Thelma & Louise (1991)

In director Ridley Scott's great feminist road film:

• the scene in the parking lot outside a roadside honky-tonk bar when hardened waitress Louise (Oscar-nominated Susan Sarandon), with her unhappy Arkansas housewife friend Thelma (Oscar-nominated Geena Davis), avenged and retaliated for Thelma's near rape by her slimy local redneck dance partner Harlan (Timothy Carhart) (who had taunted her "Suck my c--k"); Louise shot and killed him: ("It looks like you've got a real f--ked up idea of fun")
• the fugitives' liberating drive to Mexico, through Utah's Monument Valley as part of their four-day odyssey
• Thelma's encounter in motel room 133 with hitchhiker and petty thief hunk J.D. (Brad Pitt) - who was first viewed in the rear-view mirror, and later displayed how to use a gun (with a hair-dryer)
• the scene of the two female fugitives as they tormented a leering, repulsive truck driver with a wiggling tongue when they shot out his tires and then blew up his gas truck for not apologizing - (his reaction: "Goddamn it, you bitches from hell!")
• the bittersweet ending with its soaring freeze-frame finale when the road-movie buddies - after their flight across the Southwest to Mexico from cop Hal (Harvey Keitel) - drove their 1966 Ford Thunderbird convertible off a Grand Canyon cliff toward ultimate freedom while holding hands after Thelma urged: "Let's just go for it"

Them! (1954)

In director Gordon Douglas' paranoic mid-50s creature feature:

• the scene of police finding a traumatized girl wandering trance-like, near a smashed-up automobile, and blood (but no bodies)
• after she was revived out of her shocked state from a whiff of formic acid, her scream of: "THEM! THEM!!!! THEMM!!!!"
• the scenes of the giant radioactive ants (due to atomic testing in the New Mexico desert) with mandibles on the loose
• the discovery of their nest

There's Something About Mary (1998)

In the Farrelly Brothers' notorious film:

• the response to the painful, pants-zipper accident that injured geeky, accident prone and humiliated Ted Stroehmann's (Ben Stiller) male organ - a flashback on the night of his high school prom with ditzy dream-girl Mary Jensen's (Cameron Diaz) solicitous step-father's (Keith David) incredulous queries about the incident: "Is it the frank or the beans?" and "How the hell d’ya get the beans above the frank?", followed by the paramedic's cry: "We've got a bleeder!"
• the gross-out, iconic, disgusting image of Mary's upturned hair with a unique brand of home-made hair-gel that was dangling and borrowed from Ted's left ear lobe ("Is that hair-gel?") after he had masturbated
• the scenes with the landlady's hyperactive dog Puffy, who attacked Ted, and then was secretly oversedated by sleazy and smarmy private detective Pat Healy (Matt Dillon) with spiked treats; the dog was miraculously revived from death by electrocution from an AC cord - but it set Pat on fire
• the painful scene of Ted's mouth being hooked by a large fishing line hook
• Ted's scene with a rambling, persuasive hitchhiker-salesman (Harland Williams) who enthusiastically promoted his new product (7 Minute Abs exercise video): ("Think about it. You walk into a video store, you see 8-Minute Abs sittin' there, there's 7-Minute Abs right beside it. Which one are you gonna pick, man?...Bingo, man, bingo. 7-Minute Abs. And we guarantee just as good a workout as the 8-minute folk....If you're not happy with the first 7 minutes, we're gonna send you the extra minute free. You see? That's it. That's our motto. That's where we're comin' from. That's from "A" to "B"...No! No, no, not 6! I said 7. Nobody's comin' up with 6. Who works out in 6 minutes? You won't even get your heart goin', not even a mouse on a wheel...7's the key number here. Think about it. 7-Elevens. 7 dwarves. 7, man, that's the number. 7 chipmunks twirlin' on a branch, eatin' lots of sunflowers on my uncle's ranch. You know that old children's tale from the sea. It's like you're dreamin' about Gorgonzola cheese when it's clearly Brie time, baby. Step into my office....'Cause you're f--kin' fired!"

