{"id":20996,"date":"2011-05-26T12:15:40","date_gmt":"2011-05-26T19:15:40","guid":{"rendered":"http:\/\/www.the-frame.com\/?p=20996"},"modified":"2011-11-27T18:21:08","modified_gmt":"2011-11-28T02:21:08","slug":"100-reasons-i-love-the-movies","status":"publish","type":"post","link":"https:\/\/www.the-frame.com\/blog\/2011\/05\/100-reasons-i-love-the-movies\/","title":{"rendered":"100 Reasons I Love the Movies"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons.jpg\" alt=\"\" title=\"100-reasons\" width=\"550\" height=\"310\" class=\"centered size-full wp-image-22180\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons-300x169.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons-354x200.jpg 354w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<p><span class=\"firstletter\">A<\/span> <a href=\"http:\/\/travismcclain.blogspot.com\/2011\/03\/100-things-i-love-about-films.html\">few<\/a> people I <a href=\"http:\/\/nathanchase.com\/2011\/04\/100-things-i-love-about-my-favorite-movies\/\">know<\/a> have done this ambitious meme that highlights not your top 100 films, but 100 things you love about film. I&#8217;ve mostly interpreted that as &#8220;100 moments or scenes that I love&#8221;, but it varies from a single shot to whole films to certain tropes or techniques found in lots of films. Here&#8217;s the original directive:<\/p>\n<blockquote><p>\nRather than posting your 100 favorite films (which has been done and overdone), you simply post your favorite things about movies.  I dig the concept, because instead of obsessing over whether the films you put on a list are &#8220;objectively good enough&#8221; to put on said list, you simply jot down 100 moments\/lines\/visuals that have made a lasting impression on you or sneak their way into running gags between you and your friends.\n<\/p><\/blockquote>\n<p>Mine aren&#8217;t in any order. I tried that, but really, these are too varied and too personal at times to rank. So this is just a jumble of things I love in film, things that remind me why I&#8217;m a cinephile and why I spend so much of my time watching, thinking about, writing about, and talking about film. And I could come up with another 100 in a heartbeat. (But it would take me longer than that to make another post about it&#8230;I think I could&#8217;ve MADE a film in the time this took to put together!)<\/p>\n<h3>The 400 Blows &#8211; the messy notebook<\/h3>\n<p>I love almost every scene in <em>The 400 Blows<\/em>, but this one especially delights me, and it doesn&#8217;t get nearly enough press. This random kid who doesn&#8217;t appear much in the film (he&#8217;s also got a funny couple of seconds when all the kids are peeling off from behind the teacher when walking through town) can&#8217;t quite seem to get his ink pen and notebook to play nicely together.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/MqUt1_nKMw0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Singin&#8217; in the Rain<\/h3>\n<p>&#8220;Dignity. Always dignity.&#8221; Really, I could&#8217;ve picked any scene from <em>Singin&#8217; in the Rain<\/em> and it would&#8217;ve fit the criteria for this list. Every moment in this film is perfection. So why not the moment when Don Lockwood proclaims his motto in life while the montage shows us quite the contrary? Perfection.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singin-in-the-rain.jpg\" alt=\"\" title=\"Singin'-in-the-rain\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21048\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singin-in-the-rain.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singin-in-the-rain-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singin-in-the-rain-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>True Romance &#8211; the theme and voiceover<\/h3>\n<p>Sure, this music is based on Carl Off&#8217;s Gassenhauer, but it&#8217;s beautifully rendered by Hans Zimmer. And sure, the dreamy, poetic voiceover is an homage to Terrence Malick&#8217;s <em>Badlands<\/em> (which also used Gassenhauer-like music). But for me, these two things together made me fall in love with <em>True Romance<\/em> instantly, even more so than <em>Badlands<\/em>. The clip contains spoilers for the end of the film. Sorry about the aspect ratio. YouTube should be banning bad-aspect-ratio uploaders instead of legitimate fair use uploaders. But I digress.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/YT-yylPUtx4\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Thin Man &#8211; Nick and Nora&#8217;s marriage<\/h3>\n<p>It is my studied opinion that Nick and Nora Charles are the greatest married couple ever portrayed on film. As Anjelica Huston stated when presenting Myrna Loy with an honorary Oscar in 1991, Nick and Nora showed that there could be life after marriage. Indeed, in the <em>Thin Man<\/em> movies, they present a marriage that works on every level &#8211; they joke and kid and drink like the best of friends, but drop everything else when the other truly needs something. They&#8217;re spouting some of the most witty and sophisticated dialogue ever written, but when either of them are threatened, the concern is palpable. When Nick jokes about his relationship with a pretty girl, Nora matches him, clearly so sure of his love that no other woman holds any threat, and she&#8217;s right. It&#8217;s wonderful to see.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thin-Man.jpg\" alt=\"\" title=\"Thin-Man\" width=\"550\" height=\"370\" class=\"centered size-full wp-image-21042\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thin-Man.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thin-Man-190x128.jpg 190w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thin-Man-300x201.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<div class=\"morelink\"><!--more--><\/div>\n<h3>Fantasia &#8211; the frost skaters during &#8220;Nutcracker&#8221;<\/h3>\n<p>This is the &#8220;Waltz of the Flowers&#8221; section of the piece; the whole thing is too long to fit in one YouTube video. I love it all, but the part that makes my heart soar every time is the climactic bit when the frost skaters take off full bore, and the music does too. Granted, the music by itself makes my heart soar at that point, but add in perfectly realized animation, and it&#8217;s just breathtaking.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/g7MmsDFy3ls\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The physicality of silent films<\/h3>\n<p>A common modern criticism of silent films (or a reason given why people can&#8217;t get into them) is the exaggerated acting they encourage, since performers had to indicate everything through expression and movement rather than dialogue. Fair enough, but watch enough silent films and the sheer physicality of them becomes intoxicating. The clip below is of Douglas Fairbanks in <em>The Three Musketeers<\/em> (check out 4:34 for a particularly good example of his athleticism), but it&#8217;s not only in adventure films where action is expected &#8211; it&#8217;s in comedies, dramas, everything. The way people always run rather than walk, the way a light tap on the shoulder sends people flying, the way a threatening gesture takes up the whole screen. I love it.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/xtJcH7n81Jg\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Practical effects, stop-motion animation, models<\/h3>\n<p>Special effects have come a long way since the beginnings of cinema, and well-done CGI has its place, but I have a special soft spot for old-school practical effects like scale models and stop-motion animation. Stop-motion and modeling has a long history from silent adventure through <em>King Kong<\/em> and Ray Harryhausen all the way up to <em>Star Wars<\/em> and <em>Jurassic Park<\/em>, and as good as computer-generated effects are these days, there&#8217;s something about the tactile nature of models that simply can&#8217;t be replicated.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jason-and-the-Argonauts.jpg\" alt=\"\" title=\"Jason-and-the-Argonauts\" width=\"550\" height=\"391\" class=\"centered size-full wp-image-21214\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jason-and-the-Argonauts.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jason-and-the-Argonauts-180x128.jpg 180w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jason-and-the-Argonauts-300x213.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jason-and-the-Argonauts-281x200.jpg 281w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Spirit of the Beehive &#8211; kids watching Frankenstein<\/h3>\n<p>Movies don&#8217;t come often to this film&#8217;s remote Spanish village, and when a print comes through, the whole town turns out for it &#8211; the film is <em>Frankenstein<\/em>, and soon the little girl who&#8217;s prominently featured in this clip (asking her sister why he killed the little girl at the end) will lose herself in imaginings brought out by the film. But first, the magic of cinema takes hold.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/LaN4fQ2PQQ4\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Adventures of Robin Hood &#8211; Robin crashes Prince John&#8217;s party<\/h3>\n<p>Robin Hood and his band are causing all kinds of bother for Prince John and his cohorts, but they don&#8217;t know how to stop him. &#8220;How do we even find him?!&#8221; Cut to Robin sauntering straight into the Prince&#8217;s Great Hall with one of the royal deer slung across his shoulders. It&#8217;s one of the great entrances in film history.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/adventures_of_robin-_hood.jpg\" alt=\"\" title=\"adventures_of_robin-_hood\" width=\"550\" height=\"412\" class=\"centered size-full wp-image-21000\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/adventures_of_robin-_hood.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/adventures_of_robin-_hood-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/adventures_of_robin-_hood-300x224.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/adventures_of_robin-_hood-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Scott Pilgrim vs. the World &#8211; Ramona vs Roxy<\/h3>\n<p>Initially I was looking for a scene featuring Kim Pine, since she&#8217;s my favorite character, but couldn&#8217;t find exactly what I wanted. Then I came across this scene and decided that Ramona&#8217;s giant hammer that she keeps in her purse definitely captures everything I love about this film. I mean, Thor can just go home now. Ramona&#8217;s already got his hammer beat by a mile.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/US2TXpEVV38\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The romance in Once<\/h3>\n<p>It&#8217;s tough to find a modern film with a romance as restrained and moving as this one. The two characters in <em>Once<\/em> are brought together by shared love of music, and eventually more, but it&#8217;s very subtle. When the end comes, it&#8217;s a bittersweetness of the very best kind.