# Great Movie Moments



## Phil loves classical

What are some that stick out in your mind, that is worth watching a movie just for that moment? 

A few of mine:
Pickpocket: hated the movie, but the last part where the girl visits the guy in prison with the barrier was something else.

Empire Strikes Back: The Millennium Falcon gliding through the frozen waste after the chaos of the escape on Toth.

Shane: "Shane, come back!... Bye Shane!"

Amadeus: the audience reaction after the Commendatore scene.

The Pianist: Brody playing the Chopin Ballade to the German soldier.


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## tdc

Lost Highway - Mystery Man


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## Guest

The Medal Scene from "*In the Name of the Father*": Daniel-Day Lewis and Pete Postlethwaite. One of the very greatest scenes in all cinema. Day-Lewis is beyond phenomenal!! Both performances astonishing!!


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## Guest

Phil loves classical said:


> What are some that stick out in your mind, that is worth watching a movie just for that moment?
> 
> A few of mine:
> Pickpocket: hated the movie, but the last part where the girl visits the guy in prison with the barrier was something else.
> 
> Empire Strikes Back: The Millennium Falcon gliding through the frozen waste after the chaos of the escape on Toth.
> 
> Shane: "Shane, come back!... Bye Shane!"
> 
> Amadeus: the audience reaction after the Commendatore scene.
> 
> The Pianist: Brody playing the Chopin Ballade to the German soldier.


OMG, that scene from "The Pianist"!! Absolutely devastating. Thanks so much for reminding me of its power.


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## Guest

Another glorious scene from cinema; "*The Best Years of Our Lives*" - Homer's homecoming. Homer is a double amputee and returns home from WW2 and its trauma, not able to put his arms around his girl, Wilma. Wyler doesn't resort to cheap sentimentality in this scene or in any of this film. Hugo Friedhofer's beautiful score adds to the poignancy of the scene.






I have loved this film my whole life and every frame of it is precious to me; the cinematography of Gregg Toland and his velvet black and white palette. It just doesn't get any better!! (Toland was to die prematurely about 2 years after the film's completion. A real tragedy.)

Those brave soldiers returning from the front and who experienced difficulty re-assimilating into society; they'd be just one of the many thousands of 'deplorables' in the USA if it were the present day - and that angers me beyond belief.

This was, indeed, _the greatest generation_:


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## Biwa

A touching moment I recently watched again.

Sideways - The life of wine


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## DeepR

Der Untergang: Hitler's rage scene, mostly because of the memes; it just stays funny


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## Tchaikov6

*2001: A Space Odyssey* - lightgate sequence/ending
*Barry Lyndon* - final duel
*Dr. Strangelove* - phone call scenes
*Spirited Away* - Chihiro says goodbye to Granny
*There Will be Blood* - bowling alley scene


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## Ethereality

How come I post 2 threads this year on greatest musical moments and nobody responds, but a movie thread starts overflowing. Okay people must not pay much attention to short musical moments.


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## ldiat

ok 1 of many but this is first. but not #1


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## ldiat




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## Ethereality

Ok I give in.
_
"You keep on calling me Babu, the name's Sing, mutfkr. You keep on saying I'm your friend you don't even know my name."_






Dignam and Queenin have different approaches.






0:50_ "You one of those fitness freaks? Eh? Go f yourself"_






I can keep posting funny scenes from this movie :lol:


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## norman bates

tdc said:


> Lost Highway - Mystery Man


Lynch made a lot of truly memorable scenes, but that one is my favorite too.


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## norman bates

Ethereality said:


> Ok I give in.
> _
> "You keep on calling me Babu, the name's Sing, mutfkr. You keep on saying I'm your friend you don't even know my name."_
> 
> Dignam and Queenin have different approaches.
> 
> 0:50_ "You one of those fitness freaks? Eh? Go f yourself"_
> 
> I can keep posting funny scenes from this movie :lol:


Alec Baldwin had a very powerful and memorable (altough depressing) scene in Glengarry Glen Ross:


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## Phil loves classical

^ That must have been the biggest prick performance. It was funny. 2nd prize: set of steak knives. 3rd prize: you're fired.


