A couple of days ago, I went to see
Miami Vice and a more bloated, convoluted and annoyingly filmed movie I haven't seen in a long time. There were respectable performances -- particularly by Jamie Foxx and Eddie Marsan -- but Mann's interminable cuts and excessive usage of grainy video stock made for a visually irritating film. The two main female characters (played by the wonderful actresses Gong Li and Naomie Harris) were supposedly high-powered and independent, until the last 45 minutes when they became powerless girl pawns saved by the boys, Crockett and Tubbs. Gong Li recently impressed me in
Memoirs of a Geisha and Harris's was one of the best performances in the recent instalment of the
Pirates of the Caribbean franchise. I hope she appears in the third film, holding her own against Johnny Depp's wonderful Jack Sparrow.
Needless to say,
Miami Vice was a tremendous disappointment. At nearly three hours, it was too long and contained far too many characters to retain the audience's attention. The dialogue was filled with tech specs and mumbled accents. I have a good ear for accents and yet even I was straining to make out the dialogue. The whole thing felt like an over-budget episode of
COPS.
Reading: Doris Lessing's
The Four-Gated City (1967)
Always finish what you start. And
The Four-Gated City is a perfect example of that motto. I have struggled through the first four books of Lessing's
Children of Violence series, disliking the main character, Martha Quest, and finding Lessing's novels dry and uninteresting. The final book in the series, however, is gripping my attention, and I'm only a hundred pages in (out of over 650). Her evocation of post-war London is detailed and sympathetic, and even peculiar characters, like the sex-driven Jack, are understandable as the sad, broken detritus of the war. This is a much richer, fuller book, and perhaps from the hand of a more mature writer. The whole series is constructed as a
bildungsroman, but this book (which moves into the genre of science fiction) seems to have a clearer centre, moving it away from a mere itemisation of Martha's peculiarities.