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Writer-Director Michael Mann’s 1995 Los Angeles crime saga, Heat, is perhaps his best film work. Without having to distress about niggling facts and sincere timelines to find in the intention (and cause critics to point them out) like in later films Ali or The Insider, this creative character-driven fragment of moviemaking mesmerizes through sizable lead and ensemble performances, direction, and storytelling. All three aspects work wonderfully in this yarn 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 epic evolves, are slice from the same cloth: professional and dedicated to their chosen crafts–to a fault. Everything revolves around their jobs and nothing gets in their contrivance, 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 legal nature with her wifely realization: “You don’t live with me, you live among the remnants of tedious 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 superb, skillful, and very risky (“At the fall of a hat, these guys will rock ‘n roll.”) . Which is also the dependable 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 “toddle out on in 30 seconds flat if (he) feels the heat around the corner.” Neil is the suitable antithesis for Vincent, but both will do whatever it takes to do what they do best. Eventually, both accept out about the other half-way through the yarn.
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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 effect to film. It’s not long, but it’s one of those powerfully level-headed scenes that resonates throughout the rest of the film. The irony of the position is that each recognizes themselves in the other…and bask in the professionalism they secure. Both, through their conversation, also are cognizant of the fact that each will establish the other down permanently, if need be. Some other reviewers have stated that is the only time they’ll piece the camouflage time in this movie. Not legal. Heat’s tense climax on the outskirts of LAX is another one of those enormous film scenes. Mann skillfully brings their saunter and relationship to a poignantly racy stop.
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 estimable performances to an equally well written Michael Mann script. Filmed all over my hometown, and in some of the best and awful spots of Los Angeles, Heat makes ample spend of the locales with some breathtaking cinematography. It also has one of my all-time celebrated 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 titillating 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 sage crime tour de force, Heat is calm 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 acquire attractive resemblances to themselves. Vincent (Pacino) becomes obsessed in his case to support race the reality of his failing marriage, while Neil (De Niro) is a frigid, unruffled, detached and disciplined master thief who, with his skilled team (including Val Kilmer and Tom Sizemore) are planning a heist which will change everyone keen forever. This portrait of these people and their failing personal lives sacrificed for their obsessive careers makes Heat the best film to advance from Mann, and undoubtadly the best tall budget crime drama to advance 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 incandescent work. Truly a cinematic masterpiece. This original 2-disc Special Edition from Warner Bros. contains a enormous 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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