Starring Clint Eastwood, Gran Torino is a film noir classic.
25: Crusty, foul mouthed old Walt (Clint Eastwood) aims his rifle at gang members and prevents them from kidnapping/recruiting a young man named Thao. Thao's family offer Clint many gifts. The birth of something new.
45: Clint arrives at a party and becomes aware of his neighbor's customs. A Hmong shaman provides insight into Walt's character. Walt coughs up blood and says to the mirror that he's got more in common with the Hmong than his own family. Now that I'm aware.
60: Walt guides Thao as he does acts of service around the neighborhood. Walt coughs up blood and sees a doctor. At the clinic he sees several people from various cultures. The doctor will do tests and when Walt calls his son we notice Walt looking and acting more serious as he holds the medical test results. His son and his family no longer want to spend time with Walt. There's no going back now.
-45: Walt and Thao stand in Walt's garage. Walt provides Thao with WD40, duct tape, and vice grips and tells him those three things will resolve half of whatever he'll need to fix around the house. Walt coughs up blood. Thao tells Walt to see a doctor. Walt asks about those gang members he chased off before. Thao reveals that as part of his initiation he had to steal Walt's Gran Torino. Later, Walt asks for Thao's help moving a heavy freezer. They argue about who which one of them will do the heavy lifting and Walt backs down after Thao threatens to leave. Walt gives Thao the freezer at a discounted price. Discovery.
-25: Walt offers Thao his Gran Torino so he can ride in style with his date. The gang members shoot up Thao's house and seriously injures Thao's sister. Eventually, Walt will resolve things with the gang members in a new and original way, and Thao ends up with the Gran Torino. The final turning point.
Kansas City Confidential
25: In a bar, a delivery man receives info on who framed him when a new character arrives and tells him one of the guys involved in a bank robbery is in Mexico and provides specific info on how to identify him. After a few searches at various gambling spots he finds who he is looking for. The birth of something new.
45: The leader of the thieves reveals his identity: he's a retired cop who plans to turn in the thieves he recruited and led to get the $250k reward money. Because none of the thieves knows the other, the crooked cop's plan appears to be working. But when the crooked cop becomes aware that his own daughter has fallen for the delivery man (John Payne), things start to unravel. To catch the crooks Payne assumes the identity of one of the thieves, thinking that they won't know what the real crook looks like. Now that I'm aware.
-45 (138 -45 = 53): At a card table, all the thieves and Payne play cards. They talk about Kansas and lots of distrustful eye shifts. The leader jokes that there's always room for one more sucker, and since we know he's about to cross these crooks his joke has depth. Payne purposely drops a torn King card on the table. The crooks know what it means: they think they've discovered one of their partners in crime. Discovery.
60: Payne and Lee Van Cleef talk about who the leader is. Payne begins to bond with the leader's daughter. They go swimming together as the leader observes. A few moments later Payne is under intense turbulence as two of the thieves want him dead. The leader's daughter hands Payne his gun, saving his life and cementing their relationship. There's no going back now.
-25: The leader of the crooks mails each thief a letter with a torn King card and instructions on how they will get their share of the bank robbery money. Letters are delivered to each thief. Eventually Payne gets the girl, the thieves and crooked cop get what they deserve with a poignant twist at the end. This is a well-crafted story. The final turning point.
45: The leader of the thieves reveals his identity: he's a retired cop who plans to turn in the thieves he recruited and led to get the $250k reward money. Because none of the thieves knows the other, the crooked cop's plan appears to be working. But when the crooked cop becomes aware that his own daughter has fallen for the delivery man (John Payne), things start to unravel. To catch the crooks Payne assumes the identity of one of the thieves, thinking that they won't know what the real crook looks like. Now that I'm aware.
-45 (138 -45 = 53): At a card table, all the thieves and Payne play cards. They talk about Kansas and lots of distrustful eye shifts. The leader jokes that there's always room for one more sucker, and since we know he's about to cross these crooks his joke has depth. Payne purposely drops a torn King card on the table. The crooks know what it means: they think they've discovered one of their partners in crime. Discovery.
60: Payne and Lee Van Cleef talk about who the leader is. Payne begins to bond with the leader's daughter. They go swimming together as the leader observes. A few moments later Payne is under intense turbulence as two of the thieves want him dead. The leader's daughter hands Payne his gun, saving his life and cementing their relationship. There's no going back now.
-25: The leader of the crooks mails each thief a letter with a torn King card and instructions on how they will get their share of the bank robbery money. Letters are delivered to each thief. Eventually Payne gets the girl, the thieves and crooked cop get what they deserve with a poignant twist at the end. This is a well-crafted story. The final turning point.
The Magnificent Seven
Love the music in this movie. A remake of The Seven Samurai.
25: Yul tells Harry the job is not about getting rich, it's about helping farmers. Harry doesn't believe him. Yul recruits Steve McQueen after Steve loses his money gambling. The birth of something new.
45: They reach the farm, it's deserted. An alarm bells brings them out in the open and the seven gunmen meet the farmers. Now that I'm aware.
60: The youngest gunfighter notices he's being watched, tracks her down and after they exchange intense turbulence he carries her to the village. Another romance begins and they end up together. There's no going back now.
-45: Steve and a farmer wait for the bandits to come back, they have guns ready. The farmer talks about being nervous and how his hands are sweaty and throat dry. The farmer says when he saw the leader of the thieves/killers "run away from us, that's a feeling worth dying for." Steve says he envies him. Discovery.
-25: The seven gunfighters dismount and arrive at the thieves/killers hideout but it's deserted. They go back to the village and learn that the farmers have cut a new deal. The seven can leave and live, or stay and die. They leave, but 15 minutes later they come back and finish off the thieves/killers. The final turning point.
25: Yul tells Harry the job is not about getting rich, it's about helping farmers. Harry doesn't believe him. Yul recruits Steve McQueen after Steve loses his money gambling. The birth of something new.
45: They reach the farm, it's deserted. An alarm bells brings them out in the open and the seven gunmen meet the farmers. Now that I'm aware.
60: The youngest gunfighter notices he's being watched, tracks her down and after they exchange intense turbulence he carries her to the village. Another romance begins and they end up together. There's no going back now.
-45: Steve and a farmer wait for the bandits to come back, they have guns ready. The farmer talks about being nervous and how his hands are sweaty and throat dry. The farmer says when he saw the leader of the thieves/killers "run away from us, that's a feeling worth dying for." Steve says he envies him. Discovery.
-25: The seven gunfighters dismount and arrive at the thieves/killers hideout but it's deserted. They go back to the village and learn that the farmers have cut a new deal. The seven can leave and live, or stay and die. They leave, but 15 minutes later they come back and finish off the thieves/killers. The final turning point.
Nothing Sacred
A short film, only about 114 minutes long so the 5 moments are unusually placed here, but if you've never seen a Carole Lombard film this is a good one to start with. Also good with Ms. Lombard is Twentieth Century with John Barrymore. My favorite Lombard movie is My Man Godfrey.
25: People falsely believe young Hazel will die soon. Wally and Hazel know the truth. They watch a wrestling match. The match stops and a spotlight hits her when she stands. The announcer asks for 10 seconds of silence. He kisses her hand. Sobbing is heard. She starts crying too. On a boat, she asks him if he's married. The birth of something new.
-45: At a swanky nightclub it's Hazel Flagg night with dancing. There's talk of celebrities and phoniness. Discovery.
45: A man in Hazel's room collecting flowers finds Hazel's suicide note. Wally and the cops arrive at the river shortly after becoming aware of the note. Wally and Hazel both jump in the river. They argue. Now that I'm aware.
-25: At a nightclub, Hazel sees up close how people suffer over her fake fatal illness. She hiccups. People cry. Wally: "For good clean fun there's nothing like a wake." The final turning point.
60: Wally's publisher learns over the phone that Hazel is sick and that a real doctor will take care of her. Eventually, Wally and Hazel leave the city and remain together. There's no going back now.
25: People falsely believe young Hazel will die soon. Wally and Hazel know the truth. They watch a wrestling match. The match stops and a spotlight hits her when she stands. The announcer asks for 10 seconds of silence. He kisses her hand. Sobbing is heard. She starts crying too. On a boat, she asks him if he's married. The birth of something new.
-45: At a swanky nightclub it's Hazel Flagg night with dancing. There's talk of celebrities and phoniness. Discovery.
45: A man in Hazel's room collecting flowers finds Hazel's suicide note. Wally and the cops arrive at the river shortly after becoming aware of the note. Wally and Hazel both jump in the river. They argue. Now that I'm aware.
-25: At a nightclub, Hazel sees up close how people suffer over her fake fatal illness. She hiccups. People cry. Wally: "For good clean fun there's nothing like a wake." The final turning point.
60: Wally's publisher learns over the phone that Hazel is sick and that a real doctor will take care of her. Eventually, Wally and Hazel leave the city and remain together. There's no going back now.
Westworld
25: In Westworld, where robots make vacationers feel various things, Peter Martin has sex with a robot. Peter and his friend John talk about women. Outside, dead robot bodies are put in a van, driven away, and arrive at a lab where they are repaired. The birth of something new.
-45 and 45: A snake approaches and John fires and misses. The snake attacks, something that shouldn't have happened because it's a robot. "That's not supposed to happen," says a scientist who becomes aware of the situation by observing the action. The scientist tries using a phone but it doesn't work. "Doesn't anything work around here?" Discovery and Now that I'm aware.
60 and -25: Yul Brynner, playing the robot villain, kills John after they draw. John: "I'm shot." Another bullet from Yul kills John. Yul turns to Peter and says, "Draw." Peter runs, Yul chases. They ride on horseback to the desert. Peter tries to trap Yul but Yul outsmarts him. In other areas of the vacation area the robots are killing every human still moving. Eventually, Peter will attack and destroy Yul, and the robots will automatically shut down when they run out of energy. There's no going back now and The final turning point.
-45 and 45: A snake approaches and John fires and misses. The snake attacks, something that shouldn't have happened because it's a robot. "That's not supposed to happen," says a scientist who becomes aware of the situation by observing the action. The scientist tries using a phone but it doesn't work. "Doesn't anything work around here?" Discovery and Now that I'm aware.
60 and -25: Yul Brynner, playing the robot villain, kills John after they draw. John: "I'm shot." Another bullet from Yul kills John. Yul turns to Peter and says, "Draw." Peter runs, Yul chases. They ride on horseback to the desert. Peter tries to trap Yul but Yul outsmarts him. In other areas of the vacation area the robots are killing every human still moving. Eventually, Peter will attack and destroy Yul, and the robots will automatically shut down when they run out of energy. There's no going back now and The final turning point.
The Picture of Dorian Gray
25: Dorian dines with friends, the subject of the discussion: earthly pleasures, conscience and morals, degradation, and politics. Dorian talks about his adoration with Sybil, a woman he has fallen in love with. The birth of something new.
45: Dorian becomes aware that Sybil has committed suicide. Dorian knows he was reason. Harry tells Dorian to put Sybil out of his mind and that dealing with it is all a matter of perspective. Now that I'm aware.
60: Gladys wants to know why Dorian won't marry her. Dorian tells her there are stories told by many about him and they aren't good. Once again we see Sir Tristan's portrait, a symbol of a gentleman, someone Dorian could have been. Gladys still wants to marry him. There's no going back now.
-45: Dorian sees the painter in the fog and they go to view the painting he made of Dorian. The painter warns Dorian more stories are circulating about him: scandal, rumors, "hideous things" fatalities. Moments later Dorian shows the painter what the painting looks like and it looks foul and horrible as if attacked by a "moral leprosy." Discovery.
