Heat

Reality, morality, tragedy. There’s a synergy to this. Immediately Heat is instilled with the kind of boisterous, operatic energy that is a hallmark of its contemporaries. There is a strong confidence, backed up by competence, on display, from the stars to the cinematography. It’s impeccably structured and can at times feel like a textbook construction of a crime film, only in the most satisfying way. Perhaps this is only inevitable with it being the template for films of its kind to this day. On paper there’s so much I could criticise about this film. Somehow though, no amount of action movie clichés, misogynistic screenwriting and trite dialogue gets in the way of Mann’s tactful propensity for crime filmmaking. I also cannot credit Mann with inventing this brilliance, but he must be recognised for his ability to essentially encapsulate and initiate his own era of genre filmmaking. Heat is often imitated, but its success is rarely ever replicated. Perhaps best described as a cinematic Edison - an auteur behind an era of his own introduction. I have of course minor gripes with Mann’s choice of thematic preoccupations, and his execution of the climax, however these are nothing compared to the admiration I have to the film as a whole. You also cannot go without discussing the directors and the films that Heat has impacted, but there’s certainly no shortage of discourse surrounding that. One of my most favourite filmmakers, Nolan is perhaps the most widely cited. As someone who unfortunately isn’t a big fan of particularly The Dark Knight, and to a lesser extent, Rises, the influence is obvious. Unsurprisingly, beyond the Hong Kong setpiece in the former, I’m pleased to say that I can see how every element I did like were clear Mann homages. But likely the greatest lesson Nolan has learned from Mann is how to be an awful screenwriter when it comes to developing female characters, which gives me a good laugh from time to time. Undeniably, the sheer magnitude of cultural and cinematic influence this film has achieved is insane. Incredibly engaging cinematography that is a harsh reminder of a certain unique textural composition, and dynamic quality to the camerawork missing from the blockbusters of today. Every bit of gunfire a deeper reverberation, every location an institution. And despite its self-seriousness, it’s also just so remarkably goofy, moody and brooding in all the best ways, which is so irresistible. Has a lot of melodrama and levity in equal measures. And it never feels too forced by my metric. Of course, despite this film’s popularity, there’s a fair number of detractors who see this as egregious, and are puzzled by its reverence, but I can’t blame them. I can relate with my take on The Dark Knight films. Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner. I’m as simple man, Heat in 35mm is practically essential viewing, and there is little more I could ask for, folks. A night I will remember for a very long time. Still can’t get that hypnotic ending out of my head - impeccable work from Moby and the Kronos Quartet (the latter, who would go on to achieve further acclaim for their Requiem For A Dream piece). Told you I’m never going back.