My 10 Favorite War Films

10. M.A.S.H. (1970)
Directed by Robert Altman
Written by Ring Lardner Jr.

Donald Sutherland as Captain Benjamin Franklin "Hawkeye" Pierce
Elliott Gould as Captain John Francis Xavier "Trapper John" McIntyre
Sally Kellerman as Major Margaret "Hot Lips" Moulihan
Robert Duvall as Major Frank Burns

A hilarious war satire that tackles just about every subject and cliche possible; from suicidal tendecies, insanity, corruption, homosexuality, office relationships etc. etc. with career defining performances by Donald Sutherland and Elliott Gould. One of the greatest comedy films of all time which lead to the spin-off television series by the same name which is agruably the greatest comedy television series of all time. At times M.A.S.H. seems to be a little over the top and too outrageous but the performances make up for every little bit of drag.

9.  Full Metal Jacket (1987)
Directed by Stanley Kubrick
Written by Michael Herr, Gustav Hasford, and Stanley Kubrick

Matthew Modine as Private/Sergeant James T. "Joker" Davis
Vincent D'Onofrio as Leonard "Pyle" Lawrence
R. Lee Ermey as Gunnery Sergeant Hartman
Adam Baldwin as Sergeant "Animal Mother"

Filled with the usual Stanley Kubrick sybolism and crazyness, Full Metal Jacket is one of the later great Vietnam War films which takes a terrifying new look at the war. Kubrick uses his magic to take a at time overdone subject and make it as vital as all greatest films from the subject. Insanity and the gradual movement from innocent young man to full time killer has never been shown in such a shocking way.

Tie 7. The Killing Fields (1984)
Directed by Rolan Joffe
Written by Bruce Robinson

Sam Waterston as Sydney Schanberg
Haing S. Ngor as Dirth Pan
John Malcovich as Al Rockoff
Julian Sands as Jon Swain

What makes The Killing Fields as wonderful war film? In my opinion it is the way that it doesn't sell out to male the film more memorable. A film about the rise of the Khmer Rouge in Cambodia and its effect of two journalists. We are able to see the effects from an outside point of view for about half of the film, and if the film continued on like that it would have been still a powerful film, but what ultimately takes the film to higher levels is its wonderful showing of Dirth Pan when he is captured by the Khmer Rouge. We are able to see the horrors of the Cambodian genocide from Pan's point of view which in the end makes the shielded first half all the more powerful.

Tie 7. Restrepo (2010)
Directed by Sebastian Junger and Tim Hetherington

Essential viewing for Americans. All of you who roll your eyes at that statement need to be slapped in the face!! So many Americans think that there is nothing wrong with being completely ignorant to what is going on in the Middle East. Yes, I do agree that the entire war is a tragedy and should have never happened, but that does not exuse our ignoring of the soldiers who fight and die every day fighting for us and our splendid little country. And this is coming from a person who is not at all big on patriotism or the political status of our country. But no one, NO ONE can say that I don't care about our soldiers. I don't cry hardly ever, but seeing the horrors of war and the suffering of our soldiers brings me the closest I ever come to bawling. Restrepo doesn't just follow a OP of soldiers. No, this film shows their heart and soul. We are able to see these young men at the most vulnerable and it is absoltely heartbreaking.

6. Saving Private Ryan (1998)
Directed by Steven Speilberg
Written by Robert Rodat

Tom Hanks as Captain John H. Miller
Tom Sizemore as Technical Sergeant Mike Horvath
Edward Burns as Private First Class Richard Reiben
Jeremy Davies as Technician First Grade Timothy E. Upham
Matt Damon as Private First Class James Francis Ryan
Giovanni Ribisi as Technician Fourth Grade Irwin Wade
Vin Diesel as Private First Class Adrian Caparzo

Completely irresistable. Saving Private Ryan is not historically accurate and the storyline is, to say the least, flawed. But Speilberg's direction is near perfection and the performances are touching a powerful. This film has never been able to cross the path to a great film for me, but as an American I can't help but feel extremely passionate about this film. Speilberg really does have a wonderful understanding of war an the effects it has, and he shows us every bit of that understanding in the powerful war film.
5.The Thin Red Line (1998)
Directed and written by Terence Malick

Jim Caviezel as Private Robert Witt
Ben Chaplin as Private John Bell
Nick Nolte as Lieutenant Colonel Gordon Tall
Sean Penn as Sergeant Edward Welsh
Adrien Brody as Corporal Geoffrey Fife
John Cusack as Captain John Gaff
Woody Harrelson as Sergeant Heck
John Savage as Sergeant McCron

Released the same year as Saving Private Ryan, The Thin Red Line is not as action packed or glamorous, but in many ways it could be considered better than Saving Private Ryan. Instead of having many war scenes or showing the obvious horrors of war, The Thin Red Line instead reveals the horrors inside our soldiers minds. The constant questions of life and doubts if what they were doing was really "the right thing." We have endless memorials celebrating all our soldiers that died in combat, but what we tend so often to forget is all the soldiers that survived and are now haunted by the horrific memories of what they did and witnessed during war. I didn't know what to expect when I first started this movie, I thought it would probably be a star loaded film that had the cliche battle sequences. Instead I got one of the deepest and most meaninful war films I have ever see.

5. Platoon (1986)
Directed and written by Oliver Stone

Charlie Sheen as Private Chris Taylor
Tom Berenger as Sergeant Barnes
Willem Dafoe as as Sergeant Elias
Forest Whitaker as Big Harold
Francesco Quinn as Rhah
John C. McGinley as Sergeant O'Neill

Platoon is a film that will haunt you long after the credits run. Based loosely on Oliver Stone's army experiences, Platoon is able to go to levels that very few war films have ever reached. Unlike Apocalypse Now which used a very unique and satirelike storyline, Platoon sticks to situations that soldiers faced on a daily basis. With doing that it allows us as the ignorant viewers to get a better undertsanding of the horrors of the most controversial wars ever.   


4. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Directed by Stanley Kubrick
Written by Peter George, Stanley Kubrick, and Terry Southern

Peter Sellers as Group Captain Lionel Mandrake, President Merkin Muffley, and Dr. Strangelove
George C. Scott as General Buck Turgidson
Sterling Hayden as General Jack D. Ripper
Slim Pickens as Major T.J. "King" Kong

Greatest satire ever, easy as that. One of the only films that can't openly make fun of a very serious subject while being completely honest and truthful. It seemed that the more outrageous the film was, the more effective it became. What also makes Dr. Strangelove even greater is that all the issues and events that it satired back in 1964 can be satired just as well now; from military corruption/blunders, to weak presidents, to crazy German mad scientists that want to use bombs to save the world.

3. The Deer Hunter (1978)
Directed by Michael Cimino
Written by Deric Washburn and Michael Cimino

Robert De Niro as Michael "Mike" Vronsky
Christopher Walken as Nikanor "Nick" Chevotarevich
Meryl Streep as Linda
John Salvage as Steven Pushkov
John Cazale as Stanley

This may have been the very first film that gave me an overpowering experience. I had forgotten about The Deer Hunter for a good long time until I cam across it on Netflix and I decided to watch it once again, and once again I was overpowered by anger and sadness watching this movie. Unlike most of my favorite war films The Deer Hunter does not have any parts or scenes which are feel good or lighthearted. To explain the feelings you get from watching this would just be a continuous depression. A story of a group of Pennsylvanian friends who grew up almost as rough as the steel mill located in their town. Three members of the group enlist to fight in Vietnam and the war ends up destroying their lives. Such a sad story, but such an important film.

2. Schindler's List (1993)
Directed by Steven Speilberg
Written by Steven Zaillian

Liam Neeson as Oskar Schindler
Ralph Fiennes as SS officer Amon Goth
Ben Kingsley as Itzhak Stern

All previous films before that referenced the Holocaust seemed afraid to show the truth and instead used a toned down portrayal, and not doing that tragic even in history any good. Then along came Speilberg. Schindler's List does not hide away the graphic images, but instead shows them often not giving any viewers the slightest chance of coming out of the film not seeing some of the horrors of this world tragedy. Sometimes throughout the film it does seem that there might be an excessive amount of killing and murder, but Speilberg had to make up for almost 50 years of there being no adequate depiction of these events. A sad and haunting film that will make even the biggest of men cry, Speilberg made perhaps the most important film even to be made.
1. Apocalypse Now (1979)
Directed by Francis Ford Coppola
Written by John Millius and Francis Ford Coppola

Martin Sheen as Captain Benjamin L. Willard
Marlon Brando as Colonel Walter E. Kurtz
Frederic Forrest as 3rd class Jay "Chef" Hicks
Sam Bottoms as Gunner's Mate 3rd class Lance B. Johnson
Laurence Fishburne as Gunner's Mate 3rd class Tyrone "Mr. Clean" Miller
Dennis Hopper as an American Photojournalist

This film is pure power and emotion. Francis Ford Coppola's direction was and never has been as great as it was in Apocalypse Now. This war film takes viewers so deep into the truth of the war you can almost feel the terror the soldiers would feel. Visionary direction and endless sybolism it was drives the film and keeps you attentive and aware for each and every scene. What people tend to forget is that Apocalypse Now was Coppola's final great film. He dedicated endless amounts of time, money, and passion to get this film finished and I feel that me as a film lover, must give him endless thanks. It took me a couple viewings to get the full feeling, but after that second time watching it I was overcome with feelings that I can't even begin to understand, but what I can say is that I will never look at the world the same again. And that is what a great war film can do to you.

My Celebrity Crushes.

1. Sara Bareilles: Singer and Songwriter
Hit Singles: Love Song (2007), Bottle it Up (2007), and King of Everything (2010)

I am in love with her so much!! I am Albert Bernnaman and she is my Allegra Cole, besides that I'm skinny rather than chubby, and that she is quite a bit older than me. What makes her so irresistable to me is that she is so darn talented, and so fricking gorgeous. Oh my geeze that nose, those eyes, and that cute little body, and here I go again haha. When I am listening to her song King of Anything I just melt...Most of my other major celebrity crush were purely for looks, but she is the complete package, and that is why I love her....

2. Alessandra Ambrosio- Victotia's Secret model

This is the photo that sparked one of my very first celebrity crushes, and it still hasn't completely died away. My mom had a subsciption to the Victoria's Secret catalog for about a year with me not noticing until that wonderous day when the picture above was on the cover. Me and my adolescence was never the same again. After that day I anxiously awaited the arrival of the next magazine and when it would arrive I would search very carefully for each and every picture of this goddess. After all these years I still have every single one of those Victoria's Secret magazines, and I don't plan on ever getting rid of them.

3. Zooey Deschanel- Actress and Singer
Notable Films. Elf (2003), Yes Man (2008), and 500 Days of Summer (2009)

This stunning women burst into my mind a few years ago from me watching Elf, and then again from watching Yes Man. She is the Katy Perry -- they look shockingly similar -- of film, she has a more reserved look, but for me that makes her all the more attractive. Oh and you can't forget her hot voice, I can't even explain what is so hot about her voice, but it is absolutely irresistable. I would marry her, but as I mentioned earlier I am in love with another women. Her talent as an actress and beauty will keep me watching all of her films.

4. Emily Blunt- Actress
Notable Films: Charlie Wilson's War (2007), Sunshine Cleaning (2009), The Great Buck Howard (2009)

What is so special about Emily Blunt? I don't know, but maybe it's because she is goreous while also being one of the young actresses with endless talents. I have seen three of her movies, and have been able to enjoy each of the films while still being able to do unspeakable things with her in my mind. I have been told I have a very unique taste in women; most of them tend to be skinny -- like me -- while also having a very natural beauty, and that is exactly what Emily Blunt has.

5. Christina Ricci- Actress
Notable Films: The Addams Family (1991) and Black Snake Moan (2007)

One performance took her from being just another attractive actress to stealing my heart and loins and shooting onto this list. That performance was her portrayal of an emotional disturbed and sexually addicted women in Black Snake Moan. She is so unbelievably hot in that movie, that it was a real challenge to pay attention to the film the first time I watched it, I mean it should be a crime being that hot during a film. So indeed it was a single film that earned her a piece of my heart.

