The Ghost Ship [1943]
1. Chain cacophony.
2. Rigging an alarm system using a torn bedsheet.
3. He violently smashes the plaque in half.
The Ghost Ship [1943]
1. Chain cacophony.
2. Rigging an alarm system using a torn bedsheet.
3. He violently smashes the plaque in half.
Thirteen Women [1932]
1. No net.
2. She cavalierly tosses the package out the car window; it hits the ground and explodes.
3. “I spent six years slaving to get money enough to put me through finishing school, to make the world accept me as white. But you and the others wouldn’t let me cross the color line.”
Who Slew Auntie Roo? [1972]
1. A stuffed teddy bear joins the circle.
2. Gaily humming “Auld Lang Syne” while tearing bread to pieces.
3. Tears turning to laughter, as only Shelley Winters could do.
Westermann: Memorial to the Idea of Man If He Was an Idea [2023]
1. An elegant wooden box, on the lid of which is EDS VARNISH.
2. “He made two hundred gifts a year and two works of art.”
3. Vaguely resembling a TV set or an office appliance of some sort: “The Evil New War God (S.O.B)”
Dr. Jekyll and Mr. Hyde [1931]
1. “Forgive me, my dear. You see, I hurt you because I love you. I want you! What I want, I get!”
2. The look on her face when she realizes that he’s back.
3. Broken cane-handle.
The Exorcist III [1990]
1. The way he lifts the sheet, the expression of confirmation.
2. An old woman scrambling around the ceiling.
3. Peeling away of the ear.
In the Cut [2003]
1. She cradles the plastic shopping bag.
2. “Come here, sit on my lap. Help me put my earring back on.”
3. Miniature lighthouse on his desk.
Departing Seniors [2023]
1. “You didn’t even hit me! You’re a pitcher!”
2. Pumpkin spice latte in May. (Gaffe?)
3. She examines the score for the serenade found in his trumpet case.
Asako I & II [2018]
1. Haughty acting critique.
2. Earthquake in the dark. Offscreen chandelier crash.
3. Unfazed by the news, he offers to drive her back to Tokyo.
The Wrong Man [1956]
1. Double image. The right man walks towards us until his face is on top of the wrong man’s face, and then he steps away, and now the two men have traded fates.
2. We know what kind of men they are by the condition of their shoes.
3. Vacant stare. “That’s fine for you.”