CSI: Miami -- Why the "Miami" Mystique Works

Monday nights usually finds me at the computer, working on new articles, checking emails and updating accounts. But, when the clock hits 9:55 PM (EST), I shut everything down, grab a cup of coffee and the remote. Then, after running the cat off the easy-chair, I settle back to enjoy the latest installment of the CBS hit series, CSI: Miami.

If there's ever a show that has a more solid hook than this one, I don't know what it is: Each episode starts with an vibrant splash of color and movement, usually with a shot of either the coastline or Miami skyline, and quickly progresses to the criminal act itself. Seconds later, the crime scene fades and reappears with CSI chief Horatio Caine (David Caruso) standing at the scene with Detective Frank Tripp (a very convincing Rex Linn). For a moment, they discuss the situation. Then, speaking calmly and methodically, Caine makes an assessment that sets the story as a murder investigation. He puts on trademark sunglasses during his last few emphatic words, quickly exiting the shot as the famous Daltrey scream intros the theme, "Won't Get Fooled Again."

After commercial break, the storyline begins, seasoned with the superb acting of a well-defined cast. Ballistics expert Calleigh Duquesne (Emily Procter) can be personable and lighthearted, but doesn't hesitate to get in someone's face if they cross her; Eric Delko (Adam Rodriguez) is Caine's right-hand man, but is unassuming and, at times, reflective; Ryan Wolf (Jonathan Togo) constantly rubs elbows with a controversial innocence but still does his job well; Alexx Woods (Khandi Alexander) is the straightforward but caring Medical Examiner, and Natalia Boa Vista (Eva LaRue) does forensic lab work while maintaining a girlish charm (she once dated Delko as well). Detective Frank Tripp (Rex Linn) rounds out the regulars with a voice and manner that makes him unbelievably authentic in his role. Together, they add an interesting but eclectic mix of professional duty and personal condition to the show.

Still, it's Horatio that actually creates the Miami mystique. His cool and confident style, wrapped in almost metered speech -- and sunglasses -- is the axle upon which this amazing show revolves. Despite whatever insidious act the crew is involved in solving, and whether they're embroiled with the Internal Affairs Bureau or each other, the viewer feels the sensation of relief whenever "H" arrives on the scene. (Incidentally, some psychologists say that watching shows whose characters portray this style actually has a calming effect upon both the emotions and metabolism of viewers.)

Another, and perhaps hidden, attraction to the show is the stars' varying styles of speech: Calleigh's Carolina drawl makes her character seem even more real, while Eric's thoughtful, almost humble voice emanates coolness; Det. Tripp's no-nonsense, deep-Texas verbiage gives one the impression that he's a real cop, rather than an actor; Alexx's voice has a street-wise, nearly flippant sound to it; Ryan's is youthful and almost sultry at times, while Natalia's reveals a zest for life. Then there's Horatio, whose calm, low voice exudes the control and confidence he needs to get to the bottom of an issue.

Musical backdrops and flashbacks play a big part of the draw here as well. Whether it's the driving beat of dance music during the recreation of a murder on a dance floor or a slow, sentimental ballad as Horatio comforts a child who's lost his mother to a drive-by shooting, the music adds meaning to specific scenes. The flashbacks not only keep the viewer on track as to what's occurred, but show how events unfolded from the witnesses' and perps' points of view. These create a variation on the old "who-done-it" murder mysteries of old: viewers can study the vignettes for themselves and weigh them against the evidence and information already uncovered by the investigators.

It could be said the only drawback to the series is the repetitiveness of specific crimes, and the manner in which they're perpetrated. However, isn't that the crime cycle in real life? Copycats abound, and each crime has to be treated as if a new and separate case. Fortunately, the producers -- possibly realizing the redundancy -- compensates by providing subplots involving the interactive personalities of the crew. For example, the final show of the current season not only saw Wolf fired, but also an apparently mutual attraction between Calleigh and Eric (to the chagrin of Natalia). We've experienced Horatio's angst as he dealt with the murder of his new wife, Marisol. As these subplots flavor the main storylines, we're drawn into the series even more.

Naturally, we learn a lot of legal terms and crime-solving methods from shows like this, but, on occasion, this series provides more: A group of high-schoolers are brought into Alexx's examining room, where a victim's body is covered. After a brief word about the possibility of losing their lives to drunken driving, she pulls the shroud back. As the shocked, tearful teens look on, she reminds them that this could happen to them. A more powerful statement on the effect of drunken driving can't be found anywhere, on-screen or off -- and police departments around the nation would do well to adopt this "scared straight" concept.

The guest stars who appear on the program are so precise in parlaying the emotions needed for a scene that the characters almost become them, rather than the other way around. Even their actual facial features seem to reflect the characters -- a definite plus if you want to "sell" the character to the audience in any genre.

While each CSI:Miami episode is laid out perfectly, with just the right mix of action, forensic investigation and interpersonal emotion, its ending is just as good. Normally closing with an impactive, visual statement about what we've just experienced during the hour, it occasionally builds to a suspenseful, edge-of-the-seat crescendo ... then rolls the credits. Obviously, we know that we'll see what happens in next week's episode ... and can't wait!

No wonder, then, that Jerry Bruckheimer and his associates constantly find this second member of the CSI franchise constantly in the top ten of the Neilsen charts. When the program finally ends, and the local news begins, we find ourselves less interested in what's going on in our area; after all, we've just witnessed a major crime and its solution.

After that, everything else seems almost cartoonish.