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Heat (1995) Online

Heat (1995) Online
Original Title :
Heat
Genre :
Movie / Crime / Drama / Thriller
Year :
1995
Directror :
Michael Mann
Cast :
Al Pacino,Robert De Niro,Val Kilmer
Writer :
Michael Mann
Budget :
$60,000,000
Type :
Movie
Time :
2h 50min
Rating :
8.2/10

A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist.

Heat (1995) Online

Hunters and their prey--Neil and his professional criminal crew hunt to score big money targets (banks, vaults, armored cars) and are, in turn, hunted by Lt. Vincent Hanna and his team of cops in the Robbery/Homicide police division. A botched job puts Hanna onto their trail while they regroup and try to put together one last big 'retirement' score. Neil and Vincent are similar in many ways, including their troubled personal lives. At a crucial moment in his life, Neil disobeys the dictum taught to him long ago by his criminal mentor--'Never have anything in your life that you can't walk out on in thirty seconds flat, if you spot the heat coming around the corner'--as he falls in love. Thus the stage is set for the suspenseful ending....
Cast overview, first billed only:
Al Pacino Al Pacino - Lt. Vincent Hanna
Robert De Niro Robert De Niro - Neil McCauley
Val Kilmer Val Kilmer - Chris Shiherlis
Jon Voight Jon Voight - Nate
Tom Sizemore Tom Sizemore - Michael Cheritto
Diane Venora Diane Venora - Justine
Amy Brenneman Amy Brenneman - Eady
Ashley Judd Ashley Judd - Charlene Shiherlis
Mykelti Williamson Mykelti Williamson - Sergeant Drucker
Wes Studi Wes Studi - Casals
Ted Levine Ted Levine - Bosko
Dennis Haysbert Dennis Haysbert - Donald Breedan
William Fichtner William Fichtner - Roger Van Zant
Natalie Portman Natalie Portman - Lauren Gustafson
Tom Noonan Tom Noonan - Kelso

Rather than dubbing in the gunshots during the bank robbery shoot-out, Michael Mann had microphones carefully placed around the set so that the audio could be captured live. This added to the impact of the scene, because it sounded like no other gunfight shown on-screen.

In an interview with Al Pacino on the DVD Special Edition, Pacino revealed that for the scene in the restaurant between Hanna and McCauley, Robert De Niro felt that the scene should not be rehearsed so that the unfamiliarity between the two characters would seem more genuine. Michael Mann agreed, and shot the scene with no practice rehearsals.

In June of 2002, the scene involving the shoot-out after the bank robbery was shown to United States Marine recruits at MCRD San Diego as an example of the proper way to retreat while under fire.

In the director's commentary, Michael Mann noted that Al Pacino ad-libbed the line "Because she's got a GREAT ASS!" and Hank Azaria's look of exasperated shock was totally genuine.

When Kevin Gage was imprisoned for two years in 2003, he was universally addressed by fellow inmates and prison guards as "Waingro", his character from this movie.

Filmed in sixty-five locations around Los Angeles, without a single soundstage.

In an early draft of the script, Vincent Hanna had a cocaine habit, which, according to Al Pacino, explains his bombastic outbursts.

The first film to feature Robert De Niro and Al Pacino acting together, which created much hype prior to release. They both starred in Krikštatevis II (1974), but never shared the screen together as the split chronology prevented this. When this movie was finally released, even its advertising material promoted the film as a De Niro and Pacino "showdown".

Waingro (Kevin Gage) is based on a real Chicago criminal named "Waingro", who ratted out some influential Chicago criminals. According to Michael Mann, Waingro went missing. His body was found in northern Mexico, where it had been nailed to the wall of a shed.

Al Pacino and Robert De Niro were Michael Mann's first choices for Hanna and McCauley.

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.

For the restaurant sequence where McCauley and Hanna finally meet, Michael Mann ran two cameras simultaneously in order to generate a greater level of fluidity between both rivals. Since there were no rehearsals for the scene, this approach afforded both men a more generous margin for improvisational experimentation.

The coffee shop scene sold Robert De Niro on the idea of making the film. He, Al Pacino, and Michael Mann later admitted that they couldn't wait to shoot that one scene.

This is one of Christopher Nolan's favorite films. The film inspired his vision of Gotham City in The Dark Knight trilogy.

Ted Levine was originally offered the part of Waingro, but turned it down because he felt that he was being typecast. He asked to play the part of Bosko instead.

Danny Trejo, who plays a member of the crew, has been an inmate at Folsom Prison in real life, just like Neil in the movie.

The meeting between Robert De Niro and Al Pacino over coffee was shot at Kate Mantilini on Wilshire Boulevard in Beverly Hills. The Los Angeles mainstay was a noted top spot for a stylish late supper. The restaurant had "heat" spelled in neon above the door and a large poster of the actors in the now famous scene. Diners could request the very table featured in the scene, table #71, which wait staff were familiar with as "The Table", and were happy to seat De Niro and Pacino fans at their famous meeting place. The restaurant closed in late 2014.

Val Kilmer was thrilled to learn that the moment in the gunbattle scene where he runs out of bullets, and rapidly changes his magazine, is regularly shown to Marine recruits as an example of how to perform the action properly.

Michael Mann made the movie as tribute to a detective friend of his in Chicago, who obsessively tracked and killed a thief (named Neil McCauley) he had once met under non-violent circumstances.

Jon Voight initially turned down the part of Nate, telling Michael Mann that there were several actors who could perform the part better. Mann told Voight that he wanted him for the role, since he'd always wanted to work with him.

The two main characters used to be in the Marine Corps. Detective Hanna (Al Pacino) is talked about during the briefing for McCauley's (Robert De Niro's) final robbery. McCauley is clearly seen with an Eagle, Globe, and Anchor tat on his arm, when getting up from bed with Eady (Amy Brenneman).

Michael Mann visited inmates in Folsom prison to gain some insight into prison life, to aid his depiction of Neil (Robert De Niro). Mann later commented that Neil's collars were always perfectly starched, as they would have been in prison.

Keanu Reeves was originally signed to play Chris Shiherlis, and Carsten Norgaard was also one of Michael Mann's options, but they both lost the part when Val Kilmer was able squeeze it into his schedule while making Betmenas amžiams (1995).

When Michael Mann filmed the restaurant scene at Kate Mantilini in Beverly Hills, he used the restaurant's actual employees as extras. Upon the last day of filming, he awarded them all with a SAG card.

Michael Madsen was originally cast as Michael Cheritto, but was ultimately replaced (for unknown reasons) by Tom Sizemore.

In the director's commentary, Michael Mann said that Neil's trademark gray suits were designed to help him blend into a crowd and not draw attention to himself.

Nate (Jon Voight) is based on real-life former career criminal Edward Bunker. Bunker had previously starred in another famous heist film, Reservoir Dogs (1992).

In a promotional interview for The Keep (1983), Michael Mann stated that he wanted to see "Heat" brought to the screen (it was already written), but had no interest in directing it.

The scene of McCauley standing against a window and watching the ocean was inspired by the painting "Pacific" by Alex Colville.

Waingro tells the bartender he spent time at Folsom State Prison and then at the "SHU" (Special Handling Unit) at Pelican Bay. Pelican Bay State Prison is where California houses the most dangerous of its most dangerous prisoners, and the S.H.U. is solitary confinement.

The cast was given weapons and tactics training by former British Special Air Service members Andy McNab and Mick Gould. Gould has a cameo as one of the cops who breaks into Henry Rollins' flat.

Kris Kristofferson, in what would have been a nod to Vagis (1981) and Willie Nelson's character in that movie, was suggested for the role of Nate, played by Jon Voight.

Dennis Farina, a former Chicago police officer, was a consultant on the film since the story was based on a Chicago police officer and criminal. Farina had previously played a Chicago cop in Michael Mann's television series Crime Story (1986).

Many viewers claim that Robert De Niro and Al Pacino never (or hardly ever) actually share screentime during the film, despite the hype surrounding the film's release, as showcasing their first screen appearance. In most pan-and-scan versions of the film, and television broadcasts, it does appear that during the "diner scene" the two never actually share the screen, but viewing the film in correct letterbox format, as Michael Mann intended, clearly shows the two actors sitting at the table, though only in wide shots.

Val Kilmer filmed some of his sequences concurrently with Betmenas amžiams (1995).

Bosko, at the party, tells a story of a grade school friend of his named Raoul. Michael Mann said that the story was completely ad-libbed by Ted Levine, and that he had no idea how Levine came up with it.

Mykelti Williamson, in the Special Edition DVD of the movie, said in an interview that Michael Mann arranged for cast members to meet with real-life LAPD detectives and professional criminals at an exclusive restaurant (the name of which Williamson refused to disclose) where LAPD detectives and criminals socialized. Cast members playing the detectives had dinner with the LAPD detectives and their wives one night, while the cast members playing the thieves had dinner with the real-life criminals and their wives on a separate night. Williamson said that Mann arranged these events so the actors and actresses would have a better idea of how real detectives and criminals socialized and interacted with each other.

Don Johnson was briefly considered for the part of Michael Cheritto. He was also discussed as a possible back-up for both Robert De Niro and Al Pacino, if one of them turned down their parts.

