Benefiting from the tenets of Comparative Cultural Studies, this article shows the affinities between the film Heaven, (dir. Tykwer, 2002) and Milton’s Paradise Lost (1667 & 1674). \\\"The sin of love\\\"-- embedded within “Paradise-Lost” archetype -- has been a matter of discussion since Adam’s expulsion until 21st century. The double nature of love-- diabolic/ angelic, captivating/ redemptive, sexual/ metaphysical-- brings the notion of ‘sin’ side by side with ‘love’. Though the text of Heaven seems to come to an end, there is no longer an ending or beginning to the digitalized manifestation of modern Adam and Eve. The significance of this hypertext depends upon a host of other texts from Paradise Lost, story of temptation, Adam’s expiation, confession rituals, paintings of Madonna and Christ to Italian drug Mafia. Thus, “Paradise-Lost” as a hypertextual archetype transcends the boundaries of time, place, form, or cultural mode. The diversity in the portrayal of “Paradise-Lost” archetype rises from differences between the religious viewpoints of traditional man and the secular attitudes of modern man. While \\\"the sin of love\\\" caused Adam’s expiation, this love wins back paradise for the modern Adam and Eve in Heaven. Heaven invites us to the paradise within. The first couple lost paradise while Adam and Eve in Paradise Lost or Heaven find the conceptual paradise within through their mutual love. The idea of a redemptive power, which generates a new heaven, is the central foci of many artistic works. No creature is deprived of love and the paradise within. Adam’s feeling for Eve, and his consequential fall, brings forth an intellectual paradise on earth. This heaven came into being since the moment Adam and Eve met each other and fell in love, and will exist until the moment human keep his/her faith in the redemptive power of love and humanity.

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