Notable Mentions:

1. Keira Knightley- Actress and model
Notable Films: Pirates of the Caribbean Series, Pride and Prejudice (2005), and Atonement (2007)

Her face is so gorgeous, her butt is muy perfecto, and her body is very nice, but the one major problem is that she is too skinny. I have a big thing for skinny chicks, that is why she still just barely missed the list, but I honestly think she may be a little to skinny for me. I'm sure that sometime in the near future she will have a role that she will gain the right amount of weight for, and I will be completely smitten.

2. Megan Fox- Actress, model, and maybe a part time whore...
Notable Films: Transformers (2007) and Jennifer's Body (2010)

There is no explanation needed, Megan Fox is painful hot. I went through an obsession with her like just about every guy on the planet did. While she is so hot it hurts, what is a very big flaw about her is her personalitly. She seems like a bit of a dim-wit and she seems to have absolutely no knowledge of the art of film, and I am almost completely convinced she is also a whore. She looks like a very high class whore, talks like a typical whore, and constanly poses like the modern whore. But even her whoreness is blocked away by her hottness.

Top 10 Most Memorable Supporting Roles

1. Vito Corleone played by Robert De Niro in The Godfather Part II
Accolades: Winner-Academy Aard Best Supporting Actor

De Niro's portrayal as young Vito Corleone remains one of his greatest performances. He had the challenge of playing the same iconic character that Marlon Brando won an Oscar for. His soft spoken perfermance added depth to a character that seemed almost flawless. Vito Corleone is one of the most fascinating characters in cinema history and De Niro's performance was almost as marvelous as Brando's. I could count on one hand the amount of times a supporting performance has had such an overpowering effect on an entire film.

2. The Joker played by Heath Ledger in The Dark Knight

All you fans of older films will probably tear me to shreds for having such a recent role so high on my list, but I am a sucker for the great modern films. Today, for a film to be truly good and have something original about it is as hard as ever. It is even harder for a performance to be great or even at the least, orginal. Heath ledger had to portray THE JOKER!! The last person to do a good Joker was JACK NICHOLSON!! So he takes that challenge and comes back with one of the greatest performances of the decade. So now that I have adequately explained myself I must now let you guys voice your opinions. But before you do just remember the performance, and how great it truly was...

My Top 10 Favorite Screenplays (Part 5 of 5)

9. Scarface (1983) Written by Oliver Stone
Accolades: No major award wins or nominations

Thoughts/Opinions: This is my screenplay "guilty pleasure", while there is a ridiculous amount of cursing and the dialogue isn't intelligent at all, the scipt is still oh so entertaining. Tony Montana is such a volatile fascination of mine. Characters in Scarface-- besides Montana -- are not very deep, you do not tend to feel for them when they are killed, hurt, sad etc. etc. With saying that, I also must say that the sloppyness of the dialogue in this script flows very well with the rest of the film. What makes this screenplay better than an average screenplay that probably is formed better is solely on the back of Al Pacino's performance of Tony Montana. Where every thing else in the script lacks, it is saved by the character of Tony Montana. It is amazing how one character can become so iconic. Along with Montana, Scarface as a film has lived on so well. There are so many films that are much better than Scarface, and scripts so much greater that have drifted and died with time, but this script lives on and doesn't seem to be intending to ever leave our minds. As you will find out later in this blog, the great and always useable quotes come by the dozens I have seen at least 5 different films/TV shows that have featured Scarface quotes (the two the come first to mind are The Sopranos and Gommorah). So get ready; and let's check out some of these epic quotes.

Memorable Quotes:
 Tony Montana: I always tell the truth. Even when I lie.

Tony Montana: I kill a communist for fun, but for a green card, I gonna carve him up real nice.

 

Tony Montana: What you lookin' at? You all a bunch of fuckin' assholes. You know why? You don't have the guts to be what you wanna be? You need people like me. You need people like me so you can point your fuckin' fingers and say, "That's the bad guy." So... what that make you? Good? You're not good. You just know how to hide, how to lie. Me, I don't have that problem. Me, I always tell the truth. Even when I lie. So say good night to the bad guy! Come on. The last time you gonna see a bad guy like this again, let me tell you. Come on. Make way for the bad guy. There's a bad guy comin' through! Better get outta his way!

 

 M.C. at Babylon Club: Another great night here at the Babylon, right? Okay. All right! Do another gram, you'll all be babblin' on.

 

Tony Montana: I'm Tony Montana! You fuck with me, you fuckin' with the best!

 

Tony Montana: You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little friend!
[Tony shoots]

 

Tony Montana: In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.

 

Tony Montana: Me, I want what's coming to me.
Manny: Oh, well what's coming to you?
Tony Montana: The world, chico, and everything in it.

 

Tony Montana: The World Is Yours!

 

 

10. Pan's Labyrinth (2006) Written by Guillermo del Toro

Accolades: Nominated- Academy Award Best Original Screenplay

 

Thoughts/Opinions: I know a lot of you probably won't like this pick, but there was just no way I could leave it out. When listening/reading this script all you have to do is remember one thing: this is all original. The story isn't based on a book or a fairy tale, but instead is a completely orginal story. Now after you have thought about that I have a feeling you will understand this choice more. This film blew my mind, never has the story in a film fascinated me so much. Honestly the more I thing about it, the more I thing that maybe I should have put this higher on the list. I have a very hard time deciding what I think the themes of this film are, and to be completely truthful I do not thing there are any major major themes. I know that innocence is part of it, but other than that theme my mind tends to wander. No film I have ever seen has been able to incorporate war, politics, a child's point of view, and fairy tales all into one film, but Pan's Labyrinth does just that. So before you shun this decision please think about what I have just mentioned, and never forget that this film is completely original.

 

Memorable Quotes:

Ofelia: My name is Ofelia. Who are you?
Pan: Me? I've had so many names. Old names that only the wind and the trees can pronounce. I am the mountain, the forest and the earth. I am... I am a faun. Your most humble servant, Your Highness.

