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Bobby

  • 2006
  • 12
  • 1 Std. 57 Min.
IMDb-BEWERTUNG
7,0/10
43.549
IHRE BEWERTUNG
Bobby (2006)
Theatrical Trailer from Weinstein Co.
trailer wiedergeben2:22
3 Videos
99+ Fotos
Politisches DramaBiographieDramaGeschichte

Die Geschichte der Ermordung des US-Senators Robert F. Kennedy, der in den frühen Morgenstunden des 5. Juni 1968 im Ambassador Hotel in Los Angeles, Kalifornien, und 22 Menschen im Hotel ers... Alles lesenDie Geschichte der Ermordung des US-Senators Robert F. Kennedy, der in den frühen Morgenstunden des 5. Juni 1968 im Ambassador Hotel in Los Angeles, Kalifornien, und 22 Menschen im Hotel erschossen wurde, deren Leben nie dasselbe war.Die Geschichte der Ermordung des US-Senators Robert F. Kennedy, der in den frühen Morgenstunden des 5. Juni 1968 im Ambassador Hotel in Los Angeles, Kalifornien, und 22 Menschen im Hotel erschossen wurde, deren Leben nie dasselbe war.

  • Regie
    • Emilio Estevez
  • Drehbuch
    • Emilio Estevez
  • Hauptbesetzung
    • Anthony Hopkins
    • Demi Moore
    • Sharon Stone
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,0/10
    43.549
    IHRE BEWERTUNG
    • Regie
      • Emilio Estevez
    • Drehbuch
      • Emilio Estevez
    • Hauptbesetzung
      • Anthony Hopkins
      • Demi Moore
      • Sharon Stone
    • 281Benutzerrezensionen
    • 100Kritische Rezensionen
    • 54Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 6 Gewinne & 25 Nominierungen insgesamt

    Videos3

    Bobby (2006)
    Trailer 2:22
    Bobby (2006)
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Trailer 5:00
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Trailer 5:00
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Breaking Bobby Bones
    Trailer 1:03
    Breaking Bobby Bones

    Fotos275

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    Topbesetzung90

    Ändern
    Anthony Hopkins
    Anthony Hopkins
    • John
    Demi Moore
    Demi Moore
    • Virginia
    Sharon Stone
    Sharon Stone
    • Miriam Ebbers
    Harry Belafonte
    Harry Belafonte
    • Nelson
    Joy Bryant
    Joy Bryant
    • Patricia
    Nick Cannon
    Nick Cannon
    • Dwayne
    Emilio Estevez
    Emilio Estevez
    • Tim
    Laurence Fishburne
    Laurence Fishburne
    • Edward
    Brian Geraghty
    Brian Geraghty
    • Jimmy
    Heather Graham
    Heather Graham
    • Angela
    Helen Hunt
    Helen Hunt
    • Samantha
    Joshua Jackson
    Joshua Jackson
    • Wade
    David Krumholtz
    David Krumholtz
    • Agent Phil
    Ashton Kutcher
    Ashton Kutcher
    • Fisher
    Shia LaBeouf
    Shia LaBeouf
    • Cooper
    Lindsay Lohan
    Lindsay Lohan
    • Diane
    William H. Macy
    William H. Macy
    • Paul
    Svetlana Metkina
    Svetlana Metkina
    • Lenka
    • Regie
      • Emilio Estevez
    • Drehbuch
      • Emilio Estevez
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen281

    7,043.5K
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    Empfohlene Bewertungen

    ccbc

    Good Movie

    People who complain about the ensemble cast and disparate story lines are missing the point. This is a movie about ordinary people caught up in the great drama of history. All the people have their own lives to live (as is pointed up in a Kennedy speech clip during the credits) but all are affected by the event that is to take place. War movies frequently have this concept. This is a peace movie about people whose lives will be changed by an outside event. (Disclaimer: I remember in June 1968 my wife, an early riser, sitting on the edge of the bed saying, "Robert Kennedy was shot." I knew right away what that meant: Nixon would be president, four more years of war... Yes, I was one of those ordinary people who was affected by this historic event.)
    7tccandler

    An interesting, if somewhat cluttered, Altman-esquire film...

    This movie suffers from Attention Deficit Disorder... I feel like I missed out on the details of each character.

    You may not have suspected that this film is one of the biggest mysteries of 2006. I mean, how on earth did Emilio "Might Duck" Estevez command enough clout to assemble this stunning cast??? I am stumped. Nevertheless...

    "Bobby" feels very much like a stylistic copy of Robert Altman's work -- perhaps a lighter version of Paul Thomas Anderson's operatic ensembles. You know the types of films I am referring to -- "Nashville", "Magnolia", "Short Cuts", Boogie Nights" -- the huge casts, varying story lines, interconnectivity, etc.

