Back to the Future (film)
| Movie | |
|---|---|
| German title | Back to the Future |
| Original title | Back to the future |
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| Country of production | United States |
| original language | English |
| Publishing year | 1985 |
| length | 116 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Robert Zemeckis |
| script |
Bob Gale Robert Zemeckis |
| production |
Neil Canton Bob Gale |
| music | Alan Silvestri |
| camera | Dean Cundey |
| cut |
Harry Keramidas Arthur Schmidt |
| occupation | |
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| chronology | |
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Successor → |
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Back to the Future (Original title: Back to the Future ) is a science fiction - film comedy from director Robert Zemeckis , who came on July 3, 1985 in the US and on October 3, 1985 in the German cinemas. The script was written by Robert Zemeckis and Bob Gale . The film represents the first part of the Back to the Future trilogy . The second part, Back to the Future II , was released in 1989, the third part, Back to the Future III , was released in 1990.
The film tells the story of the schoolboy Marty McFly, who inadvertently travels back in time to the year 1955 and changes the past of his parents there, which means that his existence is endangered. Marty must now try to restore the original past and return to 1985.
action
The teenager Marty McFly lives in 1985 in his Californian hometown of Hill Valley with his siblings and his parents George and Lorraine. George is an insecure man who is suppressed by his superior Biff.
Marty meets with a scientist friend, Dr. Brown showing him a time machine built into a DeLorean sports car . The energy necessary for time travel is supplied by a nuclear reactor powered by plutonium . Dr. Brown had cheated Libyan terrorists of the plutonium. They have since noticed the fraud and shoot Dr. Brown. When they turn against Marty, Marty flees and accidentally activates the time machine that brings him to 1955. Dr. Brown had previously set the time machine to November 5, 1955 for demonstration purposes, because on that very day he had the right idea for the invention of the time machine.
In the past, Marty meets his father George as well as Biff, who also suppressed and bullied his father in 1955 . Marty saves George from an approaching car and is hit himself. Due to the intervention of Marty, he is now taken in George's place to the house of his mother Lorraine, where she takes care of him and falls in love with him. This also puts Marty's existence in danger.
Marty is looking for the Dr. Brown in 1955 and convinces him that he comes from the future and that he traveled with a time machine he made. Dr. Brown agrees to help Marty return to 1985. The time machine's plutonium has been used up and cannot be procured in 1955. Marty happens to know that at a certain time the following Saturday, lightning will strike Hill Valley Town Hall . Its energy is to be used to enable the return trip to 1985.
Before Marty returns, however, he has to get his parents to fall in love. This endeavor turns out to be difficult because George is a shy outsider. Marty learns from Lorraine that she has a preference for strong men who can protect a woman.
Marty is invited by Lorraine to a dance event at the school, but plans to harass her in order to give George the opportunity to save her from him and stand there as a hero. The plan fails when Biff shows up, pushes Marty back, and in turn harasses Lorraine. As originally agreed, George arrives to save Lorraine. At first, amazed that Lorraine is not harassed by Marty as planned, he knocks Biff down. Lorraine is thrilled and falls in love with George. Marty's existence is secured by her first kiss at the dance ball.
Marty hands over to Dr. Brown wrote a sealed letter warning him of his 1985 shooting. Brown refuses to read it and tears it up for fear of the consequences "for the space-time continuum ".
Dr. Brown to channel the energy of lightning into the time machine at the right moment, allowing Marty to go back to 1985. The place of arrival is now called "Lone Pine Mall" instead of "Twin Pines Mall" because Marty had knocked over one of the two pines of the farmer Peabody on arrival in 1955. Even though Marty had set the return time to a few minutes earlier, he again cannot prevent the terrorists from targeting Dr. Brown shoot. However, he had glued Marty's letter together and still read it and now survived the attack thanks to a bulletproof vest. He sets out thirty years into the future with the time machine to research the time there.
Marty's influence on the past made his father a confident and successful author in 1985, and Biff became a submissive auto care company.
Finally, Dr. Brown with the further developed time machine from the future and asks Marty and his girlfriend to travel there with him, because their children have to be helped.