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## Guest

Phil loves classical said:


> ^ That must have been the biggest prick performance. It was funny. 2nd prize: set of steak knives. 3rd prize: you're fired.


Actually, it's a very disturbing film altogether. A bitter, coarse and profane version of "Death of a Salesman", and not as good of course. Reminds me of "Wall Street" and Michael Douglas.

Just saying, but these kinds of films help to give America a bad name!! The swagger, the bravado, the kick-butt entitlement...ugly.


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## Phil loves classical

Christabel said:


> Actually, it's a very disturbing film altogether. A bitter and profane version of "Death of a Salesman", and not as good of course.


You're making me want to watch the whole thing now.


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## Guest

Phil loves classical said:


> You're making me want to watch the whole thing now.


You'll see I altered my comment.


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## norman bates

Christabel said:


> Actually, it's a very disturbing film altogether. A bitter, coarse and profane version of "Death of a Salesman", and not as good of course. Reminds me of "Wall Street" and Michael Douglas.
> 
> Just saying, but these kinds of films help to give America a bad name!! The swagger, the bravado, the kick-butt entitlement...ugly.


well, that's a bit like saying that a movie like 12 years a slave gives America a bad name instead of slavery itself...


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## Guest

norman bates said:


> well, that's a bit like saying that a movie like 12 years a slave gives America a bad name instead of slavery itself...


Neither of those things is mutually exclusive.


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## Ethereality

Eh, those Departed scenes I posted aren't very special I guess, I just like the overall flow of the film and the bits of unique, goofy realism in the comedy.

I recommend watching this movie before you see this scene lol:






Another David Lynch:


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## Guest

The original "*Bedtime Story*" with Brando and Niven is infinitely funnier than Steve Martin ("Dirty Rotten Scoundrels"). Not even in the same ball park.


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## norman bates

Christabel said:


> Neither of those things is mutually exclusive.


I'm not sure I understand what you mean, but I think it's obvious that if a movie is depicting negative aspects of reality (like war, murders, slavery or in the case of Glengarry Glen Ross, the dark side of capitalism) that doesn't make the movie responsible for wars, murders, slavery etc.


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## pianozach

norman bates said:


> Alec Baldwin had a very powerful and memorable (altough depressing) scene in Glengarry Glen Ross:


Saw this film years ago, on the basis of how great people said it was.

While it gave the actors a great opportunity to dig deep into some three dimensional roles, the film itself bored me to tears.


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## Bwv 1080




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## Joe B

There's a scene in Kurosawa's "The Seven Samurai" (towards the beginning of the movie) where the farmers who are looking to recruit ronin are harassed by one of the local morons in the boarding house for serving rice to the ronin when they themselves eat only millet (known in most of Asia as 'poor man's rice').

The farmers are verbally harassed, become embarrassed, and ultimately distraught for their lot in life. The acting is so good in this scene that suspending belief is not required. If you've got a heart, you find yourself crying with the farmers.


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## Biwa

The Getaway (1972)


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## Biwa

Ali (2001)


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## Phil loves classical

Biwa said:


> The Getaway (1972)


Supposedly this movie has some real history behind the scenes.

https://hollywoodsuite.ca/the-getaway/


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## Biwa

Phil loves classical said:


> Supposedly this movie has some real history behind the scenes.
> 
> https://hollywoodsuite.ca/the-getaway/


There's enough drama there for a whole miniseries.  :lol:


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## Azol

Tchaikov6 said:


> *Spirited Away* - Chihiro says goodbye to Granny


I'd say the Sixth Station sequence is the most powerful probably in the whole animation genre ever.


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## Flamme

But its still 2 eavyy


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## Biwa

The Outlaw Josey Wales (1976)


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## Tchaikov6

Azol said:


> I'd say the Sixth Station sequence is the most powerful probably in the whole animation genre ever.


