- 4 days ago
Discover the unforgettable moments that transformed actors into legends. From Sean Connery's suave debut as James Bond to Viola Davis's explosive scene in “Doubt,” watch iconic performances that defined careers. Whether it’s Anthony Hopkins’ chilling presence in “The Silence of the Lambs” or Meryl Streep’s haunting breakdown in “Kramer vs. Kramer,” these scenes have left an indelible mark on cinematic history.
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00:00I am the greatest, greatest, time!
00:06Welcome to Ms. Mojo.
00:08And today, we're counting down our picks for that one scene from that one movie
00:12that people most often point to when they talk about these actors becoming unforgettable.
00:25Number 50, Mandy Patinkin, The Princess Bride.
00:29You want to talk about revenge?
00:30Look no further than Mandy Patinkin's performance right here.
00:34Hello. My name is Inigo Montoya.
00:39You killed my father. Prepare to die.
00:43When Inigo Montoya finally faces the man who killed his father, he stops playing around.
00:49That famous line isn't just a quote anymore.
00:51It's a terrifying, cold-blooded promise.
00:54Watch his intensity.
00:56You can see a lifetime of grief turning into razor-sharp focus.
01:00He's not just reciting dialogue.
01:02He's anchoring this fantasy movie in real human pain.
01:06Hello!
01:06My name is Inigo Montoya.
01:08You killed my father. Prepare to die.
01:11It's the kind of performance that makes you lean forward in your seat
01:14and resist blinking for even a moment.
01:17He turned a simple confrontation into a legendary display of intensity
01:21that still has acting students taking notes today.
01:24Offer me everything I ask for.
01:27Anything you want.
01:31I want my father back, you son of a b****.
01:34Number 49, Jamie Lee Curtis, Halloween.
01:38You might say that the final girl trope started right here in this movie.
01:42Think about that closet scene.
01:44There's nothing to be scared of.
01:45Are you sure?
01:49I killed him.
01:52You can't kill the boogeyman.
01:55Lori Strode is hurt, she's cornered, and she's genuinely terrified.
02:00Jamie Lee Curtis plays her like a human being living through a nightmare
02:04rather than a superhero.
02:05You hear the panic-inducing, unpolished panic in her voice,
02:09and it makes you feel every second of that dread.
02:20She's sold the threat of Michael Myers without needing any bells or whistles.
02:24This performance made her the ultimate scream queen
02:27and set the gold standard for every horror movie
02:30that has followed in the decades since that chilling night.
02:33What's the boogeyman?
02:40As a matter of fact, it was.
02:43Number 48, Adam Sandler, Uncut Gems.
02:46Forget everything you know about Adam Sandler's comedies.
02:50In this movie, he's a walking, talking panic attack.
02:53I am a second away from hanging up right now
02:55and calling my lawyer and the police.
03:01He turns Howard Ratner into a high-wire act of anxiety and pure hubris.
03:06You practically hear his heartbeat racing in the way he pushes his dialogue,
03:10constantly juggling one disaster after another.
03:13Are you a f***er?
03:15I can hit it from the side.
03:17Get rid of this f***er.
03:19I'm trying to get it.
03:20Tell him goodbye.
03:21This is total sensory overload,
03:23and you simply cannot look away from the screen.
03:25He makes you root for a guy who is honestly pretty terrible,
03:29which is a massive feat.
03:30Sandler proved he had this gritty, dramatic range the whole time,
03:34completely flipping his identity on its head
03:36in this stressful, breathtaking performance.
03:39Listen, I can't do this.
03:40You don't have to.
03:42I know what I need to stone.
03:44Give me a favor.
03:44You need the stone?
03:45Yeah.
03:46Where's my ring yet, though?
03:47I'll get you the ring.
03:48I'm going to give it to Damani.
03:49Number 47, Tim Curry, The Rocky Horror Picture Show.
03:53Now, this is one host who knows exactly how to make an entrance.
03:56When Tim Curry's Frankenfurter steps off that elevator in Sweet Transvestite,
04:01he instantly owns the entire room.
04:15He unleashes a creature of pure, hedonistic joy
04:18and commands the space with every movement.
04:21You feel drawn into that confidence because it is totally infectious.
04:25Just a sweet transvestite
04:31from transsexual
04:34Transylvania
04:37He turned this weird, wild musical into an anthem
04:41for anyone who has ever felt like an outsider.
04:44It has been over 50 years,
04:45and audiences are still obsessed with his work.
04:48If you want to learn how to hold the screen,
04:50watch Curry hold a room with such theatrical, bold authority.
04:54Come up to the lab
04:55and see what's on the slab.
05:00I see you shiver with anticipation.
05:07Number 46, Ingrid Bergman, Casablanca.
05:10You do not need big speeches to break a heart.
05:13Just look at Ingrid Bergman.
05:14Play it once, Sam.
05:16For all time's sake.
05:18I don't know what you mean, Miss Elsa.
05:21Play it, Sam.
05:23Play as time goes by.
05:25When she asks Sam to play as time goes by,
05:28she says so much,
05:29and yet we barely hear her utter a single word.
05:32You see her whole life,
05:33the regret,
05:34the nostalgia,
05:35the lingering love playing out in her eyes.
05:37The fundamental things apply
05:42as time goes by.
05:46She grounds all that romantic tension,
05:48making the stakes feel incredibly personal
05:50while the world falls apart around them.
05:53She proved that the most powerful acting
05:55is often the quietest.
05:56This remains the greatest love story in cinema
05:59for a reason.
06:00She is simply luminous,
06:01and she carries every single scene
06:03she inhabits perfectly.
06:09Sam, I thought I told you never to play.
06:14Number 45, Paul Newman, Cool Hand Luke.
06:18Don't you never stop listening to them clinking?
06:22Because they're going to remind you
06:24of what I've been saying.
06:26On your own good.
06:29I wish you'd stop being so good to me, Captain.
06:31This is the ultimate standoff,
06:33when the warden looms over him
06:34and drops that famous line
06:36about a failure to communicate,
06:38you expect Luke to break.
06:39He does not.
06:41Paul Newman shows us
06:42what true defiance looks like
06:43without needing to scream or start a brawl.
06:46What we've got here is
06:49failure to communicate.
06:53Some man you just can't reach.
06:56It's all in his eyes,
06:57and that cool, unshakable resolve.
06:59He portrays a man who refuses
07:01to let the system win,
07:03no matter what they do to him.
07:04This is the definition of an anti-hero.
07:07Newman proved he did not need to say much
07:09to hold your attention.
07:10He simply stood his ground
07:11and refused to give in.
07:13I don't like it any more than you, man.
07:16Number 44, Javier Bardem,
07:19No Country for Old Men.
07:20Javier Bardem makes your skin crawl
07:22by doing almost nothing at all.
07:24What's the most you ever lost on a coin toss?
07:28Sir?
07:29The most you ever lost on a coin toss?
07:34I don't know.
07:35I couldn't say.
07:36When he stands at that gas station,
07:38he's just chatting,
07:39but you know it's a death sentence.
07:41He's clinical, cold,
07:43and there is not a shred of warmth in him.
07:45The scariest part is that he barely moves.
07:47He dominates the frame by just being there.
07:50You know what date is on this coin?
07:52No.
07:531958.
07:55It's been traveling 22 years to get here,
07:57and now it's here,
07:59and it's either heads or tails.
08:01He did not need to shout
08:02or act like a typical movie bad guy to be terrifying.
08:05He simply needed to be inevitable.
08:08He won an Oscar for this for a reason.
08:09He created a monster that follows you home afterward
08:12and honestly still gives us chills now.
08:15Where do you want me to put it?
08:17Anywhere, not in your pocket.
08:19What, it'll get mixed in with the others
08:20and become just a coin.
08:26Which it is.
08:28Number 43.
08:29Rutger Hauer, Blade Runner.
