the visit bergman

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Challengers Link to Challengers
• Abigail Link to Abigail
• Arcadian Link to Arcadian

New TV Tonight

• The Jinx: Season 2
• Knuckles: Season 1
• The Big Door Prize: Season 2
• Them: Season 2
• Velma: Season 2
• Secrets of the Octopus: Season 1
• Dead Boy Detectives: Season 1
• Thank You, Goodnight: The Bon Jovi Story: Season 1
• We're Here: Season 4

Most Popular TV on RT

• Baby Reindeer: Season 1
• Fallout: Season 1
• Shōgun: Season 1
• Ripley: Season 1
• The Sympathizer: Season 1
• 3 Body Problem: Season 1
• Under the Bridge: Season 1
• Sugar: Season 1
• Palm Royale: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Baby Reindeer Link to Baby Reindeer
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

DC Animated Movies In Order: How to Watch 54 Original and Universe Films

The Best TV Seasons Certified Fresh at 100%

What to Watch: In Theaters and On Streaming

Awards Tour

‘Seen on Screen’ Podcast: A Celebration of Universal Stories 

Watch An Exclusive Pixar Studio Tour, Plus Inside Out 2 Secrets From The Set

• Trending on RT
• Challengers
• Play Movie Trivia

Where to Watch

Rent The Visit on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video, Apple TV.

Audience Reviews

Cast & crew.

Bernhard Wicki

Ingrid Bergman

Karla Zachanassian

Anthony Quinn

Serge Miller

Irina Demick

More Like This

• Rent or buy
• Categories Categories
• Getting Started

Customers also watched

Cast and Crew

Other formats

166 global ratings

How are ratings calculated? Toggle Expand Toggle Expand

• Amazon Newsletter
• About Amazon
• Accessibility
• Sustainability
• Press Center
• Investor Relations
• Amazon Devices
• Amazon Science
• Sell on Amazon
• Sell apps on Amazon
• Supply to Amazon
• Protect & Build Your Brand
• Become an Affiliate
• Become a Delivery Driver
• Start a Package Delivery Business
• Advertise Your Products
• Self-Publish with Us
• Become an Amazon Hub Partner
• › See More Ways to Make Money
• Amazon Visa
• Amazon Store Card
• Amazon Secured Card
• Amazon Business Card
• Shop with Points
• Credit Card Marketplace
• Reload Your Balance
• Amazon Currency Converter
• Your Account
• Your Orders
• Shipping Rates & Policies
• Amazon Prime
• Returns & Replacements
• Manage Your Content and Devices
• Recalls and Product Safety Alerts
• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices

When you purchase through Movies Anywhere , we bring your favorite movies from your connected digital retailers together into one synced collection.   Join Now

The Visit | Full Movie | Movies Anywhere

• See Retailers

Additional Info

• Genre : Drama
• Release Date : May 13, 1964
• Languages : English
• Captions : English
• Audio Format : Stereo

You Might Also Like...

New Releases

Beautiful, interesting, incredible cinema.

Karla Zachanassian (Bergman), a fabulously wealthy woman returns to the decaying village which she had been forced to leave years earlier in disgrace.

The Visit (1964)

• User Reviews

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews

• User Ratings
• External Reviews
• Metacritic Reviews
• Full Cast and Crew
• Release Dates
• Official Sites
• Company Credits
• Filming & Production
• Technical Specs
• Plot Summary
• Plot Keywords
• Parents Guide

Did You Know?

• Crazy Credits
• Alternate Versions
• Connections
• Soundtracks

Photo & Video

• Photo Gallery
• Trailers and Videos

Related Items

• External Sites

Related lists from IMDb users

Recently Viewed

Cast & Crew

Ingrid Bergman

Karla Zachanassian

Anthony Quinn

Serge Miller

Irina Demick

Bernhard Wicki

Darryl F Zanuck

Information

© 1964 PECF S.A.R.L. & Deutsche Fox Film G.M.B.H., Les Films du Siecle S.A.R.L., Cinecitta S.P.A. & Dear Film S.P.A. Renewed 1992 PECF S.A.R.L. & Deutsche Fox Film G.M.B.H., Les Films du Siecle S.A.R.L., Cinecitta S.P.A. & Dear Film S.P.A. and Twentieth Century Fox Film Corporation.