Emergence
Back to the Future was produced in collaboration between Universal Pictures and Amblin Entertainment . Filming began on November 26, 1984 and ended on April 20, 1985. This means that there were only nine weeks available for post-production until the film was scheduled to be released on July 3, 1985 . Production costs were estimated at around $ 19 million. The film grossed around 381 million US dollars in cinemas worldwide, including around 210 million US dollars in the US - making it the most successful film of 1985 in the US.
script
Work on the script began in September 1980, Robert Zemeckis and Bob Gale were equally involved. According to Bob Gale, however, the idea for this had been around for some time. When he drafted the script, he was inspired by the question of what it would be like to travel back in time and see what his parents were like as young people there. Gale had leafed through his father's high school yearbook to find that he was the assistant class representative at the time. He wondered if he could have been friends with him at the time, and said no to himself.
The script was originally drafted for Columbia Pictures , but later rejected by this and other studios. American youth films like I believe ', I stand in the forest at that time often contained alcohol, drugs or sex as central elements, which was considered a guarantee for commercial success by many studios. Therefore, those responsible for many studios criticized the lack of those elements. The people in charge of the Walt Disney Company also rejected the project, but justified it differently: They were of the opinion that the film was too obscene for their usual target groups, which they mainly found in the fact that a mother falls in love with her son in the film.
Steven Spielberg was the only one willing to produce the script. Zemeckis dropped the project for the time being. His previous comedies I Wanna Hold Your Hand and With a Leg in the Kittchen , both produced by Spielberg, had little success. He therefore feared that another unsuccessful film could discredit him as a director and thus deprive him of potential employment. After his film On the Hunt for the Green Diamond , for which he was hired by Michael Douglas , was relatively successful, some studios showed interest in the script for Back to the Future , and Zemeckis decided to make the film after all. Steven Spielberg was supposed to act as producer, as he had previously endorsed the script.
Before the script went live, Sid Sheinberg, chairman of Universal Pictures , requested a few changes. For example, he changed the name of Marty's mother from Eileen to Lorraine, naming her after his wife. His attempt to change the title to Spaceman From Pluto ("The spaceman from Pluto") met with little approval . Steven Spielberg was able to prevent this by sending Sheinberg a note thanking him for his successful joke, which everyone could laugh about. Sheinberg was too embarrassed to tell Spielberg that his suggestion was serious.
Gale and Zemeckis faced the greatest difficulty in writing the screenplay with the oedipal aspect of the film. The beginning affair between Marty and his mother had to be broken up without looking grotesque. Zemeckis recalls: “We were at a dead end because we thought that Marty had to end the Oedipal story because he knew she was his mother. (...) Then came the great inspiration: It was the mother who would end it. Something strange happens because she's kissing her own son and it just doesn't feel right. That was the perfect solution. "
Until shortly before shooting began, the script stipulated that the climax of the film should take place on a nuclear test site, where the time machine should be supplied with the energy for the journey through time by igniting an atomic bomb. Due to financial difficulties, however, they rejected this idea and developed the idea that the energy should be supplied by lightning.
Despite the open ending, no sequel was originally planned. It was only after the great commercial success that the film brought with it that Bob Gale and Robert Zemeckis began developing the two sequels.
occupation
For some characters, Zemeckis quickly found actors who, in his opinion, fit the roles. Crispin Glover , who played George McFly, and Lea Thompson , who played Lorraine Baines, were accepted after auditioning just a few times. Glover and Thompson, both around twenty years old, also took on the roles of their aging characters from 1985, which was still uncommon at the time. The two therefore had to be trimmed to an older age for some scenes with make-up and costumes.
Christopher Lloyd was also engaged for the role of Doctor Brown after a short time. According to his own statements, when portraying his role, he was inspired by the conductor Leopold Stokowski , which is primarily reflected in his exuberant gestures. Albert Einstein provided him with further inspiration .
