"Gone With The Wind": Telling Others What They Don’t Want To Hear

"Gone With The Wind" is the 1939 classic film about how life in the American South was changed forever during and following the Civil War against the North.

The 2 ½ minute clip begins with a group of several Southern gentlemen sitting around in the den of a big mansion. They are all discussing and in agreement on the inevitable conflict with the North. They are making boastful statements like: "The situation is simple. The Yankees can’t fight and we can." "One Southerner can lick twenty Yankees." "Gentlemen can always fight better than rabble." Rhett Butler (Clark Gable) looks silently on.

Rhett Butler is then asked for his opinion. He walks toward the middle of the room and asserts confidently: "I think it’s hard to win a war with words, gentlemen. There’s not a canon factory in the whole South. I’m saying very plainly that the Yankees are better equipped than we are. They’ve got factories, ship yards, coal mines. And a fleet to bottle up our harbors and starve us to death. All we’ve got is cotton and slaves and arrogance."

Everyone is indignant and upset at what he has said. One man confronts him directly, accusing him of treachery. Butler calmly responds, "I’m sorry if the truth offends you." He angrily responds with a personal attack, saying that apologies are not enough, Butler had been kicked out of West Point, and an unintelligible comment about his having no decent family in Charleston. Butler looks at him without expression for a moment and says, "I apologize again for all my shortcomings." He turns to the host and asks if he can walk around his place. "I seem to be spoiling everybody’s brandy and cigar and dreams of victory." He bows his head slightly and walks out of the room. The man still wants to pick a fight with him, but the host calms him down. Scene and clip ends.

"Grand Canyon": The Need To Believe In Miracles

"Grand Canyon", with Danny Glover, Kevin Kline, and Steve Martin, is a film about how unexpected circumstances and chance encounters can profoundly change people’s lives. The main story revolves around a black man, Simon (Danny Glover) preventing a stranded white motorist, Mack (Kevin Kline) in a tough L.A. neighborhood from being robbed and possibly injured. A couple of days later Mack visits Simon and buys him breakfast.

The two minute clip begins with Mack and Simon eating in a diner. Simon tells Mack that it is unlikely he saved Mack’s life. He probably would have just had his wallet stolen, so he shouldn’t feel obligated in any way.

Mack smiles and tells Simon a story. As he begins the film cuts to a black and white recollection scene of the incident Mack is describing.

"One morning, about three years ago, I was on my way to a meeting at the Mutual Benefit building on Wilshire, on the Miracle Mile. I love that name. I was thinking about the meeting I was going to. I was worried about it, actually. I started to step off the curb. A stranger grabbed me, yanked me back. A city bus went flying by my nose. It just filled up the world. Six inches from my nose. I would have been like a wet bug stain on the front of the bus. I wouldn’t have even felt it. It would have been over. So fast. I thanked this stranger, this woman in a baseball cap. But I was pretty much in a daze. When I thanked her she said, ‘My pleasure’. I didn’t notice till the last moment that the cap she was wearing was from the Pittsburgh Pirates. My favorite team since I was a kid." The scene cuts back to the diner.

"Roberto Clemente."

"Right. I never got over the idea that I should have thanked that woman more. Talked to her a while. Something. I mean, she reached out and yanked me back from the edge. Literally. Changed everything for me. For my wife. My son. And she just wandered off down the Miracle Mile. I just wondered, later on, was she for real? Was that a real person? Or was that something else, you know, sent from somewhere else? To grab me back from the curb."

"Is that what you wonder about me?"

"I just couldn’t let it happen again. I didn’t want to just let you drift away like she did and never talk to you. It didn’t seem right to let it happen twice. That’s why I’m bothering you."

"You’re not bothering me. You’re just buying me breakfast."

"Good." End clip here.

Time: 1 hour 12 minutes 08 seconds - 1 hour 14 minutes 23 seconds.

"The Stepford Wives": Stepford Men Want To Change Their Wives

"The Stepford Wives" is a comedy about an enclosed Connecticut community where the men use technological means to secretly transform their wives into their view of perfect women - submissive, subservient and always attractive. An unhappily married couple move into the community and the husband must decide what kind of wife he wants as his wife uncovers the truth.

The two minute clip begins with Stepford leader Mike Wellington (Christopher Walken) explaining to an angry Joanna Eberhart (Nicole Kidman) what is really happening in Stepford. He tells her, "We perfect you."

Joanna defiantly answers, "By turning us into robots? Does any fraction of the woman still exist?"

"Of course. Almost everything. Shall we show her?"

"Show me what?"

"It's a promotion I've been working on for when we go global." He walks up to a huge painting and points a remote at it. A film emerges. Mike is standing in a lab wearing a lab coat. The title "Is Stepford Right For You?" appears on the screen. Mike steps forward and says, "Some guys ask, how do we do it? In layman's terms, it's really pretty simple. Come on along. First we take a gloomy, dissatisfied woman." An animated picture of a scowling, unattractive woman appears. "Then in a very private experience between husband and wife, he gently places her in our Female Improvement System." An animated man, her husband, picks up the woman and puts her on a conveyer belt that rolls the woman into an egg shaped machine with the words "Female Improvement System" marked on it. "It's fully automated. And then, abracadabra, her transformation begins." The woman is pictured again, this time with the camera zooming into her brain. "First, we locate her brain. We insert a few nanochips. Then we program them. Also we add some special secret ingredients."