Accessibility

Copyright © 2024 Apple Inc. All rights reserved.

Internet Service Terms Apple TV & Privacy Cookie Policy Support

Film Details

Brief synopsis, cast & crew, bernhard wicki, ingrid bergman, anthony quinn, paolo stoppa, romolo valli, claude dauphin, technical specs.

Karla Zachanassian, reportedly the world's richest woman, returns to her birthplace, the small European town of Guellen. The people of the economically depressed town prepare for her visit, hoping that she will give them financial aid. She arrives in her Rolls-Royce, accompanied by bodyguards and a pet leopard. During a banquet in her honor, Karla shocks the townspeople by offering them $2 million to kill Serge Miller, the owner of the general store, who was once her lover. She explains that when she was about to bear his child, Miller bribed other men to testify that she was a whore, and she was run out of town. The child died, and Karla became a prostitute before marrying her wealthy husband. The townspeople are shocked by what they hear, but they refuse her offer. Later, trucks begin bringing valuable merchandise into Guellen, and soon the affluent townspeople come to regard Karla with more sympathy. When Karla's leopard escapes, the townspeople arm themselves for the hunt, but they are really hunting for Miller, who hides until the animal is killed. He begs Karla to put an end to her vengeful scheme, but she refuses. Miller tries to leave town, but the citizens prevent him. The town councilmen ask Karla to stop her persecution of Miller and invest in Guellen, but she informs them that she already owns all the town property. Finally, Miller is forced to stand trial, and he is sentenced to death. Karla announces that Miller will be freed if one man thinks his sentence is unjust, but no one speaks out. Then Karla instructs the court to free Miller, saying that her revenge will be Miller's living among the people who have killed him for money. Announcing that the visit is over, Karla leaves Guellen, taking with her Anya, a young woman whose life Karla fears may be damaged like her own.

Jacques Dufilho

Hans-christian blech, richard münch, ernst schröder, leonard steckel.

Valentina Cortese

Irina demick.

Eduardo Ciannelli

Marco guglielmi, lelio luttazzi, dante maggio, renzo palmer, fausto tozzi, richard arnell, léon barsacq, ben barzman, samuel e. beetley, robert christides, claudio cirillo, attilio d'onofrio, julien derode, françoise diot, christian ferry, giorgio di roma, rené hubert, wieland liebske, hans-martin majewski, jacques maumont, armando nannuzzi, john o'gorman, ottavio oppo, umberto picistrelli, award nominations, best costume design.

Location scenes filmed in Italy. Opened in Paris in July 1964 as La rancune at 120 min; in West Germany in September 1964 as Der Besuch at 100 min; and in Italy in 1964 as La vendetta della signora .

Miscellaneous Notes

Released in United States 1964

Sign Up now to stay up to date with all of the latest news from TCM.

Your Browser is Not Supported

To view this content, please use one of the following compatible browsers:

Safari v11+

Firefox Quantum

Microsoft Edge

Letterboxd — Your life in film

Forgotten username or password ?

• Start a new list…
• Add all films to a list…
• Add all films to watchlist

Add to your films…

Press Tab to complete, Enter to create

A moderator has locked this field.

Add to lists

Where to watch

1964 Directed by Bernhard Wicki

Carla Zachanassian had a child by Serge Miller as a teenager. When Serge refused to marry her, she was driven out of town. By her own wit and cunning, she has returned as a multi-millionaire for a visit. The town lays out the red carpet expecting big things from Carla, only to learn that her sole purpose is to see Serge Miller killed...

Ingrid Bergman Anthony Quinn Irina Demick Paolo Stoppa Hans Christian Blech Romolo Valli Claude Dauphin Jacques Dufilho Richard Münch Ernst Schröder Leonard Steckel Valentina Cortese Eduardo Ciannelli Marco Guglielmi Giorgio Sciommer Roberto Bruno Dante Maggio Marcella Rovena Fausto Tozzi Gustavo De Nardo Vera Drudi Aristide Catoni

Director Director

Bernhard Wicki

Producers Producers

Ingrid Bergman Anthony Quinn Darryl F. Zanuck Julien Derode

Writers Writers

Friedrich Dürrenmatt Ben Barzman Maurice Valency

Original Writer Original Writer

Friedrich Dürrenmatt

Casting Casting

Paolo Rolli

Editors Editors

Samuel E. Beetley Françoise Diot

Cinematography Cinematography

Armando Nannuzzi

Camera Operator Camera Operator

Claudio Cirillo

Art Direction Art Direction

Léon Barsacq

Composers Composers

Hans-Martin Majewski Richard Arnell

Costume Design Costume Design

René Hubert Nina Ricci

Hairstyling Hairstyling

Giorgio Sciommer

Productions et Éditions Cinématographique Français Cinecittà Studios Les Films du Siècle Dear Film Deutsche Fox AG (Defa) 20th Century Fox

France Germany Italy USA

Primary Language

Spoken languages.