There Will Be Blood (2007)

In writer/director Paul Thomas Anderson's Best Cinematography-winning, brooding, turn of the century epic about a greedy, savage, and obsessive quest for oil wealth in S. California:

• the astonishing portrayal of opportunistic, ruthless oil man Daniel Plainview (Oscar-winning Best Actor Daniel Day-Lewis): first in 1898 as a silver mine prospector who adopted an orphaned boy named H.W. (Dillon Freasier) after a mining accident and then connivingly bought 'quail-hunting' land from the goat farming Sunday family in the area of Little Boston, California and began drilling for oil
• the scene of the oil platform explosion and fire, deafening H.W. with the blast
• the scene at the California ocean of Plainview realizing that a man claiming to be his half-brother Henry (Kevin J. O'Connor) from Wisconsin was an imposter - afterwards, he killed him by shooting him in the head
• the masterful scene of Plainview joining the Church of the Third Revelation, led by young crazed, charismatic evangelist Eli Sunday (Paul Dano) - in which the oil man was humiliated and forced to repeatedly and publically declare he was a sinner looking for salvation: ("I am a sinner. I am sorry, Lord. I want the blood. I've abandoned my child. I will never backslide. I was lost, but now I am found. I have abandoned my child!"), to satisfy member/land-owner William Bandy (Hans Howes) and acquire the right-of-way to build a pipeline through his land
• the scene of Plainview's disownment of his deafened son H.W. (Russell Howard), who decided to go into competition in Mexico against his rich, profligate father - and was told about his non-biological true origins: ("You're not my son...It's the truth. You're not my son. You never have been. You're an orphan!...I don't even know who you are because you have none of me in you. You're someone else's. This anger. Your maliciousness. Backwards dealings with me. You're an orphan from a basket in the middle of the desert. And I took you for no other reason than I needed a sweet face to buy land. Do you get that? So now you know. Look at me! You're lower than a bastard. You have none of me in you. You're just a bastard from a basket")
• the final scene in the two-lane bowling alley in his California mansion in which misanthropic Plainview mocked and vengefully berated and forced financially-strapped, deal-making Eli to repeatedly confess: "I am a false prophet. God is a superstition," before telling him he had already sucked the land dry of oil by drainage ("I drink your milkshake, I drink it up!") - and then bloodily murdering him with bludgeoning blows from a bowling pin, with Plainview's final words to his butler: "I'm finished"

They Died With Their Boots On (1941)

In director Raoul Walsh's historically-inaccurate but rousing western/adventure biopic:

• the tale of the life of the infamous General George Armstrong Custer (Errol Flynn) from his time at West Point to the climactic action scene of his final conflict against Chief Sitting Bull at the Battle of the Little Big Horn massacre
• previously, the scene of his heart-rending farewell goodbye to his wife Elizabeth "Libby" Bacon (Olivia de Havilland) who sensed disaster and then collapsed to the floor when he left

They Shoot Horses, Don't They? (1969)

In director Sydney Pollack's Depression-Era drama:

• the cruel scenes of the brutal, predatory days-long dance Monster Marathon at the Aragon Ballroom in Ocean Park, California (on Santa Monica pier)
• the beleaguered, pained and anguished contestant-couples competing for the grand prize of $1,500: ("It isn't a contest, it's a show")
• the character of marathon master of ceremonies Rocky (Oscar-winning Gig Young) noted for his phrase: "Yowza! Yowza! Yowza!" and for warning: "There can only be one winner, folks, but isn't that the American way?"
• the 'derby' dance-sprint scene of contestant Gloria (Jane Fonda) dragging and stumbling along with her weak-hearted partner-sailor Harry Kline (Red Buttons) across the finish line - and realizing that he had died in his arms of a fatal heart attack
• the surprise nihilistic ending - the shooting death of Gloria - shot in the head outside the music-hall (and her imagining herself falling in a grassy field) by her dance partner-drifter/farm boy Robert (Michael Sarrazin) who confessed: "They shoot horses, don't they?"

They Were Expendable (1945)

In director John Ford's semi-patriotic, well-directed, old-fashioned, under-rated, inspiring and bleak (black and white) action-war drama, the story was based upon the historically-true account of the Navy's fast moving PT (patrol torpedo) boats, military squadrons and crews based in the Philippines that were supporting the naval war in the Pacific campaign of WWII - it was based on William L. White's bestselling 1942 book of the same name:

• the film's title-card prologue was a quote from General MacArthur, who had to be evacuated from the Philippines (with his famous "I shall return" statement): "Today the guns are silent. A great tragedy has ended. A great victory has been won....I speak for the thousands of silent lips, forever stilled among the jungles and in the deep waters of the Pacific which marked the way"
• the two main characters: torpedo boat squadron commander Lt. John Brickley (real-life Congressional Medal of Honor winner John Bulkeley) (Robert Montgomery) and his second-in-command executive officer, PT boat officer/skipper Lt. J.G. "Rusty" Ryan (real-life Robert Kelly) (John Wayne)
• the exciting footage of the defense of the Philippines by the highly maneuverable PT boats with gun turrets
• Ryan, while hospitalized due to blood poisoning and in sick bay, was involved in a romance with Army nurse Lt. Sandy Davyss (Donna Reed)
• the ending airlift sequence occurred during the evacuation of key personnel from the Philippines to Australia; the last plane had only 30 seats, with Brickley in seat # 27 and Ryan in # 28; seats # 29 and # 30 were given to two individuals on the waiting list: hospital ward worker Captain "Ohio" Carter (Louis Jean Heydt) and Major James Morton (Leon Ames), but once the doors were shut, the two late-arriving ensigns for those assigned seats (Ens. 'Snake' Gardner (Marshall Thompson) and Ens. George Cross (Cameron Mitchell)) knocked on the plane's hatch door and took their assigned seats - replacing the two now-unlucky substitutes
• readying for take-off, Brickley explained the reason for their evacuation, when asked if there would be any more planes: "Look, son, we're going home to do a job. And that job is to get ready to come back. Check?"; the two responded in unison: "Check"; the small remaining group on the ground solemnly watched as the plane took off
• MacArthur's words: "We Shall Return" came into view (before 'The End' title), as "The Battle Hymn of the Republic" was heard on the soundtrack

They Won't Forget (1937)

In director Mervyn LeRoy's courtroom drama:

• the famous scene of 15-year-old Mary Clay (Lana Turner's debut as "the Sweater Girl") taking a tight-sweatered walk down a Southern town's street

The Thief of Bagdad (1940, UK)

In this imaginative Arabian Nights fantasy produced by Alexander Korda - a loose remake of the original Douglas Fairbanks silent classic of 1924:

• the sight of 50 foot tall genie or Djinni (Rex Ingram) in a tiny bottle
• the character of clever and poor Bagdad thief Abu (15 year-old Sabu) who helped save handsome Prince Ahmad (Jon Justin) and the beautiful Princess (June Duprez) from the villainous, black-clad Grand Vizier Jaffar (Conrad Veidt) by a ride to the rescue on his magic carpet
• the fanciful elements including a toy horse that could fly, Abu's battle with a giant spider in its huge web, and a dog that was originally a boy

The Thin Man (1934)

In director W.S. Van Dyke's comedy-mystery - the first film of the very popular series:

• the wisecracking, sophisticated, witty, and clever exchanges between detective couple Nick (William Powell) and Nora Charles (Myrna Loy)
• the scene of Nora's noisy and sprawling entrance into a restaurant (a pratfall typical of screwball comedies) laden with Christmas packages and dragged by their dog Asta
• the sequence in their bedroom in which Nick punched out his wife to protect her from a gunman's line of fire
• Nick's scene with a pop/airgun shooting balloons off their Christmas tree
• the dinner party scene in which Nick invited all the suspects and step-by-step analyzed all the crimes and solved the mystery

The Thing (1982)

In John Carpenter's remake of the 1951 classic horror film:

• the repellent autopsy scene, in which Norris (Charles Hallahan), a member of an Antarctica research team experiencing sub-zero temperatures and extreme paranoia, had a heart attack -- and as a doctor attempted to revive his heart with resuscitation paddles, his stomach became a fanged, gaping maw that bit off the doctor's forearms; also, the 'spider head' separated from the body, sprouted spider legs and scurried away
• the shocking scenes of the 'blood test' used by R. J. MacReady (Kurt Russell) and Windows (Thomas Waites) to 'smoke out' the alien creature as the participants sat tied together and had their thumbs sliced open - with the blood sample from Palmer (David Clennon) indicating that he was infected - and his incineration by MacReady
• the scene of discovering that Blair (Wilford Brimley), slowly going insane, had escaped the storage shed by tunneling under the ice

The Thing (From Another World) (1951)

In director Christian Nyby's (and producer Howard Hughes) science-fiction thriller (remade by John Carpenter as The Thing (1982)):

• the scene of the discovery of the alien frozen in ice in the Arctic
• The Thing's (James Arness, later famed for the TV western Gunsmoke) scary thawing and appearance after its ice-block encasement melted
• the scene of setting the Thing ablaze with kerosene
• the tense sequence in which Bob's (Dewey Martin) geiger counter revealed the monster was coming closer and closer - and was seen behind a closed doorway
• the startling moment when the team opened the door -- and shockingly, The Thing was right on the other side of the door, and they managed to slam the door on its claw
• the Thing's final elimination with electrocution
• and the final warning/bulletin radioed by reporter Ned Scott (Douglas Spencer) from the North Pole: "...Watch the skies, everywhere! Keep looking, keep watching the skies!"

