Heat: All Style, All Substance
HEAT: All Style, All Substance
There’s a lot to be said about Michael Mann’s 1995 thriller epic, Heat. The first, and most discernible is the look and feel of the film which although released in 1995, has the aesthetics to suggest it was released last week. Nearing its 28 year anniversary and ageing like a fine wine, its influence on cinema is still apparent almost three decades later.
Heat is a rare film, a solid story throughout keeps the viewers glued to the contemporary cinematography, dripping artistic style and dense character development. Based on the true story of, Neil McCauley, a real life criminal who was ultimately brought down by a determined cop in 1960’s LA. Heat was prefaced by L.A. Takedown, a straight-to-TV carnation of Heat, which was used as a launchpad for the movie we know today.
Still from L.A. Takedown, dir. Michael Mann (1989)
Originally written in 1979, Heat would not emerge for over another decade, with Mann working with the real life Neil McCauley, who stood in as a consultant on the film. It was welcomed to critical and commercial success, however evaded any serious award acknowledgements. It was also unfortunately successful at inspiring a string of inspired crimes, very much influenced by the action in Heat.
“Heat was always a highly structured, realistic, symphonic drama.”
The hyper focus on realism becomes the defining characteristic of Heat. Within the first few moments of the film, it’s apparent that realism is at its core. Scenes like the daylight shoot-out have become examples of the visceral action and realism. Add that to the filming that took place in over seventy authentic locations in L.A with the crew having received gun training to ensure the authenticity of handling the weaponry and with each shot fired. and the crew all had gun training, ensuring each shot was as authentic as possible.
(left) Still from Heat, dir. Michael Mann (1993), (right) Image of Alex Coville’s ‘Pacific’ (1967)
Ultimately, Heat became the ultra-stylish, genre-defining thriller of the mid-90’s and not just for it’s visual contributions, but for the slick soundtrack written by Elliot Goldenthal. A lush synthesiser opens the score wide, while an electric guitar chugs along in the background; a testament to the grubby, not-so-romantic side of L.A. and the criminal underworld that seeps into everyday life.
“All I am, is what I’m going after”
The score explores the cognitive dissonant present in Heat, i.e. the believer vs the realist; or, what we want vs who we are. While Neil has the very quotable rule to live by,
“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.”
Vincent, on the other hand relishes in the pain of being a police detective and does so in a sort-of masochistic martyrdom.
“I preserve it. I need it.”
Heat explores these internal conflicts, the differences between its two lead characters and the dynamic, contra-punctual nature of the relationship.
The audio and visual are intricately linked, focus and light play a big part in the thematic foundations of Heat. Despite the wide angle lenses, the close ups feel crammed and the background; a wash of blobby colours, skylines or distractions. The shots of DeNiro in the hospital in the opening moments, features a synthesiser washing over this dreamy, L.A landscape. Like aperture, the audio shifts focus from the background to the foreground; non-diegetic score to diegetic sound design.
The cafe scene is a powerful moment demonstrating the complexity of Neil and Vincent’s relationship. Neil admires Vincent's dedication and professionalism, while Vincent recognises Neil's skills and intelligence. The scene explores what they have in common; that both are men driven by their passion and willingness to make sacrifices for what they believe in.
Thematically speaking, it is the intersection of realism and conflict. Like yin & yang, they compliment each other at the crossroads as two men at the top of their professional game, when it’s all stripped back, they are just the same when it comes down to love and life. They can’t make sense of that world, but in the world of cops and robbers, they find comfort in each other where they couldn’t in their relationships.
Still image of Robert DeNiro and Al Pacino as Neil McCauley and Vincent Hanna, respectively, from Heat, dir. Michale Mann (1993)
During the first half of Heat, Neil and Vincent compliment each others opposing energies, and beneath the surface we can see that neither are happy and both of them are seeking for happiness in the wrong place.
We begin to question, who is the real hero and who is the real villain. It’s now apparent that Neil and Vincent are the opposite but the same. The lines start to blur again, a convergence and divergence. We share the moment where the men are reacting to each other sharing confessions, advice and threats. The audience is left to wonder, why these mean do the things they do, particularly when it’s bad for them?
The scene is a masterful piece of filmmaking showcasing the complexity of the main characters, their motivations and demonstrates the mutual respect and understanding that exists between Neil and Vincent, despite their opposing roles in the criminal justice system.
Ultimately, the scene plays beautifully as a masterclass of pacing, acting, thematic development meeting at the intersection of storytelling and style. Neil and Vincent are flawed but genuine with everything to gain and everything to lose, the consequences are real.
Annotated Script for the cafe scene in Heat, dir. Michael Mann (1993)
When Neil and Eady pass through the blinding white tunnel towards the climax of Heat, there is a moment that seems to hang in the air. A decision where Neil figuratively and literally passes the light at the end of the tunnel, only to decide to seek his final revenge instead of leaving his old life behind.
During the final act on the airstrip, the aeroplane lights pass Neil and Vincent, briefly washing over them. Neil on the back-foot, is in the dark and hiding, whereas Vincent is clear and focussed.
The film comes to a close as we are left with one last moment between mutually respected professionals. Where they couldn’t find understanding in their lives, they found it in each other competing against their equal - a counterpart that only you can understand. Vincent holds Neils hand in bittersweet victory, but with appreciation for the other valiantly fighting for what they want and comforting them on the way out.