A Home at the End of the World
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A Home at the End of the World
Plot
Directed by Michael Mayer and based on The Hours author Michael Cunningham's novel of the same name, A Home at the End of the World chronicles the 1980s reunion of childhood best friends Bobby (Colin Farrell) and Jonathan (Dallas Roberts). Where they were once best pals -- and teenage lovers -- in the suburbs of Cleveland, Bobby has become a charismatic but go-nowhere heterosexual slacker, and Jonathan is now living as an openly gay man in New York City, hoping to serve as father to his eccentric roommate Clare's (Robin Wright Penn) child. When Bobby impulsively moves to the city to be closer to his former friend, their bonds are tested sooner than anyone would have thought. Bobby falls for Clare, and in doing so, effectively eliminates what would have been Jonathan's position in the baby's life. Jonathan temporarily takes off; when his father dies, and he attends the Arizona funeral, Bobby and Clare unexpectedly turn up with the news that she's expecting. Despite the still-existent tensions, the trio becomes a family unit among themselves, ultimately buying a house in Woodstock, Upstate New York, where they all move together, challenging traditional notions of family, commitment, love, and devotion. ~ Tracie Cooper, RoviReview
The title A Home at the End of the World gives off both an optimistic and a pessimistic vibe, simultaneously, which is appropriate for a film that can't figure out what its tone should be. For example, the plot follows the protagonist (Colin Farrell's Bobby) through the deaths of a half-dozen important family members and friends, yet Duncan Sheik's dopey score is better suited to an annoyingly whimsical romantic comedy. That dopiness is, however, well suited to Farrell's performance. Despite the succession of traumas his character endures, his attitude rarely changes from that of a pseudo-hippie naïf. It's hard to tell whether that's a reflection on director Michael Mayer's vision for the character, or Farrell's limitations as an actor, but it rings terribly false. Other than these traumas, the plot focuses almost exclusively on a soggy love triangle between Bobby, his childhood best friend/love interest, Jonathan (Dallas Roberts), and the wacky artist (Robin Wright Penn) Jonathan lives with sort-of platonically, whose hair is dyed a different color in every scene. The only performer among these that registers, even remotely, is Roberts, while Wright Penn throws out all her best instincts, playing the character as absurdly indistinct and shallow. Meanwhile, the action gets side-tracked by red herrings, such as the apparent physical attraction between Bobby and his surrogate mother (Sissy Spacek). While this never goes anywhere, the occasional presence of Spacek does distract us from the self-indulgent vagaries of the central trio. There are interesting ideas about sexuality, free love vs. monogamy, family and the AIDS crisis buried somewhere in A Home at the End of the World, screaming to get out. But since they are nullified by the film's overall banality, they remain homeless, as it were. ~ Derek Armstrong, RoviCast
- Colin Farrell - Bobby Morrow
- Robin Wright Penn - Clare
- Dallas Roberts - Jonathan Glover
- Sissy Spacek - Alice Glover
Credit
Edward Bonutto - Art Director, Robin D. Cook - Casting, Jim Carnahan - Casting, Bradford Simpson - Co-producer, Robert Kessel - Co-producer, Jocelyn Hayes Simpson - Co-producer, Julia Rask - Co-producer, Beth Pasternak - Costume Designer, Jeffrey Steven Authors - First Assistant Director, Michael Mayer - Director, Lee Percy - Editor, John Sloss - Executive Producer, Michael Hogan - Executive Producer, James Powers - Line Producer, Duncan Sheik - Composer (Music Score), Linda Cohen - Musical Direction/Supervision, Michael Shaw - Production Designer, Enrique Chediak - Cinematographer, Tom Hulce - Producer, Pamela Koffler - Producer, John Wells - Producer, Christine Vachon - Producer, Katie Roumel - Producer, John Hart - Producer, Jeff Sharp - Producer, Mark Steel - Set Designer, Douglas Ganton - Sound/Sound Designer, Keith Bunin - Screenwriter, Michael Cunningham - Screenwriter, Michael Cunningham - Book Author| A Home Without Children (1909 Film), A Home Run for Love (1978 Film) | |
| A Home for Gentle Souls (1981 Film), A Home of Our Own (1975 Film) |
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A Home at the End of the World
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A Home at the End of the World (film)
| A Home at the End of the World | |
|---|---|
 Original film poster |
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| Directed by | Michael Mayer |
| Produced by | Tom Hulce John Hart Pamela Koffler Katie Roumel Jeffrey Sharp Christine Vachon John Wells |
| Written by | Michael Cunningham Based on his novel |
| Starring | Colin Farrell Robin Wright Penn Dallas Roberts Sissy Spacek |
| Music by | Duncan Sheik |
| Cinematography | Enrique Chediak |
| Editing by | Andrew Marcus Lee Percy |
| Distributed by | Warner Independent Pictures |
| Release date(s) | July 23, 2004 |
| Running time | 96 minutes |
| Country | United States |
| Language | English |
| Budget | $6.5 million |
| Box office | $1,548,955 (worldwide) |
A Home at the End of the World is a 2004 drama film directed by Michael Mayer. The screenplay by Michael Cunningham was adapted from his 1990 novel of the same title.