Oh I completely forgot about that! Yes. It's ******* beautiful.


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## Biwa

Capote (2005)


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## Flamme

Few other good scens 















Life mox me even in death...


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## Phil loves classical

Not usually a fan of romance movies. But this one kind of gets to me. Maybe it's the music, or the great scenery. Here's one of the highlights of the movie.


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## Andante Largo

Le Mans (1971)


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## Adam Bodlack

The lighting of the beacons in the Lord of the Rings Return of the King. Soundtrack to that is just amazing.


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## tdc

The dude driving:


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## Guest

Ah, thanks for reminding us about the legendary "Dude"!! I love the scene where they recover his car and his "Credence tapes" are missing. "Leads"!!

"That rug really tied the room together, did it not?"


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## Phil loves classical

Adam Bodlack said:


> The lighting of the beacons in the Lord of the Rings Return of the King. Soundtrack to that is just amazing.


I thought LOTR had quite a few great moments. Like this one.


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## Phil loves classical

Christabel said:


> Ah, thanks for reminding us about the legendary "Dude"!! I love the scene where they recover his car and his "Credence tapes" are missing. "Leads"!!
> 
> "That rug really tied the room together, did it not?"


Ya, that was a pretty memorable line. Is there a most memorable movie quotes thread?


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## pianozach

Phil loves classical said:


> Ya, that was a pretty memorable line. Is there a most memorable movie quotes thread?


_*Frankly, my dear, I don't give a damn*_

I'll bet there's an *AFI Best 100 Film Quotes* list.


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## Flamme

A rare jewelw from 80s


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## DeepR

Since I love these movies so much they can't go without mention:

The Good, The Bad & The Ugly 
The entire finale at the graveyard. The greatest scene ever. From Tuco running like a madman to find the grave (treasure), to the legendary 3-way shootout, to the very end (Blondieeee!!! You know what you are!!! You're just a dirty son of a *AAYAAYAAA*). And many more scenes...

Once Upon a Time in The West 
The brilliant opening scene until the shootout ("You brought two too many"), and many more...

In fact I think I will watch them again soon.


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## DeepR

Adam Bodlack said:


> The lighting of the beacons in the Lord of the Rings Return of the King. Soundtrack to that is just amazing.


Great scene indeed.

What about Pacino's silent scream in Godfather 3? (best moment of the movie)


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## Bwv 1080

DeepR said:


> What about Pacino's silent scream in Godfather 3? (best moment of the movie)


Not a high bar there


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## DeepR

Not entirely serious now, but Picard's outburst in Star Trek: First Contact is of course legendary: "The line must be drawn HIYAA"
And so is Data's "0.68 seconds" for how long he was tempted by the Borg queen. And Worf's "assimilate this".
A fun movie!


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## Manxfeeder

DeepR said:


> Once Upon a Time in The West
> The brilliant opening scene until the shootout ("You brought two too many"), and many more...


The soundtrack for the opening scene is amazing because it's not a soundtrack; it's just noise. Of course, Marricone made up for it with Claudia Cardinale's theme.


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## Joe B

----------duplicated--------------down below


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## Joe B

DeepR said:


> Since I love these movies so much they can't go without mention:
> 
> The Good, The Bad & The Ugly
> The entire finale at the graveyard. The greatest scene ever. From Tuco running like a madman to find the grave (treasure), to the legendary 3-way shootout, to the very end (Blondieeee!!! You know what you are!!! You're just a dirty son of a *AAYAAYAAA*). And many more scenes...
> 
> Once Upon a Time in The West
> The brilliant opening scene until the shootout ("You brought two too many"), and many more...
> 
> In fact I think I will watch them again soon.


I love the scene where Bronson shoves the harmonica into Fonda's mouth, and the look in Fonda's eyes when he puts it together.


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## Phil loves classical

Joe B said:


> I love the scene where Bronson shoves the harmonica into Fonda's mouth, and the look in Fonda's eyes when he puts it together.


