For that matter, what about the little girl in the red coat in the same film? Keneally did an adequate job of describing the scene in the book; Spielberg did a superb job of conveying the drama by using long shots of the red-coated girl in the middle of the chaos in black-and-white.
In Contact in a flashback, Ellie remembers the night her father died - she hears him fall, goes to him, says “I’ll get your pills” and runs up the stairs to the bathroom to the medicine cabinet, and the whole scene has been viewed thru the medicine cabinet’s mirror
I always get a rush when the flying machine that the film has been building up drama and interest in for most of the story finally takes off.
So I love the takeoff moments in The Flight of the Phoenix and in Firefox. I get something of it when James Garner and Donald Pleasance’s characters take off in The Great Escape, too, though there’s not as much build-up (and in real life, as Paul Brickhill wrote it, they weren’t able to get into the plane, even after starting it up.)
The Big Blue, a French film about free divers. The first portion of the movie recalls events when the main characters are young boys in Italy (or Greece?) and is shot in B&W. Then, cutting to the present it switches to color with a shot of the Aegean on a dazzling, sunny day. The effect is stunning.