A former wrestler and his family make a living performing at small venues around the country while his kid’s dream of joining World Wrestling Entertainment.
Starred by: Dwayne Johnson, Lena Headey, Vince Vaughn
[as Zack is wrestle fighting with Paige] Ricky Knight: Zak, what the bloody hell do you think you’re doing? If you really want to choke her out, then lock your fingers. Zak Knight: Yeah. Ricky Knight: Now pull it tight. [Zak pulls in his arms around Paige’s neck] Ricky Knight: Oh, yeah. Now she’s in trouble.
Townie #1: Okay, I know you. You’re from that weird family, aren’t you? Saraya ‘Paige’ Knight: We’re not weird. Townie #1: We don’t like wrestling. Hannah: How do you know if you’ve never been? Townie #1: I’ve never had rectal bleeding before, but I’m pretty sure I’m not a fan of that. Saraya ‘Paige’ Knight: How about I shove her head up your ass and we can find out?
Saraya ‘Paige’ Knight: Hello? Hutch: My name is Hutch Morgan, I’m calling from WWE. We’d like both of you to come try out for us. [every around the table jumps in excitement]
Daphne: Sorry, what is the WWE? Ricky Knight: Say what?
Daphne: You’re all wrestlers. Ricky Knight: Yes. Daphne: I mean it’s all fake anyway, isn’t it? Ricky Knight: If it was fake would I have broken half the bones in my body? Saraya ‘Paige’ Knight: His left leg bends both ways. Julia Knight: Oh, that’s nothing. You should see his cock. [Hugh chokes] Zak Knight: Mum. Julia Knight: Sorry. Penis. You should see his penis.
Saraya ‘Paige’ Knight: This is our shot, Zak. Zak Knight: I know.
[Paige and Zak bump into Dwayne Johnson backstage] Dwayne Johnson: Sorry about that. Zak Knight: Rock, Rock, Rock. Saraya ‘Paige’ Knight: We’re huge fans. Dwayne Johnson: Thank you so much. Saraya ‘Paige’ Knight: We’ve been fans since you had hair. Dwayne Johnson: [chuckles] Oh, thank you. Hey. It’s a choice. A damn good one too. See you, guys. [he turns to walk away] Zak Knight: Rock, Rock, Rock. [The Rock turns around] Dwayne Johnson: Yoh. Zak Knight: We’re wrestlers as well, actually. Saraya ‘Paige’ Knight: We’re actually doing tryouts today. Dwayne Johnson: Oh, cool. Zak Knight: What advice would you give us, if, if, we want to… Saraya ‘Paige’ Knight: Win over the crowd? Zak Knight: Win over the crowd? Dwayne Johnson: What are your names again? Saraya ‘Paige’ Knight: My name… Dwayne Johnson: It doesn’t matter what your names are! You walk around here interrupting The Rock! [to Paige] Dwayne Johnson: You’re like you haven’t seen the sun in twenty years! [to Zak] Dwayne Johnson: You’re like you just stepped out of Oliver Twist! [in a mocking English accent] Dwayne Johnson: “Please, sir. May I have some more advice, sir?” You want some advice? Here’s The Rock’s advice! Shut your mouth! [points to Zak] Dwayne Johnson: What you want? [points to Paige] Dwayne Johnson: What you want? How about what The Rock wants? The Rock wants you to go out there, take no prisoners, have no regrets, have no fear! Lay it all out on the line! Because if you don’t do that, The Rock is going to find your friend Mary Poppins. He’s going to take her umbrella. Yeah, he’s going to shine it up real nice. He’s going to turn that sonofabitch sideways and stick it straight up your candy asses! There’s your advice, straight out of the Jabroni-beating, pie-eating, trailblazing, eyebrow-raising, entertaining the globe never hotter, talking to two rejects from Harry Potter! [pause as both Zak and Paige looked stunned] Dwayne Johnson: So that’s how you win over the crowd. Zak Knight: Yeah. [Paige and Zak laugh; The Rock turns and starts walking off] Zak Knight: Thanks, Dwayne. Dwayne Johnson: Got it.
Hutch: Good morning, wrestling nerds. This is where we see whether or not you get to go on the WWE.
Hutch: Welcome to the tryouts. You got to have the skills, and you have to have the spark.
[Hutch is training the wrestlers] Jeri-Lynn: My name is Jeri-Lynn, and I am going to blow you. Hutch: Excuse me? Jeri-Lynn: Out of the water, yep. Hutch: Let’s put it together. Let’s keep it one. Jeri-Lynn: Of course.
Hutch: Why do you want to wrestle? Zak Knight: I’m the toughest bastard in any room. Probably shouldn’t swear, not when there’s ladies present. [turns to the short guy with long hair next to him] Zak Knight: Sorry, miss. I’m sorry about that.
Hutch: If I call your name, that means you’ll be coming with me to Florida. Paige. [to the rest of the group] Hutch: Thank you all very much.
Saraya ‘Paige’ Knight: You have to take my brother. No one deserves this more than Zak. Hutch: I wish you the best, son, but this is the end of the line for you.
Zak Knight: [to Paige] You’re not just doing this for you, you’re doing it for the family.
Zak Knight: Do you know what it’s like to want one thing in life, and then your own sister just takes it away from you? Saraya ‘Paige’ Knight: It was my dream too!
Jeri-Lynn: I love your accent. Saraya ‘Paige’ Knight: Thank you. Maddison: It’s so sexy. I am so jealous of you right now.
Saraya ‘Paige’ Knight: Sometimes some of these girls just want to get famous like cheerleaders, models. Maddison: I was a model. Saraya ‘Paige’ Knight: Oh, right. Jeri-Lynn: Cheerleader. Saraya ‘Paige’ Knight: See you later.
