Find Kill Your Darlings - Junge Wilde at holl-med.com Movies & TV, home of thousands of titles on DVD and Blu-ray. „Kill your darlings“ ist daher einer der Ratschläge, den der junge Allen Ginsberg (Daniel Radcliffe) in seinem Literaturseminar an der New Yorker. Kill Your Darlings – Junge Wilde im Fernsehen - TV Programm: Drama. Drogen, Jazz und Rebellion: Auf das angepasste Leben in den Vereinigten Staaten der.
Kill Your Darlings – Junge WildeKill Your Darlings. ()IMDb 6,51 Std. 43 Min "Naked Lunch", "On The Road", "Howl": Mit ihren Büchern haben Allen Ginsberg, William S. Burroughs. „Kill your darlings“ ist daher einer der Ratschläge, den der junge Allen Ginsberg (Daniel Radcliffe) in seinem Literaturseminar an der New Yorker. Naked Lunch", "On The Road", "Howl": Mit ihren Büchern haben Allen Ginsberg, William S. Burroughs und Jack Kerouac nicht nur.
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Darlings, in writing, are those words, phrases, sentences, paragraphs, and even chapters that we are often most proud of.
We love them, and we want to keep them. Faulkner was right. King was right. Critique is never personal. When sane and healthy writers critique one another, they do it to help.
When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
A desperate young writer is lured on a wild ride through the desert by a mysterious woman in this darkly comic take on the all-American road trip.
Along the way they cross paths with a hapless mobster, a 6 foot transvestite and a lovesick housewife, all on the way to their celebrity TV shrink in Las Vegas Things quickly spiral out of control into a dangerous cat-and-mouse game Written by Anonymous.
I thought with main stream stars like John Laroquette, Julie Benz and Lolita Davidovich in Kill Your Darlings I might be in store for a decent comedy drama.
Nothing was further from the truth. The swede Bjorne Lawson both wrote and directed this downer of a movie. The story is about a few people who are under Dr.
Bangley's played by John Laroquette psychiatric care. Heck, even Dr. Bangley's own 14 year year old daughter played by Skye McCole Bartusiak is in need of some serious therapy but Dr.
Bangley just doesn't have any time to spare her while he is peddling his newly released book. Actor Fares Fares yes that is his real name plays a doting absentee father who gets hired as a gun toting hoodlum assigned to take a troubled six foot transvestite and a bored suicidal housewife through the desert on a road trip to eventually meet up with their psychiatrist Dr.
Bangley in Las Vegas for his book signing. On a separate journey through the desert we also have Lolita Davidovich who is introduced to us only by the name Lola.
Together, these ambitious people decided to start a new literary movement named The New Vision as a rebellion towards laws, institutions and Ginsberg and Carr's lawful professor Steeves.
As Ginsberg spirals into the lifestyle of drugs, alcohol and cigarettes along with his new found friends, he slowly starts developing romantic feelings for Carr.
Carr tells Kammerer he is done with him and recruits Ginsberg to write his term papers instead. Kammerer, in retaliation, puts Kerouac's cat into the oven only for Kerouac to discover and rescue it in the middle of the night.
After a while, Kerouac and Carr attempt to run off and join the merchant marine together, hoping to go to Paris. There is a confrontation between Carr and Kammerer, during which Kammerer is killed by stabbing and perhaps also by drowning.
Carr is arrested, and asks Ginsberg to write his deposition for him. Ginsberg is at first reluctant to help the unstable Carr, but after digging up more crucial evidence on Kammerer and his past relationship, he writes a piece entitled "The Night in Question".
The piece describes a more emotional event, in which Carr kills Kammerer who outright tells him to after being threatened with the knife, devastated by this final rejection.
Carr rejects the "fictional" story, and begs a determined Ginsberg not to reveal it to anybody, afraid that it will ruin him in the ensuing trial.
From Carr's mother, it is revealed that Kammerer was the first person to seduce Carr, when he was much younger and lived in Chicago. After the trial, Carr testified that the attack took place only because Kammerer was a sexual predator, and that Carr killed him in self-defense.
Carr is not convicted of murder and receives only a short sentence for manslaughter. Ginsberg then submits "The Night in Question" as his final term paper.
On the basis of that shocking piece of prose, Ginsberg is faced with possible expulsion from Columbia. Either he must be expelled or he must embrace establishment values.
He chooses the former, but is forced to leave his typescript behind. A week or two later he receives the typescript in the mail with an encouraging letter from his professor telling him to pursue his writing.
In , while performing Equus on Broadway, Daniel Radcliffe auditioned and got the part of Ginsberg. Shortly after, financing for the film fell through.
When director John Krokidas started production on the film again, he offered the role of Ginsberg back to Radcliffe.