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Plot synopsis
The film focuses on a trio of disparate individuals who struggle to create a family of their own. Bobby Morrow's (Farrell) life in suburban Cleveland has been tinged with tragedy since he was a young boy, losing first his older hippie brother to a freak accident and then his mother to illness. As a rebellious teenager, he meets the conservative and gawky Jonathan Glover in high school, and he becomes a regular visitor to the Glover home, where he introduces his friend - and his mother Alice - to marijuana and the music of Laura Nyro. Bobby and Jonathan also indulge in adolescent mutual masturbation during their frequent sleepovers. Bobby helps Alice accept her son's homosexuality, and she teaches Bobby how to bake, unintentionally setting him on a career path that eventually takes him to New York City, where Jonathan is sharing a colorful East Village apartment with the bohemian and somewhat older Clare. Bobby moves in, and the three create their own household.
Although Jonathan is openly gay and highly promiscuous, he is deeply committed to Clare and the two have tentatively planned to have a baby. Clare seduces and starts a relationship with Bobby, and she eventually becomes pregnant by him. Their romance occasionally is disrupted by sparks of jealousy between the two men until Jonathan, tired of being the third wheel, disappears without warning. He re-enters their lives when his father Ned dies and Bobby and Clare travel to Phoenix, Arizona for the services. The three take Ned's car back east with them, and they impulsively decide to buy a house near Woodstock, New York, where Bobby and Jonathan open and operate a cafe while Clare raises the baby daughter she and Bobby have had.
Jonathan discovers what appears to be a Kaposi's sarcoma lesion on his thigh and, although Bobby tries to convince him it's simply a bruise, others soon appear. Clare takes the baby for what ostensibly is a brief visit to her mother in Philadelphia, but Bobby and Jonathan accurately suspect she has no intention of returning and Bobby decides to care for Jonathan during his last days. On a cold winter day some months later, they scatter Ned's ashes in the field behind their home, and Jonathan (who now visibly appears to be ill) makes Bobby promise he will scatter his in the same place following his now inevitable early death from complications due to AIDS.
Production
The film was shot on location in New York City, Phoenix, and Schomberg and Toronto in Ontario, Canada.
The film premiered at the New York Lesbian and Gay Film Festival and was shown at the Nantucket Film Festival, the Provincetown International Film Festival, the San Francisco International Lesbian and Gay Film Festival, and the Los Angeles Gay and Lesbian Film Festival before going into limited release in the US. It grossed $64,728 on five screens on its opening weekend. It eventually earned $1,029,872 in the US and $519,083 in foreign markets for a total worldwide box office of $1,548,955.[1]
Cast
- Colin Farrell ..... Bobby Morrow (1982)
- Dallas Roberts ..... Jonathan Glover (1982)
- Robin Wright ..... Clare
- Sissy Spacek ..... Alice Glover
- Matt Frewer ..... Ned Glover
- Erik Scott Smith ..... Bobby Morrow (1974)
- Harris Allan ..... Jonathan Glover (1974)
- Asia Vieira .... Emily
Critical reception
A.O. Scott of the New York Times observed, "As a novelist Mr. Cunningham can carry elusive, complex emotions on the current of his lovely, intelligent prose. A screenwriter, though, is more tightly bound to conventions of chronology and perspective, and in parceling his story into discrete scenes, Mr. Cunningham has turned a delicate novel into a bland and clumsy film . . . so thoroughly decent in its intentions and so tactful in its methods that people are likely to persuade themselves that it's better than it is, which is not very good . . . The actors do what they can to import some of the texture of life into a project that is overly preoccupied with the idea of life, but the mannered self-consciousness of the script and the direction keeps flattening them into types." [2]
Roger Ebert of the Chicago Sun-Times said, "The movie exists outside our expectations for such stories. Nothing about it is conventional. The three-member household is puzzling not only to us, but to its members. We expect conflict, resolution, an ending happy or sad, but what we get is mostly life, muddling through . . . Colin Farrell is astonishing in the movie, not least because the character is such a departure from everything he has done before." [3]
Mick LaSalle of the San Francisco Chronicle stated, "What we have here . . . is a movie about a friendship and about the changing nature of families. We also have a movie about what it was like to be a child in the late 1960s, a teenager in the mid-1970s and a young adult in the early 1980s. In these aspects, the film is sensitive, sociologically accurate and emotionally true. But the picture is also the story of one character in particular, Bobby, and when it comes to Bobby, A Home at the End of the World is sappy and bogus." He added, "Farrell is not the first actor anyone would cast as an innocent, and he seems to know that and is keen on making good. His speech is tentative but true. His eyes are darting but soulful. The effort is there, but it's a performance you end up rooting for rather than enjoying, because there's no way to just relax and watch." [4]
Peter Travers of Rolling Stone awarded the film three out of four stars, calling it "funny and heartfelt" and "a small treasure." He added, "Farrell's astutely judged portrayal . . . is a career highlight" and "Stage director Michael Mayer (Side Man) makes a striking debut in film." [5]
David Rooney of Variety called the film "emotionally rich drama" "driven by soulful performances." He added, "Strong word of mouth could help elevate this touching film beyond its core audience of gay men and admirers of the book." [6]
Awards and nominations
The film was cited for Excellence in Filmmaking by the National Board of Review and was nominated for the GLAAD Media Award for Outstanding Film in Wide Release but lost to Kinsey. Michael Cunningham was nominated for the Chlotrudis Award for Best Adapted Screenplay, Dallas Roberts was nominated for the Gotham Award for Breakthrough Performance, and Colin Farrell was nominated for the Irish Film Award for Best Actor.
See also
References
External links
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Mentioned in
Delije
(1968 Film)
Michael Cunningham
(literature)
Ryan Donowho
(Actor, Drama)
Zycie Raz Jeszcze
(1965 Drama Film)
John Wells
(Writer, Director, Drama)
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