Greatest Film Scenes
and Moments



P1

 





P
Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

Paisan (1946, It.) (aka Paisà)

In Roberto Rossellini's war-time, neo-realistic, propagandistic docu-drama about the liberation of Italy in WWII - an anthology divided into six episodes or vignettes - it was his second post-war follow-up film to Rome: Open City (1945, It.):

  • in the bleak, ragged, rough and minimalist film - in its sixth and final downbeat episode set in the Po River Delta of Italy, in December 1944: during guerrilla warfare, a group of American-Allied OSS agents, two British airmen, and six Italian partisans had been captured by the Germans behind enemy lines
  • from a long distance away, the camera recorded a moving and horrifying scene - the sacrificial deaths of six Italian POWs who were bound (hands tied behind their backs), and pushed - one-by-one - into the water from the side of a boat to drown (they were not protected under the Geneva Convention treaty); one American officer and one British officer on the shore objected and ran toward the boat, and were quickly gunned down by the Germans; the remainder of the executions were conducted - and the film ended on the watery waves calming down from the body splashes
  • the passionless narrator (Giulio Panicali) spoke (in voice-over): "This happened in the winter of 1944. At the beginning of spring, the war was over"

Italian Partisans Captured

Drownings

Waves


Pakeezah (1972, India)

In writer/director Kamal Amrohi's romantic melodrama (with music) - one of the best Bollywood films of all time, and India's first Cinemascopic color film - with incredible, complex and elaborate set-production design:

  • the film's main setting, a red-light district brothel (or katha) in North India (Lucknow) at the turn of the century, where nautch-girls or tawaifs (prostitute-girls who sang and danced for rich noblemen in exchange for money) could be seen far into the distance and background on various multi-storied levels of the brothel
Red-Light District Multi-Level Brothel
  • the back story: a Muslim courtesan named Nargis (the director's wife Meena Kumari) had attempted to elope with her lover Shahabuddin (Ashok Kumar); when rejected by Hakim Saab (D.K. Sapru) - the patriarch of Shahabuddin's family, Nargis fled to a graveyard to live there; on her deathbed after delivering a baby, she wrote him a letter (never delivered) asking him to come for his newborn daughter
  • the main protagonist in the current day - young, pure at heart Sahibjaan (or Sahib Jaan) (also Kumari), Nargis's grown-up daughter, brought up by brothel madame Nawabjaan (Veena), her mother's sister; the young girl entranced male visitors to the brothel with her beautiful dancing and singing, but was not allowed to fall in love
  • the scenes of Sahibjaan's forbidden romance with aristocratic, wealthy prince Salim Ahmed Khan (Raaj Kumar), Shahabuddin's nephew, who renamed her "Pakeezah" (meaning 'pure one or girl') in order to legally marry her - although his offer of marriage was refused because of parental pressure (the same fate as her mother!)
  • the film's conclusion - ironically Sahibjaan was invited to dance a mujra at Salim's wedding to another woman, where she performed on broken glass (symbolically seeking a destruction of their love); during the ceremony, she met with her lost father, Shahabuddin, who gave his dying permission for Salim to marry Sahibjaan ("Pakeezah")
  • the final view was of a 'real' Pakeezah, another young brothel girl watching from another balcony, who was trapped, as she watched 'Pakeezah' taken away by Salim; in contrast, she would never have a man who loved her come into her life and take her away from the brothel

Daughter Sahibjaan Performing on Broken Glass at Wedding

Sahibjaan ("Pakeezah")

Young Brothel Girl Watching

The Palm Beach Story (1942)

In Preston Sturges' fast-paced 'comedy-of-errors' classic screwball comedy - about the threatened relationship between a married couple with the frustrated wife seeking divorce; also it provided an amusing look at life among billionaires in Palm Beach, Florida:

  • the frenzied opening credits marriage sequence set in 1937 set to the tune of the William Tell Overture - a deliberately puzzling, freeze-frame montage of confusing, mystifying marital vignettes without dialogue (unexplained until film's end, when it was revealed that both fiancee-protagonists were identical twins, and each married the wrong person!)
Confusing Opening Title Marriage Sequence
  • the opening conflict five years later in 1942 between the financially-strapped couple living in an apartment on Park Avenue in NYC, and delinquent in their payments - frustrated wife Gerry (Claudette Colbert), a scatter-brained and fortune-seeking female, and her beleaguered husband - poor, unsuccessful struggling inventor and visionary architect Tom Jeffers (Joel McCrea)
  • their financial straits were temporarily reprieved when hard-of-hearing "Wienie King" (Robert Dudley), a bothersome, rich prospective apartment renter-tenant from Texas in the "sausage business" generously gave Gerry $700 dollars (covering her rent and other bills and expenses, now making her "debt-free"); he theorized charitably: "Someday you'll wake up and find everything behind you. Gives you quite a turn. Makes you sorry for a few of the things you didn't do while you still could"
  • dreading being in debt the next month and "tired of being broke", Gerry explained to Tom that she was contemplating breaking up after a five-year marriage; she was planning to move out and walk out on him - she theorized that she could make him happy by becoming an "adventuress" - finding a new, wealthy husband (pre-approved and in his "good graces") who might help him realize his ambitions and offer a business partnership to support him: "To know that I could get you someplace without doing any harm either. You have no idea what a long-legged gal can do without doing anything. And instead of that, I have to watch you stamping around proudly, like Sitting Bull in a new blanket, breathing through your nose while we both starve to death"
Gerry's and Tom's Dress Unzipping and Romantic Kissing
  • their romantic scene - upon their return home after dinner - and both a little tipsy, Gerry matter-of-factly stated: "You know we don't love each other anymore. We're just habits, bad habits...And when love's gone, there's nothing left but admiration and respect"; when she was unable to unzip the back of her dress, he assisted and had her sit on his lap - and their love and fondness for each other was rekindled as he reminded her: "You don't think this is a little intimate, do you? Doesn't mean anything to you anymore to sit on my lap, huh?...What if I kiss you there?...Or there?"; she shuddered under the spell of his passionate kisses on her back, but denied any effect: "It's nothing"; however, she succumbed as he wrapped his arms around her, and pulled her to himself on the couch; when he asked: "That doesn't mean anything to you anymore, huh?", she breathlessly replied: "Almost nothing" (as her toes curled forward!); she allowed herself to be limply carried upstairs to their bedroom - their kissing was a prelude to lovemaking
  • the next morning, Gerry left a goodbye note enroute to a divorce: "Darling, Just because you got me soused last night doesn't alter the logic of the situation. Good bye, Good luck. I love you. Gerry"
  • the madcap and raucous scenes on the southbound train to Florida when runaway wife Gerry, on her way to obtain a divorce, experienced the tipsy Ale & Quail Club - an unruly group of aging sportsmen and millionaires; on the train in the sleeping berth area, she met the wacky character of crackpot billionaire J.D. Hackensacker III (Rudy Vallee); later, she had breakfast with him, and bought her hundreds of dollars worth of extravagant clothes and accessories in a store; they transferred to his yacht, named The Erl King, for the rest of the trip from Jacksonville to Palm Beach
  • with her beauty, ingenuity, luck and appealing charms, Gerry's intention was to live the 'good life' in Florida and obtain monetary support; she told Hackensacker that she needed the cash to 'pay off' her husband, who demanded an alleged payment of $99,000 before granting a divorce - her real intention was to help her struggling husband's failing career
  • examples of Hackensacker's pithy, funny one liners: "Chivalry is not only dead, it's decomposed!" and "That's one of the tragedies of this life - that the men who are most in need of a beating up are always enormous!"
  • the arrival at the West Palm Beach dock, where Hackensacker was greeted by his eccentric, carefree, man-crazy, oversexed, fast-talking oddball heiress sister Princess/Countess Centimillia (known as "Maude") (Mary Astor) - the five-time-married Princess Centimillia had been divorced three times: "She was annulled twice"; she called her brother Snoodles, who resided in her Palm Beach mansion
  • the premise of complicated mistaken identities, when Tom pursued Gerry to West Palm Beach, Florida, and to hide her ploy at the dock, she claimed he was her brother Captain McGlue; the Princess immediately fell for Tom (Gerry claimed he was not married but "entirely free") and she invited both of them to stay at her mansion; Gerry was immediately worried that Tom might ruin Hackensacker's offer to pay $99,000 for her divorce, and to also bankroll his fanciful plan of a "suspended airport" for $100,000 -- (Gerry to Tom: "You're going to get your airport if I have to build it for you myself - after I'm married")
  • the sequence of Hackensacker's elaborate efforts to romantically serenade Gerry on her balcony by singing "Goodnight Sweetheart" - with the backing of an orchestra, while Tom was amorously seducing Gerry in his bedroom, without his knowledge; Gerry joked to Tom: "I hope you realize this is costing us millions"
"Goodnight Sweetheart" Serenade Sequence
Hackensacker Serenading Gerry
Tom Unzipping Gerry's Dress
Tom's Amorous Seduction of Gerry
  • Gerry announced to Hackensacker that she had decided to return (with McGlue) to her husband back in NYC; even so, Hackensacker promised to keep his promise as a benefactor to finance McGlue's airport for $100,000; but then Gerry revealed the entire masquerade: "He isn't exactly my brother...He's my husband!"; Hackensacker continued to insist on financing the Jeffers' airport as a good business decision
  • in the aftermath - due to the lucky coincidence (or weak plot contrivance) that both Tom and Gerry were identical twins, there was a return to the wedding altar sequence in the prologue; Centimillia married Tom's identical twin brother, and Gerry's identical twin sister married Hackensacker; Tom and Gerry stood by on the left as Best Man and Bridesmaid; a caption appeared: "and they lived happily ever after, or did they?"
Ending: Double Marriage of Identical Twins

Gerry Jeffers
(Claudette Colbert)


Tom Jeffers
(Joel McCrea)


"Wienie King" (Robert Dudley)

Gerry's Good-bye Note to Tom

On the Southbound Train - The Ale & Quail Club Singing "Sweet Adaline" to Gerry

On the Train: Gerry Meeting J.D. Hackensacker III
(Rudy Vallee)


Having Breakfast with Hackensacker

In an Extravagant Clothing Store

On Hackensacker's Yacht, the Erl King

Princess/Countess Centimillia ("Maude") (Mary Astor)

On the Dock - Introducing Tom to Maude as Her 'Brother' Captain McGlue

Flirtatious "Maude" with Tom

End of the Masquerade - Tom Was Gerry's Husband!

