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Heaven ... wow (1 Viewer)

Seth Paxton

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It finally opened here. Frankly I was too exhausted at the time to fully appreciate it (going on a few hours sleep at the time).

However, one thing stands out for me. Tykwer's direction is still solid as a rock. I've heard "matured" and others say "RLR was a 1-hit wonder". Neither statement is remotely true IMO.

Certainly going from RLR he seemed to intentionally slow his tempo way down as if to prove himself on Princess/Warrior, but other than that the trademarks of his style still came through. Here again they remain quite evident.

1 - He likes lingering takes. The length of the final shot here is remarkably similar to the final pull-out shot of P/Warrior.

2 - The thoughtful overhead shot of a city, in tone it exists almost identical in P/W as it is used here in Heaven.

3 - Smooth camera movement, often subdued but always with a nice flow (tracking and panning together much of the time) is highly coordinated with the mise-en-scene. In Heaven I can think of one scene where we leave a telephone ringing and slow track and pan to the person we know is going to answer it.

There are other moments that feel quite "Tykwer" in visual style.

It's also quite amazing how much this film fits with his other work, despite it being the script of another filmmaker who might appear to have had different tones to his work.

Once again we have star-crossed lovers who bring luggage to the relationship. Much of the "courting" period is more about sorting out their emotional/moral issues. I couldn't help but be reminded of the couple leaping from the building hand in hand in P/W as I watch the pair here make a mad dash for a helicopter. Certainly the scenes each have that "forget the world we have each other in this moment" emotions to them.


I would not use Run Lola Run as your basis for liking this film. Instead I would consider it much closer in feeling to Princess and the Warrior, though I think RLR and P/W are actually rather close as well.

It's funny to read so many reviews that think Tykwer is all about chance or something ("until now" they say), when to me it felt much more like he used chance in his last 2 films to deliver the stronger message of the lovers coming together.

After all, what would RLR be without those interludes between the lovers discussing their relationship via flashback at the "moments of death"? That's where the real development of character comes from in that film.

Of course in P/W each character's issues are much more in the open and are clearly the central focus of the film, not some sentiment on chance altering their lives.


9 of 10 at this point, only because Tykwer might play it a bit too dry at points. Hard to say though because this film appears to offer a lot more than I was able to walk away with in one sitting. I will say it's not a good film for those low on patience when it comes to soft and slow films.


PS - this film also gave me a strong "1984" vibe. A rendezvous in a forgotten attic, an escape to the countryside, the interrogation. It's not really the 1984 story at all, just something that struck me as similar is all.
 

JohnRice

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I just watched Heaven. Thanks to Steve Gon for the recommend.



I'm completely floored. I'm not really sure what I just saw, but it was stunning. It seems my jaw just hangs there whenever I am watching Cate Blanchett, and I agree Ribisi seems to be an unrecognized talent. I was very happy to hear him finally dispense with his usual nasal voice, which I always found very distracting.

Aside from that, Heaven is a remarkably abstract, ponderous, ambiguous and pensive film. I expect it will only appeal to a small percent of people, but for those it will truly shine. Phillipa's (Blanchette) "confession" scene absolutely cut through me, as I expect it will for some others. That is one of the most pure, passionate, literate, cinematic moments I think I have ever seen. The final five minutes or so are completely surreal as well.

If someone posted a synopsis of this film, it would sound so absurd, I think everyone would laugh. It is remarkable to me how it was translated so well onto film.
 

Nick C.

Second Unit
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Dec 27, 2001
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from some articles and Tykwer interviews, it appears Kieslowski et al had only completed the Heaven script before passing, so that's a shame, on both ends...

for those interested in Potente, she co-starred in the soon to be released (video-only? late September) romantic comedy/coming of age story "All I Want" with Elijah Wood
 

David Wilkins

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I had the pleasure of watching this amazing movie earlier today, and I can't get the spare, haunting piano theme out of my mind. I'm not the sharpest tool in the shed, so I can't quite decide or figure out from reading the credits, whose music it was, or the particular piece of music.

Can anyone out there help to inform this particularly challenged lover of film?
 

JohnRice

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David, off the top of my head, it was by a (I believe) German composer. It is also in the film Mother Night, directed by Keith Gordon, so by looking at imdb for the same composer in both films, you should be able to find it.
 

Nathan V

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That's Arvo Part. It's on a CD called Alina (sometimes Fur Alina). It's also in Van Sant's Gerry. Fantastic stuff. I agree about the quality of the film too.
Heaven is very impressive.
:D Well, put, Roland. I hope you're right! :)
Regards,
Nathan
 

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