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IMDbPro

JFK: Caso abierto

Título original: JFK
  • 1991
  • 13
  • 3h 9min
PUNTUACIÓN EN IMDb
8,0/10
177 mil
TU PUNTUACIÓN
POPULARIDAD
2222
82
Kevin Costner in JFK: Caso abierto (1991)
Theatrical Trailer from Warner Home Video
Reproducir trailer2:20
5 vídeos
99+ imágenes
Legal DramaLegal ThrillerPolitical DramaPolitical ThrillerDramaHistoryThriller

El fiscal de distrito de Nueva Orleans, Jim Garrison, descubre que hay muchas más cosas sobre el asesinato de Kennedy que la historia oficial.El fiscal de distrito de Nueva Orleans, Jim Garrison, descubre que hay muchas más cosas sobre el asesinato de Kennedy que la historia oficial.El fiscal de distrito de Nueva Orleans, Jim Garrison, descubre que hay muchas más cosas sobre el asesinato de Kennedy que la historia oficial.

  • Dirección
    • Oliver Stone
  • Guión
    • Jim Garrison
    • Jim Marrs
    • Oliver Stone
  • Reparto principal
    • Kevin Costner
    • Gary Oldman
    • Jack Lemmon
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    8,0/10
    177 mil
    TU PUNTUACIÓN
    POPULARIDAD
    2222
    82
    • Dirección
      • Oliver Stone
    • Guión
      • Jim Garrison
      • Jim Marrs
      • Oliver Stone
    • Reparto principal
      • Kevin Costner
      • Gary Oldman
      • Jack Lemmon
    • 581Reseñas de usuarios
    • 86Reseñas de críticos
    • 72Metapuntuación
  • Ver la información de la producción en IMDbPro
    • Ganó 2 premios Óscar
      • 19 premios y 41 nominaciones en total

    Vídeos5

    JFK
    Trailer 2:20
    JFK
    JFK
    Trailer 2:20
    JFK
    JFK
    Trailer 2:20
    JFK
    JFK
    Trailer 0:16
    JFK
    Kevin Bacon Gets Quizzed On His IMDb Page
    Video 3:49
    Kevin Bacon Gets Quizzed On His IMDb Page
    Athletes Who Chose Acting Over Football
    Video 3:14
    Athletes Who Chose Acting Over Football

    Imágenes216

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    Reparto principal99+

    Editar
    Kevin Costner
    Kevin Costner
    • Jim Garrison
    Gary Oldman
    Gary Oldman
    • Lee Harvey Oswald
    Jack Lemmon
    Jack Lemmon
    • Jack Martin
    Walter Matthau
    Walter Matthau
    • Senator Long
    Sally Kirkland
    Sally Kirkland
    • Rose Cheramie
    Anthony Ramirez
    • Epileptic
    Gary Taggart
    • Doctor (credited on Director's Cut)
    Ray LePere
    • Zapruder
    Steve Reed
    • John F. Kennedy - Double
    Jodie Farber
    Jodie Farber
    • Jackie Kennedy - Double
    • (as Jodi Farber)
    Columbia Dubose
    • Nellie Connally - Double
    Randy Means
    • Gov. Connally - Double
    Jay O. Sanders
    Jay O. Sanders
    • Lou Ivon
    E.J. Morris
    • Plaza Witness #1
    • (as E. J. Morris)
    Cheryl Penland
    • Plaza Witness #2
    Jim Gough
    • Plaza Witness #3
    Perry R. Russo
    • Angry Bar Patron
    Mike Longman
    • TV Newsman #1
    • Dirección
      • Oliver Stone
    • Guión
      • Jim Garrison
      • Jim Marrs
      • Oliver Stone
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios581

    8,0177.2K
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    Reseñas destacadas