English Italian French

Releases by Date

06 may 1964, 17 sep 1964, 04 oct 1964, releases by country.

• Theatrical 16
• Theatrical PG

100 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Zegan ★★★★½ 1

Yeah, Ingrid Bergman is truly a real queen of all queens

Review by **Cherry™** ★★★★½ 2

INGRID BERGMAN IS SUCH A BAD BITCH!!!!!!!!!

Review by Zoë 🐝 ★★★★½

An incredible psychological melodrama, walking the line between the unspoken but present lust of 50s melodrama with the outwardly sexual melodrama of the 60s, able to speak the unspeakable and even portray a scene of a charged tryst, but the real eroticism, sensuality and effectiveness comes from the emotions, specifically Ingrid Bergman's powerful performance as a woman consumed by conflicting extremes of hate and love and with the monetary power and capital to inflict her own pain on others in the most shocking way, singlehandedly ruining a town's economy, stability and trust for her own "satisfaction", though her revenge makes her no happier than before.

With the main story being a tragicomic melodrama, there is also some significant social commentary…

Review by Ana 🥀 ★★★½

if ingrid bergman came to my hometown and wanted me dead, i would just let her kill me

Review by 12drue 🎞️ ★★★★

Nachdem ich in den letzten Wochen sowohl von der 2008er- als auch von der 1959er -Version von Der Besuch der alten Dame enttäuscht wurde, habe ich nun doch noch eine entdeckt, die dem Drama Dürrenmatts gerecht wird und trotzdem einen echten Kino-Film und kein abgefilmtes Theater bietet.

Auch hier wird einiges verändert: Die komödiantischen Anteile wurden weitgehend entfernt. Diesmal entsteht dadurch aber kein biederes Fernsehspiel wie 2008, sondern ein realistisches böses Drama über Schuld, Gerechtigkeit, aber auch Faschismus. Die gesamte Handlung wird aus der reichen Schweiz nach Osteuropa verlegt. Die Haupfiguren, gespielt von Anthony Quinn und der fantastischen Ingrid Bergmann, wurden deutlich verjüngt. Claire ist nicht mehr 63, sondern 37 (Bergmann selbst war witzigerweise während des Drehs allerdings schon 48) und…

Review by • mariana • ★★★★★

it was in this same music-loving community that they ran a pregnant seventeen year old girl out of town and branded her as a whore.

this one became one of my favorite old hollywood films since my first watch. i'm convinced if ingrid didn't have any lines she would be just as incredible with only her face. some of the most powerful moments of this consist of her staring at people.

Review by JJ Arias ★★★★ 1

Ingrid was a god damn QUEEN

Review by Melina ★★★★

Review by ✰ natty ✰

karla: i support men's rights. men's rights to shut the fuck up!!!!!

Review by potlover ★★★★

THE VISIT IS OVER BITCHES

Review by támmy💫 ★★★★

truly a powerhouse acting by Ingrid Bergman!! this belongs in the top 2 of her best performances (only beat by Autumn Sonata because well, it’s Autumn Sonata)

Review by Luke Thorne ★★★★ 3

Bernhard Wicki’s adaptation of the play, in which a woman returns to a town for a visit, and wants her former lover dead. Starring Ingrid Bergman, Anthony Quinn and Irina Demick.

This movie is not to be confused with the 2015 title of the same name, a horror directed by M. Nighy Shyamalan.

This version of The Visit is adapted from the play The Visit of the Old Lady by Fredrich Dürrenmatt, which was written eight years earlier – and the final product is a very decent one.

