The year of 1995 is my favorite year in film giving us so many beloved favorites of mine such as Lord of Illusions, The Usual Suspects, Seven, In The Mouth of Madness, GoldenEye, The Prophecy, Strange Days, and more. This year also gave us a brilliant union of powerhouse talents when Michael Mann brought together screen legends Al Pacino and Robert De Niro in Heat. While I consider Manhunter my favorite, and The Insider to be Mann’s best film, I cannot deny that Heat is a crime saga masterpiece. It is finally Michael Mann refined and matured to a breath-taking level developing his signature concepts to perfection. I can think of no more appropriate film to hold the honor of the 200th review on Forever Cinematic than Heat.
Neil McCauley (Robert De Niro) is a master thief who lives by the simple discipline of “have nothing in your life you are not willing to walk out on in 30 seconds flat if you feel the “heat” around the corner.” His crew of career criminals is a high-tech outfit pulling off professional jobs that impress even the likes of Detective Vincent Hanna (Al Pacino). But Hanna, a man driven through life only by his work, becomes obsessed, at the expense of his private life, with bringing McCauley down. As McCauley’s crew prepare for the score of a lifetime, and Hanna’s team tries to bring him in, the two find that they are similar in many ways, including their troubled personal lives. Ultimately, they find themselves challenged by the greatest minds on the opposite side of the law that either one has ever encountered. With this much heat, the streets of Los Angeles are ready to sizzle and explode!
Heat is filled with excellent performances from everyone involved that it’s hard not to touch upon most of them. Firstly, I am engrossed by the dynamic between Vincent Hanna and Neil McCauley. Hanna is a man whose life is wholly dedicated to his job, and thus, his home life is a disaster with multiple divorces to show for it. Meanwhile, McCauley has his life in control as he takes precision high line scores, but lives a disparate life of bare necessities allowing himself no attachments he cannot walk out on in thirty seconds flat if circumstances require it. Thus, despite these men being on opposite sides of the law, they find themselves in a near symbiotic relationship which fuels the compulsions of their lives. They are both driven by their jobs being out there on the streets in the middle of danger, and everything else in their lives is sacrificed for that. All they are is what they’re going after. That’s what fuels their existences, and Heat is all about that electrifying synergy.
Al Pacino has always been known as a passionate, charismatic actor, and Vincent Hanna surely has that energetic, sharp edge which makes him immensely entertaining here. However, it is the more subtle aspects of the performance that are where the real juice is. You see the razor sharp mind of Hanna when he arrives on the armored car robbery scene. He sees it, absorbs it, and hits all the marks deconstructing every detail of the crime. He doesn’t miss a beat, doesn’t overlook or dismiss anything. You see the proficiency of Neil McCauley and how his crew operates, and then, you see Hanna and his team operate on that same exact level only on the opposite side of that coin. Yet, the depth of Hanna comes to the surface when Vincent converses with his wife, Justine. The weariness and ugliness of his job forces an emotional rift between them, and Pacino’s performance reflects the inner angst and emotional toll that it wreaks on Hanna. These things do affect him, but he never becomes a jaded, pessimistic, desensitized person. Al Pacino absorbs all of that into a subtle and complex performance that energizes the screen.
And delivering a performance on an equal level of weight and intelligence is Robert De Niro. He’s entirely formidable making Neil McCauley a very serious and definitive threat to everyone who opposes him. De Niro has a serious, hard edged presence that dominates the screen, and every move, every word, every course of action he makes is efficient. There’s a full immersion into the character in all his nuances and textures. Sometimes, a great performance is seen in raw emotion, but other times, it’s all in the subtle complexities. That is what De Niro give us here showing the versatile diversity of this character from cold, hard criminal to the loyal, caring friend and lover. Despite being the antagonist in the story, we see a real heart when Neil becomes involved with Eady. It’s takes a masterful actor and filmmaker to take a character like McCauley who will sanction and be entirely sociopathic about the murder of innocent people, and do something so human with him to where you genuinely feel his depth of heart. Surely, that’s nothing you would want translated into reality, but in a fictional narrative, it provides a captivating dimensionality that Robert De Niro captures with pitch perfect substance.