08:31You watch a movie about machines,
08:32and suddenly you're hit with the most human moment
08:35in sci-fi history.
08:37I've seen things you people wouldn't believe.
08:42That final speech was actually reworked by Hauer
08:45down to that final haunting line.
08:47When he stands in the rain,
08:49reflecting on all the things he's seen
08:50that will just disappear,
08:52you cannot help but feel for him.
08:53All those moments will be lost in time
09:05like tears in rain.
09:10It is soft, resigned, and beautiful.
09:13He takes this villain and turns him
09:15into something soulful and deep.
09:16He makes you question what it even means to be alive.
09:19This is one of the greatest moments ever filmed.
09:22He turned a replicant into a memory
09:23you will never be able to forget.
09:26Time to die.
09:29Number 42.
09:30Tom Hanks, Forrest Gump.
09:32Hanks had the monumental task
09:34of making a simple man feel profoundly complex.
09:37His name's Forrest.
09:40Like me.
09:42I named him after his daddy.
09:46He got a daddy named Forrest too?
09:48His performance is the anchor
09:49of the film's historical tapestry.
09:51When Forrest realizes he has a son,
09:53his voice cracks as he asks,
09:56Is his smile on to me?
09:58It's a moment of vulnerable realization
10:01that pierces through his usual innocence.
10:03Hanks won his second consecutive
10:05Best Actor Oscar for this,
10:07mastering a difficult, nuanced physicality.
10:10Though he's also famous
10:11for his genuinely devastating grief
10:13over losing Wilson in Cast Away,
10:15this moment of fatherly doubt highlights his range.
10:17He makes us care about Forrest
10:19not because of his circumstances,
10:20but because of his fundamental,
10:22unshakable heart
10:23and quiet, understated humanity.
10:26Isn't he beautiful?
10:28He's the most beautiful thing I've ever seen.
10:32Number 41.
10:33Gary Oldman, Leon the Professional.
10:35Look no further than Gary Oldman
10:37for a technical triumph in losing control.
10:40He takes a standard corrupt cop character
10:43and turns him into an unhinged legendary villain.
10:46When Stansfield calmly demands,
10:48Bring me everyone.
10:50His subordinate hesitates.
10:52Oldman then unleashes a primal,
10:54veins-popping scream of,
10:57Everyone!
10:59The sheer volatility of the shift is mesmerizing.
11:02It showcases his commitment to becoming a character
11:05who operates by his own frantic logic.
11:08While the film is often remembered
11:09for the relationship between Leon and Matilda,
11:12it is Oldman's terrifying,
11:14scenery-chewing intensity
11:15that anchors the tension.
11:16This performance is widely celebrated
11:18as one of the most memorable displays of villainy
11:20in 90s action cinema.
11:21It's when you start to become really afraid of death
11:26that you learn to appreciate life.
11:29Number 40.
11:31Vivian Leigh, Gone with the Wind.
11:33This closing scene is the perfect distillation
11:35of Scarlett O'Hara's character arc.
11:37After losing everything,
11:39she finds a spark of resilience.
11:41There must be some way to bring him back.
11:46I can't think about this now.
11:48I'd go crazy if I do.
11:51I'll think about it tomorrow.
11:53It is arguably the most famous final line
11:56in Hollywood history.
11:57Standing amidst the wreckage of her life,
11:59Scarlett gathers herself and declares,
12:02After all, tomorrow is another day.
12:07Leigh's performance here
12:08is nothing short of miraculous.
12:09She balances total exhaustion
12:11with a renewed, steely determination,
12:14moving from total despair
12:15to one of cold, calculating hope in mere seconds.
12:18Winning the Academy Award for Best Actress
12:20and becoming an icon of the golden age of cinema,
12:23Leigh cemented herself as a legend
12:25by making a deeply selfish character
12:27feel universally sympathetic.
12:29Adam.
12:31Home.
12:33I'll go home.
12:36And I'll think of some way to get him back.
12:39Number 39.
12:40Edward Norton, Primal Fear.
12:42Watch the eyes.
12:43For nearly two hours,
12:45Edward Norton convinces us
12:46he is the fragile Aaron Stampler.
12:49And then, in one terrifying blink,
12:51he kills him.
12:52Tell you the truth,
12:53I'm glad you figured it.
12:54Because I have been dying to tell you.
12:58I just didn't know who you'd want to hear it from,
13:00you know?
13:00Aaron or Roy.
13:02Roy or Aaron.
13:03The way he instantly sheds
13:04his character's hunched posture
13:06and drops the stutter in the final moments
13:08never fails to leave
13:09the audience's jaws hanging.
13:11It was Norton's first movie
13:13and he already had the confidence of a pro.
13:16I am disappointed in you.
13:17I don't mind telling you.
13:21There never was
13:23an Aaron
13:25counselor.
13:26He made the audience feel like total fools
13:28for trusting him,
13:29which is exactly why this debut
13:31is still talked about
13:32and what earned him an Oscar nomination.
13:34He did not just play a role.
13:35He completely owned it
13:37and made it feel terrifyingly real.
13:39You think I could have done this
13:40without you?
13:41You're just feeling a little anger here
13:43because you started to care about old Aaron.
13:45I can understand that,
13:46but,
13:48you know,
13:48love hurts, Marty.
13:49What can I say?
13:50Number 38.
13:51Leonardo DiCaprio.
13:53What's Eating Gilbert Grape?
13:54Few cement their status
13:55as Hollywood royalty this young.
13:57You're hiding, huh?
14:01I know that.
14:06Pick up!
14:07But as Arnie runs into the room
14:09and realizes his mother will not wake up,
14:11his attempts to physically rouse her
14:13escalate from playful to frantic.
14:15DiCaprio's portrayal of Arnie's confusion,
14:18denial,
14:18and eventual soul-crushing realization
14:20is hauntingly authentic.
14:22His trembling vulnerability feels all too real,
14:25making it incredibly difficult to watch.
14:27Mama!
14:28Stop it now!
14:30Stop, Mama!
14:36Stop it.
14:38Nominated for an Academy Award
14:39for Best Supporting Actor,
14:41this performance proved that DiCaprio
14:43was a once-in-a-generation talent.
14:45He masterfully turned
14:46a potentially difficult role
14:47into a profound meditation on loss,
14:50empathy,
14:50and the unbreakable,
14:51complicated bonds of family,
14:53cementing his status
14:54as a cinematic powerhouse
14:55early in his career.
14:58Arnie!
14:59What are you doing?
15:03Let's go!
15:07Let's go!
15:08Let's go!
15:08Let's go!
15:08Let's go!
15:08Let's go!
15:09Let's go!
15:09Number 37,
15:10Philip Seymour Hoffman,
15:11Capote.
15:12When the mask slips in this movie,
15:14it is chilling.
15:15I did everything I could.
15:18Okay.
15:19When Hoffman says,
15:20I did everything I could,
15:21you hear an array of complicated emotions
15:24in his voice
15:25as he tries to convince himself
15:26as much as he is trying to convince us.
15:29He shows us the true moral decay
15:31of Truman Capote.
15:32He traded his soul for his art,
15:33and Hoffman makes you feel
15:34every bit of that perceived failure.
15:36I don't know what you must think of me.
15:41Well,
15:42you haven't been foremost on my mind lately
15:44as you can probably imagine.
15:46It is not a comfortable watch,
15:48but it is a legendary portrait of obsession.
15:50You can feel the actor
15:51totally disappear into the character.
15:53Is it any wonder he won the Oscar
15:55for this high-level transformative work?
15:57Goodbye.
15:59You're not rid of us yet.
16:02See you in a few minutes.
16:03I wish you had to.
16:06Mr. Capote.
16:07Goodbye.
16:09Number 36,
16:10Robin Williams,
16:11Good Will Hunting.
16:12It's nearly impossible to pinpoint
16:14one moment that made Williams a legend,
16:16but this scene showcased his range
16:18beyond the manic energy,
16:19revealing a quiet, paternal wisdom
16:21that broke hearts worldwide.
