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Das Reich und die Herrlichkeit

Originaltitel: The Claim
  • 2000
  • 12
  • 2 Std.
IMDb-BEWERTUNG
6,3/10
7007
IHRE BEWERTUNG
Milla Jovovich, Nastassja Kinski, Sarah Polley, and Wes Bentley in Das Reich und die Herrlichkeit (2000)
Trailer for The Claim
trailer wiedergeben2:21
1 Video
99+ Fotos
DramaRomanzeWestlich

Ein Goldsucher, der seine Frau und seine kleine Tochter gegen einen Bergbauanspruch verkauft hat, versucht verzweifelt, sie zurückzugewinnen, als er mit einer Gruppe von Pionierfreunden beim... Alles lesenEin Goldsucher, der seine Frau und seine kleine Tochter gegen einen Bergbauanspruch verkauft hat, versucht verzweifelt, sie zurückzugewinnen, als er mit einer Gruppe von Pionierfreunden beim Bau der Eisenbahnstrecke Pacific Railroad hilft.Ein Goldsucher, der seine Frau und seine kleine Tochter gegen einen Bergbauanspruch verkauft hat, versucht verzweifelt, sie zurückzugewinnen, als er mit einer Gruppe von Pionierfreunden beim Bau der Eisenbahnstrecke Pacific Railroad hilft.

  • Regie
    • Michael Winterbottom
  • Drehbuch
    • Frank Cottrell Boyce
    • Thomas Hardy
  • Hauptbesetzung
    • Wes Bentley
    • Peter Mullan
    • Ron Anderson
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    7007
    IHRE BEWERTUNG
    • Regie
      • Michael Winterbottom
    • Drehbuch
      • Frank Cottrell Boyce
      • Thomas Hardy
    • Hauptbesetzung
      • Wes Bentley
      • Peter Mullan
      • Ron Anderson
    • 100Benutzerrezensionen
    • 36Kritische Rezensionen
    • 62Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Gewinn & 10 Nominierungen insgesamt

    Videos1

    The Claim
    Trailer 2:21
    The Claim

    Fotos106

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    Topbesetzung50

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    Wes Bentley
    Wes Bentley
    • Donald Dalglish
    Peter Mullan
    Peter Mullan
    • Daniel Dillon
    Ron Anderson
    • Stagecoach Driver
    Marty Antonini
    Marty Antonini
    • German
    Milla Jovovich
    Milla Jovovich
    • Lucia
    Sarah Polley
    Sarah Polley
    • Hope Dillon
    Nastassja Kinski
    Nastassja Kinski
    • Elena Dillon
    Randy Birch
    • Priest
    Marie Brassard
    Marie Brassard
    • French Sue
    Bill Chesterman
    • Mr. Timpson
    Artur Ciastkowski
    • Delaney
    Fernando Davalos
    • Barman
    Duncan Fraser
    Duncan Fraser
    • Crocker
    Shirley Henderson
    Shirley Henderson
    • Annie
    Kate Hennig
    • Vauneen
    Jimmy Herman
    Jimmy Herman
    • Miner No.3
    Landon Hicks
    • Young Miner
    Matthew Johnson
    • Miner
    • Regie
      • Michael Winterbottom
    • Drehbuch
      • Frank Cottrell Boyce
      • Thomas Hardy
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen100

    6,37K
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    Buddy-51

    impressive drama

    Although set in a remote Sierra Nevada mining town in 1867, `The Claim' is really Thomas Hardy's classic novel, `The Mayor of Casterbridge' transported to American soil. The move is a good one.

    The story concerns a wealthy miner named Daniel Dillon who practically runs the town of Kingdom Come as his own personal fiefdom. One fateful day three groups of people arrive into town: some railroad surveyors who offer the possibility that a train may soon be passing through the town, bringing with it people, wealth and prosperity; some prostitutes who plan to open up shop in this all-male community; and a sickly woman and her beautiful young daughter, who, it turns out, are the wife and daughter that Dillon sold for a bag of gold in his desperate youth – a decision he has lived to rue ever since.