-25: Gladys and Dorian leave the city to hunt. Dorian finds out an old friend committed suicide. Gladys says she wants a simple wedding. She hugs Dorian and he seems unemotional. His face is framed by a noose. Eventually, Doran will throw a knife at his painting and die. The final turning point.
45: Dorian becomes aware that Sybil has committed suicide. Dorian knows he was reason. Harry tells Dorian to put Sybil out of his mind and that dealing with it is all a matter of perspective. Now that I'm aware.
60: Gladys wants to know why Dorian won't marry her. Dorian tells her there are stories told by many about him and they aren't good. Once again we see Sir Tristan's portrait, a symbol of a gentleman, someone Dorian could have been. Gladys still wants to marry him. There's no going back now.
-45: Dorian sees the painter in the fog and they go to view the painting he made of Dorian. The painter warns Dorian more stories are circulating about him: scandal, rumors, "hideous things" fatalities. Moments later Dorian shows the painter what the painting looks like and it looks foul and horrible as if attacked by a "moral leprosy." Discovery.
-25: Gladys and Dorian leave the city to hunt. Dorian finds out an old friend committed suicide. Gladys says she wants a simple wedding. She hugs Dorian and he seems unemotional. His face is framed by a noose. Eventually, Doran will throw a knife at his painting and die. The final turning point.
Dragonwyck
Joseph Mankiewicz's directorial debut and it's a good Gothic tale. Vincent Price does an excellent job playing a rich murderous drug addict. The DVD has two vintage radio shows of this story, one of them performed by Teresa Wright (Shadow Of A Doubt, Best Years...). I'm a fan of Old Time Radio and had fun listening to Mr. Price play a detective in The Saint.
25: Miranda (Gene Tierney) speaks with the maid who says "One day you'll wish with all your heart you never came to Dragonwyck." The focus has been on Gene's wish to live in another world away from the farm she grew up in. Gene helps Vincent's child about handwriting. The child says she doesn't love her parents. The birth of something new.
45: The handsome Dr. Turner arrives at Dragonwyck to plead with Vincent to help a man named Bleecker who is unjustly accused. Vincent won't help until Gene shows up. Dr. Turner becomes aware that Vincent loves Gene. Now that I'm aware.
-45 (142 - 45 = 57): After Vincent's wife dies, Gene leaves Dragonwyck to go back to live on the farm. Dr. Turner rides on a horse and stops her carriage. He tells her he wants to visit her at the farm. "Will next week be too soon?" This exact line ends the movie on a happy note, but at this point in the story Gene is too wrapped up in Vincent and luxury and now is when the good doctor discovers it. Discovery.
60: Gene's father (Walter Huston) argues with his daughter, who seems too focused on fancy outfits and finer things and people. Vincent arrives and proposes marriage. There's no going back now.
-25: Dr. Turner is with Gene who is sick in bed about to give birth. The baby boy will die and devastate Vincent. Vincent will become a drug addict and goes mad, dying in a large chair at the end of the movie. We learn that he killed his first wife and tried to kill Gene using deadly flowers. The final turning point.
25: Miranda (Gene Tierney) speaks with the maid who says "One day you'll wish with all your heart you never came to Dragonwyck." The focus has been on Gene's wish to live in another world away from the farm she grew up in. Gene helps Vincent's child about handwriting. The child says she doesn't love her parents. The birth of something new.
45: The handsome Dr. Turner arrives at Dragonwyck to plead with Vincent to help a man named Bleecker who is unjustly accused. Vincent won't help until Gene shows up. Dr. Turner becomes aware that Vincent loves Gene. Now that I'm aware.
-45 (142 - 45 = 57): After Vincent's wife dies, Gene leaves Dragonwyck to go back to live on the farm. Dr. Turner rides on a horse and stops her carriage. He tells her he wants to visit her at the farm. "Will next week be too soon?" This exact line ends the movie on a happy note, but at this point in the story Gene is too wrapped up in Vincent and luxury and now is when the good doctor discovers it. Discovery.
60: Gene's father (Walter Huston) argues with his daughter, who seems too focused on fancy outfits and finer things and people. Vincent arrives and proposes marriage. There's no going back now.
-25: Dr. Turner is with Gene who is sick in bed about to give birth. The baby boy will die and devastate Vincent. Vincent will become a drug addict and goes mad, dying in a large chair at the end of the movie. We learn that he killed his first wife and tried to kill Gene using deadly flowers. The final turning point.
True Grit
John Wayne's character Rooster was so popular they made a sequel.
25: Mattie tells Rooster she needs him to find the man who killed her father. She shows him a large gun and he agrees to talk with her over dinner. We get to know them; she doesn't drink coffee, just buttermilk. Rooster drinks whiskey from a jug. He plays cards with his friend and there's a cat on the table. He agrees to help her. The birth of something new.
45: She discusses her venture to find Chaney her father's killer with a merchant and buys a horse. La Beouf (Glen Campbell) wants Chaney alive, Mattie wants him dead. Mattie becomes aware she can't always get things her way. They argue about whether or not Mattie's going with them. Now that I'm aware.
60: On the trail, Glen hunts a turkey, they decide to eat it later. They ride along green hills and stop at a winding stream. Rooster approaches a shack with a gun. They smoke two men out and one of them is Dennis Hopper. There's no going back now.
-45: Rooster shoots one of the antagonists, Ned Pepper (Robert Duvall) escapes. Glen arrives, they notice the dead man is just a teenager. Rooster knows where Ned is going. Discovery.
-25: Chaney has Mattie. Mattie says Rooster is dead. "Rooster is no good friend of mine and now he's left me with cutthroats." We learn of a deal Rooster made to keep Mattie alive. Chaney will made up with Ned later when they find a horse for him. Eventually, Rooster faces off against three of them on horseback and Mattie gets her revenge. The final turning point.
25: Mattie tells Rooster she needs him to find the man who killed her father. She shows him a large gun and he agrees to talk with her over dinner. We get to know them; she doesn't drink coffee, just buttermilk. Rooster drinks whiskey from a jug. He plays cards with his friend and there's a cat on the table. He agrees to help her. The birth of something new.
45: She discusses her venture to find Chaney her father's killer with a merchant and buys a horse. La Beouf (Glen Campbell) wants Chaney alive, Mattie wants him dead. Mattie becomes aware she can't always get things her way. They argue about whether or not Mattie's going with them. Now that I'm aware.
60: On the trail, Glen hunts a turkey, they decide to eat it later. They ride along green hills and stop at a winding stream. Rooster approaches a shack with a gun. They smoke two men out and one of them is Dennis Hopper. There's no going back now.
-45: Rooster shoots one of the antagonists, Ned Pepper (Robert Duvall) escapes. Glen arrives, they notice the dead man is just a teenager. Rooster knows where Ned is going. Discovery.
-25: Chaney has Mattie. Mattie says Rooster is dead. "Rooster is no good friend of mine and now he's left me with cutthroats." We learn of a deal Rooster made to keep Mattie alive. Chaney will made up with Ned later when they find a horse for him. Eventually, Rooster faces off against three of them on horseback and Mattie gets her revenge. The final turning point.
Pulp Fiction
Honorable mention: Christopher Walken and his speech about the importance of a watch. Lots of great performances here. The diner looked great and notice the use of red and blue.
25: John talks about Uma, Bruce arrives at the bar and John doesn't act friendly toward Bruce. Bruce watches John hug Ving. Two women talk about piercing. John asks them some questions and then listens to Eric talk about heroin. The birth of something new.
45: John and Uma at the Jack Rabbit Slims diner talk about a guy that died; was he killed or was it an accident? Uma becomes aware of the foot massage angle and she clarifies. They dance because she wants to win. Now that I'm aware.
60: John is instructed on how to stab Uma with a long needle so he can save her. "1...2...3..." Uma wakes up with the needle in her chest. John drives Uma home in the red convertible. They talk about the heroin incident and agree not to talk about it. She tells him the ketchup joke, he blows her a kiss. Fade to black. There's no going back now.
-45: Bruce decides what weapon to use to rescue Ving: he considers a hammer, bat, chain saw, and chooses the samurai sword. He uses the sword and things between him and Ving are balanced. Discovery.
-25: Quentin gives Harvey a cup of coffee and Harvey starts instructing John and Samuel on what to do: put the body in the trunk, clean the car, requests bedsheets. John asks Harvey to say please. John's unfriendly behavior towards strangers foretells his future. Samuel's final talk about God, tyranny, and trying to be a better man is memorable. The final turning point.
25: John talks about Uma, Bruce arrives at the bar and John doesn't act friendly toward Bruce. Bruce watches John hug Ving. Two women talk about piercing. John asks them some questions and then listens to Eric talk about heroin. The birth of something new.
45: John and Uma at the Jack Rabbit Slims diner talk about a guy that died; was he killed or was it an accident? Uma becomes aware of the foot massage angle and she clarifies. They dance because she wants to win. Now that I'm aware.
60: John is instructed on how to stab Uma with a long needle so he can save her. "1...2...3..." Uma wakes up with the needle in her chest. John drives Uma home in the red convertible. They talk about the heroin incident and agree not to talk about it. She tells him the ketchup joke, he blows her a kiss. Fade to black. There's no going back now.
-45: Bruce decides what weapon to use to rescue Ving: he considers a hammer, bat, chain saw, and chooses the samurai sword. He uses the sword and things between him and Ving are balanced. Discovery.
-25: Quentin gives Harvey a cup of coffee and Harvey starts instructing John and Samuel on what to do: put the body in the trunk, clean the car, requests bedsheets. John asks Harvey to say please. John's unfriendly behavior towards strangers foretells his future. Samuel's final talk about God, tyranny, and trying to be a better man is memorable. The final turning point.
Where The Sidewalk Ends
This reunites director Otto Preminger, Dana Andrews, and Gene Tierney when they did Laura. I was lucky enough to meet Dana Andrews outside the Pasadena Playhouse, I told him how much I liked The Best Years of Our Lives, he was gracious and kind.
25: Dana has a dead body with him, he accidentally killed a man and since he's already in trouble with the police department boss he's trying to cover his mistake and move the body. An upset cab driver (who plays Gene Tierney's father) knocks on the dead man's apartment door and then exits. Dana takes the dead body out of the building and ditches it. The birth of something new.
45: The police, including the actor Karl Malden, become aware of several things about the death, including that the death was an accident that happened in the apartment. Dana arrives and gets chewed out for not being at the right place at the right time. Now that I'm aware.
-45 (134 - 45 = 49): Gene's father is accused of the murder, he denies it and provides info about his whereabouts. Dana defends him but Karl insists the taxi driver is guilty. Discovery.
60: Dana gets beaten up by Gary Merrill's gang. The antagonists escape up a ladder via a hidden door in a sauna room. Dana is dazed as he talks to Gene: "Innocent people can get into terrible jams too. One false move and you're over your head." There's no going back now.
-25: Dana identifies one of the guys who beat him up. His bosses tell him his violent tactics have hurt their case to get a conviction. They want Dana to go on a vacation and "get his head fixed up, inside and out." Moments later, Dana sets out to sacrifice himself to get a conviction. Eventually, Dana helps get a conviction, including turning himself in. Since Gene Tierney expresses her love for him the story ends on a positive note. The final turning point.
25: Dana has a dead body with him, he accidentally killed a man and since he's already in trouble with the police department boss he's trying to cover his mistake and move the body. An upset cab driver (who plays Gene Tierney's father) knocks on the dead man's apartment door and then exits. Dana takes the dead body out of the building and ditches it. The birth of something new.
