With mel brooks gregory hines dom deluise madeline kahn. Mel brooks brings his one of a kind comic touch to the history of mankind covering events from the old testament to the french revolution in a series of episodic comedy vignettes. Mel brooks s 1981 three part comedy set in the stone age the roman empire and the french revolution is pure guilty pleasure. It's tough to explain why "You're the man now, dog" needs to be on this list. For one thing, the movie that the quote springs from, a coming-of-age drama starring Sean Connery as a J.D. Salinger-like literary recluse who mentors a teenage basketball player, is completely forgettable, a sentimental retread of Good Will Hunting from people who should probably know better.
(Somehow, it made $80 million at the box office, a sign that the year 2000 really was a different time.) In the context of director Gus Van Sant's career, it's considered a semi-embarrassing speed-bump on the way to more experimental, riskier terrain like Gerry and Elephant. Sure, a grizzled Connery shouting, "PUNCH THE KEYS!" is funny on its own, but the importance of "You're the man now, dog!", which was featured in the trailer for the movie, is rooted in the phrase's digital afterlife. The site became a pre-Twitter and -Facebook behemoth with four million monthly users at its peak, according to a Gizmodo article about its rise and eventual fall. And it did fall hard, almost disappearing earlier this year after suffering a "catastrophic failure," but the site's influence is massive.
Buffy the Vampire Slayer creator and Avengers director Joss Whedon worked on a draft of the first X-Men script that was almost entirely scrapped, but in interviews over the years, the writer has taken credit for two distinct comedic lines that made it into the movie. First, there's the Wolverine "You're a dick" quip to Cyclops, which is a perfectly fine piece of comic-book banter. The other one, which Halle Berry's Storm delivers right as she electrocutes the villain Toad in front of the Statue of Liberty, is more controversial.
Despite the box office and critical success of the Marvel Cinematic Universe, you won't find many quotes from those movies on this list because the sitcom-like sheen to the dialogue and the slightly irreverent house style renders much of it completely disposable. Unafraid to play with cheesiness, Berry elevated a corny gag to camp poetry. No one expected the world to embrace the odd patch of Idaho that birthed Napoleon Dynamite and his friend Pedro, but boy, did it ever. Made on a budget of around $400,000, the film wound up grossing more than $46 million, which is what they call a "hit" in the movie business. Napoleon's brazenness and social ineptitude capture the uncomfortable feeling of being a high school outcast desperate for attention, but the scene goes beyond what most people can relate to when he stuffs Pedro's tots in the side pocket of his zip-up cargo pants.
It's a moment of Dada logic in a film that had so many people asking, "What the hell is this?" and answering themselves, "I don't know, but it's really funny." Simply, she's the funniest friend, the wildest travel companion, and the person most likely to stuff drugs in her butt. Haddish's performance is one of those truly special star-making comedy turns like Will Ferrell's in Old School, Melissa McCarthy's in Bridesmaids, or Zach Galifianakis' in The Hangover.
She steals this scene and then proceeds to walk away with the entire movie. While Jacques is being made-up in the king's garb, King Louis is visited by Mademoiselle Rimbaud. Rimbaud arrives to plead the king to pardon her father from Bastille.
The King, who has next to no problems with making exceptions to the law when it suits him, ask Mademoiselle Rimbaud what her father did to be sent to the Bastille in the first place. Mademoiselle Rimbaud says he was imprisoned for a comment at a dinner-party. When King Louis asks the nature of Rimbaud senior's faux pas, Mademoiselle Rimbaud quotes his statement of "The poor ain't so bad".
King Louis is appalled at the very notion and says that for someone to say "The poor ain't so bad" is so obscene she was lucky he was still alive. Mademoiselle Rimbaud renews her pleads to pardon her father's crime and release him. King Louis, who had been ogling Rimbaud the moment she appeared before him tells her he will pardon her father if she comes to his palace later that day and has sex with him.
When she refuses, King Louis re-enforces his request by telling her if she doesn't her father will be killed. With no other options Mademoiselle Rimbaud consents to allow herself to be ravaged by the king and leaves. History of the world part i is a 1981 film that provides a history of mankind covering events from the old testament to the french revolution in a series of episodic comedy vignettes. Narrated by orson welles and featuring a lot of famous faces in guest appearances beyond the official cast the film opens well with sid caesar playing a caveman then moves along to the unlikely but somehow hilarious juxtaposition of caesar s soldiers the other. History of the World, Part I is a 1981 film that provides a history of mankind covering events from the Old Testament to the French Revolution in a series of episodic comedy vignettes.