Welcome to Marwen (2018) New Trailer and Top Quotes On April 8, 2000, aspiring artist Mark Hogancamp (Steve Carell) became a victim of a violent assault when five men beat him up and left him for dead. Following the attack, Mark was left with little to no memory of his previous life due to brain damage inflicted by his attackers. In a desperate attempt to regain his memories, Hogancamp constructs a miniature World War II village called Marwen in his yard to help in his recovery. Unfortunately, Mark’s demons come back to haunt him when he’s asked to testify against the five men that attacked him..
Marwen Top Quotes
GI Julie: [teaching Mark how to walk again] One foot in front of the other. You got it, Mark. You got… Mark Hogancamp: [Mark stumbles and falls] It hurts like hell!
GI Julie: Relax, Mark, you got to embrace that pain. You’ve got love the pain. The pain is a rocket fuel.
Mark Hogancamp: I was beaten up because I was different, so I’ve built a place where I can heal.
Story: The story of Dick Cheney (Christian Bale), an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
starred by Christian Bale, Amy Adams, Steve Carell
Vice Quotes [from trailer]
George W. Bush: Whaddaya say?… I want you to be my VP. I want you, you’re ma vice. Dick Cheney: Well, George, I, uh… I’m a CEO… of a large company. And I have been Secretary of Defense… and I have been White House Chief of Staff. The Vice Presidency is a mostly symbolic job. George W. Bush: Uh-huh. Dick Cheney: However, if we came to a, uh… different… understanding… I can handle the more mundane… jobs. Overseeing bureaucracy… military… energy… and, uh… foreign policy. [pause] George W. Bush: Yeah, right! I like that!
George W. Bush: So we gonna do this thing, or what? I mean, is this happening? Dick Cheney: I believe… we can make this work. George W. Bush: Hehehe!
Movie Quotes Bohemian Rhapsody and Trailer 2018 Rami Malek Oscar, winner
[after listening to Bohemian Rhapsody] Ray Foster: It goes on forever, six bloody minutes! Freddie Mercury: I pity your wife if you think six minutes is forever.
[from trailer, Brian May finishes Bohemian Rhapsody guitar solo in studio] Brian May: So now what? Freddie Mercury: Oh, this is when the operatic section comes in. Brian May: Ah. The operatic section, yeah…
[Freddie approaches bandmates wearing extravagant outfit, Brian May’s eyes widen] Brian May: That’s a nice fancy dress, Fred. Freddie Mercury: I’ve got to make an impression, darling! Brian May: You look like an angry lizard!
John Reid: So, tell me. What makes Queen any different from all of the other wannabe rockstars I meet?
Freddie Mercury: Tell you what it is, Mr. Reid. Now we’re four misfits who don’t belong together, we’re playing for the other misfits. They’re the outcasts, right at the back of the room. We’re pretty sure they don’t belong either. We belong to them.
Ray Foster: We need a song teenagers can bang their heads to in a car. Bohemian Rhapsody is not that song.
[Freddie invites Roger over to his new mansion] Freddie Mercury: What do you think? [Roger looks at Freddie’s mustache] Roger Taylor: Gayer.
[from trailer, recording operatic section of Bohemian Rhapsody] Roger Taylor: [singing in high pitch] Galileo! Freddie Mercury: Do it again. Roger Taylor: [singing in high pitch] Galileo! Freddie Mercury: One more. Roger Taylor: HOW MANY MORE GALILEOS DO YOU WANT?
[after listening to Bohemian Rhapsody] Ray Foster: Bohemian… Brian May: Rhapsody. It’s poetic. Ray Foster: What on earth is it about? Scaramouche? Galileo? Beelzebub? And that Ismallah business? Freddie Mercury: Bismillah.
[from trailer] Brian May: I wanna give the audience something that they can perform. [Brian stomps his foot twice and claps, he and other band members follow along to the beat of We Will Rock You] Freddie Mercury: What’s the lyric?
Freddie Mercury: [Quoting Zoroaster] Good thoughts, good words, good deeds. Just like you taught me, papa. [Bomi embraces Freddie]
Roger Taylor: You’re a legend, Fred. Freddie Mercury: We’re all legends. [pause] Freddie Mercury: But you’re right, I am a legend.
[from trailer] Mary Austin: [to Freddie] I love the way you move on stage. The whole room belongs to you. Don’t you see what you can be?
Jim Beach: They just need a bit of time.
Freddie Mercury: What if I don’t have time?
[about to perform] Roger Taylor: Ready, Freddie? Freddie Mercury: Let’s do it.
Jim Hutton: I like you too, Freddie. Come and find me when you decide to like yourself.
[from trailer] Ray Foster: Mark these words: NO ONE will play Queen. Jim Beach: Fortune favors the bold.
Freddie Mercury: The human condition requires a bit of anesthesia.
Mary Austin: [to Freddie, crying] Your life is going to be very difficult.
Freddie Mercury: Roger, there’s only room in this band for one hysterical queen.
Young Man at Clinic: [as Freddie passes him by] Ay-oh? Freddie Mercury: [Stopping and looking back at him] Ay-oh.
[Freddie meets Mary’s deaf father on his birthday] Freddie Mercury: [to Mary] Tell him thanks for the birthday cake. And tell him you’re an epic shag. Mary Austin: Freddie, he can read lips!
[from trailer] Freddie Mercury: We can be. We believe in each other… that’s everything. We are going to do great things. It’s an experience – love, tragedy, joy… it’s something that people will feel belongs to them.
Ray Foster: Bohemian… Brian May: Rhapsody. Ray Foster: Rhapsody. What is that? Freddie Mercury: An epic poem. Ray Foster: It goes on forever, six bloody minutes! Freddie Mercury: I pity your wife if you think six minutes is forever. [pause] Freddie Mercury: And you know what? We’re going to release it as our single. Ray Foster: [laugs] Not possible. Anything over three minutes, and the radio stations won’t program it. John? John Reid: Yeah, we need radio. Format is three minutes. Ray Foster: What about ‘I’m in Love with My Car’? [disappointed look on Queen’s faces before Freddie kicks Ray’s desk] Ray Foster: Well, that’s the kind of songs teenagers can crank up the volume in their car and bang their heads to. ‘Bohemian Rhapsody’ will never be that song.