    9pacific-oconnor

    A Modern Cultural Obsession

    The assassination of JFK has been told in every possible way through every available medium. Oliver Stone managed the unimaginable transforming and almost folk tragedy, through a mix of drama and cinema veritè, into a riveting mystery thriller with the paranoiac style of a man who's in touch with paranoia in a quasi permanent basis. Unnerving, frustrating and spectacularly satisfying. Kevin Costner manages to be convincing as the center piece of the conspiracy theory. We believe the whole damn thing because we see it through his logic. Sissy Spacek, as his wife, represents most us and she does it brilliantly. Tommy Lee Jones and Kevin Bacon are a pleasure to watch. Donald Sutherland, Jack Lemmon, Walter Matthau and even John Candy, Sally Kirkland and Vincent D'Onofrio deliver little parts of the puzzle without ever becoming distracting. Gary Oldman is a chilling dead ringer for Lee Harvey Oswald. For film lovers, for history nuts, for pop culture fanatics and for conspiracy theorists, this is a must.
    Casa2000

    One of the best and most important films ever made!

    Oliver Stone's epic film which follows the real-life events of New Orleans District Attorney Jim Garrison is a monumental movie event. It should have been named the Best Picture of 1991 instead of The Silence of the Lambs.

    Everything about this film is perfect and it shows that when an intriguing story comes together with all other elements of filmmaking that are executed brilliantly, the film works on so many levels.

    First off, Stone's direction is as good as it gets. He has an incredible passion for the subject, knowledge of the art and relationship with the camera. All of his footage goes together seamlessly and makes the 3 h 08 min running time blow by. He gets a strong performance out of the entire ensemble cast especially Costner, Jones, Oldman, and Pesci.

    Scalia and Hutsching's editing is a work of art and tells the complicated story with incredible precision. Richardson's cinematography lights up the screen in both colour and black and white. Both of these technical aspects of filmmaking are molded into sheer artistry by these three men who have all deserved their Oscars for this film.

    John Williams' score is one of his best (right up there with his Indiana Jones and Star Wars). The script is intelligent, thought-provoking, mesmorizing and heart-wrenching. Costner's closing speech to the Jury is finer that Nicholson's in A Few Good Men, McConaughey's in A Time to Kill and Jackson's in Pulp Fiction. It is Stone and Sklar's best work.

    The subject matter is incredibly controverial and subjective but Stone's delivers it with such emotion and raw power that his alternate myth to the Warren Report seems factual. The film is an investigation into the human spirit and how the vigour and dedication of one man and his team of associates can rise above the highest powers of the world and encode a message into the minds and hearts of millions. John F. Kennedy has countless achievements and qualities as a president which makes his life and term one of the most incredible and worthy of deep study.

    Oliver Stone's JFK should go down in film history as one of the most important American films ever produced. Watch it with an open mind free of prejudice and predisposition and you will find yourself wanting to go to the library and learn more about this global tragedy.
    9Cineleyenda

    Stone lone braveman

    "JFK" was and remains so controversial that any positive reviews (not to say they were characteristic) it received were dwarfed by the trashing to which it was subjected in the official press, which started well before it was released. This was disturbing, for what is the big need -- it is just a movie. But to so many "JFK" was not, it was somehow threatening.

    Ultimately, it does not matter whether JFK's conclusion is correct, and I am even willing to give a little more license than I normally would to more-substantive, as well as less-important, inaccuracies, although I have my limits here too. But this movie's significance is just that it was made. For although other films had chronicled the events surrounding the assassination, none had in any substantial way sought to discredit the Warren Commission, as was so absolutely merited.

    Regardless of your opinion on what really happened, it is my view that everyone should be critical of the media, which were so obsequious to the Warren Commission. The New York Times from the start referred to Oswald as the "assassin," not the "suspect." Life Magazine altered photos strongly suggesting a shot had been fired from the grassy knoll. Many years later, when being interviewed by Dan Rather about his film, Oliver Stone said to his face, referring to the event: "Where were you, Dan?"

    Indeed, in a documentary he made, Rather said, "in the absence of any CREDIBLE evidence, we can only..." This fallacy is a betrayal of the legal definition of evidence, with Rather's poor characterization of the word "credible." There is enormous, indeed endless, evidence contradicting the Warren Commission's view, and much of it is certainly credible, including all the evidence of the Commission's own efforts to conduct a dishonest and incomplete investigation and intimidate witnesses into changing their testimony to support the version it wanted. In fact, I consider it Gerald Ford's greatest character flaw that he served on it and backed its conduct and conclusion, a far more disturbing matter than his pardon of Nixon. Whether the evidence to which Rather referred is CONCLUSIVE is another story; that is up to us, the jury. The sort of smugness Rather shows has been characteristic of much of the media, and I do not know all the reasons they behaved as they did. Thus, we needed a more courageous, enterprising person like Oliver Stone to step in and fill the gap -- the overwhelming majority of people believe the Commission got it wrong.

