the boy's medals on his uniform, he then confessed that he was Jimmy's father - and the boy's tremulous response: "My father?" - as the film abruptly ended

Stock Market Crash

Suicidal Wall Street Banker "Jim" Emerson Reading Deathbed Letter From Mary Lane

Welcome Home Parade: Hurt on Mary's Face For Not Being Recognized

Seduction Scene About a Decade Later:

Mary's New Year's Toast: "Here's luck"

Kiss Before Fade-Out to Black

Mary: "Leave it at this - perfect"

Jim's Confessional Talk with Wife Phyllis

Jim with Son Jimmy, Jr. ("My father?")

Open Water (2003)

In writer/director Chris Kentis' effectively suspenseful, low-budget, indie film shark tale:

  • the relationship between a vacationing and stressed-out married couple, Susan Watkins (Blanchard Ryan) and Daniel Kintner (Daniel Travis), before signing up for an ill-fated diving expedition in the Caribbean - on their first night on vacation, she wasn't in the mood for sex due to stress: "A little stressed still, l guess...Yeah, work, life"; when he asked: "Maybe l can get you to think of something else," she replied: "l might not be in the mood...Yeah, l'm not in the mood...Sorry. l'm just tired"; after he agreed that they had had a long day, she suggested that they just talk, but then he responded that they probably should get to sleep
  • after a fun and carefree dive near their Reef Explorer tour boat at a dive site known as Magic Kingdom, they realized - in an incredibly realistic situation that they had been left behind ("Daniel, where's the boat?"); when an improper head count had been taken before leaving, the couple found themselves (after surfacing) stranded in open Bahamas water about 15 miles off-shore: (Susan: "You've gotta be kidding me") - they vainly attempted to wave at the boat far in the distance
  • as the sun began to set about two hours later, they saw a quick glimpse of a fin slice through the water ("Daniel, was that a shark?") - Susan's first view of an entire shark was terrifying ("Oh, Jesus Christ. l thought he said they never come that close"); Daniel tried to be reassuring ("It's gone. lt was probably just curious. A couple of bodies floatin' out in the middle of nowhere, l'm sure that's not something he sees every day")
  • problems multiplied - Susan was stung by jellyfish, and then Daniel was also bitten on his legs and hand ("the f--ker really stung me. lt hurts"); they realized their predicament: (Susan: "l've just never heard of anything so f--ked up in my entire life. Who's ever heard of two people getting left in the middle of the ocean before?" Daniel: "I have actually...Dive magazines. It's a lot more common than you think"); they soon became nauseous in the waves and dehydrated, and after dozing on the surface, they drifted apart
  • after seven hours in the water, Susan felt pain from a cut on the back of her left leg (through her wetsuit), causing blood to seep into the water and small "cleaner fish" to peck at the wound; although Daniel knew it was a shark bite, he jokingly told Susan: "lf it was a shark, your leg would be gone...At most, it was a teeny, little barracuda just checking to see if you tasted good"
  • and then, predatory sharks ("big ones") began to circle them for the majority of the rest of the film; in a great jump-scare, Daniel saw one up-close when he looked underwater; the climax came when Daniel was also seriously bitten (he exclaimed: "l'm bit. The f--ker bit me...God, it f--king hurts"), and Susan tied her weight belt around his leg as a tourniquet; but then during a night-time thunderstorm (with the screen totally dark except for a few flashes of lightning), Daniel bled to death after he recited the Lord's Prayer; Susan screamed: "You don't leave me out here by myself"; soon after, sharks attacked his corpse and ripped it apart in a feeding frenzy
Circling Shark
Inspecting Susan's Cut Leg Underwater
  • faced with the inevitable for herself, Susan removed her scuba gear and deliberately and calmly suicidally sank to drown herself before the sharks attacked her too
  • in the final ironic sequence during the scrolling of the closing credits, a curious fisherman cut open a dead shark's belly on a wooden table on the dock; when Daniel's yellow underwater diving camera was discovered, he commented innocently: "Check it out (laughter)...Man, they really do eat anything. l wonder if it works") - the film's final line of dialogue

The Night Before

Fun Dive

"Where's the boat?"

Fear of "Big Ones" in the Water - Jump-Scare

Blood in the Water After Daniel's Fatal Shark Bite

Susan's Deliberate Suicide

Open Your Eyes (1997, Sp.) (aka Abre Los Ojos)

In director Alejandro Amenabar's confusing and baffling film, a remake of Hitchcock's Vertigo (1958), and remade in Hollywood with Penelope Cruz (again) and Tom Cruise (real-life lovers at the time) as Vanilla Sky (2001), by director Cameron Crowe:

  • the main character: 25 year-old handsome, and attractive playboy César (Eduardo Noriega), who related his 'unreliable' story, in flashback; at first, he met and flirted with beautiful brunette Sofia Cueto (Penelope Cruz), the girlfriend of his good friend Pelayo (Fele Martínez); during a birthday party at his place, Cesar's jealous, obsessive, abandoned black-haired lover Nuria (Najwa Nimri) gate-crashed and came to his bedroom - hinting that she felt jilted because she hadn't been invited to his party, and that she knew of his flirtations with the brunette; she forced kisses on him, causing him to leave and attend to his guests
  • the next morning, Nuria picked Cesar up in her red sports-car; while driving, she downed a napkin full of pills, then said "happiness" was being with him, although he admitted his thoughts were elsewhere and he didn't want to have a heavy conversation with her; she said she felt used by him only for sex, and that he didn't really know her; Nuria asked him: "Tell me something. Do you believe in God?"; then, Nuria deliberately smashed her car into a guard rail, sending them down an embankment into a cement wall; she deliberately killed herself and injured him as her passenger - he had a fractured skull; after the accident, the suicidal Cesar had severe facial disfiguration, and was forced to wear a prosthetic mask; he suffered from mental trauma and delusions, and was looking for a way to resolve his life's predicament
  • the sight of Cesar seen lying on the street, holding a prosthetic face mask in his hand, and revealing his severe facial disfigurement; a female was whispering and prodding him to wake up with the words "Open Your Eyes"
Lying on Street - The Facially-Disfigured Cesar
Cesar With Sofia
Cesar Making Love With Sofia
  • the scenes of Cesar's unsettling disjunctions and dreamy wish fulfillments (mostly to get together with Sofia, or to have a new face); in one striking highly-sensual scene (in his 'dream' (?) life), he made love to a nude, brown-haired Sofia - she straddled him, then sat up and posed above Cesar
  • Cesar's continual sessions with his psychiatrist Antonio (Chete Lara) in a psychiatric penitentiary (prison cell) in Madrid, talking about his recurring dreams; he had also been charged with murder - in a deranged and insane state, he was accused of smothering Nuria/Sofia with a pillow while making love to her
  • through hypnosis with his psychiatrist, Cesar remembered that around the time of his disfigurement, he had been pressured to sign papers ("You won't regret it. Sign") for a contract with an American cryogenics company called Life Extension (or L.E.); in fact, it appeared that had contracted for L.E. to freeze his body (after he committed suicide in despair over the accident), and provide him with other after-life services; the cryonization company was paid to give him "immortality" after death ("You pay to live eternally") - in other words, a rebirth; he would be given a future fantasy virtual paradisical life of "artificial perceptions" (in Clause 14) or virtual reality dreams - based upon his past experiences; however, there were technological glitches in L.E.'s cryonics VR system, causing his nightmarish visions (there was a "splice of 150 years" inserted between Cesar's "real life" and "virtual life" - the splice was something that he shouldn't have noticed because he was "dead and frozen," but apparently Cesar did); his life was in fact a virtual reality dream (spliced into his real memories) of what he imagined he had experienced after the night of his birthday party and the devastating crash
  • the final scene was set on the top of the 50-story high-rise rooftop of the L.E. company; he was told by Serge Duvernois (Gérard Barray), now revealed as a representative of L.E. or Life Extension, that he had signed the papers with L.E. to put him into a dream of how he wanted life to be, but because of his traumatic recollections, he was living a "nightmare" life ("You invented your hell"); he believed that the nightmarish visions he was experiencing were solely created by L.E.
His Final Meeting With Sofia on The Rooftop
Suicidally Jumping From Roof to End
His Nightmarish Life and Trigger Rebirth
  • in the transcendental, stunning conclusion, Cesar believed that he could live a better life ("You just have to ask") in the future year of 2145, about 150 years into the future (150 years could also be a few hours, a day, a week - an indeterminate amount of time); Duvernois asked Cesar: "Do you have any wish before you die?" Cesar closed his eyes, and conjured up in his head his long-dead lover Sofia, breathtakingly beautiful in an almost transparent white dress, and restored his own face to normal; wordlessly, he embraced her; one last time before 'killing' his current 'virtual' life, he resolved to "open his eyes" to non-cryogenic healed life in the future - he elected to wake up and be resurrected, now that plastic surgery had advanced and might help him
  • in his final moments, Cesar gave Sofia a farewell kiss, and then jumped - hopefully to trigger his rebirth; an instant before he hit the ground, the film cut to black, and a strange woman's voice (a nurse?) in a soothing voice asked him to awaken: "Tranquilo. Tranquilo. Abre los ojos..." ("Relax. Relax. Open your eyes...").

