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Miami Vice - the movie, the music, the boatshoes

 
  

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Spaniel
13:10 / 07.12.06
Just saw this, and yeah it looked fucking awesome, but I think I broadly agree with Wonderstar. It having been years since I've seen the original show, I'd forgotten how melodramtic Miami Vice always was, and the film seemed intent on going that route too. This isn't a complex film, it isn't rich in nuanced characterisation, it doesn't have a patch on the best HBO drama, rather it's chock full of cliches and is sadly predictable. Quite how people have managed to leave the cinema confused is completely beyond me (in fact I find it kind of annoying, I mean, just how bloody simple do films have to be?)- this is all stuff we've seen done before, and generally we've seen it done better.

As for speedboats and sex, isn't that quintessential Miami Vice? I can see how it might not work for you, but it's the very stuff of the show, if you ask me.
 
 
PatrickMM
14:15 / 07.12.06
I'd argue that it's a film that's moved beyond traditional character development and narrative, precisely because we've seen those things so many times. The reason people had a tough time following it is because Mann never sets things up for us, we're just dropped in this world and then have to piece together what's going on. So, it's easy to get lost in some of the details. But, that doesn't matter. The film's only serious concern is creating visual-emotional moments. Even if I don't really know the characters, I was still moved by the scene where Crocket and Isabella go to Cuba, the emotion was present in the presentation itself rather than in what we felt about the characters.

It has more in common with an art film than a blockbuster, and that's what I love it for. Yes, it's very criticizable, but I think the presentation is so strong, it overwhelms those problems.
 
 
Spaniel
14:39 / 07.12.06
The film's only serious concern is creating visual-emotional moments

I think that may well be true, actually - I mean, that's Mann all over, and that's the best bits of Miami Vice all over. In fact, that's what scenes like the speedboat scene are all about.

My partner wants to get out the DVD at the weekend, perhaps I'll have more sympathy for the film when I'm not watching a pirated version on my laptop (bad me!).
 
 
Elijah, Freelance Rabbi
14:41 / 07.12.06
Pirated movies Boboss, didn't you see the message in the film itself that the evil badguys are the ones making bootleg movies and software?
 
 
Spaniel
14:45 / 07.12.06
I am teh evil accomplice.

Sadly without piracy I wouldn't get to see Lost and Heroes so it's gonna haveta stay that way.
 
 
Feverfew
20:08 / 07.12.06
I've just seen this, and some of it's still percolating through, but I was impressed; the look of the film was good, even down on the small screen. The plotting and pacing were good, also (my personal thing-most-noticed at the moment is pacing, strangely) and there were no real missteps to be noticed.

I note that the director's cut has just come out across the pond, and I'd be interested in seeing that.

The main thing I would note, however, is that I think Miami Vice as a film comes out better for the lack of Cinematic Sugar; any film that comes out of Hollywood or America (and even, to another extent, Britain at the moment) seems to have to have certain elements akin to a necessitated sugar rush to keep the audience hooked.

I know I'm not saying anything new here, but almost every film for the past five or so years seems to have featured pointless sex or overdone (but sometimes impressive) special fx. Miami Vice, however, has three sex scenes and two scenes of violence in an entirely engaging context, and I think it's the better for it; instead of the quick-peak-sugar-rush of, say, The Island for a quick example, you have the slow-healthy-burn going on here.

The scenery was beautiful, too, and I'm a sucker for thunderstorms, which seemed to be a leitmotif of the Florida scenes. (Or they just happen a lot there, I know. Either way, I'm a sucker for them.) One element of the film that a lot of places have picked up on is the relative lack of overt communication between Crockett and Tubbs precisely because they're such close working partners, and that made the film seem more credible, to my mind.

Anyway. Summing up, Fire Bad, Tree Pretty, I liked.
 
 
PatrickMM
15:39 / 12.12.06
I'd definitely agree about the lack of 'sugar.' I've heard a lot of people complain about the Sonny/Isabella relationship, that it's a waste of time, which completely misses the point of the film. This isn't an action movie, in the sense that you're there to watch a bunch of stuff get blown up, it's a film about exploring the difficulties inherent in being an undercover cop, and nowhere is that more painfully evident than in the stuff with Sonny and Isabella. I love their scenes together, and I think they're some of the most visually interesting scenes in the film.

I think the film's problem is that it has a very art movie structure and style, but the viewers seeing it were expecting a stuff blows up movie. And the audience who it would work best for probably wouldn't lower themselves to see a movie based on an 80s TV show with a $135 million budget. But, at least it did get made.
 
 
Pepsi Max
02:59 / 05.01.07
[i]The film's only serious concern is creating visual-emotional moments[/i]

You could watch it with the sound off. I didn't find the dialogue at all interesting.

But the scenery, the camera work, the crowd scenes. Gorgeous. Blown-up prints of those for my walls please.
 
 
Spaniel
07:38 / 05.01.07
I'm pretty sure Patrick would argue that the music and the dialogue contribute significantly to the ambiance. The appeal is more aesthetic than compelling in a narrative sense.
 
 
PatrickMM
19:53 / 06.01.07
Boboss, that's right on. You definitely need the music in there, Mann always picks great music to go with his images, and the best moments here are when the images and music come together to produce a strong emotion, as in the boat ride to Cuba, or the scene where Gong Li gets off the plane.

As for the dialogue, some of it is a bit goofy, but I think Mann did a good job of making the characters talk in a real way rather than a movie character way. I particularly love that he never has them convey any obvious exposition or talk about their feelings in an overt way. We see all that visually and the talk is just a dance around what really matters.
 
 
Pepsi Max
06:11 / 07.01.07
I dunno, I tried watching bits of it with the music on and the music off - and it didn't make much difference.

The dialogue just seemed like a bunch of cliches taken randomly out of a bag.

Thinking about it - the film was this weird mix of the glossily glamorous and the profoundly dull.

The settings are wonderful ("yes, I'll just hop over to Cuba for some dancing and shagging") but the characters are the most boring bunch of morons I have ever encountered. Violent and vacuous.
 
 
Spaniel
06:39 / 07.01.07
I agree that the dialogue is cliched in terms of it's content - the kinds of conversation had - but I don't think the same can be said for it's form: the actual words spoken.
 
  

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