Нужно описание фильма на англ. языке "Knockin' On Heaven's Door", актерский состав, премии,режисер и т.д.

Rudy and Martin have little in common except for being fatally ill: Rudy is uptight, Martin rebellious. But when they meet in hospital and Rudy admits that he has never seen the sea, Martin persuades him to take a trip with him. They steal a car and head for the coast. However, the car belongs to some gangsters and when they try to retrieve it, complications ensue.

review: Knockin' On Heaven's Door plays much more like one of the episodes of the series than it does an independant movie. To some, that little fact was a great disapointment; indeed, I would have to put myself in that category. However, I do not wish to underplay the beauty of this 'episode' - like all the Cowboy Bebop sessions, it has a lot of layers, it's beautiful, and it offers another piece to the puzzle of the characters we so love. What's more, this particular session has the most beautiful animation of the series (as you'd expect from a theatrical release), some of the more eclectic songs, and special insights into Spike himself. From the very begining, Vincent is set up as a double of Spike. Suggesting that with just slightly different pressures, Spike might have been what Vincent is: unscrupulous, remorseless, regardless of human life, and willing to do anything to wake from the dream. Even though Spike sometimes even acts as though he is these things, one only needs to look at his actions to belie the act. Spike claims to be indifferent to any bystanders yet during the intense train scene, he uses his own body to sheild a hapless passenger.

One of the more interesting possible insights into Spike's character presented is the possibility of a relationship between Spike and Faye. Veiwing Vincent as "there but the grace of God goes Spike", how does his relationship with Faye play out? It's clear enough that Vincent is sexually attracted to Faye, and it may even be inferred that Faye feels a magnatism to him as well. I have to admit myself to finding Vincent insanely sexy... heck, I don't think I could come up with a better descriptor. I think it was Agent Orange who coined the phrase "charmingly suicidal" in reference to Spike. Well, if a person could be "charmingly insane", Vincent is that person. However that may be, Spike without a memory of Julia and his past life is as a consequence a completely different person from the Spike we know. Indeed, seeing Vincent brings you to the realization of how Spike could have ever been friends with someone like Vicious in the first place. Whatever else she might feel, Faye is repulsed by Vincent's offer to go with him on his path to armageddon; and on Vincent's side, there are indicators that he would have raped her if not interupted. I don't mean to say that there wasn't some sympathy between the two characters, as strange as such sympathy might seem in such a violent situation. Why, for example, does Vincent choose to save Faye's life? Is it just because she's convienent for him to use sexually if he wants, or is there something more? Faye, at least, seems to sympathise with his plight (maybe even recognizing elements of Spike in Vincent's tale).

Spike's climactic fight scene with Vincent is another interesting point in the journey. If you recall the final showdown with Vicious, it was a joyless experience: a walk of the dead. But the fight with Vincent is quite different. Spike seems happy, even elated turing this showdown. Vincent is not Spike's shadow, as Vicious is, but his mirror. To Spike and Electra, Vincent's end must have seemed like a happy one. A man redeemed. Perhaps it was the end the Spike wished for himself: being awaken from the dream by his only love.

Artwise, KoHD is a feast for the eyes. There's hardly a scene that isn't just dripping with beautiful visuals, set flawlessly to Yoko Kanno's brilliant score. Spike's dogfight with the army, the train scene, and the final showdown are particularly scrumptious.

Сходи на imdb! Там все найдешь. По этому фильму: http://www.imdb.com/title/tt0119472/
Описание там, конечно, краткое, но зато масса зрительских рецензий. По режиссеру и актерам основная информация предоставлена.

Knockin' on Heaven's Door is a 1997 German criminal comedy,[1] by Thomas Jahn, starring Til Schweiger, Moritz Bleibtreu and Rutger Hauer. Its name derives from the Bob Dylan song which is also on the film's soundtrack
Cast(в ролях)
Til Schweiger ...Martin Brest
Jan Josef Liefers ...Rudi Wurlitzer
Thierry Van Werveke... Henk - The Belgian
Moritz Bleibtreu ...Abdul - The Turk
Huub Stapel ...Frankie 'Boy' Beluga
Leonard Lansink ...Kommissar Schneider
Ralph Herforth ...Assistant Keller
Directed byThomas Jahn
Produced byTil Schweiger, Thomas Zickler, André Hennicke
Written byThomas Jahn, Til Schweiger
StarringTil Schweiger
Jan Josef Liefers
Moritz Bleibtreu
Thierry Van Werveke
Huub Stapel
Rutger Hauer
Hannes Jaenicke
Ralph Herforth
Music bySelig
CinematographyGero Steffen
Editing byAlexander Berner
Distributed byBuena Vista International, Mr. Brown Entertainment
Release date(s)Germany February 20, 1997
Running time86 minutes
CountryGermany
LanguageGerman, English
Budget3,500,000 DM

Story
Two patients (Martin Brest and Rudi Wurlitzer) meet in a hospital, both just after learning about their untreatable disease. They start talking about their death that is to come very soon. When they find a bottle of Tequila, Martin finds out that Rudy has never seen the ocean. Martin tells Rudy that all they talk about in Heaven is how beautiful the ocean is.

Drunk and still in their pajamas, they steal an old Mercedes convertible of baby blue color and go for their last mission, to see the ocean. The car belongs to a crime boss. They rob several small shops, only to find that there is a million cash in the trunk of their car.

As they progress closer to their goal police along with gangsters start the hot pursuit. Eventually, the two friends find themselves trapped in the middle of the country side road by police unit on one side and gangsters on the other side pointing their guns at each other. The standoff finally erupts into a big shoot-out while the two make a desperate escape though the corn field. After that, Martin buys a pink Cadillac of the same model as the one which Elvis Presley presented to his mother. His wish is to make the same present to his own mother. As he fulfills the wish, they get ambushed by police near the Martin’s mother house. Martin imitates a fit of disease and falls on the ground. He is taken to the hospital in an ambulance car with Rudi sitting by his side. En route, Martin and Rudi hijack the vehicle to continue their quest. On the way to the ocean they stop by a brothel, where Rudi wants to fulfill his wish to have sex with two women at the same time. By coincidence, the brothel is owned by the boss whose money they had found in the car they have stolen at the beginning of the journey. They are being seen by the two gangsters who were after them throughout their journey. The gangsters take Rudi and Martin to their boss who asks them for money they should return. Martin says that the money was spent and sent to various people which drives the criminal boss insane. Enraged the boss points a gun at them ready to shoot, but Curtiz, the most influential criminal to whom the money was meant to be delivered, comes in. After a short talk he says “Then you better run, before you run out of time”. The cappo goes on talking about that in heaven everybody would be talking about the ocean. Curtiz spares their lives and lets them go.

The film ends as Martin and Rudi arrive at the ocean’s shore. They walk to the sandy beach and Martin falls dead on the ground. Rudi imperturbably sits down beside his friend, facing the ocean and watching the surf.
Cornelia Froboess ...Frau Brest - Martins Mother
Rutger Hauer ...Curtiz
Christiane Paul ...Shop assistant in a Boutique