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IMDbPro

Der große Frust

Originaltitel: The Big Chill
  • 1983
  • 16
  • 1 Std. 45 Min.
IMDb-BEWERTUNG
7,1/10
44.395
IHRE BEWERTUNG
BELIEBTHEIT
3.598
2
Der große Frust (1983)
Official Trailer
trailer wiedergeben2:36
3 Videos
99+ Fotos
DramaKomödie

Ein Gruppe von Menschen, die zusammen in den 60ern studiert haben, kommt aufgrund eines traurigen Ereignisses zusammen. Sie verbringen ein gemeinsames Wochenende in einem Haus, um über die V... Alles lesenEin Gruppe von Menschen, die zusammen in den 60ern studiert haben, kommt aufgrund eines traurigen Ereignisses zusammen. Sie verbringen ein gemeinsames Wochenende in einem Haus, um über die Vergangenheit sowie die Gegenwart zu reflektieren.Ein Gruppe von Menschen, die zusammen in den 60ern studiert haben, kommt aufgrund eines traurigen Ereignisses zusammen. Sie verbringen ein gemeinsames Wochenende in einem Haus, um über die Vergangenheit sowie die Gegenwart zu reflektieren.

  • Regie
    • Lawrence Kasdan
  • Drehbuch
    • Lawrence Kasdan
    • Barbara Benedek
  • Hauptbesetzung
    • Tom Berenger
    • Glenn Close
    • Jeff Goldblum
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,1/10
    44.395
    IHRE BEWERTUNG
    BELIEBTHEIT
    3.598
    2
    • Regie
      • Lawrence Kasdan
    • Drehbuch
      • Lawrence Kasdan
      • Barbara Benedek
    • Hauptbesetzung
      • Tom Berenger
      • Glenn Close
      • Jeff Goldblum
    • 251Benutzerrezensionen
    • 63Kritische Rezensionen
    • 61Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 3 Oscars nominiert
      • 3 Gewinne & 8 Nominierungen insgesamt

    Videos3

    The Big Chill
    Trailer 2:36
    The Big Chill
    The Big Chill
    Trailer 2:02
    The Big Chill
    The Big Chill
    Trailer 2:02
    The Big Chill
    'The Big Chill' Anniversary Mashup
    Video 1:01
    'The Big Chill' Anniversary Mashup

    Fotos267

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    Topbesetzung18

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    Tom Berenger
    Tom Berenger
    • Sam
    Glenn Close
    Glenn Close
    • Sarah
    Jeff Goldblum
    Jeff Goldblum
    • Michael
    William Hurt
    William Hurt
    • Nick
    Kevin Kline
    Kevin Kline
    • Harold
    Mary Kay Place
    Mary Kay Place
    • Meg
    Meg Tilly
    Meg Tilly
    • Chloe
    JoBeth Williams
    JoBeth Williams
    • Karen
    Don Galloway
    Don Galloway
    • Richard
    James Gillis
    • Minister
    Ken Place
    • Peter the Cop
    Jonathan Kasdan
    Jonathan Kasdan
    • Harold and Sarah's Son
    • (as Jon Kasdan)
    Ira Stiltner
    • Running Dog Driver
    Jake Kasdan
    Jake Kasdan
    • Autograph Seeker
    • (as Jacob Kasdan)
    Muriel Moore
    • Alex's Mother
    Meg Kasdan
    Meg Kasdan
    • Airline Hostess
    Patricia Gaul
    Patricia Gaul
    • Annie
    Kevin Costner
    Kevin Costner
    • Alex
    • Regie
      • Lawrence Kasdan
    • Drehbuch
      • Lawrence Kasdan
      • Barbara Benedek
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen251

    7,144.3K
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    7JamesHitchcock

    Hippies Turned Yuppies

    When I was a student at Cambridge in the early eighties, shortly before "The Big Chill" came out, a friend of mine had a poster on his wall entitled "Woodstock Tenth Anniversary Reunion". (The actual anniversary had taken place in August 1979, not long before we went up). The joke was that those attending the reunion were all middle-class professional types, smartly dressed in lounge suits with well-trimmed short hair. This poster exemplified the way in which my generation saw the baby boomers, twentysomething hippies turned thirtysomething yuppies. Those who still retained their hippie idealism were mercilessly derided as being at least ten years behind the times. (And derided not only by Cambridge students but also by the likes of B. A. Robertson, in his satirical song "Kool in the Kaftan").

