Peligro en Miami

and entertaining movie, though, in NO WAY do I consider this a comedy.

Excellent performances by Baldwin and Ward, but especially Jennifer Jason Leigh. If this had been recognized as a regular 'REAL' motion picture, she might have been nominated for an Oscar. Absolutely one of her best performances.

Kudos all around.

But this ain't no comedy.

And, on a side note, I believe Shirley Stoler was at one time an actress known as Shirley Kirkpatrick.

This is one of those movies that perhaps not a lot of people saw, but for me, it's one of those 'obscure classics'. A little quirky at times, but it just looked like a fun movie to act in, and definitely a fun movie to watch. The cast does a great job, especially Alec Baldwin and Fred Ward. They just really seemed to be enjoy their characters. Jennifer Jason Leigh gives her usual solid performance in yet another offbeat role. Alec Baldwin always seems to give some 'classic scene' deliveries (Glengarry Glen Ross, Malice, The Edge, etc.), and once again here in Miami Blues, he scores some big ones. On the bed, counting the stolen money, doing Al 'Scarface' Pacino. Rhyming while finding the 'very big' gun. The entire dinner scene with Ward's Moseley. Stopping the store burglar with a jar of spaghetti sauce. His 'raid' of the betting room ('remain silent'). -Etc. etc. These are just a few examples of some of his classic scenes or lines. They're usually hysterical!!

Anyway, there is some violence, some 'dark' comedy (e.g. Ravindra!), etc., but overall, I think this movie was very entertaining and a nice offbeat surprise with some great performances and lines. Chalk it up under one of my 'Top Ten Favorites That Not Everybody Saw'.

Fred Frenger Jr is just out of prison when he flies into Miami. When he accidentally kills someone at the airport he becomes hunted by the police - something that his criminal activities can't afford. When Sergeant Moseley gets too close to catching him, Jnr robs him taking his badge, gun and false teeth. Living with his wife (under a lie) Jnr starts to live out the life as a cop AND a criminal while Moseley tries to get him.

I've seen this film a couple of times and still am not 100% sure what it wants to be, a comedy, a violent crime thriller or a mix of both. A mix of both would seem to be the answer but the two don't seem integrated only separate throughout the film. What the film comes across as, is the story of two men, both of whom have their own humorous touches and quirks that make the story work quite well.

The story is quite violent and is best viewed as a crime thriller that happens to have dark humour through it. While the plot seems to lack a real obvious direction it is the characters that take the film along. Frenger is violent and unhinged and played very well by a crazy looking Baldwin. Moseley is a stronger character whom I would have liked to have seen more of in the film - he is cheap, dirty and very interesting. Ward fits him like a glove and plays the character well. The third strong in the bow is rather sympathetic and is well done by Leigh who delivers an interesting character.

Overall this is a strange hybrid but it works well. It has all the traits of a pulp thriller with dark comedy, even if the plot is less substantial than I'd expected it to be. Overall this is an underrated little film that is well worth keeping an eye out for, if only for it's characters and dark humorous violence.

You know what this reminds me of? Godard's "Breathless," one of the first of the shockingly original Nouvelle Vague flicks of the early 60s. I remember first seeing "Breathless" with some friends in a theater in Ithaca, NY, and emerging arguing about what it meant. I don't mean trying to identify any great load of symbolism or moral lesson it might be towing behind it. I just mean, what happened, and why? As I recall we decided that "Breathless" was an "existential" movie and didn't really need to be specific about what was going on. It was a story about a man making a life choice. You can be or do anything you want, said Sartre, and you can break all the rules -- as long as you're willing to take the consequences.

In "Miami Blues" the Belmondo part is played by Alec Baldwin, a guy fresh out of prison who has chosen a life of wilful disobedience. His girl friend (who really ought not to be in college) is a part-time hooker with aspirations that are utterly bourgeois. Jennifer Jason Lee wants to live with her husband and babies in a house with a white picket fence. Fred Ward, looking grizzled and great, is a homicide detective whom Baldwin clobbers and whose identity he steals.

I don't know why certain things happen. For instance, I have no idea how or why Baldwin manages to dig up Ward's home address, then goes there and beats hell out of him, and winds up stealing his false teeth, handcuffs and other cop accoutrements. What was THAT all about? I'll give one more example. Baldwin is in a convenience store and stumbles on an armed robbery. "I'm the police! Drop that gun and walk out of here!" he shouts -- and threatens the armed robber with a jar of spaghetti sauce.

See, in an existentialist movie like this, the characters don't really need to have motives. They do whatever they feel like doing.

There IS continuity though, even if in its details the movie makes very little sense. The characters are consistent, and there is a rudimentary plot, engaging and amusing without being in any way memorable.

I did enjoy the movie though, even the second time around, or maybe even MORE the second time around, since I'd learned not to expect an abundance of logic in the narrative.

The acting of the three principles is also admirable. Alec Baldwin had just appeared in "The Hunt for Red October," in which he struck me as not much more than a handsome leading man. Here, he's a different character entirely. Watch him as he struts down the street, arms swinging jauntily, grinning through pain, happily throwing off non sequiturs in dramatic situations. ("Do you own a suede coat?" he asks a criminal before murdering him.) Lee is more than childlike. She's positively childish with her overflowing emotions. I loved Fred Ward in this. He's full of quirks and rarely seems to be taking the role seriously. Instead of soaking his precious false teeth in -- what is that stuff, Polydent? -- he soaks them overnight in a glass of left-over booze.

Interesting exercise in style and acting.

It's hard to peg this movie. "Miami Blues" seems to dance along the lines of black comedy, quasi-psycho thriller and pastel noir. And it's offbeat, to say the least; something like this doesn't just come along every day. But the comedic elements didn't work for me; I guess I was just never in sync with its sense of humor.

I was much more interested in Jennifer Jason Leigh's character, of the three (Ward and Baldwin are certainly no amateurs). Her character's not bright, but just sweet enough to make you feel bad when she's emotionally abused. It'd be an understatement to say she walks away with this movie.

5/10