AuHavrePro
25189
I beg to differ on your claim of lacking substance :).... (good analytical article inside)
I would suggest reading this excellent analysis of the movie by Jean-Baptiste Thoret....
Excerpt:
'The film closes as abruptly as it opened: Isabella escapes from the flux by the sea (the eternal utopia of Mann’s characters): “It’s magic”, says a fisherman about the sea near the beginning of Thief (1981), Sonny turns his back on the sea and returns to the flux. And loses himself therein. Life suspended on one side, perpetual flux on the other. No dead time or respite: the system runs at full speed but on empty, and possesses no other end than that of its own stability. To such an extent that one could, like Isabella, pass one’s entire life there: “It’s all that I know how to do; I’ve been doing that since I was 17”, she tells Sonny when the latter questions her on the possibility of an elsewhere, of an alternative life. The only thing that counts is the global balance of the system and its capacity to restore the unchanging order of things (disappearance of Jesus Montoya/death of Jose Yero, disappearance of Isabella/reappearance of Trudy, etc.). At bottom, between the beginning and the end of the film, nothing has changed. Like Frank (James Caan) at the end of Thief or Lowell Bergman (Al Pacino) in the last shot of The Insider, Sonny recedes in depth of the field, with his back to us, and disappears. In the world in flux that Miami Vice follows, the human is only an event, a lost atom in the multitude, similar to the one described by the hired killer in Collateral. It is either arrogance and/or naïveté of the couple, Sonny-Isabella, to have believed that the human could be stronger than the flux.'