For other characters, however, the search for a suitable actor was far more difficult. The search for a leading actor, for example, was initially unsuccessful, which is why the start date of the shooting had to be postponed. Michael J. Fox - Zemeckis' preferred candidate for the role of Marty McFly - could not be hired because he worked for the series Familienbande . Later the applicants Eric Stoltz and C. Thomas Howell emerged. Stoltz finally got the role, but after a few weeks Zemeckis realized that Stoltz did not embody the kind of humor he had hoped for for Marty McFly. So he turned back to Fox, who now agreed in parallel with family ties for Back to the Future to turn. It is controversial whether scenes were used for Back to the Future in which Marty is still played by Stoltz. Statements by the cast and crew, however, show that individual shots were used with pride for the finished film. So it is his fist that actor Thomas F. Wilson fends off as Biff Tannen in the diner. Stoltz also sits behind the wheel of the DeLorean in a few shots during the first time jump in the supermarket parking lot. If you look very closely, this can also be seen in the finished film.
Fox was now busy with his work as an actor up to 20 hours a day. A typical day of shooting was that he would get up at 9 a.m., work for family ties from 10 a.m. to 6 p.m. , be picked up there by car to take him to Universal, where he would not return until between 2 and 4 a.m. with the Work was done and could go home. Since the filming of Family Ties always took place on weekdays, the scenes with Fox for Back to the Future mostly had to be filmed at night. Many daytime scenes could be shot at night in the studio with appropriate lighting, while Fox was only able to shoot daylight shots outdoors on weekends because of his workday obligations with family ties .
The cast of Michael J. Fox meant that Melora Hardin, originally intended for the role of Marty McFly's friend Jennifer, was replaced by Claudia Wells , as Hardin would have towered too much over the smaller Fox, which in the opinion of the producers on the Canvas would have looked weird.
Marty's band auditions at school in front of a string of stern-looking teachers. One of them picks up the megaphone and asks for the performance of "Power of Love" to end. The interrupting teacher is, in real life, Huey Lewis , the singer and interpreter of the same song.
Product placement
In the run-up to the production of the film, numerous product placement agreements were signed, which should secure additional income for the studio. For example, Marty is named in the American and German versions in 1955 by his mother after the American fashion company Calvin Klein , because she read this name on his underpants. Contracts were also signed with Burger King , Pepsi and Toyota .
But they also tried to make sure that the brands could be built into the action. Shell had wanted to pay more than Texaco if their logo was shown in the film, but since there was no relevant change to the Shell logo between 1955 and 1985, the filmmakers opted for Texaco , as the different company logos were very noticeable are.
An employee from Universal's product placement department had already signed a contract with the California Raisin Manufacturers' Association of Marketing, promising them an excellent promotional opportunity in the film, and the association paid $ 50,000 for it. However, this happened without prior consultation with the filmmakers Robert Zemeckis and Bob Gale. When they found out, they were surprised, but thought that they could probably place a raisin brand somewhere in the film. When they learned that this sponsor was an association that does not represent a brand, but only markets the product “California raisins”, they were horrified: Bob Gale said “when I just put a bowl full of raisins at the dance event and that film, it looks like a bowl full of dirt ”. Ultimately, there was a scene in the film in which the words “California Raisins” (California raisins) can be seen printed on a park bench on which a drunken tramp lies. The association was appalled and threatened Universal with a lawsuit. When Universal asked Bob Gale to comment on the matter, he said the best thing to do would be to repay the entire $ 50,000. Universal did this too. In retrospect, Bob Gale said that he had learned from these events that the bottom line was that the potential profits from product placement would not be worthwhile, since this would practically have "another producer" on board who interfered in the artistic process of filmmaking and to which one also has to be accountable.
Locations
Zemeckis planned to shoot the film in the suburbs of a larger city. However, since no city received a permit to change city facades several times according to their wishes, it was ultimately decided in favor of the Universal Studios site . The main location was now the so-called Courthouse Square, which had already been used for filming, for example originally for the courthouse in Who Disrupts the Nightingale or later for Gremlins - Little Monsters . In order to adapt it to the script, it had to be changed slightly. For example, the clock that was to be struck by lightning at a later date was added to the building there. It was there until 2003 and even showed the time 22:04 - the point in time at which the lightning strikes the watch in the film. Since 2003 the facade of the building has been covered by a new front, so that neither the well-known columns nor the clock can be seen. The site was the setting for the Ghost Whisperer series from 2005 to 2010 . If not occupied by filming, the space was still an integral part of the studio tour . The two pieces of the wall from the gate of the Lyon Estates could also be seen. At the beginning of June 2008 a major fire broke out on the site, and according to official information, the set with the courthouse and the town hall clock was destroyed. However, it was a false report. The courthouse and the adjacent Main Street were almost undamaged in the fire.
