The Godfather II has been mentioned but I feel the closing scene of The Godfather is better: the image of the mafiosi paying homage to Michael as the door slowly closes cutting Kay off from him. Even if they hadn’t made another movie, that scene alone told us the rest of the story.
Correct.
Ah, I’ve seen this argument before. The discussions on IMDb are full of it. However, it ignores the later scene where she removes her wimple and they kiss passionately.
No question in my mind they bonked.
I’ve always loved the end of The Prince of Tides. Nick Nolte’s character is back home with his wife, voice over with him mowing and then riding over the bridge in that convertible. He laments the lover he lost and thinks about the second life that could have been his. I think particularly as we age, no matter how much we love our lives there is always that person, that moment, that time you wish had been yours for keeps.
I always assumed they got it on in the barn, when he’s working on the car and listening to the radio, but they didn’t show it. Either way, it was close enough for me, consummated or not.
It is an illusion that all those cars were moving. Light was fading for the final shot and all those cars were volunteers, stuck in traffic, not moving.
So instructions were relayed over the local radio station for everyone to blink the headlights from bright to dim and back. This gave the illusion of the cars passing in front of trees and moving forward. In reality they were just sitting there flashing their lights.
Brazil
I thought the exact same thing!
Against All Odds with Rachel Ward standing there, and the only way we know it’s not a still is her hair blowing, and the Phil Collins song fills the soundtrack.
The interview of Phil Collins writing the soundtrack is also a great extra to listen to.
The ending of Brokeback Mountain, with the two shirts hanging on a hook under the postcard picture of the mountain. Heartbreaking.
Don’t know if it’s the greatest, but it’s thought-provoking. Its real meaning didn’t hit me until later.
The John Sayles science fiction movie Brother from Another Planet* ends with the titular black alien riding away in a subway car.
You have to understand that the mute alien (played by Joe Morton) spends most of the movie dodging a couple of white aliens who are chasing him (one of them played by writer-producer-director Sayles himself) – they’re slave hunters running down an escaped slave, who has taken refuge on Earth. There’s a lot more to the film, which I highly recommend. But the ending has special significance – he’s getting away from the Slave Chasers in that subway car…
…which is an Underground Railroad.
*Sayles was one of many who worked on script possibilities for what would eventually emerge as Steven Spielberg’s movie E.T. That film went through a huge number of iterations and changes in its development. I sort of this of Brother as Sayles’ own version of E.T..
Pardon my stoopid, but can you clarify what is going on in this scene?I have actually seen the movie but it was a few years ago and I don’t recall that much about it. It looks like Ewan McGregor gets hit by a car off screen(?) If so, is that significant because we’re meant to think he finally “won”? Yeesh, you can tell I didn’t retain much from this one.
Thank you. This had made me want to rewatch the film.
I just saw that movie for the first time (I know, I know). The movie was fine but that ending was lame.
Also, Yojimbo and French Connection II.
I came back to this thread because I thought to myself “How could I forget Brazil?” That is the only movie that has ever left me stunned in my seat when the lights came up.
Hmm, I was thinking of that as one continuous scene, but if it’s not I’m good with that last ride in the cab. Really just fantastic writing and direction (and acting!).