(Eduardo Noriega)

Flirting with Sofia Cueto (Penelope Cruz)

Jilted Nuria
(Najwa Nimri)

Frozen Cyrogenically - Everything Was Only a Dream ?

Cesar's Black-Haired Lover Nuria (Najwa Nimri) - or was it Sofia?

Murder of Sofia/Nuria: Smothered by Cesar

Ordet (1955, Denm.) (aka The Word)

In Carl Theodor Dreyer's beautifully-photographed, fantasy supernatural drama about faith and religion - set in 1925 in the Danish countryside; the film told of the clash between orthodox religion and true faith:

  • the three Borgen sons of a pious, white-bearded, widower - the traditionalist Lutheran father Morten Borgen (Henrik Malberg):

    (1) Mikkel Borgen (Emil Hass Christensen) - the eldest, anti-religious, agnostic (married to religious, kind-hearted wife Inger (Birgitte Federspiel))
    (2) Johannes Borgen (Preben Lerdorff Rye) - a crazy and demented theology student who believed himself to be Jesus of Nazareth after reading Soren Kierkegaard
    (3) Anders Borgen (Cay Kristiansen) - the youngest son, disobedient because of his love for Anne (Gerda Nielsen), the daughter of strict, religious fundamentalist (or conservative) tailor Peter Petersen (Ejnar Federspiel) - their relationship was a Romeo and Juliet romance that led to warring between the Petersen and Borgen families
  • the illogical, miraculous religious sequence during the funeral service for Inger, who had died while delivering a stillborn baby
Funeral Service for Mikkel's Wife Inger
  • when Johannes arrived, he asked quizzically: "Not one of you has had the idea of asking God to give Inger back to you again?...All of you blaspheme God with your lukewarm faith. (To Mikkel) If you had prayed to God, He'd have listened to your prayers. (To all) Why is there not one among these believers who believe?"; Johannes' first inclination was to let her remain dead: "Inger, you must rot, because the times are rotten. Put the lid on"
  • but then, Johannes inquired about the faith of Inger's young daughter Maren (Ann Elisabeth Rud): "The child - the greatest in the kingdom of heaven...Do you believe I can do it?"; when she responded positively ("Yes, uncle"), he decided to act: ("Thy faith is great, thy will shall be done. Look now at your mother. When I say the name of Jesus, she will arise") - he then offered a transcendent prayer ("Hear me, thou who art dead....Is it crazy to wish to rescue life? Trust in God. Jesus Christ, if it is possible, then give her leave to come back to life, give me the Word, the word that can make the dead come to life. Inger, in the name of Jesus Christ, I bid thee, arise!"), and his words resurrected Inger from the dead - in her open coffin, she unclasped her joined hands, slowly opened her eyes, and kissed her husband Mikkel during an embrace; she was helped and lifted out of the open casket by her husband
  • in the conclusion, the miracle united the patriarchs of the two families: Morten Borgen and Peter Petersen, who spoke to each other - Peter: "Morten, it is the God of old, the God of Elijah, eternal and the same" - Morten: "Yes, eternal and the same"

Johannes Borgen with Inger's Young daughter Maren (Ann Elisabeth Rud)

The Miraculous Resurrection of Inger From Her Coffin

Conclusion: United Families (the Borgens and Petersens): "Yes, eternal and the same"

Ordinary People (1980)

In actor Robert Redford's directorial debut film - an intense psychological drama (an adaptation of the Judith Guest novel by Alvin Sargent) about a tragically torn-apart family living in Lake Forest, IL, often accentuated with the brilliant mood-setting use of Johann Pachelbel's mournful adagio Canon in D Major:

  • the moving scenes of suicidal, guilt-ridden 18 year-old high-school student Conrad "Con" Jarrett (Oscar-winning Timothy Hutton) with severe PTSD, admitting his feelings of fault about his older teenaged brother Buck's (Scott Doebler) accidental drowning (during a sailing trip revealed over the course of the film by flashbacks) in his late-night counseling sessions with his sometimes unorthodox psychiatrist Dr. Berger (Judd Hirsch)
Conrad's Traumatic Memories Told to Therapist
Conrad "Con" Jarrett
(Timothy Hutton)
Dr. Berger
(Judd Hirsch)
Fateful Drowning of Conrad's Brother Buck
  • the icy portrayal of grieving, hostile, bitter, composed and rejecting mother Beth Jarrett (Mary Tyler Moore); she had a revealing conversation with Conrad about their family's lack of pets: Conrad: "That was the closest we ever came to having a pet"
  • the picture-taking scene at Christmas-time, when Beth deflected an effort by her warm-hearted and compassionate husband Calvin (Donald Sutherland) to attempt to take a picture of her with Conrad; when Calvin struggled with the camera for a moment, Beth walked out of the shot and kept asking for him to give her the camera, while Conrad became furious and swore at his father - in front of his grandparents: "Give her the god-damn camera!"
  • the scene of Conrad's discussion at a McDonalds with close female student-friend Jeannine Pratt (Elizabeth McGovern) about his despairing suicide attempt by slitting his wrists: (Conrad: "You're the first person who's asked" Jeannine: "Why'd you do it?" Conrad: "Uh, I don't know. It was like falling into a hole, it was like falling into a hole and it keeps getting bigger and bigger and you can't get out. And then, all of a sudden, it's inside and you're the hole. And you're trapped and it's all over. Something like that. It's not really scary except when you think back on it. 'Cause you know what you were feeling")
  • during their final therapy session when Conrad experienced a therapeutic breakthrough, he kept insisting he was at fault for his brother's death: ("It must be somebody's fault... or there's no point!"); (Berger: "What was the one wrong thing you did?" Conrad: "I hung on, I stayed with the boat"); Berger challenged Conrad: "Feelings are scary. And sometimes they're painful. And if you can't feel pain, then you're not gonna feel anything else either. Do you know what I'm saying?...You're here, and you're alive, and don't tell me you don't feel that"; Berger then reassured Conrad that he was his friend: ("Because I'm your friend....I am. Count on it"); Conrad was finally able to stop blaming himself for Buck's death
  • the confrontational scene between Beth and Calvin at a Houston-area golf course (during a trip to visit Beth’s brother Ward (Quinn Redeker) and his wife Audrey (Mariclare Costello)), when they argued about how they had failed with their son Conrad; Calvin: "All he wants is to know that you don't hate him, that's it!" Beth: "Hate him! God, how could I hate him? Mothers don't hate their sons! Is that what he told you? Do you see how you accept what he says with no questions, and you can't do the same thing for me, you can't! GOD I DON'T KNOW WHAT ANYONE WANTS FROM ME ANYMORE!..."; Ward interjected: "Beth, now listen, look, look. We all just want - Cal, Connie, everybody, we just want you to be happy", causing Beth to fly off the handle: "Happy!...Ward, you tell me the definition of happy, huh? But first you better make sure that your kids are good and safe, that no one's fallen off a horse, or been hit by a car, or drowned in that swimming pool you're so proud of! And then you come to me and tell me how to be happy!"
  • in the final scene, Calvin ultimately admitted the loss of his love for his wife: ("You are beautiful. And you are unpredictable. But you're so cautious. You're determined, Beth; but you know something? You're not strong. And I don't know if you're really giving. Tell me something. Do you love me? Do you really love me?....We would've been all right if there hadn't been the mess. You can't handle mess. You need everything neat and easy. I don't know. Maybe you can't love anybody. It was so much Buck. When Buck died, it was as if you buried all your love with him. And I don't understand that. I just don't know. Maybe it wasn't even Buck. Maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was, I don't know who you are. I don't know what we've been playing at. So I was crying. Because I don't know if I love you anymore. And I don't know what I'm going to do without that")
  • the closing scene in the Jarrett backyard before the credits, when Calvin told Conrad that a very shaken Beth had gone away to Houston to live for awhile; predictably, Conrad blamed himself, but was angrily dissuaded by his father: ("Don't do that! Don't do that to yourself! It's nobody's fault! Things happen in this world. People don't always have the answers for 'em, you know"); as they began to re-connect again, Conrad thanked his father for showing toughness, and also expressed admiration for him: "You always made us feel like everything was gonna be all right. I thought about that a lot lately. I really admire you for it" - they hugged and both pledged their love for each other in the film's final two lines: Conrad: "I love you" -- Calvin: "I love you, too!", before the camera angle shifted and pulled up and away

Icy Mother Beth Jarrett (Mary Tyler Moore) with Conrad - Talking About Family's Lack of Pets

Picture-Taking Scene: "Give her the god-damn camera!"

