My second script, or sophomore effort, for Insider takes the form of Michael Mann’s 2004 draft of Miami Vice. An adaptation of an above average television series which is, by itself, below average. The adaptation, that is.
It’s pretty compelling after you get past the first few pages, but after that, not so good. The plot follows our heroes Crockett and Tubbs as they infiltrate a major narcotics trafficking operation. The circumstances leading to the Federal Government recruiting two Miami vice cops make for a slightly boring introduction. Filmed, with music and movement, I can see it playing out quite well. On the page, I’m mostly just getting Michael Mann’s apparent obsession with weapons and fast boats. Not bad things to be obsessed with, mind you.
All of the key character details are there. Crockett’s love for and success at seducing women. Tubbs’ desire for a more stable relationship. Even the background characters are fleshed out adequately. The dialogue’s alright, if a bit dry in places. There are also some questionable comments that smack of the 1980s. I’m not sure if these phrases are even used anymore, but I’m not what you’d call "with it" anyway. So how would I know?
There is a good amount of action in here. The sort of ridiculous, adrenaline junkie nonsense these two characters get involved still makes for good entertainment. All of the scripts I’ve been given to review have been adaptations of stories from media other than film. Comics, television, and theatre each come with distinct ways of conveying character and plot. They also have their own built-in limitations. Of the three I’ve been given, Miami Vice is probably the best suited for film. It’s got a nice setting, charismatic leads, and lots of guns and explosions. It’s not Orson Wells, but neither is the Matrix. This would make an excellent summer film with a solid cast.
The one serious criticism I have isn’t really something that matters when you’re viewing a finished film, but I’ll mention it anyway. Michael Mann writes in a very florid, almost literary style. He describes things with lush language and even employs literary devices like tropes. Now, these aren’t things that a camera can just film. I admit to finding the style a tad grating. In places it reads like the book adapted from the movie made from this script would read. If that even makes sense in English. It’s just unnecessarily verbose at times. As I said, though, this doesn’t matter when you’re watching the film and it mostly reflects upon my personal preferences. Take that for what it is.
When all is read and done, I liked it for the straightforward tale of two vice cops taking down drug runners with guns and moxie.
Steven Dougherty drinks Moxie for breakfast.