You'd be hard-pressed to find a cheesier, more pandering love story thanThe Notebook, based on the Nicholas Sparks novel of the same name, but just try to watch Rachel McAdams and Ryan Gosling fall in love without the icy protective shell around your heart melting just a little bit. It's the movie that created the "Hey Girl" Gosling image years before there was a "Hey Girl" meme. Like Love Actually, it gave couples lines to say to each other when their own feelings let them down. As McAdams and Gosling play and tease each other in the water, talking about reincarnation and feeling the exhilarating intoxication of new love, you just crave that killer romantic line that will make everything right in the world. Everyone swoons, and Gosling enters movie quote history.
Jessica Chastain is not exactly a "funny" performer, and Zero Dark Thirty, the controversial drama about the years-long hunt for Osama bin Laden, is definitely not a "funny" movie. The character she plays, a no-nonsense CIA intelligence analyst named Maya, is obsessed with her job, and when she gets in the room with James Gandolfini's gruff CIA Director she doesn't back down. The "motherfucker" line has a grim matter-of-factness to it that speaks to the movie's focus on Maya's single-minded, ethically warped mission. Zero Dark Thirty and The Hurt Locker, the two tactics-obsessed war films written by Mark Boal and directed by Kathryn Bigelow from the '00s, are filled with functional bits of military jargon, bureaucratic double-speak, and terse commands. They're not exactly quotable, choosing to focus on creating feelings of dread instead, but somehow the "motherfucker" line cuts through the tension and adds a much-needed moment of levity.
Moonlight, the Best Picture-winning sophomore feature from director Barry Jenkins, was the result of such delicate, thoughtful alchemy. The intimacy of the "in moonlight, black boys look blue" monologue, which finds Ali telling a personal story and embodying the voice of "this old lady" from his childhood in Cuba, is different than many of the more abrasive, explosive quotes on this list. But in a film built around small gestures, it has a profound, reality-altering power.
The line transports you through time and space, the vulnerability of the performer and the character working in perfect harmony. In general, Brooks' films aren't exactly noted for their political correctness—after all, the director's very first film was about an Adolf Hitler musical. Still, even he wondered if the breakout song in History of the World had finally crossed a line. "I don't know how audiences are going to react to the Spanish Inquisition sequence," Brooks told Mademoiselle. As he put it, trying to get a laugh out of any scene that involved "Jews on racks" could be "very dangerous." In the end, history repeated itself. After The Producers was released, Jewish leaders contacted Brooks en masse with complaints about the film's brazen Nazi gags.
Thanks to that big inquisition number, History of the World, Part 1 garnered a similar reaction. "I got a lot of write-ins from rabbis," Brooks admitted. The hardened career criminals and weary law enforcement officers of director Michael Mann's epic crime sagas often speak in clipped, coded language that reveals character through small details. Think of James Caan declaring "I was state-raised and this is a dead place" to a snooty administrator at an adoption agency in 1981's Thief. Think of Robert De Niro sneering, "You must've worked some dipshit crews" to Al Pacino across the dinner table in 1995's Heat. In its mix of tough-guy swagger and unapologetic cheese, it perfectly crystalizes the appeal of this ultra-tense, visually striking remake of the '80s television series.
No matter what, you know Sonny Crockett is a fiend for mojitos. For over a decade, the series, which spawned two sequels, a spinoff starring Queen Latifah, and a short-lived Showtime comedy, chronicled the bustling activity and nonstop banter inside a Chicago hair-cutting establishment owned by Ice Cube's Calvin Palmer Jr. But Calvin often ceded the floor to Cedric The Entertainer's Eddie, a gray-haired, glasses-wearing barber with opinions on just about everything. It's hard to think of many other comedies where the dialogue actually spilled out into the real world to this extent, prompting Jackson himself to pressure the studio to remove the offending lines about Civil Rights icons from the DVD. What's noteworthy about the actual scene is that almost everyone else in the shop at the time is already condemning Eddie's remarks, grumbling and booing in the background, and the Jackson line gets the biggest groans of all, showing "straight talk" like Eddie's always comes with a strong reaction.
We debated for a long time about whether or not quotes from foreign language films belong on this list, not because there isn't incredible writing in film from other countries , but because fewer bits of dialogue from films from outside the US and Britain have entered our American cultural lexicon. "Even artichokes have hearts" from Amélie is an exception. Just take a jaunt to Etsy and you'll find all kinds of merchandise bearing the cutesy phrase. History of the World Part I is a 1981 sketch comedy film written, directed produced by and starring Mel Brooks. Those are among mine as well, since they contain some of Brooks' most cheerfully vulgar gags.
