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IMDbPro

Bobby

  • 2006
  • 14
  • 1 h 57 min
AVALIAÇÃO DA IMDb
7,0/10
44 mil
SUA AVALIAÇÃO
Anthony Hopkins, Helen Hunt, Demi Moore, Sharon Stone, Laurence Fishburne, William H. Macy, Elijah Wood, and Lindsay Lohan in Bobby (2006)
Theatrical Trailer from Weinstein Co.
Reproduzir trailer2:22
3 vídeos
99+ fotos
BiografiaDramaDrama políticoHistória

Os destinos de 22 pessoas de diferentes, raças, sexos, crenças e classes sociais se interligam na noite em que o político americano Robert F. Kennedy é assassinado.Os destinos de 22 pessoas de diferentes, raças, sexos, crenças e classes sociais se interligam na noite em que o político americano Robert F. Kennedy é assassinado.Os destinos de 22 pessoas de diferentes, raças, sexos, crenças e classes sociais se interligam na noite em que o político americano Robert F. Kennedy é assassinado.

  • Direção
    • Emilio Estevez
  • Roteirista
    • Emilio Estevez
  • Artistas
    • Anthony Hopkins
    • Demi Moore
    • Sharon Stone
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,0/10
    44 mil
    SUA AVALIAÇÃO
    • Direção
      • Emilio Estevez
    • Roteirista
      • Emilio Estevez
    • Artistas
      • Anthony Hopkins
      • Demi Moore
      • Sharon Stone
    • 281Avaliações de usuários
    • 100Avaliações da crítica
    • 54Metascore
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 6 vitórias e 25 indicações no total

    Vídeos3

    Bobby (2006)
    Trailer 2:22
    Bobby (2006)
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Trailer 5:00
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Trailer 5:00
    Breaking Bobby Bones: Grand Canyon Cliffhanger
    Breaking Bobby Bones
    Trailer 1:03
    Breaking Bobby Bones

    Fotos275

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    Elenco principal90

    Editar
    Anthony Hopkins
    Anthony Hopkins
    • John
    Demi Moore
    Demi Moore
    • Virginia
    Sharon Stone
    Sharon Stone
    • Miriam Ebbers
    Harry Belafonte
    Harry Belafonte
    • Nelson
    Joy Bryant
    Joy Bryant
    • Patricia
    Nick Cannon
    Nick Cannon
    • Dwayne
    Emilio Estevez
    Emilio Estevez
    • Tim
    Laurence Fishburne
    Laurence Fishburne
    • Edward
    Brian Geraghty
    Brian Geraghty
    • Jimmy
    Heather Graham
    Heather Graham
    • Angela
    Helen Hunt
    Helen Hunt
    • Samantha
    Joshua Jackson
    Joshua Jackson
    • Wade
    David Krumholtz
    David Krumholtz
    • Agent Phil
    Ashton Kutcher
    Ashton Kutcher
    • Fisher
    Shia LaBeouf
    Shia LaBeouf
    • Cooper
    Lindsay Lohan
    Lindsay Lohan
    • Diane
    William H. Macy
    William H. Macy
    • Paul
    Svetlana Metkina
    Svetlana Metkina
    • Lenka
    • Direção
      • Emilio Estevez
    • Roteirista
      • Emilio Estevez
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários281

    7,043.5K
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    Avaliações em destaque

    ccbc

    Good Movie

    People who complain about the ensemble cast and disparate story lines are missing the point. This is a movie about ordinary people caught up in the great drama of history. All the people have their own lives to live (as is pointed up in a Kennedy speech clip during the credits) but all are affected by the event that is to take place. War movies frequently have this concept. This is a peace movie about people whose lives will be changed by an outside event. (Disclaimer: I remember in June 1968 my wife, an early riser, sitting on the edge of the bed saying, "Robert Kennedy was shot." I knew right away what that meant: Nixon would be president, four more years of war... Yes, I was one of those ordinary people who was affected by this historic event.)
    9AuntieEm03

    Captures the Era and the Man

    I saw the movie "Bobby" as part of the Vienna International Film Festival last week and thought it was an incredibly powerful film. The movie focuses on around 20 people in and around the Ambassador Hotel the day that Robert Kennedy was shot there. The large cast never seems overwhelming. The characters are clear enough that we remember what they were doing the last time we saw them, but we never feel like they are merely one-dimensional. Emilio Estevez really hit the jackpot with his cast - they all are 100% committed to their roles and the audience simply gets lost in the era.

    The cast is phenomenal - the standouts include Sharon Stone (who has a a chance at a Supporting Actress Oscar nomination if the Academy can overlook Basic Instinct 2), Nick Cannon as a young Black-American working on the campaign, and Freddy Rodriguez as a young Latino working in the kitchen. The later two, combined with Lindsey Lohan as a woman marrying to save a man's life, serve as the heart of the movie and bring a well-balanced view of many of the hot issues of the day.