16:23Sean McGuire sits in his office
16:24and tells Will,
16:26It's not your fault.
16:32Look at me, son.
16:35It's not your fault.
16:37He repeats it until Will finally breaks down.
16:39Williams' delivery is incredibly patient
16:41and kind,
16:42showing a man who sees the pain
16:44behind Will's defenses.
16:46It's not your fault.
16:47Don't f*** with me.
16:49It earned him his only Academy Award,
16:52and it's arguably his most enduring,
16:54dramatic work.
16:56It feels like he's channeling
16:57his own lived experience into that role,
16:59creating a sense of profound,
17:01lived-in empathy
17:02that made the audience feel like
17:03he was speaking directly to them, too.
17:10It's not your fault.
17:14Number 35, Denzel Washington.
17:17Glory.
17:18Washington's portrayal of Tripp
17:19is a study in bottled-up rage and dignity.
17:22Sergeant Mulcahy.
17:27You may commence.
17:31He represents the soul
17:33of the 54th Massachusetts Infantry Regiment.
17:36During the whipping sequence,
17:37Tripp refuses to look away,
17:39letting a single tear fall
17:40while his face remains a mask of defiance.
17:43It is a powerful,
17:44wordless statement of endurance.
17:52Washington won the Academy Award
17:54for Best Supporting Actor
17:55for this performance,
17:56proving he could command a film
17:57with just his presence.
17:58The way he balanced
17:59the bitterness of his character
18:01with a growing sense of duty
18:02and brotherhood was electric.
18:04It's an iconic piece of acting
18:05that transformed him
18:06into a bona fide cinematic legend.
18:19Number 34, Daniel Day-Lewis,
18:22My Left Foot.
18:23The sequence illustrates
18:24the intense, often agonizing,
18:26struggle of Christy Brown,
18:27who has cerebral palsy
18:29to eat with his family.
18:30I love you, Eileen.
18:33And I love you, Christy.
18:35No.
18:36I really love you.
18:38The tension in the room
18:40is palpable
18:40as Day-Lewis portrays
18:42Christy's defiance
18:43and his flashes of volcanic temper
18:45with terrifying conviction.
18:46When he finally loses his composure
18:48and creates a scene,
18:49it's not just a tantrum,
18:51it's a desperate protest
18:52against being treated like a child
18:54or an object of pity.
18:55Take that whiskey problem, Tommy.
18:57Touch it.
18:58And I'll kick you in
19:01the only part of your anatomy
19:05that's animated.
19:08Watching him navigate
19:09the physical limitations
19:10while projecting
19:11such a fierce, unyielding spirit
19:13is breathtaking.
19:14It was this commitment,
19:15the total erasure
19:16of the actor behind the character,
19:18that rightly earned him
19:19his first Academy Award
19:20for Best Actor.
19:25What are you going to do about it, Peter?
19:29You're a nice man.
19:30What are you going to do about it?
19:32Number 33, Peter O'Toole,
19:35Lawrence of Arabia.
19:36This is the pivotal moment
19:37where Lawrence's psychological divide
19:39becomes undeniable.
19:40We want two large glasses of lemonade.
19:45This is a path for British officers.
19:47That's all right.
19:48We are not particular.
19:49When Lawrence demands lemonade
19:50in the officers' club,
19:52his refusal to follow protocol
19:53is an act of pure, calculated defiance.
19:56O'Toole's performance is haunting.
19:58He carries the weight of the war in his eyes,
20:00oscillating between a weary,
20:02shell-shocked soldier
20:03and a messianic figure
20:04who realizes he has tasted
20:06the darker side of power.
20:08Prisoners, sir.
20:09We took them prisoners,
20:10the entire garrison.
20:12No, that's not true.
20:14We killed some.
20:15Too many, really.
20:16That drink almost feels like a symbol
20:18of him asserting his new reality.
20:20This scene is legendary
20:21because it perfectly captures
20:22the moment the hero starts to unravel
20:24under the burden
20:25of his own accomplishments,
20:26setting the stage
20:27for the rest of his tragic journey.
20:29See Alan me first, though.
20:31Will he see me?
20:34I think so.
20:36Do that, then.
20:37Number 32,
20:38Al Pacino,
20:40The Godfather.
20:40The restaurant scene
20:41is the moment Michael Corleone dies
20:43and The Godfather is born.
20:45I'm gonna speak Italian to Mike.
20:48Go ahead.
20:49Look at Pacino's face.
20:50It barely moves,
20:51but you can actually see
20:52the light go out of his eyes.
20:54It's such subtle internal work.
20:56He takes this transition
20:57from a war hero
20:58to a crime lord
20:59and makes it feel
21:00like a Shakespearean tragedy.
21:16You watch a soul get lost,
21:18and it is chilling.
21:19He earned his Oscar nomination
21:21for a reason.
21:22He redefined what an anti-hero could be,
21:24and he did it with a few glances
21:26and a quiet demeanor
21:27that hits harder
21:27than any loud explosion ever could.
21:36Number 31,
21:38Kathy Bates,
21:39Misery.
21:39Your stomach drops
21:40the second Annie Wilkes
21:42picks up that sledgehammer.
21:43If they caught them,
21:44they had to make sure
21:45they could go on working,
21:46but they also had to make sure
21:48they could never run away.
21:49The operation was called hobbling.
21:51What is scary
21:52is not the weapon,
21:53but that placid,
21:54almost maternal demeanor
21:55she holds
21:56while she builds up
21:57to do the unthinkable.
21:58Kathy Bates plays her
21:59with this terrifying calm ease
22:01that makes you want
22:02to lock your own front door.
22:03She goes from being a super fan
22:05to a sadistic captor
22:06in a heartbeat.
22:07You've been out of your room.
22:10No, I haven't.
22:13Paul.
22:14My little ceramic penguin
22:16in the study
22:16always faces due south.
22:18She makes the most unsettling monsters
22:20look like the person next door.
22:21She won the Oscar for this,
22:22and she deserved every bit of it.
22:24Bates turned Annie
22:25into one of the most iconic,
22:26terrifying villains ever filmed.
22:28Annie, for God's sake.
22:30Shh, darling.
22:32Trust me.
22:33God's sake.
22:34It's for the best.
22:35Annie, please!
22:37Number 30.
22:38Sigourney Weaver.
22:39Aliens.
22:40In space,
22:41no one can hear you scream,
22:42but in the dark,
22:44stars glow even brighter.
22:45Yes, we're talking about
22:46Sigourney Weaver,
22:47the horror legend
22:48and Oscar nominee herself.
22:50No!
22:51Here!
22:52Here!
22:53Ah!
22:54At a time when performances
22:56in horror film
22:57weren't always treated
22:58with the respect they deserved,
23:00Weaver elevated the whole genre
23:01as the badass of all badasses,
23:04Ellen Ripley.
23:05Her work throughout the whole series
23:07is exemplary,
23:08but her real crowning moment
23:09comes in the climax of the sequel
23:11when she defeats a xenomorph,
23:13saves Newt,
23:14and delivers one of cinema's greatest lines.
23:30Get away from her, you b***h!
23:33If Sigourney Weaver wasn't on your radar
23:35before Aliens,
23:36she definitely was after her.
23:39Number 29.
23:40Alan Rickman.
23:41Die Hard.
23:42Now,
23:42who has the machine gun?
23:43No, we aren't talking about the guy
23:45who says yippee-ki-yay.
23:47Yippee-ki-yay.
23:48Although this was definitely
23:49a turning point
23:50for Bruce Willis' career.
23:51Still,
23:52the real scene stealer
23:53is none other than Alan Rickman.
23:55Yippee-ki-yay.
23:57A veteran of the stage,
23:58Die Hard was his film debut.
24:00Not that you'd notice.
