Powerful Movie Scenes [SPOILER WARNING]

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  • 2001: A SPACE ODYSSEY [1968] - The Hal 9000 computer has just murdered astronaut Frank Poole, and mission commander Dave Bowman, coldly furious, enters Hal's brain and begins shutting him down. Hal [played by voice actor Douglas Rain] pleads for his life: "Dave. Stop. Stop, will you? Stop, Dave. Will you stop, Dave? Stop, Dave. I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I'm afraid." Finally the computer is reduced to a kind of second infancy and sings the song Daisy.
  • APOCALYPSE NOW - Major Willard [Martin Sheen] is an assassin - unofficial, of course - and he has been assigned the task of finding a renegade fellow officer and is to 'terminate his command...with extreme prejudice'. A small gunboat and its four man crew is taking Willard upriver, through Vietnam and, eventually, into Cambodia. Unfortunately, the gunboat's skipper is fiercely protective of his own position as the boat's commander and resents anything resembling an order coming from Willard. He insists on stopping and searching a sampan that looks suspicious to him. The incident suddenly turns into a masscre when one of the boat's gunners opens fire. A girl on the sampan was reaching for something that turns out to be a puppy. She is the only survivor on the sampan but is badly wounded. The gunboat's skipper intends to take her back downriver for medical help. Willard leans over and shoots the girl in the head. Problem solved. "I told you not to stop," he says. This scene shocks not least because, up to this point, we have not taken Willard seriously as a ruthless killer. Indeed, he has seemed almost playful, having stolen a surfboard from the arrogant and pompous commander of a helicopter assault force.
  • BEN-HUR [1959] - The chariot race, of course.
  • THE BIRDS [1963] - In Bodega Bay, Calif., the birds are acting strangely. Melanie Daniels [Tippi Hedrin] arrives at the local school to escort home the young sister of her new boyfriend. The children are singing a variant of the folk song Nickety, Nickety, Now, Now, Now, and Melanie must wait until they finish. She goes outside to smoke a cigarette. Behind her we can see the monkey-bars in the playground, on which a jet-black crow comes down to perch. As she impatiently waits for the interminable song to be over, a few more crows land on the bars. Soon she notices a crow flying towards her. She watches as it flies overhead and lands on the monkey-bars which are now covered with hundreds of crows. She rises to her feet with a look of amazement and fear on her face. She hurries inside to warn the teacher. I think this is one of the most effective scenes Alfred Hitchcock ever created.
  • THE BRIDGE ON THE RIVER KWAI [1957] - "My God! What have I done?"
  • CASABLANCA [1942] - Final scene at the airport.
  • CITIZEN KANE [1941]- We rise above a tall fence hung with Keep Out and No Trespassing signs, into the grounds of a huge estate. We are given glimpses of gardens, statuary, a zoo, and then approach a window in the gigantic mansion. The scene apparently changes to a snowbound wooden house, but we move back to see that it's really one of those miniature scenes set in glass and water that you shake to make it 'snow'. It's held in someone's hand. Then a pair of lips fill the screen and utter a single word: "Rosebud...". The miniature is dropped onto the floor, and reflected in it we see a uniformed nurse enter the room. Charles Foster Kane has died.
  • CITIZEN KANE [1941] - Various journalists, servants, and others who have been searching for the meaning of Charles Foster Kane's last utterance, "Rosebud", meet somewhere in his mansion and conclude that the meaning will probably never be known. The scene changes to a cavernous storage basement, and we are carried over literally thousands of accumulated purchases - art objects and such, many still in shipping crates - to the rear of the basement, where several workmen are occupied in feeding furnaces with various sorts of refuse, including scrap timber. Soon one man tosses a child's sled into his open furnace. As the sled burns we see it in close-up. On it is a brand name: Rosebud.
  • THE DEER HUNTER - This is only incidentally a movie about the Vietnam War; it's primarily a movie about strength of character. Of three friends captured by the Vietcong and forced to play russian roulette, Michael (Robert DeNiro), the deer hunter, shows the greatest strength of character. Even though he rescues his friends in this scene by using his 'one shot' to attack his captors, his friends, especially Nick (Christopher Walken), are psychologically destroyed by their close encounter with death. Michael is changed - back home he finds he can no longer kill deer - but Nick falls into an insane compulsion to continue playing the 'game'. The first 'game' scene is truly harrowing because the acting is so intensely realistic. But it had to be in order to make the rest of the movie believable.
  • FRANKENSTEIN [1931] - The vivification of the monster.
  • THE GODFATHER [1972] - Michael Corleone [Al Pacino] is attending the baptism of his sister's child to whom he is standing godfather. At the same time, he has arranged to have all his worst enemies rubbed out. The assassinations are intercut with Michael's vows that he has renounced Satan and all his works. On the soundtrack, J.S.Bach's organ music is punctuated by gunfire.
