A lot of great movies grab the audience’s attention from the very first line of dialogue, and these quotes can set the tone for the entire story. The first scene is an important moment, since it tells the audience what to expect. Filmmakers can manipulate this expectation to their advantage.
The first line of a movie often gets more attention than the average line of dialogue, which makes it a great moment to set the scene, introduce an important character or communicate the most important themes to the audiences. These lines can be powerful in the moment, but they often take on new meanings after the rest of the film plays out.
The Prestigeremains one ofChristopher Nolan’s best movies, and it shows the director putting many of his hallmarks in place years before the likes ofInceptionandInterstellar.One thing that he has always understood is the importance of beginnings and endings, andThe Prestigeis the perfect example of this.
It’s more than just an attention-grabbing way to kick things off.
The first line ofThe Prestigemight as well be addressing the audience directly, as Nolan set up his masterful illusion. By the time this line is echoed in the closing moments of the film, it takes on a whole new meaning. It’s more than just an attention-grabbing way to kick things off.
Orson Welles' directorial debutCitizen Kaneis often listed among thebest movies of all time, and this imposing reputation means that newcomers might not know just how entertaining it is. It starts with the mystery of a dying millionaire’s final word, but the search for “Rosebud” is merely the set-up for a fascinating exploration of the man’s life.
Citizen Kanecomes full circle in the end, as the true meaning behind Kane’s last utterance is finally revealed.It suddenly puts the entire story into a new perspective, and it’s worth watching again with this new information about the deep tragedy that hangs over the man’s life.
Goodfellasmarked a turning point inMartin Scorsese’s career, and its style has been imitated relentlessly ever since. However, there are several things that make Scorsese’s gangster classic special, starting with the shocking imagery of its first scene. A violent gangland hit is paired with a reference back to Henry’s childhood, contrasting the innocent with the brutally guilty.
Goodfellasopens with a startling glimpse into Henry’s future, before racing back to show his past. This juxtaposition is more than just a shock to the system, since Scorsese needs to tell the entire story of Henry’s life to paint a portrait of a wannabe gangster who gets in too deep. This way, the lifestyle loses its glamorous visage.
David Fincher startsGone Girlby setting the tone perfectly. He creates a tense atmosphere with a combination of music and movement, and the opening line spells things out more explicitly.Gone Girlis a twisty thriller that keeps the audiences guessing right alongside Nick. His first thoughts reveal a bit about himself and his marriage.
The choice of the word “lovely” to describe Amy’s skull, even when he’s idly fantasizing about murdering her, highlights the amicable facade that Nick and Amy have to constantly perpetuate. Their true feelings are wrapped in language like this, so that they remain unknown to the outside world, but also to each other.
Ford v Ferrariis an incredible racing movie, but what happens off the track is just as compelling as what happens on it. The relationship between Carrol Shelby and Ken Miles is heartfelt and beautifully rendered, even though the two men rarely relate to one another outside of their shared passion for motorsport.
Shelby’s first line inFord v Ferrariillustrates the fact thatracing is more than a sport for him and Miles; it’s something resembling a spiritual experience. James Mangold’s beautifully shot racing scenes convey this same emotion, meaning that Shelby’s philosophical monologue about the escapist power of racing rings true, even for those who can’t directly relate.
Spike Lee’sInside Manis one of themost exciting heist moviesever. This has a lot to do with the unpredictable nature of the bank robbery, but it’s mostly due to the intense dynamic between Clive Owen’s thief and Denzel Washington’s detective.The opening scene introduces Owen’s character in style.
Dalton Russell’s opening monologue, addressed directly down the lens, starts by telling his audience to pay attention. He then reveals a little about his circumstances and his plan, but there’s always an air of mystery, as if he’s reveling in this act of showmanship.
Sexy Beastremains a hidden gem, but the crime comedy has a cult following. Ray Winstone’s rasping vocals set the scene from the very first moments, as his retired gangster character luxuriates in the Spanish sunshine, content to waste as much time as he can without a serious thought passing through his mind.
“Oh, yeah. Bloody hell. I’m sweating in here. Roasting. Boiling. Baking. Sweltering. It’s like a sauna. Furnace. You can fry an egg on my stomach. Ohh, who wouldn’t lap this up? It’s ridiculous. Tremendous. Fantastic. Fan-dabby-dozy-tastic.”
Gal’s stream-of-consciousness rambling shows just how little is on his mind.He has enough time to truly feel the sensation of the sun on his skin, and he engages in some word association which suggests his idleness is verging on monotony. This is his happy place, soon to be ruined by the arrival of an old associate.
Sinnersopens with narration over a series of illustrations, emphasizing the folklore that underpins the story.Annie’s same speech about music and myth is repeated during the remarkable scene in the bar, in which Sammie’s song mingles with artists from both the past and the present.
Music is a common theme that runs throughoutSinners,so it’s appropriate for the opening scene to focus on its spiritual quality. This draws more attention to Sammie’s character as soon as he is introduced. It also ties some unique elements to the more familiar parts of the vampire myth thatSinnersuses.
L.A. Confidentialdigs into the murky criminal underbelly of Los Angeles, showing a different side to the glitz and glamor of Hollywood. Sid Hudgens' opening monologue, which voices one of his salacious gossip columns, contrasts the city’s pristine reputation with the dark reality perfectly.
“Come to Los Angeles! The sun shines bright, the beaches are wide and inviting, and the orange groves stretch as far as the eye can see. There are jobs aplenty, and land is cheap. Every working man can have his own house, and inside every house, a happy, all-American family. You can have all this, and who knows… you could even be discovered, become a movie star… or at least see one. Life is good in Los Angeles… it’s paradise on Earth. Ha ha ha ha. That’s what they tell you, anyway.”
It’s appropriate that Hudgens is the character who gets the first word inL.A. Confidential,since he acts as the general public’s guide to a sinister world of corruption and criminality. He occupies this same role for the audience, hinting at what’s to come with wit and warmth.
Notes on a Scandalrevolves around two electric performances from Judi Dench and Cate Blanchett. It’s Dench’s experienced, cynical school teacher who has the first line, since the story primarily takes place from her point of view.Her narration comes from her diaries, which are shown to be both meticulously kept and extensive.
Her first lines immediately highlight her duplicitousness and her self-imposed isolation.
As the title suggests, these diaries play an important role inNotes on a Scandal.They reveal Barbara’s true feelings and motivations, even when her actions seem noble on the surface. Her first lines immediately highlight her duplicitousness and her self-imposed isolation.
