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Badlands - Zerschossene Träume

Originaltitel: Badlands
  • 1973
  • 16
  • 1 Std. 34 Min.
IMDb-BEWERTUNG
7,7/10
81.810
IHRE BEWERTUNG
BELIEBTHEIT
3.361
108
Badlands - Zerschossene Träume (1973)
An impressionable teenage girl from a dead-end town, and her older greaser boyfriend, embark on a killing spree in the South Dakota Badlands.
trailer wiedergeben2:56
4 Videos
95 Fotos
True CrimeActionCrimeDrama

Eine naive Teenagerin aus einer Provinzstadt und ihr älterer Rocker-Freund starten einen Amoklauf in den Badlands von South Dakota.Eine naive Teenagerin aus einer Provinzstadt und ihr älterer Rocker-Freund starten einen Amoklauf in den Badlands von South Dakota.Eine naive Teenagerin aus einer Provinzstadt und ihr älterer Rocker-Freund starten einen Amoklauf in den Badlands von South Dakota.

  • Regie
    • Terrence Malick
  • Drehbuch
    • Terrence Malick
  • Hauptbesetzung
    • Martin Sheen
    • Sissy Spacek
    • Warren Oates
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,7/10
    81.810
    IHRE BEWERTUNG
    BELIEBTHEIT
    3.361
    108
    • Regie
      • Terrence Malick
    • Drehbuch
      • Terrence Malick
    • Hauptbesetzung
      • Martin Sheen
      • Sissy Spacek
      • Warren Oates
    • 292Benutzerrezensionen
    • 102Kritische Rezensionen
    • 94Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Nominiert für 1 BAFTA Award
      • 4 Gewinne & 1 Nominierung insgesamt

    Videos4

    Trailer
    Trailer 2:56
    Trailer
    Badlands: The Criterion Collection
    Trailer 1:37
    Badlands: The Criterion Collection
    Badlands: The Criterion Collection
    Trailer 1:37
    Badlands: The Criterion Collection
    A Guide to the Films of Terrence Malick
    Clip 2:31
    A Guide to the Films of Terrence Malick
    'Badlands' Anniversary Mashup
    Clip 1:47
    'Badlands' Anniversary Mashup

    Fotos95

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    Topbesetzung18

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    Martin Sheen
    Martin Sheen
    • Kit
    Sissy Spacek
    Sissy Spacek
    • Holly
    Warren Oates
    Warren Oates
    • Father
    Ramon Bieri
    Ramon Bieri
    • Cato
    Alan Vint
    Alan Vint
    • Deputy
    Gary Littlejohn
    • Sheriff
    John Carter
    John Carter
    • Rich Man
    Bryan Montgomery
    • Boy
    Gail Threlkeld
    • Girl
    Charles Fitzpatrick
    • Clerk
    Howard Ragsdale
    • Boss
    John Womack Jr.
    • Trooper
    Dona Baldwin
    • Maid
    Ben Bravo
    • Gas Attendant
    Emilio Estevez
    Emilio Estevez
    • Boy Under Lamppost
    • (Nicht genannt)
    Li Po Lung
    • Chinese Kid
    • (Nicht genannt)
    Terrence Malick
    Terrence Malick
    • Caller at Rich Man's House
    • (Nicht genannt)
    Charlie Sheen
    Charlie Sheen
    • Boy Under Lamppost
    • (Nicht genannt)
    • Regie
      • Terrence Malick
    • Drehbuch
      • Terrence Malick
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen292

    7,781.8K
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    Empfohlene Bewertungen

    7osdenflux

    A very beautiful film; does it have any other purpose?

    It has been said that Badlands was in part a reaction to the romanticising of deviance and criminality in films such as Bonnie and Clyde. In that film the protagonists were played by two fabulous-looking, charismatic (not to mention talented) actors. I came away feeling that Bonnie Parker and Clyde Barrow would have been great fun to hang around with--dangerous, sexy fun.

    Badlands is not like that. Sure, no-one would really want to be like or spend time with Kit Carruthers (based directly on fifties killer Charles Starkweather). But I was troubled by several aspects of this stunningly put together film. Essentially, it is fine craftsmanship created around a very difficult subject with little exploration of the characters, their motivations or the consequences of their actions. What remains for the viewer but a kind of detached voyeurism?

    Cruel and cowardly, Charlie Starkweather was full of self-loathing, believed himself a failure and felt his life was doomed to misery. Murder is a simple act that even the sub-intelligent can commit, but it has staggering consequences. Having killed, Starkweather changed; in a way he grew. He felt himself to have achieved something. It completed the sad story that was his life.