Another Bombshell: The Existence of Both a Twin Brother and a Twin Sister!

Pandora's Box (1929, Ger.) (aka Die Büchse Der Pandora)

In director G.W. Pabst's classic silent film melodrama - an early erotic and hypnotic silent film melodrama that produced hateful critical reviews for its overt sexuality, and was heavily edited/censored:

  • the main character - the insatiable, free-spirited, 18 year-old cabaret chorus girl and femme fatale Lulu (Louise Brooks), a tempting goddess wearing silky dresses and billowy gowns, even though she sported a black bob (pageboy) haircut
  • the early instance in which Lulu, the mistress of obsessed and spell-bound patron Dr. Schon (Fritz Kortner) - a wealthy newspaper owner, was caught in compromising position with men; Schon found her socializing in her apartment with another man: Schigolch (Carl Goetz) (either Lulu's pimp or father?) in her apartment; soon after, Lulu also took an interest in Rodrigo Quast (Krafft-Raschig), a trapeze circus performer (and future blackmailer)
  • the sequence of Lulu hired to perform as a dancrr in a musical revue production by Schon's own son Alwa (Franz Lederer), with whom Lulu also had an affection
With Dr. Schon
With Dr. Schon's Son Alwa
Schon's Fiancee Charlotte
  • the scene of femme fatale Lulu caught backstage on opening night in a wardrobe room scandalously kissing Dr. Schon by his more socially-acceptable fiancee Charlotte Marie Adelaide von Zarnikow (Daisy d'Ora) and by Alwa
Scandal: Lulu Caught Kissing Dr. Schon Backstage
  • after forced to break off his engagement to Charlotte, the scene of Dr. Schon's subsequent wedding party in which his virginally white-dressed (inappropriately), bi-sexual and amoral bride Lulu engaged in an intimate, flirtatious dance-waltz with black silken-dressed, chic lesbian aristocrat Countess Anna Geschwitz (Alice Roberts) - it was notable as being the first film to present a well-developed lesbian character
  • the dramatic scene in which bridegroom Dr. Schon became enraged with jealousy at his fiancee Lulu for her starry-eyed flirtations with Alwa (who professed: "I can't live without you any longer"), and also for her playful flirtations with Schigolch (revealed as her father) and Quast in the bedchamber; Schon thrust a gun at her, and commanded her to shoot herself: "Take it! Kill yourself!...so that you don't drive me to murder as well" - and the moment of Schon's accidental murder during a struggle for the gun between them and the gun discharged
  • the trial scene in which the prosecutor accused the hedonistic Lulu (wearing a black veil) of being like a Pandora's box of evil ("The Greek gods created a woman: Pandora. She was beautiful, charming, versed in the art of flattery...But the gods also gave her a box containing the evils of the world. The heedless woman opened the box and the evils were loosed upon us"); she was charged with manslaughter; ultimately, she would be punished for unleashing Pandora's box of evil
Threatened and Ultimately Knifed by Jack the Ripper
  • the expressionistic finale on Christmas Eve as destitute prostitute Lulu became another gleaming-knifed victim of Jack the Ripper (Gustav Diessl); she ended up dying at the hands of the Ripper in London's squalid Soho when he glanced at the knife on a nearby table and couldn't control his homicidal impulses; during an erotic embrace and kiss, he grabbed the knife and stuck the sharp and gleaming knifeblade into her back (off-screen) (her hand grasping him went limp to indicate her death); meanwhile outside, the Salvation Army paraded through the fog

Lulu (Louise Brooks)

Dr. Schon (Fritz Kortner)




Wedding Party Scene: The Forbidden Lesbian Dance With the Countess


Flirting with Alwa at Her Wedding to His Father

Lethal and Accidental Shooting of Dr. Schon

Lulu at Trial for Manslaughter of Dr. Schon


Jack the Ripper
(Gustav Diessl)

Pan's Labyrinth (2006, Sp./Mex./US) (aka El Laberinto del Fauno)

In Mexican filmmaker Guillermo del Toro's wondrously imaginative World War II era fantasy film set in Northern Spain during fascist Franco's repressive regime in the mid-1940s, a time of civil war - an inventive, multi-level world of war-time horror within an adult legend:

  • the prologue (following a zoom shot into the eye of a bloodied, dying young girl): one day, Princess Moana (Ivana Baquero), daughter of the King of the Underground Realm, escaped up to the human world (of blue skies, soft breezes and sunshine) where she was blinded by sunlight and her memory was erased; she became ill and eventually died; her King-father believed that her long-lost soul would eventually return by the next full moon, perhaps in another body, place, or time; he would wait for her
Prologue
  • in the opening, pre-pubescent 11 year-old orphaned heroine Ofelia (also Ivana Baquero) accompanied her sickly pregnant mother Carmen (Ariadna Gil) to meet up with her brutally sadistic and malevolent new stepfather Captain Vidal (Sergi Lopez) in a small remote Spanish district, with headquarters in an abandoned mill
Ofelia with Praying Mantis or Stick-Bug Insect-Fairy
  • young Ofelia sought refuge in an imaginary escapist world of storybooks; Ofelia's mother had skeptically warned: "Fairy tales? You're a bit too old to be filling your head with such nonsense"; she first communicated with a stick bug-praying mantis insect (CGI) that she believed was a fairy
Captain Vidal
(Sergi Lopez)
House Servant Mercedes
(Maribel Verdu)
The Resistance Rebels in the Forest
  • to illustrate the tyranny and brutishness of the oppressively evil and vain Captain - he personally murdered two innocent rabbit-hunting farmers (a father and son, by a face-stabbing and point-blank gunshot), then blithely dismissed his wrongdoing by having his chief house-keeping servant Mercedes (Maribel Verdu), who was secretly sympathizing with and aiding the Spanish Maquis rebels (led by her brother Pedro (Roger Casamajor)), prepare a stew with the rabbit meat
  • in her new forest home filled with fairies, she met a menacing, ominous, tall, goat-headed forest faun named Pan (Doug Jones) with curled horns - located at the center of a maze-like garden labyrinth; when the enigmatic Pan identified Ofelia as the reincarnated Princess Moana, she was challenged to a quest - three risky and daunting tasks to prove herself and reunite her with the underground realm and her true father: (1) retrieve a golden key vomited from the belly of a monstrous toad living inside a tree, and (2) retrieve a golden dagger from behind a small rock door (unlocked by the key) in the lair of the monstrous, vile, humanoid, devouring and child-eating, faceless Pale Man (also Jones) with pale elastic skin
  • during her scary confrontation in the Pale Man's lair, after retrieving the dagger, the monstrous creature was accidentally awakened from his slumber at a banquet table when Ofelia was disobedient and stole and ate two grapes - he took his detached eyeballs from the table in front of him, and placed them into eye sockets in the palm of his two claw-like stigmatic hands, to enable him to see so that he could pursue and eat Ofelia (drawings of him eating children decorated the banquet hall's walls), after he had consumed two of the fairies
  • the unexpected death of Ofelia at the hands of her own adoptive step father Captain Vidal - her murder occurred as she fulfilled the third of three challenging tests given to her by Pan to prove that she was the true Princess of the underworld realm; when she brought her newborn brother (her remarried mother died in childbirth) to the center of the labyrinth maze and presented him to Pan, she was told that there was only one "final task" ("The portal will only open if we offer the blood of an innocent") - she interpreted that the 'innocent' was her baby brother and she refused to take Pan's dagger and stab the baby ("My brother stays with me"); the pursuing Captain Vidal (who had earlier been stabbed and seriously bloodied by Mercedes) came up behind Ofelia and demanded the child; she was shot in the stomach when she objected - she fulfilled the test however, when the spilled blood from her hand opened a portal to the underworld kingdom; after the Captain left the labyrinth, he was forced to turn over the child to Mercedes before he was shot to death by the victorious rebels
Captain Vidal's Murder of Ofelia (Death of an "Innocent")
and Her Return to the Underground Realm
  • in the final sequence, Ofelia died in the labyrinth and was transported to the Underground Realm, where she was seen dressed in gold joining her dead mother Carmen/Queen and actual father, the underworld King (Federico Luppi), in the land of the fairies' throne room - she was applauded as the long-lost Princess Moana ("Your Highness"), whose soul had returned; she was invited to sit next to her father and rule at his side; she died believing that she had successfully completed the three tasks and achieved immortality
  • Pan spoke the last lines of the film, in voice-over: ("And it is said that the Princess returned to her father's kingdom. That she reigned there with justice and a kind heart for many centuries. That she was loved by her people. And that she left behind small traces of her time on Earth, visible only to those who know where to look")

Ofelia with Pregnant Mother Carmen

Two Rabbit Hunters - Brutally Murdered by Captain Vidal


Goat-Headed Pan in the Labyrinth

The Animatronic Giant Toad

After Ofelia Confronted the Giant Frog in the Mud and Retrieved the Golden Key

With the Insect-Fairy

Ominous Bloody Problems with Pregnancy of Ofelia's Mother





Grotesque Pale Man With His Eyeballs in Palms of His Hands


Ofelia's Death - Opening Up Portal

Paper Moon (1973)

In director Peter Bogdanovich's amusing road-drama - an engaging off-beat comedy of a wily, Depression Era con-man who sold Bibles to mourning widows, accompanied by his scheming and tough 'adopted' daughter (pairing real-life father-actor Ryan O'Neal and his nine-year old daughter Tatum O'Neal - who won the Best Supporting Actress Oscar for her substantial film debut role):

