Heat (1995)

Regisseur:

Michael Mann

Drehbuchautor (WGA):

Michael Mann (written by)

Premierendatum:

15. Dezember 1995 (USA)

Genre:

Action | Krimi | Drama | Thriller

Werbezeile:

A Los Angeles crime saga.

Plot:

A Los Angeles crime saga, "Heat" focuses on the lives of two men on opposite sides of the law - one a detective; the other a thief.

Plot Keywords:

Shoot | Money Laundering | Bank Robbery | California | Criminal Mastermind

Filmpreise:

6 nominations

Nutzerkommentare:

The best character film of all time.

US TV Schedule:

Mon. July 21

2:30 AM

TNT

Besetzung

Al Pacino	...	Lt. Vincent Hanna
Robert De Niro	...	Neil McCauley
Val Kilmer	...	Chris Shiherlis
Jon Voight	...	Nate
Tom Sizemore	...	Michael Cheritto
Diane Venora	...	Justine Hanna
Amy Brenneman	...	Eady
Ashley Judd	...	Charlene Shiherlis
Mykelti Williamson	...	Sergeant Drucker
Wes Studi	...	Detective Casals
Ted Levine	...	Bosko
Dennis Haysbert	...	Donald Breedan
William Fichtner	...	Roger Van Zant
Natalie Portman	...	Lauren Gustafson
Tom Noonan	...	Kelso

Alternativ:

Heat (Österreich) (Deutschland) [de]

MPAA:

Rated R for violence and language.

Länge:

171 Min | USA:188 Min (original pre-aired NBC version)

Produktionsland:

USA

Sprache:

Spanisch | Englisch

Farbe:

Farbe (Technicolor)

Seitenverhältnis:

2.35 : 1

Tonverfahren:

Dolby Digital | SDDS

Altersfreigabe:

Singapore:NC-16 (DVD rating) | Iceland:16 | USA:R (certificate #34160) | Philippines:R-18 | Brazil:14 | Belgium:16 | Singapore:R(A) | Argentina:16 | Australia:MA | Canada:18A | Chile:14 | Denmark:16 | Finland:K-16 | France:U | Germany:16 (bw) | Hong Kong:IIB | Ireland:15 (re-rating) (2005) | Ireland:18 | Japan:PG-12 | Netherlands:16 | New Zealand:R16 | Norway:18 | Portugal:M/16 | South Korea:15 | Spain:13 | Sweden:15 | UK:15

Drehorte:

444 S. Flower Street, Downtown, Los Angeles, California, USA

Firma:

Warner Bros. Pictures

Dies und das:

Amy Brenneman disliked the script and didn't want to be in the movie, saying it was too filled with blood with no morality. Michael Mann told her that with that mind-set she would be perfect for the role of Eady.

Pannen:

Crew oder Equipment sichtbar: The Steadicam operator's legs are reflected in the car doors following Chris's movement when he runs by a green car during the shootout.

Dialogzitate:

[first lines]
Construction Clerk: Check, charge, or cash?

Bezüge zu anderen Titeln:

Ausschnittsweise enthalten in The Perfect Score (2004)

Soundtrack:

God Moving Over The Face Of The Waters

The best character film of all time.

Sound like a bold statement? Devotees of classic cops and robbers flicks of old will no doubt take exception, but I believe that Michael Mann achieved some measure of perfection with Heat. To break this three-hour gem of a film down to its core, this is a film about men - strong men - and the supporting role that he women of the film have on them for better or worse. Take Pacino as good cop Vincent Hanna: one of the most intense characterizations of the tragic hero that I have ever witnessed, as he laments the demise of his third marriage to a pill-junkie wife. A fact which he discusses with his archnemesis (De Niro) in what history will regard as one of the most frenetic scenes in the history of film. The dialogue in this scene (at the very end of the first tape, if you own the VHS version) sets up the last half of the film beautifully, as our two rivals come to the joint realization that they have no hand in choosing the paths that will lead them to their ultimate confrontation: their very natures so define their respective actions that any attempt to do otherwise would simply be a waste of time. While I have heard others (who I am ashamed at times to call close friends) say that Heat drags in places, I will concede that there are moments in the film that require more than the cursory attention that they give to the movie they happen to be watching at any given time (I'm sorry not every director is Jerry Bruckheimer), there are poignant developments of character in Heat that many would casually disregard. I am thinking of the interaction between the ex-con who finds conditional employment in a diner with an opportunistic scum of a boss, and whose girlfriend is so proud of him for swallowing his pride and not simply giving the sonofabitch a good pummeling. But there is a catharsis that I felt for that same ex-con when De Niro's character presents him with the opportunity to take just one more score, for old time's sake. Who doesn't feel for this guy - this minor character in a film with big-time heavyweights who gets to shine for a few brief moments. That's what Heat is really: a series of brief moments, some touching, others traumatic, and still others incredibly horrifying in the feelings that they inspire in the romantic who, like me sees not black or white portrayals of protagonist and villain, but a montage of grays that combine to create a vivid spectrum of film characterization that could not be found in hundreds of films combined. One of my five favorite films of all time, Heat is a cinematic banquet of intense imagery and pulse-pounding action. Come hungry.