Into the West (1992)

Regisseur:

Mike Newell

Drehbuchautoren:

Jim Sheridan (written by) and
David Keating (additional writing)

Premierendatum:

17. September 1993 (USA)

Genre:

Familienfilm | Abenteuer

Werbezeile:

Accused of a crime they didn't commit, two city kids and a magical horse are about to become the coolest outlaws ever to ride Into The West.

Plot:

Grandpa Ward gives a horse he found to his grandchildren, who keep it in their tower-block flat in Dublin...

Plot Keywords:

Western Ireland | Pre Teen | Young Boy | Policeman | Traveler

Filmpreise:

5 wins

Nutzerkommentare:

`Into The West' is a beautifully made film:

Besetzung

Gabriel Byrne	...	Papa Reilly
Ellen Barkin	...	Kathleen
Ciarán Fitzgerald	...	Ossie
Rúaidhrí Conroy	...	Tito (as Ruaidhrí Conroy)
David Kelly	...	Grandfather
Johnny Murphy	...	Tracker
Colm Meaney	...	Barreller
John Kavanagh	...	Hartnett
Brendan Gleeson	...	Inspector Bolger
Jim Norton	...	Superintendant O'Mara
Anita Reeves	...	Mrs. Murphy
Ray McBride	...	Mr. Murphy
Dave Duffy	...	Morrissey
Stuart Dannell-Foran	...	Conor Murphy (as Stuart Dannell)
Becca Hollinshead	...	Birdy Murphy

Alternativ:

Weiße Zauberpferd, Das (Deutschland) [de]

Länge:

USA:97 Min

Produktionsland:

Ireland | UK

Sprache:

Englisch

Farbe:

Farbe (Technicolor)

Seitenverhältnis:

1.66 : 1

Tonverfahren:

Dolby SR

Altersfreigabe:

Iceland:L | South Korea:All | Taiwan:GP | Australia:M | Finland:K-8/5 | Germany:6 | Sweden:11 | UK:PG | USA:PG | Singapore:PG | Australia:PG

Firma:

Channel Four Films

Dies und das:

Ellen Barkin and Gabriel Byrne were married to each other when the film was made.

Pannen:

Abfolgefehler: At the cinema, Ossie buys three chocolate bars at the refreshment counter and leaves. Yet while watching the film, he is shown eating popcorn.

Bezüge zu anderen Titeln:

Enthält ausschnittsweise Back to the Future Part III (1990)

`Into The West' is a beautifully made film:

`Into The West' is a beautifully made film: that it is also a wonderful children's move is only an added delight.

This film is a ghost story of love, loss, redemption, and the power of both myth and family to endure (if not exactly overcome) the twin bedevilments of a well-intentioned but meddling socialism, on the one hand, and privileged and greedy capitalism on the other. It is a modern fairy tale (with ties to traditional Irish mythology); but remarkably, it is also an honest, gritty look at the lives of not only the urban poor, but also of that most marginalized and enigmatic of socio-ethnic groups-the contemporary gypsies (or `travelers,' as they call themselves)--who eke out a meager but defiant existence in a world of the `settled.'

The movie is sympathetic to these people, but never over-romanticizes them. Around their campfire is not only joyous traditional Irish music and dancing, but also a television going full blast. And while their children are as happy as children anywhere, their camps are not idyllic picnics, but cold and grubby landfalls.

The story itself is not overly complicated. A strange white horse appears out of seemingly nowhere and is drawn to the two young sons of a widowed traveler, the death of whose wife has driven him to reject the gypsy life and embrace the bottle.

The horse, which has a preternatural jumping ability, is stolen and sold buy a corrupt police officer, then retaken by the boys, who then find themselves led westward by the horse, followed by both their father and the authorities.

All such journeys, of course, are journeys into both history and self knowledge; and it is here the film excels, gradually spinning out for us, with as few words as possible, the tale of a lost wife and mother, while showing us how the uncertain quest brings both father and sons to a better understanding of themselves, their history, and each other.

The film is painterly, well-acted (with especial kudos to the children) and splendidly edited--with no endless chase scenes (no more than necessary, anyway)--and with one of the most perfect and revealing climactic shots ever filmed--full of magic and metaphor--with never a word or a heavy-handed image.

`Into The West' is the perfect film for discriminating film lovers who want to watch some superb cinema with their kids-or without them.

P.S. My seven-year-old daughter loved it.