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Once.jpg\" alt=\"\" title=\"Once\" width=\"550\" height=\"301\" class=\"centered size-full wp-image-21163\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Once.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Once-233x128.jpg 233w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Once-300x164.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Sunrise &#8211; come to the city<\/h3>\n<p>F.W. Murnau was known as one of the foremost stylists of German Expressionism and its peculiar combination of high contrast lighting, moody shadows, and surrealistic touches. This sequence from <em>Sunrise<\/em> stands as one of the most gorgeous he ever created, as the vamp tries to convince a straying husband away from his wife with the siren call of the city.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/-XYZQbjGykA\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>A Town Called Panic &#8211; the deer gets snowballed<\/h3>\n<p>This film is so delightfully absurd the whole way through, and yet my favorite moment remains one that was in the trailer &#8211; when the giant snowball-throwing penguin robot tosses a snowball from its arctic location and it ends up hitting a deer in the middle of a summery forest. And if any of that sentence made you go WTF, congratulations. You have understood <em>A Town Called Panic<\/em> perfectly.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Town-Called-Panic.jpg\" alt=\"\" title=\"Town-Called-Panic\" width=\"550\" height=\"239\" class=\"centered size-full wp-image-21167\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Town-Called-Panic.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Town-Called-Panic-294x128.jpg 294w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Town-Called-Panic-300x130.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Big Trail &#8211; river crossing<\/h3>\n<p><em>The Big Trail<\/em> was the first sound film shot completely outdoors on location, and also used an early widescreen process. That pays off handsomely in a couple of sequences in particular: the river crossing scene below and a section where they lower all the wagons over a cliff (<a href=\"http:\/\/www.youtube.com\/watch?v=e01UTqaBZ8Q&#038;feature=player_detailpage#t=689s\">YouTube<\/a>). The film lacks a solid score, like many early sound films, which makes the scenes somehow more eerie and realistic. Oh, and the film also turned Marion Morrison into John Wayne.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/WxGGdlQrrA8\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Hausu &#8211; its existence<\/h3>\n<p>This 1977 Japanese film is the most bizarre and awesome thing I&#8217;ve seen in my life. It has everything &#8211; Japanese school children on vacation, killer houses, talking severed heads, girl-eating pianos, animation (hand-drawn, stop-motion, and cut-out), and every single cinematic technique you can think of. I think there&#8217;s even a kitchen sink in there somewhere. So, simply for existing, I salute you, <em>Hausu<\/em>.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/NN0HVJ5tkIM\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Arsenic and Old Lace &#8211; Cary Grant mugging<\/h3>\n<p>Grant is said to have disliked his performance in <em>Arsenic and Old Lace<\/em>, preferring the more subtle comedy of some of his other roles. But he&#8217;s so damned GOOD at it, that I must disagree with him. Everything is ace is this film, but Grant sets the farcical tone that perfectly offsets the morbidity of the plot itself.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Arsenic-and-Old-Lace.jpg\" alt=\"\" title=\"Arsenic-and-Old-Lace\" width=\"550\" height=\"402\" class=\"centered size-full wp-image-21169\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Arsenic-and-Old-Lace.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Arsenic-and-Old-Lace-175x128.jpg 175w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Arsenic-and-Old-Lace-300x219.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Two-Lane Blacktop &#8211; film burning<\/h3>\n<p>Spoilers! This is the very end of Monte Hellman&#8217;s furiously independent 1971 feature, about two drivers who live on the road, challenging locals to street races everywhere they go. After a prolonged cross-country race where the Driver eventually loses both his girl and and his major rival, he sets up for another race &#8211; and as he drives, the sound cuts out and the film breaks, stops, and burns. It&#8217;s a startling ending, and yet a perfect one for the character and the film.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/1ojDWxkVVJY\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>German Expressionism<\/h3>\n<p>The angles, the contrasts, the curves, the surreal sets depicting places that would never exist in real life, all creating a sense of heightened emotional and mental disturbance &#8211; German Expressionism finds its most extreme visuals in <em>The Cabinet of Dr. Caligari<\/em>, but it&#8217;s also clear in the work of F.W. Murnau and Fritz Lang, repurposed in film noir and the gothic cinema of <em>Night of the Hunter<\/em>, and on through both avant-garde and commercial work up to this day. I love it.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Caligari.jpg\" alt=\"\" title=\"Caligari\" width=\"550\" height=\"410\" class=\"centered size-full wp-image-21193\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Caligari.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Caligari-171x128.jpg 171w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Caligari-300x223.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Caligari-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Madame de&#8230; &#8211; circular tracking shots<\/h3>\n<p>Max Oph&uuml;ls is famous for his circular tracking shots, a none-too-easy technique when tracking actually meant laying railroad tracks to move the cameras around on. This is one of his best, following a pair of dancers throughout a scene that takes place over many nights and many parties, but thanks to Oph&uuml;ls camera, is merged into one extremely fluid scene.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/45U1wbynt10\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Night of the Living Dead &#8211; the black man takes charge<\/h3>\n<p>When George Romero revolutionized zombie movies back in 1968, he did more than create the modern version of the living dead. He reversed a trope that&#8217;s still active in most horror films, having the black character take charge and be the last man standing instead of the comic relief and first to die. This is even more revolutionary when you consider this is 1968, the center of the civil rights movement. And even more so when you consider that previous depictions of zombies had strongly played up the voodoo origins and connection to the black slave community, usually using zombies as a metaphor for slavery. A black man standing against white zombies is the real salient point of <em>Night of the Living Dead<\/em>.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Living-Dead.jpg\" alt=\"\" title=\"Night-of-the-Living-Dead\" width=\"550\" height=\"414\" class=\"centered size-full wp-image-21168\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Living-Dead.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Living-Dead-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Living-Dead-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Living-Dead-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<p><!--nextpage--><\/p>\n<h3>It Might Get Loud &#8211; creating a guitar<\/h3>\n<p>Maybe this is more of a &#8220;yay music!&#8221; thing than a &#8220;yay movies!&#8221; thing, but whatever. It&#8217;s in a movie. Jack White assembles a guitar out of a two-by-four, a bottle, and some wire. This is the opening scene of this documentary bringing together White, Jimmy Page, and The Edge, and I was already hooked.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/xCFXeChXfcI\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Shakespeare in Love &#8211; the Elizabethan theatre<\/h3>\n<p>It may be romanticized all out of proportion, but the portrayal of Elizabethan theatre in <em>Shakespeare in Love<\/em> had me utterly captivated, from the need for &#8220;a bit with a dog&#8221; to the theatre in the round, to the little hints of contemporary writers like Marlowe and Webster, to the giddy rehearsal and performance scenes. The soaring score and my love of Shakespeare&#8217;s words didn&#8217;t hurt either.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Shakespeare-in-Love.jpg\" alt=\"\" title=\"Shakespeare-in-Love\" width=\"550\" height=\"242\" class=\"centered size-full wp-image-21197\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Shakespeare-in-Love.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Shakespeare-in-Love-290x128.jpg 290w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Shakespeare-in-Love-300x132.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Speed Racer &#8211; sensory overload<\/h3>\n<p>I&#8217;ve never seen a film that does such an incredible job of visceral sensory overload as <em>Speed Racer<\/em>. I think I watched the entire thing with my jaw dropped, just overwhelmed by the visuals &#8211; it truly is an experiential film of the best kind. This is the opening several minutes, which establishes the real-life-cartoon aesthetic the film goes for, and ends up with the opening race. It looks fine here, but see it on Blu-ray on the biggest HD screen you can find. Wow.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/yJpGiX-2DIs\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Playtime &#8211; composition in depth<\/h3>\n<p>For <em>Playtime<\/em>, Jacques Tati make the unusual decision to shoot full-frame on 70mm film, which creates an extraordinary opportunity to compose shots deep rather than wide &#8211; and he makes the most of it, using the whole screen all the time, often with multiple things going on. It creates a sense of space and spatial relationships that&#8217;s rarely seen in film anymore, and that I love to see.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Playtime.jpg\" alt=\"\" title=\"Playtime\" width=\"550\" height=\"297\" class=\"centered size-full wp-image-21162\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Playtime.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Playtime-237x128.jpg 237w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Playtime-300x162.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Magnolia &#8211; &#8220;chance&#8221; opening<\/h3>\n<p>This little opening bit of <em>Magnolia<\/em> would pretty much work just as a short film, exploring instances of chance or coincidence, which is what <em>Magnolia<\/em> is pretty much about &#8211; the seemingly coincidental interactions among people, culminating in &#8220;chance&#8221; phenomena like a rain of frogs. What are the odds?