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IMDbPro

Don't Come Knocking

  • 2005
  • R
  • 2h 2min
CALIFICACIÓN DE IMDb
6.6/10
8.1 k
TU CALIFICACIÓN
Don't Come Knocking (2005)
Home Video Trailer from Sony Pictures Home Entertainment
Reproducir trailer1:48
1 video
84 fotos
DramaMúsica

Una envejecida estrella de cine vaquero abandona el set de rodaje e intenta reencontrarse con su madre, a la que no ha visto en treinta años, sólo para enterarse de que tiene un hijo del que... Leer todoUna envejecida estrella de cine vaquero abandona el set de rodaje e intenta reencontrarse con su madre, a la que no ha visto en treinta años, sólo para enterarse de que tiene un hijo del que nunca supo nada.Una envejecida estrella de cine vaquero abandona el set de rodaje e intenta reencontrarse con su madre, a la que no ha visto en treinta años, sólo para enterarse de que tiene un hijo del que nunca supo nada.

  • Dirección
    • Wim Wenders
  • Guionistas
    • Sam Shepard
    • Wim Wenders
  • Elenco
    • Sam Shepard
    • Jessica Lange
    • Tim Roth
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.6/10
    8.1 k
    TU CALIFICACIÓN
    • Dirección
      • Wim Wenders
    • Guionistas
      • Sam Shepard
      • Wim Wenders
    • Elenco
      • Sam Shepard
      • Jessica Lange
      • Tim Roth
    • 74Opiniones de los usuarios
    • 91Opiniones de los críticos
    • 55Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado y 7 nominaciones en total

    Videos1

    Don't Come Knocking
    Trailer 1:48
    Don't Come Knocking

    Fotos84

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    Elenco principal32

    Editar
    Sam Shepard
    Sam Shepard
    • Howard Spence
    Jessica Lange
    Jessica Lange
    • Doreen
    Tim Roth
    Tim Roth
    • Sutter
    James Roday Rodriguez
    James Roday Rodriguez
    • 1st AD
    • (as James Roday)
    Jeffrey Vincent Parise
    Jeffrey Vincent Parise
    • 2nd AD
    • (as Jeff Parise)
    Majandra Delfino
    Majandra Delfino
    • 1st Girl
    Marieh Delfino
    Marieh Delfino
    • 2nd Girl
    George Kennedy
    George Kennedy
    • Director
    Julia Sweeney
    Julia Sweeney
    • Producer 2
    Tim Matheson
    Tim Matheson
    • Producer 1
    James Gammon
    James Gammon
    • Old Ranch Hand
    Robin Twogood
    • Patrolman
    Gabriel Mann
    Gabriel Mann
    • Earl
    Fairuza Balk
    Fairuza Balk
    • Amber
    Mike Butters
    Mike Butters
    • Businessman
    Sarah Polley
    Sarah Polley
    • Sky
    Rita Hutchison
    • Mexican Woman
    Marley Shelton
    Marley Shelton
    • Starlet
    • Dirección
      • Wim Wenders
    • Guionistas
      • Sam Shepard
      • Wim Wenders
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios74

    6.68.1K
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    Opiniones destacadas

    8ferguson-6

    What do you mean, "He's Gone"?

    Greetings again from the darkness. Terribly underrated as a director, Wim Wenders has more than a couple of gems on his resume. Most notable are "Wings of Desire" and "Paris, Texas". Without question, "Don't Come Knocking" immediately jumps into the same class as those two extraordinary films. Collaborating with the insanely talented writer Sam Shepard for the first time since "Paris, Texas", Wenders offers up a character study that many of us have more in common with than we might first imagine.

    With a rare appearance in a film he has written, Mr. Shepard plays Howard Spence, a washed up western film star who hits the road in search of the life he somehow missed. Admittedly, when the film opens with Howard galloping off into the desert away from the film set, my stomach began to churn as I had flashbacks to "Electric Horseman". Not long afterward, I became mesmerized by the pain of this man seeking redemption and meaning. Sure, there will be comparisons to "Broken Flowers" and many other meaning of life films, but writer Shepard never once pretends to be writing the great American self realization story. This is a VERY simple story about a handful of VERY interesting characters.

    Jessica Lange (Shepard's real life honey) plays his long ago, nearly forgotten love who has never wandered from her small town Montana roots. What Shepard learns, after visiting with his mother (Eva Marie Saint) for the first time in 30 years, is that Lange has raised Shepard's son (Gabriel Mann). The focus drastically shifts for Shepard as he tries to make sense of it all. Just to add to his misery, Shepard is stalked by Sarah Polley (carrying her mom's remains in an urn), who suspects she is his daughter.