 

Capitán Vidal: You could have obeyed me!
Doctor: But captain, to obey - just like that - for obedience's sake... without questioning... That's something only people like you do.

 

Carmen: The captain has been so good to us... Please, Ofelia, call him father. It's just a word, Ofelia, just a word.

 

[first lines]
Pan: A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world. She dreamed of blue skies, soft breeze, and sunshine. One day, eluding her keepers, the Princess escaped. Once outside, the brightness blinded her and erased every trace of the past from her memory. She forgot who she was and where she came from. Her body suffered cold, sickness, and pain. Eventually, she died. However, her father, the King, always knew that the Princess' soul would return, perhaps in another body, in another place, at another time. And he would wait for her, until he drew his last breath, until the world stopped turning...

 

Capitán Vidal: Tell my son the time that his father died. Tell him...
Mercedes: No. He won't even know your name.

 

Mercedes: [to Vidal] I'm not some old man! Or a wounded prisoner! Motherfucker... Don't you dare touch the girl. You won't be the first pig I've gutted!

 

Carmen: You're getting older, and you'll see that life isn't like your fairy tales. The world is a cruel place. And you'll learn that, even if it hurts.
[throws the mandrake onto the fire]
Ofelia: No! No!
Carmen: Ofelia! Magic does not exist. Not for you, me or anyone else.

 

 Pan: Quickly Your Majesty, give him to me. The full moon is high in the sky. We can open the portal.
Ofelia: What is that in your hand?
Pan: The portal will only open if we offer the blood of an innocent. Just a drop of blood: a pinprick, that's all. It's the final task.
Pan: Hurry. You promised to obey me. Give me the boy!
Ofelia: No! My brother stays with me.
Pan: You would give up your sacred rights for a brat you barely know?
Ofelia: Yes, I would.
Pan: You would give up your throne for him? He who has caused you such misery, such humiliation?
Ofelia: Yes, I would.
Pan: As you wish, Your Highness.

 

 Rey: Arise, my daughter. Come. You have spilled your own blood rather than the blood of an innocent. That was the final task and the most important.
Pan: And you chose well, Your Highness.
Carmen: Come here with me, and sit by your father's side.

 

Capitán Vidal: I'll make you a deal. If you can count to three without st-t-uttering you can go. Don't look at him look at me. Above me there is no one. Garces!
Garcés: Yes Captain?
Capitán Vidal: If I say this asshole can leave would anybody here contradict me?
Garcés: No one Captain. He can leave.
Capitán Vidal: There you have it. Count to three.
Stuttering Rebel: One...
Capitán Vidal: Good.
Stuttering Rebel: Two...
Garcés: Good - one more and you're free.
Stuttering Rebel: T-t-t-t-t
Capitán Vidal: Shame.

 

Ofelia: Many, many years ago in a sad, faraway land, there was an enormous mountain made of rough, black stone. At sunset, on top of that mountain, a magic rose blossomed every night that made whoever plucked it immortal. But no one dared go near it because its thorns were full of poison. Men talked amongst themselves about their fear of death, and pain, but never about the promise of eternal life. And every day, the rose wilted, unable to bequeath its gift to anyone... forgotten and lost at the top of that cold, dark mountain, forever alone, until the end of time.

Top 10 Favorite Screenplays (Part 4 of 5)

7. Raging Bull (1980) Written by Paul Schrader and Madrik Martin
Accolades: No Major award wins or nominations (GASP!!)

Thoughts/Opinions: The biopic of all biopics. A heart breaking story of jealousy and rage. Jake LaMotta is one of the greatest boxers of all time; he is known for two major things: his 6 fights with Sugar Ray Robinson, and never being knocked down throughout his entire career. Although it is not his achievments in the ring that are the focus point for this film. Instead the film focuses on his failures as a human being, his inadequacies. Robert De Niro's portrayal of  LaMotta earnes him his only Best Actor Oscar and is widely considered one of the all time great performances. It is the detail driven script that allows us to get an understanding of LaMotta and his personality. I found myself all throughout the film sypathizing with LaMotta, and being pained by seeing his pain. That alone is a great achievment for the script, making the viewer feel very strongly for a character. What makes this script even greater is that Jake LaMotta isn't the only character we feel for. Along with him there is his you wife, Vicki, who's life is destroyed by his jealousy. Also there is his brother, Joey, there relationship is forever strained when Jake covinces himself that Joey slept with Vicki, and he brutally beats him infront of his family. This script is all power, it perfectly evokes all the emotions in the film. We feel Jake's pain, and in the end can't help but think to ourselves "he isn't that bad of a guy."

Memorable Quotes:

Jake La Motta: [talks about Janiro] I'm gonna open his hole like this. Please excuse my French. I'm gonna make him suffer. I'm gonna make his mother wish she never had him - make him into dog meat... He's a nice, a nice kid. He's a pretty kid, too. I mean I don't know, I gotta problem if I should fuck him or fight him.
Tommy Como: [laughs] You're crazy. Fuck him or fight him.
Salvy Batts: If you're really in love with that fucker, just watch out.
Jake La Motta: By who?
Salvy Batts: Janiro.
Jake La Motta: You mean, you want me to get him to fuck you?
Salvy Batts: Me?
Jake La Motta: Yeah.
Salvy Batts: No, I don't want him to fuck me.
Jake La Motta: I could do that easily.
Salvy Batts: How ya gonna do that?
Jake La Motta: Because I'll get youse both in a ring, I'll give youse both a fuckin' beatin', ya both can fuck each other.
Salvy Batts: I get all full of blood.
Jake La Motta: You're used to that.

 

Joey LaMotta: She ain't the kind of girl you just fuck and forget about, this girl.
Jake La Motta: Joey, how many times I gotta tell ya? Why're you always cursin' when I'm talkin' to you? Don't do it around me. Do it around your friends.
Joey LaMotta: She's a, the kind of girl you bang and forget about - she's not like that. You gotta spend time with her, get involved, you know...
Jake La Motta: D'you bang her?
Joey LaMotta: No.
Jake La Motta: Tell me the truth.
Joey LaMotta: I just told you the truth. I tell you the truth the first time. You don't have to ask me again. I never do that. I always tell you the truth. If I did it, you would know. I took her out a couple of times.
Jake La Motta: You went out with her and you didn't try to fuck her?
Joey LaMotta: I try to fuck anything.