Freddie Mercury: I’m just a musical prostitute.
Roger Taylor: …Who even is Galileo?
Freddie Mercury: [singing on piano] Happy birthday, Mr Mercury…
Freddie Mercury: I am the lead singer not the leader of the band.
[after the band meets Mary’s husband David] Freddie Mercury: What do you all think of David? [pause] Brian May: He’s all right. Freddie Mercury: I think he’s gay.
Bomi Bulsara: [Quoting Zoroaster] Good Thoughts. Good Words. Good Deeds.
Freddie Mercury: We’re family. We believe in each other. That’s everything.
[from trailer] Brian May: We want to do something different. Ray Foster: It’s my money, I say what goes! Brian May: We can’t simply repeat ourselves. Freddie Mercury: No… we can do better.
Bomi Bulsara: So now the family name is not good enough for you. Freddie Mercury: I’ve changed it legally. No going back.
Roger Taylor: What are you doing later? Kashmira Bulsara: Homework…
Brian May: It’s America. They’re Puritans in public, perverts in private.
Jim Beach: The sun always sets behind you on Miami Beach.
Brian May: [to Freddie] No one will play us on the radio. We need to get experimental.
Baggage handler: Paki! Freddie Mercury: I’m not from Pakistan.
Freddie Mercury: Let’s go and punch a hole in the roof of Wembley Stadium. Brian May: Actually, Wembley Stadium doesn’t have a roof. Freddie Mercury: Then we’ll punch a hole in the sky.
[Roger threatens to throw a coffee machine at Brian and John] Brian May: Not the coffee machine!
Jim Hutton: Touch me again like that and I’ll belt ya.
Mary Austin: What do you want from me, Freddie? Freddie Mercury: Almost everything.
Brian May: [At press conference] Does anyone have questions about the music?
Ray Foster: Mark these words. No one will play Queen.
Freddie Mercury: I enjoyed the show. I also, I write songs. Brian May: Our lead singer just quit. Freddie Mercury: Well then, you’re going to need someone new.
Freddie Mercury: How much do you think we can get for this van?
Freddie Mercury: I have four extra incisors.
Freddie Mercury: I’m not going to be anybody’s victim, AIDS poster boy or cautionary tale.
Paul Prenter: I know who you are, Freddie Mercury.
Mary Austin: You’ve been burning the candle at both ends, Freddie.
Jim Hutton: Goodnight, Freddie. Or should I say good morning?
Mary Austin: You’re gay, Freddie. Freddie Mercury: I think I’m bisexual.
Shelley Stern: Freddie, could you tell us about the rumors concerning your sexuality?
Ray Foster: It’s my money. I say what goes!
Freddie Mercury: Jim? Jim Hutton: Yes, Freddie?
Freddie Mercury: I’ve got another martini. Would you like it? Jim Hutton: Yes.
Roger Taylor: [after singing Galileo in high pitch several times] My balls are in my chest.
Paul Prenter: [to German TV presenter] His lovers were countless.
Freddie Mercury: Freddie fucking Mercury.
Bohemian Rhapsody is a 2018 biographical film about Freddie Mercury, lead singer of the British rock band Queen. It follows the singer’s life from when he joins the band in 1970 to their 1985 Live Aid performance at the former Wembley Stadium in London. A British-American venture, it was produced by 20th Century Fox, New Regency, GK Films, and Queen Films, with Fox serving as distributor. Directed by Bryan Singer, it was written by Anthony McCarten, and produced by Graham King and Queen manager Jim Beach. It stars Rami Malek as Mercury, with Lucy Boynton, Gwilym Lee, Ben Hardy, Joe Mazzello, Aidan Gillen, Tom Hollander, Allen Leech, and Mike Myers in supporting roles. Queen members Brian May and Roger Taylor served as creative and musical consultants
Director Chris Weitz’s historical thriller is based on the story of how a group of Israeli secret agents arrested notorious SS officer Adolf Eichmann – the man who masterminded the “Final Solution” – in Argentina. Oscar Isaac plays the legendary Mossad agent Peter Malkin, while Ben Kingsley plays his emotionally manipulative arch-nemesis. After tracking Eichmann down to Buenos Aires, Malkin and his men captured him and brought him to Israel for a historic 8-month trial.
Stars: Oscar Isaac, Ben Kingsley, Mélanie Laurent
Operation Finale 2018 Top Quotes
David Ben-Gurion: Our memory reaches back through recorded history. The book of memory still lies open. And you here now are the hand that holds the pen. If you succeed, for the first time in our history we will judge our executioner. And we will warn off any who wishes to follow his example. If you fail, he escapes justice, perhaps forever. I beg you. Do not fail.
Adolph Eichmann: My job was simple: Save the country I loved from being destroyed. Is your job any different?
The Birth of a Nation (2016) Top Quotes and Trailer
The film opens with a dream sequence of a young Nat Turner (Tony Espinosa) being taken into the woods to meet with a tribe of natives. The tribe leader notes that children that were marked at birth (Nat has three vertical marks going down his chest) were meant to be chosen for something important.
Top The Birth of Nation Quotes
Nat Turner: You’re a child of God, you’ve got purpose. The law put it there and nobody can take it away.
[as young Nat goes to touch a book from the book case, Elizabeth stops him] Elizabeth Turner: These books are for white folks. They’re full of things your kind wouldn’t understand. You’re a special boy, Nathaniel. Study hard here.
Joseph Randall: Your slaves sure do know how to behave. Samuel Turner: I thank God for him. One of them is a preacher. Joseph Randall: People might pay good money to have them calm down a bit, especially by one of their own.
[preaching to the slaves] Nat Turner: I lead you to Peter 2:18. Submit yourselves to your masters, not only to those who are good and considerate, but also to those who are harsh.
[giving flowers to Nancy] Nat Turner: I’m Nat.
