Eddie Kaye scene from "Irish Eyes"

[mirrorimageegamirorrim]

The scene where Crockett goes out to that bar in the sticks to meet Eddie Kaye for the first time is one of my favorites of the season and the show.  The scene is set with an outstanding score by Hammer that unfortunately is absent from the Complete Collection.  The way Crockett asks for Eddie Kaye while ordering his beer is so smooth.  The girl going languidly back and forth on the swing is smoking hot.  The way she picks Crockett's pocket while kissing him, and kissing him on the mouth for crying out loud, is insane.  Crockett recovers his wad of cash using a lot of strength, probably more then was necessary.  They did an excellent job of capturing the sounds of Crockett grabbing her wrist and recovering his money.  The conversation between Crockett and Kaye has all the classic elements of an encounter between two men operating outside the law negotiating a business deal.  There's something really cool in the way Kaye tilts the folded paper down with one finger, really nonchalant.  This scene is outstanding, one of the best ever.  The style, atmosphere, dialogue, kinesthetics (I'm not sure what else to call the physical component of acting) and music are perfect.          

Edited September 9, 2014 by mirrorimageegamirorrim

[Matt5]

The scene where Crockett goes out to that bar in the sticks to meet Eddie Kaye for the first time is one of my favorites of the season and the show.  The scene is set with an outstanding score by Hammer that unfortunately is absent from the Complete Collection.  The way Crockett asks for Eddie Kaye while ordering his beer is so smooth.  The girl going languidly back and forth on the swing is smoking hot.  The way she picks Crockett's pocket while kissing him, and kissing him on the mouth for crying out loud, is insane.  Crockett recovers his wad of cash using a lot of strength, probably more then was necessary.  They did an excellent job of capturing the sounds of Crockett grabbing her wrist and recovering his money.  The conversation between Crockett and Kaye has all the classic elements of an encounter between two men operating outside the law negotiating a business deal.  There's something really cool in the way Kaye tilts the folded paper down with one finger, really nonchalant.  This scene is outstanding, one of the best ever.  The style, atmosphere, dialogue, kinesthetics (I'm not sure what else to call the physical component of acting) and music are perfect.          

 

I agree - it was a great scene and showed the really fine cinematography aspect of early Season 3 - which is some of the best of the entire's show's run.

[CharlieGlide]

I love that scene too.  Which is odd because my favorite scenes in Vice are usually set in typical, Vice-like settings such as clubs, bars, boats, parties, the OCB or somewhere with an inventive and cool backdrop.

 

The success of the scene here is in its dialogue and pacing, meaning the way the lines are spoken and with a very intentional tempo.  

 

It vaguely reminds me of the scene from Smugglers Blues where the creepy, older, greasy haired dealer is 'negotiating' with Crockett where the little kid is dancing with no shirt on.  So, so creepy and so, so effective.  

 

The background action was so important in both scenes.

[mirrorimageegamirorrim]

I love that scene too.  Which is odd because my favorite scenes in Vice are usually set in typical, Vice-like settings such as clubs, bars, boats, parties, the OCB or somewhere with an inventive and cool backdrop.

 

The success of the scene here is in its dialogue and pacing, meaning the way the lines are spoken and with a very intentional tempo.  

 

It vaguely reminds me of the scene from Smugglers Blues where the creepy, older, greasy haired dealer is 'negotiating' with Crockett where the little kid is dancing with no shirt on.  So, so creepy and so, so effective.  

 

The background action was so important in both scenes.

I feel the same way regarding what my favorite scenes usually have in common--location. Who was it who referred to the city of Miami as another character?

 

That's a very interesting perspective with the tempo.  I never thought of it like that.  For me, most of scene's success can be attributed to two things: a great score by Hammer and characters behaving in unexpected ways.  

[Crockettt]

Hope you like it mirrorimageegamirorrim

 

  Edited September 12, 2014 by Crockettt

[Matt5]

Hope you like it mirrorimageegamirorrim

 

 

 

 

Great work 

[CharlieGlide]

I feel the same way regarding what my favorite scenes usually have in common--location. Who was it who referred to the city of Miami as another character?

 

That's a very interesting perspective with the tempo.  I never thought of it like that.  For me, most of scene's success can be attributed to two things: a great score by Hammer and characters behaving in unexpected ways.  

 

Just as Miami could be another character in Vice, so could be the pacing/tempo.  If you look back at tv in the early (all?!?!) '80s, you will see that Vice was the first show that did not tell a story directly, rather, the characters and the what they said and the timing of what they said in a scene were everything.  Compare Vice to say, Hill Street Blues.  Both shows took place both in a squad room (OCB for Vice) and on locations where the good guys interacted with the bad guys. 

 

Sonny and Rico would speak in a more carefully paced way, and the dialogue did not hit you over the head.  The viewer had to work for the story a bit.  We had to build the story with some direction from the show.  I love this element of Vice.  

 

One of my favorite examples of how the pacing in Vice is so perfect is in "The Home Invaders" where Castillo breaks down the case files, narrowing the target to hair salons.  It's so beautifully done.  Dark lighting, coffee and cigarettes, Castillo staring at a map AWAY from the rest of the investigators, on his own path/solution.  I remember thinking exactly what the other detectives were meant to be thinking:  "Where is Castillo going with this?"  

 

Then, it's wrapped up in a nice little bow for detectives and the viewer.  "Hair salons..."  Just brilliant.

 

If it were Hill Street Blues, the scene would go like this:

 

Renko walks into Furillo's office:

 

RENKO:  My guy on the street says that whoever is doing these home invasions is related to Chico the ex-con.  I busted him a couple years ago.  Last I heard he's working the valet at foo-foo hair salon now.

 

FURILLO:  Bring him in.  Let's see what he knows.  Oh and bring some back-up in case you scare him off.

 

The Vice pacing is much more compelling.