For a few more scenes, however, locations that were outside of Universal Studios' premises were required . It was also filmed in Pasadena , Burbank , Arleta and Whittier .
music
The score was composed by Alan Silvestri . The orchestra consisted of 98 people, in 1985 this was the largest orchestra that Universal has ever put together for a film.
In addition to the film, the music is also used in various Universal Studios theme parks in the Back to the Future: The Ride attraction and as background music in various locations in the parks.
The soundtrack album, released in 1985, contains 10 tracks. These include songs by the artists Eric Clapton , Etta James , Lindsey Buckingham and two songs, Power of Love and Back in Time , by the American pop musician Huey Lewis . He also took on the role of jury member, who at the beginning of the film rejects Marty's band, who play their own version of the song Power of Love , because of their volume. Mr. Sandman from the Four Aces and The Ballad of Davy Crockett from Fess Parker are each used in a scene in the film, but are not included in the soundtrack.
The Power of Love was nominated for an Oscar and reached number 1 on the Billboard Hot 100 . A music video was also produced for the title featuring Doc Brown and the DeLorean. In the video, Doc Brown is apparently looking for Huey Lewis. He parks the time machine outside the door of the club where the band is playing and goes inside, but a couple sit down in the DeLorean, play around with the buttons and switches, and before Doc Brown can prevent it, the car disappears and leaves behind just a trail of flames. At the end of the clip, the car lands in a parking lot, the double doors open, you can hear the woman say: “What a great trip”, and after the journey through time, the license plate that has fallen off turns between the burning blocking tracks after the journey through time. The full video did not appear until 2006 on the additional DVD to the compilation album Greatest Hits and was not shown in this long version before.
At the end of 2009, for the 25th anniversary of the film, the complete film music Alan Silvestris was released on the film music label Intrada, of which only two tracks had previously made it onto the official soundtrack album. The double CD contains (in addition to pieces not used in the film) an early version of the film music (on CD 2), which has a more serious character and was modified at the behest of Steven Spielberg, among others. Another peculiarity of this publication is that the usual limitation of production quantities to 3000 pieces is exceeded by reuse fees from the orchestra. This special limited edition is limited to 10,000 copies by special agreements. Michael Matessino wrote an accompanying text that gives an insight into the production of the film and its music.
The time machine
The time machine was designed in the most varied of variations and changed frequently. First it was designed in the form of a laser device that was to be installed in a room. Then a walk-in refrigerator was designed to serve as a time machine. However, since those responsible feared that children could use this as an incentive to lock themselves in refrigerators, they rejected this idea. Ultimately, the decision was made to make the time machine mobile, which, according to the developers, was logical because it could always be taken with you, which would make it easier to return. So it was decided that the time machine should be built into a DeLorean DMC-12 . One reason for this was the joke that a DeLorean would be mistaken for an alien spaceship by the villagers if it arrived in the past.
From ILM , which Zemeckis had commissioned to realize the special effects, he received various designs, such as the so-called space-time continuum , which was supposed to represent the transition from one time to another in space. However, since he was not satisfied with any of these designs, he decided to present the temporal transition soberly and without such effects. Zemeckis wanted to concentrate on making time travel technically credible. For this purpose, he and Gale worked the "flux compensator" (in the original flux capacitor , actually " flux capacitor ") into the script. This Doc Brown invention was supposed to make time travel possible. When it comes to how the time machine works, the screenwriters took inspiration from HG Wells ' The Time Machine . So they decided that the time machine should not be able to travel through time and space at the same time, as this seemed impossible to them.
Three vehicles were used during filming. One was modified with a Porsche engine and used for outdoor scenes where a moving car was required. Another had an expanded interior for scenes where the DeLorean was entered or exited. The third vehicle had been sawed open so that the camera could film inside. It had no external equipment and was only used for scenes within the DeLorean.