[to his master’s dinner guests] Nat Turner: Heavenly Father, we’ve come to thank you for your word and your will. Dinner Guests: Amen.
[to the other slaves; referring to Nat] Reverend Zalthall: You listen to him and you might just make it into heaven.
Samuel Turner: We’ve been good to you, my whole family has, and you go on and do something like this to me. A nigger baptizing a white man on my property. Do you know how this makes us look! This could ruin everything we worked for. Boy, you’d better say something and quick! Nat Turner: Take heed therefore unto yourselves, and to all the flock, over the which the Holy Ghost hath made you overseers, to feed the church of God, which he has purchased with his own blood. Reverend Zalthall: Exhort servants to be obedient unto their own masters, and to please them well in all things; not answering again. Nat Turner: You were bought at a price; do not become slaves of men. Reverend Zalthall: He that shall blaspheme against the Holy Ghost have never forgiveness.. Nat Turner: Beware of false prophets who come to you in sheep’s clothing, but inwardly are raven in wolves!
[as he goes to speak to a little white boy] Plantation Owner: What do you think you’re doing, boy? [he strikes Nat with his cane] Plantation Owner: I asked you a question. [as he goes to strike Nat again Nat grabs his cane]
[after being whipped] Samuel Turner: You’re done preaching for a little while. Learned your lesson well? Nat Turner: Oh, yes, I’ve learned.
[tending to Nat’s whipped back] Bridget Turner: To watch a strong man broken down is a terrible thing.
Nat Turner: Lord’s spoken to me, visions of what’s to come. The rise of good against evil. Simon: What are we going to do? Nat Turner: We’ll fight. But once it begins our brothers and sisters are drawn, then we’ll number in the hundreds, thousands even.
Nancy Turner: [to Nat] You fight. You fight for us all.
Nat Turner: They’re waiting on something. They’re waiting on us.
[preaching to the slaves] Nat Turner: Brethren, I pray you sing a new song. Sing praise in the assembly of the righteous. Let the saints be joyful in glory. Let the high praise of God be on the mouths of the saints and a two edged sword in their hand to execute vengeance on the demonic nations and punishment on those people to bind their kings with chains! Dishonor have all his saints! Praise the Lord! Praise the Lord! Sing to him a new song!]
Nat Turner: [after Nat watches a horrific scene between a slave and slave owner and has to preach to the slaves] Brethren, I pray you’ll sing to the Lord, a new song. Sing praise in assembly of the righteous. Let the saints be joyful in glory, let them sing aloud on their beds. Let the high praise of God be on the mouths of the saints and a two-edged sword in their hand to execute vengeance on the demonic nations! And punishment on those peoples! To bind their kings with chains, and their nobles with fens of iron! To execute on them this written judgement! This honor have all his saints! PRAISE THE LORD! PRAISE THE LORD! SING TO HIM A NEW SONG! PRAISE THE LORD! PRAISE THE LORD!
Snowden (2016) Trailer and Top Quotes Disillusioned with the intelligence community, top contractor Edward Snowden leaves his job at the National Security Agency. He now knows that a virtual mountain of data is being assembled to track all forms of digital communication — not just from foreign governments and terrorist groups, but from ordinary Americans. When Snowden decides to leak this classified information, he becomes a traitor to some, a hero to others and a fugitive from the law.
Snowden Top Quotes
Edward Snowden: Terrorism is just an excuse.
Corbin O’Brian: The modern battlefield is everywhere.
Edward Snowden: I think the greatest freedom that I have gained, the fact that I don’t have to worry about what happens tomorrow, Because I’m happy with what I’ve done Today.
Corbin O’Brian: Secrecy is security and Security is Victory.
Edward Snowden: But Austria?
Edward Snowden: You didn’t tell me we were running a dragnet on the whole world, Corbin.
Wolf Blitzer: The Washington Post and the Guardian in London reporting that the NSA and the FBI are tapping directly into the central servers of nine leading Internet companies, including Microsoft, Yahoo, Google, Facebook, AOL, Skype, YouTube, and Apple.
The movie starts on a porch where a White man named Richard Loving (Joel Edgerton) is sitting on the porch with his Black girlfriend, Mildred (Ruth Negga). It is the mid 1950s in Virginia. They go off to a drag race which Richard moderates; both Black and White people are in attendance despite it being a period of segregation. Another day later, Richard lays down bricks since he works on building houses. Later, he takes Mildred to an empty field a few miles from where he lives. There is a squared off section of dirt and he asks her where she thinks the kitchen and bathroom should go. He tells her hes bought an acre of land and asks her to marry him.
The next time we see Mildred, she is pregnant. Richard convinces Mildred to drive with him to Washington, D.C. to have their marriage performed because its supposedly quicker but its really because Virginia is one of 24 states where interracial marriage is still illegal.
They return to town, married, and Richard works at an auto shop, keeping his marriage a secret. When he comes home to the house he lives in with his mother, she tells him that the sheriff is looking for him. When he asks, “What did he want?”, she responds, “To find you”. Richard nails his marriage certificate on his wall. That night, Mildred and Richard go to sleep together. The sheriff busts into the house, hoping to see them engaged in sex but instead they are just sleeping. The sheriff asks “What are you doing with that woman?” Mildred replies, “I’m his wife”. The racist sheriff tells her, “That’s no good here. You went out of town knowing your marriage wasn’t legal in Virginia.”
Richard and Mildred are taken to the local jail and kept in separate cells. He is released on bail the next morning but she is told she will have to stay there until they can see the judge on Monday, which is several days away. Richard is forbidden to speak to her so she is left alone in jail, pregnant. When Richard turns to his home, he immediately sets out to hire a lawyer. The one he meets with says they’ll be sentenced to one year in prison but this sentence can be suspended on the condition that they leave the state of Virginia for a minimum of 25 years. At home, Richards mom now tells him, “I told you not to marry that girl”. He responds, “I thought you liked her”. She replies, “I like hundreds of people.”