    Given this multi-character canvas, writer Frank Cottrell Boyce and director Michael Winterbottom take an almost painterly approach, allowing the drama to unfold at an unhurried pace, so that they can concentrate on the bleak snowy winter setting which ends up playing as great a role in the drama as the characters themselves. The most compelling of these is Dillon, a figure of almost tragic proportions, a man who seizes the chance to make amends for his heinous sin, yet who discovers, all too late, that, for some sins, there can be no redemption. Peter Mullan provides a superbly understated interpretation of a man whose acquisition of immense wealth and power only mask the loneliness and guilt he feels inside. Wes Bentley as the chief railroad surveyor, Nastassja Kinski as Dillon's ailing wife, Sarah Polley as their daughter and Milla Jovovich as Dillon's devoted mistress all turn in outstanding performances. Although none of these characters are afforded the same richness and depth that Dillon is, they still create a fascinating tapestry of conflicting dreams and emotions. For the concept of `dreams' is a core element of the story's pioneer theme. Here are a group of rugged individualists, all enduring great hardships on a wild outpost far away from the soothing amenities of civilized life – yet all dreaming of being a part of the building of a burgeoning new nation, of which the makeshift towns and railroad-building are truly indelible symbols.

    And, indeed, in many ways, it is the images – of rugged mountains, of the relentlessly falling snow, of a house being pulled by horses across a snowy plain – that stick with us most profoundly. `The Claim' is a somber, moving and fascinating glimpse into our pioneer past.
    Spleen

    Turns out, after some will have lost patience, to be fairly good

    Michael Winterbottom's decision to construct the whole movie out of extreme telephoto shots - some of which have a pane of focus so shallow you start to wonder if it's really there at all - is more dogma than style. It places a heavy strain on the eyes which some viewers will mistake for tension in the story. (Michael Nyman's music, consisting of something like the "endless melody" which Wagner threatened to write but thankfully never did, likewise creates a tension which some viewers will mistakenly think belongs to the story. Actually, for once Nyman's music isn't that bad.) You have to admire the skill, and the art direction, like the choice of location, is beyond praise, but there's NO REASON AT ALL to make as peer at every single scene through a telescope, except perhaps that it's a shortcut (far too easy a shortcut) to stylistic unity.

    It's surprising, towards the end, after all the cold, barely focused and rather absent storytelling, to find that the film packs a punch, after all. It came as a shock when I realised I'd actually been watching something GOOD. We really had been transported to another place (the journey was just a little slow); not having read Hardy's book, I found myself wondering how he could possibly have placed the story in an English setting.

    I was also surprised to find myself touched. Some sad things happen at the end. I won't say what they are, and a synopsis of the plot probably wouldn't reveal what's sad about them, anyway.
    6Bunuel1976

    THE CLAIM (Michael Winterbottom, 2000) **1/2

    This is a rare British attempt at a Western, albeit an uncharacteristic one about a small mining town clashing with the oncoming railroad: it's reasonably well served by the stark cinematography, Michael Nyman's dramatic underscoring and a surprisingly able cast (the most impressive being Peter Mullan as the town leader with a secret past and Milla Jovovich as the chanteuse who has hooked up with him).

    Given the director, the film strives for absolute realism (down to the varying accents of the multi-national townspeople and the kind of entertainment provided in the dingy saloon); this, coupled with its relentless solemnity and a plot which isn't as engaging as it should be - actually containing a good deal of padding, particularly its baffling emphasis on the blossoming romance between a prospector and a prostitute - results in a rather uneasy film, one that's not remembered with affection! However, the tragic finale - with Mullan's dreams literally going up in flames - is effectively handled.

