5 Great Movie Monologues

.“They want to have a meeting with me, right? It will be me, McCluskey and Sollozzo. Let's set the meeting. We get our informants to find out where it's going to be held. Now we insist it’s a public place, a bar, a restaurant – some place where there's people so I'll feel safe. They're gonna search me when I first meet them, right? So I can't have a weapon on me then. But if Clemenza can figure a way to have a weapon planted there for me, then I'll kill them both.”

The Godfather (1972)
Al Pacino as Michael Corleone
Screenplay by Mario Puzo and Francis Ford Coppola
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“Well, I believe in the soul, the c*ck, the p*ssy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve and I believe in long, slow, deep, soft, wet kisses that last three days. Good night.”

Bull Durham (1988)
Kevin Costner as Crash Davis
Screenplay by Ron Shelton

“Then it don't matter. I'll be all around in the dark. I'll be everywhere. Wherever you can look and wherever there's a fight so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready, and when the people are eatin' the stuff they raise and livin' in the houses they build - I'll be there, too.”

The Grapes of Wrath (1940)
Henry Fonda as Tom Joad
Screenplay by Nunnally Johnson (Novel by John Steinbeck)

“I still do believe in God, old man. I believe in God and mercy, and all that, but the dead are happier dead. They don’t miss much here, poor devils. What do you believe in? Oh, if you ever get Anna out of this mess, be kind to her. I think you’ll find she’s worth it. I wish I’d asked you to bring some of these tablets from home. Holly, I’d like to cut you in, old man. There’s nobody left in Vienna I can really trust and we’ve always done everything together. When you make up your mind, send me a message. I’ll meet you any place, any time, and when we do meet, old man, it’s you I want to see, not the police. Remember that, won’t you. Don't be so gloomy. After all it's not that awful. Remember what the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love and they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long Holly.”

The Third Man (1950)
Orson Welles as Harry Lime
Screenplay by Graham Greene

“I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had 15 homicides and 63 violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a human being, goddammit. My life has value.' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out, and yell, 'I'M AS MAD AS HELL AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad! You've got to say, 'I'm as mad as hell and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: ‘I'M AS MAD AS HELL AND I'M NOT GOING TO TAKE THIS ANYMORE!’”

Network (1976)
Peter Finch as Howard Beale
Screenplay by Paddy Chayefsky