Val Kilmer was really in his peak at this time after his stunning turn as Doc Holliday in Tombstone. Thus, he was filming Heat concurrently with Batman Forever, really capitalizing on two excellent opportunities. Here, his role might be overlooked by the presence of Pacino and De Niro, but that doesn’t mean he isn’t top notch. Chris Shiherlis proves to be a really intense character with his gambling addiction and marital strives, and Kilmer really absorbs the weary heart of Chris deeply into his performance. Despite infidelities on the part of Chris and his wife Charlene, portrayed tremendously by Ashley Judd, their final shared moment strikes deep within the heart to show just how much they both truly loved one another, but their marriage was never built to last. Kilmer hits all the marks to make this character standout solidly alongside De Niro, and to a lesser extent, Tom Sizemore does the same as the more action junkie sociopath Michael Cheritto. There’s a real strong brotherhood between Neil and Chris that shows through shiningly, and that relationship brings a lot of dimension to both characters.
I’m fascinated by the chain reaction of events here which create numerous exciting plot turns. Essentially, Waingro is the key cog who sets everything in motion. Without him going off the handle and facilitating the triple homicide, Vincent Hanna likely would not have been as dogged to track down McCauley and his crew. He’d be intrigued by the precision professionals, but it would just be another robbery. Then, Waingro betrays McCauley to his enemies, forcing the bank heist to turn into a violent, deadly shootout and propelling McCauley to make the irrational decision to go after him instead of escaping free and clear. Waingro turns the tide of the story at pivotal moments because he is a wild card with no loyalty to anyone but his own base, primal impulses. Furthermore, Kevin Gage is perfect in this role making for a wholly convincing hardened ex-convict sociopath who is dreadfully frightening and intimidating. It’s sadly poetic that less than a decade later he would become a federal convict for cultivating medicinal marijuana.
The other intriguing quality of Heat are the women. Michael Mann always makes the affectionate, strong women of his films vitally important to the arcs and stories of the male leads, and never objectifies them. The significant others of Hanna, McCauley, and Shiherlis are all passionate, loving women who desire a stable life. Justine Hanna grapples with Vincent’s internalized angst from the horrors he sees out on those streets, and just wants a husband who opens up to her instead of being distant, closed off, and vacant in their marriage. She wants a marriage with love not ragged leftovers of a man who drifts through their lives empty. Eady, portrayed by Amy Brenneman, is the most innocent of them all existing entirely outside the world of cops and criminals. She’s a simple, honest, warm person that unexpectedly opens up Neil’s world and gives him something to be affectionate about. For a man who lives with no attachments of any kind, it’s finally someone in his life that makes him care to have a life. Charlene, however, is the real gold for me as Ashley Judd is confident, heartbreaking and truly empathic as Chris’ wife. As I said, there is a deep down, genuine love between Chris and Charlene, but there’s so much addictive and combative garbage in the way that it was destined to crumble. For me, the Shiherlis dynamic is the most complex and substantive one of the film because of that real quality of conflict and adoration between them.
Without a doubt, Danté Spinotti is a remarkable cinematographer, and he does an excellent, stunning job with Heat. He composes so many carefully selected shots which tell a very visual story that holds weight. Just as Mann had fully refined and developed his artistic sensibilities so had Spinotti making this a very sophisticated looking and composed picture. There are pure moments of inspired artistry creating a masterful canvas that this story is told upon. This is also a film that feels very engrained and engrossed in the fiber of Los Angeles because of the visual vibe. Shots of the skyline in hazy daylight or glowing nighttime neo noir create that great backdrop that has substance and life.
Upon this watch of the movie, I picked up far more on Elliott Goldenthal’s amazingly original and pulsating score. A lot of what he does are subtle textures and melodies that nicely underscore various scenes. His score doesn’t fight for dominance in the audio mix. It complements everything that Mann is doing with the emotion, characters, and story. At times, Goldenthal’s score can be very powerful and striking such as the moment where Chris and Charlene are forced to abandon each other because of the police stakeout. The emotional pain swells into the score in a haunting swirl. Then, there’s the parting phone call between Neil and Nate that reflects the sorrowful feeling of two people, best of friends, saying goodbye for the final time, and Goldenthal’s score hits that mark so beautifully. Every single moment is so perfectly punctuated, and should be considered amongst his best work. Additionally, the two tracks by Moby are beautiful, superb, innovative tracks that saturate the power of their respective scenes, most notably being the ending with “God Moving Over The Face of The Waters.”
Of course, the big, electrifying selling point of this film was having two of America’s most celebrated actors, Al Pacino and Robert De Niro, collide in all their glory. That would not be complete without the excellent diner scene where Vincent Hanna and Neil McCauley have a very probing conversation. The very interesting quality of that scene is that this is the only point in time where these two men are able to be entirely open, honest, and reveal their inner workings. They are more intimately connected with each other than with anyone else in their lives. Again, the subtle performances of depth and honesty make this the absolute nexus of this entire film. Heat was previously made as a TV movie called L.A. Takedown by Michael Mann, and when you watch this scene performed by very second rate, stiff or hollow actors with almost identical dialogue, you realize the gold standard quality of Pacino and De Niro. In their hands, Vincent Hanna and Neil McCauley are brilliantly fleshed out and fascinating characters, and this is the scene that shows them stripped down. They show what haunts them and what drives them. There is no pretense between these men, and they realize that they are very similar despite being the flip side of each other. These are the only two people alike in this world of Michael Mann’s film that truly, undeniably understand one another. Furthermore, this scene is entirely integral to how the film’s climax unfolds.
