Part III: Iconic Scenes That Say Plenty with Few Words

Paramount Pictures, Poster

This is the third in a series of famous scenes in which the visuals and the score says it all...

The Godfather Part III - Micheal Dancing and Dying

Say what you will about Michale Corleone, he loves his family and the amore applies no more profoundly than when it comes to the women in his life. The unbounded proclivity is ever present throughout the trilogy. But the encapsulation of Michael’s broken love at the end of the Godfather III brings home the personal tragedy like no other moment in the 18 year story.

Yes, his silent scream upon Mary’s death shrieks louder than words. But the true descent that haunts our souls to this day is the emblematic dance with his three women.

Sheer fatherly pride and joy are evoked as Michael’s movements orbit on a perfect swivel around interrupted eye contact. At the same time, the precisely executed two-step exhibits a care that has no limits, while the playful embrace seeks payment only in the happiness of his child.

Cutting to Apollonia, youthfulness hasn’t yet taught Michael how easily love can be lost. A faster, more carefree pace promises the adventure and abandon of any young man in love, and looking away from his bride, his forward glare intends to lead her into a future.

Of course, by the time he moves onto Kate, Michael has learned his lesson and holds on tight. Still, his clutch thinks that love can be secured and endure - despite all the forces that must inevitably rip it away.

Fading to old age, Cavalleria Rusticana Intermezzo’s declining melody foretells and Michael’s greatest fear has been realized. All the power in the world could not prevent the destiny he set in motion in 1947, and a worn face that reveal a lifetime of tragic denial, the towering figure dies alone. A fitting finale that could have no other end.

Animal House - Cafeteria Scene

The greatest generation - wasn’t that us in the 70s? No, we didn’t save the world or take to the streets to usher in social change. But we were the first make it all about ourselves, and the world is now a better place for it. For the Me Generation, John Belushi signaled the call in John Landis’ Animal House.

Don’t know much about history, the disheveled and glutinous standard bearer is certain that his leers are as endearing to the coeds as they are to himself. Fortunately, denial doesn’t even come into play as he quickly supplants the unbeknownst rejection for the joys of the buffet. Who knew a stray golf ball could have such a hook?

But Bluto’s standards aren’t that low, and donuts are well deserved. Not quite right, no need that the remainder should go to waste and checking to make sure no one is looking is simply a courtesy. So pile on the breakfast, a few burgers to go and another half eaten entre gleefully returned to the display.

Staying in step with the music, a little jiggly jello and an entire sandwich swallowed whole, Belushi’s voraciousness speaks to us for all the times our overbearing fathers said not to stuff our faces.

But anger was never part of the equation because we knew what was ours, and John Belushi enderringly let the world in on our demands. What a wonderful world this could be, don’t you Millennials think for a second that any of our gains are yours. This especially when you all got your heads stuck in your phones with no one comparable to deliver the message.

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