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, California, and twenty-two people in the hotel, whose lives were never the same.
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
The day Robert F. Kennedy won the California Primary, on his way to likely becoming the next President of the United States, has been one that still haunts the U.S. It was a time not unlike several decades later, a time of war, and fierce divisions, and in an America tearing at the seams, Robert F. Kennedy was the sole candidate who seemed able to unite people of differing races, classes, and beliefs. Having lost his own brother, John, to unthinkable bloodshed, he had publicly transformed into an impassioned, yet pragmatic, advocate for creating a new American future, one that would look beyond rhetoric for credible ideas to end poverty, racism, injustice, and most of all, the growing epidemic of violence. A champion of the underdog, and a man compared to such magical cultural avatars as Bob Dylan and The Beatles, Robert F. Kennedy was a politician who crossed into territory never entered by a politician before or since. See more »
In the opening sequence, Jose puts on his white jacket, buttons it at the neck and the collar is tucked in at the back. During the scene the collar becomes straight without his intervention. See more »
You've got... shit to offer. You've got no poetry, you've got no light. No one looking at you going, "Damn... look at that Miguel. I want... some of what he's got." All you have is your anger.
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Black Is Black
Written by Steve Wadey, Tony Hayes and Michelle Grainger
Performed by Los Bravos
Courtesy of SONY BMG MUSIC ENTERTAINMENT España S.L., Madrid
By Arrangement with SONY BMG MUSIC ENTERTAINMENT See more »
If you're sitting in the back row of a theater, hiding your tears as the credits roll for a movie, you know it delivered the emotional effect it was aiming for. I was lucky enough to catch "Bobby" at the Toronto Film Festival -- its North American premier -- and what I got was an incredibly beautiful story, cinematically gripping to say the least.
Like in all great ensemble movies, "Bobby" offers a stellar cast, none of whom disappoint. From the neurotic and self-conscious character of Samantha (played by Helen Hunt) to the outspoken, confident Edward Robinson (Laurence Fishburne), there is a vast mixture of personalities that work to provide a complex interwoven plot line. But the most notable performance (and the most surprising) is that of Virginia Fallon. Brillianty portrayed by Demi Moore, Virginia is a foul-mouthed, insecure alcoholic who sways around on screen in delicate form, both heartbreaking and beautiful to watch.
Director-writer Emilio Estevez put his heart into this project. The direction is without a doubt highly impressive. The subtle colorful hues reflect the emotional grip of each scene, and extenuate a modern feel to the film. He puts us head-first in the crowd that witnessed the assassination of Robert F. Kennedy, on what would seem to be one of the most heartbreaking moments in American history.
But what really stands out in this movie is not the screenplay, nor directing, nor acting. The emotional intensity is brilliantly brought out through the use of sound. An actual audio footage of RFK is heard in the background as the tense score sways by over the muted dialogue. And what works for this type of film-making is the amount of anticipation it builds up, and even after pivotal scenes, the impact it leaves on the audience.
There is a key scene in the movie in which all the characters prepare to greet RFK when the energy of the entire screen seemingly drips with positivity towards the American society. It's as though we forget the fatal tragedy and give into the thought of this story having a happy ending. We are reminded of classic ensemble films such as "Short Cuts", "Magnolia" and "Crash" and immediately juxtapose that feeling.
Though I do fear that politically this movie may not hit home for a lot of the critics once it hits a wide release, it is definitely going to leave a lasting impression on the majority who sees it. It's a movie that presents a magnificent cast, superb directing, and flawless scriptwriting. An undoubtedly obvious ingredient for the Awards season.
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