The late Chuck Adamson is perhaps best known for putting bad guys behind bars. He also brought some of the best crime-centric entertainment to the screen after retiring from law enforcement. The detective-turned-writer co-created Crime Story and wrote episodes of Miami Vice, both of which saw him collaborate with director Michael Mann. The pair continued their working relationship after those shows ended as well. In fact, their partnership reached its apex in 1995 with Heat, a landmark piece of crime cinema about cops and robbers.
Heat is a cool, stylish movie about two world-weary men who live on opposite sides of the law. Vincent Hanna (Al Pacino) is a detective who’s married to the job, which creates some tensions and heartache in his home life. Neil McCauley (Robert De Niro), meanwhile, is a robber who specializes in heists. He’s also focused on the job to the point that he’s unable to have any semblance of a regular existence outside of it.
One of the most remarkable elements of Heat is the way in which it explores the similarities between the two men. They’re opposites from a moral perspective, but they really aren’t all that different. Hanna and McCauley are professionals who are excellent at what they do. As such, they develop some mutual respect for each other. You could even say that they relate to each other, to a degree.
This element is poignantly realised in the film’s iconic diner scene. Until this point in the story, Hanna and McCauley have spent most of the movie trying to suss each other out, without ever coming into contact. But after McCauley pulls his target over while he’s out for a drive one evening, they grab a cup of coffee and have an honest conversation at the table.
Hanna and McCauley both know that their next interaction will undoubtedly mean certain death for one of them. This is why, in those moments, they end up dropping their respective guards and revealing some of their most intimate thoughts. It’s one of the greatest scenes in the history of motion pictures, in this writer’s humble opinion. It’s also not completely removed from reality.
What some people might not realise is that the scene was based on a chance meeting between Adamson and the real-life McCauley, who also had a history of committing robberies in the 20th century. The criminal had been on Adamson’s radar since the early 1960s, and the detective felt they’d cross paths eventually. However, he probably didn’t expect to encounter him for the first time the way he did.
When McCauley was released from the penitentiary in 1963, he bumped into Adamson on the off chance and they ended up having coffee together in a Chicago diner. The meeting started off tense, with the detective trying to persuade the criminal to go to a different city and give up his old ways. The criminal declined, and they agreed that their next encounter would end with one of them being eliminated.
As is the case in the film, the two men also ended up finding some common ground and opening up about their personal lives. In the book Michael Mann: Crime Auteur, the filmmaker revealed that McCauley’s professionalism excited Adamson as a detective. According to Mann, they were comfortable opening up, possibly due to their unlikely empathy for each other’s obsession with ice-cold professionalism.
“Chuck was going through some crises in his life, and they wound up having one of those intimate conversations you sometimes have with strangers. There was a real rapport between them; yet both men verbally recognized one would probably kill the other.”
Sure enough, Adamson and McCauley’s next meeting wasn’t as civil as their coffee date. On March 25, 1964, McCauley and his crew robbed a Chicago grocery store and bumped into Adamson and his men afterwards. The cops blocked off the escape routes, which resulted in a shootout breaking out. Adamson came out on top, putting six bullets in the crook he drank coffee with just a few months before.
Mann has always been fascinated with themes such as duality and moral ambiguity, so it’s understandable why Adamson and McCauley’s meeting informed one of the most memorable scenes in his oeuvre. The tale also shows that real-life crime stories can be just as fascinating as fictional ones. Sometimes, good and evil represent each side of the same coin, and it’s fascinating when they both realise that.
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