One of the most harrowing moments in cinema for me is this particular scene. I always assumed the bro kicked the younger Bronson character intentionally to go out like a champ and put both of them out of their misery, but rewatching this, it's not as clear when it cuts to the younger kid falling. Is he supposed to have fainted out of exhaustion?


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## Biwa

Barfly (1987)


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## Varick

To me, this is one of the greatest movie scenes of all time. Whoever thought to put the Duet from Lakme as the music to this scene is just an outright genius.

V


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## Guest

This is a great, great scene in American film history - "*Inherit the Wind*" (Kramer). Two great actors at the very top of their games. And a script to die for!!






Another outstanding scene; this time from "*A Tree Grows in Brooklyn*" (Kazan). James Dunn, the failed alcoholic father singing to his two children - but especially his wife. The glorious scene and poignant song recalls the relationship of father and mother before the depredations of poverty and the drink destroys their relationship. Peggy Ann Garner as the daughter; what expression on that young girl's face!! A picture paints a thousand words: Kazan's framing is just heartbreaking. The close-up of Dunn as he sings the words "...and for bonnie Annie Laurie..I would lay me doon and die"; its mixture of anger and regret is palpable. So few actors have the ability to portray that kind of emotional turmoil and complexity convincingly.






It's ironic that James Dunn died fairly young of alcoholism himself. An extraordinary film; one of the greatest masterpieces.


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## Biwa

Jeremiah Johnson


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## Room2201974

Paul Newman in _The Verdict_, Frank Galvin's summation:


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## Guest

Room2201974 said:


> Paul Newman in _The Verdict_, Frank Galvin's summation:


Newman was something special, wasn't he!! I watched "*The Sting*" again recently and he did run rings around his co-star Robert Redford. IMO his finest performances were in 'Hud' and 'The Long Hot Summer'. That memorable scene where he's outside on the verandah and Clara is in bed and he softly croons, "Oh Clara..... Cla....ra" in a tempting way - driving her mad.


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## Room2201974

Christabel said:


> Newman was something special, wasn't he!! I watched "*The Sting*" again recently and he did run rings around his co-star Robert Redford. IMO his finest performances were in 'Hud' and 'The Long Hot Summer'. That memorable scene where he's outside on the verandah and Clara is in bed and he softly croons, "Oh Clara..... Cla....ra" in a tempting way - driving her mad.


Have you seen _Nobody's Fool_? Another Newman tour de force, only with a comic bent.

They say that in all great movies like all great literature the protagonist undergoes a transformation. The ability to make that transformation seamless and believable is to me a hallmark of great acting. At the beginning of _The Verdict_ you despise Frank Galvin. He is an alcoholic, ambulance chasing, washed up attorney with few scruples. And if you don't hate him, you certainly feel sorry for him. And then Newman starts the transformation!

In the summation scene I posted above there is little action. There are no swear words, no one gets shot, and Jurassic Park dinosaurs are not eating the cast. It's a simple scene with only a few paragraphs of dialogue. Yet for me, it's one of the strongest scenes in moviedom.


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## Flamme

Gr8 indeed...I barely recognised mr lee...


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## Guest

Room2201974 said:


> Have you seen _Nobody's Fool_? Another Newman tour de force, only with a comic bent.
> 
> They say that in all great movies like all great literature the protagonist undergoes a transformation. The ability to make that transformation seamless and believable is to me a hallmark of great acting. At the beginning of _The Verdict_ you despise Frank Galvin. He is an alcoholic, ambulance chasing, washed up attorney with few scruples. And if you don't hate him, you certainly feel sorry for him. And then Newman starts the transformation!
> 
> In the summation scene I posted above there is little action. There are no swear words, no one gets shot, and Jurassic Park dinosaurs are not eating the cast. It's a simple scene with only a few paragraphs of dialogue. Yet for me, it's one of the strongest scenes in moviedom.


