I mentioned watching Michael Cimino‘s Heaven’s Gate for the first time this past Sunday. The film’s legacy is unparalleled in this industry, marring the career of its director, credited with bankrupting United Artists and, fairly or unfairly, signalling the end of what is looked at as being the greatest decade of filmmaking in the history of Hollywood.
Yes, the history of Heaven’s Gate is well-documented and a search around the Internet will offer up a variety of reactions, most of which begin by quoting Vincent Camby’s now-famous New York Times review as the film continues to be judged not for what’s on screen, but more for the turmoil of its existence.
Initially budgeted in the realm of $10-12 million, costs on the picture ultimately rose to $35-44 million, though Cimino recently told the New York Times it was more like $32 million all-in. Based on the rate of inflation, we are therefore talking about a movie in the $100-140 million range depending on what number you choose to accept. This became the story of the film more than anything else and continues to be the story to this day as it took me no more than three paragraphs to bring it up.
Now, Heaven’s Gate is experiencing a revival of sorts. Remastered by the Criterion Collection it recently played at the Venice Film Festival with Cimino and producer Joann Carelli in attendance and it will play the New York Film Festival tomorrow, October 5 in its “original”, 216 minute form. I put “original” in quotes because Cimino has removed the intermission and trimmed a few seconds here and there. It isn’t the same version you’ll find on Netflix right now, which runs 219 minutes, but it is the version you will be able to buy on Criterion Blu-ray on November 19.
The only reaction out of Venice was to say there were articles posted recapping the event, but I didn’t get the impression there were many critics in attendance, at least not those that I keep an eye on on a regular basis. Therefore, I’m curious to see if any will sit in the audience tomorrow and attempt to either experience the film for the first time or give it a second look.
Personally, having just seen it for the first time, I already know I need to give it a second look and can’t wait to do so. The story of this film is too enticing not to, but on top of that the MGM copy I watched was hardly an accurate depiction of the film. To begin, it doesn’t include subtitles for the European settlers, none. This being my first viewing, I initially thought this was an artistic choice only to later find out the original cut included the subtitles. I had no problem following the film, and don’t think they’re necessary, but perhaps there is more to be offered with them being there. I’ll soon see.
Visually, Heaven’s Gate is striking, but Vilmos Zsigmond‘s work is clearly not given its due on the MGM release and Criterion’s HD version will likely bring new life to the picture. I go back-and-forth, however, when it comes to the visuals, wanting to argue against its sometimes dirty and overly dusty presentation, but if the dust clouds rise and envelope the image, is that not yet another important piece to the authenticity of Cimino’s presentation?
However, I don’t believe Heaven’s Gate is the masterpiece the other side of the fence argues it to be. It’s neither a terrible movie nor a great one. It does have elements of being both. An easy complaint is against its length, the extended dancing scenes can become mind-numbing even if some find joy in exploring its length roller-skating sequence. The finale is a mess. I may make an argument for the dusty surroundings, but the presentation and thought put into the climax is not only anti-climactic, it’s nauseatingly dull and repetitive.
Cimino’s attempts at authenticity are both grand and excessive at the same time. He lingers on shots for far too long as if to say, “See, look at that! The town lives and breathes! You are here, take it in.” I would agree, he has transported us back to the 1800s, but I don’t want to spend every five minutes gazing at it as if I was a zombie stuck in place, let’s move on with the story.
This is the fascination I now hold for the film, one in which I am happily removed from the hate that began while the film was in production back in the late ’70s and the critical blasting it received upon release only to then be recut by Cimino. The film ultimately only took in $3.4 million at the box-office and on top of everything I’ve already mentioned is considered one of the biggest flops of all-time. However, Heaven’s Gate‘s legacy as a “disaster” is based on more than just its resulting box-office, but is it being judged fairly?
Given so many of the reactions to it, like the reactions to films today including Waterworld and John Carter, I think a lot of the vitriol stemmed from the behind-the-scenes turmoil rather than what was on the screen. Today I think the film is unfairly blamed as marking the end of New Hollywood whereas I think several factors played a role in studios taking back the control from directors, though Heaven’s Gate certainly played a part.
As such, I am curious to read the reactions from the film’s screening tomorrow in New York and hopefully many of today’s more vocal movie blogging voices will be in attendance. While there is really no way to go into the film without knowing the history of its making, I hope some can do their best to remove themselves from there current perceptions of the picture and offer a new evaluation.