  • the early sequence in Gorham, Kansas in the mid-1930s at a gravesite for the funeral of Essie Mae Loggins - the coincidental meeting of the deceased mother's young and precocious, orphaned 9 year-old Addie Loggins (Tatum O'Neal), and fly-by-night Bible-selling con-man Moses "Moze" Pray (Ryan O'Neal), a family acquaintance (and her suspected 'father')
  • the diner scene in which Addie (while eating a Coney dog and drinking a Nehi soda) convinced Moze to let her accompany him on the road; she argued that the $200 given to him as compensation for the DUI car accident that killed her mother be given to her: ("We got the SAME jaw!" and "I want my $200"); she demanded the money, or she would report him to the police; he agreed to remain with her until he earned back the money to pay her; they continually bickered as they began their road trip
  • the scene of Moses' first unethical swindling by selling Bibles to recent widows, while representing the Kansas Bible Company and claiming the deceased husband had ordered the Bible; Mozes' first victim was Pearl Morgan, who bought a $7 Bible; from the car, Addie shrewdly watched the scam and realized how he was cheating and manipulating widows to make money
  • the image of the young Addie in their shared hotel room their first night, smoking in bed (Moses: "You're too young to smoke, you're gonna set this whole place on fire (long pause in the darkness) I now owe you $103.72 cents" - she corrected him: ".74") - she frequently cussed
  • Addie shrewdly suggested increasing the Bible price in certain circumstances, such as "12 dollars" for widowed Marie Bates (Yvonne Harrison) - paid for by a friendly lawman (Ed Reed), and conversely giving Bibles away free of charge to poor clients, such as Elvira Stanley (Eleanor Bogart), but charging "24 dollars" for rich widow Edna Huff (Dorothy Forster)
  • the scene of Addie's convincing con of an unsuspecting store salesgirl Miss Bramwell (Dejah Moore), claiming that she had given the vendor a "Happy Birthday"-inscribed $20 bill rather than a $5 ("Lady, you made a mistake...I gave you a $20 bill"); Addie also swindled a distracted cotton candy salesman (Desmond Dhooge) at a carnival
  • the romantic entrancement of Moses at the carnival, in the Harem Slave show tent, for gold-digging, good-time girl and busty exotic dancer Miss Trixie Delight (Madeline Kahn); Addie took an immediate jealousy-fueled dislike for Trixie
  • in a hilarious scene with a priceless monologue, after the group had a hillside picnic; Trixie tried to cajole Addie to come down to the car and sit in the back seat - Addie stubbornly refused and insisted on taking her place in the front seat; eventually Addie agreed to sit in the back, when Trixie predicted that Moze would tire of her and she would soon be on her way: ("Hey, what's up, kiddo? Daddy says you're wearin' a sad face. It ain't good to have a sad face. Hey, how'd ya Iike a coIorin' book? Would you like that? You Iike Mickey the Mouse? (She stumbled) Oh! Son of a bitch! Ah, now, come on down to the car and let's all be friends. You see me smiIe? Let Mama see ya smiIe Iike Aunt Trixie. Now come on. Come on down to the car with "MademoiseIIe." Kiddo, I understand how you feeI. But you don't have to worry. One of these days, you're gonna be just as pretty as "Mademoiselle," maybe prettier. You already got bone structure. When I was your age, I didn't have no bone structure. Took me years to get bone structure. And don't think bone structure's not important. Nobody started to call me "Mademoiselle" until I was seventeen and gettin' a little bone structure. When I was your age, I was skinnier than a pole. I never thought I'd have nothin' up here. (She pointed at her chest) You're gonna have 'em up there, too. Look, I'll tell you what. Want me to show you how to use cosmetics? Look, I'll let you put on my earrings, you're gonna see how pretty you're gonna be. And I'll show you how to make up your eyes. And your lips. And I'll see to it you get a little bra or somethin'. But right now, you're gonna pick your little ass up, you're gonna drop it in the back seat and you're gonna cut out the crap - ya understand? (She started down the hill, then turned around) You're gonna ruin it, ain't ya? Look, I don't wanna wipe you out. And I don't want you wipin' me out, ya know. So, I'm gonna level with ya, okay. Now, you see with me, it's just a matter of time. I don't know why, but, somehow I just don't manage to hold on real long. So, if you wait it out a little, it'll be over, ya know. And even if I want a fella, somehow or other, I manage to get it screwed up. Maybe I'll get a new pair of shoes, a nice dress, a few laughs. Times are hard. Now if you fool around on the hill up here, then you don't get nothin'. I don't get nothin'. You don't get nothin'. So how 'bout it, honey? Just for a little while. Let ol' Trixie sit up front with her big tits")
  • and later, the scene of Addie ingeniously devised and orchestrated a scheme to separate Trixie from Moses by having her bed Floyd (Burton Gilliam), their front-desk clerk at the Exchange Hotel, and getting Moses to walk in on them having sex - the ploy worked
  • the tearjerking scene of young Addie being dropped off at her relative Aunt Billie's (Rose-Mary Rumbley) place in St. Joseph, MO; as he removed her luggage, she left him an envelope with a picture of herself in his car - it had been taken at the carnival of her sitting on a 'paper moon' (a crescent moon swing) - her objective was to be reunited again with him on the road
  • Addie's sweet Aunt offered to make the young girl's life very comfortable in her home: "Everybody's gonna be so happy to see ya. We're gonna get those clothes off of you and you're gonna get into a nice, fresh bath. And then you're gonna sleep in your own little bed, alongside your cousin Edna. l just near give up on you, child. l bet you're starvin' to death. l'm gonna cut ya a big piece of pie. We got those telegrams, and then we never did hear from ya"
Dropped Off At Her Aunt's Place, But Then Reunited
  • shortly later, however, Addie ran away from her Aunt's place so that she could continue swindling and grifting with Moses on the road; Moses saw her coming over the hill in his rear-view mirror; she ran after him with her bags and caught up with him sitting in his stalled truck only a short way down the road (he had paused and had second thoughts after he had found her 'paper moon' picture); at first, however, he told her: "I told ya, I don't want you ridin' with me no more" - she firmly disagreed and retorted: "You still owe me $200 dollars!" - and although he was outraged with her, they both found themselves having to jump onto his dilapidated, brakeless Model T farm truck that began rolling away; she alerted him: "Oh, look!" - he grapped her bags and urged: "Come on, hurry up!"

Funeral Gravesite


Diner Scene: 9 Yr. Old Addie Loggins with Con-Man Moses (or "Moze") Pray

Addie Smoking in Bed

Addie and Moze On the Road

Swindling Scheme: Selling Bibles to Recent Widows - With Addie's Assistance

Addie Conning a Salesclerk - the $20 Bill Scheme

At the Carnival

Miss Trixie Delight (Madeline Kahn)


Trixie vs. Addie (Arguing About Seats in the Car): "Let ol' Trixie sit up front with her big tits"

Setting Up Hotel Desk Clerk Floyd with Trixie

Papillon (1973)

In director Franklin J. Schaffner's lengthy, episodic, biographical prison-escape film, highlighting the horrible prison conditions in the notorious French penal colony - the film's tagline: "FOR PAPILLON SURVIVAL WAS NOT ENOUGH. HE HAD TO BE FREE":

  • the character of indomitable French safecracker Henri "Papillon" Charriere (Steve McQueen) (nicknamed "Butterfly" for his chest tattoo), imprisoned for life for murdering his pimp (although he claimed that he was framed); Papillon met a fellow prisoner during the voyage to French Guiana: withdrawn and shy embezzler and counterfeiter-forger Louis Dega (Dustin Hoffman) with Coke bottle-thick glasses
  • after arrival in the seaside town of Saint-Martin-de-Re in French Guiana, the prisoners were welcomed to the Penal Colony - the two soon bonded in friendship after Papillon became Dega's bodyguard
Henri "Papillon" Charriere (Steve McQueen)
Louis Dega
(Dustin Hoffman)
Papillon and Dega
  • the view of the three infamous islands (St. Joseph's, Royale and the brutal Devil's Island on the right) - Devil's Island was where some of the more extreme prisoners would be kept for punishment ("The current is so strong it'll push you right back where you started from. You know, when you're on those islands, you're there for keeps!"); most prisoners were assigned to the harsh work camp known as Kilo 40
  • the stern and hopeless speech given to Papillon by Warden Barrot (William Smithers) - after his first failed escape attempt, and his sentencing of two years in solitary confinement on St. Joseph's Island: "The rule here is total silence. We make no pretense of rehabilitation here. We're not priests, we're processors. A meatpacker processes live animals into edible ones. We process dangerous men into harmless ones. This we accomplish by breaking you. Breaking you physically, spiritually, and here (he pointed to his head). Strange things happen to the head here. Put all hope out of your mind and masturbate as little as possible. It drains the strength. That's all, take him away"
  • during a brutal interrogation, Papillon was threatened by continuing solitary confinement and starvation, but was told he could be back on full rations if he ratted on his food helper-benefactor (Dega) who had been providing him with coconuts: ("Unless you tell us who sent them, your rations will be cut in half....I want that name and I want it now. Put him on half rations and screen his cell for six months. Darkness does wonders for a bad memory"); later, Papillon was again questioned: ("Give me the name and you're back on full rations. Just one name"), he curtly responded: "Well, I don't get that hungry" - when told: "You'll starve, you should see yourself," he replied: "I was born skinny"; the Warden warned: "Then you'll die"
  • finally, after Papillon lost a molar tooth, he decided to promise to squeal to the Warden, but instead rambled incoherently like an insane man: ("I had the name, honest to God. I must be light - I must be light-headed or something because I'm trying. I'm trying. I can, l can't remember. Honest to God, I can't. I can't, I can't remember. It's not there, Mr. Prosecutor. I don't know, it's not, it's not there. No. It's gone"); he was declared almost dead ("He's dying. You're dead. Your term is completed") - he was released from solitary and sent to the infirmary to recover
Interrogation About a Benefactor
Worsening Conditions
2nd Interrogation: "I was born skinny"
  • the multiple times the obsessed Papillon continued to plot escape attempts but was usually recaptured and caged
  • after a miraculous second escape when Papillon was tracked by Indian natives and shot with drugged blow darts, he lept from a cliff into a river; he recuperated in an idyllic sequence in a remote jungle area of Charriere where he was nursed back to health by a Colombian Indian native tribe (the Guajiras) and by topless native pearl diver Zoraima (Ratna Assan in her sole feature-film appearance); he was requested by the tribal Chief to have his 'butterfly tattoo' replicated on his chest
  • after being apprehended a second time, Papillon was returned to St. Joseph's Island and released after another stint of solitary confinement (five years); afterwards, now white-haired and weak, he was taken to the remote Devil's Island, surrounded by high jagged cliffs; a guard cautioned: "We try to take things easy here. The sharks and the tide do all the real guard work so it's live and let live - unless you make trouble" - he was reunited with Dega: (Papillon: "It's funny you and me ending up here. We're the only ones left. Do you ever wonder about it?"); Papillon realized that Dega had become mentally-ill, half-mad and broken
  • during a final goodbye scene between Papillon and Dega, Papillon was waiting for the 7th large wave to take him to freedom on his third escape attempt: ("The mainland's only 24 miles. You just drift with the current. Only two days...They come in a series of seven. And the seventh wave is big enough to take us both out beyond the point of return"); Dega declined to join him, so thoroughly accustomed to the solitary life of gardening on the windswept lonely island; he begged Papillon not to attempt the plunge and leave him ("You'll be killed. You know that?...Please don't do it") - he refused to join him
Papillon's Final Escape Attempt from Devil's Island - Without Dega
  • Dega watched Papillon's final successful escape as he took a plunge off a Devil's Island cliff with his improvised raft made of a bag of coconuts lashed together; on the floating raft, Papillon challenged his keepers and yelled to the sky: "Hey you bastards, I'm still here!"
  • the narrator (director Schaffner) provided a voice-over epilogue, heard with a view of the abandoned and overgrown historic prison in French Guiana: "Papillon made it to freedom. And for the remaining years of his life, he lived a free man. This, the infamous penal system in French Guiana, did not survive him"

