wow thats wierd, a minute after posting this thread, I picked up my local newspaper and there was a frontpage article on tearjeakers in the entertainment section
http://democratandchronicle.com/apps/pbcs.dll/article?AID=/20050620/LIVING/506200303/1032
freaky
this is what they said
Romances
Casablanca: The older you get, the harder it is to literally see the final moments. The earlier scene in Rick's apartment when Ilsa breaks down and confesses her love doesn't get any easier, either.
The Way We Were: Who hasn't felt they were Katie to someone's Hubbell? That final gesture Streisand reaching up to brush a lock of Redford's hair from his forehead still kills.
Out of Africa: Meryl Streep, as Isaak Dinesen, at her lover's graveside in Kenya. A book of AE Housman is opened. She begins: "The time you won your town the race ..."
The Bridges of Madison County: Reading her long-ago lover's final letter, Streep (again) uses only a few nods, a brief smile and then a fumble with eyeglasses to transform from a silver-haired, sensibly-dressed 70ish widow into a vibrant woman clearly still in the grip of a passion she could not keep.
Family Life
Terms of Endearment: Debra Winger saying goodbye to her sons is a nose-blower; but Shirley MacLaine's reportedly largely ad-libbed scene a few minutes later, when Winger finally goes, is simply a jaw-dropper.
Steel Magnolias: Sally Field raging in a tour-de-force meltdown after daughter Julia Roberts dies: "I can jog all the way to Texas and back, but my daughter can't! She never could! Oh God! I'm so mad I don't know what to do!"
Philadelphia: Neil Young's haunting "Philadelphia" plays as the camera pans over friends and family after Tom Hanks' death from AIDS. It rests on a picture of him as a happy boy. Fade. Sit. Think.
Mr. Holland's Opus: A rare happy bawl as 25 years' worth of music students stream into the auditorium to play Richard Dreyfuss' symphony. He conducts with joy, realizing his life as "just" a teacher was not wasted.
Musicals
The Sound of Music: Camera pulls out. Family climbs over alps. Nuns sing. Like you don't squirt a few every time. Camelot: When Vanessa Redgrave's Guinevere says goodbye to Richard Harris' King Arthur, you want to fall on your own Excaliber.
West Side Story: From the time Chino plugs Tony to the moment Maria and the gangs are silently led away by the cops, this is just one big shoulder-shaker.
Fiddler on the Roof: You try putting your daughter on a train for Siberia, while picturing her as a little girl romping in the fields. Oy.
Epics
Reds: Diane Keaton and Warren Beatty's slow walk toward each other and embrace on the train platform is so raw you almost want to look away.
The Killing Fields: Dr. Haing S. Ngor and Sam Watterston re-create the real-life reunion between a Khmer Rouge escapee and reporter Sydney Schanberg as John Lennon's "Imagine" plays. Thank God we've learned our lesson about war since then.
Dances With Wolves: No Native American cry in this case, professing eternal friendship has ever been so heartbreaking.
Titanic: See, the thing is, she says she'll never let go, and then she does. So, either you cry because it's sad or because she's a faithless liar and he wasted his life on that.
Buddy films
Midnight Cowboy: Jon Voigt hugging his only friend, the dying Ratso Rizzo, as the bus rolls away gives the word "poignant" new meaning. E.T.: "I'll be riiiighhhtt ... heeeeere." Even now, Spielberg slays you with that one.
Dead Poets Society: By the time the last kid's on his desk, you're on your last Kleenex.
War films
Sophie's Choice: That anyone even saw the end of the film, following the staggering black-and-white scene explaining its title, is a miracle.
Schindler's List: The final scene, where black-and-white actors give way to that full-color shot of Schindler's Jews today walking over that hill, may be the most powerful moment of film ever.
Saving Private Ryan: Is there, in any film, any character so heart-rending as old Pvt. Ryan stumbling through the French graveyard 50 years later, searching for the marker of the man who saved his life?
Cartoons
(Note: Not going here. With rare exception, Walt Disney and his ilk believe no flick is worthy unless a parent or best pal kicks over in some awful way. This genre drains your serotonin faster than the end of Bonnie and Clyde. So let's move on.)
Guy Flicks
Pride of the Yankees: As Gary Cooper tells Yankee Stadium he considers himself the luckiest man on the face of the earth, you will have the wettest face on the face of the earth.
Brian's Song: Try this: Go up to any man older than 35 and say in a trembling voice: "I love Brian Piccolo. And tonight ... when you hit your knees ... please ask God to love him." It'll buckle him faster than Wide-Right on a wide-screen.
The Champ: Ex-boxer Jon Voigt raises Ricky Schroeder after Faye Dunaway leaves. Son adores Dad. Dad tries one more fight. It doesn't go well. Here, too, if you can actually see the end-credits, you are a mutant.
Rocky III: Hideous Grief Post-Boxing Match, Pt. II: As beloved trainer/father figure Mickey dies of a heart attack, Stallone sobs inconsolably, and you realize there was a time when Sly really could bring it.
Field of Dreams: Maybe, maybe, you get through Kevin Costner's stunning Oh-my-God-it's-my-father scene. But we know no one who can hold it together when, minutes later, Costner shyly asks his pop if he wants to have a catch. No one. Really, who would want to?