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IMDbPro

Auto Focus

  • 2002
  • VM18
  • 1h 45min
VALUTAZIONE IMDb
6,7/10
15.719
LA TUA VALUTAZIONE
Auto Focus (2002)
Home Video Trailer from Sony Pictures Classics
Riproduci trailer1: 51
11 video
99+ foto
BiografiaCrimineDrammaVero crimine

La vita della star televisiva Bob Crane e la sua strana amicizia con l'esperto di elettronica John Henry Carpenter.La vita della star televisiva Bob Crane e la sua strana amicizia con l'esperto di elettronica John Henry Carpenter.La vita della star televisiva Bob Crane e la sua strana amicizia con l'esperto di elettronica John Henry Carpenter.

  • Regia
    • Paul Schrader
  • Sceneggiatura
    • Robert Graysmith
    • Michael Gerbosi
  • Star
    • Greg Kinnear
    • Willem Dafoe
    • Maria Bello
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,7/10
    15.719
    LA TUA VALUTAZIONE
    • Regia
      • Paul Schrader
    • Sceneggiatura
      • Robert Graysmith
      • Michael Gerbosi
    • Star
      • Greg Kinnear
      • Willem Dafoe
      • Maria Bello
    • 157Recensioni degli utenti
    • 93Recensioni della critica
    • 66Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 6 candidature totali

    Video11

    Auto Focus
    Trailer 1:51
    Auto Focus
    Auto Focus
    Trailer 1:52
    Auto Focus
    Auto Focus
    Trailer 1:52
    Auto Focus
    Auto Focus Scene: Which One Do You Want?
    Clip 1:43
    Auto Focus Scene: Which One Do You Want?
    Auto Focus Scene: We Need To Talk
    Clip 2:45
    Auto Focus Scene: We Need To Talk
    Auto Focus Scene: Confessional
    Clip 2:20
    Auto Focus Scene: Confessional
    Auto Focus Scene: Everybody Loves You Bob
    Clip 1:42
    Auto Focus Scene: Everybody Loves You Bob

    Foto104

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    + 98
    Visualizza poster

    Interpreti principali68

    Modifica
    Greg Kinnear
    Greg Kinnear
    • Bob Crane
    Willem Dafoe
    Willem Dafoe
    • John Carpenter
    Maria Bello
    Maria Bello
    • Patricia Olsen…
    Rita Wilson
    Rita Wilson
    • Anne Crane
    Ron Leibman
    Ron Leibman
    • Lenny
    Bruce Solomon
    Bruce Solomon
    • Edward H. Feldman
    Michael E. Rodgers
    Michael E. Rodgers
    • Richard Dawson
    • (as Michael Rodgers)
    Kurt Fuller
    Kurt Fuller
    • Werner Klemperer
    Christopher Neiman
    Christopher Neiman
    • Robert Clary
    Lyle Kanouse
    Lyle Kanouse
    • John Banner
    DonnaMarie Recco
    DonnaMarie Recco
    • Melissa
    • (as Donnamarie Recco)
    • …
    Ed Begley Jr.
    Ed Begley Jr.
    • Mel Rosen
    Michael McKean
    Michael McKean
    • Video Executive
    Cheryl Lynn Bowers
    Cheryl Lynn Bowers
    • Cynthia Lynn
    Don McManus
    Don McManus
    • Priest
    Sarah Uhrich
    • Victoria Berry
    Amanda Niles
    • Cocktail Waitress
    Kelly Packard
    Kelly Packard
    • Dawson's Blond
    • Regia
      • Paul Schrader
    • Sceneggiatura
      • Robert Graysmith
      • Michael Gerbosi
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti157

    6,715.7K
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    Recensioni in evidenza

    Buddy-51

    Focused drama

    A cautionary tale of the dangers of sexual addiction, `Auto Focus' shows what can happen when a person attempts to lead a double life – in this case, a straight-laced family man by day and a pornography-obsessed playboy by night. In `Auto Focus,' the family man/pornographer turns out to be none other than the well-known actor Bob Crane, the star of TV's `Hogan's Heroes,' who was found murdered in a Scottsdale, Arizona hotel room in 1978 under mysterious and sensational circumstances that included the uncovering of tapes Crane had made of his own sexual experiences. The general public was shocked to discover that a man they had invited into their living rooms every week for six years had been living such an unsavory parallel existence – though those who knew him well were apparently far less shocked by the revelation. Drawing on Robert Graysmith's book `The Murder of Bob Crane' for its inspiration and viewpoint, the film, written by Michael Gerbosi and directed by Paul Schrader, chronicles the rise and fall of this handsome actor, from his days as a successful LA disc jockey and his meteoric rise to fame as star of a hit comedy series, to his growing obsession with promiscuity and pornography, which led to the disintegration of both his personal and professional life - and, ultimately, to his death, most likely at the hands of his buddy-in-sleaze, videographer John Carpenter (though he was never convicted of the murder).

