Heaven’s Gate (1980)
Due to the sheer length of Hevean’s Gate (1980) I have decided to watch it in two parts, just over the hour mark tonight (8/11/14) and I feel that I should hold back until I have seen beyond the Johnson County War horses ride off into town. My initial thoughts are that Michael Cimino for all he is now known for, almost bankrupting a studio by blowing his budget, his film truncated for theatrical release he has produced (only looking at the first half of the directors cut) a masterpiece that is the scale of a David Lean, cover vast stretches of even just one state, the emotional depth of a George Stevens and the romanticism of Robert Altman‘s McCabe and Mrs Miller (1971). If that is even possible for a man who only a few years before caused uproar with The Deer Hunter (1978) has taken on a dark page in his countries own past, as it turned on the immigrants who tried to make a life for themselves, as the Americans years before once did. I can’t wait to see how the town react to the state and even country whose middle class army turn on the people who make the country so rich.
I could only wait a single night to complete this epic of a film, putting the label to shame when applied to The Big Country (1958) somewhat. I could see the length issue, needing to bring it in to theatrical release friendly length, which would only hinder the film. Noticing scenes which could be cut back, none entirely removed. Everything is in there for a purpose, prolonged to enjoy the spectacle of their integration with American’s who here are living alongside one another in peace. An issue that has become a hot topic in the UK with the borders within the EU for free movement the influx of people from all over Europe, which is having an effect on the fabric of the nation, its politics and infrastructure. I’m just glad we have moved on even from the 1950’s and the comments of Enoch Powell wanting to pay each immigrant to leave. That’s was progress when compared to the extremes which the US government went to in Johnson County, Wyoming in 1890 with immigrant causing “near anarchy”. This conflict between the towns people enabled by the President versus the immigrants is the backdrop for this dusty dramatic epic.
Beginning in 1870 when two friends are graduating from university it seems that the possibilities are endless for James Averill (Kris Kristofferson) and Englishman Billy Irvine (John Hurt) in a sequence that is full of great promise for all the young men and the adoring women who join them in dance and celebration. We can see the beginning of something special for James and Ella Watson (Isabelle Huppert) which’s brought to an abrupt close with cut to twenty years later and the shooting of an immigrant from a shadowy figure from behind a sheet, the figure – Nathan D. Champion (Christopher Walken), of authority is looming in, wanting to control if not quell the bubbling situation of fear that is brewing out in Johnson County 1890.
We can see the speed of development in the country, as we cut to not a boom town, but a booming metropolis of a busy main street, horses pulling trailers, men in shops kitting themselves out in the latest suits and guns. It’s still very much a mans world. It doesn’t quite fit for James/Jim who quickly leaves for his homestead where we find Ella waiting for him. He has all he needs, a sheriffs job and a woman who makes him happy, what more does he want. The fear of a list of 125 names made up by cattle men who fear the influx of new Europeans. His friend Billy‘s revealed to be a weak man of only clever words and ideals that get him nowhere in the West kept alive only by his class that.
Before the conflict begins we’re treated to over an hour getting to know the people of the county that have shaped it, reminding us of the fabric the growing country then and now. Something that is the foundation of most countries that is sometimes forgotten. It’s a rich tapestry of scenes that are woven together to give us an image of a cohesive community that ultimately stand-up and fight the cattle men. Ignoring the law that was behind this influx of men is long coasts riding over the countryside with guns in hand, ready to deliver justice.
With all the grand imagery that is the overwhelming factor that makes this film so enjoyable and rewarding. We see a lot of dust in the air, brought up by the wheels on the ground, the sub seeping through the windows. Visually its splendid to watch, taking us to a dirty rough and ready. It falls down on the characterisation, the old friends only have a few scenes together. Cimino is doing what I do when documenting my work, he “milks it” squeezing everything out of his scenes, allowing them to play out. A lot is going on, it’s hard to see where any cuts were made for this final directors cut. We could easily have a documentary cut of the film seeing a historical account of the conflict rather than that characters. The only characters that are really focused is within the love triangle which’s tolerated and not tested. Jeff Bridges is given a few scenes as John L. Bridges who protects Ella more than anything. The ending is probably my only major fault that never really says anything, asking more questions, whose the girl who sits before a very much hurt James who cannot seem to move on. Maybe this ambiguity that has allowed such respect to build up around this film that is unique from any other in the Western genre.
If we take only one thing away from this controversial landmark film it is the visual detail, the love devotion that goes into every scene, every frame even. We should forget about the controversy behind the film, the massive budget, the incredible number of takes. However it does mark the end of an era in Hollywood film-making, the loss of directorial control, the creative reins have been now pulled in considerably. We still get the rare film that from Terrence Mallick and Scorsese which has their stamp all over it. Now we have films that are generated out of successful franchises, reboots and superhero universes that are proven to make a massive box-office return. The studio has won out, thank god for the indie film.