 

Jake La Motta: You punch like you take it up the ass.

 

[Sugar Ray Robinson has just battered Jake La Motta half to death, but Jake has stayed on his feet]
Jake La Motta: You didn't get me down, Ray.

 

Joey LaMotta: If you win, you win. If you lose, you still win.

 

Vicki LaMotta: I sucked your brother's cock.
Jake La Motta: You sucked my brother's cock?
Vicki LaMotta: Yeah, I sucked his cock. I sucked all their cocks - what do you want me to tell you?
[as Jake starts moving to leave the house and confront Joey]
Vicki LaMotta: His fucking cock is bigger than yours.

 

Jake La Motta: Did you fuck my wife?
Joey LaMotta: What?
Jake La Motta: Did you fuck my wife?
Joey LaMotta: [pauses] How do you ask me that? I'm your brother and you ask me that? Where do you get you're balls big enough to ask me that?
Jake La Motta: I'm gonna ask you again, did you or didn't you? Just answer the question.
Joey LaMotta: I'm not gonna answer that. It's stupid. It's a sick question and you're a sick fuck and I'm not that sick that I'm gonna answer it. I'm leaving, If Nora calls tell her I went home. You know what you should do? Do a little more fucking and a little less eating, so you don't have to blame it all on me and everybody else, you understand me? You're cracking up! Ya' fucking screw ball ya'!

 

[last lines]
Jake La Motta: Go get 'em, champ.
[he begins shadowboxing]
Jake La Motta: I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss... I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss.

 

8. The Silence Of The Lambs (1991) Written by Ted Tally

Accolades: Academy Award Best Adapted Screenplay

 

Thoughts/Opinions: Horror films 9 times out of 10 have mediocre to awful scripts. Their scripts usually have brief and pointless dailogue which tends to be more annoying than useful. So when a horror film comes along that works just as hard on the script as on the scares, well that's just wonderful. Also it probably helps that The Silence Of The Lambs is an adaptation of a bestselling novel, but I don't think that takes anything away from the greatness of the script. It is Clarice Sterling, played by Jodie Foster, who is the main character on the film, but it is the two serial killers-- Hannibal Lecter played by Anthony Hopkins and Buffalo Bill played by Ted Levine-- who steal the show. Lecter's hidden affection to Clarice, and the fascination of his past keep you completely mystified by everything that comes out of his mouth (and at times what goes in). Buffalo Bill is one of the most disturbing characters ever, and that only adds to his appeal. Time and care are put into each character in this script while confidently flowing each characters story with the others.

 

Memorable Quotes:

Hannibal Lecter: First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?
Clarice Starling: He kills women...
Hannibal Lecter: No. That is incidental. What is the first and principal thing he does? What needs does he serve by killing?
Clarice Starling: Anger, um, social acceptance, and, huh, sexual frustrations, sir...
Hannibal Lecter: No! He covets. That is his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer now.
Clarice Starling: No. We just...
Hannibal Lecter: No. We begin by coveting what we see every day. Don't you feel eyes moving over your body, Clarice? And don't your eyes seek out the things you want?

 

 Miggs: I can smell your cunt.

 

Hannibal Lecter: Now then, tell me. What did Miggs say to you? Multiple Miggs in the next cell. He hissed at you. What did he say?
Clarice Starling: He said, "I can smell your cunt."
Hannibal Lecter: I see. I myself cannot. You use Evian skin cream, and sometimes you wear L'Air du Temps, but not today.

 

Hannibal Lecter: "Plum Island Animal Disease Research Center." Sounds charming.
Clarice Starling: That's only a part of the island. There's a very, very nice beach. Terns nest there. There's beautiful...
Hannibal Lecter: [cuts her off] Terns? Mmh. If I help you, Clarice, it will be "turns" with us too. Quid pro quo. I tell you things, you tell me things. Not about this case, though. About yourself. Quid pro quo. Yes or no?
[pause]
Hannibal Lecter: Yes or no, Clarice? Poor little Catherine is waiting.
Clarice Starling: Go, doctor.

 

Jame "Buffalo Bill" Gumb: It rubs the lotion on its skin. It does this whenever it is told.
Catherine Martin: Mister... my family will pay cash. Whatever ransom you're askin' for, they pay it.
Jame "Buffalo Bill" Gumb: It rubs the lotion on its skin or else it gets the hose again.
[to his dog, Precious]
Jame "Buffalo Bill" Gumb: Yes, it will, Precious, won't it? It will get the hose!
Catherine Martin: Okay... okay... okay. Mister, if you let me go, I won't - I won't press charges I promise. See, my mom is a real important woman... I guess you already know that.
Jame "Buffalo Bill" Gumb: Now it places the lotion in the basket.
Catherine Martin: Please! Please I wanna go home! I wanna go home please!
Jame "Buffalo Bill" Gumb: It places the lotion in the basket.
Catherine Martin: I wanna see my mommy! Please I wanna see my...
Jame "Buffalo Bill" Gumb: Put the fucking lotion in the basket!