    `Auto Focus' certainly does not shy away from revealing many of the salacious details of this true-life story. Schrader deals head-on with the disturbing nature of a mind so all consumed with the subject of sex that all other aspects of life become obliterated and distorted. What's fascinating about Crane – at least in the way he is depicted in this film – is that he seems to have had some sort of self-destructive death wish, for not only does he risk his career by sleeping with countless women, but he insists on leaving behind the evidence by videotaping many of his encounters, and then flaunting his `accomplishments' to others in the Hollywood community. In a way, such a cavalier attitude only underlines the sickness at the core of Crane's soul – which in a perverse, paradoxical way, actually makes Crane a more sympathetic figure than he otherwise might be. An enormous amount of credit for this also goes to Greg Kinnear who does a superb job of not only replicating Crane's style of acting but of showing us the tortured man Crane became in his later years. He was truly a man driven to madness by the demons within him, and we can all identify in some sense with that condition (our demons may not be sexual in nature, but they probably eat away at us just as ravenously as they did Crane). Kinnear gets outstanding support from Willem Dafoe as Carpenter, the Svengali-like figure who lures Crane into his world of photographed sex, and Ron Leibman, as Crane's well-meaning, caring agent who can do little but stand by helplessly as his client throws his career and his life away to feed this devouring passion.

    The filmmakers have done an amazing job capturing the sights and sounds of the era in which the film is set. Especially impressive are the scenes recreating `Hogan's Heroes,' with Kurt Fuller, in particular, a standout as Werner Klemperer (Colonel Klink). It's also fascinating to see the evolution of videotape technology as portrayed in the film. How many of us knew that such equipment existed for home consumption as early as the mid-60's?

    There's a real sadness to the final stretches of the film, made all the more poignant by having the dirge-like musical score run uninterrupted under the action. The effect is that we really get a sense of the total desolation of Crane's life at that point – as he has lost his family, his career, and his self-respect to the master he chose early on to serve. The loss of his life seems almost de rigueur given all that has gone before. `Auto Focus' is not always an easy film to watch, but for its unflinching look at an often-unappetizing subject, it deserves to be seen.
    6ccthemovieman-1

    The Weird Story Of Bob Crane

    As anyone who is reading this knows, this was the story of TV's Bob Crane, star of "Hogan's Heroes," a popular show in the 1960s. The story of Crane, the one that makes him a subject of a major motion picture of his life, are two things: 1 - the good-guy TV hero was, behind the scenes, a huge sex addict; 2 - he was murdered, with no one ever convicted of the crime. To this day, it is still unsolved.

    The movie hints very strongly that the killer was Bob Carpenter, played here by Willem Dafoe. Carpenter was a close friend of Crane's. Greg Kinnear does a credible job of portraying the television star.

    However, the part about Crane's murder is only dealt with in the final minutes of the film! That was very disappointing and I was hoping to find out something or at least be given more information. They just kind tacked this on the end of the film.

    Most of the film was about Crane's and Carpenter's escapades with women.....lots of women, beautiful and big-chested women, which you see in abundance in this film. Dafoe is the sleazy friend who introduces Crane to the beginning of the VCR age. That led to a whole bunch of sex-on-film and really whetted Crane's big sexual appetite.

    Anyway, for people who watched "Hogan's Heroes," and there were plenty, this is a bio of him and perhaps, for those who know nothing about his death, who killed him.
    10waltergl

    Not for everybody, but definitely worth seeing

    I believe that this was the most severely underrated film of 2002, and it was also my personal favorite for a great year in film. Now, I sincerely doubt that many moviegoers would consider this one of the year's best, or even a great film, so this comes with a tentative recommendation. I wouldn't recommend this movie to just anybody, but I feel that fans of the prior work of Scorsese and Schrader will consider this a worthwhile endeavor. With this work Schrader continues his legacy of disturbed, distorted, doomed men whose selfishness and shallow nature ultimately lead them to great suffering as they destroy those who come close to them. Greg Kinnear's Bob Crane joins the likes of DeNiro's Jake LaMotta in Raging Bull, Gene Hackman's Harry Caul in The Conversation, and Nick Nolte's Wade Whitehouse in another Schrader masterpiece, Affliction. These are sad, empty men, for whom we can only half-sympathize; we feel for them because we suffer, but we condemn them because they force themselves and others to suffer.

    The film follows the sexual exploits of Greg Kinnear as Bob Crane, the real-life star of Hogan's Heroes, who during and after the show became a full-blown sex addict, ruining two marriages and possibly sabotaging his career in the process. Willem Dafoe is John Carpenter (no, I know what you're thinking, and he's not), Crane's partner in crime who lacks Crane's charisma with women but is fed some scraps by Crane in return for his extensive knowledge of and access to video equipment. Crane's fetish is using the home video cameras to record his sexual trysts, which he reviews over and over again, looking for something that we can't see, and that he probably can't see either.

