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Peverall's expertise with budgeting and scheduling made him a natural successor to Relyea, and Peverall knew enough about the picture to be elevated to producer status.
The wedding scenes were filmed at the historic St. Theodosius Russian Orthodox Cathedral in the Tremont neighborhood of Cleveland , Ohio.
Theodosius' Father Stephen Kopestonsky was cast as the priest at the wedding. The amateur extras lined up for the crowded wedding-dance sequences drank real liquor and beer.
The production manager asked each of the Russian immigrant extras to bring to the location a gift-wrapped box to double for wedding presents.
The manager figured if the extras did this, not only would the production save time and money, but the gifts would also look more authentic.
Once the unit unwrapped and the extras disappeared, the crew discovered to their amusement that the boxes weren't empty but filled with real presents, from china to silverware.
Cimino originally claimed that the wedding scene would take up 21 minutes of screen time. In the end, it took 51 minutes.
Deeley believes that Cimino always planned to make this prologue last for an hour, and "the plan was to be advanced by stealth rather than straight dealing.
At this point in the production, nearly halfway through principal photography, Cimino was already over budget, and producer Spikings could tell from the script that shooting the extended scene could sink the project.
The first deer to be shot was depicted in a "gruesome close-up", although he was hit with a tranquilizer dart. The Viet Cong Russian roulette scenes were shot with real rats and mosquitoes , as the three principals De Niro, Walken, and Savage were tied up in bamboo cages erected along the River Kwai.
The woman who was given the task of casting the extras in Thailand had much difficulty finding a local to play the vicious-looking individual who runs the game.
The first actor hired turned out to be incapable of slapping De Niro in the face. The casting agent then found a local Thai man, Somsak Sengvilai, who held a particular dislike of Americans, and so cast him.
De Niro suggested that Walken be slapped by one of the guards without any warning. The reaction on Walken's face was genuine. Producer Deeley has said that Cimino shot the brutal Vietcong Russian roulette scenes brilliantly and more efficiently than any other part of the film.
De Niro and Savage performed their own stunts in the fall into the river, filming the thirty-foot drop fifteen times in two days.
During the helicopter stunt, the skids caught on the rope bridge as the helicopter rose, which threatened to seriously injure De Niro and Savage.
The actors gestured and shouted to the crew in the helicopter to warn them. Footage of this is included in the film.
According to Cimino, De Niro requested a live cartridge in the revolver for the scene in which he subjects John Cazale's character to an impromptu game of Russian roulette, to heighten the intensity of the situation.
Cazale agreed without protest,  but obsessively rechecked the gun before each take to make sure that the live round wasn't next in the chamber.
While appearing later in the film, the first scenes shot upon arrival in Thailand were the hospital sequences between Walken and the military doctor.
Deeley believed that this scene was "the spur that would earn him an Academy Award. In the final scene in the gambling den between Mike and Nick, Cimino had Walken and De Niro improvise in one take.
His direction to his actors: "You put the gun to your head, Chris, you shoot, you fall over and Bobby cradles your head.
Executives from Universal , including Lew Wasserman and Sid Sheinberg , were not very enthusiastic.
Sheinberg thought it was anti-American. He was vehement. He said something like 'You're poking a stick in the eye of America. And they certainly didn't like it at three hours and two minutes.
I'd muddled and sold the wrong picture to each studio. Thom Mount , president of Universal at the time, said, "This was just a That was simply because he was wedded to everything he shot.
The movie was endless. It was The Deer Hunter and the Hunter and the Hunter. The wedding sequence was a cinematic event all unto its own.
She started to turn the heat up on Michael, and he started screeching and yelling. Zinner eventually cut the film to 18, feet 3.
Regarding the clashes between him and Cimino, Zinner stated: "Michael Cimino and I had our differences at the end, but he kissed me when we both got Academy Awards.
I cut Deer Hunter myself. The Deer Hunter was Cimino's first film to use Dolby noise-reduction system. You can come close to demolishing the screen.
One short battle sequence— feet of film in the final cut—took five days to dub. Another sequence recreated the American evacuation of Saigon; Cimino brought the film's composer, Stanley Myers, out to the location to listen to the auto, tank, and jeep horns as the sequence was being photographed.
The result, according to Cimino: Myers composed the music for that scene in the same key as the horn sounds, so the music and the sound effects would blend with the images to create one jarring, desolate experience.
Both the long and short versions were previewed to Midwestern audiences, although there are differing accounts among Cimino, Deeley, and Spikings as to how the previews panned out.
The soundtrack to The Deer Hunter was released on audio CD on October 25, The Deer Hunter debuted at one theater each in New York and Los Angeles for a week on December 8, The network later cancelled the acquisition on the contractually permitted grounds of the film containing too much violence for US network transmission.
One of the most talked-about sequences in the film, the Viet Cong 's use of Russian roulette with POWs , was criticized as being contrived and unrealistic since there were no documented cases of Russian roulette in the Vietnam War.