45: The police, including the actor Karl Malden, become aware of several things about the death, including that the death was an accident that happened in the apartment. Dana arrives and gets chewed out for not being at the right place at the right time. Now that I'm aware.
-45 (134 - 45 = 49): Gene's father is accused of the murder, he denies it and provides info about his whereabouts. Dana defends him but Karl insists the taxi driver is guilty. Discovery.
60: Dana gets beaten up by Gary Merrill's gang. The antagonists escape up a ladder via a hidden door in a sauna room. Dana is dazed as he talks to Gene: "Innocent people can get into terrible jams too. One false move and you're over your head." There's no going back now.
-25: Dana identifies one of the guys who beat him up. His bosses tell him his violent tactics have hurt their case to get a conviction. They want Dana to go on a vacation and "get his head fixed up, inside and out." Moments later, Dana sets out to sacrifice himself to get a conviction. Eventually, Dana helps get a conviction, including turning himself in. Since Gene Tierney expresses her love for him the story ends on a positive note. The final turning point.
Viva Las Vegas
Watch Ann-Margret in Carnal Knowledge, and watch Elvis sing Memories in 1968.
25: Ann-Margret ads a group of dancers on a stage, then invites Elvis to sing. The birth of something new.
-45 (1:25 - 45 = 40): Elvis sings a sexy song with Ann-Margret and others as they dance in sync on a roulette table. Discovery.
45: Ann-Margret loves the tree Elvis gave her. Ann-Margret looks for Elvis. Elvis learns the debt he owes is paid, there's a talent contest they both enter and start an arguement. Now that I'm aware.
60 and -25 (1:25 - 25 = 60): Elvis sings Viva Las Vegas. He wins the talent contest but doesn't get the money so he loses his engine. Eventually he races and wins. There's no going back now and The final turning point.
25: Ann-Margret ads a group of dancers on a stage, then invites Elvis to sing. The birth of something new.
-45 (1:25 - 45 = 40): Elvis sings a sexy song with Ann-Margret and others as they dance in sync on a roulette table. Discovery.
45: Ann-Margret loves the tree Elvis gave her. Ann-Margret looks for Elvis. Elvis learns the debt he owes is paid, there's a talent contest they both enter and start an arguement. Now that I'm aware.
60 and -25 (1:25 - 25 = 60): Elvis sings Viva Las Vegas. He wins the talent contest but doesn't get the money so he loses his engine. Eventually he races and wins. There's no going back now and The final turning point.
Blue Velvet
25: Jeffrey drives Sandy home. They plan to meet later to discover what's behind the mystery of the ear and have an "interesting experience." They listen to Dorothy, the "blue lady" sing Blue Velvet. The birth of something new.
45: He's hiding in the closet as Frank (Dennis Hopper) breathes in oxygen and fondles and tortures Dorothy. We learn that Hopper has kidnapped her son and husband. Now that I'm aware.
60: He follows Frank and others in his car. He sees the name Frank Booth on a mailbox. At school, Sandy's beau sees her get in Jeffrey's red convertible. They go to a diner. He tells her what he's done: He's photographing and following Frank's movements. He discovers someone he calls the yellow man. There's talk of murder and drugs. Sandy asks him why he's tracking Frank. "I'm seeing something that was always hidden." He kisses her. There's no going back now.
-45: Jeffrey is kidnapped by Frank and his friends, they arrive at a house. A party where they keep Dorothy's son. Strange, dangerous people. Suave Ben, Frank's explosive anger. "I can make him do anything I please." Ben punches Jeffrey. They let Dorothy see her child. Jeffrey can hear Dorothy talk to her son. A handheld light as Ben lip syncs to In Dreams I Walk With You by Roy Orbison. Discovery.
-25: He takes her home. He waters the lawn in his shades. He visits his dad in the hospital. He arrives at Sandy's parent's house and sees the yellow man, who we learn is a policeman. Sandy's dad is a detective, he warns Jeffrey not to react. They hide the truth from Sandy. Eventually, Dorothy's child is freed and Jeffrey and Sandy get together. The final turning point.
45: He's hiding in the closet as Frank (Dennis Hopper) breathes in oxygen and fondles and tortures Dorothy. We learn that Hopper has kidnapped her son and husband. Now that I'm aware.
60: He follows Frank and others in his car. He sees the name Frank Booth on a mailbox. At school, Sandy's beau sees her get in Jeffrey's red convertible. They go to a diner. He tells her what he's done: He's photographing and following Frank's movements. He discovers someone he calls the yellow man. There's talk of murder and drugs. Sandy asks him why he's tracking Frank. "I'm seeing something that was always hidden." He kisses her. There's no going back now.
-45: Jeffrey is kidnapped by Frank and his friends, they arrive at a house. A party where they keep Dorothy's son. Strange, dangerous people. Suave Ben, Frank's explosive anger. "I can make him do anything I please." Ben punches Jeffrey. They let Dorothy see her child. Jeffrey can hear Dorothy talk to her son. A handheld light as Ben lip syncs to In Dreams I Walk With You by Roy Orbison. Discovery.
-25: He takes her home. He waters the lawn in his shades. He visits his dad in the hospital. He arrives at Sandy's parent's house and sees the yellow man, who we learn is a policeman. Sandy's dad is a detective, he warns Jeffrey not to react. They hide the truth from Sandy. Eventually, Dorothy's child is freed and Jeffrey and Sandy get together. The final turning point.
An Affair To Remember
25: Cary and Deborah enter Cary's grandmother's home. Deborah: "It's perfect, something about it makes you want to whisper." He talks about his grandmother and she enters. They hug. He introduces Deborah. They like each other very much. The birth of something new.
45: She thanks him for the loveliest day she's ever known. She plans to write to Cary's grandmother. They walk, stop, and he kisses her; interesting angle: we only see them from the waist down when they kiss. "No more tears." "Rough seas ahead" as they plan to change course because of their affection. They say good night, it rains. Now that I'm aware.
60: The ship arrives in NYC, they each see, wave, and go to their fiance and go their separate way. He kisses and touches her hand before leaving. There's no going back now.
-45: Ken realizes Deborah has fallen for another. He tells her to be realistic and consider Cary's reputation. "He'll never be able to support you." He tries to convince her but when he asks "Can't you see I'm in love" she replies "So am I." We see her looking at the Empire State Building. Cary visits his friend the art gallery owner. "The old is dead and the new is starving." Cary wants the thrill of that first sale of his art. Discovery.
-25: Deborah conducts a children's choir and orchestra, it's a song about listening to your conscience. Cary visits a friend who critiques his paintings. He mentions a particular painting and we see it. "Here you became a painter." This is the painting at the end of the movie and when he sees it he knows Deborah is unable to walk and that's why they didn't meet before. The final turning point.
45: She thanks him for the loveliest day she's ever known. She plans to write to Cary's grandmother. They walk, stop, and he kisses her; interesting angle: we only see them from the waist down when they kiss. "No more tears." "Rough seas ahead" as they plan to change course because of their affection. They say good night, it rains. Now that I'm aware.
60: The ship arrives in NYC, they each see, wave, and go to their fiance and go their separate way. He kisses and touches her hand before leaving. There's no going back now.
-45: Ken realizes Deborah has fallen for another. He tells her to be realistic and consider Cary's reputation. "He'll never be able to support you." He tries to convince her but when he asks "Can't you see I'm in love" she replies "So am I." We see her looking at the Empire State Building. Cary visits his friend the art gallery owner. "The old is dead and the new is starving." Cary wants the thrill of that first sale of his art. Discovery.
-25: Deborah conducts a children's choir and orchestra, it's a song about listening to your conscience. Cary visits a friend who critiques his paintings. He mentions a particular painting and we see it. "Here you became a painter." This is the painting at the end of the movie and when he sees it he knows Deborah is unable to walk and that's why they didn't meet before. The final turning point.
The Secret Life of Walter Mitty
25: Walter (Danny Kaye) jokes with fellow airmen in a fantasy. His mother nags and bosses him around. Rosalind, the girl in Walter's recent fantasy sits next to him. Rosalind is followed and knows it, she kisses Walter and exits. They meet and kiss again and take a cab together. She says she thinks she can trust him. The birth of something new.
45: Walter is in a store, he sees a man with a knife following him. He buys dog biscuits and eats them. He nervously hides and for a while wears a dog mask. Now that I'm aware.
60: In a fantasy, Walter gambles and drinks a mint julip aboard a riverboat. He beats someone at cards and as bubbles crowd the scene he gives Rosalind the deed to the plantation. There's no going back now.
-45: Rosalind cries, Walter says he'll help. They look in the phone book for an address and arrive at the house. They eventually find the book that they're looking for. Rosalind gives Walter her golden wooden shoes to ward off evil. Discovery.
-25: Rosalind hides the book in a drawer and pretends Walter has it. The professor places something in Walter's drink and he falls to the ground after drinking. The professor reveals he is the antagonist and his assistants make their presence known. Walter wakes up. Eventually he becomes more of a man of action and gets together with Rosalind. The final turning point.
45: Walter is in a store, he sees a man with a knife following him. He buys dog biscuits and eats them. He nervously hides and for a while wears a dog mask. Now that I'm aware.
60: In a fantasy, Walter gambles and drinks a mint julip aboard a riverboat. He beats someone at cards and as bubbles crowd the scene he gives Rosalind the deed to the plantation. There's no going back now.
-45: Rosalind cries, Walter says he'll help. They look in the phone book for an address and arrive at the house. They eventually find the book that they're looking for. Rosalind gives Walter her golden wooden shoes to ward off evil. Discovery.
-25: Rosalind hides the book in a drawer and pretends Walter has it. The professor places something in Walter's drink and he falls to the ground after drinking. The professor reveals he is the antagonist and his assistants make their presence known. Walter wakes up. Eventually he becomes more of a man of action and gets together with Rosalind. The final turning point.
Bolt
25: Bolt arrives at Times Square in NYC via a package. After a number of attempts to get things done, he discovers that his superpowers aren't working. The birth of something new.
45 and -45 (129 - 45 = 44): Rhino the hamster talks about Bolt's superpowers and shows off his birth mark. Rhino tells Mittens that Penny loves Bolt: "How dare you disrupt that relationship." Rhino wants to be with Bolt and tells him he could be a valuable addition because of his reflexes, stealth, and would keep the cat in check. Rhino joins Bolt and Mittens on their journey to Hollywood. The dog becomes aware that the hamster has been watching him, which is a surprise. Rhino leads them to a train and a bridge they must jump off. Discovery and Now that I'm aware.
60: Bolt and Rhino free Mittens from the animal shelter. Mittens is really surprised they came back for her. There's no going back now.
-25: Inside a home hauled by a truck, Mittens talks about her past life inside a house. Mittens directs Bolt to stick his head outside the window. During a song we see a montage of interesting places as they journey across the country. Eventually, Bolt reaches Hollywood and becomes a real hero after saving Penny in a fire. The final turning point.
45 and -45 (129 - 45 = 44): Rhino the hamster talks about Bolt's superpowers and shows off his birth mark. Rhino tells Mittens that Penny loves Bolt: "How dare you disrupt that relationship." Rhino wants to be with Bolt and tells him he could be a valuable addition because of his reflexes, stealth, and would keep the cat in check. Rhino joins Bolt and Mittens on their journey to Hollywood. The dog becomes aware that the hamster has been watching him, which is a surprise. Rhino leads them to a train and a bridge they must jump off. Discovery and Now that I'm aware.
