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Tod in Texas

Originaltitel: Into the Abyss
  • 2011
  • Not Rated
  • 1 Std. 47 Min.
IMDb-BEWERTUNG
7,3/10
17.771
IHRE BEWERTUNG
Tod in Texas (2011)
Conversations death row inmate Michael Perry and those affected by his crime serve as an examination of why people - and the state - kill.
trailer wiedergeben2:27
2 Videos
26 Fotos
Krimi-DokumentarfilmDramaKriminalitätDokumentarfilm

Gespräche mit dem Todestrakt-Insassen Michael Perry und mit denjenigen, die von seinem Verbrechen betroffen sind, zeigen auf, warum ein Mensch - und der Staat - tötet.Gespräche mit dem Todestrakt-Insassen Michael Perry und mit denjenigen, die von seinem Verbrechen betroffen sind, zeigen auf, warum ein Mensch - und der Staat - tötet.Gespräche mit dem Todestrakt-Insassen Michael Perry und mit denjenigen, die von seinem Verbrechen betroffen sind, zeigen auf, warum ein Mensch - und der Staat - tötet.

  • Regie
    • Werner Herzog
  • Drehbuch
    • Werner Herzog
  • Hauptbesetzung
    • Werner Herzog
    • Richard Lopez
    • Michael Perry
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,3/10
    17.771
    IHRE BEWERTUNG
    • Regie
      • Werner Herzog
    • Drehbuch
      • Werner Herzog
    • Hauptbesetzung
      • Werner Herzog
      • Richard Lopez
      • Michael Perry
    • 55Benutzerrezensionen
    • 132Kritische Rezensionen
    • 74Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 2 Gewinne & 13 Nominierungen insgesamt

    Videos2

    U.S. Version
    Trailer 2:27
    U.S. Version
    Fred Allen Interview
    Clip 2:10
    Fred Allen Interview
    Fred Allen Interview
    Clip 2:10
    Fred Allen Interview

    Fotos25

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    Topbesetzung12

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    Werner Herzog
    Werner Herzog
    • Self - Narrator
    • (Synchronisation)
    Richard Lopez
    • Self - Death House Chaplin
    • (as The Reverend Richard Lopez)
    Michael Perry
    Michael Perry
    • Self - Death Row Inmate
    • (as Michael James Perry)
    Damon Hall
    Damon Hall
    • Self - Montgomery County Sheriff's Department
    Lisa Stolter-Balloun
    Lisa Stolter-Balloun
    • Self - Daughter and Sister to Victims
    Charles Richardson
    • Self - Older Brother of Jeremy
    Jason Burkett
    Jason Burkett
    • Self - Convicted Murderer
    Jared Talbert
    Jared Talbert
    • Self - Citizen of Conroe Texas
    Amanda West
    • Self - Former Bartender
    Delbert Burkett
    Delbert Burkett
    • Self - Jason Burkett's Father
    Melyssa Thompson-Burkett
    Melyssa Thompson-Burkett
    • Self - Jason Burkett's Wife
    • (as Melyssa Burkett)
    Fred Allen
    Fred Allen
    • Self - Former Captain pf Death House Team
    • Regie
      • Werner Herzog
    • Drehbuch
      • Werner Herzog
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen55

    7,317.7K
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    chaos-rampant

    Engrossing, sobering look into the dramatics of death

    You know and value Herzog because he's one of few these days who can offer a glimpse of cosmologic infrastructure. The wheels and chains that move the world beneath the stories we make up to describe it. What he does, is that he frames chaotic nature where it has a story to tell - say a man living with bears, or an island about to explode - builds this as opera while maintaining the illusion of spontaneous life, blurring document with fiction, then uses this to bring to the surface an image that explains the madness of those stories. A boat being tugged over a hill, as pure as this.

