{"id":47814,"date":"2016-07-02T15:57:33","date_gmt":"2016-07-02T12:57:33","guid":{"rendered":"https:\/\/ngradio.gr\/en\/?p=47814"},"modified":"2016-07-03T16:03:10","modified_gmt":"2016-07-03T13:03:10","slug":"michael-cimino-a-filmmaker-who-dared-to-dream-big","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/michael-cimino-a-filmmaker-who-dared-to-dream-big\/","title":{"rendered":"Michael Cimino: A Filmmaker Who Dared to Dream Big"},"content":{"rendered":"

It\u2019s easy to think of the 1970s as a time of things falling apart. The counterculture was still doing its slow-burn flameout, and most of the decade lingered under the twin shadows of Vietnam and Watergate, which together blew a hole in our collective sense of faith. The great American filmmakers of the era \u2014 directors like Coppola, Scorsese, Altman \u2014 responded by holding a mirror up to our doubt and alienation. Yet as dark as some of their movies could be, the New Hollywood was never about tearing things down. It was about looking at the place that America had become and seeing it as something stirring and redemptive, tragic and effusive, intimate and grand. It was about picking up the pieces of a broken but still exhilarating landscape and finding, within them, a new kind<\/em> of American dream.<\/p>\n

When it came to that mission, no filmmaker of his time dreamed bigger than Michael Cimino<\/a>. He didn\u2019t just want to tell stories. He wanted to tell the<\/em> story \u2014 the mythical big story, the one about the spirit that made America what it was. One of his films, \u201cThe Deer Hunter,\u201d is a classic of its time. Another one of them, \u201cHeaven\u2019s Gate,\u201d is famous for being the disaster of its time. Yet when you consider the qualities of each movie, there\u2019s now something poetic in thinking of them together. Cimino seized audiences by dreaming big and then, high on what he\u2019d accomplished, he pushed himself to dream too big. There was a crazy majesty woven into the very fabric of his ambition.<\/p>\n

If you go back and watch the very first film that he directed, \u201cThunderbolt and Lightfoot\u201d (and I highly recommend that you do), you\u2019ll see that it\u2019s an early version of a buddy movie, and still one of the most captivatingly authentic\u00a0buddy movies ever made. Jeff Bridges, as the eager boyish thief Lightfoot, and Clint Eastwood, as the irascible bank robber known as The Thunderbolt, keep trying to taunt and one-up each other, and they\u2019re sometimes dryly funny (especially Clint), but there\u2019s no shtick, no formula to their connection; they\u2019re disreputable outlaws who\u2019ve simply stumbled into each other\u2019s company. The movie turns into a heist caper, but a loose, unkempt one, and by the end you feel you\u2019re watching a film that blends the ebullience of \u201cButch Cassidy and the Sundance Kid\u201d with the gravitas of \u201cMidnight Cowboy.\u201d It\u2019s a beautiful piece of shaggy neorealist genre filmmaking, and it suggests a whole career trajectory that Cimino might have chosen that would have been very different \u2014 almost a parallel reality \u2014 to what he did. If he\u2019d simply decided to be, you know, an entertainer<\/em>, he could have been an amazing one. He had the chops and the daring.<\/p>\n

What he didn\u2019t have, perhaps, was the throwaway spirit. \u201cThunderbolt and Lightfoot\u201d was released in May, 1974, two months before Richard Nixon\u2019s resignation, and it marked Cimino as the first major filmmaker who was part of the New Hollywood who actually came up through it; to a large degree, he was formed by it. He\u2019d written the script for the second Dirty Harry film, \u201cMagnum Force,\u201d and it was his association with Eastwood that launched him as a director, but as soon he found success, he decided that he didn\u2019t want to make anything resembling a fun-and-games genre film. He wanted to tell the story of the war that had torn us apart.<\/p>\n

