![]() ![]() Therefore, there is no consensus in its approach, but rather an extraordinary science of the alliance between the demands of the filmmaker and that of an art that is great only on the condition of remaining popular (the genre film, the foundation of all his films) – that is to say, the characteristic of the great American artists whose torch today Mann is one of the few to carry. Miami on the one hand, but Vice on the other: behind the yachts of the gangsters and their pastel-coloured palaces, a world infected by corruption and artifice, a carnivorous and swampy world for which the pet alligator of Sonny Crockett (Johnson) provides a limpid metaphor of America.įinally, Michael Mann brings Miami Vice to the big screen and, in doing so, the greatest contemporary American filmmaker proves once again his ability to bend the logic of the blockbuster ( Miami Vice was thus oversold) to his personal universe, to the extent that occasionally one has the impression of a brilliant re-routing of money (the film cost more than 150 million dollars) in favour of a radical work that does not give up its author’s formal and stylistic ambitions. (1985), was striving to paint the portrait of America in the 1980s, with its cult of individualism and money, of arrogant successes and cheap flashiness. The wings of pink flamingos in slow motion, tracking shots on gleaming limousines, an excess of bikinied bimbos, champagne flutes and dollar bills: in other words, the flashy universe of a series which, like Brian De Palma’s Scarface (1983) released one year earlier in theatres (and also set in Miami) and William Friedkin’s To Live and Die in L.A. From the credits, the tone is set: updated MTV and FM pop radio via the soundtrack (Phil Collins, Pat Benatar, Dire Straits, Bryan Ferry and electro-funk hits). One hundred and eleven episodes were shot between 19, with Don Johnson and Philip Michael Thomas in the roles of the sexiest and best-dressed cops in the history of television. – Jean Baudrillard, Le Pacte de lucidité ou l’intelligence du Mal (1)Ĭreated by Anthony Yerkovitch and supervised (very) closely by Michael Mann, Miami Vice was, let’s remember, one of the leading television series of the 1980s and for the director of Heat (1995), chastened by the failure of The Keep (1983), the laboratory where he was going to forge a new æsthetic, founded on an extreme sophistication of mise en scène, an excessive taste for design and advertising kitsch (colour coding for each episode, Armani suits and moccasins for the heroes, etc.). The Real is no more than the asymptomatic horizon of the Virtual. ![]()
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