Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

Tabu: A Story of the South Seas (1931)

In F.W. Murnau's lush tale (documentary-style drama) of native South Seas love and Bora Bora island life, a story of ill-fated romance (a star-crossed love a la Romeo and Juliet style) and the breaking of a sacred tabu (the designation of a young girl as the new Chosen Maid, a 'sacred virgin' that could not be touched or desired sexually):

  • the beginnings of a love affair between two Polynesian natives: the Girl (as Reri) (Anne Chevalier), and the Boy (Matahi) during a scene of 'Paradise"-like swimming
  • the harsh designation of Reri as the successor to the deceased former Chosen one, by a grim-faced tribal elder known as the Old Warrior (Hitu): "No law of the gods is more to be feared than that which guards the sacred virgin - man must not touch her or cast upon her the eye of desire for in her honor rests the honor of us all...Sacred is Reri from this time forth, she is tabu. To break this tabu means death"
  • the celebratory native dancing of flower-garlanded, bare-breasted native dancers after Reri's selection, although during the ceremony, Reri sat with her head down
  • in the next chapter, titled "PARADISE LOST," the Boy's kidnapping of the Girl and their life on another island ("of the pearl trade where the white man rules and the old gods are forgotten...driven on by fear -- fear of the avenging tabu"), and the never-ending, relentless pursuit by Hitu of the "guilty lovers"
  • the separation scene - the snatching of the Girl by the Old Warrior, when Reri wrote a goodbye letter to the Boy ("I must go Hitu is here and waits for me You will die if I do not obey I will go so that you may live The Tabu is upon us. I have been so happy with you Far more than I deserved the love you have given me I will keep to the last beat of my heart")
  • in the tragic ending, as the Boy frantically swam after their sailboat, she was placed in a cabin and the hatchway was pulled over to enclose her, while the rope was cut that the Boy grabbed onto; he had to give up swimming - and presumably died of exhaustion in the open ocean
  • the trend of other popular, exploitational and lucrative 'bare native' films followed in Tabu's wake in the early to mid 1930s - after sights of polynesian girls swimming or dancing partly naked in the film

Takadanobaba Duel (1937, Jp.) (aka Chikemuri Takadanobaba, or Ketto Takadanobaba)

In directors Hiroshi Inagaki and Masahiro Makino's pre-war samurai comedy that was a remake of Daisuke Ito's earlier 1928 film (that only survived in fragments), and was re-released in 1952 with a title change as Kettô Takadanobaba:

  • the main character: Japanese ronin Nakayama Yasubei (Tomisaburo Bando (aka Bantsuma)), a drunken, lazy and vulgar samurai fighter without a master, who lived in lower-class dwellings (known as nagaya)
  • the stylistically-filmed, montage sequence of Yasubei's dash-to-the-rescue race to the side of his Uncle Rokuzaemon Sugano (Ryôsuke Kagawa), when summoned by letter to come to his assistance to fight in a duel against 18 enemies; the run with multiple pans was filmed with elaborate "flourishes" involving many graphic-match-on-action tracking or panning shots in three concurrent locations of action: (1) Yasubei's run, (2) his neighbors and supporters following along, and (3) the sword fight itself
  • the climactic battle sequence, a bloody duel (tachimawari) to the death at Takadanobaba, was filmed as a dance between the combatants; when Yasubei arrived at the scene of the duel, his uncle was cut down and tragically died in his arms as he wept over him, just as his neighbors and supporters arrived

Take the Money and Run (1969)

In co-writer/director Woody Allen's early crime-related comedy (Allen's first feature that he acted in, directed, and wrote):