 

Clarice Starling: Your name is?
Jame "Buffalo Bill" Gumb: Oh, uh Jack Gordon.
Clarice Starling: Mr. Gordon, good, uh... well Frederica used to work for Mrs. Lippman. Did you know her?
Jame "Buffalo Bill" Gumb: No, nuh-uh. Oh wait... was she a great big fat person?
Clarice Starling: Yeah she was a big girl, sir.
Jame "Buffalo Bill" Gumb: Yeah, I may've... no I read about her in the newspaper. Um, Mrs. Lippman had a son though, maybe he could help you. I got his card in here someplace. Do you wanna come in while I look for it?
Jame "Buffalo Bill" Gumb: Are you close to catching somebody you think?
Clarice Starling: Yes. We may be. Did you... take over this place after Mrs. Lippman died, is that right?
Jame "Buffalo Bill" Gumb: Yeah I - I bought this house... two years ago.
Clarice Starling: [looking around] Did she leave any records? Any business records, tax forms, lists of employees?
Jame "Buffalo Bill" Gumb: No, nothin' like that at all. Say, does the FBI learn somethin? The police around here don't seem to have the first clue.
[Clarice notices a moth]
Jame "Buffalo Bill" Gumb: ... I mean have you got like a description, fingerprints, anything like that?
Clarice Starling: No. No I don't.
[Clarice unbuttons her gun holster]
Jame "Buffalo Bill" Gumb: Oh, here's that number!
Clarice Starling: Very good Mr. Gordon. May I use your phone please?
Jame "Buffalo Bill" Gumb: [Gumb starts laughing] Sure you can use me phone.
Clarice Starling: [draws her gun] Freeze! Put your hands over your head and turn around! Spread your legs! Spread your legs! Put your hands in the back... thumbs up - FREEZE!
[Gumb runs off]

 

Hannibal Lecter: You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well scrubbed, hustling rube with a little taste. Good nutrition's given you some length of bone, but you're not more than one generation from poor white trash, are you, Agent Starling? And that accent you've tried so desperately to shed: pure West Virginia. What is your father, dear? Is he a coal miner? Does he stink of the lamp? You know how quickly the boys found you... all those tedious sticky fumblings in the back seats of cars... while you could only dream of getting out... getting anywhere... getting all the way to the FBI.
Clarice Starling: You see a lot, Doctor. But are you strong enough to point that high-powered perception at yourself? What about it? Why don't you - why don't you look at yourself and write down what you see? Or maybe you're afraid to.

 

Jame "Buffalo Bill" Gumb: It rubs the lotion on its skin. It does this whenever it's told.
Catherine Martin: Please mister, let me go! My family will give you anything you want!
Jame "Buffalo Bill" Gumb: It rubs the lotion on its skin or else it gets the hose again.

 

Hannibal Lecter: [shouts] No!
[normal voice]
Hannibal Lecter: I will listen now. After your father's murder, you were orphaned. You were ten years old. You went to live with cousins on a sheep and horse ranch in Montana. And...?
Clarice Starling: [tears begin forming in her eyes] And one morning, I just ran away.
Hannibal Lecter: No "just", Clarice. What set you off? You started at what time?
Clarice Starling: Early, still dark.
Hannibal Lecter: Then something woke you, didn't it? Was it a dream? What was it?
Clarice Starling: I heard a strange noise.
Hannibal Lecter: What was it?
Clarice Starling: It was... screaming. Some kind of screaming, like a child's voice.
Hannibal Lecter: What did you do?
Clarice Starling: I went downstairs, outside. I crept up into the barn. I was so scared to look inside, but I had to.
Hannibal Lecter: And what did you see, Clarice? What did you see?
Clarice Starling: Lambs. The lambs were screaming.
Hannibal Lecter: They were slaughtering the spring lambs?
Clarice Starling: And they were screaming.
Hannibal Lecter: And you ran away?
Clarice Starling: No. First I tried to free them. I... I opened the gate to their pen, but they wouldn't run. They just stood there, confused. They wouldn't run.
Hannibal Lecter: But you could and you did, didn't you?
Clarice Starling: Yes. I took one lamb, and I ran away as fast as I could.
Hannibal Lecter: Where were you going, Clarice?
Clarice Starling: I don't know. I didn't have any food, any water and it was very cold, very cold. I thought, I thought if I could save just one, but... he was so heavy. So heavy. I didn't get more than a few miles when the sheriff's car picked me up. The rancher was so angry he sent me to live at the Lutheran orphanage in Bozeman. I never saw the ranch again.
Hannibal Lecter: What became of your lamb, Clarice?
Clarice Starling: They killed him.

---

Hannibal Lecter: You still wake up sometimes, don't you? You wake up in the dark and hear the screaming of the lambs.
Clarice Starling: Yes.
Hannibal Lecter: And you think if you save poor Catherine, you could make them stop, don't you? You think if Catherine lives, you won't wake up in the dark ever again to that awful screaming of the lambs.
Clarice Starling: I don't know. I don't know.
Hannibal Lecter: Thank you, Clarice. Thank you.
Clarice Starling: Tell me his name, Doctor.
Hannibal Lecter: Dr. Chilton, I presume. I think you know each other.
Dr. Frederick Chilton: Okay. Let's go.
Clarice Starling: It's your turn, Doctor.
Dr. Frederick Chilton: Out!
Clarice Starling: Tell me his name!
Boyle: I'm sorry, ma'am. We've got orders. We have to put you on a plane. Come on, now.
[Chilton and the guards start leading Clarice out]
Hannibal Lecter: Brave Clarice. You will let me know when those lambs stop screaming, won't you?
Clarice Starling: Tell me his name, Doctor!
Hannibal Lecter: Clarice, your case file. Goodbye, Clarice.

 

Hannibal Lecter: Well, Clarice - have the lambs stopped screaming?

 

 

Top 10 Favorite Screenplays (Part 3 of 5)

5. The Godfather (1972) Written by Mario Puzo and Francis Ford Coppola
Accolades:  Winner- Academy Award Best Adapted Screenplay
Winner- Golden Globe Award Best Screenplay (Motion Picture)

Thoughts/Opinions: For some odd reason I was very skeptical to put this on my list, I have no real clue why. Maybe it was because the screenplay is so true to the actual book, luckily for you I came to my senses and got this film on my list. I mean honestly, how could you leave out this screenplay. Perhaps my family is just one of those familes-- I know we are not the only ones -- but there are multiple members of my family, me included, who have been known to quote The Godfather films now and again. I have also learned that a painful amount of people have not even SEEN IT!! You all know I am not know to use all capital letters or exclamation points much, because I like my writing to look more professional....haha it's true. So knowing that my use of them both just a few lines ago is a huge deal. The Godfather is used in pop culture so often and referenced in so manythings that even without seeing the film you know some serious things about it. Now tell me if I am going to far here, but to me it seems like while people give this film constant praise, they just don't seem to realize how epic the script is. I mean if you were to get hold of the script and looked at the dialogue, you would find some serious quotes to use consistently throughout. Marlon Brando's character Vito Corleone is a walking quote. While the characters are all from Puzo's novel of the same, the script does a wonderful job portraying the characters in such a powerful and deep way. I actually feel for these mobsters!!