Firstly, that shootout in the streets of downtown Los Angeles is one of the most ear-blistering sonic experiences ever, and that’s coming from a heavy metal fan. Michael Mann had considered using post-production sound effects for this, but realized that the realistic production audio created the true power and impact he wanted. It conveys the violent magnitude of real life gunfire and enhanced the danger of this sequence exponentially. The precision of every tactic is true to how Michael Mann approached his films. He made sure that every detail was accurate to life, and that mentality makes his films far more interesting to witness than the more over-the-top action sequences we get in the big, fun blockbusters.
The climax of Heat narrows everything down to what the whole film has been about at its core – Vincent Hanna and Neil McCauley. These two men, who exist in a world separated from the mainstream of society and defined by its own rules, are now pitted against one another in an electrifying, tense, and suspenseful cat and mouse sequence that is absolutely pitch perfect, and showcases the unequivocal skill of Michael Mann. The moment where McCauley sees Hanna just as he is to ride off with Eady is beautiful, painful, and eloquent. Neil invokes his “thirty seconds flat” rule turning away from Eady for his own survival, and the ensuing chase towards LAX is wonderfully and smartly plotted. The climactic moment is excellent and poetic. Then, after it’s all over, these two men are bonded together in a strikingly profound moment that ends the film on an astonishing stroke of pure brilliance.
I had always taken Heat for granted as that great crime saga pinnacle for Michael Mann, but until now, I never peered deeply enough into it to see the subtle brilliance of it. Many of his films are easier to see the inspired breadth and depth, but Heat has so many fine brush strokes of detail, interwoven threads, and subtext that only a real immersion into it made me absorb it all. This is truly a brilliantly written, directed, and acted film that did not get the recognition it deserved during awards season. Michael Mann himself received no nominations for his screenplay or directing, and Pacino, De Niro, or Kilmer received no acting award nominations either. It’s amazing to me that so many incredible, mold breaking, and standard setting films were released this year, and those I hold in highest regard barely got any recognition from any major awards organizations. This is why I find it hard to put much weight into these organizations because they’d rather nominate a movie about a talking animatronic pig over brilliant masterpieces like Heat, Strange Days, The Usual Suspects, or Seven for Best Picture or Best Director. Today, nobody talks about Babe, but people still endlessly praise those others films because they launched careers, took stunning risks, set new standards, and blew peoples’ minds. And when Michael Mann finally got his just nominations, he didn’t win a single one for what no one will ever be able to tell me wasn’t the best movie released in the year 1999 – The Insider. However, for the next review, I go back to the beginning of Michael Mann’s feature film career with Thief.
There are countless interpretations of vampires out there. Whether it is from Bram Stoker, Anne Rice, John Carpenter, or Joss Whedon – vampires will continue to be explored in literature, films, and television. What Anne Rice has presented the world is a very classical, romantic, and aristocratic view of nosferatu. It seems that many may have soured to this interpretation in recent years, at least in the filmed media. With films like The Lost Boys, Fright Night, John Carpenter’s Vampires, and the television series of Angel and Buffy The Vampire Slayer integrating vampires into a modern setting with pop culture references and humor. Still, Anne Rice’s view will likely remain the most traditional perception.
Louis de Pointe du Lac (Brad Pitt) has chosen to grant an interview to a persistent reporter in Daniel Malloy (Christian Slater) in present day San Francisco, California. Louis is, in fact, a vampire. This easily takes Daniel by surprise, and is even more shocked to learn it is true. Louis tells the tale of his life in darkness, as a vampire. After the death of his wife and child in the year 1791, life lost its meaning for him, and he welcomed death at every turn. Although, it would never come until he met Lestat (Tom Cruise), who offered him a new life where pain, death, and disease would no longer be a burden to him. Still, he would have no idea the endless agony that would await him. Louis spins the tale of two hundred years from Louisiana to Paris and beyond. Encountering others of his kind, leaving a trail of blood, pain, sorrow, and death behind him. It is a compelling and enthralling story which has many twists and some surprises.