Mildred is finally released from jail and attends court with Richard and their lawyer. They both plead guilty. The judge says exactly as predicted they can avoid jail time only if they leave town. Privately, Richard and Mildred balk at this idea, both wanting to stay in the town that they grew up in and love. But they have no choice so they move to Washington, D.C. where they can live as an interracial couple.
Richard and Mildred try to adjust to the city life but it doesn’t suit them. They much prefer an area filled with grass and fields than buildings and concrete. Even though they try to make the best of it, Mildred notes that she always thought Richard’s mom would be the one to deliver their baby, as she does for many families. On this notion, Richard arranges for them to return to Virginia for his wife to give birth to his child. They drive into town and transfer Mildred into her brothers car midway. Richard stays low and then follows behind later. This way, they can show up in town separately because it is forbidden for them to be there together.
Mildred gives birth, with the assistance of Richard’s mom. The next day, Richard is outside and the police arrive, having been alerted to his return. They ask about Mildred but Richard says she’s not there. The police threatens to beat him into a pulp if he doesn’t retrieve her. Mildred hears from inside. She kisses her newborn baby and hands him over to her sister; she then comes out on the patio, revealing herself.
Now both Mildred and Richard are in jail again. They are worried about serving jail time for violating the court order. In court, their lawyer from before returns and even though he knew nothing of their plan claims that he had informed them that Mildred could give birth in Virginia and that they shouldn’t be faulted for his misinformation. Outside, they try to thank him for his deed but he just asks them not to come back. Obviously that lie will only work once.
Back in Washington D.C., time has passed and Mildred and Richard now have three kids two older boys and a young daughter. Mildred’s sister visits but mentions that she hates how far away they are. Mildred complains that there are no fields for the kids to play in, like when she was growing up in Virginia. Later, the kids are outside playing with the neighborhood kids but they are forced to do so amongst the busy traffic roads. One of her sons gets hit by a car; he is okay but it shakes Mildred up and now she want to return to Virginia and to the country life.
At first, the family stays in small apartments discretely Mildred and the kids arriving first and then Richard joining them later. Then they move in with Mildred’s family. Footage from the 1960s Civil Rights Movement is on TV. Mildred’s cousins convince her she needs to get them to help fight the miscegenation laws that make her marriage illegal and suggest she writes to Attorney General Robert Kennedy. She does.
Richard is up on a ladder, working on the house when he sees a car speeding through the fields towards him. Afraid hes been found out, he rushes off the ladder and tries to hide. But it is just Mildred’s brother. When Richard asks why he seemed so frantic to get there, Mildred’s brother replies that he always drives that fast. Richard admits to being paranoid.
Mildred receives a phone call and is told that the ACLU (American Civil Liberties Union) wants to take her case and help fight for her. She doesn’t quite understand but the woman on the other end tells her that Robert Kennedy forwarded a letter to them and they will provide her with a lawyer. When she says she cant afford a lawyer, the woman clarifies that the help would be provided free of charge.
The lawyer, Bernie Cohen (Nick Kroll) comes into town and sets up his practice in a temporarily vacated office, in a comical scene. Mildred and Richard arrive and he explains how he is going to fight for their marriage and that it could go all the way to the Supreme Court. Bernie points out that enough time has passed since their last court case. He suggests one possibility is they can get arrested again so they can appeal and take it to the courts adding that the ACLU would bail them out. Neither Mildred or Richard is thrilled about the idea of exposing themselves as having violated the court order. Now Richard is skeptical altogether. But Bernie says he’ll continue brainstorming ideas and Mildred retains her confidence in him.
Another lawyer working pro bono suggests to Bernie that they can reopen the case simply by asking the judge to set aside his original verdict and if he appeals, then they can take it to the Virginia Supreme Court of Appeals. Bernie does this and and as predicted, the judge refuses to change his mind, setting their case back in motion. Back at the Lovings home, the lawyer laughs because the judges ruling claims that Almighty God created the races white, black, yellow, malay and red, and he placed them on separate continents. And but for the interference with his arrangement there would be no cause for such marriages. The fact that he separated the races shows that he did not intend for the races to mix. He finds this is going to help their case in the U.S. Supreme Court since its a ruling not based on the Constitution in any way.
To get publicity for the case, the lawyer sends a reporter from Life Magazine (Michael Shannon) to take some pictures of the couple. He spends the day with them and photographs Richard and Mildred as they show affection for each other around the house and while watching television.
The Virginia Supreme Court also rules against Mildred and Richard which allows them to take the case to the U.S. Supreme Court. They are met with reporters afterwards and continue promoting their case. Back at their home, they ask the lawyer what angle can be used against them in the Supreme Court. Their lawyer admits that they’re going to use the children, with the opposition claiming that its unfair to bring biracial children into this world this is juxtaposed with all three of their kids running around, playing, happily.
The Lovings are not going to be present during the Supreme Court so Bernie asks Richard if he wants to make any statements. He simply says, “Tell the court I love my wife.”
Mildred gets a phone installed in the house shes staying at so she can receive calls in case any news comes in. Richard continues his work at a construction site, laying bricks. When he gets into his truck after work, he sees a brick wrapped in a magazine page the Life Magazine article on his marriage with a picture of Richard and Mildred watching TV. Richard looks around the site, paranoid at who knows about his family. A vehicle follows his truck so he speeds up and drives erratically to lose it. But when he gets home, he realizes he might have simply been paranoid since no car has followed him that far.
Time has passed. Mildred gets a phone call telling her the Supreme Court has struck down the country’s last segregation laws, unanimously. Mildred remains stoic and polite but beams at the news.
Now Richard is laying bricks again but this time on the house he was planning on building for Mildred and him in the beginning of the film. In Virginia, with their now family of five.
Over titles, we learn Richard died in a car accident just eight years later. Mildred died in 2008.
