After causing a loss of almost one billion dollars in his company, the shoe designer Drew Baylor decides to commit suicide. However, in the exact moment of his act of despair, he receives a phone call from his sister telling him that his beloved father had just died in Elizabethtown, and he should bring him back since his mother had problem with the relatives of his father. He travels in an empty red eye flight and meets the attendant Claire Colburn, who changes his view and perspective of life.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The phone that Drew uses is a Samsung SCH-a670. While it can vibrate and ring, it cannot do both at the same time as depicted in the film. See more »
An exterior shot of Drew's red-eye flight from LA to Nashville shows a Boeing 747 in flight. Later, as Drew is exiting the plane, it is a one-aisled, non-jumbo jet. See more »
[receiving returning good]
Welcome back, boys.
As somebody once said, there's a difference between a failure and a fiasco. A failure is simply the non-present of success. Any fool can accomplish failure. But a fiasco, a fiasco is a disaster of mythic proportions. A fiasco is a folktale told to others, that makes other people feel more... alive. Because it didn't happen to them.
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This film opens with the 1954 "VistaVision" Paramount Pictures logo - instead of the new 'live-action' one. This logo was used at the head of all Paramount films released from the mid-1950s through to 1986. See more »
I love Cameron Crowe. Let's make that absolutely clear. The casting of his movies is superb not to mention the writing or the sound tracks. Here, however, in Elizabethtown, the leading man is a hole on the screen. No charisma, no projection, no involvement. I'm not a teenage girl, I grant you that, but I don't think Cameron Crowe made this film for teenage girls. There was something about returning, about rediscovering and/or perhaps about first love. Elizabethtown aims higher than most teenage bound movies. The comatose performance of Orlando Bloom makes everyone else appear as if they were high on something. Billy Wilder is always a little bit present in Cameron Crowe's movies and Kirstin Dunst's character is a Wilder character if I ever saw one. I kept seeing the young Shirley MacLaine, or longing for, I should say. Dunst is an interesting actress but here she has to work with a wooden leading man, so that piece of miscasting throws the whole well intentioned enterprise way off course. Never mind, my love and admiration for Crowe will survive this one.
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