The website's critical consensus reads, "Bolstered by the tremendous chemistry between Daniel Radcliffe and Dane DeHaan, Kill Your Darlings casts a vivid spotlight on an early chapter in the story of the Beat Generation.
The Daily Telegraph granted the film a score of three out of five stars, stating that, "Unlike Walter Salles 's recent adaptation of On the Road , which embraced the Beat philosophy with a wide and credulous grin, Kill Your Darlings is inquisitive about the movement's worth, and the genius of its characters is never assumed".
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Rate This. A murder in draws together the great poets of the beat generation: Allen Ginsberg, Jack Kerouac, and William Burroughs. Director: John Krokidas.
Stars: Daniel Radcliffe , Dane DeHaan , Michael C. Added to Watchlist. From metacritic. Sundance Stars in Unforgettable Early Roles.
Celebrate Black History Month. Editorial Lists Related lists from IMDb editors. Sundance Film Festival Films Sold So Far. Will watch again.
We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified. Bolstered by the tremendous chemistry between Daniel Radcliffe and Dane DeHaan, Kill Your Darlings casts a vivid spotlight on an early chapter in the story of the Beat Generation.
Read critic reviews. Rate this movie. Oof, that was Rotten. Meh, it passed the time. So Fresh: Absolute Must See!
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All Critics Top Critics 49 Fresh Rotten Krokidas's romantic sense of the characters and the moment corresponds precisely to the way those young men saw themselves-at once closeted and defiant, making up the rules of art and sexuality as they went along.
Amy Taubin. Ultimately, it's oddly conservative fare; well played, handsomely mounted, but as inert as the books that its protagonists blithely hurl from the shelves.
Mark Kermode. Foster is wonderful as the watchful, weak Burroughs, at ease only when drugged, with a mouth like a cat's bum. But DeHaan is even better.
Charlotte O'Sullivan. Revealing about the role played by violence, shame and denial at the birth of beat and of Ginsberg's career.
Peter Bradshaw. A kaleidoscopic historic present of youthful horseplay, frenzied ambitions for revolutionising the world of art and ideas, and polymorphous teenage desire.
Nigel Andrews. Daniel Radcliffe is back in a pair of nerdy specs as Allen Ginsberg in this sincere, heartfelt film about how the gay beat poet found his voice.
Cath Clarke. Makes a few missteps - the closing song by Bloc Party would make jazz fan Kerouac turn over in his grave - but allows the performances to bring the characters to vivid life.
Richard Crouse. Paints uninteresting depictions of three revolutionary writers. And I think that initially, there was a real exchange of ideas, certainly an exchange of affection and enthusiasm, some sort of connection that neither found elsewhere.
And like all these guys, he has this sense or conviction that he's the smartest guy in the room, or at least one of them.
But he senses a threat there, and I think he realizes that these people can offer Lucien everything he has been providing, exclusively, up to this point.
Olsen found the social milieu of the film particularly fascinating. That seems kind of insane, even for the s.
And in New York City, which we usually think of as the most progressive city in the history of our country.
In landing his pair of veteran actresses to play the key maternal roles, Krokidas well knows how lucky he got. Marian Carr is a woman who went so far to protect her own son that she burned his admission papers to a mental hospital from a decade earlier.
With the cast assembled, the script locked and the financing in place, the KILL YOUR DARLINGS team was left with the formidable task of shooting a New York period piece on a limited budget and schedule.
To start the process, Krokidas lifted a technique from an Oscar-winning colleague. Basically, the book was history, a huge record of that time period so when you hire your cinematographer, your production designer, your costume designer, everyone can get inside your head and see how you took that era and interpreted it to fit the themes of the story.
Assembling the book not only provided the team with common set of references and primary source material, but also had the added bonus of cueing a unique approach to shooting style.
It 's Double Indemnity won Best Picture; Gilda came out that year. It was a much more asymmetrical, jazzy, free-form approach to filmmaking, and that echoed the movement of the characters, going from a much more staged, trapped, symmetrical place in their lives to—as they found their collective voice—something much more jazzy and free-form.
So the one-line version that I communicated to my department heads was, let's start at film noir and slowly progress to the free feeling of the French New Wave.
Director of Photography Reed Morano Frozen River, Little Birds got on board immediately. Once Allen Ginsberg meets Lucien Carr, his whole world opens up, his true self can come out and he can be who he really is, that's where the film takes a visual turn to New Wave cinema, hand-held cameras, free-roaming, and more romantic, naturalistic lighting.
Following visual orthodoxies of the noir style represented a new wrinkle for Morano. Some of it is motivated, but a lot of times you just have to put the light where it looks dramatic and cool and exciting.
So we did a lot of that; even in the New Wave section, we still kept a little bit of that there. It basically made me get out of my comfort zone of wanting all the lighting to always be motivated.