Quotes of Loving Movies
Richard Loving: [from trailer] Tell the judge I love my wife. 16 of 17 found this interesting | Share this
Antonio Salieri believes that Wolfgang Amadeus Mozart’s music is divine and miraculous. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. He began his career as a devout man who believes his success and talent as a composer are God’s rewards for his piety. He’s also content as the respected, financially well-off, court composer of Austrian Emperor Joseph II. But he’s shocked to learn that Mozart is such a vulgar creature, and can’t understand why God favored Mozart to be his instrument. Salieri’s envy has made him an enemy of God whose greatness was evident in Mozart. He is ready to take revenge against God and Mozart for his own musical mediocrity. Written by Khaled Salem
[last lines] [Salieri is wheelchaired through the insane asylum] Antonio Salieri: Mediocrities everywhere… I absolve you… I absolve you… I absolve you… I absolve you… I absolve you all.
Antonio Salieri: All I wanted was to sing to God. He gave me that longing… and then made me mute. Why? Tell me that. If He didn’t want me to praise him with music, why implant the desire? Like a lust in my body! And then deny me the talent?
Antonio Salieri: [reflecting upon a Mozart score] On the page it looked nothing. The beginning simple, almost comic. Just a pulse. Bassoons and basset horns, like a rusty squeezebox. And then suddenly, high above it, an oboe. A single note, hanging there, unwavering. Until a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I’d never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing the voice of God.
Antonio Salieri: [addressing a crucifix] From now, we are enemies… You and I. Because You choose for Your instrument a boastful, lustful, smutty, infantile boy and give me for reward only to recognize the incarnation. Because You are unjust, unfair, unkind, I will block You, I swear it. I will hinder and harm Your creature as far as I am able. I will ruin Your incarnation.
Antonio Salieri: Leave me alone. Father Vogler: I cannot leave alone a soul in pain. Antonio Salieri: Do you know who I am? Father Vogler: It makes no difference. All men are equal in God’s eyes. Antonio Salieri: [leans in mockingly] *Are* they?
Antonio Salieri: [reflecting upon a Mozart score] Astounding! It was actually, it was beyond belief. But they showed no corrections of any kind. Not one. He had simply written down music already finished in his head! Page after page of it as if he were just taking dictation. And music, finished as no music is ever finished. Displace one note and there would be diminishment. Displace one phrase and the structure would fall. It was clear to me that sound I had heard in the Archbishop’s palace had been no accident. Here again was the very voice of God! I was staring through the cage of those meticulous ink-strokes at an absolute beauty. [he drops the pages] Constanze Mozart: Is it not good? Antonio Salieri: It is miraculous!
Antonio Salieri: [to Father Vogel] I will speak for you, Father. I speak for all mediocrities in the world. I am their champion. I am their patron saint.
Wolfgang Amadeus Mozart: Forgive me, Majesty. I am a vulgar man! But I assure you, my music is not. Emperor Joseph II: You are passionate, Mozart, but you do not persuade…
[Having played two pieces of music to Father Vogel, who does not recognize either] Antonio Salieri: Can you remember no melody of mine? I was the most famous composer in Europe. I wrote 40 operas alone! [suddenly inspired] Antonio Salieri: Here, what about this one? [he plays the first few bars of “Eine kleine Natchmuzik” while Father Vogel hums along] Father Vogler: Yes, I know that! Oh, that’s charming! I’m sorry, I didn’t know you wrote what. Antonio Salieri: I didn’t. That was Mozart. Wolfgang Amadeus Mozart. Father Vogler: [smile fades] The man you accuse yourself of killing.
Emperor Joseph II: My dear young man, don’t take it too hard. Your work is ingenious. It’s quality work. And there are simply too many notes, that’s all. Just cut a few and it will be perfect. Wolfgang Amadeus Mozart: Which few did you have in mind, Majesty?
[repeated line] Emperor Joseph II: Well, there it is.
Antonio Salieri: I heard the music of true forgiveness filling the theater, conferring on all who sat there, perfect absolution. God was singing through this little man to all the world, unstoppable, making my defeat more bitter with every passing bar.
Antonio Salieri: [to Father Vogel] While my father prayed earnestly to God to protect commerce, I would offer up secretly the proudest prayer a boy could think of: “Lord, make me a great composer. Let me celebrate Your glory through music and be celebrated myself. Make me famous through the world, dear God. Make me immortal. After I die, let people speak my name forever with love for what I wrote. In return, I will give You my chastity, my industry, my deepest humility, every hour of my life, Amen.” And do you know what happened? A miracle!
Antonio Salieri: My plan was so simple. It terrified me. First I must get the death mass and then, I must achieve his death. Father Vogler: [stares in horror] What? Antonio Salieri: His funeral! Imagine it, the cathedral, all Vienna sitting there, his coffin, Mozart’s little coffin in the middle, and then, in that silence, music! A divine music bursts out over them all. A great mass of death! Requiem mass for Wolfgang Mozart, composed by his devoted friend, Antonio Salieri! Oh what sublimity, what depth, what passion in the music! Salieri has been touched by God at last. And God is forced to listen! Powerless, powerless to stop it! I, for once in the end, laughing at him! [beat] Antonio Salieri: The only thing that worried me was the actual killing. How does one do that? Hmmm? How does one kill a man? It’s one thing to dream about it; very different when, when you, when you have to do it with your own hands.
Antonio Salieri: Are you sure you can’t leave these and, and come back again? Constanze Mozart: It’s very tempting sir, but it’s impossible, I’m afraid. Wolfgang would be frantic if he found those were missing, you see they’re all originals. Antonio Salieri: Originals? Constanze Mozart: Yes, sir, he doesn’t make copies. Antonio Salieri: These, are originals?
Antonio Salieri: [to Father Vogel] Your merciful God. He destroyed His own beloved, rather than let a mediocrity share in the smallest part of His glory. He killed Mozart and kept me alive to torture! 32 years of torture! 32 years of slowly watching myself become extinct. My music growing fainter, all the fainter till no one plays it at all, and his…
[addressing the complaints about the “improper” libretto for “Figaro”] Wolfgang Amadeus Mozart: Come on now, be honest! Which one of you wouldn’t rather listen to his hairdresser than Hercules? Or Horatius, or Orpheus… people so lofty they sound as if they shit marble!
