The destinies of twenty two people of different races, sexes, beliefs and social classes are intertwined on the night that politician Robert F. Kennedy is assassinated.The destinies of twenty two people of different races, sexes, beliefs and social classes are intertwined on the night that politician Robert F. Kennedy is assassinated.The destinies of twenty two people of different races, sexes, beliefs and social classes are intertwined on the night that politician Robert F. Kennedy is assassinated.
- Awards
- 6 wins & 25 nominations
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Storyline
Did you know
- TriviaAt 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."
- GoofsThe 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.
- Quotes
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.
You may not have suspected that this film is one of the biggest mysteries of 2006. I mean, how on earth did Emilio "Might Duck" Estevez command enough clout to assemble this stunning cast??? I am stumped. Nevertheless...
"Bobby" feels very much like a stylistic copy of Robert Altman's work -- perhaps a lighter version of Paul Thomas Anderson's operatic ensembles. You know the types of films I am referring to -- "Nashville", "Magnolia", "Short Cuts", Boogie Nights" -- the huge casts, varying story lines, interconnectivity, etc.
The events in this film all take place at Los Angeles' famed Ambassador Hotel in the moments leading up to the assassination of Robert Kennedy in 1968. There is the story of the nostalgic doorman who plays chess in the lobby. There is the story of the wasted night club singer. There is the story of a young girl who agrees to marry her friend so he doesn't have to go to Vietnam. There is the story of the racist food and beverage manager. There is the story of the bored married couple. There is the story of the political aides tripping on LSD. There is the story of the hairdresser... the cook.. the thief... his wife... and her lover -- Okay, fine... that's another film. There may even be a partridge in a pear tree somewhere along the way. "Bobby" is a sprawling film that may have jammed a little too much in between the credits.
That being said, the film is a model of professionalism. There are some fine performances. The costuming and make-up is so colorful and vivid as to become a character in and of itself. The editing is the film's highlight, cleverly blending original footage with fictional scenes.
The best performances come from William H. Macy, Anthony Hopkins, Lindsay Lohan & Svetlana Metkina. Hopkins plays wistful better than anyone ever has. Lohan has been called the "heart of the film" by Estevez himself. She gives the film an emotional connection and displays a level of acting talent that will surprise many audiences. Metkina has a few moments that will amuse you.
A few performances stray a little over the top -- Demi Moore is a prime example of that. She breaks the understated tone of the film. Also, the entire trippy scene with Ashton Kutcher struck me as entirely wasted.
The film winds down to the fateful event in the kitchen when Sirhan Sirhan ends the dream of many Americans. The film hints that this particular event may have been even more significant than the assassinations of either JFK or MLK. It hints that the course of the country shifted drastically that night. It hints, somewhat overtly, at the present situation we find ourselves in with world politics. And the words of Robert Kennedy echo sadly in the final chapter of the film.
There is so much crammed into this movie that it almost demands a second viewing. It is not that one can't keep up, but that each character gets so little screen time that it feels necessary to visit them again in order to get their full effect. I think that Estevez shows great promise here, but he may have overloaded his buffet plate -- and who can blame him with so much talent at his disposal.
© Written by TC Candler IndependentCritics.com
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Details
- Release date
- Country of origin
- Languages
- Also known as
- El día que mataron a Kennedy
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $14,000,000 (estimated)
- Gross US & Canada
- $11,242,801
- Opening weekend US & Canada
- $69,039
- Nov 19, 2006
- Gross worldwide
- $20,718,608
- Runtime1 hour 57 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1