The kingdom and the glory

from Wikipedia, the free encyclopedia

German title The kingdom and the glory
Original title The claim
Country of production Great Britain , Canada , France
original language English
Publishing year 2000
length 115 minutes
Age rating FSK 12
Director Michael Winterbottom
script Frank Cottrell Boyce
production Andrew Eaton
Douglas Berquist
music Michael Nyman
camera Alwin Küchler
cut Trevor Waite

Successor  →
String Quartets 2, 3 & 4 / If & Why

The kingdom and glory (original title: The Claim , translated the parcel / the claim / alternative title = Kingdom Come | Rédemption) is a western by the British Michael Winterbottom from the year 2000 and is based freely on the novel “ The Mayor of Casterbridge. Life and Death of a Man of Character ”(“ The Mayor of Casterbridge ”) by Thomas Hardy (1886).

Michael Nyman , Frank Cottrell Boyce and Andrew Eaton have worked with Winterbottom several times. In addition to Peter Mullan , Milla Jovovich , Wes Bentley , Sarah Polley and Nastassja Kinski, among others, play in the fate tragedy .



Patriarch Dillon led the Kingdom Come congregation in the American Sierra Nevada with a strict hand in 1867. He was a gold digger and is confronted with a terrible decision of his youth: he exchanged his wife and child for the mining rights, which brought him enormous wealth. This dirty gold alone made it possible to establish the settlement in the icy wasteland. Years later, his dying love from childhood and their daughter return from a foreign country, but what happened, happened. After a bloody confrontation and her death, his small empire of modernity and the advance of the transcontinental railroad had to surrender, and the inhabitants quickly turned their backs on the city. Dillon burns down the abandoned huts of Kingdom Come and chooses suicide in the snow.

A stranger in town * All kinds of pleasures

Landscape panorama, snowy high mountains, foggy. A six-horse car comes through the picture, eight female refugees are loaded, under heavy blankets, and it is bitterly cold. Wide view of the city, Title: Kingdom Come, Sierra Nevada , California , 1867, some people on the streets, all busy, and herds of cattle. Kingdom Come has about 1200 inhabitants. The newcomers are prostitutes and they are met by a prostitute. Furthermore, the young daredevil Dalglish, the enchanting Elena Burn and her daughter Hope (English for: hope ) arrive . Someone tries to confiscate rifles and Dalglish gives in quickly. The first customers begin to show an interest in the girls, and Sheriff Sweetley has to fire a warning shot to make himself heard. Dalglish is chief engineer of the surveying force of the Central Pacific , and has a short chat with young Hope: He should decide on the course of a new railway line and whether the city will be involved. You have come to see Mayor Daniel Dillon. Elena and Hope in a dark but clean little room in the hotel. Elena is coughing, probably tuberculosis . Big gala in the dark, cramped but cozy saloon : the stunning Lucia, secret queen of the city, sings a Portuguese fado , and she is quite enchanting.

The others are also migrants , Dillon is from Ireland, Elena from Poland, Dalglish is Scotch. Sheriff Sweetley lets Dalglish see Mayor Dillon: The city leaders are playing roulette, the atmosphere at the table is tense. Dalglish has to refuse an ironic attempt to bribe a few chips. A toast is given to the surveyors on behalf of the city. In a back room with Dillon and his lover Lucia follows a candlelit love scene. The “tyrant tempered” Dillon is perhaps 20 years older than his partner. Exuberant noise can be heard from afar: their relationship works. Brothel, single rooms. Sweetley settles an argument at gunpoint. Some troublemakers are unambiguously quoted on Patriarch Dillon. Everyone tries to make the railroad people's stay comfortable. The surveying squad is enjoying the prostitute.

Justice? * Painful memories * Visiting

Next morning: Elena and Hope recognize "Mister Dillon" from the window, it is snowing. Elena instructs her daughter to deliver a rosary to Dillon , like a message. Dillon whips a troublemaker on the bare back in front of all residents, he has graciously reduced the number of lashes from the standard penalty of 50 to 25, effectively preventing the man from being lynched . Hope manages to put the rosary in his hand: Dillon is speechless and paralyzed at the sight of her. Hope herself is completely clueless. Another lively conversation between Dalglish and the much younger Hope. Dalglish indicates how dangerous his job is, as he is often attacked. Dillon goes alone to an old gold digger's hut, his own. Memories arise as he rummages through his equipment, lost in thought. Flashback.