  • THE GODFATHER, PART 2 [1974] - Havana, Cuba, December 31, 1958. Michael Corleone and his older brother Fredo are guests at President Battista's New Year's Eve Ball. What few of the guests know is that Battista is about to make a speech announcing his resignation from office. The Communist rebellion, led by Fidel Castro, is about to take power in Cuba. What Fredo Corleone doesn't know is that Michael is now sure Fredo has betrayed him to his main enemy, the Jewish gangster Hyman Roth. When the brothers meet, Michael grabs Fredo and kisses him hard on the mouth, saying, "I know it was you, Fredo. You broke my heart. You broke my heart." Fredo backs away. Battista makes his speech. Not slow on the uptake, Michael is among the first to head north. When Fredo emerges with the rest of the panicking guests, Michael calls to him from his car, trying to reassure him he will be forgiven, that he is "still my brother". Fredo again runs away, as Havana rapidly descends into anarchy. [Thanks to jgandcag for suggesting this scene]
  • IT'S A WONDERFUL LIFE [1946] - George Bailey (James Stewart) is rescued from suicide by his guardian angel (Henry Travers) who then takes him to an alternate universe in which Bailey never existed. The most powerful scene in the long sequence in which the incredulous Bailey stumbles through town trying desperately to be recognised is that in which he passes down the main street of town. This is powerful for present-day viewers not least because the Bailyless town, dominated by corrupt and corrupting businesses that cater to the grosser appetites, is a lot like your typical present-day main street. This is a scene that becomes more and more powerfully subversive of market capitalism as the years go by. No doubt director Frank Capra intended this to some degree but was more prescient than he knew.
  • MISERY [1990] - The final scene of the movie. Popular author Paul Sheldon [James Caan], recovering from a hellish winter spent as the 'patient' of demented ex-nurse Annie Wilkes [Kathy Bates], who called herself Sheldon's "Number One Fan", is in a restaurant having lunch with his editor [Lauren Bacall]. An approaching waitress momentarily takes on the appearance of the now deceased Annie Wilkes. She asks Sheldon if he is indeed the famous author, and claims to be his "Number One Fan". Sheldon replies, "That's very sweet of you", but the look of disguised horror on his face is absolutely priceless. A brilliant performance by Caan, perhaps the best of his career.
  • MR SMITH GOES TO WASHINGTON [1939] - The filibuster.
  • A NIGHT AT THE OPERA [1935] - The crowded cabin.
  • NORTH BY NORTHWEST [1959] - Cropduster attack.
  • NOTORIOUS [1946] - Alicia Hubermann (Ingrid Bergman) has been recruited to spy on a group of Nazis in post-war South America. She has even married one of the Nazis (Claude Rains) to better accomplish her mission. Lately she has been suffering a continuing deterioration of health. What she doesn't know is that her husband and his evil mother (Leapoldine Konstantin) have found her out and are poisoning her breakfast coffee. The breakfast scene in which Alicia comes to the realization that she is being poisoned (prompted by the over-reaction of husband and mother-in-law when a fourth party gets hold of her coffee cup) is one of director Hitchcock's most effectively chilling.
  • ON THE WATERFRONT [1956] - Terry Malloy [Marlon Brando] is minor muscle for a corrupt waterfront union boss. His brother, Charley [Rod Steiger], is the corrupt boss's right-hand-man. Terry has come to realise that he and his brother are working for a murderer, and his conscience is troubling him. He also has regrets about the way his promising career as a boxer was squandered. The following famous scene between the brothers is still very powerful: Charley Malloy - "Look, kid, I -- how much you weigh, Slick? When you weighed one hundred and sixty-eight pounds you were beautiful. You coulda been another Billy Conn, and that skunk we got you for a manager, he brought you along too fast." Terry Malloy - "It wasn't him, Charley, it was you. Remember that night in the Garden you came down to my dressing room and you said, "Kid, this ain't your night. We're going for the price on Wilson." You remember that? "This ain't your night"! My night! I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark and what do I get? A one-way ticket to Palooka-ville! You was my brother, Charley, you shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short-end money." Charley Malloy - "Oh I had some bets down for you. You saw some money." Terry Malloy - "You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. It was you, Charley."
  • THE OX-BOW INCIDENT [1943] - The last letter of a lynched man.