Memorable Quotes:
 Sollozzo: Bene, Don Corleone. I need a man who has powerful friends. I need a million dollars in cash. I need, Don Corleone, all of those politicians that you carry around in your pocket, like so many nickels and dimes.
Don Corleone: What is the interest for my family?
Sollozzo: Thirty percent. In the first year your end should be three, four million dollars. And then it would go up.
Don Corleone: And what is the interest for the Tattalgia family?
Sollozzo: [smiles at Tom] My compliments.
[Hagen gives a formal nod]
Sollozzo: I'll take care of the Tattaglias, out of my share.
Don Corleone: So, I am to receive thirty percent for finance, for legal protection and political influence. Is that what you're telling me?
Sollozzo: That's right.
Don Corleone: Why come to me? What have I done to deserve such generosity?
Sollozzo: If you consider a million dollars in cash merely finance...
[raises his glass]
Sollozzo: Te salut, Don Corleone.
[the Don gets up to take a drink and sits closer to Sollozzo]
Don Corleone: I said that I would see you because I had heard that you were a serious man, to be treated with respect. But I must say no to you and let me give you my reasons. It's true I have a lot of friends in politics, but they wouldn't be so friendly if they knew my business was drugs instead of gambling which they consider a harmless vice. But drugs, that's a dirty business.
Sollozzo: No, Don Corleone...
Don Corleone: It makes no difference, it don't make any difference to me what a man does for a living, you understand. But your business is a little dangerous.
Sollozzo: If you're worried about security for your million, the Tattaglias will guarantee it.
Sonny: Whoa, now, you're telling me that the Tattaglias guarantee our investment without...?
Don Corleone: Wait a minute.
[the Don gives his son a cold stare, freezing Santino into silence. The others fidget with embarrassment at this outbreak, but Sollozzo looks slyly satisfied... ]
Don Corleone: [dismissive] I have a sentimental weakness for my children and I spoil them, as you can see. They talk when they should listen. Anyway, Signor Sollozzo, my no to you is final. I want to congratulate you on your new business and I'm sure you'll do very well and good luck to you. Especially since your interests don't conflict with mine. Thank you.
[Sollozzo leaves]
Don Corleone: Santino, come here.
Don Corleone: What's the matter with you? I think your brain is going soft with all that comedy you are playing with that young girl. Never tell anyone outside the Family what you are thinking again. Go on.

 

[delivering his rehearsed speech]

Luca Brasi: Don Corleone, I am honored and grateful that you have invited me to your daughter... 's wedding... on the day of your daughter's wedding. And I hope their first child be a masculine child. I pledge my ever-ending loyalty.

 

 Sonny: Hey, listen, I want somebody good - and I mean very good - to plant that gun. I don't want my brother coming out of that toilet with just his dick in his hands, alright?
Clemenza: The gun'll be there.

 

Johnny Fontane: [discussing his problems] I don't know what to do, Godfather. My voice is weak, it's weak. Anyway, if I had this part in the picture, it puts me right back on top, you know. But this... this man out there. He won't give it to me, the head of the studio.
Don Corleone: What's his name?
Don Corleone: Woltz. He said there's no chance, no chance...
[Meanwhile, Hagen finds Sonny and summons him]
Johnny Fontane: A month ago he bought the rights to this book, a best seller. The main character is a guy just like me. I wouldn't even have to act, just be myself. Oh, Godfather, I don't know what to do, I don't know what to do...
[All of a sudden, Don Corleone rises from his chair and gives Fontane a savage shake]
Don Corleone: YOU CAN ACT LIKE A MAN!
[gives a quick slap to Fontane]
Don Corleone: What's the matter with you? Is this what you've become, a Hollywood finocchio who cries like a woman? "Oh, what do I do? What do I do?" What is that nonsense? Ridiculous!
[the Don's unexpected mimicry makes Hagen and even Fontane laugh; around this time Sonny comes in]
Don Corleone: Tell me, do you spend time with your family?
Johnny Fontane: Sure I do.
Don Corleone: Good. Because a man who doesn't spend time with his family can never be a real man.
[gives a quick look at Sonny and affectionately embraces Fontane]
Don Corleone: You look terrible. I want you to eat, I want you to rest well. And a month from now this Hollywood big shot's gonna give you what you want.
Johnny Fontane: Too late. They start shooting in a week.
Don Corleone: I'm gonna make him an offer he won't refuse. Okay? I want you to leave it all to me. Go on, go back to the party.
[a gratified Fontane leaves]

 

 Don Corleone: We have known each other many years, but this is the first time you've come to me for counsel or for help. I can't remember the last time you invited me to your house for a cup of coffee, even though my wife is godmother to your only child. But let's be frank here. You never wanted my friendship. And you feared to be in my debt.
Bonasera: I didn't want to get into trouble.
Don Corleone: I understand. You found paradise in America. You had a good trade, you made a good living. The police protected you and there were courts of law. So you didn't need a friend like me. Now you come and say "Don Corleone, give me justice." But you don't ask with respect. You don't offer friendship. You don't even think to call me "Godfather." You come into my house on the day my daughter is to be married and you ask me to do murder - for money.
Bonasera: I ask you for justice.
Don Corleone: That is not justice. Your daughter is alive.
Bonasera: Let them suffer then as she suffers.
[the Don is silent]
Bonasera: How much shall I pay you?
[the Don turns away dismissively, but Bonasera stays on]
Don Corleone: Bonasera, Bonasera, what have I ever done to make you treat me so disrespectfully? If you'd come to me in friendship, this scum who ruined your daughter would be suffering this very day. And if by some chance an honest man like yourself made enemies they would become my enemies. And then, they would fear you.
Bonasera: Be my friend... Godfather.
[the Don at first shrugs, but upon hearing the title he lifts his hand, and a humbled Bonasera kisses the ring on it]
Don Corleone: Good.
[He places his hand around Bonasera in a paternal gesture]
Don Corleone: Some day, and that day may never come, I will call upon you to do a service for me. But until that day, consider this justice a gift on my daughter's wedding day.
[a gratified Bonasera offers his thanks and leaves]
Don Corleone: [to Hagen] Give this job to Clemenza. I want reliable people, people who aren't going to be carried away. I mean, we're not murderers, in spite of what this undertaker thinks...