<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/hAWDEsgMahQ\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Moulin Rouge &#8211; opening<\/h3>\n<p>I loved <em>Moulin Rogue<\/em> instantly when the opening came up, the flickering look of vintage cinema mixed with the haunting vocals of John Leguizamo singing &#8220;Nature Boy&#8221; followed by the stylized flythrough the Montmartre district of Paris. Though I&#8217;m a fan of the movie as a whole, the rest of it never quite lives up to this little sequence. Unfortunately, it&#8217;s not on YouTube, so I can&#8217;t show more than a screencap.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Moulin-Rouge.jpg\" alt=\"\" title=\"Moulin-Rouge\" width=\"550\" height=\"236\" class=\"centered size-full wp-image-21198\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Moulin-Rouge.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Moulin-Rouge-298x128.jpg 298w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Moulin-Rouge-300x128.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>All About Eve &#8211; Thelma Ritter<\/h3>\n<p>Gotta admit it&#8217;s tough thinking of just one thing to highlight about <em>All About Eve<\/em>, but in a cast full of great established and up-and-coming actresses (Bette Davis, Anne Baxter, Celeste Holm, Marilyn Monroe), veteran character actress Thelma Ritter just about steals the show. She&#8217;s the only one who sees straight through Eve&#8217;s act right from the beginning, offering a typically caustic &#8220;everything but the bloodhounds snapping at her rear end&#8221; to Eve&#8217;s life story. Ritter is a gem, and <em>All About Eve<\/em> and <em>Rear Window<\/em> are her shining moments.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/All-About-Eve.jpg\" alt=\"\" title=\"All-About-Eve\" width=\"550\" height=\"415\" class=\"centered size-full wp-image-21160\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/All-About-Eve.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/All-About-Eve-169x128.jpg 169w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/All-About-Eve-300x226.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/All-About-Eve-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Broadway Melody of 1940 &#8211; Begin the Beguine<\/h3>\n<p>This is quite likely my all-time favorite tap number, pairing Fred Astaire with maybe the only female tapper who could match him step for step, Eleanor Powell. It&#8217;s part of a much bigger production extravaganza of the Cole Porter song &#8220;Begin the Beguine,&#8221; but this is the best thing not only in the number, but in the whole film. I love the casual approach they both seem to be taking to it, as if they&#8217;re just out for a stroll, and the little one-ups-manship contest they carry on with their eyes as well as their feet.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/DWW6QeeVzDc\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Vivre sa vie &#8211; Anna Karina crying<\/h3>\n<p>I seem to have a thing for movies where people watch movies, and maybe that&#8217;s one reason I like Jean-Luc Godard so much &#8211; even when his characters aren&#8217;t watching movies, his iconography is inundated with cinema. In this case, Anna Karina is watching a movie &#8211; Carl Theodor Dreyer&#8217;s 1928 <em>The Passion of Joan of Ark<\/em> &#8211; and is moved to tears. Seeing her moved to tears moved me to tears.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Vivre-sa-vie.jpg\" alt=\"\" title=\"Vivre-sa-vie\" width=\"550\" height=\"407\" class=\"centered size-full wp-image-21159\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Vivre-sa-vie.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Vivre-sa-vie-172x128.jpg 172w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Vivre-sa-vie-300x221.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Vivre-sa-vie-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The purity of early cinema<\/h3>\n<p>The earliest cinema, the films made by Edison and Lumiere and others from 1895-1903 or so, are often termed &#8220;primitive cinema,&#8221; and I can understand why, as they generally consist of short documentary-type scenes, little or no narrative, no camera movement or editing even. Most of the techniques we associate with movies aren&#8217;t even in their infancy at this point. And yet, these films are fascinating and ones like this one, of serpentine dancer Loie Fuller, hold a purity and innocence that transcend their age. Lots of serpentine dances were filmed at the time; this one is my favorite (of the ones I&#8217;ve seen), thanks to Fuller&#8217;s grace and the hand-tinted colors.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/fIrnFrDXjlk\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Fifth Element &#8211; big bada boom<\/h3>\n<p>Or, every scene in the whole movie that has Leeloo in it, which is most of the scenes. But I love this one especially, mostly because of the little giggles she gives as Corben plays along with her &#8220;big bada boom&#8221; description. I had seen other Milla Jovovich movies before I saw this one, but I&#8217;m pretty sure this is where my girlcrush hit epic heights.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/j8WLYzA0lCs\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Wizard of Oz &#8211; switching to color<\/h3>\n<p><em>The Wizard of Oz<\/em> wasn&#8217;t the first film in 3-color Technicolor by about three years, but it was one of the first to use both B&#038;W and color for a narrative purpose. Other films had put in a color musical sequence or a color fashion show sequence, but <em>The Wizard of Oz<\/em> underscored the brilliance of Oz by placing it in color after a drab Kansas (putting Kansas in sepia rather than pure B&#038;W was brilliant, too). The moment when Dorothy opens the door, revealing a resplendent Munchkin city is one of the most memorable transitions ever.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Wizard-of-Oz.jpg\" alt=\"\" title=\"Wizard-of-Oz\" width=\"550\" height=\"242\" class=\"centered size-full wp-image-21158\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Wizard-of-Oz.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Wizard-of-Oz-290x128.jpg 290w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Wizard-of-Oz-300x132.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Blue Valentine &#8211; &#8220;You Always Hurt the Ones You Love&#8221;<\/h3>\n<p>This scene is simultaneously joyful and heartbreaking \u00e2\u20ac\u201c joyful because it\u00e2\u20ac\u2122s a wonderfully sweet depiction of two people just falling in love and enjoying each other\u00e2\u20ac\u2122s company, heartbreaking because you know the trauma that their relationship will soon be going through. It\u00e2\u20ac\u2122s an utterly perfect distillation of everything about the film, as even though in context, the song and dance is lighthearted and goofy, the song he\u00e2\u20ac\u2122s singing is painfully prescient.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/lKZUdy6xEZM\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Empire winning in The Empire Strikes Back<\/h3>\n<p>When I first saw <em>Star Wars: A New Hope<\/em>, I was like, yeah, that was fun. But when I saw <em>The Empire Strikes Back<\/em> and realized that it basically ended with our rebel heroes on the run, Han Solo frozen in carbonite at the mercy of Jabba the Hutt, Luke Skywalker physically and emotionally defeated and missing a hand, C-3PO in pieces, and the Empire inexorably closing in, I was like &#8220;WHOA. This is awesome.&#8221; Not because I&#8217;m pro-Empire, of course, but because I loved that Lucas was willing not only to have his characters know defeat and despair (literally nothing goes right in this chapter, for any of our people), but to have the film end on that note.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Star-Wars.jpg\" alt=\"\" title=\"Star-Wars\" width=\"550\" height=\"235\" class=\"centered size-full wp-image-21192\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Star-Wars.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Star-Wars-299x128.jpg 299w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Star-Wars-300x128.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Potemkin &#8211; The Odessa Steps<\/h3>\n<p>The most famous sequence in Sergei Eisenstein&#8217;s most famous film is a distillation of his theories of montage, which is not editing for narrative flow, but to create dialectical meaning through rhythm, speed, collision, contrasting lines and images, etc. &#8211; an intellectual approach to editing that directly contradicts standard continuity editing. Theory or no, the Odessa step sequence remains extraordinarily powerful on a purely emotional and visceral level. See also Brian De Palma&#8217;s homage in <em>The Untouchables<\/em> (<a href=\"http:\/\/www.youtube.com\/watch?v=PTtj-VXxgbc\">YouTube<\/a>, unfortunately the clip I could find is not in English).<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/DLEE2UL_N7Q\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Matrix &#8211; dodge this<\/h3>\n<p>I had at least a couple of other <em>Matrix<\/em> sections in here before deciding to go with this one, but really, how do you get better than Trinity shooting an agent at point blank range right after seeing Neo test out his own bullet-dodging skills? Trinity is awesome. Nuff said.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Matrix.jpg\" alt=\"\" title=\"Matrix\" width=\"550\" height=\"226\" class=\"centered size-full wp-image-21157\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Matrix.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Matrix-311x128.jpg 311w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Matrix-300x123.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Band of Outsiders\/The Dreamers &#8211; the Louvre<\/h3>\n<p>Confession: I actually saw <em>The Dreamers<\/em> before I saw <em>Band of Outsiders<\/em>, and even though I didn&#8217;t really care for the second half of Bertolucci&#8217;s film, the first part, set during the 1968 student riots in Paris (especially the one about the removal of Henri Langlois from the Cin&eacute;matheque Fran&ccedil;aise) had me totally captivated and probably can be credited with my eventual obsession with the New Wave. Someone has kindly put the original Louvre-in-six-minutes scene from <em>Band of Outsiders<\/em> side by side with its homage in <em>The Dreamers<\/em>.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/P4MV1NLejQ0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Oklahoma! &#8211; Ado Annie<\/h3>\n<p>When I was a kid, I had every bit of <em>Oklahoma!<\/em> memorized &#8211; songs, dialogue, the whole bit. But my favorite parts were always the ones involving Ado Annie &#8211; I just loved her little bit of naughtiness combined with the playing-dumb exterior and the fact that her songs were the funniest. It was also my first glimpse of Gloria Grahame, who&#8217;s now one of my favorite lesser-known classical Hollywood actresses. I found out later she was massively uncomfortable in this part due to the singing, but she manages to go after it with gusto anyway.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Oklahoma.jpg\" alt=\"\" title=\"Oklahoma\" width=\"550\" height=\"241\" class=\"centered size-full wp-image-21191\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Oklahoma.