In the middle of the blizzard , the young Daniel Dillon (Barry Ward), accompanied by a woman (Karolina Muller), struggles through no man's land , heavily packed. They even eat snow and we hear the name "Elena". The two reach a hut and a dirty gold digger. You are carrying a newborn baby. Elena is worn out but beautiful, and she barely speaks English. The two have not yet found a grain of gold and are desperate. The stranger pours some nuggets on the table, and Dillon, also drunk, gets watery eyes: "Is there more?" The hermit is interested in the girl. It is pitch black, the storm is whistling into the makeshift hut, and the baby is restless. Dillon swaps his wife and child for the hut and the claim . Elena protests, and the not even unsympathetic gold digger would like to adopt the child too. The deal has been decided, a handshake, presumably it is now offending the girl.

Dalglish's squad goes out with Hope for blasting, Hope says a few words about her deceased stepfather, and Dillon's (supposed) childlessness. Hope: " When I was a baby, all of California was so empty and empty ". It will be blown up, maybe the entire mountain range will be removed, avalanches will go off. Back at the hotel with Hope, Lucia invites her over and Dillon. Her mother Elena, who is almost bedridden, could of course come with me. In the room, Elena worriedly advises Hope to remain silent, but does not let her in yet. Hope and Lucia could almost be friends regardless of the age difference. Hope plays the piano, she practices the song for the evening with Lucia, and tries on clothes and jewelry with her in the well-tended mayor's estate. Hope implies that she thinks Dalglish is pretty.

Mount Ritter, Sierra Nevada

Young talents * Death is near * Separation

It continues in the bulging saloon. Lucia sings, Hope contributes the piano accompaniment. Afterwards the preppy Hope wants to recite the poem "The Ballad of Noreen Bawn". A Dalglish colleague, Bellanger, falls in love with one of the courtesans, Annie. The saloon gets louder again and Dillon applauds, cigar smoking and demonstratively, for daughter Hope. Dillon has to speak a word of power, after which you can hear the proverbial pin drop. Flashback.

In the snowdrift: Dillon sees his lost family, the rosary, and how he chose the name Hope for the baby.

Dillon and Hope talk about the stepfather and Dillon's private life: Hope has no idea. Then Bellanger and the whore Annie, lightly clad, in a room, love banter. Bellanger is the sprinkler of the troop. You can see the staff of the brothel together, after the shift is over, drinking and counting income. Lucia is there and actually seems jealous of the young Hope. Annie fears for her newfound friend Bellanger, who has to go to the mountains the next day.

The next day, Sweetley brings presents on behalf of the mayor and is supposed to take Elena with her, but she is politely resolute. The two meet in his dilapidated, holey gold digger's hut, on the claim. He knows that she is seriously ill: she will soon die. “I don't drink anymore, Elena. You should know that. ”Elena came to town because she wanted money from Dillon; for the daughter's future, as she says. Dillon wants to know whether his daughter has been informed, it is not. They break up. Dillon runs into the bank, where he maintains a chamber: a gold store. He lights a lamp, and stacked gold bars become visible in the flickering , in two rows, up to the ceiling. In the cinema, the screen turns bright yellow. Dillon thoughtfully looks at his fortune and takes some bars with him. A love scene between Dillon and Lucia follows. After they have dressed, he gives her the deeds for the saloon. Then he tells her it's over. An argument and physical abuse ensues. Lucia doesn't know the background either.

Out and about with Dalglish's team in pristine wilderness. In knee-deep snow, Bellanger raves about what it would be like to start a family with Annie. Surveying work, blasting and climbing, you fight your way through the terrain, too jerky for the nitroglycerine, the coachman burns in an explosion, suddenly torn from life. Like an omen you can see a burning horse galloping away through a mountain stream.

A new home * wedding * The train is coming ...