    The events in this film all take place at Los Angeles' famed Ambassador Hotel in the moments leading up to the assassination of Robert Kennedy in 1968. There is the story of the nostalgic doorman who plays chess in the lobby. There is the story of the wasted night club singer. There is the story of a young girl who agrees to marry her friend so he doesn't have to go to Vietnam. There is the story of the racist food and beverage manager. There is the story of the bored married couple. There is the story of the political aides tripping on LSD. There is the story of the hairdresser... the cook.. the thief... his wife... and her lover -- Okay, fine... that's another film. There may even be a partridge in a pear tree somewhere along the way. "Bobby" is a sprawling film that may have jammed a little too much in between the credits.

    That being said, the film is a model of professionalism. There are some fine performances. The costuming and make-up is so colorful and vivid as to become a character in and of itself. The editing is the film's highlight, cleverly blending original footage with fictional scenes.

    The best performances come from William H. Macy, Anthony Hopkins, Lindsay Lohan & Svetlana Metkina. Hopkins plays wistful better than anyone ever has. Lohan has been called the "heart of the film" by Estevez himself. She gives the film an emotional connection and displays a level of acting talent that will surprise many audiences. Metkina has a few moments that will amuse you.

    A few performances stray a little over the top -- Demi Moore is a prime example of that. She breaks the understated tone of the film. Also, the entire trippy scene with Ashton Kutcher struck me as entirely wasted.

    The film winds down to the fateful event in the kitchen when Sirhan Sirhan ends the dream of many Americans. The film hints that this particular event may have been even more significant than the assassinations of either JFK or MLK. It hints that the course of the country shifted drastically that night. It hints, somewhat overtly, at the present situation we find ourselves in with world politics. And the words of Robert Kennedy echo sadly in the final chapter of the film.

    There is so much crammed into this movie that it almost demands a second viewing. It is not that one can't keep up, but that each character gets so little screen time that it feels necessary to visit them again in order to get their full effect. I think that Estevez shows great promise here, but he may have overloaded his buffet plate -- and who can blame him with so much talent at his disposal.

    © Written by TC Candler IndependentCritics.com
    9AuntieEm03

    Captures the Era and the Man

    I saw the movie "Bobby" as part of the Vienna International Film Festival last week and thought it was an incredibly powerful film. The movie focuses on around 20 people in and around the Ambassador Hotel the day that Robert Kennedy was shot there. The large cast never seems overwhelming. The characters are clear enough that we remember what they were doing the last time we saw them, but we never feel like they are merely one-dimensional. Emilio Estevez really hit the jackpot with his cast - they all are 100% committed to their roles and the audience simply gets lost in the era.

    The cast is phenomenal - the standouts include Sharon Stone (who has a a chance at a Supporting Actress Oscar nomination if the Academy can overlook Basic Instinct 2), Nick Cannon as a young Black-American working on the campaign, and Freddy Rodriguez as a young Latino working in the kitchen. The later two, combined with Lindsey Lohan as a woman marrying to save a man's life, serve as the heart of the movie and bring a well-balanced view of many of the hot issues of the day.

    The movie has an incredible, emotional climax that is enhanced by an actual speech of Bobby Kennedy. The audio and visual clips of Kennedy serve as snapshots into his life and the work he did during his short time in the public eye. You can read whatever you want to into the political agenda of the movie, but in the end this movie is a tribute to Robert F. Kennedy and his time.
    6David_Frames

    My Israeli shot me down

    Estivez has a go at what critics have lazily referred to as a Altmanesque ensemble piece but as I couldn't think of a better adjective I've used it myself but will try to be more inventive with the rest of this review...which is a lie but try and stay with it regardless.

    Emilio's ahistoric slice 'o' time takes place in the Ambassador Hotel is the, er, fateful hours leading up to Robert Kennedy's assassination. We're introduced to a body of characters all approaching something of a convenient watershed moment in their lives and/or attitudes. They talk about the verge of a new age or represent, as in William H Macy's case, the older generation flirting with the new in order to buy into some of that RFK inspired optimism. Vietnam is discussed of course, as are civil rights, sexual politics, drugs and so on - in other words its 1968 personified and as they pontificate on the issooees that dominated the period zeitgeist, real footage of the senator is spliced in as he does the rounds on the day of the California primary which he'd win of course, only to have the result cancelled by the assassins bullet.