    Kit Carruthers, on the other hand, slouches, mumbles and poses throughout Badlands. We know almost nothing of his past. Of course, the narrative follows Holly's point of view, but since she appears to be in a dream and virtually clueless throughout the whole affair, how useful is this narrative method? At the end Kit is pretty much his same inscrutable self as at the beginning, except now he is famous. He's kinda cool and he knows it. When he kills it's as if he has met some unpleasant but important obligation that only he is qualified for. The murders themselves are sterilised, just a bang and the victim quietly lies down. The sets and locations are picturesque, the actors are picturesque, the murders are picturesque...

    The 1957 film In Cold Blood is a gripping example of what can be achieved when something of the nature of spree/serial killers is explored, when the consequences of their actions is stark and real, and when the people inside them are glimpsed. (And there are people inside, badly damaged and loathsome, but fascinating.)
    thomandybish

    cool, disinterested study of amoral pair

    BADLANDS is an intelligent little film. We're given characters and situations and left to make our own conclusions. Based on an actual young couple who went on a killing spree across the southwest in the late 1950s, the story has two young people doing their own thing with precious little in the way of ethics to guide them. It's interesting to note that both these kids substitute their own fantasies for any sense of order or responsibility that society may have to offer. The turning point comes when Kit and Holly decide to shuck their semblances of normal life for whatever their fantasies provide which, unfortunately, can't sustain them. Sheen's Kit is full of swagger and bravado; it's almost easy for someone to see him committing robberies and serial murders. Spacek's Holly is more intriguing: a soft, vanilla, invisible girl from a respectable, emotionally detached home, she seemingly possesses little in the way of what one would associate with a violent criminal. Yet, she accompanies Kit, with nothing in the way of reservations or regret. The chance to fulfill her vapid, movie magazine fantasies, if only by hiding out in the woods and applying makeup, seem infinitely more palatable than her dull existence twirling batons in her yard(it's interesting to note that one of the few things she takes away from her home is a highly romanticized, Maxfield Parrish print). These misguided illusions, along with her adolescent love for Kit, keep her going to the end. A worthwhile exploration of the bland, vacant American sensibility that values appearances or passive, benign behavior over real ethics and personal morality. And definitely more relevant as the years have passed.
    bob the moo

    A slow but rewarding film and an impressive debut

    Based on the Starkweather-Fugate killing spree of the 1950's, this film follows 15 year old Holly Sargis as her quiet, small town existence is changed when she is approached by the 25 year old Kit Carruthers. The pair get friendly as they take walks together but Holly has to keep it a secret from her father, knowing he will disapprove. When her father finds out he shoots her dog as punishment but neither Holly nor Kit are dissuaded from being together. Kit decides to leave town and take Holly with him, when her father tries to stop him he kills him and heads off on the run.

    Although on the surface this sounds like a lovers-on-the-run film with a serial killer edge, Malick's writing and direction prevents it from just being what you expect as he delivers a memorable debut. I first saw this about 15 years about when I was about 13 or 14 and at the time I only remembered that not a lot happened and that I was quite bored, so I can appreciate why some viewers don't find this to their tastes. Watching it again the other day I found it much more interesting, perhaps because I am older or maybe because I wasn't paying attention the first time. The film is slow but it is very interesting because of the characters that Malick has written and then allowed to develop out over the film. On one side we have the cold Kit who is a cold killer on one hand but breaks into a smile at comparisons with James Dean and the chance of fame. It has been done loads since but the look at the fame-hungry killer here still feels fresh.

    On the other side of the story is Holly. As narrator a lot of weigh is put on her but the way it is done she is more than just a story teller. While the on screen action tells us about Kit, Holly's narration says a lot about her mind. Her fairytale, sing-song delivery and dialogue contrasts really well with the cold, unromantic violence on the screen. Her denial and desire to explain it all away is clear but not forced down the viewer's throat. The cast respond well to the direction and both give restrained but strong performances, avoiding showboating or pushing too hard. Sheen is strong, holding back for the majority and coming out at the end. Spacek is the heart of the story and her innocent (or naïve) character is played well both on screen as well as in her narration. Malick's direction is patient and as dry as the violence. The scenes are blessed with an open (empty) feel thanks to the impressive cinematography.