The colleague's remains are buried. Discussion between Dalglish and Bellanger in a tent, for geological reasons the chances are bad for Dillon's town, but it would not be wise to say so now. For the surveyors, the town was just a stopover, and Annie was a love affair. Kingdom Come is being, literally, canceled.

Frantic Dillon with workers and wagons outside, and yelling. Cut into a house in this noise, look out the window, the little villa is moving. Dillon lets it pull up on a hilltop. Then he briefly inspects the furniture in the retirement home, which “ imitates Victorian elegance”: a grand piano, statuettes, vases, pictures; that was what the gold was for. Elena arrives. Dillon proposes to her, she replies: "We are already married", he would have separated from Lucia. Dillon: "It would fix everything". The condition is that the daughter does not find out what has happened. At a distance of two meters, Dillon still looks like a businessman, it's bright as day. She gives him the yes, she has forgiven him. Elena and Hope go to bed. She tries to explain her feelings to her daughter in a whisper. Elena reveals that she knew Dillon from before, so she probably won't tell her everything.

During the day the surveyors come back, the streets are empty, Lucia tells Dalglish offended that the residents are at the wedding of Ms. Dillon and Mrs. Burn . The young couple dances, Dalglish and Hope, and later Dillon with his daughter, the mood is not exuberant, but rather conservative and bourgeois. The mayor briefly discusses the situation diplomatically and tactically with Dalglish. Photos and fireworks follow. Bellanger and Annie have found each other, eyes shining on all sides. Elena and Dillon are happy. Dalglish and Hope stay together after the party: the railroad would change a lot, a school, a church, maybe even roads. Dalglish: “I have to leave tomorrow”. Bellanger and Annie got engaged. Lucia tries to approach Dalglish rather rudely in the saloon, but receives a basket. Elena's health is gradually going downhill. In the morning, the railway team insists on paying all bills in full, and the mayor's waving with the fence post becomes clearer, he is threatening.

... or not! * Farewell to the city * Helena is dying

The newly founded family moves into their house. Because of the illness, a quack is received who recommends magneto or electroshock therapy, money is not an issue. Briefly strange procedures with the electrical devices.

Dalglish and a friend have to visit a supervisor in a wagon on a new route. Hundreds of workers are hammering tracks into the icy ground. The steam locomotive starts moving. Dalglish's boss would be an equal opponent for Dillon, and his demeanor is similar. The city must be " relocated ". Dalglish loyally takes orders with a soldierly demeanor, and if there is someone who can cause trouble, he has full powers. Dalglish finally looks like a killer. Elena spits blood in her daughter's arms, and Dillon stands by. Life gradually leaves her body. Flashback.

The next morning he stumbles out of his hut, hungover, alone and in his shirt. He shouts the name Elena into the mountain and no one answers.

Hope buys medicinal herbs, the railroad workers are coming back. They are getting ready to leave, and some citizens notice. Sweetley brings the bad news to Dillon , who is still in bed to supervise the faith healer. Sweetley wordlessly hands shotguns to his people. Dillon's men provide the railroad workers heavily armed, and Dalglish no longer goes outside without a gun. The team set up camp just outside the city for a day or two. Dalglish announces that the railway line will run through the valley. Hope arrives, Dalglish shoots Sweetley in a lightning-fast escalation, perhaps in self-defense. Dillon looks into the barrel of a rifle and has his back to the wall. He has to withdraw, but asks “You are gone in the morning!” And walks away with the gait of an old man. Meaningful glances are exchanged, and Hope is close to tears. Back in the hospital room, Hope holds her mother in her arms. Elena: "Sometimes you turn away from someone and then you look back and half your life is over".

A squad of prostitutes receives the survey team one last time, they are not as attached to Kingdom Come as the commoners and can operate their trade elsewhere. Annie tries to persuade Bellanger to stay. Slow, sad music-making and cuddling, and parting is near. Dalglish advises Lucia to go to the new settlement, which will certainly be built soon, in the valley, along the railway line. Elena is dying, only her husband keeps watch. At dawn the shoot-out takes place : Dillon sneaks up with four helpers, in heavy leather clothing, and shoots two sleeping door guards. General tumult ensued. Then he threatens Annie and blackmails Bellanger for the information: Dalglish is with Lucia. He finds the two of them in bed and shoots a mirror . Lucia now knows that Hope is his daughter and yells at him with it. Dillon is trembling like a leaf, after a moment lowers the gun and leaves. The whores are already packing, but are still cheerful, optimism and finally sunshine, columns are pulling out of the town. The brothel and saloon are closed forever, but everyone is invited to join. Dalglish says goodbye to Lucia, his mission is to build the train.

