Mann’s Women & Mortality Itself
Responding to my recent praise for Michael Mann‘s Public Enemies, legendary film critic F.X. Feeney shared some thoughts earlier this evening, focusing especially on Mann’s history of writing strong and defiant female characters.
“I’m so glad we agree about Public Enemies,” he began. “I think it’s a beautiful confluence of everything I ever loved about Last of the Mohicans and Heat — especially in its sense of America as a still-embattled frontier where men and women continuously invent and re-invent themselves, and protagonists (whether they live within the law or without it) who are defined by their refusals to conform.
“This is one reason I take exception to Mark Harris‘s view that Mann short-shrifts his female characters. Gong Li in Miami Vice goes her own way, at huge risk. So do Madeline Stowe‘s Cora in Mohicans, Ashley Judd in Heat, the angry women played by Diane Venora in Heat and The Insider, Tuesday Weld in Thief.
“Everywhere you look in Mann’s work (The Keep, Manhunter) women are all deeply observed, self-reliant and fully dimensional..
“I will admit La Cotillard takes the coupe du monde in their honors, but then she is not only great in herself but that magnificent hall-of-mirrors moment when Dillinger contemplates her angelic double, Myrna Loy, in Manhattan Melodrama. It seems to me that here, Mann grandly contradicts the old saw that men’s ‘immortal dreams of women’ are ‘unattainable.’ From where Dillinger sits, that dream has been attained quite fully, thank-you-very-much. A ticklish mystery, this.
“I love, too, that Public Enemies dramatizes the great line from Miami Vice — ‘time is luck’ — without having to state it aloud. Mann is contemplating mortality in this movie, more directly and philosophically than ever before — and doing so in the Ernest Hemingway sense of action as a philosophy.
“This is a soulful film that calls no attention to its soulfulness, trusting us to tune in.”
Feeney added the following early this morning:
“I offer what follows with a word of caution to your readers that they really should see Public Enemies before they read too much more about it. Although I’m careful to avoid blatant spoilers here, everybody should have the great pleasure of seeing this unique movie for the first time by their own lights.
“Rereading what I wrote about Dillinger watching Myrna Loy (who bears such a pleasing resemblance to Marion Cotillard’s Billie Frechette), I don’t feel I did this scene or my feelings about it justice.
“The moment is extremely moving in context, as a development in Dillinger’s psyche — he’s not a very reflective guy, but in this moment (courtesy of Mann’s fine filmmaking and Johnny Depp’s translucent acting) we’re given a privileged glimpse as he takes stock of his life.
“That JD has been loved and tasted goodness is something we know well, courtesy of Cotillard. That he’s able to see and appreciate this, as if he were a disembodied spirit regarding his own life with the clarity and compassion of a stranger, is a gift that comes to him courtesy of — wouldn’t you know it — the movies.
“I don’t think there’s another instance in Mann’s work where he’s ever so directly regarded ‘movies’ as a factor in our lives and culture. Celebrity (Ali), yes. Crusading jounalism (The Insider), absolutely. Mann has always been sensitive to the ways people project their personalities in any public arena, but he’s tended to leave ‘movies’ out of the equation.
“Indeed, you could argue that his films are ‘anti-movies’ in the sense that he is relentless about drawing from life, and not the work of other filmmakers. Yet here is a rare moment in which the silver screen is shown to reconcile a man to the chaos of his life.
“This is what I mean when I characterize Public Enemies as a meditation on mortality. It strikes me that Mann is casting a conscious, wondering eye at this art form where he’s spent so much of his own life, and its impact upon souls.”
Reaction: In Contention‘s Kris Tapley respectfully disagrees with some of what Feeney has to say.
A perfect confluence of MOHICANS and HEAT would be Mann’s masterwork. Is that what we’re talking about here?
Michael Mann hasn’t disappointed yet (well, maybe Ali) – really looking forward to this one. Let’s hope intelligent cinemagoers make the effort to go and see it.