    Stone's enlistment of mere hypotheticals, theorized by Garrison (setting aside the final scene--there were moments before) or whoever, has been subjected to unfair, ill-conceived criticism. Most people who knew anything at all about the assassination believed there were problems with the Commission's version before they saw this film, and came out of it with an elaboration and hypothesis, not a mindbender. Even if we concede that some younger viewers knew little about the assassination, the notion of the critics of "JFK" that the film would automatically program their minds is an insult to their intelligence, of the ability of people in general to think and come to their own conclusions. Indeed, no one to whom I have EVER spoken has betrayed a view of events that reflects even most, if not all, of Stone's conclusions. If any programming is called for, it is to program people against the Commission's version, not, as its defenders would wish, against Stone. For no one can be programmed to accept Stone's alternate view.

    OK, some inaccuracies of Stone can be criticized, such as his portrayal of Garrison (All-American Kevin Costner, natch) as a wholesome hero, and the time-between-shots issue (it is now generally conceded that there was enough time, based on all the evidence, for Oswald to have done it, for those who believe he did). Perhaps the speech by David Ferrie never occurred, but it still reflects the widely held view that the CIA and Mafia worked together in this matter. Certainly, many people in the government despised Kennedy, and there were substantially more elements of this hostility than portrayed in the film. Anyway, we can go on and on. The Warren Commission tried to cover up overwhelming evidence that Ruby knew Oswald, that a shot was fired from the grassy knoll, that a dark-skinned man fired shots from the Dallas School Book Depository, and that Officer Tippit was killed by someone other than Oswald (actually, two people). Well, at least some members resisted the single bullet theory (I guess that passes Rather's definition of "credible"), although they ultimately signed the report.

    I do not agree with Oliver Stone's specific ultimate conclusion about the central moving force of the assassination. But he has the right to suggest the U.S. government was involved, and many, including myself, think it was involved somehow, but that what is debatable is merely to what extent and how far up. Hats off to Stone for his courage and thoughtfulness in making his necessary statement.

    9 out of 10
    8Jeremy_Urquhart

    An impressive achievement.

    I feel like with Oliver Stone's JFK, whether or not it's actually convincing is less important than how passionate it is, and how it admirably presents a case over the course of 3+ hours, while never being boring. It's a paranoia-heavy movie, and can kind of make you feel overwhelmed and a little dizzy by the time it's over.

    Like anything by Stone, I think parts are overblown and come a little close to feeling slightly silly, but when JFK hits, it hits real hard. There are some incredible performances within it, too (Kevin Costner has never been better, and Donald Sutherland's extended scene - just one - is a highlight), and I love the blending of archival footage with dramatizations.

    It's surprisingly well-paced, well-acted, and technically quite the accomplishment, and earns its lengthy runtime well.
    10dustbrother204

    A Stunningly Well Planned and Articulated Film

    Oliver Stone is undoubtedly one of the most controversial directors of all time, his work has included horrifyingly real stories of Vietnam, stories of the corruption of politics and a much-despised account of Jim Morrison's life. No matter the subject matter, Stone always gives it his all and sometimes the world's response is positive and sometimes it's negative. With JFK we are faced with one of his films that was probably one of his most successful (next to Platoon of 1986). This is a rare instance in which the public loved the concept of conspiracy in their own country, and took special interest in the debates that it caused amongst the government upon release. The best thing about this film is that it is and was treated as so much more than a film. My honest opinion is that this response was created not because of a more plausible theory but because of Stone's fantastic and unique job putting the story together.

