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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 <email@example.com>
The movie was filmed at Fortress Mountain in the Province of Alberta, Canada. Fortress Mountain, part of the Canadian Rockies, rises to a height of 3,007 meters (9,865 feet). The movie was filmed at a location above 2,440 meters (approximately 8,000 feet). The sets were close to the popular ski 71.5 miles) to the west of Calgary. The film set location was popular with snowboarders, who threatened to shut the production down through hooliganism, according to the official movie Web site. Differences were smoothed over when it was made apparent that the production company planned to return the site to its natural state. As the production neared completion, the producers rejected an offer to preserve the gold-rush town set for tourism, instead burning it down to provide a fitting climax for the film. 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 »
Although set in a remote Sierra Nevada mining town in 1867, `The Claim' is really Thomas Hardy's classic novel, `The Mayor of Casterbridge' transported to American soil. The move is a good one.
The story concerns a wealthy miner named Daniel Dillon who practically runs the town of Kingdom Come as his own personal fiefdom. One fateful day three groups of people arrive into town: some railroad surveyors who offer the possibility that a train may soon be passing through the town, bringing with it people, wealth and prosperity; some prostitutes who plan to open up shop in this all-male community; and a sickly woman and her beautiful young daughter, who, it turns out, are the wife and daughter that Dillon sold for a bag of gold in his desperate youth a decision he has lived to rue ever since.
Given this multi-character canvas, writer Frank Cottrell Boyce and director Michael Winterbottom take an almost painterly approach, allowing the drama to unfold at an unhurried pace, so that they can concentrate on the bleak snowy winter setting which ends up playing as great a role in the drama as the characters themselves. The most compelling of these is Dillon, a figure of almost tragic proportions, a man who seizes the chance to make amends for his heinous sin, yet who discovers, all too late, that, for some sins, there can be no redemption. Peter Mullan provides a superbly understated interpretation of a man whose acquisition of immense wealth and power only mask the loneliness and guilt he feels inside. Wes Bentley as the chief railroad surveyor, Nastassja Kinski as Dillon's ailing wife, Sarah Polley as their daughter and Milla Jovovich as Dillon's devoted mistress all turn in outstanding performances. Although none of these characters are afforded the same richness and depth that Dillon is, they still create a fascinating tapestry of conflicting dreams and emotions. For the concept of `dreams' is a core element of the story's pioneer theme. Here are a group of rugged individualists, all enduring great hardships on a wild outpost far away from the soothing amenities of civilized life yet all dreaming of being a part of the building of a burgeoning new nation, of which the makeshift towns and railroad-building are truly indelible symbols.
And, indeed, in many ways, it is the images of rugged mountains, of the relentlessly falling snow, of a house being pulled by horses across a snowy plain that stick with us most profoundly. `The Claim' is a somber, moving and fascinating glimpse into our pioneer past.
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