All of Mann recent films, with the exception of Collateral, have taken a much more miminalist approach to character, and show less interest in exposition and explanation, but rather in putting the viewer into the perspective of the character, and in that character’s undiluted present moment. (“Time is luck” is a keynote in all his films, also being said in Manhunter and Heat.) I’m really looking foreward to this movie, but am very pensive about its box office potential, particularly after the critic and audience proof rampage of Transformers.
It’s kinda hard to take Jeff’s opinion seriously when it comes to a Michael Mann film, or a Mike Binder film, or any movie by one of his darlings.
He clearly made up his mind he was going to love it way before he even saw it.
Some critics (including Jeff Wells) have become nothing but professional cheerleaders, ready at a moment’s notice to whip out the pom poms for the quarterback they’re crushin on, but just as quick to lead a wave of boos for whoever they’re not feeling. I remember when that guy from the Post dared pan Public Enemies, and Jeff was like ” Are we going to let Lemenick have the last word on Public Enemies? Michael Mann aupporters unite!!”
It’s hilarious.
What’s even funnier is that Wells will not only boo, but he’ll attack anyone who doesn’t agree with his suck up reviews. Calling anyone who disagrees, an ape, a homie, a meat loaf eater, LMAO.
I’ll never forget when Miami Vice bombed and got panned by critics as well. I’ve never seen a man get so worked up.
“The audience didn’t get it”. “Maybe if they got a B in high school instead of a C”.
2 friends whose opinion I respect, have seen Public Enemies and both told me that it’s a major disappointment and that the film didn’t play well when they saw it.
I’ll probably catch PE sometime before it leaves theaters, but I’m in no hurry. I know one thing for sure though. There’s no way in hell PE is going to be more entertaining than Jeff’s rants against. the people who don’t like it.
I’ll be on here with a bag of popcorn when the venom starts spewing!.
I’m trying to picture Mike Ock sitting in front of a laptop, PC, Apple, etc., reading a Public Enemies thread with a bag of popcorn in his lap. I’m not seeing it.
Wells to Mike Ock: It’s kinda hard to take your opinion seriously when you clearly (a) haven’t read what I’ve written about Michael Mann’s or Mike Binder’s films with very much concentration or focus, and (b) seem unwilling to even consider (forget accepting or believing) that there actually are some filmmakers out there whose output tends for the most part to consistently be a cut or two or three above the norm, so much so that even their lesser efforts always provide dividends of value.
It was obvious to everyone that Miami Vice wasn’t in the same calibre as Heat or The Insider or Thief, but I revelled in the world of it anyway, as I have all my life in all of Mann’s films, for it was at the very least, for me, a fascinating and wonderfully authentic rich-aroma place to hang out in. That mixture of Miami turbine toxicity, ocean breezes, sensuous island vibes and the creepy malevolence of stone-cold drug dealers pacing the rugs inside their bunkers. But did you really detect rock-solid, down-on-my-knees admiration and all-out praise from my singing the praises of the film’s “fumes”?
I called on Mann loyalists to stand up against Lou Lumenick’s first-out-of-the-gate pan of Public Enemies because he’s a dug-in Mann disser, having called him one of the most overrated directors around. I feel that Mann is and was a major director who has earned his stripes and accolades and then some, and that a symmetrical response was in order.
There can simply be no disputing that the vast majority of moviegoers out there do have primitive, simplistic taste buds. It’s not a rumor. Most people just want a good laugh or a good wow and don’t give a hoot about artistic intention or pedigree. As Brooks Barnes noted yesterday, the vast majority prefer movies that don’t surprise them too much and which are served up the McDonald’s way.