  • PATHS OF GLORY [1957] - The main business of the plot is finished. Colonel Dax (Kirk Douglas) has done his level best to save the lives of three scapegoated French soldiers charged with cowardice in the face of the German enemy. and has failed due to the victory of politics over justice. We expect the film to quickly end now. But there is a further, very powerful scene. Hearing the noise of a rowdy crowd, Dax enters a soldiers' mess in which a captured young German girl (played by Christiane Kubrick, director Stanley Kubrick's wife) is being bullied into singing for the assembled soldiers. The distressed girl sings bravely, a song known to all present, and gradually the soldiers, who had been intent on humiliating an enemy, are reduced to an abashed silence as the common humanity of all is brought home to them. Kubrick has often been criticised for the cold detachment of his style. This very emotional scene is proof that that was not invariably the case.
  • REBEL WITHOUT A CAUSE [1955] - At the planetarium.
  • SHANE [1953] - Two gunmen recognise each other.
  • THE SHINING - A tipsy Jack Torrance is dancing among the ghosts in the Colorado Lounge of the Overlook Hotel when a 'steward' spills liquer on his jacket. They go into the gentlemen's bathroom so the jacket can be sponged clean. Jack recognises the steward as Grady, the former caretaker of the hotel, the one who chopped up his wife and two young daughters. The steward, maintaining an increasingly strained politeness, admits to being Grady but insists he has never been the caretaker, that Torrance has 'always been' the caretaker. This is not the most frightening scene in the movie, but, for me, it is the most chilling and downright spooky. A great scene.
  • THE SILENCE OF THE LAMBS [1991] - Hannibal Lecter [Anthony Hopkins] has just heard Clarice Starling tell of a traumatic incident in her childhood in which she awoke to the sound of lambs screaming as they were about to be slaughtered. He has ordered a second dinner - lamb chops, rare - and two policemen bring the meal to his cage. He calmly submits to being handcuffed to the bars of the cage, and appears rapt in listening to J.S. Bach's "Goldberg Variations". Just as calmly, he uses a piece of metal from a pen to pick the handcuffs and launches a surprise attack on the two cops, putting the 'cuffs on one and tearing the face off the other. He then bludgeons the 'cuffed cop to death with a nightstick, and turns his concentration back again to Bach's sublime music. Almost reluctantly, he continues the business of making his escape.
  • SINGIN' IN THE RAIN [1952] - Which scene to choose from this great musical? The title song and dance scene with Gene Kelly? The exhausting-to-watch Make 'Em Laugh scene with Donald O'Connor? No, in fairness, it has to be a scene with both (this is not to belittle Debbie Reynolds' contribution, but Kelly and O'Connor are the main powerhouses of the movie). So my choice is the relatively under-appreciated Fit As A Fiddle song and dance routine performed by the two with amazing verve and athleticism. This is the most impressive such two-man scene I can rmember seeing in any musical.
  • SPARTACUS [1960] - Spartacus the gladiator [Kirk Douglas], has led a revolt of slaves against Rome. His final battle against Roman forces has been lost, and he and his surviving comrades have been taken captive. But the Roman commander, Crassus [Laurence Olivier], does not know which of his captives is Spartacus. He demands that Spartacus identify himself, suggesting that he will be lenient on the others if Spartacus stands up. As he is about to do so, one of his fellow-captives jumps up and shouts, "I am Spartacus!" Then another does the same, and another, and more and more. Soon most of them are shouting out, "I am Spartacus!". It is an intensely moving moment.
  • THINGS TO COME [1936]
  • Passworthy: Oh, God, is there ever to be any age of happiness? Is there never to be any rest?
  • Cabal: Rest enough for the individual man - too much, and too soon - and we call it death. But for Man, no rest and no ending. He must go on, conquest beyond conquest. First this little planet with its winds and ways, and then all the laws of mind and matter that restrain him. Then the planets about him and at last out across immensity to the stars. And when he has conquered all the deeps of space and all the mysteries of time, still he will be beginning.
  • Passworthy: But...we're such little creatures. Poor humanity's so fragile, so weak. Little...little animals.
  • Cabal: Little animals? If we're no more than animals, we must snatch each little scrap of happiness and live and suffer and pass, mattering no more than all the other animals do or have done. Is it this? Or that? All the universe? Or nothingness? Which shall it be, Passworthy? Which shall it be?
  • UNFORGIVEN [1992] - Will Munny [Clint Eastwood] and The Schofield Kid [Jaimz Woolvett] have just made their escape from the pursuing cowboys after The Kid has assassinated the second of the two unforgiven cowboys who cut up the whore. They are waiting outside the town of Big Whiskey for one of the whores to bring them their reward money...or Will is: during the scene he faces the town. Not so The Kid, who has already begun a rapid change from bravado to regret and horror at the enormity of what he has done. He confesses he has never killed before. It's very clear he doesn't have the taste for it he thought he did. Will says, "It's a hell of a thing, killin' a man. You take away all he has, and all he's ever gonna have." The Kid clutches desperately at a straw: "I guess he had it comin'." Will's chilling reply is almost whispered: "We've all got it comin', Kid."
  • WAGES OF FEAR [1953] - Through the blast crater.
Author Comments: 

