CALIFICACIÓN DE IMDb
5.6/10
5.5 k
TU CALIFICACIÓN
Mike es un exitoso productor de Hollywood de películas violentas. Entonces él mismo experimenta una violencia extrema, desaparece, se une a unos jardineros latinos y revisa su vida.Mike es un exitoso productor de Hollywood de películas violentas. Entonces él mismo experimenta una violencia extrema, desaparece, se une a unos jardineros latinos y revisa su vida.Mike es un exitoso productor de Hollywood de películas violentas. Entonces él mismo experimenta una violencia extrema, desaparece, se une a unos jardineros latinos y revisa su vida.
- Premios
- 1 premio ganado y 4 nominaciones en total
Nicole Ari Parker
- Ade Kenya
- (as Nicole Parker)
Samuel Fuller
- Louis Bering
- (as Sam Fuller)
Opiniones destacadas
A film producer who escapes death by murder and chooses to lead a simple life afterwards, a group of good Mexican gardeners, a second-rate movie actress who becomes jobless, a police officer who is not happy with the filing of his case, a Salvadoran maid whose family has been shot by death squads, a NASA employee who knows too much and his old father who doesn't want to exchange his old typewriter by a computer, a mysterious project of ending up violence in the world by putting everyone under surveillance, with all those ingredients what could a movie director have made? Surely an excellent movie. This one however is too much ambitious and produces rather poor results in comparison with that ambition. Where the contrast between dream and reality, love and greed, poetry and vulgarity could have been explored we are left with a story not bad in itself but not very deep and not especially moving.
This is an astounding movie, and as others have noted, it is precisely the kind of movie that passes most people by because it rocks so gently as to be almost imperceptible.
The first time I saw this, I was disappointed. 'Until the End of the World', to me, is a brilliant piece of work, with more beauty, reverie, and complexity than any ten average films put together.
So...I was ready for some heady stuff with 'End'. But the movie seemed to be lost, missing in action.
But six months later I watched it on video, and I realized I was looking at an entirely different movie.
Then I watched it again...and again, and again, until I'd seen the thing ten times, including one where I only listened to the film, to see if I was simply addicted to Wim's luminous visuals.
What you realize is that this film is cooking up some very threatening ideas about the quality and nature of love, and the companion six degrees of violence and hatred. It is really about the way in which fear and love pulse in contrary and similar ways, much like particle and wave, dancing together.
It's also a fantastic critique the "confederacy of dunces" and the manner in which we manufacture enemies to suit our paranoia.
I must say that there are few directors that move me as much as Wim Wenders, and I have to confess that I have cried many times over the beauty and grace of some of the scenes and visuals in this movie. Much like Robert Altman or Atom Egoyan, Wenders cares about people, believes in their struggles, and he creates tension that moves them, at least temporarily, to understand their natures more fully.
A masterpiece, if a masterpiece means your heart moves even slightly...
PS Ry Cooder's soundtrack is brilliant!
The first time I saw this, I was disappointed. 'Until the End of the World', to me, is a brilliant piece of work, with more beauty, reverie, and complexity than any ten average films put together.
So...I was ready for some heady stuff with 'End'. But the movie seemed to be lost, missing in action.
But six months later I watched it on video, and I realized I was looking at an entirely different movie.
Then I watched it again...and again, and again, until I'd seen the thing ten times, including one where I only listened to the film, to see if I was simply addicted to Wim's luminous visuals.
What you realize is that this film is cooking up some very threatening ideas about the quality and nature of love, and the companion six degrees of violence and hatred. It is really about the way in which fear and love pulse in contrary and similar ways, much like particle and wave, dancing together.
It's also a fantastic critique the "confederacy of dunces" and the manner in which we manufacture enemies to suit our paranoia.
I must say that there are few directors that move me as much as Wim Wenders, and I have to confess that I have cried many times over the beauty and grace of some of the scenes and visuals in this movie. Much like Robert Altman or Atom Egoyan, Wenders cares about people, believes in their struggles, and he creates tension that moves them, at least temporarily, to understand their natures more fully.
A masterpiece, if a masterpiece means your heart moves even slightly...
PS Ry Cooder's soundtrack is brilliant!
You don't turn to Wim Wenders when you're looking for nerve-tightening suspense. Though written (by Nicholas Klein, with Wenders) in paranoid-thriller form, the script lacks even a nubbin of McGuffin to anchor the narrative. Two stories run in parallel: Bill Pullman's an action-film producer gone missing after an attempt on his life; Gabriel Byrne's a NASA computer jock on loan to a mysterious satellite surveillance project. Just as yuppie cop Loren Dean is on the point of tying the two tales together, the movie's over, the plot unresolved.
