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Heaven's Gate (1980)

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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.

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2,928 ( 247)
Nominated for 1 Oscar. Another 2 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
... James Averill
... Nathan D. Champion (as Chris Walken)
... William C. Irvine
... Frank Canton
... Mr. Eggleston
... Ella Watson
... The Reverend Doctor
... John L. Bridges
... Maj. Wolcott
... Mayor Charlie Lezak
... Trapper Fred
... Cully
Rosie Vela ... Beautiful Girl (as Roseanne Vela)
Mary Catherine Wright ... Nell (as Mary C. Wright)
... Small Man
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Storyline

Wyoming, 1890. James Averill is the Sherriff of Johnson County, a county largely inhabited by foreign immigrants. The wealthy cattle owners view the immigrant farmers as a nuisance and hindrance to them enlarging their own land. The cattlemen's association, the Wyoming Stock Growers Association, effectively declares war on the immigrant farmers, and gets the state government's blessing. They assemble an army of guns-for-hire, and, backed by US cavalry, set out to rid the state of the immigrants. James Averill's heart is with the immigrants but he is not sure they have a chance of winning the inevitable war. Written by grantss

Plot Summary | Plot Synopsis

Taglines:

What one loves about life are the things that fade. See more »


Certificate:

R | See all certifications »

Parents Guide:

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Details

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Language:

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Release Date:

19 November 1980 (USA)  »

Also Known As:

Michael Cimino's Heaven's Gate  »

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Box Office

Budget:

$44,000,000 (estimated)

Opening Weekend USA:

$12,032, 19 November 1980, Limited Release

Gross USA:

$3,484,331, 31 December 1981
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

(1981 re-cut) | (original cut) | (2012 director's recut) | (rough cut)

Sound Mix:

(35 mm prints)| (70 mm prints)

Color:

Aspect Ratio:

2.39 : 1
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Did You Know?

Trivia

Before Michael Cimino showed the work print version to United Artists executives, he said it was very long, and that he could cut fifteen minutes. He was right about its length. It turned out to be five hours and twenty-five minutes long (the length of two or three individual movies). See more »

Goofs

When Ella Watson sees her birthday present, only one of her breasts is covered by the blanket wrapped around her. Whilst the shot cuts between her and Jim, the breast that is uncovered changes repeatedly between shots. See more »

Quotes

Frank Canton: If we fail, the flag of the United States will fail.
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Soundtracks

An der schönen, blauen Donau (On the Beautiful Blue Danube), Op. 314
(as "The Blue Danube Waltz")
Music by Johann Strauss
Performed by Leonard Bernstein and the New York Philharmonic (as The New York Philharmonic Orchestra)
Waltz danced on the lawn and heard as a theme
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Frequently Asked Questions

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User Reviews

 
Curate's Egg of a movie
28 January 2005 | by See all my reviews

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.


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