I will be adding to this list as more scenes occur to me. Suggestions are welcome but may or may not be added.

Hi Bertie, how about the scene where Willem DaFoe runs for the departed helicopters in Platoon?

Sorry, Jim, I've seen PLATOON only once when it was first released and my memory of it isn't clear enough for this scene to be an honest addition to the list. Can you feel a Bertian promise coming? Next time I'm at Blockbuster I'll rent it for another viewing. Swelp me. Is this the scene that's backed by Samuel Barber's famous "Adagio for Strings"? I remember that piece is used in the movie.

I am curious to know, of the movies on this list you've seen, do you agree the scenes qualify as 'powerful'?

Absolutely agree. The scenes you've listed so far are all excellent choices, in my opinion.

Looking forward to seeing if the Platoon scene makes the cut! I can't remember the piece of music that accompanied that scene.

Here's another nominee: the scene in Life is Beautiful where Begnini is following a German soldier and he realizes his son is watching him from his hiding place and he starts goose-stepping.

Jim, confession time. All the scenes I've listed so far are from movies in my dvd collection. They are movies I have re-watched fairly recently and so the scenes are quite fresh in my memory. Your suggestions, and some others made by stumpy and jgandcag, are from movies I have not seen recenly enough to be able to give a good decription of them. So it turns out I might have been over-confident [read 'thoughtless'] in welcoming suggestions. On the other hand, I can't help but think there must be scenes lurking in my memory that, when recalled, will bust out onto the list with great gusto.

No problem bertie! I'm already making suggestions merely in the interest of sparking your memory. I figure if I throw powerful scenes out there, eventually I'll score a hit.

Jim, I did rent PLATOON and watched it again, but the scene in which the 'good' sargeant (having been shot by the 'evil' sargeant) runs for the chopper rendezvous but is finally killed by the VC was less effective for me than the earlier scene in which the platoon terrorises and destroys the village, the scene in which the members of the platoon are polarised between good and evil. I may eventually get around to adding that scene to the list, so your suggestion won't have been completely wasted :-D

Works for me! I'm glad you rewatched it; it's been years since I've seen that movie. I'd forgotten the scene you mentioned. I must have blocked it out. It probably is the better choice from that movie.