    Kinnear and Dafoe's performances alone are worth the price of admission. This is the best, boldest, and most nuanced work that Kinnear has ever done. His performance is all subtlety and detail; he introduces Crane as a regular, aw shucks family man, but as the movie progresses we gradually see the facade fall as his quiet desperation and insatiable sexual appetite begin to consume him. Not content to go over the top and yell at the top of his lungs to be effective, Kinnear instead puts on a fake smile and charms with a velvety voice while openly degrading and hitting on women. The effect is one of the most genuinely creepy performances ever committed to film. Dafoe is the perfect companion to Kinnear's subtle predator; Carpenter is a pathetic loser, easily angered and easily hurt. He gets angry, yells, and does all of the things that you've seen Dafoe do in his other portrayals of guys you wouldn't want to meet in a dark alley, or a lighted one, for that matter. It's effective elsewhere, and it's effective here. Together, these men form a pair so utterly joyless and shallow that just seeing them on-screen together made my stomach churn. Their dialogue is only incidental, usually reminiscing on previous sexual escapades or planning new ones, but it's the little tics, gestures, Kinnear's untouchable confidence foiled by Dafoe's insecurity, Kinnear's hidden hunger foiled by Dafoe's overt desperation, that give these scenes their resounding power.

    Not to shortchange Schrader's direction, though, which as usual is right on target for the material. He begins in a brightly colored, idealized suburban landscape, filled with all of the usual imagery you'd expect in this sort of light-hearted period and location. Then, slowly, he slides into darker territory, carrying us into the decadent seventies, breaking shots into shorter lengths, shaking the camera, depicting with his cinematography and editing the fall of his protagonist. Admittedly, the techniques Schrader employs here to depict Crane's breakdown have been used many times before, but I still found them extremely effective here.

    For the last thirty minutes of the film, I felt genuinely ill; not because I thought the projector was out of focus, as many have complained, but because Schrader and Kinnear were taking me to a dark place and immersing me in it. As I said before, this type of film is not for everybody, but for those interested in the dark side of man, this film is not to be missed. I think that at the very least, the merit of these depressing morality tales is that they provide an exact blueprint of the way not to live our lives. I suppose that showing Crane checking himself into therapy and dealing with his problems and utimately healing himself would be valuable as well, but it wouldn't make for a good film, or a true one. Some people argue against the very existence of this type of movie. My response to them is that in real life for every strong-willed person who solves their problems and triumphs over adversity, there is another loser who ultimately fails to deal with life and implodes upon their own insecurity and weakness. Until this changes, someone needs to continue making these films.
    8Quinoa1984

    it's kind of like a drug movie- actually, it really is, and an absorbing one

    After a while, I really did get more of what director Paul Schrader was aiming for with Auto Focus, the tale of males caught in some sort of odd damnation of both free will and morality. It's more like a drug movie, only here the drug being the opposite sex, and almost a singularly male ego-trip, instead of common narcotics. But it's also a very fine character study where the idea of character is taken into consideration, of how much one can seem a certain way, but then be stuck in with flaws and insecurities and, ultimately, temptation. The last of which is what Schrader puts into focus early on, but then after a while when temptation is gone, the film becomes a direct plunge into complete debauchery. And appropriately, like with all addicts, for a while nothing seems wrong at all about all of this.

    Greg Kinnear is definitely in one of his best parts here, as he plays someone who is an actor who keeps his actor-like charms off the set as well. In Hollywood, away from the confines of Connecticut, his Bob Crane lands the lead on Hogan's heroes, but can't resist the first temptations of the night-life. This comes, in an introductory way and then throughout as a tag-along/counterpart, with John Carpenter (not the director, played with the best match by Willem Dafoe of being a creep and alluring at times), who shows him the ropes and hooks him up with video equipment. But as Crane goes deeper into his sexual drives, divorces, marries again and divorces again, his acting career and his livelihood seem to slip away. The themes of being perversely the 'All-American Male' are accentuated by Kinnear's Crane in voice-over as he talks about the unbridled joys of sex, and in an interview with a Christian publication he says 'I don't...make waves'. By the last third of his story, however, into the rot of the 70s, he's lost touch with the reality of his pleasures- or rather necessities.