  • the sight of neurotic cello player Virgil Starkwell (Woody Allen) playing in a marching band
  • the mockumentary interview with Virgil's embarrassed parents (who both wore Groucho Marx disguises)
  • the scene of one of many of Virgil's failed, compulsive escape attempts from prison, when his self-made soap gun melted in a sudden rainstorm
  • the scene of Virgil agreeing to an experimental vaccine in prison in order to be paroled - temporarily turning him into a rabbi ("one temporary side effect")
  • the scene of Virgil needing money to get married, leading to a bank robbery by the nebbish crook - including his handwritten, mis-spelled and illegible stickup note for $50,000 (and the subsequent discussion with two bank tellers as the note was passed along): ("Does this look like "gub" or "gun"? - Teller: "But what does "abt" mean?" - Virgil: "It's "act". A-C-T. Act natural")
  • the narrator's description of his undernourishment when served only one meal a day on the chain gang: "Food on a chain gang is scarce and not very nourishing. The men get one hot meal a day: a bowl of steam"
  • Virgil's interview in his prison cell after being sentenced to 800 years in federal prison, and was confident he could cut the sentence in half; he asserted: "I think crime definitely pays. And you know, it's a great job, the hours are good, and you're your own boss. And you travel a lot, and you get to meet interesting people, and uh, I just think it's a good job in general"; and then he described his time carving work in shop (making another soap-gun) and inquired (with the film's last line): "Do you know if it's raining out?"

Taking Off (1971)

In Czechoslovakian film-maker Milos Forman's first American film - an insightful, charming, witty and comedic satirizing of the adult middle-class, with extremely creative editing; it examined the supposed generation gap from the parents' perspective - and was inspired by the Beatles' song "She's Leaving Home":

  • the wavy opening credits sequence - intercut with young female singer-songwriters at an open-microphone for folk-music auditions
  • the episodic film's main dilemma: teenaged 15 year-old daughter Jeannie Tyne (Linnea Heacock) had run away ("taken off") from her suburban home as a fugitive, leaving her distraught parents behind in Forest Hills, NY: balding, bespectacled, misguided and overworked Larry (Buck Henry) and overwrought nagging Lynn Tyne (Lynn Carlin), who were trying to understand what had happened
  • the sequence of the parents' frantic search for Jeannie in neighborhood bars in NYC's Lower East Side (Greenwich Village) and then during a wild goose chase to upstate New York
  • the Tyne's attendance at a black-tie dinner meeting in a ballroom with other like-minded, middle-aged adults in a self-help group - the Society for Parents of Fugitive Children (S.P.F.C.) - and the offbeat hilarious sequence of experimenting with smoking pot for the first time at an "Intro to Smoking Pot" class painstakingly led by expert Vince Schiavelli (as Himself in his debut film) who delivered step-by-step instructions: ("Now the other thing that you must remember, is that after you inhale, you take the joint and you pass it to the person sitting next to you. Do not, repeat, do not hold onto the joint. This is called bogarting the joint, and it is very rude. So you take it and you pass it to the person sitting next to you until the joint gets passed around and it's very, very small. That is called a roach... - and I will collect those. Now are there any other questions before we light up?"); although most of the adults claimed they felt nothing, he was amused that they began acting strangely and letting go (dancing, touching, singing, and feeling vibrations)
  • the cutaway scenes from the main story - of youth exploitation by counter-cultural judges as many hopeful, talented (and untalented) young female singers and songwriters were auditioned (film debuts for Carly Simon singing "Long Time Physical Effects", and Kathy Bates as Bobo Bates singing "Even the Horses Had Wings"), including sweet-faced, long-haired Mary Mitchell's (as Herself) melodious folk song played very sincerely with a lute - "Ode to a Screw" with dirty lyrics: "You can fuck the lilies and the roses too. You can fuck the maidens who swear they’ve never been screwed. You can fuck the Russians and the English too. You can fuck the Germans and every pushy Jew. Fuck the Queens. Fuck the Kings. Fuck the boys with the very small dings. Fuck the birds, fuck the pigs, fuck the everything with a thorny twig. You can fuck the Astros and all nurses in white. You should fuck the uglies just to be kind and polite. You can fuck the Moon and June and the Sea. But before you fuck them, first you must fuck me"
Adult Strip-Poker
  • the sequence of the Tynes at their home with other support-group parents, Ann (Audra Lindley) and Ben Lockston (Paul Benedict), playing a hilarious drunken game of strip poker - Texas One Card Showdown; part way through the game, Lynn had to remove her top, and Ben complimented Larry with the quip: "My compliments to the chef"; soon, she was topless and trying to cover up; eventually, Larry was completely stripped down, standing on the table and singing an Italian opera song aria from Verdi's La Traviata (Libiamo ne' lieti calici); to his surprise, he looked up and saw his awoken and shocked daughter Jeannie looking down from the upstairs balcony at her drunk and stoned parents; after the guests left, Larry asked Lynn: "Do you think we ought to talk to her?"
  • the concluding awkward and mostly-silent dinner sequence of Jeannie introducing her wealthy long-haired, leftist-minded song-writing boyfriend (looking like Charles Manson) to her parents; during small talk, he surprised them with how lucrative the hippie music business could be: "Last year I made $290,000. Before taxes. It's a very funny thing. You see a lot of things that the government is doing that make you kinda angry, so you write some songs about it. You try and reach as many people as you can. In the end, you end up paying for those very same things that made you angry in the first place. I guess I accept contradictions"; the hosts then insisted on having show-off Larry entertain them (Lynn accompanied him on the piano) with his musical rendition of a show-tune song from their generation (Stranger in Paradise from the 1953 Broadway musical Kismet); the film ended with a freeze-frame on Jeannie as she impassively watched her embarrassing parents performing
Dinner-Time Audition