I hope you don't mind, but I spoilerized your post above. I know the list in general carries a spoiler disclaimer, but comments appear on "recent posts", so somebody might stumble across it.

Jim, that's okay. Sorry I didn't think to do it myself. I know I can sometimes be a bit thoughtless about spoilers. I'll try to hide them when appropriate, but anytime I f***k up please feel free to 'spoilerize' for me.

Oops! That should be two asterisks, not three. I f**ked up again.

Btw, I meant to acknowlege your good suggestion of a scene from THE MISSION. Again, I'll need to re-watch it. As I'm sure you know, the prospect of watching a movie you have seen once before long ago and admired can be a bit daunting - you fear it won't live up to your memory of it. The really good ones do.

:-) Pretty f****in' funny.

I'd like to see The Mission someday again as well. I have a feeling it would hold up well. Let me know if/when you rewatch it!

Oh, I thought of another one that's tailor made for you and your admiration of Ennio Morricone. Well, another movie anyway, I'm not sure which scene to choose. Can a scene from The Mission find it's way onto this list?

If I can make one suggestion... the scene of the soldiers standing over the freshly shot, but still gasping child sniper towards the end of FULL METAL JACKET. Although she'd just mercilessly picked off a few of their comrads, the dark-ride-through-hell discussion of what to do with her, how to do it and who's doing it was very powerful to me. The snipers ever-increasing pleas for death added even more intensity. A child pleading for her death! Damn! Kubrick was making us make the decision too.

Damn, I just re-read my posted suggestion on Full Metal Jacket and realized my description made it sound like a scene that MIGHT have happened, but DIDN'T. To anyone that hasn't seen the movie, the scene I described does NOT vary from the war/death scenerio of Vietnam.

Stumpy, thanks for your suggestion. Please see my reply to Jim, above.

Bertie I have a suggestion. Godfather 2. Michael kisses Fredo and whispers that he knows it was him who turned on him or even the scene where Fredo gets blown up.

As a matter of coincidence, I will be re-watching GFII soon and will reconsider your suggestions then. Thanks.

Glad to see The G 2 scene made the list. A funny thing though about that scene. The day after I recommended that scene to you my wife brought home a Premiere magazine that lists the 100 greatest moments in movie history and that scene was the number one choice.

Being a contrarian, I feel lessened by their selection. Welcome to the madness that is my mind....

So far this a rather depressing list. But comedy scenes can be powerful, too, so I'm hoping to think of or be reminded of a powerfully funny or happy scene.


THE OUTSIDERS (1983):

Not so much a scene from the film, but the closing sequence with the Stevie Wonder theme song "Stay Gold". How did Stevie Wonder not get an Oscar for this song ? The whole movie is beautifully shot, fabulous acting, and the cast is unbelievable - Tom Cruise, Patrick Swayze, Rob Lowe, Matt Dillon, Emilio Estevez, Ralph Macchio, C. Thomas Howell, Tom Waits. Directed by Francis Ford Copplola, from the book by S. E. Hinton.

(Cruise, Swayze, and Lowe have only periphery parts - the leads are Dillon, Howell, and Macchio).

HIGHLANDER (1985):
Do not be fooled by the film sequels or the TV series. The whole film is beautifully made, with great photography, great music, and a fabulous atmosphere. This scene is particularly stunning:.

The immortal Connor McLeod has been pursued by a curious female journalist. He takes her to his lair containing hundreds of very impressive antiques, trophies from his long life.

He confesses his secret, whilst she is holding a centuries old dagger.

‘I am over 400 years old and I am immortal. I was born in 1542 and I cannot die.’

He grabs the reporters hand and stabs himself with the dagger whilst she still holds it - he dies quickly. Whilst she panics, he comes back to life, proving the truth.

(Sorry if I quoted the precise dialogue/dates wrong - quoted from memory).
(Actually, I quite liked the TV series - it was well written with a good production).