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Oklahoma-292x128.jpg 292w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Oklahoma-300x131.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Fantasia 2000 &#8211; &#8220;Rhapsody in Blue&#8221;<\/h3>\n<p>When the original <em>Fantasia<\/em> came out, it&#8217;s unlikely that Walt Disney would&#8217;ve considered an relatively recent jazz composition by a guy still writing primarily for movies and Broadway shows rather than the concert stage an appropriate piece for his classical music infused opus, but by 1999, Gershwin&#8217;s music stands as among the most innovative and enduring of the 20th century, and wedding it to art inspired by Al Hirschfeld&#8217;s cartoons is perfect. Easily my favorite segment of BOTH <em>Fantasia<\/em> films.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/tcZlXZy4XIY\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>King Kong &#8211; the humanity of Kong<\/h3>\n<p>Come on, look at that face! The original <em>King Kong<\/em> doesn&#8217;t go quite as far as Jackson&#8217;s remake in terms of making it a love story between Kong and Ann Darrow, but despite the somewhat obviousness of the stop-motion effects, it&#8217;s impossible to dismiss Kong as just a savage animal. That something more that animator Willis O&#8217;Brien managed to infuse in Kong is what makes <em>Kong<\/em> such an enduring film.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/King-Kong.jpg\" alt=\"\" title=\"King-Kong\" width=\"550\" height=\"412\" class=\"centered size-full wp-image-21156\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/King-Kong.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/King-Kong-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/King-Kong-300x224.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/King-Kong-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<p><!--nextpage--><\/p>\n<h3>McCabe and Mrs. Miller &#8211; McCabe has poetry in him<\/h3>\n<p><em>McCabe and Mrs. Miller<\/em> was one of those films that subtly grew on me the whole time I was watching it &#8211; at the beginning I was having trouble getting into it and by the end I thought it was incredible. Though it was gradual, this scene was probably the turning point; the moment when we see there&#8217;s more to McCabe than the reticent gunslinger-turned-businessman.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/UHrVL7DVZCA\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Back to the Future II &#8211; hoverboard<\/h3>\n<p>It&#8217;s a freaking HOVERBOARD. What more do you want?<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Back-to-the-Future.jpg\" alt=\"\" title=\"Back-to-the-Future\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21155\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Back-to-the-Future.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Back-to-the-Future-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Back-to-the-Future-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Black Dynamite &#8211; who the hell is interrupting my kung fu<\/h3>\n<p>I swapped out about four different <em>Black Dynamite<\/em> clips before just deciding almost randomly to go with this one. It gets at the action in the movies that <em>Black Dynamite<\/em> is homaging, and also the kind of irreverant loving humor Michael Jai White brings to the film. The impossible but never-confusing choreography and his irritation at getting interrupted are indicative of the kind of movie this is all the way through &#8211; both a parody and a near-perfect imitation of blaxploitation stylistics.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/jlMgEYwdzEU\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>A Star is Born &#8211; &#8220;The Man That Got Away&#8221;<\/h3>\n<p>After a four-year absence from the screen following <em>Summer Stock<\/em>, Judy Garland returned for one of her greatest roles ever, a wanna-be starlet in a relationship with a self-destructive actor. This song, the one that brought her to her mentor&#8217;s attention, became a standard for her, and it&#8217;s easy to see why. One of her most emotion-filled performances, and that&#8217;s saying a lot for Garland.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/UzyPMRo8ZUQ\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Jurassic Park &#8211; welcome to Jurassic Park<\/h3>\n<p>We all know what&#8217;s going to happen at Jurassic Park with a T-Rex and a bunch of velociraptors running around, but it&#8217;s impossible not to get caught up in the magic promise of the park, as Sam Neill and Laura Dern do at their first sight of a real-life brontosaurus. Welcome to Jurassic Park!<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jurassic-Park.jpg\" alt=\"\" title=\"Jurassic-Park\" width=\"550\" height=\"301\" class=\"centered size-full wp-image-21199\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jurassic-Park.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jurassic-Park-233x128.jpg 233w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Jurassic-Park-300x164.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Whatever Happened to Baby Jane &#8211; Jane loses it<\/h3>\n<p>It&#8217;s hard to think of more inspired casting than Bette Davis and Joan Crawford as two aging show business sisters who basically want to kill each other, and Davis in particular turns in one of the best performances of her career as the bitter former child star Baby Jane. In the most powerful and haunting scene, she snaps a bit and reverts to her once-popular childhood persona. It&#8217;s positively terrifying.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/pa2USJZHywE\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Young Frankenstein<\/h3>\n<p><em>Young Frankenstein<\/em> is the perfect homage, taking a specific film series (especially the original <em>Frankenstein<\/em> and <em>Bride of Frankenstein<\/em>) and paying loving tribute to it as well as lampooning it at every turn. You have to love the things you parody, and Brooks clearly loves his targets. This is one of my top three-or-four most quoted films, easily.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/young-frankenstein.jpg\" alt=\"\" title=\"Young Frankenstein\" width=\"550\" height=\"377\" class=\"centered size-full wp-image-21154\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/young-frankenstein.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/young-frankenstein-186x128.jpg 186w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/young-frankenstein-300x205.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>To Have and Have Not &#8211; &#8220;you just put your lips together and blow&#8221;<\/h3>\n<p>Lauren Bacall burst on screen with this little bit of sexiness, and neither Humphrey Bogart nor movie audiences ever looked back. It&#8217;s still utterly iconic &#8211; often imitated, never matched.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/0gFpoXYAm0o\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>North by Northwest &#8211; blowing out the match<\/h3>\n<p>Every scene in <em>North by Northwest<\/em> is worthy of this list. But I had to highlight what I think is one of the sexiest fully-clothed moments on screen &#8211; I mean, the whole conversation is, but when Eva Marie Saint grabs Cary Grant&#8217;s hand and pulls it closer to her to blow out the match (much closer than she would&#8217;ve needed to)&#8230;yeah.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/North-by-Northwest.jpg\" alt=\"\" title=\"North-by-Northwest\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21015\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/North-by-Northwest.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/North-by-Northwest-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/North-by-Northwest-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Down Argentine Way &#8211; Nicholas Bros<\/h3>\n<p>Most people would pick the end of <em>Stormy Weather<\/em> to highlight the fantastic talents of the Nicholas Brothers, and that&#8217;s an incredible routine. But this is the first time I remember seeing them (and is actually their first film appearance after Harold was grown up), and it&#8217;s stuck with me ever since &#8211; especially the part when Harold dives underneath Fayard&#8217;s legs in a split. They&#8217;d do that move again and often, but I think it&#8217;s the best here.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/KNrI7XF-pII\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Utterly preposterous and over-elaborate science labs<\/h3>\n<p>I wish I could find more and better examples of this, but every time I&#8217;m watching an old horror or science fiction movie and there&#8217;s a scientist with a lab, I&#8217;m utterly fascinated by the elaborate systems of beakers and tubes and bubbling liquids that cannot POSSIBLY serve any purpose for what they&#8217;re trying to do. it pleases me muchly.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Metropolis-lab.jpg\" alt=\"\" title=\"Metropolis-lab\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21138\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Metropolis-lab.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Metropolis-lab-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Metropolis-lab-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Metropolis-lab-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Contempt &#8211; title sequence<\/h3>\n<p>Godard was always experimenting with form, and here he takes on the credit sequence itself. Instead of just having the words printed on the screen, a narrator reads them off while a camera tracks toward us (run by cinematographer Raoul Coutard). At the end, a quote from New Wave-inspiring critic Andr&eacute; Bazin, and Coutard turns the camera to us, a typical move by Godard to implicate the audience in the action. The only character onscreen here is the translator, a character Godard added to the story (not in the source novel) that represents the communication\/translation\/adaptation issues at the heart of the film &#8211; a nice nod right at the beginning as to what Godard is getting at in the film.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/IzJlwWR_WHI\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Trouble with Harry &#8211; Harry&#8217;s feet<\/h3>\n<p>This is one of Hitchcock&#8217;s most humorous films, and a lot of the humor comes from this simple camera set-up, which is repeated over and over as everyone in the film tries to figure out what to do with Harry, who turns up dead in the woods and no one seems to know what happened.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Trouble-with-Harry.jpg\" alt=\"\" title=\"Trouble-with-Harry\" width=\"550\" height=\"295\" class=\"centered size-full wp-image-21070\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Trouble-with-Harry.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Trouble-with-Harry-238x128.jpg 238w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Trouble-with-Harry-300x160.