    The genius of the film lies in the characters and setting. We never feel we are observing. Instead, we are part of the story. Winders camera angles really capture the thought cycles of Shepard in the motel room, at the bar and on the sofa in the road. Watching this would-be dad and these might-be kids come to terms with all of this is on one hand, slyly funny, but mostly intensely painful and intimate.

    Spectacular performances by Shepard, Lange, and Eva Marie Saint, as well as strong support from Tim Roth, Polley, Mann and even the great George Kennedy make the story unfold in our reality. Wenders terrific camera work and small town setting with stunning panoramic views keep us comfortable, yet very aware. The pulsing guitar of the seemingly everywhere T Bone Burnett drives our pulse up or down depending on the scene.

    This is marvelous film-making and pure joy for film lovers. At the post screening Q&A, Mr. Wenders expressed his enthusiasm for working with Mr. Shepard and creating a masterpiece out of a seemingly little story. We as movie goers are the lucky ones.
    sslevine

    A Sequel that Shines but Disappoints

    Twenty years after "Paris, Texas", Sam Shepard returns with a sequel. Again, a family affair, our hero is searching for his roots in little towns and deserted landscapes.

    The production shines from multiple angles. A superb set of actors, and Shepard's own fine performance as Howard -– a Westerns' actor of faded glory -- is almost eclipsed by (his life partner) Jessica Lange as the estranged mother of his son, Gabriel Mann as Earl, the son, and Eva Marie Saint as his stately mother. Comical roles by Tim Roth as the taciturn Sutter, a bounty hunter, and Fairuza Balk as the hilarious Amber, Earl's girlfriend, save the film from turning overly melodramatic.

    In addition to the cast, Franz Lustig's cinematography is precisely lit and fluctuates between extremely realistic point-of-view shots with nausea-evoking 360-degree turns and time compression shots. The soundtrack is beautiful and includes some original pieces, and the costume design shines as well (although few people would wear those flamboyantly elegant outfits in Montana).

    Despite all of its artistic achievements – acting, cinematography, score, and design – Don't Come Knocking suffers from a weak story line. A tired cliché about the man who've seen it all, had it all, but was never completely happy, and thus he abandons everything in search of the mother he hasn't seen in 30 years, and later his old lover and unknown off-springs. In the end, of course, they are all good, forgiving buddies. Don't Come Knocking is Hollywood sugarcoated at heart, but comes with generous helping of superb cinema, Wenders's signature forte.
    10ImDb-9174

    Another great movie of Wim Wenders - if you like his style.

    Wim Wenders and Sam Shepard let you walk in the boots of a guy who's stepping out of his pitiful daily life to face the past and find out how this can be both hard and rewarding. Wender's beautiful slow moving style to unfold the story lets you follow and feel what's going on within the "hero" and the people he encounters. The marvelous scenery of the West is shot to remind you of some scenes of "Thelma and Louise". The music blends in wonderfully. The interactions are almost every time worked out in every detail and dialogs sound so real you can imagine this to happen in your neighborhood. Last not least all of it is played by an outstanding group of actors making it very hard to decide who'd be your favorite which adds to complete the reason why this movie is excellent to me.

    Funny scenes, laughter and deep emotions - if you're a lover of fast-food (movies) - don't go. You'd probably find it boring.
    8Chris_Docker

    watching paint dry on a minor masterpiece

    Wim Wenders' makes extraordinary movies about ordinary people. Whether the inhabitants are important personalities or 'little people', they are always especial because of their humanity.

    When I did an internet movie quiz that supposedly answered the question, ¨If someone made a movie about your life, who would direct it?¨ I kinda hoped it would be Wenders. His characters are tiny flecks on a vast landscape, made infinitely interesting by fine observation and untiring attention. Each character is a mystery unravelling.

    In 'Don't Come Knocking', we follow the almost incomprehensible actions of a leading Hollywood actor (played by Sam Shepherd) who absconds from a film set in the middle of the American desert. He is struggling to escape a lifelong persona of drink, drugs and women, but doesn't know what he is looking for or why he feels life has passed him by. He is nudged occasionally in the right direction by his mother, and followed by a mysterious young woman carrying her mother's ashes – and whose knowing smile gently holds back a reservoir of yet-to-be-explained emotion.