Conrad's Discussion With Close Student Friend Jeannine Pratt (Elizabeth McGovern) About His Suicide Attempt

Conrad's Wrists

Beth's Golf-Course Outburst

Calvin Jarrett (Donald Sutherland) Admitting Loss of Love to Beth

Final Backyard Scene: Father/Son Hug

Orphans of the Storm (1921)

In D.W. Griffith's lengthy melodramatic epic - a box-office failure - about the French Revolution in 18th century Paris, with its tale of two orphaned half-sisters that were separated during the Reign of Terror - including the spectacular crowd scenes of the revolutionary storming of the Bastille:

  • the opening sequence of two orphaned foundling babies to be abandoned to charity and deposited on the steps of Notre Dame Cathedral, but brought up together in the home of impoverished Jean Girard, the father of one of the girls - they grew up to be half-sisters: Henriette Girard (Lillian Gish) and Louise (Dorothy Gish) (the result of a high-born mother involved in an unwed mother scandal)
  • due to the effects of the Plague, Louise was blinded and both half-sisters were again orphaned
Louise (Dorothy Gish)
Henriette Girard
(Lillian Gish)
The Two Sisters
  • outside Paris after their coach broke down, the kidnapping scene in which virginal Henriette was abducted and held at the palace of corrupt, cruel, lascivious and amoral aristocrat Marquis de Praille (Morgan Wallace) during a lavish party at his palace, while the blind Louise was seized by a family of thieves led by Mother Frochard (Lucille La Verne), who then forced her to beg for money
  • the sequence of Henriette being rescued by kind-hearted, effeminate and honorable aristocrat Chevalier de Vaudrey (Josef Schildkraut) who realized her plight, took her away from the palace, and was also smitten by her
Other Major Characters
(Monte Blue)
Mother Frochard
(Lucille La Verne)
Chevalier de Vaudrey
(Josef Schildkraut)
Jacques-Forget-Not (Leslie King)
Pierre Frochard
(Frank Puglia)
Maximilien Robespierre (Sidney Herbert)
  • the highly dramatic scene of Henriette believing that she heard the singing voice of her blind, helpless, and kidnapped half-sister Louise Girard in the street below her boarding house ("In my dreams I hear - I must be losing my reason"); but when she was convinced it was her sister, she raced to the balcony to call out to Louise ("Don't get excited - wait, I'll be there"), but was at the same time arrested by Count de Linieres (Frank Losee), Paris' Prefect of Police (and now the husband of Louise's birth mother, the Countess de Linieres (Katherine Emmet)), and detained in the Catholic "House of Fallen Women" run by nuns, while Louise was dragged away by Mother Frochard
Blind Louise Singing on Street Below
Henriette: "Singing. Don't you hear?"
Henriette's Balcony Above Louise
Henriette Calling Out: "LOUISE!"
Louise's Reaction
  • the sequence of the violent uprising by peasants and revolutionaries ("Down with tyrants!") led by political hero Danton (Monte Blue) and his fellow cohort Jacques-Forget-Not (Leslie King), the resultant end of the autocratic and tyrannical monarchy, and the establishment of a new government by Maximilien Robespierre (Sidney Herbert); Henriette was freed from the "House of Fallen Women"
  • however, soon after came the re-arrest of Henriette, when she was seen embracing her lover Chevalier de Vaudrey (in peasant garb), by the forces of Jacques-Forget-Not, and charged with "sheltering a returned aristocrat" - they were both brought before the Tribunal of the Reign of Terror, without a trial; during the sentencing, Henriette spotted her blind half-sister Louise in the audience and became overwhelmed with joy, but was not allowed to get close to speak to her; Chevalier was charged with "oppression and murder through countless generations" and both were condemned to be guillotined
Chevalier Disguised and Reunited with Henriette
Arrest of Both Henriette and Chevalier
Henriette Joyful at Recognizing Louise in Audience at Tribunal Hearing
  • the thrilling, cross-cutting 'race-to-the-rescue' scene (typical of director Griffith) of Henriette and Chevalier from the guillotine by Danton (with a pardon) seen riding on a white horse (with a reverse tracking shot), climaxing with a tearful reunion scene between the two sisters
Danton's Race-to-the-Rescue
Danton on White Horse Riding to the Rescue
With a Pardon at
Steps of Guillotine
Henriette Saved by Danton From the Guillotine

The Sisters Finally Reunited
End Shot: The Two Sisters Planning Their Marriages
  • in the conclusion, Henriette was to marry Chevalier, Louise's eyesight was miraculously restored, and she married Pierre Frochard (Frank Puglia), one of Mother Frochard's sons

Notre Dame Steps: Jean Girard with Two Baby Bundles

Louise Afflicted by Blindness

Sisters' Pre-Abduction Scene - With Marquis de Praille

Kidnapped Henriette: "My sister Louise - where is she?"

Beginnings of Love Between Rescued Henriette and Chevalier

Danton and Jacques-Forget-Not Leading the Successful Revolution Against the Autocratic Monarchy

Chevalier and Henriette About to Be Guillotined

Henriette On the Chopping Block

Orphée (1950, Fr.) (aka Orpheus)

In Jean Cocteau's visually-beautiful, eccentric, surreal, romantic fantasy drama set in post-war 1950s Paris - a retelling of the classic Greek Orpheus myth (about a musician's descent into the underworld to reclaim his dead wife) -- the avante-garde film was part of Cocteau's Orphic Trilogy (The Blood of a Poet (1930, Fr.), and Testament of Orpheus (1960, Fr.)):

  • the title character: the light-haired, famous, handsome and popular Left Bank existentialist, middle-aged poet Orphée or Orpheus (Jean Marais), obsessed with Death, who was married to beautiful but unhappily neglected and pregnant wife Eurydice (Marie Déa)
  • in the opening scene, Orphee was in the Café des Poètes (Poet's Cafe) in modern-day Paris, talking about how younger resentful poets scorned his success; a black Rolls Royce pulled up outside commanded by the Princess (Maria Casares); it was driven-chauffeured by her assistant Heurtebise (François Périer) - later revealed to be a man who had recently committed suicide by gassing himself to death; a drunken poet rival, Jacques Cégeste (Édouard Dermithe), patronized by the Princess, emerged from the car
  • a brawl broke out inside and outside the cafe, and Cegeste was struck and killed by two motorcyclists on the street during the chaos
  • the Princess - representing, depicting and personifying Death (revealed later), ordered the transport of Cegeste's corpse in the Rolls Royce parked outside, and firmly urged Orphee to accompany them as a 'witness'; the first of many cryptic radio messages was heard: "Silence. Goes faster backwards. Three times. Your attention please: A single glass of water lights up the world"
  • after dark, the car was escorted by the Princess' two henchmen: male, helmeted motorcycle riders dressed in black leather and wearing high boots - they were responsible for Cegeste's death
The Princess with Rolls Royce's Chauffeur Heurtebise
- A Death Vehicle
  • the car was driven to the ruins of an abandoned chateau, where the Princess magically revived Cegeste from death; he and the Princess passed into the Underworld (through a mirror), but Orphee was unable to follow after them; after returning home, Orphee received cryptic messages from Cegeste's spirit, as well as nocturnal visitations from the Princess who entered through his bedroom's mirror and watched him sleep; he sat in the Rolls Royce in his garage and obsessively listened to the radio that was broadcasting abstract poetry and coded messages from the afterlife
Symbolic, Magical, Dreamlike and Fantasy Elements
The Princess Entering Through Orphee's Bedroom Mirror - A Superimposed Shot
At the Foot of His Bed, the Princess Watching Orphee Sleep
Orphee Transcribing Gnomic Messages Delivered Through the Radio
  • as the film progressed, a love triangle developed between Orphee and the Princess, and the love-struck Heurtebise (the Princess' chauffeur) with Eurydice
Love Triangle
Orphee's Love for the Princess
Heurtebise with Eurydice
  • Orphee was advised by Death's chauffeur Heurtebise, a faithful guide, about how to enter the underworld - through his bedroom mirror-portal - to return Eurydice to life, after she had been struck down while riding her bicycle (off-screen) - she had been killed by the Princess's leather-clad motorcycle men and taken to the underworld: (Heurtebise "I am letting you into the secret of all secrets, mirrors are gates through which death comes and goes. Moreover if you see your whole life in a mirror you will see death at work as you see bees behind the glass in a hive")
Heurtebise Instructing Orphee About Passage Into the Underworld
Orphee Passing Through Glass Mirror Into Underworld
  • the trick-shot scenes (some with reversed photography) were of Orphee's crossing into the dreamy underworld to reclaim Eurydice; Orphee passed himself through a glass mirror (representing the borderline between life and the underworld); he first donned a pair of latex surgical gloves (left behind by the Princess) - that miraculously flew onto his hands - and then extended his magic gloved hands through the mirror [Note: the scene was accomplished by the actor putting his gloved hands into a vat of mercury (representing the glass mirror) and then walking through or into the mirror]
  • the underworld scene in which Orphee was brought before a tribunal panel of judges for interrogation; the Princess was forced to admit the reason for taking Eurydice (and breaching her authority) - her love for Orphee: "To get her out of the way and have this man for yourself"; their decision was that Eurydice would be returned with him, but only if he never looked upon her again
  • the shocking moment that Orphee caught a brief glimpse of Eurydice via the rear-view mirror of the Rolls Royce, causing her to immediately disappear; shortly later, Orphee was killed when accidentally shot by a member of an accusatory mob outside his home (for allegedly murdering Cegeste)
  • in the film's resolution, Orphee returned to the afterworld with Heurtebise, but was again sent back to the living world (by walking backwards in reverse) to be with Eurydice, with their memories erased; the "immortal poet" would soon become a father with his first child with Eurydice

