erasing clouds
 

Miami Vice

reviewed by j.d. lafrance

It has been 17 years since Miami Vice ended its successful run on television. It became a cultural phenomenon and has since become one of the iconic shows of the 1980s. Michael Mann executive produced and acted as its guiding force in terms of tone and style for the first two seasons, helping define the show’s distinctive cinematic look. Now, he’s revisiting Vice again, this time on the big screen in a much darker version. Although, people forget that, for its time, the show was fairly gritty in its own right (within the confines of network TV) and featured many downbeat endings where the bad guys got away or the protagonists won but at a terrible, personal cost.

As he did with Los Angeles in Collateral (2004), Mann presents a contemporary version of Miami that is a foreboding and dangerous place. This isn’t the neon and pastels of the T.V. show. Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) are two undercover police officers that specialize in going deep undercover to identify and bring down drug dealers and their operations. As with all of Mann’s films we are dropped right into the middle of the action as Crockett and Tubbs are tracking a suspect in a crowded nightclub with the kind of efficiency that is customary of all Mann protagonists.

The first thing that strikes you about this scene is how it is an incredible assault on the senses with pulsating electronica on the soundtrack while Crockett and Tubbs make their way through the crush of bodies in a sweaty, claustrophobic atmosphere. In some respects, it is reminiscent of the nightclub scene in Collateral albeit with a lot less bloodshed. In the middle of all this Crockett gets an urgent call from one of his informants. He and Tubbs rush to meet him (played with sweaty desperation by John Hawkes) and find out that his family has been killed by white supremacist gang bangers. These are serious guys with heavy duty assault rifles that they use to ruthlessly kill two undercover cops without hesitation on a drug transaction gone bad.

Crockett and Tubbs soon find themselves assigned to the case with the mandate of finding out how this gang was able to discover these undercover agents and make contact with the source of their drugs – a Cuban named José Yero (John Ortiz) who operates in Central America and beyond. So, Crockett and Tubbs steal a shipment of Yero’s drugs and proceed to sell them back to him posing as experienced drug dealers. They go to South America and meet Yero in a typical Mann scene filled with tough guy speak that is sparse and all business. It’s a tense scene as the two undercover cops sell their fake reputations to Yero and try to convince the suspicious drug dealer to go into business with them.

At the meeting, Crockett meets Isabella (Gong Li), a distant businesswoman who works for Yero and is the girlfriend to Arcángel de Jesús Montoya (Luis Tosar), the coolly confident mastermind behind the entire operation. Isabella has an air of mystery that intrigues Crockett and this grows into an intense attraction between the two of them.

Even though Mann has made it a point to distance the film from the T.V. show, the essential ingredients to the drug operation storyline are based loosely on an episode from season one entitled, “Smuggler’s Blues.” Mann even uses a few similar key lines from that episode in the movie. The film goes to great lengths in showing how the international drug smuggling trade works. The filmmaker has a real eye for detail, showing in his trademark, meticulous fashion, how a massive drug transaction, done out in the ocean at night, on several boats with incredible efficiency is accomplished. These big time drug dealers have seemingly unlimited resources and he shows how they use sophisticated technology and weapons, that rival if not surpass anything the United States government has, to conduct and protect their extremely lucrative business. Mann also expertly captures the way these guys speak – the sometimes cryptic lingo of both the cops and the criminals – it really is like a language unto itself. Crockett and Tubbs are dealing with the kinds of guys that would have hired someone like Vincent in Collateral with Yero as a mid-level drug dealer much like Javier Bardem’s Felix in the previous film.

Not much is revealed about Crockett or Tubbs’ personal lives or their backstories except that they have a very tight partnership and this is conveyed in a few minutes through looks and verbal shorthand. We do learn that Tubbs is in a long-term relationship with fellow undercover police officer Trudy Joplin (Naomie Harris) while Crockett is a loner, only existing for the work and more than willing to fully immerse himself in his role. Their undercover work allows Mann to once again show the blurring between the law and crime as Crockett and Tubbs perform illegal tasks as their undercover alter egos. Like Neil McCauley and Vincent Hanna in Heat (1995), there is a thin line separating the two sides of the law and Crockett and Tubbs cross it repeatedly. The danger lies in losing themselves; forgetting who they are and why they are doing this work. However, they are consummate professionals and there is little doubt that this will happen. Tubbs is never once tempted and as much as Crockett loves Isabella, he knows that it will never last because he knows who he is and what he has to do. This does drain a little tension from the movie as there is no danger that Crockett and Tubbs will really break their professional code unlike protagonists in other Mann films.

