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The film looks at two California cemeteries, one failed, one flourishing. First-time viewers often have the experience of laughing through the first half of the picture--this is an outrageous group of people who wouldn't be out of place in a Christopher Guest comedy--and then growing emotionally involved. Morris's flat, dead-on style makes the movie a mirror, so that cynics will see a fool's parade of weirdoes, while pet lovers will warmly identify with so much tenderness toward animals. (And Roger Ebert, the film's biggest champion, will see one of the 10 best movies ever made.) It's a strange experience, but likely one you'll never forget. --Robert Horton
By asking people to speak of their deceased and beloved pets, Errol Morris has coaxed out of them deeply moving reflections about heavy philosophical issues. There are few films that combine humor, sympathy, and thought in so stirring a fashion.
Errol Morris knew he was getting more than information about pet cemeteries when filming Gates of Heaven; he was capturing real, sincere moments by people possessing all kinds of characteristics. Sadness, cynicism, laughter, envy, and the unflinching love for pets is present throughout Gates of Heaven. This film isn't really a documentary about pet cemeteries at all. Rather, it is about human beings, the passions we have, and how we achieve them in this life. Near the end of the film as I watched a young hippie cemetery owner playing his guitar up in the hills, I realized how far this film was reaching for, and how successful it was in reaching it.
From the jealousy of a man towards his younger, more successful brother, to the hilarious (and somewhat sad) monologue by a lonely old woman, Gates of Heaven ultimately shows that no matter what people strive to achieve, whether it be pet cemeteries or President of the United States, it's their heart and souls that will remain timeless.