24:01He commands the screen
24:03as early as his very first scene,
24:05introducing himself
24:06to the hostages
24:07with a kind of chilling menace
24:08you won't find anywhere else.
24:10Due to the Nakatomi Corporation's
24:12legacy of greed around the globe,
24:14they're about to be told a lesson
24:15in the real use of power.
24:19You will be witnesses.
24:21Rickman's mesmerizing work
24:23as Hans Gruber
24:24turned him into a household name
24:25practically overnight.
24:27And all you need to do
24:28is watch that first scene
24:29to understand why.
24:31How do you do?
24:33It's a pleasure to meet you.
24:37Number 28.
24:39James Dean.
24:39Rebel Without a Cause.
24:41Hot off an Academy Award nomination,
24:44Hollywood golden boy James Dean
24:45used this star vehicle
24:47to cement his place
24:48in cinematic history.
24:50To say he succeeded
24:51would be an understatement.
24:52There's a reason
24:53Rebel Without a Cause
24:54has one of film's
24:55most iconic quotes after all.
24:57And the reason is James Dean.
25:07Effortlessly embodying
25:09the very core of teen angst.
25:10Dean commits to his character
25:12with a performance
25:12that leaves your jaw
25:13on the floor.
25:14The highlight, of course,
25:15comes alongside
25:16a certain iconic quote.
25:25It sounds overdramatic,
25:28but Dean's physicality
25:29completely sells the weight
25:30of the line
25:31and established him
25:32as a true generational
25:33trailblazer.
25:34Number 27.
25:36Jack Nicholson.
25:37One Flew Over the Cuckoo's Nest.
25:39Back in 1975,
25:41suggesting Jack Nicholson
25:43for the role of
25:43Randall McMurphy
25:44may have landed you
25:46under the care
25:46of Nurse Ratched.
25:48He competed
25:49with bigger names.
25:50The character
25:50went against
25:51his usual type
25:52and casting him
25:53would delay shooting
25:54by six months.
25:55But the World Series
25:56scene shows
25:57why it was
25:58oh so worth it.
25:59It's the same as
26:00don't wash
26:01your dirty underwear
26:02in public.
26:04I'm not sure
26:05I understand
26:05what you mean.
26:09I'm smarter
26:10than him, ain't I?
26:11To raise the inmate's
26:12spirits,
26:13Nicholson acts out
26:13the baseball game
26:14for them.
26:15He oozes charisma
26:16with each line
26:17to the point
26:18you simply can't
26:18take your eyes off him.
26:19We'd go as far
26:20as saying
26:21this is the scene
26:21that won him the Oscar
26:22alongside a legacy
26:24as an absolute
26:25all-timer.
26:26It's a strike!
26:27Kofax's curveball
26:27is snapping off
26:28like a firecracker.
26:29All right,
26:30here we come
26:30to the next pitch.
26:31Press, swings,
26:32it's a lot of
26:33fly ball
26:34and deep left center!
26:36It's going!
26:37It's going!
26:40Number 26,
26:42Sissy Spacek,
26:43Carrie.
26:44It's something
26:45of a cliche
26:45to say the best
26:46actors can convey
26:47emotion with
26:48just their eyes.
26:49But then you see
26:50someone like
26:50Sissy Spacek
26:51in Carrie
26:52and you realize
26:53that's no exaggeration.
27:00In the famous
27:01third act
27:02of this horror film,
27:03the telekinetic teen
27:04finally gets revenge.
27:06The result
27:06is chaos incarnate,
27:08masterfully brought
27:08to life by Spacek.
27:10The most impressive part?
27:11She barely utters
27:12a word
27:12the entire scene,
27:14instead letting
27:14her wide-eyed stare
27:16do all the talking.
27:21It's haunting,
27:22powerful,
27:23and earned her
27:23a well-deserved
27:24Oscar nomination.
27:26While Spacek
27:27has seen plenty
27:27of success since,
27:29there's no denying
27:29it's her blood-stained
27:30prom night
27:31that put her on the map.
27:32Number 25,
27:34Toni Collette,
27:35Hereditary.
27:36We know, we know,
27:37Toni Collette
27:38has been a star
27:38for years,
27:39turning in dozens
27:40of criminally
27:41underrated performances.
27:42And yet,
27:43her work in Hereditary
27:44is what finally made
27:45the rest of the world
27:46take notice.
27:58Colette is a force
27:59of nature as Annie,
28:01a grieving woman
28:01untangling deep layers
28:03of mourning
28:03and resentment.
28:05Every tiny detail
28:06of her performance
28:06is breathtaking.
28:07But it's the scene
28:08where Annie boils over
28:09at dinner
28:10that really shows
28:11Colette's range.
28:12Just f***ing sit down.
28:13Don't you swear at me,
28:15you little s***.
28:15Don't you ever
28:17raise your voice at me.
28:18I am your mother.
28:19Do you understand?
28:21All I do
28:22is worry
28:23and slay
28:24and defend you.
28:25And all I get back
28:26is that f***ing face
28:28on your face.
28:29It's explosive
28:29and utterly commanding.
28:31While we're still mad
28:32she didn't get
28:33more awards love,
28:34Colette can rest easy
28:35knowing her work
28:36in Hereditary
28:37will be remembered
28:37for years to come.
28:39Number 24
28:40Heath Ledger
28:41The Dark Knight
28:42In one scene
28:44a former heartthrob
28:45proved all the naysayers wrong,
28:47became one of cinema's
28:49greatest villains
28:50and earned more praise
28:51than most actors
28:52win in a lifetime.
28:54His name was Heath Ledger.
28:56Give me one reason
28:56why I shouldn't have
28:57my boy here
28:57pull your head off.
28:58How about a magic trick?
29:00Stepping out of
29:00his leading man roles
29:02he created a version
29:03of the Joker
29:03that's unnerving
29:04to this very day.
29:05It single-handedly
29:06proved that Ledger
29:07was more than
29:08a pretty face.
29:09He was a true performer
29:10and a gifted one at that.
29:12It's even more astounding
29:13considering how many actors
29:15have played the Joker
29:15before and after.
29:17Still, it's Ledger's take
29:18that continues to reign
29:19supreme above them all.
29:21I'm gonna make this pencil
29:23disappear.
29:25Ta-da!
29:27It's...
29:28It's gone.
29:30Number 23
29:31Charlize Theron
29:33Monster
29:33The jury has reached
29:35a verdict.
29:36Charlize Theron
29:37is a once-in-a-lifetime
29:38powerhouse in Monster.
29:39Yeah, that's Charlize Theron.
29:41This is everything.
29:43Everything you ever wanted.
29:45Just a little more
29:46in a car.
29:47We're out of here.
29:48We have a shot, Sal.
29:51We have a shot
29:52at a real life.
29:54The conventional beauty
29:55is almost completely
29:56unrecognizable
29:57allowing her to fully
29:58step into the life
29:59of convicted serial killer
30:00Eileen Wuornos.
30:02Theron's work
30:02comes to a head
30:03in the courtroom finale
30:04where Eileen
30:05lets her friend
30:06testify,
30:07exonerating them
30:08while dooming Eileen.
30:19She goes through
30:19so many emotions here
30:21and Theron allows you
30:22to see and feel
30:23each and every one.
30:24It's the kind of scene
30:25they'll teach
30:26in acting school
30:27for generations.
30:28Not because of what's said,
30:29but because of
30:30how much isn't.
30:31Number 22.
30:33Robert De Niro.
30:34Taxi driver.
30:35Once upon a time,
30:36someone put an actor
30:37in front of a mirror
30:38and let them work.
30:39No one could have expected
30:40they'd come up with
30:41one of film's greatest scenes.
30:43But then again,
30:44this is Robert De Niro
30:45we're talking about.
30:46I'm standing here.
30:47You make the move.
30:49You make the move.
30:51It's your move.
30:56In a lesser actor's hands,
30:57a guy strutting his stuff
30:58in a mirror
30:59could have been
30:59a throwaway moment.
