Eine Semi-Autobiografie, die auf Spielbergs eigener Kindheit im Nachkriegs-Arizona basiert, wo er im Alter von sieben bis achtzehn Jahren aufwuchs.Eine Semi-Autobiografie, die auf Spielbergs eigener Kindheit im Nachkriegs-Arizona basiert, wo er im Alter von sieben bis achtzehn Jahren aufwuchs.Eine Semi-Autobiografie, die auf Spielbergs eigener Kindheit im Nachkriegs-Arizona basiert, wo er im Alter von sieben bis achtzehn Jahren aufwuchs.
- Für 7 Oscars nominiert
- 31 Gewinne & 297 Nominierungen insgesamt
Mateo Zoryan
- Younger Sammy Fabelman
- (as Mateo Zoryon Francis-DeFord)
Handlung
WUSSTEST DU SCHON:
- WissenswertesDuring filming, the cast gained access to home movies, photographs, and recollections from Steven Spielberg's family's past to learn what they were like and how to portray the fictionalized versions of them (The Fabelman family) on screen, while making them feel fresh and original. Paul Dano reflected: "It was overwhelming and it was sort of a heavy cloak to bear because we were with someone who was having a big experience everyday, revisiting and reworking through a part of their life...For somebody like Steven to share that much of himself with us---with the audience too---it was really a profound experience."
- PatzerYounger Sammy Fabelman's eyes are blue, while the older Sammy Fablelman's eyes are brown.
- Crazy CreditsTwo dedications to Spielberg's real life parents Leah Adler and Arnold Spielberg appear after the closing credits.
- SoundtracksThe Greatest Show on Earth
from Die größte Schau der Welt (1952)
Written by Victor Young, Ned Washington
Performed by the Paramount Studios Band
Courtesy of Paramount Pictures
Ausgewählte Rezension
After 50 years of making movies, Steven Spielberg is still, in the 2020s, finding new muscles to work. His semi-autobiopic, The Fabelmans, is different in style, reach, and aim, than anything Spielberg has ever made. The consummate ringmaster has never helmed a film so modest. And for a director whose personal attachments are spread all over his filmography, The Fabelmans may also be his most intimate.
The story of Sam Fabelman (Gabriel LaBelle) is the story of Steven Spielberg, Jewish kid from Small Town USA, lover and later maker of movies. Sam shares with Steven three younger sisters, an eccentric concert pianist mother, an electrical engineer father, and a nearly identical path to movie directing. The names might be different, but obviously The Fabelmans is a dramatization of Steven Spielberg's childhood. It's certainly not our first indication of what the director thinks of such things as his parents' divorce, his interpersonal relationships with his family, or the images, moments, and memories that inspired him to make movies. Spielberg has brilliantly disguised these themes within his genre films; in alien invasion movies, dinosaur pictures, science fiction noirs, and family fantasy adventures. But with The Fabelmans, here comes the full reveal. It is a movie directly about family. His family. One must assume The Fabelmans is Steven Spielberg's last word on the subjects that have bewitched him throughout his career.
The Fabelmans is kitchen sink drama all the way; no bells, no whistles, no magic realism or distracting style. In other words, no distance from these characters. The ones we have here are all quite well-realized. Paul Dano as Burt, the Fableman patriarch, is a sweetheart; surprisingly real despite an affected subservient speech pattern. Dano's character could have been an embarrassing caricature of the "no fun, get a job" father, but he comes out well-intentioned and completely three dimensional in a thankless role. Michelle Williams has the showier job playing mother Mitzy. She doesn't fumble the challenge, and in fact carves out a memorable personality from the more artistically inclined of Sam's parents. In the middle is Gabriel LaBelle, the latest model of the square-jawed, brown-eyed, young male muse that Spielberg has been searching for for decades now. Like Ansel Elgort, Tye Sheridan, Joseph Gordon-Levitt, Jeremy Irvine, and Shia LaBeouf before him (the man has a type), he's good enough. LaBelle is a likeable personality, a truly important metric for a performance like this, and he anchors the film admirably. Will it be that elusive star-making performance Spielberg has clearly been wanting from one of his young proteges? No. But it's a nice one.
A few supporting players stop in for extended cameos. Judd Hirsh's quick turn as Uncle Boris may very well earn him an Oscar nomination. Hirsch has the classic showpiece monologue-two of them to be exact-and the sort of built-up respect needed for such a role. Young Chloe East on the other hand is a real discovery as Sam's high school girlfriend. Just when the movie needs a little energy, she comes in with the good stuff. Her's is a bright and living performance that never feels put on. Seth Rogan is there as well. A risky, maybe inspired casting choice, he's not bad.
The Fabelmans is practically structureless, even at times aimless. There is no agreed-upon thesis that the movie is working toward, nor is there a feeling Spielberg is coaxing us into experiencing. As a cinematic project, it does not play to its director's strengths whatsoever. But we've seen the resiliency of Steven Spielberg before. Desert animal he truly is; able to adapt to changing landscapes and external challenges. By his standards, this is a tiny movie. Not the first quiet, artistic coming-of-age movie (in one of the movie's few missteps, it trots out a clichéd bullying subplot that drags the quality of the production way down), but in experienced, versatile hands, one of the very best.
