Monologues From Movies
If you are a fan of classic films then you will love this list of old school monologues from movies we have put together for you. Many of you might not have even heard of these films but there are some gems of monologues in them that many of you can work on. These movies star the likes of Gary Cooper, Humphrey Bogart, Katharine Hepburn and more. Some of these are lengthy monologues that you can really sink your teeth into.
“Acting is experience with something sweet behind it.” – Humphrey Bogart
Meet John Doe (1941)
Screenwriter: Robert Riskin
The fictional John Doe (Gary Cooper) (aka Long John Willoughby) delivered a radio address – an idealistic appeal to the common man – all the John Does (“the little punks”) in the world – to get up on their feet and pull together as a team:
Monologue: Ladies and Gentlemen, I am the man you all know as John Doe. I took that name because it seems to describe, because it seems to describe the average man – and that’s me. (He cleared his throat) And that’s me. Well, it was me before I said I was gonna jump off the City Hall roof at midnight on Christmas Eve. Now I guess I’m not average anymore. Now I’m getting all sorts of attention, from big shots too, the mayor and the governor, for instance. They don’t like those articles I’ve been writing…
Well, people like the governor, people like the governor and that fellow there can stop worrying. I’m not going to talk about them. I’m gonna talk about us – the average guys, the John Does. If anybody should ask you what the average John Doe is like, you couldn’t tell him because he’s a million and one things. He’s Mr. Big and Mr. Small, he’s simple and he’s wise, he’s inherently honest but he’s got a streak of larceny in his heart. He seldom walks up to a public telephone without shovin’ his finger into the slot to see if somebody left a nickel there. (Laughter) He’s the man the ads are written for. He’s the fella everybody sells things to. He’s Joe Doakes, the world’s greatest stooge and the world’s greatest strength.
Yes sir, yes sir, we’re a great family, the John Does. We are the meek who are, who are supposed to inherit the earth. You’ll find us everywhere. We raise the crops, we dig the mines, work the factories, keep the books, fly the planes and drive the buses, and when a cop yells, ‘Stand back there you,’ he means us – the John Does… We’ve existed since time began. We built the pyramids. We saw Christ crucified, pulled the oars for Roman emperors, sailed the boats for Columbus, retreated from Moscow with Napoleon, and froze with Washington at Valley Forge. Yes sir, we’ve been in there dodgin’ left hooks since before History began to walk. In our struggle for freedom, we’ve hit the canvas many a time, but we always bounced back because we’re the people – and we’re tough. (Applause)
They’ve started a lot of talk about free people goin’ soft, that we can’t take it. That’s a lot of hooey! A free people can beat the world at anything, from war to tiddly-winks if we all pull in the same direction (Applause) I know a lot of you are saying, ‘What can I do? I’m just a little punk. I don’t count.’ Well, you’re dead wrong. The little punks have always counted because in the long run, the character of a country is the sum total of the character of its little punks. (Applause)
But we’ve all got to get in there and pitch. We can’t win the old ball game unless we have teamwork. And that’s where every John Doe comes in. It’s up to him to get together with his teammate. And your teammate, my friends, is the guy next door to ya. Your neighbor – he’s a terribly important guy, that guy next door. You’re gonna need him and he’s gonna need you, so look him up. If he’s sick, call on him. If he’s hungry, feed him. If he’s out of a job, find him one. To most of you, your neighbor is a stranger, a guy with a barkin’ dog and a high fence around him. Now you can’t be a stranger to any guy that’s on your own team. So tear down the fence that separates you. Tear down the fence and you’ll tear down a lot of hates and prejudices. Tear down all the fences in the country and you’ll really have teamwork. (Applause)
I know a lot of you are saying to yourselves: ‘He’s askin’ for a miracle to happen. He’s expecting people to change all of a sudden.’ Well, you’re wrong. It’s no miracle. It’s no miracle because I see it happen once every year and so do you – at Christmas time. There’s something swell about the spirit of Christmas, to see what it does to people, all kinds of people. Now why can’t that spirit, that same warm Christmas spirit, last the whole year round? Gosh, if it ever did, if each and every John Doe would make that spirit last 365 days out of the year – we’d develop such a strength, we’d create such a tidal wave of good will that no human force could stand against it. Yes sir, my friends, the meek can only inherit the earth when the John Does start loving their neighbors. You’d better start right now. Don’t wait till the game is called on account of darkness. Wake up, John Doe, you’re the hope of the world!
