The story of the assassination of U.S. Senator Robert F. Kennedy who was shot in the early morning hours of June 5, 1968 in the Ambassador Hotel in Los Angeles, and 22 people in the hotel whose lives were never the same.

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Nominated for 2 Golden Globes. Another 7 wins & 15 nominations. See more awards »

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Agent Phil
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Storyline

Tuesday, June 4, 1968: the California presidential primary. As day breaks Robert F. Kennedy arrives at the Ambassador Hotel; he'll campaign, then speak to supporters at midnight. To capture the texture of the late 1960s, we see vignettes at the hotel: a couple marries so he can avoid Vietnam, kitchen staff discuss race and baseball, a man cheats on his wife, another is fired for racism, a retired hotel doorman plays chess in the lobby with an old friend, a campaign strategist's wife needs a pair of black shoes, two campaign staff trip on LSD, a lounge singer is on the downhill slide. Through it all, we see and hear RFK calling for a better society and a better nation. Written by <jhailey@hotmail.com>

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22 lives linked by a moment the world would never forget See more »


Motion Picture Rating (MPAA)

Rated R for language, drug content and a scene of violence | See all certifications »

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Release Date:

23 November 2006 (USA)  »

Also Known As:

El día que mataron a Kennedy  »

Box Office

Budget:

$14,000,000 (estimated)

Opening Weekend:

$69,039 (USA) (17 November 2006)

Gross:

$11,204,499 (USA) (2 February 2007)
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2.35 : 1
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Trivia

In the time since the the assassination of Robert F. Kennedy in 1968, actor Emilio Estevez had grown into a promising writer and director who was in search of that one special project that would take him to creative places he'd never been. While conducting a photo shoot in the Ambassador Hotel, Estevez was suddenly reeling with memories from that trip with his father, and inspiration struck. Estevez decided he would start writing about the night that Robert F. Kennedy had been assassinated. Estevez explained: "All I knew in the beginning is that I wanted to tell a story that would celebrate the spirit of Bobby." See more »

Goofs

When Jimmy and Cooper are sitting in the coffee shop, Cooper holds up the camera and the lever on the bottom is pulled back. Then, when the shot comes back to them, the lever is forward and Jimmy reaches over and pulls it back. See more »

Quotes

William: Christ, Diane! I caused a rift between you and your father
Diane: My father has a problem with you; not with me
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Connections

References Grand Hotel (1932) See more »

Soundtracks

Tracks of My Tears
Written by Marvin Tarplin, Warren Moore and Smokey Robinson (as William Robinson,
Jr.)
Performed by Smokey Robinson
Courtesy of Motown Records
Under license from Universal Music Enterprises
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User Reviews

 
Tedious hagiographic ensemble piece
28 January 2008 | by (London, UK) – See all my reviews

What is it about L.A and ensemble films? The Player, Short Cuts, Crash...Emilio Estevez makes a ham-fisted attempt to fashion a memoriam to the ill-fated brother of JFK using the multi-strand plot and character technique associated with Robert Altman. But Estevez clearly lacks Altman's ability to maintain interest and build character through the use of trivialities, revelations and encounters as the film progresses.

The premise is the 'last day in the life of' Bobby Kennedy as he campaigns in the California Primary of 1968. Except, it's the goings on in the Ambassador Hotel, where he will be shot that evening, that feature rather than the character itself. It's a structural device, perhaps even influenced by the obvious and somewhat alienating reverence that Estevez has for Kennedy.

Excerpts of speeches and public reactions to his visit are inter-cut into the movie, that almost portray him as this Ghandi-like presence, on the cusp of commencing a national transformation that will not only end the war in Vietnam but apparently bring an end to 'hatred and violence' and a new sense of community. What is overlaid across the film with the intent of being inspirational, often comes across as simplistic. Estevez simply does not have a sufficiently detached critical sense to connect to more sceptical viewers. L.A liberals and ageing hippies will of course by weeping into their popcorn buckets.

However, there are a couple of nice turns, which you inevitably get in a film with such a cast. Mentionably, Sharon Stone, whose jaded beautician provides a relatable, pathetic character amongst a range of cyphers who are basically inserted to represent the body politic - old and young, black, white and Hispanic, druggie and idealist.

The final portion is compelling and well shot but the rest of the movie, despite it's attempt to portray America poised on a knifedge, as Kennedy would have it, lacks zest.


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