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 ... See full summary »
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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 »
Around the 1:43 mark when the prospector is torching the town we see a ski lift running in the background with people on it. Again around the 1:54 mark in the last few minutes of the film we see the ski lift again in the background for a good 10-15 seconds. 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 »
One of the most remarkable adaptations of a literary work I've seen. Frank Cottrell Boyce completely changes Thomas Hardy's classic The Mayor of Casterbridge - and actually betters it lifting it from its original setting and tailoring it into a tale of the American West during the Gold Rush. Some of Hardy's holes hold (predictable) difficulty for many modern readers, but Boyce's western retelling fills them in and lends strong plausibility. (There's a tad too much "faint, fall ill and die" for me in the Hardy original). Some have complained that Boyce went too far - but this is a movie "based" on the book not claiming to be a faithful retelling.
Director Michael Winterbottom proves to have an enormous eye emerging in bold style at once stylized and natural. He brings us here images that, once seen, burn, linger and haunt forever be it a Victorian mansion hauled across the frozen plains or a horse's immolation as on fire it gallops across the screen.
Winterbottom's cast is a strong one - none remaining as they initially seem, each changing before our eyes. Kinski, first strong and bitter gives one of her most tender heartbreaking performances, Wes Bentley, likable and promising becomes petty and meddlesome. Milla Jovovich serves up, predictably, hearty and hot, yet more delicate than she would like to appear.
In all of this Peter Mullan's Daniel Dillon is the focus and the fulcrum by which the story hinges. He is never less than masterful. To see him early on nearly ravaged by youthful greed then watch him in age yearn for salvation that may never come or come too late, one cannot help but be riveted by his endeavor to make up by his plight and his attempt to change it.
The Claim is a remarkable film which, while it may take a bit of time to warm up to, burns its own unique reward in a way few modern Hollywood films can.
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