Bruce Willis requires no introduction. Aside from the (epic) “Die Onerous” franchise, the actor has appeared in a variety of mega-popular movies — from “Sin Metropolis” to “The Expendables” — and established himself as a bonafide motion hero. Whereas Willis’ profession is peppered with a couple of hundred performances, it is time to return in time and have a look at considered one of his first performing roles earlier than he bought launched into stardom. Earlier than his breakout function in “Moonlighting,” Willis had a visitor submit in an episode of “Miami Vice,” titled “No Exit.” This season one episode would find yourself changing into distinguished for a couple of purpose, because it proved to be a turning level in cementing the present’s recurring themes and narrative archetypes.
This formulaic high quality distinctive to “Miami Vice” may be perceived as stale by modern requirements, however even when the sequence stumbled to search out its footing, it was always pushing boundaries. In consequence, Willis’ flip as an antagonist in “No Exit,” which is taken into account one of many extra entertaining entries within the first season, feels undoubtedly vital. This episode, as ordinary, follows undercover Metro-Dade cops Sonny (Don Johnson) and Ricardo (Philip Michael Thomas), who are actually investigating a deal involving army {hardware}. After the sellers are arrested, all fingers are pointed at Tony Amato (Willis), an elusive provider planning to promote stolen missiles. Issues get uglier as soon as Amato’s spouse Rita (Katherine Borowitz) will get concerned and divulges Amato’s obsessive, abusive nature when coping with every part he feels he is owed.
Let’s take a more in-depth have a look at Willis’ Amato in “No Exit,” and the way the episode affords rather more than your commonplace police procedural by diving into deeply existential waters.
Bruce Willis makes a powerful impression as a one-off Miami Vice villain
The episode’s title references thinker Jean-Paul Sartre’s e book of the identical title, and that is past such a cursory nod. “No Exit” explores the Satrean outlook of all relationships being primarily based on a battle for dominance, the place the inevitable presence of battle drives our defining worldviews. The favored, and oft misinterpreted quote “Hell is different individuals” stems from this e book, primarily underlining how the gaze and actions of the “different” (versus the self) can affect our selections and rob us of freedom. Sartre argues that when this intuition to make selections prompted by self-volition is taken away, it’s akin to denying our humanity.
Willis’ Amato embodies the intense manifestation of the “different,” as he’s the one pulling the strings and influencing these round him to their detriment. He’s the sort of villain with no (self-justifiable) rules and views individuals as objects which are both worthy of being coveted or doomed to be discarded. Due to these skewed energy dynamics, Amato robs individuals of their selections, and by extension, their freedom to be rid of his noxious affect. Willis performs this unsavory character by juxtaposing a swagger-heavy angle with really heinous acts, with an obnoxious wardrobe to drive the efficiency house. You may’t assist however detest Amato for being such a prick, which makes the second of his inevitable downfall deliciously cathartic.
There’s a lot to love about “No Exit” even past a pre-“Moonlighting” Willis, so I’ll depart it as much as you people to test it out, in case you have not already. Additionally, it’s no surprise that the actor turned an absolute sensation as Detective David Addison as soon as “Moonlighting” began airing on ABC a yr later, though a large chunk of the present’s enchantment might be attributed to the character’s electrifying chemistry with Cybill Shepherd’s Maddie Hayes. For sure, “Moonlighting” makes for nice tv, and you’ll catch it on Hulu in case you need to cleanse the existential vibes of “No Exit” with one thing extra comforting.
