Greatest Film Scenes
and Moments



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

Sirens (1993, Australia/UK)

In director John Duigan's artsy erotic film:

  • the liberated, anything-goes attitude of notorious Australian artist Norman Lindsay (Sam Neill)
  • the abundant display of female nudity by the artist's naked models/sirens (including supermodel Elle Macpherson and Portia de Rossi)
  • the carefree and playful cavortings of the women and the transformation of the minister's (Hugh Grant) repressed but intrigued wife Estella (Tara Fitzgerald)
  • the final long-shot of the naked sirens on an outcropping of rock

Sisters (1973)

In Brian De Palma's Hitchcock-like suspense horror thriller with a Bernard Herrmann score:

  • the opening shots of a fetus during the title credits
  • the dual, Siamese twin characters -- French-Canadian fashion model Danielle/Dominique Breton (both portrayed by Margot Kidder) - one being a murderous psychopath - and a birthday cake inscribed with both of their names, bought by "colored" TV game-show player and advertising salesman Philip Woode (Lisle Wilson) who had just had a one-night stand with Danielle in her fold-out living-room sofabed in her Staten Island apartment
  • the split-screen scene of a nosy and crusading reporter Grace Collier (Jennifer Salt) in an Rear-Window-ish apartment across the way witnessing the brutal stabbing murder of Philip by the deranged twin during a birthday celebration

The Sixth Sense (1999)

In M. Night Shyamalan's haunting, twist-ending signature film:

  • the startling opening sequence in which Dr. Malcolm Crowe (Bruce Willis) was shot (and killed) by angry ex-patient Vincent Grey (Donnie Wahlberg)
  • the anniversary date dinner scene of Crowe with his troubled and depressed wife Anna (Olivia Williams) in a fancy restaurant
  • the scary scene of frightened, paranormal and tormented 8 year-old Cole Sear (Haley Joel Osment) hiding in his tent, shining a flashlight under his chin and seeing pale ghostly young girl Kyra (Mischa Barton) with bloodshot eyes vomiting up her morning oatmeal next to him
  • the scene of Cole telling his divorced mother Lynn (Toni Collette) a comforting message from her dead mother - as a bloody car accident victim appeared in the car window behind
  • the final scene of Dr. Crowe's wedding ring (not on his finger) rolling noisily in a circle across a parquet-wood floor - with the startling revelation that Crowe was one of the "dead people" seen by Cole
  • the famous line of dialogue: "I see people" followed by its real meaning: "...They don't know they're dead. They only see what they want to see"

Slattery's Hurricane (1949)

In Andre de Toth's post-war, noir drama, told in flashback, about betrayal, adultery, and drug smuggling:

  • the opening (although concluding) scene in an airplane hangar, during a threatening Florida hurricane, when anti-authority fighter pilot Will Slattery (Richard Widmark) beat a co-employee Frank (Stanley Waxman) in order to steal his employer's private seaplane Grumman Mallard from the estate in Miami; his goal was to take the place of his drunken Navy war pal Lt. 'Hobbie' Hobson (John Russell) (and against Navy orders and the threat of court-martial), to suicidally engage in a dangerous tracking flight into the eye of a hurricane approaching the Florida coast (200 miles off-shore) - the previous events in the film were soon to be seen in flashback as he piloted the plane and radioed in coordinates of the storm - he mused (in voice-over): "What can you do about it? You're spinnin' around up here like a cork. You know how it all started, didn't you? Yeah, you could spin it that day too. Remember? Remember?"
  • the main characters: Slattery - a cargo flight pilot in the Caribbean for a shady Miami-based "candy manufacturer" (a pair of homosexual drug runners, A.J. Milne (Walter Kingsford) and Gregory (Joe De Santis)), a job arranged by his loyal girlfriend Dolores Grieves (Veronica Lake in her last Hollywood film), Milne's drug-addicted secretary
  • Slattery's adulterous affair with ex-girlfriend, Aggie Hobson (Linda Darnell), the wife of Slattery's Navy war pal Hobbie, who was assigned to the Navy weather squadron
  • the scene of a belated and unexpected Navy Cross medal of honor ceremony for Slattery, and the crucial moment when Dolores approached him (to congratulate him), but found that her unfaithful boyfriend was kissing Aggie - and soon after when Aggie and Will were leaving together, Dolores had a spectacular collapse (from an off-screen overdose?)
  • the ambulance scene - a stricken Dolores was raced in an ambulance to the hospital (she was diagnosed in the hospital with drug addiction: "Diagnosis: Pharmacopsychosis" and placed in a psychiatric ward), when the camera switched positions to capture Will and Aggie in a car following the ambulance in an open convertible
  • in the conclusion of the story, Slattery sought redemption by taking the suicidal weather mission (in the original ending before it was reshot, Slattery died as a martyr during the suicidal mission); he crash-landed but survived, was restored to active naval duty (and the hurricane was named after him), and was unexpectedly reunited with Dolores