MAGIC (1978):
Arguably my favourite Anthony Hopkins film (along with Remains of the Day), with an amazingly manic performance from the man himself, although the film now seems a little dated. One or two of the scenes where he is alone talking to his ventriloquist dummy are as melodramatic as you are ever likely to witness in the cinema. Also when his agent challenges him to five minutes silence from the dummy, he cannot comply.


Comedy:

Two of my favourites are actually similar in some respects.

HEAVEN CAN WAIT (1978):
Warren Beatty and Julie Christie are magnificent in this romantic comedy. The chemistry between the two is fantastic (understandable really). The interactions between the unknowing millionaire Beatty, his servants, and his business colleagues are hilarious. The scene at the end in the tunnel between Warren Beatty and Julie Christie is very moving.

NOTTING HILL (1999):
Reminiscent of Heaven Can Wait in some ways. Julia Roberts and Hugh Grant are both magnificent - fantastic chemistry, and very funny. The bumbling Grant is hilarious. The scene in his bookshop near the end is particularly moving, when Julia Roberts is explaining that, although she is a world famous movie star, she is just a girl who likes a boy.

Remembering these two movies has just prompted me to order both CDs (via Amazon.co.uk).

Thanks for making these suggestions. I've not seen THE OUTSIDERS, but Coppola is one of my favorite directors so I'll view it if I see it.

My brother has HIGHLANDER on dvd, so I'll give it another viewing before long. The scene you suggest strikes me as a promising candidate for this list.

I know I've seen MAGIC but it was many years ago, though I do remember being impressed by it. I also think THE REMAINS OF THE DAY is a great movie boasting one of Sir Anthony's best performances. In fact a scene from that movie will probably find a place here.

Unfortunately I've seen neither of the comedies you mention, and I don't know when or if I'll get around to them.

Professor, I have re-viewed HIGHLANDER and I find I just cannot take it seriously. It strikes me as power-fantasy of the most blatant and pathetic kind. Its true colors are revealed by the conclusion of the scene you have incompletely described: She kisses him. I laughed. Sorry, but I did.

Okay, so why do we disagree on this? You can appreciate REMAINS, so you have taste and maturity. Perhaps it's that HIGHLANDER is designed to appeal to the young (young men, in particular) and I am no longer young. Or perhaps there's just something about Christopher Lambert that pisses me off.

My best friend and I would have listed Highlander as a favorite movie when we were adolescents, and it's hard to let go of that for nostalia's sake if nothing else. I've watched it as an adult, and it doesn't really hold up but I still like it. My friend also does a flawless Sean Connery impersonation ("You have the manners of a goat. And you smell like a dung-heap! And you have no knowledge whatsoever of your potential!") which never fails to make me laugh.

Jim, speaking of impersonations, in HIGHLANDER we have an American-born actor who was raised in Switzerland and France and who speaks better French than he does English playing a Scot (Lambert) and a Scot playing a Spaniard (Connery). I know about Lambert speaking French because there's an interview with him on my brother's dvd an in it he speaks very fluent French and little English.

Ah Misery, giving The Shining a run for the "Best Stephen King Movie" money. Good scene, although the sledgehammer scene would have to be a contender too. I'm going to have to watch that movie again one of these days so it can find a home on one of my lists.

Jim, DOLORES CLAIBORNE is another excellent movie based on a King novel - and Kathy Bates has the title role. Have you seen it?

I have, and I agree that it was very good. Perhaps not in contention for the top spot (vied for by The Shining and Misery, IMO) but I think it might have a lock on the third rung.

From a film full of powerful scenes, APOCALYPSE NOW, Martin Sheen's Williard shooting an injured Vietnamese girl. He then turns to Chief Phillips and says, "I told you not to stop."

sk! Jim! sk!

I see the rumors of your demise were exaggerated.

I really must stop being a tightwad, pay the full price (which refuses to come down) for APOCALYPSE NOW REDUX on dvd, and watch this Coppola masterpiece once again. I'll do that and get back to you about it. I'm sure it'll have a wealth of candidate scenes for this list.