Dillon's confession * Fire * Frozen in the cold

Sooner or later, Dillon will have to tell Hope the truth. Elena dies in agony.

On horseback, Dillon visits the new settlement, where scaffolding is being erected; he needs a priest. He meets Lucia, who is already showing charisma and business acumen. He informs her that Elena is no longer among the living. Elena is later buried in the snowstorm. Dillon leads his daughter to his mountain hut, shows her photographs, and reveals his mistake: "I sold you". Hope bursts into tears. Again Dillon stands knee-deep in the snow, wearing a tailcoat and bowler hat, yelling: "Hope". But she falls away. Annie captures Bellanger, Dalglish learns that Elena has died, the Central Pacific Railroad opens the new church, and the city is named Lisboa . Dillon begins to burn down his ghost town in the evenings .

Dalglish meets Hope on his return with the pastor, who minutes later carries out Annie and Bellanger's wedding. He offers his condolences. People notice a cloud of smoke over a peak, almost panic. Lost on the mountain images of destruction and Inferno, and Dillon, wife, child and city, lies off into the snow. Later everyone fights against the fire, but there is no point in trying to find Dillon. Dalglish takes Hope in his arms. The next morning the frozen body is recovered and he was holding the rosary in his hands. Lucia also says goodbye to Dillon's remains, and the couple roams the ruins:

Dalglish: They were like kings.

Hope: who?

Dalglish: The Pioneers . Men like Dillon. They came here when there was nothing, they built these cities and ruled over them.

Through the smoking ruins of the city of Kingdom Come the cry “ Gold! “In the last pictures you can see that it is the melted gold dillons in the ruins of the bank, then there is a hustle and bustle.


Nastassja Kinski already played Tess Durbeyfield ( Roman Polański , 1979) by Thomas Hardy. Peter Mullan already gained experience with the portrayal of dry alcoholics in My Name Is Joe ( Ken Loach , 1998), which won the 1998 Cannes Acting Award . Madonna is said to have been slated for the role of Lucia. Robert De Niro's participation , which was supposedly intended, also failed.

According to Herzen in Aufruhr (1996), this is the second adaptation of a Thomas Hardy material by M. Winterbottom. The original literature was set in rural England in the early 19th century, so it was relocated. The material was filmed several times, in 1921 by Sidney Morgan , 1978 and 2003. Michael Henchard becomes Dillon in the film, Donald Farfrae becomes Dalglish, and Lucetta becomes Lucia, The Observer notes (and Susan Henchard becomes Elena Burn, Elizabeth Hope) . A real novelty in 2000 was that some scenes from the script were openly published on the film's website during the course of the shooting for voting. Various alternative titles were even put up for discussion.

Screenwriter Boyce distanced himself a little from the finished product in an interview; he would have preferred to see Dillon's failure revealed at the beginning.

Besides founded by Winterbottom and Eaton Revolution Films among others were Kingdom Films Ltd. and Kingdom Come Productions Inc. involved. "Kingdom Come" was planned as a title, but not available for legal reasons. The budget was $ 20 million. The film was not a financial success and remained rather unknown.

The original plan was to film in the French Alps , but production was halted at an early stage. The film was then shot under more than adverse conditions two hours west of Calgary, Canada, in the Fortress Mountain ski resort ( 50 ° 49 ′  N , 115 ° 12 ′  W ) at around 2100 meters at minus 20 degrees Celsius in the sun. In addition, the money for helicopters would not have been available in the independent production , one was dependent on draft animals or snowmobiles. Frostbite and cardiovascular breakdowns were commonplace. The 20 buildings were specially built for the recordings. Winterbottom seems to have paid a lot of attention to maximum authenticity, as can be seen from the film's website: there the cinéma vérité is mentioned.

