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Das schwankende Schiff

Originaltitel: Cradle Will Rock
  • 1999
  • R
  • 2 Std. 12 Min.
IMDb-BEWERTUNG
6,7/10
9738
IHRE BEWERTUNG
Das schwankende Schiff (1999)
A true story of politics and art in the 1930s U.S., focusing on a leftist musical drama and attempts to stop its production.
trailer wiedergeben2:17
1 Video
41 Fotos
Drama

Füge eine Handlung in deiner Sprache hinzuA true story of politics and art in the 1930s U.S., focusing on a leftist musical drama and attempts to stop its production.A true story of politics and art in the 1930s U.S., focusing on a leftist musical drama and attempts to stop its production.A true story of politics and art in the 1930s U.S., focusing on a leftist musical drama and attempts to stop its production.

  • Regie
    • Tim Robbins
  • Drehbuch
    • Tim Robbins
  • Hauptbesetzung
    • Hank Azaria
    • Rubén Blades
    • Joan Cusack
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,7/10
    9738
    IHRE BEWERTUNG
    • Regie
      • Tim Robbins
    • Drehbuch
      • Tim Robbins
    • Hauptbesetzung
      • Hank Azaria
      • Rubén Blades
      • Joan Cusack
    • 166Benutzerrezensionen
    • 47Kritische Rezensionen
    • 64Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 5 Gewinne & 7 Nominierungen insgesamt

    Videos1

    Trailer
    Trailer 2:17
    Trailer

    Fotos41

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    Topbesetzung99+

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    Hank Azaria
    Hank Azaria
    • Marc Blitzstein
    Rubén Blades
    Rubén Blades
    • Diego Rivera
    Joan Cusack
    Joan Cusack
    • Hazel Huffman
    John Cusack
    John Cusack
    • Nelson Rockefeller
    Cary Elwes
    Cary Elwes
    • John Houseman
    Philip Baker Hall
    Philip Baker Hall
    • Gray Mathers
    Cherry Jones
    Cherry Jones
    • Hallie Flanagan
    Angus Macfadyen
    Angus Macfadyen
    • Orson Welles
    Bill Murray
    Bill Murray
    • Tommy Crickshaw
    Vanessa Redgrave
    Vanessa Redgrave
    • Countess Constance La Grange
    Susan Sarandon
    Susan Sarandon
    • Margherita Sarfatti
    Jamey Sheridan
    Jamey Sheridan
    • John Adair
    John Turturro
    John Turturro
    • Aldo Silvano
    Emily Watson
    Emily Watson
    • Olive Stanton
    Bob Balaban
    Bob Balaban
    • Harry Hopkins
    Jack Black
    Jack Black
    • Sid
    Kyle Gass
    Kyle Gass
    • Larry
    Paul Giamatti
    Paul Giamatti
    • Carlo
    • Regie
      • Tim Robbins
    • Drehbuch
      • Tim Robbins
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen166

    6,79.7K
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    Empfohlene Bewertungen

    8heleno84

    Deserves more praise than it gets

    This may suffer from having a few too many plot lines and characters (Emily Watson, for example, is a role too far), but most of what's there is excellent. Bill Murray is as good as he has been recently in Rushmore and Lost in Translation, and the Cusacks are at their best. This is a film that lingers with you after you've seen it, and gives a fascinating insight into a turbulent time.
    6noralee

    Long on Agit Prop, But Well Captures Passionate Arts as Politics Times

    While it was fun seeing "Cradle Will Rock" with my mother-in-law who had some memories of the time period, I also did a huge paper on the WPA Arts Projects in graduate school (I recommend Jerry Mangione's book on the Federal Writer's Project as a good introduction) and am quite familiar with the personalities and facts involved so was curious to see it as a docudrama.

    But we plus my parents felt the film was too agit-prop and the 20% of it that's over-the-top (aw come on, Hearst -- "Citizen Kane" foreshadowing, Rockefeller and a steel magnate at a Versailles costume party at the climax?) weakens the historical telling of a confluence of happenings -- the strangulation of the Federal Theater Project as a precursor victim to McCarthyism through the Dies Committee (including actual testimony wherein Christopher Marlowe was accused of being a Commie, as were the classic Greek dramatists) and Nelson Rockefeller's benighted sponsorship and then destruction of the Diego Rivera murals at Rockefeller Center.

