The Art of Crime Continues…on CSI: Miami
The Art of Crime Continues…on CSI: Miami by Roxanne McDonald
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It used to be dialogue, maybe some good lighting technique, and a gripping storyline was enough. But CSI:Miami continues to redefine the TV crime drama genre. |
Tonight (December 4, 2006), though this CSI: Miami episode is a re-run (?), the yellows were poppin, the flowers were evoking recall and extended appreciation, and the poses were suggesting more than just character.
The episode, “Rio”, opens with Horatio on bended knee in deep reflection and remembrance of his beloved Marisol—at the famous site where the Saint stands with outstretched arms. Horatio’s position recalls Rodin’s thinker, and the exaggeratedly massive statue foreshadows the usual mercenary outcome.
On the return after the first (ugh) commercials,
the foreground camera focuses on a banana yellow building, then a crisp shot of a single street in Brazil, then switches to shots of women in equally vibrant summer shades.
Again, too, the greens are mystical, the oranges and browns edible, and the light is heavenly—or suggestive of the beneficence of angels—as it does a halo effect on , on Eric in profile, and on my true love Horatio Caine.
I know I have said all this before (hopefully in a slightly different way), but doesn’t anyone else see an upgrade in the visual characteristics of CSI: Miami, not only as compared to other shows of the same genre, but as compared with the first seasons’ episodes?
Or am I alone in this perception? Hello? [I feel like Pink.] Is there anybody out there?
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