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Saddest film scene ... EVER! Watch it!! I DARE YA'!!!! ;D

Nuka Wølk

Nuka Wølk

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Scientists have now concluded that the following scene is the saddest...EVER!

Out of 250 collected scenes, tested on an audience of 500 people, this following scene got the biggest emotional reaction from the audience - both men and women.

Can YOU get through the scene without ever ONCE - getting just a teeny weeny teary eyed??! If by the end of this scene, your Kleenex is completely untouched and your eyes are as dry as the Nevada desert sand - then you are most likely a T-800. Or if you set your wife or girlfriend in front of the screen - start the scene, and return when it's finished - and there was NO reaction from her ... then you KNOW for sure she's a FEMBOT!!! ;D

http://www.youtube.com/watch?v=rgySx1MhzAo&feature=player_embedded
 
What is really amazing is that the atmosphere on a film set can be created for that kind of performance.

While I was moved by the scene, I could also think of the stillness and silence that the whole crew had to possess to allow the space for those actors to work in that way.

Making room for a performance like that is also very amazing within the scenario of a film set.

Thanks for posting.


(Of course that scene had me weepy)
The boxing metaphor is one of the most powerful in film, right up to "The Fighter" last year. I am a huge fan of boxing movies.
 
Ha ha to much of a cliche,
after the kid and the mother, I was almost waiting for the dog to get in and lick Champ's hands.
Nice try but sorry it didn't make it to me.
The end of The Bridges of Madison County was the last time I cryed a lot for a movie.
Regards
 
Brice Ansel said:
The end of The Bridges of Madison County was the last time I cryed a lot for a movie.
Regards
Click to expand...

That was a very powerful scene in Bridges. I agree.

But, come on! You are french! You can appreciate the passion of this scene. (even if it is very American) That performance and scene was genuine.
You have to appreciate that.
 
That's a very odd choice. It is more laughable than sad to me, sorry, just so incredibly cliche-ridden.

Overall, the popular pick has to be somewhere in the series finale of Six Feet Under. It's 60 hours of film building up to that immense climax. My personal choice is Atsuta expressing his love for Ozu in Tokyo-Ga.
 
To much patos their, and I don't like acting performance, to me the kid is over doing it.
Sometime less is better :)
 
Brice Ansel said:
To much patos their, and I don't like acting performance, to me the kid is over doing it.
Sometime less is better :)
Click to expand...

You have a heart of stone!

:)

I need to lend you my collection of Christmas movies.


David
 
David Battistella said:
You have a heart of stone!.
Click to expand...
I hear you David,
I can be sensible to the genuine,
like I said I cryed a lot at the end of the Clint Eastwood movie "The Bridges of Madison County".
 
Pure brilliance IMO the kid needs to be awarded something for his acting, I know it is not easy working with children but this kid nailed it
 
Check out a Korean movie called "Sad Movie". Nothing comes close. It is a really fun movie and you keep asking yourself why is it called sad movie. Then it pounces on you at the end and more than lives up to the name.


Dusty
 
Wow, haven't seen that scene in 20 years and cliche's and all, it works for me. I think the way that scene plays has a LOT to do with if the viewer has young children, too. That said, I'm not sure the goodbye scene in "ET" doesn't pull the heartstrings more for me. Oh, and "Lorenzo's Oil" has to be one of the hardest movies to watch if you have kids, too. Great movie, beautiful soundtrack, but very hard to watch for me.
 
Clichés ... yeah sure. Think about what a cliché is though.

cliché- noun: platitude, hackneyed phrase, commonplace, banality, old saying, maxim, truism, stock phrase, trite phrase; old chestnut.

A cliché is above all else TRUE.

It's considered so obviously true that its in poor taste to express it. Most often because the expression is so commonplace as to be banal.

Nevertheless its a truth. That's why a cliché often resonates with speakers and audiences.

Avoiding all clichés, simply because they are cliché, is sometimes also avoiding the truth of the thing before you. They can be a powerful shorthand. Most people are familiar with clichés, and have thoughts about them. You can tap in to those thoughts.

As artists we should strive to express thoughts and ideas clearly so that they resonate with those who perceive our work and create some change in them, to move them. We should aim to make them feel something or think new thoughts.

Now, keeping the objective in mind, as a secondary goal we should strive to say new things or to view things in a new way. This urge for originality however should not, and indeed can not, be of overriding importance if we focus on moving audiences.

So, sometimes the cliché is the best artifice of our craft.

Now I realize that some film makers and artists of others stripes consider originality to be their primary objective, to which I say good luck.

Most thoughts you will ever think have been thought before. In the vexatiously farcical words of the writers of South Park, "Simpson's did it!"

I warn that if you place originality above and beyond communication and thoughts of the audience ... well you may eventually succeed in creating something truly original, but along the way you are likely to make the most unseen and unloved art.

You can see this in the various modern abstract movements, such as Cubism. Cubism is very poorly understood by most people, and thus some of Picasso's greatest creations are reviled by the vast majority who see them as pointless and insignificant.

To be very contemporary and popular, Lady Gaga is also completely misunderstood. Thus we see arguments revolving around her "actual talent" as if her native ability lends credibility to her current work. Very few people understand her message of self satire and argument via reductio ad absurdum. I mean, how many people in the modern era have sought to subvert fashion with absurdities. Lady Gaga is absurd at all times, and occasionally absurd beyond reason- for example her "meat dress." People just see the absurdity, and often never think past that. Lady Gaga is successful however because she couches her actual works of significance in the types of music that are ephemeral and popular with people who may never give a thought to anything other than its danceability.

Using art to subvert ideas brings me back to clichés and the scene under discussion. This scene not only uses carefully selected clichés, it also subverts one of the biggest most persistent clichés of American cinema.

Think of the entire context ... "The Champ" just won the big fight. In most films he would then go on to live happily ever after with his son and Annie - that is the primary cliché here.

Instead in a tragically ironic twist, he dies at the moment of his great triumph and metaphorical rebirth, thus subverting the cliché.

The whole subversion of the "happily ever after" cliché in this film rests on its status as a cliché, and its entirely appropriate to use a number of other clichés to quickly turn the audiences elation at his success into profound sadness.

There are a number of powerful films built on cliché. Kubrick's Full Metal Jacket for example. The entire film is a string of clichés until Leonard shoots Sergeant Hartman and then himself. I mean ... Gunenr Sergeant Hartman is so profound a cliché that that character has forever after altered the perception and representation of the drill sergeant, and sergeants in general in American cinema.

Million Dollar Baby also seeks to subvert the happily ever after cliché. Unforgiven seeks not to subvert that cliché, but to erase it with a cold look at the reality of the aftermath of an anti-heroic life.

So, rather than spotting a few clichés and calling something a waste, how about looking deeper?
 
I remember being moved by this scene years ago, today it leaves me quite unaffected. I'd say that I am no less empathetic today than then, I'm just a lot more
discerning when it comes to the art. There is a lot of fine craft at play here, and wonderful acting, but it panders to the baser instincts, it begs, and provides an unbelievable hollywood space for it all to play out, and is consequently the worse for it. So near and yet so far.
 
I don't think looking deeper into that bit of movie will change anything, what is the point quoting Stanley Kubrick and Clint Eastwood,
those two directors are in another league.
And by the way the strings are so big than you are even not surprise by the "ironic twist" as you call it.
For me it's just an obvious twist to make you cry.
 
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