    Effectively written and directed by Tim Robbins is how passionately political the artists were, not as "card carrying Communists" per se, but as committed anti-Fascists and unionists in every aspect of their personal lives--as equally committed as they were to the magic of the theater as a communication device.

    It does go over the top (including Susan Sarandon as an elegant Jewish courier to Mussolini selling stolen Old Masters), it is effective to show how TPTB were sympathetic to and profited from alliances with the fascists and how much they hated That Cripple in the White House.

    Amidst the politics, the art for art's sake oversize egos of John Houseman and Orson Welles are also well portrayed, if a shade as buffoons compared to the grimness of everyone else around them, most of whom needed these WPA jobs to keep from starving (there's a toss away line that barely explains that FDR had to throw the Theater Project to the wolves in order to save his whole alphabet soup of programs for the vast majority).

    It's also a bit over the top in painting those who testified at the Committee as probably crazy, but who knows. The Vanessa Redgrave character is silly but I guess it's making a point that Radical Chic is not new.

    The climax of the factual occurrence, the one and only original performance of Marc Blitzstein's "ThreePenny Opera"-inspired political musical "Cradle Will Rock" is a delightful recreation, and from what I've read, true to the real story. This is definitely a very un-1990's story.

    (Additional recommended background reading: "Cultural Front: The Laboring of American Culture in the Twentieth Century" by Michael Denning (Verso, 1998, 556 pages)

    (originally written 1/2/2000)
    5vnline

    too many historical inaccuracies

    too many historical inaccuracies. the movie is set in 1937

    1. fascism wasn't anti-semitic until the mid thirties, and the first racial laws were passed in 1938 on account of the pressing ideological pull of the dominant ally, Nazi Germany. Hitler needed the Italians to get on par with the racial discrimination, otherwise he couldn't justify to the Aryan German people being allied with an inferior people, and all the propaganda efforts put into making the Germans feel as a unite comradeship against their many inferior enemies would promptly fail its purpose. Mussolini obediently submitted to his requests and promulgated the race manifesto, despite counting many Jews among his friends and acquaintances himself, like his ex lover the writer Margherita Sarfatti

    2. Margherita Sarfatti was a strong supporter of Mussolini, but that changed when the racial laws were passed. She soon left the fascist party and went to Argentina. So if she ever went to the USA to promote Mussolini, this was surely before the regime turned anti-semitic.

    3. Italy and Germany did not attack Spain. They aided and military and politically supported the nationalist rebels leaded by Franco, who tried a coup during the civil war to restore a conservative regime which had been subverted by the late socialist government and numerous anarchist riots. IE Spain was already a mess. Many Italian Marxists, communists and socialists also went and fought in Spain alongside the republican forces - which were aided by the URSS - against the falangistas and the fascist regular troops.

    4. Rivera painted that mural in 1933, so all dates and facts happening in the movie mismatch.

    5. In my understanding there was wide sympathy and support for Italian fascism in the American parlors, which isn't as apparent watching the movie. They favored fascism in juxtaposition to communism, as the latter was founded on class conflict, and the first on induced/enforced social peace and corporatism - which was already part of the American culture and economy, although in a more liberal form (and it still is). The fascist ideology found ground in the frightened middle and upper classes in all of the world, as the unions were getting stronger and the rich were scared of a Marxist revolution.
    angdev

    A Brilliant Depiction of the Universal Struggle of Artists

    Tim Robbins creates a brilliant social commentary in the same in-your-face style as "Bob Roberts". I adore the statements Robbins makes about social politics, as well as the problems with the idea of "art for art's sake". He lyrically tells the story of the struggle of performing and visual artists around the Depression era, choosing between their art and their livelihood--a struggle that is universal for artists through the expanse of time. The concept of this film is a breakthrough for the big screen, since Hollywood seems to be the capital of "selling out". The comments on artistic integrity are strong and literally moving in the acting of an amazing cast, as well as the way in which the story is edited to David Robbins' beautiful score. The entire film is simply poetic. This film is truly a masterpiece to any artist, or to anyone who knows what it like to compromise your values to survive.
    9Bill-276

    What is YOUR price?