California gold fields

The German film title refers directly to the Christian prayer Our Father , just as the name of the city in the imperative Kingdom Come (unchanged from the English original) is “Your Kingdom Come”.


“Impressively photographed, superbly played tragedy about guilt and atonement, love and forgiveness. Staged as a homage to the snowy and late wests of the 1970s, the film contrasts the view of the American pioneering spirit with the reality of the multicultural immigrant society in a multilayered manner . (Cinema tip from the Catholic film review) - Worth seeing. "

“'The Empire and the Glory' is as pathetic and consistent as the French cinema of the 1960s - finally a film from Europe again that tells of great emotions without being muddled or chattered […] And with cinema that’s ultimately is also a think tank, a way of knowing the world. "

- Rüdiger Suchsland : "The Empire and the Glory" in " Editing - the film magazine "

"[...] All three [Winterbottom, Tykwer , Médem ] are filmmakers of unconditional, tragic passion and, in their visionary power, represent exceptional phenomena in European cinema."

- Rainer Gansera : "The Empire and the Glory - Michael Winterbottom's visionary Thomas Hardy film" in " epd Film "

“[…] The entire film is naturalistic . Breathtaking - this is where this overused phrase meets. In front of grandiose mountain ranges, wrapped in a monochrome veil of color by clouds and twilight, the orange of the leaping flames flickers - a more effective contrast is unthinkable. The aesthetics of broken dreams. "

- Roland Huschke : “Something new in westerns” in Cinema

The New York Times sees good performance in Polley, Kinski and Bentley, but they remain a little lifeless. Peter Mullan is credited with the best performance, but his figure remains enigmatic. The author speaks of many memorable images that the film has to offer. keeps the camera work of Alwin Kuchler for almost as intense and intimate as that of Sven Nykvist at Bergman .

The Guardian considers the character of Dalglish to be split between charm and abysmalness to the point of incredible credibility, but otherwise certifies that the film is "inspired".

Other sources judge the film somewhat more cautiously: In Variety, Emanuel Levy calls the narrativity weak and frayed, the type of narrative lacking in temperament, and finds Milla Jovovich's acting irritating. Other critical voices in the English-speaking world recognized a certain emotional detachment or even insincerity.

Rotten Tomatoes described the film as “fresh” with 62 percent, the users of the Internet Movie Database rated it 6.5 out of 10 points from 3,147 audience ratings (February 22, 2009).

Interpretation modules

The kingdom and the glory are not a western, epd film sees it as an existential drama, a ballad- like form and a “central, tragically vibrating sensation”, surrounded by “dream-like images”.

film-dienst names the late / anti-western McCabe & Mrs. Miller by Robert Altman (1971) and Sacramento by Sam Peckinpah (1962).

The subject is similar in some respects to that of Spiel mir das Lied vom Tod von Sergio Leone (1968). The Mayor of Casterbridge already deals with old and new orders, and the downfall of the mayor is connected with technology and modern business methods. Here as there, the programmatic music underlines the emotionality of the scenes, but in The Claim does not break down so noticeably into figurative leitmotifs.

The amount of snow that is photographed is likely to be exceeded in recent cinema by plays such as Fargo ( Ethan and Joel Coen , 1996), Winter Sleeper ( Tom Tykwer , 1997) or A Simple Plan ( Sam Raimi , 1998). In the horror film Shining of Stanley Kubrick (1980), the respective conditions reflects the state of mind of the figures and contributes to the acceleration of the story. Bitter winter prevails in The Claim for the entire duration. Like Jack Torrance, Dillon dies of frostbite.

John Ford (1895–1973), who was extremely important for the Western genre, portrayed the family as “the smallest unit of society, as the nation's procreation cell, as the nucleus of the (emerging) state. […] Simply put: if the family works, the future state works ”. In these days the "community" passed into the "society". Especially musical performances, balls and church services stood for him for civilization and showed the completed domestication of the stronger sex. In this symbolism, Dillon's community disintegrates logically.