60: Bolt and Rhino free Mittens from the animal shelter. Mittens is really surprised they came back for her. There's no going back now.
-25: Inside a home hauled by a truck, Mittens talks about her past life inside a house. Mittens directs Bolt to stick his head outside the window. During a song we see a montage of interesting places as they journey across the country. Eventually, Bolt reaches Hollywood and becomes a real hero after saving Penny in a fire. The final turning point.
Rosemary's Baby
This movie helped launch Roman Polanski, Robert Evans and Paramount. Notice the use of red and green to represent evil and good.
25: Rosemary and Guy eat dinner with their strange new next door neighbors, they talk about travel, ridicule religion, and Guy's acting career. There's something about Minnie and Roman that doesn't seem quite right, and later Rosemary notes that some of the paintings have been removed from the walls. The birth of something new.
45: Rosemary is awake but drugged, not fully aware that she's being raped by the Devil. She's hallucinating she's on a sailboat in a storm. She's tied to a bed "down below" near a furnace and a group of chanting naked people including her husband, Minnie and Roman as red paint is brushed over Rosemary's body. In her drugged state, Rosemary apologizes to the Pope and says she was bitten by a mouse - earlier she ate chocolate mousse that contained a drug. Now that I'm aware.
60: Rosemary gets a new haircut and feels a sharp pain in her stomach. Dr. Sapirstein, her new doctor, says it's a natural expansion but the pain continues. It rains, she looks awful but her husband says she looks great. She cuts a steak, heats it for a few seconds, and eats it nearly raw. Her friend Hutch visits, learns she's pregnant, and wonders why she's lost so much weight. Roman visits while Hutch is there and they discuss the Tanis root necklace she wears. Hutch says he'll do some research on Tanis root and other things. Later, Hutch goes into a coma and dies. Earlier, two others who seemed to be in the way of Roman and Minnie were killed, so Hutch's coma doesn't come as a surprise. There's no going back now.
-45: Rosemary uses Scrabble pieces to discover that Roman is the son of a well known witch from a book Hutch gave her called "All of Them Witches." Rosemary gives her husband the book, which he later throws away. Rosemary visits Dr. Sapirstein and tells him about Roman and Minnie, and soon Roman and Minnie leave the building and say they won't be coming back for a long time. Discovery.
-25: Rosemary is in Dr. Hill's office and says "God bless Dr. Hill," she believes everything is going to be okay, she thinks she's going to a nice clean hospital with no visitors. From her purse, she removes pills that Dr. Sapirstein prescribed. "Unspeakable monsters" she says repeatedly. She has a quick dream of her with a perfect baby showing it to others. But her husband, Dr. Sapirstein, and Dr. Hill arrive and tell Rosemary to go with them or she's going to a mental hospital. Eventually, we see that Roman and Minnie never left the building and that the baby is the Devil's, and that her husband is in on it because they're helping him succeed as an actor. And the final resolution is a shocker: Rosemary intends to help the baby grow up. The final turning point.
25: Rosemary and Guy eat dinner with their strange new next door neighbors, they talk about travel, ridicule religion, and Guy's acting career. There's something about Minnie and Roman that doesn't seem quite right, and later Rosemary notes that some of the paintings have been removed from the walls. The birth of something new.
45: Rosemary is awake but drugged, not fully aware that she's being raped by the Devil. She's hallucinating she's on a sailboat in a storm. She's tied to a bed "down below" near a furnace and a group of chanting naked people including her husband, Minnie and Roman as red paint is brushed over Rosemary's body. In her drugged state, Rosemary apologizes to the Pope and says she was bitten by a mouse - earlier she ate chocolate mousse that contained a drug. Now that I'm aware.
60: Rosemary gets a new haircut and feels a sharp pain in her stomach. Dr. Sapirstein, her new doctor, says it's a natural expansion but the pain continues. It rains, she looks awful but her husband says she looks great. She cuts a steak, heats it for a few seconds, and eats it nearly raw. Her friend Hutch visits, learns she's pregnant, and wonders why she's lost so much weight. Roman visits while Hutch is there and they discuss the Tanis root necklace she wears. Hutch says he'll do some research on Tanis root and other things. Later, Hutch goes into a coma and dies. Earlier, two others who seemed to be in the way of Roman and Minnie were killed, so Hutch's coma doesn't come as a surprise. There's no going back now.
-45: Rosemary uses Scrabble pieces to discover that Roman is the son of a well known witch from a book Hutch gave her called "All of Them Witches." Rosemary gives her husband the book, which he later throws away. Rosemary visits Dr. Sapirstein and tells him about Roman and Minnie, and soon Roman and Minnie leave the building and say they won't be coming back for a long time. Discovery.
-25: Rosemary is in Dr. Hill's office and says "God bless Dr. Hill," she believes everything is going to be okay, she thinks she's going to a nice clean hospital with no visitors. From her purse, she removes pills that Dr. Sapirstein prescribed. "Unspeakable monsters" she says repeatedly. She has a quick dream of her with a perfect baby showing it to others. But her husband, Dr. Sapirstein, and Dr. Hill arrive and tell Rosemary to go with them or she's going to a mental hospital. Eventually, we see that Roman and Minnie never left the building and that the baby is the Devil's, and that her husband is in on it because they're helping him succeed as an actor. And the final resolution is a shocker: Rosemary intends to help the baby grow up. The final turning point.
Taken
Good writing to set up Liam's character so we understood why he resorted to the violence to get back his daughter. Good camera work, especially quick cuts of flashback moments as Liam examines the apartment where the girls were taken. Good editing/pacing of fights and car chases.
25: Liam (Bryan) talks to his daughter Kim over the phone. Kim tells her father men have entered the apartment and taken Amanda. Liam gathers info and after listening to his daughter scream he warns the kidnapper with memorable lines: "I will look for you, I will find you, and I will kill you." The birth of something new.
-45: (128 -45 = 43): Liam talks too much to a prostitute to provoke an Albanian pimp. Liam places a listening device on the pimp and along with a translator listens in on a conversation. Discovery.
45: Via an Albanian interpreter, Liam discovers that his daughter could be the "fresh merchandise" at a construction site. At the site, he enters a small prostitution enclosure, finds his daughter's jacket, fights off attackers, and escapes with the young woman who had the jacket. Later, the young woman provides new information, sending Liam to a new location. Now that I'm aware.
60 and -25: Liam pretends to be a government official extorting money from his daughter's kidnappers. He receives money from them and asks them to interpret something in Albanian. He hears one of the kidnappers say "good luck" and knows he's talking to the same man he warned he'd find and kill. Liam kills nearly all of them and searches many rooms. He find Amanda, Kim's friend, dead. Eventually, Liam finds his daughter and takes her back to Los Angeles. There's no going back now and The final turning point.
25: Liam (Bryan) talks to his daughter Kim over the phone. Kim tells her father men have entered the apartment and taken Amanda. Liam gathers info and after listening to his daughter scream he warns the kidnapper with memorable lines: "I will look for you, I will find you, and I will kill you." The birth of something new.
-45: (128 -45 = 43): Liam talks too much to a prostitute to provoke an Albanian pimp. Liam places a listening device on the pimp and along with a translator listens in on a conversation. Discovery.
45: Via an Albanian interpreter, Liam discovers that his daughter could be the "fresh merchandise" at a construction site. At the site, he enters a small prostitution enclosure, finds his daughter's jacket, fights off attackers, and escapes with the young woman who had the jacket. Later, the young woman provides new information, sending Liam to a new location. Now that I'm aware.
60 and -25: Liam pretends to be a government official extorting money from his daughter's kidnappers. He receives money from them and asks them to interpret something in Albanian. He hears one of the kidnappers say "good luck" and knows he's talking to the same man he warned he'd find and kill. Liam kills nearly all of them and searches many rooms. He find Amanda, Kim's friend, dead. Eventually, Liam finds his daughter and takes her back to Los Angeles. There's no going back now and The final turning point.
Introduction to the 5 moments
When editing a movie or organizing the story structure of a screenplay, do filmmakers follow a structural plan involving 5 moments? What if they did? Would you want to know about the 5 moments?
The next time you watch a good movie, notice what happens at 25 minutes into the film, 45 minutes into the film, 60 minutes into the film, 45 minutes before the film ends, and 25 minutes before the film ends: 25 45 60 -45 -25. Calculate -45 and -25 when the story ends, not when the final credits end.
Notice how movie professionals seem to place their most important moments at 25 45 60 -45 -25:
25 minutes into The Bourne Ultimatum the CIA finds Bourne and issues an order to kill him. 45 minutes into Straight Time Dustin Hoffman steals a car and handcuffs his parole officer to a fence on the freeway. 60 minutes into
In the above films, 25 45 60 -45 -25 are pivotal moments, inspirational, entertaining, emotionally turbulent moments that helped the screenwriter and filmmaker persuade the audience to care about their characters and what happens to them.
The 5 moments in
25: Tony Stark is in the cave, he examines a metal ring used to create the mini arc reactor that will fit in his chest. Soon, the light of the arc reactor turns on, his new power source is born. The birth of something new.
45: An emotionally intense Tony Stark tells the press he never said good-bye to his father. He declares that because his weapons have fallen into the wrong hands he's shutting down his company's weapons production. Now that I'm aware.
60: He's flying around the room, struggling to control his power, and he succeeds: "Yeah, I can fly." He's making real progress, there's no going back to the drawing board. There's no going back now.
-45 (1:57 - 45 = 1:12 into the film) Tony receives new information about a besieged village from a reporter, learns more about the situation and escalates his action: he flies to the village and starts rescuing people. Discovery.
-25 (1:57 - 25 = 1:32 into the film) Pepper discovers the video that proves Obadiah Stane wants Tony dead. Final turning point.
In every good film and screenplay you'll find these 5 moments:
25: The birth of something new.
45: Now that I'm aware.
60: There's no going back now.
-45: Discovery.
-25: The final turning point.
The symmetry of 25 45 60 -45 -25 obeys a dynamic truth of nature: What goes up, must come down. So it is in the beginning, so it is in the end: 25 45 60 -45 -25.
You'll find the 5 moments in all your old favorites. Examine the following 5 moments in Romancing the Stone, and notice that -45 comes before 60 because Romancing the Stone lasts an hour and forty-three minutes: 1:43 subtracted by 45 means 58 comes before 60.
25: Joan is alone on a mountainous road, the antagonist walks into frame, pulls out a gun and aims it at her. Jack Colton arrives and discharges a barrage of gunfire to chase away the antagonist. 25 is where the heroine is confronted by the antagonist and where the love affair begins. The birth of something new.
45: Joan and Jack sit in a torn up cargo plane. Jack offers Joan a bottle of tequila and wants to become aware of why Joan left NYC for Columbia. Joan lies about why she's in Columbia. Within two minutes Jack finds the treasure map, a discovery that ignites future turbulence between Jack and Joan. Now that I'm aware.
-45: (1:43 - 45 minutes = 58 minutes into the film) The ally with the monster truck opens the door and asks, "You are Joan Wilder, the novelist?" An almost unbelievable coincidence but since we love Joan and Jack we don't care. Because Juan (Alfonso Arau) learns Joan writes the books he loves he lets them in. Discovery.
60: Joan and Jack tour Juan's home and within minutes they're in a monster truck that jumps over a stream to escape the antagonists. There's no going back now.
-25: (1:43 - 25 minutes = 1:18) Joan and Jack reach Mother's Milk, a small pool where they find the green diamond. The final turning point.