31:01De Niro capitalized
31:02on it though,
31:03improvising his way
31:03to a monologue
31:04that's still quoted today.
31:06You talking to me?
31:10You talking to me?
31:13You talking to me?
31:18Then who the hell
31:19else are you talking?
31:20You talking to me?
31:22Well, I'm the only one here.
31:23It's so ingrained
31:24in pop culture
31:25that, at this point,
31:26we can't imagine
31:27what Taxi Driver
31:28or De Niro
31:29would look like without it.
31:30And yes,
31:31we're talking to you.
31:32Oh yeah?
31:33Huh?
31:36Okay.
31:37Number 21.
31:38Arnold Schwarzenegger.
31:40The Terminator.
31:41Most of the time,
31:42calling a performance
31:43a robotic
31:43would be a harrowing criticism.
31:45For Arnold Schwarzenegger,
31:46it was the highest
31:47kind of praise.
31:48After all,
31:49he's a Terminator.
31:50You're close.
31:52Give them to me.
31:54Now.
31:54Schwarzenegger certainly
31:55has the physicality for it.
31:57However,
31:57it was in an innocuous
31:59police station
31:59that he really took the part
32:01above and beyond.
32:02In fact,
32:03he did it with a single
32:04famous line.
32:05The tone,
32:06the delivery,
32:07the utter absurdity
32:08of it all.
32:09It's just magnificent.
32:19It's so good,
32:20the line single-handedly
32:21elevated him
32:22from a flat muscle head
32:23into a true iconic actor
32:25in his own right.
32:26If you ask us,
32:28he can come back
32:28as many times
32:29as he wants.
32:30Number 20,
32:32Melissa McCarthy,
32:33Bridesmaids.
32:34Hey.
32:35How's it going?
32:36It's going great.
32:37It's going great.
32:38I'm on the mend.
32:39You know,
32:39I just got some pins
32:40in my legs.
32:41Believe it or not,
32:42pins in my legs
32:43can still do this.
32:44All right?
32:45A maze fell up
32:46a cruise ship.
32:46Oh.
32:47The moment we meet Megan,
32:49we know this is going
32:50to be someone
32:50who says some of the
32:51most out-of-pocket stuff
32:52you can possibly imagine.
32:54Her swagger
32:55and way of wielding words
32:56like a hammer
32:57is made believable
32:58because of Melissa McCarthy.
33:00She's the kind of actress
33:01who can make even
33:02the wildest of dialogue
33:03feel real and grounded
33:05whilst remaining
33:06unbelievably funny.
33:08I didn't,
33:08I'm not going to say
33:09I survived
33:10and say I thrived.
33:11I met a dolphin
33:12down there
33:13and I swear to God,
33:14that dolphin looked
33:15not at me
33:16but into my soul,
33:17into my goddamn soul, Annie,
33:20and said,
33:21I'm saving you, Megan.
33:22Not with his mouth,
33:23but he said it,
33:25I'm assuming telepathically.
33:27While McCarthy
33:28had made her mark
33:29as a character actress
33:30before this,
33:31Bridesmaids made her
33:32a bankable star.
33:33Her work in the movie
33:34was so game-changing
33:36that it's one of the few
33:37broad comedic performances
33:38to get an Oscar nomination.
33:40It's a pleasure.
33:41Oh, he's not,
33:42I'm not,
33:43he's not,
33:43I'm not with him,
33:44sorry.
33:45Oh, all right.
33:46I'm glad he's single
33:47because I'm going to
33:48climb that like a tree.
33:50Number 19,
33:52Humphrey Bogart,
33:53The Maltese Falcon.
33:54Yes, sweetheart?
33:55There's a girl
33:56who wants to see you.
33:57Her name's Wonderly.
33:58Customer?
33:59I guess so.
34:00You'll want to see her anyway.
34:01She's a knockout.
34:03Sure in, Effie, darling.
34:04Sure in.
34:05Gruff-voiced
34:06and cruel-looking
34:07doesn't describe
34:08your typical movie star.
34:10Yet few actors
34:11exemplify classic
34:12Hollywood cool
34:13like Humphrey Bogart.
34:15In 1941's
34:16The Maltese Falcon,
34:18he starred as author
34:19DeShiel Hammett's
34:20private eye,
34:21Sam Spade,
34:22and helped create
34:23some of the hallmarks
34:24of the hard-boiled
34:25detective for the screen.
34:26Miss Wonderly's sister
34:27ran away from New York
34:28with a fellow named
34:29Floyd Thursby.
34:30They're here in San Francisco.
34:32Miss Wonderly has seen Thursby
34:33and has a date
34:33to meet him tonight.
34:34Maybe he'll bring
34:35the sister with him.
34:35The chances are he won't.
34:37Miss Wonderly wants us
34:38to find the sister,
34:39get her away from him,
34:40and back home.
34:41Right?
34:42Yes.
34:42His callous demeanor
34:44and skeptical gaze
34:45makes him hard
34:46to look away from.
34:47As he scans
34:48the femme fatale
34:49played by Mary Astor,
34:50we know he doesn't
34:51believe her story.
34:52We just don't know
34:53which parts.
34:54Bogart immediately
34:55establishes himself
34:56as a guy you can trust
34:58despite his exterior,
34:59and when you want
35:00on your side
35:01when there's trouble.
35:02It's the kind of character
35:03that made him an icon.
35:05What is it?
35:11The, uh,
35:13stuff that dreams
35:14are made of.
35:15Huh?
35:18Number 18.
35:19Christian Bale,
35:20American Psycho.
35:22There is an idea
35:23of a Patrick Bateman.
35:25Some kind of abstraction.
35:27But there is no real me.
35:29Only an entity.
35:31Something illusory.
35:32There's another time
35:34where this actor
35:34became a song
35:35and dance man.
35:36Actually,
35:37that time was the 90s
35:38when Christian Bale
35:39was an original newsie
35:41in Disney's
35:41cult classic musical.
35:42When the city's
35:44finally sleeping,
35:46all my thoughts
35:46begin to stray,
35:48and I'm on the train
35:50that's bound for
35:52Santa Fe.
35:54But it wouldn't be
35:55until his villainous turn
35:57as the murderous
35:58Wall Street broker
35:58in this satire
35:59of masculine excess
36:01that he proved
36:02he was one of the greats.
36:03In 87,
36:05Huey released this
36:06for their most
36:07accomplished album.
36:08I think their
36:08undisputed masterpiece
36:09is Hip to be Square.
36:11A song so catchy,
36:13most people probably
36:14don't listen to the lyrics,
36:15but they should.
36:16His haunting narration
36:17and physical dedication
36:18to Patrick Bateman's
36:19morning routine
36:20is as sharp and witty
36:22as it is horrifying,
36:24but the journey
36:24Bale takes us on
36:25is thrilling.
36:26We get from what
36:27sounds like a simple
36:28skincare routine
36:29to the terrifying truth
36:31that this man
36:32is basically inhuman
36:33in just under
36:34three minutes
36:35of screen time.
36:37And though I can
36:38hide my cold gaze
36:39and you can shake my hand
36:41and feel flesh
36:42gripping yours
36:42and maybe you can
36:43even sense
36:44our lifestyles
36:45are probably comparable,
36:47I simply am not there.
36:51Number 17.
36:52Gene Wilder,
36:54Willy Wonka
36:54and the Chocolate Factory.
36:56Come with me
36:58and you'll be
36:59in a world
37:02of pure imagination.
37:04The eccentric
37:05chocolatier's
37:06first entrance
37:06was actually
37:07the actor's own idea.
37:10Gene Wilder's
37:10exactitude
37:11as a performer
37:12is perfectly captured
37:13in this moment
37:14when Willy Wonka
37:15suddenly leaves
37:16his cane behind,
37:17falls over
37:18and tumbles
37:19into a somersault.
37:29Come on, Willy.