Brooks has never been one to shy away from vulgarity — once famously bragging that his films rise "below vulgarity" — and this perhaps partially explains "Part One"'slukewarm critical reception at the time it was released. First, even when it isn't making a larger point, it is often quite funny. Brooks' big song-and-dance number about the Spanish Inquisition, for instance, holds up as hysterically tasteless in the tradition of Brooks' "Springtime for Hitler" in "The Producers" even if it doesn't have much depth. Yet some of the crass jokes educate you even as you chuckle. Take the wordplay that uses a 12-letter epithet to reference Oedipus, a character from Greek mythology; if you know the classics, you'll get the joke.
The most famous and inspiring quotes from history of the world part i. It's the soft menace and iron-hard gaze of Barkhad Abdi (then in his first-ever film role) that gives one of his opening lines its simple terror. After hijacking the merchant mariner Maersk Alabama, he holds its captain, played by Tom Hanks, at gunpoint, explaining the situation in the simplest possible terms. The scene has, naturally, been memed so much that now all you really have to do is post the screenshot of Abdi's face with no text, and everyone in that Twitter thread explaining why letting your cats roam outside is a bad idea will know that you can take it from here, thanks. In a display of novice genius,Abdi ad-libbed this line in the moment, using the pirate instincts of his character to seize control of the scene. In the second of his revisionist history films, Quentin Tarantino is in peak form, dishing out fantasy justice to abominable characters like Leonardo DiCaprio's Calvin J. Candie, a smooth-talking slave-owner with a passion for phrenology.
Candie's gleeful hatred—covered with a slimy veneer of Southern manners—puts the efficiency of Tarantino's character development on full display. The slave-owner is the quintessential talentless, overconfident man who believes himself far superior to a foreigner and a free slave, despite all evidence to the contrary. As he takes a childish slurp out of a coconut filled with booze, DiCaprio delivers the film's best line with the kind of uncomfortable familiarity and condescension that make the final act's revenge fantasy fully earned. It's the kind of line you could imagine a venture capitalist or similar vampire uttering today; we thankfully no longer sell humans as commodities, but the sickening nature of business sharks remains. You can probably trace Robert De Niro's underwhelming late-career moves like Dirty Grandpa to the mainstream commercial success of Meet the Parents, a franchise that spawned two sequels. Why not play an older guy who will say exactly what's on his mind when the formula has paid off in the past?
But it's the chemistry between De Niro's ex-CIA tough guy and Ben Stiller's bumbling idiot fiancé that makes the movie tick, as exemplified in this scene. Stiller's Greg, caught in another lie, attempts to tell the story of how he milked a cat, eliciting one of De Niro's intensely probing responses delivered without a trace of humor or irony in his voice. It's the kind of line that everyone in the whole family will find funny, achieving a universality you'd expect from a movie that turns the most reductive stereotypes about marriage and family into a lucrative comedy. How do you both follow up one of the most shocking twist endings of the '90s and one of the most quotable horror one-liners of all time? Night Shyamalan, you escape the shadow of "Bruce Willis was a ghost the whole time" and "I see dead people" by writing a moody, somber family drama that reveals itself to actually be a moody, somber superhero origin story. "They called me Mr. Glass," whispers Samuel L. Jackson's tragically villainous Elijah Price in Unbreakable's final moment, James Newton's haunting score swelling in the background as the audience figures out the deception at the heart of the story.
Shortly after Jacques is disguised as King Louis the streets irrupt with angry mobs while King Louis is waiting for Mademoiselle Rimbaud. King Louis quickly flees the palace and orders the arrangements to be made for Jacques to take his place as a stand in. Jacques is left perplexed as to his purpose but when Mademoiselle Rimbaud goes to meet King Louis, Jacques tells her the sex is unnecessary and forges the King's signature on a release form to allow her father freedom, despite this he is still mistaken for the king and set to be hung. Though King Louis is not seen again after Jacques takes his place he will later be found while in hiding and killed, as the entire sketch is based on actual French history.
The French Revolution is the last main segment of History of the World Part 1, which unfolds as a high-light reel of traditionally covered history drama, though each portrayed in a humorous light. As unrest grows in France, the king's advisor Count de Monet goes to speak with King Louis about preparations for potential rebellion. Count de Monet finds King Louis playing skeet, but instead of launching clay pigeons is instead launching peasants into the air and trying to hit them before they reach the ground. Count de Monet informs the king that the people are planning to rebel, once the king is convinced of the danger Count de Monet advises that they find a decoy to occupy the throne while the real king goes into hiding. Soon Count de Monet notices the garçon de pisse , Jacques, looks very much like King Louis . The King orders Monet to make arrangements to have "the piss boy" made-up to look like him and put in the palace the moment rebellion seems to hit the boiling point.