Knowing where the 5 pivotal moments belong in a screenplay will fundamentally change how you look at movies and how you read and write screenplays. The 5 moments will beef up your confidence because they offer an objective formula pinpointing exactly when key moments happen. It's a precise structural tool to improve your ability to analyze and organize story structure so you can tell a better story.
If you've read a lot of books on screenwriting then you're aware of certain approximations when it comes to story structure (p. 10-20, p. 50-60, p. 80-90). If you're looking for precise guidance when it comes to story structure, the 5 moments offer a reliable, objective, naturally strong structural dynamic.
When the subject matter means the world to you, you owe it to yourself to know exactly where everything goes. Look at what the professionals are doing. They know exactly where everything goes. Shouldn't you?
War and Peace
25: Andre prepares to leave for war and meets with his father, a tough but lovable guy. Andre's sister gives him an heirloom he promises not to take off. Andre's father thanks Andre for doing his duty and keeping "the army before everything." Andre asks his father to get a doctor to care for his wife, he is concerned about her health. Andre's father tells Andre that if he dies in battle he'll be hurt, but if he doesn't behave honorably it will be worse, "I will be shamed." Andre asks that if he has a son and he dies in battle that his son not be taken away, "let him grow up here with you, please." His father agrees. The birth of something new.
45: Natasha's brother returns from war, Natasha sees him kiss her friend. Natasha: "I want to know what men are like." Natasha and her brother talk about love and marrying the right and best way. Andre returns, wounded. Andre's wife dies after giving birth. Now that I'm aware.
60: Two sleighs pulled by horses race in the snow. Laughter, singing, and Pierre (Henry Fonda) gives Natasha a friendly kiss. Later, during a hunt, Natasha is formally introduced to Andre. In the next scene during a dance, Andre's VO tells us he's going to marry Natasha if she turns and smiles at him. She turns and smiles. There's no going back now.
-45: Pierre is in prison awaiting execution. A fellow prisoner cheerfully talks about his unfortunate life and how a religious perspective, belief, and prayer have helped him: "the great thing is to live in harmony." Discovery.
-25: The old general discusses strategy on how to deal with Napoleon's retreating army. We watch thousands die as Napoleon's army leaves Russia. Eventually, Andre dies and Pierre and Natasha get together. There's no going back now.
45: Natasha's brother returns from war, Natasha sees him kiss her friend. Natasha: "I want to know what men are like." Natasha and her brother talk about love and marrying the right and best way. Andre returns, wounded. Andre's wife dies after giving birth. Now that I'm aware.
60: Two sleighs pulled by horses race in the snow. Laughter, singing, and Pierre (Henry Fonda) gives Natasha a friendly kiss. Later, during a hunt, Natasha is formally introduced to Andre. In the next scene during a dance, Andre's VO tells us he's going to marry Natasha if she turns and smiles at him. She turns and smiles. There's no going back now.
-45: Pierre is in prison awaiting execution. A fellow prisoner cheerfully talks about his unfortunate life and how a religious perspective, belief, and prayer have helped him: "the great thing is to live in harmony." Discovery.
-25: The old general discusses strategy on how to deal with Napoleon's retreating army. We watch thousands die as Napoleon's army leaves Russia. Eventually, Andre dies and Pierre and Natasha get together. There's no going back now.
Love in the Afternoon
25: Audrey slips past a husband wanting to shoot Gary for his romancing his wife. Audrey slips into another hotel room, climbs onto the balcony, sidesteps over to Gary's room and warns him about the husband. Gary likes the look of Audrey and the romance starts. The birth of something new.
45: Maurice and Audrey talk about Audrey's beau and his family history; the father has investigated him. When Maurice leaves, Audrey sits to write Gary a letter, she writes she doesn't want to see him and that she's not his type. Now that I'm aware.
60: Gary wants to know Audrey's name and she won't tell him. Gary tips the hotel staff and tries to guess Audrey's name. Audrey says she wants no scenes or tears, "this way it was just perfect." He wants to buy her jewelry but all she wants is his carnation. They say good-bye. There's no going back now.
-45: Audrey and Maurice. Maurice wants to know why Audrey has a white fur coat. Maurice talks about how anklets drive men crazy. He says they are provocative. Audrey stares at something that could pass for an anklet. In the park with Gary she wears an anklet and he brings a carnation. When he discovers she's wearing an anklet he rips it off her ankle. Discovery.
-25: Gary is angry and troubled, he leaves his hotel followed by the band. In a sauna the band plays as the husband (the husband who wanted to kill him earlier at 25) tells Gary he's happily going through a second honeymoon with his wife. The husband tells Gary doesn't want to hear it, but the husband tell Gary he's in love with Audrey and to end the uncertainty he suggests he contact Maurice, a detective. Eventually, Audrey and Gary get together. The final turning point.
45: Maurice and Audrey talk about Audrey's beau and his family history; the father has investigated him. When Maurice leaves, Audrey sits to write Gary a letter, she writes she doesn't want to see him and that she's not his type. Now that I'm aware.
60: Gary wants to know Audrey's name and she won't tell him. Gary tips the hotel staff and tries to guess Audrey's name. Audrey says she wants no scenes or tears, "this way it was just perfect." He wants to buy her jewelry but all she wants is his carnation. They say good-bye. There's no going back now.
-45: Audrey and Maurice. Maurice wants to know why Audrey has a white fur coat. Maurice talks about how anklets drive men crazy. He says they are provocative. Audrey stares at something that could pass for an anklet. In the park with Gary she wears an anklet and he brings a carnation. When he discovers she's wearing an anklet he rips it off her ankle. Discovery.
-25: Gary is angry and troubled, he leaves his hotel followed by the band. In a sauna the band plays as the husband (the husband who wanted to kill him earlier at 25) tells Gary he's happily going through a second honeymoon with his wife. The husband tells Gary doesn't want to hear it, but the husband tell Gary he's in love with Audrey and to end the uncertainty he suggests he contact Maurice, a detective. Eventually, Audrey and Gary get together. The final turning point.
My Fair Lady
25: Audrey enters the room, and the Professor doesn't want her around. She says she'll pay, she wants to be a lady and she's willing to pay for voice lessons. Pickering asks her name and she says her name is Eliza Doolittle. He asks her to sit. The birth of something new.
45: Eliza's father sings "with a little bit of luck" before and after he becomes aware that her daughter is no longer living in her apartment and is living with a professor. Now that I'm aware.
60: Eliza fantasizes about Professor Higgins being marched before a firing squad and shot. She and Higgins look at each other. He says "A" and she mispronounces "A" three times. There's no going back now.
-45: Eliza and Higgins have just had an argument. Eliza searches for a ring in a fireplace hearth and places it on her finger. She says that Higgins will be sorry one day, that he'll be hurt and have no one. Tearfully, she removes a ring and goes outside as a young suitor sings "on the street where you live." Discovery.
-25: Pickering is on the phone with the police to find the whereabouts of Eliza. Higgins asks, "What prompted her to go?" Pickering makes a Whitehall call to a friend. Higgins begins to sing "why can't a woman be more like a man?" Eventually, Eliza and Higgins get back together. The final turning point.
45: Eliza's father sings "with a little bit of luck" before and after he becomes aware that her daughter is no longer living in her apartment and is living with a professor. Now that I'm aware.
60: Eliza fantasizes about Professor Higgins being marched before a firing squad and shot. She and Higgins look at each other. He says "A" and she mispronounces "A" three times. There's no going back now.
-45: Eliza and Higgins have just had an argument. Eliza searches for a ring in a fireplace hearth and places it on her finger. She says that Higgins will be sorry one day, that he'll be hurt and have no one. Tearfully, she removes a ring and goes outside as a young suitor sings "on the street where you live." Discovery.
-25: Pickering is on the phone with the police to find the whereabouts of Eliza. Higgins asks, "What prompted her to go?" Pickering makes a Whitehall call to a friend. Higgins begins to sing "why can't a woman be more like a man?" Eventually, Eliza and Higgins get back together. The final turning point.
The 5 Moments - brief intro
Hidden in the structure of every good movie and screenplay are 5 key moments. These 5 moments provide an objective formula that pinpoint exactly when key moments happen in a good movie and screenplay. Knowing this insight deepens your understanding of story structure and gives you a valuable tool to improve your work.
This blog takes a close look at story structure from the vantage point of 5 moments located on page 25, page 45, page 60, 45 pages and 25 pages before the screenplay ends.
Being aware of the 5 moments means you're capable of leveraging precise information that can improve how well you tell a story. It doesn't mean you're limiting yourself to a formula, it means you're aware of a hidden structure within every good story.
45 minutes before Schindler’s List ends, Ben Kingsley’s character Itzhak Stern holds up the list and says “The list is an absolute good. The list is life.” At -45 in Schindler's List a key moment happens. What if that wasn't an accident? What if that key moment was at -45 according to a structural plan?
This blog enriches you because it helps you read movies from another perspective; the better you read, the better you'll write. The 5 moments provides you with a deeper understanding of structure to help you create better screenplays.
This blog takes a close look at story structure from the vantage point of 5 moments located on page 25, page 45, page 60, 45 pages and 25 pages before the screenplay ends.
Being aware of the 5 moments means you're capable of leveraging precise information that can improve how well you tell a story. It doesn't mean you're limiting yourself to a formula, it means you're aware of a hidden structure within every good story.
45 minutes before Schindler’s List ends, Ben Kingsley’s character Itzhak Stern holds up the list and says “The list is an absolute good. The list is life.” At -45 in Schindler's List a key moment happens. What if that wasn't an accident? What if that key moment was at -45 according to a structural plan?
This blog enriches you because it helps you read movies from another perspective; the better you read, the better you'll write. The 5 moments provides you with a deeper understanding of structure to help you create better screenplays.
Planet of the Apes
25: Taylor and the other two astronauts walk past scarecrows, trees, swim in the water, and their clothes are stolen. Soon, they will be captured by the apes. The birth of something new.
45: Taylor fights to defend himself in prison. He's burned and sent to another prison in a lab. Dr. Cornelius sees Taylor's writing in the dirt and rubs it out with his foot. In the lab, he gets a pencil and paper and his writing proves he's not like any man they've met. Now that I'm aware.
60: Taylor gives his friend a name: Nova. A water hose is turned on Taylor and Nova is placed in a different cell. The apes tell Taylor to shut up and call him a freak. Taylor opens up to Nova, telling her about his society and past: "lots of lovemaking but no love." There's no going back now.
-45: Taylor and his allies are on trial. Taylor says he wants to defend himself but they won't allow him to tell his side of the story. He is silenced and called an animal. The apes repeat well known human themes and when Taylor submits his views in writing they call his viewpoint a joke. Discovery.
-25: Taylor, Nova, and their ape allies journey past the scarecrows and reach a river that leads to the sea. Eventually, the forbidden zone reveals a shocker of an ending too cool to mention in case you haven't seen this great film. The final turning point.
45: Taylor fights to defend himself in prison. He's burned and sent to another prison in a lab. Dr. Cornelius sees Taylor's writing in the dirt and rubs it out with his foot. In the lab, he gets a pencil and paper and his writing proves he's not like any man they've met. Now that I'm aware.
60: Taylor gives his friend a name: Nova. A water hose is turned on Taylor and Nova is placed in a different cell. The apes tell Taylor to shut up and call him a freak. Taylor opens up to Nova, telling her about his society and past: "lots of lovemaking but no love." There's no going back now.
-45: Taylor and his allies are on trial. Taylor says he wants to defend himself but they won't allow him to tell his side of the story. He is silenced and called an animal. The apes repeat well known human themes and when Taylor submits his views in writing they call his viewpoint a joke. Discovery.