After a Boat Journey, "Welcome to the Penal Colony" in French Guiana

The View of the Three Infamous Prisoner Islands From Shore

The Warden to Papillon: "We make no pretense of rehabilitation here"

In Solitary Confinement

Turning Point: Loss of Molar Tooth

Feigning Insanity During Confession - Before Release

Reunited with Dega and Helped by Him


Idyllic Respite with Colombian Native Pearl Diver Zoraima

Tribal Chief Requested Papillon's Butterfly Tattoo

The End of 5 Years of Solitary Confinement

Sent to Devil's Island For the Remainder of His Sentence

The Parallax View (1974)

In Alan J. Pakula's post-Watergate political conspiracy film that paralleled the JFK assassination to some degree and was made during the Watergate era - with the tagline "As American as Apple Pie":

  • the opening assassination sequence, when prominent US Senator Charles Carroll (Bill Joyce) from California (and aspiring Presidential candidate) was delivering a speech ("I've been called too independent for my own good") in a room atop Seattle's Space Needle on Independence Day - and was gunned down; there appeared to be two red-jacketed waiters with guns, both employed to help cater the event, involved in the murder; one of them (who seemed to be set up) closer to the podium was chased to the roof, where he was wrestled by three men and rolled off to his death, while the second waiter - the real assassin (Bill McKinney) further back was unnoticed; among the many witnesses to the assassination was TV newswoman Lee Carter (Paula Prentiss)
Senator Carroll Before Assassination
The Real Killer: The 2nd Waiter (Bill McKinney)
  • after the murder, a government commission, the Carroll Commission, investigated the case for four months and held nine weeks of hearings; it declared the killing the work of a "lone gunman" - who was identified as waiter Thomas Richard Linder (Chuck Waters), with "no evidence of any wider conspiracy, no evidence whatsoever"
Joe Frady (Warren Beatty)
Lee Carter (Paula Prentiss)
Carter Dead
  • three years later, newswoman Lee Carter visited her colleague - rogue investigative newspaper reporter Joe Frady (Warren Beatty) who was also there the day of the assassination, and was often accused of "creative irresponsibility" - making news rather than just reporting it; Carter expressed fears that six of the witnesses to Carroll's death (out of eighteen) had suspiciously died in accidents; she was terrified that she was next: "Somebody's trying to kill me...These people were killed. And whoever killed them is going to try to kill me"; soon after, Carter was dead - of a suspicious drug overdose
  • the tense sequence when Frady visited the town of Salmontail where one of the witnesses, Judge Arthur Bridges, had died of a fishing accident there; Frady found himself threatened by Sheriff L.D. Wicker (Kelly Thordsen) who attempted to drown him at a dam by opening the dam's floodgates while holding a gun on Frady fishing in the water; the tables were turned and the Sheriff was the one to drown; in the Sheriff's house in a drawer, Frady found evidence that the Sheriff had been recruited by the shadowy Parallax Corporation in Los Angeles
  • the scene of Frady conferring with Senator Carroll's former aide Austin Tucker (William Daniels), who believed there was a conspiracy; during the visit, a bomb blast exploded the aide's boat - Tucker was killed, while Frady was believed dead; going undercover ("I'm dead and I wanna stay that way for a while"), he assumed an alias name ("Richard Paley"), and was contacted for recruitment to Parallax by Jack Younger (Walter McGinn)
  • Frady's obsessive pursuit of a possible conspiracy about political assassination ("Who's ever behind this is in the business of recruiting assassins") and his recruitment into the organization as a disaffected political assassin - with unforeseen consequences
  • the memorable six-minute sequence in the middle of this film - a 'brainwashing' montage-collage of non-verbal images (juxtaposed with white-on-black words such as "Love," "Mother," "Father," "Me," "Home," "Country," "God," "Enemy," and "Happiness") that functioned as a psychological test for Frady by the shadowy Parallax Corporation; words were repeated, the tempo increased, and the images became more violent
  • Frady's gradual awareness that he was being framed and set up by the company to take the fall for another similar assassination - this time the murder of Senator George Hammond (Jim Davis) in a convention hall during a dress rehearsal for a political rally, with a planted shotgun; Hammond was shot as he drove himself in a cart away from the podium; at Frady's feet was a planted, unused gun, and as he fled from the scene, people saw him and assumed that he was the assassin: "There he is!"
  • when Frady ran for the door exit, he was gunned down by a blast from a shotgun pointed at him by the real unseen assassin (Bill McKinney) - the same Parallax assassin responsible for the attempted murder of Senator Cunningham, and the murders of Senator Carroll, Bill Rintels, Senator Hammond - and probably many others
  • the ultimate official conclusion of The Hammond Commission (as it did at the film's opening), after an investigation of six months and 11 weeks of hearings - Frady was blamed for killing both Senators Carroll and Hammond

Death of the Framed "Killer" at the Space Needle

Report of the Carroll Commission

Sheriff's Attempted Drowning of Joe Frady in Salmontail

The Parallax Institute in Los Angeles

Boat Blast Killing Austin Tucker

Brainwashing Montage

Bill Rintels' Killer - the Parallax Assassin

Murder of Sen. Hammond in Convention Hall - Blamed on Frady

Planted Shotgun

The Gunblast That Killed Frady

Paris Belongs to Us (1961, Fr.) (aka Paris Nous Appartient)

In Jacques Rivette's low-budget, French New Wave debut film - a frustrating, dark, doom-laden, psychological thriller-mystery set in 1957 Paris:

  • the film's opening contradictory epigraph: "Paris Belongs to No One" from a poem by Charles Péguy, and the camera's blurry train trip (shot through the train window) through Paris, ultimately arriving at the apartment of college literature student-ingenue Anne Goupil (Betty Schneider) reading The Tempest; she heard the grieving and sobbing of a Spanish female neighbor who knew her older brother Pierre Goupil (François Maistre) (and falsely claimed he was dead!); she spoke about the death (or suicide?) of an unseen character named Juan
  • young innocent heroine Anne with her brother Pierre attended a Left Bank party scene of a diverse group of youthful, self-deluding, troubled bohemian idealists; the party was hosted by struggling and tortured theatre director Gerard Lenz (Giani Esposito), the current boyfriend of Terry Yordan (Françoise Prévost); she was the film's pivotal character - she was a political exile from the US, and also the mysterious femme fatale ex-wife of expatriate American and boozy, angry and neurotic Pulitzer Prize-winning writer Philip Kaufman (Daniel Crohem) who was escaping blacklisting McCarthyism
  • the main subject of party conversation was the mysterious and suspicious death of Juan (a strong-willed anti-Franco Spanish political activist, avante-garde guitarist and Terry's ex-boyfriend), and the possible intriguing and fearful notion of the existence of a secret worldwide organization involved in conspiracy and political assassination, including Juan as a victim: ("Everything's threatened - the world. And nothing can be done"); however, Terry claimed that her breakup with Juan was the cause of his suicide, not conspiracy; it was suspected, according to Philip, that Gerard would be the organization's next victim
  • a play-within-a film - director Gerard's rehearsal of Shakespeare's play Pericles, Prince of Tyre, and the choice of Anne to play the role of Marina in the off-beat, no-budget, bare-bones, left-wing summer production
  • Anne's elusive and intriguing detective-like quest for the truth about Juan's death, and for the dead Spaniard's legendary last musical guitar recording before his death, to be used as part of the soundtrack for Gerard's play
  • the sequence of a bizarre sidewalk cafe cameo appearance by Jean-Luc Godard (as Himself) wearing sunglasses, who was asked questions by Anne about Juan's tape recording - he responded: "A tape? It's possible. All Spaniards play the guitar"; he claimed he had heard the tape at a friend's place: "Tania somebody. A Russian name. A descendant of Genghis Khan...Tania Fedin" - who lived "near the Odeon somewhere"; Godard continued: "Was this Juan talented? He didn't look it - the Modigliani type. His genius lay in sitting for hours without saying a word. He'd watch passers-by, especially girls. If he didn't like someone, he'd hit him. Once he got two weeks for hitting a man he said was a Fascist spy. You believe that? It's OK by me"; he didn't believe in the rampant paranoia; Godard scribbled "You're adorable" on the edge of his newspaper and flirtatiously showed it to a cute female customer at a nearby table; when she ignored it, he stated: "That's all I know and all I want to know"
  • the unusual doodling artwork of writer Philip - pictures of evil, open-mouthed, growling and demonic, Pacman-like heads that littered his bedroom wall
  • at a private cinephile party, the viewing of an excerpt from Fritz Lang's Metropolis (1927, Germ.) - the sinister Tower of Babel sequence evoking capitalistic, dictatorial greed, cross-talking confusion, hands reaching skyward, and pride leading to apocalyptic destruction (and a blank white screen)
  • Anne's famous line of dialogue to her brother Pierre: "Am I going crazy, or is it the whole world?" - and Pierre's reply: "Both, kid"
  • in the confusing conclusion set in the outdoor woods near a country pond, Anne finally came to the conclusion that the deaths of Juan and Gerard (from suicide) had nothing to do with any coordinated conspiracy - it was speculated, however, that Juan might have been killed by agents of the Falange (Spanish Fascists); suddenly, there was a quick cutaway or sudden flash - a premonition in Anne's mind of a murder scene - Terry shooting and murdering her brother Pierre
Anne's Premonition of Femme Fatale Terry
Murdering Her Brother Pierre
  • and then shortly later when Terry drove up by herself, Anne was suspicious that Terry had just murdered her brother Pierre: ("You killed him, it's you!"); to add to the deadly motive, the ultra-paranoid Philip admitted that the existence of an evil international organization was completely fabricated and make-believe, and that he had been wrong about Pierre: "I was wrong, Terry. Pierre wasn't guilty....I was wrong, Terry. Pierre wasn't guilty"
  • during a final confrontation in the country house bedroom, Terry and Anne spoke together, and Terry briefly explained to Anne what was going on - Terry confirmed that her boyfriend Gerard had committed suicide, but that the organization was "just an idea. It exists only in Philip's imagination. It's easy to encompass everything in one idea. His idleness, his cowardice. Nightmares are alibis"; Anne was regretful about Gerard's suicide: "And Gerard died for that"; Terry continued: "Such organizations do exist, but less clear-cut. Money, policing, factions - all the figures of fascism. Evil has more than one face"
  • then, Anne asked about Pierre's fate: "And what about Pierre? Pierre too?" Terry: "Pierre is dead." Anne: "You killed him?" Terry: "Yes, for no reason...Anyway, he was a rat!" Anne: "And you?!" Terry: "We're imbeciles. It's all your fault. You sought the sublime. Poor fool" - Anne shouted: "Go away!"
  • by the downbeat conclusion, Anne's sleuthing had been unable to prevent Gerard's suicide, or the murder of her own brother Pierre; forlorn, she sat by herself at the country pond and watched white birds skim over the surface of the water
Downbeat Conclusion

Anne's Grieving Spanish Neighbor in Apartment

Left Bank Party

Thoughts of Conspiracy Regarding Death of Juan

Cameo by Jean-Luc Godard, Questioning Anne About Juan

Artwork on Wall in Philip's Bedroom

Viewing of Metropolis (1927)

Anne to Brother Pierre: "Am I going crazy, or is it the whole world?"

- Anne to Terry: ("And what about Pierre? Pierre too?)
- Terry ("Pierre is dead")


Terry Admitted to Anne That She Had Killed Pierre

Paris, Texas (1984, US/Fr./W.Germ.)

In director Wim Wenders' road movie drama, with the tagline: "a place for dreams, a place for heartbreak, a place to pick up the pieces":

  • the music of Ry Cooder accompanying the quest by dazed, amnesiac wanderer Travis Clay Henderson (Harry Dean Stanton) lost for four years - during the film's opening credits, he stumbled through and out of the Southwestern Texas desert, and ended up in a clinic in Terlingua, Texas
  • after his brother Walt Henderson (Dean Stockwell) was contacted in Los Angeles, Walt decided to drive to Texas and retrieve his "mute" brother; he told him about fearing him dead over the previous four years, but Travis didn't respond: ("Would you mind telling me where you disappeared to for the last four years? Uh, have you seen Jane? Or talk to her? Gee, Anne and I uh, we sort of gave up on you, we actually, we thought you were dead, boy")
  • at a diner, Walt also described how he and his wife Anne (Aurore Clément) had adopted Travis' now 7 year-old son Hunter (Hunter Carlson), when both Travis and his estranged wife Jane (Nastassja Kinski) went missing ("Travis, do you remember your little boy, Hunter? Well, he's with us. He's been living with Anne and me ever since you disappeared. We didn't know what else to do. So, we just kept him. One day, he was just standing at the door. All he could tell us was that someone brought him there in a car. He didn't know what'd happened to you, or Jane. So we tried everything we could think of to find you, or Jane. Tried to locate her, she'd vanished too. We didn't know what else to do")
Walt with Travis in Texas
Travis Requesting a Trip to Paris
Picture of Paris, TX and Travis' Vacant Lot
  • but then, suddenly after a long period of silence, Travis made a strange request: "Did you ever go to Paris?...Could we go there now?" - he wasn't referring to France, but to a small town in Texas (seen in a picture) where he owned a vacant lot bought when he was married - he believed he had been born there: ("Mama once told me that uh, that's where she and Daddy first made love...So I figured that that's where I-I have began")
  • upon arrival in Los Angeles, Travis became better acquainted with Hunter after watching Super 8 home movies of everyone together five years earlier on the Texas coast (when Hunter was three), and looking at an old photo album of family pictures
Super 8 Home Movies of Travis with Young Hunter
and Everyone Together, Including a Loving Jane with Travis
  • Anne revealed to Travis that a year earlier (and the last time there was contact), Jane called and requested to have a bank account opened for Hunter; in Houston, once a month, she would make wire deposits into the account for Hunter's future: ("She goes to this bank on the 5th of each month and wires money for Hunter....Sometimes a hundred dollars, sometimes fifty, or five. For Hunter's future. I had the bank trace the wire. It comes from a bank in Houston")
  • to locate and reconcile with Jane, Travis drove back to Texas (with a eager and cooperative Hunter who also wanted to find his Mom); on the drive, Hunter speculated about the Big Bang and the formation of the Earth: ("This whole galaxy, the whole universe, used to be compressed into a tiny spot this big. And, and you know what happened?... It went pfew and blew up....the Earth just formed into one hard big ball of ocean. Nothing but ocean. So, there are sea animals. And under the water, volcano went pfew! And the hot lava hit the water and formed rock to make land")
  • in Houston, Texas, Travis (with Hunter's assistance) located his separated wife Jane at a drive-in of the bank, and followed her from there to her sex industry job; as Hunter waited in the truck, Travis entered the upper-floor bar area and caught a glimpse of Jane; in the lower-floor peep-show booth area, he requested her by phone: "I want to see a blonde girl, with kind of short, straight hair, about 25 years old" - finally, he was united with her in her peep-show booth job on the other side of a one-way mirror (she couldn't see him)
  • Travis was silent for many minutes as she asked patiently: "Is there something I can do for you?"; he first spoke when he declined to have her remove her pinkish-red sweater, and then told her: "I don't want anything...I wanna talk to you"; she asked: "Is there something you want to tell me?...You can tell me, I can keep a secret"; she added that she mostly talked and listened to clients; he wondered: "What else do you do?"; she laughed nervously: "We're not allowed to see the customers out of here...We're not allowed to have any outside relationships with the customers"; he snapped back: "You can go home with them if you want to. All these places say that. I mean, how much extra money do you make? How much money do you make on the side?"; when she suggested that he talk to one of the other girls, he refused; she added: "I just don't think I'm the one you want to talk to," but she remained in the room when he urged her not to go. After she agreed to listen to him ("Relax and tell me what's on your mind. I'll listen... to you. I don't mind listening. I do it all the time"), he quietly got up and left the booth without her knowing.
  • the bravura scene of their second long conversation, when Travis delivered an 8-minute "I knew these people" monologue, a summation of their own life together, first happy and then evolving into an abusive and hateful relationship - ("I knew these people. These two people. They were in love with each other. The girl was very young, about 17 or 18, I guess. And the guy was quite a bit older. He was kind of raggedy and wild. And she was very beautiful, you know. And together they turned everything into a kind of adventure. And she liked that...."); Jane was unable to see him, until she realized that he was describing their life in his story - their images overlapped or melted together and then separated, followed by the climactic moment when she turned off the light in her room so she could view him and recognize him
Second One-Way Mirror Conversation
  • the heartbreaking conclusion of their talk - estranged father Travis volunteered to return Hunter to Jane in his downtown Houston Meridian Hotel room, #1520 ("He needs you now, Jane, and he wants to see you...He's waiting for you"); she picked up her son inside the hotel room, while Travis watched from afar in the parking lot, and then drove away with tears flowing down his cheeks; he had earlier stated that he believed Hunter would be best served by being with his mother ("I know that now. You belong together with your mother")


Travis Henderson Stumbling in Texas Desert

Travis' Brother Walt Henderson (Dean Stockwell) in LA

Anne Henderson
(Aurore Clément)


Travis' Son Hunter Meeting His Dad After Many Years


During Road Trip - Hunter Speculating on the Big Bang Theory and the Creation of Earth


First View of Jane at Bar in Strip Club


First Visit - Peep Show Booth Reunion Scene



Hunter Reunited with Jane in The Hotel Room

Travis Watching And Driving Off From Parking Lot

Passenger (1963, Poland) (aka Pasażerka)

In director Andrzej Munk's unfinished and incomplete documentary and Holocaust war drama, using only still photographic images in the unshot scenes - assembled by the director's assistant Witold Lesiewicz:

  • the opening explanatory montage of still shots of director Munk (he died in a car accident in 1961 before the film was completed), with voice-over commentary providing an overview of the film's making and production as a renovated salvage job: ("...We have no intention of adding what he had no time to say himself. We are not searching for solutions which might not have been his, nor seeking to conclude the plots which his death left unresolved. We merely wish to present what was filmed with all the gaps and reticence, in an attempt to grasp whatever is alive and significant. Andrzej Munk was our contemporary. We shared his hopes and fears, and while not anticipating the answers, we may perhaps manage to present questions that he wished to pose")
  • the main fragmented plot: on a journey home to Germany after many years, Liza (Aleksandra Slaska) - a former Auschwitz SS officer-guard, spotted a person she thought resembled someone she used to know -- Marta (Anna Ciepielewska) - a Polish woman and former Jewish POW inmate; Marta was seen by Liza from the ship's deck, boarding the luxury passenger ship's gangplank (all of the scenes on the ship's deck were still images); the sight of Marta triggered her long-forgotten memories ("What has Liza seen? Her husband does not understand why this encounter has upset her"), structured in a series of three flashbacks (moving images) - each one revealing a deeper and more complex view of Liza's past
  • after spotting Marta, Liza closed her eyes and the image flared to bright white - and the beginning of the first of the film's three flashbacks; there was a brief tour (with short recreated or re-enacted scenes) of the death camp of Auschwitz, including naked females at daytime enclosed in a circle and forced to run through a gauntlet of dogs and guards, scenes of death and hard labor, and the sight of the tattooing of a prisoner's arm
  • distressed by the memory, Liza spoke to her husband Walter (Jan Kreczmar): ("Don't call me 'poor little thing.' You know nothing about it. My time in the camp was not what you think, my dear Walter. I wasn't a prisoner, I was an overseer. Don't look at me like that. I didn't hurt anyone. And if Marta is alive, it's only because of me. I haven't told you much about my past. You were an emigrant. You'll never understand how we had to live and obey our leaders. Perhaps it's best for us both if you hear it at last..."); she offered a confessional voice-over to her husband during a second longer flashback - a self-justifying, redemptive, mostly sanitized and distorted version of her Auschwitz experience; there were more images of the camp - confiscated or left-behind possessions and trunks next to the train tracks, a lengthy tracking shot of the camp's barbed wire perimeter, the outside of the camp's brick buildings (with a view up to a crematory chimney with black smoke pouring out), the interior of a storehouse of inmates' discarded clothes, rows of grim-looking female inmates in muddy striped uniforms, and some examples of the brutalities suffered by the prisoners (often seen at the perimeter of the images)
  • Liza's second version of events at Auschwitz was also told - an interior monologue that marked the film's third and longest flashback - with the real subjective and emotionally-honest 'truth' of what had happened, when she supervised workers in the warehouse of confiscated goods; the vindictive and brutal Liza struggled to gain mastery and control over Marta and her attempted love affair with fellow prisoner Tadeusz (Marek Walczewski); included in her lengthy remembrances were more arrivals (of families and children being led to their deaths in an underground bunker), the many executions (hangings), gassings, crematory burnings, the immense piles of prisoner's possessions - including many baby carriages, vicious dog attacks in the mud, and a night-time 'game' when naked female Holocaust prisoners were forced to run between a gauntlet of dogs and guards
  • the indeterminate and unfinished ending - was the passenger actually Marta? - however, it was made explicit that Liza's Nazi guilt, crimes and complict self-justifications had followed her into the present day: ("The brush with the past did not last long. Marta, or someone resembling her, disembarked at the next port of call. The ship sails on. It's doubtful if the women will ever meet again. Liza won't be challenged by truths buried in the mud of Auschwitz. Nothing can disturb Liza's life among people indifferent to yesterday's crimes, who even today...")













The Passion of Joan of Arc (1928, Fr.) (aka La Passion De Jeanne D'Arc)

In director Carl Theodor Dreyer's silent film masterpiece

  • French warrior heroine Jeanne D'Arc's (Maria Falconetti) heresy trial (bound in chains) before the Holy Office of cruel, tormenting, grotesque inquisitors (stern priests, prison guards and judges)
  • the scenes of her ridicule, when she was shouted at, beaten, tortured, and deceived; also mocked and abused in prison, was given a fake crown to wear, and denied the Holy Sacrament, while she continually clung courageously and painfully to her faith (eventually with tears streaming down her face) without confessing to the charges
  • the verdict of guilty and her execution - burned at the stake (with an uplifted, beatific, and forgiving face)

The Passion of the Christ (2004)

In Mel Gibson's popular version of the final twelve hours of Jesus Christ's life (in Aramaic and Latin with English subtitles):

  • the quiet prayer scene of Christ (James Caviezel) in the garden of Gethsemane before the graphic and unforgiving torture scenes of Christ that included a whipping, a bloody crown of thorns, and the agonizing, unsparing crucifixion itself with nails driven into hands and feet


Pat and Mike (1952)

In director George Cukor's sports-related romantic comedy:

  • the scene of outdoorsy athlete and college phys-ed instructor Pat Pemberton (Katharine Hepburn) being criticized for her lack of coordination on the golf course (and advised to tense up her gluteal muscles in order to help her golf-stance) by screechy Mrs. Beminger (Phyllis Povah), and her retort after twice pushing her into a chair before hitting nine teed-up golf balls in a row: ("If you could possibly lift the needle from that long-playing phonograph you keep in your face....Watch this. Will you excuse me? (She struck nine golf balls) (To Mrs. Berninger) You know what you can do with your gluteal muscle? Give it away for Christmas")
  • the scene of sports promoter Mike Conovan (Spencer Tracy) telling Pat: "A lady athlete properly handled - always a market...I don't think you've ever been properly handled" and her retort: "That's right, not even by myself"; and then as she walked away across the golf course green, he commented on her figure: "Nicely packed that kid...There's not much meat on 'er, but what's there is cherce"
  • their concluding decision to get married: "Together, we can lick 'em all"




Pather Panchali (1955, India) (aka Song of the Road, or Lament of the Path)

In Indian director Satyajit Ray's first film, the low-budget, visually-poetic, coming-of-age drama (the greatest Indian film of all-time) - the first of an "Apu Trilogy" followed by Aparajito (1956) (aka The Unvanquished) and Apur Sansar (1959) (aka The World of Apu) - with its realistic portrayal of low-class poverty in India - backed by sitar ragas of famed Ravi Shankar:

  • the point of view of the protagonist Apu (Subir Banerjee) - the youngest child of a small Brahmin family in an impoverished, rural Bengal village, led by Harihar "Hari" Ray (Kanu Bannerjee), a well-intentioned dreamer (playwright and poet) and part-time priest, but not always a good provider for his overworked, self-sacrificing, harried wife Sarbojaya Ray (Karuna Bannerjee)
  • the character of elderly, stooped-backed, toothless, wrinkled crone-grandmother Indir Thakrun (Chunibala Devi), who did nothing to discourage Apu's older sister Durga (Uma Das Gupta) from stealing fruit from the neighbor's mango grove once owned by her family
  • the progression of simple daily life and survival, including meal preparation, the children chasing after the candy vendor, teasing, or playing
  • Durga's and Apu's favorite past-time - awaiting the thundering roar and whistling of an approaching train - and watching the big steam engines pass by (a symbol of promise and the future) from an adjacent meadow of tall grass and rice fields, and in one instance on their return, their discovery of their Auntie's starved-to-death, slumped-over body
  • the scenes of torrential and deadly monsoon rains and whistling winds that decimated the landscape, and brought a lethal chill of pneumonia to young Durga; as she was very ill and tended by her mother, the winds shook the door of their hut - with the accompanying image of Ganesh (the beloved, good-luck Hindu deity with an elephant's head) illuminated by the flickering flame of an oil lamp; when Durga perished from fever and respiratory exposure in the arms of her mother, the flame went out - and the statue of Ganesh was only visible during lightning flashes
  • the sequence of Harihar Ray's long-overdue return home after being away for five months to seek work - bringing gifts of a wooden board and rolling pin, and a picture of goddess Lakshmi for his wife ("Our worries are over. I'm back" - he reassured her) - and the eloquent wordless, grieving moment when Harihar realized that his daughter Durga had died in his absence (he had brought her a new sari) - his sobbing wife sank to the ground clutching the sari
  • in the film's conclusion, the family's bittersweet departure and move (sitting on the back of a bullock-cart) from their ancestral home to the city of Benares to find better living conditions









Paths of Glory (1957, UK)

In Stanley Kubrick's pacifist war film - the first of his anti-war trilogy, including Dr. Strangelove Or:... (1964) and Full Metal Jacket (1987):