    The film opens on a surprisingly suspenseful scene of the murder of John F. Kennedy. The chopped style of the scene lets you know that something is not right, dramatic black and white shots spliced with the blurry grain shots of the home video taken by a witness (it won Academy Awards for Best Film Editing and Best Cinematography). This, accompanied by John Williams' excellent original score helped do an excellent job of creating a mood, just for this very first scene. Often times a director will stop after this, give it his all for style and then stop after the first scene, but Stone doesn't do this. He makes the film so much more than a boring investigation; he takes you in to each of the puzzle pieces (indeed, it feels like you're with Kevin Costner "digging" through hundreds of events.) For 90% of these clips that lace the film's concepts together, the camera is not kept steady, it is, indeed, like you are there witnessing it. The human eye doesn't only look at what is important, and a situation of trauma can make everything seem broken, confused. Oliver Stone doesn't try to make sure you understand what's going on. Some frown upon this, but it's realistic and that's what counts.

    Kevin Costner plays Jim Garrison, the district attorney of New Orleans who investigates the murder of John Kennedy. Sometimes you are expected to disagree (at first) with some of Garrison's presumptuous statements, and when you do there is always at least one character around who will agree with you. Stone realizes most viewers aren't devoted enough to believe everything Garrison says no matter what it is throughout the film. Stone has said that he wants people to "rethink history" and that this film is not guaranteed fact, but an "alternate myth" to the myth that has been presented before. The story is not solid because very few ideas or people or events in life are. What I mean to say is that Garrison's comments are not necessarily ridiculous, it's just a matter of how hard he tries to support them. The focus constantly changes -- yes, Costner will smile a bit when he makes a ridiculous remark that everyone rolls their eyes at, yes, even at the end of the film some clips will be left unchecked, and yes, you will see that there is no way that the question "who killed JFK" is answered as simply, solidly, and, dare I say it, Hollywood-esquely as a one man killing. If you watch this movie looking for real life, without dramatization and without guaranteed entertainment and fun, you will be impressed. This is not a popcorn movie.

    And finally a word should be said about the actors' enhancement of the realism of the film. Most notable are Joe Pesci as the frantic David Ferrie who pretends to be a victim but truly (we see) had much more to do with it than he pretends (although convincingly was not an assassin -- he blows the whole thing out of proportion "this is too f*cking big for you, you know that?") and Tommy Lee Jones as the wry ring leader Claw Shaw, who seems to be a pompous upscale member of society that has been doing the dark business of conspiracy behind closed doors. The fact that these characters can appear real to us and not just appear as familiar actors taking on a role (as you might feel in Ocean's Eleven) truly does the film justice in driving it forward.

    This is in fact one of my top three favorite movies, but I tend to refrain from mentioning it as just this to my friends-- I'm sooner to mention Memento or Fight Club. The reason for this is that the movie is almost an acquired taste, and certainly not normal entertainment for a teenager. It's honestly written for a generation above me, but everything that makes it (up to and including the "kings are killed" and other political themes) are intriguing to me, and for me anything intriguing grows to be a favorite. Even if the subject is not something that ever really impacted me, I take themes to heart, and I always love a good "enigma wrapped in a riddle."

    NOTES: -Maybe a point off for being inconsistent in goal. Though as admirable in a movie as any other characteristic, I found this to be the most restricting on ability to follow along. -Also notable is the fact that it's very release sparked opening of sealed governmental records on the subject.

    OVERALL: A+

    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      The murder of Oswald by Jack Ruby was filmed on location in the actual basement garage of Dallas City Hall, where the real-life shooting took place.
    • Pifias
      David Ferrie's "confession" in Fountainbleu Hotel never happened. Ferrie went to his death denying any knowledge of Oswald or the plot to kill JFK.
    • Citas