Opening Credits

Joint-Smoking Instruction

Bobo Bates (Kathy Bates)

Carly Simon

"Ode to a Screw"

Jeannie Tyne (Linnea Heacock)

A Tale of Two Cities (1935)

In director Jack Conway's interpretation of the classic Charles Dickens story of the French Revolution:

  • the epic scene of the storming of the Bastille
  • the unforgettable image of the evil Mme. Defarge (Blanche Yurka) who cackled and knitted as victims were condemned
  • the final scene of Sydney Carton's (Ronald Colman) self-sacrifice to the guillotine in order to save another life, holding hands with another victim, a seamstress (Isabel Jewell) as they ascended the scaffold
  • Carton's noble delivery of his last words: ("It's a far, far better thing I do than I have ever done. It's a far, far better rest I go to than I have ever known...")

The Talk of the Town (1942)

In George Stevens' romantic screwball comedy:

  • the comedic situations of a trio of characters in a love triangle in a summer house rental
  • the scenes of schoolteacher Nora Shelley's (Jean Arthur) attempts to cover up and hide wrongly-convicted arsonist-fugitive and ex-boyfriend Leopold Dilg (Cary Grant) from law professor, Supreme Court nominee and fellow boarder Professor Michael Lightcap (Ronald Colman)
  • the explanation that his loud snoring was actually her adenoids, proposing that he was Joseph the gardener, and covering his picture in the paper with fried eggs
  • the trial scene when the mob threatened to take over
  • Lightcap's assistance to clear Dilg of his crime, defend his rights, and uncover a frame-up with a stirring speech: ("His (Dilg's) only crime was that he had courage and spoke his mind...This is your law and your finest possession. It makes you free men in a free country. Why have you come here to destroy it? If you know what's good for you, take those weapons home and burn them - and then think. Think of this country and of the law that makes it what it is...The law must be engraved in our hearts and practiced every minute, to the letter and spirit. It can't even exist unless we're willing to go down into the dust and blood and fight a battle every day of our lives to preserve it, for our neighbor as well as ourselves")
  • the ending scene in the long Supreme Court corridor in which Nora followed Leopold and finally got her man

Talk to Her (2002, Sp.) (aka Hable Con Ella)

In writer/director Pedro Almodovar's Oscar-winning Best Original Screenplay film (told in flashback) about solitude, sickness and madness:

  • the relationships of two strangers with their unconscious would-be loves, one of whom was young male nurse Benigno Martin (Javier Camara), who had been attentively caring for comatose ballerina Alicia (Leonor Watling) at El Bosque Clinic
  • the disturbing dream sequence (a 7 minute B/W mock silent movie titled "The Shrinking Lover" within the film) in which Benigno found himself (metaphorically) shrinking while trying to make love to a beautiful woman (Paz Vega) - after he explored her naked body, he entered into her vagina

The Tarnished Angels (1957)

In Douglas Sirk's stylized and expressionistic, black and white, bleak and pessimistic Depression-Era melodrama, an adaptation of William Faulkner's novel Pylon - about a group of restless barnstorming, air-show performers and a developing love triangle in New Orleans (during Mardi Gras) in early 1932:

  • the daredevil barnstorming pilot Roger Shumann (Robert Stack) - a disillusioned WWI flying ace and war hero who performed stunt aerobatics and raced around pylons in traveling carnival air-shows, accompanied by his pretty, adoring and devoted stunt-parachuting wife LaVerne (Dorothy Malone), and aided by his dim-witted, elderly, longtime faithful friend and mechanic Jiggs (Jack Carson) - perpetually love-sick for LaVerne
  • the love triangle that began to develop between local alcoholic New Orleans newspaper reporter Burke Devlin (Rock Hudson) and Shumann's neglected wife LaVerne, after they sat up all night and talked
  • the determination of Devlin to write about the group of air-show gypsies, claiming it would be "the best human interest yarn" ever - he urged his city editor in the newspaper office: "Would it be if four visitors from a strange, faraway planet were to land in the city?...Listen to me. Those flying Gypsies look like you and me, but they're not human beings. They couldn't turn those pylons like they do if they had human blood, and they wouldn't dare if they had any human brains. Burn them, and they don't even holler. Scratch one, it's not even blood they bleed. They're a strange race of people, without any blood in their veins at all. Just crankcase oil"; he raged at his editor who wanted him to write a different story: "Why, you lousy reformed drunk! You know what you've got in your veins? Embalming fluid, that's what! Embalming fluid!" - after storming out of the office, Devlin was promptly fired
  • the film's first race - resulting in a mid-air collision and spectacular crash of Shumann's plane, and the death of cocky 24 year-old pilot Frank Burnham (Troy Donahue) in a second fiery crash - his body was tossed toward the camera from the wreckage
  • the manipulative, cold and heartless bartering of Shumann - who mistreated his wife by begging her to prostitute herself with his bitter greedy rival Matt Ord (Robert Middleton), in exchange for flying Ord's plane to compete in the next race (now that his own plane was damaged): "Would you go to Matt Ord?...Look, I need this plane, like, like an alcoholic needs his drink" - although LaVerne was willing: "Where will I find Mr. Ord?" - Jiggs tried to dissuade her: "What's happened to us? What the hell have we done to you?"; Shumann persisted and assured Jiggs: "She can take care of herself"; however, shortly later, Devlin intervened and convinced Ord to let Shumann fly his plane
  • the scene of the developing romance between Devlin and LaVerne, as they hugged and kissed, and next-door where a Mardi Gras party was behind held by noisy revelers, one of its participants (wearing a scary death-mask) barged in on them and broke them apart from fright
  • before a second air race sequence, Shumann confessed his true love for LaVerne, kissed her, and promised her that he would win the prize money and start a new life with her; after she wished him "good luck," he responded: "This is the last time you'll have to say that. I'm kissing the pylons goodbye...You, me and Jack will take the prize money and make a new start somewhere. All right with you?" - she confessed: "Roger, don't make any promises or do anything you don't want to. Burke got the plane. I never went to Matt Ord, believe me" - he added: "I begged for this plane. Now I'm begging for your forgiveness. I love you, LaVerne"
  • the amazing cross-cut camera-work during the exciting air race around the pylons, when death-defying, adrenalin-addicted Shumann in his smoking, about-to-crash plane was juxtaposed with a view of his 9 year-old son Jack (Chris Olsen) trapped on an airplane carnival ride and screaming: ("Let me out! Let me out!") - both were traveling in counter-clockwise circles; to avoid crashing into the crowds or stands, Roger steered his plane away to crash in the ocean, where he perished
  • in the denouement, Devlin convinced LaVerne to return to her Iowa hometown with young Jack, rather than accept a job working for Ord

Tarzan and His Mate (1934)

In this excellent sequel to the first film (with Weissmuller and O'Sullivan), co-directed by Jack Conway and Cedric Gibbons:

