Flickgrrl

OK, Carrie, here goes...

Kim Novak uttering, "I'm only human," at the end of Quine's witchy "Bell, Book and Candle."

Peppard, Hepburn and Cat in the rain at the end of Edwards' "Breakfast at Tiffany's," a film that I don't particularly like (great credits sequence and finale, however).

Rosalind Russell's perfect line reading as she flails her arm over her head to describe the inscription on a marquee to Natalie Wood in LeRoy's "Gypsy": "Madam Rose ... and her daughter GYPSY!"

A devastated Jimmy Stewart standing (perfectly posed, as if falling) in the bell tower of the San Juan Bautista mission in Hitchcock's "Vertigo"

Shirley MacLaine responding to Jack Lemmon's declaration of love - "Miss Kubelick, I absolutely adore you" - with a slightly bored "Shut up and deal!" in Wilder's "The Apartment"

There are so many, but if I had to pick just one at gunpoint, I'd still go with Casablanca.

For ironic endings, Raiders of the Lost Ark.
For sincere endings, "Well, I guess that's pretty much now how I feel about relationships; y'know, they're totally irrational, and crazy, and absurd, and ... but, uh, I guess we keep goin' through it because, uh, most of us ... need the eggs"

This is a great theme. I concurr with The Searchers, The apartment, and Veritgo. I want to add several including the ending of antonioni's masterpiece, "L'Eclisse," with an outside light going on in close up, the relationship is over, they never meet and Bresson's Mouchette, what looks her rolling down the hill is revealed in the final shot of the water is suicide revealed to us after the fact and what about the close up of Chaplin at the end of city lIghts when he the most down in his luck discovers that the flower girl can now see and knows he is the benefactors. In its ambiguity guarenteed to crush your heart.

Miller's Crossing; Some Like It Hot; Hello, Dolly!; The Maltese Falcon; The Grifters; Easy Rider; Five Easy Pieces; On The Beach; Back From Eternity; The Vikings; The Treasure of the Sierra Madre; Brokeback Mountain; A Life Less Ordinary; The Usual Suspects; It's A Wonderful Life; A Christmas Carol I; Prizzi's Honor; The Seventh Seal; Butch Cassidy And The Sundance Kid; We're No Angels; Old Yeller; Mr. Lucky (Cary Grant); GWTW; Brewster McCloud; The Sun Also Rises. Ditto on Godfather I and Casablanca.

A few endings that come to mind ...

Peter Finch talking to the camera in "Sunday, Bloody Sunday." complaining of his cough.

That pan up to the officer's badge in "Johnny Eager."

The long, Michael Snow-esque last shot of Antonioni's "Passenger"

Gladys George clutching James Cagney's corpse at the end of Walsh's "The Roaring Twenties."

Ida Lupino murmuring "Free, free ..." at the end of Walsh's "High Sierra." (That's the same last line, btw, as the endings of "Death of a Salesman" and William Archibald's stage version of "The Innocents.")

Forgot to log in before I clicked "Post" for that last entry. Oh well!

Just wanted to add, though, in any case, that George's final line in "Roaring Twenties" was "He used to be a big shot ..."

A great ending is one of the hardest things there is to achieve in literature or film. Cf. FKermode, "The Sense Of An Ending." Impossible to pick one, really. "The Great Gatsby" has one of the greatest endings in American literature, yet I can't even recall how they ended the otherwise remarkably faithful adaptation in the Redford/Farrow film.

Love the "He used to be a big shot" finale of "The Roaring Twenties."
Likewise "Brokeback's" ending with the men's two shirts snuggled in the closet is a heartbreaker.
Very much like the "I am Malcolm" ending of "Malcolm X," an homage to "Spartacus" that suggests the breadth and depth of Malcolm's influence.
I always weep at the end of "Dark Victory," with the fade to black implying Bete Davis' mortal fadeout.
Perhaps the most daring -- and deliciously inconclusive -- ever is the closeup of Greta Garbo's face at the close of "Queen Christina," where the audience tries to read the thoughts of the Swedish Sphinx playing the enigmatic Swedish queen,
An ending that haunts me is Ida Lupino's "Hard, Fast & Beautiful," as Claire Trevor, the tennis mom who is abandoned by her daughter in the end and who sits alone in the stands of empty Forest Hills hearing, or hallucinating, the ghostly sounds of tennis balls bouncing.

I forgot the end of Molin Rouge, when Ewan Macgregor types The End and the curtains swirl closed.

Planet of the Apes has a great final scene

Oh, gosh, for a better sincere answer? MODERN TIMES. I know CITY LIGHTS has its partisans, but I'll take that walk with the gamine into the sunset.

When I read this, the little mental computer storing all my memories of movie endings crashed, and I suddenly could remember not a one. Then, when I started recalling a few, I realized to my dismay that many scenes I remember as final scenes really aren't. (The most famous being Rhett Butler's "Frankly, my dear, I don't give a damn" - I'm always startled when the movie fails to end right then, even though it's Scarlett's story and she really must get the final word.)

So, of those that come to mind:

- "White Heat": "Made it, ma - top of the world!" BOOM!!! Welcome to the Atomic Age, courtesy of a director so much at home in the 19th century that Griffith once cast him as John Wilkes Booth.

- Another atomic ending: "Kiss Me Deadly" Never open a briefcase if you don't know what's in it.

