Heaven's Gate (1980) 1080p mp4

  • Genre: Adventure | Drama
  • Resolution: 1920x808
  • Size: 4.14G
  • Quality: 1080p
  • Frame Rate: 23.976 (23976/1000) FPS
  • Language: English
  • Run Time: 219
  • IMDB Rating: 6.8/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 3
  


Screenshots (click to view large image)

The Reviews for Heaven's Gate (1980) 1080p

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 byJack LandmanVote: 9/10/10
Until today, I thought there only three people, including me, whoconsidered Heaven's Gate (1980)to be a masterpiece and perhaps the lastgreat western, (since the 1970), after, Little Big Man (1970), JeremiahJohnson (1972), The Outlaw Josey Wales (1976) and The Long Riders(1980).

I was stunned and pleased to see that 22.5% of those voting at IMDBrate this movie a 10, as do I. A recent book, the Worst Movies of All Time,includes Heaven's Gate. Through it's production and release it wasvilified, as no movie since Cleopatra, almost twenty years before. At onetime it was considered the most expensive over-budget movie of all time,surpassing even Cleopatra. It was blamed for the downfall of its studio,United Artists, until everyone finally saw all the studios were falling. Michael Cimino, fresh from his glory with the Deer Hunter was hated anddespised for his success and movie making excess, but clearly, that waspetty jealousy at its worst.

Cimino ended up fashioning one of the great expositions of the Americanexperience. This film is not to be missed but any serious student ofAmerican filmmaking.

Reviewed byRoger BurkeVote: 9/10/10
I first saw this film when released in 1980. From other sources, I'velearnt that the only release of the 219-minute cut was in New YorkCity, after which it was severely cut to 149 minutes. So, I guess I sawthe shorter version first which, at the time, I thought, was a veryinteresting anti-Western, if a trifle confusing...

So, it was with even more interest that I finally obtained a DVD of thefull-length version. I'm glad I did because this second viewing hasconfirmed for me that the movie is a true classic, and the criticalvitriol poured on Michael Cimino was unwarranted, to say the veryleast.

Yes, it's a long movie, but so have been many others. For example: Onceupon a time in America (1984) at 227 minutes; Cleopatra (1963) at 320minutes; The Ten Commandments (1956) at 220 minutes; Spartacus{restored version} (1960) at 198 minutes; Gone with the Wind (1939) at222 minutes and others. So, it can't be the fact of running time thatmade so many froth at the mouth way back, when Heaven's Gate came onthe scene.

But note this: all of those above movies have everything to do withreinforcing myths about history and heroes.

Not so Heaven's Gate: in this narrative, the American West is shown inall its grim and unrelenting harshness, injustice, and poverty. Andthat's probably the first reason why so many disliked this film: itlaid out the circumstances of the Johnson County War of 1892 inWyoming, showing how the Wyoming Stock Growers Association hired 50assassins to hunt down and murder a large group of European immigrantsaccused of cattle rustling; and all with the assistance and connivingof authorities, right up to the President of the United States. For anessay on that war, with the background and what happened, there is alink at Wikipedia under Johnson County War.

Very few like to be reminded of the really dirty periods in theircountry's history, and which fly in the face of what the country issupposed to be. Had it been a documentary, it would have been barelypalatable for most; as entertainment, it was almost bound to failcommercially and be torn to shreds by the shrill and infamous.

Leaving aside the socio-political diatribe, for a moment, that Ciminolaunched herein, what about the narrative – the story of the three maincharacters? Well, it probably wasn't unusual for men of that time tofall for a local prostitute, just as it's probably not unusual now.It's a fairly standard love triangle whereby Ella must choose betweenthe two men, and ultimately decides upon the younger man, Nathan, who,although not above resorting to cold-blooded murder when it suits him,shows more spirit and commitment than the older James (or Jim, as mostpeople in the film say). For some, that part of the story threads tooslowly, perhaps; in the context of the wider narrative about the war,however, it is, I think, entirely appropriate.

And that war is depicted graphically, viciously and cruelly with scenesof carnage that are exquisitely staged and edited flawlessly – althoughin the final massacre between the Association and the immigrants, I'mcertain that some scenes of wagons blowing apart are repeated. A minorpoint and perhaps brought about when the 219-minute cut was restored?Any way you look at it, though, it hits you in the face with the noise,dust, chaos and confusion of war...

Which brings me to another criticism by others: the noise and dust issuch that it's often difficult to hear the dialog and even see clearlywhat is happening. I'll admit that I found that to be a trifle annoyingat first, even backtracking to replay parts to try to catch the imageor the words – until I realized that really wasn't necessary if youaccept the director's intent: life is chaotic, it is difficult to hearand see in crowded situations and, in war, it's the sine qua non ofthis mise-en-scene. In short, it's as though you truly are present inand within the scenes...

And what of the title? From Shakespeare, it refers to a figurativenearness to God and so, if you equate God with the natural world, thestunning scenery that pervades the movie – and it is stunning,hauntingly equal to that of David Lean's Doctor Zhivago (1965) – is auseful metaphor. I tend to think, however, that Cimino had somethingmore to say, namely the idea that the brave immigrants – theGod-fearing salt of the earth – were denied entry to heaven on earthand the freedom to build a life for themselves in the land thatespouses to be freedom's champion.

Was that Cimino's intent – to gut the myth of the American West? Toshow how, in America, only the rich get rich while the poor aremassacred, one way or another, throughout history? Is that anythingnew? Not really, as we all know. Where it really hurt, however, is inshowing how America was not and, by implication, is not the land of thefree and the home of the brave. Instead, after absorbing thisnarrative, we are left with an impression that the underpinnings ofAmerica have more to do with a land of dispossessed slaves and a homefor knaves...

The Plot Summary for Heaven's Gate (1980) 1080p

In Michael Cimino's bleak anti-western based on events in 1890s Wyoming, Sheriff James Averill attempts to protect immigrant farmers from wealthy cattle interests, and also clashes with a hired gun, Nathan Champion, over the woman they both love. Both men find themselves questioning their roles in the furious conflict between wealthy landowners and European immigrants attempting to build new lives on the American frontier, which culminates in a brutal pitched battle.


Director & Cast for Heaven's Gate (1980) 1080p


File List for Heaven's Gate (1980) 1080p

  • heavens.gate.1980.1080p.bluray.h264.aac-yify.mp4[4.14G]
  • yify.txt[0.03K]
  • subs\2_eng.srt[112.94K]

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