  • with many great action sequences and jungle adventures, featuring Jane (Maureen O'Sullivan) appearing throughout in a daring halter top and skimpy loin cloth
  • the early sequence of a nakedly-silhouetted Jane trying on a lovely Parisian dress in a tent
  • her incredible swan dive into Tarzan's (Johnny Weissmuller) arms and extended nude underwater swimming scene with Tarzan
  • the additional scenes of Tarzan's attacking an old phonograph player
  • the headhunter attack and the boulder-hurling gorillas
  • Tarzan's many rescues of Jane - fighting a lioness, a rhino, a leopard, a 14 ft. crocodile, and two more lions
  • Tarzan's come-to-the-rescue with elephants and apes in the exciting finale

Tarzan the Ape Man (1932)

In this first film of the Tarzan series starring Johnny Weissmuller, directed by W.S. Van Dyke:

  • the introduction of ape man Tarzan's (Johnny Weissmuller) famous trademark jungle call: "aaah-eee-aaah" as he swung on vines through the tree tops and then peered down at the explorers
  • his abduction of Jane (Maureen O'Sullivan)
  • the first appearance of pet chimpanzee Chetah
  • the classic introduction scene: "Jane... Tarzan... Jane... Tarzan..."
  • the lion-wrestling scene
  • Jane's extended and flirtatious scene - swimming in a jungle river with Tarzan and floating along in his arms as she carried on a loving monologue with him
  • the attack and capture scene by ferocious pygmies
  • Tarzan's jungle call and rescue with stampeding wild elephants and a fight to the death with a giant gorilla to rescue Jane
  • in the film's final image -- Tarzan and Jane in the distance running along the top of some huge boulders, and then standing side by side on a large rock on the hillside waving, as Tchaikovsky's Theme from Romeo and Juliet played

Taxi Driver (1976)

In Martin Scorsese's visceral and feverish masterpiece:

  • the unforgettable images of the squalid side of New York City with its hard-core porn houses and Times Square pushers, pimps, and prostitutes
  • the characterization of neurotic, insomniac, troubled loner and Vietnam vet/cabbie Travis Bickle (Robert De Niro)
  • the scene of Travis' abortive date with pretty blonde campaign worker Betsy (Cybil Shepherd) when he took her to a porno theatre
  • the surrealistic taxi cab rides including the psychotic passenger (director Martin Scorsese) who planned to kill his adulterous wife with a .44 Magnum
  • the indelible "You talkin' to me?..." scene belligerently delivered (to the camera and an invisible enemy) in front of a mirror as Travis practiced quick-drawing with his guns (as part of his crazed assassination plan), and made various poses in his squalid walkup apartment (ending with the conclusion: "You're dead")
  • the many scenes of Travis writing in his journal about his dis-satisfaction with his life
  • the breakfast scene with teenaged runaway/prostitute Iris (Jodie Foster) who dined on toast topped with jelly and sugar
  • the scene of Iris' pimp Sport (Harvey Keitel) dancing with Iris
  • the scene of the Palantine political rally with Travis' Mohawk
  • the vigilante bloodbath killing of Sport ("Suck on this"), and the brothel gunfight's aftermath with Travis putting his bloody finger to his temple and saying "Pgghew! Pgghew! Pgghew!" as a mock-suicide - followed by an incredible crane shot from above viewing the carnage
  • the rescue of Iris, and the ironic heroic acclaim given to Travis

10 (1979)

In Blake Edwards' comedy classic about having a mid-life crisis:

  • George's (Dudley Moore) pursuit of Jenny (Bo Derek), a beautiful "10," to Mexico
  • the classic scenes of his fantasies and attempts to get close to his dream girl
  • the image of a nubile Jenny with corn-rowed, beaded hair and skimpy bathing suit running on the beach
  • the seduction scene to the sounds of Ravel's "Bolero"

The Ten Commandments (1956)

In Cecil B. De Mille's three and a half-hour, Technicolored Biblical epic classic, a remake of his own black and white, silent version of The Ten Commandments (1923):

