21 Grams (2003)

A freak accident brings together a critically ill mathematician, a grieving mother, and a born-again ex-con.

Director:

Alejandro G. Iñárritu (as Alejandro González Iñárritu)

Writer:

Guillermo Arriaga

Stars:

Sean Penn, Benicio Del Toro, Naomi Watts

Nominated for 2 Oscars. Another 30 wins & 76 nominations.

Cast

Cast overview, first billed only:
Sean Penn	...	Paul Rivers
Naomi Watts	...	Cristina Peck
Danny Huston	...	Michael
Carly Nahon	...	Cathy
Claire Pakis	...	Laura
Benicio Del Toro	...	Jack Jordan
Nick Nichols	...	Boy
Charlotte Gainsbourg	...	Mary Rivers
John Rubinstein	...	Gynecologist
Eddie Marsan	...	Reverend John
Loyd Keith Salter	...	Fat Man
Antef A. Harris	...	Basketball Guy
Melissa Leo	...	Marianne Jordan
Marc Musso	...	Freddy (as Marc Thomas Musso)
Teresa Delgado	...	Gina

Storyline

This is the story of three well-meaning but flawed people: Paul Rivers, an ailing mathematician lovelessly married to an English émigré; Christina Peck, an upper-middle-class suburban housewife, happily married homemaker with two young daughters, with hiding a secret past; and Jack Jordan, an ex-convict who has found in his Christian faith the strength to live a law-abiding life and raise a family. They will be brought together by a terrible accident that will change their lives. By the final frame, none of them will be the same as they will have learnt harsh truths about love, faith, courage, desire and guilt, and how chance can change our worlds irretrievably, forever.

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Plot Keywords:

panties | voyeur | sex in bed | red panties | fondling | 

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Taglines:

How much does life weigh?

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Genres:

Crime | Drama | Thriller

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Motion Picture Rating (MPAA)

Rated R for language, sexuality, some violence and drug use

Details

Official Sites:

Bim Distribuzione [Italy] Focus Features [United States]

Country:

USA

Language:

English

Release Date:

16 January 2004 (USA)

Also Known As:

21 gram

Filming Locations:

Memphis, Tennessee, USA

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$274,454, 23 November 2003, Limited Release

Gross USA:

$16,248,701, 21 March 2004

Cumulative Worldwide Gross:

$60,427,839

Company Credits

Production Co:

This Is That Productions, Y Productions, Mediana Productions Filmgesellschaft

Technical Specs

Runtime:

124 min

Sound Mix:

DTS Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

The story in Cruising Paradise that the pictures are marking is called "The Hero is in His Kitchen". It revolves around a payphone conversation between two men, one in Tucson, Arizona and the other in Los Angeles, California. One of the last things said on the last page of the story (the one the pictures are marking) is "Don't buckle under the weight of a heavy heart!"

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Goofs

When Cristina Peck wants to give blood to help Paul Rivers, a nurse uses a blood collection system called Vacutainer to collect her blood. This system uses the power of vacuum to collect blood. To do this a vein has to be pricked with the needle and then a tube must be pricked too with the other side of the needle then the vacuum does the rest. In the film we see that the tube is already pricked to the needle, so it wouldn't work.

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Quotes

[first lines]
Michael: Check, please.
Cathy: Look Daddy, a volcano.
[Cathy blows bubbles into her soft drink]
Michael: It's very pretty. Drink up your volcano. All right. We're going. Mommy's waiting.
Cathy: Daddy, please. Just one more minute.

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Crazy Credits

A María Eladia, Pues cuando ardió la pérdida Reverdecieron sus maizales

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Connections

Referenced in 21 Grams: In Fragments (2004)

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Soundtracks

Cumbia De Los Muertos
(1998)
Written by Asdrubal Sierra, Chali 2na, William Abers (as Willy Abers),
Raul Pacheco (as Raul Pacheco Jr.), Ulises Bella (as Ulises Baldomero Bella),
, Jose Espinosa (as Jose Ines Espinosa), William Marrufo, Justin Poree,
, Jiro Yamaguchi and Cut Chemist (as Lucas Christian MacFadden)
Performed by Ozomatli
Courtesy of Almo Sounds, Inc.
By Arrangement with Natural Energy Lab

User Reviews

Esotercat's Riveting Review of "21 Grams"

Some movies are like a novel. Some movies are like a poem. Some films have flashbacks and flash-forwards. Some, like `Memento,' stretch the boundaries of convention and take wild risks such as moving the drama from the end to the beginning. `21Grams' is a cinematic poetic explosion, shaking all the pieces hard as hell, and then tossing them in the air to fall at random. Directed by Alejandro Gonzalez Inarritu, he gives the audience the puzzle unraveled, demanding that we piece together the story from interlaced past, present and future events. It is part flashy gimmick, part artistic mastery, but always compelling.

This is not a film for either the faint of heart or lazy of mind. Nor is it for those who become frustrated by film that dares to step outside the linear plot and paint-by-numbers formula. The mishmash of past/present/future is allegorical in the sense that we all carry our past, all hinge our hearts on the future, and all struggle with a `present' as dotty and haunted as this film so wildly illustrates.

In `21 Grams' it is required that the viewer surrender. As in life, there is no control. I must admit that I became a bit antsy and pressed for answers when none were being provided. You are riveted by events and players that intermingle in a haphazard mishmash of time with a rebellious lack of structure. You can either go with the flow-or back out to your car. Since I saw only one person exit the theater, for any reason, in the 125 minutes running time, I conclude that the fully occupied theater was as riveted as I was, even to the point of extreme bladder control.

The performances are stunning. Sean Penn is always good, Benicio Del Toro solidifies his Oscar, and Naomi Watts is the big talent to watch. Her emotional honesty is beyond acting-I believed her to feel the pain she displayed.

The `plot' almost seems inconsequential. The film is about the depth of human feeling in our brief interplay between living and dying. It's about damnation and redemption, revenge and forgiveness, surrender and salvation. It offers no explanations. It merely illustrates the human experience in a trenchant manner that makes us aware that every minute of every day is a precarious drama that we look upon more lightly than we should. The dramatic cortex is the human heart-lost, gained, tormented, anguished and confused. The metaphorical context is the fleeting nature of each heart's temporal beat and our desperately valiant struggle to flesh out our mortal hearts' desires.