Perhaps the most important comedy element of "History of the World" is that it doesn't have a linear story. It is a series of sketches covering the Stone Age, the Old Testament, the Roman Empire, the Spanish Inquisition and the French Revolution, closing with a mock teaser trailer for the nonexistent sequel. Consequently, like the similarly intellectual sketch comedy film "Monty Python's The Meaning of Life" , "History of the World" is freed from all narrative constraints and able to tackle its subject on a more ambitious conceptual level.
While "The Meaning of Life" is about philosophy, however, "History of the World" is about history. Brooks casts his comedic eye at humanity's past and, if the sketches are any evidence, seems to view our story as one of big guys keeping little guys down. In Mustapha Mond's discussion of history, Brave New World gives some thought to a theme that George Orwell explores in detail in 1984.
Implicit in Mond's statement that "history is bunk" and his discussion of the history of the World State, is the fact that Mond and the other nine World Controllers have a monopoly on historical knowledge. In 1984, Orwell describes the mechanisms of this manipulation, as the government of Oceania actively revises history in order to serve its political goals from moment to moment. But in the World State, active revision is unnecessary because the population is conditioned to believe that, as Mond says, "history is bunk." Because they are trained to see history as worthless, they are trapped in the present, unable to imagine alternative ways of life. It is unclear why Mond takes the time to explain the history of the World State to the boys, though it certainly is a convenient way of explaining a possible pathway from the reader's world to that of the World State. Watching Simmons embody one of those types of band leaders is both exhilarating and horrifying. Am I laughing because this scene is funny, or am I laughing because I'm scared??
Superbad, the defining teen movie of the 2000s, is yet another film on this list that contains many, many iconic quotes. Well, prepare to be fucked by the long dick of the law—who is us in this instance—because we went with the declarative Seth Rogen's bumbling, drunk Officer Michaels shouts as he and Bill Hader's Officer Slater bust the high school rager. Jonah Hill's Seth is carrying out the very long Evan as the two cops come through the door, and Fogell's trying to lose his virginity upstairs. Like most of high school, nothing really goes as planned, but the one thing every high schooler can count on is at least one awkward interaction with bored police officers. Mary Harron's adaptation of Bret Easton Ellis' savage satire of Reagan-era American capitalism does so much more than capture the brutality and humor of the book.
With Christian Bale as the psycho, Patrick Bateman, his extreme aversion to human social interaction takes on a deathly serious tenor as embodied by the line Bateman uses to get out of any situation fast. Try it out the next time you're breaking up with someone, or are being questioned regarding a coworker's suspicious disappearance. The big difference is that Beyoncé, coming off her I Am… Sasha Fierce record and her part in Dreamgirls, plays the scorned wife, and she makes the most of the role in the film's climactic fight scene, dragging Larter by the leg and punctuating her lines with punches to the face. Obsessed is not a great movie—much of it is dull and derivative—but it comes alive in the final stretch, enlivened by the intensity of the performances and the tawdriness of the material.
At the moment, Obsessed is Beyoncé's last non-voice-acting Hollywood film role; if she returns to narrative feature films in the future, perhaps behind the camera, hopefully she'll bring a touch of Obsessed's pulpy, cathartic pleasure with her. Like almost every detail of Zack Snyder's hyper-stylized, pro wrestling vision of ancient history, the line "This is Sparta!," bellowed by Gerard Butler before kicking a Persian messenger into a bottomless pit, was ripped directly from a panel of Frank Miller's graphic novel of the same name. Still, it's tough to totally blame Miller, Butler, or even Snyder for the quote's ubiquity amongst a certain strand of beer-slamming, weight-lifting brutes in the mid-to-late '00s. The quote was featured heavily in the marketing materials, almost instantaneously generating memes, parodies, and remixes on sites like YTMND .
"This is Sparta!" was "a thing" before the movie even came out, celebrated and mocked for its macho gravitas. By the time the line became a punchline in the odious 2008 spoof Meet the Spartans, delivered with a big wad of spit and a giant smirk, the joke was already dead. The film opened in 484 theatres the same weekend as Raiders of the Lost Ark and Clash of the Titans and finished fourth for the weekend with a gross of $4.8 million, behind Raiders, Clash and Cheech and Chong's Nice Dreams. With a per-screen average of $10,000, it was Brooks' highest opening on a per-screen basis. Despite the strong start, poor word of mouth impacted its box office.
Although it grossed $31.7 million, it was considered a commercial disappointment because the film had been "tracking" well and Brooks' previous films had been so successful. In her tavern Madame Defarge incites a mob to plot the French Revolution. He gives her ten seconds to decide between "hump or death" and at the last second she agrees to "hump". History Of The World Part 1 Quotes - Hello friends Unbeliefe Facts, In the article you are reading this time with the title History Of The World Part 1 Quotes, we have prepared this article well so that you can read and retrieve the information in it. Hopefully the content of the post Article history of the world part 1 quotes, what we write can make you understand.
