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IMDbPro

Bobby

  • 2006
  • R
  • 1h 57min
NOTE IMDb
7,0/10
44 k
MA NOTE
Anthony Hopkins, Demi Moore, Christian Slater, Sharon Stone, Laurence Fishburne, William H. Macy, Elijah Wood, Freddy Rodríguez, Robert F. Kennedy, and Lindsay Lohan in Bobby (2006)
Theatrical Trailer from Weinstein Co.
Lire trailer2:22
3 Videos
99+ photos
Drame politiqueBiographieDrameL'histoire

L'histoire de l'assassinat du sénateur américain Robert F. Kennedy qui a été tué par balle tôt le matin du 5 juin 1968 à l'Hotel Ambassadeur de Los Angeles, et 22 personnes présentes dans ce... Tout lireL'histoire de l'assassinat du sénateur américain Robert F. Kennedy qui a été tué par balle tôt le matin du 5 juin 1968 à l'Hotel Ambassadeur de Los Angeles, et 22 personnes présentes dans cet hôtel, dont les vies ne seront plus jamais les mêmes.L'histoire de l'assassinat du sénateur américain Robert F. Kennedy qui a été tué par balle tôt le matin du 5 juin 1968 à l'Hotel Ambassadeur de Los Angeles, et 22 personnes présentes dans cet hôtel, dont les vies ne seront plus jamais les mêmes.

  • Réalisation
    • Emilio Estevez
  • Scénario
    • Emilio Estevez
  • Casting principal
    • Anthony Hopkins
    • Demi Moore
    • Sharon Stone
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    44 k
    MA NOTE
    • Réalisation
      • Emilio Estevez
    • Scénario
      • Emilio Estevez
    • Casting principal
      • Anthony Hopkins
      • Demi Moore
      • Sharon Stone
    • 281avis d'utilisateurs
    • 100avis des critiques
    • 54Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 6 victoires et 25 nominations au total

    Vidéos3

    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

    Photos275

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    + 268
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    Rôles principaux90

    Modifier
    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
    • Réalisation
      • Emilio Estevez
    • Scénario
      • Emilio Estevez
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs281

    7,043.5K
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    Avis à la une

    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.
    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
    8BCCDiva

    Good Snapshot of history

    I recently had a pre-screening for "Bobby" at my college and I have to say this was a good film. I didn't know what to expect with Emilo Estevez directing, writing and acting. But he pulled it off. To me he wrote a very real movie. He had everyday people with everyday problems. The characters even talked like "real" people, profanity and all. The movie didn't feel like a docudrama and that I think that made it even better. All the stories were complete and made you care about the characters. Most importantly you could tell how important Bobby Kennedy was to all these characters and America as a whole. This movie will be a great movie for high schoolers to see so they can know how life was during that time.(it was like a snapshot of history) I hope this movie does well at the box office. I gave it an eight but I almost gave it a seven. I gave it an eight because the next day my friends were still quoting the movie. That is a very good sign. Esp. if college students are doing it. If you like any of the actors in the movie it is worth a shot.
    9nlw820

    Admirable, moving effort

    It's easy to get caught up in the "too many characters" argument or that there are too many stories left unfinished or incomplete. IMO, it's important to remember this is a snapshot of just ONE day. How much are we expected to know about any of the characters in that time period? How much do you learn about the guy sitting next to you on the plane with whom you visit during a three hour flight? I admit that at first I was thinking, "Okay Emilio, where are you going with this and why do I care about all these people?" It seemed a little disjointed to me. But then I found myself going with it and appreciating the idea that we were getting a glimpse into the lives of a few of the people at the Ambassador hotel that day. I thought the performances by all were very strong, although I'll admit it was next to impossible to get beyond the all-star cast, simply because the plot isn't structured to bring you close enough to the characters to lose sight of who is playing the role. But again, in the end it didn't matter because the artistry of it all--the music, the camera shots, the inclusion of film and audio footage of Bobby Kennedy, the significance of these characters we've been following throughout... it just worked for me. It is also hard to ignore how much RFK's message resonates in our political climate today. As the credits rolled, at least half of the audience remained in their seats, from those sitting in stunned silence to others almost sobbing. Complete strangers were gathered outside the theater, talking about the movie or their own memories of Kennedy. It is clearly a labor of love for Emilio but I think he did a fabulous job.
    Kirpianuscus

    impressive

    ...is the right word about this film who has three basic virtues - the touching story, the wise ideas and the great cast. it is not easy to say why this film is real special. maybe, for the change of perspective. about politic, about America and about the profound revolution changing a society. the only decent word - see it ! maybe, for discover a surprising director giving his film as pledge for values, as map of beautiful characters, as history lesson. and as useful support for reflection.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      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."
    • Gaffes
      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.
    • Citations

      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.

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

      Performed by Luxurious

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    FAQ21

    • How long is Bobby?Alimenté par Alexa
    • Who shot Bobby Kennedy and why?

    Détails

    Modifier
    • Date de sortie
      • 24 janvier 2007 (France)
    • Pays d’origine
      • États-Unis
    • Langues
      • Anglais
      • Espagnol
    • Aussi connu sous le nom de
      • El día que mataron a Kennedy
    • Lieux de tournage
      • Ambassador Hotel - 3400 Wilshire Boulevard, Los Angeles, Californie, États-Unis
    • Sociétés de production
      • The Weinstein Company
      • Bold Films
      • Bobby
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 14 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 11 242 801 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 69 039 $US
      • 19 nov. 2006
    • Montant brut mondial
      • 20 718 608 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 57min(117 min)
    • Couleur
      • Color
    • Mixage
      • SDDS
      • Dolby Digital
      • DTS
    • Rapport de forme
      • 2.35 : 1

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