Sleeper (1973)

In director Woody Allen's classic sci-fi comedy farce:

  • the many slapstick sequences and sight gags
  • the scene of Greenwich Village health food store owner and ex-clarinet player Miles Monroe (Woody Allen) - now waking up 200 years later - transported into the future year of 2173 - his quips upon hearing he'd been frozen for 200 years: ("Like spending a weekend in Beverly Hills" and "I haven't seen my analyst in 200 years. He was a strict Freudian. If I'd been going all this time, I'd probably almost be cured by now")
  • his attempts to hide from the government, first by impersonating a personal domestic servant-robot (with comedy slapstick reminiscent of Charlie Chaplin and Buster Keaton)
  • his servanthood in the house of eccentric, vain, and talentless poetess Luna Schlosser (Diane Keaton) during a party
  • his creation of a giant-sized pudding that attacked and must be beaten down with a broom
  • the scene of the passing of the silver metal orgasm-inducing "Orb" from guest to guest
  • the riotous scene at the robot factory where Miles was threatened with having his head screwed off
  • the reprogramming-brainwashing scene in which Miles was given new clothes, an apartment, and an electronic pet dog named Rags
  • the contented look on Miles' face as he exited the cylindrical Orgasmatron
  • the shot of a 22nd-century McDonalds sign (with 795 trillions of hamburgers sold)
  • the scene of Miles' repeatedly slipping on the banana peel of the giant, genetically-modified fruit in a garden
  • the scene that mimicked A Streetcar Named Desire
  • the scene of the Great Leader's giant disembodied nose being flattened by a steamroller
  • the classic closing line by Miles when Luna asked what he believed in: "Sex and death. Two things that come once in a lifetime -- but at least after death you're not nauseous" - followed by a passionate kiss

Slumdog Millionaire (2008)

In director Danny Boyle's rags-to-riches, Bollywood meets Hollywood fable and love story about a street orphan who won because: A: He cheated B: He's lucky C: He's a genius D: It is written. (all semi-truthful):

  • the intricate flashbacking and cross-cutting between the brutal torture and intense questioning by skeptical police inspector (Bollywood star Irrfan Khan) of arrested, 18 year-old orphaned, impoverished slumdog thief Jamal Malik (Dev Patel) - suspiciously accused of cheating (presumably due to his unsavory, lower-class background and occupation as an uneducated "chai wallah," or tea server)
  • his rising popularity in 2006 on the Indian version of the TV game show "Who Wants to Be a Millionaire," as he answered each increasingly-more difficult and obscure question due to his life's experiences (answered coincidentally, chronologically) - until he was only one question away from winning the top prize of 20 million rupees
  • the vivid views of devastating poverty in the overcrowded, primitive slums, traffic-clogged streets and train stations of Mumbai
  • the scene of feces-covered Jamal acquiring the autograph of famous star Amitabh Bachchan
  • the malicious, treacherous and arrogant character of the on-air TV show host Prem Kumar (Indian star Anil Kapoor), who attempted to sabotage Jamal's success by feeding him the wrong answer
  • the ghoulish and disturbing scene in a sinister Dickensian orphanage where one talented singing child was deliberately blinded to serve as a beggar
  • the scenes in an Indian-located call center where customer service operatives were convincingly educated to fool callers
  • also, Jamal's life-long devotion to the female 'third musketeer' in his group (declared during a torrential rainstorm) - and his rescue of the beautiful yet unattainable (until the end) fellow slum orphan Latika (Freida Pinto as teen) - a semi-willing underworld concubine of an underworld gangster
  • their fairy-tale ending of a kiss ("This is our destiny") followed by the escapist song/dance performance of the Oscar-winning Best Original Song "Jai Ho" on a train station platform during the end credits