    "The Big Chill" takes a rather more charitable look at the problems facing those idealists from the 1960s who tried to retain their idealism during the conservative Reagan years of the early 1980s. It features a group of old college friends from the University of Michigan who are reunited after fifteen years. The event which reunites them is the death of Alex, one of the group, who committed suicide while staying at the home of his friends Harold and Sarah. An impromptu reunion occurs as the old friends gather for Alex's funeral.

    The precise reasons why Alex killed himself are not spelled out- he did not leave a suicide note- but as the movie progresses we realise that he had become disillusioned with the course his life had taken. (He was a brilliant scientist, but had dropped out of the academic life to become a social worker). His friends also come to realise this, and the realisation prompts them to consider the paths their own lives have taken. Most of the group were involved in the counterculture of the 1960s and the peace movement or other forms of radical politics, but most are now living much more conservative, middle-class lifestyles. Harold is a business executive and his wife Sarah a doctor; they live in an elegant antebellum home in the South. Sam, a one-time radical, has now become a Hollywood actor closely based upon Tom Selleck, down to the moustache. (While watching the film I assumed that Selleck himself was playing the part; it was only when I saw the cast-list that I realised it was actually Tom Berenger). Karen is also now living an affluent lifestyle but is feeling dissatisfied with her husband Richard (who was not one of the college group). Michael, once a radical journalist, now works for the apolitical, celebrity-obsessed "People Magazine". Nick, a Vietnam War veteran, has now become a drug dealer. Apart from their friend's suicide, the question which haunts the group is what became of their youthful idealism?

    Contrary to what one might have expected, the film does not take a straightforward "radicalism good, conservatism bad" line. A key scene comes when Nick nearly gets himself arrested by badmouthing the local policeman. Harold, a personal friend of the officer, manages to smooth things out, but then berates Nick for his rudeness and stupidity. To Nick, who still subscribes to the sixties idea that all cops are "pigs" , this may seem like a sellout to the enemy, but I suspect that most of the audience will side with Harold who realises that some of his contemporaries have difficulty in distinguishing between idealism and childishness.

    "The Big Chill" has something in common with another movie from the early eighties, Barry Levinson's "Diner" from 1981, which also deals with a reunion of a group of former classmates, although that film is a period piece set in 1959 and the characters are rather younger, being in their twenties rather than their thirties. What the two films have in common is that both are excellent examples of ensemble acting.

    This was the second film of its director Lawrence Kasdan (his first was the very different neo-noir thriller "Body Heat") and it starred a number of actors, such as William Hurt and Kevin Kline, who were to become regulars in Kasdan's movies. , (Kevin Costner, originally cast as Alex, was edited out of the final version, but also went on to become a Kasdan regular). There are too may good performances to list them all, but special mentions must go to Kline as Harold, Glenn Close as Sarah and Meg Tilly as Alex's strange, unworldly younger girlfriend Chloe.

    One question much discussed on this board is whether the film is "dated". Leaving aside trivial questions of fashion (even in the eighties Tom Berenger's hairstyle must have looked very seventies), I think that it is "dated", but only in the narrow, limited sense that it deals with cultural phenomena such as the sixties counterculture which were very much of their own era. In a wider sense it is not dated because it deals with timeless issues such as love, friendship and the challenge of staying true to one's youthful ideals in later life. (Another eighties film on this theme, although in my view a less successful one, is Fred Schepisi's "Plenty").

