One might be surprised to discover that my two favourite scenes of all time from movies are both from films directed by Paul Thomas Anderson. About two months ago, I revealed my favourite scene of all time and promised to try and work on a list of great scenes. Well now I’ve finished compiling the list, and here it is, unleashed. They’re in no particular order, as it would be too hard to rank them, but I’ll start off with my second favourite scene of all time.
1: The Drug Deal Scene, Boogie Nights (1997)
Everything in this scene is pitch perfect. The tension works brilliantly, with the firecrackers and nervous tics. And the soundtrack… unbelieveable. You’ve got to hand it to P.T.A., he can pick the right music for any movie and it suits perfectly. There’s also a 45-second closeup of Mark Wahlberg (6:30-7:15) that is perhaps my favourite shot in the movie. Not because I like Mark Wahlberg, but just because it’s a perfect little piece of Anderson, and it reveals so much about Dirk Diggler without saying a word. Fantastic.
2: The Goy’s Teeth, A Serious Man (2009)
A perfect example of what makes the Coen brothers so unique. They can have a long, rambling, incredibly interesting monologue with virtually no meaning and it makes sense. The scene is both fun to watch and full of anticipation. Sure, it might be a let down to discover there’s no point in the whole thing, but it’s part of life. A lot of what we go through is long, tedious and has no real affect or reason, and yet, we live through it. The truth is, some questions weren’t made to be answered, and this scene sums it up perfectly.
3: The Street Shootout, Heat (1995)
Michael Mann’s visually daring 1995 heist movie features one of my personal favourite sequences of extended violence and warfare. Imagine a gritty shootout between many men, placed in the middle of a bustling street. Might not sound like the most original idea now, but back in 1995, it sizzled.
4: The Briefcase, The Killing (1956)
Though I sadly cannot find a video for this fantastic final scene to Stanley Kubrick’s heist movie, I can assure you it is brilliant. When two thieves are getting on to a plane escaping with millions in a briefcase, the unexpected happens, the briefcase opens, and all Hell breaks loose. A visually stunning shot, that in some ways anticipated Kubrick’s whole career.
5: Gutterballs, The Big Lebowski (1998)
A perfect combination of stylistic music and sexual innuendo combined with the Dude’s love of bowling, this priceless sequence makes the entire movie worth watching and symbolises (like #2) the uniqueness of the Coen brothers. No other director/s could have pulled this off.
6: “Hello, Dimitri?”, Dr. Strangelove (1964)
If there was a top prize for awkward, subtle humour in film, Dr. Strangelove would be a definite contender for top spot, and this scene explains exactly why. It makes me laugh every single time I watch it, and the first time I saw it, I was in tears by the time it ended. Fantastic. If you like to think you have anything resembling a sense of humour, you must see this movie.
7: Alice’s Monologue, Eyes Wide Shut (1999)
This is not actually the whole scene, but it’s enough of it to get the point across. Nicole Kidman is absolutely fucking fantastic in this scene, spitting out each line perfectly in character and in a manner that almost puts the viewer into the same drug-induced trance as her. A fantastic look at the effects of marriage and human relationships, this is definitely the film’s highlight.
8: Mr. Blonde, Reservoir Dogs (1992)
There are a lot of scenes which deserve a spot on here from QT’s breakthrough debut and it was really tough making a decision, but no other scene has the raw impact and masochistic beauty of this brilliantly filmed violence overblow. QT laughs in our faces and left me gaping when Mr. Blonde exited the warehouse and everything changed for those brief few seconds. He’s a genius, and this scene is a testament to his ability.
9: The German Girl, Paths of Glory (1957)
I hope you have a box of Kleenex, because you may be about to cry. The following is technically two scenes, one in which Kirk Douglas tells his boss where to stick his promotion (my favourite line in the film occurs at 0:59, listen for that one), and in the second part, in a scene that really is a testament to the heartlessness and cruelty of war, a German girl is forced to sing by a bunch of rowdy, drunken, ogling American soldiers, but the unexpected happens. Seriously, this scene… I cannot express my love for it enough, and it is one of the main reasons it’s placed so high among my favourite movies of all time. The best scene Kubrick ever directed. Ever.
10: Perfect Day, Trainspotting (1996)
Apparently, embedding is disabled so you can watch it here if it doesn’t work. What follows is an example of Danny Boyle’s great talent. He hear combines a scene where we see the protagonist Renton (Ewan MacGregor) take a “final” hit of heroin, and uses the best possible music to ironically describe the hellish levels to which he has sunk. Spectacularly depressing.
11: The End, Dogville (2003)
I warn you now, do NOT watch this scene if you have not already seen the movie. It contains spoilers that should NEVER be spoiled. It is the almost perfect, sadistic ending to Lars von Trier’s amazing stage-play filmed Dogville. It’s definitely in my Top 5 for jaw-dropping scenes. You will be stunned.
12: The Club Silencio, Mulholland Dr. (2001)
A beautiful, artistic, memorable scene from David Lynch’s amazing movie, this is a really well-done look at the thin line between dreams and reality, and how easily we can be tricked.
