Still more lazy thoughts from this one…

Opening Titles and Song: Heat (1995)


Time again for my annual screening of a film that continues to mean so much to me. If it didn’t, why use a key character quote from it as this blog’s title, now I ask you? Arguably, a paltry few films of director Michael Mann’s might be better — friend, blogger, and Michael Mann enthusiast, J.D. believes The Insider may be his best. Personally, I don’t think any have the same impact as the 1995 masterwork that is Heat. And since I’ve examined opening title sequences, and their music, of late, might as well put this into perspective, too.

Even though it is initially a straightforward credit sequence, it sets everything in motion nonetheless as it has far greater magnitude than at first glance.

Michael Mann’s opening to his Los Angeles crime saga1 is not flashy, but it remains quite an elegant exercise. A sterling mix of the filmmaker’s well-known priority on realism and detail, and all with his unique sense of style to burn. Right from the start, after the Warner Bros./Regency emblems make their appearance, this is highlighted by the titles themselves as they fade in and out of the background. The wraithlike leitmotif of credits in evanesce chaperones viewers for the duration of the excerpt.

Furthermore, the font used for the titles in this sequence, seemingly based on the old-style punch label typeface, coyly emphasizes contact… even compression. This is classic Michael Mann…hinting at the pressing confrontation to come from the outset by an effective design choice of type used for this small facet. Even if most will overlook it, or simply dismiss it as some thoughtless, empty style point, the man overlooks nothing. More so, it’s presented before the first scene arrives, which follows the main title.

marine-redondo metro stop - heat


Mann’s gateway scene opens upon a night location he’ll use more than once2, one of the uniquely “L.A.” whereabouts the director will focus attention on throughout3. The colorfully eerie elevated metro train stop, hauntingly shot by longtime collaborator Dante Spinotti, brings into focus another feature of Heat — the director’s emphasis on his widescreen framing4. Imaged by using Panavision telephoto lenses that delivered the other remarkable characteristic exhibited from here on out.

Almost every shot on film caught as if from a distance…like what you’d see were from a police stake out, as it were.

This is how we first eye Neil McCauley, as he exits the train, the master thief who’s “mystified” local law enforcement with the “scores” he’s taken while living right under their noses. The flip side of the coin of who will pursue him, and the crucial object of the pursuit. Neil the essence of the film, and the reason Michael Mann’s introductory progression begins with this character. The predator who’ll become the prey of the elite in LAPD, and what the like-minded Lt. Vincent Hanna hopes will be his own “score.”

From here on, the rest of way the audience observes the professional in his element as the titles continue their prophetic ghostly act. Always in whatever character needed to blend into the background as the final pieces for his next job come together; the armored car robbery that is the lynchpin act of the story. An ambulance from a hospital’s lot, including the following scene of cohort Chris Shiherlis purchasing construction explosives in a bordering state5, key for the heist.

All of this given an ethereal accompaniment from the start by composer Elliot Goldenthal, whose credit shows up as McCauley augers past the statue of Michelangelo’s ‘The Pieta’ on his way into the ER6. This the first of a number of needle-dropped instrumentals used to punctuate Heat‘s soundtrack and augment his distinctive score7. The contemporary classic string quartet, Kronos Quartet, supplied the sequence a quietly brooding ambiance with their piece, fittingly titled, “Heat”.

A moody musical backcloth that supports what is essentially a subtle segment…that is, till the mortal reality of an emergency room’s din drowns it all out.

  1.  L.A. Takedown (1989) was Michael Mann’s first attempt at telling this story of a police detective tracking down a master criminal, which makes this film a remake — the only one in the director’s filmography. 
  2. The south end of the “Marine/Redondo” stop, part of the Metro Green line, and the very same train station used at the end of his 2005 film “Collateral.” 
  3. “Filmed in 65 locations around Los Angeles, without a single soundstage.” ~ IMDB 
  4. Aspect ratio 2.35 : 1. 
  5. The Arizona construction depot shown was actually a heavy machine supply and rental agency in the City of Industry, near the Rose Hills Cemetery. 
  6. The same location, St. Mary Medical Center in Long Beach, will be the setting used by Lt. Vincent Hanna later when he comes here for an entirely different purpose. BTW, that full-sized copy of ‘The Pieta’ replaced their “Holy Family” statues for the movie. 
  7. Ever the auteur, Michael Mann would make a couple of key changes, repositioning Moby’s two contributions to the soundtrack. His cover of Joy Division’s “New Dawn Fades” swapped for the closing credits with the more cathartic and heartrending “God Moving Over the Face of the Waters”. Elliot’s own piece, Hand to Hand, originally meant for that spot pulled back and later reused for Michael Collins

23 Responses to “Opening Titles and Song: Heat (1995)”

  1. Cindy Bruchman

    This is terrible, but I wonder if I’ve seen Heat? Maybe a drowzy, shaky evening where I recognized the stars on the scene but can’t recall much of the plot or the ending. It’s time for a proper viewing! Thanks, Michael.

    Liked by 1 person

  2. Cavershamragu

    I admire your dedication to this Michael and really enjoy your own attention to detail here! Upfront should admit that it is one of those films that my brother and I argue about a lot, as he loves it and I have always been much more reticent. But there is lots to admire even if, in terms of basic narrative, we have been here many times before, and I don;t just mean LA TAKEDOWN. SPEAKING FO WHICH, Isn’t MIAMI VICE (THE MOVIE) a remake too? But I love my brother even when we disagree on this sort of thing – but then, he doesn’t really get De Palma, so to each his own 🙂

    Liked by 1 person

    • le0pard13

      Yes, I understand that. My Duo Post partner Rachel are on polar ends when it comes to HEAT, too. I’ve always looked at films made of television series as adaptations rather than ‘remakes’*. Well, my friend, at least we have Elmore Leonard and Brian De Palma to keep us going. 😉

      Thank you so much, Sergio.

      * the exceptions being in the Star Trek realm: the very first film, STAR TREK: THE MOTION PICTURE, seemingly a remake of the ‘Nomad’ episode, THE CHANGELING; and of course the recent STAR TREK INTO DARKNESS redoing WRATH OF KHAN. Eh.


  3. Paul S

    I’ve got vivid memories of watching this opening sequence, back in the day at the much missed Palace cinema in Stalybridge. I was so blown away by Heat I went back and watched it all again the following week. Happy days!

    “So long, brother. You take it easy. You’re home free.”

    Liked by 1 person

  4. Ted Saydalavong (@TSayda)

    Nice write up about this great film, probably my favorite of Mann’s work. To me, it’s one of the few films that I’d consider timeless, the music and cinematography can still feel modern even though it’s over 20 years since it hit theaters. I still remember seeing it on the big screen and the theater I saw it at has a HUGE screen; I was at awe of the really great widescreen composition of each scene. I believe this was the last film that Mann directed that actually looks like film. Ever since he decided to shoot his films on digital, I’m just not a fan of that home video look, it worked well for Collateral but Miami Vice and Public Enemies should’ve been shot on film.

    Liked by 1 person

    • le0pard13

      Oh, yes! I think Mann has had a tremendous influence on filmmakers since HEAT (and his other films) debuted. In music, cinematography, and certainly style. A few have tried to copy it, I think (TAKERS and TRIPLE 9 come to mind), but they pale next to this. Agree with everything you say about it, brother. Yeah, would have loved to see the director go back to film for MIAMI VICE and PUBLIC ENEMIES. Many thanks for adding to this, Ted. 😀



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