Kingdom Come

"I would have loved to have been there and witnessed the adventure, excitement and dazzling power of the gold rush [...] One has the impression that ten thousand years of European history are compressed into a few years: mass emigration, land wars, state formation. History in fast motion, so to speak. [...] A tragedy, of course, but it also celebrates hope and the pioneering spirit. "

- Frank Cottrell Boyce

After the Mexican-American War , California was ruled by the US military from 1847 to 1849, and only became a federal state in 1850. At the beginning of the 19th century the state had hardly intervened with the farmers and settlers on the frontier , and from 1829 to 1883 incompetence, irresponsibility and corruption in the few public offices at the federal level were normal (at this time de Tocqueville , Thoreau and Emerson ). Terrible tragedies must have happened in the wasteland during the gold rush.

“But, despite all the hardships, privations and disappointments, the vast majority [...] retained their optimism, decency and a sense of values. Also spoke for them that these average Americans, in spite of the lack of all formal governments and laws, worked against the dissolution of the group and did not bow to anarchy, but created rules, regulations and their own courts to enable men to live and work with one another To enable a minimum of peace and order. "

- S. Shufelt : A Letter from a Gold Digger, Placerville, California, October, 1850, with an introduction by Robert Glass Cleland , Introduction

According to Frederick Jackson Turner , the settlers on the march westward had become more and more un-European with the generations (“The Significance of the Frontier in American History”, 1893), and through him the myth of the frontier later emerged .

What you can see in contemporary westerns is only a part of historical reality, industrialization was more than just the improvement of transportation . The settlement of the Midwest in this era can be understood as a wave-like deposition of cultural sediments , through which civilization gradually displaced the wilderness. After a temporary flourishing of agriculture, the heart of America began beating on Wall Street after 1880.

Accordingly, state power is actually absent in the story , neither Dalglish nor Dillon are held responsible for the shots, Sweetley is nothing more than the mayor's right-hand man, and hardly has a line of dialogue. There is also little religion in The Claim , although marriage , funeral, and even a church consecration are shown.

The entire ensemble of The Claim consists of refugees, they seem to be in constant motion, settlements are being carried away as if by the wind, Rüdiger Suchsland states that it would be the "[...] civilization that is entirely geared towards the short-term and the present, and that what has just been destroyed is immediately rebuilt even larger and more beautiful ”, which is shown here and which has remained unchanged in essence to this day. The breakup of Kingdom Come isn't even particularly sad, more like the invisible hand of the market economy. The work thus contains historical-philosophical and macro-sociological elements.

Daniel Dillon

“And what did you like about it?
- Part of the appeal was the openness of the starting point. When you talk about people who have just arrived in a wilderness and have to make moral decisions, this is not to be seen in relation to individual social conventions, rather it is about what is right and wrong. "

- Michael Winterbottom : in an interview with Stephen Applebaum, Netribution Ltd.

film-dienst wants the film to beunderstoodas an "almost ancient tragedy " and at the same time as a European homage . Landscape panoramas are contrasted with chamber play-like scenes, sometimes with the use of a hand-held camera, and the author attests to "melancholy-gloomy picture compositions", discolored, of "enormous external and internal force". Regarding individual roles, it is stated that in Wes Bentley you see exactly the " cowboy mentality that brings pride, sincerity, family and violence under one roof", Peter Mullan is perhaps a touch too gentle for the patriarch, and Sarah Polley is prototypical for Vulnerability and love, summary: "timeless work of art".

Roger Ebert discovered “crossing paths; Dillon is becoming a better person as Dalglish is on the downside. ”

The New York Times sees the heart of the story in the "impossibility of self-invention" and mentions The Great Gatsby . This would deny the work premises of existentialism (see: Philosophical Anthropology ). Compared to the rock massifs and natural spectacles, however, the fates of individual mortals are insignificant. A review at  closes with the words "Happiness was only a short episode", a Hardy quote, and is close to Freud : "[...] one would like to say the intention that people are 'happy' , is not included in the plan of 'creation'. "

The magazine for theology and aesthetics recognizes biblical fragments, pathos , an absolute seriousness and a "postmodern figure" of catharsis in the new suffering in the film based on Georg Seeßlen in Winterbottom , and discusses the film alongside Dancer in the Dark ( Lars von Trier ) and My Son's Room ( Nanni Moretti ).