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Man from Snowy River &#8211; rounding up the brumbies<\/h3>\n<p>I couldn&#8217;t begin to tell you how many times I watched <em>The Man from Snowy River<\/em> as a horse-crazy kid, and this has stuck in my memory as one of the most exciting scenes ever. Rewatching it, all that joy came flooding back, and it holds up just as well as I hoped it would.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/DZBXLYJwgt4\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Philadelphia Story &#8211; &#8220;Oh C.K. Dexter HAAAAAVEN&#8221;<\/h3>\n<p>James Stewart in one of the best drunk scenes in cinema, with Cary Grant being the perfect foil. YouTube won&#8217;t let me embed it, but you can check it out over there starting <a href=\"http:\/\/www.youtube.com\/watch?v=Fub0KDi0eUg\">here<\/a> (more clips in the related section).<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Philadelphia-Story.jpg\" alt=\"\" title=\"The-Philadelphia-Story\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21200\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Philadelphia-Story.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Philadelphia-Story-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Philadelphia-Story-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Philadelphia-Story-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Targets &#8211; Boris Karloff as basically himself<\/h3>\n<p>After playing Frankenstein&#8217;s monster in the 1931 film, Boris Karloff was essentially typecast in monster\/villain\/horror roles for the rest of his career, something the highly cultured Englishman always rued. But at the end of his career, Peter Bogdanovich cast him as an aging actor who had been typecast in monster\/villain\/horror roles for most of his career. As Orloff (his character&#8217;s thinly disguised name), he and his would-be director (played by Bogdanovich) plan a personal appearance at a drive-in, which happens to intersect with the other plotline, of a young man coldly picking off random people with a sniper rifle. Art imitates life, life imitates art, and art collides with life in this highly underrated film that finally gives Karloff a chance to be himself, and he does so magnificently.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/SfXOx04d6m4\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Young Girls of Rochefort<\/h3>\n<p>Every frame of this movie makes me happy, from the bright pastel color palette to the jazzy score by Michel Legrand to the impossibly beautiful Catherine Deneuve to the sunny seaside setting. If pure joy has a cinematic expression, this film is it.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Young-Girls-of-Rochefort.jpg\" alt=\"\" title=\"Young-Girls-of-Rochefort\" width=\"550\" height=\"236\" class=\"centered size-full wp-image-21055\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Young-Girls-of-Rochefort.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Young-Girls-of-Rochefort-298x128.jpg 298w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Young-Girls-of-Rochefort-300x128.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Chariots of Fire &#8211; Eric Liddel running<\/h3>\n<p>I pretty much grew up watching and loving <em>Chariots of Fire<\/em>, and no moment holds more pleasure for me than when Eric throws back his head and runs for the glory of God &#8211; &#8220;God made me for a purpose, for China. But he also made me fast. And when I run, I feel his pleasure.&#8221; Cue the only Vangelis score I actually like.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/GPB7r0UpNIE\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Raiders of the Lost Ark &#8211; Indy shooting the guy<\/h3>\n<p>Nothing says more about the kind of hero Indiana Jones is than when he eschews dilly-dallying with this guy and simply shoots him. Honor where honor is called for, but when it ain&#8217;t? Get business done and move on.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Raiders.jpg\" alt=\"\" title=\"Raiders\" width=\"550\" height=\"326\" class=\"centered size-full wp-image-21067\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Raiders.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Raiders-215x128.jpg 215w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Raiders-300x177.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>His Girl Friday &#8211; rapid fire dialogue<\/h3>\n<p>In early sound features, directors made sure to keep all dialogue separated so that audiences could clearly hear each line before the next one started, which sometimes leads to unnatural and awkward cadences in conversations. Howard Hawks said screw that, let&#8217;s overlap the dialogue the way it actually is in most real-life conversations, with people cutting in on each other, fighting verbally for the upper hand. It helps that <em>His Girl Friday<\/em> has a magnificent script and two great actors to play it off each other, but the speed with which it flies by continues to be its trademark. Here&#8217;s just a taste of it, from near the beginning.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/aJVCQTd6DTI\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<p><!--nextpage--><\/p>\n<h3>Almost Famous &#8211; &#8220;Tiny Dancer&#8221;<\/h3>\n<p>&#8220;I need to go home.&#8221; &#8220;You are home.&#8221; Teenage newbie rock writer William has plenty of ups and downs as he goes on tour with the band he&#8217;s supposed to be writing about, and those ups and downs often follow close on each others heels. After an embarrassing display by the lead singer, the group sits silent on the tour bus, until one of them starts singing along to the song that at first seemed like non-diegetic soundtrack. Soon they all join in, and yes. Right then, they&#8217;re all home.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/7Qn3tel9FWU\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Inglourious Basterds &#8211; Shosanna<\/h3>\n<p><em>Inglourious Basterds<\/em> shot up my all-time favorites list alarmingly fast, and a lot of it is due to M&eacute;lanie Laurent&#8217;s fantastic performance as Shosanna (often overlooked in favor of Christoph Waltz&#8217;s equally fantastic turn). She&#8217;s the real heroine of the story, the Jewish girl who escaped and ends up taking the ultimate revenge in her parallel plot against the Nazi elite. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Inglourious-Basterds1.jpg\" alt=\"\" title=\"Inglourious-Basterds\" width=\"550\" height=\"369\" class=\"centered size-full wp-image-21069\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Inglourious-Basterds1.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Inglourious-Basterds1-190x128.jpg 190w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Inglourious-Basterds1-300x201.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Last Picture Show &#8211; Sam the Lion<\/h3>\n<p>Equally concerned with nostalgia and forging into the future, <em>The Last Picture Show<\/em> straddles the gap between old and new both in American life, dramatizing the mid-1950s shift in morals that would lead into the sexual revolution of the 1960s, and in American cinema, valorizing classical Hollywood filmmaking while pushing the envelope on content. Sam the Lion, though a supporting character in the story, is the central fixture of the town and of the film, signifying the old which is soon to pass away and yet whose wisdom and quiet strength are needed.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/KWSvo0eMK7E\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Glenda Farrell &#8211; the wise-cracking dame with a heart of gold<\/h3>\n<p>I have a special place in my heart for the plucky female character that pops up a lot in 1930s films, and few people play that type better than Glenda Farrell. She has a way of stealing films from supporting roles &#8211; she&#8217;s the second-lead girl reporter in <em>Mystery of the Wax Museum<\/em>, and she&#8217;s probably the main reason I prefer this version of the story to any of the others I&#8217;ve seen. In <em>Lady for a Day<\/em>, she&#8217;s the nightclub owner who&#8217;s quietly in love with Warren William &#8211; a subplot that&#8217;s barely there, but Farrell manages to give it depth.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Glenda-Farrell.jpg\" alt=\"\" title=\"Glenda-Farrell\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21066\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Glenda-Farrell.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Glenda-Farrell-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Glenda-Farrell-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Glenda-Farrell-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Up &#8211; the Carl and Ellie sequence<\/h3>\n<p>One of the major complaints against <em>Up<\/em> is that the majority of the film doesn&#8217;t live up to this sequence, a silent journey through Carl and Ellie&#8217;s life together, complete with joy and tragedy, happiness and sorrow. Fair enough. But this five-minute piece of film is a perfect short film on its own, and just thinking about it brings tears to my eyes. (No, seriously, I started watching it when I was preparing for this post, and I had to stop it half-way through to keep from bawling.)<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/GroDErHIM_0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Night of the Hunter &#8211; the painterliness<\/h3>\n<p>A strange, nearly uncategorizable film, <em>The Night of the Hunter<\/em> is a combination of film noir, crime film, thriller, farce, Southern Gothicism, parable, and poetry. Yet thanks to director Charles Laughton&#8217;s commitment and some of the most gorgeous cinematography in any film ever, it somehow works. And though the tone may be gloriously inconsistent, the look is not &#8211; every frame is fraught with painterly compositions, contrasting shadows and light as masterfully as any work of art.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Hunter.jpg\" alt=\"\" title=\"Night-of-the-Hunter\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21014\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Hunter.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Hunter-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Hunter-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Night-of-the-Hunter-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Gentlemen Prefer Blondes &#8211; Dorothy imitating Lorelei<\/h3>\n<p>Some try to convince me that this is a guilty-pleasure level movie, but no. This is a great, great film. Marilyn Monroe is at her best here, playing not a dumb blonde as you initially expect, but a woman who knows that playing dumb is an effective way to get what she wants. But as good as MM is, Jane Russell practically steals the film from her as street-smart but relationship-dumb Dorothy &#8211; and nowhere more than here, where she literally steals Lorelei&#8217;s persona and signature number to try to get the pair out of a tough situation.