    The story here is about death-row inmates awaiting execution in a Texas penitentiary, structured so that we absorn not just the heinous, meaningless crime but the broader world that leads up to it, allows it to happen, is dependent on and reflects it. Broken homes, unemployment, casual street violence, Herzog provides enough background detail to ground this in a larger systemic failure: so-called civilized society as only a facade of chaotic nature left to seed.

    As with Caves the previous year, the film is talky, dependent on people being able to conjure an experience we only have a handful of images for; the crime scene, dried blood still spattered on the walls, the quietly ominous-looking execution chamber, the prison cemetery lined with crosses of the executed.

    And this is the whole point. Here is a story of immense, sobering power, interviewing a man who will be dead by Monday, but of course Herzog cannot film the moment, much to the chagrin of many. He has to tell a story around it.

    No, the point is that we only have words, memories, stories to say. Many of these are recounted in the film. The execution itself is pieced together from objects and testimonies, very much like we would process a memory. But these stories are still powerful enough to decide life and death. Two were convicted for the crime, and going beyond who pulled the trigger, since both planned for it, only one was sentenced to die.

    This is what is so sobering to me; one man just had a better story to tell the court, more touching drama to explain his being, and we get to note this in the film for a clear effect, he's just more agreeable to listen to, appears more responsible, more level-headed and contrite, whereas the other is just a little wacky. Asked about a story, he blurts out something about monkeys and camp. Herzog himself is markedly disinterested in him, whereas a lot of time is devoted to the man who isn't going to die, a long soliloquy by his guilt-wracked father - serving life in the same prison - that we presume is as sentimental as he pled to the court with it.

    The bitter, hard-to-swallow truth is that this guy's life is simply better movie material, makes for a better story, and this decides life - notice too his wife's sappy story about their first encounter, misty-eyed soap as it is.

    So even though the film seems more streamlined and ordinary for Herzog, talky opposed to visually primal, it is as pure as he ever delivered, perhaps without himself knowing it.

    The whole system we have devised to support life, call it state, society, civilization, is not an infallible, impartial machine but hinges on the bias of storytelling and emotion. The law is arbitrary, equally chaotic as what is meant to organize. At the bottom of that, there is only time and emptiness.

    Observant Herzog fans will note that he used this intertitle - 'Time and Emptiness' - for the closing segment of his Buddhist documentary Wheel of Time. See if you can spot the powerful connection between these two, the floating worlds and ritual they portray.
    7jaoneal

    A look into the lives surrounding a Texas execution

    Herzog's work may lend itself to interpretation more than most. And while it may just be a quibble of emphasis, I would not, as the other two reviewers here have, say this is essentially a documentary about 'capital punishment'. Just as I would not say "grizzly man" was really a documentary about bear attacks. Herzog lets it be known he doesn't approve of the death penalty, but mostly, like most Herzog documentaries, this just struck me as a portrait of (as another reviewer put it well) the "ill-fated".

    Certainly, if you go into this thinking you're going to get Michael Moore style anti-death penalty agitprop, you're going to be disappointed. This is a series of interviews with a Texas death row inmate scheduled for imminent execution (an inmate Herzog has characterized in interviews as a "truly frightening" human being) and the lives of some of those either the case, or the Texas Death Penalty system generally, have touched upon. It is probably the least sensationalistic account of its sort put on film. And for that alone, Herzog deserves praise.

    Having lived in Houston for many years and knowing this area just north of it pretty well, I can say Herzog is able convey a lot about the area and its people, through the lens of this horrific act, very well.

    Well, once more, what is it about, if not capital punishment.... I think Herzog in a related context (his "On Death Row" documentary series) may have put it best when an attorney he was interviewing noted 'we all have a need to humanize' and rationalize these people who have done terrible things, and Herzog stopped them to say "I don't humanize them. I don't want to humanize. They simply are human beings". And that's kind of how I saw 'into the abyss'. It's not an attempt to rationalize or humanize a triple-murderer, nor is it an attempt rationalize, demonize, or humanize state sanctioned execution. It's just portrait of a piece of life as it is now lived.
    6kosmasp

    Almost into it

    Another reviewer wrote that Herzog is dancing around the subject. This sentence alone describes one of the major problems of the documentary for me. Herzog who interviews all involved (from family members, to the inmates), does not poke enough when it comes to the criminals itself. While I'm not sure about the death penalty itself (and the most haunting and therefor best moments of the movie come from the interview with an ex prison warden), it would be interesting to really get behind and inside the head of the "subjects".