You are right; the actor's use of vocal intonation and delivery is what carries the scene. Just as with a string quartet or a recital by a single musician there is nowhere to run, nowhere to hide. This is what the stage actor has to do as well and probably where Newman learned his art (for an art it certainly was). For me the most famous monologue is Gregory Peck in the courtroom scene of "To Kill a Mockingbird".

I have not seen "Nobody's Fool" but I happened to watch a clip of it on U-Tube, with Melanie Griffith, only yesterday!!!


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## Phil loves classical

Christabel said:


> You are right; the actor's use of vocal intonation and delivery is what carries the scene. Just as with a string quartet or a recital by a single musician there is nowhere to run, nowhere to hide. This is what the stage actor has to do as well and probably where Newman learned his art (for an art it certainly was). For me the most famous monologue is Gregory Peck in the courtroom scene of "To Kill a Mockingbird".
> 
> I have not seen "Nobody's Fool" but I happened to watch a clip of it on U-Tube, with Melanie Griffith, only yesterday!!!


Peck was a very reliable actor, but his delivery becomes pretty predictable from movie to movie. Kind of like John Wayne (but obviously better) and Gene Hackman. I'm impressed by some of the actors more recently, who transform themselves and their persona in different roles, like Christian Bale, Viggo Mortensen, Charlize Theron (ever watch Monster? She was also great in The Road)


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## Guest

Phil loves classical said:


> Peck was a very reliable actor, but his delivery becomes pretty predictable from movie to movie. Kind of like John Wayne (but obviously better) and Gene Hackman. I'm impressed by some of the actors more recently, who transform themselves and their persona in different roles, like Christian Bale, Viggo Mortensen, Charlize Theron (ever watch Monster? She was also great in The Road)


I think Peck was a far superior actor to John Wayne; the subtlety of his performance in "Mockingbird" was just magnificent. The use of pauses, accenting of particular words and the body language: it conveys a strong man, without fanfare, and with rock-solid convictions:






Here he is again briefly with Scout. Love the pause and use of eyes for "er, no...".






Charlize Theron was absolutely brilliant in "Monster". Incredible.


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## Phil loves classical

Christabel said:


> I think Peck was a far superior actor to John Wayne; the subtlety of his performance in "Mockingbird" was just magnificent. The use of pauses, accenting of particular words and the body language: it conveys a strong man, without fanfare, and with rock-solid convictions:
> 
> 
> 
> 
> 
> 
> Here he is again briefly with Scout. Love the pause and use of eyes for "er, no...".
> 
> 
> 
> 
> 
> 
> Charlize Theron was absolutely brilliant in "Monster". Incredible.


Thing is, Peck just about always played the straight shooter with restrained delivery. Ever watch Moby Dick? Now that is a role against type and a real test. His performance was considered bad in general, but I didn't think it was that bad (or that good).


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## Guest

We will have to disagree about this. He was a sensitive actor with enormous range; compare "Roman Holiday" with "The Big Country" (those long pauses, looks and intonation - especially when he's telling Julie - in the latter film - that he will keep The Big Muddy and that he's not marrying Pat. He's already in love with Julie and this is conveyed by looks alone - also later towards the end of the film when he rides in to rescue Julie from the clutches of the Hannassay clan). He played a tormented man in "Spellbound" and an outlaw in "Yellow Sky". Remember him in his early film "Keys of the Kingdom"? Wonderful, subtle performance from an already-assured actor. "Duel in the Sun" (for David O. Selznick) saw another nuanced performance. "The Yearling": a fabulous film with a great performance as the nurturing father who is also firm but, finally, forgiving with his young son.


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## Flamme




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## pianozach

Flamme said:


>


Mmm. Nationalism.


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## Guest

Music is a very effective way of spreading propaganda and it continues today around the world; people just don't seem aware of it, probably because it might suit their own ideologies. Dr. Geobbels understood the power of the media and how to inculcate the young with the 'correct' ideas (as demonstrated in "Cabaret"). The media, the education system; the two predominant methods of indoctrination and alive and well in the 21st century. Oh, and censorship - these things go hand in hand.