The story concerns the gorgeous and rich Karla Zachanassian (Ingrid Bergman) who has a romance with local guy Serge Miller (Anthony Quinn). However, after she becomes pregnant and he contradicts being the…

Similar Films

Select your preferred poster

• Share full article

Advertisement

Supported by

Bergman and Quinn in Durrenmatt Drama

FRIEDRICH DURRENMATT's “The Visit,” which swept Broadway like a searching wind six years ago, has changed direction and lost a good deal of force in its journey to the screens of the Rivoli, the Murray Hill and other theaters.

The Swiss playwright's cutting cynicism and Machiavellian logic have not lost their sharpness in this dissection of justice and man's inhumanity to man. But in softening a grim, yet rational denouement and in a largely pedestrian approach to shattering drama, “The Visit” has veered from harsh but memorable reality to careful theatricality that does not become a matter of life and death.

Mr. Diirrenmatt's theme cleaved to the disturbing idea that men and justice can be bought. This adaptation does not deviate too much from the play's basic theme. It is still the story of a fabulously wealthy woman's return to Guellen, her home town and an obviously depressed, faintly Slavic area, whose citizens see in her a savior who will generously solve their financial problems. True to their expectations, she proposes to give them the millions needed —provided they legally execute for murder the storekeeper who 20 years earlier seduced her, denied the paternity of their child (who later died) and drove her away from home and everyone she loved.

This thesis, of course, is not simple. Guellen's citizens are men of goodwill. They reject this loathsome proposal, but our designing, stately heroine is patient. She knows that goodwill is no match for poverty and greed. The people change gradually, as tempting forces are brought into play, and one by one they turn against the increasingly frightened storekeeper, who eventually is tried and convicted by his erstwhile friends.

The original climax has ben switched, however. Still the unremitting schemer, the vengeful woman now says her former lover may go free. She wants to avoid the possibility that the townspeople might think him a martyr and she hopes that conscience will plague both him and the people who convicted him.

“One cannot end a film with death as easily as one can a play,” Bernhard Wicki, the director has said. But this punishment, sadly enough, does not seem, to fit the woman's dedicated methods. Judging by her personality, she appears to be still singleminded enough to demand his life after having nursed her hate and her diabolical plan for so long.

Although the Roman set where the film was made appears occasionally unreal, the brooding fascination of the plot keeps a viewer interested. A fair amount of tension is maintained but one is often reminded that these are players, not actual people caught up in the most tragic of circumstances. Of course, there are scenes that stick in memory because of their fresheness and power, such as a stealthy and symbolical hunt for an escaped panther and the ar-

THE VISIT; screenplay by Ben Barzman, based on the play by Friedrich Durrenmatt; directed by Bernhard Wicki, produced by Julien Derode and presented by 20th Century‐Fox. At the Rivoli, 49th Street and Broadway; the Murray Hill, 34th Street, east of Third Avenue, and other theaters. Running time: 100 minutes.

rival of a motorcade filled with tempting, practically free goodies for the people as a device to influence them. But despite Mr. Wicki's serious and sometimes deft direction, “The Visit” is a largely somber and stolid affair.

The story hinges on its two principals as well as on the playwright's ideas, but the leading players are not as powerful or convincing as might be expected. As the woman of everlasting hate who still loves the man who disgraced and rejected her, Ingrid Bergman is as comely, stately and regal as becomes one of Europe's wealthiest women. However, the logic of her plan notwithstanding, she is more often a strident woman, emotionally rather than, intellectually involved with someone who does not seem worth all this trouble at this time. As the man willing to admit that his callous treatment of her was selfish, Anthony Quinn is unfortunately more placid than tortured.

Irina Demick, as a maid whom Miss Bergman saves from a fate similar to hers; Valentina Cortese, as Mr. Quinn's frightened but docile wife; Ernest Schroeder, as the bland, calculating Mayor; Claude Dauphin, as Miss Bergman's subservient lawyer, and Paolo Stoppa, HansChristian Blech, Richard Munch and Leonard Steckel, as prominent townspeople who turn against Mr. Quinn, are simply serious people speaking serious lines.

This is’ the heart of the matter. “The Visit” is still a serious affair, but in adapting Mr. Diirrenmatt's deathly logic and in sometimes dispassionate portrayals it has been deprived of some of its original impact.

• Movies & TV Shows
• Most Popular
• Leaving Soon
• Documentary
• Browse Channels

Featured Channels

• Always Funny
• History & Science
• Sci-Fi & Action
• Chills & Thrills
• Nature & Travel
• Black Entertainment
• Kids & Family
• International
• Gaming & Anime

Watch on these services

Take Plex everywhere

site categories

Mtv’s video music awards sets 2024 date, breaking news.

