CLOSE TO 100 MORE MAGIC MOMENTS IN CINEMA HISTORY
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Documentary may not capture the truth, but it sure captures something: Jeanne-Claude's face when the RUNNING FENCE project gets the go-ahead.
"How do you figure our chances?' "What chances?" WINCHESTER '73
"We've all got it coming, kid." UNFORGIVEN
"Let's go." (final delivery) THE WILD BUNCH
"Fuck it. Let's go to court." This line and everything surrounding it for three minutes in either direction; THE INSIDER
Inconsequential line that forever rings in the mind: "New York Herald-Tribuuuune!" BREATHLESS
Inexplicably inspirational: "More shoes, more boots, more garlic." Werner Herzog in WERNER HERZOG EATS HIS SHOE
Justifiably inspirational: "They told me it couldn't be done, but if I had listened to them I would be a man without dreams, and I won't live that way." Werner Herzog in BURDEN OF DREAMS
Martin Sheen makes a recording for posterity in BADLANDS
Mark Wahlberg and John C. Reilly record "Feel My Heat" in BOOGIE NIGHTS
A pack of matches spontaneously combusts in John C. Reilly's pocket; HARD EIGHT
Alida Valli keeps on walking right past Joseph Cotton at the end of THE THIRD MAN
"I'll take punctuality." Bill Murray in RUSHMORE
"Well, to tell you the truth, I lied a little." Jack Nicholson in CHINATOWN
All of a sudden things are horrifyingly realistic: the diner scene with Ellen Barkin, FEAR AND LOATHING IN LAS VEGAS
All of a sudden things are hilariously surreal, yet sobering-ly real, and only Polanski could make this ending work: ROSEMARY'S BABY
All of a sudden things are just plain weird, even for the Pythons: "Find the Fish" in THE MEANING OF LIFE: "And it is. wherever I. did go."
Donald Sutherland's trademark whistle in M*A*S*H*
Peter Lorre's trademark whistle in M
"You know how to whistle, don't you, Steve? You just put your lips together and blow." Lauren Bacall in TO HAVE AND HAVE NOT
"Because I'm the man that knows," over a shot of a tape recorder; THE THIN BLUE LINE
Mick Jagger sits over a Steenbeck as David Maysles stops on the frame where the knife goes in: GIMME SHELTER
Isaac Davis' list of reasons why life is worth living, MANHATTAN
Crash Davis' list of things he believes in, BULL DURHAM
Foul shot from the opposite foul line, "and a hook shot." WHITE MEN CAN'T JUMP
The greatest "12" of all time, TIN CUP
Robert Loggia's halftime speech to the Armadillos; NECESSARY ROUGHNESS
Seriously, it gets me every time: the stadium chanting his name at the end of RUDY.
"I want to kill everyone. Satan is good, Satan is our pal." Rick Doccomun chanting in THE 'BURBS.
Uncomfortable depiction of a man who doesn't understand women #1: Travis takes a date to a porn movie in TAXI DRIVER
Uncomfortable depiction of a man who doesn't understand women #2: "How would you describe it to your friends? Would you say that you fingered me? Or maybe I could give you a handjob, would that put an end to all of this?" RUSHMORE
Five from GHOSTBUSTERS:
1- "Just a couple of wavy lines?"
2- "Egon, this reminds me of the time you tried to drill a hole through your head." "That would have worked if you hadn't stopped me."
3- "If I'm wrong nothing happens. We'll go to jail. Peacefully, quietly, we'll enjoy it. But if I'm right, and we can stop this thing... Lenny You will have saved the lives of millions of registered voters." Peter Venkman to the Mayor of New York
4- "Tell him about the twinkie." "What about the twinkie?"
5- Ray's well-thought-out request for Gozer the Gozarian to return to the nearest convenient parallel dimension.
There's a tooth in the wall of THE TENANT's apartment.
There's a vagina in the stomach of VIDEODROME's Max Renn.
There's an arm on the table: IN MY SKIN
A minute of silence in BAND OF OUTSIDERS
Eli Cash bugs out on live television, THE ROYAL TENENBAUMS
Best tragically unnecessary death at the very end of a great film: NIGHT OF THE LIVING DEAD
Worst tragically unnecessary death at the very end of an otherwise perfect film: WAGES OF FEAR
The opening attack on the President in X2.
Best example of a trademark line degenerating over the course of a series: "Yippe-cai-yay, motherfucker."
