Heaven Can Wait

The depth of casting matches the structural depth in what is essentially a parable against gaining the world and losing your soul.

Beatty’s monologue at the board meeting gives this, in the form of a commentary on the surrealistic shift (i.e., from quarterback to millionaire).

Between them, he and Henry are a superb director in a style akin to Elaine May’s. Note the tilt-down and zoom-out on the helicopter, prepared by surprise editing on its uncommon presence as Beatty emerges from the mansion to board it.

The direction furthermore taps unreserved domains of acting, particularly in Beatty and Joseph Maher, with paroxysmal renditions from Cannon and Grodin, and R.G. Armstrong looking particularly subtle behind eyeglasses in a contemporary executive role.

The art direction has been remarked for its ability to cultivate precisely the nuance of wealth indicated.