Have you been out to the plexes in any big city on a weekend and really watched and listened? It’s a Michael Bay world out there, and it’s enough to shake your faith in Charles Darwin’s On The Origin of Species. These people are the enemy — harbingers of the end of civilization as veterans of the 20th Century have known it. Why is it so godawful terrible of me to call a spade a spade and state the obvious, which is that (in the social metaphor/dichotomy of Planet of the Apes) the more sensitive and highly attuned tastes of chimps and orangutans are a minority factor and that catering to the tastes of the gorilla class is necessary for those making and selling larger-budgeted movies? And that in this context chimps and orangutans need all the help and support they can get?
Michael Mann and Mike Binder and Paul Thomas Anderson and Kathryn Bigelow and Noah Baumbach and Wes Anderson and all the others in this realm are high-end chimp/orangutan artist-craftsmen who make movies for chimp and orangutan filmgoers. And I am dug in with them because even when they don’t hit a home run or a triple, I know that they’re at least coming from an ambitious place and are at least trying like hell to do distinctive, thoughtful grade-A work. I know it, they know it, and you damn well out to recognize it and not dump on me because I’m trying to celerate the few and the chosen while trying to fight off the animals coming over the wall of the Alamo.
MIAMI VICE was the best film of the year. Masterpiece. I know I’ve posted that ten times, I always get in arguments about that movie. Just do not understand the hate. If MIAMI VICE sucks, then what is a good cop movie? BAD BOYS? 15 MINUTES? DIE HARD XVIII?
Colin Farrell should have been nominated for Best Actor. I could watch MIAMI VICE a couple times a year for the rest of my life no problem.
I’ve never done this before, but I may actually go to a midnight showing on Tuesday of PUBLIC ENEMIES. Just cannot wait.
Jeff’s post was spot on. You can mark me down as a Michael Mann cheerleader any day of the week. Every film he’s made except ALI has been absolutely brilliant. What are we supposed to do, pretend one sucks every once in a while for variety’s sake?
You cannot argue with mann’s resume, his technical savvy, or his artistic sensibilities. Not to mention, he always tells exciting, probing stories.
In the case of Miami Vice, Mann sought to immerse audiences in the stone-cold world of cops and drug dealers, minus the artiface of his 80s crowd-pleasing TV show. On a technical level, the movie was jaw-droppingly rendered, but I maintain that it lacked the sense of passion, and character that Mann had in Heat, Thief, Collateral and The Insider. Those movies got us inside the heads of their characters, building stakes and conflicts aplenty…..Miami Vice’s romances seemed an afterthought (yes, I realize that was Mann’s intention), but he just didn’t nail it.
I’m with ya Jeff. Must be a random on-the-same-wavelength thing because Mann’s films get me on a gut level like few others. The attention you give him, PTA, Fincher and a few others are the biggest reason I read this blog every day.
Most people just want a good laugh or a good wow and don’t give a hoot about artistic intention or pedigree.
Yes, because some people don’t blog about films for a living and get invited to dozens of free screenings, so therefore when they put down the increasingly exorbitant cost of a cinema trip they want to go and see something that entertains them. It’s not rocket science, and neither are these people worthy of such absolute scorn. They are not “the enemy” – they are just normal people who don’t have the luxury of being able to sit around and watch 3-4 films a day and write about them afterwards.
It’s funny that you claim to be a liberal and yet you have such disdain for the working, aka “gorilla” class. You need to step outside your elite, champagne-swigging, premiere party-attending, old-school bloggers critical circle and try to understand what it’s like to be a NORMAL person for once. If you’re a 50-hour a week worker and you have 3 kids, are you really going to be able to take them to see Sin Nombre or An Education on a Friday night? Of course not.
Some of the best movies in Hollywood history have appealed to the “gorilla class,” who turned out to see them in droves, so instead of attacking them for watching shit, why not attack the Hollywood types for apparently giving up on making films with both commercial and artistic merit?