13: Don’t Leave, Magnolia (1999)
I know I’ve mentioned and shown this scene all over Southern Vision a few times, but if you haven’t seen it, it really is worth it. In general, I dislike Tom Cruise as an actor. But in this scene… wow, he really packs a punch that’s difficult to shake. Amazing portrayal of grief and loss.
14: Plastic Bag in the Wind, American Beauty (1999)
The scene has such emotion, and beauty, that there’s really nothing much left to say that Wes Bentley doesn’t say himself. Great background score from Thomas Newman, one of my favourite musical score composers of all time.
15: The Pool Scene, Let the Right One In (2008)
Almost poetic in its use of strewn body parts, sudden deaths, and great audio, this scene forces the audience to use their imagination which produces much more horrific results than any scary imagery. A beautiful, terrifying scene.
16: The Boardwalk Scene, A Clockwork Orange (1971)
The perfect combination of sickening violence and amazing classical music, Stanley Kubrick’s controversial masterpiece features countless great scenes of amazing direction, but this one tops them all.
17: Standing In Line for a Movie, Annie Hall (1977)
Woody Allen’s famous comedy works more like a series of hilarious sketches, and it’s difficult to pick just one, but when I watched it the first time, this scene really struck me as very funny, and has been parodied often in pop culture.
18: Lovefool, Hot Fuzz (2007)
This list would go uncomplete without a reference to the funniest of all the hilarious scenes in this Edgar Wright classic. The look on Simon Pegg’s face is hysterical.
19: The Copacabana Shot, Goodfellas (1991)
You’ll have to skip to two minutes before the actual shot starts, but it is a brilliant one. One of the most famous and influential tracking shots in all of cinema, this really pumps up the class in this Scorsese classic and is one of the many reasons it is as brilliant as it is.
20: Dreams, No Country for Old Men (2007)
A fitting way to finish off this list is with the disquieting, eerie, brilliant final scene that tops off an amazingly fantastic movie. Tommy Lee Jones leads the Coen brothers’ western-style classic to an awesome conclusion.
There, that’s my list. There’s plenty more I could add, but this is enough for now. So, what do you think? Anything you’d like to add? Leave a comment below.
First off, I’d like to clarify that the recent vampire movie hit Let Me In is not a remake of Tomas Alfredson’s terrific Swedish thriller Let the Right One In. They are both adaptations of the novel by John Ajvide Lindqvist.
Welcome to my latest review. Today I’m going to be comparing the two vampire movies in this post’s title. They are both excellent films, but for me it was easy to pick a winner.
A few months ago I caught Let the Right One In on DVD and watched it, eager to see what all the fuss was about. The film was brilliant in its portrayal of childhood strain and imaginative adventure brutally colliding with real life. The American version, Let Me In, is the same thing, but when comparing it with LTROI, it looks so glaringly… American. I’m a huge fan of Swedish cinema, and I love the way Swedish directors like Alfredson view things and shoot things. It’s so different from America; it’s more fresh, and original. Whereas the American version has all the American stereotypes: the typical bullied kid and the vampire. Sure, they’re original enough and LTROI handles their characters well enough, but LMI has characters that seem slightly less easy to accept. Chloë Grace Moretz, as the vampire “Abby” (to LTROI’s Eli) gives a showstealing performance and manages to capture the strange and uneasy feel her character presents, and manages to be perhaps an even more detached and lonesome soul than Eli in LTROI. For that, points are awarded. Kodi Smit-McPhee is decent in his role as the awkward Owen (to LTROI’s Oskar), but I felt less sympathy for him and more pity, whereas with Oskar in LTROI, he seemed more… real, and original. Although points must too be awarded to Smit-McPhee as his character certainly seems more lonely and helpless than Oskar, but this is a poor substitute for Oskar’s originality.
But the real reason I prefer Let the Right One In is the way it handles one of the most important scenes in both films. This is the pool scene, which, in LTROI, is one of my top five favourite scenes from any film ever. The way Alfredson films it is just magical. He makes it deeply disturbing, and gives the viewer a similar viewpoint to the underwater Oskar, allowing the viewer only to hear the madness and leave it to their imagination to figure out what’s happening and how above the water. Let Me In keeps the camera underwater, too, but other than that the scene is shot quite differently. The pool room is dark, which makes any visible underwater action much more difficult, and the awesome shot at the very end of the scene which surveys the entire mess of the whole room is noticeably missing.
I might sound grumpy and nitpicky to some, but I’d like to reassure everyone that I’m not putting Matt Reeve’s film down at all. I liked his movie, but it was too different and not as fresh as Alfredson’s, and had an ‘American’ feel which I felt quite unneccessary. We are constantly reminded this is in 80s America, such in scenes of television monitors of presidential speeches, a classroom chanting an American anthem, and other American things.
In Sweden it felt more appropriate and realistic, and the essence of true childhood was captured beautifully. Let Me In did a great job, I’m not denying it that, but the plain and simple truth is that Let the Right One In did better.
Let the Right One In: 8/10
Let Me In: 7/10
Now it’s time for…
Leave a comment with what you thought of both movies, and let me know whether you agree or disagree with what I’ve written. All opinions (within reason) are welcome.
Thanks for reading.