Death of Cegeste Outside Poet's Cafe in Paris

During Drive to Chateau - Outside Background Was "Negative" Image

Orphee's Wife: Eurydice (Maria Dea)

Personification of Death: The Princess

Orphee - Blocked From Passing Through Mirror to Underworld

Eurydice - Orphee's Dead Wife

Orphee Before the Underworld Tribunal

Orphee and Eurydice Returning to the Living World

But Unable to Look at Each Other

The Glimpse of Eurydice in Rear-View Mirror - Causing Her to Disappear

Orphee Shot and Killed

In the Underworld, Orphee Was Returned to the Real World Again

Orphee's Happy Ending with Eurydice

Out of Africa (1985)

In director Sydney Pollack's Best Picture-winning biographical romantic epic:

  • the lyrically-beautiful scenes on location in Kenya, Africa (during the opening flashback voice-over narration); the prologue was delivered by older Danish Baroness and author/writer Karen Blixen (Meryl Streep), as she slept and then awoke to write - she reflected back on her love of Africa and local big-game hunter Denys Finch Hatton (Robert Redford): " He even took the Gramophone on safari. Three rifles, supplies for a month and Mozart. He began our friendship with a gift. And later, not long before Tsavo, he gave me another. An incredible gift. A glimpse of the world through God's eye. And I thought: 'Yes, I see. This is the way it was intended.' I've written about all the others, not because I loved them less, but because they were clearer, easier. He was waiting for me there. But I've gone ahead of my story. He'd have hated that. Denys loved to hear a story told well. You see, I had a farm in Africa at the foot of the Ngong Hills. But it began before that. It really began in Denmark. (gunshots) And there I knew two brothers. One was my lover, and one was my friend"
  • the scene of the arrival of Danish authoress/wife Karen Tania Blixen-Finecke (aka pen name Isak Dinesen) at the Nairobi (British East Africa) plantation home of her womanizing husband Baron Bror Blixen-Flecke (Klaus Maria Brandauer) - a coffee farm - it was a marriage of convenience
  • the tense scene of a lionness threatening to attack Karen, while white hunter Denys held a gun and waited for the animal to walk off peacefully; he cautioned her: "I wouldn't run. If you do, she'll think you're something good to eat"
  • the majestic biplane ride over the wilds of Africa in which Karen reached back and held hands with Denys during their affair
  • the scene of Hatton shampooing Karen's hair during a safari (to untangle her hair), while he quoted: "Laughed loud and long, and all the while his eyes went to and fro. 'Ha ha,' quoth he, 'Full plain I see. The devil knows how to row.' Farewell, farewell...but this I tell to thee, thou wedding guest...He prayeth well who loveth well both man and bird and beast"
  • the sequence of the plantation's processing shed-barn burning to the ground, destroying all the farm equipment and crops as well and causing great financial hardship; Karen noted: "All gone...I think God had a hand in it. He gave me my best crop ever, and then He remembered"
Grasping Hands During Flight
Shampooing Karen's Hair in the Wild
Plantation Barn Burning
  • the sad sequence of the funeral of Denys after a deadly bi-plane crash at Tsavo in Africa, and Karen's attendance at the outdoor burial/funeral in the Ngong Hills, where she delivered a memorial reading from A.E. Houseman's "To An Athlete Dying Young": ("The time you won your town the race, we cheered you through the market-place. Man and boy stood cheering by, as home we brought you shoulder-high. Smart lad to slip betimes away, from fields where glory does not stay, early though the laurel grows, it withers quicker than a rose. Now you will not swell the rout of lads that wore their honors out, runners whom renown outran, and the name died 'fore the man. And round that early-laurelled head will flock to gaze the strengthless dead, and find unwithered on its curls, a garland briefer than a girl's. Now take back the soul of Denys George Finch Hatton, whom you have shared with us. He brought us joy, and we loved him well. He was not ours. He was not mine"); she resisted the European custom of throwing a handful dirt onto the coffin, and slowly walked away from the grave
  • the film concluded with another poetic voice-over recollection, about her preparations to leave Africa for good: "If I know a song of Africa, of the giraffe and the African new moon lying on her back, of the plows in the fields and the sweaty faces of the coffee pickers, does Africa know a song of me? Will the air over the plain quiver with a color that I have had on? Or will the children invent a game in which my name is? Or the full moon throw a shadow over the gravel of the drive that was like me? Or will the eagles of the Ngong Hills look out for me?"
  • the scene of Baroness Karen's final goodbye at the train station to her African assistant Farah Aden (Malick Bowens) when she asked him to say her name: ("I want to hear you say my name"); he responded: "You are Karen, Msabu")
  • and the film's bittersweet final lines - read by Karen from a letter she received: ("The mail has come today and a friend writes this to me: 'The Masai have reported to the district commissioner at Ngong that many times, at sunrise and sunset, they have seen lions on Finch Hatton's grave. A lion and a lioness have come there and stood or lain on the grave for a long time. After you went away, the ground around the grave was leveled out into a sort of terrace. I suppose that the level place makes a good site for the lions. From there, they have a view over the plain and the cattle and game on it'... Denys will like that. I must remember to tell him")

Opening Narration

Karen's Initial Arrival at Kenya Plantation

With Husband Baron Bror

Lionness Threatening an Attack on Karen - Saved by Denys

Final Goodbye at the Train Station

Lions on Denys' Gravesite

Out of Sight (1998)

In Steven Soderbergh's sexy crime caper-thriller:

  • the reassuring and calm words of charming career bank robber Jack Foley (George Clooney), without a gun, to convince nervous SunTrust Bank teller Loretta Randall (Donna Frenzel) to load up a bag with lots of unmarked $100s, $50s, and $20 dollar bills: "Is this your first time being robbed? (she nodded) You're doing great. Just smile, Loretta, so you don't look like you're being held up. You got a very pretty smile"
  • outside the bank, Foley was unable to flee when his cheap car's carburetor flooded and he was quickly apprehended without incident by an armed officer
Bank Robber Jack (George Clooney) to Teller:
"You're doing great"
Flooded Escape Car
  • two years later, the scene of Foley's exciting Florida jail break when he escaped from the Glades Correctional Institution disguised in the uniform of a guard; although wielding a shotgun in the parking lot, Deputy Federal Marshal Karen Sisco (Jennifer Lopez) was taken as a kidnapped hostage with the help of Foley's cohort Buddy Bragg (Ving Rhames)
  • the very memorable and erotically-flirtatious, dialogue-rich scene in the trunk of Sisco's own car, driven by Buddy; the conversation was between Foley and Karen who exchanged sexy quips and banter (a discussion of Faye Dunaway films, such as Bonnie and Clyde, Network, and Three Days of the Condor) during the ride: "You must really see yourself as some kind of Clyde Barrow, huh?...In that part where they get shot, I remember thinkin' to myself, that wouldn't be such a bad way to go, if you had to. You sure are easy to talk to. I was thinkin', if we met under different circumstances, if you were in a bar and I came up and we started talking, I wonder what would happen...if you didn't know who I was...just saying if we met under different circumstances..."
Trunk Getaway Car Scene
Sisco Dragged to Her Own Car's Trunk
Sexy Banter Inside Trunk
  • the momentary instant that Foley and Karen caught sight of each other - he was in an elevator going down to the Parking Garage Level, and he glimpsed her seated in Buddy's apartment lobby during a police operation against Foley and his gang: ("She just looked right at me...Karen...Yeah. She's in the lobby")
  • the later sexual encounter between Foley and Karen in which they flirtatiously called each other different names (Gary and Celeste) during a conversation in a Detroit hotel bar-lounge over drinks, with snow falling outside; at first, he complimented her: "I like your hair. I like your outfit"
  • their conversation conveyed their feelings of "What if?" - Foley mentioned the chance nature of their meeting and their obvious attraction to each other; he countered her idea that they were playing a game: "It's not a game. It's not something you play"; when she then asked: "Well, does this make any sense to you?" - he delivered a long response: ("It doesn't have to. It's something that happens. It's like seeing someone for the first time, like you could be passing on the street, and, and you look at each other and for a few seconds, there's this kind of a recognition, like you both know something. The next moment, the person's gone, and it's too late to do anything about it. And you always remember it, because it was there, and you let it go, and you think to yourself: 'What if I had stopped? What if I had said something? What if? What if?' And it may only happen a few times in your life")
  • minutes later, the cross-cutting scene of them at the bar - and also in a penthouse hotel room (she had told him: "Let's get outta here"), where they kissed, undressed (she performed a strip-tease for him in front of the windows) and they got into bed before making love
  • the final stairway showdown between a masked Foley and Karen during a safe robbery inside billionaire insider-trader Richard Ripley's (Albert Brooks) posh Detroit-area estate-mansion on a snowy night, when Foley was confronted by her at the top of the stairs and he wouldn't surrender or put his gun down: ("I'm not going back...No more time outs"); although she begged him: ("Jack, please, don't make me do this. Put the gun down. Damn it, Jack, put the gun down!"); she was forced to shoot him in the leg ("You win, Jack"); and then she apologized: ("I'm sorry. I wish things were different")
Final Stairway Showdown During Detroit Mansion Robbery
Karen: "I'm sorry. I wish things were different"
  • in the film's conclusion, the apprehended Foley was loaded into the back of a prison transport van to return to imprisonment in Florida at Glades; he would share the long ride (and lots of stories) with another repeat (nine-time) escapee, Islamic Hejira Henry (Samuel L. Jackson); the inmate claimed his name referenced 'Mohammed's flight from Mecca in 622'; in the front passenger seat, Karen smiled - in addition to his favorite cigarette lighter, Hejira was her "present" to Foley to keep him entertained and informed during the "long ride to Florida" back to jail