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/j1fhxH8hdfw\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Bonnie and Clyde &#8211; Bonnie immortalizes Clyde<\/h3>\n<p><em>Bonnie and Clyde<\/em> is my #2 movie overall right now, so you knew I was going to pick something from it. A lot of scenes would&#8217;ve fit the criteria, but this one where Bonnie writes a poem about their exploits captures what I think is the essence of the film &#8211; the inherent theatricality with which Bonnie and Clyde invest their activities and the folk hero aura that follows them around, as well as the curious combination of childish naivete and sobering knowledge of their inevitable end that pervades the poem and their lives at this point in the story. The clip (not embeddable) is <a href=\"http:\/\/www.youtube.com\/watch?v=pAADKEo6HvQ\">here<\/a>.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Bonnie-Clyde.jpg\" alt=\"\" title=\"Bonnie-&#038;-Clyde\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21051\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Bonnie-Clyde.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Bonnie-Clyde-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Bonnie-Clyde-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Elevator to the Gallows &#8211; Miles Davis &#038; Jeanne Moreau<\/h3>\n<p>I&#8217;d seen Jeanne Moreau in other films, notably <em>Jules and Jim<\/em>, but I didn&#8217;t fall in love with her until here &#8211; her odyssey through the nighttime streets of Paris searching for her lover transcends the film&#8217;s crime plot (which is also excellent, on its own terms), thanks to the moody photography, Miles Davis&#8217;s wonderful score, and Moreau&#8217;s unforgettable face.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/1OKQdp6iGUk\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Resident Evil &#8211; zombie puppeh<\/h3>\n<p>Okay, most anything Milla Jovovich is in actually is a guilty pleasure, but I don&#8217;t care &#8211; I love them all anyway. None more than the original <em>Resident Evil<\/em> film, with Alice in her iconic red dress figuring out that she has the skillz to kick the crap out of zombie dobermans.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/LQG2buCXigM\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Princess Bride<\/h3>\n<p>You think I could pick just one part from <em>The Princess Bride<\/em>? You&#8217;d be wrong about that. There&#8217;s never been a more perfect combination of adventure, romance, comedy, and satire than this film, and it manages to do it all with unsurpassed sweetness.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Princess-Bride.jpg\" alt=\"\" title=\"Princess-Bride\" width=\"550\" height=\"298\" class=\"centered size-full wp-image-21039\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Princess-Bride.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Princess-Bride-236x128.jpg 236w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Princess-Bride-300x162.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Red Dust and many others &#8211; pre-Code naughtiness<\/h3>\n<p>Before today&#8217;s MPAA rating system there was the Production Code, a system of self-governing set up by the studios in 1930 in keep movies clean enough to avoid government censorship. It wasn&#8217;t really enforced until 1934, though, and from 1930 to 1934 a bunch of films were made that pushed at the boundaries of &#8220;decency.&#8221; Pre-Code films aren&#8217;t really explicit in any way, but have a delightful naughtiness as writers and performers milked innuendos and implications for all they were worth &#8211; the combination of innocence and naughtiness that pre-Code films have in spades has never really been recaptured. Here&#8217;s just one example of many, as Jean Harlow insists on taking a bath without the curtain that the more prudish Mary Astor had installed around the bathtub on a remote South American plantation.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/VajWLwilD58\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Birds &#8211; the jungle gym<\/h3>\n<p>This scene is a brief master course in the art of creating suspense. We already suspect that something&#8217;s going on with the birds, but they haven&#8217;t started attacking full-scale yet. Still, it&#8217;s worrisome to see them landing on the jungle gym behind an unsuspecting Tippi Hedren. As Hitchcock cuts back and forth between close-ups on Tippi and shots that show the jungle gym, each time with a few more birds, he spends longer and longer on Tippi, unless we can hardly stand it for worrying about how many birds will be there when he finally cuts back. Brilliant.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Birds.jpg\" alt=\"\" title=\"The-Birds\" width=\"550\" height=\"300\" class=\"centered size-full wp-image-21012\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Birds.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Birds-234x128.jpg 234w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Birds-300x163.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>District B-13 &#8211; parkour<\/h3>\n<p>So you thought the opening of <em>Casino Royale<\/em> was hot stuff, huh? Check out the founder of parkour, David Belle, doing it himself in <em>District B-13<\/em>. Unfortunately this is the best clip I could find, but you get the idea.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/01du2W6VJis\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Pan&#8217;s Labyrinth &#8211; harsh fantasy<\/h3>\n<p>Most of the time we think about fantasy as a way to escape harsh realities, but Ofelia gets no such relief &#8211; instead her fantasies are fraught with danger, monsters, and sacrifice, much like her Spanish Civil War-era reality. But the fantasy gives her a role to play, a chance to affect events rather than experience them passively, as she must do in real life. It&#8217;s a visionary concept, no less so because Del Toro does not rigidly delineate fantasy from reality &#8211; Ofelia&#8217;s world of monsters may be her real home.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Pans-Labyrinth.jpg\" alt=\"\" title=\"Pan's-Labyrinth\" width=\"550\" height=\"357\" class=\"centered size-full wp-image-21036\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Pans-Labyrinth.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Pans-Labyrinth-197x128.jpg 197w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Pans-Labyrinth-300x194.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Mulholland Drive &#8211; Club Silencio<\/h3>\n<p>The key that unlocks the mystery of <em>Mulholland Drive<\/em> and sends our heroines through the rabbit hole, to mix metaphors, turns up during this extraordinary sequence of a nightclub act with music but no band and a singer giving an intensely emotional performance until she falls dead and the song continues. It&#8217;s overwhelming and everything I love about David Lynch.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/rThBw4Vi1KA\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Henry V &#8211; Non Nobis<\/h3>\n<p>Shakespeare&#8217;s <em>Henry V<\/em> has oft been used as a rah-rah patriotic piece (notably by Laurence Olivier in his 1945 film version), but what Kenneth Branagh&#8217;s version brings is a sobering understanding of the cost of war. It&#8217;s still every bit as inspirational and remains pro-England, but it&#8217;s impossible to watch this long-take sequence after the Battle of Agincourt and not wonder whether Henry&#8217;s bid for the crown of France was worth it. Plus, the music on its own is awesome, in the original and reverential sense of the word.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/hPXXuEel0fU\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Thomas Crown Affair &#8211; the chess game<\/h3>\n<p>The film as a whole is a fun and breezy heist caper, but this scene superficially depicting a chess game between bored rich guy Steve McQueen, who pulls heists for the fun of it, and investigator Faye Dunaway, who&#8217;s trying to nail him (uh, for his crimes&#8230;yeah&#8230;that), ends up being one of the sexiest seduction scenes in film history. Love it. The clip is on YouTube but maddeningly unembeddable. Check it out <a href=\"http:\/\/youtu.be\/PIuI4_J67gU\">here<\/a>.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thomas-Crown-2.jpg\" alt=\"\" title=\"Thomas-Crown-2\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21035\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thomas-Crown-2.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thomas-Crown-2-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Thomas-Crown-2-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The New World &#8211; the British landing<\/h3>\n<p>I didn&#8217;t know what I was getting into when I popped in <em>The New World<\/em>, my first Terence Malick film, but whatever it was it wasn&#8217;t this. But when this scene of the Native Americans watching the British landing on their shores came on, I suddenly realized that I was watching a tone poem rather than a standard narrative film. The natives aren&#8217;t just watching, they&#8217;re <em>dancing<\/em> &#8211; not to any music but nature and not with any purpose but their own. That movement, that natural rhythm, is what made me fall in love with the film.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/lFkyAD9gS6g\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Gold Diggers of 1935 &#8211; &#8220;The Lullaby of Broadway&#8221;<\/h3>\n<p>As a whole, <em>Gold Diggers of 1935<\/em> is a pretty routine, even substandard backstage musical. But the climactic &#8220;Lullaby of Broadway&#8221; number directed by the inimitable Busby Berkeley, stands among the most memorable musical numbers on film. It&#8217;s got everything &#8211; a great Warren-Dubin song performed a few times by different performers, the large-scale choreography Berkeley was famous for, but most notably its own condensed story of a day in the life of a Broadway starlet with a surprisingly sober end. It&#8217;s too long to fit in one YouTube video, so here&#8217;s both. Most of the impressive kaleidoscopic dancing is in the second video, but you need the first one to get the full story of the piece.<\/p>\n<div class=\"centered\">\n<iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/qZws4r7IQPk\" frameborder=\"0\" allowfullscreen><\/iframe><br \/>\n<iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/1gGVryQDvv4\" frameborder=\"0\" allowfullscreen><\/iframe>\n<\/div>\n<p><!--nextpage--><\/p>\n<h3>Rear Window &#8211; Lisa jumping in with both hands<\/h3>\n<p><em>Rear Window<\/em> is my favorite film of all time, so I&#8217;d be plenty justified in just saying &#8220;the whole thing&#8221; as I have for some other films. But the part that I love the best is easily when Lisa jumps in to do the investigative work that Jeff, laid up in a wheelchair in his apartment, can&#8217;t do himself. Like everything else in the film, it plays perfectly on both narrative and thematic levels, and it&#8217;s just a damned suspenseful scene on its own.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Rear-Window.jpg\" alt=\"\" title=\"Rear-Window\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21190\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Rear-Window.