I think that walking away from certain things in life means we’re willing to grow and follow a better version of ourselves. That is what I learned from my third viewing. Furthermore, Neil is the more human of the two. He’s a killer and he’s a criminal, but in the end he’s the one that ends up having more “heart” and something to lose while Hanna is cold, a man married to his job. Mann’s screenplay is a window into thought and emotion. He shows that there isn’t much of a difference between cop and criminal, and he accentuates that they need each other, and no one else, in order to truly survive. Heat spends a good deal of force focusing, on its supporting characters, especially children (Natalie Portman) and women (Ashley Judd, Amy Brenneman and Diane Venora). In the long run, the characters receives equal screen time, the audience empathizes and roots for both sides equally (except Waingro), something rarely seen in crime
I think that walking away from certain things in life means we’re willing to grow and follow a better version of ourselves. That is what I learned from my third viewing. Furthermore, Neil is the more human of the two. He’s a killer and he’s a criminal, but in the end he’s the one that ends up having more “heart” and something to lose while Hanna is cold, a man married to his job. Mann’s screenplay is a window into thought and emotion. He shows that there isn’t much of a difference between cop and criminal, and he accentuates that they need each other, and no one else, in order to truly survive. Heat spends a good deal of force focusing, on its supporting characters, especially children (Natalie Portman) and women (Ashley Judd, Amy Brenneman and Diane Venora). In the long run, the characters receives equal screen time, the audience empathizes and roots for both sides equally (except Waingro), something rarely seen in crime