Es ist der Wilde Westen, um 1870. Samuel Alabaster, ein wohlhabender Pionier, wagt sich über die amerikanische Grenze, um die Liebe seines Lebens, Penelope, zu heiraten. Während seine Gruppe... Alles lesenEs ist der Wilde Westen, um 1870. Samuel Alabaster, ein wohlhabender Pionier, wagt sich über die amerikanische Grenze, um die Liebe seines Lebens, Penelope, zu heiraten. Während seine Gruppe den Westen durchquert, wird die einst einfache Reise tückisch und verwischt die Grenzen z... Alles lesenEs ist der Wilde Westen, um 1870. Samuel Alabaster, ein wohlhabender Pionier, wagt sich über die amerikanische Grenze, um die Liebe seines Lebens, Penelope, zu heiraten. Während seine Gruppe den Westen durchquert, wird die einst einfache Reise tückisch und verwischt die Grenzen zwischen Held, Bösewicht und Jungfrau.
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- 3 Nominierungen insgesamt
- Anton Cornell
- (as Gabe Casdorph)
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It was written and directed by the Zellner brothers, and each has a featured role in the movie. The basic story is a man, Robert Pattinson as Samuel, heads west to find his damsel who he thinks has been kidnapped. He plans to rescue her and ask her to marry him. The damsel is Mia Wasikowska as Penelope.
The opening scene sets the tone, David Zellner plays a man new to the west, fascinated by the prospect of meeting real Indians, and waits for the stagecoach with an old pioneer (Robert Forster) who is tired and headed east. The stagecoach doesn't show up but the old man gives away his belongings including a tattered bible, so the new man takes on the name Parson Henry.
There is no advantage in describing the story in greater detail, suffice to say Samuel has a total misunderstanding of the situation and it doesn't turn out well for him. When the movie was over we were both a bit puzzled as to why this particular story was put to film and what the filmmakers were really trying to accomplish.
I cannot recommend it to anyone I know.
I should have liked the Zellner brothers' Western comedy, Damsel, much better than I did. It has elements of Mel Brooks and the Coen brothers when they mine the satire of a genre very long in the tooth. The difference: writing.
Brooks with his inspired goofiness (Blazing Saddles) and the Coens with their light-hearted larceny (Raising Arizona), have characters using language much smarter than they are, whereas The Zellners' lines are deadpan but dull even though they use elevated diction as the Coens so often do. Using contemporary lingo like "win win" and "real deal" doesn't titillate as it should. In addition, Zellners' language lacks strong affinity with bigger issues.
Samuel (Robert Pattinson), a rich pioneer, engages a sham preacher, Henry (David Zellner), to officiate at Samuel's wedding to Penelope (Mia Wasikowska). In their journey with a miniature horse, gift to Penelope (not the waiting Penelope of the Odyssey), the two must deal with their naiveté and the vagaries of raw Western staples like rot-gut whiskey, duplicitous Indians, and bad campfire ballads (Samuel's ballad to Penelope, called My Honeybun, is a weak companion to Brooks' notorious campfire scene)
While this set-up is rich fodder for satire, most of the jokes fall as flat as Penelope's affect and as dry as the joke about a fool in a barrel being strung up for no obvious reasons. Westerns are ripe for satire, but the flat line here comes not from the fine performances but the tepid minimalist script and uninspired cinematography.
Wasikowska is marvelous as the independent and bitter love interest, Pattinson showing once again that he is much more than a teen heart-throb. The Zellners have the right motif about loneliness; they just need to beef up the languid language and droll action.
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- WissenswertesRobert Pattinson first read the script, but passed it on because he thought a movie like this would never get financed because he couldn't really categorize it. A few weeks later, he randomly watched the directors previous film Kumiko, the Treasure Hunter (2014) at the cinema and loved it. Wanting to know who the directors were, he asked his agent about them and found out that he read the script for Damsel a few weeks earlier.
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Samuel Alabaster: Regular horses don't have names, they're just, uh, you know, regular.
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Details
Box Office
- Bruttoertrag in den USA und Kanada
- 305.136 $
- Eröffnungswochenende in den USA und in Kanada
- 20.291 $
- 24. Juni 2018
- Weltweiter Bruttoertrag
- 323.235 $
- Laufzeit1 Stunde 53 Minuten
- Farbe
- Seitenverhältnis
- 2.39 : 1