      Jim Garrison: The Warren Commission thought they had an open-and-shut case. Three bullets, one assassin. But two unpredictable things happened that day that made it virtually impossible. One, the eight-millimeter home movie taken by Abraham Zapruder while standing by the grassy knoll. And two, the third wounded man, James Tague, who was knicked by a fragment, standing near the triple underpass. The time frame, five point six seconds, established by the Zapruder film, left no possibility of a fourth shot. So the shot or fragment that left a superficial wound on Tague's cheek had to come from the three shots fired from the sixth floor depository. That leaves just two bullets. And we know one of them was the fatal head shot that killed Kennedy. So now a single bullet remains. A single bullet now has to account for the remaining seven wounds in Kennedy and Connelly. But rather than admit to a conspiracy or investigate further, the Warren Commission chose to endorse the theory put forth by an ambitious junior counselor, Arlen Spector, one of the grossest lies ever forced on the American people. We've come to know it as the "Magic Bullet Theory"... This single-bullet explanation is the foundation of the Warren Commission's claim of a lone assassin. And once you conclude the magic bullet could not create all seven of those wounds, you have to conclude that there was a fourth shot and a second rifle. And if there was a second rifleman, then by definition, there had to be a conspiracy.

    • Créditos adicionales
      Closing statement: What Is Past Is Prologue
    • Versiones alternativas
      A director's cut prepared by Oliver Stone for the video release features 17 minutes of footage not included in the theatrical version. Among the new material:
      • Guy Bannister and his secretary talk briefly about Oswald and laugh.
      • New flashbacks of Oswald's life in Dallas with his wife after his return from Russia and his contacts with George De Mohrenshildt, Janet and Bill Williams (the man who gets Oswald a job at the book depository).
      • When Garrison and his assistant are at the book depository, they discuss the fact that the motorcade route was changed by then Dallas mayor Earle Cabell, brother of general Charles Cabell fired by Kennedy in 1961.
      • A fake Oswald (Frank Whaley) is seen in a flashback test-driving a new car and talking about Russia to the salesman.
      • In another flashback, Oswald is introduced to the New Orleans Cuban community and meets Sylvia Odio, leader of an underground anti-Castro movement.
      • A new flashback of Oswald and Clay Shaw seen together at a voter's registration drive in September '63.
      • Jim Garrison appears on "The Jerry Johnson Show" on TV to be interviewed. He tries to show photographs and defend his theories but he's cut short by host Jerry Johnson (John Larroquette).
      • Bill Broussard meets Jim Garrison at the airport where he's leaving for Phoenix, AZ and tells him the mob will attempt to assassinate him. After a few minutes he has to flee from a public restroom when he hears strange voices in the next stall and is approached by an unknown man (a cameo by production designer Victor Kempster) who pretends to be a friend of him.
      • Garrison and his staff discover that Broussard has disappeared from his apartment, and argue about the real reason why Clay Shaw has been brought to trial. While they're talking, Garrison sees Robert Kennedy on TV and says "They'll kill him before they'll let him be president".
      • During the trial, more witnesses against Shaw are shown than in the theatrical version, including a obviously insane man (Ron Rifkin) who claims that Shaw discussed killing Kennedy with him.
    • Conexiones
      Edited into Malcolm X (1992)
    • Banda sonora
      Drummers' Salute
      Arranged by D. G. McCroskie

      Performed by The Royal Scots Dragoon Guards

      Courtesy of Fiesta Records Co. Inc.

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    Preguntas frecuentes52

    • How long is JFK?Con tecnología de Alexa
    • What is 'JFK' about?
    • Is 'JFK' based on a book?
    • How much of this movie is true?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 13 de febrero de 1992 (España)
    • Países de origen
      • Estados Unidos
      • Francia
    • Idiomas
      • Inglés
      • Español
    • Títulos en diferentes países
      • JFK
    • Localizaciones del rodaje
      • Dealey Plaza - 500 Main Street, Dallas, Texas, Estados Unidos
    • Empresas productoras
      • Warner Bros.
      • Le Studio Canal+
      • Regency Enterprises
    • Ver más compañías en los créditos en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • 40.000.000 US$ (estimación)
    • Recaudación en Estados Unidos y Canadá
      • 70.405.498 US$
    • Fin de semana de estreno en EE. UU. y Canadá
      • 5.223.658 US$
      • 22 dic 1991
    • Recaudación en todo el mundo
      • 205.405.498 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      3 horas 9 minutos
    • Color
      • Color
      • Black and White
    • Mezcla de sonido
      • Dolby SR
    • Relación de aspecto
      • 2.39 : 1

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