Wolfgang Amadeus Mozart: [trying on wigs] They’re all so beautiful. Why don’t have three heads?
[the Emperor offers the sheet music of Salieri’s welcome march to Mozart] Wolfgang Amadeus Mozart: Keep it Majesty, if you want. It’s already here in my head. Emperor Joseph II: What? On one hearing only? Wolfgang Amadeus Mozart: I think so, Sire, yes. Emperor Joseph II: Show us.
Wolfgang Amadeus Mozart: Why must I submit samples of my work to some stupid committee just to teach a thirteen-year-old girl? Count Von Strack: Because His Majesty wishes it. Wolfgang Amadeus Mozart: Is the emperor angry with me? Count Von Strack: Quite the contrary. Wolfgang Amadeus Mozart: Then why doesn’t he simply appoint me to the post? Count Von Strack: Mozart, you are not the *only* composer in Vienna. Wolfgang Amadeus Mozart: No, but I’m the best!
Antonio Salieri: [to Father Vogel] So rose the dreadful ghost from his next and blackest opera. There, on the stage, stood the figure of a dead commander. And I knew, only I understood that the horrifying aparition was Leopold, raised from the dead! Wolfgang had actually summoned up his own father to accuse his son before all the world! It was terrifying and wonderful to watch. And now the madness began in me. The madness of the man splitting in half. Through my influence, I saw to it Don Giovanni was played only five times in Vienna. But in secret, I went to every one of those five, worshipping sounds I alone seem to hear. And hour after hour, as I stood there, understanding how that bitter old man was still possessing his poor son even from beyond the grave. I began to see a way, a terrible way, I could finally triumph over God.
Emanuel Schikaneder: Look, I asked you if we could start rehearsals next week and you said yes. Wolfgang Amadeus Mozart: Well, we can. Emanuel Schikaneder: So let me see it. Where is it? Wolfgang Amadeus Mozart: Here. It’s all right here in my noodle. The rest is just scribbling. Scribbling and bibbling, bibbling and scribbling.
Antonio Salieri: He was my idol. Mozart, I can’t think of a time when I didn’t know his name. I was still playing childish games and he was playing music for kings and emperors. Even the Pope in Rome! I admit I was jealous when I heard the tales they told about him. Not of the brilliant little prodigy himself, but of his father, who had taught him everything.
Wolfgang Amadeus Mozart: “Confutatis maledictis” – when the wicked are confounded. “Flammis Acribus Adictis.” How would you translate that? Antonio Salieri: Consigned to flames of woe. Wolfgang Amadeus Mozart: Do you believe in it? Antonio Salieri: What? Wolfgang Amadeus Mozart: A fire which never dies, burning you forever? Antonio Salieri: Oh yes.
Wolfgang Amadeus Mozart: [of his great opera “Figaro”] Nine performances! Nine, that’s all it’s had! And withdrawn! Antonio Salieri: I know, I know, it’s outrageous. Still, if the public doesn’t like one’s work, one has to accept the fact gracefully. Wolfgang Amadeus Mozart: But what is it that they don’t like? Antonio Salieri: I can speak for the Emperor. You make too many demands on the royal ear. The poor man can’t concentrate for more than an hour… you gave him four. Wolfgang Amadeus Mozart: What did you think of it yourself? Did you like it at all? Antonio Salieri: I thought it was marvelous. Wolfgang Amadeus Mozart: Of course! It’s the best opera yet written, I know it… why didn’t they come? Antonio Salieri: I think you overestimate our dear Viennese, my friend. You know you didn’t even give them a good *bang* at the end of songs, to let them know when to clap? Wolfgang Amadeus Mozart: I know, I know… maybe you should give me some lessons in that.
Wolfgang Amadeus Mozart: [about the royal composer’s position he did not get] Whom did they choose? Antonio Salieri: Herr Zummer. Wolfgang Amadeus Mozart: Herr Zummer? But the man’s a fool, he’s a total mediocrity! Antonio Salieri: No, no, he has yet to achieve mediocrity.
Constanze Mozart: Wolfie, I think you really are going mad. You work like a slave for that idiot actor who won’t give you a penny. And here, this is not a ghost! This is a real man who puts down real money. Why on earth won’t you finish it? Can you give me one reason I can understand? Wolfgang Amadeus Mozart: It’s killing me.
[first lines] Antonio Salieri: Mozart! Mozart, forgive your assassin! I confess, I killed you…
Antonio Salieri: My father, he did not care for music. When I told him how I wished I could be like Mozart, he would say; “Why? Do you want to be a trained monkey? Would you like me to drag you around Europe, doing tricks like a circus freak?” [Salieri chuckles ruefully] Antonio Salieri: How could I tell *him*… what music meant to me?
Wolfgang Amadeus Mozart: [to Emperor Joseph II] Sire, only opera can do this. In a play if more than one person speaks at the same time, it’s just noise, no one can understand a word. But with opera, with music… with music you can have twenty individuals all talking at the same time, and it’s not noise, it’s a perfect harmony!
Wolfgang Amadeus Mozart: The whole thing is set in a harem, Majesty. In a seraglio. Count Orsini-Rosenberg: You mean in Turkey? Wolfgang Amadeus Mozart: Yes, exactly. Count Orsini-Rosenberg: Then why especially does it have to be in German? Wolfgang Amadeus Mozart: It doesn’t, especially. It could be in Turkish if you really want.
Antonio Salieri: [to Father Vogel] That was Mozart. That! That giggling dirty-minded creature I had just seen, crawling on the floor!
Antonio Salieri: The restored third act was bold, brilliant. The fourth… was astounding.