Age: 30s 40s 50s
Gender: Monologues For Men
To Have and Have Not (1944)
Screenwriter(s): Jules Furthman, William Faulkner
The incredibly sensuous scene between Steve / Harry Morgan (Humphrey Bogart) and Slim / Marie
Browning (Lauren Bacall), who was trying to seduce him:
Monologue: Who was the girl, Steve?… The one that left you with such a high opinion of women? She must have been quite a gal. You think I lied to you about this, don’t you? Well, it just happens there’s thirty-odd dollars here. Not enough for boat fare, or any other kind of fare. Just enough for me to say ‘no’ if I feel like it, and you can have it if you want it… You wouldn’t take anything from anybody would you?… You know Steve, you’re not very hard to figure. Only at times. Sometimes I know exactly what you’re going to say. Most of the time. The other times, the other times you’re just a stinker.
After kissing him a second time after he had become more receptive, she cooed as she left his room:
It’s even better when you help…. Uh, sure you won’t change your mind about this?… This belongs to me, and so do my lips, I don’t see any difference… Okay, you know you don’t have act with me, Steve. You don’t have to say anything, and you don’t have to do anything. Not with me. Oh, maybe just whistle. You remember how to whistle, don’t you? Just put your lips together… and blow.
Age: 20s 30s
Gender: Movie Monologues For Women
The Lost Weekend (1945)
Screenwriter(s): Charles Brackett, Billy Wilder
Later, in a flashback, drunkard Don Birnam (Ray Milland) confessed his drinking problem to girlfriend Helen St. James (Jane Wyman). He related how his authoring brilliance as a Hemingway-like writer during his college years was soon blocked and tarnished, declining after age nineteen with a recourse to the bottle. He was helplessly schizophrenic, divided between Don the Drunk and Don the Writer. As an aspiring writer, he described the soaring, creative juices that flowed with just a few drinks, and how he spiraled down into despair and agony when the booze wore off. He began his recollections after Helen asked: “What is it you wanna be so much that you’re not?”
Monologue: A writer. Silly, isn’t it? You know, in college, I passed for a genius. They couldn’t get out the college magazine without one of my stories. Boy, was I hot! Hemingway stuff. I reached my peak when I was nineteen. Sold a piece to The Atlantic Monthly, reprinted in the Reader’s Digest. Who wants to stay in college when he’s Hemingway? My mother bought me a brand-new typewriter. And I moved right in on New York. Well, the first thing I wrote, that didn’t quite come off. And the second, I dropped. The public wasn’t ready for that one. I started a third and a fourth. Only by then, somebody began to look over my shoulder and whisper in a thin, clear voice like the E string on a violin. ‘Don Birnam,’ he’d whisper, ‘It’s not good enough, not that way. How about a couple of drinks just to set it on its feet, huh?’ So I had a couple. Oh, what a great idea that was! That made all the difference. Suddenly, I could see the whole thing. The tragic sweep of the great novel beautifully proportioned. But before I could really grab it and throw it down on paper, the drinks would wear off and everything would be gone like a mirage. Then there was despair, and I’d drink to counter-balance despair. And then one to counter-balance the counter-balance. And I’d sit in front of that typewriter trying to squeeze out one page that was half-way decent. And that guy would pop up again…
The other Don Birnam. There are two of us, you know. Don the Drunk and Don the Writer. And the drunk would say to the writer, ‘Come on, you idiot. Let’s get some good out of that portable. Let’s hock it. Let’s take it to that pawn shop over on Third Avenue. It’s always good for ten dollars. Another drink, another binge, another bender, another spree.’ Such humorous words. I’ve tried to break away from that guy a lot of times, but no good. You know, once I even got myself a gun and some bullets. I was gonna do it on my thirtieth birthday. Here are the bullets. The gun went for three quarts of whiskey. That other Don wanted us to have a drink first. He always wants us to have a drink first. The flop suicide of a flop writer.