In order to give the respective vehicles the appearance of a time machine and to create an interesting vehicle for the time travel for the film characters, various things that were found in the trash or in conventional electronics stores were built in addition to aircraft parts. These included numerous lighting effects and circuits that were supposed to turn on and off at the appropriate times of the plot.
After the film was released, John DeLorean thanked Zemeckis for using the car he designed and for allegedly keeping his dreams alive. He also offered to hire the employees who designed the time machine as designers. One of the DeLoreans has now been acquired by a fan, the car is roadworthy and registered in California .
Time paradox
The story, like many similar works, plays negligently with the paradoxes caused by time travel. Marty's encroachment on his family history corresponds to the grandfather's paradox . Brown receives information coming from himself from the future, which no longer has a causal originator. When Marty played the song Johnny B. Goode (including Duckwalk ) in 1955 , a band member named Marvin Berry called his cousin Chuck and recommended the song. ( Chuck Berry was the composer and original interpreter of Johnny B. Goode .) Marty's actions in the past change the future noticeably, but the changes remain manageable, there is apparently no butterfly effect , and Marty's memory is not affected, he always remembers everything that he has experienced.
Tributes and allusions
The film includes several homages and allusions to other works. The opening scene, in which you can see or hear ticking clocks, pays homage to George Pal's film The Time Machine from 1960, which begins with a similar scene. Also in the opening scene you can see a clock with a man hanging by the pointer - a replica of the famous clock-hand scene with Harold Lloyd from the silent film classic Skyscraper, of all things! (1923). Later, Doc Brown hangs as a homage just like Harold Lloyd in Skyscraper of all things! at the hand of the town hall clock. Marty's opponent Biff Tannen was named after Universal's production manager Ned Tanen . In the original English version, Marty asks Dr. Brown asked whether his radiation protection suit was from Devo ("Is that a Devo suit?") . This is a nod to the band Devo , who were known for their unusual plastic suits in the 1980s. This allusion has been omitted in the German dubbing. Marty mentions the 1984 class while showing a photo. This is based on the 1984 film The 1984 class, starring Fox.
German dubbed version
The German dubbed version was produced by Berliner Synchron . The dialogue director was Andreas Pollak.
| figure | actor | Voice actor |
|---|---|---|
| Marty McFly | Michael J. Fox | Sven Hasper |
| Dr. Emmett "Doc" Brown | Christopher Lloyd | Ernst Jacobi |
| Lorraine Baines McFly | Lea Thompson | Liane Rudolph |
| George McFly | Crispin Glover | Stephan Schwartz |
| Biff fir trees | Thomas F. Wilson | Thomas Petruo |
| Jennifer Parker | Claudia Wells | Bettina Spier |
| Dave McFly | Marc McClure | Stefan Krause |
| Linda McFly | Wendie Jo Sperber | Hansi Jochmann |
| Mr. Strickland | James Tolkan | Robert Dietl |
| Marvin Berry | Harry Waters Jr. | Manfred Lehmann |
| Goldie Wilson | Donald Fullilove | Michael Nowka |
| High school music competition juror |
Huey Lewis | Norbert Gescher |
reception
After the finished film was tested, around six minutes of film material was cut out again. These were over-explained scenes that did nothing to progress the plot and would have slowed the pace of the film. The movie was released in the US on July 3, 1985, and the film opened in West German cinemas on October 3, 1985. Around 4.8 million moviegoers were counted in Germany.
The film was available on VHS in Germany from December 1, 1986 , and at the end of the film the text to be continued ... was inserted for the first time as a reference to the upcoming sequel . The first broadcast on German television took place on March 26, 1989 on Das Erste .
Back to the Future has been available on DVD since September 26, 2002 . On October 20, 2005, a set was also released in Germany that contained all parts of the trilogy and a fourth DVD with additional material. For all new releases of the film, Gale and Zemeckis consciously decided against revisions of the film that had become possible due to technical innovations, such as removing film errors or adding digital effects, because they considered this to be inappropriate and were of the opinion that a Film is always a product of its time, which one can also see. Only in the English version were a few Dolby Surround effects added, in other language versions the original version was retained. In addition, the text to be continued ... has been removed for the new publications .
