Time Is Luck: An Analysis of Miami Vice

Films use a variety of methods to illustrate both the personality of characters and the changes that they undergo. The two main ways a film can accomplish this are through visually depicting that change through certain cinematographic means or through more direct means such as dialog and intonation. The best scenes are those that carefully blend both methods in order to craft complex characters and show their development. The scene “Time is Luck” in Miami Vice is a great example of such. The scene is a pivotal one to the film in that through its combination of both methods the audience truly starts to see the conflict that will drive the remainder of the action: Jose's suspicion of Tubbs and Crockett. The specific dialogue and hushed tones both serve to increase the audience's ability to perceive what is going on. While this is happening, the film also uses visual effects such as lighting and sound for the purpose of reinforcing what the viewer is starting to gather through speech. An analysis of this scene will give an in depth look at the spectacular way in which the film is able to guide the audience's thought with regard to the characters.

Though Jose has always been suspicious of the two agents, Tubbs and Crockett, it in this scene he comes to distrust them more than just with the normal skepticism that a position as intelligence adviser to a trans-national drug lord demands. This new stance towards the pair is put forth rather clearly through Jose's speech. The first hint of suspicion is evidenced when the group discusses the new drug run. Breaking up dialogue into its sub-categories will allow for the best examination of this exchange and how it is that it effectively communicates to the audience the doubt that Jose feels about the legitimacy of the duo. The text of a scene is just the words on the page, but when combined with the line reading and the subtext, the audience is given a complex means of evaluating character behavior and motives. The conversation is mostly one-sided with Jose providing directions about how the shipping is to be carried out. Crockett asserts that the delivery of the drugs must be done as he and Tubbs wish. Jose hesitates slightly before giving a rather emotionless response of “sure.” This is a clear instance of line reading, which is simply the way an actor goes about reading their lines. In this conversation in particular the actor takes the words off the script and adds a pause for effect. The subtext of a scene is the unstated meaning of the words spoken. To the characters in the scene, Jose's response is a statement of affirmation, but the viewers are soon to learn otherwise. It is revealed that the hesitation is due to the fact that this delivery is a set-up and Jose has arranged for it to be hijacked. To insure that the audience understands Jose's suspicion, the script also calls for Jose to make a phone call to Montoya to voice that very concern. Jose's tone throughout the scene is hushed yet certain, which also adds to what viewers make of the scene. On one hand soft speaking is used to convey a sense of sophistication. This is evidenced by the class exhibited in the scene. All characters are dressed well and behave with decorum, the soft voices coincide with this well. While the whispers do indicate sophistication, this is contrasted with the sense of foreboding and fear that the hushed voices also present to viewers. The combination of feelings that it provokes in the audience is part of what makes this scene a well-crafted one.

In addition to his speech, the film takes the liberty of using additional techniques to both paint Jose as a villain and communicate his suspicion of Crockett and Tubbs. One such means is through the usage of lighting. The textbook indicates that lighting can be used to create certain moods or effects. Lighting is evaluated based on three attributes: quality, placement, and contrast. For most of the scene Jose is shown in a soft light, particularly at the table where he goes over the new mission with Tubbs and Crockett. The effect of the soft light is to show him as smooth and refined. At this point the two agents think that their secret identities are secure and that Jose and Montoya trust them. The lighting suggests to the viewers that Jose is in control of the situation, not the agents. The scene ends with Jose watching as Crockett and Isabella dance together. This is the only time the light on him is hard, showing more of his facial and skin imperfections. This light also allows the audience to see tears start to develop in Jose's eyes. The hard lighting makes sense here as we are finally seeing the raw Jose and his emotions rather than a rehearsed version of himself that he presents to his drug runners. As far as placement, the light is never shining directly towards Jose, but rather always from the side. This leads to an abundance of shadows across his face which increase the feeling that he is an evil character and one to be disliked.

The most glaring example of the conscious placement of light upon Jose's face again comes from when the group talks at the table in the back. Here the audience sees that the table where the characters are seated at is lit from underneath. Jose leans over the entire conversation such that the light shines up on his face, resembling a camp counselor telling ghost stories. This placement emphasizes Jose's power in the moment. He has his own light

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