In a Japanese television interview in 1995, Robert De Niro and Al Pacino got asked "which role-play, police or robber, did you do when a boyhood?" De Niro replied, "Police", Pacino did "Police doing robbery".

In order to prepare the actors for the roles of McCauley's crew, Michael Mann took Val Kilmer, Tom Sizemore, and Robert De Niro to Folsom State Prison to interview actual career criminals.

The explicit nature of several of the film's scenes was cited as the model of a spate of robberies since its release. This included armored car robberies in South Africa, Colombia, Denmark, Norway, and most famously, the 1997 North Hollywood shoot-out, in which Larry Phillips, Jr. and Emil Matasareanu robbed the North Hollywood branch of the Bank of America and, similarly to the film, were confronted by the LAPD as they left the bank. This shoot-out is considered one of the longest and bloodiest events of its type in American police history. Both robbers were killed, and eleven police officers and seven bystanders were injured during the shoot-out. This movie was widely referenced during the coverage of the shoot-out.

While researching her role, Ashley Judd met several former prostitutes who became housewives.

Diane Venora was bemused that she got the part of Al Pacino's wife, seeing as the screenplay described her character as a "languorous redhead with thighs for days".

The now-legendary café scene between Robert De Niro and Al Pacino was one of only three scenes that the actors shared together. What we see on screen is take number eleven.

Robert De Niro was the first cast member to get the film script, showing it to Al Pacino, who also wanted to be a part of the film.

Keanu Reeves turned down the role of Chris to tread the boards in Winnipeg playing Hamlet for the minimum theatrical wage.

Before Danny Trejo was hired to play the role of "Trejo" in this movie, he and Edward Bunker, a writer, were hired to be armed robbery consultants, since they both did time for these crimes, and knew the ins-and-outs of performing such crimes. When Michael Mann spotted Danny, Mann introduced him to Robert De Niro, Al Pacino, Val Kilmer, and Jon Voight, where they discussed the cops-and-robbers shtick. After the meeting, Trejo would earn this role.

The "f" word is used fifty-two times, mostly by Al Pacino and Robert De Niro.

Neil McCauley (Robert De Niro) only smiles five times in the entire movie. Once, when he sees Donald Breedan (Dennis Haysbert) in the diner's kitchen while working as a short order cook; once when he first meets Eady in the restaurant, at dinner with his "crew" and their respective ladies; once when he snaps pictures of Hanna; once (briefly) as he is driving in the car with Eady on their way to the airport. And one last time when he walks from the hotel towards the car with Eady waiting in it.

Xander Berkeley plays Ralph, a minor character. He also played Waingro in L.A. Takedown (1989), of which this film is a remake. Michael Mann directed both movies.

The drive-in sequence was shot at the Centinela Drive-in in Inglewood, California, which had been closed since 1993. The theater was demolished in 1998, and the site is now occupied by an apartment complex.

Vincent's sidearm is a Colt Officer's Model .45 caliber with ivory grips, a likely reference to his service in the Marine Corps. Neil carries an HK USP 9mm early on in the movie, and then switches to a SIG Sauer P220 .45 caliber later on.

During a February 2016 discussion at the Brooklyn Academy of Music in New York, Michael Mann revealed the locations of the real-life inspiration for the famous "coffee scene" between Robert De Niro and Al Pacino. Chicago detective Chuck Adamson ran into the real-life Neil McCauley while picking up dry cleaning on Lincoln Avenue and Belden Avenue in Chicago. The two went to the now-closed Belden Deli at 2301 N. Clark Street in Chicago, a few blocks away. The diner was knocked down, and reconstructed in the 1990s, and is now the location of the Eleven City Diner.

Al Pacino revealed in Argentina when he performed An Evening With Al Pacino at the Teatro Colón, that when they had to rehearse the last scene, Robert De Niro told him: "No words". He still thinks that that was the right call.

Al Pacino had a full facelift before filming began.

Principal photography lasted 107 days. All of the shooting was done on location, Michael Mann deciding not to use a soundstage.

The scene involving the shoot-out after the bank robbery was particularly tricky to film, since they were only allowed to film on the weekends.

The manager of the Kate Mantilini restaurant in Beverly Hills said in the Heat Special Edition DVD that even though the restaurant doesn't technically take reservations, people often call to try to reserve the table that Robert De Niro and Al Pacino sat at in the movie.

Composer Elliot Goldenthal wrote a piece of score to play over the final scene. Michael Mann replaced it with Moby's "God Moving Over the Face of the Water", so Goldenthal re-used the piece as the end titles for Maiklas Kolinsas (1996) the following year, replacing the electric guitar with a fiddle to give it a more Irish sound. The original cue, called "Hand In Hand," can be heard at Goldenthal's website.

The gun battle scene used up 800 to 1,000 rounds per take.

Johnny Depp was considered for the role of Chris Shiherlis, but his asking price was deemed too high.

In the original script, Eady was Chinese.

Lieutenant Hanna is shown "checking the chamber" on his handgun in at least one scene. This is a trademark of the character Nick Stone in a series of novels by Andy McNab, who was technical weapons training adviser on Karštis (1995). Although not an uncommon thing to do with a handgun, it is rarely given such visual prominence in films. Also, the crew's tactics in the bank robbery shootout are notably similar to the "response to enemy fire" tactics featured in the book and film of McNab's Bravo Two Zero (1999).

Hank Azaria was also working on Narvelis (1996) while he filmed his scene in this film. The scene was filmed on his thirtieth birthday. It was Al Pacino's fifty-fourth birthday as well.

Michael Mann has wanted to work with Robert De Niro ever since he first saw him in Bjaurios gatves (1973).

During the famous bank robbery gunfight, Mann directed the actors portraying the police to aim deliberately and only fire their rifles in the semi-automatic mode. This showed that the police were taking care not to hit bystanders. By contrast the robbers - concerned only with their own safety - fire their weapons on full automatic, striking several bystanders in the process.

The film cast includes four Oscar winners: Al Pacino, Robert De Niro, Jon Voight, and Natalie Portman.

The actors who took part in the robbery sequence had to undergo power weapons training.

Although this is the second film on which Al Pacino and Robert De Niro have shared top billing, in Krikštatevis II (1974), they didn't have a scene together. In this movie, they only have two scenes together, for a total of less than ten minutes.

Li Gong was offered the role of Justine Hanna. She refused, unless the script was translated into Mandarin.

In 2016, in an interview with Christopher Nolan, Al Pacino revealed that Vincent Hanna is a cocaine user. It is never shown on-screen however.

The armored car robbery in earlier scripts is a bit different. Its street location is much different, and the escape is a lot tighter, as the crew actually rams several police cars while they're escaping after shooting the three guards.

The date of birth given for Vincent Hanna's applications, reviewed by Neil and Nate, is 7/15/1953. Al Pacino was born in 1940. In the same application, the profession is listed as Salesperson. Neil identifies his profession to Eady as Salesman.

In the original VHS release of the film, which was split between two videocassettes, the break occurred right after the diner scene in the film.

According to Danny Trejo, Val Kilmer (who was still filming Betmenas amžiams (1995) at the time) told him on set that he had just refused an offer of $40 million to reprise his Batman role in another film, because he did not want to waste his talent wearing a mask. Trejo was very amused by this, because Kilmer's role in Heat also required him to wear a mask during the robbery scenes.

A video game adaptation was reported to be in development around 2009, but never came to fruition.

In 2007, the scene involving the shoot-out after the bank robbery was shown to British Army Officer Cadets at RMA Sandhurst as an example of effective fire and manoeuvre, and the proper way to retreat while under fire.

Natalie Portman's second film.

A Marine Corps plaque appears briefly in Vincent's office in the Major Crimes Unit, although the traditional crossed swords are removed.

This movie featured two actors who each played serial killers in movies based on Thomas Harris novels. Žmoniu medžiotojas (1986), based on Harris' novel Red Dragon, featured Tom Noonan as the serial killer Francis "The Tooth Fairy" Dolarhyde. Avineliu tylejimas (1991), based on the Harris novel of the same name, featured Ted Levine as the serial killer Jame "Buffalo Bill" Gumb. Coincidentially, Michael Mann is also the director of Manhunter, and Dennis Farina, who consulted this movie, played Jack Crawford in Manhunter.

The rifle used by Chris Shiherlis (Val Kilmer) in the deserted drive-in movie shoot-out is a Heckler & Koch 91 in 7.62mm (.308 Winchester).

This is Tom Hiddleston's favorite film.

In the original script, the gunman at the drive-in was still alive after being shot at and run over. Neil executes the shooter a few moments after approaching and talking to him. In the final film, the shooter appears to be dead, since this scene is absent.

Madeleine Stowe turned down the role of Justine Hanna.

In the fire fight scene after the bank robbery, Chris crouches at the rear of a car in order to change a magazine. The registration plate of this car reads "2LUP382". "LUP", in British Army terminology, is "Lying Up Position". 2LUP would reflect that this was the second Lying Up Position for Chris, his first being behind a green car.