Age: 30s 40s
Gender: Movie Monologues For Men
Adam’s Rib (1949)
Screenwriter(s): Ruth Gordon, Garson Kanin
Amanda Bonner’s (Katharine Hepburn) closing argument in court to defend the actions of her client Doris Attinger (Judy Holliday), using the principle of equality before the law. In a “revealing experiment” to reverse the couple’s sex-stereotyped roles, she asked the jury to imagine the defendant Mrs. Attinger as a home-protecting man, to picture “slick home-wrecker” Miss Caighn as a predatory wolfish man (with short dark hair and a mustache), and to fantasize that Mr. Attinger was a woman (with blonde hair). The camera showed the action through the eyes of the jurors – each of the three characters were momentarily transformed. Amanda defended the “unwritten law” – the passionate-lover defense that allowed a man to break the law to save his home by killing his wife when caught in bed with a lover. And she argued that the wife Doris [and by extension all women] was entitled to the same defense and justice in the courts that a man received, whatever that justice may be:
Monologue: And so the question here is equality before the law, regardless of religion, color, wealth, or, as in this instance, sex…Law, like man, is composed of two parts: Just as man is body and soul, so is the law, letter and spirit. The law says, ‘Thou shalt not kill,’ yet men have killed, and proved a reason, and been set free. Self-defense, defense of others, of wife, of children, and home. If a thief breaks into your house, and you shoot him, the law will not deal harshly with you, nor indeed should it. So here, you are asked to judge not whether or not these acts were committed, but to what extent they were justified. Now, ladies and gentlemen of the jury, I request that you join me in a revealing experiment. I ask you all to direct your attention to the defendant, Mrs. Attinger. Now keep looking at her, keep watching. Listen carefully and look at her. Look at her hard. Now imagine her a man. Go on now, use your imaginations. Think of her as a man sitting there accused of a like crime — a husband, who is only trying to protect his home.
Now hold it. Hold that impression and look at Beryl Caighn. Look at her. Look at her hard, a man, a slick home wrecker, a third party, a wolf! You know the type. Alright, hold that impression and look at Mr. Attinger, and suppose him a woman. Try, try hard. Ah, yes, there she is. The guilty wife! Look at her! Does she arouse your sympathy?! Alright! Now you have it! Judge it so! An unwritten law stands back of a man who fights to defend his home. Apply this same law to this maltreated wife, and neglected woman. We ask you no more: equality. Deep in the heart of South America, there thrives today a civilization far older than ours: a people known as the Loquiňanos, descended from the Amazons. In this vast tribe, members of the female sex rule and govern, and systematically deny equal rights to the men, made weak and puny by years of subservience, too weak to revolt. And yet, how long have we lived in the shadow of a like injustice?
Consider this unfortunate woman’s act as though you yourselves had each committed it. Every living being is capable of attack, if sufficiently provoked. Assault lies dormant within us all. It requires only circumstance to set it in violent motion. I ask you for a verdict of not guilty. There was no murder attempt here, only a pathetic attempt to save a home.
