American Film Institute Top Quotes

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, All Movie Guide

This classic story of Mob informers was based on a number of true stories and filmed on location in and around the docks of New York and New Jersey. Mob-connected union boss Johnny Friendly (Lee J. Cobb) rules the waterfront with an iron fist. The police know that he's been responsible for a number of murders, but witnesses play deaf and dumb ("plead D & D"). Washed-up boxer Terry Malloy (Marlon Brando) has had an errand-boy job because of the influence of his brother Charley, a crooked union lawyer (Rod Steiger). Witnessing one of Friendly's rub-outs, Terry is willing to keep his mouth shut until he meets the dead dockworker's sister, Edie (Eva Marie Saint). "Waterfront priest" Father Barry (Karl Malden) tells Terry that Edie's brother was killed because he was going to testify against boss Friendly before the crime commission. Because he could have intervened, but didn't, Terry feels somewhat responsible for the death. When Father Barry receives a beating from Friendly's goons, Terry is persuaded to cooperate with the commission. Featuring Brando's famous "I coulda been a contendah" speech, On the Waterfront has often been seen as an allegory of "naming names" against suspected Communists during the anti-Communist investigations of the 1950s. Director Elia Kazan famously informed on suspected Communists before a government committee -- unlike many of his colleagues, some of whom went to prison for refusing to "name names" and many more of whom were blacklisted from working in the film industry for many years to come -- and Budd Schulberg's screenplay has often been read as an elaborate defense of the informer's position. On the Waterfront won Oscars for Best Picture, Best Director, Best Adapted Screenplay, Best Actor for Brando, and Best Supporting Actress for Saint. ~ Hal Erickson, All Movie Guide

One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's café has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion. ~ Robert Firsching, All Movie Guide

Billy Wilder's Sunset Boulevard ranks among the most scathing satires of Hollywood and the cruel fickleness of movie fandom. The story begins at the end as the body of Joe Gillis (William Holden) is fished out of a Hollywood swimming pool. From The Great Beyond, Joe details the circumstances of his untimely demise (originally, the film contained a lengthy prologue wherein the late Mr. Gillis told his tale to his fellow corpses in the city morgue, but this elicited such laughter during the preview that Wilder changed it). Hotly pursued by repo men, impoverished, indebted "boy wonder" screenwriter Gillis ducks into the garage of an apparently abandoned Sunset Boulevard mansion. Wandering into the spooky place, Joe encounters its owner, imperious silent star Norma Desmond (Gloria Swanson). Upon learning Joe's profession, Norma inveigles him into helping her with a comeback script that she's been working on for years. Joe realizes that the script is hopeless, but the money is good and he has nowhere else to go. Soon the cynical and opportunistic Joe becomes Norma's kept man. While they continue collaborating, Norma's loyal and protective chauffeur Max Von Mayerling (played by legendary filmmaker Erich von Stroheim) contemptuously watches from a distance. More melodramatic than funny, the screenplay by Wilder and Charles Brackett began life as a comedy about a has-been silent movie actress and the ambitious screenwriter who leeches off her. (Wilder originally offered the film to Mae West, Mary Pickford and Pola Negri. Montgomery Clift was the first choice for the part of opportunistic screenwriter Joe Gillis, but he refused, citing as "disgusting" the notion of a 25-year-old man being kept by a 50-year-old woman.) Andrew Lloyd Webber's long-running musical version has served as a tour-de-force for contemporary actresses ranging from Glenn Close to Betty Buckley to Diahann Carroll. ~ Hal Erickson, All Movie Guide

"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, All Movie Guide

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola's Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz's compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz's insane dictum to "Drop the Bomb. Exterminate them all." Coppola himself was not certain either, and he tried several different endings between the film's early rough-cut screenings for the press, the Palme d'Or-winning "work-in-progress" shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era. ~ Lucia Bozzola, All Movie Guide