-25: Taylor, Nova, and their ape allies journey past the scarecrows and reach a river that leads to the sea. Eventually, the forbidden zone reveals a shocker of an ending too cool to mention in case you haven't seen this great film. The final turning point.
The Wrestler
25: Ram sticks a needle in his butt, lifts weights, gets his hair done, gets a fake tan, goes to Jersey Dollar with a friend and they hit each other. The birth of something new.
45: He tells Cassidy that he doesn't want to be alone. Cassidy suggests he call his daughter. He says she doesn't like him but Cassidy tells him he'll be ok. Cassidy exits the car to back into the strip club. Now that I'm aware.
60 and -45: In a bar, Cassidy and Ram enjoy each other's company. She's thinking about moving. A favorite song of his plays and they dance and sing in the bar. He kisses her. There's no going back now and Discovery.
-25: Ram meets a young woman in a bar, they drink shots, snort, and have sex in the bar's bathroom. He sleeps and forgets about dinner with his daughter. She tells him she never wants to see him again. Eventually, he gets back in the ring and Cassidy is there for him. The final turning point.
45: He tells Cassidy that he doesn't want to be alone. Cassidy suggests he call his daughter. He says she doesn't like him but Cassidy tells him he'll be ok. Cassidy exits the car to back into the strip club. Now that I'm aware.
60 and -45: In a bar, Cassidy and Ram enjoy each other's company. She's thinking about moving. A favorite song of his plays and they dance and sing in the bar. He kisses her. There's no going back now and Discovery.
-25: Ram meets a young woman in a bar, they drink shots, snort, and have sex in the bar's bathroom. He sleeps and forgets about dinner with his daughter. She tells him she never wants to see him again. Eventually, he gets back in the ring and Cassidy is there for him. The final turning point.
Tropic Thunder
25: They land in the jungle, the director tells them what to do and then steps on a land mine and becomes little pieces of meat. The birth of something new.
45: Ben separates from the group and walks up the river. Rolling Stones plays as they walk through the jungle. Ben says hello to Mr. Mantis and says he's beautiful. Now that I'm aware.
60: Matthew the agent goes to Tom Cruise and takes a call from Flaming Dragon, a comedy of errors as Matthew thinks they're another agency that has stolen his client. Tom gets on the phone and spits fire at the kidnappers, then tells his assistant to "find out who that was." There's no going back now.
-45: Jack Black approaches a water buffalo. We go to the village with Ben is held prisoner. Ben: "My body maybe shackled but my mind wanders free." Ben has a spitting contest with one of his captors. Downey, Black, et al discover the location of the village. Discovery.
-25: Matthew considers a photo of his friend and a photo of a G5 plane. We view stars and the guys talk about romance. JB is tied to a tree and asks that they don't ignore him. Radar tells Downey he thinks Jennifer Love Hewitt is hot and asks Downey if he's still dating her. Eventually, Radar kisses Ms. Hewitt, Downey announces Ben as the winner of an Oscar, and other relationships are resolved. The final turning point.
45: Ben separates from the group and walks up the river. Rolling Stones plays as they walk through the jungle. Ben says hello to Mr. Mantis and says he's beautiful. Now that I'm aware.
60: Matthew the agent goes to Tom Cruise and takes a call from Flaming Dragon, a comedy of errors as Matthew thinks they're another agency that has stolen his client. Tom gets on the phone and spits fire at the kidnappers, then tells his assistant to "find out who that was." There's no going back now.
-45: Jack Black approaches a water buffalo. We go to the village with Ben is held prisoner. Ben: "My body maybe shackled but my mind wanders free." Ben has a spitting contest with one of his captors. Downey, Black, et al discover the location of the village. Discovery.
-25: Matthew considers a photo of his friend and a photo of a G5 plane. We view stars and the guys talk about romance. JB is tied to a tree and asks that they don't ignore him. Radar tells Downey he thinks Jennifer Love Hewitt is hot and asks Downey if he's still dating her. Eventually, Radar kisses Ms. Hewitt, Downey announces Ben as the winner of an Oscar, and other relationships are resolved. The final turning point.
Hard Times
25: A doctor joins the gambler and the fighter. The birth of something new.
45 and -45: A loan shark wants his money. Chaney enters his small apartment with groceries. He pours milk for his cat, counts his money, fights the next day against the top street fighter, and wins. Now that I'm aware.
60: The rich gambler who lost money because of Chaney wants Chaney on his side. Chaney refuses. There's no going back now.
-25: Lucy tells Chaney she's met another guy with a steady job. Chaney walks away from her, ending the relationship. Eventually, Chaney beats the best street fighter available. The final turning point.
45 and -45: A loan shark wants his money. Chaney enters his small apartment with groceries. He pours milk for his cat, counts his money, fights the next day against the top street fighter, and wins. Now that I'm aware.
60: The rich gambler who lost money because of Chaney wants Chaney on his side. Chaney refuses. There's no going back now.
-25: Lucy tells Chaney she's met another guy with a steady job. Chaney walks away from her, ending the relationship. Eventually, Chaney beats the best street fighter available. The final turning point.
Chaplin
25: Chaplin (Robert Downey Jr., who does great work here, especially when he's dressed up as The Tramp and the scenes at the piano when he works himself too hard) asks Hetty Kelly to marry him. She declines. The actress Moira Kelly did an extraordinary job in this movie. She played two characters and I didn't realize it until a few moments ago. She also plays Oona O'Neill Chaplin, a character we see later in the film. Chaplin tells Hetty he's going to America. We learn that Chaplin loved her though he'd never even kissed her. George (Anthony Hopkins) tells Chaplin that he should let the readers share his emotions and feelings. Chaplin tells Hetty he'll wait for her and wants to know if she will. She thinks he's wonderful. He gives her a flower when she says he never mentioned love. The birth of something new.
45: Chaplin is in California and reads Hetty's letter; he becomes aware that she's married and he's hurt. He's got fame and money and soon leaves Mack Sennett to control his own movies. Now that I'm aware.
60: Chaplin acts in a war movie, he talks with Fairbanks (Kevin Kline) and they play tennis as they talk about his fiance who Chaplin will marry because he believes she's with child. He later learns she wasn't with child. There's no going back now.
-45: Chaplin walks on the beach with his future wife, Paulette, this is their first meeting. Discovery.
-25: Chaplin has tea with his future wife, Oona, this is their first meeting. He tells Oona he wants to stay with her and they laugh watching a boxing scene from one of his movies. Eventually they leave the country and remain happily married until the end. The final turning point.
45: Chaplin is in California and reads Hetty's letter; he becomes aware that she's married and he's hurt. He's got fame and money and soon leaves Mack Sennett to control his own movies. Now that I'm aware.
60: Chaplin acts in a war movie, he talks with Fairbanks (Kevin Kline) and they play tennis as they talk about his fiance who Chaplin will marry because he believes she's with child. He later learns she wasn't with child. There's no going back now.
-45: Chaplin walks on the beach with his future wife, Paulette, this is their first meeting. Discovery.
-25: Chaplin has tea with his future wife, Oona, this is their first meeting. He tells Oona he wants to stay with her and they laugh watching a boxing scene from one of his movies. Eventually they leave the country and remain happily married until the end. The final turning point.
Grapes of Wrath
Directed by John Ford, a must see for movie lovers who want to see all the classics.
25: Tommy arrives home from prison, his mom asks, "Did they hurt you and make you mean mad?" "No." "They hurt you until you get meaner and meaner." Tommy tells his mom not to worry about it. His family and friends welcome him back, yet several believe he escaped rather than paroled. The banker arrives to warn them they can't be there after tomorrow. They have to leave their land. The birth of something new.
45: Tommy listens to a man talk about children starving to death and a doctor who won't report the truth. Tommy wonders if he and his family will experience the same truth and denial. Their truck arrives in New Mexico. Grandfather asks for bread and candy and seeing how poor and kind they are the cook and waitress help them. Now that I'm aware.
60: They push the truck up a road and notice a green, fertile California valley. Tommy asks about his grandmother and his mom tells him she died. She didn't mention it before because she was afraid they wouldn't be able to "get across...she'll get buried where it's nice and green...she'll get to lay her head in California after all." There's no going back now.
-45: Tommy's family settle into a work camp where the situation is grim. Tommy leaves the camp to get more info about what is going on. He learns from KC a group of workers are striking over wages and conditions. KC is later killed. Discovery.
-25: Tommy's family reach another friendlier work camp that seems fine; the kids enjoy the bathroom where they see a toilet for the first time. Later, Tommy is warned there's going to be an arranged fight to give police an excuse to shut down the camp. Eventually, Tommy has to leave his mom and the dialogue during this scene when Ma talks about "...living in the houses they build..." is heartbreaking because much of the story is about them trying to find a home. The final turning point.
25: Tommy arrives home from prison, his mom asks, "Did they hurt you and make you mean mad?" "No." "They hurt you until you get meaner and meaner." Tommy tells his mom not to worry about it. His family and friends welcome him back, yet several believe he escaped rather than paroled. The banker arrives to warn them they can't be there after tomorrow. They have to leave their land. The birth of something new.
45: Tommy listens to a man talk about children starving to death and a doctor who won't report the truth. Tommy wonders if he and his family will experience the same truth and denial. Their truck arrives in New Mexico. Grandfather asks for bread and candy and seeing how poor and kind they are the cook and waitress help them. Now that I'm aware.
60: They push the truck up a road and notice a green, fertile California valley. Tommy asks about his grandmother and his mom tells him she died. She didn't mention it before because she was afraid they wouldn't be able to "get across...she'll get buried where it's nice and green...she'll get to lay her head in California after all." There's no going back now.
-45: Tommy's family settle into a work camp where the situation is grim. Tommy leaves the camp to get more info about what is going on. He learns from KC a group of workers are striking over wages and conditions. KC is later killed. Discovery.
-25: Tommy's family reach another friendlier work camp that seems fine; the kids enjoy the bathroom where they see a toilet for the first time. Later, Tommy is warned there's going to be an arranged fight to give police an excuse to shut down the camp. Eventually, Tommy has to leave his mom and the dialogue during this scene when Ma talks about "...living in the houses they build..." is heartbreaking because much of the story is about them trying to find a home. The final turning point.
Army of Shadows
25: Inside the Majestic hotel, Philippe and another prisoner wait for their chance to escape. Philippe stands, walks up to a guard and asks for a cigarette. He then grabs the guard's knife and sticks the knife in the guard's throat. They both run and Philippe escapes. He runs several blocks in the snow and hides inside a barber shop. The owner asks him what he wants and Philippe says he wants a shave. He gets a shave. The birth of something new.
45: Philippe meets with a colleague in the French Underground at a talent agency. They need to get allied soldiers and the big chief out of the country. They need someone to assist and we follow this assistant as he exits a train and manages to get a radio past the Nazis. Now that I'm aware.
60: The big chief gets in a rowboat and the assistant rows him toward a waiting submarine. The big chief is his brother who he met earlier. There's no going back now.
-45: Philippe observes a baron's horses walking to a barn. In VO, we learn that the baron and his men were shot without trial. Three members of the French Underground try and fail to rescue two of their colleagues who have been tortured - one is about to die from torture. Discovery.
-25: Philippe lines up with other prisoners and told to run toward a wall. Nazi machine gunners fire at the runners. A smoke bomb hides Philippe's whereabouts and a rope is thrown his way. He escapes over a wall. Eventually, we learn that all of these heroes are to be killed in one way or another. An uncompromising vision from a director who was part of the French Underground. The final turning point.