When Sergeant Drucker (Mykelti Williamson) says to Charlene (Ashley Judd) her son could end up at "gladiator academies", like Chino and Tracy, his referring to Deuel Vocational Institution state prison in Tracy, California. The California Institution for Men is commonly known as "Chino", and is a state prison located in the city of Chino, San Bernardino County, California. "Gladiator academies", is slang for prisons or correction facilities.

The train station shown in the beginning of the film is the same station featured at the end of Collateral (2004).

William Fichtner (Roger Van Zant) appeared in the bank robbery sequence that opened Tamsos riteris (2008). It was directed by Christopher Nolan, who has named this movie as an influence on his vision of Gotham City.

The rifle used by Lieutenant Vincent Hanna (Al Pacino) in the bank hold-up shoot-out is a Fabrique Nationale FNC in 5.56mm (.223 Remington).

To prepare for his role, Robert De Niro met with real-life thieves and cops.

Nick Nolte and Jeff Bridges were discussed as a possible alternative for the two leading roles.

When Nate tells Neil about his new "out", he describes it as an airplane bearing the registration number N1011S. According to the FAA registry database, the registration was taken in 2000, five years after the movie was released, and is now a 1964 Cessna 310, a two-engine light propeller-driven airplane.

James Caan has been rumored to have been considered for the role of Nate. Caan lamented to Michael Mann that he did not get to star in Heat on their 1998 DVD commentary for Vagis (1981).

Vincent Hanna's Armani suits and slicked-back hair are an homage to Los Angeles Lakers coach Pat Riley. Riley's style was also copied by Michael Douglas in Volstrytas (1987) and by Kurt Russell in Atsuktuvas su tekila (1988).

The camera used by both Neil and Casals in the "We just got made" scene is a Nikon F4, at the time Nikon's flagship 35mm SLR. Casal's has the Nikon logo blacked out. Neil's does not. They use different lenses.

Drucker's name was Arriaga in the original film, L.A. Takedown (1989), though he was not a sergeant.

Jean-Claude Van Damme was briefly considered for the role of Michael Cheritto.

In April 1994, Michael Mann was reported to have abandoned his earlier plan to shoot a biopic of James Dean, in favor of directing.

Initially, Michael Mann shopped the script to Walter Hill to direct, but Hill turned him down.

Deleted scenes found on the Special Edition DVD give more character development to Michael Cheritto, showing him to be a well-adjusted family man.

Jean Reno was considered for the role of Chris Shiherlis.

Jon Voight's first film to get a wide theatrical release since Runaway Train (1985). Desert Bloom (1986) had been given a limited release, and his other projects in the interim were made for television or went direct to video. The film began a resurgence of high-profile roles for the Oscar winner, culminating in his fourth Oscar nomination for Ali (2001), also directed by Michael Mann.

Mel Gibson and Harrison Ford were considered for the lead roles of Vincent Hanna and Neil McCauley.

In the original script, the burglary-cop Harry Dieter was questioned and threatened by Vincent Hanna because he was given a tip by C.I. Hugh Benny. After Hanna and Bosko leave, Dieter is left with a booking officer. This would have taking place just before Hanna and Bosko (now Hanna and Casals) breaching Hugh Benny's flat. But this scene is absent in the final movie.

In the diner, McCauley asks Hanna "a normal life, what's that, barbecues and ballgames?" During the shoot-out after the bank robbery, McCauley can be seen shooting a barbecue grill.

Ted Levine ad-libbed the story Bosco tells about a classmate of his named Raoul.

Brad Pitt was considered for the role of Chris Shilerhis.

Robert De Niro and Dennis Farina also appeared in Midnight Run (1988).

Released a month after Kazino (1995), also starring Robert De Niro. Surprisingly, both movies are almost three hours long, and take place in different states, making it interesting that Robert De Niro would have time to make both movies released so closely.

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

In the UK, the film was given a "15" rating for both its cinema and video release, and passed uncut in both instances. It was re-released in 2000 with a new "Underground Epics" video cover, bearing an "18" certificate. However, this was not a different version of the film, the content was the same as the "15" version. The "18" certificate was a mistake, and the video cover was withdrawn.

Trejo's name was originally Towner.

In the original script, Casals was the detective wounded during the shoot-out sequence.

Justine was called Lillian in the original film: L.A. Takedown (1989).

In this movie and Melas vardan tiesos (1994), Max Daniels plays a thug wielding a Steyr TMP who is shot, and wildly fires his gun into the air as he goes down. Here, it happens before Shiherlis shoots him in the back, as he is unable to get steady footing.

William Petersen turned down the role of Michael Cheritto.

The film features the track "Armenia" from German industrial band Einstürzende Neubauten, which was used again by Michael Mann in his next film, Informatorius (1999).

For the sequence where Neil (Robert De Niro) and Eady (Amy Brenneman) discuss a possible future together on a terrace at night, Michael Mann and his DP Dante Spinotti wanted to capture the background 'nightscape' with some degree of prominence in the shot. The actors were first filmed in front of a small green screen, and the background was then filmed separately with the camera running at 3fps in order to boost the exposure level to better complement the foreground activity.

The armored car robbery originally had a different street location, and the escape is a lot tighter, as the crew actually rams several police cars escaping after shooting the three guards.

Michael Mann previously directed Žmoniu medžiotojas (1986), the first film adaptation of the "Hannibal Lecktor/Lecter" series. Ted Levine (Bosko) played Buffalo Bill in Avineliu tylejimas (1991).

Tom Sizemore and William Fichtner appeared and voiced characters in the video game Grand Theft Auto: Vice City (2002). The game is also a reference to Scarface (1983).

First film that has Al Pacino and Robert De Niro acting together in the same scenes.

Mykelti Williamson, Martin Ferrero, and Xander Berkeley appeared on Miami Vice (1984), executively produced by Michael Mann, and Ted Levine appeared on the Mann-created Crime Story (1986). This was the first time all of these actors had been directed by Mann in a feature film.

In Šuniška popiete (1975), another heist movie that stars Al Pacino, the final scene also took place in an airport.

During the scene when Detective Danny Schwartz is talking with Lieutenant Vincent Hanna over the phone, a man speaking with a detective can be seen on a television screen behind Schwartz.

Hank Azaria and Wes Studi would appeared as "The Blue Raja", and "The Sphinx", respectively, in Paslaptingi vyrukai (1999).

Ricky Harris and Tone Loc appeared in Poetic Justice (1993).

In L.A. Takedown (1989), Val Kilmer's role was played by Peter Dobson. Dobson had played Elvis Presley in Forestas Gampas (1994), a role played by Kilmer in Tikra romantika (1993). Mykelti Williamson also appeared in Forestas Gampas (1994).

Michael Mann and Tom Noonan previously worked together on Žmoniu medžiotojas (1986), while Al Pacino and Robert De Niro appeared together in Krikštatevis II (1974). The latter film featured Gianni Russo. Russo later appeared in Raudonasis drakonas (2002), the second adaptation of Thomas Harris' novel Red Dragon.

Al Pacino won his Oscar for starring in Moters kvapas (1992). In the climactic scene, he works opposite Philip Seymour Hoffman, who also appeared in Raudonasis drakonas (2002), the second adaptation of Thomas Harris' novel Red Dragon. Michael Mann directed the first adaptation Žmoniu medžiotojas (1986).

Al Pacino and Val Kilmer starred in films with Chris O'Donnell: Pacino in Moters kvapas (1992), and Kilmer in Betmenas amžiams (1995). Coincidentally, Pacino portrays a blind man in Moters kvapas (1992) and Kilmer plays a similar role in Iš pirmo žvilgsnio (1999).

Jon Voight and Val Kilmer both starred in blockbuster films with Tom Cruise (Val Kilmer in Top Gun and Jon Voight in Mission: Impossible)

Jon Voight and Tom Sizemore later played together in Enemy of the State (1998) and Pearl Harbor (2001).

U2 isn't mentioned during the song credits, but a 30 second instrumental music track of their making can be heard, when Al Pacino is driving towards the nightclub to meet the snitch.

A poster of Miles Davis is featured in the background during a scene with Al Pacino. A live performance of a song from a Miles Davis record called "Bitches Brew" was featured in another film by director Michael Mann, called Collateral, in which a recollection of an encounter with Miles Davis is written into the dialogue.

Tom Elfmont: The concierge at the airport hotel is played by a former L.A.P.D. detective, who served as one of the film's technical advisers.

Michael Mann: [military training] Neil's crew shows evidence of military training when attempting their heists.

Michael Mann: He disowned the television version aired by NBC. Mann offered to restore seventeen of the cut minutes, NBC decided to instead cut forty minutes of the film out, in order to fit a three-hour television time slot. Mann said, "You can call it a Michael Smithee or an Alan Mann movie."

The current residents of the apartment, where Danny Trejo's death scene was filmed, got curious after seeing the film, and pulled up the carpet in the room Trejo was shot. To their surprise, they saw that residue of the theatrical blood still remained.

McCauley's thirty second rule in action: When McCauley comes out of the hotel to drive off with Eady, it takes 42 seconds from the time he first sees Lieutenant Hanna, to when he turns and runs. It takes McCauley twelve seconds to assess the situation (sees Lieutenant Hanna, to when he starts to back away from Eady) and then thirty seconds to actually leave Eady behind.