The Snake Pit (1948)

In director Anatole Litvak's psychological drama about the horrors of mental institutions:

  • the scenes of the "snake-pit" nature of the mental institution (Juniper Hill State Hospital) and the shadowy images of inmate torture
  • the famous top-shot and pull-back image of inmate Virginia Stuart Cunningham (Oscar-nominated Olivia de Havilland) surrounded by insane and babbling patients as her voice-over explained: ("It was strange - here I was among all those people, and at the same time, I felt as if I were looking at them from someplace far away. The whole place seemed to me like a deep hole, and the people down in it like strange animals, like, like snakes, and I'd been thrown into it, yes, as though, as though I were in a snake pit")

Snow White and the Seven Dwarfs (1937)

In Disney's first animated feature film with dazzling animation:

  • the image of the vain Wicked Queen asking her Magic Mirror 'who is the fairest of them all'
  • Snow White's frightening flight through the forest imagining fearful eyes peering at her out of the darkness
  • the delightful, distinct personalities and antics of each of the seven dwarfs
  • Snow White's beautiful voice and purity
  • the beautiful songs "I'm Wishing" (sung at a wishing well) and "Whistle While You Work"
  • Snow White kissing Bashful and Dopey on the head as the dwarfs left for work
  • the Queen's transformation into an old hag and her offer of a poisonous apple to Snow White
  • the seven dwarfs as they marched to and from work singing "Heigh Ho" and their frantic return to rescue Snow White
  • the Queen's terrifying demise as she fell off a rocky ledge and vultures circled after her
  • the young Prince's awakening kiss to bring Snow White out of her slumber, followed by the scene of Snow White venturing off with the Prince on his horse - "and they lived happily ever after," but not before she kissed each of the dwarfs goodbye. Her Prince had indeed come, and the song "Some Day My Prince Will Come" celebrated his arrival

S.O.B. (1981)

In director Blake Edwards' comic skewering of Hollywood, featuring Julie Andrews in an about-face scene from her squeaky-clean, wholesome public image:

  • the scene of Sally Miles' (Julie Andrews, the director's real-life wife) breast-baring toplessness as she pulled down the top of her red dress (Sally, to Dr. Irving Finegarten (Robert Preston)): ("I am going to show my boobies. Are you here to see my boobies?")
  • his receptive reply: "In my humble opinion, you've got a terrific pair of knockers"

Solaris (1972, Soviet Union) (aka Solyaris, or Солярис)

In co-writer/director Andrei Tarkovsky's imaginative, mesmerizing, mysterious, visually-stunning sci-fi drama, in part created as a response to Kubrick's 2001: A Space Odyssey (1968) - other versions included Boris Nirenburg's TV version Solyaris (1968), and Steven Soderbergh's remake Solaris (2002) with George Clooney:

  • the fictional planet of Solaris (a possibly sentient planet) - covered by an ocean of foggy gasses, and the site of mysterious happenings according to Henri Berton (Vladislav Dvorzhetskiy), who described (in a videotaped meeting during a commission or board of inquiry of scientists) the deaths of two scientists-pilots who had crash-landed on Solaris; he told about his own sighting of a four-meter-tall monstrous, oversized child ("naked like a newborn" - wet, slippery and shiny) with blue eyes and dark hair on the planet's ocean surface (the child-giant was revealed to be a representation of the real-life orphaned son of one of the downed and deceased pilots); however, the commission complained that Berton only filmed clouds: "Why did you film clouds?" and accused him of having hallucinations possibly brought on by the planet's atmosphere: ("Perhaps you're not feeling well?"); it was theorized that "All of this could be the result of Solaris' biomagnetic current acting on Berton's consciousness"
  • the sequence of widowed cosmonaut, mathematician and astro-psychologist Kris Kelvin's (Donatas Banionis) inter-stellar journey and mission to the planet of Solaris, to an almost-forgotten, run-down Russian space platform orbiting the planet as an object of research (Solaristics), to meet with the sparse crew of three in the rubbish-littered space station, some of whom appeared to have been driven mad or delusionary: scientist Dr. Snaut (Jüri Järvet) and astro-biologist Dr. Sartorius (Anatoliy Solonitsyn), who lived with a dwarf; the third scientist was represented by cryptic, farewell warning video-tapes (listened to by Kris) of physiologist Dr. Gribaryan (Sos Sargsyan) who had committed suicide by lethal injection (but asserted: "Just don't think that I've lost my mind. I'm of sound mind, Kris. Believe me")
  • various mysterious conjured-up phenomena, apparitions or "phantoms" on Solaris (figures of a person's past that were extracted from one's mind), including Kris' haunted and traumatic memories of his resurrected former wife Khari (Natalya Bondarchuk); as he was sleeping - she came over to him and kissed him; throughout the remainder of the film, her presence forced him to relive his difficult relationship with her (she had committed suicide ten years earlier after he left her)
  • the scene of Khari's self-healing and resurrection after lacerating herself by pushing herself through a metal door - it was explained by Dr. Sartorius that she was an apparition composed of neutrinos (kept stable by Solaris' magnetic field) - and she was, in a sense, regeneratively immortal
Khari (Natalya Bondarchuk)
  • the most transcendent, slow-motion, anti-gravity scene in film history, in which Khari and Kris began weightlessly floating through the air for 30 seconds in the station's library (lined with artwork on the walls), when there was a shift in the station's orbit, untethered to earthbound laws of gravity; other objects glided past them (books, a tray with four candles, etc.) as they experienced a brief moment of happiness
  • the discovery of Khari's self-destructive death after immersing herself in liquid oxygen - her body was found lying across the corridor (covered with frost and blood), although she painfully, agonizingly and spontaneously resurrected again
  • the film's conclusion - the possible return of Kris to Earth and his home with lush plant life near a lake, although after a slow-panning withdrawal through the clouds to an overhead shot, it was revealed that his father's wooden house and the surrounding natural growth existed only as a recreation of one of Solaris' small islands on the planet's surface (a neutrino image within his mind, dreams and wishes?)

Henri Berton (Vladislav Dvorzhetskiy)

Solaris Clouds

Docking at Circular Space Station Above Solaris

Kris Kelvin (Donatas Banionis)

Videotape of Dr. Gribaryan (Sos Sargsyan)


The Concluding Pull-Back Shot

Solomon and Sheba (1959)

In legendary director King Vidor's final film, a Technirama Biblical epic:

  • the character of hot-blooded seductive temptress and pagan spy the Queen of Sheba (sultry post-war Italian actress Gina Lollobrigida), who was offered the port of Melish on the Red Sea by the Pharaoh in return for bringing about Israeli King Solomon's (Yul Brynner) downfall
  • her many risque and lascivious appearances, often in exotic and revealing costumes, especially for the late 1950s
  • her tempting romantic encounters with Solomon, ultimately leading to his lustful desire for her when he visited her after midnight and she admitted her plan of entrapment ("to bind you to me in soft chains so that I may do with you as I will") - and Solomon, "blind to the truth" became her lover
  • the scene of Solomon sitting in judgment with two mothers claiming that a surviving baby was each their own
  • the Queen of Sheba's bathing scene in which she rose naked from her tub and was wrapped in a long towel by her maid servant, who was given the command to "Dry me!"
  • the scene in which she held a pagan ceremony within Israel to her god of love and fertility Rha-gon - and her performance of an erotic belly-dance in a flesh-colored bra-top to the heavy beat of drums, tempting Solomon to be drawn to her writhing bacchanalian ceremony
  • the response of God's wrath in the form of thunderbolts in the sky, striking down the temple
  • the film's concluding battle with a 'cast of thousands' in which the outnumbered, seemingly-vanquished Israelites clash with charging Egyptian armies (joined by Solomon's treacherous brother Adonijah (George Sanders)) - and a reflecting-shield miracle drove their blinded chariots and foot-soldiers into a chasm
  • the film's ending in which Sheba (pregnant with Solomon's child) took refuge in the temple where she had a complete change of heart (she confessed her true love, converted to Judaism and renounced her own gods)
  • her rescue from being stoned to death (and then her miraculous healing) when Solomon returned victorious
  • in the film's final moments, the Queen of Sheba bid farewell to Solomon and stoically strode off to return to her own land to bear his child with God's blessing: ("And he shall walk in the way of the Lord God Jehovah. That we must part is our atonement")