The bodyguards sense something is amiss in the shopping mall: THE MISSION
Sexy Accent #1: Valeria Golino in RAIN MAN
Sexy Accent #2: Patsy Kensit in LETHAL WEAPON 2
TOUCHEZ PAS AU GRISBI. All of it.
ALIEN. All of it.
Great scene from a director who has made it clear to everyone since directing it that despite how good the scene is, he is talentless #1: Randal does not appreciate a customer's ruse and revokes her membership in CLERKS.
Great scene from a director who has made it clear to everyone since directing it that despite how good the scene is, he is talentless #2: Kay comes clean about the abortion to Michael and he slaps her like I've never seen a woman slapped on film in THE GODFATHER: PART II
Jean Gabin slaps the punk-ass gangster like a bitch in LE QUAIS DES BRUMES
A neck being snapped as the head leaves the frame cuts to a bottle of beer being opened: best cut in cinema history: HEAT
Cutting between Donald Sutherland and Julie Christie's first fuck since their daughter died and them getting dressed to go out afterwards in the best love scene ever filmed as well as the best portrayal of a relationship in cinema history: DON'T LOOK NOW
Vincent Hanna and Neil Macauley stare each other down, except one of them is on a night-vision monitor in HEAT.
Tom Noonan holds himself while Joan Allen holds a drugged tiger in MANHUNTER.
"Would you like to leave your home phone number?" Brian Cox as Hannibal Lecter in MANHUNTER.
Creepy: DeNiro's finger in Juliette Lewis' mouth in CAPE FEAR.
Intense: Russian Roulette in THE DEER HUNTER
Hilarious: Danny DeVito bets a dime in ONE FLEW OVER THE CUCKOO'S NEST
[redacted because the author now works with children]
Best stereotypical asshole authority figure: John C. McGinley in POINT BREAK
The rope bridge sequence in TEMPLE OF DOOM
David Hemmings and his model exhausted after a photo shoot in BLOW-UP.
DePalma reenacts the great steps sequence from Battleship Potemkin in THE UNTOUCHABLES.
For that matter, the Odessa steps sequence from BATTLESHIP POTEMKIN
John Cusack and the film's kickboxing trainer beat the shit out of each other in a high school hallway and it looks like what a fight involving martial arts might really look like in GROSSE POINTE BLANK
When we first realized Joe Pantoliano was great: Guido the Killer Pimp in RISKY BUSINESS
Sentimental yet wonderful: an 8 year-old sneaks out to play pool with Uncle Terry in YOU CAN COUNT ON ME
Most upsetting thing an average 8-year-old will ever see: Han's expression frozen in carbonite.
Most upsetting thing that 8-year-old will see later in life: Greedo shooting first.
The grown boy loses all nostalgia for something he cherished as a child and vows to shave Lucas' eyebrows given the opportunity: ATTACK OF THE CLONES
Genuinely upsetting: the ferry ride through the tunnel in WILLY WONKA AND THE CHOCOLATE FACTORY
Jack Lemmon's performance as Shelly "The Machine" Levine for that minute at the end when he knows he's fucked in GLENGARRY GLEN ROSS
"I am trying to run an office here. Will you go to lunch? Will you? Go to lunch. Will you go to lunch?" Kevin Spacey in GLENGARRY GLEN ROSS
Ed Lachman leaves his glasses at the edge of the volcano, LA SOUFRIERE
Jewel heist in LE CERCLE ROUGE
Bank heist in HEAT
Train heist in THE WILD BUNCH
Quint downs a beer and crushes the can. Not to be bested, Hooper downs his coffee and crushes the Styrofoam cup. JAWS
One frantic day in the life of Henry Hill, ending with him in cuffs, and played out over, like, a good twenty minutes: GOODFELLAS
Isabelle Adjani has a moment in a deserted train tunnel: POSSESSION
Leslie Cheung's car pulls away in slow motion while Tony Leung is left in the street, visible through the rear window, HAPPY TOGETHER
Tony Leung and Chen Chang say goodbye near the end of HAPPY TOGETHER
Claude Rains turns to go back into the house at the end of NOTORIOUS
The jungle gym in the school playground is suddenly full of crows in THE BIRDS
We first see Jesus in THE BIG LEBOWSKI
Jesus has a bad day in THE PASSION OF THE CHRIST
"G.I." Joel Sherman wins the National Scrabble Championship in THE LETTERMEN
Bear Trap. STRAW DOGS
Fassbinder's song playing over the craziest last shot in film history when THE AMERICAN SOLDIER is shot and his brother appears to be making love to his dying body.
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