The Fabelmans certainly won't blow the doors off the box office, and for many, its sincere love for the craft of filmmaking will go completely unregistered. That narrow appeal, however, is precisely why The Fabelmans is destined to become a very special movie for people like me. I had my own 'Greatest Show on Earth' experience at six years old, when I saw Sam Raimi's Spider-man in one of the great big theaters where my aunt lived. Later, after I had discovered more of my favorites, developed a taste for the movies, I made my own. My cousins starred in one Jurassic Park rip-off as a team of scientists pursued by dragons in Shanghai. I became a film snob in college, and made short films with the guiding help of a professor who thought I had potential. I got a job as a documentarian and later directed a commercial or two of my own. All the while, I had my own family, who happen to be a lot like The Fabelmans, there to support and sometimes to trivialize, but whom I love with everything I have. Oh, it is sappy to talk about how personal The Fabelmans feels to me. I'm sure mine will not be the only review emphasizing how relatable this film is to someone with the artistic itch. But I assume I'm much like Sam Fabelman, and Steven Spielberg too, when I say that movies are my therapy. Our careers may never compare, but at least we'll share that.
Mazal Tov.
87/100.
The story of Sam Fabelman (Gabriel LaBelle) is the story of Steven Spielberg, Jewish kid from Small Town USA, lover and later maker of movies. Sam shares with Steven three younger sisters, an eccentric concert pianist mother, an electrical engineer father, and a nearly identical path to movie directing. The names might be different, but obviously The Fabelmans is a dramatization of Steven Spielberg's childhood. It's certainly not our first indication of what the director thinks of such things as his parents' divorce, his interpersonal relationships with his family, or the images, moments, and memories that inspired him to make movies. Spielberg has brilliantly disguised these themes within his genre films; in alien invasion movies, dinosaur pictures, science fiction noirs, and family fantasy adventures. But with The Fabelmans, here comes the full reveal. It is a movie directly about family. His family. One must assume The Fabelmans is Steven Spielberg's last word on the subjects that have bewitched him throughout his career.
The Fabelmans is kitchen sink drama all the way; no bells, no whistles, no magic realism or distracting style. In other words, no distance from these characters. The ones we have here are all quite well-realized. Paul Dano as Burt, the Fableman patriarch, is a sweetheart; surprisingly real despite an affected subservient speech pattern. Dano's character could have been an embarrassing caricature of the "no fun, get a job" father, but he comes out well-intentioned and completely three dimensional in a thankless role. Michelle Williams has the showier job playing mother Mitzy. She doesn't fumble the challenge, and in fact carves out a memorable personality from the more artistically inclined of Sam's parents. In the middle is Gabriel LaBelle, the latest model of the square-jawed, brown-eyed, young male muse that Spielberg has been searching for for decades now. Like Ansel Elgort, Tye Sheridan, Joseph Gordon-Levitt, Jeremy Irvine, and Shia LaBeouf before him (the man has a type), he's good enough. LaBelle is a likeable personality, a truly important metric for a performance like this, and he anchors the film admirably. Will it be that elusive star-making performance Spielberg has clearly been wanting from one of his young proteges? No. But it's a nice one.
A few supporting players stop in for extended cameos. Judd Hirsh's quick turn as Uncle Boris may very well earn him an Oscar nomination. Hirsch has the classic showpiece monologue-two of them to be exact-and the sort of built-up respect needed for such a role. Young Chloe East on the other hand is a real discovery as Sam's high school girlfriend. Just when the movie needs a little energy, she comes in with the good stuff. Her's is a bright and living performance that never feels put on. Seth Rogan is there as well. A risky, maybe inspired casting choice, he's not bad.
The Fabelmans is practically structureless, even at times aimless. There is no agreed-upon thesis that the movie is working toward, nor is there a feeling Spielberg is coaxing us into experiencing. As a cinematic project, it does not play to its director's strengths whatsoever. But we've seen the resiliency of Steven Spielberg before. Desert animal he truly is; able to adapt to changing landscapes and external challenges. By his standards, this is a tiny movie. Not the first quiet, artistic coming-of-age movie (in one of the movie's few missteps, it trots out a clichéd bullying subplot that drags the quality of the production way down), but in experienced, versatile hands, one of the very best.
The Fabelmans certainly won't blow the doors off the box office, and for many, its sincere love for the craft of filmmaking will go completely unregistered. That narrow appeal, however, is precisely why The Fabelmans is destined to become a very special movie for people like me. I had my own 'Greatest Show on Earth' experience at six years old, when I saw Sam Raimi's Spider-man in one of the great big theaters where my aunt lived. Later, after I had discovered more of my favorites, developed a taste for the movies, I made my own. My cousins starred in one Jurassic Park rip-off as a team of scientists pursued by dragons in Shanghai. I became a film snob in college, and made short films with the guiding help of a professor who thought I had potential. I got a job as a documentarian and later directed a commercial or two of my own. All the while, I had my own family, who happen to be a lot like The Fabelmans, there to support and sometimes to trivialize, but whom I love with everything I have. Oh, it is sappy to talk about how personal The Fabelmans feels to me. I'm sure mine will not be the only review emphasizing how relatable this film is to someone with the artistic itch. But I assume I'm much like Sam Fabelman, and Steven Spielberg too, when I say that movies are my therapy. Our careers may never compare, but at least we'll share that.
Mazal Tov.
87/100.
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizielle Standorte
- Sprache
- Auch bekannt als
- Los Fabelman
- Drehorte
- 12908 Bailey Street, Whittier, Kalifornien, USA(Monte's camera shop: Bennie tries to offer Sammy a film camera)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 40.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 17.348.945 $
- Eröffnungswochenende in den USA und in Kanada
- 161.579 $
- 13. Nov. 2022
- Weltweiter Bruttoertrag
- 45.620.703 $
- Laufzeit2 Stunden 31 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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