David Skinner of the Weekly Standard takes the occasion of the DVD release of Miami Vice's first 22 episodes to review the virtues and . . .um . . .vices (sorry) of the former star of NBC's Friday nights.
Before quoting Skinner, I have to say that Miami Vice was one of my favorite television programs ever. Right up there with St. Elsewhere, Hill St. Blues, and the totally forgotten Crime Story. I was a teenager who was usually out on Friday evenings, but my father faithfully taped Vice for my viewing on late Saturday mornings after I'd slept off the effects of juvenile Death Wish, pizza and basketball fests. The perfect combination of music, fashion, cool, and gravity made the show hypnotically watchable.
But David Skinner actually took the time to re-watch and write about it, so here's something from him:
IN JANUARY, Universal Studios told Variety that it was going to be a while before the DVDs for the first season of Miami Vice would go on sale. Licensing the soundtrack--with music by U2, Eric Clapton, Phil Collins, and Tina Turner, among others--was proving very expensive. What then explains the sudden appearance of said DVDs only weeks later? What could have sent the permissions process into overdrive? This is just a guess, but it may have something to do with final casting and the beginning of film production for Miami Vice the movie starring Collin Farrell and Jamie Foxx, due out next year. Michael Mann, the TV show's executive producer, is directing the movie, while the TV show's director and creator Anthony Yerkovich, is executive-producing the movie.
Not a bad excuse for rolling out the first 22 episodes of the Friday night drama that made sockless boat shoes, sleeveless Ts, and five o'clock shadows fashionable. The $59.98, 3-disc set also includes a handful of mini features from which Crockett and Tubbs admirers will learn that Don Johnson had appeared in six failed pilots before Miami Vice producers fought to cast him in the lead. Also that the show's unprecedented costuming budget was in the six figures; that Friday night was not actually a desirable slot, because Dallas and Falcon Crest had the schedule all sewn up; that city officials, whose cooperation the producers definitely needed, worried the show's title would hurt Miami's image; and that while legend has it that the show
was inspired by a note from a studio executive stating the formula "MTV cops," it was, though influenced by music videos, actually inspired by a newspaper article estimating the size of Miami's underground economy.
But the real question is, Was the show any good? Yes, it was, in a couple of obvious ways. One, it was beautiful; and two, the plots always kept a snappy pace. These two strengths--and some attendant ones--more than make up for the cheesiness of a show whose entire appeal depended on selling the notion of cops as figures of unequaled glamour.