The rise and fall of a powerful figure have always been shaped in literature ( Oedipus in Sophocles or King Lear ).

“At the end the camera moves upwards, as if the viewer were now taking the place that the eye of God would otherwise have: he alone sees how the story continues, from a perspective that has the whole thing in view, that knows the whole story ; and this, the story of love, seems to never end, despite the death of the individual, the extinction of every individual hope. "

- Inge Kirsner : "From the farewell of God to the loss of the subject" in "Magazin für Theologie und Ästhetik" 15/2002


The New York Times calls Michael Nyman's soundtrack " minimalist " and there are references to the poetry of Ozymandias by Percy Bysshe Shelley , and this gives a distinctly English sound. The poetry addresses, among other things, the transience of power, shown in ancient Egypt.

The music was recorded at Whitfield Street Studios, London, published by Chester Music Limited / Michael Nyman Limited, played by the Michael Nyman Orchestra, orchestra conducted by Alexander Bălănescu , with the participation of Gary Carpenter, Robert Worby and Austin Ince. The soprano name has not been published.

  • The Exchange (2:38)
  • The First Encounter (3:45)
  • The Hut (1:16)
  • The Explosion (1:35)
  • The Recollection (1:35)
  • The Fiery House (4:19)
  • The Betrothal (1:55)
  • The Firework Display (3:23)
  • The Train (2:34)
  • The Shoot Out (5:07)
  • The Death of Elena (1:34)
  • The Explanation (2:01 am)
  • The Burning (9:19)
  • The Snowy Death (4:51)
  • The Closing (4:03)

Playing time 50 minutes and 5 seconds. However, neither all of the film's music made it onto the CD nor, conversely, Nyman's entire score into the film.

Awards and nominations

further reading

  • Thomas Hardy : The Mayor of Casterbridge: Life and Death of a Man of Character . Insel-Verlag, Frankfurt am Main 2001, ISBN 3-458-34442-X (Translated from the English by Eva-Maria König, license from Reclam).
  • Frank Cottrell Boyce : The Claim . ScreenPress Books, Dublin 2001, ISBN 1-901680-56-8 .
  • Gayla S. McGlamery: Hardy Goes West. The Claim, the Western, and The Mayor of Casterbridge . In: Literature Film Quarterly . tape XXXV , no. 1 . Salisbury State College, January 1, 2007, ISSN  0090-4260 ( - abstract).
  • Paul J. Niemeyer: Seeing Hardy. Film and Television Adaptations of the Fiction of Thomas Hardy . McFarland, Jefferson 2003, ISBN 0-7864-1429-4 ( ).
  • TR Wright (Ed.): Thomas Hardy on Screen . Cambridge University Press, Cambridge 2005, ISBN 0-521-84081-3 .

Web links

Individual evidence

Partly translated.

