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There are many invitations to laughter during this remarkable documentary, but what "Gates of Heaven" finally made me feel was an aching poignancy about its subjects. They say you can make a great documentary about almost anything, if only you see it well enough and truly, and this film proves it. "Gates of Heaven," which has no connection with the unfortunate "Heaven's Gate," is a documentary about pet cemeteries and their owners. It was filmed in Southern California, so of course we immediately anticipate a sardonic look at peculiarities of the Moonbeam State. But then "Gates of Heaven" grows ever so much more complicated and frightening, until at the end it is about such large issues as love, immortality, failure, and the dogged elusiveness of the American Dream.
The film was made by a California filmmaker named Errol Morris, and it has been the subject of notoriety because Werner Herzog, the West German director, promised to eat his shoe if Morris ever finished it. Morris did finish it, and at the film's premiere in Berkeley, Herzog indeed boiled and ate his shoe.
"Gates of Heaven" is so rich and thought-provoking, it achieves so much while seeming to strain so little, that it stays in your mind for tantalizing days. It opens with a monologue by a kind-looking, somewhat heavyset paraplegic, with a slight lisp that makes him sound like a kid. His name is Floyd McClure. Ever since his pet dog was run over years ago by a Model A Ford, he has dreamed of establishing a pet cemetery. The movie develops and follows his dream, showing the forlorn, bare patch of land where he founded his cemetery at the intersection of two superhighways. Then, with cunning drama, it gradually reveals that the cemetery went bankrupt and the remains of 450 animals had to be dug up. Various people contribute to the story: One of McClure's investors, a partner, two of the women whose pets were buried in his cemetery, and an unforgettable old woman named Florence Rasmussen, who starts on the subject of pets, and switches, with considerable fire, to her no-account son. Then the action shifts north to the Napa Valley, where a go-getter named Cal Harberts has absorbed what remained of McClure's dream (and the 450 dead pets) into his own pet cemetery, the Bubbling Well Pet Memorial Park. It is here that the movie grows heartbreaking, painting a portrait of a lifestyle that looks chillingly forlorn, and of the people who live it with relentless faith in positive thinking.
Harberts, a patriarch, runs his pet cemetery with two sons, Phil and Dan. Phil, the older one, has returned home after a period spent selling insurance in Salt Lake City. He speaks of having been overworked. Morris lets the camera stay on Phil as he solemnly explains his motivational techniques, and his method of impressing a new client by filling his office with salesmanship trophies. He has read all of Clement Stone's books on "Positive Mental Attitude," and has a framed picture of Stone on his wall. Phil looks neat, presentable, capable. He talks reassuringly of his positive approach to things, "mentally wise." Then we meet the younger brother, Dan, who composes songs and plays them on his guitar. In the late afternoon, when no one is at the pet cemetery, he hooks up his 100-watt speakers and blasts his songs all over the valley. He has a wispy mustache and looks like a hippie. The family hierarchy is clear. Cal, in the words of Phil, is "El Presidento." Then Dan comes next, because he has worked at the cemetery longer. Phil, the golden boy, the positive thinker, is maintaining his P.M.A. in the face of having had to leave an insurance business in Salt Lake City to return home as third in command at a pet cemetery.
The cemetery itself is bleak and barren, its markers informing us, "God is love; dog is god backwards." An American flag flies over the little graves. Floyd McClure tells us at the beginning of the film that pets are put on Earth for two reasons: to love and to be loved. At the end of this mysterious and great movie, we observe the people who guard and maintain their graves, and who themselves seem unloved and very lonely. One of the last images is of old Cal, the patriarch, wheeling past on his forklift, a collie-sized coffin in its grasp.