    The movie has an incredible, emotional climax that is enhanced by an actual speech of Bobby Kennedy. The audio and visual clips of Kennedy serve as snapshots into his life and the work he did during his short time in the public eye. You can read whatever you want to into the political agenda of the movie, but in the end this movie is a tribute to Robert F. Kennedy and his time.
    9nlw820

    Admirable, moving effort

    It's easy to get caught up in the "too many characters" argument or that there are too many stories left unfinished or incomplete. IMO, it's important to remember this is a snapshot of just ONE day. How much are we expected to know about any of the characters in that time period? How much do you learn about the guy sitting next to you on the plane with whom you visit during a three hour flight? I admit that at first I was thinking, "Okay Emilio, where are you going with this and why do I care about all these people?" It seemed a little disjointed to me. But then I found myself going with it and appreciating the idea that we were getting a glimpse into the lives of a few of the people at the Ambassador hotel that day. I thought the performances by all were very strong, although I'll admit it was next to impossible to get beyond the all-star cast, simply because the plot isn't structured to bring you close enough to the characters to lose sight of who is playing the role. But again, in the end it didn't matter because the artistry of it all--the music, the camera shots, the inclusion of film and audio footage of Bobby Kennedy, the significance of these characters we've been following throughout... it just worked for me. It is also hard to ignore how much RFK's message resonates in our political climate today. As the credits rolled, at least half of the audience remained in their seats, from those sitting in stunned silence to others almost sobbing. Complete strangers were gathered outside the theater, talking about the movie or their own memories of Kennedy. It is clearly a labor of love for Emilio but I think he did a fabulous job.
    Kirpianuscus

    impressive

    ...is the right word about this film who has three basic virtues - the touching story, the wise ideas and the great cast. it is not easy to say why this film is real special. maybe, for the change of perspective. about politic, about America and about the profound revolution changing a society. the only decent word - see it ! maybe, for discover a surprising director giving his film as pledge for values, as map of beautiful characters, as history lesson. and as useful support for reflection.
    6David_Frames

    My Israeli shot me down

    Estivez has a go at what critics have lazily referred to as a Altmanesque ensemble piece but as I couldn't think of a better adjective I've used it myself but will try to be more inventive with the rest of this review...which is a lie but try and stay with it regardless.

    Emilio's ahistoric slice 'o' time takes place in the Ambassador Hotel is the, er, fateful hours leading up to Robert Kennedy's assassination. We're introduced to a body of characters all approaching something of a convenient watershed moment in their lives and/or attitudes. They talk about the verge of a new age or represent, as in William H Macy's case, the older generation flirting with the new in order to buy into some of that RFK inspired optimism. Vietnam is discussed of course, as are civil rights, sexual politics, drugs and so on - in other words its 1968 personified and as they pontificate on the issooees that dominated the period zeitgeist, real footage of the senator is spliced in as he does the rounds on the day of the California primary which he'd win of course, only to have the result cancelled by the assassins bullet.

    There's nothing about Bobby thats going to offend anyone but there, as another great orator said, is the rub. Emilio's direction is competent but never inspiring like his subject matter - functional but lacking the magic that pulled you into better political ensembles like the aforementioned Altman's Nashville. The characters are reasonably well sketched but not especially involving and how could they be when the real star of the show, Kennedy himself, makes the drama seem very ordinary as his vocalises the film's anti-war, progressive agenda far better than any set of thin characters could. His footage, well integrated into the film, is the real reason to see it. The final minutes, post -bullets, with Kennedy's assured tones giving us a timely lecture on the futility of violence and the merits of tolerance and understanding as Estevez's characters contemplate his shooting just minutes earlier, genuinely does bring a lump to the throat. It lasts five minutes or so but says more about RFK and the tragedy of his death then anything that we've seen in the previous 100 minutes. Not superb then but Estivez's admiration for his man is well received and presented with dignity.

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    Enredo

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    • Curiosidades
      At one point during the script development, after developing a case of what writer and director Emilio Estevez called "paralyzing writer's block," Estevez set the script aside. Later, he checked into a remote hotel on the Central California Coast, near Pismo Beach, to work on the script. When he checked in, the woman at the desk recognized him, and asked what he was doing there. "I'm writing a script about the night Bobby Kennedy was killed," he told her. Tears instantly welled in her eyes. "I was there," she replied. Estevez interviewed the woman, who had been a volunteer for Robert F. Kennedy in 1968. He turned her personal story, which included marrying a young man to keep him out of Vietnam, into the Diane Howser character. Estevez said, "She really helped me crack the spine of the story and give it a beating heart. After that, it just started to flow."
    • Erros de gravação
      The credits include the closing speech detailing the speech as "Robert F. Kennedy's speech, 'On The Mindless Menace of Violence.' The credits say it was delivered in Indianapolis, Indiana on April 5, 1968. This is incorrect; Robert Kennedy gave a speech on Martin Luther King, Jr.'s death in Indianapolis on the previous day but gave the speech presented on the recording at the City Club of Cleveland in Cleveland, Ohio.
    • Citações

