I instituted the tag “Watching yourself” for movies in which an actor (A) plays an actor (B) and B watches a film in which A actually appeared. So, for example, in Two Weeks in Another Town, Kirk Douglas plays washed-up Hollywood star Jack Andrus, who in one scene watches a clip, supposedly of one of his old movies, but really of Douglas in The Bad and the Beautiful. Click on “Watching yourself” in the Tag Cloud at bottom right if you want to see more examples.
I now realize “watching yourself” can apply to directors as well as writers. After all, Vincente Minelli directed both The Bad and the Beautiful and Two Weeks in Another Town, so the clip of the former in the latter could be considered a sort of Hitchcockian cameo. I’ve got another example, which I learned about via the sleuthing of Jeremy James Prutchick on YouTube. It’s a brief scene (don’t blink) from Steven Spielberg’s Jurassic Park (1993). The creator of the cloned-dinosaur park, John Hammond (Richard Attenborough), is admonishing lead programmer Dennis Nedry (Wayne Knight–Seinfeld‘s Newman).
Don’t feel bad if you missed it — but in the last image, on the left side of Dennis’s computer monitor, is a scene from Spielberg’s first big hit, Jaws (1975): the one where Quint and Brody, on a boat, see the killer shark for the first time.
At another point, there’s another, totally out-of-sequence Jaws moment on the monitor, showing Roy Scheider as Chief Martin Brody. Prutchick helpfully enlarges it:
Here’s Prutchick’s frame-by-frame breakdown of the scene, which also includes a second Jaws moment on the monitor.
Francis Ford Coppola, Brian De Palma, George Lucas, Martin Scorsese, and Steven Spielberg are sometimes known as “the film school generation.” De Palma and Spielberg didn’t actually go to film school, but the designation fits because all five are lifetime students and devotees of the directors and movies that came before them.
One of Spielberg’s heroes and mentors is John Ford (1894-1973). The younger director once said, “I try to rent a John Ford film … before I start every movie, simply because he inspires me … He’s like a classic painter: he celebrates the frame, not just what’s inside it.” Spielberg offered his most explicit Ford homage in E.T. the Extraterrestrial (1982). The scene is also an unusual one for Movies in Other Movies. Usually, the film-within-a-film provides an ironic counterpoint or commentary on the main action. But Spielberg veritably mirrors Ford.
The scene takes place early in the film. Young Elliott (Henry Thomas) has encountered, befriended, and brought to his room a lovable alien creature. Being a boy, Elliott has to go to school; E.T., left to his own devices, raids the fridge for food and beers. He also gets hold of a Speak & Spell, which Wikipedia calls “one of the earliest handheld electronic devices with a visual display to use interchangeable game cartridges.“ E. T. will eventually hack the device in his attempt to phone home. For now, he uses it both as a television remote control and, it seems, to mind-meld with Elliott.
(I’ll note here that E.T. includes other movies as well: E.T. is horrified by the Tom and Jerry short “The Mouse Comes to Dinner” and watches the films This Island Earth and Michael the Brave; Elliott’s sister, Gertie, watches Sesame Street.)
Showing on the TV is a famous scene from Ford’s The Quiet Man (1953). In that movie, John Wayne plays Sean Thornton, an American returning to his ancestral Irish home. In the town, he spotted and become intrigued by a fiery (of course) redhead, Mary Kate Danaher (Maureen O’Hara). He buys a cottage and when he goes to inspect it, he comes upon Mary Kate, who’s been tidying up in a neighborly act. She’s scared and tries to run away, but he… Well, let’s watch along with E.T., who’s deeply affected by the scene and telepathically directs Elliott to reenact it (as well as to release biology-class frogs from imminent dissection).
To contemporary eyes, Sean’s romantic moves (and Elliott’s, too, for that matter) may seem a little grabby. On that point, I introduce the testimony of Sabienna Bowman, writing in the feminist magazine Bustle on the occasion of O’Hara’s death, in 2015 at the age of 95. Bowman says the kiss between Mary Kate and Sean is
not just the most memorable moment, but the one that is impossible to forget thanks to the passion O’Hara infuses into Mary Kate’s actions. To fully appreciate the scene, you must put yourself into a ’50s state of mind: Mary Kate enters Sean’s house unaccompanied (a huge taboo for an unmarried woman at the time) with the intent to clean it — but it is obvious she’s curious about this attractive American.
There is a moment when Sean realizes Mary Kate is in the house that she attempts to flee out into the raging winds. The cinematography only adds to the emotional rawness of the scene as Mary Kate’s red hair ripples in the wind and Sean snatches her arm and pulls her to him. It’s a typical move from the ’50s era idea of the perfect, bold American man that was Wayne, but it is Mary Kate’s response to his actions that makes this scene a classic. He pulls her in and kisses her, and then she throws a solid slap his way. It doesn’t land, but with her temper flaring and indignation written all over her face, O’Hara’s talent is breathtaking.
If you want to judge for yourself, here’s the full scene from The Quiet Man.