  1. a b c Cover / booklet of the DVD by Concorde Home Entertainment GmbH, Munich 2002, EAN 4-010324-020840, in the following DVD . Running time according to the Lexicon of International Films : 121 minutes.
  2. a b c epd film 11/2001, in the following epd . epd, p. 32 f .: Rainer Gansera: The kingdom and glory - Michael Winterbottom's visionary Thomas Hardy film .
  3. to Ozymandias by Percy Bysshe Shelley.
  4. a b By Frank Cottrell Boyce, according to oral tradition of Irish folklore, deals with death and loss, but also more specifically: immigration. ( April 20, 2001 memento from the Internet Archive ). Retrieved December 22, 2006.
  5. Online resource ( memento of September 9, 2002 in the Internet Archive ) According to Nastassja Kinski, who interpreted the role, can be found on the film's website.
  6. ( Memento from May 28, 2007 in the Internet Archive ), accessed on January 12, 2007.
  7. a b epd, p. 32.
  8. a b c After Internet Movie Database , online resource, accessed on 22 February, 2009.
  9. , Philip French of 4 February 2001 The Observer retrieved on December 22 of 2006.
  10. Cinema 11/01, p. 64.
  11. ^ Box Office Mojo , online resource.
  12. Cinema 11/01, p. 62 ff .: Roland Huschke: In the Western something new about the shooting.
  13. , accessed on 20 December of 2006.
  14. The Kingdom and Glory. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  15. a b Das Reich und die Herrlichkeit - ( Memento from May 15, 2003 in the Internet Archive ) accessed on December 20, 2006.
  16. epd, p. 33.
  17. Cinema 11/01, p. 66.
  18. a b c Stephen Holden : In the style of Thomas Hardy, a tale of the gold-hungry Wild West. In: The New York Times . April 20, 2001.
  19. a b , accessed December 20, 2006.
  20. ^ Peter Bradshaw: The Claim . In: The Guardian . February 1, 2001 ( [accessed December 22, 2006]).
  21. Variety , December 4, 2000, ( October 10, 2007 memento in the Internet Archive ), accessed December 20, 2006.
  22. ^ , accessed February 22, 2009.
  23. ^ A b Rolf-Ruediger Hamacher: The Empire and the Glory - The Claim. In: film service . 23/01, p. 28 f.
  24. a b McGlamery (literature).
  25. a b Walter Jens (ed.): Kindlers new literary dictionary . Study edition, license edition, reviewed original edition, Komet, Munich 19XX, ISBN 3-89836-214-0 , Volume 7, p. 298, on The Mayor of Casterbridge (Horst Strittmatter).
  26. Dirk Christian Loew: John Ford's cavalry westerns . Inaugural dissertation (philosophy), Johann Wolfgang Goethe University, Frankfurt am Main 2003. Document , p. 66.
  27. Dirk Christian Loew: John Ford's cavalry westerns . Inaugural dissertation (philosophy), Johann Wolfgang Goethe University, Frankfurt am Main 2003. Document , p. 71.
  28. Production notes , bonus material from the DVD.
  29. John R. Killick: The Industrial Revolution in the United States . In: Willi Paul Adams (ed.): The United States of America (= Fischer Weltgeschichte . Volume 30). Fischer Taschenbuch, Frankfurt am Main 1977, pp. 125–183, here p. 170.
  30. John R. Killick: The Industrial Revolution in the United States . In: Willi Paul Adams (ed.): The United States of America (= Fischer Weltgeschichte . Volume 30). Fischer Taschenbuch, Frankfurt am Main 1977, pp. 125–183, here p. 173.
  31. See also: That Was Roy Bean (John Huston, 1972).
  32. S. Shufelt: A letter from a gold miner, Placerville, California, October, 1850, with an introduction by Robert Glass Cleland . Translated by Wikipedia. Friends of the Huntington library , San Marino 1944, online resource .
  33. John R. Killick: The Industrial Revolution in the United States . In: Willi Paul Adams (ed.): The United States of America (= Fischer Weltgeschichte . Volume 30). Fischer Taschenbuch, Frankfurt am Main 1977, pp. 125–183, here p. 133.
  34. John R. Killick: The Industrial Revolution in the United States . In: Willi Paul Adams (ed.): The United States of America (= Fischer Weltgeschichte . Volume 30). Fischer Taschenbuch, Frankfurt am Main 1977, pp. 125–183, here p. 149.
  35. John R. Killick: The Industrial Revolution in the United States . In: Willi Paul Adams (ed.): The United States of America (= Fischer Weltgeschichte . Volume 30). Fischer Taschenbuch, Frankfurt am Main 1977, pp. 125–183, here p. 182.
  36. See Andreas Busche (web links).
  37. , accessed on 24 December of 2006.
  38. ^ Roger Ebert: The Claim. In: April 20, 2001, accessed February 22, 2009 : "The strength of" The Claim "is that Dillon and Dalglish are on intersecting paths; Dillon is getting better, while Dalglish started out good and is headed down "
  39. ^ Sigmund Freud : The discomfort in the culture . 1930.
  40. a b Inge Kirsner: From the departure of God to the loss of the subject. In: Magazine for Theology and Aesthetics. 15/2002 ( ) accessed on January 31, 2007.
  41. End credits.
  42. Berlin International Film Festival , , (PDF; 74 kB), accessed on December 20, 2006.