    Overall this is a slow film that is fairly empty if viewed on a superficial level just looking at the narrative. However the characters and the examination of their mindsets is what makes the film interesting and Sheen and Spacek both react well to that. It also helps that Malick has done a great job as writer and director while his cinematographers have produced a barren and pointless landscape to match the heartless and pointless killings.
    10Balthazar-5

    The voice of innocence whispers in our ears...

    Is it really possible that this luminous masterpiece is a first feature film? It is as though Mozart had started his career in composition with one of his mature symphonies. What is totally special about 'Badlands' is the visual control that Terrence Malick applies to the story, and his use of fabulous music to embed his amazing images in our mind. The 'Bonnie & Clyde'-ish story could have been turgid, but Malick turns it into a mythic journey.

    At the heart of Malick's method is the fabulous interior monologue by Holly explaining and ironically commenting on the story. "Kit made me take my schoolbooks so I wouldn't fall behind with my studies...". This has been characteristic of each of Malick's films - Linda in 'Days of Heaven' and Witt in 'The Thin Red Line' have somewhat similar monologues - and 'New World' is monumentalised by the haunting monologue/montage with which it ends. Here it totally sucks the viewer into the story and makes the montages that it accompanies into, just about, the high-point of seventies cinema.

    Alongside this, Malick uses some of the most haunting music in existence. Whether it is Carl Orff or Nat King Cole, Malick transports us with fabulous romantic imagery that perfectly balances it.

    I started on this comment determined not to use the word 'poetry', but I just can't avoid it. With nearly all filmmakers, including very great ones, the style that they present is very much prose - great prose, perhaps, but firmly rooted on the ground. With Malick, we are taken, emotionally, to the stars by the lyric magnificence of the totality of his vision.

    It is said that Welles learned cinema by watching John Ford's 'Stagecoach' before embarking on 'Citizen Kane'. Every young filmmaker should watch this amazing masterpiece again and again and again and inform their work with Malick's matchless sense of true cinema.
    8paul2001sw-1

    "Saw her standing on her front porch, just a-twirling her baton..."

    The serial killer genre is the most overdone in modern cinema, but director Terrence Mallick took a real life story to make his powerful debut, 'Badlands'. He even toned it down, his interest being not in presenting a picture of pure (and wholly artificial) evil but rather in portraying a wholly human story. Murder is depicted here in all its banality - people shot (off-screen) through locked doors, by a young man acting for wholly normal motives but without the customary restraints on behaviour that we term morals. The result is a haunting, though occasionally pretentious, study of individuals drifting beyond the bounds of civilisation, their physical location (America's still-wild west) symbolically matching their mental isolation. Sissy Spacek is particularly good as the ordinary girl just along for the ride. A fine film, 'Badlands' is also genuinely disturbing, in a way that Hannibal Lector could only dream of.

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    • Wissenswertes
      The actor originally cast as the architect who rings at the rich man's door did not show up, so Terrence Malick played the part himself. Malick later wanted to re-shoot the scene with another actor, but Martin Sheen refused to re-do the sequence with anyone else.
    • Patzer
      The passenger train that passes Kit and Holly on the trestle is pulling Amtrak cars. Amtrak was not established until 1971, and this film takes place in 1959.
    • Zitate

      Holly Sargis: One day, while taking a look at some vistas in Dad's stereopticon, it hit me that I was just this little girl, born in Texas, whose father was a sign painter, who only had just so many years to live. It sent a chill down my spine and I thought where would I be this very moment, if Kit had never met me? Or killed anybody... this very moment... if my mom had never met my dad... if she had never died. And what's the man I'll marry gonna look like? What's he doing right this minute? Is he thinking about me now, by some coincidence, even though he doesn't know me? Does it show on his face? For days afterwards I lived in dread. Sometimes I wished I could fall asleep and be taken off to some magical land, and this never happened.

    • Verbindungen
      Edited into Gone with the Wind: The Remarkable Rise and Tragic Fall of Lynyrd Skynyrd (2015)
    • Soundtracks
      Musica Poetica
      Written byCarl Orff and Gunild Keetman

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    Details

    Ändern
    • Erscheinungsdatum
      • 5. Januar 1974 (Brasilien)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • Mundos bajos
    • Drehorte
      • Rocky Ford, Colorado, USA
    • Produktionsfirmen
      • Pressman-Williams
      • Badlands Company
      • Warner Bros.
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 450.000 $ (geschätzt)
    • Weltweiter Bruttoertrag
      • 54.396 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 34 Minuten
    • Farbe
      • Color
    • Seitenverhältnis
      • 1.85 : 1

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