After two previous film versions of Dashiell Hammett's detective classic The Maltese Falcon, Warner Bros. finally got it right in 1941--or, rather, John Huston, a long-established screenwriter making his directorial debut, got it right, simply by adhering as closely as possible to the original. Taking over from a recalcitrant George Raft, Humphrey Bogart achieved true stardom as Sam Spade, a hard-boiled San Francisco private eye who can be as unscrupulous as the next guy but also adheres to his own personal code of honor. Into the offices of the Spade & Archer detective agency sweeps a Miss Wonderly (Mary Astor), who offers a large retainer to Sam and his partner Miles Archer (Jerome Cowan) if they'll protect her from someone named Floyd Thursby. The detectives believe neither Miss Wonderly nor her story, but they believe her money. Since Archer saw her first, he takes the case -- and later that evening he is shot to death, as is the mysterious Thursby. Miss Wonderly's real name turns out to be Brigid O'Shaughnessey, and, as the story continues, Sam is also introduced to the effeminate Joel Cairo (Peter Lorre) and the fat, erudite Kasper Gutman (Sydney Greenstreet, in his film debut). It turns out that Brigid, Cairo and Gutman are all international scoundrels, all involved in the search for a foot-high, jewel-encrusted statuette in the shape of a falcon. Though both Cairo and Gutman offer Spade small fortunes to find the "black bird," they are obviously willing to commit mayhem and murder towards that goal: Gutman, for example, drugs Spade and allows his "gunsel" Wilmer (Elisha Cook Jr.) to kick and beat the unconscious detective. This classic film noir detective yarn gets better with each viewing, which is more than can be said for the first two Maltese Falcons and the ill-advised 1975 "sequel" The Black Bird. ~ Hal Erickson, All Movie Guide

The winner of the 1967 Oscar for Best Picture (as well as four other Oscars), In the Heat of the Night is set in a small Mississippi town where an unusual murder has been committed. Rod Steiger plays sheriff Bill Gillespie, a good lawman despite his racial prejudices. When Virgil Tibbs (Sidney Poitier), a well-dressed northern African-American, comes to town, Gillespie instinctively puts him under arrest as a murder suspect. Tibbs reveals himself to be a Philadelphia police detective; after he and Gillespie come to a grudging understanding of one another, Tibbs offers to help in Gillespie's investigation. As the case progresses, both Gillespie and Tibbs betray a tendency to jump to culture-dictated conclusions. Still, the case is solved thanks to the informal teamwork of the two law officers. Based on the novel by John Ball, In the Heat of the Night inspired two sequels, both starring Poiter as Virgil Tibbs. In 1987, a TV series version of In the Heat of the Night appeared, with Carroll O'Connor as Gillespie and Howard Rollins as Tibbs. ~ Hal Erickson, All Movie Guide

In later years, James Cagney regarded White Heat with a combination of pride and regret; while satisfied with his own performance, he tended to dismiss the picture as a "cheap melodrama." Seen today, White Heat stands as one of the classic crime films of the 1940s, containing perhaps Cagney's best bad-guy portrayal. The star plays criminal mastermind Cody Jarrett, a mother-dominated psychotic who dreams of being on "top of the world." Inadvertently leaving clues behind after a railroad heist, Jarrett becomes the target of the feds, who send an undercover agent (played by Edmond O'Brien) to infiltrate the Jarrett gang. While Jarrett sits in prison on a deliberately trumped-up charge (he confesses to one crime to provide himself an alibi for the railroad robbery), he befriends O'Brien, who poses as a hero-worshipping hood who's always wanted to work with Jarrett. Busting out of prison with O'Brien, Jarrett regroups his gang to mastermind a "Trojan horse" armored-car robbery. ~ Hal Erickson, All Movie Guide

In this multiple Oscar-winning thriller, Jodie Foster stars as Clarice Starling, a top student at the FBI's training academy whose shrewd analyses of serial killers lands her a special assignment: the FBI is investigating a vicious murderer nicknamed Buffalo Bill, who kills young women and then removes the skin from their bodies. Jack Crawford (Scott Glenn) wants Clarice to interview Dr. Hannibal Lecter (Anthony Hopkins), a brilliant psychiatrist who is also a violent psychopath, serving life behind bars for various acts of murder and cannibalism. Crawford believes that Lecter may have insight into this case and that Starling, as an attractive young woman, may be just the bait to draw him out. Lecter does indeed know something of Buffalo Bill, but his information comes with a price: in exchange for telling what he knows, he wants to be housed in a more comfortable facility. More important, he wants to speak with Clarice about her past. He skillfully digs into her psyche, forcing her to reveal her innermost traumas and putting her in a position of vulnerability when she can least afford to be weak. The film mingles the horrors of criminal acts with the psychological horrors of Lecter's slow-motion interrogation of Clarice and of her memories that emerge from it. ~ Mark Deming, All Movie Guide

