Ein Zuhause am Ende der Welt

I'm not sure if I just saw the same movie as some of the other reviewers on here. I would include this film as one of the best of 2004 (so far) along with Eternal Sunshine of the Spotless Mind, Garden State, Spartan, and Kill Bill Vol 2. Colin Farrell's character, Bobby Morrow is one of the most fascinating people I've seen in the movies for some time. I hope his performance (and this film) are given the recognition they deserve. The rest of the performances are excellent as well. The screenplay and the direction are also very good, too. The story isn't something that we haven't seen on film before, but the characters and the way the film unfolds isn't your standard fare. Don't listen to the detractors, see this film.

I was profoundly touched by the film, but I can see why people needing a strong linear narrative might be left feeling incomplete.

The tagline doesn't quite capture the key to the film-- it's not precisely about redefining family-- I suspect the marketing folks thought that would resound with a likely target audience. (Like the Frameline GLBT Film Festival in SF.) To me it's about the need to belong-- to find a place in this world and then take that ride. The struggle is to find equilibrium with all the surprises that may come one's way.

Although the movie has its share of sadnesses, there are also quiet triumphs. In an odd way, this film touches some of the same chords as the far more eccentric "The World According To Garp" and "Cider House Rules."

To the director's and screenwriter's credit, they resisted the temptation to pack too much onto the film. I found the characterizations just specific enough. Fine performances from all. Beautifully established in youth.

The film trusts both your intelligence and intuition to carry you through the trip. Don't see this if you're hungering for car chases!

Michael's Cunningham's book is so moving I was afraid to be deeply disappointed by the movie adaptation. Although 90 min is barely enough to narrate the story in its emotional complexity, the movie is very faithful to the book, probably because the screenplay is from Cunningham himself. The acting is excellent, and the soundtrack featuring Laura Nyro is beautiful, and if some of the book's interest is lost in translation, it still makes a pretty good movie. I find some detractors' arguments pretty amazing, as if all they'd watched was the trailer. To suggest that after Jules & Jim any movie containing a threesome is worthless, that any movie taking place in the 70s-80s is obsolete, that there was too much or not enough sex scenes, or that the AIDS theme is not developed enough, is plain ludicrous. This is not a movie about an era, about homosexuality, or about the AIDS epidemics. This is about (re)creating a place out of time and geography, where the world makes sense (again). A home, in other words. This is about loving another being (or two, since one is never complete, never enough) irrespective of family links, gender, and the established social codes. The characters are struggling to escape the rules to enjoy the "big noisy world around" and find a natural place in it. They are the opposite of stereotypical characters, at least once they are fully revealed to themselves. As for the end, it is not "unconclusive", it is what is called an open ending, and probably in this case the perfect ending, which means the only possible one. My advice: watch it, and read the novel too.

My sons & I saw the very first 2:30PM show Friday the 23rd at the San Francisco Lumiere theater. WE LOVED IT!! All the reviews are fairly sound-- great awesome wonderful sweet emotional very very touching & full of longing & love. Colin as Bobby was spectacularly adorable. This role shows so well how versatile Colin is an an actor-- what a talented genius he is and what a fully emotional person he's capable of being.

All the actors did an incredible job-- but in particular I was really impressed with the teens that played the young Bobby & Jonathan-- they were absolutely genuine in what these really complicated, mature roles.

Regardless of the necessary changes made from the book-- I was amazed at how so many moments were exactly as I'd pictured them when I read it.

Even though there's been a ton of reviews & the book to read-- there are some totally cute hysterical & goofy moments that knocked me out of my seat & completely surprised me.

And-- the one altered scene-- I'm thankful they changed it-- that scene without any irrelevant controversial distractions is an Oscar winner if I ever saw one-- completely beautiful & traumatic & sweet & loving. I don't want anything to stand in the way of the characters & what they care about there-- & if I'd been in a room of screaming fans I would have been annoyed for having anything interrupt those beautiful moments during the film-- though I wouldn't kick the deleted scene out of bed if it shows up on the DVD!

Saturday the 24th I saw it again. They're giving away Home books & CDs as raffle prizes, & though I wasn't lucky enough to win-- I was lucky to get a book anyway. One of the guys that won the CD/book set gave me his book because he already had one. It has the Home poster on the cover!

Everyone was filling out pink questionnaires for the film-- One of the guys collecting them said they had about 200 responses from the previous showings, & of those nearly everyone rated the film as excellent. Only 9 of that 200 rated it fair & only 2 poor (2 bastards!)

Colin's got some incredibly powerful moments in this film, and though I'm a fan of his anyway, I was happily blown away with how loving he is as Bobby. It's glorious to watch. I'm highly impressed with the whole film-- all the acting from everyone. It's a very emotional, poignant, & profound story.

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"Remember your very best friend in high school, the one who knew… and kept… all your secrets? Bobby and Jonathan, who shared that kind of friendship, meet again as adults in New York. Sparked by their relationship with free-spirited Clare, they forge a loving unit that redefines 'family'. Colin Farrell, Robin Wright Penn, Sissy Spacek and Dallas Roberts star in this lyrical film that's both a celebration of commitment and a music - and memory-driven portrait of America in the '70s and '80s. Adapted by Pulitzer Prize winner Michael Cunningham from his own novel, 'A Home at the End of the World' strikes close to home as an adventure as big as life itself: risky, surprising, sexually charged and real," according to sleeve scribers...

That description, while not entirely inaccurate, hints at how "A Home at the End of the World" fails to achieve its full potential. The film isn't altogether a "memory-driven portrait" of family and music over the decades covered; indeed, it is a portrait of an unconventional family unit, but that should have remained secondary. At heart, this is a love (the kind including a sexual attraction) story between the Bobby and Jonathan characters, possibly deemphasized to make it more palatable. The focus unravels, especially after Mr. Farrell's adult Bobby take over the action. The film draws its fault line by losing touch with the central relationship, and Farrell's characterization goes off course. Freed-from-the-wig Colin Farrell and Dallas Roberts could have recorded a hit version of "Look Out, Cleveland" with The Band backing...

The casting is excellent, with Erik Smith and Harris Allan especially winning as the teenage Bobby and Jonathan; they blend perfectly with the grown-up Farrell and Mr. Roberts. Note that criticisms of Farrell in the lead role are of characterization, not acting. Smith's Bobby was played as a self-assured and sexual adventurous young man, but Farrell's Bobby is suddenly an asexual puppy dog; something is missing. We begin with an uncommonly artistic story, from Mr. Cunningham's novel. Cunningham worked on the film; a double edged sword, for it reveals not only tantalizing bits of his artistic vision, but also invites criticism regarding its execution. The fine original story is still evident on film, and some cinematic moments give the material emotional strength...

A highlight occurs when Smith and Allan become "brothers" by exchanging jackets; most importantly, the jacket worn by Bobby belonged to his brother, and he symbolically replaces Carlton (a sexually-charged Ryan Donowho) with Jonathan. This is a circular story. Note we begin with "Bobby" walking in on his brother having sex with a young woman (on top); this scene is recalled when he walks in on his replacement brother, again with a woman (on top). In both instances, Bobby winds up in bed with brother. There is no evidence of incest, but the opening brother/brother relationship appears extremely intimate, as does the later relationship between Bobby and replacement "mother" Alice (an easily potted Sissy Spacek). This story is about replacing lost love. We end with a full circle...

******* A Home at the End of the World (6/9/04) Michael Mayer ~ Colin Farrell, Dallas Roberts, Robin Wright, Sissy Spacek