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|Kris Kristofferson||Marshal James Averill|
|Christopher Walken||Nathan D. Champion|
|Isabelle Huppert||Ella Watson|
|Sam Waterston||Frank Canton|
|Brad Dourif||Mr. Eggleston|
|John Hurt||Billy Irvine|
|Jeff Bridges||John H. Bridges|
|Joseph Cotten||The Reverend Doctor|
|Rosie Vela||Beautiful Girl|
|Robin Bartlett||Mrs. Lezak|
|Stephen Bruton||Member of the Heaven's Gate Band|
|T-Bone Burnett||Member of the Heaven's Gate Band|
|Terry O'Quinn||Capt. Minardi|
|Stefan Scherby||Large Man|
|Nicholas Woodeson||Small Man|
|Mary Catherine Wright||Nell|
|Michael Cimino||Director, Screenwriter|
|Richard W. Adams||Sound Editor|
|Brian Cook||Asst. Director|
|Herbert Spencer Deverill||Art Director|
|Maurice Fowler||Art Director|
|Michael Grillo||Asst. Director|
|J. Allen Highfill||Costumes/Costume Designer|
|Tambi Larsen||Art Director|
|David Mansfield||Score Composer|
|Peter Price||Production Manager|
|William H. Reynolds||Editor|
|Winston Ryder||Sound Editor|
Posted October 1, 2010
It is not difficult to itemize the weaknesses of Cimino's 'Heaven's Gate'; however, the abundance of negative reviews obscures the fact that the director clearly came close to creating one of the greatest of film masterpieces. The film is too long, the climactic battle is too chaotic and confusing and there are problems with the handling of Kristofferson in the lead role. Given the massive budget and the time and manpower expended in creating the production, these flaws are hard to dismiss. All the same, the thought-provoking examination of political and sociological issues in this picture and the unforgettable array of astounding and unforgettable screen images and electrifying performances, make this a must-see title for any fan of serious film-making. Cimino asks the viewer to 'inhabit' a number of the major scenes in the film. What I mean here is that, rather than offering brief glimpses of dances, parties, carriage rides, battles, etc.. and hurrying on with the storytelling, Cimino lets many of these scenes play at such length that the viewer is given the feeling of truly attending these events. If the viewer is too impatient to get on with the unfolding of the plot, he can not enjoy this film. If, on the other hand, he allows himself to really get into the wondrous details of these scenes, the experience becomes a rich feast of deep immersion into the atmosphere and texture of the life of another era. All the thrill and wonder of a great epic entertainment is here along with an interesting directorial device which can make you feel almost like a participant in the life of these characters. When you feel as though you have shared experiences with them, rather than merely glimpsing these moments, the monumental calamity that they face at the close of the film will strike you with an impact far greater than if your feeling of being connected with it all was more superficial. The film is too long, but it is worth the 'wait' when you consider all the vast riches that you will encounter all along the way.
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Posted October 1, 2010
The cable channel TRIO ran this film, along with a documentary about its making, in a series called 'FLOPS!' I watched the documentary first, all the while asking myself whether the film's enormous problems -- the huge cost overruns, the unreasonable number of takes per scene (from 32 to 57!), the 200% schedule delay -- had any effect on the quality of the film itself. As I started watching the film, expecting to laughat it and turn it off after a few scenes, I found myself becoming enchanted by it. I think it's a gorgeous film, and Cimino's notorious attention to period detail was a tremendous gift to someone like me, because I love to look at 19th-century photos. The film is very faithful to period photographs, and even evokes Manet and Van Gogh paintings. There is no music soundtrack to artificially engage the emotions, other than ambient singing or violin- playing within a given scene, and the pacing is sometimes rather slow. I think it failed at the box office because Michael Cimino thought he was making an American blockbuster like 'Gone with the Wind,' but what he has is an art film. Apparently this movie is considered a masterpiece in Europe. It is a movie worthy of a second chance, to be viewed without prejudice.
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Posted October 1, 2010
It¿s hard to not be fascinated by a disaster of this magnitude. No matter what you have heard about ¿Heaven¿s Gate,¿ no matter how often you¿ve heard it described as ¿misunderstood and overlooked genius¿ or ¿total garbage,¿ ¿Heaven¿s Gate¿ must surely haunt the mind of every filmmaker who spends more than $5.28 putting his visions on film. Everyone who is serious about movies needs to see ¿Heaven¿s Gate,¿ because it, and the disaster it wrought on the film industry killed anything like the spirit of invention and originality that once made Hollywood great. It is because of the ¿Heaven¿s Gate¿ disaster that all but a very few moviemakers have all the originality of a photocopier spewing out cookie-cutter like imitations of the Last Big Thing. 'Heaven's Gate' failed in the only way the people who make most popular films understand: revenue, and it failed very big. This is not the worst movie ever made, not by a long shot, but its name is synonymous with failure. That alone is the best possible recommendation for seeing it.
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