      Robert F. Kennedy: [voiceover] This is a time of shame and sorrow. It is not a day for politics. I have saved this one opportunity, my only event of today, to speak briefly to you about the mindless menace of violence in America which again stains our land and every one of our lives. It is not the concern of any one race. The victims of the violence are black and white, rich and poor, young and old, famous and unknown. They are, most important of all, human beings whom other human beings loved and needed. No one - no matter where he lives or what he does - can be certain who will suffer from some senseless act of bloodshed. And yet it goes on and on and on in this country of ours. Why? What has violence ever accomplished? What has it ever created? No martyr's cause has ever been stilled by an assassin's bullet. No wrongs have ever been righted by riots and civil disorders. A sniper is only a coward, not a hero; and an uncontrolled, uncontrollable mob is only the voice of madness, not the voice of reason. Whenever any American's life is taken by another American unnecessarily - whether it is done in the name of the law or in the defiance of the law, by one man or a gang, in cold blood or in passion, in an attack of violence or in response to violence - whenever we tear at the fabric of the life which another man has painfully and clumsily woven for himself and his children, the whole nation is degraded. "Among free men," said Abraham Lincoln, "there can be no successful appeal from the ballot to the bullet; and those who take such appeal are sure to lose their cause and pay the costs." Yet we seemingly tolerate a rising level of violence that ignores our common humanity and our claims to civilization alike. We calmly accept newspaper reports of civilian slaughter in far-off lands. We glorify killing on movie and television screens and call it entertainment. We make it easy for men of all shades of sanity to acquire whatever weapons and ammunition they desire. Too often we honor swagger and bluster and wielders of force; too often we excuse those who are willing to build their own lives on the shattered dreams of others. Some Americans who preach non-violence abroad fail to practice it here at home. Some who accuse others of inciting riots have by their own conduct invited them. Some look for scapegoats, others look for conspiracies, but this much is clear: violence breeds violence, repression brings retaliation, and only a cleansing of our whole society can remove this sickness from our soul. For there is another kind of violence, slower but just as deadly destructive as the shot or the bomb in the night. This is the violence of institutions; indifference and inaction and slow decay. This is the violence that afflicts the poor, that poisons relations between men because their skin has different colors. This is the slow destruction of a child by hunger, and schools without books and homes without heat in the winter. This is the breaking of a man's spirit by denying him the chance to stand as a father and as a man among other men. And this too afflicts us all. I have not come here to propose a set of specific remedies nor is there a single set. For a broad and adequate outline we know what must be done. When you teach a man to hate and fear his brother, when you teach that he is a lesser man because of his color or his beliefs or the policies he pursues, when you teach that those who differ from you threaten your freedom or your job or your family, then you also learn to confront others not as fellow citizens but as enemies, to be met not with cooperation but with conquest; to be subjugated and mastered. We learn, at the last, to look at our brothers as aliens, men with whom we share a city, but not a community; men bound to us in common dwelling, but not in common effort. We learn to share only a common fear, only a common desire to retreat from each other, only a common impulse to meet disagreement with force. For all this, there are no final answers. Yet we know what we must do. It is to achieve true justice among our fellow citizens. The question is not what programs we should seek to enact. The question is whether we can find in our own midst and in our own hearts that leadership of humane purpose that will recognize the terrible truths of our existence. We must admit the vanity of our false distinctions among men and learn to find our own advancement in the search for the advancement of others. We must admit in ourselves that our own children's future cannot be built on the misfortunes of others. We must recognize that this short life can neither be ennobled or enriched by hatred or revenge. Our lives on this planet are too short and the work to be done too great to let this spirit flourish any longer in our land. Of course we cannot vanquish it with a program, nor with a resolution. But we can perhaps remember, if only for a time, that those who live with us are our brothers, that they share with us the same short moment of life; that they seek, as do we, nothing but the chance to live out their lives in purpose and in happiness, winning what satisfaction and fulfillment they can. Surely, this bond of common faith, this bond of common goal, can begin to teach us something. Surely, we can learn, at least, to look at those around us as fellow men, and surely we can begin to work a little harder to bind up the wounds among us and to become in our own hearts brothers and countrymen once again.

    • Conexões
      Featured in Siskel & Ebert & the Movies: Casino Royale/Happy Feet/Bobby/Fast Food Nation/Candy/Come Early Morning (2006)
    • Trilhas sonoras
      Love and Light
      Written by Jeff Rona

      Performed by Luxurious

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    • How long is Bobby?
      Fornecido pela Alexa
    • Who shot Bobby Kennedy and why?

    Detalhes

    Editar
    • Data de lançamento
      • 27 de julho de 2007 (Brasil)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Espanhol
    • Também conhecido como
      • El día que mataron a Kennedy
    • Locações de filme
      • Ambassador Hotel - 3400 Wilshire Boulevard, Los Angeles, Califórnia, EUA
    • Empresas de produção
      • The Weinstein Company
      • Bold Films
      • Bobby
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 14.000.000 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 11.242.801
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 69.039
      • 19 de nov. de 2006
    • Faturamento bruto mundial
      • US$ 20.718.608
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 57 minutos
    • Cor
      • Color
    • Mixagem de som
      • SDDS
      • Dolby Digital
      • DTS
    • Proporção
      • 2.35 : 1

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