37:34Wilder knew
37:35it would be spectacular,
37:36but it would also
37:37serve a deeper purpose.
37:39Wonka is a man
37:40who constantly
37:41throws you off the scent
37:42and you can never know
37:43from then on
37:44if he's lying.
37:45He was right.
37:47The first time
37:47we meet Wonka,
37:49we're rightfully confused
37:50and we never really stop.
37:52There's a reason
37:52why it's the role
37:53most people think of
37:54when they think of him.
37:56There's no earthly way
37:58of knowing
37:59He's singing.
38:00Which direction
38:01we are going
38:04Number 16.
38:05Sidney Poitier
38:06No Way Out
38:08Well, how does it feel?
38:09The reaction hasn't
38:09set in yet.
38:10Like a woman
38:11who's just had a baby,
38:12I won't believe it
38:13till I see it.
38:13Throughout the 1950s
38:15and 60s,
38:16this star of
38:17To Sir With Love
38:18and In the Heat
38:19of the Night
38:20broke barriers
38:21in representation
38:21for African Americans.
38:23They call me
38:25Mr. Tibbs.
38:26An early
38:27and undersung
38:28example
38:29is his 1950 film
38:30debut
38:31No Way Out.
38:32In it,
38:33Poitier plays
38:34Dr. Luther Brooks,
38:35the first black doctor
38:36at a county hospital.
38:38There,
38:39he endures skepticism
38:40to downright racist
38:41abuse from everyone,
38:43patients,
38:43colleagues,
38:44and cops.
38:45Shut up.
38:46You're talking
38:46to a doctor.
38:48A doctor?
38:49Him?
38:52Lie back and lie still,
38:54you're in my charge.
38:55These first scenes
38:56have a lot to establish.
38:58Dr. Brooks is acknowledged
38:59as an anomaly.
39:00Like the actor playing him,
39:02he is a trailblazer.
39:04That opens him up
39:05to both abuse
39:06and praise.
39:07This dignity under pressure
39:08became Poitier's
39:10secret weapon
39:10in this
39:11and many more
39:12of his famous roles.
39:13There is a possibility
39:14that I killed him,
39:15isn't there?
39:16Don't be a fool.
39:17That I was careless
39:18in a spinal tent.
39:19That his brother's
39:20negro baiting
39:20got me down.
39:21I don't want to ever hear you
39:22say anything like that again.
39:24You're a capable doctor.
39:25You were the doctor
39:26in charge.
39:27You did what you thought
39:28right and there's
39:28an end to it.
39:29Number 15,
39:30Julie Andrews,
39:32Mary Poppins.
39:33Take a look!
39:41Perhaps it's a witch.
39:43Of course not.
39:44Witches have problems.
39:45When the Tony nominee
39:46was passed up
39:47for the big screen
39:48adaptation of
39:49My Fair Lady,
39:50a role she originated
39:51on Broadway,
39:52it left her free
39:53to make her big screen
39:54debut for Walt Disney.
39:56Though it's her first film,
39:57Julie Andrews
39:58stormed the screen
39:59like a seasoned pro
40:00in Mary Poppins.
40:02You brought your references,
40:03I presume?
40:03May I see them?
40:04Oh, I make it a point
40:05never to give references.
40:06A very old-fashioned
40:07idea to my mind.
40:08Is that so?
40:09We'll have to see
40:10about that then,
40:11won't we?
40:11Now then,
40:12the qualifications.
40:14Her entrance
40:15into the lives
40:16of the Banks family
40:17is a whirlwind
40:18of magic,
40:19efficiency,
40:20and charm
40:20that climaxes
40:22in one of the movie's
40:22most memorable numbers.
40:24By the time
40:25she launches
40:25into Spoonful of Sugar,
40:27you're as charmed
40:28and puzzled
40:28as the family themselves.
40:30The Spoonful of Sugar
40:33helps the medicine
40:34go down,
40:35the medicine
40:36go down,
40:38the medicine
40:38go down.
40:39Just a spoonful
40:41of sugar
40:42helps the medicine
40:43go down
40:44in a most delightful
40:46way.
40:48Number 14,
40:50Julia Roberts,
40:51Pretty Woman.
40:52Big mistake.
40:53Big.
40:54Huge.
40:55I have to go shopping now.
40:59Although she raised
41:00her profile
41:01as the doomed
41:01Southern Belle Shelby
41:03in Steel Magnolias
41:04the year before,
41:05Julia Roberts'
41:06entire star persona
41:07was born
41:08in 1990's
41:09Pretty Woman.
41:10The first time
41:11we see her,
41:12she's walking
41:12the streets of Hollywood
41:13in a blonde Bob wig
41:15and a dream.
41:16Her street smarts
41:17combined with a desire
41:18to leave her life
41:19as a sex worker behind
41:20as soon as it's
41:21economically possible
41:22immediately tell us
41:24who she is.
41:25Don't you want
41:26to get out of here?
41:27Get out of where?
41:28From the jump,
41:30Julia Roberts
41:30had the right amount
41:31of sass and vulnerability
41:32to make us root
41:33for her every time.
41:36No, I want to find
41:37Beverly Hills.
41:37Can you give me directions?
41:39Sure.
41:40For five bucks.
41:43Number 13,
41:44Angela Bassett,
41:45What's Love Got to Do With It?
41:47I hope you know
41:48what comes along
41:48with that territory.
41:52Can I get you
41:52something to drink?
41:53We are introduced
41:54to Tina Turner
41:55three times
41:56in this beloved
41:57but intense biopic.
41:59We first meet her
42:00as a child named
42:00Anna Mae Bullock
42:01in Tennessee,
42:02as a shy young woman
42:04joining her mother
42:05and sister in the big city,
42:06and finally,
42:07as the brilliant
42:08entertainer Tina Turner.
42:28Angela Bassett won us over
42:29with Anna Mae's shyness,
42:31but it's the scene
42:3210 minutes in
42:33when she first takes
42:34the mic in a blues bar
42:35and shows us
42:37the first inklings
42:38of the woman
42:38who will become Tina.
42:40The physicality,
42:41the strength,
42:42and the radiance
42:43we all know Turner for
42:44is suddenly there
42:45for the first time.
42:46Bassett completely
42:47transforms
42:48before our eyes.
42:50Oh, please don't leave me, baby!
43:01Hey, kids.
43:04How you boys doing?
43:05Quentin Tarantino's
43:07crime masterpiece
43:08revitalized
43:09John Travolta's career,
43:10but it cemented
43:11his co-star
43:12Samuel L. Jackson
43:13as one of Hollywood's
43:14best working actors.
43:32After making several films
43:34with director Spike Lee,
43:36Jackson took on
43:37what many consider
43:38to be his most iconic role
43:39in Quentin Tarantino's
43:41Pulp Fiction.
43:42His Oscar-nominated performance
43:44as a hitman
43:44who has a religious experience
43:46during a job
43:47sees him delivering
43:48one of the best monologues
43:49in film history.
43:51Blessed is he
43:52who in the name
43:53of charity
43:54and goodwill
43:55shepherds the weak
43:57through the valley
43:58of darkness,
43:59for he is truly
44:00his brother's keeper
44:01and the finder
44:02of lost children.
44:05And I will strike down
44:06upon thee
44:07with great vengeance
44:09and furious anger
44:11those who attempt
44:12to poison
44:13and destroy
44:14my brother.
44:15Trying to put
44:16the fear of God
44:17into a man
44:18who's betrayed
44:18his boss,
44:19Jackson's Jules Winfield
44:21paraphrases the Bible
44:22before unleashing
44:23a rain of bullets
44:24like a plague
44:25on the guy.
44:26It's a brutal
44:27and stunning introduction.
44:29Oh, I'm sorry.
44:30Did I break
44:30your concentration?
44:32I didn't mean
44:33to do that.
44:34Please, continue.
44:35Number 11.
44:36Judy Garland,
44:38The Wizard of Oz.