  • the opening voice-over narration, setting the scene on the wartime's Western Front in France of 1916: "War began between Germany and France on August 3, 1914. Five weeks later, the German army had smashed its way to within 18 miles of Paris. There the battered French miraculously rallied their forces at the Marne River, and in a series of unexpected counterattacks, drove the Germans back. The Front was stabilized and shortly afterward developed into a continuous line of heavily fortified trenches zigzagging their way five hundred miles from the English Channel to the Swiss frontier. By 1916, after two grisly years of trench warfare, the battle lines had changed very little. Successful attacks were measured in hundreds of yards - and paid for in lives by hundreds of thousands"
  • the planning of a devastating suicidal attack on the impregnable "Ant Hill" - a German fortified enemy stronghold, ordered by vain, scar-faced divisional French General Paul Mireau (George Macready), and backed up by Corps Commander General George Broulard (Adolphe Menjou) - a wily, cultivated but calloused, evil, scheming and ruthless officer in the French High Command, who had commandered a grand, stately, palatial chateau as his headquarters
  • the endless, absorbing and dramatic tracking shot of Mireau uncomfortably walking through the muddy trenches, speaking to various soldiers, along with distant sounds of exploding mortars, on his way to meet with 701st Infantry Regimental Commander Colonel Dax (Kirk Douglas) and pass on the responsibility for his foolish strategy
  • the memorable, lengthy, tense, one-take shot sequence (about 65 seconds in length) of Dax striding solemnly through the center of the narrow trenches with bombs blasting on every side; the soldiers were readied with fixed bayonets to go over the top for the assault; Dax climbed a ladder, crouched, ready with a pistol in one hand, and after a countdown on his watch, he blew a whistle to signal his men to charge over the top of the trenches toward the Ant Hill
  • the stunning choreographed, ten-minute sequence of the disastrous failed attack on the Ant Hill, when hundreds of soldiers were slaughtered by machine-gun fire in no man's land - as Mireau called out: "Miserable cowards, they're not advancing...they're still in the trenches!"
  • the three scapegoated soldiers randomly selected to take the blame: Private Ferol (Timothy Carey), Corporal Paris (Ralph Meeker), and Private Arnaud (Joseph Turkel) - held responsible for the stupid blunders of the commanders, and court-martialed for "cowardice in the face of the enemy"
  • the taut and compelling court-martial trial sequence, held in the clean, gleaming, high-ceilinged ballroom of the chateau; the prosecutor argued for a guilty verdict: "And I submit that attack was a stain on the flag of France, a blot on the honor of every man, woman, and child in the French nation. It is to us that the sad, distressing, repellent duty falls, gentlemen. I ask this court to find the accused guilty..", while Dax argued for their acquittal: "Gentlemen of the court, to find these men guilty will be a crime to haunt each of you to the day you die. I can't believe that the noblest impulse in man, his compassion for another, can be completely dead here. Therefore, I humbly beg you to show mercy to these men"
  • during incarceration, the condemned men were brought their last meal - Ferol thought of escape, while Arnaud put his faith in Colonel Dax - possibly for a last-minute reprieve, and Paris wondered if they had friends among the guards; Corporal Paris spotted a cockroach: "See that cockroach? Tomorrow morning we'll be dead and it'll be alive. It will have more contact with my wife and child than I will. I'll be nothing, and it'll be alive"; Ferol crushed the cockroach with his fist and added: "Now you've got the edge on him"
  • the dawn scene at 7 am of the prisoners facing a firing squad-execution - Arnaud was strapped unconscious on a stretcher, Ferol continued to pray and kneel with a priest, and Paris was soberly silent and looked stoically resigned to his fate; in the tense, 7-minute firing squad scene, drums monotonously sounded in the background as the prisoners were marched between lines of soldiers to the open area near the chateau, where three stakes were set up; the firing squad raised its weapons (the ominous drum roll stopped), readied, aimed (with the commands: "Ready, Aim") - birds twittered - and then fired at the command to "Fire" - filmed subjectively from behind the firing squad; the victims momentarily twitched and then collapsed dead
  • the scene of Dax's post-firing squad meeting with General Broulard when he staunchly refused a self-serving promotion, and was then forced to apologize to the commander: "I apologize for not being entirely honest with you. I apologize for not revealing my true feelings. I apologize, sir, for not telling you sooner that you're a degenerate, sadistic old man. AND YOU CAN GO TO HELL BEFORE I APOLOGIZE TO YOU NOW OR EVER AGAIN"; Broulard innocently appealed: "Wherein have I done wrong?" - Dax gasped and replied bluntly and quietly: "Because you don't know the answer to that question, I pity you"
  • the final tavern scene in which a frightened, fragile, teary-eyed and innocent German blonde girl (Susanne Christian in the credits, actually Christiane Harlan, director Kubrick's future third and last wife) was forced to sing a well-known ballad for a group of Dax's French soldiers - a folk song of love in war, called "The Faithful Soldier," and the looks on their faces as they first humiliated her, and then softened, listened empathically and understood her pain
  • in the film's conclusion, Dax was outside the tavern, where he was watching and listening impassively; he received orders from Broulard to immediately return his unit to the front's trenches; to give his men the "short" rest they were promised but never fully received following the assault on Ant Hill, Dax replied, with the film's last line: "Well, give the men a few minutes more, Sergeant"
















The Patsy (1964)

In actor/director/co-writer Jerry Lewis' comedy about Hollywood pretense and celebrity, similar to Frank Tashlin's The Girl Can't Help It (1956) and even My Fair Lady (1964),The King of Comedy (1982), and Trading Places (1983):

  • the film's premise: following the death of famous comic Wally Brandford in an airplane crash in Alaska (footage from The Mountain (1956)), klutzy Beverly Hilton Hotel bellhop Stanley Belt (Jerry Lewis) - a totally-untalented unknown nebbish - was recruited and trained to replace him by an entourage of Hollywood professionals, including impresario/producer Caryl Fergusson (Everett Sloane), joke writer Chic Wymore (Phil Harris), publicist/press agent Harry Silver (Keenan Wynn), director Morgan Heywood (Peter Lorre in his last film appearance), stylist/valet Bruce Alden (John Carradine), and secretary Ellen Betz (Ina Balin), Stanley's future love interest
  • the timely appearance of bumbling, red-blazered bell-hop Stanley into a hotel suite - clumsily dropping a tray of glasses and bucket of ice cubes, and eventually falling off a balcony into the hotel's swimming pool
  • the scene of Stanley receiving voice lessons from music Professor Mulerr (Hans Conreid), and Stanley's multiple close-calls destroying the teacher's priceless antiques collection in the extravagant music studio; at the end of the training sequence during Mulerr's painfully long-held note after his right hand had been smashed inside the grand piano lid (and Stanley's own dissonant note joining him), the walls and ceiling of the room crumbled and self-destructed
  • the sequence of Stanley's failed lip-synching recording session, as he first made his way through a cluster of microphones, booms, and cables to an uncooperative music stand; when he attempted to sing, Stanley's voice was inaudible; someone in the control room yelled out: "I need more voice from the trio!" - Stanley was seen to be backed by a trio of singers (three incarnations of himself, all in ugly drag) who were singing "yeah-yeah-yeah-yeah"
  • Stanley's horrible live, lip-synching performance (to a pre-existing track) of his single: "I Lost My Heart in a Drive-In Movie" - a Billboard # 1 smash hit, on the KLUTZ-TV show, Teenage Dance Time, where he was first introduced by Dick Clark-lookalike Lloyd (Lloyd Thaxton); as the song began, Stanley mimed plucking guitar strings with his necktie, then missed his starting cue and began singing completely out-of-synch - and using four different 'voices'; as various keywords were heard, he pantomimed corresponding actions (for example, "heart" - he placed his hand over his heart, "drive-in movie" - he pretended to steer a car, at the sound of a honking horn - he did one pelvic thrust, and along with the line: "I wasn’t a bit hungry. I just wanted to taste her lip" - he puckered up with fish-lips, etc.)
  • the scene of Stanley's stage-fright during a very unsuccessful appearance at the Copa Café nightclub during his debut performance, when he stumbled onto the stage, clumsily interacted with the microphone, and then delivered an awful, stand-up joke-telling comedy act: "On the way here, my dog chased the car a lot. Uh, speaking of my uncle, he said I'm a psycho ceramic. And I said, 'Oh! What's that?' And he said, 'A crackpot.' My uncle said it. Then l have, uh, an aunt. l mean, l have a... And, uh, very absent-minded. And one day, uh, she had an itch and she poured syrup down her back and scratched her waffle...Are there any requests?"; someone in the hostile audience yelled back: "Yeah! Get off!"; he then suggested "I could do a number - my hit record - would anyone like to see that?”, but after he ineptly failed to set up a phonograph player for lip-synching his hit song and broke the record, he ad-libbed: "I could hum a part of it. Since you love jokes, that would be good, then. And since the phonograph wasn’t good, then maybe I could remember the song by heart - it would be better if I remembered it by mouth" - finally, after garbled attempts at singing, he did a few facial gags, and then asked: "Do you wanna hear more of that song?" - and his handlers in the audience magically transformed into a firing squad shooting at him
  • the flashback fantasy sequence of Stanley's humiliating high-school prom dance-hop experience, that he reminisced about with Ellen; he recalled how he had been mocked by other students for his rented tuxedo before he met the equally-gawky, teenaged Ellen and danced with her in the gymnasium of Harrington Heights HS; Ellen kindly reminded him after their shared memory together: "Of course it was good. The sweet things and the good things aren't always the things that make us better people. I think the heartaches and pleasant things, even the heavy burdens we've had placed upon us, make us stronger in the long run. And yes, it's nice to have pretty memories, and our hearts are happier when pain doesn't exist. But 'bad' is a test. If we can carry on after a bad thing happens, then we've grown up some. Wouldn't you agree?"
  • Stanley's climactic live-TV appearance on The Ed Sullivan Show, a "Big Night in Hollywood" silent pantomime skit, where he was introduced with a nod to Lewis himself: "The Beatles [and] Martin and Lewis all made their debuts"
  • in the finale, after Stanley had been disowned by his entourage, Stanley fell backwards to his 'death' from the hotel suite's 10th floor balcony when backing up from the ever-loyal Ellen; she began weeping, but when he reappeared (revealing it was only a fake cityscape set), he reassured her, and used her real name: "Aren't you overacting a little bit, Ms. Balling, Balin, Balin? It's a movie, see? I'm fine. The people in the theater know I ain't gonna die. It's a movie stage. Here, look at this, see? There's wires and lights and I'm gonna make more movies. So I couldn't die. It's like a make-believe. It's a dumb city"; when she responded to his real self: "Mr. Lewis, you are a complete nut," he replied, in jest: "Which reminds me, I'm having nuts and whipped cream for lunch. Would you join me please? Crew - that's lunch! One hour for the actors and seven days for the technicians. It's a movie set breaking once and for all, to go to have lunch..." - the camera reversed itself and broke the fourth wall, revealing the crew on the other side of the camera, as he walked off arm-in-arm with Ina Balin
















Patton (1970)

In Franklin J. Schaffner's Best Picture-winning biopic war film:

  • the unforgettable opening shot of fierce American General 'Old Blood and Guts' Patton (George C. Scott) in front of an enormous red and white-striped US flag, addressing the troops in a memorable 6-minute pep-talk monologue: ("Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country...")
  • the scenes of Patton standing in a street and firing his pistol at German planes during an air raid
  • Patton's battlefield confession: "I love it. God help me, I do love it so. I love it more than my life"
  • his threat toward Hitler ("And when we get to Berlin I am personally going to shoot that paper hanging son-of-a-bitch Hitler")
  • the scene of Patton's slapping of a 'cowardly' combat-fatigued soldier


The Pawnbroker (1964)

