Heaven

Quite a few people seem to think Tykwer's last 2 films (Heaven and The Princess and the Warrior) are pretentious, and I suppose I can see what they mean. Still, I have to disagree. I'll take Tykwer's abstract, philosophical, but admittedly flawed films over most of the over calculated, manipulative and cold stories that are so common.

I just have to respond to some of the comments that have been made about "Heaven."

"The central story of intrigue and suspense is completely supplanted." "Heaven" is *not* about intrigue or suspense. So that "central story" is not supplanted at all.



"An Overrated Movie With a Bad Screenplay and a Ridiculous End" You're taking the end literally? Well, of course you think it is ridiculous.



My point is, I can understand people not liking this film. It is definitely not for everyone. The problem is, many of the reasons given for not liking it show that the posters just aren't getting what the point of the film really is. I suggest some of them watch it again and let go of what they think should happen and judge it by what actually does happen.

So here we have a woman, Philipa Paccard (Cate `Fellowship of the Ring' Blanchett). She's out to kill a drugs lord, who indirectly caused her husband to die. She wants to blow him to bits, but her bomb ends up killing four innocents. Now she merely wants to finish her revenge. but imprisoned she'll need help. Enter young guard, Filippo (Giovanni Ribisi).

Hmm. you see once you've got the plot. the movie doesn't go anywhere. It's a thriller/revenge story. and then it tries to morph into a love story. It's aimless though, a headless chicken of a beast, crashing about the place and circling all around itself (thematically). Character's motivations shift without any real good reason given (Blanchett wants to own up for her crimes, and then does not. Why?) The characters are grand enough but the relationship between Ribisi and Blanchett is entirely unconvincing - it's portrayed more as a kid crush that Ribisi has. This is the movie's biggest flaw - it's not going anywhere and ends up crashing (perhaps the opening sequence is a meta commentary on how the plot drives itself into a nothing of a dead end). It's not like that it's boring, it's more you're left at the end going, `Well what was the point of all that?' That's not good.

Acting? Blanchett is an acquired taste - very subdued, much more sublime than a lot of other Hollywood faces. Here it suits her fine - she's a tired, defeated woman, with a small bit of steel still inside her. She does tend to drift through the movie a bit, as if not really sure how to grasp her character. Ribisi again is good, although a bit too fresh-faced to carry any real chemistry with his co-star. At least he gets to talk, for a large bit, in a language other than English.

So is there anything to redeem this? Yup - the photography. Mmm - tasty! Director Tom Tykwer has some utterly wonderful shots - check out the gorgeous train motion shot, or the simply stunning twilight embrace later on. There're also some superb aerial and isometric shots. It's great for setting the atmosphere and distracting you from the aimless, drifting plot. It's all accompanied by a simple but pleasing musical score - basic piano, but mood setting without being distracting. The movie is also not too long so it doesn't overstay its welcome (so you do not become too irritated with its lack of focus).

`Heaven' is, if nothing else, a breath of fresh air. It looks great, has a nice and sedate pace that is too often lacking in the flash/bang of the modern flick. The weak script means it cannot be anything ever great, but its worth a perusal if you fancy a change from the mundane. 6/10.

This is an unusual film, start to finish, particularly finish. Why? Because......

It's a suspense film but not all that suspenseful, especially in light of today's bloody action scenes.

It has an ending that is not really an ending.

It's not listed (or categorized at rental stores) as a "foreign film" but much of the movie is spoken in Italian.

In other words, this is hard to label. Throw in an odd romance, some spectacular Tuscan scenery (actually wonderful cinematography all the way through), a slow-moving but involving storyline and one of this generation's most-interesting actresses (Cate Blanchett) and you have a film worth investigating.

A word of warning, especially to younger people: this film might be too slow for what you are used to seeing. If you want action, skip this. This film is more for people into visuals and a different story. Subtitles also turn off a lot of people, and you need them here.

As someone who just loves great visuals, this is an astonishing piece of work - just magnificent to view. I also appreciated the director's "sky cam" with some wonderful aerial shots.