45: Philippe meets with a colleague in the French Underground at a talent agency. They need to get allied soldiers and the big chief out of the country. They need someone to assist and we follow this assistant as he exits a train and manages to get a radio past the Nazis. Now that I'm aware.
60: The big chief gets in a rowboat and the assistant rows him toward a waiting submarine. The big chief is his brother who he met earlier. There's no going back now.
-45: Philippe observes a baron's horses walking to a barn. In VO, we learn that the baron and his men were shot without trial. Three members of the French Underground try and fail to rescue two of their colleagues who have been tortured - one is about to die from torture. Discovery.
-25: Philippe lines up with other prisoners and told to run toward a wall. Nazi machine gunners fire at the runners. A smoke bomb hides Philippe's whereabouts and a rope is thrown his way. He escapes over a wall. Eventually, we learn that all of these heroes are to be killed in one way or another. An uncompromising vision from a director who was part of the French Underground. The final turning point.
Heaven Can Wait
This is a remake of Here Comes Mr. Jordan. HCW is my favorite romantic comedy, I really like the montage with no dialogue, just music, at the party in the garden. If you haven't seen HCW you're in for a treat, it's one of the most thoughtful and romantic movies ever made.
25: Joe becomes another man to help a beautiful woman he just met named Betty Logan. Joe patiently listens to Betty as Mr. Jordan observes. Joe tries to tell Betty the truth but she thinks he's toying with her. Mrs. Farnsworth sees that her husband isn't dead and screams. Tony says she saw a mouse. Funny stuff. The birth of something new.
45: Sisk enters the closet and says that Betty Logan is downstairs and wants to talk to him. Joe leaves the two angels, telling them to do the best they can (Joe wants a new body so he can win the Super Bowl as a quarterback). Joe asks Betty out on a date and in the limo he tells her he can't stop staring at her. She feels the same way. Now they're both aware of how they feel about each other. Now that I'm aware.
-45: Max arrives and Joe eventually convinces him (the neck twist and not being able to play music) that outwardly he's got Farnsworth's body but inside he's still Joe Pendleton. Max agrees to help Joe train and improve so he can be the quarterback he once was and win the Super Bowl. So Max discovers that Joe really isn't dead. Discovery.
60: Joe trains with his old pal Max and they throw passes. Tony and Mrs. Farnsworth observe. Max isn't convinced as the training continues in a series of shots. Joe reads the playbook, jogs, as we hear music. Joe tells Max he made the ultimate commitment to winning: he bought the Los Angeles Rams. The Coach of the Rams informs the team, and they aren't happy. There's no going back now.
-25: Joe asks Betty to marry him. Joe sees The Escort angel and tells him he doesn't want to change bodies, but The Escort informs him it's too late. Intense turbulence as Joe goes back to Betty worried that he's going to forget her and she may not recognize him if he lives inside another body. He tells her that he's memorizing her face and asks her if she'll forget him. She says no. He tells her she may meet a quarterback and asks that she give him a chance. He whispers to her "It's alright, there's nothing to be afraid of." Eventually, at the end of the movie, Joe steps into another man's body and forgets he ever loved Betty. We think all is lost between them but when the lights go out he whispers "It's alright, there's nothing to be afraid of." She realizes that he's the quarterback and they walk together off the field. The final turning point.
25: Joe becomes another man to help a beautiful woman he just met named Betty Logan. Joe patiently listens to Betty as Mr. Jordan observes. Joe tries to tell Betty the truth but she thinks he's toying with her. Mrs. Farnsworth sees that her husband isn't dead and screams. Tony says she saw a mouse. Funny stuff. The birth of something new.
45: Sisk enters the closet and says that Betty Logan is downstairs and wants to talk to him. Joe leaves the two angels, telling them to do the best they can (Joe wants a new body so he can win the Super Bowl as a quarterback). Joe asks Betty out on a date and in the limo he tells her he can't stop staring at her. She feels the same way. Now they're both aware of how they feel about each other. Now that I'm aware.
-45: Max arrives and Joe eventually convinces him (the neck twist and not being able to play music) that outwardly he's got Farnsworth's body but inside he's still Joe Pendleton. Max agrees to help Joe train and improve so he can be the quarterback he once was and win the Super Bowl. So Max discovers that Joe really isn't dead. Discovery.
60: Joe trains with his old pal Max and they throw passes. Tony and Mrs. Farnsworth observe. Max isn't convinced as the training continues in a series of shots. Joe reads the playbook, jogs, as we hear music. Joe tells Max he made the ultimate commitment to winning: he bought the Los Angeles Rams. The Coach of the Rams informs the team, and they aren't happy. There's no going back now.
-25: Joe asks Betty to marry him. Joe sees The Escort angel and tells him he doesn't want to change bodies, but The Escort informs him it's too late. Intense turbulence as Joe goes back to Betty worried that he's going to forget her and she may not recognize him if he lives inside another body. He tells her that he's memorizing her face and asks her if she'll forget him. She says no. He tells her she may meet a quarterback and asks that she give him a chance. He whispers to her "It's alright, there's nothing to be afraid of." Eventually, at the end of the movie, Joe steps into another man's body and forgets he ever loved Betty. We think all is lost between them but when the lights go out he whispers "It's alright, there's nothing to be afraid of." She realizes that he's the quarterback and they walk together off the field. The final turning point.
Spellbound
Directed by Hitchcock and a fine example of him extending the boundary of images used to tell a story. I admired Salvador Dali's exhibit at the MoMA, which included the dream sequence in Spellbound.
25: Doors open as John and Constance kiss. The lines on her robe unnerve him. During surgery he pulls off his mask and collapses after talking gibberish. The birth of something new.
45: Constance questions John about his childhood. He has amnesia. She discovers he's a doctor. He reasons that he must have been a patient of a man he's accused of killing. He thinks he must know how he died because he came back with the dead man's identity. Now that I'm aware.
60: Dr. Brulov answers the policemen's questions as Constance and John observe. The police exit and Constance lies to her former colleague and tells him she married John. They ask to spend the night. There's no going back now.
-45: The lines on the bed frighten John. Same music indicates his trauma. Constance yells at John to discovery why the lines matter to him and to remember what happened. John tries but he collapses. Discovery.
-25: Salvador Dali's dream sequence just ended; John sees the snow tracks outside the window and he goes into a daze. Constance tells Dr. Brulov the importance of the lines and then Constance realizes the ski tracks in the snow caused John to go into a state of intense turbulence. Eventually, John is able to talk about what happened in his past and he recovers. Constance later discovers the identity of the real killer. The final turning point.
25: Doors open as John and Constance kiss. The lines on her robe unnerve him. During surgery he pulls off his mask and collapses after talking gibberish. The birth of something new.
45: Constance questions John about his childhood. He has amnesia. She discovers he's a doctor. He reasons that he must have been a patient of a man he's accused of killing. He thinks he must know how he died because he came back with the dead man's identity. Now that I'm aware.
60: Dr. Brulov answers the policemen's questions as Constance and John observe. The police exit and Constance lies to her former colleague and tells him she married John. They ask to spend the night. There's no going back now.
-45: The lines on the bed frighten John. Same music indicates his trauma. Constance yells at John to discovery why the lines matter to him and to remember what happened. John tries but he collapses. Discovery.
-25: Salvador Dali's dream sequence just ended; John sees the snow tracks outside the window and he goes into a daze. Constance tells Dr. Brulov the importance of the lines and then Constance realizes the ski tracks in the snow caused John to go into a state of intense turbulence. Eventually, John is able to talk about what happened in his past and he recovers. Constance later discovers the identity of the real killer. The final turning point.
Advise and Consent
25: At a party, Fred tells Bob that he wants to chair the committee and when he learns he probably won't chair it he tells Bob he'll campaign for Leffingwell. Fred is intense, he says the nomination is the difference between peace and war and he'll fight to get what he wants. Bob walks off and talks to the vice president and they talk about the President's health; it's not good. This is important info bkz at the end of the movie the President dies and the VP takes over. The birth of something new.
45: At the nomination hearing, Gelman (superbly played by Burgess Meredith) testifies against Leffingwell, calling him a communist during his time in college. We know that Leffingwell will not become Secretary of State unless he can counter the charge. Now that I'm aware.
60: Leffingwell (Henry Fonda) tells the President he wants to withdraw his nomination; he admits he lied at the hearing. He says he was a party member and dropped out. He gave Gelman a job to keep him quiet. But the President won't give up on Leffingwell and the fight goes on, led by Charles Laughton who plays the Senator from South Carolina. There's no going back now.
-45: Brigg, the chair of the nomination committee, pressures Leffingwell to withdraw his nomination but Leffingwell tells him it's up to the President. Intense turbulence bkz we know Brigg is being blackmailed. Brigg leaves Leffingwell's house and Leffingwell discovers that his son overheard. Given later revelations the conversation takes on new meaning: Father to son: "I don't know how to explain it to you. I could tell you the truth." At Brigg's home, his wife tells him she got another call from the blackmailer. She wants to know the truth and her husband isn't talking. She mentions that the caller said they had bought Ray. Brigg looks trapped. Discovery.
-25: Brigg's wife reads the damaging letter and looks at the photo of her husband with another man years ago. She realizes her husband had a relationship with him. The next scene her husband is found dead, a suicide. Later, at the end of the movie, the President dies and Leffingwell isn't nominated. The VP wants to choose his own man. The final turning point.
-25:
45: At the nomination hearing, Gelman (superbly played by Burgess Meredith) testifies against Leffingwell, calling him a communist during his time in college. We know that Leffingwell will not become Secretary of State unless he can counter the charge. Now that I'm aware.
60: Leffingwell (Henry Fonda) tells the President he wants to withdraw his nomination; he admits he lied at the hearing. He says he was a party member and dropped out. He gave Gelman a job to keep him quiet. But the President won't give up on Leffingwell and the fight goes on, led by Charles Laughton who plays the Senator from South Carolina. There's no going back now.
-45: Brigg, the chair of the nomination committee, pressures Leffingwell to withdraw his nomination but Leffingwell tells him it's up to the President. Intense turbulence bkz we know Brigg is being blackmailed. Brigg leaves Leffingwell's house and Leffingwell discovers that his son overheard. Given later revelations the conversation takes on new meaning: Father to son: "I don't know how to explain it to you. I could tell you the truth." At Brigg's home, his wife tells him she got another call from the blackmailer. She wants to know the truth and her husband isn't talking. She mentions that the caller said they had bought Ray. Brigg looks trapped. Discovery.
-25: Brigg's wife reads the damaging letter and looks at the photo of her husband with another man years ago. She realizes her husband had a relationship with him. The next scene her husband is found dead, a suicide. Later, at the end of the movie, the President dies and Leffingwell isn't nominated. The VP wants to choose his own man. The final turning point.
-25:
Felon
This movie doesn't follow a beaten trail, there's originality here. Good movie for realistic portrayals and situations.
25: Wade enters the Shoe, a small cell. He enters the Shoe yard where he'll fight in do or die situations. The birth of something new.
45: He fights in the Shoe yard. A prisoner runs at him and starts to hit him and Wade has to fight back. Now that I'm aware.
-45 (139 - 45 = 54): We think Wade is going to be attacked by Samson but instead tells Snowman he saw him pass the shank off to Wade on the bus. Snowman is brutally scarred for life. Discovery.