    I felt that the film was occasionally slow-moving, with too great an emphasis on talk over action. I also wondered whether it might not have been improved by keeping Costner's scenes to allow us to see what sort of a person Alex was and why his death had such a traumatic impact on his friends. Overall, however, I felt that it was a very watchable film, and often a moving one- one that could be watched for pleasure not only by those who are too young to remember the sixties but even those who are too young to remember the eighties. 7/10
    7super_trooper

    Reality staring you in the face

    There was something about this movie which I couldn't place my finger on. Although I barely made the 60's, of which all the characters are reminiscing of and therefore perhaps I maybe missed some subtle messages or didn't get some in-jokes about the 60's, this movie still applies to everyone. I guarantee every generation will have a time where they come back after 10 or 15 years and see friends that had been so important but are now barely on the radar. They will have a weekend of drinking and tears and fights and laughter. You will look at someone and remember a deep, hidden passion for them that you felt so long ago and never shared with anyone.

    That is of course, the plot of the movie.

    7 friends (who go wayyy back) one husband (who disappears pretty quickly) and a widowed girlfriend (who is barely known by anyone) come together after they learn that Alex, a friend formally part of the clique, had committed suicide (this part was infamously played by Kevin Costner). They have a weekend of sex, drugs, and good ol' fashioned rock and roll, the whole time bringing up past ghosts that had seemed long forgotten and faded. This is touchy subject, even in today's standards. Yet the movie handles it beautifully. My favourite section in the whole movie was when `You can't always get what you want' was played at his funeral. Not for the song, although it is a classic but for how the characters react. Each sit there in the church, some smiling quietly to themselves, while others have a sadden expression, remembering great times that were and never will be again. Every person has a song like that, one that makes you remember your friends, one that makes you sad or laugh and or grin to yourself as you remember the things you did. That to me clinches the movie. It shows how true the script is, and how humanly the characters react. There is a lot of angry hype about the movie, how there is too much talking and not enough sex or car chases or whatever people think is missing. Yet for me, it is reality. When something like this happens in real life, people do not over dramatise. Life is not a soap opera, although movie-goers seemed to want this movie to be. In a real-life situation, people would do exactly what the characters did, examine themselves and try to find a reason for the problems that have happened. Yet the hard truth is, especially about suicide, sometimes, there is no one you can blame. I think people didn't like this movie too much because it rang too true. It was too realistic. People go the movies to be entertained, to fall in love with the fairy-tales lives that movies have. This movie is honest. It seems, for now, people just want to be naïve and live in a fantasy world. If you want a true movie, see this one now.
    Eschete

    Jeez, it isn't THAT bad!

    Yes, I hate yuppies just as much as the next guy. And yes, I see all the flaws in this movie. But this movie IS telling the truth about the Baby Boomers, in my eyes, not glorifying them. By that I mean that it tells the story of a group people who THOUGHT they were idealistic when they were young and stoned, only to grow up (and sober up) a little to find out they are as shallow, fake, and greedy as their parents. Some of them are so jarred by this realization that they become depressed and maybe even kill themselves, as their friend did.

    So the "talky, plastic" characters AREN'T the result of bad acting or bad writing. They're accurately portraying a generation so full of itself and hot air that it IS talky and plastic, see?

    I especially like the character playing JoBeth Williams' husband. He steps into the movie, utters prophetic truth while eating a sandwich, and steps out, leaving the yuppies in the audience stunned. The soundtrack is good, but it becomes kind of transparent and commercial-y after a while. I give the movie a B-.

    Things to watch for: cynical product placement (Miller Beer, Nike shoes, etc.); Meg Tilly's body; Kevin Kline's come-and-go accent.
    8yris2002

    an intelligent and sensitive script for a talented cast

    Reunions of former college mates can be an enthusiastic, but also dramatic experience, mainly when you have shared with your now adult friends great ideals in a better and just world, and all those ideals have been abandoned in favour of professional careers and wealthy lives and, moreover, when the only mate who has faced the unfillable gap between the ideal and the real has just committed suicide and thus caused that same reunion.

