Heat (1995)
Heat is an ultra stylish thriller directed by Micheal Mann. It stars Al Pachino and Robert De Niro beside an incredible ensemble cast. It is essentially a ‘cops and robbers’ story reinvented and woven expertly by Mann into a slick genre defining crime caper.
Set in Los Angeles, Mann portrays the city like never before. If L.A is pivotal to classics such as ‘Chinatown’ or ‘L.A confidential,’ then the same is true with Heat. Mann provides us with vibrant locations, from beautiful cityscapes off sunset boulevard to a genuine illegal cock fighting ring and of course downtown
L.A where the films fantastic shootout takes place- which is pretty much unparalleled in modern cinema. (Interestingly US Special forces show the shootout during basic training).
Like some of Mann’s previous work such as The Last Of The Mohicans the cinematography is at times stunning. The helicopter and LAX sequences are of particular note. Lighting is also an important aspect of the movie with the films palette consiting of mostly grey and light blue tones similar to Mann’s ‘Manhunter’ except it’s used to greater effect here. one scene in particular is shot with De Niro’s character looking out to sea from his bay window, with blue tint used to reflect De Niro’s sombre mood.
The movies score is a percussive avant-garde collection not unlike some of Mann’s other movies. It changes with the mood of the film with tribal drums punctuating the action. Particularly powerful is Moby’s contribution to the score, his song ‘God moving over the face of the waters’ adds to a moving and surprisingly poginant ending as the two leads are immortalised on screen.
Arguably the films most anticipated moment is the coffee house scene where for the first time in movie history De Niro and Pachino lock horns in what turns out to be an acting masterclass. The scene is shot along the axis of action using two cameras shooting over the actors shoulders. It is shot very subtly unlike the big showdown one might have expected from these two legends first on screen meeting together. What we get instead is sharp dialogue punctuated by loud silences and intence stares. Its clear the two charaters are comfortable with each other while discussing their dreams as they become physiologically intimate. De Niro in particular is incredible and his line “I’m never going back” in reference to returning to jail, resonates in the latter part of the movie.
Of all the themes running through Heat the most prevailing is the thin line that exsits between what is right and what is wrong. During the film this line is often blured with the viewer empathizing with the more sinster characters at times. It is in the complexities of the often strained relationships Micheal Mann has created that our sympathies waver between the charcters and it is these complexities which make Heat an enduring masterpiece.
10/10

