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Top 100 Greatest Film Quotes
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Top 100 Greatest Film Quotes
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Great Film Quotes By Decade | 50 Great Movie Quotes | AFI's Greatest Movie Quotes
Return to Entire Quotes Index
(chronological, and unranked)  Indicates
audio clip(s) to be played (.wav format) |
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 "Wait
a minute! Wait a minute! You ain't heard nothin' yet. Wait a minute,
I tell ya, you ain't heard nothin'! Do you wanna hear 'Toot, Toot,
Tootsie!'? All right, hold on, hold on...Lou, listen. Play "Toot,
Toot, Tootsie", three chorus, you understand. In the third chorus,
I whistle. Now give it to 'em hard and heavy, go right ahead..." (short) (extended) JAKIE RABINOWITZ/JAKE ROBIN (Al Jolson) to AUDIENCE The Jazz Singer (1927) |
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| "Would
you be shocked if I put on something more comfortable?" HELEN (Jean Harlow) to MONTE RUTLEDGE (Ben Lyon) Hell's Angels (1930) |
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| "Look!
It's moving. It's alive. It's alive... It's alive. It's moving, it's
alive, it's alive, it's alive, it's alive, IT'S ALIVE!" DR. FRANKENSTEIN (Colin Clive) Frankenstein (1931) |
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| "Sawyer,
you listen to me and you listen hard. 200 people, 200 jobs, $200,000
dollars, five weeks of grind and blood and sweat depend upon you. It's
the lives of all these people who have worked with you. You've got to
go on, and you have to give and give and give. They've got to like you,
they've got to. Do you understand? You can't fall down. You can't, because
your future's in it, my future and everything all of us have is staked
on you. All right now, I'm through. But you keep your feet on the
ground and your head on those shoulders of yours and go out ... and
Sawyer, you're going out a youngster, but you've got to come back
a star!" (short) (extended) JULIAN MARSH (Warner Baxter) to PEGGY SAWYER (Ruby Keeler) 42nd Street (1933) |
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"Well, Denham. The airplanes got him." - "Oh, no. It wasn't the airplanes. It was Beauty killed the Beast." CARL DENHAM (Robert Armstrong) to POLICE CAPTAIN (George MacQuarrie) King Kong (1933) |
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| - "I
always did like a man in a uniform. That one fits you grand. Why
don't you come up sometime 'n see me? I'm home every evenin'." - "Yeah, but I'm busy every evening." - "Busy? So whaddya tryin' to do? Insult me?" - "Why no, no, not at all. I'm just busy, that's all. You see, we're holding meetings in Jacobson's Hall every evening. Any time you have a moment to spare, I'd be glad to have you drop in. You're more than welcome." - "I heard ya, but you ain't kiddin' me any. You know, I met your kind before. Why don't you come up sometime, huh?" - "Well, I..." - "Don't be afraid. I won't tell." - "But uh..." - "Come up. I'll tell your fortune. Aw, you can be had." (short) (long) LADY LOU (Mae West) to CAPTAIN CUMMINGS (Cary Grant) She Done Him Wrong (1933) |
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| "Well,
here's another nice mess you've gotten me into!" OLLIE (Oliver Hardy) to STAN (Stan Laurel) Sons of the Desert (1933) |
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"...Hey, wait, wait. What does this say here? This thing here." - "Oh, that? Oh, that's the usual clause. That's in every contract. That just says uh, it says uh, 'If any of the parties participating in this contract is shown not to be in their right mind, the entire agreement is automatically nullified.'" - "Well, I dunno." - "It's all right, that's, that's in every contract. That's, that's what they call a 'sanity clause.'" - "Ha, Ha, Ha. Ha. Ha. You can't fool me. There ain't no Sanity Claus!" (short) (extended) FIORELLO (Chico Marx) and OTIS B. DRIFTWOOD (Groucho Marx) A Night at the Opera (1935) |
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"And how did you know about them?" AND |  "Elementary, my dear Watson. Purely elementary."  "Elementary, my dear Watson."  "Elementary, my dear Holmes, elementary." |
| - "...Rhett,
if you go, where shall I go? What shall I do?" - "Frankly, my dear. I don't give a damn." RHETT BUTLER (Clark Gable) to SCARLETT O'HARA (Vivien Leigh) Gone With the Wind (1939) |
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| - "Yes,
I'm ready now." - "Then close your eyes and tap your heels together three times. And think to yourself, 'There's no place like home'. 'There's no place like home'." - "There's no place like home. There's no place like home. There's no place like home..." (short) (extended) DOROTHY GALE (Judy Garland) and GLINDA (Billie Burke) The Wizard of Oz (1939) |
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| "R-o-s-e-b-u-d." CHARLES FOSTER KANE (Orson Welles) Citizen Kane (1941) |
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| - "Heavy.