Wolfgang Amadeus Mozart: I actually threw the score on the fire, he made me so angry. Antonio Salieri: You burned the score? Wolfgang Amadeus Mozart: No, no. My wife took it out in time.
Antonio Salieri: Mozart, it was good of you to come! Wolfgang Amadeus Mozart: How could I not? Antonio Salieri: How… Did my work please you? Wolfgang Amadeus Mozart: [hesitantly] I never knew that music like that was possible! Antonio Salieri: [uncertainly] You flatter me. Wolfgang Amadeus Mozart: [insincerely] No, no! One hears such sounds, and what can one say but… Salieri!
Antonio Salieri: [about Emperor Joseph II’s musical tastes] Actually, the man had no ear at all. But what did it matter. He adored my music.
[Mozart loses at musical chairs] Emanuel Schikaneder: Herr Mozart, why don’t you name your son’s penalty? Wolfgang Amadeus Mozart: Yes, Papa. Name it. Name it, I’ll do anything you say. Anything. Leopold Mozart: I want you to come back to Salzburg with me, my son. Wolfgang Amadeus Mozart: Papa, the rule is you can only give a penalty that can be performed in the room. Leopold Mozart: I’m tired of this game, I don’t want to play anymore. Wolfgang Amadeus Mozart: But my penalty! [jumping up and down like an angry child] Wolfgang Amadeus Mozart: I’ve got to have a penalty!
Count Orsini-Rosenberg: Italian is the proper language for opera. All educated people agree on that. 2 of 2 found this interesting | Share this Antonio Salieri: [to Father Vogel] That was not Mozart laughing, Father… that was God. That was God laughing at me through that obscene giggle…
Wolfgang Amadeus Mozart: My music… they started without me!
Wolfgang Amadeus Mozart: [speaking backwards] Say I’m sick. Say I’m sick! Constanze Mozart: Yes, you are. You are very sick. Wolfgang Amadeus Mozart: [chuckling] No-ho-ho! Say it backwards, shit-wit!
Constanze Mozart: Stop it! Wolfgang Amadeus Mozart: I am stopping it! Slowly. There? See? I’ve stopped. Now we’re going back. Constanze Mozart: No! Wolfgang Amadeus Mozart: Yes, yes! You don’t know where you are! Here, everything goes backwards. People walk backwards, dance backwards, sing backwards, and even talk backwards. Constanze Mozart: That’s stupid. Wolfgang Amadeus Mozart: Why? People fart backwards.
Constanze Mozart: No. I’m not going to marry you. You’re a fiend! Wolfgang Amadeus Mozart: [speaking backwards] Ooy vol I tub. Ooy vol I tub! Constanze Mozart: Tub, but. I. Vol, love… But I love you? Wolfgang Amadeus Mozart: [nods, mouths] I love you.
Constanze Mozart: What are you doing here? Antonio Salieri: Your husband took sick. I brought him home. Constanze Mozart: But why you? Antonio Salieri: Because, madam, I was at hand.
Wolfgang Amadeus Mozart: It’s unbelievable, the director has actually torn up a huge section of my music. They say I have to rewrite the opera. But it’s perfect as it is! I can’t rewrite what’s perfect!
Wolfgang Amadeus Mozart: I am fed to the teeth with elevated themes! Old dead legends! Why must we go on forever writing about gods and legends? Baron Van Swieten: Because they do. They go on forever. Or at least what they represent. The eternal in us. Opera is here to enoble us. You and me, just the same as His Majesty.
Archbishop Colloredo: [to Mozart’s father] Your son is an unprincipled, spoiled, conceited brat!
Katerina Cavalieri: I heard you met Herr Mozart. Antonio Salieri: News travels fast in Vienna. Katerina Cavalieri: And he’s been commissioned to write an opera. Is it true? Antonio Salieri: Yes. Katerina Cavalieri: Is there a part in it for me? Antonio Salieri: No. Katerina Cavalieri: How do you know? Antonio Salieri: Do you know where it’s set, my dear? Katerina Cavalieri: No. Antonio Salieri: In a harem. Katerina Cavalieri: What’s that? Antonio Salieri: A brothel! Katerina Cavalieri: Oh-h-h-h! Antonio Salieri: Come. Let’s begin. Katerina Cavalieri: What does he look like? Antonio Salieri: Mozart? You might be disappointed. Katerina Cavalieri: Why? Antonio Salieri: Looks and talent don’t always go together, Katerina Katerina Cavalieri: Looks don’t concern me, maestro. Only talent interests a woman of taste.
Constanze Mozart: [to Mozart’s father] May I offer you some tea, Herr Mozart? Wolfgang Amadeus Mozart: Tea? Who wants tea? Let’s go out! This calls for a feast. You don’t want tea, do you, Papa? Constanze Mozart: Wolfie… Wolfgang Amadeus Mozart: I know, let’s go dancing! Papa loves parties, don’t you? Constanze Mozart: Wolfie! Wolfgang Amadeus Mozart: What? How can you be so boring? Tea…
Count Orsini-Rosenberg: [about Mozart] A young man trying to impress beyond his abilities.
Emanuel Schikaneder: [to Mozart] Look, you little clown, do you know how many people I’ve hired for you? Do you know how many people are waiting? Constanze Mozart: [shouting] Leave him alone! He’s doing his best! Emanuel Schikaneder: [to Mozart] I’m paying these people, don’t you understand? I’m paying these people to wait while you do nothing! It’s ridiculous! Constanze Mozart: You know what’s ridiculous? Your libretto, that’s what’s ridiculous! Only an idiot would ask Wolfie to work on that stuff! 12-foot snakes, magic flutes? Emanuel Schikaneder: What’s so intelligent about writing a Requiem mass? Constanze Mozart: Money! Money! Emanuel Schikaneder: She’s mad, Wolfie. Write it down please. Just write it down on paper. It’s no good to anybody in your head. To hell with your death mass.
Antonio Salieri: But why? Why would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. It had to be! Antonio Salieri: …It better be.