The central metaphor of the movie is simply a bloody lie. Cimino countered that his film was not political, polemical, literally accurate, or posturing for any particular point of view.
During the 29th Berlin International Film Festival in , the Soviet delegation expressed its indignation with the film which, in their opinion, insulted the Vietnamese people in numerous scenes.
Other communist states also voiced their solidarity with the "heroic people of Vietnam". They protested against the screening of the film and insisted that it violated the statutes of the festival because it in no way contributed to the "improvement of mutual understanding between the peoples of the world".
The ensuing domino effect led to the walk-outs of the Cubans, East Germans, Hungarians, Bulgarians, Poles and Czechoslovakians, and two members of the jury resigned in sympathy.
In his review, Roger Ebert defended the artistic license of Russian roulette, arguing "it is the organizing symbol of the film: Anything you can believe about the game, about its deliberately random violence, about how it touches the sanity of men forced to play it, will apply to the war as a whole.
It is a brilliant symbol because, in the context of this story, it makes any ideological statement about the war superfluous. Film critic and biographer David Thomson also agrees that the film works despite the controversy: "There were complaints that the North Vietnamese had not employed Russian roulette.
It was said that the scenes in Saigon were fanciful or imagined. It was also suggested that De Niro, Christopher Walken, and John Savage were too old to have enlisted for Vietnam Savage, the youngest of the three, was thirty.
Three decades later [written in ], 'imagination' seems to have stilled those worries In her review, Pauline Kael wrote "The Vietcong are treated in the standard inscrutable-evil Oriental style of the Japanese in the Second World War movies The impression a viewer gets is that if we did some bad things there we did them ruthlessly but impersonally; the Vietcong were cruel and sadistic.
In his Vanity Fair article "The Vietnam Oscars", Peter Biskind wrote that the political agenda of The Deer Hunter was something of a mystery: "It may have been more a by-product of Hollywood myopia, the demands of the war-film genre, garden-variety American parochialism, and simple ignorance than it was the pre-meditated right-wing road map it seemed to many.
According to Christopher Walken, the historical context was not paramount: "In the making of it, I don't remember anyone ever mentioning Vietnam!
Maybe it did. I don't know. All's fair in love and war. I can't think of a better word for it. I didn't realize how badly we'd behaved to the Vietnamese people Producer Deeley, on the other hand, was quick to defend Cimino's comments on the nature and motives of the film: " The Deer Hunter wasn't really 'about' Vietnam.
It was something very different. It wasn't about drugs or the collapse of the morale of the soldiers. It was about how individuals respond to pressure: different men reacting quite differently.
The film was about three steel workers in extraordinary circumstances. Apocalypse Now is surreal. The Deer Hunter is a parable Men who fight and lose an unworthy war face some obvious and unpalatable choices.
They can blame their leaders.. Self-blame has been a great burden for many war veterans. So how does a soldier come to terms with his defeat and yet still retain his self-respect?
One way is to present the conquering enemy as so inhuman, and the battle between the good guys us and the bad guys them so uneven, as to render defeat irrelevant.
Inhumanity was the theme of The Deer Hunter's portrayal of the North Vietnamese prison guards forcing American POWs to play Russian roulette.
The audience's sympathy with prisoners who quite understandably cracked thus completes the chain.
Accordingly, some veterans who suffered in that war found the Russian roulette a valid allegory. Cimino frequently referred to The Deer Hunter as a "personal" and "autobiographical" film, although later investigation by journalists like Tom Buckley of Harper's revealed inaccuracies in Cimino's accounts and reported background.
In , critic Robin Wood examined what he viewed as the film's homosexual subtext. In the film's central "male love affair" Mike supposedly represents the powers of control and repression, whereas Nick stands for release and liberation.
According to Wood, "Nick both is and knows himself to be in love with Mike and Mike reciprocates that love but can't admit it, even to himself".
In the end, Wood argues that Nick shoots himself because "he has recognized that Mike offers nothing but a return to repression".
The final scene in which all the main characters gather and sing "God Bless America" became a subject of heated debate among critics when the film was released.
It raised the question of whether this conclusion was meant ironically or not — "as a critique of patriotism or a paean to it".
Upon its release, The Deer Hunter received acclaim from critics, who considered it as the best American epic since Francis Ford Coppola 's The Godfather.
The consensus reads: "Its greatness is blunted by its length and one-sided point of view, but the film's weaknesses are overpowered by Michael Cimino 's sympathetic direction and a series of heartbreaking performances from Robert De Niro, Meryl Streep, and Christopher Walken".
Roger Ebert of the Chicago Sun-Times gave the film four out of four stars and called it "one of the most emotionally shattering films ever made.
Much of it, including some casting decisions, suggest inspiration by The Godfather. Its vision is that of an original, major new filmmaker.
However, The Deer Hunter was not without critical backlash. Pauline Kael of The New Yorker wrote a positive review with some reservations: "[It is] a small minded film with greatness in it Gifts for the hunter Hunting tips Read more.
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