Age: 30s 40s 50s
Gender: Monologues For Women
All the King’s Men (1949)
Screenwriter(s): Robert Rossen
Willie Stark (Broderick Crawford) gave a no-notes rousing, half-drunken campaign speech at a
fairgrounds barbecue, during his campaign for Louisiana governor, when he threw away his prepared
Monologue: My friends, my friends, I have a speech here. It’s a speech about what this state needs. There’s no need in my telling you what this state needs. You are the state and you know what you need. You over there, look at your pants. Have they got holes in the knees? Listen to your stomach. Did you ever hear it rumble for hunger? And you, what about your crops? Did they ever rot in the field because the road was so bad you couldn’t get ’em to market? And you, what about your kids? Are they growin’ up ignorant as dirt, ignorant as you ’cause there’s no school for ’em?
Naw, I’m not gonna read you any speech. But I am gonna tell ya a story. It’s a funny story so get ready to laugh….Get ready to bust your sides laughin’, ’cause it’s sure a funny story. It’s about a hick, a hick like you, if ya please. Yeah, like you. He grew up on the dirt roads and the gully washes of a farm. He knew what it was to get up before dawn and get feed and slop and milk before breakfast, and then set out before sunup and walk six miles to a one-room, slab-sided schoolhouse.
Aw, this hick knew what it was to be a hick, all right. He figured if he was gonna get anything done, well, he had to do it himself. So he sat up nights and studied books. He studied law, because he thought he might be able to change things some – for himself and for folks like him. Now I’m not gonna lie to ya. He didn’t start off thinkin’ about the hicks and all the wonderful things he was gonna do for ’em. Naw, naw, he started off thinkin’ of number one.
But somethin’ came to him on the way. How he could do nothin’ for himself without the help of the people. That’s what came to him. And it also came to him with the powerful force of God’s own lightning back in his home county when the school building collapsed ’cause it was built of politics’ rotten brick. It killed and mangled a dozen kids. But you know that story. The people were his friends because he’d fought that rotten brick. And some of the politicians down in the city, they knew that, so they rode up to his house in a big, fine, shiny car and said as how they wanted him to run for Governor….And he swallowed it. He looked in his heart and he thought in all humility, how he’d like to try and change things. He was just a country boy who thought that even the plainest, poorest man can be Governor if his fellow citizens find he’s got the stuff for the job. All those fellas in the striped pants, they saw that hick and they took him in…
There he is! There’s your Judas Iscariot! Look at him! …Look at him….! (Chaos) Now, shut up! Shut up, all of ya! Now listen to me, ya hicks. Yeah, you’re hicks too, and they fooled you a thousand times just like they fooled me. But this time, I’m gonna fool somebody. I’m gonna stay in this race. I’m on my own and I’m out for blood. Now listen to me, you hicks! Listen to me, and lift up your eyes and look at God’s blessed and unfly-blown truth.
And this is the truth! You’re a hick, and nobody ever helped a hick but a hick himself! Alright, listen to me! Listen to me! I’m the hick they were gonna use to split the hick vote. Well, I’m standin’ right here now on my hind legs. Even a dog can learn to do that. Are you standin’ on your hind legs? Have you learned to do that much yet? Here it is! Here it is, ya hicks! Nail up anybody who stands in your way! Nail up Joe Harrison! Nail up McMurphy! And if they don’t deliver, give me the hammer and I’ll do it myself!
Age: 40s 50s 60s
Gender: Monologues For Men
The Fountainhead (1949)
Screenwriter(s): Ayn Rand
Architect Howard Roark (Gary Cooper) made a closing summation (of author-screenwriter Ayn Rand’s
treatise on Objectivism) to a jury, defending his destruction of housing project buildings that had perverted his original design plans – his words were so powerful that the jury found him not-guilty:
Monologue: Thousands of years ago, the first man discovered how to make fire. He was probably burned at the stake he had taught his brothers to light, but he left them a gift they had not conceived and he lifted darkness off the earth. Throughout the centuries, there were men who took first steps down new roads, armed with nothing but their own vision. The great creators, the thinkers, the artists, the scientists, the inventors, stood alone against the men of their time. Every new thought was opposed. Every new invention was denounced. But the men of unborrowed vision went ahead. They fought, they suffered and they paid, but they won. No creator was prompted by a desire to please his brothers. His brothers hated the gift he offered. His truth was his only motive. His work was his only goal. His work, not those who used it. His creation, not the benefits others derived from it. The creation which gave form to his truth. He held his truth above all things and against all men. He went ahead whether others agreed with him or not, with his integrity as his only banner. He served nothing and no one. He lived for himself. And only by living for himself was he able to achieve the things which are the glory of mankind. Such is the nature of achievement.