Oh, well: Los Angeles (mainly Malibu, Santa Monica, and Griffith Park) looks great (cinematography Peter Przgoda), and Wenders has an uncanny ability to get actors to feel comfortable in their skins. The most notable skin in question is Traci Lind's: her role as a stunt-woman turned aspiring actress would have made her a star in a more mainstream movie.
If you're a Wenders fan, don't let the commercial failure of this film put you off: Compared to, say, 'Far Away, So Close' it's as electrifying as 'The 39 Steps.' And somehow, as usual, Wenders's almost childlike intensity of gaze makes you look harder, too. The aroma of the film lingers, even as its substance slides through your fingers like sand.
Oh, well: Los Angeles (mainly Malibu, Santa Monica, and Griffith Park) looks great (cinematography Peter Przgoda), and Wenders has an uncanny ability to get actors to feel comfortable in their skins. The most notable skin in question is Traci Lind's: her role as a stunt-woman turned aspiring actress would have made her a star in a more mainstream movie.
If you're a Wenders fan, don't let the commercial failure of this film put you off: Compared to, say, 'Far Away, So Close' it's as electrifying as 'The 39 Steps.' And somehow, as usual, Wenders's almost childlike intensity of gaze makes you look harder, too. The aroma of the film lingers, even as its substance slides through your fingers like sand.
I watched this movie a few times, and I have met very few people who liked it as much as I did. I see it as an artful expression of all the critical thoughts in philosophy, sociology etc. that show how genocide, ultra-violence and fascist methods of population-control can develop out of all the promises of order, justice and peace the the modern state makes to its citizens. Also, the dialogue has absolutely superb moments, as when Mike the fugitive of the state says to his wife confronts his ex-wife with the words "Who can I turn myself into? Well I see who you turned yourself into...". A lot of people seem to dislike the loose ends and unexplained shifts that the characters make - but I say, in that very absence of rigid structure the film makes a parallel to the manifest ambivalence of modern life as a citizen: Our greatest protector is also our greatest threat.
I'm not surprised that a child would not understand this movie. To me it was very meaningful, but only in terms of lived experience in jobs and politics. It's really "Brave New World," where authority figures keep order by putting up cameras everywhere and intervening to eliminate anyone who is disorderly or criminal. Violence is a huge preoccupation, but only tolerated as make-believe -- but the make-believe gets confused with real violence. Control, transgression, power are the pivots of the well-to-do. Ashcroft stuff.
But the Mexican and immigrant families offer a warmer, truer alternative. In the end, they are more powerful because they are free and can think. The Kinko's episode, in which the police are defeated from taking control by their own preconceptions, is a good example. As underlings, laborers, the Mexicans understand what's at stake and they are everywhere, invisible to their employers.
The intellectual technician doesn't catch on until it's too late.
I'm told that what I saw was a re-cut and that the early version was indeed chaotic with a lot of loose ends. All I can say is that now this is one of the videos I rewatch and ponder.
But the Mexican and immigrant families offer a warmer, truer alternative. In the end, they are more powerful because they are free and can think. The Kinko's episode, in which the police are defeated from taking control by their own preconceptions, is a good example. As underlings, laborers, the Mexicans understand what's at stake and they are everywhere, invisible to their employers.
The intellectual technician doesn't catch on until it's too late.
I'm told that what I saw was a re-cut and that the early version was indeed chaotic with a lot of loose ends. All I can say is that now this is one of the videos I rewatch and ponder.
¿Sabías que…?
- TriviaThere is a scene in the film where we see a live recreation of the painting "Nighthawks" by Edward Hopper.
- ErroresWhen Page is holding Mike at gunpoint she holds the gun upward with the bottom of the handle facing outward and the ammo clip is clearly missing. Yet when Mike exits through the patio door she fires the gun and shatters the glass.
Obviously there was a bullet in the chamber.
- Bandas sonorasBailare (El Merecumbe)
Written, Performed and Produced by Raul Malo
Courtesy of MCA Records, by arrangement with Universal Music
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- How long is The End of Violence?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- El final de la violència
- Locaciones de filmación
- Griffith Observatory, 2800 E Observatory Rd, Los Ángeles, California, Estados Unidos(Multiple interior and exterior scenes; as Ray Bering's workshop. Hillside hike viewpoint just south of observarory)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 5,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 386,673
- Total a nivel mundial
- USD 386,673
- Tiempo de ejecución2 horas 2 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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