\u201cThe Deer Hunter\u201d wasn\u2019t the first movie to confront Vietnam (technically, that was the B-movie revenge thriller \u201cRolling Thunder\u201d). It wasn\u2019t even the first to confront the cataclysm of soldiers returning after the war (that would be \u201cComing Home,\u201d which beat it to the punch by 10 months). And once \u201cApocalypse Now\u201d came out (and \u201cPlatoon\u201d and \u201cFull Metal Jacket\u201d seven and eight years later), it would not be the Vietnam film that defined the combat experience. But \u201cThe Deer Hunter\u201d was the first film \u2014 and still the greatest \u2014 to take the full measure of how the toll of Vietnam damaged, and changed, the soul of America. Cimino, born in 1939, grew up going to private schools on Long Island, but he chafed and rebelled against his privileged background, and with \u201cThe Deer Hunter\u201d he dove so deep into the lives of a crew of Russian-American Pennsylvania steelworkers that it was as if Hollywood had finally discovered what an essential gritty swath of mainstream America actually looked like.<\/p>\n

These were the people that the movies usually ignored, but they were the people who fought in Vietnam, while upper-middle-class kids mostly got out of serving (and won most of the attention for doing so), and Cimino was going to do them justice. Robert De Niro, as the title character, acted with a stoic, mournful hush that embodied, almost mythologically, what the country had once been: a land of straight shooters. And then he landed in \u2018Nam, where those rules suddenly didn\u2019t apply. \u201cThe Deer Hunter\u201d is an epic drama of work and family, a cataclysmic tale of combat and coming home, and, in the famous Russian Roulette sequences (which are not a representation of what actually went on in the backalleys of Vietnam \u2014 more like an impressionistic nightmare version), it is even a squalidly terrifying comic-book action film. What makes the movie indelible is the way it touches such an endlessly deep nerve of loss. For moviegoers in 1978 and 1979, the film became a kind of reckoning, a catharsis that helped to ease us, as a nation, past the raw wound left by the war. There were films made in the \u201970s that were greater (\u201cThe Godfather,\u201d \u201cTaxi Driver,\u201d \u201cNashville\u201d), but there was no better example than \u201cThe Deer Hunter\u201d of what it looked and felt like when a movie mattered<\/em>.<\/p>\n

And then came the movie that ended it all \u2014 not just the New Hollywood, but Cimino\u2019s career. There are many lessons, in hindsight, that can\u00a0be\u00a0extracted from the debacle that was \u201cHeaven\u2019s Gate,\u201d and the first of them may simply be this: No movie \u2014 not Abel Gance\u2019s \u201cNapoleon,\u201d not \u201cDoctor Zhivago,\u201d not Cimino\u2019s droolingly awaited follow-up to \u201cThe Deer Hunter\u201d \u2014 should be three hours and 39 minutes long. Especially if that film is an aridly spectacular pictorial ramble of a Marxist Western in which the astonishing authenticity of the scenery and the sets threatens to overshadow the people who are acting in front of them.\u00a0Had \u201cHeaven\u2019s Gate\u201d been a shorter and more disciplined movie, rather than what it basically is, which is a rough cut masquerading as a finished product, it might still have been a financial sinkhole that brought down an entire movie studio, United Artists. But it might not have been perceived as a movie that wore its indulgence on its brocaded Old West sleeve.<\/p>\n

As a piece of storytelling, the film was no \u201cDeer Hunter,\u201d yet there was a gorgeous violent ethereal grandiosity to it. On the set, beginning in April, 1979 (when shooting commenced), it had become Cimino\u2019s version of a Stanley Kubrick film: endless retakes, an attention to detail that crossed from the meticulous into the madly obsessive, all driven by a director who believed in his vision with such intensity that it gave him a kind of carte blanche. And according to the New Hollywood system that had not yet been brought down, carte blanche is just what he had. It\u2019s said that Cimino yearned to shoot over a million feet of footage, so that he could top Coppola\u2019s record from \u201cApocalypse Now\u201d \u2014 and, indeed, \u201cApocalypse Now,\u201d released to theaters in the summer of 1979, was proof that a film could take years to finish, and look as if\u00a0it might be the ultimate act of directorial indulgence, and still<\/em> come out as a great movie, and a major hit besides. In \u201cHeaven\u2019s Gate,\u201d the money was on the screen (most astoundingly in the misty-mountain sweep of Vilmos Zsigmond\u2019s cinematography), but the raw power was not.<\/p>\n

