A corrupt police force intersects with the glamour of Hollywood in L.A. Confidential, the tightly-plotted neo-noir that won the Oscars for Best Adapted Screenplay and Best Supporting Actress in a year dominated by Titanic, and established the status and careers of Russell Crowe, Guy Pearce and Kevin Spacey. Over twenty years since its enormously successful release, does it hold up? We discuss its basis in the real history of L.A. and its sense of place, whether the screenplay deserves its plaudits, how it functions as a noir and more.
To Live and Die in L.A., William Friedkin’s 1985 neo-noir, is kinky, colourful, offbeat and as much a Los Angeles film as The French Connection is a New York one. A young and androgynous Willem Dafoe plays a notorious counterfeiter pursued by two Secret Service agents, one by the book, the other corrupted. We discuss the film’s style and tone, its subject matter and setting in L.A.’s liminal, casually confrontational criminal underworld, its sensuous cinematography, and how it reflects and contrasts with The French Connection, particularly in the context of the films’ morally cloudy protagonists.
José has a soft spot for To Live and Die in L.A. despite acknowledging several problematic facets to it; Mike can’t say he loves it, finding little satisfying to bite on other than the extraordinarily expressive imagery and Dafoe’s captivating presence. Still, it’s a bold, evocative work of very, very Eighties noir, and deviant enough to keep you on your toes.