- I've always gotten a kick out of the little wind-up guy turning around and walking into the little wind-up girl's cubbyhole in the cuckoo clock at the end of "The Awful Truth." Fun and silly, it's the perfect visual dounble entendre to cap off the running discussion between reconciling marrieds Irene Dunne and Cary Grant. For a movie released at the depth of the Production Code, it's also surprisingly, and pleasingly, racy.

- Frank Sinatra reading the dedication accompanying Laurence Harvey's Congressional Medal of Honor, followed by Sinatra's bitter "Ah, hell...hell" at the end of "The Manchurian Candidate."

- Grace Kelly eyeing her new Monte Carlo digs and pronouncing, "Mother will *love* this!," as thief Cary Grant realizes he's been caught, at the end of "To Catch a Thief."

- Olivia deHavilland dancing with her son, John Lund, at the end of "To Each His Own."

- Joel McCrea's slow fall to the ground as the sun sets behind him at the end of "Ride the High Country" - like an ancient Greek statue of a fallen warrior come to life.

- "Positively the same dame!" - William Demarest at the end of "The Lady Eve."

- Claude Rains walking to his doom up the steps of his Argentine mansion at the end of "Notorious."

- A dying Irene Dunne in "Back Street" thinking back several decades to the day when she missed a rendezvous with John Boles at a turn-of-the-century Midwest bandstand - only this time, thanks to her imagination and the direction of John Stahl (both austere and enchanted), the lovers meet.

Those are the first few that come to mind.

Lordy, lordy: Olivia de Havilland and John Lund in "To Each His Own," possibly the Best. Tearjerker. Ever. "Do you care to dance...mother?"

I love all these nominations. However I'm surprised so few are from recent films. As Wwolfe notes, scenes that should be the fadeout -- like "Frankly, my dear, I don't give a damn!" from GWTW are usually the penultimate scene. I totally crack up in "What Women Want" when Jack Nicholson is alone on the Pont Neuf on the verge of tears sniffling,"Look who gets to be the girl!" -- but then there are two more reversals afterwards.

Did anyone mention "The Graduate" or "The Candidate" -- two fine movies with the "What do we do now?" fadeout, implicit in the first and explicit in the second?

While I love love love the "positively the same dame" end of "The Lady Eve," Sturges was even funnier with "The Palm Beach Story" when he revealed a second pair of characters to resolve the romances. And in "The Miracle at Morgan's Creek," his nod to Shakespeare, "Some are born great, some achieve greatness and some have greatness thrust upon them" is naughty fun.

A movie I love -- Wyler's "Wuthering Heights," has a not-so-great ending: It suggests the restless spirits of Cathy and Heathcliff are doomed to wander the moors together.

The underknown "I Know Where I'm Going" by Michael Powell (incidentally, an influence on "Local Hero") has a hilarious final scene that visually and verbally and musically plaits together its themes into a hilarious denouement involving bagpipers, Scot mythology and local superstition.

How'd we leave out the end of Local Hero? The Dire Straits music and the perspective from the plane are knockouts.

Final scene *and* fadeout!

The last two postings put me in mind of one that I dearly, dearly love: Julie Christie at the end of "Petulia."

She's on the operating table, a hand goes to the side of her face, Christie says "Archie?" (thinking that her beloved George C. Scott has returned ... although he clearly hasn't. The gas mask is brought to her face ... Fade Out.

I love that film, I love that scene.

Network has one of my favorite endings. After Howard Beale is shot on stage, we have a black screen with a different television screen in each corner of the screen, some showing the graphic shooting in explicit detail, others are playing commercials. The mechanical voiceover narrator than says (and I paraphrase), "This is the story of Howard Beale: the first person killed for better ratings." Of course, the movie is the story of much, much more.

So many great endings, but if asked to choose one I'll go with the first that came to mind: Raging Bull. Just thinking of it makes me upset.

My LEAST favorite ending is the last bit of Something Wild, when all the overblown Ray Liotta action kicks in. It's been so long since I saw, mostly loved, then finally disliked that movie, but there was a scene with about a half hour to go when Liotta and Melanie Griffith (?) split up at a railroad crossing. Roll credits right there. I get to go home feeling sad and left hanging. Great film. Instead we get the star-making rampage by Liotta. Spoiled the whole movie for me.

Zardoz.

Citizen Kane. The movie starts with a word, and ends with the visual explaining it. Wow.

Catching up...

My personal favorite is Say Anything. Waiting for the fasten seatbelt sign to turn off to let them know everything would be OK - fade to black, ding!

The end of "The Third Man" is beautiful and devastating; the perfect culmination of story,
cinematography, direction and acting. Joseph Cotten, stranger in a strange land, waits forlornly among the falling autumn leaves as his unrequited love (Alida Valli)walks on by him without acknowledgement. No words are spoken but the image speaks volumes.

The end of Cinema Paradiso (I think it was the last scene - it's been a while since I've seen it) is a perfect coda to a beautiful film. The main character plays a film left to him by his friend, the projectionist/movie theater owner from the small Italian village where he was raised, and discovers it is a montage of all the kissing scenes his friend was forced to delete by the local censor. A testament to love, to friendship, to the tyranny of censorship, and to the magic of the movies...

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The underknown "I Know Where I'm Going" by Michael Powell (incidentally, an influence on "Local Hero") has a hilarious final scene that visually and verbally and musically plaits together its themes into a hilarious denouement involving bagpipers, Scot mythology and local superstition.

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