I agree with you that there are certain filmmakers whose work you’re predisposed to enjoy. I’m a Michael Mann fan too and I know that Public Enemies will have to be a major disaster for me to not enjoy it. But still, to attack those who disagree is just ridiculous. Like your rebuttal to my reaction of The Hurt Locker; you couldn’t fathom how I didn’t find it to be a perfect movie, despite giving it an overall positive response, so you suggested it was my Michael Bay-addled mind that was responsible and that my brain was somehow incapable of digesting the genius that was unfolding before me that only the finest critics can see.
Come on, Wells. You’re better than being the “you didn’t get it so you’re stupid” critic.
@ Jeff Wells – I’m sorry Jeff, with all due respect I don’t think you can watch a film by one of your darlings objectively. Man About Town might be one of the worst films I’ve ever seen in my life.
Now all this stuff about how Public Enemis didn’t play well last week because Michael Jackson died is crazy.
What about the other screenings? Universal has been screening PE for 3-4 weeks now and the buzz hasn’t been overwhelmingly fair to mediocre at best.
All you have to do is read between the lines in some of the raves and you can tell the movie is in trouble. I think you called it an art film?
Come on. Do you think Universal signed on to make a big budget summer art film with Johnny Depp?
As for Miami Vice that was an absolute mess. It was a summer action/crime film that failed to deliver the goods. Poor chemistry/bad casting between Jamie Foxx and Colin Farrell, not enough action scenes, terrible casting with Gong Li who clearly had trouble reading her lines with her accent.
And this thing you do, insulting people just because they don’t like the movies you like, calling them low thread count, or homies, or rednecks or whatever is just really juvenile and elitist.
@ George Prager – Ok fine, I’ll be @ my PC with a caramel frappuchino! LOL!
@ Breedlove – Narc, The Departed, Internal Affairs (Richard Gere’s never been better), Heat, Beverly Hills Cop, Lethal Weapon, The Untouchables (technically they weren’t cops, but close enough), just to name a few off the top of my head, were all great cop films.
Miami Vice was not. It wasn’t even a good one.
@Mike Ock – Miami Vice is a beautiful piece of filmmaking. Did what all good films are supposed to, take you out of your life for two hours and into a completely different world.
@ markj – I prefer the worlds I’m transported to have good acting and more action set pieces.
Ock,
Heat didn’t have the extensive set pieces that you’re referring too. Neither did The Departed.
You’re cop-film-classification is all over the map. Lethal Weapon is pure escapism – I highly doubt that Mel Gibson sprinting shirtless down the street after Gary Busey is the same sort of entertainment that Mann has been striving for.
Most of his films, save for Mohicans, have few set pieces. They typically are punctuated by one or two high octane sequences where all of the characters stories intersect. He’s not making action films. Miami Vice is not the summer entertainment that you’re talking.
I mean, how the hell do you mention Internal Affairs and Beverly Hills Cop in the same breath. All it does is enforce what Wells is trying to say.
BoshBarnetWonkyDonkey says …
Most people just want a good laugh or a good wow and don’t give a hoot about artistic intention or pedigree.
Yes, because some people don’t blog about films for a living and get invited to dozens of free screenings, so therefore when they put down the increasingly exorbitant cost of a cinema trip they want to go and see something that entertains them. It’s not rocket science, and neither are these people worthy of such absolute scorn. They are not “the enemy” – they are just normal people who don’t have the luxury of being able to sit around and watch 3-4 films a day and write about them afterwards.
It’s funny that you claim to be a liberal and yet you have such disdain for the working, aka “gorilla” class. You need to step outside your elite, champagne-swigging, premiere party-attending, old-school bloggers critical circle and try to understand what it’s like to be a NORMAL person for once. If you’re a 50-hour a week worker and you have 3 kids, are you really going to be able to take them to see Sin Nombre or An Education on a Friday night? Of course not.
I don’t think it’s the working class that’s the problem.
It’s the degrading pop culture that the working class seek that is the issue.
Wells to WonkyDonkey: You wrote that “if you’re a 50-hour a week worker and you have 3 kids, are you really going to be able to take them to see Sin Nombre orAn Education on a Friday night? Of course not.”
