Touches You

People are voting emotionally.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Blanchett is superb in Heaven. It is a movie that is subtly unnerving.If you are not familiar with her work, this is a good place to view her remarkable skills.Is she a terrorist? Not in reality.Is she simply angry? Yes. Yet her drastic action is sparked by so much more than anger.Why are her many complaints buried by authorities? Or, are they buried?This one is memorable.Blanchett is grossly underrated. If you've not seen her works do so. You will not be disappointed.

Allegory is were the story parallels a famous parable, fable or story. It usually involves human virtue and/or frailty, which serve as the actual point; i.e., not the setting, characters or even the plot. Some purists would argue that the virtue or weakness must match some classical theme; e.g., a biblical or Shakespearean tale told in modern method. Critics may argue a better allegory may involve characterization and plot as well as any other movie. Not necessarily.The story line (I almost hesitate to call it a "plot") in HEAVEN is interesting if not at all detailed, fleshed out, etc. Other than our two main characters, no character, with the limited exception of Phillepe's father, is given screen time, dialogue. Consider how easy it would have been to throw in some details to make the bad guy more evil, Phillepe's little brother more altruistic, etc. Even Phillepe's father is not really explained, serving bettor to enhance his son's conviction.What we are left with is this beautiful arch of innocence, tragedy,obsession,redemption, consummation and surrender. The bookending helicopter tool was a clever device, if irritating to some. But it doesn't matter how they died, kill'em in Bonnie & Clyde fashion if you like. If Cate's escape was clumsy, how cool was it to put the two in the attic, Phillepe's boyhood hideaway, for developing the relationship? Contrary to the cries that the plot was unbelievable, I found it clever how the plot, secondary characters, circumstances, etc., were so successfully minimized.When dad arrives in the rural village to meet with the fugitives, a shot freezes the two in their skinhead haircuts, punk jeans and tee shirts. They look no different than two ordinary beatniks, disenchanted youth, etc., and most of all, look so comfortable in their condition. The two come from such different backgrounds and have arrived therein from entirely different means and motivations. Yet there they sit, looking interchangeably the same and likewise united in purpose and conviction. Such is a much greater cinematic feat than a Hollywood getaway thriller.

I love movies that can succeed with little dialog, and Heaven does exactly that. To me, this is where cinema shines. It's something you can't do in a theater play, a radio play, or even a book. Vast sweeping landscapes, street scenes with events that move the story along, scenes where Philippa and Filippo just stare at each other, or sit and eat ice cream. All without saying a word. Just the visuals and you know what's going on in the story and in their hearts and minds. Most writers & directors need all sorts of chatty dialog to do that. If you're a step above you can do it without so much talk.Krzysztof was a genius.

Some movies use non-stop action to get your adrenaline pumping; others, like this one are more subtle. They use outstanding cinematography and beautiful music combined with great acting to gently wrap around you and captivate you.Krzysztof Kieslowski's and Krzysztof Piesiewicz's script, along with Tom Tykwer's (Perfume: The Story of a Murderer) direction formed a beautiful shell for Cate Blanchette's (Elizabeth: The Golden Age, I'm Not There, The Aviator) magic as a woman who killed four people by mistake and wanted to pay for her crime.Giovanni Ribisi (Saving Private Ryan, The Boiler Room) was quietly understated as the police officer who fell in love with her.Frank Griebe's camera work was impressive, and the music was wonderful, some of it performed by Tom Tykwer, the director.