Deputy Federal Marshal Karen Sisco (Jennifer Lopez) With a Shotgun - Attempting to Stop Florida Prison Break

In Apartment Elevator, Foley's View of a Startled Karen Seated in Lobby

Foley's Date with Karen in Detroit Hotel - "What if?"


Flirtations - Cross-Cutting Striptease

Last Scene - Foley in Prison Van

(Samuel L. Jackson)

Karen Smiling

Out Of The Past (1947) (aka Build My Gallows High)

In Jacques Tourneur's beguiling, complex, quintessential slick film noir about double-dealing and intrigue from the post WWII period - it was one of the best ever made, notable for its doom-laden flashback narrative structure and shadowy cinematography [Note: It was remade as Taylor Hackford's Against All Odds (1984), starring Jeff Bridges and Rachel Ward]

  • the main character with a sordid past: Jeff Bailey/Markham (Robert Mitchum) - a laconic, former, worn-out private detective, hiding out with a sweet, local girlfriend/fiancee Ann Miller (Virginia Huston), as the owner of a Bridgeport, California gas station, with his mute assistant Jimmy "The Kid" (Dickie Moore)
  • Jeff was forced to meet with his former boss - the menacing, obsessed and ruthless gangster Whit Sterling (Kirk Douglas), who lived at Lake Tahoe, to work for him as a private eye
  • as he drove to Northern California with Ann, he explained his past life to her, seen in flashback, about how he had been commissioned earlier by Whit to travel to Acapulco to pursue Whit's treacherous girlfriend/mistress, who had stolen $40,000 and fled to Mexico
  • in the flashback, Jeff described his first meeting with the archetypal, duplicitous, chameleon-like, and deadly femme fatale named Kathie Moffat (Jane Greer) - she made a silhouetted, almost-magical entrance into a Mexican cantina in Acapulco from the bright and hot outdoors - wearing a broad-brimmed white hat; Jeff described her remarkable appearance as she cast a sultry shadow: "And then I saw her, coming out of the sun, and I knew why Whit didn't care about that forty grand" - he also became mesmerized by her, unaware at first of how he would become entangled in the dark-haired beauty's lethal, self-indulgent, enchanting charms; he ended his pursuit of her and fell in love with her
Femme Fatale Kathie Moffat in Mexico
  • their romantic interlude was highlighted on a moonlit beach (where Jeff and then the two of them were framed by an entrapping fish net); after deceiving Whit, Jeff and Kathie moved to San Francisco to live anonymously and in secret obscurity, to avoid Whit; he reflected on their pairing: "It was the bottom of the barrel and I scraped it. But I didn't care. I had her"; however, when they were discovered together by Jeff's former partner, a "stupid, oily gent" named Jack Fisher (Steve Brodie) who was hired by Whit to find them, Jeff and Fisher engaged in a brutal, shadowy fist-fight that ended when Kathie coldly shot Fisher to death; Jeff turned to Kathie and wondered: "You didn't have to kill him...You didn't have to do it" - but she claimed it was necessary to prevent him from going to Whit - and then she fled the scene
Kathie's Cold-Blooded Murder of Fisher
  • Jeff realized how murderous, double-crossing, and selfish Kathie really was, and the dangers of falling in love with her; she drove away from the murder scene and left him to dispose of the body and take the blame; he also discovered what she had left behind - her incriminating bank book with a $40,000 deposit in her account - evidence that she had lied to him about the money; he expressed his stunned reaction to Ann at the end of the flashback: "I wasn't sorry for him or sore at her. I wasn't anything"
  • when the action returned to the present, Jeff arrived at Whit's mansion, fearing that he would again be doomed and seduced by the same charming, but wicked woman he had once loved and lost, especially after he discovered that Kathie was living with Whit again; Whit remarked: "You remember Kathie, don't you?...Kathie's back in the fold now. You're back in the fold too, Jeff"; obviously, Whit knew of their past acquaintance and their double-dealing, telling Jeff (via blackmail and extortion) that all would be forgiven if he performed one more job to help Whit avoid tax evasion charges; shortly later, Jeff sneered at Kathie with an insult: "You're like a leaf that the wind blows from one gutter to another"
  • there was snappy dialogue and tawdriness in the new love/hate relationship between Jeff and Kathie, when he came under Kathie's lethal, deceptive erotic spell once again in a second, ill-fated affair; he became involved in another complex web of intrigue, passion, betrayal, double and triple-crosses and death in San Francisco, and feared that he was going to be framed and made the 'fall-guy'
  • on the run for allegedly committing two murders in SF, Jeff fled back to Bridgeport, where while he was hiding in the woods, one of Whit's henchmen, Joe Stephanos (Paul Valentine) (who had been paid by Kathie to murder Jeff), attempted to kill him; as Stephanos aimed his gun at Jeff and was about to pull the trigger, Jimmie hooked the man with his fishing fly rod and pulled him off the rocky cliff to his death, saving Jeff's life
  • in the film's resolution, Kathie was chastised by Whit for her cool, detached double-crossing, and for sending Joe to kill Jeff without his knowledge; he slapped her and threatened to turn her in: "You dirty little phony. Go on lie some more....What a sucker you must think I am. I took you back when you came whimpering and crawling. I should have kicked your teeth in. No, I'm not going to. Not now, Kathie. We're gonna let the law push you around...You're gonna take the rap and play along. You're gonna make every exact move I tell ya. If you don't, I'll kill ya. And I'll promise you one thing. It won't be quick. I'll break you first"
Whit to Kathie: "You dirty little phony!"
Whit - Shot Dead by Kathie
Jeff to Kathie: "Build my gallows high, baby"
  • shortly later inside Whit's estate, Jeff discovered Whit's corpse on the floor - rightly deducing that Kathie had shot and killed him to prevent him from turning her in for Fisher's murder; she explained her motive to Jeff: "You can't make deals with a dead man, Jeff....I never told you I was anything but what I am. You just wanted to imagine I was. That's why I left you. Now we're back to stay....Don't you see? You've only me to make deals with now" - he gave her a laconic reply: "Build my gallows high, baby"; he was more pessimistic about their chances of succeeding because she was so corrupt: "They'll always be looking for us. They won't stop till we die"; she only wanted to link herself to him: "I don't care. Just so they find us together. If you're thinking of anyone else, don't. It wouldn't work. You're no good for anyone but me. You're no good and neither am I. That's why we deserve each other" (after which they shared a kiss)
  • shortly later, Jeff also decided to turn her in to the authorities, but pretended to play along with her plan to go back to Mexico to pick up their idyllic romance where they had left off; he repeated her statement back to her: "We deserve each other"
  • their final tragic end came in the concluding dramatic sequence of the film, when she saw a police roadblock trap and realized that Jeff had capitulated to the authorities and set her up - she viciously pulled out a gun and cried: "You dirty, double-crossing rat"; she shot Jeff dead in the driver's seat, firing her gun into his crotch, but then was gunned down by a barrage of police fire as their out-of-control car crashed into the roadblock
  • in the last scene set in Bridgeport, California at the gas station, Jeff's mute assistant Jimmy lied in his answer to Jeff's girlfriend Ann when she asked about Jeff's final moments with Kathie - in the film's final line of dialogue: "You can tell me. You knew him better than I did. Was he going away with her? I have to know. Was he going away with her?" - he nodded his head affirmatively to give Ann the impression that Jeff actually loved Kathie and was going off with her; he lied to soften the blow so that Ann could reject Jeff's memory and free herself from him (and her past) to build a new life, presumably with her patient Bridgeport admirer Jim (Richard Webb)

Jeff in Bridgeport, CA With Fiancee Ann Miller

Jeff With Ann on Drive to Northern California - Beginning of Flashback

At Tahoe, Whit Sterling (Kirk Douglas)

Jeff In Hot Pursuit of Kathie in Acapulco

Moonlit Beach Love Scene with Entrapping Fish Nets

Kathie's Absconding of $40,000

Whit to Jeff: "Kathie's back in the fold now"

Jeff to Kathie: "You're like a leaf that the wind blows from one gutter to another"

Attempted Murder of Jeff in Bridgeport by Stephanos

Kathie Firing into Jeff's Crotch at Roadblock: "You dirty double-crossing rat!"