That’s a dodge and a misdirection. No one in this thread is talking about movies to take kids to. What you really mean is that you would never go to see Sin Nombre or An Education on a Friday night because you’re presuming that they won’t be meeting your Friday night popcorn entertainment standards…right? A 50 hour a week man wants his juicy burgers and cheesecake for dessert because he needs the high-calorie satisfaction and hasn’t the time or inclination to ponder unusual or exotic or off-center realms?
Have you seen these films?
“Every film he’s made except ALI has been absolutely brilliant.”
But ALI was brillant!
A beautiful,moving and audacious “biopic”,with great performances and a dazzling direction,as usual with the Mann!
“As for Miami Vice that was an absolute mess.terrible casting with Gong Li”:
in fact I think that Gong Li is one of MV’s main interests,she is really good in the film and her face is so expressive…this last scene was especially haunting,a little gem of editing,acting and use of music.
I’m going to follow advise given, and not read too much more on PE. Hence, no Mark Harris opinion, and i merely skimmed the first paragraph here. But the idea that Mann is any champion of strong female cinematic characters is profoundly off.
Gong Li gets played big time, Judd ends up w/ Azaria, and Diane Venora is the alltime shrew. Including Venora in any discussion of empowering women is like mentioning Mickey Rooney’s Mr. Yunioshi as empowering Asian Americans. I’ll give Mann his Mohicans, but James Cameron he is not. Plus most any female I’ve talked to about Mann, doesn’t appreciate him whatsoever.
It’s kinda boring when people advocating high aesthetic standards get shouted down for elitism and the like. Maybe it is elitist, but so what? People who really take cinema seriously — “catholics” to use Jeff’s parlance — are going to be passionate about it and are going to want to evangelize about it. It’s a fundamentally generous impulse driven by love of the art form — a desire to take people aside and say, “yeah, what you’re watching is kinda cool, but there’s more going on in this art form — check *this* out.”
Michael Mann’s films aren’t perfect, but they almost universally project intelligence, restraint, and an avoidance of the ultra-obvious Hollywood gesture. They also arrive at scenes that get the blood pumping in ways you’d hardly predict. Bruce McGill’s D.A. scene in “The Insider” is more stirring, more rousing, more “yeah!”-inducing than anything Michael Bay could ever manage no matter how many crane shots and CG render farms he may have at his disposal.
For all I know, Public Enemies could be a complete misfire, but Mann’s earned a little benefit-of-the-doubt.
I hope that all the good buzz about PUBLIC ENEMIES will lead FINALLY to the dvd/Blu Ray release of Mann’s most intriguing movie,THE KEEP.
Wells: you’re right, I haven’t seen either of those films, but they’re on my Netflix queue mostly due to the praise they’ve received here. I try to balance out my blockbuster/”proper” film ratio. But I have sympathy with the people who only go and see blockbusters because a) it’s really expensive to see a lot of films at $12.50 a pop, and b) while films like Gus van Sant’s Elephant may well be full of artistic merit, they’re not half fucking depressing.
Some people simply aren’t into film as much as you are. They’re not bad people as a result of it. They might have other interests, like sports.
There’s a Michael Mann career tribute in Paris next month:
http://www.cinematheque.fr/fr/projections/hommages-retrospectives/fiche-cycle/michael-mann,228.html
Mann will be there for the screenings of HEAT and THE INSIDER,the 4th of July.
@ McClane – My list was all over the place on purpose. You can make so many different types of cop films, and they can all work if done right. Lethal Weapon and Beverly Hills Cop are 2 of the greatest, most influential summer popcorn films of all time.
The Untouchables and The Departed are 2 great cop films, with fantastic ensemble work, sharp screenplays (Mamet was at the top of his game and Monahan won an Oscar for his work in Departed), both brilliantly directed.
