Heaven's Gate (1980) 720p YIFY Movie

Heaven's Gate (1980)

A dramatization of the real-life Johnson County War in 1890 Wyoming, in which a Sheriff born into wealth, attempts to protect immigrant farmers from rich cattle interests.

IMDB: 6.82 Likes

  • Genre: Adventure | Drama
  • Quality: 720p
  • Size: 2.62G
  • Resolution: 1280x540 / 23.976 (23976/1000) FPSfps
  • Language: English  
  • Run Time: 219
  • IMDB Rating: 6.8/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 1

The Synopsis for Heaven's Gate (1980) 720p

Wyoming, 1890. Frank Averill is the Sherriff of Johnson County, a county largely inhabited by foreign immigrants. The wealthy cattle owners view the immigrant farmers as a nuisance and hindrance to them enlarging their own land. The cattlemen's association, the Wyoming Stock Growers Association, effectively declares war on the immigrant farmers, and gets the state government's blessing. They assemble an army of guns-for-hire, and, backed by US cavalry, set out to rid the state of the immigrants. Frank Averill's heart is with the immigrants but he is not sure they have a chance of winning the inevitable war.


The Director and Players for Heaven's Gate (1980) 720p

[Director]Michael Cimino
[Role:]Christopher Walken
[Role:]Kris Kristofferson
[Role:]John Hurt


The Reviews for Heaven's Gate (1980) 720p


Reviewed bywaheVote: 9/10/10

'Heaven's Gate' is not a masterpiece, which apparently was what itneeded to be upon first release to justify its great cost, and, moreimportantly, the continued uneasy reliance of Hollywood on the Auteurmodel of film-making. Yet 'Heaven's Gate', seen today at last on DVD ina cut of 229 minutes, is a superb film. It is a touch lethargic inpace. But at least it is paced. Quite apart from the incompetence ofconstruction that marks many films today, there have been many filmswhich, deliberate in form, have been severely damaged by being hackeddown with no care for rhythm so the films become shapeless andconfusing. Beyond this, the criticisms leveled at the film have becomein retrospect quite lame. If the good guys and bad guys are tooobviously pronounced for a serious film, and yes Sam Waterston'smustachioed, fur-clad villain is comic-opera (and not in themulti-leveled manner of Bill The Butcher from 'Gangs of New York'), andyes, the townsfolk do seem a touch 'Fiddler On The Roof' on occasions,then a few dozen serious films made since then, including 'Titanic' andthe graceless 'Cold Mountain' (which bears certain similarities and isa notable failure in convincing qualities compared to this film) can becastigated for exactly the same reason.

Also despite accusations, the film has a plot, quite a well-essayedplot at that. It simply does not bow to standard-form 'epic' quality,by providing Titan heroes, rafts of sub-plots and confusion. Itexperiments with telling in a manner more like much smaller, modestfilms, by carefully-caught moments of character interaction, andwell-textured pageant-like explosions of communal action, as with theopening at Harvard and, most specially, the wonderful scene where theJohnson County folk, following the lead of a brilliantly physicalfiddler, make celebration on roller-skates.

'The Deer Hunter' was a critical and commercial success but abandonedthe first half's inspired, mosaic-like accumulation of detail, and Ithink in a manner similar to criticism of Robert Penn Warren's novel'All The King's Men' and its dictionary of Jacobean stunts, if Ciminohad not had such a strong grasp of the conventions of Hollywood epics,he might have made a special rare work of art based in honestvisualisation of people within their milieu. In contrast, 'Heaven'sGate' succeeds in screwing its narrative momentum and tension upwardsin a slowly expanding arc, until the finale explodes, whilst notabandoning the mosaic approach.

The central romantic triangle, for instance, resists standardinflections; a decent, intelligent, but psychically defeated man, JamesAverill (Kris Kristofferson) competes with a hot-shot butidentity-challenged young gunman Nate Champion (Christopher Walken) forthe hand of a young Madame, Ella Watson (Isabelle Huppert); there is noself-conscious bed-hopping, no slaps in the face, recriminations, ortypical sad-sack moments, but more a sad and distanced decision by Ellato choose the younger man whom she loves less because he is ready tomake the commitment. Ella emerges as the film's true hero (Huppert'sperformance, though initially awkward, is really quite excellent,balancing a dewy emotionalism with a hard-hammered spirit), attemptingfirst to rescue Nate and then mustering the resistance party ofimmigrants into an enterprising defence. Subsequently, Averill is stunginto action as friends die. Indeed, in the process of overcoming somany traps of cliché and style, 'Heaven's Gate' successfully andwillfully throws off the defeated outsider-heroes grace note of so many'70s Westerns and portrays an eventual, vigorous, cheer-the-heroesrallying to a compromised but still relished victory.

