fter the three-way disembowelling it received in 1980 – first from the studio, United Artists, trying to redeem something commercially viable from the sprawling behemoth Cimino had given them, then from critics rescinding all the superlatives they’d heaped on its director for The Deer Hunter two years earlier, and then from an utterly indifferent public – the carcass of Heaven’s Gate lay around for years as a bloodied monument to auteur folly.


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