Man cannot survive except through his mind. He comes on earth unarmed. His brain is his only weapon. But the mind is an attribute of the individual. There is no such thing as a collective brain. The man who thinks must think and act on his own. The reasoning mind cannot work under any form of compulsion. It cannot be subordinated to the needs, opinions, or wishes of others. It is not an object of sacrifice. The creator stands on his own judgment – the parasite follows the opinions of others. The creator thinks – the parasite copies. The creator produces – the parasite loots. The creator’s concern is the conquest of nature the parasite’s concern is the conquest of men. The creator requires independence. He neither serves nor rules. He deals with men by free exchange and voluntary choice. The parasite seeks power. He wants to bind all men together in common action and common slavery. He claims that man is only a tool for the use of others, that he must think as they think, act as they act, and live in selfless, joyless servitude to any need but his own.
Look at history. Everything we have, every great achievement has come from the independent work of some independent mind. Every horror and destruction came from attempts to force men into a herd of brainless, soulless robots, without personal rights, without person ambition, without will, hope, or dignity. It is an ancient conflict. It has another name – ‘The individual against the collective.’ Our country, the noblest country in the history of men, was based on the principle of individualism, the principle of man’s ‘inalienable rights.’ It was a country where a man was free to seek his own happiness, to gain and produce, not to give up and renounce. To prosper, not to starve. To achieve, not to plunder. To hold as his highest possession a sense of his personal value, and as his highest virtue his self-respect. Look at the results. That is what the collectivists are now asking you to destroy, as much of the earth has been destroyed.
I am an architect. I know what is to come by the principle on which it is built. We are approaching a world in which I cannot permit myself to live. My ideas are my property. They were taken from me by force, by breach of contract. No appeal was left to me. It was believed that my work belonged to others, to do with as they pleased. They had a claim upon me without my consent, that it was my duty to serve them without choice or reward. Now you know why I dynamited Courtland. I designed Courtland. I made it possible. I destroyed it. I agreed to design it for the purpose of seeing it built as I wished. That was the price I set for my work. I was not paid. My building was disfigured at the whim of others who took all the benefits of my work and gave me nothing in return.
I came here to say that I do not recognize anyone’s right to one minute of my life, nor to any part of my energy, nor to any achievement of mine, no matter who makes the claim! It had to be said – The world is perishing from an orgy of self-sacrificing. I came here to be heard in the name of every man of independence still left in the world. I wanted to state my terms. I do not care to work or live on any others. My terms are – A man’s right to exist for his own sake.
Age: 30s 40s 50s
Gender: Movie Monologues For Men
From Here to Eternity (1953)
Screenwriter(s): Daniel Taradash
Private Robert “Prew” Prewitt (Montgomery Clift) explained his decision to never box again:
Monologue: Some of the guys are puttin’ me over the jumps ’cause I don’t want to fight…yeah, on the boxing team. Idon’t want to box. I don’t even want to think about it…see, I used to fight, middleweight. And I was pretty good and they know it…I used to work out with this guy Dixie Wells. He’s a real good friend of mine.Loved to box. People on the outside had their eye on him. He was gonna come out of the Army and go right up to the top. Well, one afternoon, he and I were sparrin’ around in the gym, you know, kind of friendly-like. And, he must have been set pretty flat on his feet ’cause I caught him with a, no more’n ordinary right cross, and uh, he didn’t get up. He didn’t move. He was in a coma for a week, and uh, finally, he did pull out of it. Only the thing was that he was blind. Well, I went to see him at the hospital a couple of times and finally I just couldn’t go back. The last time he and I started talking about fighting, and uh, he started to cry. And seein’ tears comin’ out of those eyes that couldn’t see anything.
