Heaven

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.

"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.

This is not an ordinary movie. Watching this film is like watching a poem. it is too bad that some reviewers here have to see everything in the plug and play mode meant for short attention spans. This is a work of art intended to be tasted, smelled, seen, and touched. It enlivens the senses, touches the heart, and moves you with little dialog. Blanchett doesn't have to speak. Her face tells the pain of her loss, her remorse for her actions, and her lack of relief from her revenge. Ribisi is stunning as the outwardly simple, infatuated boy-like man with subtly revealed inner strength and cunning. Sometimes it is nice to take a break from the usual fare and take a ride on a work of art. I loved this film and will watch it again.

for silence. for delicate story. for perspective of love, revenge, game with past and definition of truth. for images of Tuscany. for sky, romanticism, for Cate Blanchete and Giovanni Ribisi. for exploration of limits and special May 23, for masks of society, triumph of nuances, science of details, delicate touch, drawing of characters, heavy words, basic solutions, impression of fairy-tale or touching song, aura of things, looks and common pieces as parts of a puzzle who describes shadow of feelings. more than film - a meditation. or bitter way to understand reality more than a web without sense. a fascinating meeting with a fabulous mode to say the essential phrases.

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.