Over on the rather fine Cracked podcast this week, they were talking again about the final scene of The Graduate, where, after all Dustin Hoffman’s bloke-in-a-movie rush to reckless action succeeds in producing a result conventionally regarded as desirable within movie logic, if not in real life, the camera lingers on the couple past the “sorted!” freeze frame long enough to see the realisation break across their faces of what they’ve done. Wordlessly, we see how the weight of what’s going to happen next subverts the “Hollywood ending” we were prepared for.
More often than not, the great spaces between dialogue in film are filled with stunts and explosions, but, from time to time, there are unforgettable moments of drama conveyed without a word being uttered – I’m thinking of Bob Hoskins’ bottom row of teeth retracting defeated at the end of The Long Good Friday. Moments before, the future object of Jessica Rabbit’s affection absolutely nailed one of those grandstanding speeches actors dream of, but he still shifts up another gear in the back of that car..
So, how about celebrating some of the great scenes that required no words? I’m hoping for replies, although I suppose complete silence on your part might be appropriate..
https://youtu.be/FVVrZJaN1IU
Sewer Robot says
Here’s the scene from The Graduate
Leicester Bangs says
I don’t want to be specific because it’s a spoiler, but anybody who has seen Funny Games will know….
Markg says
Pessoa says
The final long take in Antonioni’s The Passenger, where Jack Nicholson’s character dies off-camera. I first saw this on BBC2 decades ago and this ending flummoxed me.
Kaisfatdad says
That Graduate ending is marvelous. Superb, very suggestive acting by both of them.
I thought of the last scene of Carpenter’s The Thing but have just rewatched it and, despite the pregnant silence at the end, there is far too much talking, Will rack my brains!
Markg says
A few words in the first 20 seconds and then a
very powerful few minutes with a aged de Niro in my favourite film,do see it….
policybloke says
I can never do the posting thing, but I think the end of the original ‘All Quiet on the Western Front’ might pass muster. Also, the entire robbery in Rififi.
Markg says
Sniffity says
Not quite wordless, but Holmes’s reaction as Lestrade congratulates him at the end of “The Six Napoleons” was surely as fine bit of expression from Jeremy Brett as one could want.
Moose the Mooche says
JB was the Godfather of Holmes.
Jackthebiscuit says
No words needed.
Markg says
Ah brilliant….I did look up the Don Corleone death scene but he chats to his grandson quite a bit ,my memory had him playing longer in the vines prior to collapsing..great scene though.
Markg says
Markg says
dkhbrit says
If I may add one from TV. The fade to the poppy field at the end of Blackadder Goes Forth is very, very touching and was the perfect ending.
chiz says
Torkin of Sorkin, fans of the West Wing Weekly podcast will be familiar with ‘flentl’ – a non-musical sound heard when the audio from the final scene of an episode continues past the fade-to-black into the titles. Sorks loves a good flentl – a tiny little noise at the very end of the show that subtly changes the story. An almost inaudible twist beyond the last frame.
Sitheref2409 says
Speaking of TWW, Sorkin is well capable of writing scenes that mandate no speaking. See: the end of 18th & Potomac where he gets told of the death of Mrs Landingham.
Sewer Robot says
Getting hosed over a lazy generalisation employed trying to arrive at a catchy headline – the standards you’re held to in this place…🤷♂️
JustB says
Are the flentls scripted or are they Tommy Schlamme decisions?
Sitheref2409 says
The podcast is excellent. Maybe less so if you’re not a WW fanatic, but it’s made me look at television shows very differently now, and I think appreciate them better.
They have a couple of good Schlamme interviews, as well as at least 1 with Sorkin.
If I remember correctly one of the reasons for the flentl was to buy thinking and reflecting time for the audience, as opposed to the usual America cut straight to commercials and leaving the audience with a “what the hell happened there?”.
More Schlamme than Sorkin, but a joint enterprise as an idea.
JustB says
I’ve started thinking of Tuesdays as Erev West Wing Weekly 😉
The latest edition is properly hilarious – I absolutely love the interplay between the wide-eyed and idealistic Hrishi and the much more acidic Josh. And the guests are real coups – the recent interview with the ambassador/war crimes expert guy was fascinating. I just hope that one day they can get Sheen.
Sitheref2409 says
I like the range of guests as well, from the minor unsung heroes – steadicam guy! – to people who do proper Big Jobs.
Moose the Mooche says
IBS day again….
Markg says
Kid Dynamite says
As an aside, how about scenes where no narration would be an improvement? I’m thinking of the end of Interstellar, the bit in the SPOILERS cosmic library thing. Risible nonsense as it stands, but it might have stood a chance if it had been played wordlessly.
Kaisfatdad says
I reckon that intrusive narrators is a topic which deserves its own thread, Kid.
The narrator in Vicky Christina Barcelona really ruined it for me.
It is not often that a narraor has added to a film although I am sure there are cases where it worked.
attackdog says
An entire film without sound or any form of narrative would surely be Truly, Madly, Deeply.
Markg says
Stephen G says
Sopranos – Tony cracks a feeble joke: as the wiseguys’ laughter continues too loud and for too long, the sound fades as the camera focuses on Tony and the dawning realisation of the falseness of his relationship with his crew.
Lots of moments like that in the Sopranos.
Moose the Mooche says
2001 A Space Odyssey was originally supposed to have a narration connecting the different parts of the film together.
SK ditched it and left it up to us. Schmart moov.
Sniffity says
Getting rid of the voice-over in Blade Runner was a similarly wise move.
Markg says
I only got round to watching The Sopranos two years ago…did whole series in about 8 weeks I think…what a trip!There’s something to be said for doing it that way,rather than week by week…tried to find a clip to illustrate your point but in vane,know what you mean though!
Markg says
Charlie Gordon says
Michael Clayton, a rather fine film with George Clooney, ends with him in the back of a taxi as the credits roll and the camera simply focuses on him. Very well acted as he reflects on what has happened.