Shot Through The Heart: Jon Bon Jovi Opens Up About Hulu Docuseries ‘Thank You, Goodnight’

Forty years after putting down the Power Station broom and picking up the microphone, Jon Bon Jovi is in an introspective mood.

The man who co-wrote iconic songs including “Livin’ on a Prayer” and “Keep the Faith” is preparing for the release of Hulu ’s four-part docuseries Thank You, Goodnight, directed by Gotham Chopra.

Related Stories

Jon Bon Jovi Hulu Docuseries ‘Thank You, Goodnight’ Unveils Official Trailer Which Chronicles Band’s 40-Year History – Update

2024 Premiere Dates For New & Returning Series On Broadcast, Cable & Streaming

Thank You, Goodnight , which premieres April 26, highlights the highs and lows of being in a band, the drugs and the difficulties of remaining successful and wanting to evolve but not wanting to alienate its audience, in addition to its leader’s health issues. It’s not a “VH1 puff piece,” according to Bon Jovi.

Was it tough to open up? Jon Bon Jovi, sitting in a hotel room in Los Angeles, told Deadline that it wasn’t.

“One thing I do know about a 40-year career is, if you don’t tell the truth, the lies will catch up to you,” he said. “You won’t remember who you bullshitted. It’s always best to just tell the honest-to-God truth. Then you can remember what you said. I don’t mind living that truth. Part of our continuing success is that I’m not trying to be something I used to be. This isn’t the ‘80s — I’m not here on a nostalgia tour. We have a new record coming that I’m very excited about, I’m not dying my hair, I’m not a fat Elvis, any of that horseshit.”

The series is chronological. Each episode — “New Jersey vs Everybody,” “Nowhere to Everywhere,” “Brothers in Arms” and “Legendary” – ostensibly tackles a decade in the band’s career. It kicks off with their formation in Sayreville, N.J., in 1983 after Jon spent years playing in Asbury Park with the Atlantic City Expressway, John Bongiovi and the Wild Ones and The Rest, including a memorable appearance by his hero Bruce Springsteen at The Fast Lane in 1980. “Fortunately, there was a still picture,” he said.

It’s Sambora’s appearance in the documentary that makes it sizzle. “I’m excited — are we telling the truth or we gonna lie?,” Sambora asks when he’s first introduced.

Sambora left the band in 2013. The third episode deals with his departure; addiction and family issues were involved (as well as mounting frustration over recording, in particular, a guitar part on What About Now ’s “The Fighter”).

In the series, Jon Bon Jovi is asked whether he and Richie have discussed it since (they both appeared at the band’s entry into the Rock & Roll Hall of Fame in 2018). “No, not for lack of f*cking trying,” the singer says.

Jon says that he and Sambora are “fine” now.

“He came to see me in August, and we spent the night. Great, but, you know, 10 years ago, he decided to quit the band,” he said. “Everything was just fine, but we had a show that night. I’m going to try to say this the best way I possibly can: I was learning how to write songs and making songs. This is a band that I put together, that he was the last member to join. Then he really took an integral part by the third album, for sure. Then he left us 10 years ago. There was a before, so there’s going to be an after. I shouldn’t be questioned as to how I got a record deal and why I still have the record deal and why the band continues. With all due respect, and I mean this lovingly, when he left the band, we were heartbroken, but there was not a question of our continuing.”

Jon added that the “door is always open” for Sambora’s return. “Phil X has done an incredible job. John Shanks, my co-producer and buddy, he’s done nine of my albums,” he said. “We’d look like Lynyrd Skynyrd, but f*ck yeah, come on up. There’s always another guitar to plug in.”

Thank You, Goodnight started at a breakfast between Jon Bon Jovi and director Chopra, son of Deepak Chopra. The younger Chopra founded Religion of Sports with Tom Brady and Michael Strahan in 2016. He has directed series including Facebook Watch’s Tom vs. Time and ESPN+’s The Man in the Arena: Tom Brady . Jon Bon Jovi is a big Patriots fan.