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Rear-Window-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Rear-Window-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Umbrellas of Cherbourg &#8211; &#8220;I Will Wait For You&#8221;<\/h3>\n<p>I&#8217;m a little off from consensus by preferring <em>The Young Girls of Rochefort<\/em> a bit to <em>The Umbrellas of Cherbourg<\/em> (the music works a bit better for me throughout plus it&#8217;s just so joyful), but nothing can beat the love theme from <em>Umbrellas<\/em>, and its wonderful rendition as our young lovers are saying goodbye at the train station (right after the credits in this edited clip). This is the emotional side of the French New Wave done to perfection.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/Zs1NmsA-n-Y\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Big Sleep &#8211; the bookstore<\/h3>\n<p>I love this little almost unnecessary section of <em>The Big Sleep<\/em>, when Marlowe stakes out a bookstore (a front for his target) from a rival bookstore across the street &#8211; and ends up in a little tryst with the bookseller, a small but memorable role for Dorothy Malone. As much as I love all of this film, and so many moments in it, this one somehow sticks in my memory the most.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Big-Sleep.jpg\" alt=\"\" title=\"The-Big-Sleep\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21034\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Big-Sleep.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Big-Sleep-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Big-Sleep-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Big-Sleep-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Manhattan &#8211; New York + b&#038;w + Gershwin = perfection<\/h3>\n<p>The moment I started watching <em>Manhattan<\/em> and the opening strains of &#8220;Rhapsody in Blue&#8221; came up paired with gorgeous black and white photography of New York I was in love. Add in Woody Allen&#8217;s neurotically-pitched intro that celebrates New York while also perfectly indicating the kind of writerly, solipsistic world we&#8217;re going to see in the film, and yeah. This is one of favorite openings of all time.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/uyaj2P-dSi8\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The Women &#8211; catfights<\/h3>\n<p>True to its name, <em>The Women<\/em> has exactly zero men in the cast, and the women in here, true to stereotype, are catty to the nth degree. But with wit and vigor, making <em>The Women<\/em> one of the most fun films ever made. This is my favorite part, when Rosalind Russell&#8217;s character ends up in Reno, joining most of the other women who are already, and finds out that Paulette Goddard is the one who stole her husband. A brief but hilarious physical altercation follows. <a href=\"http:\/\/www.youtube.com\/watch?v=gTC0YusJFTY\">This clip<\/a> has a lot of the best lines, but the whole thing is awesome.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Women.jpg\" alt=\"\" title=\"The-Women\" width=\"550\" height=\"413\" class=\"centered size-full wp-image-21007\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Women.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Women-170x128.jpg 170w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Women-300x225.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/The-Women-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Once Upon a Time in the West &#8211; opening scene<\/h3>\n<p>This opener is not afraid to take its time, and that&#8217;s one thing that&#8217;s so great about it. It takes FOREVER to set up this nearly-deserted station and the three men who arrive there, waiting. With all that build-up, you know they must be big players in the film, perhaps three heroes? Or no, the three major villains that our hero will have to spend the whole film taking out. But after the silence finally erupts into a shootout, that&#8217;s not how it plays out at all, and that&#8217;s the other thing that&#8217;s so great about it.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/VDUbBMe1Nbg\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>The 400 Blows &#8211; freeze-frame<\/h3>\n<p>It&#8217;s said that Jean-Pierre Leaud only held this look that Fran&ccedil;ois Truffaut wanted for a split second, so he had to make a freeze-frame of it for the final shot of the film. But intentional or no, the fact that this last shot is a freeze-frame is utterly perfect. Antoine has run away, run far away, gotten to the sea, which was his goal, but&#8230;now what? The film and this portion of his story ends on a frozen moment, the moment where he&#8217;s gotten what he wanted, but&#8230;now what?<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/400-blows.jpg\" alt=\"\" title=\"400-blows\" width=\"550\" height=\"234\" class=\"centered size-full wp-image-20999\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/400-blows.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/400-blows-300x127.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>The Lady Eve &#8211; seducing Charles<\/h3>\n<p>Barbara Stanwyck is awesome in everything, and never more so than in her pseudo double role in <em>The Lady Eve<\/em> &#8211; she sparkles both as soft-hearted conniver Jean and her made-up alter ego Eve, and I especially love her in this scene (as Jean) as she seduces the hapless Charles Pike. The part when Fonda pulls Jean&#8217;s skirt down over her knee was improvised; Stanwyck never broke character, and it&#8217;s one of the best moments in the scene.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/fTUi3OZFIzo\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Monty Python and the Holy Grail<\/h3>\n<p>Yeah, I couldn&#8217;t pick a single scene from here. I mean, really. The Black Knight with a flesh wound? Hurling French insults? The killer rabbit? The holy hand grenade? Guarding the effeminate heir? The silly place of Camelot? The autonomous collective? Burning witches? How do you choose? So yeah. The whole thing.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Holy-Grail.jpg\" alt=\"\" title=\"Holy-Grail\" width=\"550\" height=\"397\" class=\"centered size-full wp-image-21037\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Holy-Grail.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Holy-Grail-177x128.jpg 177w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Holy-Grail-300x216.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Stage Door &#8211; the circle of theatrical boarding house life<\/h3>\n<p>I&#8217;ve probably seen <em>Stage Door<\/em> more than almost any other film, thanks to a period of time where I was watching it literally every week. It&#8217;s an incredibly underrated film that ought to be seen more, with a fantastic ensemble cast from Katharine Hepburn and Ginger Rogers to Eve Arden, Lucille Ball, and Adolphe Menjou. The script is both witty and moving, and captures both the silly camaraderie and desperation pervading the theatrical boarding house setting. And what I like the most is how it ends almost as it begins, with a reverse of the opening shot &#8211; the inhabitants chatting, the camera pulling back out of the house and indicating that this is a slice of life. We care about these individual characters, but life goes on and so does the theatre, and the cycle will continue with new hopefuls turning into seasoned regulars.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/6OJ-7UBRvEw\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>La Strada and Nights of Cabiria &#8211; Guilietta Masina&#8217;s face<\/h3>\n<p>Cinema has no other faces quite like Guilietta Masina&#8217;s, and no one know how to use it better than her husband Federico Fellini in his two neo-realist classics. She grounds both these films, often with very little dialogue. She doesn&#8217;t need it. It&#8217;s all in her face.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Guilietta.jpg\" alt=\"\" title=\"Guilietta\" width=\"550\" height=\"206\" class=\"centered size-full wp-image-21030\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Guilietta.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Guilietta-341x128.jpg 341w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Guilietta-300x112.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Double Indemnity &#8211; double entendres<\/h3>\n<p>You just don&#8217;t get much better than Barbara Stanwyck and Fred MacMurray trading double entendres over an insurance policy and an anklet. The rest of the movie lives up to the promise of this scene, but I never get tired of watching this part over and over.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/r69dQZHjkmY\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Kill Bill<\/h3>\n<p>Some people place the <em>Kill Bill<\/em> films low among Tarantino&#8217;s filmography, saying he&#8217;s just playing around with genre and not really doing that much that&#8217;s innovative, but whatever. This is some of the best genre homaging anyone&#8217;s ever done, mishmashing martial arts, samurai films, spaghetti westerns, blaxploitation, and even film noir together without ever losing Tarantino&#8217;s own individual style. If I had to pick one part, it&#8217;s the fight at the House of Blue Leaves. But I could easily point to a dozen other parts I love.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Kill-Bill.jpg\" alt=\"\" title=\"Kill-Bill\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21031\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Kill-Bill.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Kill-Bill-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Kill-Bill-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Gold Diggers of 1933 &#8211; &#8220;We&#8217;re in the Money&#8221; pig latin<\/h3>\n<p>An improvisation by a bored Ginger Rogers turned out to be one of the most delightful bits in a very enjoyable film.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/UJOjTNuuEVw\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>In a Lonely Place &#8211; Laurel gives Dix an alibi<\/h3>\n<p>When Dix (Humphrey Bogart) is accused of murder, his neighbor Laurel (Gloria Grahame) gives him an alibi, saying she saw the victim leave his apartment alone and in good health. Why? Because she &#8220;likes his face.&#8221; And indeed, that may be the only reason, because we don&#8217;t actually know that she DID see what she said she saw. And in that moment, <em>In a Lonely Place<\/em> becomes something more than a crime drama &#8211; it becomes one of the most adult and unconventional romances (bringing in elements of noir, melodrama, and Hollywood gothic) ever on screen.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/In-a-Lonely-Place.jpg\" alt=\"\" title=\"In-a-Lonely-Place\" width=\"550\" height=\"415\" class=\"centered size-full wp-image-21038\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/In-a-Lonely-Place.