Internal Affairs (probably one of the most underrated films of the ’90′s) and Heat are more adult fare. They’re a little more deliberately paced, but I can watch them both over and over because of the performances and the writing.
I had a hard time sitting through Miami Vice once. I’ll never see it again.
I have far more respect for directors who create quality films that appeal to average moviegoers than directors who create quality films that appeal only to selective moviegoers.
Meaning: I think the talents and accomplishments of directors like Steven Spielberg, James Cameron, Christopher Nolan, Martin Scorsese, the guys at Pixar, and Michael Mann are vastly superior to those of the likes of Woody Allen, Noah Baumbach, etc. That’s not to say that the latter don’t make good, even great, films– it’s just that it’s easy to create a quality film to appeal to a single, narrow audience. It’s near *impossible* to make a quality film that appeals to a MASS audience– which is why Hollywood so rarely does it, preferring to rely on dumb cheese and puke-inducing CGI (see Bay, Michael, “Transformers” abomination).
Anyone can make a movie that appeals to the five hundred richest WASPs and Jews on the Upper West Side– show me the geniuses who make a film that gets *everybody* into the theater, and I’ll show you someone I admire.
“All you have to do is read between the lines in some of the raves and you can tell the movie is in trouble. I think you called it an art film? Come on. Do you think Universal signed on to make a big budget summer art film with Johnny Depp?”
Is it possible to talk about the quality of a film without factoring in the amount of money it will make? Jeff’s post was about how the film succeeds artistically, according to Feeney. It has nothing to do with how much box office it will score. If it is an art film by Michael Mann starring Johnny Depp, most true film lovers will be ecstatic with the result, or at least the intention and whether it is in trouble financially should be the studio’s concern, not the critic’s or audience’s. I realize film is a big business, but it’d be nice if discussion of its virtues didn’t always get conflabulated with its balance sheets.
“Anyone can make a movie that appeals to the five hundred richest WASPs and Jews on the Upper West Side– show me the geniuses who make a film that gets *everybody* into the theater, and I’ll show you someone I admire.”
That may be the single stupidest thing I’ve ever read on this site. No offense, but seriously. Anyone can do that? Really? And what does a person’s religion have to do with anything? Do catholics factor into the equation, or are film snobs not allowed to be catholic?
McClanSveUs: “Heat didn’t have the extensive set pieces that you’re referring too. Neither did The Departed.”
Heat had one of the greatest bank robbery scenes ever filmed, massively influential on movies, TV shows, and video games.
The Departed had the set pieces where Martin Sheen gets killed, the deal with the Chinese military/mobsters, and a host of others.
The contention that Mann doesn’t do set pieces is incorrect. There are set pieces in Manhunter, the aforementioned Mohicans, plenty in Collateral, and Miami Vice.
FYI, I really liked Miami Vice. But I know why it didn’t work with a larger popular audience– too different from the series, simple as that.
“That may be the single stupidest thing I’ve ever read on this site”
Ghost072, welcome to your first day on the site then.
Crazy,
If you read what I wrote….or at least got past the initial sentences, you would have seen that I was implying Mann never utilizes gratuitous set pieces….
I said ” his films utilize one or two high-octane” sequences, which is true of both HEAT and COLLATERAL and MIAMI VICE, all of which culminate with extremely well-orchestrated action scenes.
He is not of the Michael Bay….or even James Cameron (though Cameron’s scene at least seem motivated within the plot) that features blowed-up stuff every 10 minutes.
Manhunter and Thief are also solid examples of what I’m saying…..his films generally do not pander to the expectations of the general movie-going public. They are not dependent on action sequences, but are character driven pieces, with action set pieces that are of a whole.
I know MANY people who think Collateral is too slow….Heat too lacking in action…..and Thief is just plain boring. Of course, they are not film buffs……but just less demanding and easily satisfied with Bay’s output.
Ghost072, welcome to your first day on the site then.
