Product Description

The star power of Cate Blanchett (THE SHIPPING NEWS, THE LORD OF THE RINGS) and Giovanni Ribisi (GONE IN 60 SECONDS, BOILER ROOM) propels this luminous and intensely haunting motion picture from the acclaimed director of RUN LOLA RUN and WINTER SLEEPERS. Philippa (Blanchett), a British teacher living in Turin, Italy, has watched helplessly as her husband and friends have fallen victim to drug overdoses. To compound her desperation, the police -- who are complicit in the actions of Turin's biggest drug dealer -- have completely ignored Philippa's repeated offers of information. So, with the unexpected help of a sympathetic police officer (Ribisi), Philippa feels she has nothing to lose by taking divine justice into her own hands. A probing exploration of the modern world and its moral choices -- you'll be mesmerized by Philippa's transformation from grieving widow to wanted fugitive on a journey through retribution and redemption, innocence, and crime!

Product Details

• Amazon Sales Rank: #30381 in DVD
• Brand: BLANCHETT,CATE
• Released on: 2003-06-17
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• ESRB Rating: Teen
• Formats: Anamorphic, Closed-captioned, Color, Dolby, DVD, Widescreen, NTSC
• Original language: English
• Subtitled in: English, French
• Number of discs: 1
• Running time: 97 minutes

Amazon.com
The luminous Cate Blanchett (Elizabeth, The Lord of the Rings) stars as a British teacher living in Italy who's driven to plant a bomb on a drug dealer in cahoots with the police. When she is arrested and interrogated, she learns that her bomb went awry and killed four innocents; a young policeman (Giovanni Ribisi, Saving Private Ryan) is so struck by her grief that he falls helplessly in love with her and throws aside his entire life to help her. Directed by Tom Tykwer (Run Lola Run) from a screenplay cowritten by the late Krzysztof Kieslowski (Trois Couleurs, The Double Life of Veronique), Heaven is a film with an astonishing compassion for the power and fragility of human relationships, coupled with a faith that forces beyond our understanding can shape our lives. It's a stunning, mysterious movie that may affect you in surprising ways. --Bret Fetzer

From The New Yorker
The opening sequence, in which Cate Blanchett deposits a bomb in an office building, is a self-contained masterpiece of editing, and the rest of the movie works well-within its own preposterous logic. Tom Tykwer has a roving, fluid camera, and the buildings and streets of Turin seem depopulated and spare, suggesting that we've landed in the middle of a fable. (That's perhaps the best way to describe the script, written by the late Krzysztof Kieslowski, which tells of a place where true love gets communicated through a single hand clasp, and a prisoner and a sympathetic cop can flee police headquarters by hiding in the attic.) What keeps the movie grounded is Blanchett's expressive performance, and the fearful symmetry of her face, all the more stark when she shaves her head. Giovanni Ribisi plays the policeman who aids her escape, and together the two develop a murky chemistry out of the script's simple, sometimes cryptic dialogue. This is the first installment of what Kieslowski, who died in 1996, planned as a trilogy. The ending offers one of the great existential escapes, via helicopter-just don't ask too many questions. -Michael Agger
Copyright © 2006 The New Yorker

Customer Reviews

Transcendent in every sense
What is heaven? More importantly, how do we, as imperfect people, transcend our daily limitations and transgressions to reach heaven - be it here on Earth or elsewhere? The master Polish filmmaker Krzysztof Kieslowski, who wrote the screenplay for "Heaven" shortly before his death in 1996, uses the film's story and dialogue as a final opportunity to expand the core humanist philosophy that underlies nearly all of his films ("Decalogue", "Trois Couleurs", "Double Life of Veronique".)

Philippa, played by Cate Blanchett, is a widowed English teacher living in Turin. Disillusioned from the mounting death toll that drug abuse has claimed on several of her young students and her recently deceased husband, Phillippa executes a desperate plan to kill Turin's drug kingpin, Vendice, by deposting a bomb in his office trashbin. When the bomb is unknowingly intercepted by a cleaning woman on her daily rounds and taken to an elevator transporting a father and his two daughters, Philippa's plan goes horribly wrong. She has unwittingly killed 4 innocent people. Philippa is arrested and interrogated by the Turin police, who accuse her of politically motivated terrorism as a way of masking their professional involvement with Vendice, the kingpin. Philippa readily acknowledges her guilt, only to have a complete breakdown upon learning of the innocent bystanders who lost their lives in her vengeful plot. Her interpreter during the interrogation, handsome Filippo (Giovanni Ribisi), is moved by Philippa's story, quickly falls in love with her, and ultimately hatches a plan to help her escape from the carabinieri, who see her as a problem to be "eliminated", because of her knowledge of Vendice's operations. Philippa herself is less concerned with escape than with killing Vendice, once and for all.