The Third Man (1949, UK)

In director Carol Reed's classic drama of geopolitical intrigue, enhanced by the haunting zither music soundtrack by Anton Karas:

• the moody scenes of a shattered, post-war Vienna in the film's opening
• the graveyard scene as Harry Lime (Orson Welles) was buried (he had allegedly been killed after being struck by a truck) - with his American unemployed pulp novelist friend Holly Martins (Joseph Cotten) and Harry's dark-haired mistress lover Anna (Alida Valli) in attendance
• after the ceremony, cynical British military police officer Major Calloway's (Trevor Howard) revelation to Martins about Lime's suspected occupation - a post-war black marketeer, involved in the theft of penicillin from the military hospitals, dilution to make it go further, and the drug's sale to patients (including children) through the black market for a profit: "He was about the worst racketeer that ever made a dirty living in this city...You could say that murder was part of his racket"
• the image of a mournful Anna lying in bed and wearing Harry Lime's striped, monogrammed pajamas (HL)
• the famous scene of presumed-dead Harry Lime's delayed appearance in the film - from a shadow inside a doorway when an overhead light illuminated his enigmatic, smirking, devilish face and a cat snuggled at his feet
• the legendary gripping encounter between Lime and Martins at the top of the Prater Ferris wheel high above a Viennese fairground; Lime first explained how he didn't want to be a hero: "What did you want me to do? Be reasonable. You didn't expect me to give myself up...'It's a far, far better thing that I do.' The old limelight. The fall of the curtain. Oh, Holly, you and I aren't heroes. The world doesn't make any heroes outside of your stories"; Lime also contemptuously looked down from the ferris wheel at the scuttling mortals below, cheerfully calling the people unrecognizable "dots" from the height of the ride: "Look down there. Would you really feel any pity if one of those dots stopped moving forever?"
• then, once they had descended, Lime delivered a callous, perverse "cuckoo clock" monologue about Switzerland and cuckoo clocks, arguing that there was greater productivity in a warring, strife-ridden culture and civilization than in a peaceful one; the corruptible Lime cynically justified his black market criminal activities, and equated the corrupt political intrigues of the Borgias to the artistic triumphs of Michelangelo and da Vinci: "In Italy for thirty years under the Borgias, they had warfare, terror, murder, bloodshed - but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, 500 years of democracy and peace, and what did that produce? The cuckoo clock"
• the concluding sequences - prefaced by an old, night-time balloon-man seller who betrayed the presence of guards and police searching for Lime
• the thrilling, extraordinary chase sequence through the sewers after the wounded Lime - he crawled up a circular iron stairway to reach a grill-covered man-hole - his fingers clutched, curled, strained and poked through the sewer grill grating
• the exquisite closing sequence - the second funeral of Harry Lime - and Anna's long and deliberate walk in between a row of trees and past a waiting Holly following the ceremony

The 39 Steps (1935, UK)

In master of suspense Alfred Hitchcock's British classic - a tale of espionage, murder, and an innocent man on the run - including the masterminding theft of British military secrets by a group of assassins (presumably Nazi Germans):