Much of the film is based on a real-life confrontation between Chicago cop Chuck Adamson and the real Neil McCauley. Adamson was a retired police officer, whom Michael Mann had been working with off and on since the film Vagis (1981) starring James Caan (and based upon the career of famed Chicago burglar Frank Hohimer whom Adamson had arrested). They had later worked together on two shows produced by Mann: Miami Vice (1984) and Crime Story (1986). According to Chuck Adamson (and confirmed by Michael Mann) in the Heat Special Edition DVD Documentary "Crime Stories", McCauley was a professional robber, with whom he had frequently crossed paths. Events, such as the scene between Vincent Hanna and Neil McCauley in the coffee shop, where they basically tell each other that the next time they meet will be their last, and the warehouse sting, where McCauley got tipped off that the cops were around, due to an officer making a noise really happened. In real-life, Neil McCauley was killed during a robbery of a grocery store (similar to the bank heist shoot-out) by Adamson's team, who were tipped off to the robbery.

The scene where Vincent catches his wife cheating, removes the television set, and later throws it from his car, was lifted from a similar scene with Dennis Farina in Crime Story (1986), also produced by Michael Mann.

In the trailer, McCauley tells the shade tree doctor "I'm double the worst trouble you've ever seen." A deleted scene explains this: the doctor had approached Neil and wanted thirty thousand dollars, instead of the usual fifteen thousand dollars, saying Neil and Chris were wanted criminals, and high-risk factors. Neil then explains to the doctor, that if Chris died from his injuries, he would hunt down the doctor and kill him.

An ending discussed featured Neil and Vincent shooting and killing each other, instead of Vincent shooting Neil. Michael Mann didn't like the idea, and therefore was not filmed. This ending was later used in Nemiga (2002), also starring Al Pacino, whose character and Robin Williams's character shoot each other in the final fight.

Body count: twenty-one.

Moby's two contributions to the soundtrack were originally meant to be reversed, his cover of Joy Division's "New Dawn Fades" was supposed to play over the closing credits and "God Moving Over the Face of the Waters" while Hanna pursues McCauley on the freeway. However, Michael Mann felt "God Moving" was such a cathartic piece of music, it was more suited to strike up during McCauley's death scene, ending the movie.

The shooting at the drive-in movie theater differs in one way between the movie and script drafts: in the drafts, Neil's reflexes cause him to spot the assassin creeping up to the shotgun side window and react accordingly in the nick of time. In this version, Shiherlis is not stationed on the roof of the projection building, but is instead stationed with Cheritto by the exit gate to shoot the driver. The assassin would also beg Neil to kill him afterwards.

In a deleted scene, Nate tells Neil that he and Chris will be set up with new lives in Ireland.

Hanna's team of detectives and McCauley's crew are mirror images of each other right to the end: The only detective to die, is Hanna's number two man, Bosko (Ted Levine). The only member of the crew who survives, is McCauley's number two man, Chris (Val Kilmer).

Earlier drafts had Nate getting caught by Hanna, and facing accessory charges, for the armored car robbery and the bank robbery.

Bosko (Ted Levine) is the detective that is killed during the bank robbery shoot-out. Originally, this would have gone to Schwartz (Jerry Trimble), who is shot in the shoulder by Cheritto (Tom Sizemore).

The only thief to not get away from the bank heist is carrying a different model rifle than the others, an Israeli Galil. In the armored car robbery, he is carrying a Belgian FN FAL, both weapons chambered in 7.62 NATO (.308 caliber) thus, far more powerful than his comrades' guns.

One of the only scenes in the movie in which Neil McCauley (Robert De Niro) smiles, is when he sees Donald Breedan (Dennis Haysbert) in the diner's kitchen while working as a short order cook. He also smiles when Nate (Jon Voight) tells him in the car that Vincent Hanna (Al Pacino) thinks he's "sharp". He might also be smiling as he watches Hanna's antics as he photographs them in the container yard, and again as he walks towards the car to Eady after killing Waingro (Kevin Gage). He also smiles briefly toward the end of his conversation with Vincent in the diner.

In his book "Modern Romance", Aziz Ansari recounted a dating story when he was living in a rented house in Los Angeles. The house is the same one, in which Trejo (Danny Trejo) lives, in this movie, shown in detail when Neil McCauley goes to the house thinking Trejo may have informed on him, but finds that Trejo's girlfriend was raped and murdered, and Trejo was shot and left paralyzed. Knowing Trejo was loyal to him and seeing his compatriot beg him to not leave him like this, Neil mercy kills Trejo.


User reviews

Mallador

Mallador

One of the most amazing things about Heat is the scale of the film; it is nearly three hours long and packed to bursting with mind-blowing visuals. It seems one of Michael Mann's main priorities was to make a film with a dreamlike feel to it, to portray LA as a dusty oil-painting on which complex characters could play out their lives. One of the main themes is the similarity of the career criminal and the street-wise cop. It is fascinating to find yourself really feeling for DeNiro's tragic bank-robber, a man of philosophical merit who realises he's stuck in a life of crime he doesn't want to lead. Pacino's cop is less easy to sympathise with, but he too leads an in-escapable life of guns and crime. What really stands out is the climax. On the whole, Heat has to be the best cops n' robbers film ever made, indeed, one of the best films. An epic, wonderful, sad, adrenaline-fuelled exercise in scale and grandeur.
LadyShlak

LadyShlak

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.
Qusserel

Qusserel

'Heat,' a film of epic proportions on a common placed scale, provides all the essentials of a great crime drama and then some. With a fascinating storyline, involving characters, and Mann's sometimes poetic, sometimes gritty directing, 'Heat' is arguably one of the best crime dramas.

Perhaps the most unique feature of this movie is its manifold storyline, which focuses primarily on the main characters: Vincent Hanna and Neil McCauley. Because of this complex storyline, it almost seems as if one is watching two movies, with one about each of the two characters. While following Hanna's personal life, the movie shows how it is about more than just a cop in pursuit of a criminal. Hanna's marriage is deteriorating, his step daughter is falling apart, and, as wife Justine says, he lives his life more among the "remnants of dead people." A man of two other failed marriages, Hanna's story is that of the strain of trying to fulfill both his professional and personal, where, every time, the professional wins out. Neil McCauley's story is that of a man who used to know his role: his job. Everything in his life revolved around making the next score (whether it be large or small). His story chronicles his relationships with the other men in his crew, and his relationship with Eady, his girlfriend who does not know all she should about him. The tensions build as Mann shows the two opposing strategies of each man as their paths (and thus their stories) draw closer together. When the two storylines do meet (at different points in the movie), the result is--for lack of a better word--epic. To say that these two major storylines are the only strong ones of the movie would do injustice to the many others (following Chris and his wife, for example); but to say that they are the driving force of the movie, to say that they are responsible for transforming a typical cops-and-robbers story is the best explanation.

In addition, the characters in this movie undoubtedly make it so successful. This cast comes as close as possible to being ensemble with two such huge main characters. And the cast is one of the best, at that. DeNiro. Little more needs to be said. Ever the master, his character, McCauley, can be on the one hand a ruthless robber and cold-hearted killer, on the other a warm friend and tender lover. And, despite his life of crime, McCauley's human side shows through. He will not kill unless he must, as seen through his anger at Waingro and bank heist. His warmer side shows through his relationships with his friends and girlfriend Eady. Pacino. Equally without need of praise. As always, he delivers an intense performance, here as Hanna, a workaholic obsessed with catching his man, while also fighting a losing battle to save his personal relationships. He may seem just the harsh cop, but he cares about every man under his command, about his stepdaughter, and, yes, even about McCauley. Through Hanna, Pacino shows just how torn such a man can be. Hanna demonstrates both coldness and compassion, both anger and sensitivity. Additionally strong is Val Kilmer, as Chris Shiherlis; with a raging temper, undying devotion, and a fierce will to persevere. Kilmer does an excellent job with the character of a flawed individual, whose flaws prevent him from lasting contentment, but against which flaws he continually strives. Ashley Judd is an unforgettable Charlene Shiherlis, who, despite a smaller roll, makes a lasting impression on the film. Tom Sizemore, as the implacable Michael Cheritto, and Jon Voight, as a gruff Nate, are both likeable (because of their human sides) and despicable (because of their professions). Each does excellent work. And equally fine are Diane Venora, as Justine, and Natalie Portman, as Justine's daughter Lauren. As Venora is strong opposite Pacino, so Amy Brenneman, Eady, is an equally strong opposite of DeNiro. In a cast so full of big names, it is so rewarding to see everyone come together to make the characters each have their own place in the film.

And Michael Mann's direction of the movie keeps the film moving while providing a tremendous combination of action and drama. He moves from scene to scene quickly and effortlessly. He also switches between the many storylines logically and fluidly, none of the story being lost. Each scene leaves its own, unmistakable impression, and each scene of each storyline builds upon the previous. Action scenes are handles crisply but grittily. The gunshots are loud, the blood is abundant, but Mann wisely does not linger on the horror of the moment. He paints a realistic picture, but keeps to the topic. The action never becomes more important than the drama. Mann is also responsible for what is perhaps the greatest robbery scene ever. Here, his more gritty sense of style is what makes this scene so believable. And, despite the enormous cast, Mann was still able to keep his agenda clear, and orchestrate so much talent into a coherent movie. Michael Mann deserves credit for both his vision and ability to express it.

