A prospector who sold his wife and infant daughter in exchange for a mining claim, tries desperately to win them back as he helps to build the Pacific Railroad with a group of pioneer friends.

Writers:

(novel), (screenplay)

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Cast

Cast overview, first billed only:
...
...
Lucia
...
...
...
...
Annie
...
Francis Bellanger
...
Mr. Sweetley
Randy Birch ...
Priest
Tom McCamus ...
Mr. Burn
Frank Zotter ...
Photographer
Artur Ciastkowski ...
Delany
...
Young Dillon
...
Young Elena
...
Saloon Actor
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Storyline

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 <jsackste@bellsouth.net>

Plot Summary | Add Synopsis

Taglines:

Everything has a price.

Genres:

Drama | Romance | Western

Motion Picture Rating (MPAA)

Rated R for sexuality, and some language and violence | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

Release Date:

2 February 2001 (UK)  »

Also Known As:

Kingdom Come  »

Filming Locations:

 »

Box Office

Budget:

CAD 20,000,000 (estimated)

Opening Weekend:

$5,326 (USA) (5 January 2001)

Gross:

$403,932 (USA) (18 May 2001)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (DVD edition)

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The scene where Dillon ('Peter Mullan') confronts Daglish (Wes Bentley) in the bedroom of Lucia (Milla Jovovich) had to be reshot many months after principal photography was over. Bentley had cut his hair for another role, and had to be outfitted with a wig matching his hairstyle in "The Claim" at a cost of ten thousand American dollars. See more »

Goofs

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 »

Quotes

Vauneen: [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...
Deputy: Alright gents, let's hand-up your firearms.
Donald Dalglish: Why?
Deputy: It's a town's rule.
Donald Dalglish: These firearms are the property of the Central Pacific Railroad.
Deputy: That don't matter, Mr. Dillon says no firearms in town, so no firearms in town, come on...
Donald Dalglish: You can't take these weapons...
Vauneen: I said, leave that...
Deputy: Well then you can't come into Mr. ...
[...]
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Connections

Version of Vichitra Jeevitham (1978) See more »

Soundtracks

Se Velha
Written by Americo Durao & Antonio Menano
Published by SPA
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User Reviews

Turns out, after some will have lost patience, to be fairly good
10 April 2002 | by (Canberra, Australia) – See all my reviews

Michael Winterbottom's decision to construct the whole movie out of extreme telephoto shots - some of which have a pane of focus so shallow you start to wonder if it's really there at all - is more dogma than style. It places a heavy strain on the eyes which some viewers will mistake for tension in the story. (Michael Nyman's music, consisting of something like the "endless melody" which Wagner threatened to write but thankfully never did, likewise creates a tension which some viewers will mistakenly think belongs to the story. Actually, for once Nyman's music isn't that bad.) You have to admire the skill, and the art direction, like the choice of location, is beyond praise, but there's NO REASON AT ALL to make as peer at every single scene through a telescope, except perhaps that it's a shortcut (far too easy a shortcut) to stylistic unity.

It's surprising, towards the end, after all the cold, barely focused and rather absent storytelling, to find that the film packs a punch, after all. It came as a shock when I realised I'd actually been watching something GOOD. We really had been transported to another place (the journey was just a little slow); not having read Hardy's book, I found myself wondering how he could possibly have placed the story in an English setting.

I was also surprised to find myself touched. Some sad things happen at the end. I won't say what they are, and a synopsis of the plot probably wouldn't reveal what's sad about them, anyway.


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