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The End of Violence (1997)

Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two ... See full summary »

Director:

Wim Wenders

Writers:

Nicholas Klein (story), Wim Wenders (story) | 1 more credit »
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1 win & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Traci Lind ... Cat
Rosalind Chao ... Claire
Bill Pullman ... Mike Max
Andie MacDowell ... Paige
K. Todd Freeman ... Six O One
Gabriel Byrne ... Ray Bering
Chris Douridas ... Technician
Pruitt Taylor Vince ... Frank Cray
John Diehl ... Lowell Lewis
Soledad St. Hilaire ... Anita
Nicole Ari Parker ... Ade (as Nicole Parker)
Daniel Benzali ... Brice Phelps
Samuel Fuller ... Louis Bering (as Sam Fuller)
Marshall Bell ... Sheriff Call
Frederic Forrest ... Ranger MacDermot
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Storyline

Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two bandits, but escapes and hides out with his Mexican gardener's family for a while. At the same time, surveillance expert Ray Bering is looking for what happens in the city, but it is not clear what he wants. The police investigation for Max's disappearance is led by detective Doc Block, who falls in love with actress Cat who is playing in ongoing Max's production. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Nothing Lasts Forever

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for language | See all certifications »
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Details

Country:

France | Germany | USA

Language:

English | Spanish

Release Date:

12 September 1997 (USA) See more »

Also Known As:

El final de la violencia See more »

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Box Office

Budget:

$5,000,000 (estimated)

Opening Weekend USA:

$64,154, 14 September 1997, Limited Release

Gross USA:

$283,033, 5 October 1997
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | DTS | Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Director Wim Wenders re-edited his film after the Cannes Film Festival premiere to improve the narrative structure. See more »

Goofs

When Page is holding Mike at gunpoint she holds the gun upward with the bottom of the handle facing outward and the ammo clip is clearly missing. Yet when Mike exits through the patio door she fires the gun and shatters the glass. See more »

Quotes

Mike Max: Perversely. That's one thing I think I can define now. It's when things are upside down and you start to like 'em that way.
See more »

Connections

Featured in Siskel & Ebert: The Best Films of 1997 (1998) See more »

Soundtracks

Six By Numbers
Written, Performed and Produced by Howie B.
Courtesy of Pussyfoot Records
See more »

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User Reviews

 
Slow, slack, but still satisfying
23 June 2001 | by castipianiSee all my reviews

You don't turn to Wim Wenders when you're looking for nerve-tightening suspense. Though written (by Nicholas Klein, with Wenders) in paranoid-thriller form, the script lacks even a nubbin of McGuffin to anchor the narrative. Two stories run in parallel: Bill Pullman's an action-film producer gone missing after an attempt on his life; Gabriel Byrne's a NASA computer jock on loan to a mysterious satellite surveillance project. Just as yuppie cop Loren Dean is on the point of tying the two tales together, the movie's over, the plot unresolved.

Oh, well: Los Angeles (mainly Malibu, Santa Monica, and Griffith Park) looks great (cinematography Peter Przgoda), and Wenders has an uncanny ability to get actors to feel comfortable in their skins. The most notable skin in question is Traci Lind's: her role as a stunt-woman turned aspiring actress would have made her a star in a more mainstream movie.

If you're a Wenders fan, don't let the commercial failure of this film put you off: Compared to, say, 'Far Away, So Close' it's as electrifying as 'The 39 Steps.' And somehow, as usual, Wenders's almost childlike intensity of gaze makes you look harder, too. The aroma of the film lingers, even as its substance slides through your fingers like sand.


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