Paraíso

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.

Tykwer once gave us the kinetic, frantic styling of "Run Lola, Run", a tale that's all about movement. His approach to "Heaven" is quite different however, parts of the film being almost like a meditation and relying necessarily on a still and collected aura. Visuals are important all the same, though, since there isn't much exposition in the dialogue. What talking there is is made up more of imperatives and sharp, harsh sounds. The transition of moods is conveyed to us largely using silence and the picture we see on screen, so our two leads have to be expressive, and Blanchett in particular expertly generates empathy for her character, with minimal fuss.

Coming to the experience of watching this film knowing as little about events as possible is vital, I think. The film entranced me from its first unusual shot, and it was difficult to reflect too long on individual instances because the telling is so seamlessly smooth in its moment. For some watchers, this will marry perfectly with how they like to take in art, but I myself admit to preferring standout scenes that I'll remember, rather than preserving the unity of the piece as a whole. I was raised as a 'style over content' man and unfortunately it must be ingrained within me now, despite having broadened my tastes as I grew. That would explain the comparatively low rating for a film I have otherwise praised, but at least I found the unusual story to be a joy and appreciated what I saw as the film's underlying ethos. To wit:

... that the consequences of what must be irreversible decisions are inevitable, but that is not to deny an uplifting element that can also coexist alongside. Even at the height of despair and utter nihilism about life in general, she's still able to find a kind of solace in the company of someone who will sacrifice himself for her, unconditionally. Even at your darkest, somehow support will always be available, somewhere. I find that to be a rather comforting and positive notion.

It's like life, sooner or later an ending will be met, but what's important is to seize the little moments of happiness and peace where you can.

The framework of the story overall might have been depressing, but it's an important message, and I enjoyed seeing it play itself out. The form of presentation is regrettably one to which I'm not properly accustomed, so I doubt I got the best out of it, but nevertheless I still have to say it proved to be remarkably memorable and moving.

Cate Blanchett is Philippa, an English teacher who plants a bomb in an office. She wants to kill the boss there because he is a drugdealer and because his fault children died. The boss is not killed, four innocent people are, including two children. In jail she is interrogated and a translater named Filippo (Giovanni Ribisi) falls in love with her and helps her. I will not reveal with what exactly or how he helps her but the woman will have the chance to pay her dues on her own way.

The story set in Italy (Blanchett and Ribisi speak perfectly Italian in the movie) is a beautiful, tragic and intelligent one. The cinematography is great. Together with the music the film takes it time and doesn't rush things. It makes the movie, with a lot of symbolism, even more beautiful. Very interesting, written by the late Krzysztof Kieslowky (writer/director of Dekalog and Trois Couleurs) and Krzysztof Piesiewicz and directed by Tom Tykwer (director of Lola Rennt). Ribisi is very good and Blanchett is great.

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.

"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.