Was it Cimino\u2019s fault? Yes and no. It\u2019s telling that \u201cFinal Cut,\u201d the famous book about the making of \u201cHeaven\u2019s Gate\u201d written by Steven Bach, the UA senior vice-president and head of worldwide productions who was intimately involved with overseeing the production, had all the drama and suspense that the film itself did not. The most incisive comment about Final Cut\u00a0<\/em>came from Pauline Kael, who admired the book but described Bach as trying, in vain, to figure out the problem that was endlessly protracting the shooting of \u201cHeaven\u2019s Gate,\u201d never fully realizing that he<\/em> was the problem. It was his job to bring the hammer down. Searching for poetry in the hills of Wyoming \u2014 that was Cimino\u2019s job.<\/p>\n

Some now argue that he did it brilliantly. After it was\u00a0shown in several different crudely truncated versions, the rehabilitation of \u201cHeaven\u2019s Gate\u201d began with presentations\u00a0of the full-length version on the Z Channel in Los Angeles, where it began to acquire a cult of followers. There is now a whole school of critical thought that says the movie was an underappreciated masterpiece. I would argue that what\u2019s really changed is that \u201cHeaven\u2019s Gate\u201d is now regarded by some as a postmodern art film: \u201cMcCabe & Mrs. Miller\u201d meets B\u00e9la Tarr. But is it worth another look? No doubt. If only to see the last embers of the New Hollywood as lit by the pure flame of Michael Cimino\u2019s indulgence.<\/p>\n

It\u2019s sad to say that Cimino was never the same, because even in sequences of \u201cHeaven\u2019s Gate,\u201d like some of its stunning battles, he\u2019s a wizardly filmmaker. But the Cimino who returned to directing after a five-year break was a different artist \u2014 diminished, perhaps, by his ordeal, but also by the new world order of 1980s Hollywood, in which filmmakers were now closer to being hired hands. \u201cYear of the Dragon,\u201d Cimino\u2019s messy, entertaining sprawl of a drama about cops and triads in New York City\u2019s Chinatown, had the good fortune to feature\u00a0Mickey Rourke when he was at the peak of his charisma, as well as an Oliver Stone script that peered, ahead of the curve, into the ways and rituals of Asian-American crime culture. Yet as intensely watchable as the film was, it wound up coming off like second-drawer Sidney Lumet. It was a good step back to the center of things for Cimino to take, but he never took the next step. In his last films (the moribund \u201cGodfather\u201d knockoff \u201cThe Sicilian,\u201d the robotic noir \u201cDesperate Hours,\u201d the dismal \u201cSunchaser\u201d), it was clear that he had lost his juice for filmmaking. We can only speculate as to what private demons may have gotten in the way.<\/p>\n

But maybe Michael Cimino couldn\u2019t adapt to the new era because he simply didn\u2019t want to. He didn\u2019t want to be a hired hand, a cog in someone else\u2019s moviemaking machinery. He had come up in the decade when his<\/em> imagination could be the heart and soul of the machine, and thinking back to the movies he made \u2014 to the greatness of \u201cThe Deer Hunter,\u201d and to \u201cHeaven\u2019s Gate,\u201d in which he lunged so hard for greatness that the grandeur of his overreach became the film\u2019s very subject \u2014 one can\u2019t help but be awed by the singular audacity of a filmmaker who dreamed so big and, in daring to think\u00a0of himself as a giant, became one.<\/p>\n

 <\/p>\n

Source:\u00a0variety.com<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s easy to think of the 1970s as a time of things falling apart. The counterculture was still doing its slow-burn flameout, and most of the decade lingered under the twin shadows of Vietnam and Watergate, which together blew a hole in our collective sense of faith. The great American ...<\/p>\n","protected":false},"author":6,"featured_media":47815,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4545],"tags":[9770],"class_list":["post-47814","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-director"],"acf":false,"yoast_head":"\nMichael Cimino: A Filmmaker Who Dared to Dream Big - NGradio.gr<\/title>\n<meta name=\"description\" content=\"No filmmaker of his time dreamed bigger than\u00a0Michael Cimino\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/michael-cimino-a-filmmaker-who-dared-to-dream-big\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Michael Cimino: A Filmmaker Who Dared to Dream Big - 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