60: Wade tells John (Val Kilmer) he can't get the burglar's face out of his mind. John tells him to "protect your family, it's the only thing that matters." Wade asks John why he killed the other guys. John talks about how your life changes when your life is defined by a single action. John talks about the feeling of seeing his wife and kid and we see them in a flashback on a swing and John describes how they were brutally killed. There's no going back now.
-25: John talks with Gordon (Sam Shepard) over the phone. Gordon worries about his friend. John wants Gordon to "Enjoy life, stop wasting it here." Lt. Jackson discovers that his son was severely injured in a DUI car accident. Lt. Jackson tells the DUI driver that his life will be a living hell when he goes to prison. Eventually, John will be killed after killing Lt. Jackson to protect Wade. The truth about Wade is discovered and he's set free. The final turning point.
25: Wade enters the Shoe, a small cell. He enters the Shoe yard where he'll fight in do or die situations. The birth of something new.
45: He fights in the Shoe yard. A prisoner runs at him and starts to hit him and Wade has to fight back. Now that I'm aware.
-45 (139 - 45 = 54): We think Wade is going to be attacked by Samson but instead tells Snowman he saw him pass the shank off to Wade on the bus. Snowman is brutally scarred for life. Discovery.
60: Wade tells John (Val Kilmer) he can't get the burglar's face out of his mind. John tells him to "protect your family, it's the only thing that matters." Wade asks John why he killed the other guys. John talks about how your life changes when your life is defined by a single action. John talks about the feeling of seeing his wife and kid and we see them in a flashback on a swing and John describes how they were brutally killed. There's no going back now.
-25: John talks with Gordon (Sam Shepard) over the phone. Gordon worries about his friend. John wants Gordon to "Enjoy life, stop wasting it here." Lt. Jackson discovers that his son was severely injured in a DUI car accident. Lt. Jackson tells the DUI driver that his life will be a living hell when he goes to prison. Eventually, John will be killed after killing Lt. Jackson to protect Wade. The truth about Wade is discovered and he's set free. The final turning point.
The Happening
25: Elliot observes a video of a man eaten by lions in a zoo. In a small town restaurant they learn from the TV that they're not sure it's terrorists. The scope of the event is defined; northeast and they are located "dead center" of the event. The power goes out. Someone says "If we stay here we are going to die here." The goal is to get 90 miles away. Cars drive off, Elliot tries to get a car and eventually gets a ride. Julian decides to separate to get to his wife, Jess, his little girl will stay with Elliot and Alma. The birth of something new.
-45 (125 - 45 = 40): Elliot is at the crossroads with a group of people focused on a cellular call from Princeton, NJ. They discover that Princeton is infected and the girl dies. Jess walks to Elliot sitting at the side of the road. She whispers in his ear and he nods. They cry, so we understand that they know her parents are dead. Jess sleeps. Alma learns from their ally that Elliot is resilient and that "plants have the ability to target specific threats...they evolve rapidly...plants communicate with each other." Discovery.
45: Wind blows the tall grass as the lead group becomes infected and gun shots indicate people are dying. Elliot thinks and increases his awareness about the nature of the problem; he decides that plants are reacting to humans and their best bet is to stay away from large groups and keep ahead of the wind. They run away from the wind. Now that I'm aware.
60 and -25: Elliot's group try to enter a home and they're warned to go away. One of the teens kicks the door and demands them to open the door. The two teens are shot and killed. Jess runs and cries. Old women watch TV wearing gas masks and various shots of Florida and elsewhere indicate scope. Eventually, Elliot, Alma, and Jess survive but in Paris the movie ends with an indication of the problem's scope. There's no going back now.
-45 (125 - 45 = 40): Elliot is at the crossroads with a group of people focused on a cellular call from Princeton, NJ. They discover that Princeton is infected and the girl dies. Jess walks to Elliot sitting at the side of the road. She whispers in his ear and he nods. They cry, so we understand that they know her parents are dead. Jess sleeps. Alma learns from their ally that Elliot is resilient and that "plants have the ability to target specific threats...they evolve rapidly...plants communicate with each other." Discovery.
45: Wind blows the tall grass as the lead group becomes infected and gun shots indicate people are dying. Elliot thinks and increases his awareness about the nature of the problem; he decides that plants are reacting to humans and their best bet is to stay away from large groups and keep ahead of the wind. They run away from the wind. Now that I'm aware.
60 and -25: Elliot's group try to enter a home and they're warned to go away. One of the teens kicks the door and demands them to open the door. The two teens are shot and killed. Jess runs and cries. Old women watch TV wearing gas masks and various shots of Florida and elsewhere indicate scope. Eventually, Elliot, Alma, and Jess survive but in Paris the movie ends with an indication of the problem's scope. There's no going back now.
Gone With The Wind
25: Rhett Butler exits a room after warning his fellow southerners the North has several key advantages. Rhett is insulted but won't take advantage of a hot-headed young man. Ashley talks about Rhett being one of the best shots in the country. Scarlett hurries to Ashley and reveals her love for him. Ashley admits he cares about her but he will marry Melanie because "we understand each other." Scarlett calls Ashley a coward and accuses him of leading her on. She says she hates him and slaps him. Ashley exits, Scarlett throws an ornament and Rhett reveals he's been listening behind a sofa the whole time: "Has the war started?" The birth of something new.
45: Rhett tells Scarlett the battle of Gettysburg should decide the war. Words on the screen tell us about the battle. People wait to hear who is alive or dead. We focus on a list with the words "Killed in action." Cries are heard. Tears of a piper in a band seen. Scarlett and Melanie search for Ashley's name on the list of dead and don't find him. They are now aware that he isn't dead. Now that I'm aware.
60: Scarlett with wounded soldiers. A soldier pleads that they don't take off his leg. There's no morphine. Scarlett talks with Frank Kennedy, wounded in battle. Scarlett can't take the suffering and leaves the makeshift hospital. Outside Scarlett sees many people leaving the city. Explosions heard. She learns about Tara. Rhett arrives with a horse and buggy and asks her if she's had enough of death, lice and men cut up. He mentions Mexico, London, and Paris. He tells her "we belong together" and wants her to get Ashley out of her heart, especially since Melanie has a baby. Scarlett says "I hate and despise you till you die." Rhett replies that Scarlett won't feel that way for that long. He drives her to where she wants to go and he drives off. There's no going back now.
-45: Rhett and Scarlett argue about Ashley and how Scarlett feels about him. Rhett says he'll find comfort elsewhere and kicks open the door. He drinks and throws the glass at Scarlett's portrait. His friend Belle tells him to think of the child. He says good-bye after telling Belle "You've got a heart and you're honest." An omen as we see a plastic pony in front of Bonnie's baby carriage as Rhett and Scarlett walk. Discovery.
-25: In London, Rhett fires the babysitter after she advises Rhett let Bonnie scream if she's afraid of the dark. Bonnie asks where her mom is and wants to go home. They go home and Bonnie wants to see the pony. Scarlett says she's having another baby. Rhett says something about her having an accident, and Scarlett slips and falls down the stairs, killing the baby. The final turning point.
45: Rhett tells Scarlett the battle of Gettysburg should decide the war. Words on the screen tell us about the battle. People wait to hear who is alive or dead. We focus on a list with the words "Killed in action." Cries are heard. Tears of a piper in a band seen. Scarlett and Melanie search for Ashley's name on the list of dead and don't find him. They are now aware that he isn't dead. Now that I'm aware.
60: Scarlett with wounded soldiers. A soldier pleads that they don't take off his leg. There's no morphine. Scarlett talks with Frank Kennedy, wounded in battle. Scarlett can't take the suffering and leaves the makeshift hospital. Outside Scarlett sees many people leaving the city. Explosions heard. She learns about Tara. Rhett arrives with a horse and buggy and asks her if she's had enough of death, lice and men cut up. He mentions Mexico, London, and Paris. He tells her "we belong together" and wants her to get Ashley out of her heart, especially since Melanie has a baby. Scarlett says "I hate and despise you till you die." Rhett replies that Scarlett won't feel that way for that long. He drives her to where she wants to go and he drives off. There's no going back now.
-45: Rhett and Scarlett argue about Ashley and how Scarlett feels about him. Rhett says he'll find comfort elsewhere and kicks open the door. He drinks and throws the glass at Scarlett's portrait. His friend Belle tells him to think of the child. He says good-bye after telling Belle "You've got a heart and you're honest." An omen as we see a plastic pony in front of Bonnie's baby carriage as Rhett and Scarlett walk. Discovery.
-25: In London, Rhett fires the babysitter after she advises Rhett let Bonnie scream if she's afraid of the dark. Bonnie asks where her mom is and wants to go home. They go home and Bonnie wants to see the pony. Scarlett says she's having another baby. Rhett says something about her having an accident, and Scarlett slips and falls down the stairs, killing the baby. The final turning point.
Platoon
25: One of the soldiers in the platoon dies, Chris is unjustly blamed, they leave and get back to base camp where Chris and another soldier cleans the latrine. The birth of something new.
45: VO of Chris as they enter a village. Sgt. Barnes shoots a villager running away. Villagers are rounded up, they find holes where people, weapons, ammo, and supplies are found. Chris loses his self control as he questions a villager. Now that I'm aware.
60: Four soldiers talk about the war and how they feel about it. Sgt. Barnes worries about an investigation prompted by Sgt. Elias. Sgt. Elias is called a rat and that somebody should kill him. Sgt. Barnes considers what to do about Sgt. Elias. Chris and Sgt. Elias look at the stars: "There's no right or wrong with them, they're just there." Chris asks Elias if he believes in what he's doing, and he says in '65 he believed but not now. "We're going to lose." There's no going back now.
-45: King gets to go home as soldiers in the platoon fear for their lives. King tells Chris: "Don't think too much, no such thing as a coward." One of the soldiers tries to get a medical leave because of his foot, Sgt. Barnes won't allow it. Sgt. O'Neill asks Sgt. Barnes to let him leave and Barnes won't allow it. O'Neill has a bad feeling and doesn't think he'll make it. Discovery.
-25: The platoon is split up. Sgt. Barnes and his men are shelled by friendly fire and calls them to stop. Sgt. Elias organizes his men to fight and leaves to fight alone. Sgt. Barnes is asked about Elias and says, "I'll get him." We fear that Barnes will kill Elias and soon he does just that. The final turning point.
45: VO of Chris as they enter a village. Sgt. Barnes shoots a villager running away. Villagers are rounded up, they find holes where people, weapons, ammo, and supplies are found. Chris loses his self control as he questions a villager. Now that I'm aware.
60: Four soldiers talk about the war and how they feel about it. Sgt. Barnes worries about an investigation prompted by Sgt. Elias. Sgt. Elias is called a rat and that somebody should kill him. Sgt. Barnes considers what to do about Sgt. Elias. Chris and Sgt. Elias look at the stars: "There's no right or wrong with them, they're just there." Chris asks Elias if he believes in what he's doing, and he says in '65 he believed but not now. "We're going to lose." There's no going back now.
-45: King gets to go home as soldiers in the platoon fear for their lives. King tells Chris: "Don't think too much, no such thing as a coward." One of the soldiers tries to get a medical leave because of his foot, Sgt. Barnes won't allow it. Sgt. O'Neill asks Sgt. Barnes to let him leave and Barnes won't allow it. O'Neill has a bad feeling and doesn't think he'll make it. Discovery.
-25: The platoon is split up. Sgt. Barnes and his men are shelled by friendly fire and calls them to stop. Sgt. Elias organizes his men to fight and leaves to fight alone. Sgt. Barnes is asked about Elias and says, "I'll get him." We fear that Barnes will kill Elias and soon he does just that. The final turning point.
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