In addition, other projects appeared that made the film or the entire trilogy their subject. For example, CBS had the animated series Back to the Future (original title: Back to the Future: The Animated Series ) developed, which was based on the events of the third part. Harvey Comics published a number of comics, the plot of which was indirectly related to the film. Also, in May 1991, Universal Studios - theme parks - opened attractions based on the film. The video game Back to the Future was also released for the NES and Commodore 64 .
Like all parts of the trilogy, Back to the Future was very popular in both Germany and the USA. In fact, the then US President Ronald Reagan quoted a sentence from the end of the film in the State of the Union Address in 1986 when he said, “Where we're going, we don't need roads.” ( Where we're going, we need no roads.) . The film Teenwolf , which appeared in the same year and in which Fox also acted as the leading actor, tried to build on the success of Back to the Future by referring to it in its advertising campaign. In the Italian version of Teenwolf even the name of Fox's character was changed from Scott to Marty.
Marty hangs himself on the bumper of a car with his skateboard several times in the film. When Back to the Future started in Australian cinemas, Michael J. Fox had to make a statement for television there warning of the dangers of hanging on a car's bumper with a skateboard.
Reviews
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When asked about the reviews of the film, Robert Zemeckis and Bob Gale noted only one point years later that would have struck them: That it was only criticized in a few European reviews that the happy future of the McFly family in the film was defined solely by their material wealth (e.g. the house, Marty's SUV and the father's BMW), whereas in the USA not a single critic noted or even criticized the definition of happiness in terms of the family's material possessions.
In general, Back to the Future has received extremely positive reviews. Negative reviews, like the Ken Hankes in Mountain Xpress , in which he calls the film too self-indulgent, or the John Hartls on film.com , in which he says the film is so busy being clever that it is on his failure of one's own ingenuity tended to be the exception. But Norbert Stresau also criticized in the Science Fiction Times , "Such cinema spectacles thrive on their density, the images and dialogues packed with information, allusions and cross-references that cannot be fully recorded at first glance."
In contrast, the lexicon of international films describes Back to the Future as “a largely amusing mixture of science fiction and romantic comedy; in the 'flashback' with a number of successful ideas that not only young viewers have fun with. "
Kevin N. Laforest writes in the Montreal Film Journal that the film against Zemeckis' later masterpiece Forrest Gump seems ambitious, but is just as convincing in its own way.
On July 29, 1985, Pauline Kael criticized the reactionary mentality of Zemeckis and Gale in the New Yorker on July 29, 1985 : “Steven Spielberg says that Back to the Future is the greatest episode of grown-ups that has ever been produced. That's the problem with it: When I go to the movies, I don't want to see a glorified episode of 'You Should Be Adult'. (...) The film arises from Zemeckis and Gale's idea of having to become mediocre (that is, successful). (...) This mindset is tense and ordinary. (...) The film's idea of what happiness means in the 1980s (...) should actually be a satirical joke, but it isn't. "
In the review of July 3, 1985 in the Boston Herald , Carrie Rickie feels disappointed by the smooth execution of the film without rough edges, despite the unusual theme: "What makes me most (...) depressed, how (...) Zemeckis everything, what was fresh and eccentric about Terminator , Repoman and Buckaroo Banzai , took and packed it in syrup for a mainstream audience. "
In his film-theoretical book Understanding Film , James Monaco sees the "dawning digital age of ' morphing ' [...] in which no picture - however authentic it may appear - can be trusted anymore " in the 1980s , and attests to Back to the Future a "refreshing postmodern sensibility". Such films seem like fantastically decorated amusement parks, and Zemeckis certainly plays a role in the establishment of the "contemporary cinema mythology" alongside Spielberg and Lucas , writes Monaco.
The critics found largely positive words about the film's humor. The German critic Andreas C. Lazar writes: "Everything [is] presented in such a light, charming and funny way that even the most bad-tempered misanthropist cannot help smiling." Gary Panton particularly raised the running gags regarding Marty's hometown, which over the 30 years in film.