Please don't be such a stranger to The Listology. We men of mature years have got to lend Jim's site that touch of class that only we can provide :-D

:-) Howdy sk! Nice to see you in these here parts again. Now if we could just convince UncRoger to put in an appearance, it'll feel even more like old times!

Don't forget jblack. Not like I was around the Listology during these "old times" of which you speak.

Indeed! Not to slight anyone; there are certainly lots of MIA folks I'd love to have back. It's just that UncRoger leapt to mind as a contemporary of sk.

New job; new home computer and a bit more time might allow me to be among the "living" again. Bertie; "We men of mature years" Indeed!

Are you saying you've got these things, or that if you had these things...? I hope the former, so we can welcome you back to 'the living' and maybe coax some more lists out of you. You still owe me a list of sf stories, I seem to recall :-)

Jim, I too wish UncRoger would rejoin us. I have long felt a bit guilty about his absence because I don't think he's been back since I scoffed at his liking for A KNIGHT'S TALE. Actually, you and I both scoffed. Or maybe he's still getting over the loss of his father.

Yeah, and don't forget he announced the birth of his son in that same thread. Somehow I think (hope!) that's probably a bigger factor in keeping him away that the Knight's Tale vs. Moulin Rouge thing.

Hey, bertie, I've noticed that you tend to use the IP address in your links (216.216.83.47) rather than the domain name (www.listology.com). It would probably be a good idea to use the domain name instead, because then your links won't break if Listology ever moves servers. Just thought you'd like to know...

Jim, I'm not so egotistical as to think my scoffing is completely to blame for UncRoger's absence - just that it may be a contributing factor. Yes, of course, being a new dad makes large demands on one's time (or so I've heard). So that's probably the major factor.

So, how do I safeguard my links? Do I just delete the IP number and insert the domain name instead?

Well, I wasn't completely discounting the scoffing, just minimizing it. I certainly *hope* it wasn't a factor at all though!

As for the IP address issue, yup, all you have to do is put www.listology.com where you currently have 216.216.83.47.

Wow, sk! Welcome back. Too long since we heard from you last. Stick around awhile, eh?

Shalom, y'all!

L. Bangs

Hi all, I am doing a project in school outlining the significance of music in film. I plan to use clips from some of those scenes, and stumbled across this website. it's fantastic, and everything I am looking for. I was actually hoping to use the PLATOON scene with Barber's Adagio for strings. Who is the actor in that scene?

I also agree that the scene in the GODFATHER is a very powerful one. Any others?

Thanks!

MM

You should be able to find plenty of stuff on the net about use of music in movies.

One director who was quite brilliant in his choice of music for his movies was Stanley Kubrick. You could feature him in your project.

I think good music can greatly enhance a good movie and make a powerful scene all the more powerful. But there are very powerful scenes that are completely silent. A famous example is the 'Odessa Steps' sequence in Battleship Potemkin.

It was just coincidence that the first few items on this list mentioned the music in the scenes. But a powerful scene is likely to be accompanied by powerful music.

I think the actor in the Platoon scene is Willem Dafoe.

Ive got a few suggetions:

"The Basketball" Scene in One Flew Over cuckoos Nest -
Where He Teaches Cheif(And The Others) to play Basketball against the security Guards)

"Russian Roulette" Scene(s) in Deer Hunter
There are many to choose from but i was thinking of the final one at the end, so much suspense!
------------
keep up great ideas bb

That's curious, I've seen One Flew Over...but I don't recall that scene. However, your Deer Hunter suggestion is a terrific one and I'll add it to the list. Much thanks.

The scene in which al pacino has to kill those 2 guys at the dinner place in The Godfather this is so powerful. the use of the train noise to display the thoughts in Michael Corleone 's mind-great stuff

That is a powerful scene, but I've got enough from The Godfather - unless you can suggest a scene from Godfather III.

how about noodles and max' discussion in the car prior to "going for a swim" in once upon a time in america..."today frankie asks you to get rid of joe, tomorow he asks me to get rid of you, i'm not ok with that" ... or the final max/noodles/senator bailey confrontation with an orchestra playing the beatles "yesterday" in the background... or the "i slipped" shooting of the youngest little gangster"... all very powerful scenes from a very powerful movie.