Age: 20s 30s
Gender: Monologue For Men
East of Eden (1955)
Screenwriter(s): Paul Osborn
Abra’s (Julie Harris) “It’s awful not to be loved” speech to bedridden Mr. Adam Trask (Raymond Massey)
regarding his relationship with son Cal (James Dean):
Monologue: Excuse me, Mr. Trask, for daring to speak to you this way, but it’s awful not to be loved. It’s the worst thing in the world. Don’t ask me how I know that. I just know it. It makes you, it makes you mean and violent and cruel. And that’s the way Cal has always felt, all his life. I know you didn’t mean it to be that way, but it’s true. You never gave him your love. You never asked him for his. You never asked him for one thing. Cal is going away, Mr. Trask. But before he goes, well, he did something very bad, and I’m not asking you to forgive him. You have to give him some sign that you love him, or else he’ll never be a man. He’ll just keep on feeling guilty and alone, unless you release him. Please help him. I love Cal, Mr. Trask, and I want him to be whole and strong and you’re the only one who can do it. So try, please try. If you could, if you could ask him for something. Let him help you so that he knows that you love him. Let him do for you. Excuse me, Mr. Trask, for daring to speak to you this way, but I just had to.
Age: 20s 30s
Gender: Monologues For Women
Screenwriter(s): Leonard Spigelgass
Louise Hovick/Gypsy Rose Lee’s (Natalie Wood) confrontational telling off of her overbearing
stage mother Mama Rose Hovick (Rosalind Russell):
Monologue: Nobody laughs at me! Because I laugh first — at ME! ME, from Seattle! ME, with no education! ME, with no talent, as you kept reminding me my whole life! Well, Mama, look at me now! I’m a STAR! Look! Look how I live! Look at my friends! Look where I’m going! I’m not staying in burlesque! I’m moving! Maybe up, maybe down! But wherever it is, I’m enjoying it! I’m having the time of my life, because for the first time, it IS my life! And I LOVE it! I love every second of it, and I’ll be DAMNED if you’re gonna take it away from me! I AM GYPSY ROSE LEE, and I love her! And if you don’t, you can just clear out now!
Age: 20s 30s
Gender: Monologues For Women
One minute monologue: Yes
Persona (1966, Swe.)
Screenwriter(s): Ingmar Bergman
Director Ingmar Bergman’s intense psychological, dramatic thriller involved two women in a patient/nurse relationship during one summer at a seaside cottage or vacation home.
Sister Alma (Bibi Andersson), a young 25 year-old nurse
Mrs. Elisabet Vogler (Liv Ullmann), a well-known stage actress who had been mute and semi- catatonic for three months, and became Alma’s patient
During a vivid confessional monologue (one of the most explicit verbal descriptions of sex ever heard on screen), Alma (who was engaged to fiancee Karl-Henrik at the time) described a private and secret sexual experience to Elisabet that she had had at the beach with a friend named Katarina when they were sunbathing in the nude, completely naked. Two boys came up to them and Katrina encouraged one of the boys to have sex with her. Feeling left out, Alma also asked for sex too. Ultimately a second boy named Peter was also invited to participate:
Monologue: I went to the beach on my own. It was a warm and lovely day. There was another girl there. She’d paddled over from another island because our beach was sunnier and more secluded. We lay there sunbathing beside one another, completely naked, dozing now and then, putting suntan lotion on. We had those cheap straw hats on, you know? I had a blue ribbon around mine. I lay there peeping out from under my hat at the landscape and the sea and the sun. It was kind of funny.