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/In-a-Lonely-Place-169x128.jpg 169w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/In-a-Lonely-Place-300x226.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/In-a-Lonely-Place-80x60.jpg 80w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>It Happened One Night &#8211; hitchhiking<\/h3>\n<p>Gable thinks he has this hitchhiking thing down pat, he&#8217;s even gonna write a book about it. But Claudette Colbert has better tools for the job.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/_wHfSb2xz2M\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Mulholland Drive &#8211; Betty&#8217;s audition<\/h3>\n<p>The final turning point in <em>Mulholland Drive<\/em> is the Club Silencio scene, included above, but this is the first turning point. Up to here, Naomi Watts has been playing Betty as a sunny, hopeful actress wannabe, a little over-playing her, in fact, to the point where we wonder if Naomi Watts can actually act at all. But then she goes to this audition, and something happens &#8211; she blows everyone away, including us, and suddenly we realize that Betty&#8217;s persona is the act, and maybe there&#8217;s another level to this film than we initially thought.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Mulholland-Drive.jpg\" alt=\"\" title=\"Mulholland-Drive\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21032\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Mulholland-Drive.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Mulholland-Drive-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Mulholland-Drive-300x168.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Modern Times &#8211; the nonsense song<\/h3>\n<p>Charlie Chaplin&#8217;s last silent film was made in 1936, some eight years after pretty much everyone else stopped making them. But it isn&#8217;t totally silent &#8211; it has some synchronized sound effects and this wonderful song that hearkens straight back to Chaplin&#8217;s vaudeville days. Most deliciously, it both uses sound and proves that Chaplin didn&#8217;t need it &#8211; the words are nonsense French and the song is every bit as funny without having any idea what he&#8217;s supposed to be saying.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/_du8fjUN0Kg\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Cyd Charisse&#8217;s legs &#8211; Broadway Ballet\/Girl Hunt Ballet\/etc<\/h3>\n<p>Not only did Cyd Charisse have legs a mile long, but she sure knew what to do with them. I&#8217;m especially drawn to her segments of the Broadway Ballet from <em>Singin&#8217; in the Rain<\/em> and the Girl Hunt Ballet from <em>The Band Wagon<\/em>, but really, you could take any of her dances in any move. No one can match her.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singing-in-the-Rain-cyd.jpg\" alt=\"\" title=\"Singing-in-the-Rain-cyd\" width=\"550\" height=\"367\" class=\"centered size-full wp-image-20997\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singing-in-the-Rain-cyd.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singing-in-the-Rain-cyd-191x128.jpg 191w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Singing-in-the-Rain-cyd-300x200.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Run Lola Run &#8211; the flash-forwards<\/h3>\n<p>Everyone talks about the repeating storyline and the techno music and the MTV pacing of <em>Run Lola Run<\/em>, but you know my favorite part? Those little future sections every time she runs past that woman with the baby carriage. They show in the sharpest relief the branching-world effect of the main plot &#8211; just a few things Lola does differently create entirely different futures for even people she casually interacts with. A ripple effect of possible worlds.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"343\" src=\"http:\/\/www.youtube.com\/embed\/NoBTrYRVKnw\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Cinema Paradiso &#8211; the outdoor screening<\/h3>\n<p>The one cinema in Salvatore&#8217;s little village is full up, leaving a crowd of would-be cinemagoers clamoring in the streets. So projectionist Alberto reflects the image out the window and onto one of the buildings in the square so people can watch it out there. This scene encapsulates everything I love about the film &#8211; cinema is universal and the way these people love their cinema, well, this is precisely why I became a cinephile.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Cinema-Paradiso.jpg\" alt=\"\" title=\"Cinema-Paradiso\" width=\"550\" height=\"309\" class=\"centered size-full wp-image-21013\" srcset=\"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Cinema-Paradiso.jpg 550w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Cinema-Paradiso-227x128.jpg 227w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Cinema-Paradiso-300x168.jpg 300w, https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/Cinema-Paradiso-355x200.jpg 355w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/p>\n<h3>Swing Time &#8211; &#8220;Pick Yourself Up&#8221;<\/h3>\n<p>Fred and Ginger have lots of incredible dances in all their films, but I always come back to this one as my very favorite. Professional hoofer Fred has been pretending to be totally inept at dancing to try to extend a lesson with dance teacher Ginger. When she&#8217;s fired for giving up on him, he proves he&#8217;s no slouch, and this is simply one of the most joyful and interestingly-choreographed numbers they ever did.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/mxPgplMujzQ\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<h3>Band of Outsiders &#8211; dancing the Madison<\/h3>\n<p>I can&#8217;t really explain what it is about this scene that grabs me so much. It&#8217;s a simple, repetitive dance, but Anna Karina&#8217;s enthusiasm is infectious, the voiceover cutting in is dryly hilarious, and it&#8217;s just&#8230;perfect. I&#8217;ve watched it a thousand times, and I will watch it a thousand more and be captivated every time.<\/p>\n<div class=\"centered\"><iframe loading=\"lazy\" width=\"550\" height=\"442\" src=\"http:\/\/www.youtube.com\/embed\/I6pOXjQLh7Y\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>A few people I know have done this ambitious meme that highlights not your top 100 films, but 100 things you love about film. I&#8217;ve mostly interpreted that as &#8220;100 moments or scenes that I love&#8221;, but it varies from a single shot to whole films to certain tropes or techniques found in lots of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":22181,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[2],"tags":[],"jetpack_featured_media_url":"https:\/\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/05\/100-reasons-featured.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":473,"url":"https:\/\/www.the-frame.com\/blog\/2007\/06\/afis-100-years100-movies-2007-edition\/","url_meta":{"origin":20996,"position":0},"title":"AFI&#8217;s 100 Years&#8230;100 Movies &#8212; 2007 Edition","author":"Jandy","date":"June 21, 2007","format":false,"excerpt":"The American Film Institute released an updated version of their 100 Years...100 Movies list of greatest American movies. Apparently they're going to do that every ten years. I only saw the tail end of the special last night--did any one else catch it? I think I saw the top fifteen\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":805,"url":"https:\/\/www.the-frame.com\/blog\/2007\/11\/new-project-watching-the-film-bloggers-100\/","url_meta":{"origin":20996,"position":1},"title":"New Project: Watching the Film Blogger&#8217;s 100","author":"Jandy","date":"November 15, 2007","format":false,"excerpt":"I wanted to catch up on the recap posts before I started this new film-watching project. I don't really know why, because they're mostly unrelated. But ah well. Goals don't have to have extrinsic meaning to be useful. Anyway, now I have caught up, so here's my project. A few\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":35345,"url":"https:\/\/www.the-frame.com\/blog\/2015\/10\/letterboxd-season-challenge-high-and-low-1963\/","url_meta":{"origin":20996,"position":2},"title":"Letterboxd Season Challenge: High and Low (1963)","author":"Jandy","date":"October 8, 2015","format":false,"excerpt":"Film 3 for the Letterboxd Season Challenge. The other films I plan to watch for the challenge are here. Week 3, Sept 20-26: Master of the East Challenge: Watch an unseen film directed by Akira Kurosawa Film I Chose: High and Low (1963) I've been keeping up watching the films\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2015\/10\/tf-feat-HighandLow5.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":32793,"url":"https:\/\/www.the-frame.com\/blog\/2013\/06\/top-ten-roger-eberts-great-movies\/","url_meta":{"origin":20996,"position":3},"title":"Top Ten: Roger Ebert&#8217;s Great Movies","author":"Jandy","date":"June 18, 2013","format":false,"excerpt":"Today would have been Roger Ebert's 71st birthday had he not recently passed away. What better way to celebrate his life than to remember the films that he singled out for particular praise in his Great Movies series? Ebert did not rank these films; in fact, he added them only\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2013\/06\/ebert.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":33465,"url":"https:\/\/www.the-frame.com\/blog\/2013\/12\/the-story-of-film-on-tcm-chapter-13\/","url_meta":{"origin":20996,"position":4},"title":"The Story of Film on TCM: Chapter 13","author":"Jandy","date":"December 2, 2013","format":false,"excerpt":"This is the story of the end of an era. For 100 years, movies had been shot on this - celluloid. Paper-thin, shiny, perforated. A medium so sensitive it could capture the subtle colors in snow. But in the '90s, the digital image and Terminator 2 came and reality got\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2013\/12\/SoF-The_Story_of_Film-90s.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":960,"url":"https:\/\/www.the-frame.com\/blog\/2008\/02\/fb100-95-run-lola-run\/","url_meta":{"origin":20996,"position":5},"title":"FB100: #95 &#8211; Run Lola Run","author":"Jandy","date":"February 1, 2008","format":false,"excerpt":"This post is part of a project to watch the Film Bloggers' 100 Favorite Non-English Films. See my progress here. Run Lola Run (Lola Rennt) Germany 1998; dir: Tom Tykwer starring: Franka Potente, Moritz Bliebtreu screened 1\/28\/08, DVD \"I wish I was a heartbeat that never comes to rest.\" Previous\u2026","rel":"","context":"In &quot;Film&quot;","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts\/20996"}],"collection":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/comments?post=20996"}],"version-history":[{"count":0,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts\/20996\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/media\/22181"}],"wp:attachment":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/media?parent=20996"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/categories?post=20996"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/tags?post=20996"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}