The Call - Leg nicht auf! ()1 Habe den Film ohne großen Erwartungen geguckt und hat mich angenehm Und letztere ist auch die große Stärke des Films. The Call (Originaltitel: 着信アリ, Chakushin ari – deutscher Festivaltitel: One Missed Call) ist ein japanischer Horrorfilm von Regisseur Takashi Miike aus dem​. Auf der Kinoleinwand war sie zuletzt im Horrordrama "Maggie" zu bewundern, wobei ihr Partner und Filmvater kein Geringerer als Arnold Schwarzenegger war.

The Call Film Darsteller

Eine Telefonistin des Rettungsdienstes erhält einen Anruf, der sie an einen Fall aus ihrer Vergangenheit erinnert, bei dem die Anruferin jedoch nicht überlebte. Das Erlebnis löste bei der Frau ein schweres Trauma aus. Als sie diesmal von einem. Der Film erhielt gemischte Kritiken. Inhaltsverzeichnis. 1 Handlung; 2 Besetzung und Synchronisation. The Call (Originaltitel: 着信アリ, Chakushin ari – deutscher Festivaltitel: One Missed Call) ist ein japanischer Horrorfilm von Regisseur Takashi Miike aus dem​. Auf der Kinoleinwand war sie zuletzt im Horrordrama "Maggie" zu bewundern, wobei ihr Partner und Filmvater kein Geringerer als Arnold Schwarzenegger war. 20 Userkritiken zum Film The Call - Leg nicht auf! von Brad Anderson mit Halle Berry, Abigail Breslin, Morris Chestnut - erasmusmundusec9.eu The Call - Leg nicht auf! ein Film von Brad Anderson mit Halle Berry, Abigail Breslin. Inhaltsangabe: Jordan Turner (Halle Berry) arbeitet in der Notruf-Zentrale​. The Call - Leg nicht auf! ()1 Habe den Film ohne großen Erwartungen geguckt und hat mich angenehm Und letztere ist auch die große Stärke des Films.

Der Film erhielt gemischte Kritiken. Inhaltsverzeichnis. 1 Handlung; 2 Besetzung und Synchronisation. Auch wenn mir diese Pseudo Vorzeigemutter Paranoia von Halle Berry mir ziemlich auf den Nerv geht (die letzten Filme waren schon unerträglich), ist dieser Film. Eine Telefonistin des Rettungsdienstes erhält einen Anruf, der sie an einen Fall aus ihrer Vergangenheit erinnert, bei dem die Anruferin jedoch nicht überlebte. Das Erlebnis löste bei der Frau ein schweres Trauma aus. Als sie diesmal von einem.

The story was originally conceptualized as a television series titled The Hive a reference to the constant calls and conversations sounding like bees buzzing , but D'Ovidio decided to redraft it as a film on realizing that "the operators couldn't be the ones kicking in doors and going out into the field" all the time.

As a result, what was planned to be the pilot episode was expanded and revised as a movie. For most of the film, Berry's character, Turner, the operator, does stay inside "the hive" before becoming actively involved in the search for Breslin's character, Welson, the kidnapped caller.

D'Ovidio chose two female leads, explaining, "I wanted strong women I think it was appropriate here, since most call operators are women.

We don't often get to play roles like this, where ordinary people become heroic and do something extraordinary.

As a result, he switched perspectives every ten pages when writing the screenplay. As well as collaborating on the story with his wife, Nicole and Jon Bokenkamp, he accepted suggestions from Berry, Breslin and Eklund: "Halle came in with some great notes and Abigail and Michael and it started to flesh things out.

I'm not one to say 'no' to a great suggested line of dialogue. It just makes me look better as a writer! I feel it's a very collaborative process, and some of the happiest accidents happen when you just listen to people.

When someone comes up to you and says, 'Why don't we do it this way? Chestnut, who plays Phillips, a police officer and Turner's boyfriend, prepared by riding along with Los Angeles police officers to observe what it is like to be an officer in a squad car [5] and Berry prepared for the role by visiting a call center and observing the operators at work.

You can't know what it's like to be a cop even though you've seen it in the movies. But nobody ever saw a center. I thought they lived in the ground somewhere!

It was interesting to see who they were and how they deal and how stressful it can be. I was a wreck watching them.

They would just be as cool as can be doing their thing. I thought, 'I could never do this job. Producers scheduled for The Call to be filmed in Canada in June after they failed to make the cut for a California tax credit.

According to Producer Michael Helfant, they were "literally days from starting to put down a deposit. With a crew of roughly persons, filming took a total of 25 days, spanning from July to August Car chase scenes were shot at Long Beach and a Westlake Village office building was modeled as the emergency dispatch center.

The latter was also used for the scenes in which Welson is locked in the trunk of a car. A spokesperson for Berry confirmed that she suffered a minor head injury and was taken to the hospital as a precaution, but she checked out healthy and was released.

Berry told interviewer Kimberly Grant, "The hard part for me was to try to stay connected to Phillips and Welson.

In film terms, that means Berry performed for 21 minutes straight with no breaks, not an easy feat for any actor. I used that feeling of frustration and of being stuck to fuel my character.

The score of the film is composed by John Debney. Unlike the other films he composed with an orchestra, the film's score is completely filled with dark and intense electronic and synthesized elements.

Although, he used little orchestral elements in the score. Sony Pictures Worldwide Acquisitions paid very little money to acquire U.