Colin Farrell is good as Sonny Crockett in what is easily his strongest performance to date thanks to the excellent material he was to work with and a veteran director like Mann to guide him. He does a good job of playing a risk taker like Crockett who has nothing in his life because he is his work. Of course, meeting Isabella changes this and he ends up breaking his personal code much like Neil does when he gets romantically involved with Eady in Heat, although, not to same life-threatening degree. Farrell is able to convey the conflict that Crockett faces as he mixes business and pleasure. Mann uses the actor’s expressive eyes to convey this internal struggle. He finally has a meaty role to sink his teeth into and does so well, immersing himself in the character much as Crockett does in his undercover persona. Jamie Foxx is good as Crockett’s reliable partner and moral compass. Tubbs is always there to back him up and remind him who he really is when it seems that he has forgotten. Foxx sheds his usual schtick much like he did in Collateral (and Ali for that matter) to deliver a strong, unmannered performance. Mann regular Barry Shabaka Henley is also along for the ride as Lt. Martin Castillo and brings his customary gravitas as Crockett and Tubbs’ superior. Also of note is Tom Towles who plays the leader of the white supremacists with scary intensity. He’s played a host of nasty bad guys in the past and is very effective in this role. His character is the film’s wild card, like Waingro in Heat.

Mann has been accused of writing weak female characters in his movies (although, both Jesse in Thief and Justine in Heat are the exceptions) but Isabella and, to a lesser degree, Trudy, are very strong and distinctive. Isabella is particularly significant in that she is an independent businesswoman who operates in a world dominated by men. Even when she becomes romantically involved with Crockett she does not lose her identity. She is obviously drawn to him and the beautiful Gong Li conveys this so well in the looks she gives Farrell and the intimacy they share in their scenes together. Both Crockett and Isabella are professionals and in another context could have had a life together but because of who they are and what they do, it is not meant to be.

In a surprising move, Miami Vice is Mann’s most sexually-charged film with several sensual yet artfully shot sex scenes between Tubbs and Trudy and Crockett and Isabella. It is all tastefully done with lots of close-ups that reduce these scenes almost to abstraction and conveys the intensity of their passions – especially that of Crockett and Isabella. They know that it won’t last because of the nature of their profession and this makes their relationship that much more immediate and intense. Like Hanna in Heat, Crockett has no allusions about his personal life. He knows that he can’t have any attachments because it is filled with constant danger and would put anyone close to him in jeopardy as well.

The digital camerawork gives Miami Vice a grainy, gritty look and a raw, rough around the edges texture that is perfectly suited for a film about extreme characters stuck in equally extreme situations. The digital cameras also allow Mann some incredible depth of field during the night scenes so that we can see exactly what is going on during night time raids or drug runs where it would have been a murky mess with film stock. He also captures the haunting quality of the storms rumbling in the background of scenes (they shot this movie during Hurricane Katrina) that provide an eerily foreshadowing of the impending violent climax to the movie.

Mann also continues to demonstrate a capacity for capturing stunning landscapes, like the shots of Crockett and Tubbs flying their small plane through vast blue skies populated with expansive, billowy clouds that dwarf the jet or another shot of a series of waterfalls surrounded by dense jungles. He also presents the beautifully lush jungles of Colombia as exotic and alluring. Mann immerses us in the sights and sounds of Central and South America and Miami: crowded market places and noisy nightclubs, showing off the local color of these places.

With Heat and Collateral, Mann has repeated shown his capacity for orchestrating elaborately staged action sequences. The shoot-out in a trailer park is particularly effective in its realism and ruthless economy (as he did with Collateral). In many respects, it is so unlike the hyper-active, hyper-kinetic action one is accustomed to in mainstream Hollywood films by the likes of Michael Bay or McG because Mann drains these sequences of any slick polish and subverts our expectations by building up incredible tension and then inserting a sudden, jarring moment of violence, even ending the sequence with an unpredictable moment of tragedy that is very gripping stuff. Mann then proceeds to top this sequence with an even more impressively staged one for the film’s climax.

Ultimately, Miami Vice is not a kitschy parody or celebration of its television source material a la Starsky & Hutch (2004) or The Dukes of Hazzard (2005) but a serious meditation of the dangers of deep, intensive undercover work and the complex drug cartels it tries to expose and ultimately break up. Kudos to Universal for daring to release a dark, very mature action thriller in the middle of summer blockbuster season in an attempt at counter-programming. Mann has created another masterfully crafted exploration into the nature of professionalism and the inevitable clash between it and the personal lives of his protagonists. This movie is arguably one his darkest explorations of these themes as he strips down our notions of character development and plot to the bare essentials while showcasing his knack for visual storytelling.


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