You'd think we'd all be a bit enlightened about this but, alas, even good old McDonalds understands 'cradle to grave' marketing!!

Cinema has become THE most powerful tool for propaganda; I taught this to my high school students (English). The astonishing thing about it is that it's so easy and readily identifiable. American cultural hegemony arose primarily through the cinema (and the popular music industry). You can see that the opportunity for propaganda is vast and overwhelming, disguised as 'entertainment'. Today the advertising industry is a major source of propaganda (and it has, ironically, little to do with the products they're actually selling). People have been seduced by ideas about what's good for them. Run, as fast as you can. 

Beware the social engineers and promises of utopia, just like "Tomorrow belongs to me".


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## Phil loves classical

Christabel said:


> Music is a very effective way of spreading propaganda and it continues today around the world; people just don't seem aware of it, probably because it might suit their own ideologies. Dr. Geobbels understood the power of the media and how to inculcate the young with the 'correct' ideas (as demonstrated in "Cabaret"). The media, the education system; the two predominant methods of indoctrination and alive and well in the 21st century. Oh, and censorship - these things go hand in hand.
> 
> You'd think we'd all be a bit enlightened about this but, alas, even good old McDonalds understands 'cradle to grave' marketing!!
> 
> Cinema has become THE most powerful tool for propaganda; I taught this to my high school students (English). The astonishing thing about it is that it's so easy and readily identifiable. American cultural hegemony arose primarily through the cinema (and the popular music industry). You can see that the opportunity for propaganda is vast and overwhelming, disguised as 'entertainment'. Today the advertising industry is a major source of propaganda (and it has, ironically, little to do with the products they're actually selling). People have been seduced by ideas about what's good for them. Run, as fast as you can.
> 
> Beware the social engineers and promises of utopia, just like "Tomorrow belongs to me".


I agree. I see how it affects my younger relatives. I was myself affected without knowing it until later.


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## Flamme

pianozach said:


> Mmm. Nationalism.


Just a gr8 scene...Powerful...Even uplifting, if u leave the politix aside...Even the song has that summery-springy feeling, no h8...
Aaanywaaay...


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## KenOC

My intro to Elgar's 1st Symphony was the second scene in the 1984 movie _Greystoke_, a retelling of the Tarzan story...


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## Guest

Flamme said:


> Just a gr8 scene...Powerful...Even uplifting, if u leave the politix aside...Even the song has that summery-springy feeling, no h8...
> Aaanywaaay...


I taught this interesting film for matriculation English about 15 years ago. It's directed by an Australian, Peter Wier. Harrison Ford was his usual reliable presence in a well-made film. One quibble: I didn't like the soundtrack by Maurice Jarre, thinking it didn't suit the setting or the story.
Obviously in the 'barn raising' scene it's meant to sound like a highly contrapuntal chorale. The synthesizer doesn't do it for me.

Back to the kitchen, girls, if you please!!


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## Aliputera

Can never get enough of this!


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## MAS

Phil loves classical said:


> One of the most harrowing moments in cinema for me is this particular scene. I always assumed the bro kicked the younger Bronson character intentionally to go out like a champ and put both of them out of their misery, but rewatching this, it's not as clear when it cuts to the younger kid falling. Is he supposed to have fainted out of exhaustion?


I just LOVE this film.


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## MAS

Flamme said:


>


Chilling moment.


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## MAS

The scene in *Amadeus* of Salieri describing Mozart's music.


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## MAS

The slow scene of Ali emerging from the desert in *Lawrence of Arabia*.


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## MAS

How Billy Wilder plays with the lighting on Marilyn Monroe's voluptuous breasts during the song, _I want to be loved by you_, just to tease you.


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## MAS

The chariot parade, starting at about 2:13 in the glorious 1959 version of *Ben Hur*, William Wyler's masterpiece.






