For me, the moment Laura realises she's falling in love. In the tea shop, she tells Alec "You looked like a little boy" - the camera focuses on her face, and his voice becomes a little muted as a fleeting look passes over her face. A couple of seconds, but we know she's falling in love and is intensely aware of him.
I agree. That was a magnificent bit of acting, by both of them.

For me, the moment Laura realises she's falling in love. In the tea shop, she tells Alec "You looked like a little boy" - the camera focuses on her face, and his voice becomes a little muted as a fleeting look passes over her face. A couple of seconds, but we know she's falling in love and is intensely aware of him.

My favorite moment is just before, during, and after she tries to throw herself in front of the express train.
The movie builds up so you know it's coming which makes it just so much more powerful, and the way that the camera makes a smooth transaction to the most perfect use of dutch angle I have ever seen is just magnificent.
All this brilliance and I haven't even mentioned the lighting yet!

There's a lot of wonderful scenes in this film but it's the hand on the shoulder shot SECOND TIME around.

Having watched this amazing film dozens of times, there are 2 moments that still affect me.
The first is where Stephen Lynn comes back to the flat and surprises them both, Laura makes a hasty retreat down the back stairs, Alec and Stephen have their conversation and right at the end of that scene, it cuts to Laura running in the rain, the charge of emotion and the sudden change of scene is a brilliant piece of directing.
The second is where they have decided to finish their relationship and Alec is talking to Laura has they wait for the train to leave, the scene that is generally on the DVD case and seems to depict the film. The moment the train leaves and Alec shouts "Next Thursday" laura turns back into the carriage with emotion on her face, after all these viewings I still feel that emotion Laura is feeling, which can only be down to the incredible acting of Celia Johnson and brilliant directing of David Lean.
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I like the shot at the end where, after being interrupted by "poor, well-meaning, irritating" Dolly Messiter, Alec has to leave the tea shop to catch his train.
You see him go through the door, and then Dolly's face immediately comes into shot obscuring the door, robbing Laura of even a lingering look at the last place she would ever see Alec again.
The camera focus switches instantaneously from the door in the distance to Dolly in the immediate foreground. Fantastic and impactful direction.

I love the iconc shot of her on the train talking to Alec and their kiss in the shadows.
I always tear up when she says 'I'll see all this again, but without Alec'.

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I liked the part when they run into each other just after they met. Before their relationships really starts off. They bump into each other in a corner and say hello to each other smiling, completely happy and oblivious of what was in store for them. After they greet each other politely, Alec: "I'm off to the hospital" Laura: "I'm off to the grocers'" Alec: "How exciting lives we lead" LOL! Such an innocent and sweet moment.

It's beautiful when she says that she should feel guilty but doesn't. It's a very sensitive movie, it feels real, personal, intimate. The actress, who I didn't know, was amazing. Her performance felt honest and intense.

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Cyril Raymond was just wonderful as Fred. For Brief Encounter to become the ultimate tear-jerker, Fred had to be very likable to the audience. Because Raymond did such a brilliant job, the audience understood and totally sympathized with what Alec and Laura were going through - because the concrete truth was that a genial, kindly, understanding and thoughtful man was in serious danger of having his heart broken.
I must confess I only know Cyril Raymond from this film, but he played his part beautifully.

There are lots of fabulous shots in this film. It's hard to pick just one.
Laura's face as she tries to throw herself in front of the express.
The high shot over the war memorial, as Laura sits on the bench smoking, after her escape from the flat.
Almost anything involving the trains
Dolly Messiter's face, especially in close up as she gabbles away.
Laura's face as she stops listening to Dolly and withdraws into her own thoughts.
Alec falling into the water.
I don't get as emotionally invoilved with this film as some, although I think it's a perfect film. In some ways, what I love most are the social and historic aspects. The steam trains of course; the pre-nationalised railways. I believe there were two railway companies operating at Carnforth - LMS as we saw, and another, whom I can't remember. (With help from google, I see it was Furness trains).
http://www.carnforthstation.co.uk/
I like the street scenes, Boots library and also the chemists department where Laura bought toothbrushes (not self-service. The assistants stood in between two counters, in a rectangle. Woolworths also used to be set out like this). The cinema with its circle seats and theatre organist. The pedestrian crossing with Belisha Beacons but no zebra stripes. They must have come later. (We still have Belisha Beacons). The ticket barrier where a ticket collector demanded your ticket (later done away with when "open stations" came in, and now back in electronic form).
All these things, set in a world that is just a little too long ago for me to have known, although I can remember the late 1950s, which was probably not so different.

Cyril Raymond's character is the best person in the story. Initially I saw the husband as a cuckold. After many viewings (and growing older & wiser), I realized there was alot more to this man than his meek exterior belies. This fellow is actually a strong person, hence Alec's desire to share her story because he is the only person who could effectively understand her weak handling of things.
My favourite characters in a film tend to be those that [properly] portray goodness. Because I am not a good person (I try and fail), they are the ones I like. Small wonder the husband has grown to be hero in the story. Good ole Cyril Ramond.

Good for you Monica! I hope so too.
And I don't think you're peculiar at all. Or at least, not in a bad way.

"Maybe I should go alone"

• Quint, Jaws.

I completely understand. I've watched that last minute of film countless times. In fact, I gained such an admiration of Cyril Raymond's work starting with seeing "Brief Encounter" ("BE") that I've since seen at least 20 of his films (most of which are brief appearances, a few lines in a scene or two); visited the theatre archives at the V&A museum to look through old programs and stills of West End and other plays in which he acted; and made the acquaintance of his nephew, cinematic art designer Anthony Pratt, having been a guest at his home last summer while I attended a drama course.
Some people might think I'm peculiar to have delved so deeply, but I think there must have been something singular about that performance to have captured my attention so intensely. When I saw Cyril in BE, I understood the power of film imagine, a stage actor captivating someone almost 70 years after the picture wrapped! I'm rather adrift in my acting career these days, but I still hope that maybe, just maybe, I will be cast in something in which my performance (even if it's a small part) reaches out to another actor years from now as well.