There’s so much to praise about this film. Director Neil Jordan gives us a beautiful sense of time and place. With so much of this film being a period piece extending from the late eighteenth century to the present day, that is the most critical element in this film. The landscapes are indeed gorgeous with a rich depth and a textured history. The production designs and values are impressive and masterful. This is award winning work. I don’t think I really have the words to express how spectacular, epic, and grand it all is. Philippe Rousselot’s cinematography compliments it all greatly and beautifully. I have never seen anything else from Jordan, but I know that this film shows an immense breadth of artistry that I’m sure transcends into his other films. Though, elegance is essentially the one word to describe this film. Every second is filled with it from Elliot Goldenthal’s classical score to the performance of the actors.
Brad Pitt is sympathetic as a tortured man condemned to endure it all forever. As a vampire, who knows for certain if he has a soul (again, depends on your chosen interpretation of them), but it becomes hard to dispute that Louis does. He so tries to fight against his nature, to be a decent person, and thus, eventually finds nothing but agony from this eternity. He does not seek death – he could easily step into the daylight and let himself fry – but some form of peace and solitude from eternal damnation. Pitt portrays and emotes all of this to a tragic degree, but by the late twentieth century, he seems to have come to terms with most everything.
The flip side of this comes from Tom Cruise. His Lestat finds nothing but pleasure and wonder in his reign as a vampire. He is somewhat reminiscent of Julian Sands in Warlock – someone with a high sense of elegance and charm, but underneath this gentle facade is pure, delicious, sadistic evil. Although, Lestat is far more naturally cultured and arrogant. Up until this film, Tom Cruise had been the young heartthrob leading man with the million dollar smile. He was the hero, the nice guy. Here, he shows us his dark side, a striking performance that showed the world he had a talent no one imagined he had. Cruise wouldn’t step into another dark, let alone villainous role for another nine years in Michael Mann’s Collateral as the sociopathic contract killer Vincent. As Lestat, he shines with ease, and enjoys every magnificent moment of it. Kirsten Dunst won several awards for her portrayal of the girl who would be eternally young by way of the blood of a vampire. Those awards were well deserved, and easily launched her young career forward starring in dozens of films in the subsequent years.
The story eventually moves forward to Paris where new characters come into play. Stephen Rea portrays Santiago as a very playful, mischievous, but still sadistic creature of the night. It’s a fun performance, giving the film a different spark of life when it really needs it. After the departure of Lestat from the story, these new personalities are quite welcomed. Antonio Banderas, as always, is marvelous. As Armand, he carries much weight about him, and has a powerful presence and allure. He easily becomes the main antagonist at this point in the film. He is more directly evil and seductive than Lestat. Outside the view of the public, he makes no allusions to being anything but what he truly is. Louis calls he and his minions monsters, and that is indeed true. The final talent to mention is Christian Slater. While his role is minimal, it is well played with an apprehension and fear. The late River Phoenix was originally chosen to play this role, but when he met an untimely and tragic death, Slater stepped in to deliver a solid performance.
Louis’ story is filled with much emotional richness with so much tragedy, love, heartbreak, and pathos. It surely has a different quality to something like Highlander where immortals are still human, can still do most things any other person can, but simply have to live for centuries on end enduring life on a larger canvas of time. Here, Louis is tortured because he has become something ungodly and so against his nature. He’s a man who comes to realize that he only traded one kind of pain for another, and now, must live with it for eternity. It’s a journey that might be a little romanticized, but it is mostly sorrowful and somber. His story is populated with rich, fascinating characters in a wide, sprawling, gorgeous world.
Overall, I must say that this is a remarkable film. It is wonderfully constructed. Everything blends and weaves together in an enrapturing narrative. The editing remains wholly coherent and competent. You never got lost in the timeline of events, or in the few flashes from the present to the past. Anne Rice adapted her own novel for the film, and while I know nothing to the novel itself, I surely get the feeling that it is faithful from how much care clearly went into the film. The film also definitely has its share of scares and frightening moments while gore is kept to a respectable minimum, but showcases some wonderful makeup work. The movie concludes with a Guns N’ Roses cover of The Rolling Stones’ “Sympathy For The Devil,” which I find very appropriate. The lyrics of the song are very much akin to Lestat and those like him in the film. Many never liked this cover deeming it tacky, but I truly enjoy it. It was the last thing recorded with anything resembling the classic line-up of the band. However, as far as the film goes, it was critically and commercially successful. I have no qualms about it, and give it a perfect score! While it might not be every horror fans’ taste, this is an extremely well made film showcasing an abundance of talent in every frame from everyone involved. It gets my highest recommendation.