There are moments in the plot of the film Heat, albeit fleeting, when certain aspects of characterization do not ring true (Alexander, 1996), and these are most jarring when played by Pacino. Lieutenant Hanna is a respected, effective, intelligent detective, but he occasionally “slips into an alternate screen personality who, every once in a while, is given to yelling like a methamphetamine maniac” (Alexander, 1996, p. 60). “Perhaps someone thought both men were too cool,” Alexander (1996) concluded, and “Pacino drew the short straw” (p. 60). It is entirely unclear why Pacino/Hanna has these outbursts, which occur on several occasions and are characterized not only by yelling and big-eyed dramatics, but also by exaggerated physical gestures and ridiculous dialogue that falls flat with its absolute silliness and complete incongruence, both with Pacino and with his character.
These bizarre episodes add nothing to the movie; in fact, they detract from it because they dilute the otherwise compelling intensity of Pacino and his character. It is also unclear whether Pacino improvised during these scenes or whether they were scripted; regardless of the reason, the scenes undermine Pacino’s otherwise impeccable characterization of a good cop who is a deeply flawed and struggling human being. Similarly, McCauley’s decision to live Eady literally on the side of the road while he takes one last stand as a career criminal seems somewhat disjointed from the trajectory in which the plot seems to be moving at its climax and subsequent denouement. The viewer may well find himself or herself with the same dumbfounded expression that Eady wears as she stands by the open door of the sports car and watches McCauley take off into the night without her.
This final episode of the movie is long and drawn out as McCauley attempts to evade Hanna, who is on the chase with his gun drawn. The good guy has to win, of course, and McCauley is shot, but not without a reassertion and affirmation of the complicated bonds that have been established between the two men. Having shot McCauley without hesitation, just as he promised he would during their conversation at the diner, a close-up shot shows us Hanna’s hand reaching out to grasp McCauley’s, which is quickly draining of life. Another close-up shows us Hanna’s face, but at an angle and in a light that leads us to question whether Hanna might actually be shedding a tear for the man he has killed and who is so much like himself.
Ultimately, what De Niro and Pacino convey successfully is that two men who appear to be quite different can actually be strangely alike. Hanna and McCauley are mirrors for one another, and this final scene, simultaneously touching and a bit too cloying, makes this point one final time. Although one could hardly argue that the intent of Mann, De Niro, or Pacino was to do anything other than entertain an audience and advance their careers and reputations with a blockbuster Hollywood film, the acting skills and characterization of both actors actually provokes the critical viewer to think about more profound issues.
The dynamic interaction of two men in the film Heat who occupy two opposing ends of the professional spectrum yet share personality traits and tendencies that are strikingly similar reminds the viewer of two fundamental human truths: first, that people are incredibly complex, and that people we deem good also have flaws, while those we deem bad often have overlooked strengths and positive qualities; second, that the negation of either aspect of ourselves is inauthentic. Despite some moments of poor characterization or poor scripting, the characters that De Niro and Pacino bring to the screen in “Heat” avoid such inauthenticity and, in the process, remind us of who we are, both with ourselves and in relationship with one another.
Other essays and articles in the Arts Archives related to this topic include : Tribal Depictions in the Michael Mann Film, The Last of the Mohicans (1992) • The Presence of the Classic Epic Hero in the Film Star Wars • Comparison of Films “Sidewalks of London” and “La Strada” : Leigh and Masina Film Comparison of “Gone with the Wind” and “Cold Mountain”
References
Alexander, V. (1996). Film reviews: Heat. Films in Review, 47(3-4), 60-61.
Gilbey, R. (2006). Boy’s don’t cry: Cinema loves a tough guy, but directors such as Michael Mann purvey an outdated, testosterone-soaked image of masculinity. New Statesman, 135(4803), 38.