Stefan Michalzik was particularly enthusiastic about the humor of the scenes that take place in the past, he wrote in Die Andere Zeitung : “Especially the scenes in the past are bursting with comedic ideas that guarantee laughter cascades.” Sönke Krüger, on the other hand, writes the appeal of the Streifens lies primarily in his original plot and his hearty humor, which results from the juxtaposition of the foul and idyll of the 1950s with the hectic and modernity of the 1980s.
The performance of the actors was also appreciated by the critics. Lazar writes that Fox did his best during the filming and that Lloyd also played the role of the absent-minded professor brilliantly. Gary Panton says Michael J. Fox and Christopher Lloyd were never better than in Back to the Future . Lloyd especially stole the show from Fox with his credible and passionate portrayal of Doc Brown. Kevin N. Laforest is of the opinion that Fox played the role here, which also influenced his later roles significantly.
The idea of presenting the time machine in the form of a DeLorean was praised as particularly unusual by the critics. For example, Roger Ebert writes in the Chicago Sun-Times that in the long history of time travel films there has never been a time machine that resembled Brown's DeLorean. Lazar was also impressed by the idea: “In the unmistakable eighties chic (...) Docs DeLorean Marty almost steals the show. But only almost, because the film is so good that the beautifully designed and equipped car is just one pearl among many. ”For Kevin N. Laforest, the idea of a plutonium-powered DeLorean was evidence of the amazingly detailed ideas that the film offers, according to him .
In his criticism in the Village Voice, J. Hoberman takes the oedipal aspect as the topic and comments somewhat ironically that the film is “the greatest psychoanalytic healing method that has ever been invented (...). Marty is an American Oedipus who learns to conquer the desire for his mother (...) and to take up the office of father. His reward: an improved standard of living for the whole family plus a woman. "
Awards and nominations
Back to the Future received the Oscar for Best Sound Editing at the 1986 Academy Awards . The film was also nominated for Best Original Screenplay , Best Movie Song and Best Sound.
Despite nominations in the categories of best film , best film song and best film script, the Golden Globe Awards received nothing . In addition, Fox was in the category Best Actor in a Comedy or Musical Nominated
In 1986 Fox received the Saturn Award for Best Actor . The film was also recognized for Best Science Fiction Film and Best Special Effects . He was also nominated for Best Costume , Best Director , Best Music and Best Supporting Actor (Crispin Glover and Christopher Lloyd), and Best Supporting Actress (Lea Thompson).
At the UK BAFTA Awards , Back to the Future was nominated for a prize in five categories, but was left blank. In Germany he received the Jupiter in the category Best Film in 1985 and the Golden Screen in 1986 . In 2007 the film was entered into the National Film Registry .
The German Film and Media Assessment (FBW) awarded the film the rating of valuable , also because "elements of science fiction and comedic narrative patterns are linked - in a wide range of variations between old film clothes and the latest cinematographic gimmick".
literature
- Ralph Sander : Three times the future and back. Some comments on Robert Zemeckis' time travel trilogy "Back to the Future". In: Wolfgang Jeschke (Ed.): The Science Fiction Year 1996 , Wilhelm Heyne Verlag, Munich, ISBN 3-453-09445-X , pp. 293-302.
- Michael Klastorin, Sally Hibbin: Back to the Future: The Official Book of the Complete Movie Trilogy , Mallard Press, New York 1990, ISBN 0-7924-5444-8 .
- Norman Kagan: The Cinema of Robert Zemeckis , Taylor Trade Publishing, Lanham 2003, ISBN 0-87833-293-6
- Dirk Manthey, Jörg Altendorf, Willy Loderhose (eds.): The large film lexicon. All top films from A-Z . Second edition, revised and expanded new edition. tape VI . Publishing group Milchstraße, Hamburg 1995, ISBN 3-89324-126-4 .
- James Monaco: Understanding Film: Art, Technology, Language, History and Theory of Film and Media; with an introduction to multimedia . Special edition August 2002. Rowohlt-Taschenbuch-Verl., Reinbek bei Hamburg 2002, ISBN 3-499-61433-2 .
- Horst Peter Koll (Hrsg.): Lexicon of the international film. Cinema, television, video, DVD . Published by the Catholic Institute for Media Information (KIM) and the Catholic Film Commission for Germany. 4891 S., Zweiausendeins, Frankfurt am Main 2002, ISBN 3-86150-455-3 .