“The breakfast we had was about the 40 years,” Chopra told Deadline. “Maybe we’d do four parts and break it up by decades. That was exciting and interesting. But then it was, ‘Tell me more about this tour that’s coming up’ — this was way before the surgery, and that just had real-time stakes. That was Year 39, at that point it wasn’t entirely clear if [they were] going to reach Year 40 from a performance standpoint. To [Jon’s] credit, not just his willingness to talk about it but to let it be documented.”

The band’s career was heavily documented since it began. The first two episodes features clips of its stadium slots with bands such as Scorpions and KISS following the success of its first album, the relatively poor performance of follow-up 7800° Fahrenheit , working with Desmond Child and Bruce Fairbairn on 1986’s Slippery When Wet , which became a giant hit, as did their next record New Jersey in 1988. There’s footage of the band’s journey to the Soviet Union – thanks to their manager Doc McGhee’s drug arrest – for the Moscow Music Peace Festival as well as their somewhat strange tour ender in Guadalajara.

Jon Bon Jovi clearly also is a hoarder, as viewers see him go through tapes of demos and lost tracks.

“I have a big space for this stuff,” he said. “Knowing that the 40th was on the horizon, because it’s about Year 38 at this point, I started thinking about it. There was bags and bags with 30 or 40 unreleased songs. There’s a couple of ’80s- and ’90s-era hits that I was like, ‘Why didn’t I put these on records?”

He added that he now is going through this archive to create a “virtual museum” of audio and video.

This comes as the band is gearing up to release Legendary , its 16th studio album, in June. But that record was made in the shadow of vocal fold medialization surgery after it became clear that Jon’s voice was not what it used to be.

He calls the vocal-cord issues “horrible.”

“Could you imagine that one cord is literally atrophy? It’s dying. The strong one is pushing the weak one, and you’re singing out of tune. I pride myself on being a singer. I’ve sung with Pavarotti. I know how to sing. Now, it’s like that athlete where you’ve got to figure it out again. I’m well into the process. But that was daunting.”

Jon Bon Jovi added that he feels the surgery was a success but that he’s “still participating in the process on a daily basis.”

“I think we did a pretty good job of covering the 40 [years],” he said. “If anything, I wish that there was an Episode 5 now, because so much has happened since we’ve wrapped.”

The majority of Bon Jovi’s peers never really made it past the ‘80s. Grunge killed off the majority of hair metal bands, and times changed. But the band kept going, and instead of relying on its previous hits, chalked up new No. 1s with such songs as 2000’s “It’s My Life” (from Crush ) as well as “Who Says You Can’t Go Home” (from 2005’s Have a Nice Day ).

The message seems clear: Work your ass off.

“There’s some kid in his bedroom right now that’s gunning for you,” he said. “It’s not dissimilar to being an athlete or a quarterback. There’s always somebody that’s coming up behind you. The work ethic was born out of who and what we were as children, who our parents brought us up to be. But then as you grow up, you’re proud of the work you do. You better have been good enough to ask Mr. and Mrs. Smith for their hard-earned dollar. I’m not going out on the road unless we’re great. You’ll never see the fat Elvis.”

Chopra compares him to Brady and Kobe Bryant, who he worked with on Showtime’s Kobe Bryant’s Muse .

“He’s similar just in terms of process, the work ethic, the obsession with details but constantly experimenting and especially with the healing, trying new things and very progressive in terms of all this stuff,” he said. “There’s also the resilience. He reminds me a lot of Kobe’s combativeness. Tom’s kind of a pushover, Jon is not, but that’s great. It creates tension, and that’s a good thing. You also adapt the filmmaking style around the subject.”

In the closing episode, Jon Bon Jovi says that he’s been “incredibly blessed” over the past 40 years, so “if it’s time to turn left, not bad.”

But did he ever worry about making a documentary about the band’s legacy while it was still going?

“Hence the title — Thank You, Goodnight , because no one knows the ending.”

Must Read Stories

Actors access is latest target in class-action suit over its pay-to-play service.

Amy Adams To Star In Drama ‘At The Sea’ From ‘Pieces Of A Woman’ Filmmakers

Ryan gosling-hosted episode draws show’s biggest audience in years, saturday’s contenders lineup: gypsy rose blanchard, ‘quiet on set’ team, more.

Subscribe to Deadline Breaking News Alerts and keep your inbox happy.

Read More About:

No comments.

Deadline is a part of Penske Media Corporation. © 2024 Deadline Hollywood, LLC. All Rights Reserved.