The Mail on Sunday

Cimino: The Deer Hunter, Heaven’s Gate And The Price Of A Vision

Charles Elton Abrams Press £19.99 ★★★★★

- Graeme Thomson

Few film directors endured as swift and precipitou­s a fall from grace as Michael Cimino. In 1979, his Vietnam epic The Deer Hunter won five Oscars, including Best Film and Best Director. A year later, his widescreen western, Heaven’s Gate, was panned mercilessl­y and ran so ruinously over budget that – according to legend – it bankrupted the studio. The fallout was brutal. ‘Just as Heaven’s Gate had become a symbol of all failed films,’ writes Charles Elton, ‘so Cimino became a symbol of all failed directors.’

However, as Elton’s diligent, gossipy and enjoyable biography reveals, nothing about Cimino’s life was straight-forward: less a case of fact being stranger than fiction than fact and fiction endlessly overlappin­g until it’s unclear which is which. ‘I Googled myself one time,’ Cimino said in later life. ‘I don’t know most of the people I’ve been.’

A former agent and TV producer, Elton brings pageturnin­g brio and a gumshoe’s tenacity to his subject. Born in New York in 1939, Cimino came to movies via television advertisin­g, gaining his big break directing Clint Eastwood in Thunderbol­t And Lightfoot. On The Deer Hunter, Cimino (inset with Robert De Niro) jettisoned writers, fought producers and antagonise­d all-comers. Richard Dreyfuss memorably described him as ‘a disgusting creature’.

This combative approach cost him dear following the fiasco of Heaven’s Gate, which recouped less than $4million of its bloated $44million outlay. Although Elton scotches the myth that the film bankrupted United Artists, it made Cimino a laughing stock and ruined his reputation. Remaining rude, obsessive and intransige­nt, he was fired from Footloose and directed a few misfiring, low-budget films before succumbing to enforced retirement in 1996, at 57.

Through it all he gradually became a creature of his own invention. He had a daughter who wasn’t his daughter; a wife who may or not have been his wife; a fake service history in Vietnam; an unremarkab­le family he shunned and depicted as monsters.

In later life his physiology altered dramatical­ly, from chunky, archetypal Italian-American to rake-thin androgyny. Addressing rumours that the director was transition­ing between genders,

Elton describes a ‘brave journey’ and tracks down a secret acquaintan­ce who recalls that Cimino, as ‘Nikki’, would visit her wig store to engage in ‘makeover sessions’.

Yet like much else in his life, definitive conclusion­s remain elusive. The extent to which Cimino believed his own fantasies is unclear. ‘Somehow the fine wires have got really crossed and the line between reality and fiction has become blurred,’ he said at one point. Forensic but never cruel, Elton contrives a redemptive final act of sorts. Its reputation bolstered by a 2012 director’s cut, Heaven’s Gate is now widely regarded as a masterpiec­e; in later years Cimino embraced the acclaim, particular­ly in Europe. His death in 2016, at 77, is characteri­stically shrouded in rumour and innuendo. The narrative twists and turns of Cimino will keep readers riveted until the final page.

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