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in Filmmaking
on Jul 29, 2006

I’ll probably see it tomorrow, but to tide me over, here’s Ray Pride’s unexpected summing up of the film:

…The HD process is exploited mostly for a painterly scumble of vivid digital grain in the hardly illuminated night, but in simple summary, Miami Vice is Mann’s foreseeable triangulation of Friedrich Nietzsche, linen-edge designers like Ozwald Boateng and distinguished painters of geometric abstraction, like the great Richard Diebenkorn.

Also, Green Cine asked Pride one of their summertime questions: “If you hadn’t become a film critic, what would you have done instead?”

Here’s an excerpt from his response:

“One night, young, I saw both Nashville on a big screen and The 400 Blows, uncut, Janus Films logo and all, on late night TV. And that was it. There was a path in the darkness ahead, like through the thicket across the way. Many movies followed. Many places followed. Jobs with stories all their own, waiting to be retold. Stories – movies – still hold weight for me in the smaller, smallest details.”

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