Because of these and other well done aspects, 'Heat' is one of the most powerful crime dramas ever made.
Adaly

Adaly

For some reason I cannot stop thinking about this film lately.

You know that feeling of having seen it about 3 or 4 times in the last 12 months is not enough? That's what I feel at the moment.

I rate it as Mann's best. It's his most kinetic,vibrant(for a film mostly shot in steely blue),agonising,stirring,brash,violent and brilliance in such a simple story.

What games did you play as a young kid? Cops and robbers.Good guy.Bad guy.

We all know De Niro and Pacino could have been either main part,but can you imagine it any other way round. Pacino doing ice cool calm? De Niro the manic outbursts,arms flailing? It wouldn't work. We know these men now.We know neither will stop at what they do.And yet there is no way either would stop the other.Unless they had too. Which leads us too the characters. All of them.

This is an extended family where you feel you know all of them without knowing anything at all. The cops are similar to the robbers and vice-versa. Perhaps Mann is telling us were all the same.Except in what we do.Every speaking part holds substance in this movie, and the support cast is astonishing when you actually read the caliber of who appeared in this film.Tom Sizmore, Val Kilmer,Ashley Judd,Ted Levine,Wes Studi,Hank Azaria,William Fitchner,Henry Rollins,Dennis Haysbert,Tom Noonan. And Natalie Portman, for chrissake! Try getting that cast again.

A real 10/10 film. And that Moby song at the end(God moving over the face of waters) gets me every time.
Aver

Aver

A masterpiece and one of the best action heist movies of all time! Heat (1995) is one of my personal favorite Al Pacino and Robert De Niro Action heist movie of all time! I love this movie to death! This movie has everything, action, drama, heist, great cast and incredible realistic great performance from Al Pacino and Robert De Niro! Provides fast and loose action with interesting characters. Great action movie!!!! One of the best for me!!!!!!!!! To this day this movie stands a classic action heist movie of all time! Acting, story, score everything in here is excellent!

This movie has a great plot, brilliant story about two lead characters a professional master thief Neil McCauley (Robert De Niro) battling Lt. Vincent Hanna (Al Pacino) LAPD robbery-homicide detective in this non-stop race against time heist. Michael Mann did everything with this film, he wrote the screenplay, produced this movie and directed it. Michael Mann is a brilliant director I love Miami Vice TV Series, Manhunter and Collateral.

This movie is the real heist movie un like Point Break and Baby Driver this movie deserves a 10, because it takes the vision of one of the most imaginative directors on Earth, and realizes them almost perfectly with all the tools that fit the task -- actors and great stunts. Without the vision, this film would be nothing. Without the tools, this film would be nothing.

Al Pacino stars in the film as Vincent Hanna, a relentless lieutenant in the LAPD's Robbery Homicide Division who is determined to take down a high end robbery crew led by master thief Neil McCauley (De Niro).

Notable for its detailed depiction of the techniques used by both law enforcement and criminal elements, as well as exceptional and accurate gun handling, the film was first made as the 1989 television movie L.A. Takedown. Heat also was reported to have been viewed repeatedly by the "High Incident Bandits" robbery duo involved in the infamous North Hollywood shootout (as depicted in the film 44 Minutes: The North Hollywood Shootout).

Lt. Vincent Hanna (Al Pacino) LAPD robbery-homicide detective was a great character cop. He was at least MILES way better than Johnny Utah (Keanu Reeves) FBI rookie Agent in Point Break that movie sucked! Lt. Vincent Hanna shoot and killed Michael Cheritto (Tom Sizemore) and he saved a child. He cracked the case and he figure it out who the mask robbers were. In the climatic epic battle fight on the end of the film on the airport field he shoot and killed Neil McCauley (Robert De Niro). He destroyed and hunt down McCauley's crew. True two got away but he always got his man. He at least didn't let go McCauley like Johnny Utah did, letting go Bodhi (Patrick Swayze) and he did not arrest or shoot or kill any of Bodhi's men he let them all go. Lt. Vincent Hanna is a hero and veteran police officer to me.

Neil McCauley (Robert De Niro), as a professional thief was smart, intelligent, high profile criminal with no criminal record. He was the mastermind behind the robberies, he knew what he was doing. He was a murderer and he did what he know best. He at least wasn't like stupid dumb idiot Bodhi from Point Break, he was trying to get away but he always settle a score with everyone that double crossed him. It is wrong to messing with him. By the end that way leaded him to his end, he made a mistake when he went after Waingro (Kevin Gage).

The movie has also one of the greatest shootouts in L.A. in which Shiherlis (Val Kilmer), Cheritto (Tom Sizemore) McCauley (Robert De Niro) firing Colt Model 733 automatic riffle on the cops. Great shootout's I love it.

The movie has great famous cast: Al Pacino, Robert De Niro, Val Kilmer, Jon Voight, Tom Sizemore, Ashley Judd, Mykelti Williamson, Ted Levine, Dennis Haysbert, William Fichtner, Natalie Portman, Tom Noonan, Kevin Gage, Danny Trejo, Hank Azaria, Martin Ferrero and Xander Berkeley a lot of famous actors and actresses were extra in this movie.

The movie focus on a real human characters that they are ordinary people with normal life's like you and me. That is why I love this film to death! It is realistic performed and it has no jokes or fantasy or anything it is real life. I love Al Pacino and Robert De Niro's performance they both fit the task and accomplish their acting their characters.

Heat is the 1995 crime drama directed by Michael Mann and marked the first on screen pairing of legendary actors Al Pacino and Robert De Niro.

10/10 My all time personal favorite action heist masterpiece Michael Mann film of all time, this movie kicks ass.
TheJonnyTest

TheJonnyTest

I am always wary of films boasting of star-studded casts and big-name, behind-the-camera talent. So, I approached "Heat" with some trepidation...of course, I'm a big fan of DeNiro and Pacino (even as he has declined into one-note, manic performances in the 90's) and I feel that Michael Mann is one of the most underrated directors in Tinseltown (one need only view "Manhunter" to view his genius in pacing a crime thriller). Given the incredible supporting cast, this production set high standards for itself. I must report that it did not disappoint. Given that the running time is almost three hours and Mann has the task of balancing two significant storylines (DeNiro's and Pacino's), the film is a stunningly linear examination of life on both sides of the law. The viewer sees sacrifices made and relationships lost in both arenas without the usual emotional push to root for one side against the other. The visceral thrill of watching Pacino and DeNiro emote together was one of the film's marketing points; though they have two brief scenes together, it is a unique thrill to see these two modern icons of cinema play off one another. While it is clear that either of these two has the star power to carry a film singlehandedly, the experience of watching the cop and robber suffer through their diametrically opposed, yet parallel lives is fascinating. I'm sure that fans of the films will remember, in the years to come, the diner scene between the two as fondly as some hold the pairing of Randolph Scott and Joel McCrea in "Ride The High Country".

Those who criticized the film at the time of its release found particular fault with the climax. They cynically deemed the clasping of hands between the two opponents as a overly sentimental gesture. While it is sentimental, the scene is a neat capsulation of their relationship, however unexplored, throughout the film. They have acted as the hunter and his prey; yet, they finally realize that they are kindred spirits - dedicated men who put their chosen profession above all else in their lives. They are aware of the opportunities for "normalcy" they have sacrificed for their obsessions (I love DeNiro's line in the diner on what's normal) and hold each other in high regard because they share the same pain and isolation. I think "Heat" has a beautiful ending, enhanced by Moby's elegiac "God Moving Over The Face Of The Waters"

I don't put much stock in the Academy Awards in terms of evaluating a film's worth, but it was a true disgrace that "Braveheart" was chosen Best Picture in 1995. "Heat" was not even nominated! Hopefully, the Academy voters will right this error with Mann's equally powerful "Insider" at this year's ceremonies.

Don't be scared off by "Heat"'s running time or by criticism that its too indulgent in its character studies. It is precisely the film's attention to developing its characters that sets it apart from every other by-the-numbers Hollywood crime film of this era and makes "Heat" a classic.
breakingthesystem

breakingthesystem

I really believe this is one the great crime movies of all time. It has some drawbacks that wouldn't make me recommend this for family viewing - tons of f- words by Al Pacino and a few bloody scenes, but as far as a fascinating crime story: wow!

This movie made modern-day history because it was the first time two of the great actors of this generation - Pacino and Robert De Niro - finally acted together in the same film. Those two didn't disappoint, either. They were great to watch and one of the huge highlights of the film, to me, was when they faced each other in a simple conversation over a cup of coffee. That conversation has always fascinated me, no matter how many times I've heard it. It was such a "landmark" scene that It's even the subject of a short documentary on the special-edition DVD.

As with the conversation scene, the shootout segment in the streets of Los Angeles still astounds me no matter how many times I see it. The other action scenes are intense and memorable, too, and the cast in here is deep. This isn't just Pacino and De Niro. It's Val Kilmer, Ashley Judd, Jon Voight, Diana Venora, Natlie Portman, Tom Sizemore, Amy Brenamann, Wes Studi, Ted Levine, Mykelti Williamson, on and on.