44:39She isn't coming yet,
44:40Toto.
44:41Did she hurt you?
44:43She tried to,
44:44didn't she?
44:45Come on,
44:46we'll go tell
44:46Uncle Henry and Auntie Em.
44:47The first sequence
44:49of this all-time
44:50musical fantasy
44:50shows a young girl
44:51dreaming to escape
44:52from the drab,
44:53sepia-toned mundanity
44:55of her family's
44:56Kansas farm.
44:57Judy Garland
44:58plays Dorothy Gale,
44:59the girl who's
45:00magically transported
45:01to the land of Oz.
45:03From the moment
45:03she began singing
45:04the movie's
45:05unforgettable ballad,
45:06the movie became
45:07an all-time classic
45:08and she became a star.
45:10Somewhere over the rainbow
45:15way up high
45:22There's a land
45:24that I heard of
45:26once in a lullaby
45:31MGM had spent
45:33the late 30s
45:33putting Garland
45:34in star vehicles,
45:35but it was
45:36The Wizard of Oz
45:37that shot her
45:37to new heights.
45:39When people think of her,
45:40they largely think
45:41of this role
45:42and this scene.
45:43If happy little
45:45bluebirds fly
45:47beyond the rainbow
45:51Why, oh, why
45:56can't I?
46:02Number 10.
46:04Meryl Streep
46:05Kramer vs. Kramer
46:06I'm leaving you.
46:07Honey, please.
46:08I can't hear you.
46:09What?
46:11Okay, you too.
46:12Thanks a lot.
46:13See you tomorrow.
46:14You guys eat?
46:15Ted, I'm leaving you.
46:17The perennial award winner
46:18earned her first Oscar
46:19for this,
46:20one of her first
46:21film appearances.
46:22In Kramer vs. Kramer,
46:24she plays the deeply
46:25unhappy wife
46:26of Dustin Hoffman's
46:28character.
46:28Her very first scene
46:30is a master class
46:31in showing
46:32and not telling.
46:33Although she starts out
46:34her performance
46:35as Joanna Kramer
46:36with an icy,
46:37even dead-eyed glare,
46:39Streep quickly reveals
46:40the character's
46:41hidden depths.
46:42We watch in real time
46:43as her matter-of-fact
46:44explanations
46:45as to why she's
46:46leaving her husband
46:47turn into panic.
46:48Now, don't you,
46:49don't, don't make me
46:50go in there.
46:51Please, please,
46:51don't make me go in there.
46:52Don't make me go in there.
46:53If you do,
46:54I swear,
46:55on one day,
46:55next week,
46:56maybe next year,
46:57I don't know,
46:57I'll go right out the window.
46:59Her desperation
46:59is haunting to watch.
47:01It's a perfect
47:02first scene
47:03that proves
47:03to be only
47:04the beginning
47:05for one of
47:05our greatest actors.
47:07Joanna, please.
47:13And I don't love you anymore.
47:17Where are you going?
47:18I don't know.
47:20Number nine,
47:21Matthew McConaughey,
47:22Dazed and Confused.
47:24All right,
47:25all right,
47:25all right.
47:26Oh, Christ.
47:28How you doing?
47:2920-something burnout
47:31Wooderson
47:32was supposed to play
47:33a much smaller role
47:34in the narrative
47:35of Richard Linklater's
47:36coming-of-age movie.
47:38Newcomer Matthew McConaughey's
47:39performance
47:40saw the character
47:41bumped to a more
47:42prominent position
47:43throughout Dazed and Confused.
47:45Gotta keep living, man.
47:47L-I-V-I-N.
47:50Wooderson first appears
47:51as the driver
47:52who picks up
47:53high schoolers
47:54Pink and Mitch
47:54for a night drive.
47:56He then asks them
47:57for a certain herb.
47:58Uh, no.
47:59Not on me, man.
48:03It'd be a lot cooler
48:04if you did.
48:06It's simultaneously
48:07hilarious
48:08and a little sad
48:09that he's trying
48:09to bum some
48:10illicit substances
48:11from teenagers.
48:13Wooderson made
48:14McConaughey a star
48:15and this one scene
48:16tells us everything
48:17we need to know
48:18about Wooderson himself.
48:20I get older,
48:21they stay the same age.
48:24Yes, they do.
48:25Yes, they do.
48:27Number 8.
48:28John Travolta
48:28Saturday Night Fever
48:30We just washed the hair.
48:32Yeah.
48:33You know,
48:34I work on my hair
48:34a long time
48:35and you hit it.
48:36He hits my hair.
48:38The transition
48:39from TV to films
48:41is not always
48:41easy to make.
48:43John Travolta
48:43made it look easy
48:44when he first appeared
48:46as Saturday Night Fever's
48:47disco dancing
48:48Lothario,
48:50Tony Manero.
48:50When we first
48:51meet Tony,
48:52he's strutting
48:53across the city
48:54in his platform shoes
48:55to the infectious
48:56beat of the Bee Gees.
49:08With his leather jacket,
49:11dark red shirt,
49:12flared collar
49:12and unrefined manners,
49:14he pretty much
49:15exemplifies
49:16late 70s masculinity.
49:18He may be a dancer,
49:19but it doesn't make him
49:20any less blunt,
49:21masculine
49:22or even callous
49:23in his pursuit of women,
49:24nice shoes
49:25and a New York slice.
49:27Are you Tony?
49:28Two or three?
49:29Two, two.
49:30Give me two.
49:30That's good.
49:41Number 7.
49:42Viola Davis
49:43Doubt
49:51Movie audiences
49:52might have first
49:53encountered Viola Davis
49:55in this 2008 drama,
49:56but the Juilliard-trained
49:58actress was already
49:59a Broadway veteran
50:00and Tony Award winner
50:01by then.
50:02After Doubt,
50:03they would never forget her.
50:05She shares an explosive
50:0710-minute section
50:08of the story
50:08with Meryl Streep,
50:09of all people,
50:10and almost runs away
50:12with the whole movie.
50:13Not to be disagreeing,
50:14but if we're talking
50:16about something
50:16floating around
50:17between this priest
50:18and my son,
50:18it ain't my son's fault.
50:19Oh, I'm not suggesting
50:21that...
50:21He's just a boy.
50:22I know.
50:23Twelve years old,
50:23if someone should be
50:24taking blame,
50:25it should be the man,
50:26not the boy.
50:26I agree with you completely.
50:27You're agreeing with me,
50:28but I got called
50:29to the principal,
50:30if you know what I'm saying.
50:31I am concerned
50:31about Donald's welfare.
50:33As a mother
50:34who learns
50:34a devastating secret
50:35about the parish priest,
50:37Davis' performance
50:38is confusing,
50:39disturbing,
50:40and deeply moving.
50:41We see her not only
50:43match pace with Streep,
50:44but leave a gigantic impact
50:46on a movie
50:46that is already
50:47really,
50:48really complicated.
50:49His father
50:50don't like him.
50:52You come to your school,
50:53kids don't like him.
50:56One man is good
50:57to him,
50:57this priest.
50:59Then does a man
51:00have his reasons?
51:01Yes.
51:03Everybody does.
51:05You have your reasons,
51:07but do I ask the man
51:09why he's good
51:09to my son?
51:10Number 6,
51:11Barbara Streisand,
51:13Funny Girl.
51:23Reprising the Broadway role
51:24that made her famous,
51:26the velvet-voiced star
51:27is first seen
51:28stalking the backstage
51:29of Manhattan's
51:30New Amsterdam Theater
51:31in a striking
51:32leopard-print coat.
51:33The first time
51:34we see
51:35Barbara Streisand's
51:36face on screen,
51:37it's as Fanny Bryce
51:39looking into a mirror
51:40and saying the words
51:41that have now
51:41become immortal.
51:43Hello, gorgeous.
51:47But she's being sarcastic.
51:49This is the paradox
51:50of the movie
51:50made instantly clear.