Dunno, c9, i thought the same thing when i read your sentence. It doesn’t take a genius to get the masses into the theaters. It’s a simple equation. [(Explosions + Fart Jokes)/Familiar Narrative] * # of Boobs on the poster. A ton more writer/directors can pull off Paul Blart than can do Whatever Works, but if you prefer the company of the former, feel free.
“Ghost072, welcome to your first day on the site then.”
Touche.
“FYI, I really liked Miami Vice. But I know why it didn’t work with a larger popular audience– too different from the series, simple as that.”
And then you follow it up with the most insightful comment in the thread, IMO. I totally agree that the reason you cite is why Miami Vice failed with most audiences; they went in expecting Jan Hammer and day-glo fashion and got sweat and ambiguity instead. I didn’t think it was entirely successful, but I did think it was interesting and I loved the ending.
Miami Vice is definitely some kind of terribly flawed masterpiece. I agree with most of the criticism and praise already noted, but want to add that I was singularly disappointed with the action set pieces. This was an extremely commercial property, and if Mann was going to play it his way re character minimalism and all that, he needed to throw the audience more of a bone and give us some more spectacular action. The nighttime shootout at the end had a lot going for it, but felt like nothing I hadn’t seen before (albeit executed ten times better by Mann!!). The bank heist in Heat has been riffed on by a million different movies and videogames. A movie like Miami Vice should have had something equally as audacious and jaw dropping.
@ McClane – That’s what I mean. So if someone doesn’t like Thief or Collateral, they’re labeled as “not film buffs……but just less demanding and easily satisfied with Bay’s output. ”
No need to be a snob.
For the record, you couldn’t pay me to see a Michael Bay or Mc G film. They’re just not my cup of tea, but to each his own.
Not a snob, just particular. Wells is offering an extremely esoteric POV, but the truth of the matter is some of Mann’s themes and intentions fly over the head of the Joe Bag O’Donuts that favors someone like Michael Bay or McG….and maybe even Tony Scott.
Plus, I like that Wells so passionately champions films of higher caliber, and pushes people to expand their horizons and taste-test other, more challenging films. I don’t always agree with him, or his dismissive tone toward the masses, but he has a point – there are far better films out there and they often go ridiculously ignored. It’s his job to push them.
I will say that The Dark Knight offered hope, as it was high-octane entertainment with many of the same themes that Mann explores.
Which has better chance of succeeding?
A) Raising the collective IQ level of all the moviegoing humans on planet earth
or
B) Holding Hollywood filmmakers and executives accountable for their collective failure to know the difference between screenplays that work and deals that work (at least until the movie opens)?
Amazing to me that anyone could think THE DEPARTED is better than MIAMI VICE. I know I’m in the minority, but for me it’s just not even close. THE DEPARTED was a big disappointment. Sloppily shot and edited, hammy one-note performances…one of Scorcese’s lesser films. Mann is blowing Scorcese out of the water in the past decade. It’s no contest. MIAMI VICE is adult, soulful, sexy, complex. Technically brilliant. The action in it is sick…the way he shoots some of the shoot-outs is so cool…love Gong Li in it…perfectly cast, every performance outstanding, particularly Colin Farrell who jus completely nails it. Blah blah blah. Love that goddamn movie.
The ending of MIAMI VICE is awesome,don’t you think?
The 5-10 last minutes…The wonderfully expressive Gong Li and Farrell,Foxx and Naomie Harris,the haunting crescendo of Moby’s “Auto Rock” and the final,subtle final shot…wow!
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but for me it’s just not even close. THE DEPARTED was a big disappointment. Sloppily shot and edited, hammy one-note performances…one of Scorcese’s lesser films. Mann is blowing Scorcese out of the water in the past decade. It’s no contest. MIAMI VICE is adult, soulful, sexy, complex. Technically brilliant. The act Merah Hitam,Jadwal Liga Champion, AsianFansclub
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