    Still the documentary is more than well done, with Herzog being involved a lot (which means if you don't like him, you will have a problem with the movie) and quite a few interesting bits. Herzog lets both parties say their peace and the viewer has to decide, what he/she thinks is right or wrong themselves.
    8lastliberal-853-253708

    Death and life

    I have seen many Herzog films: Encounters at the End of the World, Rescue Dawn, Grizzley Man, and Aguirre: The Wrath of God, just to name a few. I have always been fascinated with his work.

    Herzog documentaries are notable for using locals instead of professionals to give it a ring of truth. It makes for a more interesting story.

    This film was made 8 days before Michael Perry, a man on death row convicted of murdering Sandra Stotler, a fifty-year-old nurse, was to be executed. He was suspected, but never charged, in two other murders which occurred in Conroe, Texas, with his accomplice Jason Burkett. Perry was convicted eight years earlier of the October 2001 murder, apparently committed in order to steal a car for a joyride. Perry denies that he was responsible for the killings, blaming Burkett (also appearing in the film) who was convicted of the other two murders. Burkett, who received a lesser life sentence for his involvement, likewise blames Perry.

    The tales of all involved, especially the inmate's father, and the warden, were fascinating.
    8SnoopyStyle

    Texas life and death

    Filmmaker Werner Herzog does a documentary about Michael James Perry. He's on death row in Livingston, Texas scheduled to be executed in 8 days. He was convicted along with his friend Jason Burkett for a triple homicide. They killed a housewife in her home to steal a car and then killed two young people to get passcode for the community gate. This is not really a whodunit unless you believe Burkett or even Perry. It's not impossible to believe them and there are certainly people willing to do that. This is really about the whole society in general. It is about the victims. It is about the daughter who lost her family. It is about Burkett's father who watches his various family members get incarcerated along with him. It is about the friend and Herzog who is more interested in him learning to read as an adult. It is about the executioner who had to quit. This is quite a tapestry of Texan life.

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    Handlung

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    Wusstest du schon

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    • Zitate

      Fred Allen: Hold still and watch the birds. Once you get up into your life like that, and once you feel good about your life, you do start watching what the birds do. What the doves are doing. Like the hummingbirds. Why are there so many of them.

    • Verbindungen
      Featured in Ebert Presents: At the Movies: Folge #2.17 (2011)
    • Soundtracks
      End Credits and Incidental Music
      (untitled)

      Composer: Mark De Gli Antoni

      Sebastian Steinberg - guitars and contra bass.

      Lisa Germano - violins.

      David Byrne - guitar.

      Peter Beck - winds.

      Colin Stevens - instrument designs.

      Mark De Gli Antoni - keyboards and percussion.

    Top-Auswahl

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    FAQ18

    • How long is Into the Abyss?Powered by Alexa

    Details

    Ändern
    • Erscheinungsdatum
      • 12. November 2012 (Deutschland)
    • Herkunftsländer
      • Vereinigte Staaten
      • Vereinigtes Königreich
      • Deutschland
    • Sprache
      • Englisch
    • Auch bekannt als
      • Into the Abyss
    • Drehorte
      • Conroe, Texas, USA
    • Produktionsfirmen
      • Creative Differences Productions
      • Skellig Rock
      • Spring Films
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 223.880 $
    • Eröffnungswochenende in den USA und in Kanada
      • 47.559 $
      • 13. Nov. 2011
    • Weltweiter Bruttoertrag
      • 393.714 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 47 Min.(107 min)
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 1.78 : 1

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