Some more random memorable moments:
The camera circling the two embracing lovers in Lelouch's A Man and a
Woman.
The 'vertigo shot' in Vertigo (track-in and zoom-out simultaneously,
often used since, notably in Jaws - the Scheider character on the
beach - and in GoodFellas in a diner scene with the Pesci and DeNiro
characters).
'Popeye' Doyle running after the departing subway train and thrashing
his hat in The French Connection.
The Cossacks marching down the steps in Battleship Potemkin.
The birds gathering in the school yard on the bars behind the Tippy
Hedren character in The Birds. The farmer's pecked-out eyes in the
same film.
Three men standing on the rooftop's edge of Seattle's Space Needle
and looking down after the assassination of a senator in The Parallax
View.
Bonnie and Clyde being machine-gunned to death in slow motion.
The multiple stand-off at the end of Reservoir Dogs.
The eyes of the Charles Bronson character in huge cinemascope close-
up during the duel with the Henry Fonda villain in Once Upon a Time
in the West. The image of Bronson's father being hanged from an arch
in the same film.
Monument Valley, for instance in numerous John Ford westerns.
The purple-lit suspended comatose patients in Coma.
The brief glimpse of the Sharon Stone character's pubic hair in Basic
Instinct.
Molière slowly bleeding to death, his white shirt turning to red,
while being carried up the stairs by his friends in what seems like
an eternity in Ariane Mnouchkine's Molière.
Chaplin stuck in the machinery in Modern Times.
Harold Lloyd hanging from the clock of a highrise.
'Hand me the butter' in Bertolucci's Last Tango in Paris (a 'smear
campaign' of sorts).
The photographer (David Hemmings) scutinizing the enlarged photo of
the park in Blow-up. The make-believe tennis game at the end of that
film.
Roger Thornhill (Cary Grant) running away (towards the camera) from
the biplane in the cropduster sequence of North by Northwest. Roger
holding Eve (Eva Marie Saint), both hanging from the edge of Mount
Rushmore.
Harry Lime (Orson Welles), trapped and wounded, at the climax of The
Third Man sticking his fingers through the gully. The Alida Valli
character slowly coming towards and then walking past the Joseph
Cotten character at the end of that film.
Rita Hayworth tossing her hair back in act one of Gilda.
Gene Kelly singing in the rain.
Sally (Meg Ryan) faking an orgasm in When Harry Met Sally.
'Don't Bogart That Joint' in Easy Rider, with the Peter Fonda and
Dennis Hopper characters on their low-riders.
The shot of the sledge in Citizen Kane when the significance of
'Rosebud' is revealed.
The Donald Sutherland character's silent scream of denunciation at
the very end of the Invasion of the Body Snatchers remake.
Murdered Willa's (Shelley Winters) billowing hair under water in The
Night of the Hunter. The preacher's tattoos of 'love' and 'hate' on
his knuckles.
The body tattoos of the Guy Pearce character in Memento.
The final freeze-frame of Butch Cassidy and the Sundance Kid.
To be cont'd...
H
> The final shot in Truffaut's "The 400 Blows" ... Antoine jogs onto
> the beach and to (beyond?) the edge of the sea/dry land. He turns,
> facing the camera now, looking into it, and the frame freezes then
> closes in, rapidly, on his captured expression which, held there on
> the screen, externalises everything it means to be ‘coming of age’
> – and allows us to experience once again that time when childhood
> and adulthood violently meet.
>
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