51:52Throughout the movie,
51:53Fanny believes
51:54that her face
51:55is not traditionally
51:56beautiful enough
51:56to make her a star.
51:58She has to be funny,
51:59but anyone with eyes
52:00and half a brain
52:01can see she's both.
52:03Instead of just kicking me,
52:05why don't they
52:05give me a lift?
52:07Well, it must be a plot
52:09because they're scared
52:10that I got.
52:12Such a gift.
52:13Oh, sure.
52:13Let's go.
52:14Number 5,
52:15Anthony Hopkins,
52:17The Silence of the Lambs.
52:18Closer, please.
52:22Closer.
52:23Hannibal Lecter
52:24was far from
52:25the respected
52:26and acclaimed
52:27actor's first film role,
52:28but Anthony Hopkins
52:29became synonymous
52:30with screen villainy
52:32in The Silence of the Lambs.
52:33When we first meet
52:34the cannibalistic psychiatrist,
52:36he is staring right at us
52:38and FBI trainee
52:39Clarice Starling
52:41as we first come upon
52:42his cell
52:43in a psychiatric hospital.
52:44He seems to know
52:45we're coming.
52:46You use Evian skin cream.
52:51And sometimes you wear
52:53lead at home.
52:55But not today.
52:57It's one of the most
52:58unsettling first scenes
53:00of any character
53:01in film history.
53:02Hopkins imbues Lecter
53:04with the comportment
53:04of a gentleman,
53:05even as we feel him
53:07sizing up Jodie Foster's character
53:09and working his way
53:10into her mind.
53:11Pure West Virginia.
53:13What does your father do?
53:14Is he a coal miner?
53:16Does he stink of the land?
53:18You know how quickly
53:19the boys found you.
53:20All those tedious,
53:21sticky fumblings
53:22in the backseats of cars.
53:24While you could only dream
53:25of getting out,
53:26getting anywhere,
53:28getting all the way
53:29to the FBI.
53:31Number 4.
53:32Harrison Ford.
53:34Raiders of the Lost Ark.
53:36Playing Han Solo
53:37may have made his career,
53:39but embodying Indiana Jones
53:40made him a star.
53:42He was good.
53:44He was very, very good.
53:46Harrison Ford recreated
53:47the archetype
53:48of the classic swashbuckler
53:50in Raiders of the Lost Ark.
53:52Dr. Jones fuses
53:53action hero stunts,
53:55nonchalant humor,
53:56and surprising nerdiness.
53:58And all of these
53:59are on display
53:59in that first incredible scene
54:01in a booby-trapped
54:03Peruvian temple.
54:04There goes, honey.
54:05There is nothing to fear here.
54:09That's what scares me.
54:11The entire opening sequence
54:12volleys between dark intrigue
54:14and broad humor.
54:15Ford demonstrates
54:16his secret weapon
54:17as a lead.
54:18It's his humor.
54:19He's not afraid
54:20to look a little ridiculous,
54:21even as the character
54:22appears to have
54:23almost a sixth sense
54:25for danger.
54:26There's a big snake
54:27in the plane, Jacques!
54:29Oh, that's just
54:30my pet snake, Reggie!
54:32I hate snakes, Jacques!
54:34I hate them!
54:36Come on!
54:37Show a little backboard,
54:38will ya?
54:39Number 3.
54:40Audrey Hepburn.
54:41Breakfast at Tiffany's.
54:43As the flighty socialite
54:45unmoored from commitment,
54:46Audrey Hepburn turned away
54:48from her more introverted
54:49and virtuous roles
54:50and completely reinvented
54:52her star persona.
54:53I don't even want to own
54:54anything until I can find
54:55a place where new things
54:56go together.
54:58Not sure where that is,
54:59but I know what it's like.
55:03It's like Tiffany's.
55:04When Holly Golightly
55:06first gets out of that cab
55:07in front of Tiffany and co,
55:08wearing the most famous
55:10little black evening dress
55:11of all time,
55:12we realize two things.
55:14The first is that
55:15this must be the same dress
55:16she was wearing last night.
55:18The second is that
55:19she is somehow alone
55:20in one of the most exciting
55:21cities in the world.
55:38It's not only simple,
55:40chic, and romantic,
55:41but it also ends up
55:42reflecting Holly's
55:43deeper existential dilemma.
55:46Hepburn and that dress
55:47have since become
55:48icons of cinematic elegance.
55:50If you promise not to be angry,
55:51I might let you take
55:52those pictures we mention.
55:55When?
55:57Sometimes.
55:58Number two,
55:59Marlon Brando,
56:00a streetcar named Desire.
56:02You want a shot?
56:03No, I rarely touch it.
56:06Well, there's some people
56:07that rarely touch it,
56:09but it touches them often.
56:10The Godfather alone
56:12proves no one can make
56:13an entrance like Brando,
56:15but his first appearance
56:16in the Hollywood adaptation
56:17of Tennessee Williams' play
56:19is unlike anything
56:20anyone had ever seen
56:21from a film actor.
56:23As the brutish
56:24but alluring Stanley Kowalski,
56:26Brando arrives on the scene
56:27with an alarming magnetism.
56:29Hey, you mind if I
56:30make myself comfortable?
56:31My shirt is sticking to me.
56:32Please, please do.
56:34Be comfortable.
56:35That's my motto
56:35up where I come from.
56:36It's mine too.
56:37It's hard to stay
56:38looking fresh in hot weather
56:40while I haven't washed
56:41or even poured.
56:43Here you are.
56:44Even as she's repulsed
56:45by his vulgarity
56:46and working class background,
56:48Blanche Dubois can't help
56:50but linger on her
56:51brother-in-law's physique.
56:52Brando is frequently cited
56:54as a groundbreaking actor
56:55in terms of realism on screen,
56:57and a streetcar named Desire
56:59is a big reason why.
57:01You look like you got another car.
57:04That jerk mechanic
57:05Donna Fristis
57:06doesn't know his axle grease
57:07from third base.
57:11If you love games,
57:13be sure to check out
57:14WatchMojo's new game
57:15Terrible Influence,
57:16just launched for purchase
57:17at terribleinfluence.com.
57:19Terrible Influence
57:20is a satirical board game
57:21about the dark side of fame
57:23from the writer
57:23of the most popular girls
57:24in school and us,
57:26WatchMojo.
57:26Boom.
57:27I can make an apology video.
57:29Oh, you so would.
57:30Click on the link
57:31in the description
57:31to check out the game
57:32and be the first
57:33to play Terrible Influence.
57:37Number 1.
57:38Sean Connery
57:39Dr. No.
57:40James, where on earth
57:42have you been?
57:42I've been searching London
57:44for you.
57:44The scene is a smoky London club.
57:47We first catch glimpses
57:48of Sean Connery
57:49in bits and pieces.
57:51From behind,
57:52then his hands
57:53as he opens his cigarette case,
57:55then his face in full.
57:57He introduces himself
57:58to a woman
57:59across the Baccarat table.
58:00Bond.
58:03James Bond.
58:04It's the scene
58:05that launched a franchise,
58:06a career,
58:07and an unforgettable catchphrase
58:09in one fell swoop.
58:11When Sean Connery
58:12first appeared
58:12as the cool,
58:13detached,
58:14and incredibly suave
58:15secret agent
58:16in 1962's Dr. No,
58:19he was a working actor
58:20with a few minor roles
58:21under his belt.
58:22Suddenly,
58:23James Bond
58:24was a worldwide phenomenon,
58:26and the actor
58:26became synonymous
58:27with his character's
58:28brutal methods
58:29and irresistible charm.
58:51Any legend-making moments
58:53missing from our list?
58:54Let us know
58:54in the comments.
58:55Pence.
58:57Least of doctrine
58:57engrings
58:57engrings
58:57sus
58:57y
58:57engrings
58:58rev
59:01engrings
59:01engrings
59:01engrings
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