• the opening scene of Canadian Richard Hannay's (Robert Donat) attendance at a Music Hall vaudeville-show performance, at the London Palladium featuring Mr. Memory (Wylie Watson), a remarkable memory expert, and the pandemonium that broke out after gunshots were fired
• the sequence of Hannay's meeting up with counterspy female mercenary agent Annabella Smith (Lucie Mannheim) in his own rented, furnished bachelor flat at Portland Place, who asked him: "Have you ever heard of the 39 Steps?" - he was confused: "No, what's that, a pub?"
• the fatal stabbing in the back of Annabella with a kitchen knife in the middle of the night, when she staggered into the living room (where Hannay was sleeping) and delivered her last words to him - a warning: "Clear out, Hannay! They'll get you next"
• the famous scene transition blending the scream of the housekeeper discovering the corpse to the shrieking whistle of a train
• the sequence of wrongly-accused, hero-on-the-run Hannay in Scotland during a widespread manhunt, hiding out for a night's lodging and shelter in a crofter's cottage with a couple: stern, miserly, middle-aged, suspicious Calvinistic crofter-sheepherder John (John Laurie) and his young and sheltered, unhappily-married wife Margaret (Peggy Ashcroft) (first wrongly assumed to be the crofter's daughter); and Hannay's conversation with her about how she missed and longed for the "fine shops" and the Saturday night "cinema palaces and their crowds" of city life - and her expression of faith in Hannay's innocence while knowing about his incrimination in newspaper headlines: "PORTLAND PLACE MURDER TRACED TO SCOTLAND", while her possessive and treacherous husband betrayed his location to authorities
• the scene of Margaret warning Hannay to flee in the middle of the night when the police pulled up in a vehicle, while her jealous husband wrongly accused her of infidelity: "I might have known. Making love behind my back. (To his wife) Get out!"; Hannay explained otherwise: "Look here, you're all wrong about this. She was only trying to help me"; as he fled covered in the crofter's overcoat, Hannay worried that she would be ill-treated afterwards, but she reassured him: "He'll pray at me, but no more"; however, the camera lingered on Margaret's face as she longingly watched Hannay disappear into the night - it was a desolate look that conveyed the loss of any possibility of freedom and dreams (off-camera, she was soon to be fearfully condemned, cursed and savagely beaten due to John's puritanical, oppressive attitudes in their loveless, forced marriage)
• the master spy Professor Jordan's (Godfrey Tearle) display of his tell-tale disfiguration (that Annabella had warned about: "He has a dozen names, and he can look like a hundred people, but one thing he cannot disguise - this: part of his little finger is missing - so if ever you should meet a man with no top joint there, be very careful, my friend") - a missing portion of his little finger on his right hand (before he pulled out a gun and shot Hannay point-blank) - followed by a superb fadeout - and the discovery that the crofter's thick hymnbook in the breast pocket of his overcoat had saved Hannay's life
• Hannay's memorable political speech after he found himself - at an opportune moment - at the lecturn on stage at a political rally: "...may I say, from the bottom of my heart and with the utmost sincerity, how delighted and relieved I am to find myself in your presence at this moment... Delighted, because of your friendly reception, and relieved, because as long as I stand on this platform, I'm delivered from the moment (he caught himself from saying "of truth") - from the cares and anxieties which must always be the lot of a man in my position"; then he said: "And I know what it is to feel lonely and helpless and to have the whole world against me, and those are things that no man or woman ought to feel" - an apt description of his imperiled situation
• when apprehended by the spies, the two major characters - Hannay and Pamela (Madeleine Carroll) - were forced to be handcuffed or shackled together (Hannay: "There are twenty million women in this island and I've got to be chained to you") - followed by many uncomfortable situations they found themselves in
• the final sequences, back at London's Palladium, and the questioning of Mr. Memory on stage, when Hannay suddenly realized that the memory expert held the Hitchcockian "MacGuffin" in his head - he had memorized the classified secret information regarding mechanical plans for the design of an airplane engine; Hannay asked a self-incriminating question of Mr. Memory, as the camera angle titled: "What are the Thirty-Nine Steps? Come on! Answer up! What are the Thirty-Nine Steps?"

The Death of Mr. Memory - Shot by Jordan

• the subsequent assassination attempt by Jordan (hiding in an opera box) of Mr. Memory as he divulged the crucial identity of the 39 Steps: "The Thirty-Nine Steps is an organization of spies, collecting information on behalf of the foreign office of..." - he was interrupted when he was shot, fell to the stage and grabbed his side from the lethal wound
• and finally, Memory's confession about the information as he was dying - a proud recitation of the complicated scientific mathematical formulas of the secret documents that he had painstakingly memorized about how to make silent aircraft engines, followed by his statement of relief: ("Thank you, sir. Thank you. I'm glad it's off my mind. Glad!") - while chorus girls kicked on stage behind him and Hannay (with the handcuffs only on him) voluntarily joined hands with Pamela in the foreground - in the closing image

This Gun For Hire (1942)

In director Frank Tuttle's adaptation of Graham Greene's novel:

• the electrifying pairing of screen partners in this early film noir: the expressionless, baby-faced, cat-loving hired killer Philip Raven (Alan Ladd in his first major role) and peek-a-boo blonde-haired femme fatale Ellen Graham (Veronica Lake) - especially during their overnight train ride to Los Angeles
• the scene of Raven's murder of Albert Baker (Frank Ferguson) and his secretary (through a kitchen door)
• the shadowy scene of the police tracking the couple in a deserted gasworks factory at night and then in a railroad yard the next day (with Ellen serving as a disguised decoy)
• the couple's getting-to-know each other during the long night in a railroad car and the unfortunate death of meowing cat Tuffy - ending his luck
• Raven's monologue about his victimization as a child, how he acquired a disfigured wrist, the murder of his aunt, and his time in a reform school ("...They stuck a label on me, killer, shoved me in a reform school and beat me there too, but I'm glad I killed her...")
• and the climactic finale in which Raven acquired a written confession in the Nitro Chemicals executive offices from corrupt, double-crossing, peppermint candy-loving fat man Willard Gates (Laird Cregar) and wheelchair-bound Alvin Brewster (Tully Marshall) (who were selling secrets about the chemical composition of poison gas to foreign agents (the Japanese)) before their deaths
• Raven's own demise from gunshot wounds after asking Ellen: "Did I do alright for ya?"

This is Spinal Tap (1984)

In this low-budget rockumentary by director Rob Reiner:

• the famous "These go to 11" scene in which legendary bogus heavy-metal British rock group singer and lead guitarist Nigel Tufnel (Christopher Guest) bragged about his collection of guitars and his very special Marshall amp to rockumentary, cinema verite film-maker Marty Di Bergi (Rob Reiner) - boasting that the amplifier could go "one louder" up to a volume setting of eleven ("These go to 11") - and his blank response to Di Bergi's query why they just didn't make 10 louder: "Why don't you just make ten louder and make ten be the top number and make that a little louder?"
• the scene of their arrival in America to endorse their new and controversial album/cover Smell the Glove (filled with vulgar songs such as "Big Bottomed Woman ", "Sex Farm Woman", and the memorable song fusing Bach and Mozart (or M-ach) "Lick My Love Pump" with offensive lyrics) - and attired in complete heavy metal regalia
• the scene of bass player Derek Small's (Harry Shearer) 'enhanced' embarrassment when caught at an airplane security checkpoint with a cucumber wrapped in aluminum foil stuffed in his pants, after being asked: "Do you have any artificial plates or limbs?..."
• the scene of Nigel's guitar room where he showed off all of his instruments to Di Bergi, and bragged: "The sustain, listen to it"; Di Bergi responded: "I'm not hearing anything" - when Nigel added: "You would though, if it were playing"
• the scene at the gravesite of Elvis Presley in Memphis after their show was cancelled when they harmonized on "Heartbreak Hotel"
• the airforce base concert where the straight audience was disgusted by their song "Sex Farm Woman"
• and the scene backstage in North Carolina when Nigel was angered because the meat slices for sandwiches were larger than the "miniature bread" slices
• and the band's convoluted attempts to walk from their basement dressing room to the stage at their Cleveland concert ("Hello Cleveland!")
• and the disastrous Stonehenge finale in which an undersized stage prop - an 18 inch miniature Stonehenge monolith monument - was constructed (the specifications were doodled on a bar napkin for the designer who claimed: "lan, I was asked to build it 18 inches high! Look, look, look. This is what I was asked to build. 18 inches, right here, it's specified, 18 inches. I was given this napkin, I mean"; Ian responded: "Forget this. F--k the napkin!"); the small monument was lowered to the stage and dwarfed by a pair of midgets cavorting around it, and the discussion that followed: ("I do not, for one, think that the problem was that the band was down. I think that the problem may have been, that there was a Stonehenge monument on the stage that was in danger of being crushed by a dwarf. Alright? That tended to understate the hugeness of the object")
• the last line of the film after the end credits - Nigel's response when asked if he would be happy being a shoe salesman: "Well, I don't know. What are the hours?"

This Island Earth (1955)

In the cerebral 1950's science-fiction film by director Joseph M. Newman:

• the scene in which big foreheaded, white-haired alien Metalunans ensnared Dr. Cal Meacham (Rex Reason) and Dr. Ruth Adams (Faith Domergue) in their tractor beam and took them to the surrealistic doomed planet of Metaluna
• their encounter with slave "Mut-Ants" (giant insects with an enlarged, exposed brain)
• the scene in which Cal, Ruth and benevolent Metaluna emissary Exeter (Jeff Morrow) escaped the destruction of Metaluna
• the attack by a stowaway Mut-Ant
• Exeter's sacrificial suicide (by crashing his saucer into the ocean) after telling Cal and Ruth to leave in their biplane