    Single sense of more or less pretended personal self-fulfilment, but hiding a dramatic sense of disillusionment, is rendered through noteworthy dialogues: intelligent, witty, ironical, sensitive and deep. Each protagonist will have to take off his/her mask, and show himself/herself for what he/she is now: the easy and devouring enthusiasm of those, not so distant, at least chronologically, but mentally and emotionally buried times cannot be acted for long. The only form of consolation, a very significant one, actually, is the possibility to share this sense of disillusionment, and the understanding that the only way out of personal dramas is communing with others.

    Evidently, the actors, nowadays known as talented performers, but not so famous in 1983, are more than good. Not to mention the soundtrack, which contributes strongly to the emotional impact of the movie and makes one feel like rediscovering the great and out of time hits of the 60's, 70's. A cult and must see movie.
    Silverzero

    Nostalgic, elegantly handled and brilliantly done feel-good drama.

    "The Big Chill" is often regarded as the best Hollywood movie to demonstrate ensemble acting. A problem that can affect similar films is the unequal division of time that each character receives, but "The Big Chill" avoids this problem. It certainly is a moving cinematic experience that isn't easily forgotten. OK it doesn't really lead anywhere, but as it goes on, the nostalgic charm sets in and the core isn't hollow.

    Terrific performances from the ensemble cast who work well as a group. It's ironic how Kevin Costner had the most successful career yet if you blink you'll miss him. Some of the careers of the talented cast bloomed after this- Kevin Kline won an Oscar for "A Fish Called Wanda", Glenn Close got 5 nominations (this film included) and got a status in Hollywood, Jeff Goldblum got success in the likes of "Jurassic Park" and "Independence Day". Others didn't- Meg Tilly sort of disappeared, JoBeth Williams went on to flops such as Stop Or My Mom Will Shoot, Mary Kay Place had small parts in Girl Interupted and Being John Malkovich but went by un-noticed.

    "The Big Chill" is a complex and often brilliant story of the need for companionship. The soundtrack greatly adds to the nostalgic and uplifting feel to the movie. Great performances, splendid direction and an engaging script make this a deserved (if not slightly dated) classic. My IMDb rating: 8.0/10.

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    Handlung

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    • Wissenswertes
      Kevin Kline met future wife Phoebe Cates when she auditioned for the part of Chloe.
    • Patzer
      Harold tells Nick that a big company is going to buy his company, so Nick should trade on that info so he can clean up his life. Harold also gives that info to Alex, and Alex was able to leverage that info to make the money that he used to buy the house. Alex couldn't have profited from that info, because it hadn't happened, yet.
    • Zitate

      [At Alex's wake]

      Michael: Amazing tradition. They throw a great party for you on the one day they know you can't come.

    • Alternative Versionen
      CBS edited 6 minutes from this film for its 1986 network television premiere.
    • Verbindungen
      Edited into The Pitchfork Retreat
    • Soundtracks
      I Heard It Through the Grapevine
      Written by Norman Whitfield and Barrett Strong

      Performed by Marvin Gaye

      Courtesy of Motown Records and Jobete Music

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 27. April 1984 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Reencuentro
    • Drehorte
      • Tidalholm Mansion - 1 Laurens Street, Beaufort, South Carolina, USA(The House)
    • Produktionsfirmen
      • Columbia Pictures
      • Carson Productions
      • Delphi Films
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 8.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 56.399.659 $
    • Eröffnungswochenende in den USA und in Kanada
      • 3.662.152 $
      • 2. Okt. 1983
    • Weltweiter Bruttoertrag
      • 56.399.792 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 45 Min.(105 min)
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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