Cinema Gallery: 200 MORE Movie Images, Part 1 of 5

I am doing this only because (a) I enjoy it and (b) Movieman over at The Dancing Image let me know that I had a particular talent at this frame-grabbing business (he said that my previous 200 images in my Cinema Gallery were among his favorite movie blog posts ever, which is quite a compliment, coming from him). So, for 2010, I'm contributing 200 more entries towards my CINEMA GALLERY. I hope y'all find something fascinating about these images, and that they spur you on to watching the movies from which they hail. In the end, this is a deceptively simple post: you'll see only 40 frames here, but all are extremely indelible.

An innocent is fed in Au Hasard, Balthazar (Robert Bresson, 66)

The Color of Pomegranates. (Sergei Parajanov, 68)

Blue shadows on the trail in Three Amigos. (John Landis, 86)

A penguin's tears break into ice cubes in 8 Ball Bunny. (Chuck Jones, 50)

Kim Hunter, in all her backlit glory, reassuring David Niven in A Matter of Life and Death. (Michael Powell and Emeric Pressburger, 46)

A worthy woman's lowest point's hardly endured in The House of Mirth. (Terrence Davies, 2001)

"Satan?" The Iron Giant. (Brad Bird, 99)

A fan's disbelief's registered in A Hard Day's Night. (Richard Lester, 64)

The slap of righteousness in The Night of the Hunter. (Charles Laughton, 55)

A return to simpler times in The Deer Hunter. (Michael Cimino, 78)

The trapped witness the trapped in The Diary of Anne Frank. (George Stevens, 59)

Cozy couch play in Clueless. (Amy Heckerling, 95)

The marathon begins in They Shoot Horses, Don't They? (Sydney Pollack, 69)

Max's resume peaks in Rushmore. (Wes Anderson, 98)

Determining the depth of the Washington water in Being There. (Hal Ashby, 79)

"This Must Be The Place." Stop Making Sense. (Jonathan Demme and Talking Heads, 84)

A boy's nominally set for battle for Culloden. (Peter Watkins, 64)

Reaching for the meds in THX-1138. (George Lucas, 71)

The idyllic, yet somehow still scary opening shot to The Other. (Robert Mulligan, 72)

The Mercury '67 on the rise in Bullitt . (Peter Yates, 68)

The ultimate shot--the one that says it all--from Dazed and Confused. (Richard Linklater, 93)

Altered States: the beginning of a mind- and body-altering experience. (Ken Russell, 80)

In Barry Lyndon, a duel plays out. (Stanley Kubrick, 75).

Max Frost readies to address his young constituency in Wild In The Streets. (Barry Shear, 68)

Eggs broken, and situations assured, in Funny Games. (Michael Haneke, 97)

"You'll muck it up!" The Hill. (Sidney Lumet, 65).

Our hero faces our heroes in The Valley of Gwangi. (Jim O'Connelly, 69)

The play in the yard in Titicut Follies. (Frederick Wiseman, 67)

Fingers plink out a tune in Hausu. (Nobuhiko Ôbayashi, 77)

Fear of castration. After Hours (Martin Scorsese, 86)

Kristen's around the corner in Hardcore. (Paul Schrader, 79)

Many faces, one body, in Catfish. (Henry Joost, Ariel Schulman, 2010)

Touching up the twenty in To Live and Die in L.A. (William Friedkin, 85)

The last glimpse of home, from a far-up airplane, in American Graffiti (George Lucas, 73)

A deserted autumn street from Halloween. (John Carpenter, 78)

Notes for a film being made as we watch it. The Sea That Thinks. (Gert de Graaff, 2000)

The heady colors of Punch Drunk Love. (Paul Thomas Anderson, 2002)

A Texas drive-in sees no customers at the beginning of Midnight Cowboy. (John Schlesinger, 69)

That shiny dead hand breaking the overloaded waters of the once-raging Cahulawachee in Deliverance. (John Boorman, 72)

Still faithful, but disappointed, underneath West Virginia's Matewan. (John Sayles, 87)

Still to come: 40 more entries into 2010's Cinema Gallery pantheon.