 

 Don Corleone: You talk about vengance. Is vengance going to bring your son back to you or my boy to me? I forgo the vengance of my son. But my youngest son had to leave this country because of this Sollozzo business. So now I have to make arraingments to bring him back safely cleared of all these false charges. But I'm a supersticious man. And if some unluck accident should befall him, if he should be shot in the head by a police officer, or if should hang himself in his jail cell, or if he's struck by a bolt of lightning... *then I'm going to blame some of the people in this room*... and that, I do not forgive. But, that aside, let say that I swear, on the souls of my grandchildren, that I will not be the one to break the peace we have made here today.

 

6. Do The Right Thing (1989) Written by Spike Lee

Accolades: Nominated- Academy Award Best Original Screenplay

Nominated- Golden Globe Award Best Screenplay (Motion Picture)

 

Thoughts/Opinions: Honestly and truthfully, I believe that Do The Right Thing was the film that Spike Lee was born to make. The film is a masterpiece, yet it goes unnoticed all around the world. Its screenplay is some of the most significant writing America has ever seen, yet hardly anybody knows about it. What makes this film and script so unique and great, is that they are the most truthful and honest portrayals of race relations ever made. Instead of being a long endless chain of gang violence, or an "angry black man" portrayal of white people doing injustices to black people, this script gives all sides equal representation. Now don't get me wrong, the angry black men and women have all the right in the world to make a film about how awful white people were, and still can be, that is something that they have all the right and cause in the world to do, but Spike Lee didn't. Instead he makes a story of a day in a Brooklyn neighborhood. Whites, Blacks, Italians, Puerto Ricans, Koreans etc. etc. all are in this film and all are involved in endless racial conflict. Spike Lee didn't use violence to get his point through, instead he uses endless tension and more common events, all leading up to his climactic finish. Do The Right Thing doesn't have much violence at all, but when the violence comes it hits like a hailstorm from Hell. I have never wtinessed such an abrubt change in tone in any film before, and Spike Lee is the only director who could make it work. There are no bad guys in this story, no heroes, and nobody is innocent. It was a normal sequence of events that went ary and lead to the violent finish. In the end nobody truly "does the right thing."

 

Memorable Quotes:

Buggin' Out: You the man.
Mookie: No you the man.
Buggin' Out: You the man.
Mookie: No you the man.
Buggin' Out: No. I'm just a struggling Black man trying to keep my dick hard in a cruel and harsh world.

 

 Mookie: Pino, fuck you, fuck your fuckin' pizza, and fuck Frank Sinatra.
Pino: Yeah? Well fuck you, too, and fuck Michael Jackson.

 

 Radio Raheem: Let me tell you the story of Right Hand, Left Hand. It's a tale of good and evil. Hate: it was with this hand that Cane iced his brother. Love: these five fingers, they go straight to the soul of man. The right hand: the hand of love. The story of life is this: static. One hand is always fighting the other hand, and the left hand is kicking much ass. I mean, it looks like the right hand, Love, is finished. But hold on, stop the presses, the right hand is coming back. Yeah, he got the left hand on the ropes, now, that's right. Ooh, it's a devastating right and Hate is hurt, he's down. Left-Hand Hate KOed by Love.

 

 Da Mayor: Doctor...
Mookie: C'mon, what. What?
Da Mayor: Always do the right thing.
Mookie: That's it?
Da Mayor: That's it.
Mookie: I got it, I'm gone.

 

Mother Sister: Hey, you old drunk, what did I tell you about drinking in front of my stoop? Move on; you're blocking my view. You are ugly enough; don't stare at me. The Evil Eye doesn't work on me.
Da Mayor: Mother Sister, you've been talkin' about me for 18 years. What have I ever done to you?
Mother Sister: You a drunk fool.
Da Mayor: Besides that? Da Mayor don't bother nobody and nobody no bother Da Mayor but you. The Man just tends to his own business. I love everybody; I even love you.
Mother Sister: Hold your tongue: you don't have that much love.
Da Mayor: One day you're gonna be nice to me. We may both be dead and buried, but you're gonna be nice - at least civil.

 

Mookie: Dago, wop, guinea, garlic-breath, pizza-slingin', spaghetti-bendin', Vic Damone, Perry Como, Luciano Pavarotti, Sole Mio, nonsingin' motherfucker.
Pino: You gold-teeth-gold-chain-wearin', fried-chicken-and-biscuit-eatin', monkey, ape, baboon, big thigh, fast-runnin', high-jumpin', spear-chuckin', three-hundred-sixty-degree-basketball-dunkin' titsun spade Moulan Yan. Take your fuckin' pizza-pizza and go the fuck back to Africa.
Stevie: You little slanty-eyed, me-no-speaky-American, own-every-fruit-and-vegetable-stand-in-New-York, bullshit, Reverend Sun Myung Moon, Summer Olympics '88, Korean kick-boxing son of a bitch.
Officer Long: You Goya bean-eating, fifteen in a car, thirty in an apartment, pointed shoes, red-wearing, Menudo, meda-meda Puerto Rican cocksucker. Yeah, you!
Sonny: It's cheap, I got a good price for you, Mayor Koch, "How I'm doing," chocolate-egg-cream-drinking, bagel-and-lox, B'nai B'rith Jew asshole.
Mister Senor Love Daddy: Yo! Hold up! Time out! TIME OUT! Y'all take a chill! Ya need to cool that shit out! And that's the double truth, Ruth!