- Ronald M. Hahn / Volker Jansen: Lexicon of Science Fiction Films: [2000 films from 1902 to today] . Volume 2, 7th edition, Wilhelm Heyne Verlag, Munich 1997, ISBN 3-453-11860-X .
Web links
- Back to the future in the Internet Movie Database (English)
- Back to the Future at Rotten Tomatoes (English)
- Back to the Future at Metacritic (English)
- Back to the future in the online film database
- Back to the future in the German dubbing index
- ZidZ.com - large fansite for the Back-to-the-Future trilogy with a fan community
- HillValley.de - fansite for the Back to the Future trilogy
- bttf.com - American fan site for back-in-the-future trilogy (English)
- Back to the future as a Flash version (The Real Flash to the Future)
Individual evidence
- ↑ http://www.boxofficemojo.com/movies/?id=backtothefuture.htm Box office results from Back to the Future
- ↑ Most successful films of 1985 and their box office results in the IMDB
- ↑ a b c d e Making Of: Back to the Future; DVD Back to the Future (Collector's Set, 4 DVDs)
- ↑ a b Kagan: p. 67
- ↑ a b c d The emergence of the trilogy: Chapter 1; DVD Back to the Future (Collector's Set, 4 DVDs)
- ↑ a b c d e f g h i j questions and answers with director Robert Zemeckis and producer Bob Gale; recorded at the University of Southern California , published on Back to the Future (Collector's Set, 4 DVDs)
- ↑ quoted in: Kagan: p. 69 f
- ^ Kagan: p. 70
- ↑ Markus Haage: When Eric Stoltz traveled back to the future ... In: Neon-Zombie.net. Markus Haage Medien, July 14, 2018, accessed on July 14, 2018 .
- ↑ cf. Fire destroys famous film set and video archive at spiegel.de (accessed on June 2, 2008)
- ↑ cf. Update: Fire Spares Back the (Return to) the Future Clock Tower ( Memento of the original from June 4, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at www.slashfilm.com (accessed June 2, 2008)
- ^ Huey Lewis and the News - Greatest Hits ; Capitol Records, 2006; 0946 3633802 6
- ↑ Back to the future. In: synchronkartei.de. German synchronous index , accessed on September 15, 2015 .
- ^ Kagan: p. 71
- ↑ number of visitors
- ↑ http://www.ofdb.de/view.php?page=fass&fid=1951&vid=149565 First broadcast Back to the future
- ↑ PRESIDENT RONALD REAGAN'S ADDRESS BEFORE A JOINT SESSION OF CONGRESS ON THE STATE OF THE UNION ( Memento of April 22, 2005 in the Internet Archive ) State of the Union Address, February 4, 1986
- ↑ Trivia about Teenwolf on IMDB
- ↑ a b to the at Rotten Tomatoes , accessed on October 18, 2014
- ↑ a b [1] at Metacritic , accessed on October 18, 2014
- ↑ Back to the Future in the Internet Movie Database (English)
- ↑ a b Quotes from some critics on rottentomatoes.com
- ↑ a b Ronald M. Hahn / Volker Jansen: Lexikon des Science-Fiction-Films , Volume 2, p. 1047
- ↑ Back to the future. In: Lexicon of International Films . Film service , accessed November 3, 2017 .
- ↑ a b c Laforest on montrealfilmjournal.com
- ↑ quoted in: Kagan p. 83 f
- ↑ quoted in: Kagan p. 84 f
- ↑ James Monaco: Understanding Film , p. 384 f.
- ↑ a b c http://www.filmzentrale.com/rezis/zurueckindiezukunft.htm Lazar on filmzentrale.com
- ↑ a b Gary Panton ( Memento of the original dated February 4, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on movie-gazette.com
- ↑ Dirk Manthey, Jörg Altendorf, Willy Loderhose (eds.): The large film lexicon. All top films from A-Z . Second edition, revised and expanded new edition. tape VI . Verlagsgruppe Milchstraße, Hamburg 1995, ISBN 3-89324-126-4 , p. 3277 .
- ↑ Roger Ebert's article in the Chicago Sun Times
- ↑ quoted in: Kagan p. 83
