Heaven's Gate (1980)

Calificación de los usuarios:

6.4/10   

Director:

Michael Cimino

Guionista:

Michael Cimino (writer)

Fecha de Lanzamiento:

19 noviembre 1980 (USA)

Género:

Drama | Historia | Del Oeste

Frase comercial:

What one loves about life are the things that fade.

Plot:

Michael Cimino's bleak anti-western based on events in 1890s Wyoming. Sheriff James Averill attempts...

Plot Keywords:

Immigrant | Frontier | Battle | 1890s | Hired Gun

Premios:

Nominated for Oscar. Another 1 win & 5 nominations

Comentarios de los usuarios:

Curate's Egg of a movie

Reparto

Kris Kristofferson	...	James Averill
Christopher Walken	...	Nathan D. Champion
John Hurt	...	Billy Irvine
Sam Waterston	...	Frank Canton
Brad Dourif	...	Mr. Eggleston
Isabelle Huppert	...	Ella Watson
Joseph Cotten	...	The Reverend Doctor
Jeff Bridges	...	John L. Bridges
Ronnie Hawkins	...	Major Wolcott
Paul Koslo	...	Mayor Charlie Lezak
Geoffrey Lewis	...	Trapper Fred
Richard Masur	...	Cully
Rosie Vela	...	Beautiful girl (as Roseanne Vela)
Mary Catherine Wright	...	Nell (as Mary C. Wright)
Nicholas Woodeson	...	Small man

También conocida como:

Michael Cimino's Heaven's Gate (USA) (complete title)
The Johnson County Wars (USA) (original script title)
La puerta del cielo (Spain) [es]

Duración:

149 min (re-cut) | 219 min (original cut)

País:

USA

Idioma:

Inglés

Color:

Color (Technicolor)

Relación de Aspecto:

2.20 : 1

Sonido:

Dolby (35 mm prints) | 70 mm 6-Track (70 mm prints)

Clasificación:

Canada:R (Nova Scotia/Ontario) | Singapore:M18 | UK:X (original rating) | West Germany:16 (f) | Australia:M | Germany:12 (video rating) | Canada:18 (Nova Scotia) | Finland:K-16 | Norway:15 | Sweden:15 | UK:18 (cut) | USA:R

Locaciones de Filmación:

Blackfeet Indian Reservation, Montana, USA

Compañía:

Partisan Productions

Trivialidades:

This film is notorious for the amount of animal abuse that took place during production. Actual cockfights, decapitated chickens and physical torture of horses including at least four deaths are all proven to have taken place. The outcry prompted the Screen Actors Guild (SAG) and the Alliance of Motion Picture & Television Producers (AMPTP) to contractually authorize the American Humane Society to monitor the use of all animals in all filmed media.

Errores:

Continuidad: When Ella Watson sees her birthday present, only one of her breasts is covered by the blanket wrapped around her. Whilst the shot cuts between her and Jim, the breast that is uncovered changes repeatedly between shots.

Citas:

Wolcott: They're an ignorant, degraded gang of paupers. Their only stock in trade consists of having large numbers of ragged kids.

Conexiones de Película:

Referenced in Dark Ride (2006)

Banda de Sonido:

An der schönen, blauen Donau (On the Beautiful Blue Danube), Op. 314

Curate's Egg of a movie

I've been a fan of Heaven's Gate since its first release. I've seen it at least half-a-dozen times and have long thought of it as a masterpiece. So, it was with excitement and a sense of anticipation that I took myself off to see the restored director's cut.

To my surprise, I was disappointed on seeing it again and have since revised my estimation of the film. Heaven's Gate touches upon greatness in parts, but overall, lacks the thematic and narrative consistency and the passionate urgency characteristic of a truly great film.

Firstly, two technical problems: The sound quality is diffuse throughout the film, verging on inaudibility at times. Some of this, perhaps, is intentional - a way to mimic the chaos and confusion of history as it is unfolding. But at key points, one is unable to register what it is the characters are saying.

The cinematography is similarly diffuse. The images lack sharpness and particularity of detail. The result is a certain graininess and lack of pictorial sharpness which succeeds in blurring foreground and background.

Structurally, the narrative is off-key throughout, as if Cimino can't quite make up his mind as to the effect he is after. He wanted an epic, for sure. But a pastoral or dramatic epic? The film sits uneasily and unconvincingly between styles, and perhaps even genres. At times it reminded me of Terrence Malick's 'Days of Heaven' or even 'Elvira Madigan' in its languid pace and elegant scene painting. At other times it threatens to turn into a robust 'western' more akin to 'The Wild Bunch'. In fact the latter film offers an instructive reference point for an assessment of 'Heaven's Gate' as it shares the same period concern and employs a similar tone of ambivalent nostalgia for a darker yet more heroic America.

This structural and thematic uncertainty isn't helped by the poor-quality script which often sounds forced and jarring to the ear. The result is an inauthentic sense of period speech.

The near-greatness of Heaven's Gate resides in its set pieces. The roller skating sequence, in particular, is astoundingly beautiful, one of the most evocative scenes ever put to film.

Another set piece which works very well in terms of unifying theme, mood, and setting occurs when Kristofferson and Huppert go riding in the new rig to the lake and she washes herself while he naps in the shade. The languid pacing, evocative music and monumental scenery combine in this scene to convincingly portray the love story which might just lie at the heart of the film - and which could have been its saving grace if pursued more convincingly.

Some critics have complained about the length of the film. This in itself doesn't bother me. A good film can't be long enough. The restored minutes are critical in restoring the motivation and characterization absent from the cut version, and they are full of pictorial interest.

Perhaps the chief glory of Heaven's Gate lies in the achingly evocative soundtrack. The repeated waltz motif and its different scorings throughout(full band, guitar, solo fiddle etc,)lends a haunting quality to the foreground action and establishes a thematic consistency lacking in the narrative itself.

Despite its obvious flaws, most notably the absence of a compelling narrative, there is a sense of grandeur about the film. One leaves the cinema with a rueful sense of missed greatness and a wish that Cimino could revisit the film -with the wisdom of time and hindsight, to put right what is so badly amiss.