    Wenders can never be accused of hurrying things along. His movies can be like watching paint dry – except that when the painting is finally ready to touch we may feel a masterpiece has just crystallized before our eyes. This is perhaps one of those occasions. Tim Roth as the inscrutable bond man tracking down the wayward actor is barely recognisable till half way through the film, so perfect is the characterisation. Sarah Polley as the mysterious Sky can almost make us burst into tears before we have any idea why, or of the secret she is holding. Shepherd plays Howard Spence with biopic-like conviction. Add a score by T-Bone Burnett that seems to suspend time in the desert with guitar chords that hang in the air, and framed scene upon scene that looks like a classic movie poster waiting to be discovered.

    Don't Come Knocking is like one big Do Not Disturb sign on the things we most need to know and that no-one wants to tell us. It's why they're secret – and why we also have to know. The film takes a very long time to answer it's own puzzle but, if you can stand the pace, the result is ultimately worth it.
    9mcshortfilm

    Please Come in...

    Wim Wenders has done it again. The authentic German American filmmaker has recaptured the nostalgia of the American West influenced by photographer Robert Frank and feeding off plot themes by his contemporary, Jim Jarmusch. But much like all of Wenders films, his plots are not the central focus. He is interested in details, symbolism, existentialism and the process of creation. What I always liked about Wenders was his taste in music. I always hear something new that I get very interested in. Don't Come Knocking has a wonderful score.The Buena Vista Social Club is an obvious example, but there is also the music of Madredeus in Lisbon Story or the Stewart Copeland country score in "Kings of the Road'. speaking of "Kings of the Road", there is an interesting detail that is repeated in this film: At the end of Kings, there is a cinema with a broken neon sign that only has two letters lit "WW" which is the signature of Wim Wenders. This film, has a bar called the "M&M". which is the same only upside down. The story of this film by the way is co-written by Sam Shepard who collaborated with Wenders on "Paris Texas" . This time, he also stars in the film as a cowboy movie star on the search for his ex and his son who he never met. The landscapes reflect the ghostliness of an Edward Hopper painting. Few people exist in the town where he shows up. There are beautiful shots that are very memorable such as the view from the health club looking out the window where Shepard and Jessica Lange are fighting. Another great scene involves a trade in identity where a guy on a horse gets pulled over by a cop and ....well you'll see. Alhough this film symbolizes the transition to reality, it looks as though reality does not appear to be as real as one expects. This is a refreshing film by one of the great filmmakers of our time.

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    Argumento

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    • Trivia
      Originally, Sam Shepard wrote the character of Sky as part Native American, but because of Wenders desire to cast Sarah Polley, that aspect of the character was set aside. Both agreed that her being Native American was not essential to the character, and Wenders had wanted to work with Polley because he'd been so impressed with her acting in past projects.
    • Errores
      When Sky is first seen driving her truck, the gear shift is clearly in "Park".
    • Citas

      Howard Spence: Mind if I turn the radio on?

      Sutter: Yes, I do, as a matter of fact. I don't like outside influence.

      Howard Spence: Outside?

      Sutter: That's right. The world at large. It's a nasty place. Why allow it in? Livestalk reports, Navajo chanting, beheadings, bestiality. Nothing's changed. Black Death, the Inquisition, the Crusades, conquest of Mexico. What's changed?

      Howard Spence: I was thinking...

      Sutter: What?

      Howard Spence: I don't know.

      Sutter: Nothing's changed.

      Howard Spence: Guess not.

    • Versiones alternativas
      Theatrical version was 113 minutes, and the director's cut (on DVD) is 122 minutes.
    • Conexiones
      Featured in Wim Wenders: Desperado (2020)
    • Bandas sonoras
      Lonely Man
      Written by T Bone Burnett (as Henry Burnett)

      Performed by Gabriel Mann

      Published by Henry Burnett Music

    Selecciones populares

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    Preguntas Frecuentes

    • How long is Don't Come Knocking?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 25 de agosto de 2005 (Alemania)
    • Países de origen
      • Reino Unido
      • Francia
      • Alemania
      • Estados Unidos
    • Sitios oficiales
      • Reverse Angle (Germany)
      • Sony Classics (United States)
    • Idioma
      • Inglés
    • También se conoce como
      • La búsqueda
    • Locaciones de filmación
      • Butte, Montana, Estados Unidos
    • Productoras
      • Reverse Angle International
      • Arte France Cinéma
      • EuroArts Medien AG
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 11,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 440,793
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 30,630
      • 19 mar 2006
    • Total a nivel mundial
      • USD 4,663,501
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 2 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby Digital
    • Relación de aspecto
      • 2.35 : 1

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