But we can dream, can’t we?
Okay, okay. I know I’ve written about Caruso before. It’s obvious the poor guy can’t act his way out of a wet Kleenex® brand facial tissue, so why keep belaboring the point?
I’ll tell you why. Because he keeps trying to act, and it hurts. Do you have any idea how difficult it is to sit through an episode of CSI: Miami without throwing rancid leftovers at the screen while screeching vile, spittle-flecked obscenities? Somehow, someone has got to convince David Caruso that he’s dumbfoundingly unsuited for his chosen career and that to continue is just plain spiteful.
That someone may very well be Gary Sinise.
Last night CSI: Miami metastasized and spunoff a quasi-new series, and lo! it was called CSI: New York. Unlike the other two members of the CSI franchise (God, how I loathe that word when applied to anything other than sports teams and fast-food outlets), this one is set in New York and stars the aforementioned Mr. Sinise.
I can certainly understand the reluctance of the original (and always entertaining) CSI: Crime Scene Investigation’s William Petersen to water down the show’s impact with spinoff after spinoff. Do you know anybody that actually looks forward to Law and Order anymore? But what could possibly have led Jerry Bruckheimer to allow Caruso on the same set with someone of Sinise’s caliber? Sinise is one of the best actors of his generation. Caruso is… well, you’ve seen him. You know.
The scene where the two of them first meet kind of sums up the dynamics nicely.
In case you aren’t a fan of the show, Caruso plays a small, pompous, red-headed troglodyte of a crime-scene investigator named Horatio Caine (which happily rhymes with “fellatio stain”) who has an ego massive enough to bend light. He drives around the mean streets of Miami in a gigantic Hummer that may as well have personalized plates reading “SMLPNIS,” solving crimes and taking his sunglasses off and on meaningfully.
In last night’s show he deduced that his quarry had fled to New York City and vows to follow him. We then switch to the Big Apple, where Gary Sinise is investigating the murder of an undercover cop in a run-down apartment. As he goes about his work, he hears a sound behind him and turns. There stands David Caruso in all his backlit glory. Sinise asks, “Who are you?”
“My name… is Horatio Kane,” Caruso intones. He takes off his sunglasses. All of the establishing NYC shots to this point have been of a dark, gloomy day. He has presumably worn his sunglasses continually since leaving Miami.
Seeing the two of them onscreen at the same time made Caruso stand out like a Kabuki actor in a Tennessee Williams play. Oh, Caruso tried, all right. The patented Caruso Thesp-O-Matic™ has about a half-dozen settings, and he dialed through most of them. We got the sunglasses bit, the halting delivery, the meaningless and blindingly obvious rhetorical questions, the smug smile to himself and the insincere professional comraderie. It was not unlike watching a stranded fish flop about on a pier.
Sinise, of course, simply played his part quietly, with no “acting” detectable.
I’d say that counts as a bitchslap.