35mm, complete version. What makes me retract a little? The exhibitionism of Zsigmond's cinematography, full of astonishing effects or the character of Hurt doing Shakespeare in the middle of a space created for an epic feat. But it's certainly a rare film in its time, and much more at the present one, for its cinematic dimension bigger than art, for the complexity of mass movements, choreographed by a master camera.
Ce film est vraiment un chef d'oeuvre. Il est tellement ambitieux que c'est parfois dur à regarder. Le film a une ampleur et une mélancolie terrible: tout part en fumée et ce feu est absolument magnifique. Passer de paysages magnifiques, où les personnages sont sans cesse en épopée, à des situations politiques et intimes est difficile. J'ai beaucoup de mal avec la durée. Le personnage d'Ella est grandiose!
Heaven's Gate is a failure; let's be clear about that. But it is such a grand one that one can't be wowed by it, if one allows oneself to be. The story is thin and the characters thinner; but it's the film making, the film equalent of literarity; the cinematography, editing and pacing made me if not interested, it kept me with the film. It's too long, too convoluted and messy. But that's part of why it's great.
The movie's production, criticism, and relevance can be summed up in my watching this with my Dad, an armchair Western film savant: we finish the dual speeches between Cotten and Hurt, laying out the schizophrenic moralism and issues of integrity underlying the period's American Expansion and responsibility inherent in White Man's Burden, then he pauses the movie. "I did not understand a word of what they just said."
The film that became superfluous with over indulgence and almost brought down a studio, and auteur studio cinema, plays now as a misunderstood and neglected masterpiece. One can forgive the leaden acting and under scripting for the shear brilliance of the technical filmmaking. Zsigmond's cinematography is breathtaking as is the attention to detail in all things. Cimino's best.
I think it's about to get overrated since it used to be so underrated. The plot should be worked more with. Stunning cinematography. Favourite scene: When Huppert makes pie for Kristofferson. Somewhere between a 3 and 4, watching a great 35mm print probably made it a 4.
It didn't deserve its fate, but nothing can magick such leaden line-readings (and leaden lines) into a lost masterpiece. Cimino here cannot convincingly evoke the drama, or comedy, or romance, or vivid characters this Fordian epic aspires to. But ask him to film a plume of smoke, or a landscape, or a dance, or a killing, and you're in heaven. Drop him into the silent era, and he may have been one of the greats.
Top Ten countdown – #1 "It's getting dangerous to be poor in this country." The USA's national epic; its own internal heart of darkness. Cimino's obsessively shot and detailed western offers a somber exploration of the ideology of violence that Lady Columbia marched into the West. Unleashing the full potential of film formalism to create a profound melancholic indictment of the failures of "God's chosen nation."
The pacing of this film is really startling: The re appropriation of screen time to reflect atmosphere and environment rather than dramatic beats. Dialogue is essentially negligible; everything is geared toward a physical feeling of place and an understanding of people through ritual.
In 1890's farmer immigrants from Europe want to settle down in Wyoming. But this is pain in the ass of the cattle barons. Jim Averell, a lawyer, idealist and sheriff has to choose sides. Imagine: A country which is based on immigrants, rejects other immigrants, because of greed. Things started so good for Averell and ends-up with disillusion and violence. Overwhelming, beautiful; give it a try.
There are just a few films that keep me speechless and these film is one of those. Since Ford, i never saw a scene so well made (but you don't need to wait for the end to have that feeling of overflowing, because since the ball scene the camera is unstoppable, still always so thoroughly thought in every shot). The fight scene that show me that Cimino is a Ford sun is in "Straight Shooting" (the same spacial vision).