    There's nothing about Bobby thats going to offend anyone but there, as another great orator said, is the rub. Emilio's direction is competent but never inspiring like his subject matter - functional but lacking the magic that pulled you into better political ensembles like the aforementioned Altman's Nashville. The characters are reasonably well sketched but not especially involving and how could they be when the real star of the show, Kennedy himself, makes the drama seem very ordinary as his vocalises the film's anti-war, progressive agenda far better than any set of thin characters could. His footage, well integrated into the film, is the real reason to see it. The final minutes, post -bullets, with Kennedy's assured tones giving us a timely lecture on the futility of violence and the merits of tolerance and understanding as Estevez's characters contemplate his shooting just minutes earlier, genuinely does bring a lump to the throat. It lasts five minutes or so but says more about RFK and the tragedy of his death then anything that we've seen in the previous 100 minutes. Not superb then but Estivez's admiration for his man is well received and presented with dignity.
    10highkite

    One of the best of the year

    If you're sitting in the back row of a theater, hiding your tears as the credits roll for a movie, you know it delivered the emotional effect it was aiming for. I was lucky enough to catch "Bobby" at the Toronto Film Festival -- its North American premier -- and what I got was an incredibly beautiful story, cinematically gripping to say the least.

    Like in all great ensemble movies, "Bobby" offers a stellar cast, none of whom disappoint. From the neurotic and self-conscious character of Samantha (played by Helen Hunt) to the outspoken, confident Edward Robinson (Laurence Fishburne), there is a vast mixture of personalities that work to provide a complex interwoven plot line. But the most notable performance (and the most surprising) is that of Virginia Fallon. Brillianty portrayed by Demi Moore, Virginia is a foul-mouthed, insecure alcoholic who sways around on screen in delicate form, both heartbreaking and beautiful to watch.

    Director-writer Emilio Estevez put his heart into this project. The direction is without a doubt highly impressive. The subtle colorful hues reflect the emotional grip of each scene, and extenuate a modern feel to the film. He puts us head-first in the crowd that witnessed the assassination of Robert F. Kennedy, on what would seem to be one of the most heartbreaking moments in American history.

    But what really stands out in this movie is not the screenplay, nor directing, nor acting. The emotional intensity is brilliantly brought out through the use of sound. An actual audio footage of RFK is heard in the background as the tense score sways by over the muted dialogue. And what works for this type of film-making is the amount of anticipation it builds up, and even after pivotal scenes, the impact it leaves on the audience.

    There is a key scene in the movie in which all the characters prepare to greet RFK when the energy of the entire screen seemingly drips with positivity towards the American society. It's as though we forget the fatal tragedy and give into the thought of this story having a happy ending. We are reminded of classic ensemble films such as "Short Cuts", "Magnolia" and "Crash" and immediately juxtapose that feeling.

    Though I do fear that politically this movie may not hit home for a lot of the critics once it hits a wide release, it is definitely going to leave a lasting impression on the majority who sees it. It's a movie that presents a magnificent cast, superb directing, and flawless scriptwriting. An undoubtedly obvious ingredient for the Awards season.

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    • Wissenswertes
      At one point during the script development, after developing a case of what writer and director Emilio Estevez called "paralyzing writer's block," Estevez set the script aside. Later, he checked into a remote hotel on the Central California Coast, near Pismo Beach, to work on the script. When he checked in, the woman at the desk recognized him, and asked what he was doing there. "I'm writing a script about the night Bobby Kennedy was killed," he told her. Tears instantly welled in her eyes. "I was there," she replied. Estevez interviewed the woman, who had been a volunteer for Robert F. Kennedy in 1968. He turned her personal story, which included marrying a young man to keep him out of Vietnam, into the Diane Howser character. Estevez said, "She really helped me crack the spine of the story and give it a beating heart. After that, it just started to flow."
    • Patzer
      The credits include the closing speech detailing the speech as "Robert F. Kennedy's speech, 'On The Mindless Menace of Violence.' The credits say it was delivered in Indianapolis, Indiana on April 5, 1968. This is incorrect; Robert Kennedy gave a speech on Martin Luther King, Jr.'s death in Indianapolis on the previous day but gave the speech presented on the recording at the City Club of Cleveland in Cleveland, Ohio.
    • Zitate