In director Sidney Lumet's psychological drama:

  • quick-cutting flashbacks representing Nazi concentration camp survivor and Harlem pawnbroker Sol Nazerman's (Rod Steiger) memory flashes (including his memory of outstretched hands next to barbed wire having jewelry removed from fingers by the Nazis)
  • Sol's skewering of his hand
  • the controversial scene in which a prostitute (Thelma Oliver) bared her breasts for him in exchange for money ("You've got to get me some money - Look!") - it was the first US film to show a woman nude from the waist up with bare breasts that was granted a Production Code seal because the nakedness was integral to the story

The Pearl (1947, Mexico) (aka La Perla)

In writer/director Emilio Fernández' drama with beautiful black and white cinematography (by Gabriel Figueroa), based upon John Steinbeck's original novella - and one of the first Mexican films to receive widespread distribution in the domestic US film market:

  • the underwater sequence of simple, impoverished Mexican fisherman-shell diver Kino (Pedro Armendáriz) discovering a bed of giant, untouched oyster shells after dropping his knife; when he risked his life to deep-dive for one very large one, he found the giant oyster with a beckoning valuable pearl inside - and barely made it back to the surface with his prized find
  • as he broke out into an hysterical laughter while holding out the pearl and looking up to the heavens, his wife Juana (María Elena Marqués) collapsed next to him
  • the film's parable - as he showed off the great pearl to the townspeople who held a celebration in his honor, he told them what he could now buy - a rifle, clothes and shoes for his wife, and money for his son's education; he added "These things will make us free...This is what the pearl will do. The pearl will make us free!" - although the valuable pearl would soon bring his family ruin, death, and despair
  • in various scenes, the pearl brought great disaster - Kino struck down Juana for wanting to throw the unlucky pearl back, and there was danger from greedy individuals - a Godfather (Alfonso Bedoya) and two other greedy pearl dealers (Fernando Wagner and Raúl Lechuga) who wanted to steal the pearl; Kino was forced to take human life in self-defense; also, the couple’s baby son Juanito was tragically shot by the Godfather, leading to another death when Kino vengefully killed him
  • in the final sequence, Kino stood next to his wife Juana on a cliffside ocean bluff as they decided which of them would toss the cursed pearl into the ocean waves; after Kino chose to throw the pearl where it had come from, he tightly grasped her wrist as she clenched her fist - and the film faded to black





Pearl Harbor (2001)

In Michael Bay's recreation of the Dec 7, 1941 Japanese attack:

  • the revolutionary, famous (or infamous) special effects shot, dubbed the "bomb-cam" - in which a bomb dropped on a ship was followed from its point of view as it was released, fell and exploded on the USS Arizona


Peeping Tom (1960, UK)

In director Michael Powell's highly-disturbing, British psychological horror film about voyeurism - a variation on Psycho (1960):

  • the 'voyeuristic' chilling story of shy, reclusive and disturbed young cameraman (and psychopath) Mark Lewis (Carl Boehm) who murdered women with his 16mm camera (with a cross-haired viewfinder creating a POV shot) at the time of their deaths with an ingenious mirror device attached so that his screaming, red-headed female victims could watch themselves die
  • in the opening title credits sequence, the scene of Mark's stalking and filming of the murder of a prostitute he met on a dark London street
  • Mark's capture of their distorted, fearful faces in a mirror as the sharp spiked leg of his camera tripod was plunged into their throats
Spiked Tripod Leg Murders
  • also the scene of the viewing of b/w home movies with red-haired female friend Helen Stephens (Anna Massey) - films of Mark's abused childhood when he was tormented by his professor-father (director Michael Powell himself) and experiments were conducted on him (e.g., his reaction to the lizard dropped on his bed)
  • Lewis' own suicidal death (in the same horrific manner that he often used) when he impaled himself in the neck with his own spiked device, as he spoke to spared Helen: "Helen, Helen, I'm afraid...And I'm glad I'm afraid," and then slumped to the floor before the police arrived
Threatening Helen - Then Suicide

Opening Title Credits Murder


Viewing B/W Home Movies - Abused Childhood


POV of Threatened Victim: "I made them watch their own deaths"

Pee Wee's Big Adventure (1985)

In director Tim Burton's garish first major feature film - a road film:

  • the normal outfit of the quirky and nerdy man-child Pee Wee Herman (Paul Reubens) character (tight and small gray flannel suit, white shoes, a large red bow tie, with lipstick, etc.)
  • the cartoon-like toy/contraption-filled environment of Pee Wee's home and the Rube-Goldberg breakfast routine he had created - in which he woke up and had breakfast completely made for him (pancakes, two eggs and bacon shaped like a happy face), topped off with Mr. T cereal
  • Pee-Wee's worship of his ridiculously over-gadgeted beloved bicycle (customized and complete with plastic lion's head on the handle-bar)
  • the scene of Pee Wee's argument with his neighbor Francis Buxton (Mark Holton): ("I know you are but what am I?"), and "PeeWee!" ("That's my name, don't wear it out!")
  • his famous remark after tumbling when he attempted to perform too many tricks on his bike, and told a group of young male onlookers: "I meant to do that!"
  • his Rebel Without a Cause (1955)-inspired warning to love interest Dottie (Elizabeth Daily): "There's things about me you don't know, Dottie. Things you wouldn't understand. Things you couldn't understand. Things you shouldn't understand...You don't want to get mixed up with a guy like me. I'm a loner, Dottie. A rebel"
  • his delighted perusal of Mario's Magic Shop (trying on X-Ray Spex, and at one point putting on an oversized ear and yelling, "WHAT? WHAT?")
  • his anguished realization that his overly-chained red bike had been stolen - and collapsing in a bike store - causing a row of bikes to topple over
  • his feverish questioning of Francis in an oversized bathtub - and PeeWee's offer of gum - that turned out to be "trick gum," and then his long over 3-hour meeting with his friends to discuss the loss of his bike, including a large detailed map and scaled model, and exhibits to look at
  • Pee Wee's search for his bicycle during a tour of America after a sham fortune-telling gypsy named Madam Ruby (Erica Yohn) told him it was in the Alamo's basement
  • while hitchhiking, Pee-Wee's helping of a fugitive con Mickey (Judd Omen) to escape the law by pretending to be his wife, and telling an officer when asked to step out of the car: ("Why don't you take a picture? It will last longer")
  • his crashing the car and strolling around in total darkness (cartoonishly, only his eyes were seen)
  • Pee-Wee's startling and hysterical encounter with the ghost of deceased trucker Large Marge (Alice Nunn)
  • Pee-Wee's nightmares about the fate of his bike (e.g., eaten by a T-Rex, destroyed by clown surgeons)
  • Pee-Wee proving over the phone that he was in Texas (he shouted "The stars at night are big and bright...", and a crowd sang back: "...deep in the heart of Texas!")
  • Pee-Wee's visit to the Alamo, the tour, and his question: "Where's the basement?...Aren't we gonna see the basement?" and his astonishment when informed: "There's no basement at the Alamo"
  • spoiled child actor Kevin Morton (Jason Hervey) growling at his director: ("Doesn't it look like I'm ready? I am always ready! I have been ready since first call! I am ready! ROLL!")
  • the cameo appearance of heavy metal rock group Twisted Sister
  • Pee-Wee's escape from the Warner Bros. studio lot where his bike was eventually located as a prop for a film - ensnaring Santa Claus, Godzilla, and swinging across a ravine on a bike and yodeling like Tarzan
  • Pee-Wee's hilariously deep-voiced cameo in a Hollywood movie about his own story, when he took the role of a red-uniformed bell-hop and delivered a PA announcement: ("Paging Mr. Herman, Mr. Herman, you have a telephone call")
  • the evocative closing shot as the silhouettes of Pee-Wee and Dottie bicycled sedately in front of the kissing Hollywood versions of themselves











Penny Serenade (1941)

In director George Stevens' classic heartbreaker melodrama:

  • the scene of childless parents Roger Adams (Cary Grant) and his wife Julie (Irene Dunne) bringing home an adopted baby girl
  • their nervousness about keeping quiet and their exhaustion after getting up all night with it
  • the scene before a judge a year later, when Roger (without an income) movingly begged and pleaded for the official to grant them a continuation of the adoption, rather than return the child to the orphanage: ("...the first time I saw her, she looked so little and helpless. I didn't know babies were so, so little. And then when she took a-hold of my finger and I held onto it. She, she just sort of walked into my heart Judge and, and she was there to stay. I didn't know I could feel like that... It's not only for my wife and me, I'm asking you to let us keep her Judge, it's for her sake, too. She doesn't know any parents but us. She wouldn't know what'd happened to her. You see, there's so many little things about her that nobody would understand her the way Judy and I do. We love her Judge, please don't take her away from us. Look, I'm not a big shot now, I-I'll do anything, I'll work for anybody. I-I'll beg, I'll borrow, I-I'll. Please, Judge, I'll sell anything I've got until I get going again. And she'll never go hungry, she'll never be without clothes not so long as I've got two good hands, so help me!")
  • and later, the scene of the aftermath following the death of their six-year-old child Trina (Eva Lee Kuney) following a brief illness, when the bereaving Mrs. Adams wrote a letter to the saddened adoption agency's representative Miss Oliver (Beulah Bondi): ("Since the night of Trina's death, we have been like strangers to one another. I don't know what to do. It seems as if there is nothing between us any more. I've tried to talk to him, but he does not wish to listen. He is punishing himself, not realizing that he is also punishing me")
  • the final scene in which another child, a two-year old boy, was offered for adoption to the Adams couple, communicated via a phone call from Miss Oliver: ("He's the exact image of the youngster you asked for when you first wrote to me. Do you remember? I have that old letter here in front of me now - 'Curly hair, blue eyes, dimples'. And this is strictly off the record, but really, another couple has the right to see him first, but he's such a remarkable baby that I thought perhaps you and Mr. Adams might take a look"); Julie responded with great anticipation: "Please don't have that other couple see him until we do!"





100's of the GREATEST SCENES AND MOMENTS
(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

Previous Page Next Page