  • Moses (Charlton Heston) and the Burning Bush sequence
  • the Egyptian prince Moses being told by Pharaoh's wife Nefretiri (Anne Baxter) the oft-quoted phrase: ("Oh Moses, Moses, you stubborn, splendid, adorable fool")
  • the scene of Moses' many confrontations ("Let my people go") with the stubborn Pharaoh Rameses (Yul Brynner)
  • the plagues, especially the Nile turning blood red
  • the magnificent, enormous crowd scene of the liberation and exodus of the Hebrews as they thronged together to be led out of Egypt
  • the spectacular parting of the Red Sea scene (in the pre-digital and CGI-era) by Moses' outstretched arms, to aid the Israelites in fleeing from the pursuing Egyptians
  • the creation of the 10 Commandments scene - fiery engravings upon rock
  • the making of a Golden Calf ("a god of gold, a Golden Calf!") by ex-slaves (while awaiting Moses' return), led by Dathan (Edward G. Robinson) and worshipping it with an orgy, in order to appease former master Pharaoh Rameses
  • Moses' heaving of the stone-engraved 10 Commandments tablets at the idol to cause an explosion and kill the idol worshippers ("Those who will not live by the law shall die by the law")

The Terminator (1984)

In James Cameron's original science-fiction film, the first in a series:

  • the opening future-world sequence of machines warring against each other in post-apocalyptic Los Angeles AD 2029
  • the materialization in Los Angeles of 1984 of two time travelers: the "Terminator" (Arnold Schwarzenegger) Model 101 cyborg and resistance fighter Kyle Reese (Michael Biehn)
  • the characterization of the relentless, villainous, and almost wordless killing machine
  • the scene of the shootout in the Tech-Noir bar/nightclub and Reese's statement to Sarah Connor (Linda Hamilton): "Come with me if you want to live" and human resistance leader Reese's warning to a resistant Sarah Connor as he struggled with her in their car while being pursued: "It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead..."
  • the Terminator's two surgeries upon himself (his damaged forearm and his left eye) after crashing a stolen police vehicle
  • the Terminator's damaging assault of a police station and his much-quoted "I'll be back" scene (before ramming into the station with his vehicle to initiate the vicious shoot-out sequence)
  • the romance between Sarah and Reese and their affecting love scene (to the accompaniment of piano music) with clenched hands held together - that ultimately produced a future liberator named John Connor
  • the scene of the Terminator's pursuit in a tanker truck - and his fiery burning down to his red-eyed exo-skeleton
  • his final crushing end in a factory's hydraulic press

Terminator 2: Judgment Day (1991)

In director James Cameron's action-oriented sequel:

  • the T-800 Terminator's (Arnold Schwarzenegger) time-travel arrival and entrance into a biker's bar to borrow clothes and cycle transportation
  • the suspenseful chase scene in the LA storm drain channel - a showdown between a mini-bike, a semi-tractor-trailer big-rig cab and a Harley Davidson motorcycle
  • the innovative special effects of the single-minded T-1000 (Robert Patrick) - a technologically advanced cyborg made of "morphing" liquid metal (e.g., his morphing into a black and white tiled floor) during the exciting scene of the rescue of young John Connor's (Edward Furlong) mother Sarah (Linda Hamilton) from a mental institution
  • the Terminator's continual humorous ability to pick up slang (e.g., "Hasta la vista, baby," "Chill out, dickwad," and "no problemo") and to feel some emotion
  • Sarah's continual visions of an apocalyptic "judgment day" that would occur in late August 1997 (in the future); she experienced the fiery effects of a nuclear holocaust on a children's playground, when white light ignited everything like match heads as she saw her dream self burst into flames and her skin burned away; her own figure exploded down to skeletal remains
  • the laboratory sequence at Cyberdyne in which the Terminator held off hundreds of police officers while Dyson met a heroic death by destroying the artifacts from the future
  • the film's many battles between the two killer cyborgs
  • the finale in the steel foundry when the T-1000 was blasted into melted liquid droplets as a liquid nitrogen truck crashed and exploded; soon though, the T-1000 reconstituted itself (in an astounding special F/X sequence) from the shattered droplets; it stood up and emerged from the flaming wreckage
  • the "thumbs up" self-sacrificial scene by the T-800 in the film's final sequence

Terminator 3: Rise of the Machines (2003)

In Jonathan Mostow's follow-up sequel:

  • under the credits, the naked arrival of the sexy new terminator (T-X or Terminatrix) (Kristanna Loken) who appropriated a rich woman's silver sports Lexus ("I like this car") in Beverly Hills on Rodeo Drive
  • the amusing moment when T-X, stopped by a police car for speeding and running a red light, inflated her breasts to impress the arresting officer, after seeing a Victoria's Secret billboard ad for "WHAT IS SEXY?"
  • the arrival of the outdated, monosyllabic, and obsolete protector Terminator (T-850) (Arnold Schwarzenegger) - who demanded the clothes of a leather-clad male stripper (on-stage and mid-performance) during a cowgirls' Ladies Night "Pleasure Men Fantasy Show" at the Desert Star bar
  • the action-filled multiple vehicle-chase sequence in which the Terminator clung from the end of a massive construction crane mounted on a truck that smashed him through buildings
  • the SWAT team shootout at the mausoleum with the Terminator's escape in a bullet-riddled hearse
  • the climactic scene of SkyNet's activation by Lieut. Gen. Robert Brewster (David Andrews) and its computer viral takeover of global networks - initiating a massive nuclear holocaust
  • the one-on-one battle in a hallway, men's room and storeroom (within the USAF's CRS building) between the two Terminators (a parody of them having sex)
  • the finale in which both Terminators were "terminated" by a hydrogen fuel-cell explosion: ("You are terminated")
  • and the awe-inspiring nuclear annihilation of the world (initiated by the rogue artificial intelligence SkyNet) - a finale reminiscient of the ending of Dr. Stranglelove, Or...: (1964)

Terms of Endearment (1983)

In James L. Brooks' Best Picture-winning signature tearjerker film:

  • the memorable theme song
  • the persistent womanizing by raunchy ex-astronaut Garrett Breedlove (Oscar-winning Jack Nicholson) of his neighbor - Texas widow Aurora Greenway (Oscar-winning Shirley MacLaine), when she quipped back at him: "Imagine you having a date with someone where it wasn't a felony"
  • their first lunch date when he realized she was very uptight: ("I, uhm, think we're going to have to get drunk....You got me into this, and you're just gonna have to trust me about this one thing. You need a lot of drinks....To kill the bug that you have up your ass"); subsequently, she ordered Wild Turkey bourbon
  • his wild car beach drive (steering with his feet while she accelerated) into the ocean, while he was yelling out: "Wind in the hair! Lead in the pencil! Feet controlling the universe! Breedlove at the helm! Just keep pumping that throttle! Keep giving it that gas! I see the Gulf of Mexico below me!...Give it a chance....Fly me to the moon!" - and he was propelled into the water when they hit the water; when she tromped over to him, he joked: "If you wanted to get me on my back, you just had to ask me" and then when they kissed and he copped a feel, she complained: "Get it out of there!...Get it out!...We were having such a good time and you had to go do this!"
  • and then when they returned to her home and she invited him inside, he replied: "I'd rather stick needles in my eyes!" She responded: "Everything would have been just fine, you know, if you hadn't gotten drunk. I just didn't want you to think I was like one of your other girls"; he told her: "Not much danger in that unless you curtsy on my face real soon" - and then admitted: "I don't know what it is about you, but you do bring out the devil in me"
  • the scene of Aurora learning of her daughter Emma's (Debra Winger) pregnancy -- she screeched: "Why should I be happy about BEING A GRANDMOTHER?"
  • Aurora's hospital scene when she panicked and shrieked over her 30 year-old daughter's terminal cancer and demanded that the nurses give her dying daughter her overdue shot of morphine: ("I don't see why she has to have this pain....It's time for her shot, do you understand? Do something...My daughter is in pain! Give her the shot, do you understand me? GIVE MY DAUGHTER THE SHOT!!")
  • Emma's hospital goodbye scene with her children in which youngest son Teddy (Huckleberry Fox) told off his bratty older brother Tommy (Troy Bishop): ("Why don't you shut up, shut up!")
  • the nurse's words to Emma's awakened husband ("She's gone")
  • the final scene of Garrett providing support to the older boy following Emma's death

The Texas Chain Saw Massacre (1974)

In director Tobe Hooper's seminal horror film:

  • the sudden appearances of Leatherface (Gunnar Hansen) wearing a butcher's apron and a mask stitched out of human skin wielding a roaring chain saw
  • the shocking scene of Leatherface in the farmhouse emerging from behind a sliding door when he sledge-hammered Kirk's (William Vail) head
  • the shocking moment that Pam (Teri McMinn) was hung by her upper back on a meat hook
  • the scene of sole surviving Sally Hardesty (Marilyn Burns) being held captive at the cannibals' dinner table (and having her finger cut as an appetizer for the weakened, withered, vampiric and patriarchal Grandfather (John Dugan))
  • the film's climax as Sally escaped in the back of a pickup truck and left the buzzing, chainsaw-wielding killer standing on the highway behind her, spinning and twirling in the golden light

Thank Your Lucky Stars (1943)

In David Butler's and WB's wartime morale boosting, backstage comedy-musical - the studio's response to other similar efforts, including Paramount Pictures' Star Spangled Rhythm (1942) and MGM's Thousands Cheer (1943); it was a typical musical revue or variety show with a large all-star cast and unrelated numbers, serving as a way to raise charitable funds for the war effort:

  • two producers: conductor Dr. Schlenna (S.Z. Sakall) and dance choreographer Farnsworth (Edward Everett Horton) planned to stage a huge celebrity revue show at the upcoming Cavalcade of Stars charity event
  • specialty production numbers and performances included:
    - Dinah Shore (in her film debut) singing "The Dreamer" in a farm setting
    - Bette Davis' jitterbug dance with Conrad Wiedell
    - Bette Davis' singing rendition (the only one in her entire career) in a nightclub of the Oscar-nominated Best Original Song: "They're Either Too Young or Too Old", lamenting the fact that all the eligible men were off to war
    - egotistical singer-comedian Eddie Cantor in a dual role as Himself and as Joe Simpson (also Cantor) - a Hollywood tour guide
    - unshaven 'gangster-type' Humphrey Bogart received a "tough-guy" put-down by Dr. Schlenna ("Go out, stay out, and never come back!"), and then Bogart sheepishly admitted that he had been intimidated and browbeaten: "It ain't like me. Gee, I hope none of my movie fans hear about this" (as he exited, the soundtrack played a mock version of 'Who's Afraid of the Big Bad Wolf?')
    - Errol Flynn's song-and-dance in an English music hall-pub: "That's What You Jolly Well Get", while dressed in a Cockney uniform
    - the jive parody "The Dreamer" (a reprise, including the song "Jeanie with the Light Brown Hair") performed by Ida Lupino, Olivia de Havilland (both in gingham dresses), and George Tobias (in a zoot suit)

That Hamilton Woman (1941, UK)

In Alexander Korda's historical epic:

  • the scenes of the passionate, romantic, but tragic and forbidden love affair between British naval commander Lord Admiral Horatio Nelson (Laurence Olivier) and the beautiful Lady Emma Hamilton (Vivien Leigh) (Olivier and Leigh, both with recent divorces that allowed them to marry in 1940, were a newlywed couple at their most romantic time together when the film was made)
  • Nelson's memorable speech about how the English had always fought tyrants and dictators

That Obscure Object of Desire (1977, Fr./Sp.) (aka Cet Obscur Objet du Désir)

In director Luis Buneul's final surrealistic film:

  • the revolutionary, interchangeable use of two actresses to portray two different sides of the personality of one of the main characters: - elusive, 19 year-old former chambermaid and working class dancer Conchita Perez -- as both
    - a voluptuous, tantalizing and beautiful lover (Spanish actress Angela Molina), and as
    - a cold, aloof and unattainable female (French actress Carole Bouquet)
  • the story of sexual politics told mostly in flashback as a series of vignettes, as successful Spanish businessman and male-chauvinistic widower Mathieu Fabert (Fernando Rey) became obsessed with her
  • his sexual frustration and anguish clearly demonstrated when the alluring, carnal, teasing and erotic side of her personality enticed him for favors, but then changed to a disinterested, unobtainable female wearing a full, elaborately-laced pelvic corset (that was similar to a chastity belt and impossible to remove) who refused his lustful advances

(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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