The "R" rating comes from a very, very brief sex scene, which doesn't involve the major characters. There is almost no profanity in here. A strange film to label but it sure is a visual treat. I liked it even more on the second viewing

"How high can I fly", is the question Filippo (Giovanni Ribisi) asks during a helicopter flight simulation at the onset of Heaven, the latest film by Tom Tykwer, a question that does not become relevant until the end. Heaven raises the question of ends and means, specifically -- does a worthy end justify unacceptable means? It explores the answer in what is essentially an allegory about responsibility, transformation, and transcendence. Heaven was to be the first part of a trilogy by the late Polish director Kristov Kieslowski called Heaven, Purgatory, and Hell. Kieslowski, however, died in 1996 and was unable to complete it and the task of completion was given to Tykwer. Heaven merges the technical, fast-paced prowess of Tykwer with the slower-paced sublime poetics of Kieslowski and the result was, for me, a strange but deeply spiritual experience.

In Turin, Philippa Paccard (Cate Blanchett) an English teacher attempts to get even with an Italian drug dealer who caused one of her students to commit suicide. In trying to destroy what she perceives to be evil, she plants a bomb in his office wastebasket but the plan is thwarted and she inadvertently kills four innocent people in an elevator. Meanwhile, the drug dealer, Vendice is not harmed. Later when Philippa realizes the consequences of her actions and breaks down sobbing during an interrogation, she is comforted by carabinieri, Filippo (Giovanni Ribisi), who is in the room as her translator (she insists on testifying in English). Filippo is deeply attracted to the defendant and believes in her innocence. Together they formulate an escape that leads them to another act of revenge and finally into hiding in the Italian countryside where they become fugitives in the town of Montepulciano.

The film then shifts from a gritty reality-based drama to a dream-like poem about lovers on the run. Contrary to what one would expect, the lovers are totally calm and peaceful and resigned to their fate. The countryside where they are hiding is bathed in a glow that soaks everything in an ethereal light. Looking like innocent children out on a Halloween night, Philippa and Filippo identify with each other by shaving their heads and wearing identical clothes. The cinematography is wondrous. One of the most beautiful scenes is a faraway shot of the horizon and two shadowy figures coming together in silhouette next to a huge tree. I will never forget the radiance of Blanchett and the beatific look of love on the face of Ribisi.

On the surface, Kieslowski seems to be telling us that we are at the mercy of a capricious universe. We try to do good and we end up doing wrong. We have excellent plans but do not foresee the consequences. Underneath this, however, is Kieslowski's vision that everything happens for a purpose, one that only God is aware of. There is little dialogue, only hushed silence and passionate glances. "Heaven is about silence," Tykwer tells The New York Times. "But all the silences have ten layers".

The film to me does not justify criminal acts. Rather, it says that while some of us may commit acts that are reprehensible no matter how worthy our motives, all of us can ultimately achieve transformation. As director Tom Tykwer put it, `The film (Heaven) is …about redemption, basically the concept that love can help us find our true perspectives and our true meanings. This is not about God being somewhere else, but in ourselves and what a gift that is." In an ending that is transforming for both the characters and the viewer, the two lovers take responsibility for their actions and surrender, in Beckett's phrase, to "the benign indifference of the universe". The meaning of the opening helicopter scene then becomes clear in an ascending epiphany of grace.

A gorgeous film, start to finish. Within ten minutes you'll know your in the hands of a real talent. By the middle you'll be hypnotized. It's ravishing and beautiful.

And yet it's not all soppy. The whole point of seeing this film isn't pretty pictures, but a slowly evolving story and relationship between two people caught in a hellish situation. That it's gorgeous, fascinating, and spell-like all in one is just part of the treat.

I've seen other posters here complain that the direction of this film isn't in the tradition of "Three Colors" or other of Krzysztof Kieslowski's work; as if, because the story is based on one of his ideas, the follow-through had to be some sort of homage. That strikes me as totally irrelevant. The idea came to other hands, who made a film according to their own lights. There's no need to compare what-might-have-beens. This is a beautiful, transcendent film. See it.