Combining drama, comedy, and romance, Jerry Maguire was a critical and commercial success built on an original script by writer/director Cameron Crowe and an Oscar-nominated performance by Tom Cruise. Jerry Maguire (Tom Cruise) is an agent with a major sports management firm. He's enthusiastic, successful, a great negotiator and people like him. But it begins to dawn on Jerry that there's something wrong with what he's doing, and not long after a troubling encounter with the son of an injured athlete he represents, Jerry has a serious crisis of conscience. In the midst of a sleepless night, Jerry writes a memo calling on himself and his colleagues to think more about the long-term welfare of the clients they represent and less about immediate profits. While everyone around him applauds the sentiment, Jerry's superiors think his ideas are bad for business; Jerry is fired, and, rather than standing in solidarity with him, his "friends" in the firm scramble like sharks to claim Jerry's clients. At the end of his last day, the only people willing to join Jerry as he strikes out on his own are staff accountant Dorothy (Renee Zellweger), a single mother secretly in love with him, and Rod Tidwell (Cuba Gooding Jr.), a football player whose pride and arrogance have gotten in the way of his reaching his potential. Jerry Maguire earned an Academy Award for Cuba Gooding Jr.'s performance as Tidwell and provided a breakthrough role for Renee Zellweger; it also made "Show me the money!" an unavoidable catchphrase for several months. ~ Mark Deming, All Movie Guide

Based on Vicki Baum's novel and produced by Irving Thalberg, this film is about the lavish Grand Hotel in Berlin, a place where "nothing ever happens." That statement proves to be false, however, as the story follows an intertwining cast of characters over the course of one tumultuous day. Greta Garbo is Grusinskaya, a ballerina whose jewels are coveted by Baron von Geigern (John Barrymore), a thief who fancies Flaemmchen (Joan Crawford), a stenographer and the mistress of Preysing (Wallace Beery), businessman boss of Kringelein (Lionel Barrymore), a terminally ill bookkeeper who is under the care of alcoholic physician Dr. Otternschlag (Lewis Stone). Grand Hotel won Best Picture at the 1932 Academy Awards. ~ Matthew Tobey, All Movie Guide

Humphrey Bogart plays Harry Morgan, owner-operator of charter boat in wartime Martinique. Morgan's right-hand man is Eddie (Walter Brennan), a garrulous alky whose pet question to anyone and everyone is "Ever get stung by a dead bee?" While in port, Harry is approached by Free French activist Gerard (Marcel Dalio), who wants to charter Harry's boat to smuggle in an important underground leader. Adopting his usual I-stick-my-neck-out-for-no-one stance, Morgan refuses. Later on, he starts up a dalliance with Marie Browning (screen newcomer Lauren Bacall), an attractive pickpocket. In order to help Marie return to America, Harry agrees to Gerard's smuggling terms. He uses his boat to bring resistance fighter De Bursac (Walter Molnar) and De Bursac's wife Helene (Dolores Moran) into Martinique. The Vichy police, suspecting that something's amiss, hold Morgan's pal Eddie hostage, tormenting the poor rummy by denying him liquor. Predictably, Morgan comes to Eddie's rescue and manages to escape Martinique, with the delectable Marie as cozy company. In the hands of director Howard Hawks and screenwriters Jules Furthman and William Faulkner, the end result bore only a passing relation to the original story by Ernest Hemingway: instead, it was a virtual rehash (but a good one!) of the recently released Casablanca, replete with several of that film's cast members. The film's enduring popularity is primarily -- if not solely -- due to the sexy chemistry between Bogart and Bacall, especially in the legendary "You know how to whistle, don't you?" scene. The most salutary result of To Have & Have Not was the subsequent Bogart-Bacall marriage, which endured until his death in 1957. It's widely believed that Lauren Bacall's singing voice was dubbed in by a pre-puberty Andy Williams; this is not true. For the record, a more faithful-to-the-source cinemadaptation of the Hemingway original was filmed in 1950 as The Breaking Point. ~ Hal Erickson, All Movie Guide