    This is a classically written piece about the corruptability and compromises of politicians, businessmen and yes even artists. Tim Robbins is quickly becoming one of my favorite writers. I'll admit I had a hard time trying not to misinterpret the dialog, but at least the movie made me think. I also commend Robbins for tackling the hypocrisy involved in being an artist. It's slow, but give it a chance. By the end of this movie the levels and themes he's hitting on tie together very, very well.

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    Handlung

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    • Wissenswertes
      This film is based on actual events, though it takes liberties with the details. Marc Blitzstein's 1937 anti-capitalist operetta 'The Cradle Will Rock', about the effort to unionize steelworkers, was originally produced as part of the Federal Theatre Project. The Federal Theatre Project (1935-1939), in turn, was part of the Works Progress Administration (WPA), which was created in 1935 by President Franklin D. Roosevelt to employ people during the Great Depression. Directed by Orson Welles and produced by John Houseman, Cradle was shut down right before it was due to open because of "budget cuts" at the FTP. Everyone involved believed the government deliberately cut funding because the play's message offended its more conservative contingent; Actor's Equity prohibited its members from taking part, apparently oblivious to the fact that Cradle was a pro-union piece and Actor's Equity was - and is - a union. Welles, Housman and Blitzstein spontaneously rented another theater and planned to put on Cradle with Blitzstein himself singing/reading the piece; the show sold out and various actors defied Equity and performed their parts from the seats they'd bought. The secondary plot which involved Mexican painter Diego Rivera butting heads with Nelson Rockefeller when the mural the latter commissioned for a Rockefeller Center lobby on the high-minded subject of "human intelligence in control of the forces of nature" included a portrait of Lenin, is also based on fact, though it happened in 1933. The incident is also dramatized in the 2002 film Frida (2002). Tim Robbins included it because it tied into the theme of artistic integrity vs. economic practicality.
    • Patzer
      Diego Rivera's mural in Rockefeller Center was destroyed in February of 1934. The unauthorized performance of "The Cradle Will Rock" took place on 16 June 1937. Hallie Flanagan testified before Congressman Dies' committee on 6 December 1938. For artistic effect, the film makes it seem that the three events occur simultaneously.
    • Zitate

      Orson Welles: No one should be afraid of an idea!

    • Crazy Credits
      There is a heart in the credit roll with the following initials inside; SS, EMLA, JHR & MGR (SS is likely 'Susan Sarandon,' EMLA for Sarandon's daughter Eva Amurri, JHR & MGR for Robbins' & Sarandon's sons Jack Henry & Miles Robbins).
    • Verbindungen
      Featured in Siskel & Ebert & the Movies: The Green Mile/The End of the Affair/A Map of the World/Sweet and Lowdown/Mr. Death (1999)
    • Soundtracks
      Let's Do Something
      Written by Marc Blitzstein

      Performed by Erin Hill and Daniel Jenkins (as Dan Jenkins)

      Courtesy of RCA Records

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 21. Januar 2000 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizieller Standort
      • Performing Arts Legacy entry for Cradle Will Rock
    • Sprachen
      • Englisch
      • Italienisch
    • Auch bekannt als
      • Cradle Will Rock
    • Drehorte
      • New York City, New York, USA
    • Produktionsfirmen
      • Touchstone Pictures
      • Cradle Productions Inc.
      • Havoc
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 36.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 2.903.404 $
    • Eröffnungswochenende in den USA und in Kanada
      • 93.998 $
      • 12. Dez. 1999
    • Weltweiter Bruttoertrag
      • 2.986.932 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      2 Stunden 12 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • DTS
      • Dolby Digital
      • SDDS
    • Seitenverhältnis
      • 2.35 : 1

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