Heaven's Gate (1980)

A dramatization of the real-life Johnson County War in 1890 Wyoming, in which a sheriff born into wealth attempts to protect immigrant farmers from rich cattle interests.

Director:

Michael Cimino

Writer:

Michael Cimino

Stars:

Kris Kristofferson, Christopher Walken, John Hurt

Nominated for 1 Oscar. Another 1 win & 5 nominations.

Cast

Cast overview, first billed only:
Kris Kristofferson	...	James Averill
Christopher Walken	...	Nathan D. Champion (as Chris Walken)
John Hurt	...	Billy Irvine
Sam Waterston	...	Frank Canton
Brad Dourif	...	Mr. Eggleston
Isabelle Huppert	...	Ella Watson
Joseph Cotten	...	The Reverend Doctor
Jeff Bridges	...	John L. Bridges
Ronnie Hawkins	...	Major Wolcott
Paul Koslo	...	Mayor Charlie Lezak
Geoffrey Lewis	...	Trapper Fred
Richard Masur	...	Cully
Rosie Vela	...	Beautiful girl (as Roseanne Vela)
Mary Catherine Wright	...	Nell (as Mary C. Wright)
Nicholas Woodeson	...	Small man

Storyline

Michael Cimino's bleak anti-western based on events in 1890s Wyoming. Sheriff James Averill attempts to protect immigrant farmers from wealthy cattle interests, and also clashes with a hired gun, Nathan Champion, over the woman they both love, Ella Watson. Both men find themselves questioning their roles in the furious conflict between wealthy landowners and European immigrants attempting to build new lives on the American frontier, which culminates in a brutal pitched battle.

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Plot Keywords:

immigrant | battle | frontier | 1890s | love | 

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Taglines:

What one loves about life are the things that fade.

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Genres:

Drama | History | Romance | Western

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Certificate:

R

Details

Country:

USA

Language:

English Russian French

Release Date:

19 November 1980 (USA)

Also Known As:

Michael Cimino's Heaven's Gate

Filming Locations:

Blackfeet Indian Reservation, Montana, USA

Box Office

Budget:

$44,000,000 (estimated)

Gross:

$1,500,000 (USA)

Company Credits

Production Co:

Partisan Productions

Technical Specs

Runtime:

219 min 149 min (re-cut) 219 min (original cut) 216 min (2012 director's cut)

Sound Mix:

Dolby (35 mm prints) 70 mm 6-Track (70 mm prints)

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

During one of the scenes Allen Keller was injured when the Sharps Buffalo Rifle he was issued to use exploded. He later sued the company that provided the firearm, Stemburgen Gun Rentals, but he waited until 1986 to do it. By that time, the statute of limitations in Montana had run out.

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Goofs

The pool table over which James and Nathan had their defining discussion in the landowners' club, is a Brunswick Regina model, which was produced between 1922 and 1925 - over 30 years after when the scene was set.

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Quotes

Frank Canton: Mr. Champion, my grandfather was the Secretary of War to Harrison. His brother was the governor of the state of New York. My brother-in-law is Secretary of State. And to you, I represent the full authority of the government of the United States and the President.
Nathan D. Champion: Fuck him too.
Billy Irvine: Bravo, sir!

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Connections

Referenced in Modern Romance (1981)

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Soundtracks

"An der schönen, blauen Donau (On the Beautiful Blue Danube), Op. 314"
(uncredited)
Music by Johann Strauß
Waltz danced on the lawn

User Reviews

Curate's Egg of a movie

I've been a fan of Heaven's Gate since its first release. I've seen it at least half-a-dozen times and have long thought of it as a masterpiece. So, it was with excitement and a sense of anticipation that I took myself off to see the restored director's cut.

To my surprise, I was disappointed on seeing it again and have since revised my estimation of the film. Heaven's Gate touches upon greatness in parts, but overall, lacks the thematic and narrative consistency and the passionate urgency characteristic of a truly great film.

Firstly, two technical problems: The sound quality is diffuse throughout the film, verging on inaudibility at times. Some of this, perhaps, is intentional - a way to mimic the chaos and confusion of history as it is unfolding. But at key points, one is unable to register what it is the characters are saying.

The cinematography is similarly diffuse. The images lack sharpness and particularity of detail. The result is a certain graininess and lack of pictorial sharpness which succeeds in blurring foreground and background.

Structurally, the narrative is off-key throughout, as if Cimino can't quite make up his mind as to the effect he is after. He wanted an epic, for sure. But a pastoral or dramatic epic? The film sits uneasily and unconvincingly between styles, and perhaps even genres. At times it reminded me of Terrence Malick's 'Days of Heaven' or even 'Elvira Madigan' in its languid pace and elegant scene painting. At other times it threatens to turn into a robust 'western' more akin to 'The Wild Bunch'. In fact the latter film offers an instructive reference point for an assessment of 'Heaven's Gate' as it shares the same period concern and employs a similar tone of ambivalent nostalgia for a darker yet more heroic America.

This structural and thematic uncertainty isn't helped by the poor-quality script which often sounds forced and jarring to the ear. The result is an inauthentic sense of period speech.

The near-greatness of Heaven's Gate resides in its set pieces. The roller skating sequence, in particular, is astoundingly beautiful, one of the most evocative scenes ever put to film.

Another set piece which works very well in terms of unifying theme, mood, and setting occurs when Kristofferson and Huppert go riding in the new rig to the lake and she washes herself while he naps in the shade. The languid pacing, evocative music and monumental scenery combine in this scene to convincingly portray the love story which might just lie at the heart of the film - and which could have been its saving grace if pursued more convincingly.

Some critics have complained about the length of the film. This in itself doesn't bother me. A good film can't be long enough. The restored minutes are critical in restoring the motivation and characterization absent from the cut version, and they are full of pictorial interest.

Perhaps the chief glory of Heaven's Gate lies in the achingly evocative soundtrack. The repeated waltz motif and its different scorings throughout(full band, guitar, solo fiddle etc,)lends a haunting quality to the foreground action and establishes a thematic consistency lacking in the narrative itself.

Despite its obvious flaws, most notably the absence of a compelling narrative, there is a sense of grandeur about the film. One leaves the cinema with a rueful sense of missed greatness and a wish that Cimino could revisit the film -with the wisdom of time and hindsight, to put right what is so badly amiss.