Of course, the whole *chariot race* is astonishing, given there was *no CGI* in those days!


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## Guest

Yes, that IS an astonishing scene - shot by second unit directors and not Wyler himself. It's a masterful example not only of the mobile frame but of *editing*. In the 1920s version of the film people and horses were killed in the chariot race (directed then by Fred Niblo and others). It's a minor miracle nobody was killed in Wyler's version. The more distant crowd scenes were achieved through the matte process and little wooden figures simulating people, manipulated by a lifting up and down mechanism. The rest were extras who had to be costumed, fed, housed and watered!!

Six months of shooting for the Chariot race in Wyler's "Ben Hur". Masterful acting from Boyd in the death scene (and the rest of the film). He really was an under-rated actor who died much too young.


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## Guest

MAS said:


> How Billy Wilder plays with the lighting on Marilyn Monroe's voluptuous breasts during the song, _I want to be loved by you_, just to tease you.


In an interview with Jane Fonda I saw recently she commented on Monroe's breasts in this outfit!! Daring for the 1950s, but an absolutely stunning dress.


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## MAS

Christabel said:


> Yes, that IS an astonishing scene - shot by second unit directors and not Wyler himself. It's a masterful example not only of the mobile frame but of *editing*. In the 1920s version of the film people and horses were killed in the chariot race (directed then by Fred Niblo and others). It's a minor miracle nobody was killed in Wyler's version. The more distant crowd scenes were achieved through the matte process and little wooden figures simulating people, manipulated by a lifting up and down mechanism. The rest were extras who had to be costumed, fed, housed and watered!!
> 
> Six months of shooting for the Chariot race in Wyler's "Ben Hur". Masterful acting from Boyd in the death scene (and the rest of the film). He really was an under-rated actor who died much too young.


Agreed on Stephen Boyd. In one of the scenes, Charlton Heston almost gets completely thrown, but recovered and climbed back up... that scene is real. The whole movie is masterful.


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## Guest

I love this scene from "Ben Hur". It's an incredible piece of acting from Stephen Boyd; the inflections, body language, sudden drop of voice level and, of course, the laughter. I feel much of this was influenced by the performance of Anton Walbrook in "The Red Shoes" (not the laughter). Boyd was something else: Heston was pretty good too, but not in Boyd's league...."where the beams cross". Absolute poetry.


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## MAS

Christabel said:


> In an interview with Jane Fonda I saw recently she commented on Monroe's breasts in this outfit!! Daring for the 1950s, but an absolutely stunning dress.


I believe Miss Monroe was pregnant during that shoot, the reason she was so voluptuous all over. As Jack Lemon observes, "it's a whole different sex!" Or, "look how she moves, it's just like Jell-o on springs!"


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## MAS

Christabel said:


> I love this scene from "Ben Hur". It's an incredible piece of acting from Stephen Boyd; the inflections, body language, sudden drop of voice level and, of course, the laughter. I feel much of this was influenced by the performance of Anton Walbrook in "The Red Shoes" (not the laughter). Boyd was something else: Heston was pretty good too, but not in Boyd's league...."where the beams cross". Absolute poetry.


According to the people behind the camera, the scene was supposed to be a reunion of lovers, though not overtly. They told Boyd, so he was acting for all he was worth. The reason Messala was so vengeful, he was a rejected lover. The director said, "But don't tell Chuck" (as he wouldn't go for it). But there's *no one* like Heston to play these larger than life characters, Moses, Ben-Hur, El Cid, John The Baptist, etc.


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## MAS

Christabel said:


> In an interview with Jane Fonda I saw recently she commented on Monroe's breasts in this outfit!! Daring for the 1950s, but an absolutely stunning dress.


She wore an even more daring one to JFK's Madison Square Garden's birthday


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## Guest

MAS said:


> She wore an even more daring one to JFK's Madison Square Garden's birthday party.
> 
> View attachment 142059


Yes, I saw that - but wasn't it some years later, in the 'swinging sixties'?


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