Put that fabulous cast under Michael Mann, one of the best directors in business, add a great soundtrack and interesting camera-work and you have a great film. At three hours long, it never bores one and at same time, doesn't overdo the action, either. I read one critic criticize this film because of the time taken to examine the personal lives of the main characters, but you can't have three hours of nothing but action. The only scene I felt went on a bit too long was the ending chase at the airport, but that's nitpicking considering the film as a whole.

This is just one of those movies where a great cast and director live up to their billing.
Vizil

Vizil

In this exciting thrill ride, good and evil battle it out. But not in the usual comic-book style of most films today. "Heat" carries with it the moral values so many of us take for granted. Although much in the film is morally ambiguous, one may find that even when all your life you've lived on the other side of the law, you can still settle down and have a heart-to-heart. When I first saw this movie I was sure it would be another violent crime movie that I would never want to see again. I have since seen it 4 times and have a copy of my own. The thrilling sequences and brilliant camera-work have you glued to the screen. The exceptional cast of characters has you wondering "who could be so lucky to work with them?". From the opening scene to the thrilling final scenes and everything in between (including the climax) "Heat" grabs you and pulls you in. This is a true film masterpiece.
Cherry The Countess

Cherry The Countess

Most of the comments I've read here agree that this is a great movie. I have the same opinion. The coffee shop scene tells everything about this film: 10/10. The human side of the characters is perfectly explored, especially concerning De Niro's character (Neil). His personal conflicts are as strong as his determination and skills as a gangster. This is the magic of this film and only two fantastic actors like Pacino and De Niro could represent it so totally. Congratulations to Val Kilmer that shined and performed exceptionally well under the huge shadow of Pacino and De Niro. A must see !
Goldenfang

Goldenfang

Heat is a masterful cops and robbers tale that shows both sides of the law in exquisite detail. Strong performances by Pacino and DeNiro (the scene of them sitting across the table from each other is possibly 5 of the most memorable minutes in film history). Excellent cinematography and perhaps the best gunfight (if not, one of the most intense) since Hard Boiled. More than worth the 3 or so hours.
Otrytrerl

Otrytrerl

I am assuming I am commenting on this film for those who have not seen this film and for those people I pity you. Its a crime thriller. Won't describe the story as its not particularly original and not the best thing about this film. You've got Pacino and Deniro on screen in a film for the first and possibly last time which should be recommendation enough. You've also got director Michael Mann at the top of his game. An awesome supporting cast firing on all cylinders. Arguably the best "shoot-out" in any film - ever. What more do you want???

It's a long film but there is not one wasted scene in it. Even the incidental story lines - for example, the recently paroled ex-cell mate of Deniro whose first job is in a "grill" working for a nasty, exploitative boss and then ends-up as a stand-in getaway driver for Deniros crew. It just adds weight to the whole film. All the domestic dramas of the good-guys and the bad-guys that you wouldn't get in the typical cops and robbers film are shown in loving detail and nothing is rushed. Just makes it a more satisfying and involving film.

Mann who started his career on Miami Vice almost seems to be taking a trip back to the eighties with the soundtrack and styling of the film - almost but not quite.

If you still don't want to see the film after this then what the hell's wrong with you?! Sit back and enjoy. Also - no. 247 in the top 250?? Whats up with that???
Thordigda

Thordigda

Micheal Manns'(director of 'The Insider', and 'Manhunter') smooth, straightforward direction is studded with brilliant and very memorable cinematic gems in 'Heat', A bullet riddled drama with, yes , Al Pacino and Robert De Niro in their first on screen meeting.

What do you want to hear about 'Heat'. Is it DeNiro's best performance? No. Is it Pacino's best performance? I'd be lying if I said it was. Do the performances improve the story? Absolutely. Mann has written (he wrote it as well) a complex and exciting two-sided story that develops the hunter Vincent Hanna (Pacino) and the hunted Neil McCauley (De Niro) separately throughout much of the film. Underneath a hail of bullets Mann is able to paint both lead characters with the same brush by delving into the similarly tragic and chaotic personal lives of Hanna and McCauley, allowing for the final epic scene, which would have been too pretentious if it were not for the excellent performances of Pacino and De Niro.

Bottom Line: Not having seen this movie is akin to idiocy for anyone claiming to be a fan of movies. 9 out of 10
sobolica

sobolica

Having seen almost every classic and influential crime drama of the past 30 years, I finally got around to seeing Heat. Having heard about how influential it has been in other movies and video games, I couldn't believe that I had waited so long to see this movie. Boy, was I disappointed. This movie is far from the masterpiece that I was led to believe. Other than a couple of great crime scenes (and a little bit of great action), I can't think of much that this film had that would make me want to see it again.

While I wouldn't characterize the acting as bad, I can't think of anyone in this movie who gave a performance that is among their better ones. Al Pacino is practically a caricature of himself the entire time. He overacts in every scene and he yells about half of his lines. Robert Deniro has the same scowl on his face and speaks in pretty much the same voice for the whole movie. Pacino and Deniro fans looking for some "tough guy" porn will find plenty of it here.

Ultimately, Heat is a movie that could have been made better by cutting about half the content. It is loaded with characters that are poorly developed, but are dramatically presented as if you are supposed to give a crap about any of them. One of them gets killed after about four minutes of screen time, and after that, we see his grieving wife. Rather than cry with her, I just kind of rolled my eyes. Another gang members death is presented with the drama akin to a squad mate getting killed in a war movie. I could have cared less. Val Kilmer's subplot centers around the tenuous relationship that he has with his wife. Al Pacino has a lousy third marriage and Robert Deniro somehow manages to have a romance side plot that is neither relevant nor believable.

There is even a suicide attempt scene that has nothing whatsoever to do with the story – a diversion that will have you scratching your head, wondering why so much celluloid was wasted on it. Without exception, every single scene with a female in it could have been left on the cutting room floor, and not one shred of value would have been lost. None of the characters are sympathetic or well developed enough for you to want to see their romances work or to be able to share their pain. It would have worked well maybe in a television series where you would have more time to develop the characters, but here, all of the side plot material is really boring.

One of the draws of this movie seems to be that it is a "realistic" and non ideal take on human behavior. Okay, I get that, but if you are going to go with the "realistic" approach, then don't ruin it with the occasional unbelievable scene or plot hole. The biggest offender is the famous bank robbery scene in the middle of the movie. It would have been spectacular in an action movie that didn't take itself seriously. But in Heat, I couldn't stop thinking about how absurd it was that a few guys with automatic weapons were able to cut through the entire LAPD like a hot knife through butter, escaping clean in the process. I still greatly enjoyed that scene, largely because it's just a great action scene that is well choreographed and shot. However, it's sort of out of place in this film.

I'll give Heat some credit for not being a by-the-numbers cops and robbers movie. Maybe it is this uniqueness and the time of its release that made it so popular. Upon reflection though, there have been many crime and caper movies over the past few decades that are more entertaining than this one. Scarface, Reservoir Dogs, The Usual Suspects, to name but a few. While I didn't hate this movie, I certainly don't think that it deserves a place in the Top 10 greatest crime dramas.
Magis

Magis

Why is Heat such a great movie? Is it because of the breathtaking amalgamation of story, music, image, action and acting that makes every scene worth watching over and over again? The authenticity of the world of cops and robbers he portrays? The acting of Pacino and De Niro? I have watched the movie at least twenty times. So have many others on the forum. Why the fascination?

You can look at a masterwork by Rembrandt or Michelangelo endlessly and enjoy the beauty, the figures, the colors, the light… And many of us do. But once you 'get' what the work of art is all about, once you connect it to the great themes in life, one's own life, it becomes deeply touching. Often what it's all about is deeply buried in layers upon layers of craftsmanship and sheer beauty. One becomes fascinated, one feels strong emotions, but one has to dig deep to explain why. The greater the mastery of the artist, the deeper one has to dig. The richer the treasures deep beneath the surface. So Michael Mann's mastery, for all its perfection, is only underpinning something of a higher order.

In fact Heat has exactly the same essence as Ali, The Insider, Last of the Mohicans, Collateral and Thief. These movies, although superficially very different, are really quite similar in their core. They are all about making life-changing choices between different loyalties. Ultimate dilemmas. Heat is the most complex of all these movies in this respect and therefore in my opinion the greatest.

What makes Mann's characters so fascinating? They rise to the occasion when facing 'heat': extremely adverse and often violent circumstances. They all face dilemmas, life-changing choices. They need to do the right thing, no matter how slim the chance of success, knowing they have to give up something else which is a good thing too.

Vincent Hanna is not simply a workaholic. He gives up life as most of us know it (marriage, caring for his stepdaughter, 'barbeques and ballgames') because he knows he is such a gifted policeman that he can put away criminals behind bars, who will otherwise keep on killing the innocent people that haunt him in his dreams. But he can only defeat his adversaries if he is dedicated at the moments of truth. And he suffers for his dedication in all other realms of life.

Neil McCauley forgoes normal life as well to be a perfect criminal and never be returned to jail, but starts feeling the cost of that only after falling in love, against his principles. He knows he can only stay out of jail when not attached to anyone or anything. (Therefore his home isn't even furnished.) To him that is the right thing to do. See, the values of Mann's characters are not necessarily 'right' or absolute values. Criminals have values too and their dilemmas can be just as difficult. After falling in love he feels a dilemma. And becomes much more human, albeit on the other side of the law.