Computer chips are shown being put into the brain. Three containers marked "Sugar", "Spice", "Everything Nice" are put in the brain. "To avoid any accidents, the husband is kept at a comfortable distance." The husband is seen sitting on a sofa chair smoking a cigar and reading a newspaper. "Finally, we enhance her to fit the ideal Stepford Wife specification. And viola." Walking out of the machine is an attractive animated woman in a one-piece bathing suit, a pair of slippers in one hand and a tray holding a glass in the other. "Everything is copasetic." The woman kneels in front of her husband and puts slippers on his feet as he has a drink. "Welcome to the future." The words "Stepford: She's Gonna Love It" ends Mikes clip and this clip.

The men of Stepford take very drastic steps to change their wives into their view of the ideal wife. Change and transformation in loved ones can't be forced. If a person is willing, only God can truly transform him or her into the person they should be.

Scene 12: Joanna Confronts The Men; 1 hour 04 minutes 41 seconds - 1 hour 06 minutes 41 seconds.

"National Treasure": Ocular Device Needed To Decipher Document

"National Treasure" is about three treasure hunters following a series of baffling clues that lead to numerous ancient, priceless artifacts. One of the most important clues is on the back of the Declaration of Independence.

Ben Gates (Nicolas Cage) has just discovered special multi-focal glasses and brings them to his assistants in the treasure hunt, Abigail and Riley. He tells them, "I found these. Some kind of ocular device. The vision to see the treasured past."

Riley examines them and says, "They're like early American x-ray specs."

Abigail chips in, "Benjamin Franklin invented something like these."

Riley asks, "So what do we do with them?"

Ben tells him, "We look through it." They carefully open up the authentic Declaration of Independence document and turn it over. Ben observes, "The last time this was here, it was being signed." Ben puts on the spectacles and looks at the back of the document, which is blank. But through the spectacles a mysterious, colorful image with words appears. Ben gasps.

Riley asks eagerly, "What is it? Is it a treasure map?"

"It says, 'Heere at the wall', spelled with two E's. Take a look."

Abigail takes the glasses and puts them on. She gasps. "Wow."

Riley laments that it is another clue that they need to figure out. "Why can't they just say, 'Go to this place, and here's the treasure, spend it wisely?'" End clip here.

God's Spirit is a type of ocular device we need in order to discover and mine all the treasure in His Word. Without it the sacred document remains a mystery.

Scene Selection 11: The Ocular Device 1 hour 16 minutes 49 seconds - 1 hour 18 minutes 22 seconds.

"King Arthur" is a more political, historical, and less mystical film than most previous Arthur films. Arthur (Clive Owen) and his knights had been forced and trained to serve the Roman Empire in Britain from the time they were boys and their mandated 15 years of service was now up. However, they were given one last almost impossible mission before their freedom would be officially granted. None of the men are happy. Arthur walks into a large stable and picks up a saddle. He thinks for a second then slams the saddle down. Then he prays.

"Oh merciful God, I have such need for your mercy now. Not for myself, but for my knights, for this is truly their hour of need. Deliver them from the trials ahead and I will repay you a thousand fold with any sacrifice you ask of me. (Another knight, Lancelot, walks into the stable.) And in your wisdom, if you should determine that sacrifice must be my life for theirs, so that they may once again taste the freedom that has so long been denied to them, I will gladly make that covenant. My death will have a purpose. I ask none more than that."

Lancelot is now behind him and sternly asks, "Why do you always talk to God and not to me?"

"My faith is what protects me, Lancelot. Why do you challenge this?"

"I don't like anything that puts a man on his knees."

"No man fears to kneel before the God he trusts. Without faith, without belief in something, what are we?"

Time: 28 minutes 40 seconds - 29 minutes 40 seconds from the "King Arthur" title.

"The Guys": No Reason For Life’s Tragedies

"The Guys" is based on a true story about a New York City fireman, Nick (Anthony LaPaglia), who, just a few days after 9/11, must give eulogies for eight fallen comrades. Pressed for time and unable to express his thoughts, he enlists the help and skills of a local writer, Joan (Sigourney Weaver).

Joan and Nick are seated in the living room of a home. Nick is sharing some of his thoughts about the events of September 11, 2001:

You know, the night before I said to Pat, "What shift do you want?" We did this all the time. Traded shifts. Always he had a reason. He’d say, "I’ll take today, you take tomorrow. I’ll take tomorrow, you take today. I’ve got Frankie’s soccer practice." I got this. I got that. Always had a reason. But on that day, he just said, "Well, I’ll take Tuesday morning." No reason. (He pauses, successfully holding back tears.) I’m alive and he’s dead. I don’t even know why. I lie awake at night just thinking, what’s the reason?

With a convinced look and tone Joan says, "There’s no reason." Clip ends.

DVD: Clip is near the end of chapter 12 "No Reason" and lasts just over a minute.