Once Philippa and Filippo do escape into the Tuscan countryside (in a very deftly directed and edited sequence), you know that justice will eventually extract its due punishment. And while the last third of the movie quietly builds on this sense of dread, "Heaven" is no "Bonnie and Clyde" or "Thelma and Louise"; Kieslowski is more concerned with Philippa's redemption and transcendence; and so the final scenes employ a sublime poetic imagery (and a meditative pace) to reveal Phillippa's transformation. In a Tuscan church, not 20 feet from a confessional booth, Phillippa recounts for Filippo her many transgressions and failings, then reveals why: "I've lost any belief - in justice, in sense, in life." Filippo's response? "I love you." Later, in a clandestine meeting between the pair and Filippo's father, Philippa acknowledges that, despite all her cynicism and failings, she does indeed love Filippo. Director Tom Twyker perfectly captures, in this scene, the innocence and renewal at the core of Phillippa's declaration - as close to a marriage vow as the couple will get. By this time, Philippa and Filippo have assumed a hypnotic Adam and Eve persona, shaving their heads and dressing alike, and finally disrobing at sunset on the Tuscan hills to consummate their love. (Several moviegoers in my theatre gasped at the striking beauty and imagery of the scene).

When the carabinieri finally close in on them, Kieslowski suggests that the physical aspect of their fate (whether they are captured and killed) is less important than their spiritual fate (their complete redemption and transcendence). But Kieslowski and Twyker balance the competing demands for physical and spiritual resolution by leaving us with a stunning closing scene that implies both. (Some critics didn't understand this, but oh well.)

And so Kieslowski reiterates his core philosophy: That chance and fate are often better instruments of justice than mankind itself, that goodness and evil exist in each of us, and that even the most flawed among us can achieve transcendence, through contrition and love for one another. In a world of escalating terrorism and global wars, the ever-prescient Kieslowski is already sorely missed.

A beautiful, thought-provoking film
This is one of the most beautiful films I have seen in a long time. The director knows how to create magic moments, and the slow tempo of the film allows the viewer to reflect upon not only the intrigue, but also the visual pictures. If you like films where something happens all the time, this is not a film for you. Instead, the film is almost floating forward in a way that makes you think about not so much what happens, but the deeper issues that are embedded in the film.

Human beings are not good or bad, and there is no such thing as a black and white world. Instead, the nuances matter. Being human is to make mistakes, sometimes. The director does not spell out any answers to the questions that the film poses, rather, provides one perspective on how they could be viewed, but is not trying to convince the viewer that this is THE truth.

The Triumph Of Substance Over Style
In his first English language film, "Heaven", German director Tom Tykwer abandons his earlier displays visual pyrotechnics, fast cut editing, and adrenaline laced pacing, to present us with heart felt meditation on the nature of unconditional love. This may disappoint some fans of his brilliant trilogy of films ("Night Sleepers", "Run Lola Run" and "Princess and the Warrior") which explored the themes of syncronicity, metaphysics and causality. It is the blissful performance of the cameleon-like actress Cate Blanchett that allows Tykwer the space to breathe and expand his artistic vision.

"Heaven" begins as a thriller involving a woman obsessed with avenging the death of her husband, but quickly shifts gears and becomes an exploration of love between doomed outsiders, another favorite Tykwer theme. Tykwer shot the film in Italy and it is technically a bi-lingual film, because much of the dialogue is in Italian. Giovanni Ribisi, whose career has alternated between lackluster and compelling acting efforts, presents a starkly well crafted perfomance of an Italian policeman who becomes obsessed with Cate Blanchett's school teacher character. The langorous pacing of "Heaven" allows us linger on the voluptuous camera work of Frank Griebe, Tykwer's brilliant cinematographer. Griebe's sensual, impressionistic lens has become the trademark of a Tykwer film.

In his last film, "The Princess and the Warrior", Tywker gave ample notice that he was maturing as a director, and was becoming more concerned with character development over technical gimmickery. Many of Tykwer's younger devotees may point out logical flaws in the script or find the film's more tender moments absurd. "Heaven" is about the frailty of the human psyche and, for Tykwer, it is the triumph of substance over style.