Why are some of the truly evil characters in Mann's movies so utterly evil? Because they are dedicated, but don't see the dilemma. They have chosen for their own ego, and pursue at any cost whatever drive they have, usually power and money (Van Zant, Insider's Thomas Sandefur, Thief's Leo), but alternatively perverse violence (Waingro) or revenge (Mohicans' Magua). They, directly or indirectly provide the 'heat' that make the more sympathetic characters have to choose whatever they think is 'the right thing'.

Heat is stuffed with life-changing choices. Once you pay attention, it seems as if almost every other line in the movie has a question mark attached to it. 'Check, charge or cash?', are the first words in the movie. Not exactly life changing, OK, but a hint of all the choices to come . 'You taking me to breakfast?' follows shortly afterward. Less trivial. Then, every character is faced with choices between loyalties.

All the most memorable moments in the film are about choices. Often very complex dilemmas. Charlene Shiherlis first chooses to betray her husband Chris to secure her son's future, but then when given the chance saves Chris's ass at the cost of probably never seeing him again. Neil drives through the tunnel with Eady on his way to freedom and ponders the idea to return and kill Waingro. De Niro's face shows the dilemma between loyalty one: getting away with his love, and loyalty two: revenge for Waingro's actions which have devastated his crew, with Chris wounded and on the run, Michael killed by Hanna in the shootout, Trejo tortured and mortally wounded (being subsequently put out of his misery by Neil himself) and Trejo's wife Anna violated and murdered. Neil simply cannot walk away from that. He calculates he can avenge his crew and get away afterward. But we later learn the presence of Eady at the hotel where Waingro is finished off, puts Hanna on Neil's tail for the final confrontation.

In short, Mann's movies teach us: doing the right thing isn't straightforward. The choices in life aren't obvious.To do the right thing, you will have to give up what is good too and feel great loss. Doing the right thing doesn't result in a happy ending. You will feel vindicated at best. You may even die in the process.

'I told you I was never going back'.
Kriau

Kriau

I remember seeing this in my childhood and being extremely impressed with it. Some scenes have stayed with me all this time. However, revisiting "Heat" 17 years later was a disappointment. The story looks far fetched and riddled with clichés and improbabilities.

The main problem is with the selling point, which is of course the "Al Pacino- De Niro relationship". Here's the problem: no cop who does this job out of conviction could possibly respect/admire a criminal, especially one who has killed other police officers. So the ending is absurd and downright ludicrous. The famous coffee-shop scene that Pacino and De Niro share is ridiculous and pointless, entirely made for us, the viewers. At the public request, we present you Pacino and De Niro, face to face! The clash of the titans!

Not only there is no way in hell that a committed policeman would casually sit and chat with a criminal over coffee, but what they have to say is so silly – sharing thoughts about their messed-up private lives? Pacino trying to talk De Niro out of the bank robbery business? Seriously? Such a lame excuse to deliver the much anticipated De Niro- Pacino "moment"... The writing is terrible in this scene, as De Niro is also restating something he'd said earlier, therefore diminishing the impact of that line. Another example of bad writing and poor characterization is a scene where Jon Voight warns De Niro about Pacino's tenacity.

The constant shift to everybody's private lives was annoying and turned the whole thing into a crime-opera cheesefest. How many times have we seen the "frustrated cop's wife" act? And who cares about the bank robber's problems with his beloved wife, whom he occasionally cheats on? Oh, yeah, bank robbers are capable of love too. Touching! Talking about unlikelihood, De Niro's "romance" was laughable, and so was the transformation of an innocent librarian into an accessory to murder. The way Amy Brenneman switches from horror at what De Niro did to the "Oh, well, he's cute anyway" is hysterical. Moral relativism is an interesting topic for sure, but not here. There are moments that we're supposed to find moving, like the miscast Ashley Judd shedding a tear on the balcony or the cop hero Pacino holding hands with a criminal... What a joke.

The movie does contain some entertaining moments (although highly improbable), like the robbery scene. There's no way the Police would get into a shootout like that with so many civilians around. The suicide attempt scene is unnecessary and forced, and there are other flaws and extremely far-fetched/illogical scenes throughout, like DeNiro & the gang gracefully passing through police check-points without even wearing a disguise, just hours after the bloody robbery.

"Heat" is fairly entertaining only if you can ignore its inconsistencies and plot holes. The more I watch, the more I find it insulting to one's intelligence. I know it's "just a movie", but come on... it's a 3-hour movie, and such an amount of implausible developments make suspension of disbelief pretty hard. I swear, if Pacino had shed a tear in the end, I would have rated "Heat" with 10 stars and put it on my all time favorite "so bad they're good" list.
Mr.Champions

Mr.Champions

This movie was good. I loved the gun fight scene in Downtown LA and Neil's last confrontation with Waingro. This must've been my fourth time watching it and I still enjoy watching those two scenes.

However, much of the rest of the movie could've been edited out. I always thought it ran a little long. Also, I thought the dialogue could've been better. Am I alone on this? Everyone seems to praise this movie as one of the best they've seen. Am I the only one who thinks the sub-plots, especially those involving the characters' personal lives could've been shortened or eliminated altogether? And that the dialogue was weak, even during that coffee shop scene?

The pacing was slow and, except for a few scenes, the movie was boring. The movie was basically a few great scenes strung together by a lot of weak ones. Despite the movie's flaws, I enjoyed some of the action sequences and the performances of Al Pacino and Robert Dinero. It's too bad they didn't get a better script.

In short, this is an over-rated film that ran too long and that has a couple of great actors and some good action scenes. 7/10 stars.
Mavivasa

Mavivasa

Al Pacino plays a cop and an avid hunter who, once he gets a scent of his prey, feels some sort of self-motivation that perpetuates him… He is a jackal addicted to this process… This is an elevated state of being an intensely eager predator pursuing his prey until he gets him down… As strange as it is, as scary as that world is, Lt. Hanna has a social conscience… He has a normal spectrum of human feelings… He's very authentic in how he loves his life…

The fusion of Robert De Niro and Neil McCauley is so total… He's committed to the rigidity of that perspective and it's a heartbreaking role… It's a tragic character… In his world, what he's doing, he feels justified in doing it… McCauley has a quiet look at a thief who has a certain kind of lonely disregard for who he kills but yet somehow you're in touch with his humanity… We can identify him when all that robbery turns out badly and when his lover Eady (Amy Brenneman) tries to escape from him… Brenneman's part was the hope that De Niro's character could have of escape, and love, and forgiveness… There's something so sad about these people and so poignant… They are so lost, and they want to be found so badly…It's like a huge opera… On one level, the film deals with a crime saga, on the other, with the interpersonal relationships that are woven all these characters…In the Pacino character and in the De Niro character you're basically seeing two sides of the same tough man…
wanderpool

wanderpool

There is so much more to Heat than whats on its surface. It is so well directed, acted,written, scored and photographed that it takes mulitple viewings to take it all in. This is the best crime movie ever made. And, since my first viewing over 5 years ago, I have seen it a countless number of times. After all of these viewings I can only say that this is my favorite film to watch and therefore the best film I have ever seen. I will not divulge into plot because the expanse and depth of the films story, I could not do justice with a shorthand overview of its plot. This film is not about its plot, it is about its characters and what they feel. Michael Mann is my favorite filmmaker, his list of credits, admittedly, doesn't strike many people as the resume of the greatest living director, but when you watch those films you can see the gift this man possesses at telling a story and making us feel for his characters. There are three scenes in this movie that had me so drawn in, I still think about them often. One is the films first scene, Elliot Goldenthal's mesmirizing electronic score captivates us in the first shots of the train carrying Neal McCauley (Robert DeNiro)and leave me, and the audience wanting more. The third comes toward the end as McCauley and his boss Nate (a wonderful Jon Voigt) exchange their last words as Neal is planning on leaving the country the words the choose and attitudes they strike almost had me in tears. These are two hard men and this is far as they will go with their heartfelt goodbyes. The films last scene I will not give a description to as not to ruin the plot for you. I contains the best (almost) wordless exchange I've ever seen in a film. The music swells and Mann allows us to linger on the last shot. It brought me to tears, and still does. This is the best film I've ever seen. I doubt you will see it that way, but trust me you will love it.
Modimeena

Modimeena

Some people say this movie takes too much time to show the conclusion,which is predictable. As for me,that opinion is nothing. Everything about this movie is perfect. The time length makes this movie great. It's spectacular. The action scenes are great. The characters are great. The way of showing them is great. This movie is worth watching over and over. One of the best movies I've ever seen.
Whilingudw

Whilingudw

The flaw of all gangster movies, at least those acknowledged as "classics" (Godfather trilogy, Scarface, Goodfellas, Casino, White Heat, Once Upon A Time In America etc), is how obvious and predictable their narrative progressions are. We get the rise, the joyous ecstasy of crime and the obvious monetary rewards, and the fall, that period where the world violently collapses around the criminal. With the scripts all so loosely similar, it just becomes a game of dress up. Of who has the best period details, acting and set design.

