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Auto Focus (2002)

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The life of TV star Bob Crane and his strange friendship with electronics expert John Henry Carpenter.

Director:

Paul Schrader
6 nominations. See more awards »

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Cast

Cast overview, first billed only:
Greg Kinnear ... Bob Crane
Willem Dafoe ... John Carpenter
Rita Wilson ... Anne Crane
Maria Bello ... Patricia Olson / Patrica Crane / Sigrid Valdis
Ron Leibman ... Lenny
Bruce Solomon Bruce Solomon ... Edward H. Feldman
Michael E. Rodgers ... Richard Dawson (as Michael Rodgers)
Kurt Fuller ... Werner Klemperer
Christopher Neiman ... Robert Clary
Lyle Kanouse ... John Banner
DonnaMarie Recco ... Melissa / Mistress Victoria (as Donnamarie Recco)
Ed Begley Jr. ... Mel Rosen
Michael McKean ... Video Executive
Cheryl Lynn Bowers ... Cynthia Lynn
Don McManus ... Priest
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Storyline

In 1965, Bob Crane, who had achieved some earlier success as a television supporting actor, was working as a successful morning radio DJ at KNX Los Angeles. Despite enjoying his work, photography (especially of the female form) and drumming, Crane wanted to be a movie star. So it was with some reluctance that he accepted the title starring role in a new television sitcom called Hogan's Heroes (1965), a WWII POW comedy. To his surprise, the show became a hit and catapulted him to television stardom. The fame resulting from the show led to excesses and a meeting with home video salesman and technician John Carpenter, with who he would form a friendship based on their mutual interests, namely excessive sex (for Crane, purely heterosexual sex) and capturing nude females on celluloid. His fame allowed Crane to have as much sex as he wanted, which was incongruent to his somewhat wholesome television friendly image, and the way he portrayed himself to almost everyone except Carpenter and his... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

A day without sex is a day wasted.

Genres:

Biography | Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong sexuality, nudity, language, some drug use and violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

1 November 2002 (USA) See more »

Also Known As:

Autofocus See more »

Filming Locations:

Mecca, California, USA See more »

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Box Office

Budget:

$7,000,000 (estimated)

Opening Weekend USA:

$123,761, 20 October 2002, Limited Release

Gross USA:

$2,062,066, 26 January 2003
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The LED watch that Carpenter uses to entice women throughout the movie is inspired by an actual watch sold in the back of pornographic magazines in the 1970s-80s. Offered by a company named Leisure Time Products, the watch was gold toned with a black faux-lizard skin band; unlike the watch in the film, it was analogue, and its' face was emblazoned with the phrase "TIME TO FUCK," which would illuminate red every thirty seconds. The watch retailed for the modern equivalent of ~$150. See more »

Goofs

In addition to the Catholic Mass being in Latin, the priest would have had his back to the parishioners, with the altar being at the back wall. See more »

Quotes

Patricia Olson: We're in the show together. We have to keep up the appearance of respectability.
Bob Crane: I can be very respectable.
See more »

Connections

Referenced in Gilmore Girls: We Got Us a Pippi Virgin (2004) See more »

Soundtracks

Psychotic Reaction
Written by Craig Atkinson (as Byron Craig Atkinson), Sean Byrne (as John Byrne), Roy Chaney (as Roy Joe Chaney), Ken Ellner and John Michalski (as John S. Michalski Jr.)
Performed by Count Five
Courtesy of Original Sound Record Company, Inc.
By Arrangement with Celebrity Licensing Inc.
See more »

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User Reviews

 
Not for everybody, but definitely worth seeing
7 March 2003 | by walterglSee all my reviews

I believe that this was the most severely underrated film of 2002, and it was also my personal favorite for a great year in film. Now, I sincerely doubt that many moviegoers would consider this one of the year's best, or even a great film, so this comes with a tentative recommendation. I wouldn't recommend this movie to just anybody, but I feel that fans of the prior work of Scorsese and Schrader will consider this a worthwhile endeavor. With this work Schrader continues his legacy of disturbed, distorted, doomed men whose selfishness and shallow nature ultimately lead them to great suffering as they destroy those who come close to them. Greg Kinnear's Bob Crane joins the likes of DeNiro's Jake LaMotta in Raging Bull, Gene Hackman's Harry Caul in The Conversation, and Nick Nolte's Wade Whitehouse in another Schrader masterpiece, Affliction. These are sad, empty men, for whom we can only half-sympathize; we feel for them because we suffer, but we condemn them because they force themselves and others to suffer.

The film follows the sexual exploits of Greg Kinnear as Bob Crane, the real-life star of Hogan's Heroes, who during and after the show became a full-blown sex addict, ruining two marriages and possibly sabotaging his career in the process. Willem Dafoe is John Carpenter (no, I know what you're thinking, and he's not), Crane's partner in crime who lacks Crane's charisma with women but is fed some scraps by Crane in return for his extensive knowledge of and access to video equipment. Crane's fetish is using the home video cameras to record his sexual trysts, which he reviews over and over again, looking for something that we can't see, and that he probably can't see either.

Kinnear and Dafoe's performances alone are worth the price of admission. This is the best, boldest, and most nuanced work that Kinnear has ever done. His performance is all subtlety and detail; he introduces Crane as a regular, aw shucks family man, but as the movie progresses we gradually see the facade fall as his quiet desperation and insatiable sexual appetite begin to consume him. Not content to go over the top and yell at the top of his lungs to be effective, Kinnear instead puts on a fake smile and charms with a velvety voice while openly degrading and hitting on women. The effect is one of the most genuinely creepy performances ever committed to film. Dafoe is the perfect companion to Kinnear's subtle predator; Carpenter is a pathetic loser, easily angered and easily hurt. He gets angry, yells, and does all of the things that you've seen Dafoe do in his other portrayals of guys you wouldn't want to meet in a dark alley, or a lighted one, for that matter. It's effective elsewhere, and it's effective here. Together, these men form a pair so utterly joyless and shallow that just seeing them on-screen together made my stomach churn. Their dialogue is only incidental, usually reminiscing on previous sexual escapades or planning new ones, but it's the little tics, gestures, Kinnear's untouchable confidence foiled by Dafoe's insecurity, Kinnear's hidden hunger foiled by Dafoe's overt desperation, that give these scenes their resounding power.

Not to shortchange Schrader's direction, though, which as usual is right on target for the material. He begins in a brightly colored, idealized suburban landscape, filled with all of the usual imagery you'd expect in this sort of light-hearted period and location. Then, slowly, he slides into darker territory, carrying us into the decadent seventies, breaking shots into shorter lengths, shaking the camera, depicting with his cinematography and editing the fall of his protagonist. Admittedly, the techniques Schrader employs here to depict Crane's breakdown have been used many times before, but I still found them extremely effective here.

For the last thirty minutes of the film, I felt genuinely ill; not because I thought the projector was out of focus, as many have complained, but because Schrader and Kinnear were taking me to a dark place and immersing me in it. As I said before, this type of film is not for everybody, but for those interested in the dark side of man, this film is not to be missed. I think that at the very least, the merit of these depressing morality tales is that they provide an exact blueprint of the way not to live our lives. I suppose that showing Crane checking himself into therapy and dealing with his problems and utimately healing himself would be valuable as well, but it wouldn't make for a good film, or a true one. Some people argue against the very existence of this type of movie. My response to them is that in real life for every strong-willed person who solves their problems and triumphs over adversity, there is another loser who ultimately fails to deal with life and implodes upon their own insecurity and weakness. Until this changes, someone needs to continue making these films.


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