"Dangerous Minds": Young People Need Someone To Be A Light In Their Lives

"Dangerous Minds" is a 1995 movie based on a true story about high school teacher LouAnne Johnson (Michelle Pfeiffer) successfully making a difference in the lives of troubled but smart inner city students. By the end of the film she had made the difficult decision to leave the school because she had only intended to teach there temporarily and because of tragedies like the murder of one of her students.

At the start of this 2 ½ minute scene, LouAnne enters the class for her final day. She is surprised to see Callie, a girl who had previously quit school because of pregnancy. LouAnne asks her if she came back to talk her into staying. Callie answers, choosing her words carefully: "I wasn’t really sure what I wanted to do ‘till I heard that you were leaving. ‘Cause up until then, I didn’t know, I thought that you would always be here for me whenever I came back. But Raul tells me that you’re leaving. Just like that. (Shaking her head, as in disbelief.) And I realize that this is my last chance. And I decided, we decided (her head and eyes motioning to the class), that we’re not just going to let you leave like that."

LouAnne smiles and hangs her head bashfully at the compliment. Another student, Raul, says emphatically, "We realize like the poem said it. You can’t give in. You can’t go gentle. You’ve got to rage against the dying of the light!" Other students speak at once and give her exhorting words. LouAnne gently tells them she’s not giving in. It is her decision. "I have no reason to rage against the dying of the light."

Callie immediately says, "’Cause you’re not the one who’s raging. We’re the ones who are raging. Because we see you as being our light." LouAnne is surprised at this. She is speechless for a moment, then says, "What?"

Another student tells her she’s their "tambourine man". She responds, "Oh, I’m you’re drug dealer?" Everyone laughs. The mood is upbeat as another student says, "You’re our teacher. You got what we need. It’s the same thing." Raul tells her she taught them not to give up, so they’re not giving her up. The class senses that they are convincing her and one female student teasingly says, "Now listen, baby. We’re going to have to tie you down to the chair and gag you ‘cause you know we want you to stay." The class and LouAnne laughs. End clip here. She ends up deciding to stay. Time: 1 hour 29 minutes 38 seconds - 1 hour 32 minutes 05 seconds.

"Ethan Frome": Pastor Exemplifies Loving the Unlovely

"Ethan Frome", with Liam Neeson and Patricia Arquette, is a somber tale of misguided passion in a small turn-of-the-century New England town. Ethan Frome, a simple, hard working man, spends many years faithfully caring for his sick wife, who is often cold and distant. Soon he falls in love and has an affair with their live-in housekeeper. When she is thrown out by his wife, the two lovers are in such despair that they attempt suicide. The film’s conclusion reveals a town’s and a family’s shame. A severely lame Ethan Frome is living in social isolation with his still sickly wife and severely disabled housekeeper.

The four minute clip begins with the town’s new young minister walking on a snow covered street to the town’s general store. Inside Reverend Smith is conversing amiably with some of the locals. He points out to them that "... the importance of a church, surely, is not the state of the building but in the spiritual comfort it can offer."

Suddenly the front door opens and in walks Ethan Frome. He is so lame he walks slowly and awkwardly, bent sideways at a fairly sharp angle. There is a general feeling of discomfort and no one talks to him as he is given his mail. Reverend Smith looks at him with curiosity and introduces himself. Ethan responds saying his last name, takes his mail, and walks out of the store.

In the next scene Reverend Smith is having dinner at the home of two of his parishioners - a husband and wife - and expresses concern over the incident. "And everyone, everyone, they just ... it was like the parting of the Red Sea. I don’t want to be too quick to judge but if we are to foster a Christian community, then everyone must play their part. No one can be left in the cold."

The wife objects, saying, "I wouldn’t ..." She can’t seem to express her thought.

Reverend Smith is politely indignant and says, "You wouldn’t what? Try to talk to him? You wouln’t try to ease his burden? Where does he live?"

"Over the hill toward the flats. On the back road. It’s a long way."

"I’d like to see him. Would you take me there?"

The husband answers, "We leave the Frome’s alone, Reverend. It’s what’s best."

Next scene Reverend Smith is making his way alone through snow white, picturesque hills. He comes upon an old log farmhouse and knocks on the door. Not getting an answer, he begins to walk away when Ethan Frome opens the front door of the barn adjacent to the house. In an eager tone the Reverend says. "Remember me? We met the other day at the post office window. The new minister. I was passing by. I’m trying to visit all my parishioners. (Ethan closes the barn door and takes a few steps.) I was told that you’re not regular church ... on Sundays."

"We met the other day? What do you want?"

"I’m, aahh, in need of a driver, as you can see. I can pay 50 cents a week." He offers him the first weeks’ pay and tells Ethan he can start tomorrow if he’s free. Scene and clip ends.

Ethan accepts the offer. The film continues with the pastor learning the details of the tragic story. The film ends giving no conclusion as to whether the pastor was right in his admonition of the townspeople or whether they were justified in socially isolating the "family" that were a source of shame.

VHS Time: 6 minutes 15 seconds - 10 minutes 18 seconds from the American Playhouse Theatrical Films text.