Released the same year as Scorsese's "Casino", Michael Mann's "Heat" positions itself as one of the first "neo liberal" gangster movies, all the others still caught in the old framework of mafia patriarchy, family values, loyalty, honour, total adherence to a distinctive creed, blood lines and tribalism. "Heat", in comparison, completely breaks away from these old-fashioned ways. In Mann's film, everyone is an individual in the most extreme sense. The gang is no longer a gang, but a crew of "independent professionals" who just come together for a specific job and then split. In this world, families and friends are non-existent or total charades.

While Don Corleone hid like a king behind his armed guards and giant fences, Mann's gangsters are trapped in a state of perpetual mobility. Like a group of shareholders, they are held together only by the prospect of future revenue. Their arrangement is temporary, pragmatic and lateral. They know that they are interchangeable parts in a larger machine, that there are no guarantees and that nothing lasts. Compared to this, the gangsters of "Goodfellas" and "The Godfather" seem like stagnated sentimentalists, nostalgically trapped in dying communities. While The Corleone's fight over territory and family honour, Mann's guys are only interested in Capital. As DeNiro yells during a bank heist, "We're here for the bank's money, not your money!"

Tellingly, the DeNiro character's creed is one of "zero loyalty". He has a 30-second rule of walking away from anyone, however close he may be emotionally or romantically. The message of the film is thus double edged. It isn't just that the film's final resolution is that "justice prevails" and the bad guys are put away; rather, it is that those who fall, who get caught, are those who failed to live up to the modern creed, which is actually repeated twice in the film: "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." In other words, late capitalism and attachment do not mix.

So in this sense, a film like "Heat", though otherwise entirely predictable, essentially a bunch of little boys engaging in idiot machismo one-upmanship posturing (Pacino's obsessive-compulsive manic cop vs DeNiro's cool sociopathic dedication, etc), nevertheless was one of the first films to manifest a fundamental social change. A series like "The Wire" then takes all of this much further, with its attempt to consciously map out the vast and unrepresentable complexity of contemporary neo-liberal capitalism. (In fact, a series like "The Wire", with its sheer scope, complexity and writing credentials, renders ALL gangster and crime movies irrelevant to any serious viewer.)

And so today's gangsters are all "entrepreneurs", all so called "self-made individuals", the "self-employed Petite bourgeoisie", radically without any social links, even down to the kid selling crack to his buddies. This is all a million light years from the long obsolete world of "The Godfather", "Casino" or "Goodfellas". While those elegiac films are about moments that had long passed, Mann's is distinctively modern. This is a film about the 90s. This is a Los Angeles of polished chrome, designer kitchens, featureless freeways, fluorescent bulbs and late night diners. All the colours, sounds, aromas and cultural quirks of Coppola and Scorsese have been torn out, painted over, re-fitted and re-modelled. Mann's LA is a world without landmarks. A vast urban sprawl, all traces of Old Europe replaced by business franchises, multiplexes and multinational coffee shops. While Coppola's film centred around a family called the "Corleone's", their name itself a reference to the village in which they originated, Mann's criminals have bland names like "Neil". They are without history, culture or family ties. In a brilliant touch, Mann even has De Niro reading a book on metals when he first meets his love interest. The guy is a piece of cold, polished steel in a world that is likewise.

Rather than a "rise/fall" structure we also get something a bit different. These criminals get no joy from their profession. Trapped in a world of paranoia, Mann's aesthetic is one of flat glass panes and expansive windows, his criminals always fearing exposure. For Mann, crime becomes a means of escape from the world in its entirety. Crime is total disconnection from both family, society and man, his criminals all looking to amass enough wealth to escape to some idyllic island on the horizon.

But it's Mann's style itself that seduces us. This style, which I call "Armani decorum", owes much to Mann's fondness for such painters and architects as David Hockney, Alex Colville, Edward Hopper and Ed Ruscha (Alex Colville's "Pacific" is visually quoted in one shot). Mann's thus trades the "old noir" look for 1950's modernism, block colours, expansive glass panes, geometric divisions and contemporary, linear houses. His frame is divided into flat surfaces, characters are dressed in pastels, scenes are assigned panels of light and buildings are relentlessly modernist, with fluorescent bulbs and geometrical, flat surfaces. Couple this with his unique choice in music (minimalist, industrial and techno) and you have a very sexy aesthetic.

8.9/10 – Dismissed upon release, "Heat" achieved "classic" status a few years later due to young film buffs. As the star status of De Niro and Pacino fades, and films like "Dark Knight" rip off its style, the film seems to be on another downward spiral.

Worth several viewings.
Skunk Black

Skunk Black

Take the big moment of this movie. What the trailers touted. What was supposed to be the meeting of giants. The coffee scene with Deniro and Pacino. Both legendary film actors with credentials that are undeniable. What possessed them to allow this scene to get to the screen is beyond me. If your 10 years old you could have written the dialog. If your not and have kids, they have. In fact I have written this dialog as have many people that have put pen to paper and were ever drawn to cop/robber dramatic films. "your going down brother" Need I say more.

Then I read the reviews here and I am even more stunned. If you eliminate the horrific Pacino/Deniro scene you have a decent movie. Perhaps I would have given it a 5. Plot lines that were meaningless. A movie that tried very, very hard to be something more than it is, or was. Over direction. And the rest of the script wasn't Shakespeare either. It wasn't just the "big" scene. It was all of them. Kilmer's part was comical. I don't think that was the intent.

Anyway, I suppose, based on the unbelievable reviews for this movie here, I am in the vast minority. So if you haven't seen it yet all I would say is this. If we assume you have some degree of film intellect, then do not expect to see what you read in some of these reviews. If you go in not expecting much you may very well enjoy this very ordinary movie. if you go in expected the "Best movie of the 90s" or a "masterpiece" you may be sorely disappointed. I will laugh about these reviews for days. Utterly amazing otherwise intelligent people could be hypnotized by the hype of this film. Guys, at best it's a 5 out of 10.
greed style

greed style

The simple fact that a movie contains two great actors does not make it a great movie. The interaction scenes between the two feel forced in writing and in the acting. The movie suffers from a sub-standard plot.

In the end he does not drop and run. It makes no sense. The ending is forced into the good guy wins Hollywood ending. If he had gotten away it would have made much more sense.

Often when I have have mentioned that this movie is sub-par others have reacted with shock, "Its Pacino and Dinero!," they always reply. Then I ask what makes the movie any good and "Pacino/Dinero" is the only response they can come up with.
Sagda

Sagda

This is my first review I have ever written on IMDb. I felt the urge to do so quite a lot of times, but I thought there were so many already for the movies I wanted to do it for that there was no need. I just finished watching this movie for maybe the 20th time in my life of 26 years. There is simply one word this movie can be described with, and that is Masterpiece. Why do I say masterpiece? Because of this: 1. Acting - Stellar cast, most of them at the height of their careers. 2. Plot - Great story, plot holes are just for the nitpickers or the haters; 3. Cinematography - Probably some of the best heist scenes and a city at night ever shot on film. 4. Characters - Not all of them, but the main characters are well developed and you understand their motivation, their actions, their thoughts. This movie will not let you down. Perfect to watch in any situation.
fabscf

fabscf

I know millions probably "commented" on this film but I feel a weird urge to do so myself.

This movie is actually "Perfect" it is virtually impossible to make it any better. I remember seeing this in theaters, not some Hollywood screening or fest or anything like that. I have never seen a movie where people applauded while the movie was in progress.

I often describe this film to people who people who tell me they never saw it, after recovering a from a near heart attack from shock, that its a Action film so good you cant believe that its a drama while at the same time it is a Drama film so good you cant believe it is an action film.

I've seen it 10 times and there are those moments where I still hold my breath in suspense along side with the characters when they reach those 'moments'. Kind of hard to try and not spoil the movie so I will do my best, when you see it you'll know what Im talking about.

If you haven't seen it, I am so jealous as I would love to see it through the first timers eyes again!
Bremar

Bremar

As a long time fan of Heat I keep getting amazed every time I see it. No other crime movie has ever taken the time to build up every character so thoroughly. Even the ultimate bad guy Waingro is not just a shallow character communicating with corny one-liners. Actually so much of the depth of the characters come out through subtle facial expressions, e.g. Diane Venora when Pacino leaves her at the hospital (the camera lingers long enough for her posture to speak a thousand words) Ashley Judd in the couch after signaling to her husband...I hold my breath with her and almost faint every time I see that scene. For gun buffs you gotta love the sound effects of gun fire. For once guns are really loud and not like most movies where people talk calmly to each other while firing guns.

The fact that no judgment is passed on the criminal crew or the cops is simply superb. There are no "good guys" and "badguys" here only complete characters.

This is a remake of Mann's earlier L.A. Takedown. A much improved version that is, and I can see why Mann wanted to do this story right. Another thing I love is that Mann pays homage to "that other great crime movie" Bullitt. This is apparent in the very end of the movie during the airport chase, a scene that also concludes Bullitt.

If Stanley kubric is the master of natural light, then Michael Mann must be the master of artificial and post-processed light. The visual side of Heat is absolutely STUNNING and the soundtrack work in perfect harmony with the images. Ladies and gentlemen, this is art!