Some Came Running (1958)

In Vincente Minnelli's widescreen, Peyton Place-like melodrama of sexual repression, a sweeping, slow-burning character study of ugly Americana - and an adaptation of the James Jones novel of the same name:

  • after many years, the 'prodigal' return of misfit, hard-drinking, cynical ex-WWII soldier and 'blocked' writer Dave Hirsh (Frank Sinatra) to his hometown of Parkman (Indiana), his failed life mirrored in his attempt at a relationship with cool, repressed and intellectual blonde Miss Gwen French (Martha Hyer), a straight-laced teacher of writing/journalism at the local school
  • the shocking lover's lane scene in which Dave's sexually-active young niece Dawn Hirsh (Betty Lou Keim), parked in a car with her boyfriend, spotted her respectable, jewelry business-owning father Frank (Arthur Kennedy) (estranged from Dave) in an open convertible closeby kissing his pretty secretary Edith Barclay (Nancy Gates) after-hours
  • the camaraderie between Dave and his Southern gambling, card-shark best friend Bama Dillert (Dean Martin) from the wrong side of the tracks who never removed his hat and labeled loose women as "pigs" - their pairing exemplified one of the earliest examples of a "Rat Pack" film (it was the first of seven films in which Sinatra and Martin would appear together)
  • the scene of unrefined, dumb floozy Ginny Moorehead (Shirley MacLaine in her first major screen role, and with her first Best Actress nomination), Dave's on again-off again "hostess" girlfriend, confessing openly to Miss French in her classroom that she unconditionally loved Dave
  • the tense, classic set-piece in the finale, masterfully photographed horizontally, of Dave Hirsh and Ginny Moorehead (just married) in a crowded hometown carnival (garishly colorful) when they were pursued and shot by disgruntled Chicago gangster and Ginny's ex-boyfriend Raymond (Steven Peck); Dave was wounded, while she was shot in the back and killed (and fell onto him) when she selflessly tried to protect him
  • the concluding two minute scene of Ginny's funeral above the Ohio River, attended by Dave, Bama (who for once removed his hat), and Gwen, all transformed

Some Like It Hot (1959)

In Billy Wilder's classic comedy about the Roaring Twenties - the funniest and best-loved comedy of all time:

  • the first shocking glimpse of drag-dressed musicians joining an all-girl band for a three week gig: Jerry/Daphne (Oscar-nominated Jack Lemmon) and saxophone-playing cad Joe/Josephine (Tony Curtis), as they walked toward the Florida-bound train to flee from gangsters led by Spats Colombo (George Raft), after witnessing the 1929 St. Valentine's Day Massacre
  • the first view of the band's ukelele-playing, voluptuous singer, hip-swinging 24 year-old blonde 'Sugar Kane' Kowalczyk (Marilyn Monroe) walking to the train when she was squirted by a jet of steam - and Jerry remarked: "Look at that! Look how she moves. That's just like Jell-O on springs. She must have some sort of built-in motor, or somethin'. I tell you, it's a whole different sex!"
  • the sequence of Daphne's and Josephine's troubles in adjusting to their drag costumes - Jerry told Joe to watch where he grabbed him after he tore off a phony "breast" in his bra: "Now you've done it! Now you have done it!...You tore off one of my chests...Now you tore the other one"
  • Sugar's sneaking of a drink in the train's Ladies Room, and her hard-luck story of depression and blues to Daphne and Josephine: ("I play the ukulele and I sing too....Well, I don't have much of a voice, but then this isn't much of a band either. I'm only with them because I'm running away....I don't want you to think I'm a drinker. I can stop any time I want to - only I don't want to. Especially when I'm blue....All the girls drink, it's just that I'm the one who gets caught. The story of my life. I always get the fuzzy end of the lollipop")
  • all of Sugar's songs (particularly 'Runnin' Wild') a wiggling, hip-swinging rendition of the song on the train, led by Sweet Sue (Joan Shawlee), milquetoast manager Beinstock (Dave Barry) and her Society Syncopaters, an all-girl jazz band
  • Joe's words of advice to Jerry to suppress his male lust: "Steady boy. Just keep telling yourself you're a girl" - Jerry repeated the phrase: "I'm a girl...I'm a girl...I'm a girl"
  • the hilarious wild upper berth train party scene in the close-quarters train bunk when boozy yet soft-hearted singer Sugar Kane, in her seductive black sheer nightgown, cuddled affectionately next to cross-dressed Jerry
  • the sequence of Sugar's second confessional scene about her bad luck with all-male bands and her lovers, usually male saxophone players, to Josephine: "I'm not very bright, I guess...just dumb. If I had any brains, I wouldn't be on this crummy train with this crummy girls' band...I used to sing with male bands but I can't afford it anymore...That's what I'm running away from. I worked with six different ones in the last two years. Oh, brother!...I can't trust myself. I have this thing about saxophone players, especially tenor sax...I don't know what it is, they just curdle me. All they have to do is play eight bars of 'Come to Me, My Melancholy Baby' and my spine turns to custard. I get goose pimply all over and I come to 'em...every time...That's why I joined this band. Safety first. Anything to get away from those bums...You don't know what they're like. You fall for 'em and you really love 'em - you think this is gonna be the biggest thing since the Graf Zeppelin - and the next thing you know, they're borrowing money from you and spending it on other dames and betting on horses...Then one morning you wake up, the guy is gone, the saxophone's gone, all that's left behind is a pair of old socks and a tube of toothpaste, all squeezed out. So you pull yourself together. You go on to the next job, the next saxophone player. It's the same thing all over again. You see what I mean? Not very bright...I can tell you one thing - it's not gonna happen to me again - ever. I'm tired of getting the fuzzy end of the lollipop"
  • the scene of the band's arrival at the hotel in Miami - where doddering old millionaires (in identical poses - reading Wall Street Journal newspapers with sunglasses, canes, white panama hats) were in rocking chairs to greet the girls - one of whom was lustful and eccentric old millionaire tycoon Osgood Fielding III's (Joe E. Brown) who exclaimed: "Zow-ee!" who took an immediate interest in Daphne
  • Josephine's impersonation of a Cary Grant-like, impotent Shell Oil heir bachelor named "Junior" on the beach, wearing a naval outfit and thick glasses, and bragging about his yacht to Sugar
  • Sugar's performance of 'I Wanna Be Loved By You' in which she wore a sheer, see-through gown as she performed in the hotel's nightclub lounge - the spotlight tantalizingly teased the viewer with shadows as it moved over her translucent, backless dress with transparent fabric, just cutting off her breasts
  • the slow-burn yacht seduction scene for a midnight snack aboard Fielding's The New Caledonia yacht between Joe and Sugar -- cross cut with Jerry and Osgood dancing the tango all-night long; Joe's ploy was to feign impotence, so that Sugar would do her best to cure him -- Joe: "Oh, it's not that, it's just that I'm, umm, harmless....Well, I don't know how to put it - but I've got this thing about girls...When I'm with a girl, it does absolutely nothing to me"; she accepted the challenge to be the aggressor by making multiple attempts to arouse his libido with kisses: "I may not be Dr. Freud or a Mayo brother, or one of those French upstairs girls, but could I take another crack at it?...You're not giving yourself a chance. Don't fight it. Re-lax...Let's throw another log on the fire"
  • in their hotel room after Jerry's night of liberated tango dancing with Fielding, his joyful squeal: "I'm engaged" - while Joe tried to dissuade him: "You can't marry Osgood!"; Jerry gave his reason for getting hitched - accompanied by shaking maracas: (Joe: "Why would a guy want to marry a guy?" -- Jerry: "Security")
  • the shocking appearance of the Chicago gangsters, led by Spats and his gang, and Jerry's reaction: "Something tells me the omelette is about to hit the fan" - soon followed by a slapstick chase through the hotel
  • the heartbroken Sugar's final song: ' I'm Thru With Love', in which she soulfully and sadly sang the poignant tune on the bandstand in the cabaret, while Joe/Josephine listened and then came up to her and gave her a goodbye kiss as a female - a moment of sexual exposure, to affirm the bond between them; at first believing that he was the millionaire, Sugar opened her eyes, looked up and exclaimed: "Josephine!"
  • the flight of the two mismatched couples from the pier in a getaway boat, when both Joe and Jerry revealed their true identities to Sugar and Osgood Fielding
  • the famous closing punch-line when nothing could diminish millionaire Fielding's love for the cross-dressed Jerry who tactfully attempted to break their engagement, even when he ripped off his wig and admitted: "I'm a man!", to which love-struck Fielding blithely and unflappably replied with the film's memorable last line: "Well, nobody's perfect!"

