The 1968 film was a loving tribute to Zero Mostel, who had gone through hell for the past two decades due to his implication by HUAC. The closing credits end on his face, with just his first name, Zero.
Brooks gave Gene Wilder his due in his Oscar acceptance speech, thanking him three times in a row.
The moment in Central Park where Leo Bloom realizes the strange feeling he's experiencing is happiness.
When Leo says "I'm sorry I called you fat, fat, fat." and Max lovingly hugs him.
Leo's Adorkable defence of Max, where he tells the court how nobody had ever called him by his first name, or sang a song with him until he met Max. The childlike innocence and total sincerity is very touching.
When Max and Leo are at the fountain and Leo decides to go through with it. Gene Wilder states that this was the scene that made him decide to stick with acting.
The end of "Till Him" in the 2005 version, especially when Broderick hit his high note.
At the end, when Bloom finally gets the hat - meaning he's a Broadway-producer.
Carmen's pep talk to convince Roger to play Hitler. Everyone watching knows Roger has no talent, but you can't help but be a little touched by Carmen's unwavering love, support and belief in him.
"You're going out there a silly, hysterical, screaming queen, but you're coming back a great big, passing-for-straight, Broadway star!"
When Nathan Lane won the Tony for his performance of Max, he brings Matthew on stage for a while to share it with him. He also thanks the late Zero Mostel.
The fact that all the little old ladies really do care about Max. They all show up to support him in court, and it's implied that, yeah, they're all aware of the fact that they're not Max's only "romance." But, hey, they're happy in spite of that, and isn't that what really matters?
Leo: The way I see it, law was created to protect people from being wronged. And who has Max Bialystock wronged? Certainly not these ladies. (gestures towards Hold Me-Touch Me and the others) Old Ladies: Oh, no!