    Auto Focus isn't at times an easy movie to sit through; it's even cringe-worthy in a couple of scenes (notably for me was when he guest stars on a celebrity cooking show, only to keep on his sexually-driven side with audience members). Then there are other scenes (i.e. 'you have fingers up you-know-where', and the genital enhancement) where male masculinity is questioned, and in very peculiar ways between Crane and Carpenter; Crane is homophobic, but then what exactly is Carpenter's function? More than anything, less than being a friend, he becomes a kind of unintentional pusher, where the draw of going out on the town becomes a crux for both of the men. What's just as fascinating then is how Schrader aligns this with his style- the first half is mostly very slick and professional-looking, almost like an HBO bio-pic or something. But then as the characters lose a grip on everything except themselves, there's a hand-held, distorted view to everything. There's lots of nudity and on-screen sex (some blurred out, likely by MPAA request), yet Schrader gets something more shocking, in the mind at least, as Carpenter almost becomes the antagonist in a way as the story winds down (the last phone call marks this most).

    Auto Focus has the ideal of the usual biographical drama of a somebody in Hollywood who soon loses himself to becoming a nobody, but there's plenty under the surface that makes it more intriguing. Crane's two sides to his persona- the celebrity one, and the personal 'lifestyle' one- become one and the same after a while, Kinnear being able to make such a near-irredeemable person somewhat sympathetic (or at the least very watchable). And Carpenter's more truthful, emotional, and scary turn is made palatable by Dafoe's equally nuanced performance. It's not great, but it's a near-classic of the tale-of-such-and-such-star when so many don't take in what's deeper into account. A-
    7SnoopyStyle

    sad portrait

    Bob Crane (Greg Kinnear) is a radio DJ in Hollywood looking for acting work. In 1965, he gets an offer for an unconventional project. It's a comedy in a Nazi POW camp. Hogan's Heroes becomes a big hit. He befriends home video salesman John Carpenter (Willem Dafoe) in a strip club. Unlike his public wholesome image, his interests in strippers, sex, and home video are heightened by Carpenter and his state-of-the-art cameras. It's a toxic friendship of easy women, sexual proclivity, and hidden videos. In 1970, he divorces his wife Anne (Rita Wilson) and marries his co-star Sigrid Valdis, real name Patricia Olson (Maria Bello). Crane and Carpenter's friendship based on their sad common interest degenerates.

    Director Paul Schrader often dives into the darker side of humanity. It's a sad portrait well delivered by Kinnear. On the other hand, the movie is not always great at delivering the danger and tension. For half of the movie, Bob Crane is not threatened with discovery. This keeps the tension low. It's got a chipper tone which is weird. It would have been nice to speed up the first half. It takes too long to get to his downfall. Willem Dafoe is equally strong and necessary for this movie to work. There is interesting work here but this should be more intense.

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    Auto Focus: Featurette
    Auto Focus: Featurette
    Hollywood, Vermont
    6,7
    Hollywood, Vermont

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The leather jacket that Greg Kinnear wears while playing Bob Crane in the Gli eroi di Hogan (1965) scenes of this movie is the one that the real Crane actually wore during the filming of that TV series. Crane's son Robert David Crane loaned the jacket to Kinnear for this movie. Prior to the original "Hogan's Heroes" show, Frank Sinatra wore this exact same jacket in Il colonnello Von Ryan (1965).
    • Blooper
      There is a glimpse of the famous Capitol Records building painted silver. At the time of the film, it was actually painted black to resemble a stack of records.
    • Citazioni

      Bob Crane: I think it's perfect for me. I mean, this character Hogan, he's quick on his toes, he's hip, he's a con artist. I don't wanna jinx it, but I think it's what I've been working toward my whole career!

      Anne Crane: Really? You've been working towards a Holocaust comedy?

      Bob Crane: Ann!

      Anne Crane: What, Bob?

      Bob Crane: Please, not in front of the children! They look up to me!

      Anne Crane: They're small. They look up to everyone.

    • Versioni alternative
      The following deleted scenes appear on the DVD:
      • Victoria finds Bob's body.
      • Hogan's Heroes Montage
      • Bob unloads drums and some dirty magazines fall out.
      • Anne and Bob talking by the pool.
      • Anne in the darkroom.
    • Connessioni
      Featured in Auto Focus: Featurette (2002)
    • Colonne sonore
      Snap!
      Written by Paul Schrader and Angelo Badalamenti

      Performed by David Johansen (as Buster Poindexter)

      Produced by Brian Koonin

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    Dettagli

    Modifica
    • Data di uscita
      • 11 aprile 2003 (Italia)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • Official site (United States)
    • Lingua
      • Inglese
    • Celebre anche come
      • Autofocus
    • Luoghi delle riprese
      • Los Angeles, California, Stati Uniti
    • Aziende produttrici
      • Focus Puller Inc.
      • Good Machine
      • Propaganda Films
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 7.000.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 2.063.196 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 123.761 USD
      • 20 ott 2002
    • Lordo in tutto il mondo
      • 2.704.951 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 45 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital
      • SDDS
    • Proporzioni
      • 1.85 : 1

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