Crawl Cate Crawl

Tom Tykwer's latest heroine-on-the-run is far from fleet of foot.

Give Tom Tykwer a lot of credit for knowing that he can't possibly outdo Run Lola Run, his frenetic breakthrough that made critics cheer and took MTV pacing to a whole new level, blending animation with live action, still photos and alternate realities in a way that made sense and raised the viewer's adrenaline levels. Tykwer would probably have to smoke crack for several months to make anything more frenetic, so he hasn't tried. Instead, he now seems focused on somber meditations, which is fine, if a little stereotypically European. There's always a market for such things, and it's a lot easier to budget a film that doesn't require split-second choreography and extensive special effects. But is it too philistine to suggest that Tykwer's post-Lola output, while artsy, is just a bit boring?

Like his similarly stylish but overlong The Princess and the Warrior, Tykwer's latest film, Heaven, is a slow-moving look at the bond between an unusually resourceful naïf and a hard-edged sociopath, though for variety's sake, the genders have been switched. In a particularly cutesy move, their names are almost the same: Philippa (Cate Blanchett) is an accused terrorist, while Filippo (Giovanni Ribisi) is a young recruit in the Italian police force. There's no doubt as to Philippa's guilt -- though the actual carnage occurs tastefully offscreen, we see her plant a bomb meant for one person that actually ends up killing four innocent people, including two children. But as she's being interrogated, Filippo, who's the only officer who can speak English, falls instantly in love with the waifish captive and plots to help her escape.

No doubt some will argue the merits of having a sympathetic terrorist as the female lead -- Miramax pushed Heaven's release back several months for that very reason. Not that the film dwells on it much; a more timely element is the fact that Philippa is in fact acting alone to take out a drug pusher, but the Italian government insists on trying to frame her as part of a larger terrorist movement. Still, the problem with Philippa isn't that she made a bomb and used it, but that she isn't particularly sympathetic in any case. Upon hearing that she's killed innocent people, she decides that she deserves to be punished and seems unmotivated from there on out; why should we care about her escape and possible recapture if she herself doesn't?

As in Stanley Kubrick's Eyes Wide Shut, it seems that the suspense elements of the story are almost entirely red herrings and irrelevant to the task at hand -- a larger conspiracy, which involves a possible frame-up and the true extent of the pusher's reach, is tied up rather quickly, so it can be gotten out of the way to give Cate and Giovanni ample time to brood and stare at each other, declaring a love that comes out of nowhere.

Yet Heaven really isn't a bad movie by conventional standards -- just a boring one. Many of the shots are beautiful, the actors are all well placed in scenes, and none of them can be said to be doing a poor job. It's just that the movie's all subtext at the expense of the story.

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