What is it?" - "The, uh, stuff that dreams are made of." - "Huh?" (short) (extended) SAM SPADE (Humphrey Bogart) to DETECTIVE TOM POLHAUS (Ward Bond) The Maltese Falcon (1941) |
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| "Here's
looking at you, kid." RICK BLAINE (Humphrey Bogart) to ILSA LUND (Ingrid Bergman) Casablanca (1942) |
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| "Oh,
Jerry, don't let's ask for the moon. We have the stars." CHARLOTTE VALE (Bette Davis) to JERRY DURRANCE (Paul Henreid) Now, Voyager (1942) |
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| "Ladies
and gentlemen. My mother thanks you. My father thanks you. My sister
thanks you. And I thank you." GEORGE COHAN (James Cagney) to AUDIENCE Yankee Doodle Dandy (1942) |
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| "You
know you don't have to act with me, Steve. You don't have to say anything,
and you don't have to do anything. Not a thing. Oh, maybe just whistle. You
know how to whistle, don't you, Steve? You just put your lips together
- and blow." MARIE 'SLIM' BROWNING (Lauren Bacall) to HARRY MORGAN ('Steve') (Humphrey Bogart) To Have and Have Not (1944) |
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| - "Now
on the St. Louis team, we have Who's on first, What's on second, I
Don't Know's on third." - "That's what I want to find out. I want you to tell me the names of the fellas on the St. Louis team." - "I'm telling ya: Who's on first, What's on second, I Don't Know's on third..." (extended) DEXTER BROADHURST (Bud Abbott) and SEBASTIAN DINWIDDLE (Lou Costello) The Naughty Nineties (1945) |
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| - "If you are the police, where are your badges?" - "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinkin' badges!" (short) (long)GOLD HAT (Alfonso Bedoya) to DOBBS (Humphrey Bogart) The Treasure of the Sierra Madre (1948) |
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| "In
Italy for thirty years under the Borgias, they had warfare, terror,
murder, bloodshed - but they produced Michelangelo, Leonardo da Vinci,
and the Renaissance. In Switzerland they had brotherly love. And
in 500 years of democracy and peace, and what did that produce? The
cuckoo clock. So long, Holly." HARRY LIME (Orson Welles) to HOLLY MARTINS (Joseph Cotten) The Third Man (1949) |
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| "Made
it, Ma! Top of the world!" CODY JARRETT (James Cagney) to dead MA JARRETT (Margaret Wycherly) White Heat (1949) |
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| "Fasten
your seatbelts. It's going to be a bumpy night." MARGO CHANNING (Bette Davis) to GUESTS All About Eve (1950) |
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| "(So
they were turning after all. Those cameras. Life, which can be strangely
merciful had taken pity on Norma Desmond. The dream she had clung to
so desperately had enfolded her.) I can't go on with the scene. I'm
too happy! Mr. De Mille, do you mind if I say a few words? Thank you.
I just want to tell you all how happy I am to be back in the studio making
a picture again! You don't know how much I've missed all of you. And
I promise you, I'll never desert you again because after Salome we'll
make another picture, and another picture! You see, this is my life.
It always will be! (In a whisper) There's nothing else - just us - and
the cameras - and those wonderful people out there in the dark. All
right, Mr. De Mille. I'm ready for my closeup." (short) (extended) NORMA DESMOND (Gloria Swanson) to CECIL B. DEMILLE (Himself) Sunset Boulevard (1950) |
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| "Whoever
you are, I have always depended on the kindness of strangers." BLANCHE DUBOIS (Vivien Leigh) to DOCTOR (Richard Garrick) A Streetcar Named Desire (1951) |
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| - "Charley,
it was you. You remember that night in the Garden you came down to
my dressing room and said, 'Kid, this ain't your night. We're goin'
for the price on Wilson.' You remember that? 'This ain't your night!'
My night, I could've taken Wilson apart. So what happens? He gets the
title shot outdoors in a ballpark, and what do I get? A one way ticket
to Palookaville. You was my brother, Charley, you should've looked out
for me a little bit. You should've taken care of me just a little bit
so I wouldn't have to take them dives for the short end money..." - "I had some bets down for ya, you saw some money." - "...You don't understand! I could've had class. I could've been a contender. I could've been somebody, instead of a bum, which is what I am. Let's face it. It was you, Charley." (short) (long) TERRY MALLOY (Marlon Brando) to CHARLEY MALLOY (Rod Steiger) On the Waterfront (1954) |
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