Suddenly, I saw two figures leaping about on the rocks above us. They would hide and then peek out. ‘There’s a couple boys looking at us,’ I told the girl. Her name was Katarina. ‘Let them look,’ she said, and turned over on her back. It was a strange feeling. I wanted to jump up and put on my robe, but I just lay there on my stomach with my bottom in the air, not at all embarrassed, completely calm. Katarina lay there next to me the whole time, with her breasts and thick thighs. She just lay there sort of giggling to herself. I noticed that the boys had come closer. They just stood there looking at us. I noticed they were terribly young. Then one of them, the more daring of the two, came up and squatted down next to Katarina. He pretended to be busy picking at his toes. I felt so strange.
Suddenly, I heard Katarina say, ‘Hey, why don’t you come over here?’ She took him by the hand and helped him off with his jeans and shirt. Then suddenly, he was on top of her. She guided him in with her hands on his behind. The other boy just sat on the slope and watched. I heard Katarina whisper in the boy’s ear and laugh. His face was right next to mine. It was red and swollen. Suddenly, I turned over and said, ‘Aren’t you coming over to me, too?’ And Katarina said, ‘Go to her now.’ He pulled out of her and fell on top of me, completely hard. He grabbed my breast. It hurt so bad. I was ready somehow, and came almost at once.
Can you believe it? I was about to say, ‘Careful you don’t get me pregnant’ – when he suddenly came. I felt it like never before in my life, the way he sprayed his seed into me. He gripped my shoulders and arched backwards. I came over and over. Katarina lay on her side and watched, and held him from behind. After he came, she took him in her arms and used his hand to make herself come. When she came, she screamed like a banshee. Then all three of us started laughing. We called to the other boy who was sitting on the slope. His name was Peter. He came down, looking all confused and shivering despite the sunshine. Katarina unbuttoned his pants and started to play with him. And when he came, she took him in her mouth. He bent down and kissed her back.
She turned around, took his head in both hands and gave him her breast. The other boy got so excited, that he and I started all over again. It was just as good as before. Then we went for a swim and parted ways. When I got home, Karl-Henrik was already back from town. We ate dinner and drank some red wine he’d brought. Then we had sex. It’s never been as good, before or since. Can you understand that?
Age: 20s 30s
Gender: Movie Monologues For Women
Best Movie Monologues Of All Time
Here is a list we have compiled of some of the greatest movie monologue performances of all time. The list is in no particular order we hope you enjoy!
Famous Movie Monologues List
Pulp Fiction (1994) – Samuel L. Jackson’s speech as Jules Winnfield
Quentin Tarantino’s “Pulp Fiction” is known for its unique narrative style and unforgettable dialogue, with the monologue delivered by Samuel L. Jackson’s character being a standout. It perfectly captures the essence of the movie, making it one of the most iconic monologues of all time.
Gone Girl – Cool Girl
Scent of a Woman (1992) – Al Pacino’s speech as Lieutenant Colonel Frank Slade
Malice (1993) – Alec Baldwin’s speech as Dr. Jed Hill
JFK (1991) – Kevin Costner’s speech as Jim Garrison
Glengarry Glen Ross (1992) – Alec Baldwin’s speech as Blake
Denzel Washington’s ‘Tomorrow and tomorrow and tomorrow’ monologue in Macbeth (2021)
A Few Good Men (1992) – Jack Nicholson’s speech as Colonel Nathan R. Jessup
Hidden Figures – Taraji P. Henson
The Dark Knight (2008) – Heath Ledger’s Speech As The Joker
Good Will Hunting (1997) – Robin Williams’ speech as Sean Maguire (terrified of what you might find out)
The Godfather (1972) – Marlon Brando’s speech as Vito Corleone
Braveheart (1995) – Mel Gibson’s speech as William Wallace
Meryl Streep – The Devil Wears Prada
Kill Bill – Uma Thurman
Roy Batty – Blade Runner “Tears In Rain”
“I’ve seen things you people wouldn’t believe. [laughs] Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like [coughs] tears in rain. Time to die.”
We hope you enjoyed this list of classic monologues from movies. If you would like to browse more monologue please go to our monologue database by clicking below.