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LonesomePolecat

Greatest Film Ending of All Film-dom

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Which movie has the greatest ending of all time?

 

And when I say ending, I mean the actual last frames of the film (i.e. Han and Luke's medal ceremony), not necesarrily the climax of the plot (i.e. when Luke destroys the death star)

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The original *Planet of the Apes*. Showing us the remnants of the Statue of Liberty after Charlton Heston's final lines ("Oh my God. I'm back. I'm home. All the time, it was... We finally really did it. You Maniacs! You blew it up! Ah, damn you! God damn you all to hell!") and Linda Harrison's puzzled reaction was, in my opinion, the best ending of all time.

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The ending to the Canadian film Last Night is amazing. As Don Mckellar and Sandra Oh run towards each other, The world burns up by getting to close to the sun, all to strains of Peter Seeger's version of Guantanamera.

 

 

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The end of *The Poseiden Adventure* (1972). The survivors are rescued and told they are the ONLY survivors. Then they get loaded on the helicopter, and it flies off. THE END. The film doesn't give us what we want --- one more reflective scene aboard the chopper where the survivors discuss the harrowing experiences they have just endured and the loved ones they have lost. But that would just have been needless, anti-climactic chatter. The ending (as is) leaves us wanting more. Brilliant.

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The one which comes to me mind first is the dissolve at the end of: *Formula of Love* (1984). Caliostro has been aloof, he has been running from authorities and he has been shunning a local painter. The ending is that he is posing while surrounded by people who have become close to him and this includes soldiers who have been sent to arrest him and then the live dissolves into the painting.

 

I find it great when the protagonist walks away down an empty street. I know it is a trite and stock ending for many movies but it does touch me. It is the ending for at least one The Saint movie.

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Eeh! This one's EASY to answer!

 

Here it is...

 

 

 

(...and I don't give a freakin' fig if ANYBODY here thinks it's "too sentimental"...so THERE!!!)

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There are so many great films with so many different sorts of great climaxes/endings. But this one is right up there as one of the most powerful (I'm still waiting for TCM to show this movie, it's a perfect fit):

 

 

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The ending of *Cinema Paradiso* which is perhaps the greatest valentine to film ever.

 

Or Miss Jean Louis walking Arthur Radley home at the end of *To Kill a Mockingbird* and the voice narration from Kim Stanley.

 

Never has the Universal backlot felt so universal.

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No ifs, and, or buts...*Casablanca* with the airport scene. You give up the woman you love because it is the right thing to do and get to kill a Nazi. Plus several grerat lines.

 

Rick: I'm saying it because it's true. Inside of us, we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. Maybe not today. Maybe not tomorrow, but soon and for the rest of your life.

Ilsa: But what about us?

Rick: We'll always have Paris. We didn't have, we, we lost it until you came to Casablanca. We got it back last night.

Ilsa: When I said I would never leave you.

Rick: And you never will. But I've got a job to do, too. Where I'm going, you can't follow. What I've got to do, you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now...Here's looking at you kid.

 

and

 

Renault: Round up the usual suspects.

 

and

 

Rick: Louis, I think this is the beginning of a beautiful friendship.

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The long walk at the end of THE THIRD MAN.

 

"I steal" at the end of I AM A FUGITIVE FROM A CHAIN GANG

 

"WE'LL BUILD A NEW SAN FRANCISCO" at the end of San Francisco.

 

"Frankly my dear, I don't give a ****" at the end of GONE WITH THE WIND.

 

John Wayne slowly walking away and the door closes at the end of THE SEARCHERS.

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City Lights seems far and away the clear cut choice. One can't comprehend how powerful the ending to that film is until it's there right in front of them. Never fails to move.

 

More plugging of a recent favorite - I find the ending of Moonrise Kingdom, possibly the most romantic film of the last 40 years (and that's "romantic" in the original sense of the word,) just as beautiful and moving.

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So many good examples. One of my favorite endings is in "Goodbye Mr.Chips." with Robet Donat saying, "I have had hundreds of children and all boys!" I cry everytime, it is so heartwarming and precious. To me at least.

 

Also, I love the end of "Gone with the Wind" with Scarlett saying with a tear strained face, "After all tomorrow is another day."

 

Sunset Blvd has another great ending, "I ready for my close-up Mr.deMille, with Gloria Swanson moving toward the camera in that creepy and crazy way.

 

Lori

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and

Renault: Round up the usual suspects.

and

Rick: Louis, I think this is the beginning of a beautiful friendship.

 

 

That would be my first favorite too.

 

 

*The Usual Suspects* wasn't bad either.

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I second all previous mentions ( Casablanca being the standout) and let me add this favorite:

 

h4. The More the Merrier.

 

Damn the torpedoes, full speed ahead!

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and another one with joel mcrea springs to mind. the palm beach story.

 

 

"and they lived happily ever after. or did they?"

 

 

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{font:Times New Roman}The end of *The Magnificent Seven*. Chico leaves Chris and Vin to stay with Rosita. Chris says “Only the farmers won. We lost. We always lose.” {font}

 

{font:Times New Roman}I find this so sad as I believe that it’s never too late to be “found” as long as you’re alive no matter what you’ve done. {font}

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"Nobody's perfect", from the end of *Some Like It Hot*.

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IMO the hands-down winner is the closing shot from Angi Vera, but in order to appreciate it you have to see the movie. It involves a young girl in a limo passing her best friend struggling to pedal a bicycle up a hill on a rutted country road, and the ensuing sudden realization that she's sold her soul in a horrible bargain. I'd pay a hundred bucks to get a subtitled DVD of that movie.

 

But other than that, Mrs. Lincoln...

 

*"I STEAL!"* from I Am a Fugitive From a Chain Gang

 

The fadeout scene with Bette Davis and her gal pals at the end of Marked Woman, walking off anonymously into the night fog while Bogart the prosecutor takes in the glory

 

The ending of 42nd Street, with Warner Baxter listening to the exiting playgoers tell each other how he just lucked into a perfect script.

 

The fabulous line in The Killers that Edmond O'Brien's insurance company boss tosses out to him as a "bonus" for risking life and limb to crack the case that's saved the company a small fortune: Great job, and you don't have to come into work again until Monday. Of course it's Friday afternoon when he says it.

 

And maybe my favorite American punch line of all, at the end of the W.C. Fields and Alison Skipworth segment of If I Had A Million, where a road hog destroys their newly bought limo, but Skipworth, with a steering wheel around her neck, just turns to Fields and says "Oh, Rollo, it's been a *glorious* day!"

 

Of course if we tried this for 30 straight days we might come up with 30 different choices, but those are the ones that pop into mind today.

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DR STRANGELOVE.

 

When Soviet Ambassdor deSadesky sets his pocketwatch bomb inside the War Room, and then all the atomic bombs detonate to the accompaniment of Vera Lynn's rendition of "We'll Meet Again," what would in any other film merely be "The End" really is The End (of everything).

 

You can't top that.

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I think I prefer the ending to the Wynne Gibson segment of *If I Had a Million*, even if that one doesn't have a punch line.

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I've always loved the last frames of the Maltese Falcon; Bogart staring at Mary Astor while she looks staight ahead, the elevator begins to descend as he heads down the stairs while the music kicks in. Such a well directed scene. The final moments of The Godfather 1, where the door closes on Diane Keaton is another favorite.

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The ending of *The Thomas Crown Affair* (1968) is perfect because it is so very poignant in showing how much is lost in winning.

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