    Curiously enough, watching THE CLAIM I was reminded of Nicolas Roeg's similar EUREKA (1983) - which also revolved around a family undone by the lust for gold - though it lacks that film's striking imagery (not to mention its equally distinctive eccentricity).
    poetellect

    Oscar-worthy

    Saw at a screening at Cannes- and as trite as "Oscar-worthy" may sound, this film is IT. A sweeping, magestic epic which astounds the soul as well as the mind, one wonders how it could be looked over when it comes around to Oscar-time. Wes Bentley is awesome in his second-round role after American Beauty, Milla Jovovich finally silences those who may have questioned her acting ability in The Messenger, and Sarah Polley gives a real, blistering, reminds-me-of-Emma-Thomson-esc truthful performance. Natasha Kinski is heart-wrenching. Go see this movie.
    8oige

    Admirable use of realistic pioneer accents

    One of my favourite things about this fine film is that the characters have European accents; too often films set in the American frontier of the 19th Century have their characters speaking in unlikely modern American accents. It adds greatly to the film's believability, as well as reminding the viewer that these were people who left their homelands, usually to escape extreme poverty, and started a new life in what was (to the white man) unknown territory; this utter anonymity helps explain the actions of some of the characters in the film. Indeed the central theme, the cost of sacrificing what one has for a possible better life, is an aspect of emigration itself; the poem "Noreen Bán" recited by Hope Byrne recalls the tragedy of mass emigration from Ireland after the Great Famine, so its impact on Dillon is multiplied.

    Great credit is also due to the actors, excellent performances all round.

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    Handlung

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    • Wissenswertes
      The scene where Dillon ('Peter Mullan') confronts Daglish (Wes Bentley) in the bedroom of Lucia (Milla Jovovich) had to be reshot many months after principal photography was over. Bentley had cut his hair for another role, and had to be outfitted with a wig matching his hairstyle in "The Claim" at a cost of ten thousand American dollars.
    • Patzer
      Near the end of the film, Donald and Francis arrive back to town on horseback. Several men are walking behind them. Two men in Russian style hats are wearing modern day aviator sunglasses.
    • Zitate

      Vauneen: [first lines - overlapping conversations] Alright ladies, let's go. I'm Vauneen, I take care of you from this point on. Ya get down, and we're going to get you to work real soon...

      Deputy: Alright gents, let's hand-up your firearms.

      Donald Dalglish: Why?

      Deputy: It's a town's rule.

      Donald Dalglish: These firearms are the property of the Central Pacific Railroad.

      Deputy: That don't matter, Mr. Dillon says no firearms in town, so no firearms in town, come on...

      Donald Dalglish: You can't take these weapons...

      Vauneen: I said, leave that...

      Deputy: Well then you can't come into Mr. Dillon's town.

      Foreman: We're happy to cooperate with Mr. Dillon. Boys hand him your firearms...

      Vauneen: [to overeager men] Just get back. They have to be cleaned and washed.

      Miner: That one's clean enough.

      [points at Hope]

      Vauneen: Well, she's not with me. Let's go girls...

      Miner: [to Hope] Give me a ride, and I'll give you a gold dollar.

      Hope Burn: I don't know what you mean.

      [a fight breaks out]

    • Alternative Versionen
      There are two versions available. Runtimes are "2h (120 min)" and "1h 55m (115 min) (DVD) (Spain)".
    • Verbindungen
      Featured in Siskel & Ebert & the Movies: Thirteen Days/Chocolat/The Gift/The Family Man/The Claim/Miss Congeniality (2000)
    • Soundtracks
      Sé Velha
      Written by Américo Durão & António Menano

      Published by SPA

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    Details

    Ändern
    • Erscheinungsdatum
      • 8. November 2001 (Deutschland)
    • Herkunftsländer
      • Vereinigtes Königreich
      • Frankreich
      • Kanada
      • Vereinigte Staaten
    • Offizieller Standort
      • Kingdom Films / Kingdom Come Productions
    • Sprache
      • Englisch
    • Auch bekannt als
      • Kingdom Come
    • Drehorte
      • Durango and Silverton Narrow Gauge Railroad, Colorado, USA
    • Produktionsfirmen
      • Alberta Foundation for the Arts
      • Alliance Atlantis Communications
      • Arts Council of England
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 20.000.000 CA$ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 669.258 $
    • Eröffnungswochenende in den USA und in Kanada
      • 7.131 $
      • 1. Jan. 2001
    • Weltweiter Bruttoertrag
      • 885.836 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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

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    Milla Jovovich, Nastassja Kinski, Sarah Polley, and Wes Bentley in Das Reich und die Herrlichkeit (2000)
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