Conclusion: Ann's Question to Jimmy About Jeff's Intentions with Kathie

Outcast of the Islands (1951, UK)

In Carol Reed's compelling and dramatic adventure set in the Indonesian tropics - based on Joseph Conrad's 1896 novel:

  • the character of failed roguish Englishman Peter Willems (Trevor Howard), a swindling, thieving and cheating shipping firm manager in Singapore (Indonesia), scandalously fired from his job in the opening sequence
  • after abandoning his wife (Betty Ann Davies) and feeling distraught as a fugitive, the self-destructive Willems was saved from an attempted drowning suicide; he was befriended and taken under the protective wing of lucrative trader Capt. Lingard (Ralph Richardson), his former mentor who had also rescued him when he was a 12-year-old boy: ("I can understand your dirty pride. I'll see this thing through. It's the second time, Willems, I take you in hands. Mind it is the last. The only difference between then and now is you were barefooted then and have boots now. In fourteen years, with all your smartness. A poor result that, a very poor result... I knew you from a child, more or less. And now I shall forget; but you are young yet. Life is very long. Let this be a lesson to you"
  • Lingard promised to save Willems and offer him a redemptive new life: ("I'm taking you to that place of my own, about which people talk so much and know so little. It's up a river. It isn't easy but I've found a way to get her up. You'll learn something now, my boy, more than you ever learned among the longshore quill drivers") - they sailed to the hidden, secret idyllic river-bank village of Sambir (after perilously navigating through a rocky river mouth) - Lingard's remote trading post near the coast of Batam; Willems dubiously promised to keep the navigational route a secret: ("Your secret's safe with me")
  • Willems' lustful stalking, leering, and eventual illicit affair with exotic native girl Aissa (Kerima in her debut film) (who never spoke a word in the film); she was dedicated to feeding her blind father - the island's chieftain Badavi (A. V. Bramble), and brought shame to him for her association with Willems - leading to his eventual neglect and death
Willems with Aissa - Inter-Racial Romance
  • the scene of Willems' description of his obsession and fixation on Aissa, confided to Lingard's daughter Mrs. Almayer (Wendy Hiller), the wife of Lingard's venal son-in-law Elmer Almayer (Robert Morley): "I swear I'll never go over there again. And then I find myself waiting for her. Every day it's the same. I know all you're trying to tell me, but what am I to do?... I see her all the days, all the nights. I see her every breath, every bounce of her eye, every movement of her lips. I see nothing else. What else is there?"; Mrs. Almayer warned: "Are you afraid of what she is and what you might become? You'd do well to be afraid"
  • the savage assault of the natives on Lingard's pompous, self-interested and despicable trader son-in-law Elmer - they tortured him by wrapping him up in a hammock and swinging him above a bonfire
  • the climactic ending, in which the greedy and obsessed Willems, who had aligned himself and been manipulated by the sly native Babalatchi (George Colouris in black-face) and competing Arab trader Ali (Dharma Emmanuel), betrayed Lingard's trust and revealed the treacherous trading route to the lagoons
  • the final and last confrontation between Lingard and Willems, leading to the latter's condemnation by the natives; he was exiled and ostracized to a remote and isolated piece of land with Aissa; Willems begged to be taken away, but Lingard refused after giving him so many other breaks, and was determined to leave Willems (and Aissa) abandoned there: ("You have been possessed of a devil...I regret nothing else I ever did, but this was different. I picked you up like a starving cat when you were twelve, I helped you through your life till it became part of mine. Then, I let you ruin the lives of all those who put their faith in me. I am an old fool...Did you ever see me lie and cheat and steal, tell me that, hey!? I wonder where in perdition you came from when I found you under my feet? No matter. You'll do no more harm. Well, what do you expect? Do you know what you've done? What do you expect?....No promise of yours is any good to me. I am going to take your future into my own hands. You are my prisoner. You shall stay here. You are not fit to go among people. Who could suspect, who could guess, who could imagine what is in you? I couldn't. You are my mistake. I shall hide you here. If I let you out, you'll go out among unsuspecting men and lie and steal and cheat for a little money or for some woman. I don't choose to shoot you. It would be the safest way, but I won't. Don't expect me to forgive you. To forgive, one must first be angry and then contemptuous. There's nothing in me now, no anger, no contempt, no disappointment. To me, you are not Willems, the man I thought much of and helped the man who was my friend. You're not a human being to be destroyed or forgiven. You are a bitter thought, something without a body that must be hidden. You are my shame...You say that you don't want to die here. Very well then, you must live. (To Aissa) Understand, I leave him his life, not in mercy but in punishment. You are alone. (To Willems) You say that you did this for her. Well, you have her")
  • as Lingard strutted off to return to his boat, Aissa handed a revolver to Willems to shoot Lingard, but he couldn't pull the trigger; they had a few final words at the beach, in the midst of a thunderous tropical rainstorm: (Lingard: "Provoke you? What is there in you to provoke?"); Willems called out an echoing goodbye, the film's final line of dialogue: "We shall meet again, Captain Lingard"; Willems and a spiteful Aissa were stranded but together

Scoundrel Peter Willems
(Trevor Howard)

Willems Saved by Capt. Lingard From Attempted Drowning Suicide

Sailing with Capt. Lingard

Navigating to Sambir - A Perilous Trading Route

Willems - Talking About His Fixation For Aissa with Mrs. Almayer

Natives' Attack on Lingard's Son-In-Law Elmer Almayer

Final Confrontation Between Lingard and Willems: "You are not fit to go among people"

Lingard to Willems - Final Words on the Beach During Rainstorm

The Outlaw (1943)

In producer/director Howard Hughes' notorious "adult" sex-western film originally filmed in 1941, and delayed in its general release for many years for its censor-baiting - partially for its revealing publicity shots of the sultry star Jane Russell that were more suggestive than her appearance in the film itself:

  • the western tale featured three well-known historical figures in New Mexico: Sheriff Pat Garrett (Thomas Mitchell), gunslinger-gambler Doc Holliday (Walter Huston), and outlaw Billy the Kid (Jack Buetel), aka William Bonney
Sheriff Pat Garrett (Thomas Mitchell)
Doc Holliday
(Walter Huston)
Billy the Kid
(Jack Buetel)
  • the additional fictional character of statuesque Rio McDonald (Jane Russell), frequently seen with an oft-unbuttoned, low-cut peasant blouse - she was the formidable, sexy Mexican half-breed mistress of Doc Holliday, with her buxom cleavage often displayed to the fullest and greatest effect
  • the early wrestling semi-rape scene in the hay stable between Rio and Billy the Kid when he cautioned her to end her struggling resistance in the dark shadows; she condemned him for murdering her drunken brother and vowed to kill him, and although he admitted the murder in a fight over a woman, he also claimed: "How'd I know he was your brother? It was him or me"; after she unsuccessfully tried to lunge for a pitchfork and spear him with it, he wrestled her down ("Let me go" -- "Hold still lady or you won't have much dress left"), before the scene faded to black
Rio's Semi-Rape Scene With Billy the Kid
Rio Tempted to Stab Unconscious Billy
Rio to Recuperating Billy: "Be careful, your wound. You'll hurt yourself"
  • and later, a wounded and unconscious Billy was brought by Doc to Rio to care for him (she was tempted to stab him with a knife she used to cut off his clothes, but couldn't do it); with her Aunt Guadalupe (Mimi Aguglia) present, Rio made a promise to the unconscious Billy: "You're not gonna die. I'll get you warm" - once Billy began to recover and recuperate a month later, she bent down (in the uncensored version) to caution Billy from getting up: "Be careful, your wound. You'll hurt yourself"
A Closeup of an Impending Kiss Between Billy and Rio
  • as he became stronger, Billy wished to kiss her, but she at first hesitated: "No, no, you'd better not get up until tomorrow...You're not strong enough yet"; he pulled her to himself: "Who says I'm not?!"; she responded as she wrestled with him: "Billy, you mustn't. You'll hurt yourself"; she was tempted to kiss him, although fearful at first: "But you've been so sick. You're not well enough. You're not..." - but then she surrendered to him; there was an incredible zooming full-face (and lips) closeup as she moved closer to kiss him
  • when Doc returned, Rio was forced to admit to him that she had been charmed by the ailing Billy during one of his delirious periods to get married (but he still didn't know he was married to her!): "I'm married to him...That's the truth, Doc. Only please don't tell him.... I never would have done it, only I thought he was gonna die"; to resolve the issue of stealing Doc's girl, Billy offered Doc a choice: Doc's horse Red or Rio - and to Rio's utter surprise, Doc chose the horse ("I'm gonna take the horse"); she asked Billy with amazement: "You're not satisfied?" before Doc and Billy rode off together
  • the confrontational scene later when an angry Billy returned, surprised Rio in her bedroom, and accused her of revealing their route to the Sheriff and of filling their canteens with sand; he sarcastically vowed that he returned because he missed her - it was clearly a love-hate relationship: "The more I thought about seeing you, darling, the easier it got"; she spitefully invited him to proceed: "What are you waiting for, go ahead?" He encouraged her attitude: "Hey, that sounds real nice. I like to hear you ask for it. Keep it up. Beg some more." She questioned: "What would you like me to say?" Billy replied: "Well, you might say please, very sweetly." When she spoke the word "Please," he responded: "Will you keep your eyes open?...Will you look right at me while I do it?" (the scene again faded to black)
  • to retaliate against Rio, Billy left her bound, gagged and strung up by her wrists within sight of a desert waterhole; after she was released by Doc and the Sheriff, Doc realized Billy's infatuation with Rio: "I think he's in love with you....The crazier a man is about a woman, the crazier he thinks and does"
  • there was a frontal close-up view of Rio galloping along on horseback to escape pursuit by Indians on the way to Fort Sumner
Doc Shot Dead by the Sheriff
  • in the concluding sequence, after Doc showed a distinct preference for Billy, Pat reluctantly shot Doc dead; following Doc's burial, Billy was allowed by the Sheriff to ride off; as he departed, Billy looked back at Rio - indicating that she could join him, and she happily jumped onto the back of his horse with him

Rio McDonald (Jane Russell) to Doc, About Her Relationship to Billy: "I'm married to him"

Doc's Choice of Red (His Horse) Rather Than Rio

Billy's Angry Return to Rio

Rio's Resentment at Billy

Rio Strung Up By Her Wrists by Billy

Rio Released by Doc and the Sheriff

Rio Galloping on Horseback on a Race to Fort Sumner

Rio Riding Off with Billy

Outrage (1950)

In director/writer Ida Lupino's, ground-breaking, B-level crime-related, film-noirish drama - one of the first films to address the taboo subject of rape in the 50s, that wasn't even explicitly named, but called a 'criminal attack/assault' - the film's tagline asked: "Is Any Girl SAFE?":

  • under the opening title credits sequence, an overhead view of a young woman staggering through urban streets, as she glanced warily over her shoulder - a foreshadowing of the film's pivotal event
  • the memorable 'rape' scene of young naive plant secretary-bookkeeper Ann Walton (Mala Powers) who left work late one night at 9:45 pm from the Bradshaw Mill Company (Capitol City), obliviously whistling the tune "Do You Know the Muffin Man?" to herself; her neck-scarred rapist-assailant (Albert Mellen) (the waiter-counterman in an on-site food lunch-stand just outside the lumber mill factory) spotted her from across the street and called out: "Hey beautiful!", but she didn't hear him; with alternating quick high and low-angled camera shots, her ordeal was documented as she began to hear loud and ominous approaching footsteps, and was pursued through a maze of dark, shadowy and deserted streets and industrial alleyways for over five minutes
  • one memorable image was of a wall of pasted circus bills or grotesque posters with evil giant clown faces leering behind her
Ann Up Against Wall of Grotesque Circus Posters
Under Streetlight
Ann's Fetal Position Before Attack
  • she screamed for help, and blared the horn of a parked truck (that was busted and kept sounding), but to no avail; at the end of the sequence, she slipped running up some steps, hit her head, and was left defenseless, curled up into a fetal position on the wooden porch of a building; she awaited her fate as the attacker approached; she noted the scar on his neck and the man's leather jacket as the image unfocused; the camera pulled back behind the building and avoided showing the act
  • the final image of the sequence was an old man in a second floor apartment of the wooden building, just around the corner, who was awakened by the truck horn - he looked annoyed as he peered out of his bedroom window, saw nothing, and then slammed it shut
  • without much evidence to go on, the police - in a suspenseful sequence - called for a suspect line-up in an open theater setting, although Ann was not protected by one-way glass or a soundproof room, and unable to clearly identify her attacker (none of the four were the actual perpetrator)
  • the devastating aftermath (and "dark times") for the traumatized victim (who subsequently felt "dirty" and the subject of endless judgment and gossip); feeling alienated from her family and community; she decided to flee and board a bus to Los Angeles; via a radio report at a rest stop, Ann learned that she was being searched for as "a victim of a criminal attack" or "vicious assault" by her parents, and she feared discovery
Ann's Sprained Ankle
Found by Side of Road and Picked Up
Aided by Bruce
  • Ann fled from the rest stop and after walking for miles, she became exhausted, sprained her ankle and collapsed on a dark roadside where she was picked up by an anonymous male who loaded her into the backseat of his car; ultimately, she learned she had been rescued by kindly and understanding Rev. Bruce Ferguson (Tod Andrews); she was brought to live and then work (first as a crate packer and then as an office bookkeeper) with the Harrisons - a family that owned SPLENDOR, an orange grove packing plant in Santa Paula - where she adopted the name Ann Blake
  • then came a post-traumatic incident at an annual harvest festival with an outdoor dance and picnic, when Ann self-defensively bludgeoned fellow plant worker Frank Marini (Jerry Paris) in the head with a large wrench when he forcefully and persistently kept demanding a kiss (and asked: "We'd all like to know where you came from and why"); she flashbacked to the night of the rape and imagined him to be her attacker - experiencing a short bout of "temporary insanity"
Frank Marini's 'Assault' on Ann
  • after she fled, she was found by Bruce in a field, who encouraged her to return; she was promptly arrested by police for assault and jailed; however, with Bruce's assistance and due to the extenuating circumstances, criminal charges were dismissed when she agreed to seek psychiatric therapy and treatment for one year, before she nervously decided to return to her parents, her previous life, and her fiancée Jim Owens (Robert Clarke)

Scarred Neck of Creepy Lunch Counter Worker - The Rapist (Albert Mellen)

Ann Walton Under Attack

Rapist-Assailant in Pursuit

Ann's Last Pre-Rape View - Camera Went Out of Focus

Annoyed Neighbor by Truck Horn

Ann's Mother: "Tell Me What's Happened to You"

Police Suspect's Line-Up

Bruce's Personal Interest in Ann

Ann Jailed For Assault

After Therapy, Ann's Goodbye to Bruce at the Bus Stop Before Her Return Home

The Overlanders (1946, Australia/UK)

In British writer/director Harry Watt's influential, dramatic, western-adventure epic of WWII, a recreation of a true-life event that occurred in 1942 -- it was the first Ealing Studios production in Australia, the first Australian movie to be filmed almost entirely outdoors, and a precursor to Howard Hawks' similar western Red River (1948):