Spanning 94 minutes upon completion, the movie received an R rating for violence, disturbing content and some language.

Critics were surprised by the movie's box office success because "Berry hadn't had a hit in a number of years" and because the R rating narrowed down the audience.

Despite mixed ratings, Berry and Breslin's performances were praised by critics and viewers alike. The site's critical consensus reads, " The Call builds plenty of suspense before taking a problematic turn in the third act.

Entertainment Weekly gave the film a B rating, saying that the tale "is surprisingly good and surprisingly gruesome fun. Eklund makes the most of the maniac role and Breslin is a sympathetic victim.

Chestnut is suitably gallant and stalwart as her caring lover and a cop on a mission This film is a whole lot scarier than you think it's going to be.

Anderson uses old-fashioned filmmaking techniques, like crosscutting, to build tension and old-school exploitation tricks like evil to justify taking the story dark and then dark and bonkers.

Roger Moore of The Seattle Times showed mixed feelings in his review: "Rare is the thriller that goes as completely and utterly wrong as The Call does at almost precisely the one-hour mark.

Which is a crying shame, because for an hour this is a riveting, by-the-book kidnapping. It buzzes along for a while, the promising plot innovations inviting suspension of disbelief, before by-the-numbers implausibility, over-the-top valor and unsavory contrivances take over and the line goes dead.

Berry was nominated for two awards for her role as Turner in The Call in She was nominated for Best Actress for the BET Awards , which were created by the Black Entertainment Television network to celebrate African Americans and other minorities in music, acting, sports and other fields of entertainment over the past year, Berry lost to Kerry Washington for the role in Django Unchained.

From Wikipedia, the free encyclopedia. The Call Theatrical release poster. Helfant Robert L. Stein Bradley Gallo.

Release date. Running time. British Board of Film Classification. June 7, Archived from the original on June 24, Retrieved June 12, Box Office Mojo.

Retrieved December 7, Dread Central. Retrieved March 17, The Huffington Post. Jordan Berry works in the L. They call it the hive, because with the constant din of conversations it sounds like bees at work.

South Florida Times. Fort Lauderdale. It's Halle Berry and Morris Chestnut". The Miami Herald. Miami: The McClatchy Company.

Retrieved August 17, Chicago Sun-Times. Chicago: Sun-Times Media Group. Entertainment Weekly. New York: Time Inc.

The New York Times. Retrieved March 18, March 28, Ocean Drive. Miami Beach, FL. For example, with The Call , I don't go up there thinking, "Oh, this is a horror film.

I go into it thinking about, he's a husband, he's a businessman, he cares about his wife, what do they do every day?

Where do they live? How does he make his living? I'm not thinking of the genres, that's for the press to put a label on. Actors take their roles in terms of, "What is the humanity of this person?

It doesn't become a genre until after the whole thing is shot. Now, obviously, the writers and the producer, the people who come up with the money, say, "Oh yeah, this is a horror film.

I think simply about how I feel about my wife, for example, and why I do what I do. That's what I'm thinking about, basic foundation. And then the camera sees everything and it will become what it will become, and because I'm talking to these kids about this call does not mean that I know what's going to happen later on.

Somebody does, who has read the script, and identifies it as a horror film. So I don't know if I've answered your question, but I'm trying to get the whole idea.

When people say to me, "How's it feel to be a horror icon? I mean, obviously, I know what it means. I know what it means, but I, as an artist, you don't think about that.

You think about each job, doing each thing to the absolute best of your ability, and bringing as much reality to what you do as you possibly can.

And the rest will take care of itself. You talk about your interests with your character in The Call , and I would say your screen time in the film is less than the younger characters in the film.

When you see a project like this, where you're playing almost like this Vincent Price figure, you're setting the stage for these other characters, and you have these scenes with Lin Shaye's character, but when you have that limited screen time, is it more exciting or more challenging to make the heavier impression upon not just your co-stars, but also the audience with that limited screen time?

Sometimes it has to do with what you say, sometimes it has to do with where you come into a film. I've learned a long time ago, it's not about how many lines you have, it's where you appear in the story and how much of a fulcrum you are to advancing the story and if you're part of the solution.

For example, if you come into a story and are part of the solution at a particular time, that is huge in terms of screen time.

And so it isn't always about the amount of screen time that you have, it's about the tension that's going on at that point, the release of tension that goes on at that point.

In my case, Patrick, I was drawn to this film because of that. I don't know how long that scene is. I haven't timed it, but the scene when I invite the kids into my house and they come and they sit down and I spell out to them what it is I want them to do and what their options are, that's a very long scene.

It was a huge challenge to make that scene interesting and not seem like just this long monologue of information. I wanted to do The Call because I wanted to keep my chops sharp as far as executing a scene like that.

This is his house. This is his room and he's in charge. He's the conductor. So that was a joyful opportunity to work out.

It's like, you put LeBron James on a court with a basketball and you know he's going to shoot every possible corner he could shoot from.

He's going to work on his shot from the free-throw line, he's going to work from the corner, he's going to work beyond the three-point line.

That's what an actor wants to do. He wants to sharpen his tools constantly and find ways of making a scene more real because the camera sees everything.

And if it's false, the camera will see it. So, for me, that scene was a wonderful challenge. And I still feel that way about it.

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HIGH CALLING -- PART 1 -- MOUNT ZION LATEST FILM -- written by Gloria Bamiloye