Miami Blues

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

'Miami Blues' fans nod at each knowingly like they share a secret. For some reason this super cool movie isn't all that well known by most movie buffs, but those that appreciate it see it for the highly original and quirky piece of work that it is. Writer/director George Armitage served his apprenticeship with exploitation king Roger Corman in the early 70s, as did Jonathan Demme who co-produced. If you like Demme's mid-period movies like 'Something Wild' and 'Married To The Mob' you'll love 'Miami Blues'. Armitage even uses Demme's mascot Charles Napier, the craggy faced character actor beloved by Russ Meyer nuts. The movie is based on a book by Charles Willeford which features his regular protagonist Hoke Mosely. Quentin Tarantino is a major Willeford fan, and much of 'Miami Blues' prefigures Tarantino's fresh mix of crime and comedy. Mosely is played by Fred Ward who gives one of his very best performances. Alec Baldwin also lucks out as Junior. You'll rarely see either actor as good as this anywhere else. Both of them are just brilliant in this movie, as is Jennifer Jason Leigh. The three of them together are just a joy to watch. Add to that small supporting roles by Napier, Nora Dunn ('Three Kings') and Shirley Stoler ('The Honeymoon Killers') and it's a film buffs dream. You even get a totally pointless cameo by cult favourite Martine Beswick! I don't know why she's even in the movie, but it's alright by me! I always enjoy watching 'Miami Blues' every time I pull it out of my collection. Lots of old favourites lose their appeal as the years go by, not so this one, which just gets better and better to me. Highly recommended fun!

This, to say the least, was a very interesting movie.

Alec Baldwin (The Cooler, "30 Rock") plays a psychopath who pops into Miami and starts making a name before he can even get out of the airport.

Krishna Ravindra (Edward Saxon): My name's Ravindra. What's yours? Frederick J. Frenger Jr. (Baldwin): Trouble.

He hooks up with Jennifer Jason Leigh (Short Cuts, Mrs. Parker and the Vicious Circle), who was just perfect as the prostitute who ended up staying with him.

Susie Waggoner (Leigh): ...And you save your money... and buy a nice little house, with a white picket fence, and live happily ever after. Frederick J. Frenger Jr.: Tell you what. Let's go straight to the "happily ever after" part, OK?

With Fred Ward (Short Cuts) on his tail, Baldwin performs a series of crimes that were interesting in the fact that he stole from other criminals. No, he wasn't Robin Hood, as he didn't give to the poor.

There are a lot of laughs and Baldwin has the most chest hair I have ever seen!

Arresting, oddball and darkly comedic crime fiction from the mind of the late Charles Willeford, written for the screen and directed by George Armitage and co-produced by Jonathan Demme. Some people may find it a little too unpleasant for their tastes, but others will delight in its unpredictability. It's got enough interesting faces in its supporting cast to help it make an enjoyable cult-favourite type of film.

Alec Baldwin plays psychopathic hoodlum "Junior" Frenger, who arrives in Miami intending to "start over", or in his case simply move on to a new assortment of victims. (He begins by messing up a Hare Krishna in an airport.) He hooks up with Susie Waggoner, a sweet, simple minded hooker played by the endearing Jennifer Jason Leigh. A tough homicide detective, Hoke Moseley (Fred Ward, good as always) follows his trail, but gets victimized himself when Junior gets the drop on him, and steals Hokes' gun, badge, and false teeth. Junior then has the time of his life pretending to be a cop, while entering into a domestic situation with Susie.

"Miami Blues" does get fairly violent sometimes, but if this sort of thing doesn't bother you, you can have a good time with this story and these players. It's got a hip soundtrack including a score by Gary Chang (this viewer loves the use of Norman Greenbaums' "Spirit in the Sky"). Among the supporting actors are Nora Dunn of 'Saturday Night Live' & "Three Kings", Demme regular Charles Napier ("The Blues Brothers", "The Silence of the Lambs"), Obba Babatunde, and Jose Perez; cameos range from Martine Beswicke ("Prehistoric Women") to Paul Gleason ("The Breakfast Club") to Shirley Stoler ("The Honeymoon Killers").

Highly recommended to fans of cult cinema.