  • the opening sequence that provided background information -- a close-up of a government poster with a caricatured Japanese soldier reaching out over a map of Australia; stern voice-over narration explained the dire problem, and how Australia would be saved by its landscape and resources: "In 1942, the Japanese were driving invincibly southward from Singapore. It seemed inevitable that next into their hands would fall the Northern Territory of Australia, the largest undeveloped region in the world, with a million head of cattle, and a population of only five thousand whites. Space, scorched earth and space were Australia's final weapon. But first, the vast herds of the North must be saved. And so, across Australia moved a mass migration unique in history. From small beginnings, the mobs of cattle poured south in an almost unending flood. This is the story of one mob, and the people who drove it, across a continent"
  • the view of Northern Territory patriarch Bill Parsons (John Nugent Hayward) destroying his family's homestead (by puncturing his metal water tank and burning down his house), as the family watched from a distance; he made a resolute proclamation to his wife (Jean Blue) as he climbed in the wagon before leaving forever: "The Japs'll get nothing from me" - he was fulfilling a 'scorched-earth' policy
  • the introduction of the main Australian heroic bushman character: tall drover Dan McAlpine (Chips Rafferty, known as "the Australian Gary Cooper", or a 1940s version of Crocodile Dundee), who learned about the official Australian 'scorched earth' policy (designed to avoid having the invading Japanese in the Northern Territory benefit from their resources); he was delivering about 1,000 beef cattle to the Australian Meat Export plant at Wyndham (Western Australia on the N. coast); the whole area was being evacuated and he was ordered to shoot his herd; he chose to reject the policy: "I'm not gonna shoot those cattle, Bert...I won't leave them for the Jap boys. I'll overland 'em..."
  • the manager Bert Malone (Stan Tolhurst) of the plant warned, using a map as an aid, that it would be a treacherous and suicidal 1,500 mile trek to drive the cattle southward to Brisbane in Queensland, across the Australian outback, but McAlpine was determined: "Bullocks are more important than bullets"; Bert added: "You know what you're tryin' to do, Dan? You're tryin' to drive a mob of half-wild cattle the distance from London to Moscow - in a bad season at the wrong time of the year"
  • McAlpine's recruited motley crew included Scottish sailor Hunter/"Sinbad" (Peter Pagan) ("I hate the sea"), 'Corky' (John Fernside) - a gambler, two aboriginal stockmen Jacky and Nipper (Clyde Combo and Henry Murdoch), and the Parsons family fleeing south (husband, wife, and two daughters, one of whom was Mary Parsons (Daphne Campbell) - an accomplished 20 year-old herder); McAlpine described the 'unromantic' job to "Sinbad" - "There's nothin' romantic about us, y'know. We don't carry guns or shoot up rustlers. We're just plain cattlemen - hard yakka and hard tucker"
  • the majestic cliffside view of "black fellas" (wild and indigenous aboriginals) peacefully and calmly watching the line of cattle way below them, signaling them with smoke signals
  • the campfire scene when McAlpine scathingly criticized Corky's intention to exploit the mineral wealth and land of Australia after the war, after being shown Corky's drafted prospectus for his Northern Territory Exploitation Company - Dan tore it up and burned it: "There's just one thing wrong, Corky - that word exploit. We've exploited our South for a hundred years and torn the heart out of it. Territory's far too valuable to be messed about by get-rich quick schemes like yours. I say let's save the North from what we've done to the South...Leave it to Australians, ordinary Australians, like Bill and his family. It's a national job, Corky, too big for little people like you"
Dangers During the Trek
  • the many depictions of dangers during the lengthy cattle drive with the herd: crossing a river infested with crocodiles, lack of food and water, heat dehydration and the potential of a stampede, poisonous weed that killed the stockhorses, the dangerous ascent of a steep and narrow mountain pass, etc.

Australian Government Poster

Burning of Parsons' Family Homestead: "The Japs'll get nothing from me"

Dan McAlpine
(Chips Rafferty)

Cattle Drive Southward

Aboriginals Watching the Cattle Line Below

Campfire Scene: Argument Between McAlpine and Corky

The Ox-Bow Incident (1943)

In director William Wellman's "Western noir" adaptation of Walter Van Tilburg Clark's novel - a grim study of mob rule based on a true story:

  • the film's opening: in 1885 Nevada, two drifter-cowpokes Gil Carter (Henry Fonda) and Art Croft (Harry Morgan) rode into the town of Bridger's Wells; they watched the formation of a frenzied, angry vigilante, frontier-justice posse (lynch mob) when an unverified report arrived that a local rancher named Kinkaid had been shot dead by cattle rustlers
  • the ignored pleas of white-haired, level-headed storekeeper Arthur Davies (Harry Davenport) that they cautiously not take any extreme actions until Sheriff Risley (Willard Robertson) was notified about the alleged murder of Kinkaid: "Don't let's go off half-cocked and do something we'll be sorry for. We want to act in a reasoned and legitimate manner, not like a lawless mob"
  • the blood-thirsty posse was led by stern-faced, sadistic ex-Confederate officer Major Tetley (Frank Conroy), and others including his reluctant son Gerald Tetley (William Eythe), Kinkaid's loyal buddy-ranchhand Jeff Farnley (Marc Lawrence), rough female Jenny "Ma" Grier (Jane Darwell), power-hungry, sadistic bully, Deputy Sheriff Mapes, aka "Butch" (Dick Rich), and bearded, drunken town bum and redneck Monty Smith (Paul Hurst)
Members of Assembled Posse
Major Tetley
(Frank Conroy)
Jenny "Ma" Grier
(Jane Darwell)
Deputy Sheriff Mapes aka "Butch" (Dick Rich)
Gerald Tetley
(William Eythe)
Monty Smith
(Paul Hurst)
Jeff Farnley
(Marc Lawrence)
  • in the film's climactic conclusion, three accused and suspected homesteaders were led to the base of a gnarled tree for a hanging, where three nooses had been hanging prominently and ominously throughout the previous sequence
Three Accused Suspects
Rancher/Family Man Donald Martin
(Dana Andrews)
Stoic, Defiant Mexican Juan Martínez
(Anthony Quinn)
Confused and Senile Old Man: Alva 'Dad' Hardwicke (Francis Ford)
  • the scene of the "trial" at the hanging tree with only circumstantial evidence; cowpoke Gil Carter witnessed the sham trial and forcefully stated to the lynch mob: "Hangin's' any man's business that's around...Hangin' murderers is one thing, but to keep guys you don't know for sure did it standing around sweatin' while you shoot your mouth off, that's another" - but was restrained and silenced by the vigilante mob
  • Donald Martin (Dana Andrews) pleaded with Major Tetley for reconsideration, as he was about to be strung up: "Justice? What do you care about justice? You don't even care whether you've got the right men or not. All you know is you've lost something and somebody's got to be punished...You butcher!"
  • the actual hanging - at the moment of their execution, the victims, with ropes around their necks, were placed on horses that were whipped out from underneath them; just beforehand, reluctant son Gerald Tetley (William Eythe) received a vicious gun butt in the face from his father for refusing to whip one of the horses
  • the shadows of the three men's bodies were seen swinging on the ground; to "finish 'em," Jeff Farnley fired bullets from his rifle into all three men to ensure that they were dead; the posse left as the town's unofficial preacher/hymn-singer Sparks (Leigh Whipper) sang about each of the three souls journeying through the Lonesome Valley and standing alone before their Maker
  • on the way back to town, the posse met Sheriff Risley who was shocked to learn what they had done: "Larry Kinkaid's not dead!"; a wounded Kinkaid was being treated by a doctor and they "caught the fellas who shot him too"; the Sheriff condemned them with contempt in his voice: "God better have mercy on ya. You won't get any from me"
  • the sequence of stiff-backed Major Tetley shooting himself (off-screen) behind his locked door, after listening to his disgruntled son Gerald outside the front door on the porch, who had just finished criticizing him for being a weakling: ("I saw your face. It was the face of a depraved, murderous beast. There are only two things that have ever meant anything to you: power and cruelty. You can't feel pity. You can't even feel guilt. In your heart, you knew those men were innocent, yet you were cold crazy to see them hanged, to make me watch it. I could've stopped you with a gun, just as any other animal can be stopped from killing, but I couldn't do it because I'm a coward. Heh, heh, heh. Aren't you glad you made me go, father? Weren't you proud of me? How does it feel to have begot a weakling, Major Tetley? Does it make you afraid there may be some weakness in you too, that other men might discover and whisper about? Open the door, Major! I want to see your face. I want to know how you feel now!") (gunshot)
Harsh Words of Son Gerald
Major Tetley Listening
Door Behind Which Major Tetley Killed Himself
  • the heartbreaking final scene in the town's saloon, of Gil Carter's posthumous reading of the letter of one of the lynched victims, Donald Martin, written to his wife, after the three victims had been declared blameless: "...A man just naturally can't take the law into his own hands and hang people without hurtin' everybody in the world, 'cause then he's just not breakin' one law, but all laws. Law is a lot more than words you put in a book, or judges or lawyers or sheriffs you hire to carry it out. It's everything people ever have found out about justice and what's right and wrong. It's the very conscience of humanity. There can't be any such thing as civilization unless people have a conscience, because if people touch God anywhere, where is it except through their conscience? And what is anybody's conscience except a little piece of the conscience of all men that ever lived? I guess that's all I've got to say except - kiss the babies for me and God bless ya. Your husband, Donald"
  • the film's last lines were spoken by Gil to Art as they saddled up - he was determined to deliver the letter personally: "He said he wanted his wife to get this letter, didn't he? Said there was nobody to look after the kids, didn't he?"

Two Cowpokes' Arrival in Town

Protest by Shopkeeper Arthur Davies (Harry Davenport)

The "Trial"

Three Hanging Ropes and Three Horses

Gil Carter's Defense: "Hangin's' any man's husiness that's around"

Martin: "What do you care about justice?"

Shadows of Three Hanged Men

Sheriff Risley to His Deputy: "Larry Kinkaid's not dead!"

Gil Carter's Outloud Reading of Martin's Letter in the Town's Saloon

Carter's Final Lines of Dialogue

(alphabetical by film title)

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

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