The social conflict of so many '70s Westerns at last hardens into afully-fledged war; where capital attempts a crushing final victory overthe miscreants who stand in their way, suddenly they find a massed andmore-powerful people's army, led by the man who played thethoroughly-destroyed Billy the Kid a decade before. This is what ledthe film to be described as the first Marxist Western, but really itsimply deflowers a theme of the genre extant well before the '60s. Suchvarious and classic old-school works as William Wyler's 'TheWesterner', and even 'Shane', tell awfully similar stories. It issimply here that the romantic myth of the gunslinger has been replacedby the romantic myth of the people's revolt. In a spectacular, exiting,but realistic and thus chaotic finale, the marauding Cattlemen'sencampment is attacked, ringed by dust clouds punctuated by fallenhorses, writhing bodies, and gunfire. Averill puts his classicaleducation to work finally by stealing a Roman trick and bringing theCattlemen to the brink of annihilation before they are rescued by theCavalry (another distinctly seditious touch, but surely not sooffensive after 'Little Big Man's unrelenting depiction of NativeAmerican massacres). Really, it's hard to think of a more heroicallyAmerican vision of grassroots resistance. The film's only real deadspot stands as an unnecessary coda indicating Averill's eventualrelapse, a rather potted piece of tragedy.

Despite then certain failings and a slow mid-section, 'Heaven's Gate'is a supreme piece of work, a genuine attempt to create a contemporaryWestern and a new kind of epic. If one has to still join the chorusthat reckons Cimino was absurd in his behaviour on set and expenditure,it is regretfully. When, today, flops like 'The Adventures of PlutoNash' and 'K-19 - The Widowmaker' see nearly a hundred million dollarssink down the drain, and yet a tag of infamy still hangs on this film,one ponders what exactly its grim death signified. The attempt atoriginal style, the bawdy sexuality, the very hard-won sense of detail,the breathtaking rigor of the film-making and what is being filmed, allthrow into contrast what is sorely lacking in so much contemporaryHollywood product.

Reviewed byBruce Hammond (lswote)Vote: 9/10/10

I was expecting this movie to be a stinker but I wanted to see for myself,but I was surprised how good of a movie this was. I know longer moviesoften don't do well at the box office but why this was pulled and notallowed to be viewed by the public is beyond me. It maintained myinterestthroughout and the scenery and photography is breathtaking at times. Theplot was good and the morality play was a good one. I liked the realismwhich was along the lines of "Unforgiven". I had to rent this movie toseeit but it was definitely worth it.

A messReviewed bypreppy-3Vote: 1/10

Now infamous Western that was (at its time) the biggest budgeted disaster in Hollywood history. I was "lucky" enough to see the full 220 minute version at a theatre in 1990. It was truly staggering how BAD the film was!

They had a great cast, a story based on a true incident (a fight between foreigners and Americans in the 1800s), magnificent scenery...so what went wrong? Three words--director Michael Cimino. He was so full of himself after "The Deer Hunter" he went out and made this god awful Western. He's not totally to blame. His previous film "The Deer Hunter" was considered a masterpiece and United Artists gave him free reign to do anything. They let him all alone...and everything went wrong. The cost went barreling out of control and Cimino insisted on redoing sequences again and again until they were perfect.

First off, the sound is horrible. Entire sequences go by and you can't make out a word the characters are saying. For instance, Jeff Bridges' character is introduced during a dance sequence, but I STILL have no idea who he was! The dialogue in his introductory scene is incomprehensible! That's the director's fault--he should have made sure the dialogue could be heard. Some scenes are shot with so much dust flying around you can barely make out what's going on. The story line doesn't make a whole lot of sense and Cimino took great liberties with the facts--in the real story only one person was killed--Cimino turns it into a massacre. There is some admittedly beautiful sequences here totally destroyed by lack of story and incomprehensible dialogue. Also the bad sound was not the fault of the theatre--all the prints sound that way.

This garbage effectively closed down United Artists and was the end of Cimino's career. A textbook example of a director so full of himself he doesn't realize what he's doing. Jeff Bridges has said this is the worst movie he ever did. This is from a guy who made "Tron"! A definite must-miss.

There is a pretty good book called "The Final Cut" which details the whole disaster. This gets a 1. I wish IMDb had negative numbers--this deserves it!

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