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A prospector sells his wife and daughter to another gold miner for the rights to a gold mine. Twenty years later, the prospector is a wealthy man who owns much of the old west town named Kingdom Come. But changes are brewing and his past is coming back to haunt him. A surveyor and his crew scout the town as a location for a new railroad line and a young woman suddenly appears in the town and is evidently the man's daughter. Written by
John Sacksteder <firstname.lastname@example.org>
The Manchester Guardian, his hometown newspaper, reported that director Michael Winterbottom had left his wife for 'Sarah Polley', who had played Hope in the film. The romance, which started on set, fizzled out and Polley returned to, and eventually married, her long-time companion, David Wharnsby. See more »
Near the end of the film, Donald and Francis arrive back to town on horseback. Several men are walking behind them. Two men in Russian style hats are wearing modern day aviator sunglasses. See more »
[first lines - overlapping conversations]
Alright ladies, let's go. I'm Vauneen, I take care of you from this point on. Ya get down, and we're going to get you to work real soon...
Alright gents, let's hand-up your firearms.
It's a town's rule.
These firearms are the property of the Central Pacific Railroad.
That don't matter, Mr. Dillon says no firearms in town, so no firearms in town, come on...
You can't take these weapons...
I said, leave that...
Well then you can't come into Mr. ...
[...] See more »
Based loosely on Thomas Hardy's novel "Mayor of Casterbridge" this is a valiant recreation transposed from England to the cold mountains of early California. A man sells his wife and daughter for a gold-mining claim. Years later, when he is the local sheriff, his wife and daughter return. A sub-plot documents the arrival of the railroad construction. This has all the makings of a truly great movie but unfortunately is good without being great. The first half is particularly disappointing - the camera fails to linger where there are wonderful scenic shots of breathtaking beauty or dialogue that could have emotional impact. It lingers over boring, inconsequential scenes. The movie also veers stomach-churningly between episodes of gripping realism to episodes where it simply looks all too obviously like actors on a set reciting their lines. Verging on pretentiousness at times, The Claim still manages to pull through as a worthwhile film, largely because it is worth seeing for the bits that work well.
The movie was shot in sub-zero Calgary, Canada, and considering the lengths to which the film makers went to in order to achieve authenticity, it is sad that the finished result was rather less than finished.
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