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Samedi, septembre 4th, 2010![]() |
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Writer-Director Michael Mann’s 1995 Los Angeles crime saga, Heat, is perhaps his best film work. Without having to wretchedness about niggling facts and trusty timelines to glean in the plan (and cause critics to point them out) like in later films Ali or The Insider, this creative character-driven portion of moviemaking mesmerizes through broad lead and ensemble performances, direction, and storytelling. All three aspects work wonderfully in this fable of two opposing “crews” who go up against eachother on the streets of L.A.: a professional group of criminals led by master thief Neil MacCauley (Robert DeNiro) and LAPD’s elite Metro Robbery/Homicide lead by Lt. Vincent Hanna (Al Pacino) .
Both leads, as the myth evolves, are sever from the same cloth: professional and dedicated to their chosen crafts–to a fault. Everything revolves around their jobs and nothing gets in their procedure, including the women in their personal lives: Justine Hanna (the very underrated Diane Venora) and the soon-to-be enlightened Eady (Amy Brenneman) . It’s the long-suffering Justine that nails her husband’s correct nature with her wifely realization: “You don’t live with me, you live among the remnants of slow people. You sift through the detritus, you read the terrain, you search for signs of passing, for the scent of your prey … and then you hunt them down. That’s the only thing you’re committed to. The rest is the mess you leave as you pass through.”
And it’s with that predator’s sense that Vincent spots MacCauley’s crew after the inital, spectacular armored truck robbery. He knows that a crew is in town who are proper, skillful, and very risky (”At the fall of a hat, these guys will rock ‘n roll.”) . Which is also the right description of their leader. However, in this case, the master thief is also growing weary of his trade…and the emotional discipline it requires.”I am alone…I’m not lonely.” he tells Eady after they first meet. His is a life that requires him be able to “accelerate out on in 30 seconds flat if (he) feels the heat around the corner.” Neil is the upright antithesis for Vincent, but both will do whatever it takes to do what they do best. Eventually, both come by out about the other half-way through the myth.
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The meeting on-screen for Neil and Vincent (a first for actors DeNiro and Pacino) is the movie’s key dramatic sequence. This wary confrontation over coffee is one of the best moments set aside to film. It’s not long, but it’s one of those powerfully unexcited scenes that resonates throughout the rest of the film. The irony of the station is that each recognizes themselves in the other…and be pleased the professionalism they collect. Both, through their conversation, also are cognizant of the fact that each will attach the other down permanently, if need be. Some other reviewers have stated that is the only time they’ll fragment the hide time in this movie. Not legal. Heat’s tense climax on the outskirts of LAX is another one of those stout film scenes. Mann skillfully brings their budge and relationship to a poignantly fascinating conclude.
This film also has one of the best ensemble casts ever on celluloid: Pacino, DeNiro, Val Kilmer, Venora, Ashley Judd, Brenneman, Jon Voight, Tom Sizemore, Mykelti Williamson, Wes Studi, Ted Levine, Dennis Haysbert, William Fichtner, and a young Natalie Portman. All of them giving suitable performances to an equally well written Michael Mann script. Filmed all over my hometown, and in some of the best and terrible spots of Los Angeles, Heat makes huge consume of the locales with some breathtaking cinematography. It also has one of my all-time popular action sequences, the Bank Heist in downtown (tragically, a real-life bank shootout in L.A. of hauntingly similar proportions would happen a couple of years later) . At almost three hours in length, it takes a committment, but the viewer will be well rewarded with drama highly praised for its depth in character development and racy sequences. This was not only one of the best films of 1995, it was one of the best for that decade. Okay, I’ve convinced myself: it is Michael Mann’s best.
10 years after the release of Michael Mann’s fable crime tour de force, Heat is smooth an absolute masterpiece. Originally a screenplay which sat on the shelf for almost twenty years before being greenlit, Heat is the perfect character driven crime drama. Mann pits Al Pacino and Robert De Niro as a dueling cop and crook whose lives gain resplendent resemblances to themselves. Vincent (Pacino) becomes obsessed in his case to abet rush the reality of his failing marriage, while Neil (De Niro) is a frosty, quiet, serene and disciplined master thief who, with his skilled team (including Val Kilmer and Tom Sizemore) are planning a heist which will change everyone enthusiastic forever. This portrait of these people and their failing personal lives sacrificed for their obsessive careers makes Heat the best film to arrive from Mann, and undoubtadly the best spacious budget crime drama to approach out of the 90’s. The face off between Pacino and De Niro is a film buff’s dream, and the climactic LA shootout is possibly one of the best action sequences in cinematic history. The rest of the cast, which includes Jon Voight, Diane Venora, Natalie Portman, Amy Brenneman, Ashley Judd, Mykelti Williamson, Wes Studi, Ted Levine, Kevin Gage, Denis Haysbert, William Fichtner, Danny Trejo, Henry Rollins, Tom Noonan, and Hank Azaria, does smart work. Truly a cinematic masterpiece. This recent 2-disc Special Edition from Warner Bros. contains a gargantuan commentary from Mann and a few nice featurettes, but the deleted scenes are hardly worth watching and add nothing to the film.
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