The shootout begins near the plaza at the intersection of Flower and 5th streets. After Bosko is shot Hanna gives chase and the getaway car is seen speeding, passing the spot where the shootout begun. Once McCauley starts shooting through a windshield window, the same spot is seen being passed again. The car is then seen passing the intersection, but once the tires get blown the car is at the intersection again with the plaza just few steps away.

Here, his more gritty sense of style is what makes this scene so believable. And, despite the enormous cast, Mann was still able to keep his agenda clear, and orchestrate so much talent into a coherent movie. Michael Mann deserves credit for both his vision and ability to express it.



Michael Mann's direction of the movie keeps the film moving while providing a tremendous combination of action and drama. He moves from scene to scene quickly and effortlessly. He also switches between the many storylines logically and fluidly, none of the story being lost. Each scene leaves its own, unmistakable impression, and each scene of each storyline builds upon the previous. Action scenes are handles crisply but grittily. The gunshots are loud, the blood is abundant, but Mann wisely does not linger on the horror of the moment. He paints a realistic picture, but keeps to the topic.
The action never becomes more important than the drama. Mann is also responsible for what is perhaps the greatest robbery scene ever.

Michael Mann's Heat