Something Wild (1986)

In director Jonathan Demme's off-beat black comedy:

  • the character of free-spirited, kooky, black-wigged Audrey Hankel (Melanie Griffith), nicknamed Lulu after actress Louise Brooks' femme fatale (from Pandora's Box (1929)), who took off with staid and married, yuppie, NYC tax consultant Charles Driggs (Jeff Daniels) from a Manhattan diner (where he had skipped out on the check) to New Jersey
  • the scene in a motel where she engaged in kinky sex with him - handcuffing him to a motel bed and making love to him while forcing him to call in sick to his boss
  • their attendance at her 10 year high school reunion in Pennsylvania and introducing him as her husband to her square mother Peaches (Dana Preu) - and Peaches' warning to Charlie: "That girl's got some strange ideas about life"
  • the surprising appearance of Lulu's dangerous and menacing ex-con husband Ray Sinclair (Ray Liotta in his screen debut)
  • the shocking semi-accidental stabbing of Ray Sinclair in the horrific fight scene in the bathroom with Driggs (with Ray's disbelieving last words: "S--t, Charlie...")
  • the crowd-pleasing conclusion when Audrey reappeared in Charlie's life after he had quit his job

Something's Gotta Give (2003)

In writer/director Nancy Meyers' romantic comedy, a tables-turned around film:

  • the scene in which 63 year-old Viagra-taking record-company mogul Harry Sanborn (Jack Nicholson) - who dated younger women as girlfriends (including young daughter Marin Barry (Amanda Peet)) - announced to her mother Erica (57 year-old Oscar-nominated Diane Keaton): "I'm dating your daughter, Marin"
  • Harry's sudden entrance into a room in a Hamptons beach house when he came upon a naked and embarrassed Erica, Marin's mother - a sexy, mid-50s, divorced, successful playwright, and his half-hearted apology after partially covering his eyes: ("I'm sorry! I didn't see anything. Except maybe a few tits!")
  • his ensuing interest in the more age-appropriate woman after suffering a mild heart attack
  • the sex scene between Erica and Harry (three days after he suffered a heart attack), when he cut off her white "damn turtleneck" with a pair of scissors and then offered oral sex, when she became overwhelmed and exclaimed: ("I think we should take your blood pressure...I think it's irresponsible not to...120/80...Oh, my God, I do like sex!...Wow, oh, God! So this is what you're supposed to do on a rainy afternoon, huh?") - she was amazed by her own responsiveness: ("I really thought I was sort of closed up for business. I never expected this")

Somewhere in Time (1980)

In director Jeannot Szwarc's popular, tear-jerking romance fantasy adapted from Richard Matheson's 1975 novel Bid Time Return:

  • the evocative and soaring score of John Barry
  • the scene in which aspiring college playwright Richard Collier (Christopher Reeve) was met by an elderly woman - early 20th century actress Elise McKenna (Jane Seymour), who offered him a gift of a watch and made a request: "Come back to me"
  • eight years later at the Grand Hotel (on Michigan's Mackinac Island), the scene of Richard viewing a portrait of the young actress and learning that she died the night he received the watch - and then willing himself back in time through self-hypnosis to romance her as a young beauty
  • the couple's first meeting by the lake and her question: "Is"
  • his jolting return 'to the future' (after a night of love-making) by finding a modern-era penny dated 1979 in his pocket
  • the ending in which a morbidly depressed Richard had an out-of-body experience toward a bright light where his long-lost love awaited him with outstretched arm

(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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