It pushed me to go a little crazy and do wild things that I never did before. Somebody says a provocative line? She knew exactly when and how to pan over to the reaction of the character who heard it.
And I knew that she and I were going to have to be able to dance really fast alongside with the actors in order to capture every scene in this movie on our budget and time schedule.
But of course, if you tilted the camera just a little bit higher, you would see the contemporary New York skyline. Production designer Stephen Carter likewise had his work cut out for him.
The tight schedule and working method meant that hard choices needed to be made virtually every shooting day. To that end, the scouting team came up with some undiscovered gems.
So, for example, the library sequence we ended up shooting at the New York Academy of Medicine, which was actually fantastic.
I think that was probably my favorite location discovery of the movie, because that was really like stepping back in time.
It was a fun place to be, especially the stacks. It's rare to have a library allow you to film in such a collection of rare books.
They were very gracious to let us do that. The production design staff likewise found economical ways of managing interiors to create a period feel.
Sarah McMillan, our set decorator, and Alexios Chrysikos, our art director, worked together very well, resourcing and researching period wallpapers.
She would actually acquire old pieces of real, original, stock stuff, and he would boot-scan them, designing our own prints of them that could be added and taken out of locations within minutes.
The fancy way of saying this is, it's about the emotional violence that comes with the birth of a self. For me, the murder is just a literal interpretation of that violence, of that death that needs to happen in order for one to be reborn.
Certainly, the epochal reverberations of the incident are well charted, as Michael C. Ginsberg, I guess, is the only one who stayed put but he certainly absorbed or sublimated it and moved forward with a creative explosion.
John and I started writing Kill Your Darlings in -- at the time, our primary source material were the news reports about the murder from and the brief mentions of Kammerer's death in the many rich and fascinating biographies below.
It seemed unbelievable to us that no one had made a film about the murder — it had all the makings — but then, anxiety and paranoia can be a writer's best friend and definitely kept those pages coming.
By the time we finished our draft and went out to actors, Allen's journals from the period, titled The Book of Martyrdom and Artifice: First Journals and Poems , were published and they provided a revealing look at our protagonist's own take on the murder in The Blood Song , the novella that Allen wrote for Professor Steeves's class which the University found "smutty" and nearly got him expelled.
Allen was a life-long avid journal-keeper — I wonder sometimes what his Tumblr might've looked like — and his prose had always impressed us with its searching honesty.
Eeriely, Allen's novelistic telling of the events of that night matched our own dramatized version that we'd scripted before we ever read the novella.
That's when we knew we were on the right track. Given the dozens of biographies about the Beat writers, we established one rule for the actors: if they wanted to do research, they couldn't read past the murder in We didn't want these characters to seem like great writers they came to be; we wanted them to be young — awkward, arrogant, unsure, ambitious, with their futures up for grabs.
Following is a gathering of the biographies that we read and shared for background and inspiration. Three biographies stand out — the insider account I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg by Bill Morgan, Viking, , the populist and wonderfully written Ginsberg: A Biography by Barry Miles, Harper Perennial, , and Michael Schumacher's exhaustive Dharma Lion: A Biography of Allen Ginsberg St.
Allen's own journals like The Book of Martyrdom and Artifice , Da Capo. My best friend Max Ross gave me Allen's journals from the s when I was in high school, long before I knew about the murder.
I had to look up peyote. It's hard to imagine either Bill or Jack having had a childhood — their adulthood and reputations so completely overshadow their youth.
But Literary Outlaw: The Life and Times Of William S. Burroughs by Ted Morgan, Avon, , with its well-researched stories of Bill's private-school childhood in New Mexico and beyond, helped bring that aspect to life.
Kerouac's lesser-known Vanity of Dulouz Kerouac, Penguin, is a roman a clef about his youth and time in New York and included evocative and likely fictionalized elements about the murder.
But it was one of the first longer explorations of the crime in the published Beat canon. Kerouac may take the title as the most-biographized author in America, and if you're looking for details about his sex life, Subterranean Kerouac: The Hidden Life of Jack Kerouac by Ellis Annburn, Macmillan, has them.
The more broadly focused Desolate Angel: Jack Kerouac, the Beat Generation, and America by Dennis McNally, De Capo Press, is worth a look for a sense of the impact of the Beat writers.
The Rolling Stone Book of the Beats includes many voices on the Beat culture and their literary legends, including the testimony of Lucien Carr's former lovers — an exceptionally insightful look at a man who, surprisingly, never wrote about himself.
Not surprisingly, many of the executors of the Beat estates, editors, friends and archivists speak powerfully about the history. In this article , James Grauerholz, Burrough's editor and friend — who knew Carr personally — addresses the publication of And the Hippos and the murder itself.
Courtesy of Peter Hale manager of the Allen Ginsberg Estate.