"Frankly, My Dear, I Don't Give a Damn!"

Well, the American Film Institute has published its list of the 100 most memorable lines from the movies:

Quote:

http://msnbc.msn.com/id/8304725/

How many of these do you use in your daily lives? Were you always aware of where these expressions were derived?

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I thought A2Ker film buffs from over the years have really come up with the same list, expecially the top ten, more-or-less in the same order on the several threads on movie quotes.

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LW- Very true-

MY favorite is "What a dump!!!" tossed off in my very best Bette Davis imitation!

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"Life is a banquet and most poor suckers are starving to death." is my favoite movie line.

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Glaringly missing, the final lines from "Some Like It Hot" (and several more from the entire script -- how can AFI name that film as the Best Comedy of all time and leave it out of quotable quotes?" The answer is:

"Well, nobody's perfect."

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"Well, nobody's perfect" is No. 48 on the list, Lightwizard. They showed several scenes from "Some Like It Hot" on the special.

If I had to choose a favorite, I think I'd pick "Fasten your seatbelts. It's going to be a bumpy night," "All About Eve" .

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I perused the list, I thought very closely, but I guess I missed that one. I got into the last hour of the show. There's at least two other "SLIH" quotes but I'm sure they are on the longer list of nominations.

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Example:

Daphne: Have I got things to tell you! I am engaged!
Josephine: Who is the lucky girl?
Daphne: I am!

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and "I always get the fuzzy end of the lollipop." Very Happy

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Well, here's a full selection:

Joe: [apologizing because the motor boat will only move backwards] I'm afraid it may take a little longer.
Sugar: It's not how long it takes, it's who's taking you.

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Sugar ( in breathy sexiness): Real diamonds! They must be worth their weight in gold!

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Josephine: You've gotta keep telling yourself: you're a boy.
Daphne: I'm a boy?
Josephine: You're a boy.
Daphne: I'm a boy.
Josephine: That's the boy.
Daphne: Oh boy, am I a boy.

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Daphne: Have I got things to tell you! I am engaged!
Josephine: Who is the lucky girl?
Daphne: I am!

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Jerry: Look at that! Look how she moves! That's just like Jell-O on springs. Must have some sort of built-in motor or something. I tell you, it's a whole different sex!

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Jerry: Now you've done it!
Joe: Done what?
Jerry: You tore off one of my chests!

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Joe: You're NOT a girl! You're a GUY! Why would a guy wanna marry a guy?
Jerry: Security!

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Joe: What are you gonna do on your honeymoon?
Jerry: He wants to go to the Riviera but I kinda lean towards Niagara Falls.

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Sugar: Water polo, isn't that dangerous?
Joe: It sure is. I had two ponies drowned under me.

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Jerry: If you're not going to tell her, then I will!
Joe: And what are you going to tell her? That I'm a girl?

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Joe: We didn't see anything!
Jerry: We didn't hear anything either!

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Joe: [to Sugar] The ship is in ship-shape shape.

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Joe: What are you worried about? This job is going to last a long time.
Jerry: Suppose it doesn't?
Joe: Jerry, boy, why do you have to paint everything so black?
Jerry: Oh, please.
Joe: Suppose you got hit by a truck. Suppose the stock market crashes. Suppose Mary Pickford divorces Douglas Fairbanks. Suppose the Dodgers leave Brooklyn!
[Jerry notices the badge of an undercover agent at a nearby table]
Jerry: Ah... Joe...
Joe: Suppose Lake Michigan overflows.
Jerry: Well don't look now, but the whole town is underwater!

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Junior: Look, miss, are you interested in knowing if I am married or not?
Sugar: No, I'm not interested at all.
Junior: Well, I'm not.
Sugar: Oh! That's very interesting!

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[At the booking office, trying to be hired]
Joe: What kind of a band is this, anyway?
Sig Poliakoff: You gotta be under twenty-five.
Jerry: We could pass for that.
Sig Poliakoff: You gotta be blonde.
Jerry: We could dye our hair.
Sig Poliakoff: And you gotta be girls.
Jerry: We could...
Joe: No, we couldn't!

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Sig Poliakoff: You're the wrong shape. Goodbye!
Jerry: What shape are you looking for - hunchbacks or something?
Sig Poliakoff: It's not the backs that worry me.

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Bouncer: [examining a golf bag] What's in here?
Henchman: My golf clubs, putter, niblick, number three iron.
Bouncer: [pulling out a submachine gun] what's this?
Henchman: My mashie!

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Sweet Sue: We better tell the other girls to watch their language. They went to a conservatory.

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Beinstock: I'm just the manager, not the night watchman.

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Osgood: [to the elevator operator] Once around the park, and keep your eyes on the road.

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Daphne: Pull in your reel, Mister, you're barking up the wrong fish.

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Jerry: We're up a creek and YOU want to hock the paddle!

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Toothpick Charlie: Look, chief, I gotta go. If Spats finds out about this, it's gonna be "Goodbye Charlie!"
Mulligan: Goodbye, Charlie.

Okay, the best comedy film script of all times and imitated many times ever since.

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(The best with the possible exception of "Sullivan's Travels" and "Dr. Strangelove")

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In this world, you can be "oh so smart" or "oh so nice." For a long time, I tried being smart.....I suggest nice.

Jimmy Stewart, Harvey

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Quote:

He parts from her at the front door. Scarlett asks: "Rhett, if you go, where shall I go? What shall I do?" Without sentimentality, he cooly responds for the last time:

Frankly, my dear, I don't give a damn!

[The daring line with a blasphemous taboo word at the time was a line of dialogue lifted directly from Margaret Mitchell's novel ("My dear, I don't give a damn"). It was also forbidden by the infamous Hays Office code, under Section V (1). Producer Selznick was technically fined $5,000 for the infraction of the code.]

What does it mean?

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Futurist wrote:

What does it mean?

What does WHAT mean? What Rhett said? Why the word was taboo? The Hays' office? Why Selznick was fined? I could answer all four questions, but I have no idea what you want.

BTW, Welcome to A2K!

We have a lot of helpful people here, but we need to know what you want!

Quote:

Hays Production Code
AKA: Hays Code, Hays Production Office, Hays Office
In the 1920s, the American public became alarmed at the increasingly frequent portrayal of violence, sex, and lawlessness on movie screens. Wishing to avoid government regulation, the Motion Picture Producers and Distributors of America created their own regulatory body and appointed Postmaster General Will H. Hays as head. His influence became so great that this body became known as the "Hays Office". The Hays Production Code for Motion Pictures was introduced in 1934, and by today's standards was extremely strict. It was mainly concerned with violence and sex, but had references to crime in general. After WWII, the growing popularity of television provided the public with more viewing choice. The Hays Office came under increasing fire for restricting the creativity of filmmakers, as it had defined specific requirements for depicting certain events. For example, under the Hays Code a filmmaker could not present revenge in modern times as being justified, nor could they depict details of how crimes were committed, or show a criminal profiting from crime. Following the Supreme Court's Miracle decision in the 1950s, films were recognized as protected under the First Amendment, and as such the Hays Office's demands were not legally enforceable. Films such as Who's Afraid of Virginia Woolf? and Blowup inspired MPAA president Jack Valenti to abolish the Hays Code as his first step in overhauling the certificates system in 1967. See also blacklisting.

http://www.imdb.com/Glossary/H

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