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The Claim (2000)

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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:

Frank Cottrell Boyce (screenplay by), Thomas Hardy (inspired by the novel by: "The Mayor of Casterbridge")
1 win & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ron Anderson Ron Anderson ... Stagecoach Driver
Marty Antonini Marty Antonini ... German
Wes Bentley ... Donald Dalglish
Randy Birch Randy Birch ... Priest
Marie Brassard ... French Sue
Bill Chesterman Bill Chesterman ... Mr. Timpson
Artur Ciastkowski Artur Ciastkowski ... Delaney
Fernando Davalos Fernando Davalos ... Barman
Duncan Fraser ... Crocker
Shirley Henderson ... Annie
Kate Hennig Kate Hennig ... Vauneen
Jimmy Herman ... Miner No.3
Landon Hicks Landon Hicks ... Young Miner
Matthew Johnson Matthew Johnson ... Miner
Milla Jovovich ... Lucia
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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:

View content advisory »
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Details

Country:

UK | France | Canada

Language:

English

Release Date:

2 February 2001 (UK) See more »

Also Known As:

Kingdom Come See more »

Filming Locations:

Calgary, Alberta, Canada See more »

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Box Office

Budget:

CAD 20,000,000 (estimated)

Opening Weekend:

£38,975 (United Kingdom), 9 February 2001, Limited Release

Opening Weekend USA:

$7,131, 1 January 2001, Limited Release

Gross USA:

$669,258, 5 July 2001
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (DVD)

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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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. ...
[...]
See more »

Connections

Version of Daag: A Poem of Love (1973) See more »

Soundtracks

Menina e Moça
Written by Fausto Frazão, Américo Pinto & Edmundo Bettencourt
Published by SPA
See more »

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User Reviews

 
Haunting
25 April 2001 | by sumrrainSee all my reviews

One thing I loved about this film is also the thing that took it down a notch: The place looked so real. It did not seem like a movie set. It did not even seem like a movie, with actors saying their lines. It was more like you were eavesdropping on a town. One way they showed this was overlapping dialogue. There would be several different conversations at once. You'd catch the tail end of one, the main thrust of another, and the beginning of yet another conversation. All this contributed to make it one of the most realistic movies I've ever seen.

The disadvantage in this is that I think the director spent too much camera time on incidental dialogue, and not enough on dialogue involving the main plot. Some incredibly emotional scenes were cut short. Just when you think you're going to get hit with it, it moves to a scene where Milla is talking to Bentley about something trivial. And those shots lasted far too long. I understand that in movie making, you don't want to focus on the sentimental, because if you do, it can come out maudlin and manipulative. But in this case, I felt a little cheated.

Still...I was deeply moved by several scenes in the movie. So it wasn't devoid of all emotion. I just felt in places it could have been stronger.

Nastassja Kinski was perfect for her role, and I don't say that about her very often. She looked every bit like she could have an 18 year old daughter, and yet she was also incredibly childlike and delicate herself. And beautiful, in a pale, pathetic, used way. Actually, the best term to describe her in this movie is "haunting."

Peter Mullan was awesome. I have never seen him in anything, but I was fascinated. Milla was like an over-ripe exotic bird. She was excellent at nailing greedy desperation. As for the subplot with Wes Bentley and Sarah Polley, I was not terribly moved by it. These two were not bad, but not outstanding in any way, either.

Scenery was fantastic. You know how some movies stick with you for awhile? This is one of those.


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