      Robert F. Kennedy: [voiceover] This is a time of shame and sorrow. It is not a day for politics. I have saved this one opportunity, my only event of today, to speak briefly to you about the mindless menace of violence in America which again stains our land and every one of our lives. It is not the concern of any one race. The victims of the violence are black and white, rich and poor, young and old, famous and unknown. They are, most important of all, human beings whom other human beings loved and needed. No one - no matter where he lives or what he does - can be certain who will suffer from some senseless act of bloodshed. And yet it goes on and on and on in this country of ours. Why? What has violence ever accomplished? What has it ever created? No martyr's cause has ever been stilled by an assassin's bullet. No wrongs have ever been righted by riots and civil disorders. A sniper is only a coward, not a hero; and an uncontrolled, uncontrollable mob is only the voice of madness, not the voice of reason. Whenever any American's life is taken by another American unnecessarily - whether it is done in the name of the law or in the defiance of the law, by one man or a gang, in cold blood or in passion, in an attack of violence or in response to violence - whenever we tear at the fabric of the life which another man has painfully and clumsily woven for himself and his children, the whole nation is degraded. "Among free men," said Abraham Lincoln, "there can be no successful appeal from the ballot to the bullet; and those who take such appeal are sure to lose their cause and pay the costs." Yet we seemingly tolerate a rising level of violence that ignores our common humanity and our claims to civilization alike. We calmly accept newspaper reports of civilian slaughter in far-off lands. We glorify killing on movie and television screens and call it entertainment. We make it easy for men of all shades of sanity to acquire whatever weapons and ammunition they desire. Too often we honor swagger and bluster and wielders of force; too often we excuse those who are willing to build their own lives on the shattered dreams of others. Some Americans who preach non-violence abroad fail to practice it here at home. Some who accuse others of inciting riots have by their own conduct invited them. Some look for scapegoats, others look for conspiracies, but this much is clear: violence breeds violence, repression brings retaliation, and only a cleansing of our whole society can remove this sickness from our soul. For there is another kind of violence, slower but just as deadly destructive as the shot or the bomb in the night. This is the violence of institutions; indifference and inaction and slow decay. This is the violence that afflicts the poor, that poisons relations between men because their skin has different colors. This is the slow destruction of a child by hunger, and schools without books and homes without heat in the winter. This is the breaking of a man's spirit by denying him the chance to stand as a father and as a man among other men. And this too afflicts us all. I have not come here to propose a set of specific remedies nor is there a single set. For a broad and adequate outline we know what must be done. When you teach a man to hate and fear his brother, when you teach that he is a lesser man because of his color or his beliefs or the policies he pursues, when you teach that those who differ from you threaten your freedom or your job or your family, then you also learn to confront others not as fellow citizens but as enemies, to be met not with cooperation but with conquest; to be subjugated and mastered. We learn, at the last, to look at our brothers as aliens, men with whom we share a city, but not a community; men bound to us in common dwelling, but not in common effort. We learn to share only a common fear, only a common desire to retreat from each other, only a common impulse to meet disagreement with force. For all this, there are no final answers. Yet we know what we must do. It is to achieve true justice among our fellow citizens. The question is not what programs we should seek to enact. The question is whether we can find in our own midst and in our own hearts that leadership of humane purpose that will recognize the terrible truths of our existence. We must admit the vanity of our false distinctions among men and learn to find our own advancement in the search for the advancement of others. We must admit in ourselves that our own children's future cannot be built on the misfortunes of others. We must recognize that this short life can neither be ennobled or enriched by hatred or revenge. Our lives on this planet are too short and the work to be done too great to let this spirit flourish any longer in our land. Of course we cannot vanquish it with a program, nor with a resolution. But we can perhaps remember, if only for a time, that those who live with us are our brothers, that they share with us the same short moment of life; that they seek, as do we, nothing but the chance to live out their lives in purpose and in happiness, winning what satisfaction and fulfillment they can. Surely, this bond of common faith, this bond of common goal, can begin to teach us something. Surely, we can learn, at least, to look at those around us as fellow men, and surely we can begin to work a little harder to bind up the wounds among us and to become in our own hearts brothers and countrymen once again.

    • Verbindungen
      Featured in Siskel & Ebert & the Movies: Casino Royale/Happy Feet/Bobby/Fast Food Nation/Candy/Come Early Morning (2006)
    • Soundtracks
      Love and Light
      Written by Jeff Rona

      Performed by Luxurious

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    FAQ21

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    • Who shot Bobby Kennedy and why?

    Details

    Ändern
    • Erscheinungsdatum
      • 8. März 2007 (Deutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • Bobby - Die Ermordung von Robert F. Kennedy
    • Drehorte
      • Ambassador Hotel - 3400 Wilshire Boulevard, Los Angeles, Kalifornien, USA
    • Produktionsfirmen
      • The Weinstein Company
      • Bold Films
      • Bobby
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 14.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 11.242.801 $
    • Eröffnungswochenende in den USA und in Kanada
      • 69.039 $
      • 19. Nov. 2006
    • Weltweiter Bruttoertrag
      • 20.718.608 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 57 Min.(117 min)
    • Farbe
      • Color
    • Sound-Mix
      • SDDS
      • Dolby Digital
      • DTS
    • Seitenverhältnis
      • 2.35 : 1

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